<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>389</td><td>https://historysoa.com/items/show/389</td><td>Convention de Berne Revis&eacute;e pour la Protection des &OElig;uvres Litt&eacute;raires et Artistiques (1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EConvention+de+Berne+Revis%C3%A9e+pour+la+Protection+des+%C5%92uvres+Litt%C3%A9raires+et+Artistiques%3C%2Fem%3E+%281909%29&quot;&gt;&lt;em&gt;Convention de Berne Revis&eacute;e pour la Protection des &OElig;uvres Litt&eacute;raires et Artistiques&lt;/em&gt; (1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1909-01-01-The-Author-19-4&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 04&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-01-01-Supplement-19-4-Convention-de-Berne-Revisee</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-01-01&quot;&gt;1909-01-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>4</td><td></td><td></td><td>19090101</td><td></td><td>https://historysoa.com/files/original/4/389/1909-01-01-Supplement-19-4-Convention-de-Berne-Revisee.pdf</td><td>copyright, publications, The Author</td></tr><tr><td>384</td><td>https://historysoa.com/items/show/384</td><td>Index to The Author, Vol. 19 (1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+%281909%29&quot;&gt;Index to &lt;em&gt;The Author&lt;/em&gt;, Vol. 19 (1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&quot;&gt;Index&lt;/a&gt;</td><td>1909-The-Author-19-index</td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors&quot;&gt;The Society of Authors&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.&quot;&gt;Bradbury, Agnew &amp;amp; Co.&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909&quot;&gt;1909&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=4&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=London&quot;&gt;London&lt;/a&gt;</td><td></td><td></td><td></td><td>https://historysoa.com/files/original/4/384/1909-The-Author-19-index.pdf</td><td>publications, The Author</td></tr><tr><td>385</td><td>https://historysoa.com/items/show/385</td><td>The Author, Vol. 19 Issue 01 (October 1908)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+01+%28October+1908%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 01 (October 1908)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1908-10-01-The-Author-19-1</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1908-10-01&quot;&gt;1908-10-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>1&ndash;28</td><td></td><td></td><td>19081001</td><td>C be El ut b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
&lt;br /&gt;
} &amp;lt; |&lt;br /&gt;
X}\} -&lt;br /&gt;
VoI.-X-WiffT-No-Fl. OCTOBER 1, 1908. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices ... t&ordm; e a &amp;amp; &amp;amp; &amp;amp; t&ordm; t&ordm; g e &amp;amp; &copy; t&ordm; &ordm; ſ&ordm; we &amp;amp; &copy; s s&ordm; e ... 1&ndash;3 How to Use the Society t&ordm; &ordm; e e t&ordm; g&ordm; g &ordm; &ordm; * * * t&ordm; ſ&ordm; t&ordm; e e &ordm;n 16&lt;br /&gt;
Committee Notes a e &isin; &ordm; e t&ordm; t&ordm; &ordm; &ordm; t&ordm; e J e g&ordm; &ordm; t&ordm; g&ordm; &ordm; e e &ordm;s 3 To Musical Composers * &amp;amp; &amp;amp; t&ordm; e &ordm; t&ordm; &ordm; 4 g &ordm; &ordm;n u &ordm; &ordm; t&ordm; e e 16&lt;br /&gt;
Dramatic Committee ... .... ... ... ... ... ... 4 The Reading Branch ... ... &amp;amp; e &ordm; is &amp;amp; t&ordm; $ t&ordm; $ t&ordm; ſ&ordm; e ... 16&lt;br /&gt;
Books published by Members of the Society ... ... ... 5 Notices ... ... ... ... ... ... ... ... ... 16&lt;br /&gt;
Books published in America by Members ... s &ordm; &ordm; * * a # * * 8 || Legal and General Life Assurance Society ... * e e &amp;amp; &copy; ſ&ordm; t&ordm; ſ&ordm; e 16&lt;br /&gt;
Literary, Dramatic and Musical Notes ... e g&ordm; &ordm; e t&ordm; &ordm;r g&ordm; &ordm; t&ordm; S General Notes ... t&ordm; &sect; 3 * * * t&ordm; e &ordm;s t&ordm; &ordm; &ordm; is &ordm; &ordm; we v &ordm; t&ordm; &ordm; &ordm; 17&lt;br /&gt;
Paris Notes e t&ordm; t&ordm; * * * * * * * * { &copy; t&ordm; e &amp;amp; &ordm; &ordm; t&ordm; t&ordm; &ordm; ... 11 The Perils of Deferred Royalty v&ordm; &ordm; &ordm; * * * * * * t&ordm; we g * * * 19&lt;br /&gt;
Spanish Notes ... ... ... t&ordm; &ordm; g&ordm; * * * * * * * * * * * 9 12 British Writers and Journalists in North Bohemia ... . . . 20&lt;br /&gt;
Copyright Case ..., t&ordm; &ordm; &ordm; t&ordm; &ordm; ve * &amp;amp; &copy; # * * &amp;amp; # * * e : t&ordm; g t&ordm; 13 Inspection Libraries and the Sale of Books ... e e &ordm; * * * 22&lt;br /&gt;
Magazine Contents t&ordm; ſ&ordm; &ordm; e s t&ordm; g&ordm; t&ordm; &ordm; t&ordm; ſ&ordm; t&ordm; * g e t&ordm; e &ordm;s t&ordm; e : ; 14 Literature and Crime ... &amp;amp; s s&ordm; &amp;amp; &amp;amp; e t&ordm; g t&ordm; e - G * * * &amp;amp; &copy; &ordm; 24&lt;br /&gt;
Warnings to Producers of Books ... t&ordm; &ordm; &ordm; # t&ordm; &ordm; g &ordm; &ordm; &bull; * * 15 Contemporary Criticisms.&mdash;VIII. ... t&ordm; $ t&ordm; * * * t&ordm; $ t&ordm; a ſ&ordm; &ordm; 25&lt;br /&gt;
Warnings to Dramatic Authors * * * w t&ordm; &ordm; ſ&ordm; t&ordm; t&ordm; &bull; * * * * * 15 French Novelists of To-day ... t&ordm; &ordm; &ordm; * * * &amp;amp; 8 &ordm;&amp;#039; t&ordm; &ordm; &ordm; ... 27&lt;br /&gt;
Warnings to Musical Composers ... t&ordm; g&ordm; t&ordm; t&ordm; &ordm; &ordm; t&ordm; &ordm; &amp;#039;&ordm; &amp;amp; e g 15 Correspondence ... g&ordm; t&ordm; it. * * * t&ordm; e e 27&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
t&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
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to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
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7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
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12. Society of Authors. List of Members. Published October, 1907, price 6d. -&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
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## p. (#12) #################################################&lt;br /&gt;
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ADVERTISEMENTS.&lt;br /&gt;
(I be &scaron;uciety of Autburg (ſmrurpurated).&lt;br /&gt;
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Telephone No. : 374 Victoria.&lt;br /&gt;
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DRAMA.&lt;br /&gt;
HENRY ARTHUR JONES (Chairman).&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
Counsel in the United States&mdash;LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A.&lt;br /&gt;
Solicitors&mdash;&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Solicitor in England to La Soci&eacute;t&eacute; des Gems de Lettres.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING.&lt;br /&gt;
OFFICES : 39, OLD QUEEN STREET, SI obey&rsquo;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 1 (#13) ###############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors.&lt;br /&gt;
Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XIX. &mdash;No. 1.&lt;br /&gt;
OCTOBER 1st, 1908.&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
. AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
Eli&ordm; time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
WOL. XIX.&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society. A state-&lt;br /&gt;
ment of the capital of this fund is inserted in The&lt;br /&gt;
Author every month and can be seen below.&lt;br /&gt;
&mdash;e&mdash;G-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PENSION FUND,&lt;br /&gt;
&mdash;e&mdash;&ldquo;C-e-&lt;br /&gt;
HE Trustees of the Pension Fund of the&lt;br /&gt;
Society, after the secretary had placed before&lt;br /&gt;
them the present financial position of the&lt;br /&gt;
Fund, decided to invest &pound;230 in the purchase of&lt;br /&gt;
Irish Land Act 2; per cent. Guaranteed Stock.&lt;br /&gt;
The amount purchased is &pound;258, and is added to&lt;br /&gt;
the list printed below.&lt;br /&gt;
The investments are steadily increasing from&lt;br /&gt;
year to year, the amount varying between &pound;200&lt;br /&gt;
and &pound;250.&lt;br /&gt;
The Trustees also recommended to the com-&lt;br /&gt;
mittee the possibility of granting another pension.&lt;br /&gt;
The committee of the Pension Fund have not&lt;br /&gt;
as yet held their meeting for 1908, but their work&lt;br /&gt;
will be chronicled in due course.&lt;br /&gt;
The following is a statement of the actual Stock.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 2 (#14) ###############################################&lt;br /&gt;
&lt;br /&gt;
2 TISIE AUTHOR.&lt;br /&gt;
The money value can be easily worked out at the&lt;br /&gt;
current price of the market :-&lt;br /&gt;
Consols 23%............................ ..4.1,000&lt;br /&gt;
Local Loans ..............................&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock&lt;br /&gt;
War Loan .................................&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock&lt;br /&gt;
Egyptian Government&lt;br /&gt;
Trust 4% Certificates&lt;br /&gt;
t&ordm; e &ordm; &ordm;s e &ordm; &amp;#039;&ordm; e &ordm; e &ordm; e &ordm; &ordm; &amp;amp;&lt;br /&gt;
e e s t&ordm; e &ordm; e &ordm; &amp;#039;&ordm; g&ordm; t&ordm; e &ordm; &ordm;s e &ordm; e e &ordm; &ordm;s e &ordm; e &ordm; is at e &ordm; a t&ordm;&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock ....................................&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock..................&lt;br /&gt;
New Zealand 33% Stock...........&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock&lt;br /&gt;
is e e &ordm; &ordm;s e e &ordm; s t&ordm; e &ordm; &amp;#039;&ordm; &ordm; &ordm;&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908.&lt;br /&gt;
Jan. 7, Richardson, Mrs. Aubrey .&lt;br /&gt;
Jan. 13, McPherson, Miss M. M. .&lt;br /&gt;
Jan. 16, Douglas, Lieut.-Col. Hugh A.&lt;br /&gt;
Feb. 1, Shera, Miss B. M. . e&lt;br /&gt;
Feb. 29, Brown, R. Grant&lt;br /&gt;
April 10, Fieldhouse, Arthur&lt;br /&gt;
May 22, Darbishire, Otto W.&lt;br /&gt;
Donations, 1908.&lt;br /&gt;
Jan. 1, Egbert, Henry&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
7, Wood, Lawson * &amp;gt; *&lt;br /&gt;
8, Bolton, Miss Anna .&lt;br /&gt;
8, Hyamson, Albert M.&lt;br /&gt;
13, Le Riche, P. J. . .&lt;br /&gt;
13, Williamson, Mrs. C. N.&lt;br /&gt;
13, Williamson, C. N.&lt;br /&gt;
Jan. 20, Colquhoun, A. (amount I&amp;#039;&eacute;-&lt;br /&gt;
covered by the Society) .&lt;br /&gt;
Jan. 21, Saies, Mrs. . e e&lt;br /&gt;
Jan. 24, Westrup, Miss Margaret&lt;br /&gt;
Feb. 10, Benett. W. . e e&lt;br /&gt;
Feb. 10, Wilson, G. F. *&lt;br /&gt;
Feb. 26, Travers, Miss R. C.&lt;br /&gt;
March 5, Dutton, Miss Annie&lt;br /&gt;
March 5, Drummond, Hamilton.&lt;br /&gt;
March 11, Ackermann, A. S.&lt;br /&gt;
March 20, Loraine, Lady t&ordm;&lt;br /&gt;
April 6, Plunkett, G. N., Count.&lt;br /&gt;
April 9, Crellin, H. N. &copy; w&ordm;&lt;br /&gt;
May 20, Scoon, W. G. g e&lt;br /&gt;
May 26, Cromartie, The Countess of&lt;br /&gt;
June 3, Hardy, Harold&lt;br /&gt;
June 16, Roberts, Morley .&lt;br /&gt;
July 16, Carolin, Mrs. t&ordm;&lt;br /&gt;
July 28, Atherton, Mrs. Gertrude&lt;br /&gt;
Aug. 21, Beckett, Arthur W.&lt;br /&gt;
6, Skeat, The Rev. Prof. W. W.&lt;br /&gt;
2-&lt;br /&gt;
0 0&lt;br /&gt;
() ()&lt;br /&gt;
19 11&lt;br /&gt;
9 3&lt;br /&gt;
0 0&lt;br /&gt;
O 0&lt;br /&gt;
0 0&lt;br /&gt;
() ()&lt;br /&gt;
9 6&lt;br /&gt;
0 0&lt;br /&gt;
18 8&lt;br /&gt;
S. d.&lt;br /&gt;
5 0&lt;br /&gt;
1 ()&lt;br /&gt;
5 0&lt;br /&gt;
5 ()&lt;br /&gt;
5 0&lt;br /&gt;
10 6&lt;br /&gt;
10 6&lt;br /&gt;
1 0&lt;br /&gt;
I ().&lt;br /&gt;
5 ()&lt;br /&gt;
5 0&lt;br /&gt;
I ()&lt;br /&gt;
I ()&lt;br /&gt;
I ()&lt;br /&gt;
1 0&lt;br /&gt;
17 10&lt;br /&gt;
5 0&lt;br /&gt;
5 ()&lt;br /&gt;
I ()&lt;br /&gt;
10 6&lt;br /&gt;
10 0&lt;br /&gt;
&agrave; ()&lt;br /&gt;
() ()&lt;br /&gt;
() ()&lt;br /&gt;
10 ()&lt;br /&gt;
5 ()&lt;br /&gt;
5 0.&lt;br /&gt;
10 0&lt;br /&gt;
1 0&lt;br /&gt;
I () ()&lt;br /&gt;
10 6&lt;br /&gt;
5 ().&lt;br /&gt;
() - 0&lt;br /&gt;
I ()&lt;br /&gt;
The committee would be glad to receive infor-&lt;br /&gt;
mation unofficially from any member of the society&lt;br /&gt;
of any author whose need is within the member&amp;#039;s&lt;br /&gt;
personal knowledge.&lt;br /&gt;
Information, which should&lt;br /&gt;
be as full as possible, should be sent to the&lt;br /&gt;
secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.,&lt;br /&gt;
and will receive the prompt and careful attention of&lt;br /&gt;
the committee.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ANNUAL SUBSCRIBERS TO PENSION FUND.&lt;br /&gt;
The following is the list of annual subscribers&lt;br /&gt;
to the Fund. The total amount of subscriptions&lt;br /&gt;
is about &pound;160.&lt;br /&gt;
Abbott, The Rev. E. D.,&lt;br /&gt;
D.D&lt;br /&gt;
Allingham, W.&lt;br /&gt;
Armstrong, Miss F.&lt;br /&gt;
Ash, Miss Selby&lt;br /&gt;
Avery, H.&lt;br /&gt;
Barnett, P. A.&lt;br /&gt;
Barrie, J. M.&lt;br /&gt;
Bashford, Harry H.&lt;br /&gt;
Beeching, The Rev. H.&lt;br /&gt;
C.&lt;br /&gt;
Bedford, Miss Jessie&lt;br /&gt;
Benecke, Miss&lt;br /&gt;
Bertouch, The Baroness&lt;br /&gt;
de&lt;br /&gt;
Bond, R. Warwick&lt;br /&gt;
Bosanquet, Eustace F.&lt;br /&gt;
Brend, C. Cunninghame&lt;br /&gt;
Brinton, Selwyn&lt;br /&gt;
Brodhurst, Spencer&lt;br /&gt;
Brown, F. M.&lt;br /&gt;
Brown, R. Grant&lt;br /&gt;
Campbell, Miss Mont-&lt;br /&gt;
gomery&lt;br /&gt;
Carey, Miss R. N.&lt;br /&gt;
Caulfeild, Miss Sophia&lt;br /&gt;
Clough, Miss B. A.&lt;br /&gt;
Coleborn, Miss M.&lt;br /&gt;
Colquhoun, A.&lt;br /&gt;
Cox, Miss Roalfe&lt;br /&gt;
Cresswell, The Rev. H.&lt;br /&gt;
Crockett, S. R.&lt;br /&gt;
Crommelin, Miss May&lt;br /&gt;
Cuming, E. W. D.&lt;br /&gt;
Dale, Miss Nellie&lt;br /&gt;
Darbishire, Otto&lt;br /&gt;
Davy, Mrs. E. M.&lt;br /&gt;
Dixon, W. Scarth&lt;br /&gt;
Dobson, Austin&lt;br /&gt;
Douglas, Lieut.-Col.&lt;br /&gt;
Hugh&lt;br /&gt;
Dunsany, The Lord&lt;br /&gt;
Durand, The Right Hon.&lt;br /&gt;
Sir Henry, G.C.M.G.,&lt;br /&gt;
etc.&lt;br /&gt;
D&uuml;ring, Mrs. Stella&lt;br /&gt;
Dutton, Miss Annie&lt;br /&gt;
Ellis, Miss M. A.&lt;br /&gt;
Esmond, H. W.&lt;br /&gt;
Fabeck, W. A. de&lt;br /&gt;
Fenwick, Miss H.&lt;br /&gt;
Fieldhouse, Arthur&lt;br /&gt;
Forbes, Lady Helen&lt;br /&gt;
Forrest, G. W.&lt;br /&gt;
Forster, R. H.&lt;br /&gt;
Galsworthy, John&lt;br /&gt;
Gibbs, Miss E.&lt;br /&gt;
Gidley, Miss E. C.&lt;br /&gt;
Gilbert, Sir W. S.&lt;br /&gt;
Gilson, Captain Charles&lt;br /&gt;
Gonne, Captain C.&lt;br /&gt;
Gribble, F.&lt;br /&gt;
Gurney, Mrs.&lt;br /&gt;
Guthrie, A.&lt;br /&gt;
Haggard, Mrs. J.&lt;br /&gt;
Halford, F. W.&lt;br /&gt;
Hamilton, Mrs. G. W.&lt;br /&gt;
Harraden, Miss B.&lt;br /&gt;
Harris, Miss J.&lt;br /&gt;
Harrison, A.&lt;br /&gt;
Hawkes-Cornock, Mrs.&lt;br /&gt;
Hawkins, A. Hope&lt;br /&gt;
Heath, Miss H.&lt;br /&gt;
Heming, Lieut.-Col. D.&lt;br /&gt;
Hills, Mrs. C. H.&lt;br /&gt;
Hitchings, F. W. W.&lt;br /&gt;
Hollingsworth, Charles&lt;br /&gt;
James, Henry&lt;br /&gt;
Jenkins, Mrs. Hadow&lt;br /&gt;
Jerome, Jerome K.&lt;br /&gt;
Jones, W. Braunston&lt;br /&gt;
Keene, H. G. -&lt;br /&gt;
Kersey, W. H.&lt;br /&gt;
IXilmarnock, The Lord&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 3 (#15) ###############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 3&lt;br /&gt;
Kitcat, Mrs.&lt;br /&gt;
Lambe, J. Laurence&lt;br /&gt;
Lincoln, C.&lt;br /&gt;
Longe, Miss J.&lt;br /&gt;
Malet, Lucas&lt;br /&gt;
Marchant, The&lt;br /&gt;
James&lt;br /&gt;
Marriott, Charles&lt;br /&gt;
Mathieson, Miss&lt;br /&gt;
McPherson, Miss M. M.&lt;br /&gt;
Miniken, Miss Bertha&lt;br /&gt;
M. M.&lt;br /&gt;
Morrah, H. A.&lt;br /&gt;
Nicholls, F. C.&lt;br /&gt;
Owen, Charles&lt;br /&gt;
Pearson, Mrs. C.&lt;br /&gt;
Pendered, Miss&lt;br /&gt;
Pickthall, M.&lt;br /&gt;
Pinero, A. W.&lt;br /&gt;
Pollock, Miss E.&lt;br /&gt;
Portman, Lionel&lt;br /&gt;
Prelooker, J.&lt;br /&gt;
Pryor, Francis&lt;br /&gt;
Punshon, E. R.&lt;br /&gt;
Reynolds, Mrs. F.&lt;br /&gt;
Rhys, Ernest&lt;br /&gt;
Richardson,&lt;br /&gt;
Aubrey&lt;br /&gt;
Roberts, Morley&lt;br /&gt;
Roe, Mrs. Harcourt&lt;br /&gt;
Rumble, Mrs.&lt;br /&gt;
Rumbold, The Right&lt;br /&gt;
Hon. Sir Horace,&lt;br /&gt;
P.C., etc.&lt;br /&gt;
Salmond, Mrs. W.&lt;br /&gt;
Salwey, Reginald&lt;br /&gt;
Scott, G. Forrester&lt;br /&gt;
Seaman, Owen&lt;br /&gt;
Sedgwick, W.&lt;br /&gt;
Seton-Karr, H. W.&lt;br /&gt;
Rev.&lt;br /&gt;
Mrs.&lt;br /&gt;
Sharp, Miss E.&lt;br /&gt;
Shaw, Mrs. Bernard&lt;br /&gt;
Shepherd, G. H.&lt;br /&gt;
Shera, Miss B. M.&lt;br /&gt;
Shiers-Mason, Mrs.&lt;br /&gt;
Shipley, Miss M.&lt;br /&gt;
Simpson, W. J.&lt;br /&gt;
Sinclair, Miss May&lt;br /&gt;
Skrine, Mrs. J. H.&lt;br /&gt;
Slaughter, Mrs.&lt;br /&gt;
Smith, Bertram&lt;br /&gt;
Smythe, A.&lt;br /&gt;
Spiers, Victor&lt;br /&gt;
Stanton, Miss H.&lt;br /&gt;
Stein, M. A.&lt;br /&gt;
Stevenson, Mrs. M.&lt;br /&gt;
Sutherland, Her Grace&lt;br /&gt;
The Duchess of&lt;br /&gt;
Teignmouth-Shore, The&lt;br /&gt;
Rev. Canon&lt;br /&gt;
Thorburn, W. M.&lt;br /&gt;
Thurston, Mrs.&lt;br /&gt;
Todd, Margaret, M.D.&lt;br /&gt;
Toynbee, W.&lt;br /&gt;
Trevor, Captain P.&lt;br /&gt;
Tuckett, F. F.&lt;br /&gt;
Turner, G. F.&lt;br /&gt;
Wachell, H. A.&lt;br /&gt;
Wacher, Francis&lt;br /&gt;
Wern&eacute;de, R. E.&lt;br /&gt;
Voysey, The Rev. C.&lt;br /&gt;
Ward, Mrs. Humphry&lt;br /&gt;
Warden, Miss G.&lt;br /&gt;
Watt, A. P.&lt;br /&gt;
Weaver, Mrs. Baillie&lt;br /&gt;
Weston, Miss J. L.&lt;br /&gt;
White, Mrs. C.&lt;br /&gt;
Witherby, The Rev. C.&lt;br /&gt;
Wright, Fondi&lt;br /&gt;
Young, W. Wellington&lt;br /&gt;
comMITTEE NOTEs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TY HE last meeting of the committee before the&lt;br /&gt;
vacation was held on Monday, July 20th, at&lt;br /&gt;
39, Old Queen Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
After the minutes of the previous meeting had been&lt;br /&gt;
read and signed there followed the election of&lt;br /&gt;
members.&lt;br /&gt;
Nine members and associates were&lt;br /&gt;
elected, bringing the total for the current year up&lt;br /&gt;
to 154, and there was one resignation, bringing&lt;br /&gt;
the resignations up to 56.&lt;br /&gt;
These numbers are, on&lt;br /&gt;
the whole, satisfactory. The elections are still in&lt;br /&gt;
advance of the number for the corresponding&lt;br /&gt;
period of last year.&lt;br /&gt;
The appointment of a treasurer, consequent on&lt;br /&gt;
Mr. Storr&amp;#039;s resignation, was the first matter brought&lt;br /&gt;
forward for discussion. The committee decided to&lt;br /&gt;
ask Mr. Storr if he would not continue to act in&lt;br /&gt;
that capacity, and the Secretary was instructed to&lt;br /&gt;
Write to that effect. The committee then discussed&lt;br /&gt;
the question of the production of a book dealing&lt;br /&gt;
With the clauses of publishers&amp;#039; agreements, their&lt;br /&gt;
form and substance ; and the secretary, from whom&lt;br /&gt;
the original suggestion came, was instructed to&lt;br /&gt;
Work upon the book during the vacation. It was&lt;br /&gt;
decided, however, that the names of the publishers&lt;br /&gt;
should not be inserted with their agreements, and&lt;br /&gt;
that the proofs, when ready, should be submitted&lt;br /&gt;
to the solicitors of the society. The final draft&lt;br /&gt;
should be laid before the committee for their&lt;br /&gt;
consideration.&lt;br /&gt;
The next question that arose was an appeal in&lt;br /&gt;
the German courts, and it was decided, after con-&lt;br /&gt;
sideration of a letter from the society&amp;#039;s lawyers in&lt;br /&gt;
Germany, that the society should guarantee part of&lt;br /&gt;
the expenses on behalf of the member concerned.&lt;br /&gt;
It may be remembered that in the last issue of&lt;br /&gt;
The Author, it was announced that the secretary&lt;br /&gt;
had been instructed to write to the Publishers&rsquo;&lt;br /&gt;
Association to enquire whether they would assist&lt;br /&gt;
the Society financially in fighting the issue in the&lt;br /&gt;
above case, as it was of importance to publishers&lt;br /&gt;
and authors. The reply of the association was&lt;br /&gt;
read to the effect that inasmuch as the council of&lt;br /&gt;
that body did not anticipate that the appeal would&lt;br /&gt;
be successful they were unable to offer the desired&lt;br /&gt;
assistance.&lt;br /&gt;
An infringement of copyright of the work of one&lt;br /&gt;
of the members of the society in New Zealand was&lt;br /&gt;
next considered, and the secretary reported that&lt;br /&gt;
he had written to the paper and hoped to obtain a&lt;br /&gt;
reply in the course of a month or so. In these&lt;br /&gt;
circumstances, the matter was adjourned to&lt;br /&gt;
October, when it is hoped that an answer will&lt;br /&gt;
be forthcoming. In case, however, immediate steps&lt;br /&gt;
should be necessary during the vacation, the com-&lt;br /&gt;
mittee delegated full powers to the chairman.&lt;br /&gt;
Another important matter was laid before the&lt;br /&gt;
committee. It was a question arising out of the&lt;br /&gt;
production of a book by a publisher under no&lt;br /&gt;
formal agreement, but on a half profit arrange-&lt;br /&gt;
ument. Since the autumn of last year the society&lt;br /&gt;
has been attempting to negotiate a satisfactory&lt;br /&gt;
settlement between the author and the publisher,&lt;br /&gt;
but owing to the publishers&amp;#039; unbusinesslike&lt;br /&gt;
conduct and dilatory methods it was found&lt;br /&gt;
impossible to bring the matter to an issue. The&lt;br /&gt;
case was then placed in the hands of the society&amp;#039;s&lt;br /&gt;
solicitors in the hope that a reasonable and formal&lt;br /&gt;
agreement might be settled and approved by both&lt;br /&gt;
parties. Again the settlement has been unreason-&lt;br /&gt;
ably delayed and no satisfactory issue arrived at.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 4 (#16) ###############################################&lt;br /&gt;
&lt;br /&gt;
4 TFIES A UTHOR,&lt;br /&gt;
In consequence, acting on the advice of the&lt;br /&gt;
Society&amp;#039;s solicitors, it was decided to take counsel&amp;#039;s&lt;br /&gt;
opinion. Counsel&amp;#039;s opinion was read to the com-&lt;br /&gt;
mittee, and they authorised the commencement of&lt;br /&gt;
proceedings against the publisher.&lt;br /&gt;
The secretary reported what had taken place in&lt;br /&gt;
two other cases that had been carried through by&lt;br /&gt;
the society, and stated that in one case the member&lt;br /&gt;
concerned expressed his satisfaction at the result ;&lt;br /&gt;
in the other case that the debt and costs had been&lt;br /&gt;
recovered. In the latter case the secretary read to&lt;br /&gt;
the committee a letter thanking the Society for the&lt;br /&gt;
work it had undertaken.&lt;br /&gt;
The secretary then reported the work which the&lt;br /&gt;
dramatic sub-committee had already done since its&lt;br /&gt;
election, and added that a further meeting was to&lt;br /&gt;
be held in August. He gave the list of the names&lt;br /&gt;
of those who had accepted nomination. It was&lt;br /&gt;
hoped that the report of the dramatic sub-committee&lt;br /&gt;
would be settled in time to be laid before the&lt;br /&gt;
committee of management at their meeting in&lt;br /&gt;
October.&lt;br /&gt;
Mr. Freshfield, the chairman of the society, then&lt;br /&gt;
made a statement in regard to the visit of the&lt;br /&gt;
president of the Soci&eacute;t&eacute; des Gens de Lettres to&lt;br /&gt;
IIondon. He had come over to obtain the support&lt;br /&gt;
of English authors to the proposals which French&lt;br /&gt;
writers were going to press very strongly at the&lt;br /&gt;
meeting in Berlin in October. Mr. Freshfield&lt;br /&gt;
stated that he had had the pleasure of introducing&lt;br /&gt;
the president to those who were very closely inte-&lt;br /&gt;
rested in the question of international copyright,&lt;br /&gt;
among others, Mr. Winston Churchill, President&lt;br /&gt;
of the Board of Trade. Sir Henry Bergne stated&lt;br /&gt;
that he had had a long conversation with the&lt;br /&gt;
president of the French society, and had explained&lt;br /&gt;
to him fully the position of the Society of Authors&lt;br /&gt;
and of the Government in regard to the re-modelling&lt;br /&gt;
of the Berne Convention. Sir Henry added that&lt;br /&gt;
the president had had an official interview at the&lt;br /&gt;
Board of Trade, which he (Sir Henry) believed was&lt;br /&gt;
thoroughly satisfactory.&lt;br /&gt;
Owing to Mrs. E. Nesbit Bland&amp;#039;s illness, she&lt;br /&gt;
was unable to attend the meeting to support a&lt;br /&gt;
resolution which stood in her name. The question,&lt;br /&gt;
accordingly, was adjourned till the committee&lt;br /&gt;
meeting in October. .&lt;br /&gt;
The draft of a circular letter to be issued to non-&lt;br /&gt;
members was considered and formally passed.&lt;br /&gt;
Some letters written by the secretary of the&lt;br /&gt;
Publishers&rsquo; Circle with reference to a dinner in the&lt;br /&gt;
autumn were formally laid before the committee&lt;br /&gt;
and the secretary was instructed to reply.&lt;br /&gt;
It was dedided to purchase some furniture for&lt;br /&gt;
the office.&lt;br /&gt;
&mdash;&mdash;&mdash; e &mdash;s&ordm;- e &ndash;&ndash;. ---------&mdash;&lt;br /&gt;
DRAMATIC COMMITTEE.&lt;br /&gt;
HE new dramatic committee of the Society&lt;br /&gt;
of Authors elected by the new committee of&lt;br /&gt;
management met for the first time on Mon-&lt;br /&gt;
day, June 29th, at the offices of the society. The&lt;br /&gt;
names of the present committee will be found&lt;br /&gt;
printed with the other committees, but it may&lt;br /&gt;
be as well to mention that they are:&lt;br /&gt;
Mr. William Archer, Mrs. E. Nesbit Bland, Mr.&lt;br /&gt;
H. Granville Barker, Mr. J. W. Comyns Carr, Mr.&lt;br /&gt;
Jerome K. Jerome, Mr. Henry Arthur Jones&lt;br /&gt;
(Chairman), Mr. W. J. Locke, Capt. Robert.&lt;br /&gt;
Marshall, Mr. W. Somerset Maugham, and Mr.&lt;br /&gt;
G. Bernard Shaw. -&lt;br /&gt;
The first business was to consider a report deal-&lt;br /&gt;
ing with the present position of the dramatic&lt;br /&gt;
authors in the society, what the Society had done&lt;br /&gt;
from the foundation of the society and what the&lt;br /&gt;
dramatic committee hoped to carry through for&lt;br /&gt;
members in the future. This report it was pro-&lt;br /&gt;
posed to send round to those members of the&lt;br /&gt;
society who had written plays which had been&lt;br /&gt;
publicly performed. The report was very care-&lt;br /&gt;
fully considered, and various suggestions by different&lt;br /&gt;
members of the committee were submitted. It was&lt;br /&gt;
decided to adjourn the consideration of the matter&lt;br /&gt;
to the next meeting, which was to be held on&lt;br /&gt;
July 2nd. This adjournment would enable the&lt;br /&gt;
individual members to set out their proposals in&lt;br /&gt;
writing. Mr. Shaw then read to the committee a&lt;br /&gt;
draft agreement, part of which had been taken from&lt;br /&gt;
a pamphlet prepared by the former dramatic com-&lt;br /&gt;
mittee, but which contained additions and altera-&lt;br /&gt;
tions of his own.&lt;br /&gt;
The next meeting of the committee was held on&lt;br /&gt;
July 2nd, at 11 o&amp;#039;clock, at the society&amp;#039;s offices.&lt;br /&gt;
After the minutes had been read the report Was&lt;br /&gt;
considered. Various suggestions made by the&lt;br /&gt;
different members were accepted, and a Sub-Com-&lt;br /&gt;
mittee, consisting of Mr. G. Bernard Shaw and the&lt;br /&gt;
secretary, was appointed to incorporate the altera-&lt;br /&gt;
tions that had been accepted, and to re-model the&lt;br /&gt;
draft on that basis. It was decided to hold a&lt;br /&gt;
further meeting of the committee on August 3rd.&lt;br /&gt;
The secretary of the society during the month&lt;br /&gt;
of July took all the emendations and alterations&lt;br /&gt;
which had been accepted at the previous meeting,&lt;br /&gt;
and re-drafted the report as instructed. It was then&lt;br /&gt;
forwarded to Mr. Shaw and returned approved in&lt;br /&gt;
its final form. Unfortunately, owing to the fact&lt;br /&gt;
that it was impossible to obtain a quorum on August&lt;br /&gt;
3rd, the meeting was adjourned till September 3rd.&lt;br /&gt;
On that day there was a full gathering of the&lt;br /&gt;
committee. The proceedings opened by the&lt;br /&gt;
secretary explaining what Mr. Shaw and he had&lt;br /&gt;
done during the vacation, and the final report Was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 5 (#17) ###############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR, 5&lt;br /&gt;
laid before the meeting. This was accepted with&lt;br /&gt;
a few verbal alterations. The committee decided&lt;br /&gt;
that it should be forwarded to Mr. Pinero, who&lt;br /&gt;
was acting as chairman of the proposed new&lt;br /&gt;
Dramatic Authors&amp;#039; Society, in order that his&lt;br /&gt;
committee might consider and report on it to&lt;br /&gt;
the dramatic committee of the Society of Authors.&lt;br /&gt;
The committee further decided that the report as&lt;br /&gt;
finally settled should be sent out to all those mem-&lt;br /&gt;
bers of the society who were also dramatic authors,&lt;br /&gt;
and that&amp;#039; they should be asked to send, at their&lt;br /&gt;
earliest opportunity, their opinions to the secretary&lt;br /&gt;
in order that they might be laid before the next&lt;br /&gt;
meeting of the dramatic committee. No doubt&lt;br /&gt;
when this committee has been able to consider the&lt;br /&gt;
report of Mr. Pinero&amp;#039;s committee and the opinions&lt;br /&gt;
of the members of the society, the result will be&lt;br /&gt;
laid before the committee of management, in order&lt;br /&gt;
that they may sanction the course proposed by the&lt;br /&gt;
dramatic committee. -&lt;br /&gt;
Mr. Shaw&amp;#039;s draft agreement and the pamphlet on&lt;br /&gt;
dramatic rights and property were ordered to be&lt;br /&gt;
set up in type to be circulated to the members of&lt;br /&gt;
the committee before the next meeting, in order&lt;br /&gt;
that the members might have time to prepare their&lt;br /&gt;
criticisms.&lt;br /&gt;
It was decided to hold the next meeting of the&lt;br /&gt;
committee on Tuesday, October 6th, 1908.&lt;br /&gt;
&bull; ..&ordm;.&lt;br /&gt;
&mdash;w--w&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the long vacation thirty-six cases have&lt;br /&gt;
been in the hands of the secretary. Over a third&lt;br /&gt;
of these&mdash;to be precise, thirteen in number&mdash;have&lt;br /&gt;
related to claims for money unpaid. Seven of the&lt;br /&gt;
thirteen had to be placed in the hands of the&lt;br /&gt;
society&amp;#039;s solicitors for collection. Five terminated&lt;br /&gt;
successfully, as the Secretary succeeded in obtaining&lt;br /&gt;
the sums due, which were sent on to the authors;&lt;br /&gt;
but the last case, lying in the United States, has yet&lt;br /&gt;
to be settled. There were six cases for the collec-&lt;br /&gt;
tion of accounts. In four of these the accounts&lt;br /&gt;
have been rendered by the publishers and have&lt;br /&gt;
been forwarded to, and accepted by, the authors.&lt;br /&gt;
Two which have only recently come into the office&lt;br /&gt;
are still in the course of negotiation. There have&lt;br /&gt;
been five cases of infringement of copyright. Three&lt;br /&gt;
of these have been satisfactorily concluded. One&lt;br /&gt;
of the three referred to dramatic copyright in&lt;br /&gt;
Germany. The remaining two related to in-&lt;br /&gt;
fringements which occurred in New Zealand.&lt;br /&gt;
It is curious that they came to the office within&lt;br /&gt;
a week or so of each other. The Society has&lt;br /&gt;
had no previous case in this colony, though in-&lt;br /&gt;
fringements which have occurred in other colonies&lt;br /&gt;
have been dealt with by the secretary. Sufficient&lt;br /&gt;
time has not yet elapsed to allow of answers from&lt;br /&gt;
the editors. In the event of failure to obtain&lt;br /&gt;
satisfactory explanations the matters will be referred&lt;br /&gt;
to the committee. Nine cases were for the return&lt;br /&gt;
of MSS. Of these eight have been successful,&lt;br /&gt;
though in two out of the eight all the MSS. have&lt;br /&gt;
not, as yet, been returned, though the agents have&lt;br /&gt;
|promised to return them as soon as they come to&lt;br /&gt;
hand. The remaining case has had to be aban.&lt;br /&gt;
d&ordm;ned Qying to the absence of proof of the arrival&lt;br /&gt;
9f the MS. at the office of the paper. There has&lt;br /&gt;
been one complicated case of accounts and money&lt;br /&gt;
due, which is still in the course of negotiation, and&lt;br /&gt;
tWO cases dealing with the settlement of disputes&lt;br /&gt;
on agreements are in the same position.&lt;br /&gt;
The society, therefore, may be considered to&lt;br /&gt;
have done useful work for its members during the&lt;br /&gt;
Vacation: Out of thirty-six cases twenty-one have&lt;br /&gt;
been ended satisfactorily.&lt;br /&gt;
Of the cases in the solicitor&amp;#039;s hands, four have&lt;br /&gt;
been settled, two are awaiting trial, and one has&lt;br /&gt;
had to be abandoned owing to the fact that the&lt;br /&gt;
defendants are in liquidation. *&lt;br /&gt;
One or two county court cases, besides those men-&lt;br /&gt;
tioned, have been sanctioned by the chairman, but&lt;br /&gt;
no big action has been taken up by the Society&lt;br /&gt;
since the last meeting of the committee.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
July Elections,&lt;br /&gt;
Donegan, Lieut.-Colonel (Holt &amp;amp; Co.) 3, White-&lt;br /&gt;
J. D. F. hall Place, S.W.&lt;br /&gt;
Holbach, Mrs. 6, Staverton Road, Ox-&lt;br /&gt;
ford.&lt;br /&gt;
Jeffery, Reginald W. Brasenose College, Ox-&lt;br /&gt;
ford.&lt;br /&gt;
Landa, Gertrude . . 23, Clarendon Street,&lt;br /&gt;
War wick Square,&lt;br /&gt;
S.W.&lt;br /&gt;
Moore, Miss Leslie Furzehill, Salcombe&lt;br /&gt;
R.S.O., S. T)evon.&lt;br /&gt;
32, Moring Road, Toot-&lt;br /&gt;
ing Common, S.W.&lt;br /&gt;
Lyceum Club, 128, Pic-&lt;br /&gt;
cadilly, W. &ordm;,&lt;br /&gt;
Swallow field Park,&lt;br /&gt;
Reading.&lt;br /&gt;
College House, Jersey,&lt;br /&gt;
C.I&lt;br /&gt;
Northrop, W. B.&lt;br /&gt;
Pleydell, Mrs. Maunsel .&lt;br /&gt;
Russell, Lady&lt;br /&gt;
Tucker, Miss Beryl&lt;br /&gt;
2, Wychcombe Studios,&lt;br /&gt;
Englands Lane, N.W.&lt;br /&gt;
Wilkinson, Norman, R.I.&lt;br /&gt;
&mdash;e&mdash;&ordm;-&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
ART.&lt;br /&gt;
MEDIAEVAL SINHALESE ART. A Monograph of Sinhalese&lt;br /&gt;
Arts and Crafts, mainly as surviving in the Eighteenth&lt;br /&gt;
Century, together with an Account of the Structure of&lt;br /&gt;
Society and of the Position of the Craftsmen. By&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 6 (#18) ###############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
ANANDA. K. CooMARASWAMY, D.Sc., F.L.S., etc.&lt;br /&gt;
14 &times; 10%. 300 pp. Printed and sold by the Author,&lt;br /&gt;
at the Essex House Press, in the Norman Chapel at&lt;br /&gt;
Broad Campden, Glos. Ordinary Edition of 400 copies&lt;br /&gt;
only, &pound;3 3s. n. Twenty-five copies (fifteen for sale), on&lt;br /&gt;
hand-made paper, plates on Jap. Vellum, &Eacute;5 58. In.&lt;br /&gt;
THE AIMS OF INDIAN ART. By A. K. COOMARASWAMY.&lt;br /&gt;
93 &times; 7. 23 pp. The Essex House Press. 2s. 6d.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
SAINT THOMAS OF CANTERBURY. By ROBERT HUGH&lt;br /&gt;
BENSON. 63 &times; 4%. 173 pp. Macdonald and Evans. 2s. n.&lt;br /&gt;
THOMAS DoGGETT, DECEASED. By T. A. COOK and GUY&lt;br /&gt;
NICKALLS. 104 x 7. xii. -- 156 pp. Constable. 10s. 6d. n.&lt;br /&gt;
PESTALOzzI. An Account of his Life and Work. By&lt;br /&gt;
H. HOLMAN. 73 x 5. 322 pp. Longmans. 3s. n.&lt;br /&gt;
GREAT RALEGH. By HUGH DE SELINCOURT. 83 &times; 53.&lt;br /&gt;
310 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
THE LIFE OF ToISTOY. First Fifty Years. By AYLMER&lt;br /&gt;
MAUDE. 9 &times; 53. 457 pp. Constable. 10s. 6d. n.&lt;br /&gt;
THE EMPRESS JOSEPHINE : NAPOLEON&amp;#039;S ENCEIANTRESS.&lt;br /&gt;
By PHILIP W. SERGEANT, B.A. Two vols. Hutchinson.&lt;br /&gt;
24s. In.&lt;br /&gt;
AN ALABAMA STUDENT. By WILLIAM OSLER, M.D.,&lt;br /&gt;
F.R.S. 9 &times; 53. 334 pp. Clarendon Press. 7s.6d. n.&lt;br /&gt;
RoussFAU AND THE WOMEN HE LOVED. By FRANCIS&lt;br /&gt;
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|BOOKS FOR TEIE YOUNG.&lt;br /&gt;
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Wols. W., WI. and WII. Craik&ndash;DTake ; Drant&mdash;Finan ;&lt;br /&gt;
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Vol. III., the eighteenth century in Germany and the&lt;br /&gt;
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By JoBN EDWIN SANDYS, Litt.D., with chronological&lt;br /&gt;
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74 &times; 5}. xxx. + 498; xiv. -- 523 pp. Cambridge&lt;br /&gt;
|University Press. Vol. i., ed. 2, 10s. 6d. In. ; vols. ii. and&lt;br /&gt;
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- DRAMA.&lt;br /&gt;
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French. 2s. 6d. n.&lt;br /&gt;
WARP AND WOOF : A DRAMA IN THREE ACTS. By EDITH&lt;br /&gt;
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Elkin Mathews. 43. 6d. n.&lt;br /&gt;
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PETE. By HALL CAINE and L. N. PARKER. 7 x 43.&lt;br /&gt;
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ſhrIFT MANUAL, FOR THE USE OF TEACHERS IN&lt;br /&gt;
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Bell. 4s. 6d. .. -&lt;br /&gt;
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THE BLOTTING Book. By E. F. BENSON. 63 &times; 44.&lt;br /&gt;
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THE LEADING LADY. By A. EYRE. 73 &times; 53. 320 pp.&lt;br /&gt;
Ward, Lock. 63.&lt;br /&gt;
THE OLD ALLEGIANCE. By HUBERT WALEs. 7&lt;br /&gt;
318 pp. J. Long. 6s. ...&lt;br /&gt;
THE HIGH ADVENTURE. By HUGH DE SELINCOURT.&lt;br /&gt;
73 &times; 5. 295 pp. Lane. 6s.&lt;br /&gt;
THE BLOOM o&amp;#039; THE HEATHER. By S. R. CRoCKETT.&lt;br /&gt;
7# &times; 5. 421 pp. Nash. 6s. - -&lt;br /&gt;
THE EASY GO LUCKIES ; OR, ONE WAY of LIVING. By&lt;br /&gt;
MAUD STEPNEY RAwson. 73 &times; 5. 396 pp. Methuen.&lt;br /&gt;
68.&lt;br /&gt;
THE REVOLT of BEATRIx. By FRED WISHAw.&lt;br /&gt;
318 pp. J. Long. 68. - -&lt;br /&gt;
PROPULSION OF DOMENICA : A Novel. By HELENA&lt;br /&gt;
HEATH, 73 &times; 5. 243 pp. Ouseley. 3s.6d, -&lt;br /&gt;
THE RESULT or AN ACCIDENT. By BEATRICE WHITBY.&lt;br /&gt;
7# &times; 5. 309 pp. Methuen. 6s. -&lt;br /&gt;
ROSE CHAMPION&amp;#039;S PLATONIC.&lt;br /&gt;
#&lt;br /&gt;
&times; 5.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
By ADAM LILBURN.&lt;br /&gt;
7# &times; 5. 308 pp. Greening. 6s. -&lt;br /&gt;
BACHELOR BETTY. By WINIFRED JAMES. 127 pp.&lt;br /&gt;
THAT SWEET ENEMY. By KATHERINE TYNAN. 124 pp.&lt;br /&gt;
(Constable&amp;#039;s Sixpenny Series.) 8% x 6. Constable.&lt;br /&gt;
6d. each. - - .&lt;br /&gt;
THE SUSPICIONS OF ERMENGARDE. By MAXWELL GRAY&lt;br /&gt;
7# X 5. 382 pp. J. Long. 68. - - -&lt;br /&gt;
THE PRINCE&amp;#039;s MARRIAGE. By W. H. WILLIAMSON,&lt;br /&gt;
7# &times; 5. 316 pp. Unwin. 68. -&lt;br /&gt;
THE HOUND OF THE BASKERVILLES. 359 pp. ADVEN-&lt;br /&gt;
TURES OF GERARD. 374 pp. THE RETURN OF&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 7 (#19) ###############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UſTISIOR, 7&lt;br /&gt;
SHERLOCK HOLMES. 403 pp. By A. CONAN DOYLE.&lt;br /&gt;
(New edition.) 73 &times; 5. Smith, Elder. 3s. 6d. each.&lt;br /&gt;
PATsy. By H. DE WERE STACPooDE. 7# &times; 5. 319 pp.&lt;br /&gt;
|Unwin. 6s. .&lt;br /&gt;
GOLD OF CATHAY. By GILBERT WINTLE. 7# &times; 5.&lt;br /&gt;
320 pp. Ward, Lock. 6s. -&lt;br /&gt;
THE CLAIMANT. By WEATHERBY CHESNEY.&lt;br /&gt;
328 pp. Chatto and Windus. 6s,&lt;br /&gt;
THE POWER OF A LIE. By JOHAN BOJER. Translated&lt;br /&gt;
from the Norwegian by JESSIE MUIR. With an Intro-&lt;br /&gt;
duction by HALL CAINE. 7 &times; 4%. 232 pp. Heinemann.&lt;br /&gt;
2s. 6d.&lt;br /&gt;
PIGSKIN AND PETTICOAT. By HELEN MATHERs. 83 &times; 53.&lt;br /&gt;
190 pp. Hurst and Blackett. 6d.&lt;br /&gt;
THE VICTIM AND THE WOTERY. By W. CAINE. 73 &times; 4&lt;br /&gt;
73 x 5.&lt;br /&gt;
#&lt;br /&gt;
te&lt;br /&gt;
158 pp. Greening. 18. m.&lt;br /&gt;
THE CLIMAX. By J. CRANSTOUN NEVILL. 73 &times; 5.&lt;br /&gt;
380 pp. Long. 68.&lt;br /&gt;
ANTHONY CUTHBERT. By RICHARD BAGOT. 7# &times; 5.&lt;br /&gt;
379 pp. Methuen. 68.&lt;br /&gt;
A WOMAN IN ARMOUR. By DAVID CHRISTIE MURRAY.&lt;br /&gt;
73 &times; 5. 318 pp. Long. 68.&lt;br /&gt;
THE ORPHAN-MONGER. By G. SIDNEY PATERNOSTER.&lt;br /&gt;
73 x 5. 318 pp. Milne. 6s.&lt;br /&gt;
PUT YOURSELF IN HER PLACE. By MARIE CONNOR&lt;br /&gt;
LEIGHTON. 73 x 5. 347 pp. Ward, Lock. 6s.&lt;br /&gt;
MY LOST SELF. By A. W. MARCHMONT. 73 &times; 5.&lt;br /&gt;
352 pp. Cassell, 68.&lt;br /&gt;
THE FRIEND OF THE PEOPLE. By MARY C. ROWSELL.&lt;br /&gt;
(New edition.) 73 &times; 5. 440 pp. Simpkin, Marshall. 6s.&lt;br /&gt;
THE UTTERMOST FARTHING. By Mrs. BELLOC LOWNDES.&lt;br /&gt;
6; x 4%. 240 pp. Heinemann. 2s. 6d.&lt;br /&gt;
THE GREAT MIss DRIVER, By ANTHONY HoPE. 7# x 5.&lt;br /&gt;
373 pp. Methuen. 68.&lt;br /&gt;
A SPIRIT IN PRISON. By ROBERT HICHENS. 7} x 5.&lt;br /&gt;
450 pp. Hutchinson. 68. .&lt;br /&gt;
HILL RISE. By W. B. MAXWELL. 7# x 5. 348 pp.&lt;br /&gt;
Methuen. 6s.&lt;br /&gt;
WROTH. By AGNES and EGERTON CASTLE. 7% x 5.&lt;br /&gt;
371 pp. Smith, Elder. 6s.&lt;br /&gt;
MIRAGE. By L. TEMPLE THURSTON. 7# x 5. 310 pp.&lt;br /&gt;
Methuen. 6s.&lt;br /&gt;
THE CONSCIENCE OF DR. HOLT.&lt;br /&gt;
7; x 5. 318 pp. J. Long. 68.&lt;br /&gt;
DIANA MALLORY. By Mrs. HUMPHRY WARD.&lt;br /&gt;
522 pp. Smith, Elder. 6s.&lt;br /&gt;
INTERPLAY. By BEATRICE HARRADEN. 73 &times; 5. 416 pp.&lt;br /&gt;
Methuen. 6s.&lt;br /&gt;
HOLY ORDERS.&lt;br /&gt;
6s.&lt;br /&gt;
THE HERITAGE. By SYDNEY C. GRIER. 74 x 5. 364 pp.&lt;br /&gt;
Blackwood. 68.&lt;br /&gt;
THE TRAMPING METHODIST.&lt;br /&gt;
73 &times; 5. 316 pp. Bell. 68.&lt;br /&gt;
LISTENER&amp;#039;s LURE. By E. V. LUCAS.&lt;br /&gt;
7 x 4}. 286 pp. Methuen. 5s.&lt;br /&gt;
CAPTAIN DESMOND, V.C. By MAUD DIVER (Cheap&lt;br /&gt;
reprint.) 7% x 5. 381 pp. Methuen. 1s. n.&lt;br /&gt;
By AUSTIN CLARE.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
By MARIE CORELLI. 7# x 5. Methuen.&lt;br /&gt;
By SHEILA RAYE-SMITH.&lt;br /&gt;
(Fifth edition.)&lt;br /&gt;
7} x_5}. (&ldquo;Told through the Ages&rdquo; series.) Harrap.&lt;br /&gt;
2s. 6d. m. each. &bull; * - .&lt;br /&gt;
NEW TRUTHS FOR OLD. By RoRB LAwsON. 73 &times; 5.&lt;br /&gt;
99 pp. The New Age Press. 2s. 6d. n. -&lt;br /&gt;
LECTURES ON DANTE. Delivered to the Students of&lt;br /&gt;
Italian at King&amp;#039;s College. London. By the late N.&lt;br /&gt;
PERINI, F.R.A.S. With a Preface by LUIGI RICCI.&lt;br /&gt;
7} x 4%. 140 pp. Hachette. 3s. 6d.&lt;br /&gt;
ALL THINGS CONSIDERED. By G. K.&lt;br /&gt;
63 x 4%. 296 pp. Methuen. 5s.&lt;br /&gt;
MIEDICAL.&lt;br /&gt;
DEATH AND ITSVERIFICATION. By J. BRINDLEY JAMES,&lt;br /&gt;
L.R.C.P. 5 &times; 3%. 49 pp. Rebman. 1s. n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
THE HORSE IN HISTORY. By BASIL TOzER.&lt;br /&gt;
XX. -- 304 pp. Methuen. 6s.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
How TO ATTRACT AND PROTECT WILD BIRDs. By&lt;br /&gt;
MARTIN HIESEMANN. Translated by EMMA. S. BUCH-&lt;br /&gt;
HEIM. With an Introduction by Her Grace the&lt;br /&gt;
DUCHESS OF BEDFORD. 84 &times; 5%. 86 pp. Witherby.&lt;br /&gt;
ls. 6d. m.&lt;br /&gt;
CEIESTERTON.&lt;br /&gt;
*&lt;br /&gt;
7# &times; 5.&lt;br /&gt;
NAVAL.&lt;br /&gt;
FIGHTING SHIPs. 1908. Edited by F.T. JANE. (Eleventh&lt;br /&gt;
year of issue). 7# &times; 12%. 468 pp. Sampson, Low.&lt;br /&gt;
21s. n.&lt;br /&gt;
PHILOSOPHY,&lt;br /&gt;
OCCULTISM AND COMMONSENSE. By BECKLES WILLSON.&lt;br /&gt;
7% &times; 5. 291 pp. Werner Laurie. 6s. m.&lt;br /&gt;
POETRY.&lt;br /&gt;
GALLIO. By ST. JOHN LUCAs. (The Prize Poem on a&lt;br /&gt;
Sacred Subject, 1908.) 74 &times; 53, 15 pp. Oxford :&lt;br /&gt;
Blackwell. London : Simpkin. 1s. m. -&lt;br /&gt;
AMARANTHUS. A Book of Little Songs. By BERNARD&lt;br /&gt;
CAPES. 7# &times; 5+. 96 pp. Unwin. 3s. 6d. n.&lt;br /&gt;
BARRACK-ROOM BALLADS, AND OTHER WERSEs. 208 pp.&lt;br /&gt;
THE SEVEN SEAS. 230 pp. THE FIVE NATIONs. 215&lt;br /&gt;
pp. DEPARTMENTAL DITTIES AND OTHER WERSES.&lt;br /&gt;
176 pp. By RUDYARD KIPLING, 7 &times; 4}. Methuen.&lt;br /&gt;
58. m. each. Or sets in boxes, 21s,&lt;br /&gt;
POLITICS.&lt;br /&gt;
SIDELIGHTS ON THE HOME RULE MoveMENT. By SIR&lt;br /&gt;
ROBERT ANDERSON, K.C.B. (Popular edition.) 73 &times; 5}&lt;br /&gt;
118 pp. Hodder and Stoughton. 1s. n.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
INSECTIVOROUS PLANTs. By CHARLES DARWIN. Revised&lt;br /&gt;
by FRANCIS DARWIN. (Cheap edition.) 8 &times; 53.&lt;br /&gt;
xiv. -- 377 pp. Murray. 2s. 6d. m.&lt;br /&gt;
DEMETER, AND OTHER POEMs. Annotated by ALFRED&lt;br /&gt;
LORD TENNYSON. Edited by HALLAM LORD TENNYSON.&lt;br /&gt;
73 &times; 4%. 421 pp. Macmillan. 4s. n.&lt;br /&gt;
QUEEN MARY AND HAROLD. Annotated by ALFRED&lt;br /&gt;
LORD TENNYSON. Edited by HALLAM LORD TENNYSON.&lt;br /&gt;
7+ x 5. 381 pp. Macmillan. 4s. r.&lt;br /&gt;
CALESTINA. With an Interlude of Calisto and Melebea.&lt;br /&gt;
By H. WARNER ALLEN. (Library of Early Novelists.)&lt;br /&gt;
8 &times; 5%. 345 pp. Routledge. 6s. n.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
THE COMMONSENSE OF MUNICIPAL TRADING. By&lt;br /&gt;
BERNARD SHAW. (The Fabian Socialist Series, No. 5.).&lt;br /&gt;
73 &times; 4%. 120 pp. Fifield. 6d. n.&lt;br /&gt;
HISTORY.&lt;br /&gt;
JAMES II. AND HIS WIVEs. By ALLAN FEA.&lt;br /&gt;
320 pp. Methuen. 12s. 6d. n. -&lt;br /&gt;
THE FLIGHT OF THE KING. A. Full, True and Parti-&lt;br /&gt;
cular Account of the Miraculous Escape of H.M.&lt;br /&gt;
King Charles II. after the Battle of Worcester. By&lt;br /&gt;
ALLAN FEA. (Second and revised edition.) 83 &times; 53.&lt;br /&gt;
xxiii. 4- 331 pp. Methuen. 7s. 6d. n.&lt;br /&gt;
9 &times; 53.&lt;br /&gt;
LITERARY,&lt;br /&gt;
STORIES FROM THE ILIAD. xxi. -- 342 pp. STORIES FROM&lt;br /&gt;
THE ODYSSEY. xix. + 235 pp. Retold by H. L. HAVELL,&lt;br /&gt;
SPORT.&lt;br /&gt;
THE COMPLETE OARSMAN. By R. C. LEHMANN.&lt;br /&gt;
9 &times; 5%.&lt;br /&gt;
Xviii. &mdash;H 390 pp. Methuen. 10s. 6d. m.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 8 (#20) ###############################################&lt;br /&gt;
&lt;br /&gt;
8 TFIES A UTHOR.&lt;br /&gt;
THE OLYMPIC GAMEs. By T. A. Cook, member of the&lt;br /&gt;
British Olympic Council. 74 &times; 5. 232 pp. Constable.&lt;br /&gt;
1S. n.&lt;br /&gt;
THE RULES OF SPORT. With a Preface by T. A. COOK.&lt;br /&gt;
Being the International Code of Rules for all Competi-&lt;br /&gt;
tions in the Olympic Games. 73 &times; 43, 181 pp.&lt;br /&gt;
Constable. 1s. n.&lt;br /&gt;
THE TROUT WATERS OF ENGLAND. By W. M. GALLICHAN.&lt;br /&gt;
7 &times; 4%. 160 pp. Foulis. 2s. 6d. n.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
CREATION&rsquo;s DAWN. By &ldquo;KISH.&rdquo; With a Preface by&lt;br /&gt;
PROFESSOR: A. H. SAYCE.&lt;br /&gt;
Long. 3s.6d.&lt;br /&gt;
PASTOR IN ECCLESIA : A PRACTICAL STUDY IN THE ART&lt;br /&gt;
of MONEY-RAISING. By THE REV. GILBERT MONKS,&lt;br /&gt;
7% &times; 5. 323 pp. Elliot Stock. 58.&lt;br /&gt;
TOIPOGRAPHY.&lt;br /&gt;
BY THE ROMAN WALL. NoTES ON A SUMMER HOLIDAY.&lt;br /&gt;
By MARIA A. HoxER. 73 &times; 5%. 159 pp. Nutt. 2s 6d. n.&lt;br /&gt;
ISLE OF WIGHT. Painted by A. HEATON COOPER.&lt;br /&gt;
Described by A. R. HoPE MONCRIEFF. 9 &times; 64. 176 pp.&lt;br /&gt;
Black. 78. 6d. in.&lt;br /&gt;
73 &times; 5. 131 pp. John&lt;br /&gt;
TRAVEL.&lt;br /&gt;
BY DESERT WAYS TO BAGHDAD. By Lou ISA JEBB (Mrs.&lt;br /&gt;
Rol,AND WILKINs). 9 &times; 53. 318 pp. Unwin.&lt;br /&gt;
10s. 6d. In.&lt;br /&gt;
THE ALPS IN NATURE AND HISTORY. By W. A. B.&lt;br /&gt;
COOLIDGE. 9 &times; 53. Methuen. 7s.6d. n.&lt;br /&gt;
WASHED BY FOUR SEAS : AN ENGLISH OFFICER&amp;#039;S&lt;br /&gt;
TRAVELS IN THE NEAR EAST. By H. C. WOODS,&lt;br /&gt;
F.R.G.S. (formerly of the Grenadier Guards.) With&lt;br /&gt;
an introduction by Sir Martin Conway. 9 &times; 53.&lt;br /&gt;
xvi. -- 316 pp. Unwin. 7s.6d. ii.&lt;br /&gt;
A MONOGRAPH OF MONDARIZ, SPAIN.&lt;br /&gt;
CHALLICE. 11 &times; 15.&lt;br /&gt;
By RACHEL&lt;br /&gt;
58 pp. Bradbury, Agnew.&lt;br /&gt;
&hellip;&ordm;.&lt;br /&gt;
&mdash;-&ordm;f-&lt;br /&gt;
w-u-&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
GEORGE III., AS MAN, MONARCH, AND STATESMAN. By&lt;br /&gt;
BECKLES WILLSON. Jacobs &amp;amp; Co. $3 m.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. By LESLIE&lt;br /&gt;
STEPHEN AND SIDNEY LEE. New edition in 22 vols.&lt;br /&gt;
Wols. W. and VI. Craik&ndash;Drake, Drant&mdash;Finan. Mac-&lt;br /&gt;
millan. $4.25 m. each. (In sets only.)&lt;br /&gt;
FICTION.&lt;br /&gt;
THE FOUR PHILANTHROPISTS.&lt;br /&gt;
Cupples and Leon Co. 750.&lt;br /&gt;
SIR RICHARD EsCOMBE : A ROMANCE. By MAX PEMBER-&lt;br /&gt;
*&lt;br /&gt;
v&ordm;r&lt;br /&gt;
By EDGAR JEPSON,&lt;br /&gt;
TON. Harper. $1.50.&lt;br /&gt;
THE &ldquo;BLUE PETER &lsquo;&rsquo;: SEA YARNs. By MORLEY ROBERTs,&lt;br /&gt;
Page. $1.50.&lt;br /&gt;
A MISTAKEN MARRIAGE. By F. E. Mills Young. John&lt;br /&gt;
Lane Co. $1.50.&lt;br /&gt;
WHITE ROSE OF WEARY LEAF.&lt;br /&gt;
Brentano&amp;#039;s, $1.50.&lt;br /&gt;
THE METHODS OF MR. AMES.&lt;br /&gt;
Mitchell Kennerley. $1.50.&lt;br /&gt;
By FREDERIC CARREL.&lt;br /&gt;
THE BLOTTING Book. By E. F. BENSON. Doubleday,&lt;br /&gt;
Page. $1.&lt;br /&gt;
THE ONE AND I. By ELIZABETH FREEMANTLE. G. W.&lt;br /&gt;
Jacobs. $1.50.&lt;br /&gt;
By VIoIET HUNT.&lt;br /&gt;
THE DUKE&amp;#039;s MOTTO. By J. HUNTLY McCARTHY. Harper.&lt;br /&gt;
1.50.&lt;br /&gt;
MEDICAL.&lt;br /&gt;
MODERN MEDICINE : ITS THEORY AND PRACTISE. Edited&lt;br /&gt;
by W. OSLER and T. McCRAE. In 7 vols. Vols I., II.,&lt;br /&gt;
III. and IV. Lea and Febiger. Cloth, per vol. $6 n.&lt;br /&gt;
Leather $7 n. Half Mor. $7.50 m.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
THE WIFE : HER BOOK. By HAYDN BROWN, M.D. Jacobs&lt;br /&gt;
&amp;amp; Co. $1 n.&lt;br /&gt;
A FARMER&amp;#039;S YEAR: BEING HIS COMMON PLACE BOOK&lt;br /&gt;
FOR 1898. By H. RIDER HAGGARD. Longmans,&lt;br /&gt;
Green. $1.50.&lt;br /&gt;
FAMOUS FRENCH SALONS. By FRANK HAMEL. Brentano&amp;#039;s.&lt;br /&gt;
$3.50 m.&lt;br /&gt;
THE GOURMET&amp;#039;s GUIDE TO EUROPE. By LIEUT.-CoI.&lt;br /&gt;
NEWNHAM-DAVIS. Brentano&amp;#039;s. $1.50 m.&lt;br /&gt;
DECADENCE, THE HENRY SIDGWICK MEMORIAL LECTURE&lt;br /&gt;
DELIVERED AT NEWNHAM CoI,LEGE, JAN. 25, 1908.&lt;br /&gt;
By ARTHUR J. BALFOUR. Putnam, 506. m.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
FIFTY-Two NATURE RAMBLEs. By W. PERCIVAI,&lt;br /&gt;
WESTELL. 105 Illustrations. Dodge Publishing Co.&lt;br /&gt;
$1.50. w&lt;br /&gt;
POETRY.&lt;br /&gt;
THE WORKS OF ALFRED LORD TENNYSON, Edited by&lt;br /&gt;
HALLAM LORD TENNYSON. (Eversley edition.) In 6&lt;br /&gt;
vols. Wols. IV., W. and VI. Macmillan. $1.50 m. each.&lt;br /&gt;
DEPARTMENTAL DITTIES ; BALLADS ; BARRACK ROOM&lt;br /&gt;
BALLADS. By RUDYARD KIPLING. Doubleday, Page.&lt;br /&gt;
$1,50 m.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE ALPS IN NATURE AND IN HISTORY. By W. A. B.&lt;br /&gt;
Coolidge. Dutton. $2.50 m.&lt;br /&gt;
MOROCCO. By J. FINNEMORE. Illustrations by A. S.&lt;br /&gt;
FORREST, Macmillan. 75c. m.&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Literary Agency of London inform us.&lt;br /&gt;
that the two hundred and fifty guinea.&lt;br /&gt;
prize First Novel Competition which they&lt;br /&gt;
organised on behalf of a London publisher whose&lt;br /&gt;
name is not yet disclosed, had brought in over 150&lt;br /&gt;
MSS. by August 31, the last day on which&lt;br /&gt;
MSS. were eligible for the competition. MSS.&lt;br /&gt;
began to arrive immediately after the first.&lt;br /&gt;
announcements a year ago, but more than two-&lt;br /&gt;
thirds of the total number were received during&lt;br /&gt;
the last ten days : the inference being that the&lt;br /&gt;
unusually large prize and the names of the adjudi-&lt;br /&gt;
cators induced many authors to try their hand at&lt;br /&gt;
a first novel who would not have been attracted by&lt;br /&gt;
an ordinary prize competition.&lt;br /&gt;
The readers, who have been examining the MSS.&lt;br /&gt;
as they came in, report that the general level is,&lt;br /&gt;
very high, and in their opinion there are at least&lt;br /&gt;
two or three of distinguished merit, and a large&lt;br /&gt;
number with sufficient merit to ensure publication.&lt;br /&gt;
The adjudicators are Mr. Andrew Lang, Mr. W. L.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 9 (#21) ###############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR, 9&lt;br /&gt;
Courtney, and Mr. Clement Shorter; and their&lt;br /&gt;
decision will be made known at the earliest&lt;br /&gt;
possible date, together with the names of the&lt;br /&gt;
prize-winner and of the publisher on whose&lt;br /&gt;
instructions the competition was organised.&lt;br /&gt;
We have received a &ldquo;Dictionary of Literary&lt;br /&gt;
Terms&rdquo; by Percival Vivian, published by Messrs.&lt;br /&gt;
Routledge in their Miniature Reference Library&lt;br /&gt;
at the price of one shilling. The compiler defines&lt;br /&gt;
&ldquo;literary terms&rdquo; in the preface as &ldquo;such words of&lt;br /&gt;
specialised or technical meaning as constitute the&lt;br /&gt;
vocabulary of literature, both in its primary sense&lt;br /&gt;
of creation and in its subsidiary one of criticism.&rdquo;&lt;br /&gt;
We have tested the little book thoroughly, and it&lt;br /&gt;
seems to be very comprehensive. The only one of&lt;br /&gt;
our tests that it failed to give was &ldquo;Ursula-talk&rdquo;&mdash;&lt;br /&gt;
a term sufficiently rare to render the omission venial.&lt;br /&gt;
We have also received Part W., which concludes&lt;br /&gt;
Wol. XXII. of &ldquo;Book-Prices Current * from Mr.&lt;br /&gt;
Elliot Stock. This excellent publication chronicles&lt;br /&gt;
19,504 books sold at auction during the season&lt;br /&gt;
[1907-8, and is provided with a very full index, which&lt;br /&gt;
is a model of its kind. The volume before us does&lt;br /&gt;
credit to everyone concerned in its production.&lt;br /&gt;
&ldquo;Marama, &amp;#039;&amp;#039; is the name of a new story by Mrs.&lt;br /&gt;
Woollaston-White, which will be published from&lt;br /&gt;
the St. Andrew&amp;#039;s Press, Barnet, early in December.&lt;br /&gt;
The latest contribution to Napoleonic literature&lt;br /&gt;
is Mr. P. W. Sergeant&amp;#039;s &ldquo;The Empress Josephine:&lt;br /&gt;
Napoleon&amp;#039;s Enchantress&rdquo; (Messrs. Hutchinson &amp;amp;&lt;br /&gt;
Co.). These two volumes gather together the&lt;br /&gt;
newest material relating to the Empress, and with&lt;br /&gt;
its aid present a more complete picture of her than&lt;br /&gt;
it has hitherto been possible to draw. There are&lt;br /&gt;
thirty-four illustrations.&lt;br /&gt;
Mrs. Humphry Ward issues through Messrs.&lt;br /&gt;
Smith, Elder, a new novel, &ldquo;Diana Mallory.&rdquo;&lt;br /&gt;
The book has a -strong political interest, and its&lt;br /&gt;
theroine is a young Imperialist of two-and-twenty.&lt;br /&gt;
&ldquo;Towards the Light&rdquo; is a mystic poem by Prin-&lt;br /&gt;
cess Karadja, which will be published by Messrs.&lt;br /&gt;
Regan Paul on the first of November. It has&lt;br /&gt;
already passed through many editions in the original&lt;br /&gt;
Swedish, and has appeared in German, Dutch, and&lt;br /&gt;
Danish translations.&lt;br /&gt;
We have received &ldquo;A General View of Positivism&rdquo;&lt;br /&gt;
translated from the French of Auguste Comte, by&lt;br /&gt;
J. H. Bridges. This new edition has an introduc-&lt;br /&gt;
tion by Frederic Harrison, and is published by&lt;br /&gt;
Messrs. Routledge in their New Jniversal Library.&lt;br /&gt;
&ldquo;In My Lady&amp;#039;s Garden&amp;quot; is the title of a new&lt;br /&gt;
book by Mrs. Richmond, late garden editor of the&lt;br /&gt;
Queen. It has many illustrations, some in colour,&lt;br /&gt;
and is published by Mr. Fisher Unwin.&lt;br /&gt;
Messrs. Hurst and Blackett are about to publish&lt;br /&gt;
a novel by Mrs. Fred Reynolds. The title is&lt;br /&gt;
&ldquo;Love&amp;#039;s Magic,&rdquo; and the book is a study of&lt;br /&gt;
, temperament shadowed by pre-natal influences.&lt;br /&gt;
Mr. Anthony Hope&amp;#039;s bok &ldquo;The Great Miss&lt;br /&gt;
Driver &amp;quot; (Methuen &amp;amp; Co.) is a story of modern&lt;br /&gt;
English life. It describes the rise of the heroine&lt;br /&gt;
to heights of power, and her fall from the summit;&lt;br /&gt;
and also how she regained her footing. The book is&lt;br /&gt;
a record by her secretary and friend, Austin Austin.&lt;br /&gt;
A new book by the author of &ldquo;John Westacott&amp;quot;&lt;br /&gt;
is announced by Messrs. Chapman and Hall for&lt;br /&gt;
October 10, being a volume of &ldquo;Literary and&lt;br /&gt;
Biographical Studies.&rdquo; The forenote of the volume&lt;br /&gt;
says that all the articles are founded upon personal&lt;br /&gt;
touch with the subjects dealt with either by&lt;br /&gt;
conversation or letter. The names in the index&lt;br /&gt;
include many famous ones of the Victorian era,&lt;br /&gt;
such as Tennyson, R. D. Blackmore, Lord&lt;br /&gt;
Macaulav, Friedrich von Bodenstedt, the friend of&lt;br /&gt;
George Eliot, George M&uuml;ller, Verestschagin, and&lt;br /&gt;
others. There is also an extended article upon&lt;br /&gt;
Osborne and Queen Victoria. As a special corre-&lt;br /&gt;
spondent, the author, Mr. James Baker, has had to&lt;br /&gt;
describe many Royal events at which her Majesty&lt;br /&gt;
was present.&lt;br /&gt;
Messrs. Macmillan announce the early publication&lt;br /&gt;
of the following: &ldquo;Caesar&amp;#039;s Commentaries on the&lt;br /&gt;
Gallic War,&rdquo; translated into English by T. Rice&lt;br /&gt;
Holmes; &ldquo;Oxford Lectures on Poetry,&rdquo; by A. C.&lt;br /&gt;
Bradley; &ldquo;Faust,&rdquo; freely adapted from Goethe by&lt;br /&gt;
Stephen Phillips and J. W. Comyns Carr ; &ldquo;De&lt;br /&gt;
Libris,&rdquo; Prose and Verse, by Austin Dobson ;&lt;br /&gt;
&ldquo;The Diva&amp;#039;s Ruby,&rdquo; by F. Marion Crawford ;&lt;br /&gt;
&ldquo;The Sunny Side of the Hill,&rdquo; by Rosa N.&lt;br /&gt;
Carey; The Novels of Henry James in 23 volumes;&lt;br /&gt;
and a &ldquo;Commentary on the Holy Bible,&rdquo; edited by&lt;br /&gt;
the Rev. John R. Dummelow.&lt;br /&gt;
We have received from Mr. John Ouseley the&lt;br /&gt;
following books: &ldquo;The Silver Queen,&rdquo; by William&lt;br /&gt;
Sylvester Walker (&ldquo;Coo-ee&amp;quot;); &ldquo;Topical Epigrams,&rdquo;&lt;br /&gt;
by W. Burton Baldry; &ldquo;Glenith,&rdquo; by M. H.&lt;br /&gt;
Abraham-Jewel ; &ldquo;Shadowed,&rdquo; by Barbara Glyn ;&lt;br /&gt;
and &ldquo;New Poems,&rdquo; by A. G. Leward.&lt;br /&gt;
Messrs. Crewsher &amp;amp; Co. have published an&lt;br /&gt;
Anthem, &ldquo;The Lord is My Shepherd,&rdquo; by L.&lt;br /&gt;
Budgen.&lt;br /&gt;
Mr. Henry Bristow has issued a revised edition&lt;br /&gt;
of his &ldquo;Chess Miniatures&rdquo; (Chess Amateur Office,&lt;br /&gt;
Stroud, Glos.). Thirty problems and solutions are&lt;br /&gt;
included.&lt;br /&gt;
Mr. Harry Tighe has sold the Australian rights&lt;br /&gt;
of an Anglo-Australian novel to Mr. Rowlandson,&lt;br /&gt;
of Sydney, N.S.W., who will publish it at an early&lt;br /&gt;
date under the title of &ldquo;A Man of Sympathy.&rdquo;&lt;br /&gt;
A second edition of Miss Sophia Caulfeild&amp;#039;s&lt;br /&gt;
book, &ldquo;House Mottoes and Inscriptions,&rdquo; was&lt;br /&gt;
published in July.&lt;br /&gt;
A second edition of &ldquo;The Law of Copyright in&lt;br /&gt;
Designs,&rdquo; which includes the practice relating to&lt;br /&gt;
proceedings in the Courts and in the Comptroller&amp;#039;s&lt;br /&gt;
office ; the Patents and Designs Act, 1907, and the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 10 (#22) ##############################################&lt;br /&gt;
&lt;br /&gt;
10&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
Repealed Acts, 1883&ndash;1888, compared ; the statu-&lt;br /&gt;
tory rules and forms, and the International&lt;br /&gt;
Convention ; with notes, and a full appendix of&lt;br /&gt;
Statutes, Forms, and Precedents, with illustrations,&lt;br /&gt;
has been published by Messrs. Sweet and Maxwell.&lt;br /&gt;
The authors are Lewis Edmunds, D.Sc., K.C.,&lt;br /&gt;
and Herbert Bentwich, LL.B.&lt;br /&gt;
&ldquo;Creation&amp;#039;s Dawn,&rdquo; by &ldquo;Kish,&rdquo; has been&lt;br /&gt;
published by Mr. John Long. In it the author&lt;br /&gt;
sets forth a new theory of the early chapters of&lt;br /&gt;
Genesis. Professor Sayce has written the preface.&lt;br /&gt;
Mr. Elliot Stock has published &ldquo;Pastor in&lt;br /&gt;
Ecclesia,&rdquo; by the Rev. Gilbert Monks. This book,&lt;br /&gt;
which is intended to form a supplement to &ldquo;The&lt;br /&gt;
Young Preacher&amp;#039;s Guide,&rdquo; deals with the question&lt;br /&gt;
of what will be required of a clergyman who&lt;br /&gt;
wishes to conduct the business affairs of a church&lt;br /&gt;
successfully. The Very Rev. the Dean of Durham&lt;br /&gt;
contributes the preface.&lt;br /&gt;
&ldquo;A Treasury of English Literature,&rdquo; selected&lt;br /&gt;
and arranged by Kate M. Warren, has been issued&lt;br /&gt;
by Messrs. Constable in six volumes, at one shilling&lt;br /&gt;
net each. It is also issued in one volume at seven-&lt;br /&gt;
and-six net.&lt;br /&gt;
The New Age Press have published &ldquo;New&lt;br /&gt;
Truths for Old,&rdquo; by Robb Lawson. In fourteen&lt;br /&gt;
essays, the author examines the real character of&lt;br /&gt;
certain common passions, sentiments and opinions,&lt;br /&gt;
such as &ldquo;woman,&rdquo; &ldquo;self-sacrifice,&rdquo; and &ldquo;the futility&lt;br /&gt;
of speech.&rdquo;&lt;br /&gt;
Mr. Walter M. Gallichan has published, through&lt;br /&gt;
Mr. T. N. Foulis, &ldquo;The Trout Waters of England.&rdquo;&lt;br /&gt;
It is a practical handbook written by a fisherman&lt;br /&gt;
who knows what fishermen wish to learn about the&lt;br /&gt;
streams and lakes in any given locality. Hints on&lt;br /&gt;
the most suitable methods of fishing, the selection&lt;br /&gt;
of tackle and flies, are included, together with a&lt;br /&gt;
directory of hotels and apartments.&lt;br /&gt;
A fourth revised edition of &ldquo;Printing,&rdquo; by C. T.&lt;br /&gt;
Jacobi, has been issued by Messrs. George Bell.&lt;br /&gt;
The work is a practical treatise on the art of typo-&lt;br /&gt;
graphy as applied more particularly to the printing&lt;br /&gt;
of books, and the present edition has been brought&lt;br /&gt;
up to date, more particularly in those sections&lt;br /&gt;
relating to composing machines, motive power, and&lt;br /&gt;
printing machinery.&lt;br /&gt;
&ldquo;My Giant&rdquo; is a little sixpenny book by Edward&lt;br /&gt;
Urwick, which has been published by Messrs.&lt;br /&gt;
Henry Drane. It concerns the doings and sayings&lt;br /&gt;
of a giant whom the author met in a Sussex village,&lt;br /&gt;
told in a series of humorous stories.&lt;br /&gt;
Mr. Basil Tozer has recently brought out through&lt;br /&gt;
Messrs. Methuen &ldquo;The Horse in History,&rdquo; with&lt;br /&gt;
many illustrations, in which all the historic steeds&lt;br /&gt;
are lined up.&lt;br /&gt;
&ldquo;Golf Illustrated &rdquo; for August 28 contained&lt;br /&gt;
an article on a golf resort in Donegal, entitled&lt;br /&gt;
&ldquo;Rosapenna,&rdquo; by Mrs. Maude C. Knight.&lt;br /&gt;
&ldquo;Rita&amp;#039;s &amp;quot;autumn novel is called &ldquo;Betty Brent,&lt;br /&gt;
Typist,&rdquo; and has been published by Mr. Werner&lt;br /&gt;
Laurie. The story concerns a young girl who is&lt;br /&gt;
Sent to a country house by her office to do work for&lt;br /&gt;
some fast society people. The book gives a descrip-&lt;br /&gt;
tion of her adventures among the &ldquo;smart set.&rdquo;&lt;br /&gt;
L. Budgen is publishing with the Ritz Co.&lt;br /&gt;
&ldquo;Two Lullabies,&rdquo; and with Crewsher &amp;amp; Co. &ldquo;Six&lt;br /&gt;
Pianoforte Pieces,&rdquo; in collaboration with the late&lt;br /&gt;
Mr. Robert Goldbeck (whose death was announced&lt;br /&gt;
in St. Louis last May), the American musician,&lt;br /&gt;
whose orchestral and other works were gaining&lt;br /&gt;
Such high reputation in the cities of the West.&lt;br /&gt;
Messrs. Bell publish &ldquo;The &lsquo;Pinafore&rsquo; Picture&lt;br /&gt;
Book,&rdquo; by W. S. Gilbert. In this volume Sir W.&lt;br /&gt;
S. Gilbert has re-told the story of his play in the&lt;br /&gt;
form of a story for children. In doing so he has&lt;br /&gt;
considerably amplified the details of the story, and&lt;br /&gt;
has kept in mind the youthful readers for whom&lt;br /&gt;
he writes. The illustrations in colour and in&lt;br /&gt;
black-and-white are by Alice B. Woodward.&lt;br /&gt;
Raymond Jacbern&amp;#039;s new books this season are :&lt;br /&gt;
&ldquo;The Attic Boarders,&rdquo; a story for elder girls&lt;br /&gt;
(Chambers); &ldquo;A Boy and a Secret,&rdquo; a story for&lt;br /&gt;
children (Chambers); &ldquo;A Hard Bit of Road,&rdquo;&lt;br /&gt;
(Wells, Gardner and Barton). -&lt;br /&gt;
Among the forthcoming publications of the&lt;br /&gt;
Oxford University Press we notice &ldquo;Fonts in&lt;br /&gt;
English Churches,&rdquo; by Francis Bond ; &ldquo;Com-&lt;br /&gt;
parative Greek Grammar,&rdquo; by Joseph Wright&lt;br /&gt;
(Students&amp;#039; series of Historical and Comparative&lt;br /&gt;
Grammars); in the Oxford Library of Prose and&lt;br /&gt;
Poetry &ldquo;Selected Poems of William Barnes,&rdquo;&lt;br /&gt;
edited, with a glossary and introduction, by&lt;br /&gt;
Thomas Hardy, and &ldquo;Selected Poems of John&lt;br /&gt;
Clare,&rdquo; edited, with an introduction, by Arthur&lt;br /&gt;
Symons; and &ldquo;An Alabama Student and other&lt;br /&gt;
biographical essays,&rdquo; by William Osler.&lt;br /&gt;
On July 8 last, at the Grammar School Hall,&lt;br /&gt;
Dedham, Essex, was presented for copyright pur-&lt;br /&gt;
poses a new and original play in four acts, entitled&lt;br /&gt;
&ldquo;The Undercurrent,&rdquo; by Herbert Chorley, the&lt;br /&gt;
author of &ldquo;Cleeves&amp;#039; End,&rdquo; a novel which was&lt;br /&gt;
published this spring. -&lt;br /&gt;
&ldquo;Pete,&rdquo; by Hall Caine and Louis N. Parker,&lt;br /&gt;
dramatised from the former&amp;#039;s novel &ldquo;The Manx-&lt;br /&gt;
man,&rdquo; was staged at the Lyceum on August 29 with&lt;br /&gt;
Mr. Matheson Lang in the title-r&oacute;le. Miss Hutin&lt;br /&gt;
Britton, Miss Rita Tomkins, Mr. Eric Mayne and Mr.&lt;br /&gt;
Frederick Ross were among those included in the cast.&lt;br /&gt;
Mr. Jerome K. Jerome&amp;#039;s new play &ldquo;The Passing&lt;br /&gt;
of the Third-Floor Back&rdquo; was produced at the St.&lt;br /&gt;
James&amp;#039;s Theatre on September 1. Mr. Forbes&lt;br /&gt;
Robertson is the &ldquo;third-floor back,&rdquo; a passer-by&lt;br /&gt;
who seeks the good of all with whom he comes in&lt;br /&gt;
contact. Miss Haidee Wright, Miss Gertrude&lt;br /&gt;
Elliott, Miss Kate Bishop, and Mr. Edward Sass&lt;br /&gt;
were in support.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 11 (#23) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 11&lt;br /&gt;
&ldquo;Idols,&rdquo; adapted from the novel of that name&lt;br /&gt;
by W. J. Locke, by Roy Horniman, was first per-&lt;br /&gt;
formed on September 2 at the Garrick Theatre.&lt;br /&gt;
The cast included Mr. Allan Aynesworth, Mr.&lt;br /&gt;
Arthur Wontner, Mr. Herbert Waring, Miss&lt;br /&gt;
Evelyn Millard, Miss Edith Latimer, and Miss&lt;br /&gt;
Augusta Haviland.&lt;br /&gt;
At the Duke of York&amp;#039;s Theatre on September&lt;br /&gt;
3 appeared a comedy in four acts by J. M.&lt;br /&gt;
Barrie, entitled &ldquo;What Every Woman Knows.&rdquo;&lt;br /&gt;
John Shand (Mr. Gerald du Maurier) is a&lt;br /&gt;
prominent politician&mdash;risen from a railway porter&lt;br /&gt;
and an amateur house-breaker for intellectual pur-&lt;br /&gt;
poses. His wife Maggie (Miss Hilda Trevelyan),&lt;br /&gt;
whom, plus an education, he had accepted as an&lt;br /&gt;
alternative to prison, is, however, the real politician,&lt;br /&gt;
her husband&amp;#039;s guide, phrase-maker and speech-&lt;br /&gt;
writer in one. The complications are Lady Sybil&lt;br /&gt;
Lazenby (Miss Lillah McCarthy) and Shand&amp;#039;s&lt;br /&gt;
deficiency in humour. However, the play is&lt;br /&gt;
rounded by the hero&amp;#039;s laugh. -&lt;br /&gt;
September 3 was also the first night of &ldquo; King&lt;br /&gt;
of Cadonia,&rdquo; a musical play in two acts, by&lt;br /&gt;
Frederick Lonsdale, with lyrics by Adrian Ross,&lt;br /&gt;
and music by Sydney Jones. The play concerns&lt;br /&gt;
the wanderings of a king, who falls among&lt;br /&gt;
anarchists. Mr. Bertram Wallis as King Alexis,&lt;br /&gt;
and Mr. Huntley Wright as his heir presumptive,&lt;br /&gt;
the Duke of Alasia, were supported by Mr. George&lt;br /&gt;
Barrett, Mr. Pope Stamper, Miss Izabel Jay, Mme.&lt;br /&gt;
Amy Martin, and Miss Grace Leigh. -&lt;br /&gt;
His Majesty&amp;#039;s Theatre gave &ldquo;Faust,&rdquo; by Stephen&lt;br /&gt;
Phillips and J. W. Comyns Carr, on September 5.&lt;br /&gt;
The chief characters were sustained by Mr. Tree&lt;br /&gt;
(Mephistopheles), Mr. Henry Ainley (Faust), Miss&lt;br /&gt;
&lsquo;Rosina Filippi (Martha), and Miss Maude L&ouml;hr&lt;br /&gt;
(Margaret).&lt;br /&gt;
&ldquo;The Duke&amp;#039;s Motto,&rdquo; a melodrama adapted from&lt;br /&gt;
the French of Paul F&eacute;val by Justin Huntly&lt;br /&gt;
1McCarthy, made its first appearance at the Lyric&lt;br /&gt;
Theatre on September 8. It chiefly concerns&lt;br /&gt;
the romantic sword-and-cloak adventures of one&lt;br /&gt;
Henri de Lagard&egrave;re, a gentleman with an infinite&lt;br /&gt;
capacity for taking life. With Mr. Lewis Waller,&lt;br /&gt;
as the redoubtable Henri, were Mr. A. E. George,&lt;br /&gt;
Mr. Alec F. Thompson, Mr. Herbert Jarman, Miss&lt;br /&gt;
Walli Walli, and Miss Sybil Carlisle.&lt;br /&gt;
Mr. Martin Harvey opened his season at the&lt;br /&gt;
Adelphi on September 10, with the production,&lt;br /&gt;
before &ldquo;The Corsican Brothers,&rdquo; of &ldquo;The Con-&lt;br /&gt;
spiracy,&rdquo; a one-act play by Robert Barr and&lt;br /&gt;
Sidney Lewis-Ransom.&lt;br /&gt;
A new ballet by Lieut.-Colonel Newnham-Davis&lt;br /&gt;
is about to be produced at the Empire Theatre. It&lt;br /&gt;
contains four scenes, and is entitled &ldquo;Paris.&rdquo;&lt;br /&gt;
Mr. Henry Arthur Jones&amp;#039;s new play for October&lt;br /&gt;
at the Haymarket Theatre is a comedy in his&lt;br /&gt;
lighter vain.&lt;br /&gt;
stands out somewhat in relief.&lt;br /&gt;
It deals with the value of new year&amp;#039;s&lt;br /&gt;
resolutions from the point of view of the resultant&lt;br /&gt;
benefit. . The play provides good parts for its&lt;br /&gt;
leading lady Miss Ethel Irving, Miss Margaret&lt;br /&gt;
Halstan, Mr. Robert Loraine and Mr. C. M. Lowne.&lt;br /&gt;
Senor Alejandro Maristany has translated&lt;br /&gt;
Mr. Henry Arthur Jones&amp;#039; plays, &ldquo;The Hypo-&lt;br /&gt;
crites &amp;quot; and &ldquo;The Liars,&rdquo; into Spanish, and&lt;br /&gt;
will produce them at the Teatro Principal, at&lt;br /&gt;
Barcelona, during the present season. The&lt;br /&gt;
r&eacute;pertoire at that theatre includes also &ldquo;The&lt;br /&gt;
Hound of the Baskervilles,&rdquo; by Sir Arthur Conan&lt;br /&gt;
Doyle, and Mr. Hornung&rsquo;s &ldquo;Raffles.&rdquo;&lt;br /&gt;
a-A- a&lt;br /&gt;
~-&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
rTHE death of Hector France occurred in&lt;br /&gt;
August. This well-known writer was born&lt;br /&gt;
in 1837 in the Vosges. He entered the&lt;br /&gt;
army and went to Africa for some time. After&lt;br /&gt;
the war of 1870 he left France and took refuge in&lt;br /&gt;
Belgium, and afterwards in England, where for&lt;br /&gt;
some time he was French professor at the Woolwich&lt;br /&gt;
Military College. He wrote several studies of&lt;br /&gt;
English life, a whole series of French novels, and&lt;br /&gt;
articles for many of the best French papers.&lt;br /&gt;
It will not be easy for any one else to take the&lt;br /&gt;
place which M. Harduin had made for himself in&lt;br /&gt;
the French newspaper world. His recent death&lt;br /&gt;
will be universally regretted, for his witty and&lt;br /&gt;
genial satire was greatly appreciated. He took up&lt;br /&gt;
any subject of the moment that pleased his fancy,&lt;br /&gt;
and in a few concise lines showed up in a clever,&lt;br /&gt;
bantering way the absurdities of many political&lt;br /&gt;
questions, party strifes, current events, or even of&lt;br /&gt;
mere habits and customs. Many readers of the&lt;br /&gt;
Matin subscribed to that paper for the sake of&lt;br /&gt;
M. Harduin&amp;#039;s daily paragraph.&lt;br /&gt;
&ldquo;Aloyse Val&eacute;rien,&rdquo; by Edouard Rod, is classed&lt;br /&gt;
by the author among his &eacute;tudes passionnelles. He&lt;br /&gt;
does not profess to write a novel &agrave; th&egrave;se, and does&lt;br /&gt;
not give his own opinion with regard to the com-&lt;br /&gt;
plex problems which arise when touching on the&lt;br /&gt;
subject of his novel. The story is well told and&lt;br /&gt;
the psychology carefully observed, so that the book&lt;br /&gt;
holds the reader&amp;#039;s interest from beginning to end.&lt;br /&gt;
One can scarcely help feeling surprised and dis-&lt;br /&gt;
appointed at the lack of moral energy in so many&lt;br /&gt;
of the personages who are thrown together.&lt;br /&gt;
Intense Selfishness or a weak will predominates in&lt;br /&gt;
each one of the characters. M. Mazelaine alone&lt;br /&gt;
* He at any rate&lt;br /&gt;
does not console himself with the dangerous and&lt;br /&gt;
extremely easy excuse of fatality for condoning&lt;br /&gt;
Weakness of character.&lt;br /&gt;
&ldquo;La Rue Saint Honor&eacute;,&rdquo; by Robert H&eacute;nard,&lt;br /&gt;
from its origin to the time of the Revolution, is an&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 12 (#24) ##############################################&lt;br /&gt;
&lt;br /&gt;
12&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
interesting study for all who enjoy the historical&lt;br /&gt;
side of Paris. We go back in this book to the&lt;br /&gt;
Paris of the times before the Romans, and we also&lt;br /&gt;
have a description of it taken from Caesar&amp;#039;s Com-&lt;br /&gt;
mentaries. Scarcely any street in Paris has been&lt;br /&gt;
so celebrated as the Rue St. Honor&eacute;, in which, at&lt;br /&gt;
the present time, the residences of the President&lt;br /&gt;
and of the British Ambassador are situated.&lt;br /&gt;
&ldquo;L&rsquo;Esprit de Barbey d&rsquo;Aurevilly&rdquo; has just&lt;br /&gt;
been published by Mlle. Read. It is a collection&lt;br /&gt;
of extracts on various subjects taken from the&lt;br /&gt;
writings of the great French critic and novelist.&lt;br /&gt;
This volume enables the reader who knows&lt;br /&gt;
nothing of this author to see something of&lt;br /&gt;
the mind of the man whose conversations&lt;br /&gt;
gave Paul Bourget &ldquo;one of the keenest intel-&lt;br /&gt;
lectual pleasures he had ever experienced.&rdquo;&lt;br /&gt;
There is an excellent preface by Octave Uzanne,&lt;br /&gt;
and the little book is doubly welcome coming, as&lt;br /&gt;
it does, a few months before the celebration&lt;br /&gt;
throughout France of Barbey d&rsquo;Aur&eacute;villy&amp;#039;s cen-&lt;br /&gt;
tenary. This literary f&ecirc;te, which should have&lt;br /&gt;
taken place in November of this year, is now post-&lt;br /&gt;
poned until May, 1909, on account of the death of&lt;br /&gt;
Fran&ccedil;ois Copp&eacute;e, who was President of the&lt;br /&gt;
Committee. -&lt;br /&gt;
Every one who visited Copp&eacute;e and was acquainted&lt;br /&gt;
with his two cats will be glad to hear that Mlle.&lt;br /&gt;
Jouise Read has adopted them, and that they will&lt;br /&gt;
have for their companion the descendant of&lt;br /&gt;
D&eacute;monette, the famous cat which was Barbey&lt;br /&gt;
d&rsquo;Aur&eacute;villy&amp;#039;s faithful companion. The trio will&lt;br /&gt;
from henceforth make their home with Mlle.&lt;br /&gt;
Read, whom Barbey d&rsquo;Aur&eacute;villy styled la com-&lt;br /&gt;
missionnaire du genre humain.&lt;br /&gt;
Among recent books are &ldquo;M&eacute;moires d&amp;#039;une vieille&lt;br /&gt;
fille,&rdquo; by Ren&eacute; Bazin, a volume of short stories;&lt;br /&gt;
&ldquo;Jeunes Filles,&rdquo; by Victor Margueritte; &ldquo;Adolphe&lt;br /&gt;
Monticelli,&rdquo; by Camille Mauclair ; &ldquo;Grandeur et&lt;br /&gt;
D&eacute;cadence de Rome &amp;quot; (Vol. VI., Auguste et le&lt;br /&gt;
Grand Empire), by G. Ferrero.&lt;br /&gt;
A whole series of books on Turkey is now&lt;br /&gt;
appearing : &ldquo;Paradoxes sur la Turquie,&rdquo; by Afioun-&lt;br /&gt;
Effendi; &ldquo;Midhat Pacha,&rdquo; by Ali Haydar Midhat&lt;br /&gt;
Bey; &ldquo;Abdul Hamid intime,&rdquo; by G. Dorys.&lt;br /&gt;
Several translations of English books have&lt;br /&gt;
appeared recently : &ldquo;Amours charmantes et&lt;br /&gt;
cruelles,&rdquo; by Maurice Hewlett, translated by MM.&lt;br /&gt;
Davray and Kosakiewicz ; &ldquo;Le Maitre de la&lt;br /&gt;
Terre,&rdquo; by R. H. Benson, translated by T. de&lt;br /&gt;
Wyzewa ; &ldquo;L&amp;#039;Oncle Bernac,&rdquo; by Conan Doyle.&lt;br /&gt;
&ldquo;Carri&egrave;re d&amp;#039;Artiste,&rdquo; by Mrs. Humphry Ward,&lt;br /&gt;
is now appearing serially in the Revue de Paris.&lt;br /&gt;
M. Johan Bojer, the Norwegian novelist, has&lt;br /&gt;
received a prize from the French Academy for his&lt;br /&gt;
book &ldquo;La Puissance du Mensonge,&rdquo; which has&lt;br /&gt;
now been published in English.&lt;br /&gt;
In the Revue de Paris of July 15, were articles&lt;br /&gt;
by Colonel C. Favre, on &ldquo;L&rsquo;Angleterre et l&amp;#039;Armeč&lt;br /&gt;
anglaise &rsquo;&rsquo;; by Daniel Hal&eacute;vy, on &ldquo;Nietzsche et&lt;br /&gt;
l&amp;#039;Empire allemand &rdquo;; and by Victor B&eacute;rard, on&lt;br /&gt;
&ldquo;I&rsquo;CEuvre d&rsquo;Edouard VII.&rdquo;&lt;br /&gt;
In recent numbers of La Revue hebdomadaire are&lt;br /&gt;
the following articles: &ldquo;Le Mouvement des Id&eacute;es,&rdquo;&lt;br /&gt;
by Edouard Rod ; &ldquo;Comment on nous &eacute;levaitil y a&lt;br /&gt;
cinquante ans,&rdquo; by the Marquis de Castellane ;&lt;br /&gt;
&ldquo;L&rsquo;Aviation,&rdquo; by Commandant Paul Renard ;&lt;br /&gt;
&ldquo;Le droit prime la force,&rdquo; by Henri Welschinger,&lt;br /&gt;
of , the Institute ; &ldquo;Le R&eacute;forme turque,&rdquo; by&lt;br /&gt;
Gabriel Hanotaux, of the French Academy; &ldquo;Leon&lt;br /&gt;
Tolstoi, jubilaire malgr&eacute; lui,&rdquo; by E. Halperine-&lt;br /&gt;
Kaminsky; &ldquo;La Marine fran&ccedil;aise &agrave; l&amp;#039;Exposition&lt;br /&gt;
de Londres,&rdquo; by Charles de la Ronci&egrave;re.&lt;br /&gt;
Paul Bourget&amp;#039;s four-act play &ldquo;L&rsquo;Emigr&eacute;&rsquo;&rsquo; is&lt;br /&gt;
being rehearsed at the Renaissance.&lt;br /&gt;
At the Th&eacute;&acirc;tre Sarah Bernhardt &ldquo;L&rsquo;Or,&rdquo; by&lt;br /&gt;
MM. Peter and Danceny, is the first play of the&lt;br /&gt;
S&eacute;aSOI).&lt;br /&gt;
Madame Rejane is to produce &ldquo;Israel,&rdquo; by M.&lt;br /&gt;
Henry Bernstein.&lt;br /&gt;
The Th&eacute;&acirc;tre Antoine opens with &ldquo;La Repudi&eacute;e,&rdquo;&lt;br /&gt;
a three-act play by Mme. Dartigue, and &ldquo;L&rsquo;Auberge&lt;br /&gt;
rouge,&rdquo; adapted from Balzac&amp;#039;s story.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Aloyse Val&eacute;rien&rdquo; (Perrim).&lt;br /&gt;
&ldquo;La Rue Saint Honor&eacute;&rsquo;&rsquo; (Emile Paul).&lt;br /&gt;
&ldquo;M&eacute;moires d&rsquo;une vieille fille &rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Jeunes Filles&rdquo; (Fasquelle).&lt;br /&gt;
&ldquo;Adolphe Monticelli&rdquo; (Plon).&lt;br /&gt;
&ldquo;Grandeur et D&eacute;cadence de Rome&amp;#039;&amp;#039; (Plon).&lt;br /&gt;
&ldquo;Paradoxes sur la Turquie&rdquo; (Bouville).&lt;br /&gt;
&ldquo;Midhat Pacha&rdquo; (Stock).&lt;br /&gt;
&ldquo;Abdul Hamid intime&amp;quot; (Stock). -&lt;br /&gt;
&ldquo;Amours charmantes et cruelles&rdquo; (Mercure de France).&lt;br /&gt;
&ldquo;Le Maitre de la Terre&rdquo; (Perrin).&lt;br /&gt;
&ldquo;L&amp;#039;Oncle Bernac&amp;quot; (Juven).&lt;br /&gt;
*&mdash;&ordm;- a&lt;br /&gt;
w-w-w&lt;br /&gt;
SPANISH NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S I send these notes from the Hydropathic&lt;br /&gt;
Establishment of Mondariz, in Galicia, on the&lt;br /&gt;
north-west coast of Spain, they have some&lt;br /&gt;
news relating directly to that centre. I must begin by&lt;br /&gt;
saying that Don Enrique Peinador has had the glory&lt;br /&gt;
of discovering in Mondariz an archaeological treasure&lt;br /&gt;
of great value in the form of a huge flat stone&lt;br /&gt;
covered with hemispherical signs, something similar&lt;br /&gt;
to what a child makes before it has learnt to use&lt;br /&gt;
the pencil.&lt;br /&gt;
The Hydro has been honoured this week by&lt;br /&gt;
two authors of note, for Major Martin Hume&lt;br /&gt;
stopped two days at Mondariz on his way to&lt;br /&gt;
Oviedo, where he went to represent the Univer-&lt;br /&gt;
sity of London at the tercentenary fetes of&lt;br /&gt;
the university of the capital of Asturias which&lt;br /&gt;
were celebrated from the 21st to the 30th of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 13 (#25) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
13&lt;br /&gt;
September ; and the famous Pardo Bazan, who is&lt;br /&gt;
President of the Literature Section of the Athenaeum&lt;br /&gt;
of Madrid, and whose works place her on the&lt;br /&gt;
pinnacle of fame, motored to Mondariz to see&lt;br /&gt;
her friends the Peinadors. Bright and well&lt;br /&gt;
looked the authoress, who must now be called&lt;br /&gt;
the Countess Emilia Pardo Bazan, as King&lt;br /&gt;
Alfonso XIII. has just bestowed this title on her&lt;br /&gt;
in recognition of her literary work.&lt;br /&gt;
It is notable that the great tenor Don Francisco&lt;br /&gt;
Vi&ntilde;as has just had the honour of receiving the Great&lt;br /&gt;
Cross of Agricultural Merit from the King, and,&lt;br /&gt;
indeed, in no triumph has the great tenor so appealed&lt;br /&gt;
to his country as in this of agriculture. The f&ecirc;te&lt;br /&gt;
which celebrated the event in the rural town of&lt;br /&gt;
Moya was supported by the town and corporation&lt;br /&gt;
in full force.&lt;br /&gt;
The fact of Field-Marshal Don Jos&eacute; Lopez&lt;br /&gt;
Dominguez being decorated with the Order of&lt;br /&gt;
the Golden Fleece has been acclaimed with pleasure&lt;br /&gt;
by the friends of the former Liberal Prime&lt;br /&gt;
Minister. This great political leader always&lt;br /&gt;
advocated a true suffrage for Spain, and it is&lt;br /&gt;
noteworthy that the Official Journal of the Sessions&lt;br /&gt;
of the Senate of November 3, 1902, records the&lt;br /&gt;
plaint made by Se&ntilde;or Loygorri in the name of the&lt;br /&gt;
Liberal leader against the presentation of the inter-&lt;br /&gt;
diction of Colonel Figuerola Ferretti&amp;#039;s petition to&lt;br /&gt;
high quarters that the system of the appointment of&lt;br /&gt;
the Deputies by the Ministers should be exchanged&lt;br /&gt;
for that of their election by the people. Had a true&lt;br /&gt;
suffrage been thus introduced, the struggle for it&lt;br /&gt;
would not have been seen in Catalonia, and, with a&lt;br /&gt;
true solidarity in Spain, loyalty to the King would&lt;br /&gt;
have prevented any talk of separation.&lt;br /&gt;
Se&ntilde;or Cambo, the leader of the Catalonians&lt;br /&gt;
(says the excellent daily paper A.B.C.), has just&lt;br /&gt;
made an eloquent appeal in the Congress against&lt;br /&gt;
the stagnating influence of the overweening power,&lt;br /&gt;
which is supported officially, of the &ldquo;cacique &amp;quot; or&lt;br /&gt;
person of highest consideration in a place.&lt;br /&gt;
Ring Alfonso XIII. shows his appreciation of&lt;br /&gt;
Se&ntilde;or Don Domingo Sanllehey&amp;#039;s services as Mayor&lt;br /&gt;
of Barcelona by not consenting to his retirement&lt;br /&gt;
from the office which the conduct and opinions of&lt;br /&gt;
his colleagues have made so untenable for him,&lt;br /&gt;
and by conferring on his wife, the lady who is&lt;br /&gt;
decorating, at her own expense, the whole of the&lt;br /&gt;
front fa&ccedil;ade of the Cathedral of the city with&lt;br /&gt;
sculptures, the Order of Maria Luisa.&lt;br /&gt;
It is said in Spain that Pius IX. (Juan Mastai-&lt;br /&gt;
Ferretti), related in cousinship to Colonel&lt;br /&gt;
Figuerola Ferretti, is to be canonized. The&lt;br /&gt;
research necessary for the act reveals many literary&lt;br /&gt;
treasures; and the letter in which Ferretti, when&lt;br /&gt;
one of the Body of Noble Guards of the Pope,&lt;br /&gt;
broke off his engagement with a beautiful lady of&lt;br /&gt;
distinction by reason of his call to the Church is&lt;br /&gt;
a true work of art. It will be from the thirty-&lt;br /&gt;
volumed chronicle of Cardinal Bilio that most of&lt;br /&gt;
the details of the life of Pius IX. will be found.&lt;br /&gt;
The month of October will see a most interesting&lt;br /&gt;
Congress of Science in Saragossa.&lt;br /&gt;
There will be seven sections : Mathematical&lt;br /&gt;
Sciences, physio-chemical sciences, natural sciences,&lt;br /&gt;
Social Sciences, philosophical sciences, medical&lt;br /&gt;
Sciences, and applied sciences. The King will be&lt;br /&gt;
present at either the opening or concluding session,&lt;br /&gt;
as he has accepted the honorary presidency; and&lt;br /&gt;
Se&ntilde;or Sigismundo Moret will be the actual presi-&lt;br /&gt;
dent. The Congress will have great popular interest,&lt;br /&gt;
inasmuch as there will be a series of conferences&lt;br /&gt;
in which not only new points and discoveries will&lt;br /&gt;
be discussed, but also those which it concerns&lt;br /&gt;
humanity in general to know.&lt;br /&gt;
Speaking of science reminds me that English&lt;br /&gt;
Scientists may soon expect to see a translation of&lt;br /&gt;
the notable work by Dr. Enrique Lluria called&lt;br /&gt;
&ldquo;La Vida Super-organica &rsquo;&rsquo; (&ldquo;Super-organic Ilife).&rdquo;&lt;br /&gt;
Those to whom the &ldquo;Monograph of Mondariz&rsquo;&rdquo;&lt;br /&gt;
may be known may be interested to hear that the&lt;br /&gt;
bicarbonated water from the springs of this centre&lt;br /&gt;
have just gained the gold medal and cup at the&lt;br /&gt;
Exhibition at Carlsbad. The Temporado, the&lt;br /&gt;
bright little paper of the Hydropathic Establish-&lt;br /&gt;
ment, always contains excellent articles of scientific&lt;br /&gt;
and literary merit.&lt;br /&gt;
The Society for the Encouragement of Fine Arts&lt;br /&gt;
in Madrid, under the presidency of Don Edoardo&lt;br /&gt;
Dato, is a great success. Much interest is taken&lt;br /&gt;
in the Society by the Se&ntilde;oras Dato, one of whom&lt;br /&gt;
is member of the Lyceum Club, the Marchioness&lt;br /&gt;
of Ivanrey, the Countess of Torres-Arias, the&lt;br /&gt;
Marchioness of Squilache y Ivanrey, etc.&lt;br /&gt;
The well-known writer Mariano de Cavia has&lt;br /&gt;
just received a great tribute to his talent by&lt;br /&gt;
an important street being named after him in&lt;br /&gt;
Saragossa, whilst the house which saw his birth&lt;br /&gt;
has been marked by a stone signifying the fact.&lt;br /&gt;
As Galicia is awakening some interest in England&lt;br /&gt;
by the tours arranged by the Booth Steamship&lt;br /&gt;
Company, the book called &ldquo;Across Galicia,&rdquo; by&lt;br /&gt;
the Hidalgo of Tor, forms a capital introduction&lt;br /&gt;
to the region.&lt;br /&gt;
RACHEL CHALLICE.&lt;br /&gt;
&agrave;&lt;br /&gt;
w&lt;br /&gt;
* ~4A-&lt;br /&gt;
w-v-&lt;br /&gt;
COPYRIGHT&lt;br /&gt;
CASE.&lt;br /&gt;
MANSELL v. THE WALLEY PRINTING CO.&lt;br /&gt;
HIS was an appeal from the judgment of&lt;br /&gt;
Mr. Justice Swinfen Eady, who had&lt;br /&gt;
awarded the plaintiff &pound;4.3 damages for&lt;br /&gt;
infringement of his rights in certain pictures,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 14 (#26) ##############################################&lt;br /&gt;
&lt;br /&gt;
14&lt;br /&gt;
THE A DITFIOR.&lt;br /&gt;
which belonged to him, and which had been&lt;br /&gt;
published without authority by the defendants.&lt;br /&gt;
The question raised in the Court of Appeal was&lt;br /&gt;
whether, at common law and apart from any&lt;br /&gt;
statutory protection, the owner of an unpublished&lt;br /&gt;
picture can recover damages against a person who&lt;br /&gt;
has, innocently and in good faith, published copies&lt;br /&gt;
of the picture. -&lt;br /&gt;
The plaintiff, an artist&amp;#039;s colour printer and pub-&lt;br /&gt;
lisher, was the owner of two pictures, suitable for&lt;br /&gt;
advertising purposes, which had been designed for&lt;br /&gt;
him by an artist in his employment, for which the&lt;br /&gt;
latter had been paid the sum of &pound;43. Another&lt;br /&gt;
artist in the same employment had surreptitiously&lt;br /&gt;
made copies of the pictures, and, after leaving the&lt;br /&gt;
plaintiff&rsquo;s employ, had sold them under a false&lt;br /&gt;
name as original drawings to the defendants, who&lt;br /&gt;
published them without any knowledge of the&lt;br /&gt;
plaintiff&amp;#039;s rights. . .&lt;br /&gt;
The plaintiff registered his copyright in the&lt;br /&gt;
pictures under the Fine Arts Copyright Act, 1862,&lt;br /&gt;
after the publication of them by the defendants;&lt;br /&gt;
and the latter, on receiving a complaint from the&lt;br /&gt;
plaintiff, offered to stop publication and to deliver&lt;br /&gt;
up the copies in hand, but they denied any liability&lt;br /&gt;
to pay damages.&lt;br /&gt;
The pictures having been made to order on&lt;br /&gt;
behalf of the plaintiff without reserve and paid for&lt;br /&gt;
by him, the copyright belonged to the plaintiff&lt;br /&gt;
under the provisions of the Fine Arts Copyright&lt;br /&gt;
Act ; but inasmuch as the registration was not&lt;br /&gt;
made until after the publication by the defendants,&lt;br /&gt;
the plaintiff was precluded by the statute from&lt;br /&gt;
suing for damages for infringement of his copyright.&lt;br /&gt;
The plaintiff based his claim, therefore, upon his&lt;br /&gt;
common law rights; and it was contended that, as&lt;br /&gt;
an author has the exclusive right of publication in&lt;br /&gt;
respect of a literary composition, the plaintiff was&lt;br /&gt;
entitled to recover damages for infringement of his&lt;br /&gt;
proprietary right in an unpublished artistic work.&lt;br /&gt;
The principle, in respect of authors, was estab-&lt;br /&gt;
lished as far back as 1774 in the case of Donaldson&lt;br /&gt;
v. Becket, which was decided by the House of Lords.&lt;br /&gt;
&ldquo;This weighty authority,&rdquo; said the Master of&lt;br /&gt;
the Rolls in delivering judgment, &ldquo;is, in my&lt;br /&gt;
opinion, decisive of the present appeal. It shows&lt;br /&gt;
that an action will lie against any person who&lt;br /&gt;
prints and publishes an unpublished book without&lt;br /&gt;
the author&amp;#039;s consent, and when it is established&lt;br /&gt;
that the right is a proprietary right, it is plain that&lt;br /&gt;
the element of motive or intention on the part of&lt;br /&gt;
the defendant is wholly irrelevant. It cannot be&lt;br /&gt;
contended, since the case of Prince Albert v.&lt;br /&gt;
Strange, in 1849, that the owner of an unpub-&lt;br /&gt;
lished picture stands in any different position from&lt;br /&gt;
the owner of an unpublished literary work.&rdquo;&lt;br /&gt;
Lord Justice Farwell, in giving judgment to the&lt;br /&gt;
same effect, said that it had been argued for the&lt;br /&gt;
defendants that it was very hard upon them, because&lt;br /&gt;
they had acted quite bond ſide in the matter ; but&lt;br /&gt;
it Was no greater hardship on them than it was in&lt;br /&gt;
all cases where an innocent party had to bear the&lt;br /&gt;
loss brought about by another, whose wrongful act&lt;br /&gt;
had caused injury to another innocent party.&lt;br /&gt;
Lord Justice Kennedy concurred, and the appeal&lt;br /&gt;
was dismissed with costs. -&lt;br /&gt;
The arguments in this case appear to have pro-&lt;br /&gt;
ceeded upon the assumption that the pictures were&lt;br /&gt;
unpublished, until the unauthorised publication by&lt;br /&gt;
the defendants. As to what amounts to &ldquo;publica-&lt;br /&gt;
tion &amp;quot;...of an artistic work, there is no precise&lt;br /&gt;
authority. It is clear, however, that publication is&lt;br /&gt;
not restricted to a public exhibition of the work ;&lt;br /&gt;
and, in the absence of any decision upon the point,&lt;br /&gt;
it may be doubted whether a picture, which has&lt;br /&gt;
been sold and has passed out of the artist&amp;#039;s hands,&lt;br /&gt;
so that the copyright&mdash;&ldquo;which is statutory and&lt;br /&gt;
arises upon publication &rdquo;&mdash;has come into existence&lt;br /&gt;
and belongs to the purchaser, who is registered as&lt;br /&gt;
the &ldquo;copyright proprietor,&rdquo; can be regarded, with&lt;br /&gt;
reference to the provisions of the Fine Arts&lt;br /&gt;
Copyright Act, as an unpublished work.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ALBANY.&lt;br /&gt;
Nietzsche. By Desmond McCarthy.&lt;br /&gt;
Mirabeau. By Desmond McCarthy.&lt;br /&gt;
Pascal&amp;#039;s Provincial Letters. By Lord St. Cyres.&lt;br /&gt;
- BOOKMAN.&lt;br /&gt;
The Bookman Gallery : Robert S. Hichens.&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
The &ldquo;Sevenpenny.&rdquo; By J. M.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
By Edmund Gosse.&lt;br /&gt;
Count Lyof Tolstoi.&lt;br /&gt;
By G. W. Williams.&lt;br /&gt;
Chamber Drama.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
The Book on the Table: &ldquo;A Commentary.&rdquo;&lt;br /&gt;
Robert Cecil.&lt;br /&gt;
By Lady&lt;br /&gt;
- FORTNIGHTLY.&lt;br /&gt;
Tolstoy and the Tolstoyans. By Francis Gribble.&lt;br /&gt;
Mark Rutherford : An Appreciation. By Frances Low.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Mr. Andrew Lang and Robert Burns.&lt;br /&gt;
Bayne.&lt;br /&gt;
By Thomas&lt;br /&gt;
NINETEENTEI CENTURY.&lt;br /&gt;
An Actor&amp;#039;s Views on Plays and Play-writing. By J. H.&lt;br /&gt;
Barnes.&lt;br /&gt;
The Censorship of Fiction. By Bram Stoker.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 15 (#27) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UſTEIOR,&lt;br /&gt;
15&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned. -&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :-&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
IIl&euro;2,IDS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
e&mdash;&ordm;-e&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
e&mdash;&ordm;-e&mdash;&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(4.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
(b.). Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
grOSS receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction is&lt;br /&gt;
of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
L assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 16 (#28) ##############################################&lt;br /&gt;
&lt;br /&gt;
16&lt;br /&gt;
TRIES A UTFIOR.&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&mdash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
+ advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion. All this&lt;br /&gt;
without any cost to the member.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Send to the Office copies of past agreements and past&lt;br /&gt;
accounts, with a copy of the book represented. The&lt;br /&gt;
Secretary will always be glad to have any agreements, new&lt;br /&gt;
or old, for inspection and note. The information thus&lt;br /&gt;
obtained may prove in valuable.&lt;br /&gt;
4. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
5. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
6. The Committee have now arranged for the reception&lt;br /&gt;
of members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
&mdash;(1) To read and advise upon agreements and to give&lt;br /&gt;
advice concerning publishers. (2) To stamp agreements&lt;br /&gt;
in readiness for a possible action upon them. (3) To keep&lt;br /&gt;
agreements. (4) To enforce payments due according to&lt;br /&gt;
agreements. Fuller particulars of the Society&amp;#039;s work&lt;br /&gt;
can be obtained in the Prospectus.&lt;br /&gt;
7. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
8. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
9. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
10. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
treated as a composition is treated by a coach.&lt;br /&gt;
TO MUSICAL COMPOSERS.&lt;br /&gt;
&ndash;0-0-0&ndash;&lt;br /&gt;
HE Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or&lt;br /&gt;
part of 100. The members&rsquo; stamps are kept in the&lt;br /&gt;
Society&amp;#039;s safe. The musical publishers communicate direct&lt;br /&gt;
With the Secretary, and the voucher is then forwarded to&lt;br /&gt;
the members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
+&lt;br /&gt;
EMBERS will greatly assist the Society in the&lt;br /&gt;
- branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TV HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
58. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month. -&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of the Society or not, are invited to&lt;br /&gt;
communicate to the Editor any points connected with their&lt;br /&gt;
work which it would be advisable in the general interest to&lt;br /&gt;
publish. -&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all subjects connected with literature, but on&lt;br /&gt;
no other subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post,&lt;br /&gt;
and he requests members who do not receive an&lt;br /&gt;
answer to important communications within two days to&lt;br /&gt;
write to him without delay. All remittances should be&lt;br /&gt;
crossed Union Bank of London, Chancery Lane, or be sent&lt;br /&gt;
by registered letter only.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LEGAL AND GENERAL LIFE ASSURANCE&lt;br /&gt;
SOCIETY.&lt;br /&gt;
{3}. &mdash;0-49&ndash;6&ndash;&lt;br /&gt;
ENSIONS to commence at any selected age,&lt;br /&gt;
either with or without Life Assurance, can&lt;br /&gt;
be obtained from this Society.&lt;br /&gt;
Full particulars can be obtained from the City&lt;br /&gt;
Branch Manager, Legal and General Life Assurance&lt;br /&gt;
Society, 158, Leadenhall Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 17 (#29) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTFIOR.&lt;br /&gt;
17&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-Q-0&ndash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
UNDER the Correspondence we are publishing a&lt;br /&gt;
letter dealing with the question of the Pension&lt;br /&gt;
Fund, in which the writer states that 1,720 members&lt;br /&gt;
of the Society give nothing. It may be true that&lt;br /&gt;
1,720 members are not annual subscribers, but it&lt;br /&gt;
should be stated, in all fairness to the generous&lt;br /&gt;
supporters of the fund, that many members of the&lt;br /&gt;
society in its early days made large donations to&lt;br /&gt;
the fund (their names were printed with the first&lt;br /&gt;
list of contributors), that many year by year have&lt;br /&gt;
made donations, some large, some small, according&lt;br /&gt;
to their means (these have been chronicled month&lt;br /&gt;
by month in The Author). These may still be&lt;br /&gt;
looked upon as subscribers, and their wholehearted&lt;br /&gt;
generosity cannot be ignored because they do not&lt;br /&gt;
happen to be annual subscribers.&lt;br /&gt;
WRONG FUL USE OF THE SOCIETY&amp;#039;s NAME.&lt;br /&gt;
1. ONCE a certain publishing house placed an&lt;br /&gt;
impossible agreement before one of the society&amp;#039;s&lt;br /&gt;
members. On the refusal of the member to sign&lt;br /&gt;
the document, the publishing house informed him&lt;br /&gt;
that the agreement had the approval of the Society&lt;br /&gt;
of Authors. It is hardly necessary to state that&lt;br /&gt;
this was not the case, and the secretary remonstrated.&lt;br /&gt;
The publisher thereupon denied that he had put&lt;br /&gt;
forward this claim, but as the secretary held his&lt;br /&gt;
letter the only thing left for him was to apologise,&lt;br /&gt;
and to promise not to repeat the statement. This&lt;br /&gt;
he did. -&lt;br /&gt;
2. Not long ago one of the members of the&lt;br /&gt;
Society laid before the secretary an agreement pro-&lt;br /&gt;
viding for a transfer of copyright from author to&lt;br /&gt;
publisher. The secretary placed before the member&lt;br /&gt;
his strong objections to the proposed transfer.&lt;br /&gt;
The agent who was acting, in commenting on the&lt;br /&gt;
member&amp;#039;s objections, stated that the transfer of&lt;br /&gt;
copyright was satisfactory and necessary. It is&lt;br /&gt;
almost impossible to conceive of an agent taking&lt;br /&gt;
this standpoint, but the fact as stated is true.&lt;br /&gt;
3. A publisher placed before a member an agree-&lt;br /&gt;
ment asking for an assignment of copyright, and&lt;br /&gt;
stated in a covering letter that the Society of&lt;br /&gt;
Authors had no objection to it. Again the secre-&lt;br /&gt;
tary laid before the member the very strong position&lt;br /&gt;
which the committee has always taken up on this&lt;br /&gt;
subject.&lt;br /&gt;
These three cases have prompted the following&lt;br /&gt;
remarks :-&lt;br /&gt;
First, the wrongful use of the Authors&rsquo; Society&amp;#039;s&lt;br /&gt;
name by publishers and others in order to obtain&lt;br /&gt;
their ends; and secondly, the extreme danger, in&lt;br /&gt;
any event, of an author transferring copyright to&lt;br /&gt;
a publisher. The legal advisers of the society and&lt;br /&gt;
the committee cannot emphasise too strongly the&lt;br /&gt;
dangers that may follow such a transfer&ndash;dangers&lt;br /&gt;
Which have been increased by judgments delivered&lt;br /&gt;
in one or two cases recently decided in the Courts.&lt;br /&gt;
Again, therefore, it is necessary to insist that&lt;br /&gt;
authors should merely grant to publishers licences&lt;br /&gt;
to publish, limiting such licences in whatever way&lt;br /&gt;
they think well, either by country&mdash;to Great Britain&lt;br /&gt;
&mdash;or by time&mdash;to five years&mdash;&mdash;or by edition, to one&lt;br /&gt;
or two editions&mdash;or by a combination of two or&lt;br /&gt;
three of the above. In no case whatever should&lt;br /&gt;
there be a transfer of copyright where the author&lt;br /&gt;
holds a continuing interest in his work. None of&lt;br /&gt;
the reliable publishing houses claim this now. It&lt;br /&gt;
is better not to publish at all than to convey all&lt;br /&gt;
future interest and control to others unless the&lt;br /&gt;
question is one of absolute necessity or the author&lt;br /&gt;
sets but little value on his work. If an agent&lt;br /&gt;
recommends this transfer of copyright the sooner&lt;br /&gt;
an author places his affairs in other hands the&lt;br /&gt;
better.&lt;br /&gt;
The matter is put on rather a different footing&lt;br /&gt;
where the publisher purchases a work outright for&lt;br /&gt;
a glven Sum.&lt;br /&gt;
HUMPHREYS v. THOMSON.&lt;br /&gt;
THE &ldquo;Lounger&rdquo; in Putnam&amp;#039;s for September&lt;br /&gt;
devoted some space to the recent case of Humphreys&lt;br /&gt;
v. Thomson, in which Mr. Clement Shorter&amp;#039;s views&lt;br /&gt;
were strongly deprecated. &ldquo;Except to change a&lt;br /&gt;
slip of grammar or the spelling of a word, for even&lt;br /&gt;
the best writers are often the worst spellers, I&lt;br /&gt;
cannot see &amp;quot;&mdash;says the &ldquo;Lounger&amp;quot;&mdash;&ldquo;that the&lt;br /&gt;
editor of the Red Letter had the slightest excuse&lt;br /&gt;
for cutting a story &lsquo;to suit the character of his&lt;br /&gt;
paper.&amp;#039; I do not believe there is an editor of any&lt;br /&gt;
standing in the United States who would do such&lt;br /&gt;
a thing without consulting the writer of the story.&lt;br /&gt;
When there is any radical cutting to do, the author&lt;br /&gt;
is asked to do it, or to give the editor permission ;&lt;br /&gt;
but to change the character of a story to suit the&lt;br /&gt;
character of a periodical is an unpardonable im-&lt;br /&gt;
pertinence. . . . I have known many stories and&lt;br /&gt;
essays to be changed by editors, but never with-&lt;br /&gt;
out the permission of the writers. I know of one&lt;br /&gt;
notable instance where an editor Worked over a&lt;br /&gt;
manuscript with the author, who re-wrote it four&lt;br /&gt;
times before it appeared in print. There are very&lt;br /&gt;
few stories which are not improved by editorial&lt;br /&gt;
suggestion, but the sort of thing that &ldquo;Rita&amp;quot;&lt;br /&gt;
complains of, and that Mr. Shorter upholds, seems&lt;br /&gt;
to me little less than a crime. . . . Who steals my&lt;br /&gt;
purse is a thief; who garbles my manuscript is a&lt;br /&gt;
murderer | *&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 18 (#30) ##############################################&lt;br /&gt;
&lt;br /&gt;
18 THE AUTHOR.&lt;br /&gt;
CASH PAYMENT OR PUBLISHERS&rsquo; BILLS 2&lt;br /&gt;
THE following case may be of interest to those&lt;br /&gt;
members of the society who have been requested by&lt;br /&gt;
their publishers to accept settlement of their&lt;br /&gt;
accounts by bills.&lt;br /&gt;
One of the members refused to accept a settle-&lt;br /&gt;
ment by this method, partly because he desired, in&lt;br /&gt;
accordance with the terms of his agreement, to&lt;br /&gt;
have a prompt cash settlement, partly because he&lt;br /&gt;
did not care to accept the responsibility to his&lt;br /&gt;
bankers for the amount, and finally, because he&lt;br /&gt;
considered that when a publisher entered into an&lt;br /&gt;
agreement he ought to be ready to meet his obliga-&lt;br /&gt;
tions under it. The publisher refused, after three&lt;br /&gt;
or four requests, to make a cash settlement, and&lt;br /&gt;
the matter was referred to the society, and&lt;br /&gt;
placed in the hands of its solicitors. Since the&lt;br /&gt;
society&rsquo;s solicitors have taken the matter in hand,&lt;br /&gt;
although the publishers had previously ignored the&lt;br /&gt;
letters of the secretary, the amount has been&lt;br /&gt;
promptly paid. But&mdash;and this is the point of which&lt;br /&gt;
we complain&mdash;the publisher wrote a very uncalled-&lt;br /&gt;
for letter to the author, practically refusing to have&lt;br /&gt;
anything more to do with him or his work. Con-&lt;br /&gt;
sidering that the author had courteously in the first&lt;br /&gt;
place, and then firmly by means of the society&amp;#039;s&lt;br /&gt;
lawyers, requested the publisher merely to act up&lt;br /&gt;
to his agreement, the publisher&amp;#039;s anger seems&lt;br /&gt;
hardly justified. Perhaps, on the whole, the author&lt;br /&gt;
is well out of his hands.&lt;br /&gt;
CORRECTIONS.&lt;br /&gt;
WE understand that a well-known review has&lt;br /&gt;
acquired a habit of attaching a notice to proofs&lt;br /&gt;
sent to its contributors, stating that if &ldquo;many&lt;br /&gt;
alterations&rdquo; are made, the expense they entail will&lt;br /&gt;
be deducted from the author&amp;#039;s honorarium. The&lt;br /&gt;
interpretation of the word &ldquo;many &rdquo; appears to be&lt;br /&gt;
left to the discretion of the editor ; and nothing is&lt;br /&gt;
said touching the distinction between printer&amp;#039;s&lt;br /&gt;
errors and author&amp;#039;s corrections. Apart from this,&lt;br /&gt;
the notice raises several nice points.&lt;br /&gt;
It may be premised that many, or excessive&lt;br /&gt;
alterations, would only be due either to the author&amp;#039;s&lt;br /&gt;
unskilfulness in his art, or to the necessity of&lt;br /&gt;
bringing the article up to date, owing to the lapse&lt;br /&gt;
of time between its despatch and the receipt of the&lt;br /&gt;
proof. In the first case, it is highly improbable&lt;br /&gt;
the article would have been accepted in its original&lt;br /&gt;
form ; and in the second, the blame would be&lt;br /&gt;
entirely due to the fault of the editor. Supposing,&lt;br /&gt;
then, a contributor refused to bring his article up&lt;br /&gt;
to date after it had been duly accepted, on the&lt;br /&gt;
ground that if he did so his honorarium would be&lt;br /&gt;
docked, the editor would have either to do it him-&lt;br /&gt;
self, or to stultify himself by repealing his notice,&lt;br /&gt;
In both events the contributor would be entitled to&lt;br /&gt;
his full price, and the only apparent object of this&lt;br /&gt;
happy idea would come to nothing.&lt;br /&gt;
We cannot compliment the editor of the review&lt;br /&gt;
On his latest editorial method.&lt;br /&gt;
UNITED STATES MAGAZINE MARKET.&lt;br /&gt;
THE American magazine market has never been&lt;br /&gt;
so dull as during the last year. Agents and&lt;br /&gt;
authors on this side have found their efforts a&lt;br /&gt;
complete waste of stamps; while the native writers,&lt;br /&gt;
if reports are to be believed, have either gone into&lt;br /&gt;
of business&mdash;Writing for magazines in not busi-&lt;br /&gt;
ness&mdash;or have been living on their capital.&lt;br /&gt;
A writer in the Wew York Times places the&lt;br /&gt;
Source of the frost in the fact that the magazines&lt;br /&gt;
have been recuperating after the panic and living&lt;br /&gt;
on accumulated copy. He declares that some of&lt;br /&gt;
them have even been selling off superfluous hoards&lt;br /&gt;
of &ldquo;refrigerated stuff.&rdquo; at quite absurd reductions,&lt;br /&gt;
and quotes the following letter, which has been&lt;br /&gt;
circulated among editors likely to speculate in&lt;br /&gt;
bargains &mdash; -&lt;br /&gt;
&ldquo;My dear As you probably know from your own&lt;br /&gt;
experience, we editors accumulate a great deal of material,&lt;br /&gt;
Which after a while we find to be unsuitable for our use.&lt;br /&gt;
In looking over our accumulated material I find a good&lt;br /&gt;
deal of verse. Some years ago we used much, but latterly&lt;br /&gt;
have found it impossible to give up much space to rhyme.&lt;br /&gt;
For this reason I am sending you proofs of some of the&lt;br /&gt;
things we now have on hand, thinking that you may be&lt;br /&gt;
interested, and that perhaps you might care to buy some&lt;br /&gt;
Of it.&rdquo;&lt;br /&gt;
The only authors making money have been the&lt;br /&gt;
producers of first-class humour and those working&lt;br /&gt;
under iron-clad contracts. However, the end is&lt;br /&gt;
predicted for October ; the stock of copy in hand&lt;br /&gt;
is said to be running low ; and writers are sharpen-&lt;br /&gt;
ing their pens again, in anticipation of a good&lt;br /&gt;
time coming.&lt;br /&gt;
Happily the English market is not so untrust-&lt;br /&gt;
worthy. Prices, it is true, do not average so high&lt;br /&gt;
as in the States, nor is payment so prompt ; but,&lt;br /&gt;
on the other hand, the demand is steady, and&lt;br /&gt;
there is a touch of lost Bohemia in the casual and&lt;br /&gt;
unexpected arrival of the cheque that cheers.&lt;br /&gt;
*-* *-&lt;br /&gt;
FROM THE DICKENSIAN.&lt;br /&gt;
The Dickensian, a magazine for Dickens lovers&lt;br /&gt;
and a monthly record of the Dickens Fellowship,&lt;br /&gt;
had in its August number an interesting account&lt;br /&gt;
of the first and last Dickens banquet in the United&lt;br /&gt;
States by Mr. S. Kilwin. The first banquet was&lt;br /&gt;
held in Boston on February 1, 1842, and among&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 19 (#31) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. - - 19.&lt;br /&gt;
those present were Dr. Oliver Wendell Holmes,&lt;br /&gt;
J. R. Lowell, W. W. Storey, the famous sculptor;&lt;br /&gt;
G. Bancroft, the historian ; and R. H. Dana, the&lt;br /&gt;
author of &ldquo;Ten Years before the Mast.&rdquo; &ldquo;The&lt;br /&gt;
speaking was begun by Josiah Quincy, jun., in an&lt;br /&gt;
address of welcome to the guest, which was not&lt;br /&gt;
only eloquent in its tribute to Dickens, but&lt;br /&gt;
abounded in witty and appropriate quotations&lt;br /&gt;
from &ldquo;Pickwick&rsquo; and &ldquo;Oliver Twist.&rsquo; The&lt;br /&gt;
speaker closed with the toast : &ldquo;Health, Hap-&lt;br /&gt;
piness, and a Hearty Welcome to Charles&lt;br /&gt;
T)ickens !&rsquo; and when Dickens rose to reply he&lt;br /&gt;
was greeted by a burst of applause that was loud&lt;br /&gt;
and long. Mr. Dickens&amp;#039;s reply to the toast was a&lt;br /&gt;
grateful and eloquent recognition of the hearty&lt;br /&gt;
welcome which he had received, and concluded&lt;br /&gt;
with his first public reference in the United States&lt;br /&gt;
to an international copyright, which he said he&lt;br /&gt;
believed was not far distant, &lsquo;firstly, because it is&lt;br /&gt;
justice ; secondly, because without it you never can&lt;br /&gt;
have and keep a literature of your Own.&rsquo;&rdquo;&lt;br /&gt;
&ldquo;What a different picture the famous author&lt;br /&gt;
presented when twenty-six years later he was the&lt;br /&gt;
honoured guest at a dinner given in New York. He&lt;br /&gt;
was no longer the bright, smooth-faced young man&lt;br /&gt;
with the long wavy locks, but had become an elderly&lt;br /&gt;
man with streaks of grey in both hair and beard.&rdquo;&lt;br /&gt;
He was an hour late in arriving, and those gathered&lt;br /&gt;
to greet him grew nervous and apprehensive at his&lt;br /&gt;
non-appearance. Finally he arrived, worn and&lt;br /&gt;
racked with pain. &ldquo;What he wore on his right&lt;br /&gt;
foot no one noticed, but on his left seemed to be a&lt;br /&gt;
stuffed carpet bag; in his left hand was a stick,&lt;br /&gt;
on which he leaned ; his right was on (Horace)&lt;br /&gt;
Greeley&rsquo;s arm,&rdquo; wrote one of the guests. This&lt;br /&gt;
was his last public dinner in the United States.&lt;br /&gt;
THE BOOK TRADE DINNER.&lt;br /&gt;
As there seems to be some confusion regarding&lt;br /&gt;
the exact nature of the Book Trade Dinner which&lt;br /&gt;
the Publishers&amp;#039; Circle is organising, we are asked to&lt;br /&gt;
state that this is entirely a trade affair, though&lt;br /&gt;
many authors, including members of this society,&lt;br /&gt;
have accepted invitations to be present as the&lt;br /&gt;
guests of their publishers. Application forms for&lt;br /&gt;
the tickets have been sent only to publishers and&lt;br /&gt;
booksellers. Mr. W. L. Courtney will propose the&lt;br /&gt;
toast of &ldquo;Literature,&rdquo; to which Sir George Trevelyan&lt;br /&gt;
is replying. Mr. W. W. Jacobs will propose the&lt;br /&gt;
toast of &ldquo;The Trade.&rdquo; The arrangements made,&lt;br /&gt;
and the limited number of tickets issued, unfortu-&lt;br /&gt;
nately prevent lady authors from being invited.&lt;br /&gt;
THE PERILS OF DEFERRED ROYALTY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
T is not an uncommon practice among pub-&lt;br /&gt;
lishers to insure against loss on a book by&lt;br /&gt;
demanding from the author a certain number&lt;br /&gt;
of copies free of royalty. From the author&amp;#039;s point&lt;br /&gt;
of view this method, though preferable to paying&lt;br /&gt;
for the cost of production in hard cash, is a bad&lt;br /&gt;
method, but if from fear of non-publication an&lt;br /&gt;
author may be tempted to accept it, then it should&lt;br /&gt;
be stated that it is not without its dangers.&lt;br /&gt;
There are two main points which should be&lt;br /&gt;
noticed in the case of a deferred royalty. The first&lt;br /&gt;
is, that the number of books free should not be so&lt;br /&gt;
large as to cover the whole cost of production and&lt;br /&gt;
advertising ; the second, that the royalty to the&lt;br /&gt;
author should be considerably higher after the&lt;br /&gt;
number mentioned has been sold than if the royalty&lt;br /&gt;
had been paid from the beginning.&lt;br /&gt;
If the number is so large that it practically&lt;br /&gt;
covers the cost of production and advertising, then&lt;br /&gt;
there is no stimulus whatever to the publisher to&lt;br /&gt;
push the book. Most publishers nowadays, when&lt;br /&gt;
events move so rapidly,are content to sell sufficient&lt;br /&gt;
copies of a book to bring them a fair percentage&lt;br /&gt;
on the capital expended, and then sell the book as&lt;br /&gt;
a remainder, without any thought of the author&lt;br /&gt;
and his interests. This is the result of the modern&lt;br /&gt;
methods of business, and occurs in the case of all&lt;br /&gt;
books. The power to sell the last few hundred copies,&lt;br /&gt;
Or, in exceptional cases, few thousand copies, is&lt;br /&gt;
always the test of a good publisher. The ordinary&lt;br /&gt;
publisher knows well that it takes more trouble to&lt;br /&gt;
sell the last few hundred copies than the first&lt;br /&gt;
thousand, and he thinks less of his publishing&lt;br /&gt;
reputation than the financial return. In some&lt;br /&gt;
cases this proves the best asset. What the author&lt;br /&gt;
wants, therefore, is some stimulus to induce the&lt;br /&gt;
publisher to push the book, and this is generally&lt;br /&gt;
only obtained by a consideration of the financial&lt;br /&gt;
aspect. So soon as the publisher has no monetary&lt;br /&gt;
risk in the book so soon does his stimulus cease.&lt;br /&gt;
The same remarks will refer to the increased&lt;br /&gt;
royalty after the sale of an agreed number of&lt;br /&gt;
copies, for the more the publisher has paid to the&lt;br /&gt;
author in royalties in addition to the cost of pro-&lt;br /&gt;
duction and advertising, the more necessary is it&lt;br /&gt;
that he should push the book in order to obtain&lt;br /&gt;
his own profit, for all authors know after the first&lt;br /&gt;
expenses of a book have been covered, future&lt;br /&gt;
editions do not cost very much. In an issue of&lt;br /&gt;
the Academy, published during the vacation, it has&lt;br /&gt;
been clearly pointed out that the great advantage.&lt;br /&gt;
to an author in having a sum in advance of royalties&lt;br /&gt;
lies in the stimulus it gives to the publisher, and&lt;br /&gt;
the same remark holds good in regard to the&lt;br /&gt;
example quoted above.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 20 (#32) ##############################################&lt;br /&gt;
&lt;br /&gt;
20&lt;br /&gt;
TRIES A UTISIOR.&lt;br /&gt;
These remarks have been prompted by two cases&lt;br /&gt;
which have come before our notice. In One case&lt;br /&gt;
the author agreed to forego his royalties on 1,250&lt;br /&gt;
copies, taking after that number a ridiculously&lt;br /&gt;
small royalty. The publisher produced 1,000 copies,&lt;br /&gt;
sold about 850 copies, and then broke up the type.&lt;br /&gt;
The other case was somewhat similar. Five hundred&lt;br /&gt;
copies of the book were to be free of royalty. The&lt;br /&gt;
book was a small one, and the publisher printed&lt;br /&gt;
only 500 copies. In both cases the number of&lt;br /&gt;
books to be sold free of royalty was sufficient to&lt;br /&gt;
cover the expenditure, as far as can possibly be&lt;br /&gt;
judged by ordinary standards, although the detailed&lt;br /&gt;
publisher&amp;#039;s accounts were not to hand. There was&lt;br /&gt;
no reason, therefore, why the publisher should sell&lt;br /&gt;
in the one case more than 1,000 copies and in the&lt;br /&gt;
other more than 500, if he desired merely to satisfy&lt;br /&gt;
his business instincts, and from the result that&lt;br /&gt;
apparently was his desire. Such contracts are bad&lt;br /&gt;
in principle, and should always be avoided. If the&lt;br /&gt;
publisher could find a sufficient number of authors&lt;br /&gt;
who stood outside the society, or ignored its advice,&lt;br /&gt;
he could run his business without any payment to&lt;br /&gt;
the author whose books he produced. If in either&lt;br /&gt;
of these cases it had happened that the number&lt;br /&gt;
free of royalty had been exceeded, then 33% per&lt;br /&gt;
cent. at least would have been a legitimate royalty&lt;br /&gt;
for the author to receive, at any rate until matters&lt;br /&gt;
had been equalised by continued sales.&lt;br /&gt;
One further point of no little importance must&lt;br /&gt;
be taken into consideration: if the publisher on&lt;br /&gt;
the one hand claims a large number free of royalty,&lt;br /&gt;
and in his generosity grants under the agreement&lt;br /&gt;
to the author a very high royalty, and if the number&lt;br /&gt;
so claimed will quite clear the cost of production,&lt;br /&gt;
advertising, as well as put a certain profit into the&lt;br /&gt;
publisher&amp;#039;s pocket, then the increased royalty will&lt;br /&gt;
merely act as a deterrent on the publisher&amp;#039;s pushing&lt;br /&gt;
the book. The result, therefore, may be summed&lt;br /&gt;
up as follows:&mdash;&lt;br /&gt;
1. The number free of royalty must not exceed&lt;br /&gt;
the cost of production and advertisement.&lt;br /&gt;
2. The author should obtain a proportionately&lt;br /&gt;
higher royalty after the sale of the free copies.&lt;br /&gt;
3. If he does not obtain the first the second is&lt;br /&gt;
useless.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BRITISH WRITERS AND JOURNALISTS IN&lt;br /&gt;
NORTH BOHEMIA.&lt;br /&gt;
&mdash;e&mdash;6-e-&lt;br /&gt;
N the year 1905 I gave an account in The&lt;br /&gt;
I Author of an expedition made by EEglish&lt;br /&gt;
writers to Bohemia. The tour then made was&lt;br /&gt;
to the interesting and remarkable southern towns.&lt;br /&gt;
This summer I received an invitation for a party&lt;br /&gt;
to visit Prague during the year of its Jubilee Exhi-&lt;br /&gt;
bition, and to explore some of the northern towns&lt;br /&gt;
and rock fastnesses.&lt;br /&gt;
So, at the end of June, twenty-one members of&lt;br /&gt;
the British International Association of Journalists&lt;br /&gt;
landed at the Hook of Holland en route for&lt;br /&gt;
Dresden and Prague.&lt;br /&gt;
Most of the members were specialists, either&lt;br /&gt;
writers upon engineering, education, technical&lt;br /&gt;
developments, chemistry, industrial and municipal&lt;br /&gt;
matters, or historical and topographical writers.&lt;br /&gt;
Each traveller had his especial aim, but the general&lt;br /&gt;
interest and beauty of the scenery very frequently&lt;br /&gt;
made the specialist forget his pet subject in the&lt;br /&gt;
romance in which he was engulfed.&lt;br /&gt;
Before arriving in Prague the travellers were&lt;br /&gt;
met at the Bohemian frontier by M. Franz&lt;br /&gt;
Borovsky, the learned director of the Art and&lt;br /&gt;
Trades Museum in Prague, and some other friends,&lt;br /&gt;
and at Prague itself a warm welcome was received,&lt;br /&gt;
not only from the officials of the city, but from the&lt;br /&gt;
crowd at the station.&lt;br /&gt;
But the northern towns were to be visited before&lt;br /&gt;
Prague really received us, so on the following&lt;br /&gt;
morning at 6 a.m. (there is no sloth in Bohemia)&lt;br /&gt;
we were en route for Turnov or Turnau. I give&lt;br /&gt;
the Bohemian and German spelling, as to-day the&lt;br /&gt;
Bohemian word is largely used, but on our maps&lt;br /&gt;
generally the German word is given. I had&lt;br /&gt;
especially asked that this town should be included&lt;br /&gt;
in the itinerary, not only for the strange wild&lt;br /&gt;
Scenery around it, but also because it possesses a&lt;br /&gt;
most remarkable technical school, in which the&lt;br /&gt;
jewellery and precious stones industry is taught.&lt;br /&gt;
I was anxious our specialists should see this work;&lt;br /&gt;
but, alas ! on arriving in the town, we found the&lt;br /&gt;
School had just been burnt down ; but we were&lt;br /&gt;
enabled to see the apprentices, who attended the&lt;br /&gt;
school, in various workshops, and thus to gain&lt;br /&gt;
an insight into the real outcome of the work.&lt;br /&gt;
Later, in Prague, at the Exhibition, we saw a very&lt;br /&gt;
remarkable artistic exhibit of the school&amp;#039;s work.&lt;br /&gt;
This disaster of the fire gave us more time for&lt;br /&gt;
exploring the romantic country around Turnov.&lt;br /&gt;
The whole district is called the &ldquo;Bohemian Para-&lt;br /&gt;
dise,&rdquo; and it is the most delightful paradise I..have&lt;br /&gt;
ever visited, though more than once I have found&lt;br /&gt;
myself in paradise, in various parts of the world.&lt;br /&gt;
Our first glimpse of the strange weird beauty of&lt;br /&gt;
the neighbourhood was when we had climbed the&lt;br /&gt;
great Hill of Kopanina, and had the whole district&lt;br /&gt;
with its natural rock fortresses, and its robber&lt;br /&gt;
knight castles, and all the forest, and meadow, and&lt;br /&gt;
corn-land stretched beneath us. We soon had a&lt;br /&gt;
closer view of one of these fortresses, scooped out,&lt;br /&gt;
and into a castle, with chapel and rooms and watch&lt;br /&gt;
towers; a date on it was 1447, just the famous&lt;br /&gt;
period of Bohemia&amp;#039;s history. It was a wonderful&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 21 (#33) ##############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A Cr&ordm;ſ&amp;quot;FIOR.&lt;br /&gt;
21&lt;br /&gt;
walk amidst these great rocks, but I kept silence&lt;br /&gt;
amidst the exclamations, for I knew greater and&lt;br /&gt;
stranger wonders were to come.&lt;br /&gt;
At the little village below the old castle of&lt;br /&gt;
Vranov the schoolmaster came to welcome us; it was&lt;br /&gt;
noticeable everywhere that if the town or village had&lt;br /&gt;
no maire it was the schoolmaster who greeted us.&lt;br /&gt;
Often also his children were drawn up with flags&lt;br /&gt;
to welcome us, and to sing their national air,&lt;br /&gt;
&ldquo;Where is my home.&rdquo; The priest rarely took a&lt;br /&gt;
foremost position, although nearly all the inhabi-&lt;br /&gt;
tants are of the Roman Church. Dinners, lunches,&lt;br /&gt;
speeches, and impromptu welcomes met us every-&lt;br /&gt;
where. Very often these greetings were in English,&lt;br /&gt;
even from mayors of towns of a thousand or so&lt;br /&gt;
inhabitants.&lt;br /&gt;
The next two days were spent in this romantic&lt;br /&gt;
paradise, and at Rovensko the young maidens,&lt;br /&gt;
dressed in white, presented us with bouquets and&lt;br /&gt;
examples of the jewel stones found here, and then to&lt;br /&gt;
prove further that they were the &ldquo;angels&rdquo; of this&lt;br /&gt;
&ldquo;paradise&rdquo; a choir sang their folk songs, and an&lt;br /&gt;
excellent orchestra played Dvorak and Smetana.&lt;br /&gt;
On the stage of the hall in which the lunch was&lt;br /&gt;
served by those same young girls, were busts of&lt;br /&gt;
their national heroes, for the hall is the local&lt;br /&gt;
theatre. This gives a hint of their village and&lt;br /&gt;
small town life ; here the problem of the dullness&lt;br /&gt;
of village life has been solved by self-help and&lt;br /&gt;
culture.&lt;br /&gt;
We were under the shadow of the strange mighty&lt;br /&gt;
castle of Trosky, and up to its great ruin we&lt;br /&gt;
climbed&mdash;a double castle on two peaks linked by a&lt;br /&gt;
massive wall. As we descended from this height&lt;br /&gt;
along a romantic road our way was blocked by a&lt;br /&gt;
group of tiny children singing their songs and&lt;br /&gt;
bringing us roses. The schoolmaster in this remote&lt;br /&gt;
village was a most cultured man.&lt;br /&gt;
We drove on to the deep ravine, above which,&lt;br /&gt;
some 600 feet, gleams the castle of Gros Skal.&lt;br /&gt;
Up to this we climbed through a cleft in the&lt;br /&gt;
vast rock piers called the Mouse Hole, with space&lt;br /&gt;
for but one person at a time, and at the summit&lt;br /&gt;
lunch No. 2 awaited us. After this we went for a&lt;br /&gt;
delightful walk through the forest amidst the&lt;br /&gt;
&ldquo;Rock Town&amp;quot; to Waldstein, the seat of the great&lt;br /&gt;
Wallenstein family.&lt;br /&gt;
Of course I knew all this district, as I had&lt;br /&gt;
described it in my books on Bohemia, but it was&lt;br /&gt;
pleasant to go over the ground with fellow-country-&lt;br /&gt;
men who could understand, not only the natural&lt;br /&gt;
wonders, but the intellectual development of the&lt;br /&gt;
inhabitants, and their intense cultivation of the soil.&lt;br /&gt;
The former was most forcibly illustrated on the&lt;br /&gt;
following day at Jicin, the little town that suffered&lt;br /&gt;
terribly in the war of &amp;#039;66, where, in the Wallenstein&lt;br /&gt;
Palace, the Triple Alliance was signed in 1813.&lt;br /&gt;
Our reception in this little town of 10,000&lt;br /&gt;
inhabitants was marked by intellectual and artistic&lt;br /&gt;
phases, towards which some great cities might&lt;br /&gt;
strive. In the town hall the speeches of the&lt;br /&gt;
mayor and Corporation were in three languages&mdash;&lt;br /&gt;
English, French, and Czech. Many of the towns-&lt;br /&gt;
folk described to us in English the historic build-&lt;br /&gt;
ings of their home, and acted as guides in the wild&lt;br /&gt;
romantic labyrinth of the Prachov &ldquo;Rock Town.&rdquo;&lt;br /&gt;
that lies above the &amp;#039;66 battlefield of Jicin. We&lt;br /&gt;
returned to the town in the evening, and after a&lt;br /&gt;
choicely served dinner, we had a concert that was&lt;br /&gt;
indeed a delight. An orchestra, a men&amp;#039;s choir, and&lt;br /&gt;
a women&amp;#039;s choir gave examples of Slav music by&lt;br /&gt;
Dvorak, Bendl, Smetana. The rendering by&lt;br /&gt;
Orchestra and singers was full of fire and tender-&lt;br /&gt;
ness, tone and expression. We learnt that all the&lt;br /&gt;
performers were engaged in business or professions&lt;br /&gt;
in the town. Then came a greater surprise, a lady&lt;br /&gt;
soloist, a Miss Jarmila Wolfova, with a brilliant&lt;br /&gt;
voice ; she, too, was a citizeness of this little city.&lt;br /&gt;
The whole performance was equal to that of a&lt;br /&gt;
musical festival production, save that the choir&lt;br /&gt;
was less in numbers. .&lt;br /&gt;
The Bohemians believe in making everything&lt;br /&gt;
themselves, and so the next morning we found&lt;br /&gt;
luxurious motor cars, with Mr. Clement, their&lt;br /&gt;
maker, as leader, which ran us to other districts of&lt;br /&gt;
this paradise. Indeed, a month&amp;#039;s stay would not&lt;br /&gt;
exhaust its wonders. Running swiftly, touching&lt;br /&gt;
fifty miles an hour sometimes, we soon reached&lt;br /&gt;
near Kost, but we walked to it through a &ldquo;vale of&lt;br /&gt;
tears,&rdquo; but a lovely one, and had a superb first view&lt;br /&gt;
of Kost and its castle, the four corners of which&lt;br /&gt;
can be seen at once. Here Field-Marshal Won&lt;br /&gt;
Waldkampf and his son met us, and showed us the&lt;br /&gt;
wonders of the place and the beauty around it,&lt;br /&gt;
and in the evening we ran into Mlada-Boleslav or&lt;br /&gt;
Jungbunzlau. Here I stayed with &ldquo;Emil Treval,&rdquo;&lt;br /&gt;
the dramatic author, and again we had a delightful,&lt;br /&gt;
concert. When late at night we had retired to&lt;br /&gt;
rest, soft music from the choir beneath our windows,&lt;br /&gt;
told us of the artistic courtesy of a serenade.&lt;br /&gt;
But at 8 a.m. again the automobiles awaited us&lt;br /&gt;
for a run to Bela, or Weisswasser, and after a really&lt;br /&gt;
extraordinary reception in the tiny walled town,&lt;br /&gt;
we climbed old B&ouml;sig, 900 feet up, and spent&lt;br /&gt;
some hours in the grand old ruins and in the&lt;br /&gt;
chapel. The view from the great tower is perfect,&lt;br /&gt;
of forest, lakes, village and mountains ; but we had&lt;br /&gt;
to descend, and after a halt at the Countess of&lt;br /&gt;
Wallenstein&amp;#039;s castle, that was full of art treasures,&lt;br /&gt;
we took the train into Prague.&lt;br /&gt;
Now the official reception was given us in the&lt;br /&gt;
glorious old town hall by Dr. Gros, the learned&lt;br /&gt;
mayor, and we had our old friends, Dr. Maly, who&lt;br /&gt;
had so helped us in &ldquo;paradise,&rdquo; and Dr. Sum as&lt;br /&gt;
guides, with M. Borovsky as chief commander.&lt;br /&gt;
Well it was that he was autocratic, for our time was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 22 (#34) ##############################################&lt;br /&gt;
&lt;br /&gt;
22&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
packed with engagements. The Exhibition, which&lt;br /&gt;
to our specialists had great charms, was excellently&lt;br /&gt;
arranged, and work was lightened by music. One&lt;br /&gt;
concert by the Philharmonic Orchestra, led by the&lt;br /&gt;
famous Nikisch, was a most perfect concord of&lt;br /&gt;
sweet sounds. The Chamber of Commerce and&lt;br /&gt;
other committees took endless pains to help all to&lt;br /&gt;
their especial work, and there was much to see and&lt;br /&gt;
record. Personally, I found the technical Schools&lt;br /&gt;
a wonderful lesson to us in development, of inge-&lt;br /&gt;
nuity, and invention, but here each man and&lt;br /&gt;
woman wrote of his or her own special interests.&lt;br /&gt;
As international journalists we know naught of&lt;br /&gt;
dividing politics or religions, and therefore it was&lt;br /&gt;
a great satisfaction to receive an intimation that&lt;br /&gt;
the Viceroy of Bohemia, Count Coudenove, would&lt;br /&gt;
receive some of our members, and we found him&lt;br /&gt;
most cordial, and on my explaining the special&lt;br /&gt;
interests of some of them, he invited our engineer-&lt;br /&gt;
ing experts, Mr. D. A. Louis, of the Times and the&lt;br /&gt;
Engineer, Mr. Paul Hasluck, and others to accom-&lt;br /&gt;
pany him on an expedition on the Moldau and&lt;br /&gt;
Elbe, to see the great irrigation and flood organis-&lt;br /&gt;
ing works being carried out there. In a genial&lt;br /&gt;
fashion he lunched and dined them, and again&lt;br /&gt;
received us in the most friendly fashion upon our&lt;br /&gt;
calling to bid farewell on leaving Prague.&lt;br /&gt;
Another instance of our visit uniting all classes&lt;br /&gt;
and all races, occurred in our reception at Podie-&lt;br /&gt;
brad, the historic birthplace of King George. Here&lt;br /&gt;
I knew my old friends, Dr. Boucek and Dr. Jelen,&lt;br /&gt;
would secure us a warm welcome, and again we&lt;br /&gt;
were surprised at the intensity of the reception by&lt;br /&gt;
mayor and officials and the whole town. But at&lt;br /&gt;
the castle a further surprise awaited us, for we&lt;br /&gt;
found Prince Hohenlohe, the son of the famous&lt;br /&gt;
Chancellor, with the Princess, awaiting us in the&lt;br /&gt;
courtyard. The Prince had travelled all night&lt;br /&gt;
from the Kiel Regatta, only arriving at 3 a.m.,&lt;br /&gt;
and, with their Serene Highnesses as guides, we&lt;br /&gt;
passed through the halls of the castle and saw its&lt;br /&gt;
treasures, notably the portrait of the Chancellor,&lt;br /&gt;
whose memoirs aroused such excitement; we looked&lt;br /&gt;
out on the old execution terrace, now a parterre of&lt;br /&gt;
lovely flowers overlooking the Elbe, and then&lt;br /&gt;
passed out into the gardens, where, under the&lt;br /&gt;
shady trees, a delightful dejeuner was awaiting us.&lt;br /&gt;
I had the pleasure of thanking our hosts, and&lt;br /&gt;
of calling my British friends&amp;#039; attention to the fact&lt;br /&gt;
that we were in the birthplace of King George,&lt;br /&gt;
from whom nearly all the dynasties of Europe had&lt;br /&gt;
descended, including our own King and Queen.&lt;br /&gt;
After a cordial reply, Prince Hohenlohe drove us&lt;br /&gt;
to the new baths, which are most tastefully&lt;br /&gt;
equipped. Then the great glass works and other&lt;br /&gt;
industries claimed us. Afterwards came a genial&lt;br /&gt;
dinner, with hearty health-drinking, and, of course,&lt;br /&gt;
an excellent concert. Finally the whole population&lt;br /&gt;
hundred towers.&rdquo;&lt;br /&gt;
escorted us to the station, loading us with bouquets&lt;br /&gt;
and flowers and mementoes of Podiebrad.&lt;br /&gt;
In Prague, after this sortie, the two most&lt;br /&gt;
characteristic episodes were on the Sophie Island&lt;br /&gt;
and on the Petrin, or Strahov Hill, looking down&lt;br /&gt;
On the glorious city.&lt;br /&gt;
The Praguers are impetuous in their adoration of&lt;br /&gt;
Prague, and on the Sunday they led us out to the&lt;br /&gt;
remarkable Ethnographical Museum, that was a&lt;br /&gt;
delight and a lesson to us English, and still more&lt;br /&gt;
so to the Irish amongst us ; and from thence up&lt;br /&gt;
through the park and gardens to the Nebozitek.&lt;br /&gt;
restaurant, where, under the thick shade of the&lt;br /&gt;
trees, a lunch was laid. From this position we&lt;br /&gt;
looked out over the mighty city and the great&lt;br /&gt;
Cathedral, and all the palaces, and the Moldau, or&lt;br /&gt;
Ultava, flowing beneath the historic Carls Bridge.&lt;br /&gt;
It was an inspiring scene, that brought ready&lt;br /&gt;
words to my lips, when I had to reply to the toast&lt;br /&gt;
given by the Lord Mayor, of &ldquo;Golden Prague of a&lt;br /&gt;
If this scene was poetical and&lt;br /&gt;
dramatic, so also was that upon the Sophie Island,&lt;br /&gt;
when Prague outdid itself in artistic effect.&lt;br /&gt;
But space says halt. The expedition of British&lt;br /&gt;
journalists left Prague again to visit Carlstein, the&lt;br /&gt;
mighty jewelled castle, and Pilsen, where a repre-&lt;br /&gt;
sentation of &ldquo; King Lear&rdquo; in Czech proved M.&lt;br /&gt;
Bordil, who took the part of Lear, to be a great&lt;br /&gt;
actor ; and thence we journeyed home via Eger,&lt;br /&gt;
save those who availed themselves of the Danube&lt;br /&gt;
Steamship Company&rsquo;s offer to sail down the Danube&lt;br /&gt;
to Buda Pest, that historic stream that far excels&lt;br /&gt;
Rhine or Moselle in grandeur and beauty.&lt;br /&gt;
JAMES BAKER.&lt;br /&gt;
-&ordm;-&lt;br /&gt;
w -&ndash;w&ordm;-&lt;br /&gt;
*&lt;br /&gt;
w&lt;br /&gt;
INSPECTION LIBRARIES AND THE SALE&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
F over-crowding is the natural result of the&lt;br /&gt;
high state of civilisation we have reached&lt;br /&gt;
and a cause of complaint common to all&lt;br /&gt;
professions, there is probably none in which it&lt;br /&gt;
occurs in a more acute form than in that of letters.&lt;br /&gt;
The beginner is the chief, but perhaps not the&lt;br /&gt;
only, sufferer from this state of things. His&lt;br /&gt;
success or failure depends on circumstances which&lt;br /&gt;
are to a great extent beyond his control. He may&lt;br /&gt;
have a lively imagination and considerable dramatic&lt;br /&gt;
ability and yet be unable to work within the&lt;br /&gt;
narrow limits which many theatrical managers&lt;br /&gt;
prescribe ; he may be a man of high poetical&lt;br /&gt;
instinct and yet be told again and again when he&lt;br /&gt;
offers his works that poetry is a drug on the&lt;br /&gt;
market ; or he may even obtain a certain measure&lt;br /&gt;
of success in the shape of favourable reviews and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 23 (#35) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
23&lt;br /&gt;
yet fail to secure an adequate pecuniary reward for&lt;br /&gt;
his efforts. Like the soldier in Hans Andersen&amp;#039;s&lt;br /&gt;
fairy tale, the author has to deal with three kinds&lt;br /&gt;
of guardians before he can unlock the magic coffers :&lt;br /&gt;
the publishers, the critics, and the booksellers.&lt;br /&gt;
Criticism in general is fair, it is even generous,&lt;br /&gt;
perhaps too generous, and on that account it is&lt;br /&gt;
frequently misleading. As for the booksellers,&lt;br /&gt;
they may have eyes as big as towers and yet be&lt;br /&gt;
blind to the qualities of many excellent works. It&lt;br /&gt;
is not the intrinsic or literary, but the commercial,&lt;br /&gt;
value they will consider. The taste of the majority&lt;br /&gt;
is their criterion, a changing factor it may be, yet&lt;br /&gt;
always the dominant one. The booksellers cater&lt;br /&gt;
very little for minorities. There may be many&lt;br /&gt;
works which would respond to the needs of a&lt;br /&gt;
limited, but not unimportant though scattered,&lt;br /&gt;
portion of the public, and the sale of which would,&lt;br /&gt;
in course of time, fully justify their publica-&lt;br /&gt;
tion, provided that they could be made accessible&lt;br /&gt;
to these readers during a sufficiently long period.&lt;br /&gt;
But there is no room for them on booksellers&amp;#039;&lt;br /&gt;
shelves. If they happen to have found a place&lt;br /&gt;
there they are soon ousted by more recent ones,&lt;br /&gt;
which though perhaps far inferior to them, com-&lt;br /&gt;
mand for the moment the attention of the public.&lt;br /&gt;
The bookseller is not a free agent in this respect ;&lt;br /&gt;
he cannot afford to keep books which are not, so&lt;br /&gt;
to speak, in the eye of the public, and he naturally&lt;br /&gt;
selects for the many rather than for the few. It is&lt;br /&gt;
very much the same with the buyers for subscription&lt;br /&gt;
libraries, and in both cases the over-crowded state&lt;br /&gt;
of the market tends to make such a selection&lt;br /&gt;
imperfect. It is from this selection that the public&lt;br /&gt;
chooses. It does not make its own choice. The&lt;br /&gt;
volumes which are offered to it may be stamped&lt;br /&gt;
with the approbation of the publishers, the critics,&lt;br /&gt;
and the booksellers, but in a great many instances&lt;br /&gt;
it knows little or nothing of their contents. Is it&lt;br /&gt;
surprising that it refuses to buy books with the&lt;br /&gt;
titles of which alone it is acquainted 2 Publishers,&lt;br /&gt;
on the other hand, cannot produce Works that&lt;br /&gt;
booksellers would refuse to purchase, and that the&lt;br /&gt;
public would neglect from lack of knowledge of&lt;br /&gt;
their merits. But the taste of the majority of the&lt;br /&gt;
reading public does not perhaps reach the highest&lt;br /&gt;
standard of literary judgment, and the conditions&lt;br /&gt;
under which books are offered for sale favour in&lt;br /&gt;
some measure the temporary survival of the less&lt;br /&gt;
fit. In literature we find many exceptions to the&lt;br /&gt;
Darwinian law, and the ghosts of mammoths and&lt;br /&gt;
ichthyausauri, if they have a local habitation, may&lt;br /&gt;
rejoice together, for their fate is being avenged.&lt;br /&gt;
The natural remedy for the over-crowded state&lt;br /&gt;
of the book market would appear to lie in the&lt;br /&gt;
establishment of inspection libraries in combina-&lt;br /&gt;
tion with a bookselling department. The purposes&lt;br /&gt;
of such libraries may be briefly stated as follows:&ndash;&lt;br /&gt;
1. (a) To enable the reading public to inspect&lt;br /&gt;
briefly all works which might be sent to the library&lt;br /&gt;
for that purpose, and which would be carefully&lt;br /&gt;
classified and arranged. (b) To collect from authors&lt;br /&gt;
enjoying the privilege of exposing their works sums&lt;br /&gt;
varying from 1s. 6d. to 3s. per book per annum.&lt;br /&gt;
2. To prepare a comprehensive classified cata-&lt;br /&gt;
logue containing short descriptive notes of about&lt;br /&gt;
six to ten lines written by the authors for use in&lt;br /&gt;
the inspection library or any of its branches.&lt;br /&gt;
3. (a) To enable the authors to insert somewhat&lt;br /&gt;
similar notes in the books on the shelves, together&lt;br /&gt;
with one or two pages of extracts from press cut-&lt;br /&gt;
tings to be selected by them. (b) To post similar&lt;br /&gt;
notes printed on postcards, at the expense of the&lt;br /&gt;
authors, to anyone inquiring as to the nature of&lt;br /&gt;
any given work upon receipt of a $d. stamp.&lt;br /&gt;
4. To advertise the library in the daily papers&lt;br /&gt;
or otherwise from time to time, and to advertise&lt;br /&gt;
lists of the works contained in the library collec-&lt;br /&gt;
tively at the option and expense of the authors, so&lt;br /&gt;
as to reduce the cost of advertising to a minimum.&lt;br /&gt;
It is probable that ninety-nine out of every&lt;br /&gt;
hundred readers of books would get a much better&lt;br /&gt;
idea of the value and suitability of any work if&lt;br /&gt;
they could have it in their hands for ten or even&lt;br /&gt;
five minutes than they would from any number&lt;br /&gt;
of critical reviews, and in any case, the knowledge&lt;br /&gt;
so obtained would differ considerably from that&lt;br /&gt;
which is to be gleaned from the present sources&lt;br /&gt;
of information. Let us suppose then that a certain&lt;br /&gt;
number of authors were to subscribe sufficient&lt;br /&gt;
capital to rent a fair-sized house or building in&lt;br /&gt;
the neighbourhood of the British Museum, with&lt;br /&gt;
a frontage, if possible, on Oxford Street, and whilst&lt;br /&gt;
retaining the front part of it as a shop, were to&lt;br /&gt;
have the rest, or a large part of it, provided with&lt;br /&gt;
shelves for the reception of all the works of which&lt;br /&gt;
free copies might be obtained. If this plan were&lt;br /&gt;
carried out and were to meet, either in its present&lt;br /&gt;
or in any modified form, with a ready response&lt;br /&gt;
from authors and publishers, who would be alike&lt;br /&gt;
interested in the opening of a new channel for the&lt;br /&gt;
disposal of their stocks, it seems reasonable to&lt;br /&gt;
suppose that this collection of works would in a&lt;br /&gt;
short time become a most important one. That&lt;br /&gt;
being so, one may believe that any member of the&lt;br /&gt;
public in search of suitable literature for his pro-&lt;br /&gt;
fessional or personal requirements would, if in&lt;br /&gt;
London, hasten to the inspection library, where he&lt;br /&gt;
would probably find most of the more recent works&lt;br /&gt;
of his special branch carefully arranged. He&lt;br /&gt;
would then know that in making his choice he had&lt;br /&gt;
before him the best collection of books available&lt;br /&gt;
for his purpose ; for although he would find the&lt;br /&gt;
same works in the British Museum, he could not&lt;br /&gt;
procure them without a previous knowledge of&lt;br /&gt;
their titles, etc. It seems probable that many,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 24 (#36) ##############################################&lt;br /&gt;
&lt;br /&gt;
24&lt;br /&gt;
TRIES A UIT)SIOR,&lt;br /&gt;
perhaps the majority, of those inspecting the&lt;br /&gt;
works in the library would place their orders in&lt;br /&gt;
the bookselling department connected with it, and&lt;br /&gt;
that, without reckoning the income to be derived&lt;br /&gt;
from the subscriptions of authors on the books&lt;br /&gt;
they would expose a large part of the rent of the&lt;br /&gt;
premises would thus be earned. Whether any&lt;br /&gt;
portion of the building should be reserved for&lt;br /&gt;
refreshments, or as a reading room, would require&lt;br /&gt;
consideration. It would, however, be essential&lt;br /&gt;
that members of the public should feel themselves&lt;br /&gt;
perfectly free to leave the library without buying,&lt;br /&gt;
for this freedom, coupled with an enlarged supply,&lt;br /&gt;
constitute one of the chief causes of the success of&lt;br /&gt;
large shops. Like them, the inspection library&lt;br /&gt;
could offer the public the most varied collection&lt;br /&gt;
and the best arrangement of its stock. In the&lt;br /&gt;
long run these facilities would insure its prosperity,&lt;br /&gt;
and if the profits obtained exceeded a reasonable&lt;br /&gt;
return on the capital invested, a certain proportion&lt;br /&gt;
of them might be set aside in the first place to&lt;br /&gt;
establish branches, and subsequently to allow a&lt;br /&gt;
diminution of the fees charged to authors for&lt;br /&gt;
exposing their works. The establishment of&lt;br /&gt;
inspection libraries may therefore be said to be in&lt;br /&gt;
the interest of authors, because it would afford all&lt;br /&gt;
an equal opportunity of exposing their works and&lt;br /&gt;
of advertising them collectively at the cheapest&lt;br /&gt;
rates, of publishers because it would enable them&lt;br /&gt;
to get rid of their remainders, and of the public&lt;br /&gt;
because it would furnish it with unequalled&lt;br /&gt;
facilities for choosing and buying. But authors&lt;br /&gt;
are more interested in this matter than publishers&lt;br /&gt;
or the public, and whether they endeavour to bring&lt;br /&gt;
themselves more closely into touch with the latter,&lt;br /&gt;
by this or any other means, if such can be found,&lt;br /&gt;
it is common action on their part that is required.&lt;br /&gt;
D. L.&lt;br /&gt;
LITERATURE AND CRIME.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
(From the Nation, U.S.A., July, 1908.)&lt;br /&gt;
HE recent publication of M. Seghele&amp;#039;s book,&lt;br /&gt;
&ldquo;Litt&eacute;rature et Criminalit&eacute;,&rdquo; has reopened&lt;br /&gt;
in France the discussion of the relation of&lt;br /&gt;
crime to literature. The French have often singed&lt;br /&gt;
their wings in this flame. Every one feels that the&lt;br /&gt;
printed word may be a source of corruption ; is&lt;br /&gt;
certain that the public should assume Some&lt;br /&gt;
responsibility in checking the evil; but no one&lt;br /&gt;
has devised any practicable means of attack.&lt;br /&gt;
Official purity, it is generally agreed, is too often&lt;br /&gt;
official prudery which condemns the just and the&lt;br /&gt;
unjust alike. Fifty years ago Flaubert underwent&lt;br /&gt;
arraignment on the score of &ldquo;Madame Bovary.&rdquo;&lt;br /&gt;
His advocate, M. Senard, maintained that the&lt;br /&gt;
who fell dead beside her.&lt;br /&gt;
defendant was a man of severe and august&lt;br /&gt;
character, actuated by the highest artistic pur-&lt;br /&gt;
poses. Only the other day, when M. Georges&lt;br /&gt;
Lecomte was protesting before the Soci&eacute;t&eacute; des Gens&lt;br /&gt;
de Lettres against the indecency of contemporary&lt;br /&gt;
literature, he declared that, had he been present at&lt;br /&gt;
that celebrated trial, he would have done homage&lt;br /&gt;
not only to the conscience of the artist, but also to&lt;br /&gt;
the nobility of the book.&lt;br /&gt;
The type of literature which is most cried out&lt;br /&gt;
upon in this country is perhaps the least dangerous&lt;br /&gt;
&mdash;that dealing frankly with arson, highway robbery,&lt;br /&gt;
adultery, and murder. It may suggest the means,&lt;br /&gt;
but&mdash;excepting boy brigands, inspired by the penny&lt;br /&gt;
dreadful&mdash;seldom the motive of wrongdoing. It&lt;br /&gt;
takes root only in minds already fertile in evil&lt;br /&gt;
impulses. The letter accompanying the fatal gift&lt;br /&gt;
of poisoned ale in Philadelphia ironically requested&lt;br /&gt;
that the brew be recommended to the victim&amp;#039;s&lt;br /&gt;
family. There was in this something suggestive&lt;br /&gt;
of the cold-blooded facetiousness of the Borgias.&lt;br /&gt;
Life puzzles the observer with a specious mimicry&lt;br /&gt;
of literature. In New Rochelle an Italian trapped&lt;br /&gt;
his unfaithful wife. Drawing his stiletto, he ran&lt;br /&gt;
her through the neck and then stabbed the lover,&lt;br /&gt;
As if more completely&lt;br /&gt;
to mimic a scene in the theatre, innocent children&lt;br /&gt;
were playing in the adjoining room. Yet one&lt;br /&gt;
cannot think that this fruit-peddler&amp;#039;s mind had&lt;br /&gt;
been debauched by D&amp;#039;Annunzio&amp;#039;s &ldquo;Francesca da&lt;br /&gt;
Rimini.&rdquo; A more plausible case is that of the&lt;br /&gt;
young man who drank poison and died to waltz&lt;br /&gt;
music in a public theatre, after the fashion of the&lt;br /&gt;
heroes of Ford and Massinger. This instinct for&lt;br /&gt;
the dramatic among criminals appears rather to be&lt;br /&gt;
fed than stimulated by literature. M. Claretie&lt;br /&gt;
cites in the Temps the celebrated case of Charles&lt;br /&gt;
Iſemaire, who killed his prospective step-mother on&lt;br /&gt;
the eve of her marriage. Showing his hands red&lt;br /&gt;
with blood, he exclaimed in Shakespearean phrase,&lt;br /&gt;
&ldquo;Fine gloves for my father&amp;#039;s wedding . &amp;quot;&lt;br /&gt;
In so far as literature presents crime as crime, it&lt;br /&gt;
is comparatively innocuous; it becomes dangerous&lt;br /&gt;
when it presents crime as duty, as self-realisation,&lt;br /&gt;
as experience, or as asthetic gratification. In a&lt;br /&gt;
letter published in the Public of June 26, the&lt;br /&gt;
writer reviles the Chicago authorities for their&lt;br /&gt;
treatment of Emma Goldman. In her lectures at&lt;br /&gt;
Portland, Ore., he says. that excellent woman&lt;br /&gt;
spoke on the revolutionary spirit of modern&lt;br /&gt;
drama, &ldquo; dealing in a very sympathetic and in-&lt;br /&gt;
tellectual manner with Ibsen, Hauptmann, Shaw,&lt;br /&gt;
and Sudermann. You might as well send police&lt;br /&gt;
to the meetings of the trustees of the Chicago&lt;br /&gt;
University.&rdquo; The Chicago authorities, however,&lt;br /&gt;
recognised Emma Goldman as a perilous link&lt;br /&gt;
between these dramatists and the bomb-throwers.&lt;br /&gt;
They have become distrustful of the so-called&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 25 (#37) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
25&lt;br /&gt;
&ldquo;peaccable anarchy.&rdquo; They have learned that a&lt;br /&gt;
certain kind of literature begets dynamite, and they&lt;br /&gt;
are not ashamed of panic when a fanatic, educated&lt;br /&gt;
to a sense of his duty, rushes out bomb in hand,&lt;br /&gt;
burning for martyrdom.&lt;br /&gt;
The literature which exalts self-realisation as an&lt;br /&gt;
ultimate end is older than the German storm and&lt;br /&gt;
stress period, and as young as the latest novel of&lt;br /&gt;
the Jack London school. It appeals powerfully to&lt;br /&gt;
the masculine spirit endowed with a rich animal&lt;br /&gt;
nature. It furnishes a religion to the religiously&lt;br /&gt;
emancipated, and a sanction to the strong man&lt;br /&gt;
with vividly surviving instincts of the barbarian.&lt;br /&gt;
Under the guidance of the German madman whom&lt;br /&gt;
so many innocents have taken for a god, it would&lt;br /&gt;
bring back Nature red in tooth and claw. It&lt;br /&gt;
teaches&mdash;to use Tolstoy&amp;#039;s words in summarising&lt;br /&gt;
a philosophical work published a few years ago in&lt;br /&gt;
Chicago &mdash; that &ldquo;all laws, commandments, or&lt;br /&gt;
doctrines as to not doing to another what you&lt;br /&gt;
do not wish done to you, have no inherent&lt;br /&gt;
authority whatever, but receive authority from&lt;br /&gt;
the club, the gallows, and the sword. A man&lt;br /&gt;
truly free is under no obligation to obey any&lt;br /&gt;
injunction, human or divine.&rdquo; It is the creed&lt;br /&gt;
of the lions of the Renaissance, the creed of&lt;br /&gt;
Napoleon, the creed of red anarchy, and the&lt;br /&gt;
creed of many of the great business men of&lt;br /&gt;
America.&lt;br /&gt;
A somewhat different Criminal motive is that&lt;br /&gt;
furnished by the type of literature which presents&lt;br /&gt;
experience as an end in itself. The man whose&lt;br /&gt;
aim is self-realisation attempts to crush all else&lt;br /&gt;
into his own personality ; the man whose aim is&lt;br /&gt;
experience attempts to crush his personality into&lt;br /&gt;
all else. Not quality is desired, but variety, inten-&lt;br /&gt;
sity, and strangeness. The hero of experience&lt;br /&gt;
leads a fundamentally histrionic life ; his success&lt;br /&gt;
he measures by the number of r&ocirc;les he has played.&lt;br /&gt;
He lays his past aside like a garment. He gives&lt;br /&gt;
no pledges to the future. He lives in the present&lt;br /&gt;
noment, like the epicurean ; but, unlike Epicurus,&lt;br /&gt;
he delights as much in the sty as in the wreathed&lt;br /&gt;
roses. Sin and terror allure his imagination. He&lt;br /&gt;
is a vivisectionist, physical and spiritual, for the&lt;br /&gt;
quaint excitement of anguish. A good illustration&lt;br /&gt;
of this instinct in its most morbid form was fur-&lt;br /&gt;
nished by the instructor at Cambridge, Mass., who&lt;br /&gt;
two years ago gave his wife arsenic, hoping, since&lt;br /&gt;
he loved her, to see her soul depart from the body&lt;br /&gt;
in the moment of death. He had been preparing&lt;br /&gt;
a thesis on insanity in German literature.&lt;br /&gt;
The literature which makes asthetic gratification&lt;br /&gt;
the end of existence defeats its own end. Pursued&lt;br /&gt;
as an ultimate goal, it leads sooner or later into&lt;br /&gt;
quagmires. The aesthete wanders from home in&lt;br /&gt;
the quest of new and strange beauties. His truant&lt;br /&gt;
feet stray from the classic to the romantic, and&lt;br /&gt;
thence to the grotesque ; from the moral to the&lt;br /&gt;
unconventional, and thence to the illicit ; from the&lt;br /&gt;
sound to the unsound, and thence to the insane ;&lt;br /&gt;
from the chaste to the unchaste, and thence to the&lt;br /&gt;
indecent. Yet the price of illicit aesthetic pleasure&lt;br /&gt;
is the loss of all asthetic pleasure. The unhappy&lt;br /&gt;
man, as M. Lecomte says, who little by little allows&lt;br /&gt;
himself to be soiled with all that filth, becomes&lt;br /&gt;
finally insensible to a vigorous thought, an&lt;br /&gt;
expressive portrait, or the proud wing of poetry.&lt;br /&gt;
Dulled and stupefied by the contemplation of&lt;br /&gt;
obscene images, he is incapable of feeling true&lt;br /&gt;
beauty, of understanding, for example, the look and&lt;br /&gt;
smile of La Gioconda or the harmonious and living&lt;br /&gt;
majesty of the Victory of Samothrace.&lt;br /&gt;
4&mdash;Q- e.&lt;br /&gt;
CONTEMPORARY CRITICISMS.&mdash;VIII.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
REMARKS ON SHELLEY&amp;#039;s ADONAIS.&lt;br /&gt;
. . . The Della Crusca school has visited us&lt;br /&gt;
again, but with some slight change of localities.&lt;br /&gt;
Its verses now transpire from the retreats of&lt;br /&gt;
Cockney dalliance in the London suburbs, some-&lt;br /&gt;
times they visit us by fragments from Venice, and&lt;br /&gt;
Sometimes invade us by wainloads from Pisa. In&lt;br /&gt;
point of subject and treatment there is but slight&lt;br /&gt;
difference ; both schools are smitten with &ldquo;Nature,&lt;br /&gt;
and Nature&amp;#039;s love,&rdquo; run riot in the infrigues of&lt;br /&gt;
animonies, daisies, and buttercups, and rave to the&lt;br /&gt;
&ldquo;rivulet proud, and the deep blushing stars.&rdquo; . . .&lt;br /&gt;
We must do the defunct Della Crusca the justice&lt;br /&gt;
to say that they kept their private irregularities to&lt;br /&gt;
themselves, and sought for no reprobate popu-&lt;br /&gt;
larity. . . . They talked nonsense without measure,&lt;br /&gt;
were simple down to the lowest degree of silliness,&lt;br /&gt;
and &ldquo;babbled of green fields&amp;quot; enough to make&lt;br /&gt;
men sicken of summer, but they were not daring&lt;br /&gt;
enough to boast of impurity; there was no pestilent&lt;br /&gt;
hatred of everything generous, true, and honour-&lt;br /&gt;
able; no desperate licentiousness in their romance;&lt;br /&gt;
no daring and friendlike insult to feeling, moralities,&lt;br /&gt;
and Christian principle. They were foolish and&lt;br /&gt;
profligate, but did not deliver themselves with the&lt;br /&gt;
steady devotedness of an insensate and black&lt;br /&gt;
ambition to the ruin of society.&lt;br /&gt;
We have now to speak of Mr. P. B. Shelley and&lt;br /&gt;
poem. Here we must again revert to the Della&lt;br /&gt;
Crusca. One of the characteristics of those childish&lt;br /&gt;
persons was the restless interest which they sum-&lt;br /&gt;
moned the public to take in everything belonging&lt;br /&gt;
to their own triviality. If Mrs. Robinson&amp;#039;s dog had&lt;br /&gt;
a bad night&amp;#039;s repose it was duly announced to the&lt;br /&gt;
world. . . . All within their enchanted ring was&lt;br /&gt;
perfection . . . all beyond was delivered over to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 26 (#38) ##############################################&lt;br /&gt;
&lt;br /&gt;
26&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the empire of Dulness and Demogorgon. The&lt;br /&gt;
New School are here the humble imitators of those&lt;br /&gt;
original arbiters of human fame.&lt;br /&gt;
Mr. P. B. Shelley having been the person&lt;br /&gt;
appointed by the Pisan Triumvirate to canonise&lt;br /&gt;
the name of poor Keats, &ldquo;nipt in the bud,&rdquo; as he&lt;br /&gt;
loudly tells us, has produced an Elegy, in which he&lt;br /&gt;
weeps &ldquo;after the manner of Moschus for Bion.&rdquo;&lt;br /&gt;
Locke says that the most dissolute liar cannot lie&lt;br /&gt;
more than once in every three sentences. Folly is&lt;br /&gt;
more engrossing; for we could prove, from the&lt;br /&gt;
present Elegy, that it is possible to write two sen-&lt;br /&gt;
tences of pure nonsense out of every three. A&lt;br /&gt;
more faithful calculation would bring us to ninety-&lt;br /&gt;
nine out of every hundred, or, as the present Con-&lt;br /&gt;
sists of only fifty-five stanzas, leaving about five&lt;br /&gt;
readable lines in the entire. . . . Mr. Shelley and&lt;br /&gt;
his tribe have been panegyrised in their turn for&lt;br /&gt;
power of language, and the man of &ldquo;Tabletalk&rdquo;&lt;br /&gt;
swears by all the gods he owns that he has a great&lt;br /&gt;
command of words, to which the most eloquent&lt;br /&gt;
effusions of the Five Courts are occasionally inferior.&lt;br /&gt;
But any man may have the command of every word&lt;br /&gt;
in the vocabulary if he will fling them like pebbles&lt;br /&gt;
from a sack; and even in the most fortuitous&lt;br /&gt;
flinging they will sometimes fall in pleasing though&lt;br /&gt;
useless forms. This art of the modern Della Crusca&lt;br /&gt;
is thus to eject every epithet that he can con-&lt;br /&gt;
glomerate in his piracy through the lexicon, and&lt;br /&gt;
throw them out to settle as they will. He follows&lt;br /&gt;
his own rhymes, and shapes his subject to the close&lt;br /&gt;
of the measure. He is a glutton of all manner of&lt;br /&gt;
colours, and flowers, and smells, and tastes, and&lt;br /&gt;
crowds his verse with scarlet, and blue, and yellow,&lt;br /&gt;
and green ; extracts tears from everything, and&lt;br /&gt;
makes moss and mud hold regular conversations&lt;br /&gt;
with him. &ldquo;A goosepye talks,&rdquo; it does more, it&lt;br /&gt;
thinks, and has its peculiar sensibilities . . . it smiles&lt;br /&gt;
and weeps, raves to the stars, and is a listener to&lt;br /&gt;
the western wind, as fond as the author himself.&lt;br /&gt;
On these principles a hundred or a hundred&lt;br /&gt;
thousand verses might be made equal to the best&lt;br /&gt;
in Adonais without taking the pen off the paper.&lt;br /&gt;
Percy Bysshe has figured as a sentimentalist before,&lt;br /&gt;
and we can quote largely without putting him to&lt;br /&gt;
the blush by praise. What follows illustrates his&lt;br /&gt;
power over the language of passion. In the Cenci&lt;br /&gt;
Beatrice is condemned to die for parricide . . . a&lt;br /&gt;
situation that, in a true poet, might awaken a&lt;br /&gt;
noble succession of distressful thought. The&lt;br /&gt;
mingling of remorse, natural affection, woman&amp;#039;s&lt;br /&gt;
horror of murder, and alternate melancholy and&lt;br /&gt;
fear at the prospect of the grave, in Percy Bysshe&lt;br /&gt;
worked up only this frigid rant :&mdash;&lt;br /&gt;
&ldquo;How comes this hair undone 7&lt;br /&gt;
Its wandering strings must be what blinds me so,&lt;br /&gt;
And yet I tied it fast ! / i -&lt;br /&gt;
x - &amp;gt;k &times; $ x - 2 . ; .&lt;br /&gt;
The sunshine on the floor is black / The air&lt;br /&gt;
Is changed to vapours, such as the dead breathe&lt;br /&gt;
In charnel pits Poh I am choaked There creeps&lt;br /&gt;
A clinging black, contaminating mist,&lt;br /&gt;
About me&mdash;&amp;#039;tis substantial heavy, thick.&lt;br /&gt;
I cannot pluck it from me, for it glues&lt;br /&gt;
My fingers and my limbs to one another,&lt;br /&gt;
And eats into my Sinews, and dissolves&lt;br /&gt;
My flesh to a pollution,&rdquo; etc., etc.&lt;br /&gt;
So much for the history of &ldquo;Glue,&rdquo; and so much&lt;br /&gt;
easier it is to rake together the vulgar vocabulary&lt;br /&gt;
of rottenness and reptilism than to paint the work-&lt;br /&gt;
ings of the mind. This raving is such as perhaps&lt;br /&gt;
no excess of madness ever raved, except in the&lt;br /&gt;
imagination of a Cockney, determined to be as mad&lt;br /&gt;
as possible and opulent in his recollections of the&lt;br /&gt;
shambles. . . . And it is to this dreary non-&lt;br /&gt;
sense that is to be attached the name of poetry&lt;br /&gt;
Yet on this passage the whole lauding of his fellow-&lt;br /&gt;
Cockneys has been lavished. But Percy Bysshe&lt;br /&gt;
feels his hopelessness of poetic reputation, and&lt;br /&gt;
therefore lifts himself on the stilts of blasphemy.&lt;br /&gt;
He is the Only verseman of the day who has dared&lt;br /&gt;
in a Christian country to work out for himself the&lt;br /&gt;
character of direct Atheism In his present poem&lt;br /&gt;
(Adonais) he talks with impious folly of &ldquo;the&lt;br /&gt;
envious wrath of man or God l&rsquo;&rdquo;. Of a&lt;br /&gt;
&ldquo;Branded and ensanguined brow,&lt;br /&gt;
Which was like Cain&amp;#039;s, or CHRIST&rsquo;s.&rdquo;&lt;br /&gt;
Offences like these naturally come before a more&lt;br /&gt;
effective tribunal than that of criticism. We have&lt;br /&gt;
heard it mentioned as the only apology for the&lt;br /&gt;
predominant irreligion and nonsense of this person&amp;#039;s&lt;br /&gt;
works, that his understanding is unsettled. But&lt;br /&gt;
in his preface there is none of the exuberance of&lt;br /&gt;
insanity; there is a great deal of folly and a&lt;br /&gt;
great deal of bitterness, but nothing of the wilder-&lt;br /&gt;
ness of his poetic fustian. The Bombastes Furioso&lt;br /&gt;
of these stanzas cools into sneering in the preface ;&lt;br /&gt;
and his language against the death-dealing Quarterly&lt;br /&gt;
Review, which has made such havoc in the empire.&lt;br /&gt;
of Cockaigne, is merely malignant, mean, and&lt;br /&gt;
peewishly personal. . . . - -&lt;br /&gt;
The seasons and a whole hosts of personages, ideal&lt;br /&gt;
and otherwise, come to lament over Adonais. They&lt;br /&gt;
act in the following manner:&mdash;&lt;br /&gt;
&ldquo;Grief made the young Spring wild, and she threw down&lt;br /&gt;
Her kindling buds. . . .&lt;br /&gt;
To Phoebus was not Hyacinth so dear,&lt;br /&gt;
Nor to himself Narcissus, as to both,&lt;br /&gt;
Thou, Adonais; wan they stand, and sere,&lt;br /&gt;
Amid the drooping comrades of their youth,&lt;br /&gt;
With dew all turned to tears, odour to sighing ruth.&rdquo;&lt;br /&gt;
Death makes, as becomes him, a great figure in&lt;br /&gt;
this &ldquo;Lament,&rdquo; but in rather curious operations.&lt;br /&gt;
He is alternately a person, a thing, nothing, etc.&lt;br /&gt;
He is &ldquo;The coming bulk of Death,&rdquo; then&lt;br /&gt;
&ldquo;Death feeds on the mute voice.&rdquo;&lt;br /&gt;
&ldquo;Kingly Death keeps his pale court.&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 27 (#39) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UTFIOR. 27&lt;br /&gt;
&ldquo;The shadow of white Death.&rdquo;&lt;br /&gt;
&ldquo;Death blushed to annihilation / &amp;quot; .&lt;br /&gt;
. . . this wild waste of words is entirely beyond&lt;br /&gt;
our comprehension.&lt;br /&gt;
Adonais has been published by the author in&lt;br /&gt;
Italy, the fitting soil for the poem, sent over to his&lt;br /&gt;
honoured correspondents throughout the realm of&lt;br /&gt;
Cockaigne, with a delightful mysteriousness worthy&lt;br /&gt;
of the dignity of the subject and the writer.&lt;br /&gt;
(Weekly Entertainer, 1822.)&lt;br /&gt;
a &ndash; A-&lt;br /&gt;
v-u-&lt;br /&gt;
FRENCH NoveLISTS OF T0-DAY.&amp;quot;&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
-- BOOK on French novelists of the present&lt;br /&gt;
day should appeal alike to those who know&lt;br /&gt;
their works and to those who do not.&lt;br /&gt;
The former Jook for appreciative criticism, the&lt;br /&gt;
latter desire a stimulus to study.&lt;br /&gt;
To a limited extent these demands have been&lt;br /&gt;
fulfilled. Yet, on laying down the book it is&lt;br /&gt;
doubtful if either class will be much enlightened&lt;br /&gt;
as to the wonderful charm and delicacy of French&lt;br /&gt;
authors, or enriched by fresh insight into the&lt;br /&gt;
characters of men whose thoughts are not naturally&lt;br /&gt;
in touch with English minds.&lt;br /&gt;
M. Anatole France has fared best. He stands&lt;br /&gt;
before us as a living man, not a lay figure. His&lt;br /&gt;
work is summed up concisely, the extracts are well&lt;br /&gt;
chosen, and in the minds of those who have not&lt;br /&gt;
read his novels will excite interest and a desire for&lt;br /&gt;
more. It is unfortunate that authors such as&lt;br /&gt;
Bourget and Loti are not treated in the same&lt;br /&gt;
manner, and that so much space has been lavished&lt;br /&gt;
on Pierre de Coulevain of secondary rank.&lt;br /&gt;
The writer seems to be more in sympathy with&lt;br /&gt;
this quasi Frenchwoman, whilst acknowledging&lt;br /&gt;
that her books have hardly the vogue in France&lt;br /&gt;
that they enjoy elsewhere. After forty pages&lt;br /&gt;
devoted to setting forth the merits of her some-&lt;br /&gt;
what disjointed writings, it is disappointing&lt;br /&gt;
to find Loti disposed of in twenty, which deal&lt;br /&gt;
chiefly with his egoism and weakness. Some asser-&lt;br /&gt;
tions at the very end might lead the reader to send&lt;br /&gt;
for a copy of &ldquo;P&eacute;cheurs d&rsquo;Islande,&rdquo; but raise a&lt;br /&gt;
doubt whether his other masterpiece &ldquo;Mon Fr&egrave;re&lt;br /&gt;
Yves,&rdquo; were worth the trouble of perusing. A few&lt;br /&gt;
extracts from these books would give a far clearer&lt;br /&gt;
idea of their power and mysterious charm than the&lt;br /&gt;
attempt to explain his conception of the Ocean.&lt;br /&gt;
Both Loti and Bourget are placed before us in&lt;br /&gt;
a repellent light, and the commendation of their&lt;br /&gt;
* &ldquo;French Novelists of To-day,&rdquo; by Winifred Stephens.&lt;br /&gt;
Published by John Lane. 6s. met.&lt;br /&gt;
books is not convincing. The touch which makes&lt;br /&gt;
one realise their great charm is lacking.&lt;br /&gt;
Again, the description of Barr&egrave;s&amp;#039;s books leaves&lt;br /&gt;
us with an impression first, that his early work&lt;br /&gt;
is full of childish egoism, and his later writings&lt;br /&gt;
spoilt by the intrusion of politics; and secondly,&lt;br /&gt;
that this from an artistic point of view is&lt;br /&gt;
detrimental and tends to narrow the interest.&lt;br /&gt;
Surely this is not the impression the author&lt;br /&gt;
intended to convey. If it is true, then, it seems a&lt;br /&gt;
mistake to select him as a typical French writer&lt;br /&gt;
when others with better claims have been passed&lt;br /&gt;
OWer. -&lt;br /&gt;
It is also open to question why Rod, a Swiss,&lt;br /&gt;
many of whose books deal with his native land,&lt;br /&gt;
should have so much space allotted to him. It is&lt;br /&gt;
true he writes in French, but we are not convinced&lt;br /&gt;
by this book at any rate&mdash;that he represents a&lt;br /&gt;
phase of French thought.&lt;br /&gt;
Even his own avowal &ldquo;Paris demeure ma ville&lt;br /&gt;
d&amp;#039;&eacute;lection &rdquo; does not strike us so forcibly as the&lt;br /&gt;
fact that he was born a Swiss and began life as a&lt;br /&gt;
Calvinist. Parisian he certainly is not, though he&lt;br /&gt;
may have tried loyally to assimilate the atmosphere.&lt;br /&gt;
To sum up, this book shows insight and a certain&lt;br /&gt;
adroitness in cataloguing and describing the con-&lt;br /&gt;
tents of the works in question. For purposes of&lt;br /&gt;
reference it will be found most useful, but in other&lt;br /&gt;
respects it falls short of the demands made on it.&lt;br /&gt;
Towards the end it is full of vague generalities&lt;br /&gt;
and stock phrases which neither do justice to the&lt;br /&gt;
Works under discussion nor arouse a desire to read&lt;br /&gt;
them and judge independently.&lt;br /&gt;
As if the writer had wearied of the task, the&lt;br /&gt;
criticism becomes tame and lacks suggestiveness.&lt;br /&gt;
The result is unsatisfactory both to those who are&lt;br /&gt;
conversant with French literature and to those who&lt;br /&gt;
seek for guidance.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&mdash;&ordm;-&ordm;-&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
SIR,--I quite agree with Mr. W. G. Scoon that&lt;br /&gt;
five shillings a year is a reasonable sum for every&lt;br /&gt;
member to pay towards the Pension Fund, and&lt;br /&gt;
should be made compulsory, except in cases where&lt;br /&gt;
actual poverty exists, and these would be very few&lt;br /&gt;
in number. I mentioned a shilling in my first&lt;br /&gt;
letter because the payment was compulsory, but I&lt;br /&gt;
also added I hoped a great many members would&lt;br /&gt;
give far more.&lt;br /&gt;
According to the list published by you in The&lt;br /&gt;
Author only 180 members give subscriptions and&lt;br /&gt;
donations. Mr. Scoon&amp;#039;s estimate is that we have&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 28 (#40) ##############################################&lt;br /&gt;
&lt;br /&gt;
28&lt;br /&gt;
THE A tra&ordm;rror.&lt;br /&gt;
2,000 members, therefore 1,720 give nothing. This&lt;br /&gt;
cannot be as it should be. We are nothing if not&lt;br /&gt;
a brotherhood, and why should we, to use Sir&lt;br /&gt;
Walter Besant&amp;#039;s words, pass round the hat to&lt;br /&gt;
outsiders when we are capable of helping ourselves.&lt;br /&gt;
I cannot see, however, why a reserve fund of more&lt;br /&gt;
than &pound;5,000 should be required. Supposing the roll&lt;br /&gt;
of members to be kept up, &pound;500 a year would be&lt;br /&gt;
available for distribution (when once the reserve&lt;br /&gt;
of &pound;5,000 had been reached) out of members&rsquo;&lt;br /&gt;
subscriptions&mdash;surely a more than ample sum for&lt;br /&gt;
the needs of those members whose incomes are&lt;br /&gt;
very small. Might it not be possible eventually&lt;br /&gt;
to extend help in cases of great distress through&lt;br /&gt;
Sudden accident, or disease that must soon end&lt;br /&gt;
fatally, if it were the husband who was stricken&lt;br /&gt;
down; even though he should not have attained&lt;br /&gt;
the age of sixty 2 Should the number of members&lt;br /&gt;
fall off, the number of those needing pensions&lt;br /&gt;
would be reduced in direct proportion. I suppose&lt;br /&gt;
no actuary would give the average of life after&lt;br /&gt;
the age of sixty as more than fifteen years, there-&lt;br /&gt;
fore, as time goes on there will always be pensions&lt;br /&gt;
falling in to increase the sum of &pound;500 a year, the&lt;br /&gt;
interest of the existing &pound;5,000&mdash;another &pound;150 at&lt;br /&gt;
least. Mr. Scoon advocates a pension of &pound;25&lt;br /&gt;
a year. Could he not extend it to &pound;26, ten&lt;br /&gt;
shillings a week, so as to place an unfortunate&lt;br /&gt;
author on a level with Giles and Hodge, should&lt;br /&gt;
the Old Age Bill pass 2 Could anyone desire&lt;br /&gt;
more ?&lt;br /&gt;
AUGUSTA HARCOURT ROE.&lt;br /&gt;
&ldquo; C. K. S.&rdquo;&lt;br /&gt;
SIR,-&ldquo;C. K. S.&rsquo; &rdquo; views on literary ethics as&lt;br /&gt;
announced to the world in the case of Humphreys&lt;br /&gt;
v. Thomson will not be endorsed by many of the&lt;br /&gt;
society, who will probably be more inclined to&lt;br /&gt;
adopt the views of the judge and jury, that literary&lt;br /&gt;
work should not be at the mercy of re-hash at&lt;br /&gt;
the hands of irresponsible editors. And now&lt;br /&gt;
that the case is not to proceed further it is&lt;br /&gt;
permitted for one to say so.&lt;br /&gt;
But the many lowers of Fitzgerald must have&lt;br /&gt;
squirmed at so hideous a misquotation as fell from&lt;br /&gt;
the lips of the great litt&eacute;rateur during the progress&lt;br /&gt;
of the case, unless the reporters have maligned&lt;br /&gt;
him ; and now that it has again appeared in your&lt;br /&gt;
columns it should be gibbetted without mercy.&lt;br /&gt;
&ldquo;Ah, take the cash in hand, and let the credit&lt;br /&gt;
go,&rdquo; &ldquo;C. K. S.&rdquo; was reported to have said, which&lt;br /&gt;
does not so correctly interpret his attitude towards&lt;br /&gt;
literary work as what Fitzgerald really wrote:&lt;br /&gt;
&ldquo;Ah, take the cash in hand, and waive the rest,&rdquo;&lt;br /&gt;
and does not give the same awful shock to all&lt;br /&gt;
lovers of&lt;br /&gt;
OMAR.&lt;br /&gt;
WANTED, AN AUTHORs&amp;#039; CLUB.&lt;br /&gt;
SIR,-As a member for some years of the&lt;br /&gt;
existing Authors&rsquo; Club, I quite agree with &ldquo;John&lt;br /&gt;
Bickerdyke&rsquo;&rsquo; that it is highly desirable that such&lt;br /&gt;
an institution&mdash;in many ways unique&mdash;should not&lt;br /&gt;
be allowed to disperse. -&lt;br /&gt;
In the establishment at the present moment of&lt;br /&gt;
another club on the lines&mdash;modest though they be&lt;br /&gt;
&mdash;sketched out in the current month&amp;#039;s Author by&lt;br /&gt;
&ldquo;John Bickerdyke,&rdquo; I see great difficulties in the&lt;br /&gt;
way of preliminary organisation. ~ -&lt;br /&gt;
I regret that circumstances prevented my&lt;br /&gt;
attendance at the extraordinary general meeting&lt;br /&gt;
of the club recently held, or I might have made&lt;br /&gt;
a certain proposal.&lt;br /&gt;
I am, however, in a position to state that an&lt;br /&gt;
established West End club would be willing to place&lt;br /&gt;
the advantages named below at the disposal of the&lt;br /&gt;
present members of the Authors&rsquo; Club at terms&lt;br /&gt;
more advantageous than those mentioned by&lt;br /&gt;
&ldquo;John Bickerdyke.&rdquo;&lt;br /&gt;
These would include, in addition, of course, to&lt;br /&gt;
the entire use of the club as members, facilities&lt;br /&gt;
for Occasional meetings of the Authors&rsquo; Club&lt;br /&gt;
members in one of the rooms of the club.&lt;br /&gt;
The subscription would, in no case, exceed&lt;br /&gt;
&pound;2 2s. per annum, without entrance fee.&lt;br /&gt;
If any members of the Authors&rsquo; Club care to&lt;br /&gt;
Communicate with me direct at address below I&lt;br /&gt;
will at once place them in communication with&lt;br /&gt;
the proper authorities, who would no doubt consent&lt;br /&gt;
to a general meeting being held on the premises to&lt;br /&gt;
formulate any decisions that might be thought&lt;br /&gt;
advisable.&lt;br /&gt;
Yours truly,&lt;br /&gt;
J. WARRINER, Mus.D.&lt;br /&gt;
de Crespigny Lodge,&lt;br /&gt;
Denmark Hill, S.E.&lt;br /&gt;
TRANSLATION WORK.&lt;br /&gt;
SIR,-May I request a few lines of your space&lt;br /&gt;
in order to warn authors against the dangers&lt;br /&gt;
attendant on undertaking translation work at&lt;br /&gt;
the request of publishers, unless payment in cash&lt;br /&gt;
forms part of the consideration. Payment by&lt;br /&gt;
royalties is full of dangers and pitfalls. You are&lt;br /&gt;
already aware of my own bitter experience, which&lt;br /&gt;
I will gladly make known to any author who may&lt;br /&gt;
be in need of guidance or advice. -&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
- F. THOROLD DICKSON,&lt;br /&gt;
Barrister-at-law.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 28 (#41) ##############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
&ldquo;TWO IN THE DARK.&amp;quot;&lt;br /&gt;
By GEORGE G. MAGNUS.&lt;br /&gt;
THIRD EDITION.&lt;br /&gt;
&ldquo;Not far behind the &lsquo;Dolly Dialogues.&rsquo; &rdquo;&mdash;Outlook.&lt;br /&gt;
&ldquo;Wholly charming. . . . Genuinely humorous without being either&lt;br /&gt;
mawkish or overdone. The episodes are natural, the conversations&lt;br /&gt;
witty, and the conclusion all that could be desired.&rdquo;&mdash;Glasgow Herald.&lt;br /&gt;
&ldquo;It has much of the airy humour and real craftsmanship of the&lt;br /&gt;
* Dolly Dialogues.&rsquo;&rdquo;&mdash;Birmingham. Post.&lt;br /&gt;
&ldquo;A welcome change to the heavy wares of most modern fiction&lt;br /&gt;
mongers. A pretty humour pervades every page, and the most every-&lt;br /&gt;
day incidents in the lives of two budding litterateurs (male and female,&lt;br /&gt;
of course), keep effervescing into the most delightful situations in a&lt;br /&gt;
Way which will act as a tonic to the blas&eacute;,&rdquo;&mdash;Scotsmam.&lt;br /&gt;
At all principal Bookstalls, 1|- net.&lt;br /&gt;
MRS. GILL, Typewriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
SIRES and SIFKES,&lt;br /&gt;
The West Kensington Typewriting Offices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.,&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating; Plays and Actors&amp;#039; Parts ;&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. Usual Terms. Refere mees.&lt;br /&gt;
Bradbury), Agil&lt;br /&gt;
VOLUMIES OF THE&lt;br /&gt;
MINIATURE REFERENCE LIBRARY&lt;br /&gt;
specialinterestic Huibors&lt;br /&gt;
1| - each met. Mondſ.&lt;br /&gt;
Dictionary of Literary Terms.-By PERCIVAL&lt;br /&gt;
VIVIAN. 1,100 Terms and Phrases, from Abece-&lt;br /&gt;
darian Hymn to Yellow Journalism and Zeugma.&lt;br /&gt;
Dictionary of English Literature.-By M.&lt;br /&gt;
McCROBEN. Biographical and Bibliographical.&lt;br /&gt;
In Praise of Books:&lt;br /&gt;
Book-Lovers.&lt;br /&gt;
Who&amp;#039;s Who in Fiction.&mdash;By H. SWAN.&lt;br /&gt;
Noted Names (about 6,500) in Novels, Tales, Poetry,&lt;br /&gt;
and Drama.&lt;br /&gt;
Dictionary of English Synonyms.-By J. H.&lt;br /&gt;
EARQUHARSON.&lt;br /&gt;
Five Th&ordm;usand Words Frequently Misspelt.&lt;br /&gt;
y&lt;br /&gt;
an Encheir&iacute;dion for&lt;br /&gt;
W. S. W. ANSON.&lt;br /&gt;
Complete List of the 41 Volumes now ready (post free),&lt;br /&gt;
including Dictionaries of English and Foreign Languages&lt;br /&gt;
and Quotations, Nicknames and Pseudonyms, Biography,&lt;br /&gt;
Shakespeareana, The Bible, Mottoes, Mythology, Saints,&lt;br /&gt;
Art, Debating, etc., etc.&lt;br /&gt;
GEORGE ROUTLEDGE &amp;amp; SONS, LTD.,&lt;br /&gt;
68 = 724, Carter Lane, E. C.&lt;br /&gt;
&amp;#039;9 &amp;amp; CO. &pound;d.&lt;br /&gt;
The Whitefriars Press,&lt;br /&gt;
LONDON &amp;amp; TONBRIDGE,&lt;br /&gt;
Having largely increased their PRINTING and BOOKBINDING PLANT&lt;br /&gt;
(which is now one of the most complete in the British Isles), are prepared&lt;br /&gt;
to undertake, at short notice, the production of&lt;br /&gt;
Works of Fiction, Legal and Medical Text Books,&lt;br /&gt;
High-class Magazines, Newspapers, etc.&lt;br /&gt;
IE STRIM (ATES FREE.&lt;br /&gt;
An IIIustrated Booklet descriptive of the Country Branch of the&lt;br /&gt;
Firm sent on receipt of a Post Card.&lt;br /&gt;
Telegrams: Charivari, London ; Charivari, Tonbridge.&lt;br /&gt;
Telephones: 28 Holborn ; 19 Tonbridge; 910S Central.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 28 (#42) ##############################################&lt;br /&gt;
&lt;br /&gt;
iv AD VERTISEMENTS.&lt;br /&gt;
s &ordm; * - - &lsquo;. . * * * -&ordm;&lt;br /&gt;
&ordm; &ordm;: &bull; * - F&ordm;&ordm;. - s&ordm; f&ordm; .&lt;br /&gt;
A. - : . . . . &ordm; s&amp;#039; e : b.&lt;br /&gt;
&ordm; &ordm; * &ldquo;: &ordm;, f : . . &amp;quot; - .&lt;br /&gt;
* : *&ccedil; iss * ... &amp;quot; &ordm; * , &ordm; - d&lt;br /&gt;
[. sy &amp;quot; * T&ordm; R &amp;lt; -- &deg;,&lt;br /&gt;
&ordm; &sect; &ordm; * ... Ts. ... . . E - ---&lt;br /&gt;
&ordm; # *. &ordm; &ordm;r . . &amp;quot; d&lt;br /&gt;
ſ&ordm; * * * * *_ - &sect; ---&lt;br /&gt;
, STRAND, LONDON, W.C.&lt;br /&gt;
IS PLACING, AT HIGHEST PRICES,&lt;br /&gt;
NOVELS, SHORT STORIES, ARTICLES AND POEMS,&lt;br /&gt;
FoR AUTHORS RESIDING IN EVERY PART OF THE GLOBE.&lt;br /&gt;
When an Editor requires a M.S. of a special description, he knows that by Writing or &amp;#039;phoning to the C. L. A.&lt;br /&gt;
(1648 Gerrard) he can ensure getting it within two days. In this way we were able to sell several stories to the&lt;br /&gt;
Red Magazine before the first number was published. -&lt;br /&gt;
By submitting only carefully selected work (unsuitable work is returned by us at once) we can guarantee&lt;br /&gt;
that our clients&rsquo; MISS. are READ. Editors frequently accept an MS. from us which they have previously returned&lt;br /&gt;
when submitted by the author himself.&lt;br /&gt;
Many well-known Editors are clients of this Agency&mdash;a fact that speaks for itself.&lt;br /&gt;
Our New York Representative is D. PRIESTMAN.&lt;br /&gt;
s Among the English Periodicals accepting MSS. from us may be mentioned :-The Graphic, Red Magazine, Fry&rsquo;s&lt;br /&gt;
Magazine, The Field, Evening Standard, Quiver, Cassell&amp;#039;s Magazine, Evening News, Ladies&amp;#039; Field, Bailey&amp;#039;s Magazine,&lt;br /&gt;
Tillotson&amp;#039;s Publications, The Car, The Omlooker, Pictorial Comedy, London Opinion, Westminster Review, Pictorial&lt;br /&gt;
Magazine, Chums, Yow and I, Free Lance, Christian Herald, Ideas, Ally Sloper, Cassell&rsquo;s Newspaper Press, The&lt;br /&gt;
Nation, The Strand Magazine, London Magazine, The Idler, The Sketch, English Illustrated Magazine, Christian&lt;br /&gt;
World, County Gentleman and Land and Water, Grand Magazine, Home Chat, Lady&amp;#039;s Companion, Wide World&lt;br /&gt;
Magazine, Weekly Dispatch, The Royal, Sketchy Bits, Lady&amp;#039;s Realm, Boy&amp;#039;s Own Paper, Good Words, Penny&lt;br /&gt;
Magazine, Amswers, Madame, Daily Mirror, Novel Magazine, Pearson&amp;#039;s Weekly, The Tatler, Daily Mail, Windsor&lt;br /&gt;
Magazine, Fortnightly Review, Motoring Illustrated, Pearson&amp;#039;s Magazine, Girl&rsquo;s Realm, Home Notes, Red Letter,&lt;br /&gt;
I/lustrated Sporting and Dramatic News, The Young Man, Family Herald, Great Thoughts, Our Home, Country Life,&lt;br /&gt;
Manvchester Everving Chronicle, The Regiment, Nimeteenth Century and After, The Throne, Macmillan&amp;#039;s Magazine,&lt;br /&gt;
Investor&amp;#039;s Chronicle, The Month, The World, The Bystander, The Captain, Pall Mall Magazine, Home Counties&lt;br /&gt;
Magazine, Vanity Fair, Naturalist&amp;#039;s Quarterly Review, Woman, Hearth and Home, Home Words, Weekly Telegraph,&lt;br /&gt;
Tit-Bits, Puck, People&amp;#039;s Friend, Weekly Welcome, World&amp;#039;s Work, New London Journal, John Bull, Black and White,&lt;br /&gt;
Daily Ea:press, Brett&amp;#039;s Publications, Lady&rsquo;s Pictorial, Fore&amp;#039;s Sporting Sketches, etc., etc., etc. -&lt;br /&gt;
MSS. submitted by GEORGE G. MAGNUS&mdash;&ldquo;An expert in knowledge of the&lt;br /&gt;
Literary Market.&rdquo;&lt;br /&gt;
WRITE FOR TERMS AND UNIQUE TESTIMONIALS.&lt;br /&gt;
ESTABLISHED] The Athenaeztyn. Press, Taztzztozz, - [XVIII. CENT.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&amp;#039; TYPEWRITING. &ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
Novel and Story Work ... 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying t&ordm; t&ordm; ... 1 - 33 33 ,, . 1/3 SCALE FOI&amp;amp; 4 D VERTIS EMENT&amp;#039;S.&lt;br /&gt;
Plays, ruled (a speciality) ... 1: &amp;quot; ... .&amp;quot; &amp;quot; &amp;quot;* | [ALLowANCE to MEMBERs of THE sociFTY 20 PER CENT)&lt;br /&gt;
Specimens and Price List on application. * - Front Page - - 34 0 0&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage, other Pages . . . . . . . . * 1: .&lt;br /&gt;
Half of a Page ... t&ordm; g&ordm; &egrave; t&ordm; t&ordm; &ordm; * t&ordm; 4 s&ordm; e &isin; t&ordm; e ſ&ordm; t&ordm; &ordm; &ordm;&lt;br /&gt;
sutton, MACCLESFIELD. Quarter of a Page t&ordm; e &amp;amp; is &sect; 9 &amp;amp; &copy; t&ordm; t&ordm; e e t&ordm; ſ&ordm; &ordm; ..., 0 15 0&lt;br /&gt;
Eighth of a Page a w t&ordm; t&ordm; e g &euml; t&ordm; 9 t&ordm; &euro; $ e t&ordm; a ... . . ; 9 7, 9&lt;br /&gt;
TY PEWRITING OFFICES. Single Column Advertisements ... &amp;amp; &copy; t&ordm; t&ordm; e 8 per inch 0 ; &sect;&lt;br /&gt;
(Established 1897.) Bills for Insertion t&ordm; &ordm; t&ordm; t&ordm; &ordm; e = { t&ordm; &ordm; &ordm;s per 2,000 3&lt;br /&gt;
COVENTRY. &mdash; Please note Change of | Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for&lt;br /&gt;
Address to &ldquo;WESTLEIGH,&rdquo; KING RICHARD - Twelve Imsertions. -&lt;br /&gt;
lf Iv&ordm;r, m&ordm;n u&amp;quot; wald House lilee Il Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
g&ordm; &ordm; * &ordm;: * r *N&ordm; fr; 3. Q: insertion in the following month&amp;#039;s issue.&lt;br /&gt;
Victoria Hoad. TYPEWRITING of &ordm; All letters respecting Advertisements should be addressed to the&lt;br /&gt;
DESCRIPTION, from 9d, per 1,000 words. ADVERTISEMENT MANAGER, The Awthor Office, 39, Old Queen Street&lt;br /&gt;
References when required. Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/385/1908-10-01-The-Author-19-1.pdf</td><td>publications, The Author</td></tr><tr><td>386</td><td>https://historysoa.com/items/show/386</td><td>The Author, Vol. 19 Issue 02 (November 1908)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+02+%28November+1908%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 02 (November 1908)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1908-11-02-The-Author-19-2</td><td></td><td></td><td></td><td></td><td>29&ndash;56</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1908-11-02&quot;&gt;1908-11-02&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>2</td><td></td><td></td><td>19081102</td><td>C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XIX.-No. 2. NOVEMBER. 2, 1908. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices ... ... ... . ... ... ... . ... ... ... 29 How to Use the Society &ldquo;. ... ... ... ... ... 46&lt;br /&gt;
Committee Notes - - - e t&ordm; e e e Q - a 4 &amp;amp; C&ordm; - t&ordm; e &ordm; &amp;amp; e - 30 To Musical Composers e t&ordm; e t&ordm; t&ordm; e * - - * &amp;amp; C&ordm;. t&ordm; t&ordm; e &bull; *- - 46&lt;br /&gt;
Cases &ordm; &ordm;g ſ&ordm; &bull; * * t&ordm; e - e t&ordm; t&ordm; * * g. t&ordm; w t&ordm; t&ordm; t&ordm; ſ&ordm;. t&ordm; &ordm; c * * * 32 The Reading Branch ... * @ K&ordm; t&ordm; &ordm; &ordm; - - - -&amp;gt; t&ordm; e t&ordm; &ordm; &ordm; ę &amp;amp; &copy; 46&lt;br /&gt;
October Elections - * - t&ordm; g&ordm; &ordm; &bull; * &amp;gt; - - - t&ordm; &ordm; &ordm;s t&ordm; e G ... 32 Notices ... * * * - - - &bull; * * * * * - - - * * * t&ordm; &ordm; - - - - 46&lt;br /&gt;
Books published by Members of the Society g&ordm; t&ordm; &ordm; t&ordm; # e. &bull; * * 33 Legal and General Life Assurance Society... is &ordm;n &ordm;f * - - - - - 46&lt;br /&gt;
Books published in America by Members ..., e e t&ordm; t&ordm; a 4 * - e. 36 General Notes ... - - - t&ordm; &ordm; &ordm; &bull; * * - - - t&ordm; s a e e - - - - 47&lt;br /&gt;
Literary, Dramatic and Musical Notes ..., e e &ordm; e t&ordm; a - - - 37 The Publishers&amp;#039; Circle and Book Trade Dinner ... &copy; t&ordm; e - - - 48&lt;br /&gt;
Paris Notes * * * - - - t&ordm; &ordm; q t&ordm; e - &bull; * - e &ordm; &ordm;s e e - ... 39 The Twelfth International Congress of the Press - - - ... 49&lt;br /&gt;
The Pan-American Copyright Convention... e is t&ordm; e se - - - 42 Report of Select Committee on Lotteries and Indecent&lt;br /&gt;
Serial and Minor Rights e &bull; * * - - - e e g t&ordm; e e ... 43 Advertisements ... * @ s e - e. - - - * * * w e e * * * I&lt;br /&gt;
Magazine Contents - - - &bull; * &amp;gt; * * * - e - &bull; * * t&ordm; 9 &ordm;&amp;#039; - 4 - 44 Books at the Franco-British Exhibition ... * e - &ordm; e &ordm; &amp;#039;&ordm; a t&ordm; 53&lt;br /&gt;
Warnings to Producers of Books ... * - &ordm; t&ordm; &ordm; &ordm; t&ordm; &ordm; &ordm; e - &copy; 45 Contemporary Criticisms.-IX. * * * - - - t&ordm; g&ordm; t&ordm; * * * W e Q 55&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; &ordm; &ordm; * * * t&ordm; e t&ordm; t&ordm; &ordm; &ordm; t&ordm; - - 45 Correspond&eacute;&ntilde;de ... - &copy; t&ordm; * * * t&ordm; &amp;amp; t&ordm; - - - t&ordm; t&ordm; e * * * &copy; &ordm; &ordm; 56&lt;br /&gt;
Warnings to Musical Composers ... &copy; t&ordm; &ordm; e is t&ordm; t&ordm; e - - a &ordm; 45&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 18.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol. - -&lt;br /&gt;
Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 38.&lt;br /&gt;
The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
. The Cost of Production. (Out of print.)&lt;br /&gt;
. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s. -&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 1s.&lt;br /&gt;
The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
:&lt;br /&gt;
9.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 28 (#44) ##############################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(ſhe &Scaron;uriety uf Autburg (ſmrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON. &rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
G-EOIERG-E IMIEERIETSITE, O. M.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE I/ORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
A. W. A BECKETT.&lt;br /&gt;
ROBERT BATEMAN. . .&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
SIR HENRY BERGNE, K.C.B., K.C.M.G.&lt;br /&gt;
THE RIGHT EION. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYOP, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRAW FORD.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG. - -&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE RIGHT HON. M.R.S. ALFRED&lt;br /&gt;
FELKIN (ELLEN THORNEYCROFT&lt;br /&gt;
Fowl.ER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRs. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. JEROMF.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. Lo&ordm;t.I.E, F.S.A.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAW).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRs. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD,&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K. P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR HENRY BERGNE, K.C.B.,&lt;br /&gt;
E. C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND,&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHEIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl.ER).&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEB.B.&lt;br /&gt;
IDRAMATIC SUB-COMMITTEE.&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME. K. JEROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
PAUL RUEENS.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
PENSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. - }s licito&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. J. &amp;quot;%&lt;br /&gt;
OFFICES.&lt;br /&gt;
MRS, ALEC TWEEDIE.&lt;br /&gt;
MRS, HUMPHRY WARD.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 29 (#45) ##############################################&lt;br /&gt;
&lt;br /&gt;
C be El ut bor.&lt;br /&gt;
( The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
WOL. XIX.-No. 2.&lt;br /&gt;
NOVEMBER 2ND, 1908.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER:&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case. -&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
a &mdash;4*&mdash; a&lt;br /&gt;
v-u- ~&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
VOL. XIX.&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform-&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society. A state-&lt;br /&gt;
ment of the capital of this fund is inserted in The&lt;br /&gt;
Author every month and can be seen below.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
PENSION FUND,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Trustees of the Pension Fund of the&lt;br /&gt;
Society, after the secretary had placed before&lt;br /&gt;
them the present financial position of the&lt;br /&gt;
Fund, decided to invest &pound;230 in the purchase of&lt;br /&gt;
Irish Land Act 2; per cent. Guaranteed Stock.&lt;br /&gt;
The amount purchased is &pound;258, and is added to&lt;br /&gt;
the list printed below.&lt;br /&gt;
The investments are steadily increasing from&lt;br /&gt;
year to year, the amount varying between &pound;200&lt;br /&gt;
and &pound;250. -&lt;br /&gt;
The Trustees also recommended to the com-&lt;br /&gt;
mittee the possibility of granting another pension.&lt;br /&gt;
The committee of the Pension Fund have not&lt;br /&gt;
as yet held their meeting for 1908, but their work&lt;br /&gt;
will be chronicled in due course.&lt;br /&gt;
The following is a statement of the actual Stock.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 30 (#46) ##############################################&lt;br /&gt;
&lt;br /&gt;
30&lt;br /&gt;
TRIES A UTISIOR,&lt;br /&gt;
The money value can be easily worked out at the&lt;br /&gt;
current price of the market :-&lt;br /&gt;
Consols 23%.............................. 391,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... 200 0 ()&lt;br /&gt;
Cape of Good Hope 34% Inscribed&lt;br /&gt;
Stock .................................... 200 () ()&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 34% Stock. . . . . . . . ... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Total ............... 23,376 18 8&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908. # S. d.&lt;br /&gt;
Jan. 7, Richardson, Mrs. Aubrey . 0 5 ()&lt;br /&gt;
Jan. 13, McPherson, Miss M. M. . . 0 1 0&lt;br /&gt;
Jan. 16, Douglas, Lieut.-Col. Hugh A. . 0 5 0&lt;br /&gt;
Feb. 1, Shera, Miss B. M. O 5 ()&lt;br /&gt;
Feb. 29, Brown, R. Grant O 5 0&lt;br /&gt;
April 10, Fieldhouse, Arthur 0 1 0 6&lt;br /&gt;
May 22, Darbishire, Otto W. () 10 6&lt;br /&gt;
Oct. 10, Macnaughton-Jones, H. . O 5 ()&lt;br /&gt;
Oct. 20, Garvice, Charles 1 1 0&lt;br /&gt;
Donations, 1908.&lt;br /&gt;
Jan. 1, Egbert, Henry t&ordm; &copy; . 1 1 0&lt;br /&gt;
Jan. 6, Skeat, The Rev. Prof. W. W. . 1 1 0&lt;br /&gt;
Jan. 7, Wood, Lawson ſ&ordm; . () 5 ()&lt;br /&gt;
Jan. 8, Bolton, Miss Anna . O 5 0&lt;br /&gt;
Jan. 8, Hyamson, Albert M. . 1 1 0&lt;br /&gt;
Jan. 13, Le Riche, P. J. . e 1 1 0&lt;br /&gt;
Jan. 13, Williamson, Mrs. C. N. 1 1 0&lt;br /&gt;
Jan. 13, Williamson, C. N. t&ordm; . 1 1 0&lt;br /&gt;
Jan. 20, Colquhoun, A. (amount re-&lt;br /&gt;
covered by the Society) . 2 17 10&lt;br /&gt;
Jan. 21, Saies, Mrs. . e e () 5 0&lt;br /&gt;
Jan. 24, Westrup, Miss Margaret () 5 ()&lt;br /&gt;
Feb. 10, Benett. W. . {- &ordm; 1 1 0&lt;br /&gt;
Feb. 10, Wilson, G. F. g 0 1 0 6&lt;br /&gt;
Feb. 26, Travers, Miss R. C. 0 10 0&lt;br /&gt;
March 5, Dutton, Miss Annie () 5 ()&lt;br /&gt;
March 5, Drummond, Hamilton. 5 () ()&lt;br /&gt;
March 11, Ackermann, A. S. 2 () ()&lt;br /&gt;
March 20, Loraine, Lady ſ&ordm; 0 10 0&lt;br /&gt;
April 6, Plunkett, G. N., Count. () 5 ()&lt;br /&gt;
April 9, Crellin, H. N. . t&ordm; () 5 ()&lt;br /&gt;
May 20, Scoon, W. G. t&ordm; e . () 10 0&lt;br /&gt;
May 26, Cromartie, The Countess of . 1 1 0&lt;br /&gt;
June 3, Hardy, Harold 0 10 ()&lt;br /&gt;
&pound; S. d.&lt;br /&gt;
June 16, Roberts, Morley . e () 10 6&lt;br /&gt;
July 16, Carolin, Mrs. e o ... O 5 ()&lt;br /&gt;
July 28, Atherton, Mrs. Gertrude . 21 () ()&lt;br /&gt;
Aug. 21, Beckett, Arthur W. . 1 1 0&lt;br /&gt;
Sept. 28, &ldquo;Whitworth Wynne &amp;quot; . 1 1 0&lt;br /&gt;
Oct. 23, Woolf, Miss Bella Sidney () 5 0&lt;br /&gt;
The committee would be glad to receive infor-&lt;br /&gt;
mation unofficially from any member of the society&lt;br /&gt;
of any author whose need is within the member&amp;#039;s&lt;br /&gt;
personal knowledge. Information, which should&lt;br /&gt;
be as full as possible, should be sent to the&lt;br /&gt;
secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.,&lt;br /&gt;
and will receive the prompt and careful attention of&lt;br /&gt;
the committee.&lt;br /&gt;
&agrave; &mdash;&ordm;- f&ordm;.&lt;br /&gt;
v---s&ordm;-w&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;o-&ordm;-e&mdash;&lt;br /&gt;
HE first meeting of the committee after the&lt;br /&gt;
Vacation was held at the society&amp;#039;s offices on&lt;br /&gt;
Monday, October 5. -&lt;br /&gt;
Forty-nine members and associates were elected.&lt;br /&gt;
The list will be found on another page. This&lt;br /&gt;
brings the total number of elections for the current&lt;br /&gt;
year up to 203, which is about twenty-four above&lt;br /&gt;
the number elected up to the corresponding period&lt;br /&gt;
in 1906, and seven behind the elections for the&lt;br /&gt;
corresponding period of 1907, which was the largest&lt;br /&gt;
since the society&amp;#039;s foundation. The committee&lt;br /&gt;
trust that members will continue to make every&lt;br /&gt;
effort to enlarge the society, and make it thoroughly&lt;br /&gt;
representative of all sides of literature and the&lt;br /&gt;
drama. Its membership, approximately 2,000,&lt;br /&gt;
might well be doubled.&lt;br /&gt;
Three resignations were received, bringing the&lt;br /&gt;
resignations for the current year up to fifty-nine.&lt;br /&gt;
The question of elections to the council and to&lt;br /&gt;
the art sub-committee was adjourned till the&lt;br /&gt;
November meeting. Several gentlemen were&lt;br /&gt;
nominated for the copyright sub-committee, and&lt;br /&gt;
up to the date of issue the following have con-&lt;br /&gt;
sented to serve : &mdash; Sir Henry Bergne, E. J.&lt;br /&gt;
MacGillivray, Harold Hardy, A. Hope Hawkins,&lt;br /&gt;
Sir Gilbert Parker, Sir Williers Stanford, and&lt;br /&gt;
J. H. Yoxall.&lt;br /&gt;
The committee decided not to hold any dinner of&lt;br /&gt;
the society this year. The annual dinner will be&lt;br /&gt;
held as usual in the spring of 1909.&lt;br /&gt;
Two cases of infringement of copyright by papers&lt;br /&gt;
in New Zealand were then considered, and in both&lt;br /&gt;
cases the committee decided to support the members&amp;#039;&lt;br /&gt;
claims. The committee regret to state that it is&lt;br /&gt;
no uncommon practice for papers in America and&lt;br /&gt;
the Colonies to pirate English productions, and&lt;br /&gt;
they have determined to do their best to stop this&lt;br /&gt;
robbery. The secretary reported the receipt during&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 31 (#47) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UITISIOIR,&lt;br /&gt;
31&lt;br /&gt;
the vacation of further papers from the Board of&lt;br /&gt;
Trade referring to the International Copyright Con-&lt;br /&gt;
ference at Berlin. The papers had been forwarded&lt;br /&gt;
to the chairman, who had been in communication&lt;br /&gt;
with Sir Henry Bergne, and a letter had been&lt;br /&gt;
despatched to the Board of Trade giving the views&lt;br /&gt;
of the chairman and Sir Henry Bergne, but&lt;br /&gt;
explaining that it was impossible to obtain a&lt;br /&gt;
meeting of the copyright committee during the&lt;br /&gt;
Vacation. Sir Henry Bergne then proceeded to&lt;br /&gt;
explain to the committee what the proposals were,&lt;br /&gt;
and the answer that had been given. The com-&lt;br /&gt;
mittee approved the course that was taken. A&lt;br /&gt;
bronze medallion of the President was laid before&lt;br /&gt;
the committee by its producer, Mr. Spicer Simson,&lt;br /&gt;
and they agreed to present a copy to Mr. Meredith&lt;br /&gt;
in the name of the society. -&lt;br /&gt;
A complaint of a member relating to delay in&lt;br /&gt;
the publication of his work was brought before&lt;br /&gt;
the committee, and the committee, after considering&lt;br /&gt;
the solicitors&amp;#039; opinion thereon, instructed the&lt;br /&gt;
Secretary to communicate it to the member. -&lt;br /&gt;
Two cases of non-payment of royalties by a&lt;br /&gt;
Canadian publisher were then considered. The&lt;br /&gt;
Secretary stated that the publisher had now made&lt;br /&gt;
an offer for settlement. This offer had been placed&lt;br /&gt;
before the members concerned and they had&lt;br /&gt;
expressed their willingness to accept the terms&lt;br /&gt;
proposed. The secretary was instructed to write&lt;br /&gt;
to the Canadian lawyers stating what had been&lt;br /&gt;
done. A curious case of alleged literary stealing&lt;br /&gt;
was laid before the committee, and the solicitors&amp;#039;&lt;br /&gt;
Opinion on the evidence was read. The committee&lt;br /&gt;
regretted they were unable to take any action in&lt;br /&gt;
the matter as there was no legal evidence in support&lt;br /&gt;
of the charges made. Another case relating to a&lt;br /&gt;
false entry of copyright in the register at Washing-&lt;br /&gt;
ton by an American publisher was considered by&lt;br /&gt;
the committee, who decided to take counsel&rsquo;s&lt;br /&gt;
Opinion as to what action could be taken. The&lt;br /&gt;
Committee drew attention to the fact that if false&lt;br /&gt;
entries were made by pirates in America, they&lt;br /&gt;
would be able to thrust out of the market the non-&lt;br /&gt;
copyright editions of books approved by the authors,&lt;br /&gt;
by the false &ldquo;copyright&amp;quot; edition.&lt;br /&gt;
The secretary laid before the committee a letter&lt;br /&gt;
from the Publishers&rsquo; Association, giving formal&lt;br /&gt;
notice of the termination of the dispute between&lt;br /&gt;
the Times and the publishers.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
The Pension Fund Committee met at the offices&lt;br /&gt;
of the society on Monday, October 5, at&lt;br /&gt;
3 o&amp;#039;clock. Three applications for pensions were&lt;br /&gt;
before the committee. Two of the applicants were&lt;br /&gt;
ineligible under the present constitution of the&lt;br /&gt;
Scheme and had to be refused, the secretary being&lt;br /&gt;
instructed to write to them accordingly. Con-&lt;br /&gt;
sideration of the claim of the third applicant was&lt;br /&gt;
adjourned pending the receipt of fuller details.&lt;br /&gt;
The committee decided to meet again in&lt;br /&gt;
November, for the consideration of other matters&lt;br /&gt;
dealing with the Pension Fund.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
THE Dramatic Sub-Committee, which had been&lt;br /&gt;
meeting during the vacation, met again at the&lt;br /&gt;
offices of the society on Tuesday, October 6, at&lt;br /&gt;
4 o&amp;#039;clock.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been signed, the secretary reported that he had&lt;br /&gt;
received forty-one answers to the circular that had&lt;br /&gt;
been issued. Of these, thirty-four were in favour&lt;br /&gt;
of the dramatists remaining with the society; six&lt;br /&gt;
were not opposed to this course though one or two&lt;br /&gt;
other suggestions were put forward, and one&lt;br /&gt;
member expressed no opinion either way. The&lt;br /&gt;
Committee instructed the secretary to write again&lt;br /&gt;
to those who had not answered in order that the&lt;br /&gt;
fullest expression of opinion might be obtained.&lt;br /&gt;
It was suggested by one of the members that it&lt;br /&gt;
would be as well to have a music composer on the&lt;br /&gt;
Dramatic Sub-Committee, and accordingly, on the&lt;br /&gt;
motion of Capt. Robert Marshall, seconded by&lt;br /&gt;
Mr. Bernard Shaw, the name of Mr. Paul Rubens&lt;br /&gt;
was put forward, and the secretary was instructed&lt;br /&gt;
to write to him to invite him to serve on the&lt;br /&gt;
sub-committee. Mr. Rubens has now consented&lt;br /&gt;
to undertake the duties.&lt;br /&gt;
The committee then undertook the considera-&lt;br /&gt;
tion of the dramatic pamphlet, and went, clause&lt;br /&gt;
by clause, through the model agreement with&lt;br /&gt;
which it commences. A few alterations were&lt;br /&gt;
made and some notes added. The secretary was&lt;br /&gt;
instructed to re-draft the agreement in accordance&lt;br /&gt;
with these suggestions, and, if possible, to have&lt;br /&gt;
the contract ready and printed in time for the next&lt;br /&gt;
meeting to be held on October 15, at 3 o&amp;#039;clock.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
II.&lt;br /&gt;
A second meeting of the Dramatic Sub-committee&lt;br /&gt;
of the Society of Authors was held on Thursday,&lt;br /&gt;
October 15, at 3 o&amp;#039;clock.&lt;br /&gt;
The secretary reported the receipt of further&lt;br /&gt;
answers to the circular which had been issued,&lt;br /&gt;
and that out of a total of 60 replies to hand, 48&lt;br /&gt;
were in favour of remaining with the society, 2&lt;br /&gt;
expressed unwillingness to give an opinion, and 10,&lt;br /&gt;
though not opposed to the society or to remaining&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 32 (#48) ##############################################&lt;br /&gt;
&lt;br /&gt;
32 TISIES A UTHOR.&lt;br /&gt;
with it, set forth various suggestions. The Com-&lt;br /&gt;
mittee were pleased to receive this warm support of&lt;br /&gt;
the society&rsquo;s work.&lt;br /&gt;
The next agendum before the committee was the&lt;br /&gt;
dramatic agreement and the dramatic pamphlet.&lt;br /&gt;
Subject to some slight alterations and to obtaining&lt;br /&gt;
a settlement of one important point by counsel,&lt;br /&gt;
this was finally approved. It is proposed to place&lt;br /&gt;
the whole matter before the committee of manage-&lt;br /&gt;
ment at their next meeting, that they may sanction&lt;br /&gt;
its circulation as a supplement to The Author.&lt;br /&gt;
The next matter before the committee was the&lt;br /&gt;
settlement of the general treaty with the managers,&lt;br /&gt;
and several clauses of this were passed.&lt;br /&gt;
The long discussion on, and careful consideration&lt;br /&gt;
of the various points in the dramatic pamphlet&lt;br /&gt;
and the general treaty kept the committee sitting&lt;br /&gt;
till a late hour.&lt;br /&gt;
They decided to meet again in the beginning of&lt;br /&gt;
November to finally discuss the general treaty&lt;br /&gt;
and other matters of importance to the dramatic&lt;br /&gt;
profession.&lt;br /&gt;
&mdash;&ordm;-Q-4&ndash;&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author thirteen cases&lt;br /&gt;
have been placed in the secretary&amp;#039;s hands for settle-&lt;br /&gt;
ment. Four of these referred to the detention of&lt;br /&gt;
|MSS. ; four were claims for money ; three for&lt;br /&gt;
accounts ; and two disputes on agreements. Six&lt;br /&gt;
of these cases have been satisfactorily settled&mdash;two&lt;br /&gt;
referring to MSS.; two for the payment of overdue&lt;br /&gt;
moneys; one for undelivered accounts; and one&lt;br /&gt;
touching the settlement of an agreement. Negotia-&lt;br /&gt;
tions are still going forward in the other cases. If&lt;br /&gt;
the claims are not satisfactorily settled in due&lt;br /&gt;
course they will be referred to the society&rsquo;s&lt;br /&gt;
solicitors.&lt;br /&gt;
There was a large number of cases left open&lt;br /&gt;
from the former month, ten in all. Two of these&lt;br /&gt;
have been settled ; four relate to cases abroad (two&lt;br /&gt;
dealing with infringements in New Zealand and&lt;br /&gt;
two respecting claims in America). In consequence,&lt;br /&gt;
some delay is inevitable in their settlement. Of&lt;br /&gt;
the remaining cases still open the secretary is&lt;br /&gt;
engaged in negotiations for their settlement, and&lt;br /&gt;
there is every prospect that an agreement will not&lt;br /&gt;
be long delayed. -&lt;br /&gt;
There are still a good many cases in the hands&lt;br /&gt;
of the solicitors of the society&mdash;three in the High&lt;br /&gt;
Court and two in the county court which, no&lt;br /&gt;
doubt, will be settled this autumn.&lt;br /&gt;
One county court case has been settled during&lt;br /&gt;
the past month and judgment has been delivered in&lt;br /&gt;
favour of the member whose claim the society&lt;br /&gt;
supported. The chairman has sanctioned two&lt;br /&gt;
other county court cases.&lt;br /&gt;
October Elections.&lt;br /&gt;
Adlam, Mrs. A. L. (&ldquo;Alys&lt;br /&gt;
Lowth&rdquo;)&lt;br /&gt;
Aitchison, Rev. James .&lt;br /&gt;
Belloc, Hilaire, M.P.&lt;br /&gt;
Boore, E.&lt;br /&gt;
Boycott, G. W. M.&lt;br /&gt;
Bright, Charles, F.R.S.E.&lt;br /&gt;
Caillard, Emma Marie&lt;br /&gt;
Campbell, Mrs. Dalgety&lt;br /&gt;
Clark, Rev. Henry W.&lt;br /&gt;
Caesar, Kathleen&lt;br /&gt;
Craig, Edward Gordon .&lt;br /&gt;
Croal, Frances A. .&lt;br /&gt;
Deslandes, Baroness M.&lt;br /&gt;
(&ldquo;Ossit&rdquo;)&lt;br /&gt;
Dewar, Alfred C.&lt;br /&gt;
Drury, William Price,&lt;br /&gt;
Major, Royal Marines&lt;br /&gt;
(Reserve of Officers).&lt;br /&gt;
Ducat, Ethel M.&lt;br /&gt;
Evan, Jane .&lt;br /&gt;
Everest, Kitty&lt;br /&gt;
Ferdun, D. Ferdun&lt;br /&gt;
Greaves, Lady&lt;br /&gt;
Greville, Capt. George G.&lt;br /&gt;
Headlam, Cecil&lt;br /&gt;
Hone, Margaret&lt;br /&gt;
Laffan, Mrs. de Courcy .&lt;br /&gt;
Lees, Dorothy Nevile&lt;br /&gt;
Lindsay, A. D.&lt;br /&gt;
Macnaughton - Jones,&lt;br /&gt;
Henry&lt;br /&gt;
Miles, Bertram, B.A.&lt;br /&gt;
Reade, Gertrude Compton&lt;br /&gt;
(&ldquo;Emma Agar &rsquo;&rsquo;)&lt;br /&gt;
Lyceum Club, 128, Pic-&lt;br /&gt;
cadilly, W.&lt;br /&gt;
Erskine Manse, N.B.&lt;br /&gt;
Kingsland, Shiplake,&lt;br /&gt;
Horsham.&lt;br /&gt;
15, Kent House Road,&lt;br /&gt;
Beckenham, S.E.&lt;br /&gt;
25, Lee Terrace,&lt;br /&gt;
Blackheath, S.E.&lt;br /&gt;
26, Devonshire Terrace,&lt;br /&gt;
Hyde Park, W.&lt;br /&gt;
45, Cathcart Road, S.W.&lt;br /&gt;
Maitland Carlton Street,&lt;br /&gt;
Manly, Sydney, New&lt;br /&gt;
South Wales.&lt;br /&gt;
Charisma, Westfield,&lt;br /&gt;
Harpenden.&lt;br /&gt;
Bearsted, Kent.&lt;br /&gt;
Garlants Hotel, Suffolk&lt;br /&gt;
Street, S.W.&lt;br /&gt;
14, Eyre&lt;br /&gt;
Edinburgh.&lt;br /&gt;
177 bis, rue de Cour-&lt;br /&gt;
celles, Paris.&lt;br /&gt;
Crescent,&lt;br /&gt;
The Lane, Graffham,&lt;br /&gt;
Petworth, Sussex.&lt;br /&gt;
14, St. Stephen&amp;#039;s Road,&lt;br /&gt;
W.&lt;br /&gt;
68, Drayton Gardens,&lt;br /&gt;
South Kensington,&lt;br /&gt;
S.W.&lt;br /&gt;
563, Girgaon Road,&lt;br /&gt;
Bombay.&lt;br /&gt;
Netherwood, Saunders-&lt;br /&gt;
foot, S. Wales.&lt;br /&gt;
Staplegrove Road,&lt;br /&gt;
Taunton.&lt;br /&gt;
|Fsthwaite Mount,&lt;br /&gt;
Hawkshead.&lt;br /&gt;
16, Heaton Road,&lt;br /&gt;
Withington, Man-&lt;br /&gt;
chester.&lt;br /&gt;
119, St. George&amp;#039;s Road,&lt;br /&gt;
Eccleston Square,&lt;br /&gt;
S.W.&lt;br /&gt;
7, Via Sto, Spirito,&lt;br /&gt;
Florence.&lt;br /&gt;
Balliol College, Oxford.&lt;br /&gt;
131, Harley Street, W.&lt;br /&gt;
Townsend House, Mine-&lt;br /&gt;
head, Somerset.&lt;br /&gt;
Renchester Rectory,&lt;br /&gt;
Hereford. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 33 (#49) ##############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A DITISIOR,&lt;br /&gt;
33.&lt;br /&gt;
Lindon Villa, Mary&amp;#039;s&lt;br /&gt;
Road, Stechford, near&lt;br /&gt;
Birmingham.&lt;br /&gt;
Rockhampton Rectory,&lt;br /&gt;
Falfield, Gloucester.&lt;br /&gt;
Roxeth Mead, Harrow-&lt;br /&gt;
on-the-Hill.&lt;br /&gt;
Waunarlwydd, Swansea.&lt;br /&gt;
Redfern, Elizabeth &copy;&lt;br /&gt;
Richmond, Eva. . . .&lt;br /&gt;
Rose-Troup, Mrs. Frances&lt;br /&gt;
Rowlands, John, F.R.S.L.&lt;br /&gt;
Scheltema, J. F., M.A. , 12, Nelson Street,&lt;br /&gt;
Edinburgh.&lt;br /&gt;
Simes, O. Kathleen . 94, Elgin Mansions,&lt;br /&gt;
- Elgin Avenue, W.&lt;br /&gt;
Smith, Edith A. . . The Elms, Great Ris-&lt;br /&gt;
- sington.&lt;br /&gt;
Spencer, Alfred . . 88, Cleveland Road,&lt;br /&gt;
Sunderland.&lt;br /&gt;
Royal Automobile Club,&lt;br /&gt;
119, Piccadilly, W.&lt;br /&gt;
115, Gaisford Street,&lt;br /&gt;
Rentish Town, N.W.&lt;br /&gt;
Stuart - Linton, Charles&lt;br /&gt;
E. T.&lt;br /&gt;
Taylor, John . e t&ordm;&lt;br /&gt;
Terry, Leonard (Lion Dramatic Mirror, 121,&lt;br /&gt;
Margrave) W. 42nd Street, N.Y.&lt;br /&gt;
City. * .&lt;br /&gt;
Townsend, Laura P. The Laurels, Acock&amp;#039;s&lt;br /&gt;
(Peter Townsend) Green.&lt;br /&gt;
Walker, F. H. e . Govakhpur, U.P.,&lt;br /&gt;
India. - -&lt;br /&gt;
Watson, William . &copy;&lt;br /&gt;
Way, Beatrice g Q&lt;br /&gt;
G 1, The Albany, W.&lt;br /&gt;
GOsberton, near Spald-&lt;br /&gt;
ing, Lincolnshire.&lt;br /&gt;
Whitfield, Emily B. B. 3, King Street, Covent&lt;br /&gt;
(&ldquo;Eileen Gordon&amp;quot;) Garden, W.C.&lt;br /&gt;
Wright, Dudley . . Annals of Psychical&lt;br /&gt;
Science, 110, St.&lt;br /&gt;
Martin&rsquo;s Lane, W.C.&lt;br /&gt;
c/o London and County&lt;br /&gt;
Bank, Sussex Place,&lt;br /&gt;
S.W.&lt;br /&gt;
Young, Margaret E. M. .&lt;br /&gt;
One member desires that her name and address&lt;br /&gt;
should not appear in this list.&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-O-0&ndash;&lt;br /&gt;
ARCH AEOLOGY.&lt;br /&gt;
HERCULANEUM ; PAST, PRESENT, and FUTURE. By&lt;br /&gt;
CHARLES WALDSTEIN and LEONARD SHOOBRIDGE, M.A.,&lt;br /&gt;
11 &times; 7%. 324 pp. Macmillan. 21s. n.&lt;br /&gt;
BURIED HERCULANEUM. By ETHEL ROSS BARKER,&lt;br /&gt;
83 x 5%. Xvi. -- 253 pp. Black. 7s. 6d. n.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
THE ENGLISH HousB : How To JUDGE ITS PERIODS&lt;br /&gt;
AND STYLEs. By W. SHAw SPARROW. 9 &times; 5}, xiv. --&lt;br /&gt;
348 pp. Nash, 10s. 6d. n.&lt;br /&gt;
&amp;amp;&lt;br /&gt;
ART.&lt;br /&gt;
THE UFFIZIA.B.C. By ARTHUR MAQUARIE. Drawn by&lt;br /&gt;
LINDSAY SYMINGTON, 9} x 74. Florence : The Olive&lt;br /&gt;
Press. London : Simpkin. Is. n.&lt;br /&gt;
PAINTING THE FAR EAST. An Introduction to the His-&lt;br /&gt;
tory of Pictorial Art in Asia, especially China and Japan.&lt;br /&gt;
By LAURENCE BINYON. 104 &times; 8. xvi. H- 279 pp.&lt;br /&gt;
Arnold. 21s, n.&lt;br /&gt;
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DAN TO BEERSHEBA. Work and Travel in Four Conti-&lt;br /&gt;
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+ 348 pp. Heinemann. 8s. 6d. m.&lt;br /&gt;
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252 pp. Pitman. 24s. n.&lt;br /&gt;
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RICHARD STRAUSS. By ERNEST NEWMAN. 7 x 5. 144 pp.&lt;br /&gt;
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255 pp. S.P.C.K. 2s. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 34 (#50) ##############################################&lt;br /&gt;
&lt;br /&gt;
34&lt;br /&gt;
TRIES AUTISIOR.&lt;br /&gt;
MARTH A WREN. By M. B. SYNGE. 73 x 5. 218 pp.&lt;br /&gt;
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Chambers. 6s.&lt;br /&gt;
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Trans-&lt;br /&gt;
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RICHARDSON. Appleton. $3.50 n.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
THE TWO RUNAWAYS. By J. HARWooD PANTING.&lt;br /&gt;
IFredk. Warne. $1.25.&lt;br /&gt;
DRAMA.&lt;br /&gt;
FAUST. (Freely adapted from Goethe.)&lt;br /&gt;
PHILLIPS and COMYNS CARR. Macmillan.&lt;br /&gt;
FICTION.&lt;br /&gt;
PLAIN TALES FROM THE HILLS. BY RUDYARD KIPLING.&lt;br /&gt;
... (Revised edition.) Doubleday. Page. $1.50 n.&lt;br /&gt;
TABLES OF STONE. By HAROLD BEGBIE. Doubleday,&lt;br /&gt;
Page $1.50.&lt;br /&gt;
HOLY ORDERS.&lt;br /&gt;
$1.50.&lt;br /&gt;
THE HIGH ADVENTURE.&lt;br /&gt;
John Lane Co. $1.50.&lt;br /&gt;
By STEPHEN&lt;br /&gt;
$1.25 n.&lt;br /&gt;
By MARIE CORELLI, Fred A. Stokes Co.&lt;br /&gt;
By HUGH DE SELINCOURT.&lt;br /&gt;
A j&ordm;r IN PRISON. By R. S. HICHENS. Harper.&lt;br /&gt;
$1.75.&lt;br /&gt;
THE MONEY CHANGERs. By UPTON SINCLAIR. B. W.&lt;br /&gt;
Dodge. $1.50.&lt;br /&gt;
THE TESTING OF DIANA MALLORY. By MRs. HUMPHREY&lt;br /&gt;
WARD. Harper. $1.50.&lt;br /&gt;
W ; By AGNES and EGERTON CASTLE,&lt;br /&gt;
1.50.&lt;br /&gt;
THE LOST ANGEL.&lt;br /&gt;
Lippincott. $1.50.&lt;br /&gt;
A MILLION A MINUTE. . By HUDSON Douglas (ROBERT&lt;br /&gt;
AITKEN). Watt. $1.50.&lt;br /&gt;
THE EXPF 3IVE MISS DU CANE. By S. MACNAUGHTEN.&lt;br /&gt;
Dutto&ordm;. $1.50.&lt;br /&gt;
THE MMORTAL MoMENT: THE STORY, of KITTY&lt;br /&gt;
&ordm;ve By MAY SINCLAIR. Doubleday, Page.&lt;br /&gt;
$1.50.&lt;br /&gt;
Macmillan.&lt;br /&gt;
By KATHERINE TYNAN HINKSON.&lt;br /&gt;
By L. TRACY. E. J. Clode.&lt;br /&gt;
$1.50.&lt;br /&gt;
THE SUSPICIONS OF MRs. ALLONBY. By MAXWELL GRAY.&lt;br /&gt;
Appleton. $1.50.&lt;br /&gt;
HISTORY.&lt;br /&gt;
CANADA. By BECKLES WILLSON. Fred. A. Stokes Co.&lt;br /&gt;
$2 m.&lt;br /&gt;
LITERARY.&lt;br /&gt;
A CoMMENTARY, By J. GALSWORTHY. Putnam. $1.50.&lt;br /&gt;
AT LARGE. By A. C. BENSON. Putnam. $1.50 n.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE HOLY LAND. By J. FINNEMORE.&lt;br /&gt;
colour. Macmillan. 756. In.&lt;br /&gt;
SWITZERLAND. By J. FINNEMORE.&lt;br /&gt;
Macmillan. 756. In.&lt;br /&gt;
Illustrated in&lt;br /&gt;
Illustrated in colour.&lt;br /&gt;
THE WORLD. (With 37 illustrations in colour.) By ASCOTT&lt;br /&gt;
ROB. HoPE. Macmillan. $1.50 n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 37 (#53) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR. 37&lt;br /&gt;
OLD ENGLAND. (With 80 Illustrations in colour and half-&lt;br /&gt;
tone.) By WALTER SHAw SPARROW. James Pott.&lt;br /&gt;
Cloth, $6 m. ; ; levant, $10 m.&lt;br /&gt;
HYDE PARK : Its HISTORY AND ROMANCE. By MRS.&lt;br /&gt;
ALEC TwPEDIE. James Pott. # levant. $7.50 m.&lt;br /&gt;
- - f&ordm;&lt;br /&gt;
v-u- w&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E desire to draw the attention of our readers&lt;br /&gt;
to the notice respecting the Society&amp;#039;s&lt;br /&gt;
annual dinner, which appears among the&lt;br /&gt;
Committee Notes.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co. have brought out a new&lt;br /&gt;
Naturebook, by W. Percival Westell, called &ldquo;Animals&lt;br /&gt;
at Home.&rdquo; Well-known animals, birds and insects&lt;br /&gt;
tell their own life histories for the instruction and&lt;br /&gt;
amusement of children. The book has over fifty&lt;br /&gt;
photographs from life and a coloured frontispiece.&lt;br /&gt;
The same author has recently had his &ldquo;Story of&lt;br /&gt;
the Sea and Seashore &rdquo; issued by the R.T.S., who&lt;br /&gt;
are about to bring out a second edition of his&lt;br /&gt;
&ldquo;Boy&amp;#039;s Own Nature Book.&rdquo;&lt;br /&gt;
Mr. Elliot Stock will shortly publish &ldquo;&lsquo;Saint&amp;#039;&lt;br /&gt;
Gilbert ; the story of Gilbert White and Selborne,&rdquo;&lt;br /&gt;
by J. C. Wright. The author has endeavoured to&lt;br /&gt;
present the pioneer naturalist and his environment&lt;br /&gt;
in a form that will appeal to all lovers of White,&lt;br /&gt;
who has done so much to bring about the Nature&lt;br /&gt;
cult in our English-speaking race. The book will&lt;br /&gt;
be illustrated.&lt;br /&gt;
&ldquo;Father Paul,&rdquo; by James Cassidy (Messrs. Kegan&lt;br /&gt;
Paul), is the story of a strong man battling against&lt;br /&gt;
difficulties, and watching over the fortunes of a&lt;br /&gt;
boy on whom he has lavished the great love of&lt;br /&gt;
disinterested fatherhood. The scenes are laid in&lt;br /&gt;
England and on the Isle of Sandune.&lt;br /&gt;
&ldquo;Father Tyrrell&amp;#039;s Modernism,&rdquo; by Hakluyt&lt;br /&gt;
Egerton, which has just been issued by Messrs.&lt;br /&gt;
ICegan Paul, is an expository criticism of &ldquo;Through&lt;br /&gt;
Scylla and Charybdis&rdquo; in an open letter to Mr.&lt;br /&gt;
Athelstan Riley.&lt;br /&gt;
|Messrs. Leonard &amp;amp; Co. have just published a&lt;br /&gt;
new Irish song, entitled &ldquo;Shamrock (The Emblem&lt;br /&gt;
of Erin)&rdquo;; words by Alfred Smythe ; music by&lt;br /&gt;
Wilton King.&lt;br /&gt;
Concerning &ldquo;The Tragedy of St. Elizabeth of&lt;br /&gt;
Hungary,&rdquo; a play in five acts, by Arthur Dillon,&lt;br /&gt;
recently published by Mr. Elkin Mathews, the&lt;br /&gt;
author writes: &ldquo;On choosing the story of St.&lt;br /&gt;
Elizabeth of Hungary, it became necessary either&lt;br /&gt;
elaborately to avoid the scene-sequence of Kingsley&lt;br /&gt;
&mdash;which would mean mis-shaping the plot&mdash;or to&lt;br /&gt;
adopt the general scheme of the &lsquo;Saint&amp;#039;s Tragedy,&rsquo;&lt;br /&gt;
I resolved to do the latter, and to utilise as much&lt;br /&gt;
as, rather than as little as, I could. Much of&lt;br /&gt;
interest I found in the notes, which I have&lt;br /&gt;
endeavoured to work into the text.&rdquo;&lt;br /&gt;
Miss Alice Dryden has edited a new edition of&lt;br /&gt;
Sir Henry Dryden&rsquo;s &ldquo;Art of Hunting &rdquo; (North-&lt;br /&gt;
ampton, printed by William Mark). The book&lt;br /&gt;
also includes &ldquo;The Craft of Venery,&rdquo; and a&lt;br /&gt;
translation of &ldquo;La Chasse du Cerf.&rdquo; Eleven&lt;br /&gt;
illustrations from Dryden&amp;#039;s drawings are repro-&lt;br /&gt;
duced together with three plates.&lt;br /&gt;
&ldquo;Diana&amp;#039;s Decision,&rdquo; by Mrs. Wilson Fox, is a&lt;br /&gt;
story for girls between twelve and sixteen. A&lt;br /&gt;
passionate desire for universal justice leads the&lt;br /&gt;
little heroine into many scrapes, but eventually&lt;br /&gt;
results in happiness. It is published by the&lt;br /&gt;
S.P.C.K.&lt;br /&gt;
Messrs. Joseph Williams have issued a new play&lt;br /&gt;
in one act by Edith Wheeler, entitled &ldquo;The&lt;br /&gt;
Sentence.&rdquo;&lt;br /&gt;
On October 8 Mr. Bernard Shaw lectured in&lt;br /&gt;
the City Temple on &ldquo;Literature and Art.&rdquo;&lt;br /&gt;
There will be published shortly &ldquo;A History of&lt;br /&gt;
Sarawak under its Two White Rajahs, 1839&mdash;1908,&rdquo;&lt;br /&gt;
which has been written by the Rev. S. Baring-Gould,&lt;br /&gt;
author of &ldquo;The Tragedy of the Caesars&rdquo; and a&lt;br /&gt;
&ldquo;Life of Napoleon,&rdquo; and by Mr. C. Bampfylde,&lt;br /&gt;
F.R.G.S., formerly resident of Sarawak. The book,&lt;br /&gt;
which will contain numerous and original illustra-&lt;br /&gt;
tions, will present for the first time in a complete&lt;br /&gt;
form a story of this district of Borneo.&lt;br /&gt;
&ldquo;Wood Folk Stories,&rdquo; a series of stories about&lt;br /&gt;
birds and animals for children, by Mr. Alfred&lt;br /&gt;
Spencer, which have been appearing in the People&amp;#039;s&lt;br /&gt;
&ordm; have been published by this paper in book&lt;br /&gt;
Ol&amp;#039;Iſl.&lt;br /&gt;
&ldquo;The Silver Queen,&rdquo; by William Sylvester&lt;br /&gt;
Walker (&ldquo;Coo-ee&amp;quot;), is a book of Australian life&lt;br /&gt;
and adventure. As the probability of several of its&lt;br /&gt;
incidents have been questioned, we state, on the&lt;br /&gt;
authority of the author, that they are all strictly&lt;br /&gt;
true. There is a very light-coloured race in the&lt;br /&gt;
northern interior of Australia ; there are buffaloes&lt;br /&gt;
and alligators and limestone caves there. &ldquo;Aus-&lt;br /&gt;
tralia,&rdquo; writes Mr. Walker, &ldquo;is so vast and unknown&lt;br /&gt;
that not long ago the Government through an&lt;br /&gt;
explorer discovered tens of thousands of Chinese&lt;br /&gt;
growing opium in an unknown part and had to&lt;br /&gt;
remove them.&rdquo; The publisher is Mr. John&lt;br /&gt;
Ouseley.&lt;br /&gt;
Sir Isaac Pitman &amp;amp; Sons have brought out a&lt;br /&gt;
new work by Mr. Lewis Melville, entitled &ldquo;The&lt;br /&gt;
First George,&rdquo; wherein George I. is portrayed in a&lt;br /&gt;
new light, the author being at pains to show that&lt;br /&gt;
his subject was not the cold selfish libertime as his&lt;br /&gt;
earlier biographers stated. * A great part of the&lt;br /&gt;
work is devoted to an account of the fifty-four&lt;br /&gt;
years of his life that were spent in Hanover. There&lt;br /&gt;
are eighteen full-page illustrations.&lt;br /&gt;
A new (7th) edition of &ldquo;The Truth of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 38 (#54) ##############################################&lt;br /&gt;
&lt;br /&gt;
38&lt;br /&gt;
TISIES AUTISIOR,&lt;br /&gt;
Christianity,&rdquo; by Lieut-Colonel W. H. Turton,&lt;br /&gt;
D.S.O., is announced by Messrs. Wells, Gardner.&lt;br /&gt;
This edition has been carefully revised throughout,&lt;br /&gt;
and many fresh arguments noticed.&lt;br /&gt;
Robert Aitken&amp;#039;s new novel, &ldquo;A Maid of Honour,&rdquo;&lt;br /&gt;
which has been appearing serially in an American&lt;br /&gt;
magazine, has now been issued in book form on&lt;br /&gt;
both sides of the Atlantic. The London publishers&lt;br /&gt;
are Messrs. Greening &amp;amp; Co. Mr. John Murray will&lt;br /&gt;
publish early next year a volume of short stories by&lt;br /&gt;
the same author.&lt;br /&gt;
&ldquo;Margery Redford and her Friends&rdquo;&mdash;a book&lt;br /&gt;
&ldquo;for children from ten to twenty &amp;quot;-by Mrs. M. H.&lt;br /&gt;
Spielmann, has been published by Messrs. Chatto&lt;br /&gt;
and Windus. It is the story of a young lady, always&lt;br /&gt;
charming and graceful, whose career is developed&lt;br /&gt;
up to the time when she becomes a wife and&lt;br /&gt;
mother, and who is endowed with the talent of&lt;br /&gt;
Sherlock Holmes, employed by her to elucidate the&lt;br /&gt;
little mysteries that beset her and her friends.&lt;br /&gt;
Mr. T. N. Foulis is bringing out a small volume&lt;br /&gt;
of selections from the &ldquo;Unspoken Sermons&rsquo;&rsquo; of&lt;br /&gt;
Dr. George Macdonald. The selections have been&lt;br /&gt;
made by Miss Frances M. Nicholson, and there is&lt;br /&gt;
evidence that time and care have been devoted to&lt;br /&gt;
the work.&lt;br /&gt;
|Messrs. Black are adding two volumes to their&lt;br /&gt;
smaller series of &ldquo;Colour Books.&rdquo;&lt;br /&gt;
painted by J. Hardwicke Lewis and May Hardwicke&lt;br /&gt;
Lewis, and described by Francis H. Gribble ; also&lt;br /&gt;
a new edition of the Poet Laureate&rsquo;s &ldquo;Haunts of&lt;br /&gt;
Ancient Peace,&rdquo; in which the illustrations are by&lt;br /&gt;
Miss Agnes Locke.&lt;br /&gt;
&ldquo;Religious Liberty in England * is the title of&lt;br /&gt;
a shilling volume which Sir Isaac Pitman &amp;amp; Sons,&lt;br /&gt;
Itd., have published. In it the Rev. J. Fovargue&lt;br /&gt;
Bradley, a dissenting minister, advocates the entire&lt;br /&gt;
emancipation of English religion from State&lt;br /&gt;
control, while he secures to each religious body its&lt;br /&gt;
own property, which shall be administered, on&lt;br /&gt;
sound business lines, by a central board. A draft&lt;br /&gt;
Religious Liberty Bill of a very thorough character&lt;br /&gt;
is found in the book. The novel feature of the&lt;br /&gt;
scheme is the plan of disestablishment without&lt;br /&gt;
disendowment.&lt;br /&gt;
We have received from Messrs. Maunsel &amp;amp; Co.,&lt;br /&gt;
of Dublin, two volumes of the Irish poems of Alfred&lt;br /&gt;
Perceval Graves, &ldquo;Songs of the Gael and a Gael&lt;br /&gt;
Story-telling &rdquo; and &ldquo;Countryside Songs, and Songs&lt;br /&gt;
and Ballads.&rdquo; The English publisher is Mr. T.&lt;br /&gt;
Fisher Unwin.&lt;br /&gt;
Mondariz, the famous health resort in the north-&lt;br /&gt;
west of Spain, has been made the subject of a&lt;br /&gt;
monograph by Miss Rachel Challice, which Messrs.&lt;br /&gt;
Bradbury, Agnew publish. The book is profusely&lt;br /&gt;
illustrated.&lt;br /&gt;
A second edition of &ldquo;The Life of Tolstoy: First&lt;br /&gt;
Fifty Years,&rdquo; by Aylmer Maude, was issued last&lt;br /&gt;
&ldquo;Geneva,&rdquo;&lt;br /&gt;
publish it under the title &ldquo;Dark Corners.&rdquo;&lt;br /&gt;
month by Messrs. Constable. This book aims at&lt;br /&gt;
giving a readable and intelligible account of&lt;br /&gt;
Tolstoy&amp;#039;s life up to his marriage in 1862; in deal-&lt;br /&gt;
ing With which period previous historians have not&lt;br /&gt;
had marked success. It also gives a consecutive&lt;br /&gt;
account of his life from 1862 to 1878; including&lt;br /&gt;
his participation in a court-martial and other&lt;br /&gt;
matters quite new to English readers.&lt;br /&gt;
We have received from Messrs. Routledge&lt;br /&gt;
&ldquo;Roman Life and Manners under the Early&lt;br /&gt;
Empire,&rdquo; by Ludwig Friedl&auml;nder, translated by&lt;br /&gt;
L. A. Magnus. A second volume of this valuable&lt;br /&gt;
work, translated by J. H. Freese, will be published&lt;br /&gt;
early next year. The same publishers send us a&lt;br /&gt;
new volume in their Universal Library, &ldquo;The&lt;br /&gt;
Journal of Eug&egrave;nie de Gu&eacute;rin,&rdquo; and &ldquo;Poems&rdquo; by&lt;br /&gt;
Evelyn Moore.&lt;br /&gt;
Lance Thackeray&amp;#039;s new book, which Messrs.&lt;br /&gt;
A. and C. Black publish, is perhaps the first to&lt;br /&gt;
depict the humorous side of the land of the Nile.&lt;br /&gt;
The title is &ldquo;The Light Side of Egypt,&rdquo; and there&lt;br /&gt;
are many drawings in colour. -&lt;br /&gt;
Messrs. Hodder and Stoughton issued last&lt;br /&gt;
month a new edition of Desmond Coke&amp;#039;s public&lt;br /&gt;
school story, &ldquo;The Bending of a Twig.&rdquo; This&lt;br /&gt;
book, which has already passed through six&lt;br /&gt;
editions, has now been re-written and enlarged.&lt;br /&gt;
In his book, just published by Messrs. Constable,&lt;br /&gt;
&ldquo;First and Last Things,&rdquo; Mr. H. G. Wells gives a&lt;br /&gt;
clear statement of his own religious faith. He&lt;br /&gt;
calls it a confession of faith and rule of life.&lt;br /&gt;
The Volume is made up of four sections &mdash;&lt;br /&gt;
Metaphysics ; Of Beliefs; Of General Conduct ;&lt;br /&gt;
and Some Personal Things. -&lt;br /&gt;
&ldquo;Ossit &rsquo;&rsquo; (Madame la Baronne Deslandes), the&lt;br /&gt;
author of &ldquo;Ilse,&rdquo; published in July last, through&lt;br /&gt;
M. A. Lemerre, Paris, a new novel, &ldquo;Cyr&egrave;ne,&rdquo;&lt;br /&gt;
which has already gone into several editions. It&lt;br /&gt;
is a story of love and of death&mdash;a tragedy of&lt;br /&gt;
infatuation.&lt;br /&gt;
Mr. William Patrick Kelly&amp;#039;s romance of ancient&lt;br /&gt;
Egypt, &ldquo;The Stonecutter of Memphis&rdquo; (Routledge),&lt;br /&gt;
is being translated into Arabic by Mr. Ahmad Said,&lt;br /&gt;
of Cairo, and will be published, in book form, with&lt;br /&gt;
the original illustrations, in October, 1909.&lt;br /&gt;
Mr. Theodore Holland has recently published&lt;br /&gt;
with Messrs. Rouart &amp;amp; Co., Paris, two songs,&lt;br /&gt;
words by Shelley (translated into French and&lt;br /&gt;
German by M. D. Calvocaressi) entitled &ldquo;A&lt;br /&gt;
Lament,&rdquo; and &ldquo;A Dirge &rsquo;&rsquo;; and with Messrs.&lt;br /&gt;
Schott &amp;amp; Co., &ldquo;Gavotte Pastorale&rsquo;&rsquo; for pianoforte&lt;br /&gt;
Solo. An arrangement of this latter piece for&lt;br /&gt;
Orchestras is in the press.&lt;br /&gt;
Mrs. . F. E. Penny has brought out two new&lt;br /&gt;
books. One is a novel connected with the dark&lt;br /&gt;
corners of spiritualism and hypnotism, with scenes&lt;br /&gt;
in England and India. Messrs. Chatto and Windus&lt;br /&gt;
The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 39 (#55) ##############################################&lt;br /&gt;
&lt;br /&gt;
TFIES AUTISIOR.&lt;br /&gt;
39&lt;br /&gt;
other is a book of reminiscences, historical and&lt;br /&gt;
social gossip, and South Indian folklore, called&lt;br /&gt;
&ldquo;On the Coromandel Coast &rsquo;&rsquo; (Messrs. Smith,&lt;br /&gt;
Elder). e&lt;br /&gt;
By the wish of M. Buffenoir, who is contributing&lt;br /&gt;
a series of articles on the portraits of Robespierre&lt;br /&gt;
to the &ldquo;Annales de la R&eacute;volution,&rdquo; Miss Mary C.&lt;br /&gt;
Rowsell, author of &ldquo;The Friend of the People,&rdquo; is&lt;br /&gt;
translating these articles for publication in this&lt;br /&gt;
country. They are illustrated by numerous por-&lt;br /&gt;
traits of Robespierre, among them being the picture-&lt;br /&gt;
portrait of him in his room in the rue St. Honor&eacute;,&lt;br /&gt;
and his death mask made by Madame Tussaud.&lt;br /&gt;
The copyright of the latter photograph was pre-&lt;br /&gt;
sented to Miss Rowsell by Mr. John Tussaud.&lt;br /&gt;
On October 16 a new serial by F. Marion&lt;br /&gt;
Crawford, entitled &ldquo;Stradella,&rdquo; commenced in the&lt;br /&gt;
Graphic.&lt;br /&gt;
On October 6 &ldquo;Bellamy the Magnificent,&rdquo; a&lt;br /&gt;
play in five acts by Roy Horniman, was produced&lt;br /&gt;
at the New Theatre. Lord Bellamy unwittingly&lt;br /&gt;
makes love to his valet&amp;#039;s wife. The Valet&amp;#039;s revenge&lt;br /&gt;
is to make his master appear to cheat at cards, with&lt;br /&gt;
the result that Bellamy dies by his own hand. Sir&lt;br /&gt;
Charles Wyndham, in the name-part, was supported&lt;br /&gt;
by Miss Kate Cutler, Miss Fortescue, Miss Sarah&lt;br /&gt;
Brooke, Mr. Robert Loraine, and Mr.&lt;br /&gt;
Arthur.&lt;br /&gt;
&ldquo;Fanny and the Servant Problem,&rdquo; by Jerome&lt;br /&gt;
R. Jerome, was staged at the Aldwych Theatre on&lt;br /&gt;
October 14. Lord Bantock brings home his&lt;br /&gt;
wife, Fannie (late of &ldquo;the halls&rdquo;), who finds to&lt;br /&gt;
her horror that the butler, housekeeper, maid,&lt;br /&gt;
second footman and so on down to the turnspit, are&lt;br /&gt;
all uncles, aunts, cousins, nephews, or otherwise&lt;br /&gt;
relations or connections. Among those appearing&lt;br /&gt;
in this comedy were Mr. Leslie Faber, Mr. Charles&lt;br /&gt;
Cartwright, Mr. Sugden, Miss Esm&eacute; Beringer, Miss&lt;br /&gt;
Kate Phillips and Miss Fannie Ward.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
&amp;amp; 4 &amp;#039;ILE des Pingouins,&rdquo; by Anatole France, is&lt;br /&gt;
another study of modern life treated&lt;br /&gt;
allegorically. It is the history of Pin-&lt;br /&gt;
gouinie from the time when the Pingouins were&lt;br /&gt;
baptised by mistake. They were originally huge&lt;br /&gt;
birds belonging &ldquo;either to the Arctic or Antarctic&lt;br /&gt;
regions.&rdquo; The author explains this slight vague-&lt;br /&gt;
ness of definition by the fact that when a state-&lt;br /&gt;
ment is made by one witness it can be admitted&lt;br /&gt;
without hesitation, but when there are several&lt;br /&gt;
witnesses and an abundance of documents it is&lt;br /&gt;
always difficult to arrive at the truth. The con-&lt;br /&gt;
clusion of this is that when the historian has a new&lt;br /&gt;
Paul&lt;br /&gt;
light to throw on any subject he surprises the&lt;br /&gt;
reader, and the reader does not like to be surprised.&lt;br /&gt;
If the historian endeavours to instruct his reader,&lt;br /&gt;
he only humiliates and angers him. An original&lt;br /&gt;
historian is the object of universal distrust and&lt;br /&gt;
contempt. For a book to be well received the&lt;br /&gt;
author should always extol the virtues upon which&lt;br /&gt;
Society is now based : devotion to wealth, pious&lt;br /&gt;
sentiments, and more particularly the resignation&lt;br /&gt;
of the poor, which is, in reality, the very foundation&lt;br /&gt;
of all order.&lt;br /&gt;
St. Mael discovered the race of Pingouins, and,&lt;br /&gt;
believing them to be human, baptised them.&lt;br /&gt;
When the news of this event reached Paradise the&lt;br /&gt;
Seigneur himself was perplexed, and a council was&lt;br /&gt;
held to discuss what was to be done.&lt;br /&gt;
St. Augustine advised that an immortal soul&lt;br /&gt;
should now be given to the race of Pingouins, and&lt;br /&gt;
he went on to explain to the Seigneur : &ldquo;In virtue&lt;br /&gt;
of your adorable decrees, they will then burn&lt;br /&gt;
eternally in hell, and order will once more be&lt;br /&gt;
established.&rdquo;&lt;br /&gt;
The Seigneur admits that this would perhaps be&lt;br /&gt;
the best solution, but as he is now more clement&lt;br /&gt;
than he formerly was, it is decided that the Pin-&lt;br /&gt;
gouins shall, on account of their baptism, simply&lt;br /&gt;
be transformed into men. This is done, and their&lt;br /&gt;
isle, whether in the Arctic or Antarctic regions, was&lt;br /&gt;
at once removed to Brittany.&lt;br /&gt;
From this time forth their history commences,&lt;br /&gt;
and it is interesting to watch their evolution.&lt;br /&gt;
St. Mael is grieved to see them constantly&lt;br /&gt;
fighting with each other, but a certain monk&lt;br /&gt;
explains to him that this is really only their way of&lt;br /&gt;
providing for their future : they are trying to&lt;br /&gt;
annex each other&amp;#039;s lands. They are creating the&lt;br /&gt;
right of ownership, establishing the principles&lt;br /&gt;
of civilisation and the basis of society. Just at&lt;br /&gt;
that moment a strong-looking Pingouin approaches&lt;br /&gt;
a weaker One, exclaims, &ldquo;Your field is mine,&rdquo; and&lt;br /&gt;
strikes the weaker one dead on the piece of land he&lt;br /&gt;
has just been cultivating.&lt;br /&gt;
St. Mael is horrified, but the monk explains to&lt;br /&gt;
him that what he considers robbery and murder is&lt;br /&gt;
simply warfare and conquest, the very foundation&lt;br /&gt;
of empires, and the source of all virtues and of all&lt;br /&gt;
human greatness. The author, continuing his his-&lt;br /&gt;
tory, gives an account of Pingouinie through&lt;br /&gt;
many years. He tells of the putting to death&lt;br /&gt;
of her kings and of the establishing of a republic.&lt;br /&gt;
He gives the story of Trinco, the greatest&lt;br /&gt;
warrior that Pingouinie ever produced, a man who,&lt;br /&gt;
after thirty years of war, had conquered half the&lt;br /&gt;
world, but who afterwards gave back all he had&lt;br /&gt;
conquered, leaving to his country nothing but&lt;br /&gt;
glory.&lt;br /&gt;
The Pingouins are neighbours of the Marsouins.&lt;br /&gt;
Consequently they are never friendly with the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 40 (#56) ##############################################&lt;br /&gt;
&lt;br /&gt;
40&lt;br /&gt;
TRIES A UTISIOR,&lt;br /&gt;
Marsouins, as neighbours are naturally enemies.&lt;br /&gt;
The Pingouins have the finest army in the world ;&lt;br /&gt;
the Marsouins also have the finest army in the&lt;br /&gt;
world, as, indeed, every nation has.&lt;br /&gt;
In the army of the Pingouins was a certain Jew&lt;br /&gt;
named Pyrot. The Minister of War, Greatauk,&lt;br /&gt;
disliked him, and whenever anything went wrong&lt;br /&gt;
was always convinced that Pyrot was to blame.&lt;br /&gt;
Eighty thousand bundles of hay had disappeared,&lt;br /&gt;
and Greatauk feels sure that Pyrot has stolen&lt;br /&gt;
them to give as a present to the Marsouins.&lt;br /&gt;
&ldquo;That is very evident,&rdquo; said General Panther.&lt;br /&gt;
&ldquo;The only thing is, we must prove it.&rdquo;&lt;br /&gt;
After some time he returns to Greatauk, telling&lt;br /&gt;
him that no proofs can be found against Pyrot.&lt;br /&gt;
&ldquo;We must discover proofs,&rdquo; replies Greatauk.&lt;br /&gt;
&ldquo;Justice demands it. Arrest him at once.&rdquo;&lt;br /&gt;
The affaire Pyrot is described in detail. Colom-&lt;br /&gt;
ban, a writer, uses his pen in defence of the victim.&lt;br /&gt;
In spite of everything Pyrot is condemned to&lt;br /&gt;
imprisonment in a cage. After great efforts on&lt;br /&gt;
the part of his defenders there is a revision&lt;br /&gt;
of the trial, and he is pronounced innocent and&lt;br /&gt;
set free.&lt;br /&gt;
The historian continues his account of Pingouinie&lt;br /&gt;
and its inhabitants up to the times when a new&lt;br /&gt;
type of human being is evolved : the millionaire,&lt;br /&gt;
a man who becomes bald at the age of eighteen. At&lt;br /&gt;
this time houses are built of thirty or forty storeys.&lt;br /&gt;
Every day there are terrible accidents and explo-&lt;br /&gt;
sions, when houses are blown up, and the d&eacute;bris&lt;br /&gt;
descends on the heads of the passers-by. In the&lt;br /&gt;
quarters formerly frequented by students, young&lt;br /&gt;
couples now assemble to discuss scientific subjects.&lt;br /&gt;
The whole country is undermined with cellars&lt;br /&gt;
and tunnels, and fifteen million men live in the&lt;br /&gt;
capital.&lt;br /&gt;
The book is one long satire, told in the inimit-&lt;br /&gt;
able style and with the delicate irony peculiar to&lt;br /&gt;
Anatole France.&lt;br /&gt;
&ldquo;Les D&eacute;tours du Coeur &amp;#039;&amp;#039; is the title of Paul&lt;br /&gt;
Bourget&amp;#039;s new book. It is a collection of short&lt;br /&gt;
stories, written in this author&amp;#039;s best style. After&lt;br /&gt;
his recent romans &agrave; th&egrave;se most readers of Paul&lt;br /&gt;
Bourget are glad to go back to his writings which&lt;br /&gt;
do not attempt to point out any moral, stories which&lt;br /&gt;
show him at his best as one of the cleverest psycho-&lt;br /&gt;
logists of modern times. There are twelve stories&lt;br /&gt;
in the volume, and the reader who is apt to weary&lt;br /&gt;
of the &ldquo;eternal theme&amp;#039;&amp;#039; will find at any rate two or&lt;br /&gt;
three founded on other subjects: &ldquo;Le Pi&egrave;ge&rdquo; is one&lt;br /&gt;
of these. Each one of the characters studied lives.&lt;br /&gt;
The first story in the book, &ldquo;Le Brutus,&rdquo; is one of&lt;br /&gt;
the finest. It is told with extreme delicacy and&lt;br /&gt;
dramatic effect. Each one is in itself a master-&lt;br /&gt;
piece, so that on closing the volume the reader&lt;br /&gt;
feels that regret which one always has on coming&lt;br /&gt;
to the end of a perfectly written book.&lt;br /&gt;
&ldquo;Au Coeur de la Vie&rdquo; is the title of Pierre de&lt;br /&gt;
Coulevain&amp;#039;s new book. This time the author,&lt;br /&gt;
after seeking in vain in Italy the path leading to&lt;br /&gt;
the casur de la vie, finds it in Switzerland. The&lt;br /&gt;
book is a novel in the style of &ldquo;Sur la Branche.&rdquo;&lt;br /&gt;
There is a romance running through it, but inter-&lt;br /&gt;
woven with the novel are the writer&amp;#039;s thoughts&lt;br /&gt;
and ideas about many of the great problems of life.&lt;br /&gt;
The fine optimism peculiar to this author is to be&lt;br /&gt;
read in every page of the book. She deals in her&lt;br /&gt;
own way with many of the questions of the&lt;br /&gt;
hour. Religion, literature, divorce, vivisection,&lt;br /&gt;
modern theology, are among the subjects discussed.&lt;br /&gt;
Absolute faith in Providence is the key-note of the&lt;br /&gt;
whole volume. This new book has been eagerly&lt;br /&gt;
awaited, and, although it is only just in print,&lt;br /&gt;
sixty editions are already in circulation. Some&lt;br /&gt;
Wrongly-informed English reviewers of this author&amp;#039;s&lt;br /&gt;
works have stated that Pierre de Coulevain is little&lt;br /&gt;
read by the French. The fact that the French&lt;br /&gt;
edition of &ldquo;Sur la Branche &rsquo;&rsquo; is in its 115th&lt;br /&gt;
edition and &ldquo;L&amp;#039;Ile Inconnue&amp;quot; in its 101st edition&lt;br /&gt;
Speaks more eloquently than any other statement&lt;br /&gt;
could do. Pierre de Coulevain&amp;#039;s remarkable success&lt;br /&gt;
is no doubt largely due first to her gift of keen&lt;br /&gt;
observation, and after this to her absolute sincerity,&lt;br /&gt;
her ready sympathy, and her strict sense of justice.&lt;br /&gt;
In any case she is one of those authors who need no&lt;br /&gt;
advertisement, who seek no popularity, and who&lt;br /&gt;
have won the heart of their public. &ldquo;Sur la&lt;br /&gt;
Branche &rsquo;&rsquo; is to appear very shortly in English.&lt;br /&gt;
&ldquo;Le Jardin Ferm&eacute;&rsquo;&rdquo; (&ldquo;Sc&egrave;nes de la Vie f&eacute;minine&lt;br /&gt;
en Turquie&rdquo;), by Marc H&eacute;lys, comes at just the&lt;br /&gt;
right time. The book is composed of a series of&lt;br /&gt;
episodes, taken from the lives of Turkish women,&lt;br /&gt;
by a Parisian who was an intimate friend of the&lt;br /&gt;
two D&eacute;senchant&eacute;es of Pierre Loti&rsquo;s book. Nearly&lt;br /&gt;
all the stories are taken from life. Marc H&eacute;lys&lt;br /&gt;
has travelled in many countries, and she is a keen&lt;br /&gt;
observer. Her book is now being translated, but&lt;br /&gt;
no translation can do justice to the original. It&lt;br /&gt;
is one of those that should be read in French, as&lt;br /&gt;
the language is too delicate for translation.&lt;br /&gt;
&ldquo;Jean des Brumes&rdquo; is another of the delightful&lt;br /&gt;
Wendean stories by Charles Foley, who has made&lt;br /&gt;
that epoch of French history his special study.&lt;br /&gt;
He always succeeds in putting the atmosphere of&lt;br /&gt;
the times into his historical novels. This book&lt;br /&gt;
makes the thirtieth volume of his works. In&lt;br /&gt;
England Charles Foley&amp;#039;s name is chiefly known&lt;br /&gt;
as the author of the play &ldquo;Heard at the Tele-&lt;br /&gt;
phone,&rdquo; and of short stories which have appeared&lt;br /&gt;
in the Strand, Pearson&amp;#039;s, the Idler, and other&lt;br /&gt;
English and American magazines.&lt;br /&gt;
&ldquo;L&rsquo;Espoir,&rdquo; by Georges Lecomte, may be con-&lt;br /&gt;
sidered rather as an historical novel. The author&lt;br /&gt;
has taken the period immediately following the&lt;br /&gt;
terrible winter of 1870 and 1871, and shows the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 41 (#57) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIE AUTISIOR,&lt;br /&gt;
41&lt;br /&gt;
almost superhuman efforts and energy of the&lt;br /&gt;
French nation in those troubled times. It is a&lt;br /&gt;
book that is well worth reading.&lt;br /&gt;
The &ldquo;Lettres du Prince de Metternich a la&lt;br /&gt;
Comtesse de Lieven&rdquo; (1818&ndash;1819) are published&lt;br /&gt;
with an introduction, a conclusion and notes by Jean&lt;br /&gt;
Hanoteau, and a preface, by M. Arthur Chuquet,&lt;br /&gt;
Member of the Institute.&lt;br /&gt;
The sixth volume of Madame Juliette Adam&rsquo;s&lt;br /&gt;
&ldquo;Memoirs&rdquo; has just appeared. It is entitled &ldquo;Nos&lt;br /&gt;
Amiti&eacute;s Politiques jusqu&rsquo;&agrave; l&rsquo;Abandon de la&lt;br /&gt;
Revanche.&rdquo; This volume contains many un-&lt;br /&gt;
published letters by Gambetta, Rochefort, and&lt;br /&gt;
Spuller.&lt;br /&gt;
&ldquo;Loie Fuller (Quinze Ans de ma Wie)&amp;#039;&amp;#039; is an&lt;br /&gt;
interesting account of the last fifteen years of the&lt;br /&gt;
celebrated dancer&amp;#039;s life, with an account of her&lt;br /&gt;
various tours and of the people she has met. The&lt;br /&gt;
preface has been written for her by Anatole&lt;br /&gt;
France.&lt;br /&gt;
&ldquo;L&rsquo;Evolution du Protestantisme fran&ccedil;ais au&lt;br /&gt;
Dix-neuvi&egrave;me Si&egrave;cle,&rdquo; by C. Coigmet, is another&lt;br /&gt;
book published at the right moment. The&lt;br /&gt;
subject is treated by a philosopher who has&lt;br /&gt;
endeavoured to show how small a matter dogma&lt;br /&gt;
really is. This history of Protestantism from the&lt;br /&gt;
thirteenth and fourteenth centuries down to our own&lt;br /&gt;
times shows up the virtues, the faults and failings&lt;br /&gt;
of its leaders, and concludes with the following&lt;br /&gt;
question : &ldquo;Why do we not come nearer to each&lt;br /&gt;
other in this life, respecting, in the diversity&lt;br /&gt;
of our symbols, the diversity of our religious&lt;br /&gt;
needs P&rsquo;&rsquo;&lt;br /&gt;
For all readers interested in the Turkish question&lt;br /&gt;
the various French publishers are issuing lists of&lt;br /&gt;
the books they have in reference to the subject.&lt;br /&gt;
Among some of these are the following:&mdash;&ldquo;Ile&lt;br /&gt;
Sultan, l&rsquo;Islam, et les Puissances,&rdquo; by Victor&lt;br /&gt;
B&eacute;rard ; &ldquo;Les Affaires de Cr&egrave;te &rsquo;&rsquo;; &ldquo;La Bosnie&lt;br /&gt;
et l&amp;#039;Herz&eacute;govine,&rdquo; by L. Olivier; &ldquo;Le Balkan&lt;br /&gt;
Slave et la Crise Autrichienne,&rdquo; by Charles&lt;br /&gt;
Loiseau ; &ldquo;Histoire de la Turquie,&rdquo; by Youssouf&lt;br /&gt;
Fehmi, with a preface by M. Antoine Baumann.&lt;br /&gt;
Among other new books are : &ldquo;Le Coeur Humain&lt;br /&gt;
et les Lois de la Psychologie Positive,&rdquo; by Antoine&lt;br /&gt;
Baumann; &ldquo;L&rsquo;A&eacute;roplane des Fr&egrave;res Wright:&lt;br /&gt;
Historique, Exp&eacute;riences, Description,&rdquo; a little&lt;br /&gt;
pamphlet published at 1 franc, containing also&lt;br /&gt;
some original sketches. &ldquo;L&rsquo;Evolution de la&lt;br /&gt;
Marine anglaise : R&eacute;formes du Personnel,&rdquo; by De&lt;br /&gt;
Roquefeuil.&lt;br /&gt;
A translation of the works of Shakespeare is&lt;br /&gt;
being made by Georges Duval. &ldquo;Othello,&rdquo;&lt;br /&gt;
&ldquo;Measure for Measure,&rdquo; &ldquo;Cymbeline,&rdquo; and&lt;br /&gt;
&ldquo;Love&amp;#039;s Labour&amp;#039;s Lost&amp;quot; are published together&lt;br /&gt;
in one volume.&lt;br /&gt;
Among translations from the English are&lt;br /&gt;
&ldquo;L&amp;#039;Oncle Bernac,&rdquo; by Conan Doyle ; &ldquo;Le Chat&lt;br /&gt;
Maltais,&rdquo; by Rudyard Kipling, translated by Louis&lt;br /&gt;
Fabulet and Arthur Austin Jackson ; &ldquo;Les Contes&lt;br /&gt;
de Canterbury,&rdquo; by Chaucer, revised by M. Legonis,&lt;br /&gt;
one of the professors of the Sorbonne ; &ldquo;Le Para-&lt;br /&gt;
site,&rdquo; by Conan Doyle, translated by Albert Savine&lt;br /&gt;
and Georges Michel; &ldquo;Myst&egrave;res et Aventures,&rdquo; by&lt;br /&gt;
Conan Doyle, translated by Albert Savine.&lt;br /&gt;
A translation of one of Thomas Hardy&amp;#039;s works&lt;br /&gt;
by Iouis Labay is now being published in serial&lt;br /&gt;
form under the title of &ldquo; Deux Ambitions.&rdquo;&lt;br /&gt;
Edith Wharton&amp;#039;s novel is translated, under&lt;br /&gt;
the title of &ldquo; Chez les Heureux du Monde,&rdquo; by&lt;br /&gt;
M. Charles du Bos. The title given for &ldquo;The&lt;br /&gt;
House of Mirth &amp;#039;&amp;#039; does not appear to be an&lt;br /&gt;
equivalent.&lt;br /&gt;
In recent numbers of the Revue de Paris are the&lt;br /&gt;
following articles: &ldquo;La Foire aux Images,&rdquo; by&lt;br /&gt;
Paul Stapfer: &ldquo;La R&eacute;forme de l&amp;#039;Indo-Chine,&rdquo; by&lt;br /&gt;
Lieutenant-Colonel F. Bernard ; &ldquo;Lettres de&lt;br /&gt;
1871,&rdquo; by Georges Bizet ; &ldquo;La Famille Royale en&lt;br /&gt;
1700,&rdquo; by Ernest Lavisse ; &ldquo;Le Congr&egrave;s de la&lt;br /&gt;
Route,&rdquo; by L. Girardault. Questions ext&eacute;rieures :&lt;br /&gt;
&ldquo;Ind&eacute;pendance Bulgare.&rdquo;&lt;br /&gt;
In the latest numbers of the Revue Hebdoma-&lt;br /&gt;
daire are the following articles: &ldquo;Le Pr&eacute;sident&lt;br /&gt;
Gr&eacute;vy,&rdquo; by Gabriel Hanotaux; &ldquo;Le Congr&egrave;s&lt;br /&gt;
Eucharistique &agrave; Londres,&rdquo; by P. Cl&eacute;ment Berthel;&lt;br /&gt;
&ldquo;L&amp;#039;Id&eacute;e du Bonheur et du Progr&egrave;s dans la Litt&eacute;ra-&lt;br /&gt;
ture du Dix-neuvi&egrave;me Si&egrave;cle,&rdquo; by Marius Ary&lt;br /&gt;
Leblond ; &ldquo;Ma Vocation sociale,&rdquo; by Comte&lt;br /&gt;
Albert de Mun.&lt;br /&gt;
A volume by Maurice Donnay, entitled&lt;br /&gt;
&ldquo;Th&eacute;&acirc;tre,&rdquo; is just published, containing &ldquo;Georgette&lt;br /&gt;
Lemeunier,&rdquo; &ldquo;Le Torrent,&rdquo; and &ldquo;La Bascule.&rdquo;&lt;br /&gt;
&ldquo;Parmi les Pierres,&rdquo; by Sudermann, translated&lt;br /&gt;
into French by M. R&eacute;mon and M. Valentin, is&lt;br /&gt;
being played at the Od&eacute;on, and is now published in&lt;br /&gt;
Volume form.&lt;br /&gt;
At the Od&eacute;on &ldquo;Parmi les Pierres,&rdquo; by Suder-&lt;br /&gt;
mann, is now on the bill.&lt;br /&gt;
At the Renaissance Paul Bourget&amp;#039;s&lt;br /&gt;
&ldquo;L&rsquo;Emigr&eacute;&amp;#039;&amp;#039; is being played.&lt;br /&gt;
Madame R&eacute;jane is giving M. Bernstein&amp;#039;s&lt;br /&gt;
&ldquo;Isra&euml;l.&rdquo; At the Th&eacute;&acirc;tre Antoine &ldquo;L&amp;#039;Oreille&lt;br /&gt;
Fendue &amp;quot; is a great success, and at the Vaudeville&lt;br /&gt;
&ldquo;La Maison en Ordre,&rdquo; by Mr. Pinero.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
piece&lt;br /&gt;
&ldquo;L&amp;#039;Ile des Pingouins&amp;quot; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Les D&eacute;tours du Coeur&amp;#039;&amp;#039; (Plon).&lt;br /&gt;
&ldquo;Le Jardin Ferm&eacute; (Sc&egrave;nes de la Vie feminine en&lt;br /&gt;
Turquie)&amp;quot; (Plon).&lt;br /&gt;
&ldquo;L&rsquo;Espoir&amp;quot; (Fasquelle).&lt;br /&gt;
&ldquo;Lettres du Prince de Metternich a la Comtesse de&lt;br /&gt;
Lieven&amp;quot; (1818&ndash;1819) (Plon).&lt;br /&gt;
The sixth volume of Madame Juliette Adam&amp;#039;s Memoirs&lt;br /&gt;
(Lemerre).&lt;br /&gt;
&ldquo;L&rsquo;Evolution du Protestantisme Fran&ccedil;ais au Dix-&lt;br /&gt;
neuvi&egrave;me Si&egrave;cle&rdquo; (Alcan).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 42 (#58) ##############################################&lt;br /&gt;
&lt;br /&gt;
42&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
&ldquo;Le Sultan, l&amp;#039;Islam et les Puissances&rdquo; (Colin).&lt;br /&gt;
&ldquo;Les Affaires de Cr&egrave;te &rsquo;&rsquo; (Colim).&lt;br /&gt;
&ldquo;La Bosnie et l&amp;#039;Herz&eacute;govime &rsquo;&rsquo; (Colin).&lt;br /&gt;
&ldquo;Le Balkan Slave et la Crise autrichienne &amp;#039;&amp;#039; (Perrin).&lt;br /&gt;
&ldquo;Histoire de la Turquie&rdquo; (Perrin). -&lt;br /&gt;
&ldquo;Le Coeur Humain et les Lois de la Psychologie Positive&rdquo;&lt;br /&gt;
(Perrin).&lt;br /&gt;
&ldquo;L&amp;#039;A&eacute;roplane des Fr&egrave;res Wright: Historique, Exp&eacute;ri-&lt;br /&gt;
ences, Description &rdquo; (Berger-Levrault).&lt;br /&gt;
&ldquo;Le Parasite &rdquo; (Stock).&lt;br /&gt;
&ldquo;Myst&egrave;res et Aventures &amp;#039;&amp;#039; (Stock).&lt;br /&gt;
&ldquo;Chez les Heureux du Monde &rsquo;&rsquo; (Plon).&lt;br /&gt;
&ldquo;Th&eacute;&acirc;tre&amp;quot; (Fasquelle).&lt;br /&gt;
&ldquo;Parmi les Pierres&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&mdash;e&mdash;&ordm;-s&mdash; &mdash;&lt;br /&gt;
THE PAN-AMERICAN COPYRIGHT&lt;br /&gt;
CONVENTION.&lt;br /&gt;
RT. IST. The signatory States constitute&lt;br /&gt;
A. themselves into a Union for the purpose of&lt;br /&gt;
recognising and protecting the rights of&lt;br /&gt;
literary and artistic property, in conformity with&lt;br /&gt;
the stipulations of the present Convention.&lt;br /&gt;
ART. 2ND. Under the term &ldquo;Literary and&lt;br /&gt;
Artistic Works,&rdquo; are comprised books, manuscripts,&lt;br /&gt;
pamphlets of all kinds, no matter what subject&lt;br /&gt;
they may treat of and what may be the number of&lt;br /&gt;
their pages; dramatic or melodramatic works;&lt;br /&gt;
choral music and musical compositions, with or&lt;br /&gt;
without words, designs, drawings,&lt;br /&gt;
sculpture, engravings, photographic works; astro-&lt;br /&gt;
nomical and geographical globes; plans, sketches&lt;br /&gt;
and plastic works relating to geography or geology,&lt;br /&gt;
topography or architecture, or any other science;&lt;br /&gt;
and finally, every production in the literary and&lt;br /&gt;
artistic field which may be published by any method&lt;br /&gt;
of impression or reproduction.&lt;br /&gt;
ART. 3RD. The copyright to literary or artistic&lt;br /&gt;
work consists in the exclusive right to dispose of&lt;br /&gt;
the same, to publish, Sell and translate the same,&lt;br /&gt;
or to authorise its translation, and to reproduce&lt;br /&gt;
the same in&lt;br /&gt;
partially.&lt;br /&gt;
The authors belonging to one of the signatory&lt;br /&gt;
countries, or their assigns, shall enjoy in the other&lt;br /&gt;
signatory countries, and for the time stipulated in&lt;br /&gt;
art. 5th, the exclusive right to translate their works,&lt;br /&gt;
or to authorise their translation.&lt;br /&gt;
ART. 4TH. In order to obtain the recognition of&lt;br /&gt;
the copyright of a work, it is indispensable that&lt;br /&gt;
the author or his assigns, or legitimate representa-&lt;br /&gt;
tive, shall address a petition to the official Depart-&lt;br /&gt;
ment which each government may designate,&lt;br /&gt;
claiming the recognition of such right, which&lt;br /&gt;
petition must be accompanied by two copies of&lt;br /&gt;
his work, said copies to remain in the proper&lt;br /&gt;
Department.&lt;br /&gt;
paintings,&lt;br /&gt;
any manner, either entirely or&lt;br /&gt;
If the author, or his assigns, should desire that his&lt;br /&gt;
copyright be recognised in any other of the signatory&lt;br /&gt;
countries, he shall attach to his petition a number&lt;br /&gt;
of copies of his work, equal to that of the countries&lt;br /&gt;
he may therein designate. The said Department&lt;br /&gt;
shall distribute the copies mentioned among those&lt;br /&gt;
countries, accompanied by a copy of the respective&lt;br /&gt;
certificate, in order that the copyright of the author&lt;br /&gt;
may be recognised by them. -&lt;br /&gt;
Any omissions which the said Department may&lt;br /&gt;
incur in this respect shall not give the author, or&lt;br /&gt;
his assigns, any rights to present claims against the&lt;br /&gt;
State.&lt;br /&gt;
ART. 5TH. The authors who belong to one of the&lt;br /&gt;
signatory countries, or their assigns, shall enjoy in&lt;br /&gt;
the other countries the rights which their respec-&lt;br /&gt;
tive laws at present grant, or in the future may&lt;br /&gt;
grant, to their own citizens; but such right shall&lt;br /&gt;
not exceed the term of protection granted in the&lt;br /&gt;
country of its origin. -&lt;br /&gt;
For the works composed of several volumes,&lt;br /&gt;
which are not published at the same time, as well&lt;br /&gt;
as for bulletins or instalments of publications of&lt;br /&gt;
literary or Scientific Societies, or of private parties,&lt;br /&gt;
the term of property shall commence to be counted&lt;br /&gt;
from the date of the publication of each volume,&lt;br /&gt;
bulletin or instalment.&lt;br /&gt;
ART. 6TH. The country in which a work is first&lt;br /&gt;
published shall be considered as the country of its&lt;br /&gt;
origin, or, if such publication takes places simul-&lt;br /&gt;
taneously in several of the signatory countries, the&lt;br /&gt;
one whose laws establish the shortest period of pro-&lt;br /&gt;
tection shall be considered as the country of its&lt;br /&gt;
Origin.&lt;br /&gt;
ART. 7TH. Lawful translations shall be protected&lt;br /&gt;
in the same manner as original works. The trans-&lt;br /&gt;
lators of works, in regard to which there exists no&lt;br /&gt;
guaranteed right of property, or the right of which&lt;br /&gt;
may have become extinguished, may secure the&lt;br /&gt;
right of property for their translations, as estab-&lt;br /&gt;
lished in art. 3rd, but they shall not prevent the&lt;br /&gt;
publication of their translations of the same&lt;br /&gt;
work.&lt;br /&gt;
ART. 8TH. Newspaper articles may bereproduced,&lt;br /&gt;
but the publication from which they are taken must&lt;br /&gt;
be mentioned, and the name of the author given, if&lt;br /&gt;
it should appear in the same.&lt;br /&gt;
ART. 9TH. Copyright shall be recognised in&lt;br /&gt;
favour of the persons whose names or acknow-&lt;br /&gt;
ledged pseudonyms are stated in the respective&lt;br /&gt;
literary or artistic work, or in the petition to which&lt;br /&gt;
art. 4th of this Convention refers, excepting case of&lt;br /&gt;
proof to the contrary.&lt;br /&gt;
ART. 10TH. Addresses delivered or read in&lt;br /&gt;
deliberative assemblies, before the courts of&lt;br /&gt;
justice and in public meetings, may be published&lt;br /&gt;
in the newspaper Press without any special&lt;br /&gt;
authorisation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 43 (#59) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
43&lt;br /&gt;
ART, 11TH. The reproduction in publications&lt;br /&gt;
devoted to public instruction or chrestomathy, of&lt;br /&gt;
fragments of literary or artistic works, confers no&lt;br /&gt;
right of property, and may therefore be freely made&lt;br /&gt;
in all the signatory countries.&lt;br /&gt;
ART. 12TH. All unauthorised indirect use of a&lt;br /&gt;
literary or artistic work, which does not present&lt;br /&gt;
the character of an original work, shall be con-&lt;br /&gt;
sidered as an unlawful reproduction.&lt;br /&gt;
It shall be considered in the same manner&lt;br /&gt;
unlawful to reproduce, in any form, an entire&lt;br /&gt;
work, or the greater part of the same, accompanied&lt;br /&gt;
by notes or commentaries, under the pretext of&lt;br /&gt;
literary criticism, or of enlargement or complement&lt;br /&gt;
of an original work.&lt;br /&gt;
ART. 13TH. All fraudulent works shall be liable&lt;br /&gt;
to sequestration in the signatory countries in which&lt;br /&gt;
the original work may have the right of legal pro-&lt;br /&gt;
tection, without prejudice to the indemnities or&lt;br /&gt;
punishments to which the falsifiers may be liable&lt;br /&gt;
according to the laws of the country in which the&lt;br /&gt;
fraud has been committed.&lt;br /&gt;
ART. 14TH. Each one of the Governments of the&lt;br /&gt;
signatory countries shall remain at liberty to&lt;br /&gt;
perinit, exercise vigilance over, or prohibit, the&lt;br /&gt;
circulation, representation and exposition of any&lt;br /&gt;
work or production, in respect to which the&lt;br /&gt;
competent authorities shall have power to exercise&lt;br /&gt;
such right. - &ordm;&lt;br /&gt;
ART. 15TH. The present Convention shall take&lt;br /&gt;
effect between the signatory States that ratify it&lt;br /&gt;
three months from the day they communicate their&lt;br /&gt;
ratification to the Mexican Government, and shall&lt;br /&gt;
remain in force among all of them until one year&lt;br /&gt;
from the date it is denounced by any of said&lt;br /&gt;
States. The notification of such denouncement&lt;br /&gt;
shall be addressed to the Mexican Government, and&lt;br /&gt;
shall only have effect in so far as regards the&lt;br /&gt;
country which has given it. -&lt;br /&gt;
ART. 16TH. The Governments of the signatory&lt;br /&gt;
States, when approving the present Convention,&lt;br /&gt;
shall declare whether they accept the adherence to&lt;br /&gt;
the same by the nations who have had no repre-&lt;br /&gt;
sentation in the Second International American&lt;br /&gt;
Conference. t&lt;br /&gt;
In testimony whereof the plenipotentiaries and&lt;br /&gt;
delegates sign the present Convention and set&lt;br /&gt;
thereto the Seal of the Second International&lt;br /&gt;
American Conference. - -&lt;br /&gt;
Made in the City of Mexico, on the twenty-&lt;br /&gt;
seventh day of January, nineteen hundred and two,&lt;br /&gt;
in three copies written in Spanish, English and&lt;br /&gt;
French respectively, which shall be deposited at&lt;br /&gt;
the Department of Foreign Relations of the&lt;br /&gt;
Government of the Mexican United States, so&lt;br /&gt;
that certified copies thereof may be made, in order&lt;br /&gt;
to send them through the diplomatic channel to&lt;br /&gt;
the signatory States.&lt;br /&gt;
SERIAL AND MINOR RIGHTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
(1) &ldquo;The publishers shall control absolutely all arrange-&lt;br /&gt;
ments for serial publication of the work or any portion of&lt;br /&gt;
it, either before or after its publication in book form, and&lt;br /&gt;
shall divide equally with the author all gross profits accruing&lt;br /&gt;
from such serial publication in England, Australia, Canada,&lt;br /&gt;
or any other colony. In case arrangements may be entered&lt;br /&gt;
into for the translation of this work to any foreign tongue,&lt;br /&gt;
the author and the publishers shall be partners to the&lt;br /&gt;
extent of one half-share each in any sum thus received.&rdquo;&lt;br /&gt;
(2) (a) &ldquo;The publishers shall during the legal term of&lt;br /&gt;
copyright have the exclusive right of producing and pub-&lt;br /&gt;
lishing the work in the United Kingdom, the Colonies,&lt;br /&gt;
India, and the United States of America. The publisher&lt;br /&gt;
shall have the entire control of the publication and sale and&lt;br /&gt;
terms of sale of the book, and the author shall not during&lt;br /&gt;
the continuance of this agreement (without the consent of&lt;br /&gt;
the publisher) publish or allow to be published any abridg-&lt;br /&gt;
ment, portion, translation, or dramatised version of the&lt;br /&gt;
work.&rdquo;&lt;br /&gt;
(b) &ldquo;In the event of the publisher realising profits from&lt;br /&gt;
the sale of serial, Continental, or other rights, or from&lt;br /&gt;
claims for infringement of copyright, a royalty of fifty per&lt;br /&gt;
cent. Of the net amount of such profits remaining after&lt;br /&gt;
deducting all expenses relating thereto.&rdquo;&lt;br /&gt;
(3) (a) &ldquo;A royalty of 50 per cent. of the net profits&lt;br /&gt;
derived from the sale of American copyright (if any).&lt;br /&gt;
(b) &ldquo;A royalty of 50 per cent. of the net profits derived&lt;br /&gt;
from the sale of foreign rights (if any).&lt;br /&gt;
(c) &ldquo;A royalty of 50 per cent. of the net profits derived&lt;br /&gt;
from the sale of the serial rights (if any).&lt;br /&gt;
&ldquo;In the event of your accepting these terms, it must be&lt;br /&gt;
understood that I have the first refusal of your next three&lt;br /&gt;
Inew novels, suitable for publication in 6s. form, on terms&lt;br /&gt;
to be mutually agreed upon, otherwise there would be little&lt;br /&gt;
inducement for pushing the present work.&rdquo;&lt;br /&gt;
We print above (1) a clause taken from one&lt;br /&gt;
publisher&amp;#039;s agreement, (2) two clauses from another&lt;br /&gt;
publisher&amp;#039;s agreement, and (3) a portion of a pro-&lt;br /&gt;
posal from a third publisher. All the publishers&lt;br /&gt;
in question are well known, and no doubt their&lt;br /&gt;
proposals will be recognised by those members of&lt;br /&gt;
the Society who have signed similar agreements or&lt;br /&gt;
had similar proposals. .&lt;br /&gt;
There is no need to repeat, what we have often&lt;br /&gt;
stated, that under no conditions should these minor&lt;br /&gt;
rights (see (1), (2), and (3)), translation, serial rights,&lt;br /&gt;
etc., be transferred to a publisher. A publisher is&lt;br /&gt;
an agent for the production of the work in book&lt;br /&gt;
form. There is no need to repeat that an author&lt;br /&gt;
should not allow his literary agent to recommend&lt;br /&gt;
him an agreement where these rights are transferred&lt;br /&gt;
to the publisher. It is the duty of a literary agent&lt;br /&gt;
to place these rights, and for doing so he charges&lt;br /&gt;
10 per cent. We do not want even to call the&lt;br /&gt;
attention of members to the extraordinary per-&lt;br /&gt;
centage asked by the publishers in question for these&lt;br /&gt;
rights, for placing which an agent charges only&lt;br /&gt;
10 per cent. If the publisher, in our opinion,&lt;br /&gt;
should not have them under his control, he certainl y&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 44 (#60) ##############################################&lt;br /&gt;
&lt;br /&gt;
44&lt;br /&gt;
TISIES A CITYSIOR,&lt;br /&gt;
should not have them at 50 per cent., or any other&lt;br /&gt;
percentage. We want, however, to call the par-&lt;br /&gt;
ticular attention of members to the following&lt;br /&gt;
words (see (2) (a)): &ldquo;The publisher shall have the&lt;br /&gt;
entire control of the publication and sale and&lt;br /&gt;
terms of sale of the book, and the author shall&lt;br /&gt;
not during the continuance of this agreement&lt;br /&gt;
(without the consent of the publisher) publish or&lt;br /&gt;
allow to be published any abridgment, portion,&lt;br /&gt;
translation, or dramatised version of the work.&rdquo;&lt;br /&gt;
It will be seen in the other clauses (see (1), (2)(b),&lt;br /&gt;
and (3)) that it is distinctly stated that certain&lt;br /&gt;
rights are sold and definite percentages are claimed,&lt;br /&gt;
but in clause (2)(a) members will see that there is a&lt;br /&gt;
difference in the draftsmanship. Any author&lt;br /&gt;
would suppose, on reading this clause, that this&lt;br /&gt;
consent, like the consent of a landlord in a lease,&lt;br /&gt;
would not be unreasonably withheld, especially as,&lt;br /&gt;
and, in contrast, the particulars of the percentages&lt;br /&gt;
and the sale of other rights are so carefully set out&lt;br /&gt;
in the second clause ; but if he does consider that&lt;br /&gt;
this is the case he will be grievously disappointed&lt;br /&gt;
when it actually comes to the Sale of translation&lt;br /&gt;
rights and the publication of a dramatised version.&lt;br /&gt;
Take for instance the case where the author has&lt;br /&gt;
written a drama, or has obtained a satisfactory&lt;br /&gt;
contract for the translation of his work. He&lt;br /&gt;
applies to the publisher for his consent. The pub-&lt;br /&gt;
lisher says, &ldquo;I will give my consent if you will&lt;br /&gt;
undertake to pay me 50 per cent. of the returns.&rdquo;&lt;br /&gt;
There is no reason why he should not even ask for&lt;br /&gt;
75 per cent. We do not for a moment suggest that&lt;br /&gt;
these clauses have been drafted differently in the&lt;br /&gt;
two cases in order intentionally to mislead the&lt;br /&gt;
author, but that they have done so on two or three&lt;br /&gt;
Occasions the secretary of the society has very&lt;br /&gt;
strong evidence at the office. It would be very&lt;br /&gt;
interesting to find a satisfactory reason for this&lt;br /&gt;
particular draftsmanship so favourable to the&lt;br /&gt;
publishers, so misleading to the author.&lt;br /&gt;
If, therefore, at any time an author is asked to&lt;br /&gt;
sign an agreement in which these clauses stand, he&lt;br /&gt;
should refuse to do so on the grounds, first, that&lt;br /&gt;
the translation rights are not for the publisher to&lt;br /&gt;
negotiate, and Secondly, that the publication of a&lt;br /&gt;
dramatised version is entirely another property.&lt;br /&gt;
If, however, owing to the inherent weakness of&lt;br /&gt;
human nature, he decides to give the publisher&lt;br /&gt;
Some control over these rights, then the profits&lt;br /&gt;
which are to be given to the publisher should be&lt;br /&gt;
definitely fixed and the publisher should only be&lt;br /&gt;
able to claim a percentage if he has been instru-&lt;br /&gt;
mental in bringing together the parties to the&lt;br /&gt;
contract. &ldquo;The publisher&amp;#039;s consent&rdquo; should not&lt;br /&gt;
depend upon his claiming 50 or 60 per cent. of the&lt;br /&gt;
author&amp;#039;s hard-won returns.&lt;br /&gt;
The last paragraph of No. 3, the publisher&amp;#039;s&lt;br /&gt;
proposal, is quite impossible.&lt;br /&gt;
Again, it must be stated in the strongest terms&lt;br /&gt;
that the author should never bind himself for future&lt;br /&gt;
books with any publishers on any conditions; but&lt;br /&gt;
the last few words have their amusing side. The&lt;br /&gt;
publisher is getting 50 per cent. on the sale of&lt;br /&gt;
rights which he ought never to be allowed to&lt;br /&gt;
handle, and on which the agent takes only 10 per&lt;br /&gt;
cent., and then says that unless he obtains the&lt;br /&gt;
next three books there is no inducement for him.&lt;br /&gt;
to push the first.&lt;br /&gt;
-&lt;br /&gt;
&mdash;e&mdash;&ldquo;O-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BIBLIOPHILE.&lt;br /&gt;
W. E. Henley. By Theodore Watts-Dunton.&lt;br /&gt;
The Cat in Literature. By F. C. Owlett.&lt;br /&gt;
An Eighteenth Century Occult Magazine: And a Query&lt;br /&gt;
as to William Blake. By Mark Perugini.&lt;br /&gt;
BLACKWOOD&amp;#039;S.&lt;br /&gt;
The Apocalyptic Style.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Ruskin&amp;#039;s Position in the World of Art.&lt;br /&gt;
Spielmann.&lt;br /&gt;
The Library Edition of Ruskin.&lt;br /&gt;
Nicoll, LL.D.&lt;br /&gt;
The &ldquo;Bookman&rdquo; Gallery.&lt;br /&gt;
By M. H.&lt;br /&gt;
By W. Robertson&lt;br /&gt;
Mr. Harold Bindloss.&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
Tolstoy at Eighty.&lt;br /&gt;
The Novelist as Conqueror of the Stage. By the Editor.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
Irish Epics and Homer. By Andrew Lang.&lt;br /&gt;
The Book on the Table: &ldquo;Louise de la Valli&egrave;re.&rdquo; By&lt;br /&gt;
Virginia Stephen.&lt;br /&gt;
DUBLIN QUARTERLY.&lt;br /&gt;
Francis Thompson : In Memoriam. By W. G. Hole.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Decay of the Short Story. By Edwin Pugh.&lt;br /&gt;
Plays of the New Season. By William Archer,&lt;br /&gt;
MONTH.&lt;br /&gt;
Heredia. By Harold Binns.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
The Unparalleled Pieresc. By Austin Dobson.&lt;br /&gt;
Patrice. By Miss Alys Hallard.&lt;br /&gt;
NEW QUARTERLY.&lt;br /&gt;
Flambert and Some Critics (Part I.).&lt;br /&gt;
Moore.&lt;br /&gt;
Chinese Poetry. By G. L. Strachey.&lt;br /&gt;
The Note-books of Samuel Butler (IV.).&lt;br /&gt;
*&lt;br /&gt;
By T. Sturge.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
Dante and Shakespeare. By Mary Winslow Smyth.&lt;br /&gt;
The Method of Plato. By Herbert Paul, M.P.&lt;br /&gt;
The Poet in &ldquo;High Alps.&rdquo; By Frederick Wedmore.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 45 (#61) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UTFIOR.&lt;br /&gt;
45&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash; -&lt;br /&gt;
I. Selling it Outright. -&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
Tights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
{1623.IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
(nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
EWER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is &ordm;well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
xmanager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(6.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction is&lt;br /&gt;
of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play, are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
&bull;-3-e&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 46 (#62) ##############################################&lt;br /&gt;
&lt;br /&gt;
46&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above,&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-s&ordm;-0&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
E advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion. All this&lt;br /&gt;
without any cost to the member.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Send to the Office copies of past agreements and past&lt;br /&gt;
accounts, with a copy of the book represented. The&lt;br /&gt;
Secretary will always be glad to have any agreements, new&lt;br /&gt;
or old, for inspection and note. The information thus&lt;br /&gt;
obtained may prove invaluable.&lt;br /&gt;
4. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
5. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
6. The Committee have now arranged for the reception&lt;br /&gt;
of members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
&mdash;(1) To read and advise upon agreements and to give&lt;br /&gt;
advice concerning publishers. (2) To stamp agreements&lt;br /&gt;
in readiness for a possible action upon them. (3) To keep&lt;br /&gt;
agreements. (4) To enforce payments due according to&lt;br /&gt;
agreements. Fuller particulars of the Society&rsquo;s work&lt;br /&gt;
can be obtained in the Prospectus.&lt;br /&gt;
7. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
8. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
9. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
10. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
TO MUSICAL COMPOSERS.&lt;br /&gt;
&ndash;0&ndash;0&ndash;0&ndash;&lt;br /&gt;
HE Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or&lt;br /&gt;
part of 100. The members&rsquo; stamps are kept in the&lt;br /&gt;
Society&rsquo;s safe. The musical publishers communicate direct&lt;br /&gt;
with the Secretary, and the voucher is then forwarded to&lt;br /&gt;
the members, who are thus saved much unnecessary trouble.&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;6&mdash;Q-0&ndash;&lt;br /&gt;
EMBERS will greatly assist the Society in the&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
a *- &agrave;&lt;br /&gt;
w&mdash;w-&lt;br /&gt;
&amp;amp;&lt;br /&gt;
w&lt;br /&gt;
&amp;amp; &mdash;d&ordm;-&lt;br /&gt;
v-u-&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of the Society or not, are invited to&lt;br /&gt;
communicate to the Editor any points connected with their&lt;br /&gt;
work which it would be advisable in the general interest to&lt;br /&gt;
publish.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all subjects connected with literature, but on&lt;br /&gt;
no other subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post,&lt;br /&gt;
and he requests members who do not receive an&lt;br /&gt;
answer to important communications within two days to&lt;br /&gt;
write to him without delay. All remittances should be&lt;br /&gt;
crossed Union Bank of London, Chancery Lane, or be sent&lt;br /&gt;
by registered letter only.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LEGAL AND GENERAL LIFE ASSURANCE&lt;br /&gt;
SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ENSIONS to commence at any selected age,&lt;br /&gt;
either with or without Life Assurance, can&lt;br /&gt;
be obtained from this Society.&lt;br /&gt;
Full particulars can be obtained from the City&lt;br /&gt;
Branch Manager, Legal and General Life Assurance&lt;br /&gt;
Society, 158, Leadenhall Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 47 (#63) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR,&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE COPYRIGHT CONFERENCE.&lt;br /&gt;
THE first meeting of the Copyright Conference&lt;br /&gt;
was held in Berlin on October 14. The British&lt;br /&gt;
delegates were Sir Henry Bergne, K.C.B. (member&lt;br /&gt;
of the council and an ex-chairman of the Society&lt;br /&gt;
of Authors), who was plenipotentiary to the first&lt;br /&gt;
meeting of the Conference at Berne, Mr. G. R.&lt;br /&gt;
Askwith, K.C. (assistant secretary to the Board of&lt;br /&gt;
Trade), Count de Salis (councillor of His Majesty&amp;#039;s&lt;br /&gt;
Embassy at Berlin), Mr. R. L. Craigie (of the&lt;br /&gt;
Foreign Office), and Mr. T. W. Phillips (of the&lt;br /&gt;
Board of Trade). One of the principal questions&lt;br /&gt;
that was discussed was the term during which&lt;br /&gt;
copyright should continue, most of the signatories&lt;br /&gt;
being in favour of life and fifty years. Germany,&lt;br /&gt;
however, who has recently passed a law to this&lt;br /&gt;
effect, was in favour of life and thirty years. It&lt;br /&gt;
should be understood that matters are discussed at&lt;br /&gt;
the Conference by the Governments of the various&lt;br /&gt;
countries, and that the Society of Authors and&lt;br /&gt;
similar organisations have little or no voice in the&lt;br /&gt;
business, although the French Government, always&lt;br /&gt;
in advance in literary matters, appointed a com-&lt;br /&gt;
mittee of authors to attend. The exact position of&lt;br /&gt;
affairs was made plain by Mr. Winston Churchill,&lt;br /&gt;
replying recently to questions asked in the House.&lt;br /&gt;
He said : &ldquo;The proposed amendments to the Berne&lt;br /&gt;
Convention regarding copyright were communi-&lt;br /&gt;
cated to a number of Societies and persons&lt;br /&gt;
interested in the questions to be discussed, and&lt;br /&gt;
their criticisms were invited and obtained. . . .&lt;br /&gt;
Any alteration of the existing law in this country&lt;br /&gt;
to give effect to amendments of the convention&lt;br /&gt;
must of necessity be submitted to Parliament in&lt;br /&gt;
the form of a Bill&rsquo;&rsquo; (The Times, October 20).&lt;br /&gt;
The Society of Authors was among those men-&lt;br /&gt;
tioned, and the criticisms of its copyright experts&lt;br /&gt;
were duly forwarded to the Board of Trade ; but&lt;br /&gt;
since the papers were received and opinions&lt;br /&gt;
solicited in confidence, no statement appeared in&lt;br /&gt;
The Author.&lt;br /&gt;
Mr. Churchill said further : &ldquo;The British dele-&lt;br /&gt;
gates at the International Copyright Conference at&lt;br /&gt;
Berlin have no power to bind his Majesty&amp;#039;s&lt;br /&gt;
Government to any amendment of the law of&lt;br /&gt;
copyright, and it has been explained to the other&lt;br /&gt;
delegates that any provisional assent which they&lt;br /&gt;
may give to any proposed amendment or revision&lt;br /&gt;
of the International Copyright Convention must&lt;br /&gt;
not be held to imply that Great Britain will be&lt;br /&gt;
able eventually to adhere and give effect to such&lt;br /&gt;
alteration &rdquo; (The Times, October 20). If possible,&lt;br /&gt;
a full account of the proceedings will appear in the&lt;br /&gt;
December issue of The Author.&lt;br /&gt;
THE &ldquo;TIMES &rsquo;&rsquo; AND THE PUBLISHERS&amp;#039;&lt;br /&gt;
ASSOCIATION.&lt;br /&gt;
WHAT had come to be known as the &ldquo;Book&lt;br /&gt;
War&rdquo; is now happily over. On September 29&ndash;&lt;br /&gt;
too late for mention in our last issue&mdash;we received&lt;br /&gt;
an official communication from the Publishers&amp;#039;&lt;br /&gt;
Association to the effect that a satisfactory settle-&lt;br /&gt;
ment of the dispute with The Times had been&lt;br /&gt;
effected, and that members of the association were&lt;br /&gt;
again entering into ordinary business relations with&lt;br /&gt;
The Times as from October 1. The terms upon&lt;br /&gt;
which peace was concluded have not transpired ;&lt;br /&gt;
but it may be gathered from the fact that pub-&lt;br /&gt;
lishers&amp;#039; advertisements are again appearing in the&lt;br /&gt;
Literary Supplement that the rapprochement is&lt;br /&gt;
lasting and complete.&lt;br /&gt;
-&lt;br /&gt;
THE PAN-AMERICAN COPYRIGHT CONVENTION.&lt;br /&gt;
WE have received from the Library of Congress,&lt;br /&gt;
Copyright Office, the text of the Pan-American&lt;br /&gt;
Copyright Treaty of 1902, reprinted from the&lt;br /&gt;
official English text. -&lt;br /&gt;
The treaty was signed at the City of Mexico by&lt;br /&gt;
the plenipotentiaries of seventeen countries, includ-&lt;br /&gt;
ing those of the United States, on January 27th,&lt;br /&gt;
1902. Ratifications of the Convention have since&lt;br /&gt;
been deposited with the Mexican Government by&lt;br /&gt;
Guatemala, on April 25th, 1902; by Salvador, on&lt;br /&gt;
May 19th, 1902; by Costa Rica, on June 28th, 1902;&lt;br /&gt;
by Honduras, on July 4th, 1904; by Nicaragua,&lt;br /&gt;
On August 13th, 1904; and by the United States,&lt;br /&gt;
on March 31st, 1908. According to the provisions&lt;br /&gt;
of Article 15, this treaty went into effect as between&lt;br /&gt;
the United States and the countries enumerated on&lt;br /&gt;
July 1st, 1908.&lt;br /&gt;
We do not notice among the articles (which are&lt;br /&gt;
reprinted on another page) any provision for the&lt;br /&gt;
printing in the United States of the books of the&lt;br /&gt;
other subscribing parties. It certainly seems&lt;br /&gt;
strange that the United States can enter into such&lt;br /&gt;
a treaty with small Central American Republics,&lt;br /&gt;
such as Honduras and Costa Rica, and yet refuse&lt;br /&gt;
to subscribe to the Berne Convention. Probably,&lt;br /&gt;
the omission in the present treaty of this stipula-&lt;br /&gt;
tion, which keeps her apart from the European&lt;br /&gt;
Powers, is in anticipation of the future union of&lt;br /&gt;
these republics with herself; or perhaps, as in most&lt;br /&gt;
matters, she looks at the question from the point&lt;br /&gt;
of view of the almighty dollar, knowing that she&lt;br /&gt;
will gain more by the free export of her authors&rsquo;&lt;br /&gt;
works into the countries named, than she will lose&lt;br /&gt;
by the import from these countries, as their&lt;br /&gt;
literature is small compared with hers.&lt;br /&gt;
THE CHARLES LAMB MEMORIAL.&lt;br /&gt;
STRANGE as it may seem, among the many&lt;br /&gt;
monuments to literary genius in Westminster&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 48 (#64) ##############################################&lt;br /&gt;
&lt;br /&gt;
48&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
Abbey there is nothing to commemorate that of&lt;br /&gt;
Charles Lamb, one of the most original of England&amp;#039;s&lt;br /&gt;
humorists and essayists. The only memorial to his&lt;br /&gt;
genius exists in the form of a mural tablet erected&lt;br /&gt;
by the Middlesex Archaeological Society in the&lt;br /&gt;
parish church of Edmonton, in which village the&lt;br /&gt;
latter and more eventful years of his life were&lt;br /&gt;
passed, and where he and his sister Mary lie&lt;br /&gt;
buried.&lt;br /&gt;
However, on a site near his grave and Bay&lt;br /&gt;
Cottage where he lived, a hall and institute have&lt;br /&gt;
now been erected bearing his name. The site has&lt;br /&gt;
generously been given by the Ecclesiastical Com-&lt;br /&gt;
missioners, and the building planned to include&lt;br /&gt;
fifteen rooms besides the large hall, in which&lt;br /&gt;
literary, social, and recreative work will be carried&lt;br /&gt;
on. The cost is &pound;5,400, of which &pound;2,900 is already&lt;br /&gt;
raised or promised. A committee has been formed&lt;br /&gt;
to raise the remaining &pound;2,500, and carry through&lt;br /&gt;
the scheme ; the Rev. E. A. B. Sanders, of the&lt;br /&gt;
Vicarage, Edmonton, is treasurer, to whom all&lt;br /&gt;
cheques and contributions may be sent.&lt;br /&gt;
A Charles Lamb Festival Dinner has been&lt;br /&gt;
arranged with the object of raising the deficiency&lt;br /&gt;
on the cost. It will be held at the Criterion&lt;br /&gt;
Restaurant, on Thursday, November 12, with Mr.&lt;br /&gt;
Anthony Hope Hawkins in the chair, a fact which&lt;br /&gt;
should further recommend the scheme to members&lt;br /&gt;
of the society. Those desiring to participate&lt;br /&gt;
therein should communicate with the steward, Mr.&lt;br /&gt;
G. Eedes Eachus, Hughenden, Bush Hill, Winch-&lt;br /&gt;
more Hill, N.&lt;br /&gt;
&bull;=-sm&ordm;-n&ordm;-&lt;br /&gt;
THE U.S.A. BOOK MARKET.&lt;br /&gt;
THE announcement list of books to be published&lt;br /&gt;
during this autumn and winter season in America&lt;br /&gt;
by fifty representative publishers totals some 1,450&lt;br /&gt;
titles. The classified list published in the Chicago&lt;br /&gt;
Dial shows some curious features. Thus, books for&lt;br /&gt;
the young head the list in numbers, followed by&lt;br /&gt;
fiction and biography. Biography for the most part&lt;br /&gt;
deals with English worthies, American and Italian&lt;br /&gt;
taking the second place. In the small section of&lt;br /&gt;
poetry and the drama we notice that Mr. Thos. B.&lt;br /&gt;
Mosher is issuing a cluster of English poetry from&lt;br /&gt;
the pens of W. E. Henley, Lionel Johnson, Francis&lt;br /&gt;
Thompson, Oscar Wilde, and Wordsworth. Travel&lt;br /&gt;
and exploration are well represented with books&lt;br /&gt;
relating to every country from Alaska to Ceylon.&lt;br /&gt;
The smallest lists are those dealing with educa-&lt;br /&gt;
tion, games, philosophy, health, medicine, and&lt;br /&gt;
music. Religion and theology, on the other hand,&lt;br /&gt;
are well up to the average. Any endeavour, there-&lt;br /&gt;
fore, to judge America by what it reads would&lt;br /&gt;
appear to be a task of much difficulty,&lt;br /&gt;
*m-.&lt;br /&gt;
J. C. PARKINSON.&lt;br /&gt;
WE regret to announce the death of Mr. Joseph&lt;br /&gt;
Charles Parkinson, on Saturday, October 24. He&lt;br /&gt;
Was One of the original members of the council of&lt;br /&gt;
the Society, of whom but three or four now survive.&lt;br /&gt;
Mr. Parkinson was born in 1833, and his long&lt;br /&gt;
and active life was chiefly devoted to journalism&lt;br /&gt;
and social reform in connection with the Daily News&lt;br /&gt;
and the World. His most noteworthy efforts in&lt;br /&gt;
this direction were for the abolition of public&lt;br /&gt;
executions, for Poor Law reform, and for the pre-&lt;br /&gt;
servation of commons. He was special correspon-&lt;br /&gt;
dent to the Daily News at the opening of the&lt;br /&gt;
Suez Canal in 1869, and proceeded to India shortly&lt;br /&gt;
afterwards in connection with the ocean telegraph.&lt;br /&gt;
Among other duties and positions undertaken and&lt;br /&gt;
fulfilled, he held high offices in Masonic circles,&lt;br /&gt;
was a governor of Christ&amp;#039;s Hospital, chairman of&lt;br /&gt;
the Reform Club, and treasurer of the Royal&lt;br /&gt;
Literary Fund. His publications include &ldquo;Under&lt;br /&gt;
Government,&rdquo; a guide to the departments of the&lt;br /&gt;
Civil Service ; a handbook of &ldquo;Government&lt;br /&gt;
Examinations,&rdquo; and &ldquo;The Ocean Telegraph to&lt;br /&gt;
India.&rdquo;&lt;br /&gt;
While Mr. Parkinson never took a very promi-&lt;br /&gt;
nent part in the work of the society, he was one&lt;br /&gt;
of its warmest supporters, and was always ready,&lt;br /&gt;
when occasion offered, to encourage it in its duties,&lt;br /&gt;
to further its aims, and to seek for its prosperity.&lt;br /&gt;
THE PUBLISHERS&rsquo; CIRCLE AND BOOK&lt;br /&gt;
TRADE DINNER.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
ITY HE Publishers&amp;#039; Circle organised during the&lt;br /&gt;
summer months a book trade dinner. It&lt;br /&gt;
was held at the Trocadero, on Friday, Octo-&lt;br /&gt;
ber 9, when about 250 people were present, and&lt;br /&gt;
many lambs could be seen among the recumbent&lt;br /&gt;
lions. -&lt;br /&gt;
Mr. Edward Bell, the chairman of the Publishers&amp;#039;&lt;br /&gt;
Association, took the chair; and Mr. Arthur Waugh,&lt;br /&gt;
the managing director of Messrs. Chapman and&lt;br /&gt;
Hall, and Mr. H. W. Keay, president of the&lt;br /&gt;
Associated Booksellers, were at the head of the&lt;br /&gt;
cross-tables as vice-chairmen.&lt;br /&gt;
As Sir George Otto Trevelyan facetiously re-&lt;br /&gt;
marked in his speech, he was glad to see that the&lt;br /&gt;
publishers had brought their authors with them.&lt;br /&gt;
It would be invidious to make distinction or&lt;br /&gt;
mention what particular author was in the right-&lt;br /&gt;
and left-hand pocket of what particular publisher,&lt;br /&gt;
but this is certain, that there was much good-&lt;br /&gt;
fellowship and camaraderie, and everyone present&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 49 (#65) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
49&lt;br /&gt;
was glad to sink all debatable subjects and enjoy&lt;br /&gt;
the pleasures provided for him.&lt;br /&gt;
For this happy issue hearty thanks are due to&lt;br /&gt;
Mr. Arthur Waugh, the chairman of the Publishers&amp;#039;&lt;br /&gt;
Circle, and Mr. A. D. Power, the secretary.&lt;br /&gt;
After the toast of &ldquo;The King,&rdquo; Mr. W. L.&lt;br /&gt;
Courtney, in his best academic manner, with a&lt;br /&gt;
touch of jest and sarcasm, sometimes for, sometimes&lt;br /&gt;
against the publisher, proposed the toast of&lt;br /&gt;
&ldquo;Literature.&rdquo;&lt;br /&gt;
He emphasised the fact that literature had&lt;br /&gt;
nothing to do with the subject, but the manner in&lt;br /&gt;
which the subject was treated. He explained his&lt;br /&gt;
proposition with forcible and sincere arguments.&lt;br /&gt;
The toast was coupled with the name of Sir&lt;br /&gt;
George Trevelyan.&lt;br /&gt;
Sir George entertained the company with a&lt;br /&gt;
number of interesting literary reminiscences. He&lt;br /&gt;
talked of his walks with Carlyle; his travels&mdash;or&lt;br /&gt;
should it not rather be his voyages &mdash;through&lt;br /&gt;
Venice with Ruskin for a guide ; his introduction&lt;br /&gt;
to Browning, and his meeting with Thackeray.&lt;br /&gt;
Everyone appreciated these glimpses of the past.&lt;br /&gt;
Towards the end of his speech, in the strongest&lt;br /&gt;
terms he windicated the claim of the writers of&lt;br /&gt;
history to treat their subject as an art rather than&lt;br /&gt;
as a mere dry science or a crude statement of facts.&lt;br /&gt;
No doubt all those who read history for the love&lt;br /&gt;
of the past will cordially agree with him.&lt;br /&gt;
Mr. W. W. Jacobs, in an amusing speech,&lt;br /&gt;
proposed &ldquo;The Book Trades.&rdquo;&lt;br /&gt;
He proclaimed the modesty of publishers because&lt;br /&gt;
they never advertised. He knew this was a fact,&lt;br /&gt;
because all the authors he had met had assured&lt;br /&gt;
him that it was so.&lt;br /&gt;
Mr. Edward Bell, the chairman, and Mr. H. W.&lt;br /&gt;
Keay responded.&lt;br /&gt;
There were pleasant music and songs during the&lt;br /&gt;
dinner, and in the intervals between the speeches,&lt;br /&gt;
and after the speeches, a soir&eacute;e was held in the&lt;br /&gt;
Alexandra Room.&lt;br /&gt;
Thus the first dinner of the Publishers&amp;#039; Circle was&lt;br /&gt;
brought to a satisfactory conclusion.&lt;br /&gt;
The promoters should be pleased with the results,&lt;br /&gt;
which it is to be hoped will bring about the&lt;br /&gt;
blessings of peace and goodwill and good under-&lt;br /&gt;
standing. &bull; .&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE TWELFTH INTERNATIONAL CON-&lt;br /&gt;
GRESS OF THE PRESS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HE choice of Berlin as the city wherein the&lt;br /&gt;
Twelfth International Press Congress was to&lt;br /&gt;
be held, gave rise to many speculations.&lt;br /&gt;
Obstacles had frequently been thrown in the way&lt;br /&gt;
of holding the Congress in the German capital, but&lt;br /&gt;
the success of the meeting has fully justified the&lt;br /&gt;
Bureau Central in accepting the invitation.&lt;br /&gt;
The Press not only of Berlin but of Germany&lt;br /&gt;
have worked cordially, and have been most heartily&lt;br /&gt;
supported by the imperial and civic authoritics in&lt;br /&gt;
their endeavours to make the Congress a success,&lt;br /&gt;
from both the business and social stand point.&lt;br /&gt;
When the English delegation had arrived in&lt;br /&gt;
Berlin, and received their portfolios, it was at once&lt;br /&gt;
seen that every possible detail had been considered&lt;br /&gt;
with minute care. The ticket arrangements had&lt;br /&gt;
been placed in the hands of the Hamburg-American&lt;br /&gt;
Steamship Co., by whose lines most of the English&lt;br /&gt;
delegates travelled to Berlin via Hamburg ; the&lt;br /&gt;
officials of the line arranged for all the inter.&lt;br /&gt;
tickets within the German Empire, and the French&lt;br /&gt;
railways, through M. Taunay, accorded passes&lt;br /&gt;
through their territory to the Latin members.&lt;br /&gt;
The portfolios contained all documents, reports,&lt;br /&gt;
time-tables, programmes, invitations, etc., and&lt;br /&gt;
from the office in the Reichstaggebaude (Par-&lt;br /&gt;
liament House) where these were issued, the&lt;br /&gt;
members could at once pass to the writing-rooms&lt;br /&gt;
of the House of Parliament, and answer all&lt;br /&gt;
necessary notes and invitations. The whole&lt;br /&gt;
Suite of the Parliamentary buildings were at&lt;br /&gt;
our disposal. Libraries, post-office, lobbies, etc.,&lt;br /&gt;
and a lunch was arranged here each day. Before&lt;br /&gt;
the first meeting of the Congress the English&lt;br /&gt;
delegation came together at the Hotel Adlon, under&lt;br /&gt;
the presidency of Major Gratwicke. At this gather-&lt;br /&gt;
ing he was elected English Vice-President of the&lt;br /&gt;
Congress. On the subjects of the debate being&lt;br /&gt;
considered it was decided that Mr. Thomas Catling&lt;br /&gt;
should speak upon &ldquo;The Dignity of the Press and&lt;br /&gt;
the Constitution of Professional Tribunals.&rdquo; Mr.&lt;br /&gt;
J. R. Fisher and Mr. Arthur Walter were nomi-&lt;br /&gt;
nated as speakers upon the question of &ldquo;Profes-&lt;br /&gt;
sional Secrecy in Matters concerning the Press&rdquo;;&lt;br /&gt;
and upon the Provident Fund questions Major&lt;br /&gt;
Gratwicke, the President of the British Inter-&lt;br /&gt;
national Association of Journalists (which society&lt;br /&gt;
had sent the delegation to Berlin). Upon &ldquo;The&lt;br /&gt;
Reduction of Postal and Telegraphic Tariffs for&lt;br /&gt;
the Press&amp;#039;&amp;#039; Mr. J. H. Warden, the Hon. Treas.&lt;br /&gt;
and Mr. James Baker, the Hon. Sec., were&lt;br /&gt;
appointed speakers; and upon the general work of&lt;br /&gt;
the Congresses the representative on the Bureau&lt;br /&gt;
Central, Mr. D. A. Louis, was chosen. The other&lt;br /&gt;
subjects under consideration were &ldquo;Concerning the&lt;br /&gt;
Unification of the Laws for the Protection of Artistic&lt;br /&gt;
and Literary Property&rdquo; and the suppression of the&lt;br /&gt;
&ldquo;Ambulant Jurisdiction for International Law &amp;quot;&lt;br /&gt;
questions. Mr. J. R. Fisher and the Hon. Sec. were&lt;br /&gt;
asked, if necessary, to deal with these matters.&lt;br /&gt;
The scene in the Chamber of the German Reichs-&lt;br /&gt;
tag when the first sitting of the Congress was&lt;br /&gt;
opened was a significant one. Here in this hall.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 50 (#66) ##############################################&lt;br /&gt;
&lt;br /&gt;
50&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
where so many fiery debates involving serious&lt;br /&gt;
matters for the welfare of the German people have&lt;br /&gt;
been fought out, were gathered the representatives,&lt;br /&gt;
from twenty-one nations, of the Press parliament.&lt;br /&gt;
Herr W. Singer, of Vienna, occupied the president&amp;#039;s&lt;br /&gt;
chair, and near him were Herr George Schweitzer,&lt;br /&gt;
the German president, and M. Taunay, the French&lt;br /&gt;
general secretary, and on either side, the bureau&lt;br /&gt;
representatives of the various nations.&lt;br /&gt;
There were present also, in recognition of the&lt;br /&gt;
importance of the gathering, the Prussian ministers&lt;br /&gt;
Von Rheinhaben, Von Moltke, Dr. Beseler and&lt;br /&gt;
the Secretary of State for Foreign affairs, Won&lt;br /&gt;
Schoen, as well as under-secretaries of State and&lt;br /&gt;
members of the Reichstag.&lt;br /&gt;
The Congress was opened by Herr Singer. In an&lt;br /&gt;
eloquent and impressive speech he referred to the&lt;br /&gt;
first Congress of the Press at Antwerp fourteen years&lt;br /&gt;
ago, when no one believed there could be a continu-&lt;br /&gt;
ance of international Press deliberations; but, he&lt;br /&gt;
continued, reason had worked, and the heart had&lt;br /&gt;
helped to bring this about, to work internationally,&lt;br /&gt;
each for the good of his fatherland. Herr Singer&lt;br /&gt;
spoke at first in German, and then in French, with&lt;br /&gt;
witty references to Voltaire&amp;#039;s sayings, and to his&lt;br /&gt;
own experiences as a journalist ; he declared he had&lt;br /&gt;
never doubted the great future of the Press, and he&lt;br /&gt;
called upon those gathered from all corners of the&lt;br /&gt;
world to work for honour, rectitude, and justice&lt;br /&gt;
as the cardinal virtues of the Press.&lt;br /&gt;
In an impressive speech the Foreign Secretary&lt;br /&gt;
then greeted the Congress, by command of the&lt;br /&gt;
Chancellor, Prince von Buelow, and referred,&lt;br /&gt;
speaking of its growing power, to the links between&lt;br /&gt;
diplomacy and the Press. He assured the Congress&lt;br /&gt;
that their labours to lessen misunderstanding and&lt;br /&gt;
to bring about better and more just consideration&lt;br /&gt;
of political matters would insure the diplomatist&amp;#039;s&lt;br /&gt;
warmest sympathy.&lt;br /&gt;
In the afternoon after the first sitting, the Chan-&lt;br /&gt;
cellor, Prince von Buelow, gave a reception in his&lt;br /&gt;
historic residence, and the scene in the forest&lt;br /&gt;
garden, beneath the rooms in which the Berlin&lt;br /&gt;
Congress was held, was full of animation. The&lt;br /&gt;
Chancellor chatted with the varied nationalities,&lt;br /&gt;
and then standing at his garden door, in response&lt;br /&gt;
to Herr Singer, gave an important speech that was&lt;br /&gt;
telegraphed to all the journals.&lt;br /&gt;
At the second sitting of the Congress a telegram&lt;br /&gt;
was read from M. Jules Claretie, the director of the&lt;br /&gt;
Com&eacute;die Fran&ccedil;aise, who as a dramatic journalist&lt;br /&gt;
has spoken at former Congresses, regretting that&lt;br /&gt;
unavoidable work prevented him coming to Berlin&lt;br /&gt;
and journeying to the home of Goethe.&lt;br /&gt;
Then came the question of the Dignity of the&lt;br /&gt;
Press and Professional Tribunals, the discussion&lt;br /&gt;
being opened by M. Taunay, and illustrated by the&lt;br /&gt;
Italian delegates, M. Raimondi and Cantalupi. It&lt;br /&gt;
was requested that the bureau should draw up as&lt;br /&gt;
far as possible a codex of modern journalistic law.&lt;br /&gt;
The important and highly debatable subject of&lt;br /&gt;
professional secrecy and coercion of witnesses,&lt;br /&gt;
introduced by Dr. George Schweitzer, was then&lt;br /&gt;
discussed. Upon this subject Mr. J. R. Fisher,&lt;br /&gt;
whose legal knowledge of journalistic usage is very&lt;br /&gt;
thorough, stated that in England there was no&lt;br /&gt;
Untersuchungsrichter, or examining magistrate, and&lt;br /&gt;
the judge would not compel the name of a writer&lt;br /&gt;
to be divulged if good ground was given for with-&lt;br /&gt;
holding it. Mr. Arthur Walter, the official reporter&lt;br /&gt;
of the House of Lords, spoke to the effect that no&lt;br /&gt;
departure from common law could be claimed for&lt;br /&gt;
the journalist. The journalist was as answerable&lt;br /&gt;
for what he published as any other citizen, but as&lt;br /&gt;
Mr. Fisher had said, the judge would not compel&lt;br /&gt;
the divulging of professional secrets. Mr. Burlumi,&lt;br /&gt;
of the Foreign Press Association, also spoke of the&lt;br /&gt;
English usage, but he hoped, for the interests of&lt;br /&gt;
other countries, the resolution of the central com-&lt;br /&gt;
mittee as to professional secrecy would be carried,&lt;br /&gt;
which was done unanimously.&lt;br /&gt;
The third sitting of the Congress was opened&lt;br /&gt;
by Herr Singer announcing he had received a&lt;br /&gt;
telegram from his Imperial Majesty Kaiser&lt;br /&gt;
Wilhelm, which, after thanking the presidents of&lt;br /&gt;
the Press Congress for their telegram of homage,&lt;br /&gt;
went on to hope &ldquo;the delegates would feel them-&lt;br /&gt;
selves at home in his capital, and he cherished the&lt;br /&gt;
hope that the new relations they might be develop-&lt;br /&gt;
ing at this Congress would be utilised in the&lt;br /&gt;
service of the highest problems of civilisation.&rdquo;&lt;br /&gt;
The subject of the Provident Fund question&lt;br /&gt;
was then introduced by M. Humbert, of Paris, and&lt;br /&gt;
although some were in favour of an international&lt;br /&gt;
fund, yet the difficulties surrounding such a departure&lt;br /&gt;
were recognised.&lt;br /&gt;
During the discussion Major Gratwicke, as he&lt;br /&gt;
was compelled to return to England before the end&lt;br /&gt;
of the debates, took the opportunity to speak of&lt;br /&gt;
the various English provident funds, and to renew&lt;br /&gt;
the invitation given at Bordeaux for the Congress&lt;br /&gt;
to visit London next year. He spoke of the impor-&lt;br /&gt;
tant steps already taken, and stated that the chief&lt;br /&gt;
journals, as well as the men of diplomacy in both&lt;br /&gt;
Houses of Parliament, had signified in the most&lt;br /&gt;
emphatic manner their readiness to welcome the&lt;br /&gt;
Congress. The journalists of all nations would&lt;br /&gt;
then have an opportunity to learn what was done&lt;br /&gt;
in England, and in a real way, he hoped, to help&lt;br /&gt;
forward the brotherhood of journalism.&lt;br /&gt;
It was decided to further the creation of provi-&lt;br /&gt;
dent funds, and to appoint a special committee,&lt;br /&gt;
with the bureau, to consider the possibilities of an&lt;br /&gt;
international fund.&lt;br /&gt;
The day following the third sitting was devoted&lt;br /&gt;
to an excursion to Potsdam. Already the Berliners&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 51 (#67) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITEIOR.&lt;br /&gt;
51&lt;br /&gt;
had shown in an afternoon drive through the&lt;br /&gt;
poorest parts of Berlin how their poor lived : as&lt;br /&gt;
an English journalist remarked, the cleanliness of&lt;br /&gt;
the streets, and the absence of rags and Sordid&lt;br /&gt;
poverty staggered him, and we went through the&lt;br /&gt;
very poorest quarters; but en route to Potsdam&lt;br /&gt;
the West End of Berlin was seen, and all its&lt;br /&gt;
artistic development. At Sans Souci and at&lt;br /&gt;
Wannsee a most enjoyable and instructive day was&lt;br /&gt;
assed.&lt;br /&gt;
The fourth sitting of the Congress was devoted&lt;br /&gt;
to the consideration of &ldquo;Telegraphic and Postal&lt;br /&gt;
Tariffs,&rdquo; to the &ldquo;General Work of the Congress,&rdquo;&lt;br /&gt;
and the &ldquo;Unification of the Laws for the Pro-&lt;br /&gt;
tection of Artistic and Literary Property,&rdquo; and&lt;br /&gt;
also to a discussion upon the &ldquo;Suppression of the&lt;br /&gt;
Ambulant Jurisdiction for International Law&lt;br /&gt;
Questions,&rdquo; upon which subject Mr. Fisher&amp;#039;s legal&lt;br /&gt;
knowledge was again useful. &ordm;&lt;br /&gt;
question, the writer pointed out the anomalies in&lt;br /&gt;
England, and the fact that foreign printed matter&lt;br /&gt;
could come into Britain at cheaper rates than&lt;br /&gt;
English printed matter could be sent abroad.&lt;br /&gt;
At the close of these debates the question of&lt;br /&gt;
where the next Congress should be held was dis-&lt;br /&gt;
cussed, and as there were three invitations, London,&lt;br /&gt;
Athens, and Constantinople, after Mr. D. A. Louis,&lt;br /&gt;
and Se&ntilde;or Lucas, of Lisbon, had spoken for London,&lt;br /&gt;
it was decided to leave the decision to the Bureau&lt;br /&gt;
Central.&lt;br /&gt;
No space remains to describe the elaborate and&lt;br /&gt;
cordial social functions, which included a reception&lt;br /&gt;
by the municipality of Berlin in the Rathaus,&lt;br /&gt;
a gala performance of the Kaiser&amp;#039;s version of&lt;br /&gt;
&ldquo;Sardanapalus,&rdquo; a banquet by the Press in the&lt;br /&gt;
luxurious hall at the Zoological Gardens, a banquet&lt;br /&gt;
at Wannsee given by the Chambers of Commerce of&lt;br /&gt;
Berlin and Potsdam, at which Mr. J. H. Warden&lt;br /&gt;
spoke, and a banquet in the Berlin Stock Exchange,&lt;br /&gt;
after a visit to the High School of Commerce, at&lt;br /&gt;
which the writer had to speak upon German&lt;br /&gt;
education, stating it had done more for Germany&lt;br /&gt;
than even her army and navy had done.&lt;br /&gt;
At the close of the Congress a special train con-&lt;br /&gt;
veyed the members to Frankfurt, via Weimar,&lt;br /&gt;
where seventeen men were chosen to do homage to&lt;br /&gt;
Goethe and Schiller, each man in his own tongue,&lt;br /&gt;
a most impressive scene in the ducal crypt. At&lt;br /&gt;
Frankfurt and Wiesbaden the reception was most&lt;br /&gt;
warm-hearted, and formed a memorable ending to&lt;br /&gt;
this Twelfth International Press Congress. The&lt;br /&gt;
visit of such a body of writers to England should&lt;br /&gt;
prove, from very varied points of view, of great&lt;br /&gt;
value. -&lt;br /&gt;
JAMES BAKER.&lt;br /&gt;
Upon the postal&lt;br /&gt;
THE REPORT FROM THE JOINT SELECT&lt;br /&gt;
COMMITTEE ON LOTTERIES AND&lt;br /&gt;
INDECENT ADWERTISEMENTS.&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;-&lt;br /&gt;
HE Committee of Members of the two Houses&lt;br /&gt;
of Parliament, which has recently issued its&lt;br /&gt;
report under the above title, has made some&lt;br /&gt;
useful suggestions for the alteration of the law and&lt;br /&gt;
procedure which came under their consideration,&lt;br /&gt;
and the result of their proposals, if they are carried&lt;br /&gt;
into effect, should be beneficial to the community,&lt;br /&gt;
and also to authors and artists whose work is&lt;br /&gt;
adapted for publication in popular periodicals of&lt;br /&gt;
the better class. If the publishers of these are&lt;br /&gt;
prevented in future from increasing their circula-&lt;br /&gt;
tion by conducting thinly disguised lotteries, they&lt;br /&gt;
will have to rely in a greater degree upon the&lt;br /&gt;
merits of their reading matter and pictures; and&lt;br /&gt;
if at the same time they are freed from the compe-&lt;br /&gt;
tition of cheap nastiness, the writer and the illus-&lt;br /&gt;
trator can hardly fail to profit by an increased&lt;br /&gt;
demand for good and wholesome work.&lt;br /&gt;
The full scope of the committee&amp;#039;s investigation,&lt;br /&gt;
as set out in the order of reference, was not limited&lt;br /&gt;
to those subjects which the abbreviated title at&lt;br /&gt;
the heading of this article suggests. The com-&lt;br /&gt;
mittee had to inquire into the law, (1) as to lotteries,&lt;br /&gt;
including the sale of lottery bonds, competitions&lt;br /&gt;
for prizes which involve an element of chance, and&lt;br /&gt;
advertisements relating thereto ; (2) as to indecent&lt;br /&gt;
literature, and pictures, and advertisements relat-&lt;br /&gt;
ing to things indecent and immoral ; and to report&lt;br /&gt;
what amendments, if any, in the law are necessary&lt;br /&gt;
or desirable. This, on the face of it, comprised&lt;br /&gt;
rather more than the competitions by which certain&lt;br /&gt;
newspapers and periodicals have endeavoured with&lt;br /&gt;
Some success to stimulate sales, and enabled the&lt;br /&gt;
committee to touch upon questions of higher&lt;br /&gt;
importance and less easy to deal with satisfactorily&lt;br /&gt;
than the efforts of journals of the lowest class to&lt;br /&gt;
appeal to the appetites of the prurient by means&lt;br /&gt;
of Vulgar and suggestive stories, paragraphs and&lt;br /&gt;
illustrations.&lt;br /&gt;
Literature and pictures are wide terms, and, as&lt;br /&gt;
a matter of fact, some of the witnesses gave their&lt;br /&gt;
opinions on recent novels, even mentioning some&lt;br /&gt;
by name, as well as upon at least one exhibition of&lt;br /&gt;
paintings held a few years ago. These matters,&lt;br /&gt;
however, cannot be said to have been dealt with&lt;br /&gt;
seriously or exhaustively, as no writers or authorities&lt;br /&gt;
on literature were called as witnesses, nor were any&lt;br /&gt;
artists or authorities on art.&lt;br /&gt;
As an example of opinions left uncontradicted&lt;br /&gt;
and unmodified the following may be quoted :&lt;br /&gt;
One of the witnesses referred to, who claimed to&lt;br /&gt;
have been interested in the question of indecent&lt;br /&gt;
literature and publications for a number of years,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 52 (#68) ##############################################&lt;br /&gt;
&lt;br /&gt;
52&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
was asked if it was not his opinion that English&lt;br /&gt;
novels have become so indecent of late years as to&lt;br /&gt;
be even worse than the French ones. The ques-&lt;br /&gt;
tion was no doubt derived from a pr&eacute;cis of his&lt;br /&gt;
evidence furnished to the committee, for he&lt;br /&gt;
answered, &ldquo;I think that is agreed on all hands.&rdquo;&lt;br /&gt;
The same gentleman was also of the opinion that it&lt;br /&gt;
was allowed &ldquo;on all hands&rdquo; that English novels&lt;br /&gt;
were &ldquo;far more outspoken, more gross in expres-&lt;br /&gt;
sion &amp;quot; than French ones. He may, perhaps, be&lt;br /&gt;
congratulated upon the limits which he has set to&lt;br /&gt;
his explorations in modern French fiction ; but&lt;br /&gt;
limited knowledge is not a qualification for giving&lt;br /&gt;
expert evidence. Perhaps it is not surprising that&lt;br /&gt;
the gentleman, who drew comparisons so readily&lt;br /&gt;
and condemned British authors in such terms, Sug-&lt;br /&gt;
gested as a remedy for the evils which he had&lt;br /&gt;
discovered what he described as &ldquo;a small prohibi-&lt;br /&gt;
tory board, either attached or unattached to the&lt;br /&gt;
Home Office, before whom,&rdquo; he added, &ldquo;any publi-&lt;br /&gt;
cation (and by publication I include pictures of all&lt;br /&gt;
kinds, those mutoscope slides, and so on) may be&lt;br /&gt;
cited, whose decision will be final in the case of&lt;br /&gt;
improper publications of any description.&rdquo; A&lt;br /&gt;
&ldquo;small board&rdquo; of Home Office officials, or appointed&lt;br /&gt;
by them, would thus be enabled to give a final&lt;br /&gt;
decision on the &ldquo;decency&rdquo; or &ldquo;indecency&rdquo; of&lt;br /&gt;
paragraphs in sporting weeklies, of matter appear-&lt;br /&gt;
ing in French and English periodicals of the lowest&lt;br /&gt;
class, and of novels and other books dealing with&lt;br /&gt;
those problems of life and humanity which have&lt;br /&gt;
never for the last century been approached seriously&lt;br /&gt;
by any writer without raising an outcry from one&lt;br /&gt;
quarter or another. The same &ldquo;small board,&rdquo;&lt;br /&gt;
apparently, would have jurisdiction over foreign&lt;br /&gt;
indecent photographs, over the ill-drawn and vulgar&lt;br /&gt;
illustrations of &ldquo;Silly Bits,&rdquo; over &ldquo;mutoscope&rsquo;&rdquo;&lt;br /&gt;
exhibitions, and over the works of artists and&lt;br /&gt;
academicians both British and foreign&lt;br /&gt;
It may be observed in this connection that a&lt;br /&gt;
police witness before the committee supplied a&lt;br /&gt;
definition, or standard of indecency, established by&lt;br /&gt;
the police in dealing with such questions of &ldquo;art &rsquo;&rsquo;&lt;br /&gt;
as usually come before them. It is not necessary&lt;br /&gt;
to question the usefulness of their test as applied&lt;br /&gt;
by them for the purpose of suppressing photographs&lt;br /&gt;
imported for sale to persons in search of the&lt;br /&gt;
undesirable. It is one, however, which, if given&lt;br /&gt;
wide application, might involve awkward conse-&lt;br /&gt;
quences for any life school, including the classes&lt;br /&gt;
of the Royal Academy, and although the &ldquo;Small&lt;br /&gt;
board &rdquo; of the Home Office might have a wider art&lt;br /&gt;
training than that usually accorded to police&lt;br /&gt;
inspectors, its decisions nevertheless might fail to&lt;br /&gt;
meet with the approval and support of artists or of&lt;br /&gt;
the educated public. Any such body would in fact&lt;br /&gt;
be in a position analogous to that of the licenser of&lt;br /&gt;
plays, and would be likely to learn that their findings&lt;br /&gt;
were final in name only, and in respect of the&lt;br /&gt;
possession of certain powers of suppression, of a&lt;br /&gt;
limited character. They would not set at rest the&lt;br /&gt;
questions involved, and they would be criticised,&lt;br /&gt;
and possibly held up to contempt, by persons whose&lt;br /&gt;
right to form and power to express their opinions&lt;br /&gt;
would be undemiable.&lt;br /&gt;
The committee, however, as might be expected,&lt;br /&gt;
did not adopt this or any other such suggestion,&lt;br /&gt;
and in recommending the simplification and con-&lt;br /&gt;
Solidation of the law by means of a new Act, con-&lt;br /&gt;
cluded their report with the following clause :&lt;br /&gt;
&ldquo;(46) A provision should also be inserted to&lt;br /&gt;
exempt from the operation of the Act any book of&lt;br /&gt;
literary merit or reputation, or any genuine work&lt;br /&gt;
of art. The committee consider that it would be&lt;br /&gt;
almost impossible to devise any definition which&lt;br /&gt;
would cover this exception. In their opinion the&lt;br /&gt;
decision in such cases should be left to the dis-&lt;br /&gt;
Cretion of the magistrate ; but they believe that,&lt;br /&gt;
if a provision such as they recommend were&lt;br /&gt;
inserted in the Act, a magistrate would be enabled&lt;br /&gt;
to take into consideration all the circumstances of&lt;br /&gt;
the case, and would be free from a supposed obliga-&lt;br /&gt;
tion merely to decide upon the decency or the&lt;br /&gt;
indecency of the particular literary or artistic work&lt;br /&gt;
brought to his notice.&rdquo; There is, of course, a good&lt;br /&gt;
deal of difference between a magistrate deciding on&lt;br /&gt;
the criminality of a defendant charged before him&lt;br /&gt;
(of which he is bound by law to satisfy himself&lt;br /&gt;
beyond all reasonable doubt before he can convict&lt;br /&gt;
and punish) and the exercise of editorial or cen-&lt;br /&gt;
Sorial functions by any individual or body against&lt;br /&gt;
whose decision there is no appeal.&lt;br /&gt;
Literature and art are, however, not likely to&lt;br /&gt;
figure often in the police courts even at the instance&lt;br /&gt;
of puritans of the most aggressive type, and the&lt;br /&gt;
legislation recommended by the joint committee is&lt;br /&gt;
likely to affect authors and artists indirectly rather&lt;br /&gt;
than directly, and in the manner suggested above.&lt;br /&gt;
With regard to competitions held by or advertised&lt;br /&gt;
in newspapers and other periodicals, the committee&lt;br /&gt;
realised that limericks formed, as remarked by one&lt;br /&gt;
of their witnesses, a phase only. They had been&lt;br /&gt;
declared to be lotteries, moreover, by the Court of&lt;br /&gt;
Appeal, although the decision seems to be one of&lt;br /&gt;
doubtful efficiency so far as police prosecutions are&lt;br /&gt;
concerned. They will, however, be robbed of their&lt;br /&gt;
attractions, together with a great many other forms&lt;br /&gt;
of competition, some of which have been conducted&lt;br /&gt;
honestly and some with flagrant dishonesty, by an&lt;br /&gt;
Act of Parliament carrying into effect the com-&lt;br /&gt;
mittee&amp;#039;s recommendation &ldquo;that it should be&lt;br /&gt;
made illegal for any proprietor, publisher, or editor&lt;br /&gt;
of any newspaper or periodical to charge any form&lt;br /&gt;
of entrance fee, including the purchase and return&lt;br /&gt;
of coupons, for prize competitions in his paper.&rdquo;&lt;br /&gt;
They had had before them, by the way, considerable&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 53 (#69) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTHOR,&lt;br /&gt;
53.&lt;br /&gt;
evidence as to the good faith with which the prizes&lt;br /&gt;
were adjudged in the better-conducted of the papers&lt;br /&gt;
which made use of them, and as to the degree of&lt;br /&gt;
idiotcy manifested by the bulk of the competitors.&lt;br /&gt;
One of those associated with the judging of such&lt;br /&gt;
competitions gave it as the result of his experience&lt;br /&gt;
that from 30 to 70 per cent. of the last lines sent&lt;br /&gt;
in for limericks did not even rhyme. It is also&lt;br /&gt;
interesting to note that a witness intimately con-&lt;br /&gt;
nected with one of the large groups of newspapers,&lt;br /&gt;
in some of which many limerick competitions&lt;br /&gt;
have been held, declared himself as strongly dis-&lt;br /&gt;
approving of them. The papers under his control&lt;br /&gt;
had been compelled, he said, by the action of rival&lt;br /&gt;
publications to go in for limericks also, as well as&lt;br /&gt;
for other competitions for large prizes. He was&lt;br /&gt;
of opinion, however, that competitions penalised&lt;br /&gt;
papers of the better class. We may hope, there-&lt;br /&gt;
fore, that we are within measurable distance of&lt;br /&gt;
Seeing these tiresome adjuncts to journalism dis-&lt;br /&gt;
appear, and to find that the newspapers and weekly&lt;br /&gt;
publications which fight to maintain their circula-&lt;br /&gt;
tion at a high level, do so with legitimate weapons,&lt;br /&gt;
competing with one another in the provision of good&lt;br /&gt;
reading matter and clever illustrations. It will&lt;br /&gt;
assist them if other recommendations made by the&lt;br /&gt;
committee are also carried into effect, and if in&lt;br /&gt;
their endeavour to win popular appreciation and to&lt;br /&gt;
catch the pennies of the multitude they are freed&lt;br /&gt;
from rivalry of a kind even more demoralising&lt;br /&gt;
and contrary to public policy than limericks,&lt;br /&gt;
treasure hunts, and other &ldquo;competitions.&rdquo; The&lt;br /&gt;
publication of indecent matter, or of that which&lt;br /&gt;
borders on it, takes place chiefly in sporting&lt;br /&gt;
weeklies, and in cheap illustrated weekly periodi-&lt;br /&gt;
cals of the lowest class. We can all of us see them&lt;br /&gt;
exposed for sale if we look in at the windows of&lt;br /&gt;
small newspaper dealers in by-streets. And if we&lt;br /&gt;
linger long enough we may see children of the&lt;br /&gt;
errand-boy and work-girl class gloating over them, or&lt;br /&gt;
entering to purchase them. We may wonder that&lt;br /&gt;
they exist unpunished ; but their safety has lain in&lt;br /&gt;
the cumbrousness of the law, which practically can&lt;br /&gt;
deal with such a trade only by indictment. This&lt;br /&gt;
involves an inquiry before a magistrate, committal&lt;br /&gt;
for trial, and then trial before a jury, and a magis-&lt;br /&gt;
trate may hesitate to commit for trial in cases&lt;br /&gt;
where the matter published, although indecent and&lt;br /&gt;
demoralising, can hardly be described as obscene.&lt;br /&gt;
With regard to the procedure to be adopted in&lt;br /&gt;
future, the committee suggest certain amended and&lt;br /&gt;
improved definitions of punishable offences, and go&lt;br /&gt;
on to recommend that those guilty of them shall&lt;br /&gt;
be liable, in the case of a first offence, on summary&lt;br /&gt;
conviction to a fine not exceeding &pound;30 or imprison-&lt;br /&gt;
ment not exceeding one month, and that for second&lt;br /&gt;
or subsequent offences, or for the commission of&lt;br /&gt;
any of the offences specified in transactions with&lt;br /&gt;
Persons under sixteen years of age, to much more&lt;br /&gt;
Severe penalties, which are only to be inflicted after&lt;br /&gt;
conviction upon indictment. It may be added&lt;br /&gt;
that the committee would have included in the&lt;br /&gt;
subjects dealt with by a new statute all advertise-&lt;br /&gt;
ments of books and pictures of an undesirable&lt;br /&gt;
character, and that they recommend with regard to&lt;br /&gt;
a particularly objectionable class of advertisement&lt;br /&gt;
Which has hitherto gone scathless, that it should&lt;br /&gt;
be comprehensively defined and made illegal. This,&lt;br /&gt;
if carried into effect, would deprive a number of&lt;br /&gt;
cheap periodicals of a very low class of the greater&lt;br /&gt;
part of their advertisements, and thus hasten their&lt;br /&gt;
extinction. It may be possible to be over-sanguine&lt;br /&gt;
in such matters. Legislation may be delayed, or&lt;br /&gt;
it may not be as effective as is anticipated. The&lt;br /&gt;
tendency, however, of any Act of Parliament&lt;br /&gt;
framed with a view to carrying into effect the&lt;br /&gt;
recommendations made in the report commented&lt;br /&gt;
upon above should be to purify and to improve&lt;br /&gt;
the literature and illustrations provided for the&lt;br /&gt;
enormous class of readers which modern educa-&lt;br /&gt;
tional legislation has brought into being, and such&lt;br /&gt;
improvement cannot be carried out without some&lt;br /&gt;
measure of benefit to authors and artists.&lt;br /&gt;
E. A. A.&lt;br /&gt;
B00KS AT THE FRANCO-BRITISH&lt;br /&gt;
EXHIBITHON.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COMMISSION of catholic latitude to report&lt;br /&gt;
on the books of the Exhibition took the writer&lt;br /&gt;
into that wearisome succession of galleries&lt;br /&gt;
that stretch their length from Shepherd&amp;#039;s Bush to&lt;br /&gt;
Wood Lane, through which no sane person passes&lt;br /&gt;
twice except in a wheeled chair. The proportions&lt;br /&gt;
of the British display were attenuated to a vanishing&lt;br /&gt;
point. We discovered Cedric Chivers, the book-&lt;br /&gt;
binder of Bath, the University Tutorial Press,&lt;br /&gt;
the Religious Tract Society, and the Oxford&lt;br /&gt;
University Press. The last-named alone arrived at,&lt;br /&gt;
dignity and effect ; yet even it failed in arousing&lt;br /&gt;
the delicate association of author and publisher&lt;br /&gt;
which pervaded the French section. The English&lt;br /&gt;
publisher is too predominant ; he seems to convey&lt;br /&gt;
in some subtle manner that he is not only the pub-&lt;br /&gt;
lisher of the book, but the illustrator and author as&lt;br /&gt;
well. In vain the author exhibits his name in the&lt;br /&gt;
fattest of type ; sense tells us that this is but an&lt;br /&gt;
artifice ; it is only the publisher in disguise.&lt;br /&gt;
The commercial side stands out in bold relief.&lt;br /&gt;
Here is materialism : the dealing with figures and&lt;br /&gt;
format. Thus, in the Oxford University Press&lt;br /&gt;
exhibit, we must record how the books range from&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 54 (#70) ##############################################&lt;br /&gt;
&lt;br /&gt;
54&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
a bijou edition, barely two inches high, to tomes of&lt;br /&gt;
two feet ; how the rag paper and the India paper&lt;br /&gt;
compare in book form, six volumes of the latter&lt;br /&gt;
compressing into a space less by half than that&lt;br /&gt;
occupied by six volumes of the former. Here is&lt;br /&gt;
that prodigious and yet-to-be-completed work of&lt;br /&gt;
Dr. Murray, &ldquo;The New English Dictionary,&rdquo;&lt;br /&gt;
brought down to K, and already in five massive&lt;br /&gt;
volumes. Here are cheap Bibles, illustrated in&lt;br /&gt;
colour throughout ; Bibles great and small and&lt;br /&gt;
bound in every imaginable way. Here is the 1623&lt;br /&gt;
Shakespeare reproduced in collotype&mdash;marvellously,&lt;br /&gt;
it need not be said. We remember the drawings of&lt;br /&gt;
old masters at Oxford that Mr. Sydney Colvin&lt;br /&gt;
collected last year into three volumes, and forthwith&lt;br /&gt;
find them lying on a side-table. Among the&lt;br /&gt;
bindings, a Browning catches the eye, inlaid and&lt;br /&gt;
hand-tooled, with an almost severe design in gold,&lt;br /&gt;
terra-cotta and blue on a green ground. It satisfies&lt;br /&gt;
completely.&lt;br /&gt;
We are confronted by the Religious Tract Society&lt;br /&gt;
and a show of books in various African dialects.&lt;br /&gt;
Imagine a &ldquo;Pilgrim&rsquo;s Progress&rdquo; in Chinyana,&lt;br /&gt;
Mrs. Mortimer&rsquo;s &ldquo;Peep of Day&rdquo; in Nkondi, and a&lt;br /&gt;
hymn-book in Fanti. This is certainly prodigious.&lt;br /&gt;
&ldquo;Our special features,&rdquo; murmurs the attendant,&lt;br /&gt;
&ldquo;are these Nature books by W. Percival Westell,&lt;br /&gt;
George Henslow, and others, also these two-shilling&lt;br /&gt;
story-books for boys and girls, attractively bound&lt;br /&gt;
and illustrated.&rdquo; We hardly hear him, being&lt;br /&gt;
hypnotised by the hymn-book in Fanti. Amazing !&lt;br /&gt;
Cedric Chivers revives us. Commercialism and&lt;br /&gt;
strange dialects fade before beautiful bindings,&lt;br /&gt;
hand-tooled and hand-sewn. Excellent is his&lt;br /&gt;
&ldquo;vellucent system &rsquo;&rsquo; of rebinding old books repro-&lt;br /&gt;
ducing in the covers the character and age of the title-&lt;br /&gt;
page protected by transparent vellum. Excellent,&lt;br /&gt;
also, is this transparent vellum in protecting inlaid&lt;br /&gt;
and colour work on bindings. Artists, with their&lt;br /&gt;
field of colour thus extended, incline to blaze some-&lt;br /&gt;
what. Here and there is a shout and a subdued&lt;br /&gt;
shriek. Miss Alice Shepherd, much of whose work&lt;br /&gt;
is shown, is at her best in embossed leather designs,&lt;br /&gt;
wherein she displays a quiet firm touch and a&lt;br /&gt;
masterly omission of colour. We notice an edition&lt;br /&gt;
of George Meredith in 52 volumes, bound in&lt;br /&gt;
morocco with an illuminated panel differing on&lt;br /&gt;
on each volume.&lt;br /&gt;
How different is the section of France Repre-&lt;br /&gt;
sentative, complete, compact ; science, the arts,&lt;br /&gt;
romance. Hachette, Floury, Laven, de Rudeval,&lt;br /&gt;
Plon-Nourrit, Carteret, and the rest. We have an&lt;br /&gt;
assembly of worth. Mons. Jean H. Kr&uuml;ger,&lt;br /&gt;
Repr&eacute;sentant de la Libraire Fran&ccedil;aise, courteous&lt;br /&gt;
and illuminating, finds us before some exquisite&lt;br /&gt;
Meissomier engravings and is our Virgil through&lt;br /&gt;
these Blessed Aisles. He lays bare the treasures of&lt;br /&gt;
his charge ; the whole spirit of the massed exhibit&lt;br /&gt;
he conveys with a gesture of the finger. Also he&lt;br /&gt;
deplores the apathy of the English publisher. How&lt;br /&gt;
can there be a comparison 2 A thousand pities are&lt;br /&gt;
expressed on both sides.&lt;br /&gt;
But the colour-printing of France Take for&lt;br /&gt;
instance these examples of the house of Floury,&lt;br /&gt;
soft and exquisite. We handle some proof-sheets&lt;br /&gt;
of &ldquo;L&rsquo;Ami Fritz,&rdquo; the latest product of Louis&lt;br /&gt;
Conard&amp;#039;s press, with illustrations etched and hand-&lt;br /&gt;
coloured to a marvel. Under the name of Edouard&lt;br /&gt;
Pelletan one must remark an edition of Keats&amp;#039;&lt;br /&gt;
&ldquo;On a Grecian Urn,&rdquo; in English, with a prose&lt;br /&gt;
translation by Anatole France. Mons. B&eacute;llery&lt;br /&gt;
des Fontaines&rsquo; designs and decorations, it seems,&lt;br /&gt;
illustrate&mdash;nor can one wonder&mdash;Anatole France&lt;br /&gt;
more than Keats. The border decoration in black&lt;br /&gt;
and terra-cotta suggests Etruscan rather than&lt;br /&gt;
Greek art.&lt;br /&gt;
In the show-case of L. Carteret is a little slim&lt;br /&gt;
copy of the &ldquo;Sylvie&rsquo;&rsquo; of Gerard de Nerval, and&lt;br /&gt;
already one is -&lt;br /&gt;
&ldquo;Au fond du ciel bleu&lt;br /&gt;
O&uuml; elles chantant les louanges&lt;br /&gt;
De la M&egrave;re de Dieu.&rdquo;&lt;br /&gt;
Behind it are three stately volumes, tooled and&lt;br /&gt;
resplendent. They are &ldquo;Le Rouge et le Noir&amp;quot; of&lt;br /&gt;
Stendhal. How is it this art of our ally is so&lt;br /&gt;
stimulating, so suggestive, while the extent of&lt;br /&gt;
British literature in visible form leaves one&lt;br /&gt;
Cold 2 -&lt;br /&gt;
The next case, bearing the name of Conard,&lt;br /&gt;
holds &ldquo;Les Nuits&rsquo; of Alfred de Musset in the&lt;br /&gt;
plain paper binding that proclaims the French&lt;br /&gt;
reader a man of sense. Imagine an Englishman&lt;br /&gt;
buying expensive volumes in such a dress Snort-&lt;br /&gt;
ing, he demands a cover ; whereas the man of&lt;br /&gt;
France will spend five animated hours in consulta-&lt;br /&gt;
tion with his bookbinder. Under a great arched&lt;br /&gt;
stand the house of Hachette reveals itself, and&lt;br /&gt;
across the way the photographs of S&eacute;linonte mark&lt;br /&gt;
the stall of Chas. Schmid&mdash;&ldquo;S&eacute;linonte : Colonie&lt;br /&gt;
Dorienne en Sicile,&rdquo; by L. J. Hulot and G.&lt;br /&gt;
Foug&egrave;res&mdash;the author and the artist&mdash;the greatest&lt;br /&gt;
work the house of Schmid has issued for years.&lt;br /&gt;
We recall the picture of S&eacute;linonte being exhibited&lt;br /&gt;
at the Piccadilly Galleries.&lt;br /&gt;
For the credit of Plon-Nourrit et Cie &ldquo;Les&lt;br /&gt;
Antiquit&eacute;s Judaique et le peintre Jean Foucquet &rsquo;&rsquo;&lt;br /&gt;
must be mentioned, with reproductions in h&eacute;lio-&lt;br /&gt;
gravure and phototype that are among the best&lt;br /&gt;
things done by this well-known house. Marcel&lt;br /&gt;
Rivi&egrave;re, Belin Fr&egrave;res, Colin, Laven &mdash; can we&lt;br /&gt;
mention them all P&lt;br /&gt;
It is impossible. Besides, the Franco-British&lt;br /&gt;
Exhibition is now no more.&lt;br /&gt;
Z.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 55 (#71) ##############################################&lt;br /&gt;
&lt;br /&gt;
TFIES ACTTFIOR. 55&lt;br /&gt;
CONTEMPORARY CRITICISMS.&mdash;IX.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
POEMIS BY ALFRED TENNYSON, PP. 163, LONDON,&lt;br /&gt;
12MO., 1833.&lt;br /&gt;
THIS is, as some of his marginal notes intimate,&lt;br /&gt;
Mr. Tennyson&amp;#039;s second appearance. By some&lt;br /&gt;
strange chance we have never seen his first publica-&lt;br /&gt;
tion, which, if it at all resembles its younger&lt;br /&gt;
brother, must be by this time so popular that any&lt;br /&gt;
notice of it on our part would seem idle and pre-&lt;br /&gt;
sumptuous; but we gladly sieze this opportunity&lt;br /&gt;
of repairing an unintentional neglect, and of intro-&lt;br /&gt;
ducing to the admiration of our more sequestered&lt;br /&gt;
readers a new prodigy of genius&mdash;another and a&lt;br /&gt;
brighter star of that galaxy or milky way of poetry&lt;br /&gt;
of which the lamented Keats was the harbinger&lt;br /&gt;
. . . . We have to offer Mr. Tennyson our tribute&lt;br /&gt;
of unmingled approbation, and it is very agreeable&lt;br /&gt;
to us, as well as to our readers, that our present&lt;br /&gt;
task will be little more than the selection, for their&lt;br /&gt;
delight, of a few specimens of Mr. Tennyson&amp;#039;s&lt;br /&gt;
singular genius, and the venturing to point out,&lt;br /&gt;
now and then, the peculiar brilliancy of some of&lt;br /&gt;
the gems that irradiate his poetical crown.&lt;br /&gt;
A prefatory sonnet opens to the reader the&lt;br /&gt;
aspirations of the young author, in which, after&lt;br /&gt;
the manner of Sundry poets, ancient and modern,&lt;br /&gt;
he expresses his own peculiar character by wishing&lt;br /&gt;
to be something that he is not . . . . Mr. Tenny-&lt;br /&gt;
son (though he, too, would, as far as his true-love&lt;br /&gt;
is concerned, not unwillingly be &ldquo;an earring,&rdquo; &ldquo;a&lt;br /&gt;
girdle,&rdquo; and &ldquo;a necklace,&rdquo; p. 45) in the more serious&lt;br /&gt;
and solemn exordium of his works ambitions a&lt;br /&gt;
bolder metamorphosis&mdash;he wishes to be&mdash;a river !&lt;br /&gt;
&ldquo;Mine be the strength of spirit fierce and free,&lt;br /&gt;
Like Some broad river rushing down alone *-&lt;br /&gt;
Rivers that travel in company are too common for&lt;br /&gt;
his taste . . . .&lt;br /&gt;
The next piece is a kind of testamentary paper,&lt;br /&gt;
addressed &ldquo;To &mdash;&mdash;,&rdquo; a friend, we presume, con-&lt;br /&gt;
taining his wishes as to what his friend should&lt;br /&gt;
do for him when he (the poet) shall be dead&lt;br /&gt;
. . . . Horace said &ldquo;non omnis moriar,&rdquo; meaning&lt;br /&gt;
that his fame should survive &mdash; Mr. Tennyson&lt;br /&gt;
is still more vivacious, &ldquo;non omnine moriar &rdquo;&mdash;&lt;br /&gt;
&ldquo;I will not die at all ; my body shall be as immortal&lt;br /&gt;
as my verse, and however low I may go, I warrant&lt;br /&gt;
you I shall keep all my wits about me, therefore&lt;br /&gt;
&ldquo;When, in the darkness over me,&lt;br /&gt;
The four-handed mole shall scrape,&lt;br /&gt;
l&rsquo;lant thou no dusky cypress tree,&lt;br /&gt;
Nor wreath thy cap with doleful crape,&lt;br /&gt;
But pledge me in the flowing grape.&rdquo;&lt;br /&gt;
Observe how all ages become present to the mind&lt;br /&gt;
of a great poet ; and admire how naturally he com-&lt;br /&gt;
bipes the funereal cypress of classical antiquity&lt;br /&gt;
With the crape hatband of the modern undertaker.&lt;br /&gt;
He proceeds:&ndash; . . . . * *.&lt;br /&gt;
&ldquo;Then let wise Nature work her will,&lt;br /&gt;
And on my clay her darnels grow,&lt;br /&gt;
Come only when the days are still,&lt;br /&gt;
And at my head-stone whisper low,&lt;br /&gt;
And tell me?&rdquo;&mdash;&lt;br /&gt;
Now, what would an ordinary bard wish to be&lt;br /&gt;
told under such circumstances 2&mdash;why, perhaps,&lt;br /&gt;
how his sweetheart was, or his child, or his family,&lt;br /&gt;
or how the Reform Bill worked, or whether the last&lt;br /&gt;
edition of the poems had been sold&mdash;papa, our&lt;br /&gt;
genuine poet&amp;#039;s first wish is,&lt;br /&gt;
&ldquo;And tell me&mdash;if the wood-bines blow / &amp;quot;&lt;br /&gt;
When, indeed, we shall have been satisfied as to&lt;br /&gt;
the wood-bines (of the blowing of which in their&lt;br /&gt;
due season he may, we think, feel pretty secure),&lt;br /&gt;
he turns a passing thought to his friend, and&lt;br /&gt;
another to his mother&mdash;&lt;br /&gt;
&ldquo;If thou art blest, my mother&amp;#039;s smile undimmed.&rdquo;&lt;br /&gt;
But such inquiries, short as they are, seem too&lt;br /&gt;
Commonplace, and he immediately glides back into&lt;br /&gt;
his curiosity as to the state of the weather and the&lt;br /&gt;
forwardness of the spring&mdash;&lt;br /&gt;
&ldquo;If thou art blessed&mdash;my mother&amp;#039;s smile&lt;br /&gt;
Undimmed&mdash;if the bees are on the wing.&rdquo;&lt;br /&gt;
No ; we believe the whole circle of poetry does&lt;br /&gt;
not furnish such another instance of enthusiasm for&lt;br /&gt;
the sights and sounds of the vernal season . The&lt;br /&gt;
Sorrows of a bereaved mother rank after the blossoms&lt;br /&gt;
of the 2000d-line, and just before the hummings of&lt;br /&gt;
the bees and this is all that he has any curiosity&lt;br /&gt;
about ; for he proceeds&lt;br /&gt;
&ldquo;Then cease, my friend, a little while&lt;br /&gt;
That I may &rdquo;&mdash;&lt;br /&gt;
&ldquo;send my love to my mother,&rdquo; or, &ldquo;give you some&lt;br /&gt;
hints about bees which I have picked up from&lt;br /&gt;
Aristaeus, in the Elysian Fields,&rdquo; or, &ldquo;tell you&lt;br /&gt;
how I am situated as to my own personal comforts&lt;br /&gt;
in the world below * 2&ndash;Oh no&mdash;&lt;br /&gt;
&ldquo;That I may&mdash;hear the throstle sing&lt;br /&gt;
His bridal song&mdash;the boast of spring.&rdquo;&lt;br /&gt;
&ldquo;Sweet as the noise, in parch&egrave;d plains,&lt;br /&gt;
Of bubbling wells that fret the stones,&lt;br /&gt;
(If any sense in me remains),&lt;br /&gt;
Thy words will be-thy cheerful tones,&lt;br /&gt;
As welcome to&mdash;my crumbling bones | *&mdash;p. 4.&lt;br /&gt;
&ldquo;If any sense in me remains &amp;quot; &amp;quot; This doubt is&lt;br /&gt;
inconsistent with the opening stanza of the piece,&lt;br /&gt;
and, in fact, too modest ; we take upon ourselves&lt;br /&gt;
to reassure Mr. Tennyson that, even after he shall&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 56 (#72) ##############################################&lt;br /&gt;
&lt;br /&gt;
56&lt;br /&gt;
TFIES A DITFIOR.&lt;br /&gt;
be dead and buried, as much &ldquo;sense &rsquo;&rsquo; will still&lt;br /&gt;
remain as he has now the good fortune to&lt;br /&gt;
pOSSess. . . .&lt;br /&gt;
We cannot afford space&mdash;we wish we could&mdash;for&lt;br /&gt;
an equally minute examination of the rest of the&lt;br /&gt;
volume, but we shall make a few extracts to show,&lt;br /&gt;
what we solemnly affirm, that every page teems&lt;br /&gt;
with beauties hardly less surprising. . . .&lt;br /&gt;
We pass by several songs, sonnets, and small&lt;br /&gt;
pieces, all of singular merit, to arrive at a class, we&lt;br /&gt;
may call them, of three poems derived from&lt;br /&gt;
mythological sources &mdash; CEnone, the Hesperides,&lt;br /&gt;
and the Lotos-eaters. But, though the subjects are&lt;br /&gt;
derived from classical antiquity, Mr. Tennyson&lt;br /&gt;
treats them with so much originality that he makes&lt;br /&gt;
them exclusively his own. CEnone, deserted by&lt;br /&gt;
&ldquo;Beautiful Paris, evil-hearted Paris.&rdquo;&lt;br /&gt;
sings a kind of dying soliloquy addressed to Mount&lt;br /&gt;
Ida, in a formula which is sixteen times repeated in&lt;br /&gt;
this short poem,&lt;br /&gt;
&ldquo;Dear Mother Ida, hearken ere I die.&rdquo;&lt;br /&gt;
. . . [The &ldquo;Hesperides&rdquo;] opens with a geographi-&lt;br /&gt;
cal description of the neighbourhood which must&lt;br /&gt;
be very clear and satisfactory to the English reader;&lt;br /&gt;
indeed, it leaves far behind in accuracy of topo-&lt;br /&gt;
graphy and melody of rhythm the heroics of&lt;br /&gt;
Dionysius Perieſ/et&eacute;s.&lt;br /&gt;
&ldquo;The north wind fall&rsquo;n, in the new-starred night.&rdquo;&lt;br /&gt;
Here we must pause to observe a new species of&lt;br /&gt;
metabol&eacute; with which Mr. Tennyson has enriched&lt;br /&gt;
our language. He suppresses the E in fallen, where&lt;br /&gt;
it is usually written and where it must be pro-&lt;br /&gt;
nounced, and transfers it to the word new-starr&eacute;d,&lt;br /&gt;
where it would not be pronounced if he did not&lt;br /&gt;
take due care to superfix a grave accent. The use&lt;br /&gt;
of this grave accent is, as our readers may have&lt;br /&gt;
already perceived, so habitual with Mr. Tennyson,&lt;br /&gt;
and is so obvious an improvement, that we really&lt;br /&gt;
wonder how the language has hitherto done without&lt;br /&gt;
it. We are tempted to suggest, that if analogy to&lt;br /&gt;
the accented languages is to be thought of, it is&lt;br /&gt;
rather the acute (&amp;#039;) than the grave () which should&lt;br /&gt;
be employed on such occasions; but we speak with&lt;br /&gt;
profound diffidence ; and as Mr. Tennyson is the&lt;br /&gt;
inventor of the system, we shall bow with respect to&lt;br /&gt;
whatever his final determination may be. . . .&lt;br /&gt;
(UNSIGNED).&lt;br /&gt;
The Quarterly Review, April, 1833.&lt;br /&gt;
Vote.&mdash;Owing to the length and form of this famous&lt;br /&gt;
review, it is impossible to reprint more than a ragged&lt;br /&gt;
extract, sufficient to show the flavour.&mdash;[ED.]&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&ndash;0-0-0--&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
SIR,-With reference to previous letters on this&lt;br /&gt;
subject, I should like to point out what seems to&lt;br /&gt;
me a forcible objection to a compulsory pension&lt;br /&gt;
fund. I mean the vast diversity in the qualities&lt;br /&gt;
and tendencies of what is known as literature.&lt;br /&gt;
The members of other professions have a common&lt;br /&gt;
qualification and a common aim ; but this is not&lt;br /&gt;
the case with writers. All they have in common&lt;br /&gt;
is their interest against the editor and the pub-&lt;br /&gt;
lisher ; and such of them as have anything to&lt;br /&gt;
spare from their own necessities would generally&lt;br /&gt;
rather help an individual case with which they&lt;br /&gt;
were in sympathy than pay their money into a&lt;br /&gt;
fund, to see it given (perhaps) to someone whose&lt;br /&gt;
work they might regard as valueless, or even mis-&lt;br /&gt;
chievous. I cannot imagine a staunch upholder&lt;br /&gt;
of Church and State being willing to contribute to&lt;br /&gt;
a pension for Mr. Belfort Bax, nor a writer of&lt;br /&gt;
Sunday-School books being willing to subsidise a&lt;br /&gt;
follower of Zola. An attempt at compulsion in a&lt;br /&gt;
matter like this would split up the society as&lt;br /&gt;
effectually as the question of public instruction&lt;br /&gt;
has divided the nation ; it is a matter of principle,&lt;br /&gt;
not of the amount demanded.&lt;br /&gt;
Yours truly,&lt;br /&gt;
|H.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EDITORIAL FAILINGs.&lt;br /&gt;
SIR,-Here is a small matter of some moment to&lt;br /&gt;
the young and aspiring author who is forced to&lt;br /&gt;
hawk his wares round, and I shall be glad if you&lt;br /&gt;
will ventilate it in The Author for their (and my)&lt;br /&gt;
benefit. Editors, or their office boys, have an&lt;br /&gt;
objectionable habit of scoring our MSS. with a&lt;br /&gt;
number, which may be of intense interest to them,&lt;br /&gt;
but which is of no value to anyone else and simply&lt;br /&gt;
spoils the look of the sheet. When, as Mr. Arnold&lt;br /&gt;
Bennett in &ldquo;A Great Run. &rdquo; has been kind enough&lt;br /&gt;
to show, the smell of an MS. is a consideration to&lt;br /&gt;
some publishers, the others might realise that the&lt;br /&gt;
look of a yarn is even more important, and keep&lt;br /&gt;
their pencils off them. Cassells is the exception,&lt;br /&gt;
in my experience. They mark the envelope&lt;br /&gt;
enclosed for the returned empty instead, and so&lt;br /&gt;
the boomerang continues its flight as good as new.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
3, Claremont, Bradford.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 56 (#73) ##############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
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Estimates for . . .&lt;br /&gt;
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Authors&rsquo; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
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(Ube . . . . . . .&lt;br /&gt;
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What Author&amp;#039;s say :-&amp;quot; Your Year Book was am&lt;br /&gt;
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success it richly deserves.&rdquo;&mdash;&ldquo;I find the Year Book of the&lt;br /&gt;
greatest possible service, and value it accordingly.&rdquo;&mdash;&ldquo;I&lt;br /&gt;
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Please address the Editor.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 56 (#74) ##############################################&lt;br /&gt;
&lt;br /&gt;
iv AD VERTISEMENTS.&lt;br /&gt;
Bradbury), Hqncu), &amp;amp; Co. &pound;d.&lt;br /&gt;
The Whitefriars Press,&lt;br /&gt;
LONDON &amp;amp; TONBRIDGE,&lt;br /&gt;
Having largely increased their PRINTING and BOOKBINDING PLANT&lt;br /&gt;
(which is now one of the most complete in the British Isles), are prepared&lt;br /&gt;
to undertake, at short notice, the production of&lt;br /&gt;
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Telegrams: Charivari, London ; Charivari, Tonbridge. Telephones: 28 Holborn ; 19 Tonbridge; 9108 Central.&lt;br /&gt;
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at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/386/1908-11-02-The-Author-19-2.pdf</td><td>publications, The Author</td></tr><tr><td>387</td><td>https://historysoa.com/items/show/387</td><td>The Author, Vol. 19 Issue 03 (December 1908)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+03+%28December+1908%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 03 (December 1908)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1908-12-01-The-Author-19-3</td><td></td><td></td><td></td><td></td><td>57&ndash;84</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1908-12-01&quot;&gt;1908-12-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>3</td><td></td><td></td><td>19081201</td><td>C u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XIX.-No. 3. DECEMBER 1, 1908. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
* PAGE PAGE&lt;br /&gt;
Notices ... t&ordm; &ordm; t&ordm; * * * t&ordm; &ordm; &ordm; t&ordm; 9 t&ordm; t&ordm; e t&ordm; e e ſ&ordm; t&ordm; &ordm; &amp;amp; &euml; is &amp;amp; 57 Warnings to Musical Composers 71&lt;br /&gt;
Committee Notes is ſ&ordm; &amp;amp; t&ordm; g&ordm; &ordm; * * * t&ordm; e &ordm; * - ſ&ordm; g&ordm; t&ordm; &ordm; &amp;amp; ge 58 How to Use the Society &amp;amp; 8 72&lt;br /&gt;
Cases t&ordm; e. g. * t&ordm; ge t&ordm; te &amp;amp; e e ſ&ordm; t&ordm; g t&ordm; t&ordm; t t&ordm; &amp;amp; is ſ&ordm; &bull; e a g&ordm; &ordm; &ordm; 61 To Musical Composers 72&lt;br /&gt;
November Elections ... e g ſ&ordm; &amp;amp; t&ordm; e t&ordm; $ t&ordm; * G - t&ordm; s &amp;amp; &amp;amp; ſ&ordm; &ordm; 61 The Reading Branch ... 72&lt;br /&gt;
Books published by Members of the Society * @ &ordm; ge e ſ&ordm; &copy; &ordm; e 61 Notices ... &sect; e e t&ordm; g t&ordm; ſ&ordm; e is * * * a s , 72&lt;br /&gt;
Books published in America by Members ... ... ... ... 63 Legal and General Life Assurance Society... 72&lt;br /&gt;
Literary, Dramatic and Musical Notes ..., t&ordm; g&ordm; t&ordm; t&ordm; g t&ordm; it t&ordm; ſ&ordm; 64 General Notes * &bull; * * &amp;amp; &ordm; q t&ordm; e &amp;amp; &amp;amp; t&ordm; 73&lt;br /&gt;
Paris Notes &amp;amp; &copy; t&ordm; * * * e e &ordm; * * * t&ordm; 9 &ordm;&amp;#039; t&ordm; g t&ordm; t&ordm; e is &amp;amp; e i&ordm; 66 Sir Henry Bergne, K.C.B., K.C.M.G. 75&lt;br /&gt;
Spanish Notes ... g&ordm; &ordm; in t&ordm; &ordm; &amp;amp; * * * * g e t&ordm; a &ordm; * g e e e &ordm; 6S Heroes and Heroines&mdash;Chiefly Heroes &ordm; 77&lt;br /&gt;
International Copyright Conference *&amp;quot;u &ordm; # * g. * = &amp;amp; t&ordm; ſ&ordm; &ordm; 69 Lord Southampton and Titchfield Place ... 79&lt;br /&gt;
Canadian Copyright t&ordm; t&ordm; a. * * e i t&ordm; e t&ordm; e t&ordm; s to * * * 69 Fiction as a Menace to the Book Trade S()&lt;br /&gt;
Magazine Contents t&ordm; &ordm;r &ordm; t&ordm; g&ordm; t&ordm; t&ordm; g&ordm; &ordm; t&ordm; a g t&ordm; e &amp;lt;&amp;gt; t&ordm; &ordm; &ordm; t&ordm; a t&ordm; 70 Tragedy ... g&ordm; t&ordm; &ordm;n * * * &amp;amp; ſ&ordm; t&ordm; g&ordm; t&ordm; ſ&ordm; SJ.&lt;br /&gt;
Warnings to Producers of Books ... * W&ordm; &ordm; t&ordm; &ordm; t&ordm; t&ordm; g&ordm; &ordm; t&ordm; &ordm; t&ordm; 71 Contemporary Criticisms.&mdash;X. 81&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; &ordm; &ordm; * * t&ordm; t&ordm; q t&ordm; t&ordm; is e t&ordm; 9 &amp;amp; 71 Correspondence ... t&ordm; t&ordm; t&ordm; s t&ordm; $ S3&lt;br /&gt;
PTTBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s. -&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
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4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
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6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&rsquo;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
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various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
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7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
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10. Forms of Agreement issued by the Publishers&amp;#039; Association; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 56 (#76) ##############################################&lt;br /&gt;
&lt;br /&gt;
ll&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Ilje &Scaron;uriefly uf Autburg (ſmrurpurated).&lt;br /&gt;
Telegraphic Address : ** A UTORIDAD, LONDON.&amp;#039;&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
G-TECIERG-TE IMIEERIETITIEH, C - IMI-&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR. W.M. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRI E. [BURY, P.C.&lt;br /&gt;
A. W. A BECKETT. -&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT EION. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C. . ~&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CA IN E.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE EION, JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRA W FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG. -&lt;br /&gt;
DOUGLAS FRESHEIELD. -&lt;br /&gt;
THE HON. M.R.S. ALFRED FELKIN.&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY. - *&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&rsquo;&rsquo;).&lt;br /&gt;
ANTHONY HOPE HAWKINS, -&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. J EROM F.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LORTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, PC.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PIN ERO. -&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPEIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc. -&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE. :&lt;br /&gt;
FIELD MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
COIVIIMITTEE OF MANAGEMENT.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWIER).&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHEIELD.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEB.B.&lt;br /&gt;
IDRAIMIATIC SUB-COIVIMIITTEE.&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
PAUL RUEENS.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
PFNSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
Chain&rsquo;man&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
|M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILRERT PARKER, M.P.&lt;br /&gt;
ART SUB-COIMIMITTEE.&lt;br /&gt;
JoHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inr Fields, W.C. : a, #an-&lt;br /&gt;
G. HERBERT THRING, 39, old Queen street, storey&amp;#039;s Gate, s.w.. }. So&ordm;tors.&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
OFFICES.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
J. H. YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettress&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 57 (#77) ##############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XIX. &mdash;No. 3.&lt;br /&gt;
DECEMBER 1st, 1908.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER : -&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
,&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;s FUNDs.&lt;br /&gt;
&ndash;6&mdash;s&ordm;-0&ndash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
VOL. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages. -&amp;gt;&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
&bull; Subscriptions.&lt;br /&gt;
f, *. 1908. # S. d.&lt;br /&gt;
Oct. 10, Macnaughton-Jones, H. . () 5 ()&lt;br /&gt;
Oct. 20, Garvice, Charles &copy; 1 1 0.&lt;br /&gt;
Nov. 12, Woods, Miss Mary A. () 5 ().&lt;br /&gt;
Nov. 20, Boycott, G. W. M. . () I () 6&lt;br /&gt;
Nov. 20, Budgeon, Miss () 5 ()&lt;br /&gt;
Nov. 21, Benjamin, Lewis J. 1 1 0&lt;br /&gt;
Nov. 21, Coulton, G. G. &amp;amp; &copy; () 5 0.&lt;br /&gt;
Nov. 21, Dixon, Miss H. Margaret 2 2 ()&lt;br /&gt;
Nov. 21, Colquhoun, A. &copy; i&ordm; () 10 0&lt;br /&gt;
Nov. 23, Holmes, Miss Eleanor () 5 ()&lt;br /&gt;
Nov. 23, Hussey, Eyre 0 1 0 ().&lt;br /&gt;
Nov. 23, Capes, Bernard O 1 () ()&lt;br /&gt;
Nov. 23, Hecht, Mrs. Arthur 0 5 ()&lt;br /&gt;
Nov. 23, Festing, Miss Gabrielle . () 10 0&lt;br /&gt;
Nov. 23, Carolin, Mrs. . e 0 1 0 ()&lt;br /&gt;
Nov. 23, Bland, Mrs. E. Nesbit 0 1 0 6&lt;br /&gt;
Nov. 23, Hichens, Robert 3 3 ()&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 58 (#78) ##############################################&lt;br /&gt;
&lt;br /&gt;
58 TISIE AUTHOR,&lt;br /&gt;
&sect;&lt;br /&gt;
S&lt;br /&gt;
(7&lt;br /&gt;
l&lt;br /&gt;
()&lt;br /&gt;
S.&lt;br /&gt;
10&lt;br /&gt;
10&lt;br /&gt;
Nov. 17, Anon. . &amp;amp; e o&lt;br /&gt;
Nov. 21, Anson, Sir William, Bart.&lt;br /&gt;
Nov. 21, Cordeaux, Miss K. M. .&lt;br /&gt;
Nov. 21, Drewitt, F. Dawtrey, M.D. .&lt;br /&gt;
Nov. 21, Delaire, Madame Jean .&lt;br /&gt;
Nov. 21, Hecht, Mrs. Arthur .&lt;br /&gt;
Nov. 21, Collier, The Honble. John&lt;br /&gt;
Nov. 21, Keltie, G. Scott . te&lt;br /&gt;
Nov. 21, Shepeard-Walwyn, H. W.&lt;br /&gt;
Nov. 21, Church, Prof. A. H. .&lt;br /&gt;
Nov. 21, James, Miss S. Boucher&lt;br /&gt;
Nov. 21, Ramsden, The Lady Gwen-&lt;br /&gt;
Nov. 23, Grogan, W. E. .&lt;br /&gt;
Nov. 23, Stowell, Mrs. Rodolph&lt;br /&gt;
Nov. 23, Gay, Mrs. . e&lt;br /&gt;
Nov. 23, Summers, J. . &copy;&lt;br /&gt;
Nov. 23, Bloundelle-Burton, J.&lt;br /&gt;
Nov. 23, Freshfield, Douglas&lt;br /&gt;
Nov. 24, Rowsell, Miss Mary&lt;br /&gt;
Nov. 24, Bell, Lady g&lt;br /&gt;
Nov. 24, Sanders, Miss E. K.&lt;br /&gt;
Nov. 25, Count Plunkett&lt;br /&gt;
Nov. 25, Victoria Cross te&lt;br /&gt;
Nov. 25, Cromartie, the Countess of&lt;br /&gt;
Nov. 25, Sutro, Alfred.&lt;br /&gt;
Nov. 25, Kipling, Rudyard .&lt;br /&gt;
Nov. 25, Pope, Miss Jessie .&lt;br /&gt;
Nov. 25, Scott, G. Forrester&lt;br /&gt;
Nov. 25, Carr, Miss Mildred E.&lt;br /&gt;
Nov. 25, O&rsquo;Brien, The Rev. G. E.&lt;br /&gt;
Nov. 25, Wells, The Rev. Freeman&lt;br /&gt;
Nov. 25, Lewis, T. C. g &ordm;&lt;br /&gt;
Nov. 25, Fenwick, Miss S. F. &ordm;&lt;br /&gt;
Nov. 26, Montgomery, Miss K. L.&lt;br /&gt;
Nov. 26, Dummelow, The Rev. J. R.&lt;br /&gt;
Nov. 26, Jopp, Miss E. A. . e&lt;br /&gt;
Nov. 26, Wintle, Harold R..&lt;br /&gt;
Nov. 26, Malcolm, Mrs. Ian. t&ordm;&lt;br /&gt;
Nov. 26, Marks, Mrs. Mary A. M.&lt;br /&gt;
Nov. 26, &ldquo;E.&rdquo; . g . .&lt;br /&gt;
Nov. 27, Prideaux, Miss S. T.&lt;br /&gt;
Nov. 27, Saies, Mrs. F. H. .&lt;br /&gt;
Nov. 27, Heath, Miss Ella&lt;br /&gt;
Nov. 27, Thomas, Edward&lt;br /&gt;
Nov. 27, Shaw, Mrs. Bernard&lt;br /&gt;
Nov. 27, Smith, Bertram&lt;br /&gt;
Nov. 27, Niven, Frederick . &ordm;&lt;br /&gt;
Nov. 27, Nembhard, Miss Isabel .&lt;br /&gt;
Nov. 27, Smith, Miss M. E. * &amp;gt;&lt;br /&gt;
Nov. 28, Brandon, Miss Dorothy.&lt;br /&gt;
Nov. 28, de la Pasture, Mrs. Henry&lt;br /&gt;
Nov. 28, Scott, Mrs. C. ge w&ordm;&lt;br /&gt;
Nov. 28, Harrison, Mrs. Darent .&lt;br /&gt;
1.&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
i&lt;br /&gt;
I&lt;br /&gt;
dolen t&ordm; t&ordm;&lt;br /&gt;
Nov. 21, Spielmann, M. H.&lt;br /&gt;
Nov. 21, Saville, Frank&lt;br /&gt;
Nov. 24, Kennedy, E. B. .&lt;br /&gt;
Nov. 24, Bennett, Prof. W. H. .&lt;br /&gt;
Nov. 24, Batty, Mrs. Braithwaite&lt;br /&gt;
Nov. 24, Crouch, A. P. . &ordm;&lt;br /&gt;
Nov. 24, Hawtrey, Miss Valentine&lt;br /&gt;
Nov. 24, Sedgwick, Miss Anna Douglas&lt;br /&gt;
Nov. 24, Anon. . ſ&ordm; g&ordm; g&ordm;&lt;br /&gt;
Nov. 25, Page, Herbert W.&lt;br /&gt;
Nov. 25, Brereton, Capt. F. S. .&lt;br /&gt;
Nov. 25, Knight, Mrs. Maude C.&lt;br /&gt;
Nov. 25, Bowen, Miss Marjorie .&lt;br /&gt;
Nov. 25, Turner, Reginald&lt;br /&gt;
Nov. 25, Nash, T. A.&lt;br /&gt;
Nov. 25, Trevor, John&lt;br /&gt;
Nov. 25, Wacher, Francis .&lt;br /&gt;
Nov. 25, Hughes-Gibb, Mrs. o&lt;br /&gt;
Nov. 25, Farmer, Miss A. A. e &copy;&lt;br /&gt;
Nov. 25, Hunt, Holman &amp;amp;&lt;br /&gt;
Nov. 25, Tuckett, F. F.&lt;br /&gt;
Nov. 25, Allen, Mrs. Grant&lt;br /&gt;
Nov. 26, Hole, W. G. &copy;&lt;br /&gt;
Nov. 27, Granville, Charles&lt;br /&gt;
Nov. 27, Henoch, Miss Emily T.&lt;br /&gt;
Nov. 27, Simes, Miss O. Kathleen&lt;br /&gt;
Nov. 27, Penny, The Rev. Frank&lt;br /&gt;
Nov. 27, Westell, W. P. . Q&lt;br /&gt;
i&lt;br /&gt;
)&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1.&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
()&lt;br /&gt;
1.&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
Nov. 28, Logan, The Rev. Robert Nov. 28, Coolidge, The Rev. W. A. B. ()&lt;br /&gt;
Nov. 28, Chesterton, G. K. * 1 Nov. 28, Lady Pamela Tennant ()&lt;br /&gt;
Nov. 28, Wingfield, H. . t&ordm; I 1 ()&lt;br /&gt;
Donations, 1908. The names of those subscribers and donors which&lt;br /&gt;
077ations. 1908 are not included in the lists printed above, are&lt;br /&gt;
July 16, Carolin, Mrs. &amp;amp; * 0 5 0 unavoidably held over to the January issue.&lt;br /&gt;
July 28, Atherton, Mrs. Gertrude 21 () ()&lt;br /&gt;
Aug. 21, Beckett, Arthur W. 1 1 0 e&mdash;s&ordm;-e&lt;br /&gt;
Sept. 28, &ldquo;Whitworth Wynne&amp;quot; . 1 1 0&lt;br /&gt;
Oct. 23, Woolf, Miss Bella Sidney O 5 () COMMITTEE NOTES.&lt;br /&gt;
Oct. 31, Robinson, J. K. . ſ&ordm; () 6 () -&lt;br /&gt;
Nov. 6, Wroughton, Miss Cicely. 1 0 () &mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Nov. 7, Sherard, R. H. . ſ&ordm; 1 I () HE November meeting of the Committee of&lt;br /&gt;
Nov. 7, Cameron, Miss Charlotte () 10 0 Management of the Society of Authors was&lt;br /&gt;
Nov. 12, Tweedie, Mrs. Alec. . 1 1 0 held at the society&amp;#039;s offices on the 2nd of that&lt;br /&gt;
Nov. 17, Tench, Miss Mary F. A. 0 10 0 month.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 59 (#79) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTFIOR.&lt;br /&gt;
59&lt;br /&gt;
The chairman, Mr. Douglas Freshfield, reported&lt;br /&gt;
that he had received a letter from Mr. George&lt;br /&gt;
Meredith, thanking the committee for the copy of&lt;br /&gt;
the medallion portrait of himself executed by Mr.&lt;br /&gt;
Spicer Simson, which they had forwarded for his&lt;br /&gt;
acceptance. Mr. Meredith wrote as follows:&mdash;&lt;br /&gt;
&ldquo;The medallion touches me as a further instance&lt;br /&gt;
of the good will of your committee showed so&lt;br /&gt;
genially when a deputation came here on my last&lt;br /&gt;
birthday. Testimony enough Pray let it be&lt;br /&gt;
known that I am moved to grateful affection.&rdquo;&lt;br /&gt;
Twenty-five new members and associates were&lt;br /&gt;
elected, bringing the total for the year up to date&lt;br /&gt;
to 228.&lt;br /&gt;
The committee proceeded to the nomination of&lt;br /&gt;
new members to fill the vacancies on the council.&lt;br /&gt;
They have pleasure in announcing the following&lt;br /&gt;
gentlemen have consented to their names being added&lt;br /&gt;
to that body &ndash;Sir Charles Williers Stanford, The&lt;br /&gt;
Right Hon. Sir Horace Plunkett, The Right Hon.&lt;br /&gt;
Sir Alfred Lyall. The members of the art sub-&lt;br /&gt;
Committee were next nominated. The committee&lt;br /&gt;
of management are pleased to report acceptances&lt;br /&gt;
from The Hon. John Collier, Sir W. Martin Conway,&lt;br /&gt;
Walter Crane, Arthur Hassall, J. G. Millais, Arthur&lt;br /&gt;
Rackham and M. H. Spielmann.&lt;br /&gt;
The copyright sub-committee has been con-&lt;br /&gt;
stituted according to the list printed in the last issue&lt;br /&gt;
of The Author, and will be found in future at the&lt;br /&gt;
head of the society&rsquo;s letter-paper and inside the&lt;br /&gt;
front cover of The Author.&lt;br /&gt;
A pamphlet containing a model agreement and&lt;br /&gt;
a valuable treatise on dramatic contracts which was&lt;br /&gt;
settled by the dramatic sub-committee was laid&lt;br /&gt;
before the committee of management, who desired&lt;br /&gt;
it to be printed as a supplement in one of the&lt;br /&gt;
Coming issues of The Author.&lt;br /&gt;
The following cases were then dealt with :&mdash;&lt;br /&gt;
The first related to the infringement by a New&lt;br /&gt;
Zealand newspaper of the copyright in a story by&lt;br /&gt;
one of the society&rsquo;s members. It has been referred&lt;br /&gt;
to in previous issues of The Author. Since the&lt;br /&gt;
October meeting of the committee the delin-&lt;br /&gt;
quents forwarded a money order in payment for&lt;br /&gt;
the infringement. The committee considered the&lt;br /&gt;
matter very carefully, and decided in the circum-&lt;br /&gt;
stances to accept the sum offered subject to the&lt;br /&gt;
approval of the member concerned. Accordingly,&lt;br /&gt;
the secretary has written to the paper, accepting&lt;br /&gt;
the amount in settlement, but notifying the editor&lt;br /&gt;
of the committee&amp;#039;s determination to stamp out&lt;br /&gt;
piracy of its members&rsquo; property in whatever part of&lt;br /&gt;
the globe it may occur. With this object in view,&lt;br /&gt;
the secretary has been instructed to ascertain if it&lt;br /&gt;
were practicable to collect information as to the&lt;br /&gt;
titles of any stories written by members of the society&lt;br /&gt;
which are running in the Colonial, American and&lt;br /&gt;
Continental papers. Then whenever a case of&lt;br /&gt;
piracy is discovered, it would be possible, with the&lt;br /&gt;
consent of the member whose work is pirated, to&lt;br /&gt;
take immediate action.&lt;br /&gt;
The next case before the committee had reference&lt;br /&gt;
to a most important issue dealing with dramatic&lt;br /&gt;
rights generally. While referring the question to&lt;br /&gt;
the dramatic sub-committee in order that that body&lt;br /&gt;
might make any suggestions which occurred to&lt;br /&gt;
them, the committee of management, in order to&lt;br /&gt;
avoid any unnecessary delay, instructed the secretary&lt;br /&gt;
to forward a statement of the case to the society&rsquo;s&lt;br /&gt;
Solicitors in the United States to obtain their&lt;br /&gt;
advice as to the steps it might be desirable for the&lt;br /&gt;
Committee of management to take. It is probable, as&lt;br /&gt;
the case bears on the important question of dramatic&lt;br /&gt;
rights in the United States, that the opinion, when&lt;br /&gt;
it comes to hand, will be printed in The Author.&lt;br /&gt;
There were two cases against publishers dealing&lt;br /&gt;
with disputes on agreements, non-rendering of&lt;br /&gt;
accounts, and non-payment of moneys. In both&lt;br /&gt;
cases the committee decided to prosecute and&lt;br /&gt;
instructed the Secretary to place them in the hands&lt;br /&gt;
of the society&rsquo;s solicitors.&lt;br /&gt;
The last case related to an appeal made by a&lt;br /&gt;
member of the society for its assistance. Having&lt;br /&gt;
regard to the fact that the mature of the aid which&lt;br /&gt;
the member required did not come within the&lt;br /&gt;
Scope of the Society&rsquo;s work, the committee felt bound&lt;br /&gt;
to refuse the member&amp;#039;s request, and instructed the&lt;br /&gt;
Secretary to write accordingly.&lt;br /&gt;
The question of advertisements in The Author&lt;br /&gt;
next engaged the attention of the committee.&lt;br /&gt;
Some of our members appear to have thought that&lt;br /&gt;
the insertion of an advertisement amounts to some&lt;br /&gt;
sort of recommendation on the part of the society of&lt;br /&gt;
the firm advertised. This is no more the case in&lt;br /&gt;
The Author than in any other periodical. The com-&lt;br /&gt;
mittee desire to state that while they do their best&lt;br /&gt;
to exclude any advertisement they are advised is mis-&lt;br /&gt;
leading, they can take no further responsibility in the&lt;br /&gt;
matter. The subject is dealt with in a General Note.&lt;br /&gt;
A resolution proposed by Mrs. E. Nesbit Bland,&lt;br /&gt;
involving an important extension in the society&amp;#039;s&lt;br /&gt;
action, was adjourned to the next meeting owing&lt;br /&gt;
to Mrs. Bland&amp;#039;s inability to attend.&lt;br /&gt;
The committee have to thank Miss Nellie Dale&lt;br /&gt;
and Mr. W. S. Walker for their contributions to&lt;br /&gt;
the capital account of the Society, as tokens of&lt;br /&gt;
their thanks for the services which the society&lt;br /&gt;
has been able to render them. Miss Dale has made&lt;br /&gt;
a seventh donation of &pound;5 and Mr. Walker a&lt;br /&gt;
donation of &pound;1 1s. to the Society.&lt;br /&gt;
The secretary reported that the chairman had&lt;br /&gt;
sanctioned three county court cases which had been&lt;br /&gt;
taken up during the past month, and, at the desire&lt;br /&gt;
of the dramatic sub-committee, had sanctioned&lt;br /&gt;
counsel&amp;#039;s opinion being taken in respect to a point&lt;br /&gt;
of law affecting the interests of dramatic authors.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 60 (#80) ##############################################&lt;br /&gt;
&lt;br /&gt;
60&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
A MEETING of the Pension Fund Committee was&lt;br /&gt;
held on Monday, November 2, at the offices of&lt;br /&gt;
the society.&lt;br /&gt;
Mrs. Myall (Laura Hain Friswell), owing to&lt;br /&gt;
incapacity from illness to continue her literary&lt;br /&gt;
work at present, was awarded a pension for One&lt;br /&gt;
year under Clause 16, of the Pension Fund Scheme,&lt;br /&gt;
which runs as follows:&lt;br /&gt;
&ldquo;No pension shall be granted to any person&lt;br /&gt;
under the age of sixty years, so long as suitable&lt;br /&gt;
candidates of the age of sixty years or upwards&lt;br /&gt;
shall present themselves. Provided, that a pension&lt;br /&gt;
may be granted to a person of less age if and while&lt;br /&gt;
he shall in the opinion of the Pension Fund Com-&lt;br /&gt;
mittee be totally incapacitated for work by reason&lt;br /&gt;
of illness or accident.&rdquo; -&lt;br /&gt;
The pension awarded is at the rate of &pound;25 per&lt;br /&gt;
annum, and the committee will be prepared to con-&lt;br /&gt;
sider a further application at the end of the year.&lt;br /&gt;
Mrs. Myall has been a member of the society since&lt;br /&gt;
its foundation. Her last published work was entitled&lt;br /&gt;
&ldquo;In the Sixties and Seventies.&rdquo; It was a record&lt;br /&gt;
of literary reminiscences.&lt;br /&gt;
The committee decided to issue an appeal to the&lt;br /&gt;
members for further support to the Pension Fund.&lt;br /&gt;
This appeal, which will be in the hands of mem-&lt;br /&gt;
bers before the present number of this journal, will&lt;br /&gt;
they trust meet with a general and substantial&lt;br /&gt;
response.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
THE Dramatic Sub-Committee of the Society of&lt;br /&gt;
Authors met at 39, Old Queen Street, S.W., on&lt;br /&gt;
Thursday, November 5. -&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been approved and signed, the Dramatic Pamphlet&lt;br /&gt;
was finally approved, and the committee passed a&lt;br /&gt;
resolution to the effect that it should be printed as&lt;br /&gt;
a supplement in one of the coming issues of The&lt;br /&gt;
Author. The final proofs were looked over, at the&lt;br /&gt;
request of the other members of the committee, by&lt;br /&gt;
the chairman, Mr. Henry Arthur Jones, and by&lt;br /&gt;
Mr. G. Bernard Shaw.&lt;br /&gt;
An exceedingly important dramatic case was&lt;br /&gt;
then discussed. The secretary reported that, in&lt;br /&gt;
order to save time, the committee of management&lt;br /&gt;
had already sanctioned the taking of an opinion&lt;br /&gt;
from the American lawyers of the Society, and had&lt;br /&gt;
requested the Dramatic Sub-Committee to advise&lt;br /&gt;
them if any further steps were necessary. The&lt;br /&gt;
Dramatic Sub-Committee instructed the secretary&lt;br /&gt;
to call a meeting as soon as the opinion of the&lt;br /&gt;
American lawyers was to hand.&lt;br /&gt;
The secretary laid before the sub-committee a&lt;br /&gt;
translation of the statutes and the general treaty&lt;br /&gt;
with managers and agents of the German Society of&lt;br /&gt;
Dramatic Authors. He was instructed to have&lt;br /&gt;
copies made and circulated to the members of that&lt;br /&gt;
committee. A letter from Mr. A. W. Pinero, who&lt;br /&gt;
is at present acting as chairman of the proposed&lt;br /&gt;
new Dramatic Authors&rsquo; Society, was placed before&lt;br /&gt;
the committee, who acceded to the request con-&lt;br /&gt;
tained therein to meet the delegates of that body.&lt;br /&gt;
The secretary was instructed to write to Mr.&lt;br /&gt;
Pinero, and arrange a date for the conference.&lt;br /&gt;
The next point for discussion was the general&lt;br /&gt;
treaty between dramatic authors and managers.&lt;br /&gt;
This was carefully considered, and several altera-&lt;br /&gt;
tions were made. The treaty was finally settled&lt;br /&gt;
and made ready for negotiation, the secretary being&lt;br /&gt;
instructed to obtain clean proofs in its final form.&lt;br /&gt;
II.&lt;br /&gt;
The Dramatic Sub-Committee met again on&lt;br /&gt;
Thursday, November 19, at 39, Old Queen Street,&lt;br /&gt;
Storey&amp;#039;s Gate, S.W., to meet a deputation composed&lt;br /&gt;
of Mr. A. W. Pinero, Mr. J. M. Barrie, and Mr.&lt;br /&gt;
Cecil Raleigh, from the proposed new Society of&lt;br /&gt;
Dramatic Authors. Mr. Pinero, as spokesman of&lt;br /&gt;
the deputation, submitted the two following&lt;br /&gt;
points:&mdash; -&lt;br /&gt;
(1) Will the Society of Authors support the&lt;br /&gt;
dramatic authors in their efforts to carry through&lt;br /&gt;
a reform of the censorship on the terms proposed&lt;br /&gt;
at the recent deputation to the Premier 2&lt;br /&gt;
(2) What measure of autonomy will the Dramatic&lt;br /&gt;
Sub-Committee be prepared to recommend to the&lt;br /&gt;
committee of management to give to dramatic&lt;br /&gt;
authors 2 -&lt;br /&gt;
Considerable discussion followed upon these two&lt;br /&gt;
points, but in respect to the first the dramatic&lt;br /&gt;
Sub-committee pledged themselves to use every&lt;br /&gt;
endeavour to obtain the support of the committee&lt;br /&gt;
of management and of the general body of mem-&lt;br /&gt;
bers of the Society to carry out this object.&lt;br /&gt;
In answer to the second question, the Dramatic&lt;br /&gt;
Sub-Committee stated, in the first instance, that&lt;br /&gt;
they could pledge themselves to nothing outside&lt;br /&gt;
the present constitution of the society, but finally,&lt;br /&gt;
the individual members present stated that if all&lt;br /&gt;
the members of the proposed Dramatic Authors&rsquo;&lt;br /&gt;
Society came into the Society of Authors in a body,&lt;br /&gt;
they individually would resign their positions on the&lt;br /&gt;
Dramatic Sub-Committee in order to recommend&lt;br /&gt;
to the committee of management the formation of&lt;br /&gt;
a fresh Dramatic Sub-Committee to be composed of&lt;br /&gt;
members put forward by all the dramatists in the&lt;br /&gt;
Society thus collected.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 61 (#81) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR. 61&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month thirteen new cases have&lt;br /&gt;
come before the secretary ; four of these involved&lt;br /&gt;
the return of MSS., and in three the MSS. were&lt;br /&gt;
returned and despatched to the authors concerned.&lt;br /&gt;
The fourth came into the office just before The&lt;br /&gt;
Author went to press. Five cases were claims for&lt;br /&gt;
money due, and in three of these cheques have been&lt;br /&gt;
obtained and forwarded. The remaining two are&lt;br /&gt;
still outstanding. Two claims were for money and&lt;br /&gt;
accounts. These are in the course of negotiation.&lt;br /&gt;
It is probable that settlements will be arrived&lt;br /&gt;
at very shortly. There were two claims against&lt;br /&gt;
agents. The agents in question have replied, and&lt;br /&gt;
there is every prospect of the disputes being&lt;br /&gt;
settled, but they have only recently come into&lt;br /&gt;
the office. -&lt;br /&gt;
There are three or four cases open from former&lt;br /&gt;
months besides those which have been handed to&lt;br /&gt;
the Society&rsquo;s Solicitors, and are mentioned in the&lt;br /&gt;
committee notes. Negotiations are proceeding in&lt;br /&gt;
all the cases as answers have been received from&lt;br /&gt;
the publishers concerned, but occasionally pub-&lt;br /&gt;
lishers send answers in order to postpone the&lt;br /&gt;
settlement of cases. When they adopt this method&lt;br /&gt;
the matter is referred to the committee or chairman,&lt;br /&gt;
and finally transferred to the hands of the society&amp;#039;s&lt;br /&gt;
solicitors. -&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
November Elections.&lt;br /&gt;
Savile Club, W.&lt;br /&gt;
Box 2913, Johannes-&lt;br /&gt;
burg, S. Africa.&lt;br /&gt;
17, Ormonde Man-&lt;br /&gt;
sions, Southamp-&lt;br /&gt;
ton Row, W.C.&lt;br /&gt;
Hill Lodge, Enfield.&lt;br /&gt;
Irish Literary&lt;br /&gt;
Society, 20, Han-&lt;br /&gt;
over Square, W.&lt;br /&gt;
Authors&amp;#039; Club, 2,&lt;br /&gt;
Whitehall Court,&lt;br /&gt;
S.W. -&lt;br /&gt;
Blackwood, Algernon&lt;br /&gt;
Bruce, Miss Margaret&lt;br /&gt;
Campbell, Miss Gabrielle&lt;br /&gt;
Were (&ldquo;Marjorie&lt;br /&gt;
Bowen&rsquo;&rsquo;) . &ordm; t&ordm;&lt;br /&gt;
Campbell, The Rev. R. J. .&lt;br /&gt;
Degidon, Miss Nora F.&lt;br /&gt;
Duthie, The Rev. D.&lt;br /&gt;
Wallace e o Q&lt;br /&gt;
The Knoll, Round-&lt;br /&gt;
- - hay, Leeds.&lt;br /&gt;
Gerard, Louise. O . 35, High Street,&lt;br /&gt;
. . . . . Battersea, S.W.&lt;br /&gt;
Ballycastle, Co. An-&lt;br /&gt;
trim.&lt;br /&gt;
Gardiner, Alfonzo&lt;br /&gt;
Harvey, J. . &ordm; w&lt;br /&gt;
Herbert, Agnes &amp;amp; e&lt;br /&gt;
Lewis, Frank C. &copy; . Grosvenor Club, W.&lt;br /&gt;
Lyons, A. Neil. &ordm; . Moore&amp;#039;s Cottage,&lt;br /&gt;
Wivelsfield Green,&lt;br /&gt;
- Sussex.&lt;br /&gt;
MacPherson, John Fethers- Winfield House,&lt;br /&gt;
tonhaugh . &laquo;&raquo; o Boro&amp;#039; Green, Kent,&lt;br /&gt;
Maynard, Constance L. . Westfield College,&lt;br /&gt;
- - - University of&lt;br /&gt;
London.&lt;br /&gt;
Mudaliar, P. Ramanatha . Chintadripet, Madras,&lt;br /&gt;
t w S.C., India.&lt;br /&gt;
Nicholls, Edward . . 2, Rutland Willas,&lt;br /&gt;
Uxbridge.&lt;br /&gt;
O&amp;#039;Higgins, Harvey . . Martinsville, New&lt;br /&gt;
Jersey, U.S.A.&lt;br /&gt;
Cheltenham.&lt;br /&gt;
Peake, G. A., M.R.C.S.,&lt;br /&gt;
L.R.C.P., L.D.S. . te&lt;br /&gt;
Phillips, Miss Florence .&lt;br /&gt;
Rubens, Paul . Q . 6, Lyric Chambers,&lt;br /&gt;
Whitcomb Street,&lt;br /&gt;
W.C.&lt;br /&gt;
Tickell, The Rev S. Claude The Ramps, Lew&lt;br /&gt;
Down, R.S.O., N.&lt;br /&gt;
Devon.&lt;br /&gt;
Wills, The Rev Freeman,&lt;br /&gt;
M.A.&lt;br /&gt;
e &ordm; e . 42, Sun Street, E.C.&lt;br /&gt;
Wright, Capt. C. H. B. .&lt;br /&gt;
c/o Cox &amp;amp; Co., 16,&lt;br /&gt;
Charing Cross, S.W.&lt;br /&gt;
Two members desire neither their names,&lt;br /&gt;
pseudonyms, nor addresses printed.&lt;br /&gt;
A.&lt;br /&gt;
-w&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;4&mdash;&lt;br /&gt;
BOOKS FOR THE YOUNG,&lt;br /&gt;
MADGE MAKE-THE-BEST-OF-IT. By M. E. ERANCIS.&lt;br /&gt;
63 &times; 4%. 175 pp. (The St. Nicholas Series.) Macdonald&lt;br /&gt;
and Evans. 28. In.&lt;br /&gt;
THE NATIONAL GALLERY. By ALICE CORKRAN, 7} x 5.&lt;br /&gt;
234 pp. (The Treasure-House Series.) Wells Gardner.&lt;br /&gt;
&mdash;A-- a&lt;br /&gt;
--&lt;br /&gt;
2s. 6d. n.&lt;br /&gt;
A Boy AND A SECRET. By RAYMOND JACBERNS. 74 &times; 5}.&lt;br /&gt;
304 pp. Chambers. 3s. 6d.&lt;br /&gt;
ANIMALS AT HOME. By W. PERCIVAL WESTELL, F.L.S.&lt;br /&gt;
With Preface by MARIE CORELLI. 8 &times; 5%. 240 pp.&lt;br /&gt;
Dent. 3s. 6d.&lt;br /&gt;
THE SEVEN GOSLINGs. By LAURENCE HOUSMAN.&lt;br /&gt;
Illustrated by MABEL DEARM ER. 10 &times; 8. Blackie.&lt;br /&gt;
1s. 6d. - *&lt;br /&gt;
LITTLE PETER. A. Christmas Morality for Children of&lt;br /&gt;
any Age. By LUCAS MALET. New Edition. 83 &times; 63.&lt;br /&gt;
175 pp. Frowde and Hodder and Stoughton. 68.&lt;br /&gt;
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63&lt;br /&gt;
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LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E hear that the present publishing season&lt;br /&gt;
- - in the United States is a splendid one,&lt;br /&gt;
and that the happy result of the Presi-&lt;br /&gt;
dential election has stimulated business in the&lt;br /&gt;
bookselling trade as in all other quarters. On the&lt;br /&gt;
other hand, the dramatic season has been more or&lt;br /&gt;
less of a failure ; play after play has failed, and&lt;br /&gt;
those that remain show to half-empty or paper-&lt;br /&gt;
dressed houses. - -&lt;br /&gt;
Anna Lea Merritt, well-known to many people&lt;br /&gt;
by her picture &ldquo;Love Locked Out,&rdquo; has a book&lt;br /&gt;
with Messrs. George Allen, called &ldquo;An Artist&amp;#039;s&lt;br /&gt;
Garden.&rdquo; It is, of course, her own garden which&lt;br /&gt;
she paints and describes. There are sixteen full-&lt;br /&gt;
page drawings in colour, and eleven chapters, in-&lt;br /&gt;
cluding those on &ldquo;Making a Garden,&rdquo; &ldquo;Blight,&rdquo;&lt;br /&gt;
&ldquo;My Rock Garden,&rdquo; and &ldquo;Characters in Flowers.&rdquo;&lt;br /&gt;
Mr. Upton Sinclair has published a new novel,&lt;br /&gt;
entitled, &ldquo;The Money Changers,&rdquo; the English&lt;br /&gt;
rights of which have been acquired by Mr. John&lt;br /&gt;
Long. Mr. Sinclair describes from the inside&lt;br /&gt;
the causes of the recent financial panics in&lt;br /&gt;
America. -&lt;br /&gt;
A new novel, &ldquo;Hilary Thornton,&rdquo; by Hubert&lt;br /&gt;
Wales, will be published in the spring by Mr. John&lt;br /&gt;
Long in England and Messrs. Dana Estes &amp;amp; Co.&lt;br /&gt;
in America. A French translation of &ldquo;The&lt;br /&gt;
Yoke,&rdquo; by the same author, will shortly appear.&lt;br /&gt;
A new addition to Messrs. Wells Gardner&amp;#039;s&lt;br /&gt;
shilling series of copyright Reward Books is &ldquo;The&lt;br /&gt;
Happy League,&rdquo; by Leslie Moore, with illustra-&lt;br /&gt;
tions by Paul Hardy. It is a story of a family of&lt;br /&gt;
children, their scrapes and their pleasures.&lt;br /&gt;
Mr. John Heywood, of Manchester, has brought,&lt;br /&gt;
out &ldquo;Weaving Mill Management,&rdquo; by A. R.&lt;br /&gt;
Foster, with many illustrations and drawings.&lt;br /&gt;
We have received from the Clarendon Press a&lt;br /&gt;
new and cheap edition of &ldquo;The King&amp;#039;s English,&rdquo;&lt;br /&gt;
abridged for school use. The present volume&lt;br /&gt;
creates in us a very favourable impression, as did&lt;br /&gt;
the second edition which we reviewed last year. It&lt;br /&gt;
is admirably adapted for its purpose.&lt;br /&gt;
Mrs. Philip Champion de Crespigny has had her&lt;br /&gt;
new book of short stories, &ldquo;My Cousin Cynthia&lt;br /&gt;
and Others,&rdquo; brought out by Mr. Eveleigh Nash.&lt;br /&gt;
Her novel, &ldquo;The Mischief of a Glove,&rdquo; has been&lt;br /&gt;
translated into French by Mr. Robu.&amp;#039;t Godet and,&lt;br /&gt;
published in Switzerland under the title of &ldquo;Pour&lt;br /&gt;
un Gant.&rdquo;&lt;br /&gt;
&ldquo;From the East and from the West,&rdquo; by T. C.&lt;br /&gt;
Lewis (Mr. T. Fisher Unwin), is a volume of verse&lt;br /&gt;
containing presentations of poetic thought from .&lt;br /&gt;
Persia, India, and Arabia, and from Germany and&lt;br /&gt;
France. To the rendering from German and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 65 (#85) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTEIOR.&lt;br /&gt;
65&lt;br /&gt;
French lyrical and ballad poetry are added two&lt;br /&gt;
translations from the Greek, with a collection of&lt;br /&gt;
sonnets and other verses.&lt;br /&gt;
|Mr. Francis Griffiths has lately published &ldquo;The&lt;br /&gt;
Church of England,&rdquo; by R. Ellis Roberts. Mr.&lt;br /&gt;
Roberts writes from the liberal Catholic stand-&lt;br /&gt;
point, and endeavours to give a sketch of the&lt;br /&gt;
outstanding men and events in English Church&lt;br /&gt;
history rather than a narrative of dates and facts.&lt;br /&gt;
The book is the new volume of &ldquo;The Library of&lt;br /&gt;
First Principles.&rdquo;&lt;br /&gt;
President Falli&egrave;res has accepted a presentation&lt;br /&gt;
copy of Irene Osgood&amp;#039;s novel &ldquo;Servitude,&rdquo; which&lt;br /&gt;
is being translated into French by Madame Henri&lt;br /&gt;
Heau.&lt;br /&gt;
Mr. W. Percival Westell&rsquo;s new Nature book,&lt;br /&gt;
&ldquo;Animal&amp;#039;s at Home&rdquo; (Messrs. Dent), which was&lt;br /&gt;
announced in these columns last month, has an&lt;br /&gt;
introduction by Miss Marie Corelli. -&lt;br /&gt;
Messrs. Swan Sonnenschein &amp;amp; Co., London,&lt;br /&gt;
have sent out a little book of &ldquo;Essays on Theo-&lt;br /&gt;
sophy,&rdquo; from the pen of Mrs. I. E. Taylor. Its&lt;br /&gt;
four papers give a general outline of theosophic&lt;br /&gt;
doctrine and a particular account of the doctrine&lt;br /&gt;
of Karma and reincarnation, and discuss the&lt;br /&gt;
relations between theosophy and science on the one&lt;br /&gt;
hand, and popular beliefs on the other.&lt;br /&gt;
&ldquo;Fiddler Matt&amp;quot; is a story of a musical genius&lt;br /&gt;
in humble life by &ldquo;Adam Lilburn&rdquo; (Lilias Wasser-&lt;br /&gt;
mann). It has many illustrations by Mr. Arthur&lt;br /&gt;
Marsh, A.R.W.S., and will be published at once&lt;br /&gt;
by Messrs. Brown, Langham &amp;amp; Co.&lt;br /&gt;
A new complete short novel, entitled &ldquo;The&lt;br /&gt;
Master Key,&rdquo; by Cosmo Hamilton, will be brought&lt;br /&gt;
out by Messrs. Hutchinson &amp;amp; Co. as a supple-&lt;br /&gt;
ment to the Christmas number of The Lady&amp;#039;s&lt;br /&gt;
JRealm. -&lt;br /&gt;
Messrs. T. C. and E. C. Jack have just published&lt;br /&gt;
a series of &ldquo;Literary Readers,&rdquo; in prose and verse&lt;br /&gt;
(12 volumes), by Miss Gladys Davidson. These&lt;br /&gt;
little books deal chiefly with classical and natural&lt;br /&gt;
history subjects; and they are arranged on an&lt;br /&gt;
original plan, the stories being told partly in verse&lt;br /&gt;
and partly in prose, and are quite devoid of the&lt;br /&gt;
usual &ldquo;school-book&rdquo; atmosphere. Miss Davidson&lt;br /&gt;
is now engaged upon a children&amp;#039;s Bible story-book&lt;br /&gt;
on modern rational lines for Mr. David Nutt, which&lt;br /&gt;
will be issued early next year. -&lt;br /&gt;
&ldquo;Siam,&rdquo; by Ernest Young, B.Sc., has just&lt;br /&gt;
appeared with Messrs. A. and C. Black in their&lt;br /&gt;
&ldquo;Peeps in Many Lands&rdquo; series. It contains&lt;br /&gt;
twelve full-page illustrations in colour.&lt;br /&gt;
&ldquo;A Little Child shall Lead Them: A Christmas&lt;br /&gt;
Book,&rdquo; by A. Allen Brockington (Messrs. Samuel&lt;br /&gt;
Bagster), is another of the author&amp;#039;s little spiritual&lt;br /&gt;
works with a slim, unobtrusive backbone of fiction.&lt;br /&gt;
|Mr. William Archer has now made an arrange-&lt;br /&gt;
ment with Messrs. Curtis, Brown &amp;amp; Massie by&lt;br /&gt;
which he will, if desired by the authors, prepare&lt;br /&gt;
a detailed criticism and comment on all plays&lt;br /&gt;
Submitted to him. A feature of the arrangement&lt;br /&gt;
is that Mr. Archer will report, not only on com-&lt;br /&gt;
pleted plays, but also on scenarios, and may thus&lt;br /&gt;
be able to help save many a good idea from going&lt;br /&gt;
Wrong, and may also be able to nip in the bud&lt;br /&gt;
Some of the hopeless plays on which authors might&lt;br /&gt;
otherwise waste their time.&lt;br /&gt;
&ldquo;As They Are,&rdquo; by &ldquo;Bartholomew,&rdquo; has been&lt;br /&gt;
brought out by Messrs. Drane. It consists of&lt;br /&gt;
military, sporting, and social dialogues. #&lt;br /&gt;
&ldquo;Literary and Biographical Studies,&rdquo; by Jame&lt;br /&gt;
Baker (Messrs. Chapman and Hall), deals, among&lt;br /&gt;
other matters, with the home-life of the Royal&lt;br /&gt;
Family at Osborne and the value of that property&lt;br /&gt;
presented by His Majesty to the nation.&lt;br /&gt;
Messrs. Graves and Lucas have just published&lt;br /&gt;
through Sir Issac Pitman a new humorous volume&lt;br /&gt;
called &ldquo;If,&rdquo; with many illustrations by George&lt;br /&gt;
Monow. &bull;&lt;br /&gt;
Mr. St. John Lucas has just published, with&lt;br /&gt;
Mr. Edward Arnold, a collection of English love&lt;br /&gt;
lyrics, called &ldquo;The Rose-Winged Hours.&rdquo; His&lt;br /&gt;
edition of &ldquo;Ronsard&rdquo; has recently been issued by&lt;br /&gt;
the Oxford University Press. &amp;amp;&lt;br /&gt;
Miss M. A. Woods has in the press, in connection&lt;br /&gt;
with Milton&amp;#039;s Tercentenary, a book entitled &ldquo;The&lt;br /&gt;
Characters of Paradise Lost.&rdquo; The publisher is&lt;br /&gt;
Mr. John Ouseley. -&lt;br /&gt;
&ldquo;The Love Family,&rdquo; by Mrs. M. H. Spielmann,&lt;br /&gt;
illustrated by Mr. Carton Moore-Park, is issued&lt;br /&gt;
by Messrs. George Allen. It is a tale of a family,&lt;br /&gt;
with Cupid as the central member, showing how&lt;br /&gt;
he interfered in the loves of the chief characters&lt;br /&gt;
and what befel.&lt;br /&gt;
Mr. Louis Joseph Vance has recently disposed&lt;br /&gt;
of the French and Belgian rights of his one-act&lt;br /&gt;
play, &ldquo;At the Eleventh Hour.&rdquo;&lt;br /&gt;
On October 27 a one-act comedy by Mr. St. John&lt;br /&gt;
Hankin was produced at the Criterion. Its title&lt;br /&gt;
is &ldquo;The Burglar who Failed.&rdquo; The burglar under&lt;br /&gt;
the bed was played by Mr. Ferdinand Gottschalk,&lt;br /&gt;
the athletic girl with a hockey-stick by Miss&lt;br /&gt;
Elfrida Clement, and the fearful mother by Miss&lt;br /&gt;
Kate Wingfield.&lt;br /&gt;
November 3 was the first night of Mr. Henry&lt;br /&gt;
Arthur Jones&amp;#039;s new and original comedy in four acts,&lt;br /&gt;
&ldquo;Dolly Reforming Herself.&rdquo; It is impossible&lt;br /&gt;
to give the plot in the space at our disposal, but&lt;br /&gt;
it may at least be said that if Dolly does not&lt;br /&gt;
succeed in reforming herself she is more fortunate&lt;br /&gt;
in the case of her husband. The cast was as&lt;br /&gt;
follows:&mdash;Mrs. Harry Telfer, Miss Ethel Irving ;&lt;br /&gt;
Harry Telfer, Mr. Robert Loraine ; Matthew&lt;br /&gt;
Barron, Mr. C. M. Lowme ; Capt. Lucas Wentworth,&lt;br /&gt;
Mr. Charles R. Maude; The Rev. James Pilcher,&lt;br /&gt;
Mr. Herbert Bunston; Professor Sturgess, Mr.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 66 (#86) ##############################################&lt;br /&gt;
&lt;br /&gt;
66&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
E. Lyall Swete ; Mrs. Sturgess, Miss Margaret&lt;br /&gt;
Halstan.&lt;br /&gt;
Professor Gilbert Murray&amp;#039;s translation of the&lt;br /&gt;
&ldquo;Bacchae&rsquo;&rsquo; of Euripides was presented at the&lt;br /&gt;
Court Theatre on the afternoon of November 10.&lt;br /&gt;
Miss Lillah McCarthy took the part of Dionysus,&lt;br /&gt;
Mr. R. A. Beaton that of Cadmus, and Miss&lt;br /&gt;
Winifred Mayo and Mr. Esm&eacute; Percy appeared&lt;br /&gt;
respectively as Ag&acirc;ve and Pentheus.&lt;br /&gt;
&ldquo;The Builder of Bridges,&rdquo; by Alfred Sutro, was&lt;br /&gt;
staged at the St. James&amp;#039;s Theatre on November&lt;br /&gt;
II. The heroine juggles with two lovers in an&lt;br /&gt;
attempt to save her brother from imprisonment for&lt;br /&gt;
robbery. Her duplicity is discovered, but a happy&lt;br /&gt;
ending is finally reached. The principal characters&lt;br /&gt;
were sustained by Mr. Harcourt Williams, Mr.&lt;br /&gt;
T)awson Milward, Mr. George Alexander, Miss&lt;br /&gt;
Florence Haydon, and Miss Irene Vanbrugh.&lt;br /&gt;
Mr. G. S. Layard and Mr. Walter Frith produced&lt;br /&gt;
their new play &ldquo;The New Governess&rdquo; at Malvern&lt;br /&gt;
on November 19, 20, and 21. The title r&ocirc;le was in&lt;br /&gt;
the hands of Miss Ina Pelly, who, it will be remem-&lt;br /&gt;
bered, took the part of the lady&amp;#039;s-maid in the&lt;br /&gt;
London production of &ldquo;Lady Frederick.&rdquo; The&lt;br /&gt;
plot is founded on Mr. Layard&amp;#039;s novel &ldquo;Dolly&amp;#039;s&lt;br /&gt;
Governess.&rdquo;&lt;br /&gt;
On November 27, at the New Theatre, Mrs.&lt;br /&gt;
Patrick Campbell appeared in afternoon perfor-&lt;br /&gt;
mances of &ldquo;T)eirdre,&rdquo; a legendary verse play in one&lt;br /&gt;
act by W. B. Yeats, and &ldquo;Electra,&rdquo; a one-act&lt;br /&gt;
original tragedy founded on the old Greek story by&lt;br /&gt;
Hugo von Hofmannsthal, translated by Arthur&lt;br /&gt;
Symons. -&lt;br /&gt;
&ldquo;The Antelope,&rdquo; a new musical play by Adrian&lt;br /&gt;
Ross and Hugo Felix was presented at the Waldorf&lt;br /&gt;
Theatre on November 28.&lt;br /&gt;
The Stage Society is to perform a new play,&lt;br /&gt;
&ldquo;The Last of the De Mullins,&rdquo; by St. John&lt;br /&gt;
Hankin, at the Haymarket Theatre on December 6&lt;br /&gt;
and 7.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE French Academy has now six of its&lt;br /&gt;
f&ordm;uleuils vacant, and there is certainly no&lt;br /&gt;
dramatic author who can fill the place of&lt;br /&gt;
Victorien Sardou. His death is universally&lt;br /&gt;
regretted. He was seventy-seven years of age,&lt;br /&gt;
and ever since he presented his first play at the&lt;br /&gt;
Od&eacute;on, in 1854, he had been steadily working for&lt;br /&gt;
the theatre. This first piece was a lamentable&lt;br /&gt;
failure, but some years after his &ldquo;Premi&egrave;res armes&lt;br /&gt;
de Figaro&amp;quot; was played by Virginie Dejazet. From&lt;br /&gt;
that time forth Sardou&amp;#039;s talent was acknowledged.&lt;br /&gt;
For fifty-four years he has been working as a dramatic&lt;br /&gt;
author, and So thorough and conscientious was he&lt;br /&gt;
that there were no secrets for him in his profession.&lt;br /&gt;
After writing his play he thoroughly understood&lt;br /&gt;
the technical side of it. At the rehearsals Sardou.&lt;br /&gt;
was a veritable Napoleon. He went into every&lt;br /&gt;
detail, knew the r&ocirc;le of the actors, the mysteries of&lt;br /&gt;
the stage effects, and was a general favourite with&lt;br /&gt;
everyone, from the directors down to the very&lt;br /&gt;
humblest employ&eacute; at the theatre. Sardou was&lt;br /&gt;
essentially a man of the theatre. He was a keen&lt;br /&gt;
observer, saw dramatic effects in the prosaic episodes&lt;br /&gt;
of everyday life. His plays are life and his per-&lt;br /&gt;
Sonages human beings and not marionettes.&lt;br /&gt;
&ldquo;Patrie,&rdquo; which was given in 1869, was the play&lt;br /&gt;
through which Sardou really won fame. Later on&lt;br /&gt;
came the Series of pieces written for Sarah&lt;br /&gt;
Bernhardt. &ldquo; F&eacute;dora &amp;quot; in 1882, &ldquo;Th&eacute;odora&rsquo; in&lt;br /&gt;
1884, &ldquo;Cl&eacute;opatra,&rdquo; &ldquo;Gismonda,&rdquo; &ldquo;La Tosca&rdquo; and&lt;br /&gt;
&ldquo;La Sorci&egrave;re.&rdquo; &ldquo;Thermidor&rdquo; caused a great sen-&lt;br /&gt;
sation in 1891, and in 1893 Madame R&eacute;jane won&lt;br /&gt;
her laurels in Sardou&amp;#039;s &ldquo;Madame Sans-G&ecirc;ne.&rdquo; Last.&lt;br /&gt;
year &ldquo;L&rsquo;Affaire des Poisons&rdquo; was put on, and only&lt;br /&gt;
a fortnight before his death he had planned a new&lt;br /&gt;
piece which had been haunting him. In all, there are&lt;br /&gt;
about sixty of Sardou&amp;#039;s plays which have been pro-&lt;br /&gt;
duced, and his study is full of manuscripts, notes,&lt;br /&gt;
Scenarios, etc.&lt;br /&gt;
Madame Arx&eacute;de Barine&amp;#039;s death is a great loss to&lt;br /&gt;
French literature. Her work reached a large circle&lt;br /&gt;
of readers throughout the world. Madame Barine&lt;br /&gt;
was not a novelist. She was a great reader and an&lt;br /&gt;
indefatigable Worker. She also took a keen interest&lt;br /&gt;
in foreign literature and ideas. Her later works,&lt;br /&gt;
were historical : &ldquo;La Jeunesse de la Grande&lt;br /&gt;
Mademoiselle,&rdquo; &ldquo;Louis XIV. et la Grande Made-&lt;br /&gt;
moiselle,&rdquo; are among these, and in them she gives&lt;br /&gt;
us the more private history, as it were, of a great&lt;br /&gt;
part of the seventeenth century. Among her other&lt;br /&gt;
works are : &ldquo;Bernardin de Saint-Pierre,&rdquo; &ldquo;Saint.&lt;br /&gt;
Fran&ccedil;ois d&rsquo;Assise et les trois Compagnons,&rdquo; etc.&lt;br /&gt;
The centenary of Barbey d&amp;#039;Aurevilly, the great.&lt;br /&gt;
French novelist and critic, was commemorated&lt;br /&gt;
throughout France by articles in nearly all the&lt;br /&gt;
important French papers. The day was to have&lt;br /&gt;
been celebrated by the inauguration of a monu-&lt;br /&gt;
ment to his memory, but on account of the death&lt;br /&gt;
of Fran&ccedil;ois Copp&eacute;e, who was president of the com-&lt;br /&gt;
mittee, this f&ecirc;te was postponed until May, 1909.&lt;br /&gt;
For a whole month Mlle. Louise Read (the faithful&lt;br /&gt;
friend and executrix of Barbey d&rsquo;Aurevilly), who&lt;br /&gt;
since his death has edited and published some thirty&lt;br /&gt;
volumes of his works, was literally besieged by&lt;br /&gt;
journalists and lecturers in search of biographical&lt;br /&gt;
notes, photographs, etc. of the great writer, whose&lt;br /&gt;
real fame commenced after his death. His life was&lt;br /&gt;
an extremely hard one, but his real value is now&lt;br /&gt;
seen in the posthumous celebrity and in the absolute.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 67 (#87) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR. 67&lt;br /&gt;
fidelity of the friends, who, so many years after&lt;br /&gt;
his death, keep his memory ever fresh. The&lt;br /&gt;
inauguration of his monument will take place at&lt;br /&gt;
his birthplace in Normandy.&lt;br /&gt;
&ldquo;Etudes sur la Litt&eacute;rature fran&ccedil;aise &rsquo;&rsquo; is the&lt;br /&gt;
sixth volume of this series by Ren&eacute; Doumic. It is&lt;br /&gt;
interesting, as several of the subjects treated are&lt;br /&gt;
very topical. Among other chapters, there is one&lt;br /&gt;
on Jules Lema&icirc;tre&rsquo;s &ldquo;Racine,&rdquo; another on Anatole&lt;br /&gt;
France&rsquo;s &ldquo;Jeanne d&amp;#039;Arc.&rdquo; It is curious to read&lt;br /&gt;
Ren&eacute; Doumic&amp;#039;s criticism of this work. All those&lt;br /&gt;
who know the philosophy or religion of the two&lt;br /&gt;
writers can readily imagine the attitude which&lt;br /&gt;
Ren&eacute; Doumic would naturally take up when judg-&lt;br /&gt;
ing Anatole France&amp;#039;s treatment of this subject.&lt;br /&gt;
He sums up in the following lines : &ldquo;His book is&lt;br /&gt;
a singular one, which, I fear, is not as important a&lt;br /&gt;
contribution as might have been desired to the&lt;br /&gt;
biography of Jeanne d&amp;#039;Arc ; but the book is interest-&lt;br /&gt;
ing in itself, and as the history of M. Anatole&lt;br /&gt;
France&amp;#039;s curious mind.&rdquo; Among other literary&lt;br /&gt;
subjects discussed in this book is that of &ldquo;Women&amp;#039;s&lt;br /&gt;
Novels.&rdquo; In summing up his chapter on this&lt;br /&gt;
subject Ren&eacute; Doumic says, after analysing the&lt;br /&gt;
recent novels of three French women novelists very&lt;br /&gt;
much in vogue a short time back, &ldquo;Feminine novels&lt;br /&gt;
have created a new form of immorality.&rdquo; He also&lt;br /&gt;
maintains that novels written by men at any rate&lt;br /&gt;
serve to prevent a certain element disappearing&lt;br /&gt;
from the literature of to-day, and this element is&lt;br /&gt;
&ldquo;respect for women.&rdquo;&lt;br /&gt;
&ldquo;Saint Domingue&rsquo;&rdquo; (1629&ndash;1789) is a book by&lt;br /&gt;
Pierre de Vaissi&egrave;re, devoted to the history of the life&lt;br /&gt;
of the French in the colonies under the old r&eacute;gime.&lt;br /&gt;
The subjects studied are: The origin of the coloniza-&lt;br /&gt;
tion of Saint Domingo; the French nobility there ;&lt;br /&gt;
the Blacks; life and manners and customs of the&lt;br /&gt;
colonizers. All this is extremely interesting to&lt;br /&gt;
anyone taking up the subject of colonization, or&lt;br /&gt;
of the history of French emigrants&mdash;political or&lt;br /&gt;
otherwise.&lt;br /&gt;
Edouard Estauni&eacute; has written another novel.&lt;br /&gt;
He won fame with his powerful work, &ldquo;L&rsquo;Em-&lt;br /&gt;
preinte&rdquo; some years ago, and &ldquo;La Vie Secr&eacute;te&rdquo;&lt;br /&gt;
will be appreciated by all who enjoy psychological&lt;br /&gt;
studies rather than sensational novels. The idea&lt;br /&gt;
of the whole book is that each man and woman is&lt;br /&gt;
living his or her own secret life, and living it in the&lt;br /&gt;
midst of a crowd of people who have no idea of&lt;br /&gt;
this. The author initiates us into the secret life of&lt;br /&gt;
his personages, and shows us the dual life that each&lt;br /&gt;
one is leading. The whole book is one that remains&lt;br /&gt;
in the reader&amp;#039;s mind, and the various personages&lt;br /&gt;
are as living as those in real life.&lt;br /&gt;
&ldquo;Le Livre d&rsquo;Or de L&amp;#039;Entente Cordiale&rdquo; is&lt;br /&gt;
published in France in an edition with illustra-&lt;br /&gt;
tions. It is divided into three parts. 1. The&lt;br /&gt;
History of the Entente Cordiale. 2. Its Mani-&lt;br /&gt;
festations. 3. Its Economic and Commercial&lt;br /&gt;
Consequences.&lt;br /&gt;
&ldquo;En marg&eacute; du Temps,&rdquo; by Henry Roujon, is&lt;br /&gt;
the title of a volume of articles formerly published&lt;br /&gt;
in the Temps.&lt;br /&gt;
&ldquo;I.&amp;#039;Ile de France Contemporaine,&rdquo; by Herv&eacute;&lt;br /&gt;
de Rauville, is a study of the resistance of the&lt;br /&gt;
French race under English domination.&lt;br /&gt;
&ldquo;La Hongrie au XXe si&egrave;cle,&rdquo; by Ren&eacute; Gonnard.&lt;br /&gt;
&ldquo;L&amp;#039;Afrique du Nord,&rdquo; by Henri Lorin.&lt;br /&gt;
&ldquo;France et Angleterre (cent ann&eacute;es de Rivalit&eacute;&lt;br /&gt;
Coloniale),&rdquo; by Jean d&amp;#039;Arcy.&lt;br /&gt;
&ldquo;Piter Pan,&rdquo; by J. M. Barrie, with illustrations&lt;br /&gt;
by Arthur Rackham, is published in an edition at&lt;br /&gt;
twenty-five francs.&lt;br /&gt;
In the Revue de Paris Frederic Masson&lt;br /&gt;
continues his articles on the Napoleonic epoch.&lt;br /&gt;
The Revue Hebdomadaire commences in its&lt;br /&gt;
first November number a novel entitled &ldquo;Colette&lt;br /&gt;
Baudoche&rdquo; by Maurice Barr&egrave;s; it is the story of&lt;br /&gt;
a young girl belonging to a Metz family. Comte&lt;br /&gt;
Albert de Mun continues his memoirs, entitled&lt;br /&gt;
&ldquo;Ma Wocation sociale&rdquo;; M. Gaston Bonnier&lt;br /&gt;
Writes on the intellectual movement in Spain :&lt;br /&gt;
Pierre de Nolhac on &ldquo;Madame Vig&eacute;e-Lebrun&amp;#039;s&lt;br /&gt;
salon&amp;quot; and Judith Cladel on &ldquo;Rodin et l&amp;#039;art&lt;br /&gt;
gothique.&rdquo; In the other November numbers&lt;br /&gt;
H. C&eacute;ard et J. de Coldain give an article on&lt;br /&gt;
Huysmans as an artist and a Christian, Edouard&lt;br /&gt;
Rod writes on the &ldquo;Le Mouvement des id&eacute;es,&rdquo; and&lt;br /&gt;
Henry Bordeaux on the dramatic news of the&lt;br /&gt;
month.&lt;br /&gt;
At a meeting recently held in Paris by the&lt;br /&gt;
Syndicate for the Protection of Intellectual Property,&lt;br /&gt;
attention was called to the fact that Turkey is one&lt;br /&gt;
of the countries where French literature has a&lt;br /&gt;
large circle of readers. It is therefore decided&lt;br /&gt;
that Turkey shall be invited to join the Berne&lt;br /&gt;
Convention. It seems probable that America will&lt;br /&gt;
soon be the last of the &ldquo;uncivilized &amp;#039;&amp;#039; nations with&lt;br /&gt;
no respect for intellectual property. It will be&lt;br /&gt;
curious if the Turks prove themselves so far&lt;br /&gt;
ahead in intellectual matters.&lt;br /&gt;
At the Od&eacute;on &ldquo;Parmiles Pierres,&rdquo; by Suderman,&lt;br /&gt;
is still on the bill ; at the Sarah Bernhardt Theatre&lt;br /&gt;
the new piece is &ldquo;Les R&eacute;volt&eacute;s&rdquo;; at the&lt;br /&gt;
Renaissance, Paul Bourget&rsquo;s &ldquo;L&rsquo;Emigr&eacute;&rsquo;&rsquo; is still&lt;br /&gt;
running. Madame R&eacute;jane is still playing &ldquo;Isra&euml;l.&rdquo;&lt;br /&gt;
by Bernstein ; and at the Porte Saint Martin&lt;br /&gt;
&ldquo;L&amp;#039;Affaire des Poisons&rdquo; continues to interest the&lt;br /&gt;
public.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Etudes sur la Litterature Fran&ccedil;aise &rsquo;&rsquo; (Perrin).&lt;br /&gt;
&ldquo;Saint Domingue&rdquo; (Perrin).&lt;br /&gt;
&ldquo;La Vie Secr&eacute;te &rdquo; (Perrin).&lt;br /&gt;
&ldquo;Le Livre d&amp;#039;Or de L&rsquo;Entente Cordiale&rdquo; Gounouilhon).&lt;br /&gt;
&ldquo;Piter Pan&rsquo;&rdquo; (Hachette).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 68 (#88) ##############################################&lt;br /&gt;
&lt;br /&gt;
68&lt;br /&gt;
TRIES A UITISIOR.&lt;br /&gt;
SPANISH NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HAVE often had occasion to speak of the&lt;br /&gt;
admirable daily Spanish paper A.B.C., and&lt;br /&gt;
We now hear that the journal has thrown&lt;br /&gt;
Open its palatial premises to an exhibition in aid&lt;br /&gt;
of the poor. This exhibition, opened on Novem-&lt;br /&gt;
ber 17, has proved a great success. Such artists&lt;br /&gt;
as Sorolla, Moreno Carbonero, and Iborra exhibit&lt;br /&gt;
very fine works, and the first-class character of the&lt;br /&gt;
other arts represented was much appreciated by&lt;br /&gt;
their Majesties King Alfonso XIII. and Queen&lt;br /&gt;
Victoria, who honoured the opening day with their&lt;br /&gt;
presence, and also visited the printing works, under&lt;br /&gt;
the escort of the enterprising and clever director,&lt;br /&gt;
Don Torcuato Luca de Tena, who gives such&lt;br /&gt;
practical form to the Association of the Press.&lt;br /&gt;
Spain has certainly been active in practical work&lt;br /&gt;
these last few weeks. The &ldquo;immortal&rdquo; Saragossa,&lt;br /&gt;
as it is now called, has been the scene of a splendid&lt;br /&gt;
exhibition, which was also honoured by the presence&lt;br /&gt;
of the King and Queen of Spain. The Mondariz&lt;br /&gt;
Waters took the first prize in that section. The cele-&lt;br /&gt;
brated house for silk wares at Seville belonging to&lt;br /&gt;
the sons of Luca de Tena gained a gold medal.&lt;br /&gt;
Their Majesties King Alfonso XIII. and Queen&lt;br /&gt;
Victoria&amp;#039;s visit to Barcelona proved a record one in&lt;br /&gt;
point of enthusiasm. All false reports of Separatism&lt;br /&gt;
were washed away in the great wave of welcome&lt;br /&gt;
which swept over the city at the first sight of the&lt;br /&gt;
English Queen and the young King, whose sym-&lt;br /&gt;
pathies have always stretched all over his kingdom.&lt;br /&gt;
When Colonel Figuerola Ferretti was a chamber-&lt;br /&gt;
lain at the royal palace the youthful monarch&lt;br /&gt;
Swiftly responded to the courtier&amp;#039;s suggestion that&lt;br /&gt;
a royal visit to Catalonia would quickly check all&lt;br /&gt;
discontent. &ldquo;Yes,&rdquo; returned the young King,&lt;br /&gt;
&ldquo;a king should visit all his kingdom, even as a&lt;br /&gt;
bishop does his diocese.&rdquo; *&lt;br /&gt;
The continued monthly appearance of La Revista&lt;br /&gt;
Critica (The Critical Review) shows the energy and&lt;br /&gt;
power of its editress, Se&ntilde;ora Do&ntilde;a Carmen de&lt;br /&gt;
Burgos. Such well-known writers as Boada, Olme-&lt;br /&gt;
della, Ramerez Angel, Edmundo Gonzalez Blanco,&lt;br /&gt;
Dr. Angel Pulido, Pascoli, etc., all take their places&lt;br /&gt;
under her banner in the causes of poetry, art,&lt;br /&gt;
literature, internationalism, philanthropy, and all&lt;br /&gt;
subjects which tend to the elevation of humanity,&lt;br /&gt;
and when I add that this review contains forty&lt;br /&gt;
pages (quarto) it is seen that London would do well&lt;br /&gt;
to follow the example of Paris and admit it into its&lt;br /&gt;
literary world.&lt;br /&gt;
Se&ntilde;ora Contreras de Rodriguez has just pub-&lt;br /&gt;
lished a book of poems called &ldquo;Entre mis Muros&rsquo;&lt;br /&gt;
(&ldquo;Within my Walls&rdquo;), and the simple poetic insight&lt;br /&gt;
she gives to the joys of her hearth and home shows&lt;br /&gt;
she is a sweet-Souled Spanish mother, who makes&lt;br /&gt;
harmony in all her environment. It is not astonish-&lt;br /&gt;
ing that such a character is well known in Spain&lt;br /&gt;
as a musician and composer as well as poet.&lt;br /&gt;
Dr. Angel Pulido, a senator of Spain, and cele-&lt;br /&gt;
brated for his knowledge of medical science, gave&lt;br /&gt;
a striking speech at the recent Medical Congress&lt;br /&gt;
at Madrid, showing pharmaceutists the powerful&lt;br /&gt;
part they have to play in the campaign of medical&lt;br /&gt;
Science. This stimulating call may lead to such a&lt;br /&gt;
knowledge of the pharmacopoeia in Spain, that pre-&lt;br /&gt;
Scriptions in the usual Latin can be made up from&lt;br /&gt;
other countries without difficulty.&lt;br /&gt;
A congress of Sacred music has just terminated&lt;br /&gt;
in Seville, and perhaps it will remove the onus&lt;br /&gt;
sometimes cast on Spanish church music. The&lt;br /&gt;
beautiful Masses by a priest at the church of San&lt;br /&gt;
Francisco el Grande in Madrid have been a revela-&lt;br /&gt;
tion to many. The second lecture on the subject&lt;br /&gt;
of Spanish music recently given in London at the&lt;br /&gt;
Musical Association by the Rev. Cart de la Fon-&lt;br /&gt;
taine opens a Vista of interesting information, and&lt;br /&gt;
shows the study spent on the subject in the country&lt;br /&gt;
itself by the clever lecturer.&lt;br /&gt;
The telegram from the King of Spain to Manuel&lt;br /&gt;
of Portugal and that of the Prime Minister of&lt;br /&gt;
Spain to the Portuguese political chief expressed in-&lt;br /&gt;
terest in the royal visit to the north of the kingdom.&lt;br /&gt;
The elections in January will, it is hoped by many,&lt;br /&gt;
lead to Alberto de Campos Henriques being Prime&lt;br /&gt;
Minister of Portugal, for it is seen that the pallia-&lt;br /&gt;
tive courses of the present leader, Ferreira do&lt;br /&gt;
Amoral, have failed, and that the executive of such&lt;br /&gt;
a man as Campos Henriques, who has been so&lt;br /&gt;
successful in his office as Minister of Public Works,&lt;br /&gt;
and his successful reforms in the banking laws,&lt;br /&gt;
and in the Societies of Mutual Aid as well as the&lt;br /&gt;
prisons, etc., shew he is fitted for the post.&lt;br /&gt;
Speaking of reforms takes me back to Spain,&lt;br /&gt;
where the recent article by Se&ntilde;or Salaverria on&lt;br /&gt;
Benluirre&amp;#039;s admirable Sculpture of a dying bull&lt;br /&gt;
shows his countrymen the baneful effect of the bull-&lt;br /&gt;
ring on the moral sentiment of pity for suffering.&lt;br /&gt;
. There has just been some discussion in the&lt;br /&gt;
Senate as to whether the military Estado Mayor&lt;br /&gt;
(the Royal Chamber) should be done away with.&lt;br /&gt;
General Lopez Dominguez, the Liberal leader,&lt;br /&gt;
advocated this course, but General Luque spoke&lt;br /&gt;
eloquently on behalf of this military body retaining&lt;br /&gt;
its place. The voice of General Luque has weight,&lt;br /&gt;
for his Zeal in the service is great, and this zeal has&lt;br /&gt;
emboldened the presentation to his notice of a&lt;br /&gt;
Scheme for the construction of a &ldquo;Hotel for invalid&lt;br /&gt;
officers&rdquo; which would rival any in Europe. The&lt;br /&gt;
works of such a building would of course be under&lt;br /&gt;
the Spanish Corps of Engineers. Queen Maria&lt;br /&gt;
Christina presented the ground to the nation for&lt;br /&gt;
this object at the time of the tercentenary f&ecirc;tes&lt;br /&gt;
of Cervantes, the notable military invalid of Spain,&lt;br /&gt;
whose affliction led to his activity in literature.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 69 (#89) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
69&lt;br /&gt;
&ldquo;El Libro de la Esposa&rdquo; (&ldquo;The Book on the&lt;br /&gt;
Wife&rdquo;) and &ldquo;El Libro del mistress de la Casa&rdquo;)&ldquo;The&lt;br /&gt;
Book on the Soul of the House&rdquo;), translations from&lt;br /&gt;
the Catalonian authoress Maria de Echarri, are the&lt;br /&gt;
two first works of a series of seven in which the&lt;br /&gt;
author expounds &ldquo;the great rules for the organi-&lt;br /&gt;
sation of the domestic hearth, not only from a&lt;br /&gt;
material point of view, but also from a moral, intel-&lt;br /&gt;
lectual, and aesthetic standpoint &rsquo;&rsquo;; so the moral and&lt;br /&gt;
the material management of the home are both set&lt;br /&gt;
forth very sensibly.&lt;br /&gt;
&ldquo;Redencion Agraria&rdquo; (&ldquo;Agrarian Redemption&rsquo;&rsquo;),&lt;br /&gt;
by Romero Quinones, is a striking work, inasmuch&lt;br /&gt;
as, beyond being a scientific book on agrarianism,&lt;br /&gt;
it is a critical sociological study of Spanish society.&lt;br /&gt;
RACHEL CHALLICE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
INTERNATIONAL COPYRIGHT&lt;br /&gt;
CONFERENCE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
FULL report of the International Copyright&lt;br /&gt;
Conference will be published in The&lt;br /&gt;
Author as soon as possible.&lt;br /&gt;
Although the official report is not yet to hand,&lt;br /&gt;
we desire in the present number to draw our&lt;br /&gt;
readers&rsquo; attention to the main points under&lt;br /&gt;
discussion. First among these was the principle&lt;br /&gt;
by which the author&amp;#039;s title to his work could,&lt;br /&gt;
among all the countries of the Union, be most&lt;br /&gt;
easily established, and the author most readily&lt;br /&gt;
confirmed in his ownership.&lt;br /&gt;
The question of the gramophone and cinemato-&lt;br /&gt;
graph reproductions was fully dealt with. To&lt;br /&gt;
musicians and dramatists these are matters of&lt;br /&gt;
vital importance. As mechanical reproduction&lt;br /&gt;
grows nearer perfection, its popularity increases,&lt;br /&gt;
and, in consequence, the dramatist and musical&lt;br /&gt;
composer run greater risks of being robbed of the&lt;br /&gt;
rewards of their labour. It was decided that&lt;br /&gt;
(these methods of reproduction should not be&lt;br /&gt;
allowed without reference to the owner of the&lt;br /&gt;
copyright. There were naturally some complicated&lt;br /&gt;
questions involved dealing with the position of the&lt;br /&gt;
owners of records already produced. Translation&lt;br /&gt;
rights were also considered, and the decision come&lt;br /&gt;
to in this matter&mdash;that they should run concur-&lt;br /&gt;
rently with copyright&mdash;&mdash;was eminently satisfactory.&lt;br /&gt;
In respect to newspaper copyright several import-&lt;br /&gt;
ant points were decided. The matter comprised&lt;br /&gt;
in a newspaper was divided into three distinct&lt;br /&gt;
classes. The first class included all that could be&lt;br /&gt;
called literary matter as distinct from news and to&lt;br /&gt;
this absolute protection was given. The next&lt;br /&gt;
matter before the Congress was the duration of&lt;br /&gt;
copyright. We regret to find that although the&lt;br /&gt;
years was approved.&lt;br /&gt;
proposal of the life of the author and fifty years&lt;br /&gt;
was supported by the delegates of most of the&lt;br /&gt;
Powers represented (judging from the statement&lt;br /&gt;
that appeared in The Times), it was rejected on the&lt;br /&gt;
ground that it had not been inserted in the&lt;br /&gt;
Document Pr&eacute;liminaire, as H.M. Government had&lt;br /&gt;
not had time to consult those interested in the&lt;br /&gt;
matter. It may be as well to point out, as far as&lt;br /&gt;
the Society of Authors is concerned, that the&lt;br /&gt;
Board of Trade placed before our committee the&lt;br /&gt;
papers received subsequent to the Document&lt;br /&gt;
Pr&eacute;liminaire, and requested the committee&amp;#039;s&lt;br /&gt;
opinion as to whether the term of life and fifty&lt;br /&gt;
The committee of the&lt;br /&gt;
Society were in full accord with this proposal, and&lt;br /&gt;
their opinion was communicated to the Board of&lt;br /&gt;
Trade. The Chairman, in addition, had the&lt;br /&gt;
pleasure of personally introducing the President of&lt;br /&gt;
the Soci&eacute;t&eacute; des Gens de Lettres, M. G. Lecompte,&lt;br /&gt;
to the President of the Board of Trade when the&lt;br /&gt;
point in question was discussed between them.&lt;br /&gt;
Sir Henry Bergne, the leading delegate of Great&lt;br /&gt;
Britain at the Berlin Conference&mdash;whose death we&lt;br /&gt;
so greatly deplore&mdash;was himself in full support of&lt;br /&gt;
this extension of copyright. It would be a great&lt;br /&gt;
advance if all the nations subscribing to the&lt;br /&gt;
Convention came to a common understanding as&lt;br /&gt;
to the exact length of copyright, and we must&lt;br /&gt;
trust that this is only postponed. -&lt;br /&gt;
There is no doubt that the late Conference&lt;br /&gt;
has made considerable progress, settling many&lt;br /&gt;
important points for the benefit and development&lt;br /&gt;
of literary property. It may be impossible for&lt;br /&gt;
this country to ratify some of these improvements&lt;br /&gt;
without the introduction and passing of fresh&lt;br /&gt;
legislation, but we trust that the Government&lt;br /&gt;
may seriously and without undue delay turn its&lt;br /&gt;
attention to a subject which so vitally concerns all&lt;br /&gt;
authors and literary workers, a class surely not&lt;br /&gt;
unworthy of the consideration of statesmen.&lt;br /&gt;
It was decided that the next meeting of the&lt;br /&gt;
Conference should be held in Rome.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CANADIAN COPYRIGHT.&lt;br /&gt;
&mdash;&ordm;-O-0&ndash;&lt;br /&gt;
[Reprinted from the Report of the Canadian Society of&lt;br /&gt;
Authors.]&lt;br /&gt;
WEN before the British North America Act,&lt;br /&gt;
E the Provinces of Canada had the power to,&lt;br /&gt;
and did, as a matter of fact, legislate&lt;br /&gt;
independently in regard to the protection within&lt;br /&gt;
their own boundaries of works produced there.&lt;br /&gt;
Under the British North America Act, which is an&lt;br /&gt;
Imperial Act, express power was given to the&lt;br /&gt;
Dominion of Canada to legislate in copyright&lt;br /&gt;
matters.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 70 (#90) ##############################################&lt;br /&gt;
&lt;br /&gt;
70&lt;br /&gt;
TRIES AUTISIOR,&lt;br /&gt;
It was then contended, in the case of Smiles V.&lt;br /&gt;
Belford (1876) 1 Tupp. App. Rep. 436, that in&lt;br /&gt;
giving this authority to the Parliament of Canada&lt;br /&gt;
the Imperial Parliament excluded Canada from the&lt;br /&gt;
operation of the Imperial Copyright Acts. This&lt;br /&gt;
contention was disposed of by the Courts, and the&lt;br /&gt;
following is an extract from the judgment of&lt;br /&gt;
Burton J. A. in the Court of Appeal &ndash;&lt;br /&gt;
&ldquo;It is clear, I think, that all the Imperial Act&lt;br /&gt;
intended to effect was to place the right of dealing&lt;br /&gt;
with colonial copyright within the Dominion under&lt;br /&gt;
the exclusive control of the Parliament of Canada,&lt;br /&gt;
as distinguished from the Provincial legislatures.&lt;br /&gt;
. . . I entirely concur with the learned Vice-&lt;br /&gt;
Chancellor in the opinion that he has expressed&lt;br /&gt;
that under that Act no greater powers were con-&lt;br /&gt;
ferred upon the Parliament of the Dominion to&lt;br /&gt;
deal with this subject than had previously been&lt;br /&gt;
enjoyed by the local legislatures.&rdquo;&lt;br /&gt;
The benefit of the Canadian Copyright Act may&lt;br /&gt;
be obtained by an author provided he is domiciled&lt;br /&gt;
in Canada, or in any part of the British possessions,&lt;br /&gt;
or is a citizen of any country which has an Inter-&lt;br /&gt;
national Copyright Treaty with the United King-&lt;br /&gt;
dom. If he is not able to comply with these&lt;br /&gt;
conditions he may still obtain Canadian copyright&lt;br /&gt;
if a copyright has been granted and is subsisting&lt;br /&gt;
in the United Kingdom.&lt;br /&gt;
One condition which is found in the Canadian&lt;br /&gt;
Act but not in the British Act is that the work&lt;br /&gt;
&ldquo;shall be printed in Canada.&rdquo;&lt;br /&gt;
While it is necessary, in order to secure Canadian&lt;br /&gt;
copyright, to print the work in Canada, it is not&lt;br /&gt;
necessary to continue to print it in Canada. The&lt;br /&gt;
terms of the Act will be complied with if an&lt;br /&gt;
edition, however small, is printed here on which to&lt;br /&gt;
base the application for copyright. After that the&lt;br /&gt;
proprietor of the copyright may bring in his books&lt;br /&gt;
from any other country. Neither is it necessary&lt;br /&gt;
that the type from which the book is printed should&lt;br /&gt;
be set up in Canada, but the printing may be done&lt;br /&gt;
from plates imported from abroad, or transfers may&lt;br /&gt;
be imported for use on lithographic stones.&lt;br /&gt;
Under the Canadian Copyright Act, until the&lt;br /&gt;
present Session of Parliament, a cumbersome&lt;br /&gt;
formula was required to be inserted on every copy-&lt;br /&gt;
right work, namely, &ldquo;Entered according to Act of&lt;br /&gt;
the Parliament of Canada in the year by A. B.&lt;br /&gt;
at the Department of Agriculture.&rdquo; This has now&lt;br /&gt;
been cut down to &ldquo;Copyright, Canada, 19 , by&lt;br /&gt;
A. B.&rdquo; The insertion of this notice is a condition&lt;br /&gt;
precedent to obtaining the protection of the&lt;br /&gt;
Canadian Act.&lt;br /&gt;
A nice point arises in reference to the importa-&lt;br /&gt;
tion into Canada of British copyright works.&lt;br /&gt;
Chancellor Boyd pointed out in the case of Anglo-&lt;br /&gt;
Canadian Music Publishers v. Suckling, 17 O. R.&lt;br /&gt;
(1889) p. 241, that &ldquo;if there is prior, British&lt;br /&gt;
copyright, and thereafter Canadian copyright is&lt;br /&gt;
obtained, then that local copyright is subject to be&lt;br /&gt;
invaded by the importation of lawful British&lt;br /&gt;
copies. But if the Canadian copyright is first,&lt;br /&gt;
then the monopoly is secured from all outside&lt;br /&gt;
importation.&rdquo;&lt;br /&gt;
The Fisher Act, which was passed in the year&lt;br /&gt;
1900 and is now incorporated in the Copyright&lt;br /&gt;
Act R. S. C. Chap. 70, secs. 28, 29, 30, and 31,&lt;br /&gt;
provides that if a book has been lawfully published&lt;br /&gt;
in any part of His Majesty&amp;#039;s Dominions other than&lt;br /&gt;
Canada, and there is also a copyright under the&lt;br /&gt;
Canadian Act, a licence from the holder of the&lt;br /&gt;
British copyright may be obtained, in which case&lt;br /&gt;
the Minister of Agriculture may prohibit the&lt;br /&gt;
importation into Canada, except with the written&lt;br /&gt;
consent of the licensee, of any copies of such book&lt;br /&gt;
printed elsewhere.&lt;br /&gt;
J. F. EDGAR.&lt;br /&gt;
&mdash;e&mdash;3&ndash;e-&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
6&mdash;s&ordm;-0&ndash;&lt;br /&gt;
BIBLIOPHILE.&lt;br /&gt;
Why Books become Popular. By G. K. Chesterton.&lt;br /&gt;
James Thomson. By Bertram Dobell.&lt;br /&gt;
|BLACKWOOD&amp;#039;S.&lt;br /&gt;
Some Letters of Sir Walter Scott.&lt;br /&gt;
Walden. By Edmund Candler.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Henry Irving and Ellen Terry.&lt;br /&gt;
Authors at Work : A Symposium.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
. The Genius of Dickens. By George Barlow.&lt;br /&gt;
Dante&amp;#039;s Intuition of the Infinite. By S. Udny.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
The Book on the Table: &ldquo;Dorothea Beale.&rdquo; By Lady&lt;br /&gt;
Robert Cecil. -&lt;br /&gt;
EDINBURGH.&lt;br /&gt;
Goethe&amp;#039;s Novels.&lt;br /&gt;
New England Nature Studies : Thoreau, Burroughs,&lt;br /&gt;
Whitman.&lt;br /&gt;
The Paston Letters.&lt;br /&gt;
Two French Memoirs.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
Chateaubriand&rsquo;s First Love. By Francis Gribble.&lt;br /&gt;
Literature in Drama. By E. A. Baughan.&lt;br /&gt;
Ferdinand Bruneti&egrave;re. By Eug&egrave;ne Tavernier,&lt;br /&gt;
MONTH.&lt;br /&gt;
Faith Found in Fleet Street. Mr. Chesterton&rsquo;s &ldquo;Ortho-&lt;br /&gt;
doxy.&rdquo; By the Rev. Joseph Keating. -&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Ballads and the Border. By Miss Eveline Godley.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
An Unknown Poet. By Frederic Harrison.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 71 (#91) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UTFIOR.&lt;br /&gt;
71&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
- ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society. . &amp;quot;&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :-&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In 162a, D.S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(4.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for, production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
(b) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
grOSS receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(6.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, Country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction is&lt;br /&gt;
of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play, are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
*&mdash;A-- a&lt;br /&gt;
w-v-w&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
&mdash;&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
L assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 72 (#92) ##############################################&lt;br /&gt;
&lt;br /&gt;
72 TFI FS A Tr&amp;quot;T f&ordm;r OR.&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
E advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion. All this&lt;br /&gt;
without any cost to the member.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Send to the Office copies of past agreements and past&lt;br /&gt;
accounts, with a copy of the book represented. The&lt;br /&gt;
Secretary will always be glad to have any agreements, new&lt;br /&gt;
or old, for inspection and note. The information thus&lt;br /&gt;
obtained may prove invaluable.&lt;br /&gt;
4. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
5. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
6. The Committee have now arranged for the reception&lt;br /&gt;
of members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
&mdash;(1) To read and advise upon agreements and to give&lt;br /&gt;
advice concerning publishers. (2) To stamp agreements&lt;br /&gt;
in readiness for a possible action upon them. (3) To keep&lt;br /&gt;
agreements. (4) To enforce payments due according to&lt;br /&gt;
agreements. Fuller particulars of the Society&rsquo;s work&lt;br /&gt;
can be obtained in the Prospectus.&lt;br /&gt;
7. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
8. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
9. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
10. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
TO MUSICAL COMPOSERS.&lt;br /&gt;
HE Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or&lt;br /&gt;
part of 100. The members&rsquo; stamps are kept in the&lt;br /&gt;
Society&amp;#039;s safe. The musical publishers communicate direct&lt;br /&gt;
with the Secretary, and the voucher is then forwarded to&lt;br /&gt;
the members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&agrave; &mdash;&ordm;- &agrave;&lt;br /&gt;
~~&lt;br /&gt;
w&ordm; w&lt;br /&gt;
THE READING BRANCH.&lt;br /&gt;
&ndash;0-0-0&ndash;&lt;br /&gt;
EMBERS will greatly assist the Society in the&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
xy w&lt;br /&gt;
NOTICES.&lt;br /&gt;
&ndash;0&mdash;s&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rsquo;&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of the Society or not, are invited to&lt;br /&gt;
communicate to the Editor any points connected with their&lt;br /&gt;
work which it would be advisable in the general interest to&lt;br /&gt;
publish.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all subjects connected with literature, but on&lt;br /&gt;
no other subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post,&lt;br /&gt;
and he requests members who do not receive an&lt;br /&gt;
answer to important communications within two days to&lt;br /&gt;
write to him without delay. All remittances should be&lt;br /&gt;
crossed Union Bank of London, Chancery Lane, or be sent&lt;br /&gt;
by registered letter only.&lt;br /&gt;
^ &ndash;4 h.&lt;br /&gt;
w&mdash;w-w&lt;br /&gt;
LEGAL AND GENERAL LIFE ASSURANCE&lt;br /&gt;
SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&lt;br /&gt;
ENSIONS to commence at any selected age,&lt;br /&gt;
P either with or without Life Assurance, can&lt;br /&gt;
be obtained from this Society.&lt;br /&gt;
Full particulars can be obtained from the City&lt;br /&gt;
Branch Manager, Legal and General Life Assurance&lt;br /&gt;
Society, 158, Leadenhall Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 73 (#93) ##############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A CITISIOR,&lt;br /&gt;
73&lt;br /&gt;
GENERAL, NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
ADVERTISEMENTS IN THE AUTHOR.&lt;br /&gt;
THERE seems to be an impression among readers&lt;br /&gt;
of The Author that the committee are personally&lt;br /&gt;
responsible for the bona fides of advertisers in these&lt;br /&gt;
pages. This is not so, and never was so. And we&lt;br /&gt;
do not think it reasonable of members to accept&lt;br /&gt;
this conclusion. We are not aware that any&lt;br /&gt;
proprietor or editor of any paper, technical or other-&lt;br /&gt;
wise, has ever given such a guarantee, or in any&lt;br /&gt;
way made himself answerable for shortcomings in&lt;br /&gt;
his advertisers&rsquo; business transactions. At the&lt;br /&gt;
same time, care is exercised to see that no undesir-&lt;br /&gt;
able advertisements are accepted. Beyond this,&lt;br /&gt;
the committee of the Society can assume no&lt;br /&gt;
liability.&lt;br /&gt;
In consequence of some correspondence that has&lt;br /&gt;
been passing at the office, the committee have&lt;br /&gt;
thought it necessary to give instructions that&lt;br /&gt;
this short paragraph should be inserted. If any&lt;br /&gt;
member desires special information he can always&lt;br /&gt;
obtain it by applying to the Secretary.&lt;br /&gt;
THE AUTHORS&rsquo; CLUB.&lt;br /&gt;
WE are very pleased to hear that the Authors&rsquo;&lt;br /&gt;
Club has sprung up with renewed vigour from its&lt;br /&gt;
ashes. Many members were anxious to keep alive&lt;br /&gt;
what had been so auspiciously founded by Sir&lt;br /&gt;
Walter Besant. They regretted to part from the&lt;br /&gt;
old associations and the old friendships of the past&lt;br /&gt;
fifteen years to find a new playground and new&lt;br /&gt;
companions. Under, the chairmanship of Mr.&lt;br /&gt;
Charles Garvice&mdash;one of the Original members&mdash;a&lt;br /&gt;
committee has been formed and an agreement&lt;br /&gt;
entered into with the manager of Whitehall Court.&lt;br /&gt;
From the new premises overlooking the Embank-&lt;br /&gt;
ment Gardens and the river, the members have a&lt;br /&gt;
fine view of that life, the river life of London,&lt;br /&gt;
which has been so vividly described by their good&lt;br /&gt;
founder,&lt;br /&gt;
Already the old members are coming back with&lt;br /&gt;
eagerness, and the following have consented to join&lt;br /&gt;
the general council:&mdash;The Lord Monkswell, Sir&lt;br /&gt;
Edward Brabrook, Sir Arthur Conan Doyle, S. R.&lt;br /&gt;
Crockett, Francis Gribble, H. Rider Haggard,&lt;br /&gt;
Anthony Hope Hawkins, C. J. Cutcliffe Hyne, The&lt;br /&gt;
Archdeacon of London, Morley Roberts, Horace&lt;br /&gt;
Annesley Vachell, Percy White.&lt;br /&gt;
As some slight confusion has arisen in the past,&lt;br /&gt;
it may be as well to state that although both the&lt;br /&gt;
Authors&rsquo; Club and the Society owe their inception&lt;br /&gt;
to the energy of Sir Walter Besant, and that&lt;br /&gt;
although nearly all the members of the former are&lt;br /&gt;
also members of the latter, their constitutions and&lt;br /&gt;
management are in entirely different hands.&lt;br /&gt;
We wish the New Authors&rsquo; Club every success.&lt;br /&gt;
THE MILTON TERCENTENARY.&lt;br /&gt;
THE Milton Tercentenary is upon us, and the&lt;br /&gt;
arrangements for the celebration of the event will&lt;br /&gt;
be carried out in a manner worthy of the occasion.&lt;br /&gt;
But we must not look on Milton merely as a&lt;br /&gt;
great poet, as the author of &ldquo;Paradise Lost,&rdquo;&lt;br /&gt;
&ldquo;Comus,&rdquo; &ldquo;Lycidas,&rdquo; &ldquo;Il Penseroso,&rdquo; and&lt;br /&gt;
&ldquo;L&rsquo;Allegro.&rdquo; He is much more than this to the&lt;br /&gt;
author and the journalist. Those who have&lt;br /&gt;
benefited by his championship should not fail to&lt;br /&gt;
read with interest and gratitude his &ldquo;Areopagitica.&rdquo;&lt;br /&gt;
He says himself&mdash;is it in one of his letters or&lt;br /&gt;
his introduction ?&mdash;&ldquo;Lastly, I wrote my Areo-&lt;br /&gt;
pagitica in true Attic style in order to deliver the&lt;br /&gt;
press from some of the restraints with which it&lt;br /&gt;
was encumbered.&rdquo;&lt;br /&gt;
&ldquo;In the true Attic style &amp;#039;&amp;#039; is a quaint and neat&lt;br /&gt;
recommendation of his work. How many among&lt;br /&gt;
the writers of the present day could boast that they&lt;br /&gt;
wrote in the true Attic style.&lt;br /&gt;
Milton&amp;#039;s Star Chamber indictment was a strong&lt;br /&gt;
piece of work, and not without its risks. He con-&lt;br /&gt;
tinues, if we remember rightly : &ldquo;That the power&lt;br /&gt;
of determining what was true and what was false,&lt;br /&gt;
what should be printed and what suppressed,&lt;br /&gt;
should not be in the hands of a few illiterate and&lt;br /&gt;
illiberal men.&rdquo; Now the freedom of the Press has&lt;br /&gt;
been with us for some years we might well desire&lt;br /&gt;
to reverse the Miltonian problem.&lt;br /&gt;
He dealt with the suppression of the wise, the&lt;br /&gt;
literate, the liberal, by the narrow, illiterate,&lt;br /&gt;
illiberal. It is almost time that the narrow,&lt;br /&gt;
illiterate and illiberal should be restrained by the&lt;br /&gt;
wise and literate.&lt;br /&gt;
THE CANADIAN SOCIETY OF AUTHORS.&lt;br /&gt;
WE are pleased to note from the Report for&lt;br /&gt;
1906-7 of the Canadian Society of Authors&lt;br /&gt;
recently received that this Society is prosperous&lt;br /&gt;
and increasing in numbers. We trust it will so&lt;br /&gt;
continue, both for its own sake and for ours,&lt;br /&gt;
since the stronger it becomes the better the&lt;br /&gt;
position of English authors whose books circulate&lt;br /&gt;
in the Dominion. At the annual meeting for the&lt;br /&gt;
year 1908, held in January last, we read that the&lt;br /&gt;
secretary &ldquo;rehearsed the advantages which the&lt;br /&gt;
members of the Canadian Society of Authors&lt;br /&gt;
already possessed through our close affiliation with&lt;br /&gt;
the Incorporated Society of Authors of Great&lt;br /&gt;
Britain.&rdquo; We may add for the information of&lt;br /&gt;
members that the advantages are mutual, as the&lt;br /&gt;
Canadian Society has very kindly undertaken to&lt;br /&gt;
render all the assistance in its power in connection&lt;br /&gt;
with cases we find necessary to take up in Canada,&lt;br /&gt;
and other matters relating to book production,&lt;br /&gt;
publishing and copyright.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 74 (#94) ##############################################&lt;br /&gt;
&lt;br /&gt;
74&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
The Canadian Society of Authors has been in&lt;br /&gt;
existence for some eleven years. The Hon. Presi-&lt;br /&gt;
dent is Professor Goldwin Smith ; the President,&lt;br /&gt;
B. E. Walker, L.I.D. ; and the Secretary, Pelham&lt;br /&gt;
Edgar, of 21, Elgin Avenue, Toronto. Its primary&lt;br /&gt;
objects, as stated in its constitution, are to promote&lt;br /&gt;
the production of literature in Canada; to protect&lt;br /&gt;
the interests of Canadian authors; and to obtain.&lt;br /&gt;
and distribute information as to channels of&lt;br /&gt;
publication open to Canadian authors.&lt;br /&gt;
In another column we reprint an interesting&lt;br /&gt;
article on Canadian copyright from the Report.&lt;br /&gt;
*-*.&lt;br /&gt;
COPYRIGHT AND THE PATENTS ACT.&lt;br /&gt;
THE passing of the Patents Act has stimulated&lt;br /&gt;
the Dublin Printers&amp;#039; Employment Committee to&lt;br /&gt;
adopt the following resolution which is to be&lt;br /&gt;
forwarded to the Prime Minister :-&lt;br /&gt;
&ldquo;That as the recently enacted Patents Act provides that&lt;br /&gt;
all manufactured articles protected by a British patent&lt;br /&gt;
must now be produced in Great Britain or Ireland, result-&lt;br /&gt;
ing in securing increased employment at home on work&lt;br /&gt;
hitherto abroad, the Parliamentary Committee of the Irish&lt;br /&gt;
Trades Union Congress, in view of the dearth of employ-&lt;br /&gt;
ment in all branches of the printing trade, calls upon the&lt;br /&gt;
Government to amend the Copyright Act so that similar&lt;br /&gt;
provisions shall apply to all printed matter copyrighted in&lt;br /&gt;
the United Kingdom.&rdquo;&lt;br /&gt;
It is, of course, quite clear to those who have&lt;br /&gt;
been studying the evolution of copyright in the&lt;br /&gt;
United States, that British authors do not obtain&lt;br /&gt;
reciprocal advantage from the present United States&lt;br /&gt;
Copyright Law, and in consequence, in Canada and&lt;br /&gt;
the Colonies, not to mention Great Britain and&lt;br /&gt;
Ireland, the sale of American books increases beyond&lt;br /&gt;
the proportion of the sale of the works of British&lt;br /&gt;
authors in the United States. Since, however,&lt;br /&gt;
literature is not saleable in the same way as ordinary&lt;br /&gt;
goods, for so much depends upon the individual&lt;br /&gt;
effort, the authorities, no doubt, considered in the&lt;br /&gt;
first instance that half a loaf was better than no&lt;br /&gt;
bread, and that it was better to have some sort of&lt;br /&gt;
copyright arrangement with the United States than&lt;br /&gt;
none at all.&lt;br /&gt;
The committee of the Authors&rsquo; Society have had&lt;br /&gt;
the matter constantly before their eyes, but it is&lt;br /&gt;
impossible for those who have not made an intimate&lt;br /&gt;
study of the Copyright Acts to realise the enormous&lt;br /&gt;
difficulty which lies before those who desire&lt;br /&gt;
alteration in the existing law.&lt;br /&gt;
s&ordm;-s-s-s-s&lt;br /&gt;
MANGLED MANUSCRIPTS.&lt;br /&gt;
OWING, no doubt, to the recent case of Humphreys&lt;br /&gt;
W Thomson many editors are endeavouring to get&lt;br /&gt;
authors to agree to contracts under which their MSS.&lt;br /&gt;
are accepted on condition that the editors are&lt;br /&gt;
allowed a free hand to cut or alter them. While&lt;br /&gt;
We do not think that any writer who has respect&lt;br /&gt;
for his writings should allow editors this power, yet&lt;br /&gt;
if editors inform their contributors beforehand and&lt;br /&gt;
contributors are Willing to submit their work on&lt;br /&gt;
this understanding, we have nothing further to Say.&lt;br /&gt;
Unfortunately, however, there are still some editors&lt;br /&gt;
who continue to pursue this practice without&lt;br /&gt;
ascertaining the views of the writers beforehand.&lt;br /&gt;
Their method is to cut accepted matter, and to pay&lt;br /&gt;
only for the mangled remains that are actually&lt;br /&gt;
printed. When the aggrieved author ventures to&lt;br /&gt;
remonstrate, they fall back upon editorial preroga-&lt;br /&gt;
tive, and invite him or her, as the case may be,&lt;br /&gt;
either to accept the slender remuneration offered&lt;br /&gt;
Without further argument, or to cease contributing&lt;br /&gt;
to publications under their control.&lt;br /&gt;
It is time such methods were stamped out.&lt;br /&gt;
The Society of Authors will continue to pursue an&lt;br /&gt;
aggressive policy with regard to them. Editors as&lt;br /&gt;
autocrats is quite an exploded idea ; and editorial&lt;br /&gt;
prerogative&mdash;like the divine right of kings&mdash;is&lt;br /&gt;
sufferable only when temperately and courteously&lt;br /&gt;
exercised.&lt;br /&gt;
LITERARY SNOBBISHNESS.&lt;br /&gt;
MR. A. HoPE HAWKINS, at the opening of the&lt;br /&gt;
Liverpool Courier Book Show, referred to what he&lt;br /&gt;
termed literary snobbishness. He said, &ldquo;I know&lt;br /&gt;
it needs a little courage to own you have not read&lt;br /&gt;
all &lsquo;Paradise Lost&amp;#039;&rsquo;&rsquo;; and again &ldquo;there are com-&lt;br /&gt;
panies in which, to own that some of Jane Austen&amp;#039;s&lt;br /&gt;
books entertain you less than others is worse than&lt;br /&gt;
to draw invidious comparisons between different&lt;br /&gt;
portions of Holy Writ.&rdquo;&lt;br /&gt;
He might have gone further than this. In many&lt;br /&gt;
Social gatherings where the works of authors of the&lt;br /&gt;
present day are under discussion, he will find out&lt;br /&gt;
Where an answer is courteously demanded, that&lt;br /&gt;
many of those who argue most emphatically, have&lt;br /&gt;
read none of the works under discussion, and many&lt;br /&gt;
Only a few. -&lt;br /&gt;
It is all a dreadful instance of the superficial&lt;br /&gt;
priggishness, the worthless cock-Sureness, of the&lt;br /&gt;
present day. Pushfulness may be a great asset&lt;br /&gt;
when used properly, but pushfulness backed with&lt;br /&gt;
ignorance is bound some day to fall. There is a&lt;br /&gt;
further point for consideration. A really great work&lt;br /&gt;
of fiction, just as a really great work in any branch&lt;br /&gt;
of the arts cannot be absorbed at the first glance.&lt;br /&gt;
It is only by Jong and detailed study that any idea&lt;br /&gt;
of its proper value can be ascertained. How many&lt;br /&gt;
of these glib debaters have made such a study of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 75 (#95) ##############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
75&lt;br /&gt;
any of the ancient masterpieces; how many have&lt;br /&gt;
made a study of the writers of the day !&lt;br /&gt;
Mr. is not worth reading. Perhaps not ;&lt;br /&gt;
but have you made the attempt 3&lt;br /&gt;
THE CHURTON COLLINS MEMORIAL FUND.&lt;br /&gt;
A FUND is being raised to establish a memorial&lt;br /&gt;
to the late Professor J. Churton Collins. The&lt;br /&gt;
intention is to offer a tribute of affection and&lt;br /&gt;
respect from those who loved his character and&lt;br /&gt;
personality, who admired him for his great and&lt;br /&gt;
many-sided gifts, or who are grateful for help and&lt;br /&gt;
pleasure derived from his scholarly lectures and&lt;br /&gt;
books. - -&lt;br /&gt;
The memorial will, according to the amount&lt;br /&gt;
subscribed, take the form of a scholarship or prize&lt;br /&gt;
for English Literature or Greek. The details will&lt;br /&gt;
be settled by a committee of donors. The com-&lt;br /&gt;
mittee at the time of writing includes, among&lt;br /&gt;
others, the Right Hon. Herbert H. Asquith, the&lt;br /&gt;
Right Hon. Lord Morley, the Vice-Chancellors of&lt;br /&gt;
Oxford and Leeds Universities, the Bishop of&lt;br /&gt;
Hereford, Canon Skrine, Anthony Hope Hawkins,&lt;br /&gt;
Sir Arthur Conan Doyle, Sidney Lee, Walter&lt;br /&gt;
Crane, Hakluyt Egerton, Dr. Donkin, E. T. Cook,&lt;br /&gt;
and Canon H. D. Rawnsley.&lt;br /&gt;
Donations may be sent to Mrs. Arthur Bout-&lt;br /&gt;
wood, Bledlow, Bucks, who will acknowledge them&lt;br /&gt;
at once, and will, after the close of the fund on&lt;br /&gt;
January 1, 1909, send a complete subscription list&lt;br /&gt;
to each donor.&lt;br /&gt;
PROFESSOR LEWIS CAMIPBELL.&lt;br /&gt;
THE Reverend Lewis Campbell, M.A., Hon.&lt;br /&gt;
LL.D., Hon. D. Litt., Emeritus Professor of Greek&lt;br /&gt;
in the University of St. Andrews, died at his&lt;br /&gt;
residence, Brissago, Lago Maggiore, on October 25.&lt;br /&gt;
Professor Campbell was born in Edinburgh in&lt;br /&gt;
1830, and was related to Thomas Campbell, the&lt;br /&gt;
poet. He took a 1st class Classics in 1853, became&lt;br /&gt;
a fellow of Queen&amp;#039;s two years later, and was&lt;br /&gt;
appointed to the Greek Professorship of St. Andrews&lt;br /&gt;
in 1863 which he held until 1892. He was the&lt;br /&gt;
author of many translations from the Greek, includ-&lt;br /&gt;
ing Plato&amp;#039;s Theaetetus, Sophistes and Republic, and&lt;br /&gt;
a complete edition of Sophocles. In 1882 he pub-&lt;br /&gt;
lished a &ldquo;Life of James Clerk-Maxwell ?&rdquo; with Dr.&lt;br /&gt;
W. Garnett, and in 1897 a &ldquo;Life of Benjamin&lt;br /&gt;
Jowett, &amp;#039;&amp;#039; with Mr. E. Abbott. In 1892 he became&lt;br /&gt;
a member of the Society of Authors.&lt;br /&gt;
Profound scholar and patient student, a faithful&lt;br /&gt;
teacher of his generation, Professor Campbell in&lt;br /&gt;
his life and work did honour to the best traditions&lt;br /&gt;
of British Scholarship.&lt;br /&gt;
SIR HENRY BERGNE, K.C.B., K.C.M.G.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
IT is with feelings of the deepest regret&mdash;a&lt;br /&gt;
regret that will be shared by all his colleagues&lt;br /&gt;
in the Authors&rsquo; Society&mdash;that I write these&lt;br /&gt;
lines in tribute to the memory of our former&lt;br /&gt;
chairman and fellow-worker, Sir Henry Bergne.&lt;br /&gt;
He had gone to Berlin to attend the Copyright Con-&lt;br /&gt;
ference as the senior delegate from Great Britain.&lt;br /&gt;
His death took place there on November 15, from&lt;br /&gt;
pneumonia, after a week&amp;#039;s illness.&lt;br /&gt;
Sir H. Bergne&amp;#039;s career as a public servant has&lt;br /&gt;
been sufficiently set out in the daily press, and there.&lt;br /&gt;
is no need for me to do more here than mention&lt;br /&gt;
its leading features. Born in 1842, he was.&lt;br /&gt;
educated successively at Brighton, Enfield and&lt;br /&gt;
London University. In 1861 he was appointed to&lt;br /&gt;
a clerkship at the Foreign Office in which his&lt;br /&gt;
father had served before him. From this position&lt;br /&gt;
he rose, by his sterling qualities, to the post of&lt;br /&gt;
Superintendent of the Treaty Department. He&lt;br /&gt;
acted with judgment and success as British repre-&lt;br /&gt;
sentative in such difficult and diverse matters as&lt;br /&gt;
the Fisheries Commission, the Industrial Property&lt;br /&gt;
Convention, and the International Sugar Conven-&lt;br /&gt;
tion. Finally, he acted as H.B.M. Plenipotentiary&lt;br /&gt;
at the International Copyright Conferences at Berne&lt;br /&gt;
in 1886, at Paris in 1896, and at Berlin this&lt;br /&gt;
autumn. His public rewards were K.C.M.G. (1888),&lt;br /&gt;
C.B. (1902), and K.C.B. (1903).&lt;br /&gt;
Though a man who had filled successfully many&lt;br /&gt;
positions of trust and high responsibility under the&lt;br /&gt;
Government of his country, Sir H. Bergne was&lt;br /&gt;
singularly modest and unassuming both in&lt;br /&gt;
disposition and manner. He would put his own&lt;br /&gt;
opinion forward&mdash;he generally had a decided one&mdash;&lt;br /&gt;
with equal clearness and suavity. He had an old-&lt;br /&gt;
fashioned courtesy, which was almost deferential,&lt;br /&gt;
in dealing with the opinions of others. He was,&lt;br /&gt;
in short, a shining example of the qualities which&lt;br /&gt;
have distinguished so many of the permanent&lt;br /&gt;
officials in our Civil Service&mdash;men who come little&lt;br /&gt;
before the public eye, but by their faithful and&lt;br /&gt;
unostentatious labours do much to enable the&lt;br /&gt;
State to encounter without disaster the chances and&lt;br /&gt;
changes of parliamentary institutions and party&lt;br /&gt;
government.&lt;br /&gt;
But it is with the work of Sir H. Bergne for the&lt;br /&gt;
Authors&rsquo; Society that we are called on to deal here.&lt;br /&gt;
He first joined it as a member in 1800. In 1903,&lt;br /&gt;
on his retirement from his official duties at the&lt;br /&gt;
Foreign Office, he became a member of the committee&lt;br /&gt;
of management as well as of the copyright sub-&lt;br /&gt;
committee, on both of which he served up to the&lt;br /&gt;
day of his death. He was chairman of the com-&lt;br /&gt;
mittee of management during 1906 and 1907.&lt;br /&gt;
Sir Henry Bergne was not an author in the sense.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 76 (#96) ##############################################&lt;br /&gt;
&lt;br /&gt;
76.&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
of a bookwriter. His literary productions were&lt;br /&gt;
State papers. But for the practical purposes of our&lt;br /&gt;
Society and its committee of management his&lt;br /&gt;
knowledge was far more valuable than that of&lt;br /&gt;
many eminent authors. For he was an expert, and&lt;br /&gt;
the first of experts, in all matters relating to the&lt;br /&gt;
international treaties or conventions affecting&lt;br /&gt;
Copyright, that is, to the agreements which&lt;br /&gt;
affirm and regulate the rights of property of&lt;br /&gt;
English authors in their literary output outside&lt;br /&gt;
Great Britain.&lt;br /&gt;
Our secretary, Mr. Thring, has shown me from&lt;br /&gt;
time to time letters which prove that there are&lt;br /&gt;
authors outside the society, and others, members&lt;br /&gt;
who have joined it with a view to obtaining&lt;br /&gt;
assistance in some of the minor business details&lt;br /&gt;
incidental to the craft, who have the most inadequate&lt;br /&gt;
conception of the nature and scope of the duties&lt;br /&gt;
of the committee of management and its sub-com-&lt;br /&gt;
mittees. The work that comes before these bodies&lt;br /&gt;
is necessarily varied ; to some extent it is advisory,&lt;br /&gt;
but a large portion of it involves the consideration&lt;br /&gt;
of technical and often difficult points of law. It&lt;br /&gt;
is, therefore, essential to the proper conduct of&lt;br /&gt;
the society&rsquo;s affairs and to the interest of its&lt;br /&gt;
members that a fair proportion of those serving on&lt;br /&gt;
the committees should have other besides literary&lt;br /&gt;
qualifications, that they should be men of affairs,&lt;br /&gt;
with more or less of legal training and the habit of&lt;br /&gt;
looking at things from their legal aspect, and yet&lt;br /&gt;
with sufficient leisure and opportunity to be able&lt;br /&gt;
to attend regularly at frequent meetings. This is a&lt;br /&gt;
fact familiar to all who have worked for the society,&lt;br /&gt;
but it may not be amiss to emphasise it now that&lt;br /&gt;
the election to the committee of management is in&lt;br /&gt;
the hands of its members. It would be a bad day&lt;br /&gt;
for the society if appointment to the committee of&lt;br /&gt;
management came to be sought for as an honorary&lt;br /&gt;
distinction or bestowed as a tribute to literary&lt;br /&gt;
eminence. It has hitherto always been regarded&lt;br /&gt;
as simply an opportunity of service to our com-&lt;br /&gt;
rades&mdash;service voluntarily and freely rendered, if&lt;br /&gt;
&mdash;like most good advice&mdash;not always thankfully&lt;br /&gt;
received.&lt;br /&gt;
No part of the work of our committees is more&lt;br /&gt;
complicated, more difficult, and more harassing&lt;br /&gt;
than the questions relating to copyright, on which&lt;br /&gt;
Sir Henry Bergne was an expert. Involving as&lt;br /&gt;
they often do confidential discussions, they do not&lt;br /&gt;
occupy in our reports a space at all commensurate&lt;br /&gt;
with their importance. Technical knowledge and&lt;br /&gt;
tact are both needed to handle with any chance of&lt;br /&gt;
success the delicate negotiations which centre&lt;br /&gt;
round the more important issues. In all such&lt;br /&gt;
matters Sir H. Bergne&amp;#039;s knowledge and experience&lt;br /&gt;
were invaluable. His close connection with the&lt;br /&gt;
Government enabled him to advise the committee,&lt;br /&gt;
to guide them in the right path, and to indicate to&lt;br /&gt;
them the limits of the expedient and the attain&lt;br /&gt;
able. It is no common form of words to say that&lt;br /&gt;
his loss to us is, for the time, an irreparable one ; it&lt;br /&gt;
must be long before it is possible adequately to fill&lt;br /&gt;
his place in our counsels.&lt;br /&gt;
I subjoin a few details, kindly supplied me by&lt;br /&gt;
Mr. Thring, of particular occasions on which our&lt;br /&gt;
late chairman assisted or represented the society&lt;br /&gt;
in questions of copyright.&lt;br /&gt;
Sir H. Bergne worked for the society in many&lt;br /&gt;
questions connected with Canadian and Colonial&lt;br /&gt;
Copyright, he represented and spoke for it at the&lt;br /&gt;
interview its delegates held with the Canadian&lt;br /&gt;
Premier. He gave his careful. attention and&lt;br /&gt;
Criticism to the Bill that was put forward in Parlia-&lt;br /&gt;
ment in 1900:&mdash;work of an onerous character that&lt;br /&gt;
needed more than any other his special knowledge.&lt;br /&gt;
He advised the committee with relation to the&lt;br /&gt;
Manx Copyright Act. As a member of the copy-&lt;br /&gt;
right Sub-Committee he dealt with the more recent&lt;br /&gt;
United States Bills, and drafted the comment on&lt;br /&gt;
them that was forwarded to America. He assisted&lt;br /&gt;
in considering the &ldquo;document pr&eacute;liminaire * for&lt;br /&gt;
the Berlin Conference of this year, laid before the&lt;br /&gt;
Society by the Board of Trade last summer. He&lt;br /&gt;
was always ready to put his great experience at&lt;br /&gt;
the disposal of the advisers of the society on every&lt;br /&gt;
question of International and Colonial Copyright.&lt;br /&gt;
In these large issues the committee have for many&lt;br /&gt;
years relied mainly on him and on his judgment;&lt;br /&gt;
and I may safely say that he was the most impor-&lt;br /&gt;
tant and most responsible British authority in&lt;br /&gt;
these matters. t.&lt;br /&gt;
It was not, however, only as a &amp;#039;specialist in&lt;br /&gt;
copyright that Sir Henry Bergne was a valuable&lt;br /&gt;
adviser and leader in our committee. He was&lt;br /&gt;
chairman at the time of the commencement of the&lt;br /&gt;
now happily ended Book War. Having made up his&lt;br /&gt;
mind, not without hesitation, that the Authors&rsquo;&lt;br /&gt;
Society might intervene with advantage, he did&lt;br /&gt;
his best, as far as he was himself concerned, to&lt;br /&gt;
make that intervention take the character of a&lt;br /&gt;
mediation. As a joint delegate with him from our&lt;br /&gt;
Committee, I had frequent opportunities, in our&lt;br /&gt;
interviews with publishers and others, of admiring:&lt;br /&gt;
his conciliatory and reasonable suggestions &mdash;&lt;br /&gt;
Suggestions which in the end have been prac-&lt;br /&gt;
tically accepted. Whatever differences of opinion.&lt;br /&gt;
there may have been at the time with regard to&lt;br /&gt;
the matters at issue, the Society, as a whole,&lt;br /&gt;
Sufficiently showed its appreciation of the part&lt;br /&gt;
played by Sir Henry Bergne by putting him at&lt;br /&gt;
the head of the poll in the election of the present&lt;br /&gt;
committee. Had he found himself able to accede&lt;br /&gt;
to the unanimous wish of his colleagues he would&lt;br /&gt;
have returned to the chair on Mr. Hope Hawkins&amp;#039;&lt;br /&gt;
retirement. No one regretted his decision more than&lt;br /&gt;
the present writer. t &bull; * - f&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 77 (#97) ##############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
77&lt;br /&gt;
I may be allowed to add that my acquaintance&lt;br /&gt;
with Sir Henry Bergne did not originate in the&lt;br /&gt;
Authors&rsquo; Society. He and I had a common pur-&lt;br /&gt;
suit&mdash;a pursuit which makes many friends. We&lt;br /&gt;
were both devoted to the Alps, and had been for&lt;br /&gt;
nearly forty years fellow-members of the Alpine&lt;br /&gt;
Club. That body has secured the services of&lt;br /&gt;
many good men on its committee, and it was not&lt;br /&gt;
likely to dispense with those of Sir Henry Bergne.&lt;br /&gt;
His kindly and social nature was thoroughly and&lt;br /&gt;
widely appreciated in the club, and it was with&lt;br /&gt;
Something like dismay that its members learnt&lt;br /&gt;
that his eldest son, a brilliant climber, had been&lt;br /&gt;
killed on the mountains by a chance slip on&lt;br /&gt;
January 1 of this year. It added to the admira-&lt;br /&gt;
tion of some of us for Sir Henry Bergne that he&lt;br /&gt;
did not allow this heavy sorrow to take him away&lt;br /&gt;
from his duties or to interfere with any of his&lt;br /&gt;
services to the Authors&rsquo; Society during the past&lt;br /&gt;
year. To me as chairman, he was still the friend in&lt;br /&gt;
need, always ready to give his assistance. It was&lt;br /&gt;
mainly through his freely offered and effective&lt;br /&gt;
help that the society was able to bring M.&lt;br /&gt;
Lecompte, the President of the Soci&eacute;t&eacute; des Gens de&lt;br /&gt;
Lettres, and the President of the Board of Trade&lt;br /&gt;
into personal and friendly communication in July&lt;br /&gt;
last.&lt;br /&gt;
D. W. F.&lt;br /&gt;
I should like to add a few personal words of&lt;br /&gt;
sorrow, as a slight token to the memory of Sir&lt;br /&gt;
Henry Bergne, to the article which our chairman&lt;br /&gt;
has written.&lt;br /&gt;
I have worked under Sir Henry Bergne on the&lt;br /&gt;
committee and with him as chairman of the society.&lt;br /&gt;
On all occasions I have found him open to the&lt;br /&gt;
suggestions and proposals of others. Although&lt;br /&gt;
himself one of the greatest authorities on copy-&lt;br /&gt;
right, he was most modest of his powers and great&lt;br /&gt;
attainments. In his work for the Society, he was&lt;br /&gt;
almost over-conscientious in the consideration&lt;br /&gt;
of the questions submitted to him. During&lt;br /&gt;
his chairmanship he had many difficult disputes&lt;br /&gt;
to deal with outside copyright matters. I had&lt;br /&gt;
to make many heavy demands on his time, for&lt;br /&gt;
even after his retirement from the Foreign Office&lt;br /&gt;
he was always engaged with public business and&lt;br /&gt;
public enterprise. Incidentally, he has mentioned&lt;br /&gt;
to me that my letters&mdash;often relating to important&lt;br /&gt;
and complicated matters, and accompanied by&lt;br /&gt;
voluminous documents&mdash;would come to him by&lt;br /&gt;
the last post, and on his return from some public&lt;br /&gt;
function ; yet he has read them through carefully,&lt;br /&gt;
and answered them the same night, in order that&lt;br /&gt;
a reply might come to hand by the following&lt;br /&gt;
morning, and the society&amp;#039;s work might not be&lt;br /&gt;
delayed.&lt;br /&gt;
At times, no doubt, he differed as to the methods&lt;br /&gt;
by which I was anxious to deal with matters under&lt;br /&gt;
consideration, but his dealings with me have always&lt;br /&gt;
been characterised by kindliness, courtesy, and&lt;br /&gt;
sympathy. One felt confidence in following his&lt;br /&gt;
guidance that the course mapped out by his mature&lt;br /&gt;
judgment would produce a satisfactory result.&lt;br /&gt;
I can but repeat, what our chairman has stated,&lt;br /&gt;
that it will be impossible adequately to fill the&lt;br /&gt;
place on the committee which his death leaves&lt;br /&gt;
Vacant. -&lt;br /&gt;
I should like to conclude these few words of&lt;br /&gt;
testimony to Sir Henry Bergne&amp;#039;s work for the&lt;br /&gt;
Society by an expression of my deep sympathy&lt;br /&gt;
With Lady Bergne and his near relations, on the&lt;br /&gt;
loss which they have sustained by his death whilst&lt;br /&gt;
engaged in that work which he had made supremely&lt;br /&gt;
his own.&lt;br /&gt;
G. HERBERT THRING.&lt;br /&gt;
Sir Henry Bergne&amp;#039;s funeral took place on&lt;br /&gt;
Saturday, November 21, at Brookwood Cemetery.&lt;br /&gt;
In the unavoidable absence of the Chairman, Mr.&lt;br /&gt;
Douglas Freshfield, the society was represented by&lt;br /&gt;
Mr. A. Hope Hawkins and Mr. G. Herbert Thring,&lt;br /&gt;
Secretary.&lt;br /&gt;
A Wreath was placed on the grave, from the&lt;br /&gt;
Incorporated Society of Authors in token of their&lt;br /&gt;
deep regret.&lt;br /&gt;
The Society has also received the following&lt;br /&gt;
Resolution passed by the Council of the Publishers&rsquo;&lt;br /&gt;
Association :&lt;br /&gt;
&ldquo;The Council of the Publishers&rsquo; Association desire to&lt;br /&gt;
convey to the Committee of the Society of Authors the&lt;br /&gt;
assurance of their deep sympathy with them in the loss.&lt;br /&gt;
which they have sustained by the death of Sir Henry&lt;br /&gt;
Bergne.&lt;br /&gt;
For many years past Sir Henry, both at the Foreign&lt;br /&gt;
Office and after his retirement, laboured incessantly to&lt;br /&gt;
promote the interests of all holders of copyright and the&lt;br /&gt;
welfare of literature ; and the services which he thus&lt;br /&gt;
rendered will always be remembered with gratitude by all&lt;br /&gt;
Who are engaged in the writing and production of books.&rdquo;&lt;br /&gt;
a -&ordm;- _*.&lt;br /&gt;
&ordm; --~~&lt;br /&gt;
HEROES AND HEROHNES-CHIEFLY&lt;br /&gt;
HEROES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;--&lt;br /&gt;
F the author of the distorted maxim, &ldquo;The&lt;br /&gt;
I proper study of mankind is woman,&rdquo; had&lt;br /&gt;
added the words, &ldquo;and of womankind is&lt;br /&gt;
man,&rdquo; he would have been able to bring forward a&lt;br /&gt;
considerable body of evidence from modern fiction.&lt;br /&gt;
It has apparently an irresistible attraction for the&lt;br /&gt;
man or woman novelist to make his or her work a&lt;br /&gt;
medium for analysis of the opposite sex, and it&lt;br /&gt;
would be an easy task to gather from the pages of&lt;br /&gt;
that literature for the dissemination of which the&lt;br /&gt;
circulating libraries seem chiefly to exist a large.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 78 (#98) ##############################################&lt;br /&gt;
&lt;br /&gt;
78&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
collection of male writers&rsquo; heroines and female&lt;br /&gt;
writers&amp;#039; heroes. In order to judge of the success&lt;br /&gt;
of these character-studies, the only fair way would&lt;br /&gt;
be to empanel juries of women to sit upon the&lt;br /&gt;
heroines, and of men to sit upon the heroes ; for&lt;br /&gt;
women alone can decide whether the man novelist&lt;br /&gt;
has managed to portray them accurately and vice&lt;br /&gt;
wers&aacute;. I have generally found that, if one asks a&lt;br /&gt;
well-read woman who among male novelists now&lt;br /&gt;
living presents, to her mind, the most life-like and&lt;br /&gt;
satisfactory heroines, she will answer : George&lt;br /&gt;
Meredith. Why so I questioned the other day;&lt;br /&gt;
and my victim, a lady in whose good judgment I&lt;br /&gt;
have the utmost reliance, replied : &ldquo;Because he,&lt;br /&gt;
most of all male writers, is able to convey the&lt;br /&gt;
&lsquo;essential variability and instability of woman.&rdquo;&lt;br /&gt;
(To any ladies who may read with indignation&lt;br /&gt;
what I have just written, I may point out that I&lt;br /&gt;
am not sheltering myself behind Virgil&amp;#039;s varium&lt;br /&gt;
let mutabile semper, but behind a remark by one of&lt;br /&gt;
their own sex.) Meredith, I take it, succeeds best&lt;br /&gt;
of all in making his women human. The majority&lt;br /&gt;
of his rivals have only the skill to paint their&lt;br /&gt;
version of the ideal &ldquo;She.&rdquo; And their ideals are&lt;br /&gt;
often very different indeed from those of anyone&lt;br /&gt;
else. A certain eminent historical novelist, for&lt;br /&gt;
instance, invariably gives us a heroine for whom&lt;br /&gt;
the best treatment would certainly be&mdash;may I Say&lt;br /&gt;
it &mdash;a good spanking.&lt;br /&gt;
However, I did not set out to write this article&lt;br /&gt;
with the intention of discussing the Works of&lt;br /&gt;
published so much as of unpublished novelists. It&lt;br /&gt;
has been my fortune, or misfortune, to read, for&lt;br /&gt;
financial rather than artistic gain, vast quantities&lt;br /&gt;
of novels, many of which I trust will never see&lt;br /&gt;
the light of day, at least until they have been&lt;br /&gt;
strictly revised. In pursuance of my task, I have&lt;br /&gt;
been constantly impressed by the weakness in the&lt;br /&gt;
drawing of the central male or female character,&lt;br /&gt;
even where considerable power of observation has&lt;br /&gt;
been shown in the sketching of the minor charac-&lt;br /&gt;
ters of the same sex. When the man writer&lt;br /&gt;
comes to his heroine, or the woman to her hero,&lt;br /&gt;
failure is manifest. Now it is my fate to be a&lt;br /&gt;
man, and therefore I am not eligible for the jury&lt;br /&gt;
to sit upon the man&amp;#039;s heroine. Perhaps, however,&lt;br /&gt;
I am ordinarily competent to express an opinion&lt;br /&gt;
on the treatment of my own sex by Women&lt;br /&gt;
novelists. As I am not, I repeat, discussing the&lt;br /&gt;
published, but the yet unpublished, I shall have&lt;br /&gt;
to avoid giving specific instances. It must also&lt;br /&gt;
be remembered that I am not dealing with master-&lt;br /&gt;
works, unless the publishers and the public shall&lt;br /&gt;
prove to think quite differently from me.&lt;br /&gt;
Generally speaking, we seem to find that a&lt;br /&gt;
woman, &ldquo;commencing&rdquo; novelist, when she draws&lt;br /&gt;
a man either takes her male relatives or acquain-&lt;br /&gt;
stances as copies, or else calls on her imagination&lt;br /&gt;
for the picture of what a man should be, putting&lt;br /&gt;
into the composition some characteristics from&lt;br /&gt;
men whom she admires&mdash;if she admires any. As&lt;br /&gt;
a rule she does not make heroes of members of&lt;br /&gt;
her own family. If she puts in her husband, for&lt;br /&gt;
instance, she is more likely to make him the&lt;br /&gt;
villain than the hero of the book. Do we not&lt;br /&gt;
know of certain published ladies who do this with&lt;br /&gt;
rather monotonous frequency P. The recurrence of&lt;br /&gt;
the same brutal type would be somewhat puzzling&lt;br /&gt;
if we did not know (as, of course, we always do&lt;br /&gt;
know nowadays) that the talented lady and her&lt;br /&gt;
husband did not get on very well together, and&lt;br /&gt;
that she was taking revenge in ink. Possibly the&lt;br /&gt;
desire for domestic peace may cause married&lt;br /&gt;
Women to refrain from making their husbands the&lt;br /&gt;
heroes of their novels, since it may often be even&lt;br /&gt;
more unpleasant to figure as a certain kind of hero&lt;br /&gt;
than as a downright villain. Assuredly some&lt;br /&gt;
Women&amp;#039;s heroes are far more calculated to irritate&lt;br /&gt;
the male reader than to delight him. This matters&lt;br /&gt;
little otherwise, for the mass of novels written by&lt;br /&gt;
Women are read by women, and the hero therefore&lt;br /&gt;
will not be judged by a competent standard. He&lt;br /&gt;
may not be all women readers&amp;#039; ideal man, but he&lt;br /&gt;
will at least have some of the traits which endear&lt;br /&gt;
him to the sex.&lt;br /&gt;
It would involve great labour to classify&lt;br /&gt;
thoroughly women&amp;#039;s heroes, but superficially they&lt;br /&gt;
may be divided into two classes, whom we may&lt;br /&gt;
call John and Jack, since these names help to&lt;br /&gt;
indicate their difference in character. John is&lt;br /&gt;
the strong man who suffers in silence, although&lt;br /&gt;
he may occasionally &ldquo;bow his head in grief.&rdquo;&lt;br /&gt;
Usually he has a plain, honest face, and is care-&lt;br /&gt;
lessly dressed. If he smokes anything, it is a&lt;br /&gt;
pipe. He is rather stupid, and his wits in any case&lt;br /&gt;
are not as quick as the heroine&amp;#039;s, in consonance&lt;br /&gt;
with the agreeable fiction about woman&amp;#039;s livelier&lt;br /&gt;
intelligence. He is always a prig, according to&lt;br /&gt;
male ideas. Jack is not so strong as John. He&lt;br /&gt;
may even have had a past, though not very black.&lt;br /&gt;
He probably smokes cigarettes. He differs greatly&lt;br /&gt;
from John in having a clear-cut face and wearing&lt;br /&gt;
&ldquo;immaculate&rdquo; clothes, possibly paid for out of the&lt;br /&gt;
results of his success in his profession&mdash;which&lt;br /&gt;
may even be literature, reminding us of the lines,&lt;br /&gt;
&ldquo;We knew his books were selling well&lt;br /&gt;
By his patent leather boots.&rdquo;&lt;br /&gt;
Jack is not so faithful nor so quixotic as John, but&lt;br /&gt;
he turns out right in the end. On the way to it,&lt;br /&gt;
he is quite as much of a prig.&lt;br /&gt;
Priggishness, indeed, seems a necessary trait of&lt;br /&gt;
the woman&rsquo;s hero. The thought may strike us:&lt;br /&gt;
Is this really a mark of our sex 2 Are We men,&lt;br /&gt;
so eager to condemn the taint in others, really all&lt;br /&gt;
infected with it ourselves 2 Rather than admit&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 79 (#99) ##############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UTISIOR*, 79&lt;br /&gt;
this, let me take refuge once more in the sugges-&lt;br /&gt;
tion that the woman novelist under discussion&lt;br /&gt;
breaks down when she comes to the drawing of&lt;br /&gt;
her central male character, and that then her&lt;br /&gt;
powers of observation desert her.&lt;br /&gt;
In order not to stultify myself, I must leave it&lt;br /&gt;
to women to say in what respects our heroines fail.&lt;br /&gt;
I will admit that other men&amp;#039;s ideals are very tame&lt;br /&gt;
beside my own. But I have not yet written a&lt;br /&gt;
novel.&lt;br /&gt;
I make this confession at the risk of betraying&lt;br /&gt;
my identity.&lt;br /&gt;
S.&lt;br /&gt;
P-e&mdash;&ldquo;[e&lt;br /&gt;
LORD SOUTHAMPTON AND TITCHFIELD&lt;br /&gt;
PLACE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE chequered career of a true-hearted though&lt;br /&gt;
passionate nobleman, Henry Wriothesley,&lt;br /&gt;
third Earl of Southampton, is worthy of note.&lt;br /&gt;
He is connected with Titchfield Place, near&lt;br /&gt;
Southampton ; Drury House, Strand; and the State&lt;br /&gt;
of Virginia, North America.&lt;br /&gt;
To begin with Titchfield. This town belongs to&lt;br /&gt;
the charmed ring which lies about our coast, neither&lt;br /&gt;
wholly marine nor rural. Out of sight of the grey&lt;br /&gt;
main, but not out of touch with it oceanwards lie&lt;br /&gt;
marshy creeks and wind-swept boscage ; inland&lt;br /&gt;
nestle hamlets framed in pasture, corn, and wooded&lt;br /&gt;
heights.&lt;br /&gt;
As one enters the portal of the wooden-steepled&lt;br /&gt;
church one is struck by the wideness of the aisles,&lt;br /&gt;
the slender shafts of the pillars, and the dignity&lt;br /&gt;
and beauty of the monument to the Earls of South-&lt;br /&gt;
ampton in the south chapel. High on a triply-&lt;br /&gt;
arched marble altar-tomb lies the effigy of a Tudor&lt;br /&gt;
dame. Very rich the carving and gilding of the&lt;br /&gt;
armorial bearings, while four tall and polished&lt;br /&gt;
obelisks like giant tapers guard the corners of the&lt;br /&gt;
tomb.&lt;br /&gt;
Much might be said about the learned Lord&lt;br /&gt;
Chancellor, first earl, and the Lady Jane who lies&lt;br /&gt;
above him, also of Henry the second earl in courtly&lt;br /&gt;
armour lying on the north side ; and one can&lt;br /&gt;
imagine the eight-year-old boy already fatherless&lt;br /&gt;
coming with his mother Mary Browne, daughter of&lt;br /&gt;
Sir Anthony Browne of Cowdray, to watch the&lt;br /&gt;
building up of this magnificent sepulchre for which&lt;br /&gt;
31,000 had been left by testament.&lt;br /&gt;
The widowed countess and her son must often&lt;br /&gt;
have stayed at the princely mansion of Cowdray,&lt;br /&gt;
for it is not till eleven years after her husband&amp;#039;s&lt;br /&gt;
death that she loses her father, and two years later&lt;br /&gt;
she seeks the Society and protection of Sir Heneage&lt;br /&gt;
Finch in marriage. Her son is violently disturbed,&lt;br /&gt;
and to this year belongs &ldquo;Lucrece&rdquo; by Shake-&lt;br /&gt;
speare, dedicated to his patron the young Earl.&lt;br /&gt;
Perhaps an appeal to the conscience of the lady.&lt;br /&gt;
Ileft to himself wild spirits gather about Titch-&lt;br /&gt;
field Place and the young heir. Sir Henry Danvers,&lt;br /&gt;
formerly page to Sir Philip Sidney, rides up one&lt;br /&gt;
day. He and his elder brother Sir Charles have&lt;br /&gt;
served in foreign wars, but on the death of their&lt;br /&gt;
father are now in Wiltshire at feud with their&lt;br /&gt;
neighbours, the Longs of Corsham. After a secret&lt;br /&gt;
interview Sir Henry returns to Dauntsey. He has&lt;br /&gt;
probably obtained permission to secrete certain&lt;br /&gt;
papers stolen by the Longs at Titchfield. That is&lt;br /&gt;
to say if they can be recovered.&lt;br /&gt;
A day or two after Sir Charles and Sir Henry,&lt;br /&gt;
with a faithful follower John, gallop up to Titch-&lt;br /&gt;
field. There has been bloodshed, Sir Henry Long&lt;br /&gt;
has been shot by one of them, the hue and cry is&lt;br /&gt;
out. The Earl of Southampton hurries them up to&lt;br /&gt;
a lonely farm on the hill-side, and prepares to ship&lt;br /&gt;
them abroad. But the Sheriff of Southampton is&lt;br /&gt;
on the alert and the culprits have to double and&lt;br /&gt;
make for London, and thence to France, closely&lt;br /&gt;
helped by the young earl.&lt;br /&gt;
Signor Florio, the translator of Montaigne, is in&lt;br /&gt;
the thick of it all and is &ldquo;wanted.&rdquo;&lt;br /&gt;
On reaching London he must have poured out&lt;br /&gt;
all his adventures to Shakespeare.&lt;br /&gt;
The Danvers brothers do featly abroad but are&lt;br /&gt;
in disgrace and dare not return.&lt;br /&gt;
Finally a play is produced of which the prologue&lt;br /&gt;
runs thus:&lt;br /&gt;
Two households both alike in dignity,&lt;br /&gt;
In fair Verona where we lay our scene,&lt;br /&gt;
From ancient grudge break to new mutiny,&lt;br /&gt;
Where civil blood makes civil hands unclean.&lt;br /&gt;
The story is closely followed from Lord Brook&amp;#039;s&lt;br /&gt;
translation of an Italian novel, but its application&lt;br /&gt;
lay in the restoration of peace to two rival houses.&lt;br /&gt;
In 1598 the Danvers are pardoned and return.&lt;br /&gt;
Shakespeare receives &pound;1,000 from his patron. No&lt;br /&gt;
virtue in Elizabethan times is more fashionable&lt;br /&gt;
than knightly brotherhood. Faithful friendship is&lt;br /&gt;
glorified. Of such nature was the devotion of Lord&lt;br /&gt;
Southampton to Lord Essex. He marries his&lt;br /&gt;
cousin Elizabeth Vernon, and justifies all action by&lt;br /&gt;
ties of kinship. He lends Drury House for political&lt;br /&gt;
meetings to circumvent the ambition of Raleigh&lt;br /&gt;
and the wiles of Robert Cecil. Finally Lord&lt;br /&gt;
Southampton stands by Essex at his trial and is&lt;br /&gt;
condemned to death.&lt;br /&gt;
Shortly before this crisis we have it on record&lt;br /&gt;
that he attends the play with Lord Rutland every&lt;br /&gt;
day, and that his countess is with Lady Rich at&lt;br /&gt;
Essex House. That the playhouse was Shake-&lt;br /&gt;
speare&amp;#039;s we know by the play ordered the night&lt;br /&gt;
before the catastrophe.&lt;br /&gt;
Lord Southampton is released by James I. His&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 80 (#100) #############################################&lt;br /&gt;
&lt;br /&gt;
80&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
face has lost the petulant brilliancy of his early&lt;br /&gt;
portrait and assumes the sober cast of his fore-&lt;br /&gt;
fathers. He lives constantly at Titchfield, under-&lt;br /&gt;
taking voyages to America, subsidising explorations,&lt;br /&gt;
fighting chivalrous causes. News of the death of&lt;br /&gt;
Lady Rich must have reached them in 1606. They&lt;br /&gt;
lose a four-year-old daughter, the Ladye Mary, in&lt;br /&gt;
1614. In 1616 they hear of the death of Shake-&lt;br /&gt;
Speare. -&lt;br /&gt;
A great white stone wall still encircles the ruins&lt;br /&gt;
of Titchfield Place. Magnificent and ghostly&lt;br /&gt;
towers of the gatehouse still mark the place where&lt;br /&gt;
the first earl drove his entrance through the nave&lt;br /&gt;
of the priory church of Titchfield. Within the&lt;br /&gt;
grounds the leafless trunk of a mighty oak lies&lt;br /&gt;
white and ghastly on the sward. It must have&lt;br /&gt;
been centuries old in Shakespeare&amp;#039;s time. The&lt;br /&gt;
walls of the palace are tapestried with ashen ivy&lt;br /&gt;
boughs, dead and colourless as the stone. It might&lt;br /&gt;
fitly represent the tragic end of the countess after&lt;br /&gt;
1624, for in that year the Earl is brought home&lt;br /&gt;
dead from Bergen-ap-Zoom, and with him the body&lt;br /&gt;
of the heir, his son of twenty-six. Again a widowed&lt;br /&gt;
countess reigns at Titchfield, her heir a lad of&lt;br /&gt;
fifteen. But yet another tragedy awaits her, twenty&lt;br /&gt;
years later. King Charles I. in his flight from&lt;br /&gt;
Hampton Court takes refuge at Titchfield, hoping&lt;br /&gt;
thence to escape to France. Clarendon says: &ldquo;The&lt;br /&gt;
king thought it best for avoiding all highways to&lt;br /&gt;
go to Titchfield, a noble seat of the Earl of South-&lt;br /&gt;
ampton (who was not there) but inhabited by the&lt;br /&gt;
old lady, his mother, with a small family, which&lt;br /&gt;
made the retreat more convenient.&lt;br /&gt;
&ldquo;There his majesty alighted and would speak with&lt;br /&gt;
the lady, to whom he made no scruple of com-&lt;br /&gt;
municating himself, knowing her to be a lady of&lt;br /&gt;
that honour and spirit that she was superior to all&lt;br /&gt;
kind of temptation. There he slept, and was&lt;br /&gt;
betrayed next day into the hands of Colonel&lt;br /&gt;
Hammond, Governor of the Isle of Wight.&rdquo;&lt;br /&gt;
Could it be that the folio Shakespeare, studied by&lt;br /&gt;
King Charles at Carisbrooke, was the gift of the&lt;br /&gt;
aged countess to her guest ?&lt;br /&gt;
On that last evening converse must have fallen&lt;br /&gt;
upon past days, and on the mighty poet Elizabeth&lt;br /&gt;
Vernon had known so long and so well in her&lt;br /&gt;
youth.&lt;br /&gt;
FICTION AS A MENACE TO THE BOOK&lt;br /&gt;
TRADE.&lt;br /&gt;
(Reprinted by kind permission of the Editor of the&lt;br /&gt;
United States Publishers&amp;#039; Weekly)&lt;br /&gt;
Y WE took Occasion a short time ago to point&lt;br /&gt;
out the desirability of stemming the tide&lt;br /&gt;
of what the London Nation calls &ldquo;pedes-&lt;br /&gt;
trian Work,&rdquo; that is, books of a vulgar or common&lt;br /&gt;
grade, whether it be fiction or other printed&lt;br /&gt;
matter&mdash;all of which does so much to interfere&lt;br /&gt;
with the distribution of books of real merit.&lt;br /&gt;
Undoubtedly, the sale of momentarily popular&lt;br /&gt;
books sometimes adds considerably to the income&lt;br /&gt;
of the bookseller ; but, on the other hand, far-&lt;br /&gt;
Seeing booksellers are coming to realise more and&lt;br /&gt;
more that the concentration of their efforts upon&lt;br /&gt;
merchandise of that sort has reacted disadvantage-&lt;br /&gt;
Ously upon the sale of better books.&lt;br /&gt;
We have reached a period in the history of the&lt;br /&gt;
book trade, it seems to us, when it is imperative&lt;br /&gt;
that the book trade and the public are disabused of&lt;br /&gt;
the delusion that bookselling is merely the hand-&lt;br /&gt;
ling of fiction. That way of thinking has caused&lt;br /&gt;
more confusion, brought more bad feeling into the&lt;br /&gt;
trade, and has actually caused more harm to both&lt;br /&gt;
publisher and bookseller than all the other per-&lt;br /&gt;
plexities that beset the book trade put together.&lt;br /&gt;
It is just because so little knowledge is required to&lt;br /&gt;
handle fiction, and because the equivocal price of&lt;br /&gt;
novels is so generally known to the public that the&lt;br /&gt;
department stores, that usually have larger means&lt;br /&gt;
at their command than most any half-dozen book-&lt;br /&gt;
sellers in their vicinity combined, seize upon it as&lt;br /&gt;
a bait to bamboozle the public into believing that&lt;br /&gt;
everything they offer is sold at the same rate at&lt;br /&gt;
which they sell books&mdash;that is, fiction. These&lt;br /&gt;
stores rarely venture further into the book busi-&lt;br /&gt;
ness than to exploit the novel of the hour, the&lt;br /&gt;
competitive reprints or remainders of cheaply-&lt;br /&gt;
made books offered at one time or another by&lt;br /&gt;
&ldquo;fly-by-night &ordm;&amp;#039; publishing concerns as premiums&lt;br /&gt;
or bait for other ventures, thus leaving the field&lt;br /&gt;
of the more substantial books to the regular book-&lt;br /&gt;
Seller ; and those department stores that do venture&lt;br /&gt;
to maintain a well-equipped book department&lt;br /&gt;
realise very quickly that they cannot afford to cut&lt;br /&gt;
the prices on the better class of books so deeply&mdash;&lt;br /&gt;
if at all&mdash;as they can on the books on which there&lt;br /&gt;
is less risk, and which require only the service of&lt;br /&gt;
the average shop-girl, who to-day is in the tin-&lt;br /&gt;
ware department, the next day at the ribbon&lt;br /&gt;
counter, and on another day, when needed to help&lt;br /&gt;
out, acts as a bookseller.&lt;br /&gt;
The more wide-awake publisher, also, is begin-&lt;br /&gt;
ning to realise that in cultivating fiction in the&lt;br /&gt;
hopes of keeping his plant employed and adding to .&lt;br /&gt;
his income he is engaged in chasing an ignis&lt;br /&gt;
fatu&ordm;us. The further he ventures in this direction&lt;br /&gt;
the deeper he finds himself in the mire, and the&lt;br /&gt;
less he is in a position to develop the more solid&lt;br /&gt;
and profitable feature of his profession. Indeed,&lt;br /&gt;
there is already noticeable a tendency on the part&lt;br /&gt;
of some of the older publishing houses to make&lt;br /&gt;
fewer ventures into the realm of fiction, restricting&lt;br /&gt;
themselves to the products of the authors already&lt;br /&gt;
on their lists or the really meritorious work of a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 81 (#101) #############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UITYFIOR, 81&lt;br /&gt;
new writer, and devoting most of their energy,&lt;br /&gt;
instead, to the publishing of serious books from&lt;br /&gt;
which only moderate sales can be expected, but&lt;br /&gt;
from which larger and more certain profits are&lt;br /&gt;
bound to accrue.&lt;br /&gt;
The bookseller, we claim, has an ever-widening&lt;br /&gt;
and growing field as his own, because there are&lt;br /&gt;
very large classes of books constantly published&lt;br /&gt;
which are always in demand, on which the&lt;br /&gt;
undersellers never cut the price and which are&lt;br /&gt;
never included in their advertising campaign.&lt;br /&gt;
Readers in this country are not exclusively readers&lt;br /&gt;
of fiction, good or bad ; and if, unfortunately, in&lt;br /&gt;
the near future, some publishers should be so blind&lt;br /&gt;
to their own best interests as to enable the under-&lt;br /&gt;
sellers to discredit the book trade by beating the&lt;br /&gt;
life out of the &ldquo;best sellers,&rdquo; we trust the book-&lt;br /&gt;
sellers of the country will have backbone enough&lt;br /&gt;
to assist them by &ldquo;sticking to their last,&rdquo; and by&lt;br /&gt;
buying only enough of their output of fiction to&lt;br /&gt;
supply the actual demands of their customers, and&lt;br /&gt;
to devote the better part of their time and atten-&lt;br /&gt;
tion to the dissemination of books that are books,&lt;br /&gt;
the books of all time and for all seasons, the books&lt;br /&gt;
that count and are more rapidly coming into their&lt;br /&gt;
OWI). -&lt;br /&gt;
We therefore hope that, if fiction ever becomes&lt;br /&gt;
an incubus, and threatens to sap the life of the&lt;br /&gt;
book trade, the bookseller may be forearmed to&lt;br /&gt;
meet the danger before it is too late, because in&lt;br /&gt;
that event even a revolution might prove futile.&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
TRAGEDY.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
* HIS is the first of a series dealing with the&lt;br /&gt;
- various types of literature, and if the rest&lt;br /&gt;
- in any Way attain to the excellence of the&lt;br /&gt;
Volume before us, the publishers will have good&lt;br /&gt;
cause to be proud of their venture.&lt;br /&gt;
The design of the book is to trace the course of&lt;br /&gt;
English tragedy up to the middle of the last cen-&lt;br /&gt;
tury, and to show its place and influence in the&lt;br /&gt;
history of the theatre and of literature. This is a&lt;br /&gt;
great task. To perform it adequately in the space&lt;br /&gt;
of 377 pages of large type is still more difficult,&lt;br /&gt;
but Professor Thorndike has accomplished it. Of&lt;br /&gt;
course, no exhaustive treatment is attempted,&lt;br /&gt;
though it may be remarked that all tragedies of&lt;br /&gt;
the sixteenth century are mentioned. The book is&lt;br /&gt;
really a critical essay ; a guide-book, but not a&lt;br /&gt;
text-book; a compact &ldquo;Form at a Glance&rdquo; of&lt;br /&gt;
tragedy, yet essentially scholarly and dignified.&lt;br /&gt;
* &ldquo;Tragedy,&rdquo;&lt;br /&gt;
English in Columbia University. London : Constable &amp;amp;&lt;br /&gt;
Co. 1908.&lt;br /&gt;
by Ashley H. Thorndike, Professor of .&lt;br /&gt;
At the close of every chapter are Notes on Biblio-&lt;br /&gt;
graphy, which are quite invaluable.&lt;br /&gt;
We find, however, on page 81, an opportunity&lt;br /&gt;
for quibbling, or making a strong protest&mdash;the&lt;br /&gt;
reader may decide. Among stage costumes is&lt;br /&gt;
mentioned the &ldquo;gown to go invisible in,&rdquo; graced&lt;br /&gt;
as here with inverted commas. To the best of our&lt;br /&gt;
knowledge it should be &ldquo;for to goo invisibell,&rdquo; and&lt;br /&gt;
as such we can readily credit it. On the other&lt;br /&gt;
hand, the gown that Professor Thorndike quotes&lt;br /&gt;
is obviously an impostor. We will have none of it.&lt;br /&gt;
The conclusion is so excellent, and so pregnant&lt;br /&gt;
at the present time when efforts are being made to&lt;br /&gt;
raise the theatre into its early significance, that we&lt;br /&gt;
should like to reprint the whole of it here. Lack&lt;br /&gt;
of space, besides other considerations, prevents such&lt;br /&gt;
desideratum, but at least we are able to give two&lt;br /&gt;
short extracts.&lt;br /&gt;
&ldquo;The theatre, while crying for novelty, holds tenaciously&lt;br /&gt;
to its traditions. Literature, while enforcing rules, prece-&lt;br /&gt;
dents, prejudices, while clinging to its models and demand-&lt;br /&gt;
ing imitation, yet incites to rivalry and originality, to new&lt;br /&gt;
endeavour, variation and excellence. These two main&lt;br /&gt;
classes of influence have rarely, if ever, run parallel. At&lt;br /&gt;
times the theatre has attracted literature, as in the&lt;br /&gt;
Elizabethan era ; at times it has repelled literature, as in&lt;br /&gt;
the early nineteenth century. Usually what the stage of&lt;br /&gt;
the day desires and what the literature of the past encourages&lt;br /&gt;
have been quite different and quite irreconcilable. . . .&lt;br /&gt;
It is the purpose of dramatic art to bring about their&lt;br /&gt;
reconciliation to harmonise the technic of the theatre,&lt;br /&gt;
the necessities of the drama, and the standards of literary&lt;br /&gt;
excellence.&rdquo;&lt;br /&gt;
&ldquo;Tragedy takes an abiding place among the great courses&lt;br /&gt;
of continuous human activity dedicated to an inquiry into&lt;br /&gt;
the meanings of life. Its imaginative and intellectual&lt;br /&gt;
study of suffering and ruin must continue, however its&lt;br /&gt;
form may alter, if the theatre is to be a social force of im-&lt;br /&gt;
portance, if literature is to offer an intelligent, serious and&lt;br /&gt;
Comprehensive view of life, if the two are to unite in some-&lt;br /&gt;
thing better than a trivial and selfish entertainment.&rdquo;&lt;br /&gt;
Z.&lt;br /&gt;
CONTEMPORARY CRITICISMS. x.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
&ldquo;THE HAUNTED MAN AND THE GHOST&amp;#039;s BARGAIN :&lt;br /&gt;
A FANCY FOR CHRISTMAS TIME.&rdquo; BY CHARLES&lt;br /&gt;
DICKENS. LONDON : BRADBURY AND EVANS,&lt;br /&gt;
11, BOUVERIE STREET. 1848.&lt;br /&gt;
. . . Foremost in the ranks of Christmas&lt;br /&gt;
chroniclers stands pre-eminent Charles Dickens,&lt;br /&gt;
author of THE Christmas Carol, par ercellence . . . .&lt;br /&gt;
that little book, all-powerful in the magic of its&lt;br /&gt;
eloquent simplicity. . . . The Carol, appealing as&lt;br /&gt;
it did to all the best parts of our nature, and by&lt;br /&gt;
the force of love winning men to virtue, became&lt;br /&gt;
deservedly popular; in the language of the &ldquo;Row &rsquo;&rsquo;&lt;br /&gt;
it was a decided hit&mdash;a speculation equally satis-&lt;br /&gt;
factory to those who sold and those who bought.&lt;br /&gt;
Accordingly the following Christmas gave to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 82 (#102) #############################################&lt;br /&gt;
&lt;br /&gt;
82&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
world &ldquo;The Chimes,&rdquo; a goblin story. This, like&lt;br /&gt;
most attempts to repeat a good thing, was in some&lt;br /&gt;
degrees a falling-off; still, it had many of its&lt;br /&gt;
predecessor&amp;#039;s beauties, and certain quaint and&lt;br /&gt;
loveable originalities all its own ; witness that&lt;br /&gt;
most fantastic but delectable creation, Trotty Weck.&lt;br /&gt;
&ldquo;The Chimes&rdquo; was succeeded by &ldquo;The Cricket on&lt;br /&gt;
the Hearth &amp;quot;; and the charm of the story, the&lt;br /&gt;
fascinations of Dot, and the vis comica of Tilly&lt;br /&gt;
Slowboy and her pluralities, caused the general&lt;br /&gt;
reader to overlook, and the friendly critic to deal&lt;br /&gt;
gently with, a certain want of originality in the&lt;br /&gt;
plot and character, and a light comedy arrange-&lt;br /&gt;
ment of scenes and situations, which detracted&lt;br /&gt;
from its merits as a work of art. But its very&lt;br /&gt;
faults rendered it peculiarly adapted for dramatic&lt;br /&gt;
representation. A Punch writer (with the author&amp;#039;s&lt;br /&gt;
sanction) chopped it up into the necessary longs&lt;br /&gt;
and shorts . . . and the &ldquo;Cricket on the Hearth&amp;#039;&amp;#039;&lt;br /&gt;
became to all intents and purposes a comedietta.&lt;br /&gt;
Whether this palpable realisation of the ideal&mdash;&lt;br /&gt;
this clothing the graceful, air-born fancies of&lt;br /&gt;
Mr. Dickens&amp;#039; poetic mind, in the inimitable flesh&lt;br /&gt;
and blood of the Keeleys&mdash;was a wise experiment,&lt;br /&gt;
we have grave doubts. . . . However this might&lt;br /&gt;
be, the consequences were fatal to the next Christ-&lt;br /&gt;
mas book by this writer. Confused between pub-&lt;br /&gt;
lishers and players, Mr. Dickens produced a hybrid&lt;br /&gt;
anomaly&mdash;a thing with an unmeaning name&mdash;&lt;br /&gt;
neither Tyrian nor Trojan, neither tale nor farce,&lt;br /&gt;
where a phrase of high flown sentiment ended with&lt;br /&gt;
a cue for Mrs. Keeley&rsquo;s funny maid-servant, and&lt;br /&gt;
her little husband&rsquo;s buffooneries served to enliven&lt;br /&gt;
the more serious business of transferring a lover,&lt;br /&gt;
or breaking a father&amp;#039;s heart. Such a mistake&lt;br /&gt;
could lead but to one result ; and, accordingly,&lt;br /&gt;
the &ldquo;Battle of Life&rdquo; was condemned by the critics,&lt;br /&gt;
pooh-poohed by the public, hissed at the Lyceum,&lt;br /&gt;
and finally (to use Tilly Slowboy&rsquo;s expressive com-&lt;br /&gt;
pound verb) &ldquo;dead-and-buried&amp;quot; by the Times&lt;br /&gt;
reviewer. That the author was himself aware that,&lt;br /&gt;
for Once, his arrow had missed the bull&amp;#039;s-eye may&lt;br /&gt;
be deduced from the fact that last year he left the&lt;br /&gt;
field to other competitors; and Thackeray, and the&lt;br /&gt;
beadles, the comic almanacs and the dustnen, had it&lt;br /&gt;
all their own way. It was, then, with no uncommon&lt;br /&gt;
degree of interest that we saw the announcement,&lt;br /&gt;
Some months ago, of a new Christmas Tale by&lt;br /&gt;
Charles Dickens; and it is with unmixed satisfac-&lt;br /&gt;
tion that we now rise from a perusal of the work,&lt;br /&gt;
convinced that its author has profited by his&lt;br /&gt;
experience. *&lt;br /&gt;
&ldquo;The Haunted Man, and the Ghost&amp;#039;s Bargain&amp;quot;&lt;br /&gt;
(about as awkward a name, by the way, as ever&lt;br /&gt;
was hit upon) is appropriately termed &ldquo;A Fancy&lt;br /&gt;
for Christmas Time,&rdquo; for such and such alone it&lt;br /&gt;
is ; but a more poetic and beautiful conception we&lt;br /&gt;
have seldom, if ever, met with. Though we are&lt;br /&gt;
constantly gliding into the regions of the ideal&mdash;&lt;br /&gt;
though the ghost is a very thorough ghost, indeed,&lt;br /&gt;
cold, vague, shadowy, impressive and horrible, as&lt;br /&gt;
a ghost ought to be&mdash;though the heroine herself,&lt;br /&gt;
the calm-eyed, loving, loveable, and particularly&lt;br /&gt;
impossible Milly, is more a good spirit than a&lt;br /&gt;
woman&mdash;yet the Supernatural machinery all works&lt;br /&gt;
in a very natural way ; and though slow imagina-&lt;br /&gt;
tions may be somewhat put to it to keep pace with&lt;br /&gt;
the author&amp;#039;s flights of fancy, there is nothing con-&lt;br /&gt;
trary to good sense or right feeling throughout.&lt;br /&gt;
The story, moreover, has a clear, plain, easily dis-&lt;br /&gt;
cerned, and most excellent moral; wherein, of its&lt;br /&gt;
predecessors, it most closely resembles &ldquo;The&lt;br /&gt;
Carol,&rdquo; and most widely differs from the &ldquo;Battle&lt;br /&gt;
of Life.&rdquo; . . . . The tale begins with ten pages of&lt;br /&gt;
intensely Dickenish description of rain, wind,&lt;br /&gt;
clouds, gable-ends, &ldquo;lights in old halls and cottage&lt;br /&gt;
windows&rdquo; and shadows. . . . Having disposed of&lt;br /&gt;
the elements and the other picturesque &ldquo;pro-&lt;br /&gt;
perties&rdquo; to his satisfaction Mr. Dickens introduces&lt;br /&gt;
us to his haunted man, a certain professor of&lt;br /&gt;
chemistry, by name Redlaw, residing in an incom-&lt;br /&gt;
prehensible old edifice containing a lecture room. . .&lt;br /&gt;
This gentleman has his dinner brought by a certain&lt;br /&gt;
William Swidger, son of the superannuated&lt;br /&gt;
custodian of the institution, and husband&mdash;hear&lt;br /&gt;
it all ye romantic damsels, and shudder&mdash;of the&lt;br /&gt;
Guardian Angel, Milly ; they are joined by Milly&lt;br /&gt;
and her father-in-law, who is constantly congratu-&lt;br /&gt;
lating himself upon the greenness of his memory&mdash;&lt;br /&gt;
which colour by the way, is more or less discernible&lt;br /&gt;
in the generality of his remarks. . . .&lt;br /&gt;
. . . A worthy family, rejoicing in the euphonious&lt;br /&gt;
name of Tetterby, possess a most undeniable claim&lt;br /&gt;
on Our gratitude, by affording a vehicle for the dis-&lt;br /&gt;
play of our author&amp;#039;s own peculiar inimitable vein of&lt;br /&gt;
humour. Some of his touches are most happy. . . .&lt;br /&gt;
The description of a baby&mdash;a new, wonderfully&lt;br /&gt;
imagined, and triumphantly executed baby, pos-&lt;br /&gt;
Sessing a strong, clearly defined, and most alarming&lt;br /&gt;
individuality, and yet, withal, perfectly true (to&lt;br /&gt;
the best of our knowledge) to baby-nature&mdash;is&lt;br /&gt;
irresistible. . . . The character of Milly must be&lt;br /&gt;
dealt with gently and lovingly. Regarded as the&lt;br /&gt;
personification of tenderness and charity, as the&lt;br /&gt;
good genius of a Christmas Fancy, with just enough&lt;br /&gt;
of the material woman about her to enable ordinary&lt;br /&gt;
mortals to realise and adore: she is a most rare&lt;br /&gt;
and beautiful creation. For ourselves, convinced&lt;br /&gt;
that in this spirit was the character conceived, and&lt;br /&gt;
in this alone should it be treated of, we care nothing&lt;br /&gt;
for the objections which we foresee will be urged&lt;br /&gt;
against it, regarding all cavils as to its unreality&lt;br /&gt;
as just so much false criticism. The design of the&lt;br /&gt;
work is excellent ; no mind but that of a good and&lt;br /&gt;
clever man could have originated it ; none but a&lt;br /&gt;
master&amp;#039;s hand could have executed it.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 83 (#103) #############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITFIOR. 8&lt;br /&gt;
3&lt;br /&gt;
And it is well that it should be so. There is a&lt;br /&gt;
fearful responsibility attached to the possession of&lt;br /&gt;
such talent as that of Mr. Dickens; the amount&lt;br /&gt;
of influence he may exercise for good or evil is&lt;br /&gt;
incalculable. In the present instance we have no&lt;br /&gt;
doubt as to the result. The readers of the &ldquo;Ghost&amp;#039;s&lt;br /&gt;
Bargain&amp;quot; may be counted by tens of thousands ;&lt;br /&gt;
but we should be sorry to call him our friend who&lt;br /&gt;
does not rise from its perusal a wiser and a better&lt;br /&gt;
D] &amp;amp;Il.&lt;br /&gt;
(Sharpe&amp;#039;s London Magazine, 1848.)&lt;br /&gt;
CORRESPONDENCE,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EDITORIAL FAILINGS.&lt;br /&gt;
I.&lt;br /&gt;
SIR,--I think your correspondent &ldquo;C.B.&rdquo; in&lt;br /&gt;
your November issue is rather sweeping in his&lt;br /&gt;
condemnation of editors. He complains that they&lt;br /&gt;
(or their office boys) are in the habit of scoring&lt;br /&gt;
MSS. and thus spoiling their virgin beauty. May&lt;br /&gt;
I point out that from among thousands of MSS.&lt;br /&gt;
which have passed through my hands and the&lt;br /&gt;
hands of my assistants (who by the way are not&lt;br /&gt;
office boys) during many years of editorial work, I&lt;br /&gt;
have never had a single complaint that any MS.&lt;br /&gt;
has been returned in a less cleanly condition than&lt;br /&gt;
when it was received. MSS. are not numbered in&lt;br /&gt;
this office, nor marked in any way.&lt;br /&gt;
I should be very grateful if you will permit me&lt;br /&gt;
to use this opportunity for correcting another&lt;br /&gt;
wide-spread error among aspiring authors. These&lt;br /&gt;
gentlemen are never tired of asserting that editors&lt;br /&gt;
do not read the majority of MSS. submitted to&lt;br /&gt;
them. Let me assure all aspiring authors that&lt;br /&gt;
not one of those many thousand MSS. alluded to&lt;br /&gt;
above has been returned without having been&lt;br /&gt;
previously considered either by myself, my assis-&lt;br /&gt;
tants, or a special staff of readers. Most journals&lt;br /&gt;
could not exist but for the contributions of out-&lt;br /&gt;
siders, and as editors are rational human beings,&lt;br /&gt;
in spite of all that is said to the contrary, they do&lt;br /&gt;
not wantonly play ducks and drakes with their&lt;br /&gt;
chief means of livelihood.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
THE EDITOR,&lt;br /&gt;
C. Arthur Pearson, Ltd.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
II.&lt;br /&gt;
SIR,--I should like to inform &ldquo;C. B.&rdquo; that I&lt;br /&gt;
never allow MSS. to be marked in my office. If&lt;br /&gt;
he likes to send me something, I can assure him&lt;br /&gt;
that he will get it back almost as good as new. But&lt;br /&gt;
editors are not the only people with this failing.&lt;br /&gt;
I have remonstrated with a literary agent, who&lt;br /&gt;
makes strange marks on the MSS. he sends round,&lt;br /&gt;
pointing out to him that some of the contributions&lt;br /&gt;
emanating from him bear the look of collars that&lt;br /&gt;
have been clerically attended to by several&lt;br /&gt;
laundries.&lt;br /&gt;
Disfiguring a manuscript is, to my mind, a&lt;br /&gt;
distinct discourtesy on the part of an editor, and&lt;br /&gt;
&ldquo;C.B.&amp;#039;s&amp;quot; protest is well justified.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
R. S. WARREN BELL,&lt;br /&gt;
Editor of The Captain.&lt;br /&gt;
&mdash;t-G-4&ndash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
SIR,--I cannot think H. A.&rsquo;s letter is repre-&lt;br /&gt;
sentative even of himself, and can only agree with&lt;br /&gt;
his last words, and then only by transposing them&lt;br /&gt;
to read, &ldquo;It is not a question of principle, but of&lt;br /&gt;
the amount demanded.&rdquo; Literature is surely the&lt;br /&gt;
most liberal of professions, and it could not exist&lt;br /&gt;
without original thought, which means that no two&lt;br /&gt;
people think precisely alike. Also, however&lt;br /&gt;
valuable opinions, thoughtful persons are privileged&lt;br /&gt;
to change them, and sometimes do go &ldquo;full speed&lt;br /&gt;
astern.&rdquo; Yet H. A. wishes us to believe that his&lt;br /&gt;
only motive for not contributing is the fear that&lt;br /&gt;
Some small portion of his generosity, however&lt;br /&gt;
great, might, at some future time, go to relieve the&lt;br /&gt;
sufferings of some imaginary poor devil who might&lt;br /&gt;
have the temerity to differ from him. This is not&lt;br /&gt;
quite liberal, not quite tolerant ; and the evil one&lt;br /&gt;
may never need the pension. No compulsion, of&lt;br /&gt;
course, but let those subscribe who can, and leave&lt;br /&gt;
the rest to the pension committee.&lt;br /&gt;
ANOTHER A.&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;-&lt;br /&gt;
MILTON TERCENTENARY.&lt;br /&gt;
SIR,--I have the honour, on behalf of the&lt;br /&gt;
Milton Tercentenary Committee, appointed by&lt;br /&gt;
the Council of the British Academy, in view&lt;br /&gt;
of a memorial addressed to them early in the&lt;br /&gt;
year by the Lord Mayor, the Chairman of the&lt;br /&gt;
London County Council, the Vice-Chancellors of&lt;br /&gt;
the Universities of Oxford, Cambridge, and Lon-&lt;br /&gt;
don, and others, to announce the following details&lt;br /&gt;
of the programme of the celebration &ndash;&lt;br /&gt;
On the evening of December 8, the eve of the&lt;br /&gt;
300th anniversary of the birth of Milton, the British&lt;br /&gt;
Academy will hold a special meeting at the Theatre&lt;br /&gt;
of Burlington House, Burlington-gardens, at which&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 84 (#104) #############################################&lt;br /&gt;
&lt;br /&gt;
84&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
Dr. A. W. Ward, Master of Peterhouse, Fellow of&lt;br /&gt;
the Academy, will deliver a brief oration on&lt;br /&gt;
&ldquo;Milton&amp;#039;s Life and Work,&rdquo; to be followed by a&lt;br /&gt;
discourse on &ldquo;Milton&amp;#039;s Comus and its Incidental&lt;br /&gt;
Music,&rdquo; by Sir Frederick Bridge, illustrated by the&lt;br /&gt;
choristers of Westminster Abbey.&lt;br /&gt;
In response to a request addressed to him by the&lt;br /&gt;
Tercentenary Committee, Mr. George Meredith,&lt;br /&gt;
O.M., has graciously written some lines on&lt;br /&gt;
&ldquo;Milton,&rdquo; in honour of the occasion, and the&lt;br /&gt;
celebration will fittingly open with the reading of&lt;br /&gt;
these lines.&lt;br /&gt;
On December 9, the day of the tercentenary, a&lt;br /&gt;
special commemoration service will be held in the&lt;br /&gt;
afternoon, at the church of St. Mary-le-Bow,&lt;br /&gt;
Cheapside, at which the sermon will be given by&lt;br /&gt;
the Bishop of Ripon. The Right Hon. the Lord&lt;br /&gt;
Mayor (Sir George Wyatt Truscott) and the&lt;br /&gt;
Sheriffs, in State, leading citizens (especially of&lt;br /&gt;
Milton&amp;#039;s ward of Bread-street), the officers and&lt;br /&gt;
Fellows of the British Academy, with other invited&lt;br /&gt;
guests, will attend the service.&lt;br /&gt;
In the evening the Lord Mayor will entertain a&lt;br /&gt;
representative company at the Mansion House at a&lt;br /&gt;
banquet in celebration of the tercentenary.&lt;br /&gt;
On Thursday, December 10, in the afternoon, a&lt;br /&gt;
general meeting of the British Academy will be&lt;br /&gt;
held, at which will be communicated for publica-&lt;br /&gt;
tion the following papers on various aspects of&lt;br /&gt;
Milton&amp;#039;s life and work :&mdash;&lt;br /&gt;
&ldquo;Milton and Dante, with reference to Macaulay&amp;#039;s&lt;br /&gt;
Essay,&rdquo; by Mr. W. J. Courthope, C.B.&lt;br /&gt;
&ldquo;Milton in the Eighteenth Century,&rdquo; by Professor&lt;br /&gt;
E. Dowden.&lt;br /&gt;
&ldquo;Milton&amp;#039;s Fame on the Continent,&rdquo; by Professor&lt;br /&gt;
J. G. Robertson.&lt;br /&gt;
&ldquo;Milton as Schoolboy and Schoolmaster,&rdquo; by&lt;br /&gt;
Mr. A. F. Leach.&lt;br /&gt;
&ldquo;Samson Agonistes and the Hellenic Drama,&rdquo;&lt;br /&gt;
by the late Sir Richard Jebb.&lt;br /&gt;
Further, Professor C. H. Firth will contribute a&lt;br /&gt;
paper on &ldquo;Milton as an Historian.&rdquo; This will be&lt;br /&gt;
read at the ordinary meeting of the Academy on&lt;br /&gt;
November 25. -&lt;br /&gt;
These papers, together with other contributions,&lt;br /&gt;
will be published in extenso in &ldquo;The Proceedings&lt;br /&gt;
of the British Academy,&rdquo; and also separately.&lt;br /&gt;
On the evening of Tuesday, December 15, a per-&lt;br /&gt;
formance of &ldquo;Samson Agonistes&rdquo; will be given at&lt;br /&gt;
the theatre, Burlington-gardens, under the direc-&lt;br /&gt;
tion of Mr. William Poel, for the guests of the&lt;br /&gt;
British Academy. Public performances are being&lt;br /&gt;
arranged for in London and elsewhere.&lt;br /&gt;
At the British Museum there will be an exhibi-&lt;br /&gt;
tion of &ldquo;Miltoniana,&rdquo; and a portfolio containing&lt;br /&gt;
facsimiles of the Milton autographs and documents&lt;br /&gt;
in the museum will be &ldquo;published by order of the&lt;br /&gt;
trustees, on the occasion of the Milton Tercen-&lt;br /&gt;
tenary.&rdquo; The price of the portfolio will be 1s. ;&lt;br /&gt;
Single plates 3d. each.&lt;br /&gt;
I am, Sir, your obedient servant,&lt;br /&gt;
I. GOLLANCZ,&lt;br /&gt;
Secretary of the British Academy.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE AUTHORS&rsquo; CLUB.&lt;br /&gt;
SIR,-As it is not possible to answer as fully as&lt;br /&gt;
one would wish the many letters of inquiry received&lt;br /&gt;
daily regarding the now successfully reconstructed&lt;br /&gt;
Authors&rsquo; Club (founded in 1891 by Sir Walter&lt;br /&gt;
Besant), I am requested by my committee to ask if&lt;br /&gt;
you will courteously permit the most frequent&lt;br /&gt;
questions to be replied to in your columns, as&lt;br /&gt;
follows:&mdash; * -- . . . . .&lt;br /&gt;
1. The reconstruction of the Authors&rsquo; Club has&lt;br /&gt;
been accomplished with the cordial co-operation of&lt;br /&gt;
the majority of the former members.&lt;br /&gt;
2. Amongst those who have joined the general&lt;br /&gt;
council are the Lord Monkswell, D.L., Sir Edward&lt;br /&gt;
Brabrook, C.B., Sir Arthur Conan Doyle, Wen.&lt;br /&gt;
Archdeacon Sinclair, D.D., Messrs. S. R. Crockett,&lt;br /&gt;
C. B. Fry, Francis Gribble, H. Rider Haggard,&lt;br /&gt;
Anthony Hope Hawkins, C. J. Cutcliffe Hyne,&lt;br /&gt;
Morley Roberts, William Senior, Horace Annesley&lt;br /&gt;
Wachell, Percy White, with Mr. Charles Garvice as&lt;br /&gt;
chairman of the Executive Committee, and Mr. T.&lt;br /&gt;
Cato Worsfold, hon. solicitor.&lt;br /&gt;
3. The new club rooms overlook the Embank-&lt;br /&gt;
ment Gardens and the river, and, until the&lt;br /&gt;
refurnishing is completed, members of the Authors&rsquo;&lt;br /&gt;
are guests of the Municipal Club in the same&lt;br /&gt;
building.&lt;br /&gt;
4. The social affairs of the club are managed by&lt;br /&gt;
the executive committee who were elected at the&lt;br /&gt;
general meeting of members on the 5th ult.,&lt;br /&gt;
namely : in addition to the chairman aforemen-&lt;br /&gt;
tioned, Messrs. C. H. Cautley, E. J. Harper,&lt;br /&gt;
Franklin Lieber, Robert Machray, G. Herbert&lt;br /&gt;
Thring, E. H. Lacon Watson, Horace Wyndham&lt;br /&gt;
(hon. librarian) and myself.&lt;br /&gt;
5. To ensure a continual infusion of fresh&lt;br /&gt;
interest in the club&amp;#039;s affairs, one third of the com-&lt;br /&gt;
mittee will retire in February, 1911, and every&lt;br /&gt;
Subsequent February, in favour of new officers, no&lt;br /&gt;
past committee-man being eligible for re-election&lt;br /&gt;
until the lapse of one year after resigning office.&lt;br /&gt;
6. No financial liability in the management&lt;br /&gt;
attaches to any individual member.&lt;br /&gt;
On behalf of the Executive Committee,&lt;br /&gt;
I am, Sir, --&lt;br /&gt;
Your obedient servant,&lt;br /&gt;
ALGERNON ROSE,&lt;br /&gt;
Hon. Sec.&lt;br /&gt;
2, Whitehall Court,&lt;br /&gt;
London, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 84 (#105) #############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
&copy;xtent of some hundreds of thousands of words, I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work.&mdash;FRANK SAVILLE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
MRS. GILL, Typewriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
SIPKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating ; Plays and Actors&amp;#039; Parts ;&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. Usual Terms. References.&lt;br /&gt;
ANNOUNCEMENT.&lt;br /&gt;
We have pleasure in announcing that&lt;br /&gt;
we have made an arrangement with&lt;br /&gt;
Mr. WILLIAM ARCHER by which&lt;br /&gt;
he undertakes, should the author desire&lt;br /&gt;
it, to read, criticise, and advise upon&lt;br /&gt;
any Dramatic Manuscript (whether a&lt;br /&gt;
Scenario or a finished play) which we&lt;br /&gt;
may submit to him, and to read no&lt;br /&gt;
dramatic manuscript which does not&lt;br /&gt;
reach him through us. It is not, how-&lt;br /&gt;
ever, to be understood that all Plays&lt;br /&gt;
entrusted to us must be submitted to&lt;br /&gt;
Mr. Archer, nor that all Plays sub-&lt;br /&gt;
mitted to Mr. Archer must be further&lt;br /&gt;
handled by us.&lt;br /&gt;
CURTIS, BROWN &amp;amp; THORNE.&lt;br /&gt;
5, HENRIETTA ST.,&lt;br /&gt;
COVENT GARDEN, W.C.&lt;br /&gt;
THE INDISS01/BLE (NOT.&lt;br /&gt;
By chARLES GRANVILLE.&lt;br /&gt;
Price 2/6 nett.&lt;br /&gt;
Crowlyn 8vo.&lt;br /&gt;
SOIV&amp;#039;ſ E. EPIRFE, SS GOES&amp;quot;]...[INTF (CSIRſ Se&lt;br /&gt;
Westminster Review.&mdash;&ldquo;&lsquo;The Indissoluble Knot &amp;#039; is a story&lt;br /&gt;
of thrilling interest. . . . Mr. Granville possesses a trenchant&lt;br /&gt;
style, and no little knowledge of the seamy side of City life.&rdquo;&lt;br /&gt;
Nottingham Guardian Literary Supplement. &mdash;&ldquo;It is not&lt;br /&gt;
often that a novel written avowedly for the purpose of showing&lt;br /&gt;
the evils of drink can be treated as a serious work of art. But&lt;br /&gt;
&ldquo;The Indissoluble Rnot is an exception. It has style, the&lt;br /&gt;
characterisation is good, and the story is interesting from start&lt;br /&gt;
to finish.&rdquo;&lt;br /&gt;
Birmingham Post.&mdash;&ldquo;A powerful story. Mr. Granville wins&lt;br /&gt;
|bis success by a direct and powerful appeal to elementary&lt;br /&gt;
&pound;motions.&rdquo;&lt;br /&gt;
The Scotsman.&mdash;&ldquo;The author . . . cleverly portrays the&lt;br /&gt;
breakdown of a good woman under the baneful influence of a&lt;br /&gt;
dissolute husband. . . . The story is one in which the characters&lt;br /&gt;
are cleverly drawn, speaking and acting with a naturalness&lt;br /&gt;
which will please even a fastidious reader, while a seamy side of&lt;br /&gt;
London commercial life is graphically delineated.&rdquo;&lt;br /&gt;
Dundee Courier.&mdash;&ldquo;Mr. Granville undoubtedly gives Lady&lt;br /&gt;
|Haversley a very strong case. . . . As a picture of life in the City&lt;br /&gt;
the story has considerable interest.&rdquo;&lt;br /&gt;
d The Lady.&mdash;&ldquo;A tragic little story . . . the characters are well&lt;br /&gt;
d?&amp;quot;O,700l.&rdquo; *&lt;br /&gt;
Western Mai I.-&lsquo;&lsquo;The subject is well treated and the author&lt;br /&gt;
makes out a powerful case.&rdquo;&lt;br /&gt;
Dundee Advertiser.&mdash;&ldquo;The ruination caused by drunkenness,&lt;br /&gt;
and the obstacles the Church throws in the way of divorce by&lt;br /&gt;
insisting on the sanctity of marriage, are exhibited in this arrest-&lt;br /&gt;
ing story with a strength which cannot favl to appeal to readers&lt;br /&gt;
who desire the means of procuring a better Social environment.&lt;br /&gt;
A boole that deserves to be studied.&rdquo; -&lt;br /&gt;
Bookseller.&mdash;&ldquo;Mr. Granville is a vigorous Writer. We do not&lt;br /&gt;
think he has ever done anything better than this &ldquo;veiled tragedy&lt;br /&gt;
Of the Conventions.&rsquo;&rsquo;&lt;br /&gt;
LONDON : OPEN ROAD PUBLISHING CO.&lt;br /&gt;
NG PAWS&lt;br /&gt;
AMBITIOUS AUTHORS, anxious to diverge&lt;br /&gt;
from the beaten track, should read the following&lt;br /&gt;
new guides:&lt;br /&gt;
1. WHAT SHALL : WRITE ABOUT f&ordm;&lt;br /&gt;
New Plots, and How to F&iacute;nd Them.&lt;br /&gt;
By R. A. H. GOODYEAR.&lt;br /&gt;
2. TALE WRITING FOR M0MEW.&lt;br /&gt;
Bright Stories: How to Write and Where&lt;br /&gt;
to Lell Them at Best Prices.&lt;br /&gt;
By R. A. H. GOODYEAR.&lt;br /&gt;
3. 101 MONEY-MAKHNG REGIPES FOR&lt;br /&gt;
AUTHORS.&lt;br /&gt;
From the Private Papers of Eminent&lt;br /&gt;
Writers.&lt;br /&gt;
SEVENPENCE EACH,&lt;br /&gt;
- Two for 1s. 1d., or three for 1s. 6d. post free, of&lt;br /&gt;
THE MAGAZINE SYNDICATE,&lt;br /&gt;
Publishing Office, SOUTHPORT, LANCS.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 84 (#106) #############################################&lt;br /&gt;
&lt;br /&gt;
iv. AD VERTISEMENTS.&lt;br /&gt;
The Whitefriars Press,&lt;br /&gt;
LONDON &amp;amp; TONBRIDGE,&lt;br /&gt;
Having largely increased their PRINTING and BOOKBINDING PLANT&lt;br /&gt;
(which is now one of the most complete in the British Isles), are prepared&lt;br /&gt;
to undertake, at short notice, the production of&lt;br /&gt;
Works of Fiction, Legal and Medical Text Books,&lt;br /&gt;
High-class Magazines, Newspapers, etc.&lt;br /&gt;
ESTIVIATES FREE.&lt;br /&gt;
An IIIustrated Booklet descriptive of the Country Branch of the&lt;br /&gt;
- Firm sent on receipt of a Post Card.&lt;br /&gt;
Telegrams: Charivari, London ; Charivari, Tonbridge.&lt;br /&gt;
Telephones: 2S Holborn ; 19 Tonbridge; 9108 Central&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
[XV111. CENT.&lt;br /&gt;
Tazt&ordm;z&aacute;ozz,&lt;br /&gt;
BARNICOTT &amp;amp; PEARC E&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying - &amp;amp; ... 1 - 33 33 33 1/3&lt;br /&gt;
Plays, ruled (a Speciality) ... 1j- 3y j&ordm; 33 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
w Address to &ldquo;WESTLEIGH,&rdquo; KING RICHARD&lt;br /&gt;
* STREET, Tfrom Oswald House, Queen&lt;br /&gt;
j&ordm; Victoria Road. TYPEwBITING OF EVERY&lt;br /&gt;
DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
References when required.&lt;br /&gt;
&lsquo;&lsquo;THE AUTHOER.&rdquo;&lt;br /&gt;
SOALE FOR A D VERTIS EMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
Front Page * * * &ordm; e # t&ordm; e $ &ordm; &ordm; &ordm; * * * * * ...4.4 0 0:&lt;br /&gt;
Other Pages e g&ordm; &ordm;n t&ordm; t&ordm; - * - &ordm; * - - - e &amp;amp; * * * t&ordm; &ordm; ſ&ordm; ..., 3 0 0&lt;br /&gt;
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Eills for Insertion t&ordm; &ordm; &ordm; we t&ordm; per 2,000 3 0 0.&lt;br /&gt;
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Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
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Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED),&lt;br /&gt;
- at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/387/1908-12-01-The-Author-19-3.pdf</td><td>publications, The Author</td></tr><tr><td>388</td><td>https://historysoa.com/items/show/388</td><td>The Author, Vol. 19 Issue 04 (January 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+04+%28January+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 04 (January 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-01-01-The-Author-19-4</td><td></td><td></td><td></td><td></td><td>85&ndash;108</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-01-01&quot;&gt;1909-01-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>4</td><td></td><td></td><td>19090101</td><td>C be El u t b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XIX. &mdash;No. 4. - JANUARY 1, 1909. [PRICE SIxPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE&lt;br /&gt;
Notices ... ... ... ... ... ... ... ... ... 85 To Musical Composers * * * * * * * * * * * * * * * * * * *:&lt;br /&gt;
Committee Notes &bull; e e &bull; * * t&ordm; g&ordm; t&ordm; &amp;amp; t&ordm; a - - - e &ordm; &amp;#039;&ordm; - a s S7 The Reading Branch ... - ſ&ordm; o &bull; * - * @ e * - e. t&ordm; a t&ordm; t&ordm; t&ordm; g 9S&lt;br /&gt;
Cases * t&ordm; t&ordm; * * * &amp;gt; t&ordm; t&ordm; e * - * t&ordm; e - * * * - - - &bull; * * - * * S9 Notices ... * * * * * * - a t&ordm; * - - t&ordm; e e - * * t&ordm; e - * - s&ordm; 9S&lt;br /&gt;
December Elections ... - - - * - - t&ordm; t e e - - e e - * - - S9 Legal and General Life Assurance Society... ^ - - &bull; e a e. e. e. 98&lt;br /&gt;
Books published by Members of the Society - - - t&ordm; $ t&ordm; &bull; * * S9 General Notes e a ge t&ordm; e e t&ordm; a t&ordm; t&ordm; e &amp;amp; * - - t&ordm; a &ordm;, &ordm; e 99&lt;br /&gt;
Books published in America by Members ... * * * * * * t&ordm; &ordm; ſ&ordm;. 91 Basil Field... * * * g&ordm; t&ordm; t&ordm; &bull; * * * - &ordm; t&ordm; 4 e t&ordm; &ordm; e - t&ordm; &amp;amp; ... 101&lt;br /&gt;
Literary, Dramatic and Musical Notes ... ... t&ordm; e s - - - 92 Committee Election ... ^ t&ordm; &ordm; * - - * * * &copy; t&ordm; e e - t&ordm; ... 101&lt;br /&gt;
Paris Notes t&ordm; &ordm; - * - e. &bull; * * t&ordm; e - e &amp;amp; e. e &ordm; &amp;#039;&ordm;&amp;#039; * * * - - - 93 The Pension Fund Committee t&ordm; e &ordm; - G - e - e. * - - ... 102&lt;br /&gt;
Spanish Notes ... ... - - - &bull; * * e e &ordm; - - - * = &bull; - - - 94 |United States Notes ... - - - * * * * * * - - - - - - &bull; * * 102&lt;br /&gt;
Contracts in Writing and the Stamp Act ... ... ... ... 95 The Milton Tercentenary Celebration ... ... ... ... 104&lt;br /&gt;
Magazine Contents &bull; * * &amp;amp; &copy; &ordm; &amp;amp; &copy; t&ordm; - - - * t&ordm; &ordm; e - e. 96 The Writers&amp;#039; and Artists&amp;#039; Year Book, 1909... t&ordm; a t&ordm; * - - ... 105&lt;br /&gt;
Warnings to Producers of Books ... t&ordm; t&ordm; e. - - - * - - - - - 97 Hardy Annuals ... t&ordm; e t&ordm; - - - * * t&ordm; e t&ordm; e &bull; * * e e - ... 106&lt;br /&gt;
Warnings to Dramatic Authors - - - - B - - - - &amp;amp; &copy; - - - - 97 Musical Critics and Publishers * D - * * * &bull; * * * - - ... 106&lt;br /&gt;
Warnings to Musical Composers ... &amp;amp; e - - - - t&ordm; e - - - - 97 ** De Libris &amp;#039;&amp;#039; * - - &amp;amp; &amp;amp; &copy; t&ordm; e e s t&ordm; e &bull; e e &bull; * * * * * ... 107&lt;br /&gt;
How to Use the Society ... ... t&ordm; ge &bull;&ordm; e -&amp;gt; g&ordm; &ordm; &ordm; t&ordm; &ordm;r &ordm;n 9S Correspondence ... &amp;amp; e &amp;amp; 8 &amp;amp; t&ordm; &ordm; &amp;amp; * t&ordm; e &amp;amp; 6 &ordm;&amp;#039; &amp;amp; &ordm; &amp;#039;&ordm; ... 107&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 1s.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 1s.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 84 (#108) #############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(ſhe &Scaron;uriefn of Autburg (incorporat&ordm;).&lt;br /&gt;
Telegraphic Address: &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
G-TECIERG-E IMITEREDITIEI, C - IMI-&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
A. W. A BECKETT.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
&lsquo;F. E. BEDDARD, F.R.S. - - -&lt;br /&gt;
THE RIGHT Hon. AUGUSTINE BIR-&lt;br /&gt;
RELL. P.C. . . * =&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BonnEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYok, P.C.&lt;br /&gt;
: THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C. &amp;#039; . * * * * *&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRAW FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl ER).&lt;br /&gt;
SIR. W. S. GILBERT. -&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY. - - -&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. JEROMF.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. Scott KELTIE, LI.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT EION. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN McCARTHY. . . .&lt;br /&gt;
THE REv. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NorMAN, M.P. . .&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
Owen SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR. - -&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD MARSHAL THE RIGHT HoN.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c. -&lt;br /&gt;
SIDNEY WEBB. -&lt;br /&gt;
COIMIMITTEE OF MANAGEMENT.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl ER).&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR,&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
H. GRANVILLE BARKER.&lt;br /&gt;
Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
PAUL RUBENs.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
|M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE. &bull; ,&lt;br /&gt;
MRS. HUMPHRY WARD. i&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
ART SUB-COIMIMITTEE.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
OFFICEs.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc. * .&lt;br /&gt;
J. H. YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor im England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettress&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HoPE HAWKINS,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. : a**~as&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors,&lt;br /&gt;
Lawrence GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 85 (#109) #############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
t&ordm;. FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XIX.&mdash;No. 4.&lt;br /&gt;
JANUARY 1s&amp;#039;ſ, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case. -&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&mdash;&mdash;&mdash;-&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
F desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XIX,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
T the beginning of 1908, the Trustees of&lt;br /&gt;
A. the Pension Fund of the Society, after&lt;br /&gt;
the Secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
#230 in the purchase of Irish Land Act 2; per&lt;br /&gt;
cent. Guaranteed Stock.&lt;br /&gt;
The amount purchased is &pound;258, and is added to&lt;br /&gt;
the list printed below. -&lt;br /&gt;
The investments are steadily increasing from&lt;br /&gt;
year to year, the amount varying between &pound;200&lt;br /&gt;
and &pound;250.&lt;br /&gt;
Consols 24%................ . . . . . . . . . . . . . . 31,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 0&lt;br /&gt;
Victorian Government 3%. Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... 200 0 0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 86 (#110) #############################################&lt;br /&gt;
&lt;br /&gt;
86 THE ADITISIOR.&lt;br /&gt;
Cape of Good Hope 34%. Inscribed&lt;br /&gt;
Stock .................................... 3200&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228&lt;br /&gt;
New Zealand 3;% Stock. . . . . . . . ... 247&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Total ............... #3,376 18&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908. S.&lt;br /&gt;
Oct. 10, Macnaughton-Jones,&lt;br /&gt;
Oct. 20, Garvice, Charles&lt;br /&gt;
Nov. 12, Woods, Miss Mary A.&lt;br /&gt;
Nov. 20, Boycott, G. W. M..&lt;br /&gt;
Nov. 20, Budgeon, Miss . .&lt;br /&gt;
Nov. 21, Benjamin, Lewis J.&lt;br /&gt;
Nov. 21, Coulton, G. G. e g&lt;br /&gt;
Nov. 21, Dixon, Miss H. Margaret&lt;br /&gt;
Nov. 21, Colquhoun, A. &copy;&lt;br /&gt;
Nov. 23, Holmes, Miss Eleanor&lt;br /&gt;
Nov. 23, Hussey, Eyre&lt;br /&gt;
Nov. 23, Capes, Bernard .&lt;br /&gt;
Nov. 23, Hecht, Mrs. Arthur&lt;br /&gt;
Nov. 23, Festing, Miss Gabrielle .&lt;br /&gt;
Nov. 23, Carolin, Mrs. . o&lt;br /&gt;
Mov. 23, Bland, Mrs. E. Nesbit&lt;br /&gt;
Nov. 23, Hichens, Robert&lt;br /&gt;
Nov. 23, Grogan, W. E. .&lt;br /&gt;
Nov. 23, Stowell, Mrs. Rodolph&lt;br /&gt;
Nov. 23, Gay, Mrs. . &bull;&lt;br /&gt;
Nov. 23, Summers, J. . t&ordm;&lt;br /&gt;
Nov. 23, Bloundelle-Burton, J.&lt;br /&gt;
Nov. 23, Freshfield, Douglas&lt;br /&gt;
Nov. 24, Rowsell, Miss Mary&lt;br /&gt;
Nov. 24, Bell, Lady . e&lt;br /&gt;
Nov. 24, Sanders, Miss E. K.&lt;br /&gt;
Nov. 25, Count Plunkett&lt;br /&gt;
Nov. 25, Victoria Cross e&lt;br /&gt;
Nov. 25, Cromartie, the Countess of&lt;br /&gt;
Nov. 25, Sutro, Allred.&lt;br /&gt;
Nov. 25, Kipling, Rudyard .&lt;br /&gt;
Nov. 25, Pope, Miss Jessie .&lt;br /&gt;
Nov. 25, Scott, G. Forrester&lt;br /&gt;
N v. 25, Carr, Miss Mildred E.&lt;br /&gt;
Nov. 25, O&rsquo;Brien, The Rev. G. E.&lt;br /&gt;
Nov. 25, Wills, The Rev. Freeman&lt;br /&gt;
Nov. 25, Lewis, T. C. e&lt;br /&gt;
Nov. 25, Fenwick, Miss S. F. .&lt;br /&gt;
Nov. 26, Montgomery, Miss K. L.&lt;br /&gt;
Nov. 26, Dummelow, The Rev. J. R.&lt;br /&gt;
Nov. 26, Jopp, Miss E. A. .&lt;br /&gt;
Nov. 26, Wintle, Harold R..&lt;br /&gt;
Nov. 26, Malcolm, Mrs. Ian. g&lt;br /&gt;
Nov. 26, Marks, Mrs. Mary A. M.&lt;br /&gt;
Nov. 26, &ldquo;E.&rdquo; . &ordm; &ordm; e &ordm;&lt;br /&gt;
Nov. 27, Prideaux, Miss S. T. . Q .&lt;br /&gt;
:O&lt;br /&gt;
1&lt;br /&gt;
l&lt;br /&gt;
i&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
T)ec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
July 16, Carolin, Mrs. e &ordm;&lt;br /&gt;
July&lt;br /&gt;
Aug.&lt;br /&gt;
Sept. 28, &ldquo;Whitworth Wynne&amp;quot; .&lt;br /&gt;
Oct. 23, Woolf, Miss Bella Sidney&lt;br /&gt;
31, Robinson, J. R. . &ordm;&lt;br /&gt;
Oct.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
27, Saies, Mrs. F. H.&lt;br /&gt;
27, Heath, Miss Ella&lt;br /&gt;
27, Thomas, Edward&lt;br /&gt;
27, Shaw, Mrs. Bernard&lt;br /&gt;
27, Smith, Bertram&lt;br /&gt;
27, Niven, Frederick . e&lt;br /&gt;
27, Nembhard, Miss Isabel .&lt;br /&gt;
27, Smith, Miss M. E. &ordm;&lt;br /&gt;
28, Brandon, Miss Dorothy.&lt;br /&gt;
28, de la Pasture, Mrs. Henry&lt;br /&gt;
28, Scott, Mrs. C. s -&lt;br /&gt;
28, Harrison, Mrs. Darent .&lt;br /&gt;
28, Logan, The Rev. Robert&lt;br /&gt;
28, Chesterton, G. K.&lt;br /&gt;
30, Sherwood, Miss A. t&ordm; g&lt;br /&gt;
30, Hutchinson, The Rev. H. N. .&lt;br /&gt;
1, Sachs, E. T. . e e e&lt;br /&gt;
1, Truman, Miss Olivia&lt;br /&gt;
3, Yolland, Miss E.&lt;br /&gt;
4, Bagnall, Miss L. T. . o &ordm;&lt;br /&gt;
4, Humphreys, Mrs. Desmond (Rita)&lt;br /&gt;
4, Anon. . e e &amp;amp; e&lt;br /&gt;
7, Westrup, Miss Margaret&lt;br /&gt;
7, Lynch, H. T. B., M.P.&lt;br /&gt;
8, Caillard, Miss E. M.&lt;br /&gt;
8, Askew, Claude&lt;br /&gt;
8, Felkin, A. L. .&lt;br /&gt;
9, Rosetti, W. M. e&lt;br /&gt;
9, Miller, Miss Esther .&lt;br /&gt;
11, Woodward, Miss Ida&lt;br /&gt;
12, Mann, Mrs. Mary E. . g&lt;br /&gt;
12, Lack, H. Lambert . e &ordm;&lt;br /&gt;
14, Winchilsea and Nottingham&lt;br /&gt;
The Countess of e &ordm;&lt;br /&gt;
14, Sinclair, Miss May&lt;br /&gt;
14, Weyman, Stanley .&lt;br /&gt;
17, Macpherson, John F.&lt;br /&gt;
17, Hills, Mrs. Martha&lt;br /&gt;
18, Hands, Mrs. Morris&lt;br /&gt;
18, Geddes, Mrs. .&lt;br /&gt;
Donations, 1908.&lt;br /&gt;
28, Atherton, Mrs. Gertrude&lt;br /&gt;
21, Beckett, Arthur W.&lt;br /&gt;
2&lt;br /&gt;
6, Wroughton, Miss Cicely&lt;br /&gt;
7, Sherard, R. H. . &ordm;&lt;br /&gt;
7, Cameron, Miss Charlotte&lt;br /&gt;
12, Tweedie, Mrs. Alec.&lt;br /&gt;
17, Tench, Miss Mary F. A.&lt;br /&gt;
17, Anon. . &ordm; &copy; &copy;&lt;br /&gt;
21, Anson, Sir William, Bart.&lt;br /&gt;
21, Cordeaux, Miss K. M. .&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
:&lt;br /&gt;
i&lt;br /&gt;
.&lt;br /&gt;
11&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 87 (#111) #############################################&lt;br /&gt;
&lt;br /&gt;
TRIE ALTTRIOR.&lt;br /&gt;
8.&lt;br /&gt;
7&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
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Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
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Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
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Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
1)ec.&lt;br /&gt;
21, Drewitt, F. Dawtrey, M.D. .&lt;br /&gt;
21, Delaire, Madame Jean .&lt;br /&gt;
21, Hecht, Mrs. Arthur .&lt;br /&gt;
21, Collier, The Honble. John&lt;br /&gt;
21, Keltie, G. Scott .&lt;br /&gt;
21, Shepeard-Walwyn, H.&lt;br /&gt;
21, Church, Prof. A. H.&lt;br /&gt;
21, James, Miss S. Boucher&lt;br /&gt;
21, Ramsden, The Lady Gwen-&lt;br /&gt;
dolen t&ordm; ſ&ordm; g ſ&ordm;&lt;br /&gt;
21, Spielmann, M. H.&lt;br /&gt;
21, Saville, Frank&lt;br /&gt;
24, Kennedy, E. B. . &amp;amp;&lt;br /&gt;
24, Bennett, Prof. W. H. .&lt;br /&gt;
24, Batty, Mrs. Braithwaite&lt;br /&gt;
24, Crouch, A. P. . e&lt;br /&gt;
24, Hawtrey, Miss Walentine&lt;br /&gt;
24, Sedgwick, Miss Anna Douglas&lt;br /&gt;
24, Anon. . &ordm; e&lt;br /&gt;
25, Page, Herbert W.&lt;br /&gt;
25, Brereton, Capt. F. S. .&lt;br /&gt;
25, Knight, Mrs. Maude C.&lt;br /&gt;
25, Bowen, Miss Marjorie .&lt;br /&gt;
25, Turner, Reginald&lt;br /&gt;
25, Nash, T. A.&lt;br /&gt;
25, Trevor, John&lt;br /&gt;
25, Wacher, Francis .&lt;br /&gt;
25, Hughes-Gibb, Mrs.&lt;br /&gt;
25, Farmer, Miss A. A.&lt;br /&gt;
25, Hunt, Holman&lt;br /&gt;
25, Tuckett, F. F.&lt;br /&gt;
25, Allen, Mrs. Grant&lt;br /&gt;
26, Hole, W. G. e&lt;br /&gt;
27, Granville, Charles e&lt;br /&gt;
27, Henoch, Miss Emily T.&lt;br /&gt;
27, Simes, Miss O. Kathleen&lt;br /&gt;
27, Penny, The Rev. Frank&lt;br /&gt;
27, Westell, W. P. . e&lt;br /&gt;
28, Coolidge, The Rev. W. A. B.&lt;br /&gt;
28, Tennant, Lady Pamela&lt;br /&gt;
28, Wingfield, H. . e&lt;br /&gt;
30, Northcote, The Rev. H.&lt;br /&gt;
30, Dexter, Walter&lt;br /&gt;
30, Oliver, Miss Selwyn&lt;br /&gt;
30, Kaye-Smith, Miss Sheila&lt;br /&gt;
30, Bent, Mrs. Theodore&lt;br /&gt;
30, Atkins, Miss Margaret A.&lt;br /&gt;
7, Hood, Francis g e&lt;br /&gt;
7, Maunsell, A. E. Lloyd&lt;br /&gt;
7, Carolin, Mrs. . g&lt;br /&gt;
7, Drake, Lady Eliott&lt;br /&gt;
7, Parker, Mrs. Nella.&lt;br /&gt;
7, Montresor, Miss F. F.&lt;br /&gt;
7, Shepherd, George H.&lt;br /&gt;
9, Maartens, Maarten.&lt;br /&gt;
9. Y. F. S.&lt;br /&gt;
9, Lefroy, Mrs. .&lt;br /&gt;
w.&lt;br /&gt;
1&lt;br /&gt;
s&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
i1-&lt;br /&gt;
d.&lt;br /&gt;
:&Eacute; s. d.&lt;br /&gt;
Dec. 9, Bourdillon, Miss Rose . () 5 0&lt;br /&gt;
Dec. 9, White, Mrs. Woollaston () 5 ()&lt;br /&gt;
Dec. 10, Gilliatt, The Rev. E. . . I () ()&lt;br /&gt;
Dec. 13, Evans, Miss C. M. &amp;amp; . () 5 0&lt;br /&gt;
Dec. 14, Pennell, Mrs. Elizabeth Robins 1 1 0&lt;br /&gt;
Dec. 14, Oppenheim, E. C. - . 2 () ()&lt;br /&gt;
Dec. 16, Blake, J. P. . . I I 0&lt;br /&gt;
Dec. 17, Medlicott, Cecil &ordm; O 10 6&lt;br /&gt;
Dec. 18, Tansley, A. G. . &ordm; . 2 2 0&lt;br /&gt;
Dec. 19, Thurston, Mrs. Katherine Cecil 1 1 0&lt;br /&gt;
Dec. 19, Todd, John L. . 1 1 0&lt;br /&gt;
Dec. 21, White, Percy e &ordm; . 1 1 0&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above, are&lt;br /&gt;
unavoidably held over to the February issue.&lt;br /&gt;
The total amount of annual subscriptions&lt;br /&gt;
received and promised since the issue of the&lt;br /&gt;
circular amounts to &pound;61 12s. The total amount&lt;br /&gt;
of donations to &pound;82 6s.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ſ TYHE last meeting of the committee for 1908&lt;br /&gt;
was held on Tuesday, December 8, at the&lt;br /&gt;
society&amp;#039;s office, at four o&amp;#039;clock.&lt;br /&gt;
Thirteen members and two associates were&lt;br /&gt;
elected, bringing the number of elections for the&lt;br /&gt;
current year up to 243&mdash;within three of the total&lt;br /&gt;
election of the previous year. This is the second&lt;br /&gt;
largest election the society has had since its&lt;br /&gt;
foundation. The committee regret to report the&lt;br /&gt;
resignation of ten members, bringing the total&lt;br /&gt;
resignations for the current year up to seventy-two.&lt;br /&gt;
This number is larger than last year. The total&lt;br /&gt;
loss to the society, which includes, in addition to&lt;br /&gt;
resignations, erasions for non-payment and deaths,&lt;br /&gt;
is not, however, so heavy.&lt;br /&gt;
The secretary reported the acceptances to the&lt;br /&gt;
council and to the art sub-committee. These&lt;br /&gt;
were chronicled in the last number of The Author.&lt;br /&gt;
The committee then considered the following&lt;br /&gt;
C&agrave;S&eacute;S :&mdash;&lt;br /&gt;
The first related to a dispute between one of the&lt;br /&gt;
members and an agent. The former had found it&lt;br /&gt;
impossible to obtain any information respecting&lt;br /&gt;
the MSS. he had entrusted to the agent. The&lt;br /&gt;
committee instructed the secretary to Write&lt;br /&gt;
demanding the return of the MSS., and stating&lt;br /&gt;
that if this were not done by a certain date the&lt;br /&gt;
papers would be placed in the hands of the&lt;br /&gt;
society&amp;#039;s solicitors, who would commence pro-&lt;br /&gt;
ceedings.&lt;br /&gt;
The next matter for consideration was a difficult&lt;br /&gt;
question concerning the bankrupt estate of a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 88 (#112) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
publisher. A papermaker claimed the assignment&lt;br /&gt;
of the publishing contract and the right to publish.&lt;br /&gt;
The solicitors&rsquo; opinion, which was opposed to the&lt;br /&gt;
claims of the papermaker, was read to the com-&lt;br /&gt;
mittee. They instructed the secretary to write,&lt;br /&gt;
setting out the legal position, and to state that the&lt;br /&gt;
society would maintain this position by action if&lt;br /&gt;
necessary, but to suggest that it would be possible&lt;br /&gt;
to arrange an amicable settlement by purchase of&lt;br /&gt;
the stock which the papermaker held.&lt;br /&gt;
The next question referred to a false entry of&lt;br /&gt;
copyright by a publisher in the United States.&lt;br /&gt;
The secretary read the opinion of the society&amp;#039;s&lt;br /&gt;
American lawyers. It appeared from that opinion&lt;br /&gt;
that it was impossible to take action for the penalty&lt;br /&gt;
recoverable under the American law owing to the&lt;br /&gt;
lapse of time from the date of the offence.&lt;br /&gt;
Another question&mdash;a very complicated one touch-&lt;br /&gt;
ing the construction of an agreement between an&lt;br /&gt;
author and a publisher&mdash;was discussed, and&lt;br /&gt;
counsel&amp;#039;s opinion and the report of the society&amp;#039;s&lt;br /&gt;
solicitors were read. The committee decided to&lt;br /&gt;
follow the solicitors&amp;#039; advice, and suggested that a&lt;br /&gt;
letter should be written to the publisher, and his&lt;br /&gt;
answer thereto be referred to them at their next&lt;br /&gt;
meeting.&lt;br /&gt;
The committee then considered the question of&lt;br /&gt;
office management, and a small committee, con-&lt;br /&gt;
sisting of the chairman (Mr. Douglas Freshfield),&lt;br /&gt;
Mr. Francis Storr, and Mr. S. Squire Sprigge, was&lt;br /&gt;
appointed to consider this, and also the question&lt;br /&gt;
of advertisements in The Author, and to report to&lt;br /&gt;
the next meeting.&lt;br /&gt;
An invitation, sent by Mr. C. J. Longman on&lt;br /&gt;
behalf of his firm and other publishers, to appoint&lt;br /&gt;
delegates to discuss certain matters relating to&lt;br /&gt;
book publication, was read, and Mr. Maurice&lt;br /&gt;
Hewlett, Mr. A. Hope Hawkins, and Mr. G.&lt;br /&gt;
Bernard Shaw were requested to represent the&lt;br /&gt;
committee in the matter.&lt;br /&gt;
The secretary made a confidential report in&lt;br /&gt;
respect to the Berlin Conference, and the action&lt;br /&gt;
which it might be desirable to take in regard to the&lt;br /&gt;
revised convention of Berne. The mutter was&lt;br /&gt;
adjourned to the next meeting of the committee,&lt;br /&gt;
when it is hoped that the Government report and&lt;br /&gt;
Blue Book will be obtainable.&lt;br /&gt;
Next followed a discussion on an important point&lt;br /&gt;
respecting the payment of income tax on authors&amp;#039;&lt;br /&gt;
earnings, and it was decided to ask one of the&lt;br /&gt;
members of the society, who was also a member of&lt;br /&gt;
the House of Commons, to put a question to the&lt;br /&gt;
Chancellor of the Exchequer on the subject.&lt;br /&gt;
The secretary made a full report of the work&lt;br /&gt;
accomplished by the Dramatic Sub-committee&lt;br /&gt;
during the past months, details of which have&lt;br /&gt;
appeared in past issues under the Dramatic Sub-&lt;br /&gt;
Committee Notes. The committee sanctioned the&lt;br /&gt;
registration scheme there set out, but left the&lt;br /&gt;
details to the sub-committee. When the scheme&lt;br /&gt;
is ready, and in Working order, a statement will&lt;br /&gt;
be published in The Author.&lt;br /&gt;
A sub-committee, consisting of the chairman&lt;br /&gt;
and Mr. Sidney Lee, was chosen to settle the report&lt;br /&gt;
of the committee&amp;#039;s work during the year. -&lt;br /&gt;
The proposal submitted by Mrs. E. Nesbit&lt;br /&gt;
Bland was again adjourned owing to her absence,&lt;br /&gt;
and the secretary was instructed to inform her it&lt;br /&gt;
would be dealt with at the first meeting next year,&lt;br /&gt;
and invite her if possible to attend.&lt;br /&gt;
Finally, the committee decided, as far as&lt;br /&gt;
possible, to obtain particulars of the titles of&lt;br /&gt;
stories, and their authors, running in some&lt;br /&gt;
of the colonial papers during a given period, in&lt;br /&gt;
order to ascertain the extent, if any, of the piracy&lt;br /&gt;
of British authors&amp;#039; works in the colonies. When&lt;br /&gt;
the details are to hand, the secretary will write to&lt;br /&gt;
the authors whose stories are running, and inquire&lt;br /&gt;
whether their publication is or is not authorised.&lt;br /&gt;
If the publication is unauthorised the com-&lt;br /&gt;
mittee will consider the matter, and, if necessary,&lt;br /&gt;
take action for infringement of copyright.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC COMMITTEE NOTES.&lt;br /&gt;
THE last meeting of the Dramatic Sub-Committee&lt;br /&gt;
for the year 1908 was held at the offices of the&lt;br /&gt;
society on Monday, December 7, at 3 o&amp;#039;clock.&lt;br /&gt;
It had been decided to postpone publication of&lt;br /&gt;
the dramatic pamphlet in The Author, as the com-&lt;br /&gt;
mittee now sees its way to some valuable additions&lt;br /&gt;
which will, it is hoped, make the pamphlet cover&lt;br /&gt;
every department of business between authors and&lt;br /&gt;
the theatre. Also, as the pending settlement of the&lt;br /&gt;
questions between the Society of Authors and the&lt;br /&gt;
proposed Dramatic Authors&rsquo; Society seems likely&lt;br /&gt;
to reinforce the society by the accession of some&lt;br /&gt;
experienced dramatists, it was decided to adjourn&lt;br /&gt;
publication so as to obtain the benefit of their&lt;br /&gt;
criticism for the final revision of the pamphlet.&lt;br /&gt;
A translation of the constitution and treaty of&lt;br /&gt;
the new German Dramatic Authors&rsquo; Society was&lt;br /&gt;
considered. Ilater on we hope to publish in The&lt;br /&gt;
Author a series of articles on foreign authors&amp;#039;&lt;br /&gt;
societies, in which this new body will be dealt with.&lt;br /&gt;
Meanwhile we need only say that it applied wholly&lt;br /&gt;
to the relations of authors in Germany with the&lt;br /&gt;
agents whose services are indispensable in Germany&lt;br /&gt;
at present because of the prevalence of the repertory&lt;br /&gt;
system. It throws no new light on British&lt;br /&gt;
theatrical business. Mr. Shaw made a report&lt;br /&gt;
respecting the working of the French Soci&eacute;t&eacute;&lt;br /&gt;
des Auteurs Dramatiques. The consideration of&lt;br /&gt;
the managerial treaty was continued and&lt;br /&gt;
adjourned.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 89 (#113) #############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
89.&lt;br /&gt;
IMPORTANT INNOVATION.&lt;br /&gt;
A suggestion made by one of the dramatic&lt;br /&gt;
members of the society that the society should&lt;br /&gt;
Open a register of all scenarios for its members&lt;br /&gt;
Was fully approved, and it was decided to refer&lt;br /&gt;
the matter to the Committee of Management&lt;br /&gt;
(which subsequently concurred : see Report).&lt;br /&gt;
The proposal was to strengthen the hands of the&lt;br /&gt;
dramatist in the event of his plot being pirated, or&lt;br /&gt;
in the event of a charge of piracy being brought&lt;br /&gt;
against him, by enabling him to produce an&lt;br /&gt;
authoritative record dating from its invention.&lt;br /&gt;
Cases recently tried in the courts indicate that&lt;br /&gt;
disputes often arise, and that judges and juries,&lt;br /&gt;
and even inexperienced authors, accept evidence&lt;br /&gt;
of quite common coincidences as evidence of&lt;br /&gt;
plagiarism.&lt;br /&gt;
The final arrangements have not been settled.&lt;br /&gt;
They will probably be on the following lines :&lt;br /&gt;
&mdash;Any member of the society will henceforth have&lt;br /&gt;
the right, on payment of half-a-crown, to send to&lt;br /&gt;
the society&amp;#039;s office two copies of a scenario, or any&lt;br /&gt;
similar statement of the subject of an original&lt;br /&gt;
literary, or dramatic work, or of any original&lt;br /&gt;
matter in a translation or adaptation. The society,&lt;br /&gt;
having compared the two copies, will file one and&lt;br /&gt;
return the other to the author stamped with a&lt;br /&gt;
certificate that a duplicate has been registered with&lt;br /&gt;
the Society. Members availing themselves of the&lt;br /&gt;
registry must bear in mind that under no circum-&lt;br /&gt;
stances can they be allowed access to the registered&lt;br /&gt;
Copy, as any possibility of tampering with it would&lt;br /&gt;
destroy its value. Copies, however, can be obtained&lt;br /&gt;
at any time for a trifling fee to cover the cost of&lt;br /&gt;
typing. Should the author have to take proceed-&lt;br /&gt;
ings for infringement or defend himself against an&lt;br /&gt;
accusation of infringement, the registered copy&lt;br /&gt;
Would strengthen his position considerably, whether&lt;br /&gt;
he were plaintiff or defendant.&lt;br /&gt;
&mdash;6&ndash;&ordm;-e&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month only ten cases have&lt;br /&gt;
been placed in the secretary&amp;#039;s hands. Six of these&lt;br /&gt;
referred to claims for money, and we have to&lt;br /&gt;
report with regret that only one of them has been&lt;br /&gt;
settled so far. There was one claim for accounts,&lt;br /&gt;
and these have been rendered by the publisher;&lt;br /&gt;
one claim for the return of MSS., which is still in&lt;br /&gt;
the course of negotiation; and two disputes on&lt;br /&gt;
agreements which have only recently come into&lt;br /&gt;
the office.&lt;br /&gt;
Eight cases remain open from former months.&lt;br /&gt;
Three of these deal with matters in the United&lt;br /&gt;
States, and the negotiations in these are necessarily&lt;br /&gt;
slow ; one case is in New Zealand. The same&lt;br /&gt;
remark applies to this as to the other three cases&lt;br /&gt;
just mentioned. The rest are claims for money&lt;br /&gt;
or money and accounts. Failing a satisfactory&lt;br /&gt;
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&lt;br /&gt;
92.&lt;br /&gt;
TISIES A UTISIOR-&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E are asked by Mrs. Henry de la Pasture,&lt;br /&gt;
for the information of her many literary&lt;br /&gt;
friends, to announce the recent death of&lt;br /&gt;
her husband from heart failure after a few days&amp;#039;&lt;br /&gt;
illness.&lt;br /&gt;
In &ldquo;Anglo-Saxons from Palestine ; or, The&lt;br /&gt;
Imperial Mystery of the Lost Tribes,&rdquo; Mrs.&lt;br /&gt;
Theodore Bent, author of &ldquo;Southern Arabia,&lt;br /&gt;
Soudan, and Sucotra,&rdquo; shows how the British&lt;br /&gt;
nation can be traced to the lost tribes of Israel&lt;br /&gt;
and how no other nation can, the United States&lt;br /&gt;
representing Manasseh. The book is published&lt;br /&gt;
by Messrs. Sherratt and Hughes at one shilling.&lt;br /&gt;
&ldquo;The Apostate &rsquo;&rsquo; is a novel by A. E. Lloyd&lt;br /&gt;
Maunsell, which Messrs. Allen have brought out.&lt;br /&gt;
Mr. Selwyn Brinton&amp;#039;s series, &ldquo;The Renaissance&lt;br /&gt;
in Italian Art,&rdquo; has now been completed by the&lt;br /&gt;
publication of Part III., &ldquo;The Mediciat Florence.&rdquo;&lt;br /&gt;
This volume contains a full account of Florentine&lt;br /&gt;
painting from Paolo Uccello to Ghirlandajo. There&lt;br /&gt;
are twenty-six illustrations and an analysis of&lt;br /&gt;
Florentine painting from Paolo Doni (1397-1475)&lt;br /&gt;
to Wincenzo Dandini (1607-1675).&lt;br /&gt;
&ldquo;Seekers,&rdquo; by Frank Savile, which has been&lt;br /&gt;
running serially in T. P.&amp;#039;s Weekly, will be brought&lt;br /&gt;
out in book form by Mr. Arnold early next month.&lt;br /&gt;
Mr. Savile is at present engaged on a new novel,&lt;br /&gt;
the scene of which is laid principally in Morocco,&lt;br /&gt;
to complete which he has lately revisited Tangier,&lt;br /&gt;
Melilla, and various other North African towns.&lt;br /&gt;
The second and third concert in Mr. St. John&lt;br /&gt;
Lacy&amp;#039;s sixth series of chamber-music concerts will&lt;br /&gt;
be given in the Clarence Hall, Cork, on January 30&lt;br /&gt;
and March 10. Those taking part will include&lt;br /&gt;
Nſadame and Signor Grossi, Miss Eileen Price, Mr.&lt;br /&gt;
W. Brady, and Mr. F. St. John Lacy.&lt;br /&gt;
Mr. Hubert Wales is engaged on a new novel&lt;br /&gt;
entitled &ldquo;Hilary Thornton,&rdquo; which will be pub-&lt;br /&gt;
lished by Mr. John Long in the early spring.&lt;br /&gt;
The incidents woven into &ldquo;Marama&amp;quot;&mdash;C. L.&lt;br /&gt;
Woollaston White&amp;#039;s new novel (Messrs. R. and T.&lt;br /&gt;
Washbourne)&mdash;are taken from eye-witnesses and&lt;br /&gt;
actors in some of the scenes occurring in Fiji&lt;br /&gt;
before (and, after) the country was annexed by&lt;br /&gt;
Great Britain. Conditions being now totally&lt;br /&gt;
changed, it recalls much that can never be seen&lt;br /&gt;
again and&mdash;but for this book&mdash;would be swept&lt;br /&gt;
away unrecorded. *&lt;br /&gt;
Miss Beatrice Moffat&amp;#039;s novel, &ldquo;John Broome&amp;#039;s&lt;br /&gt;
Wife,&rdquo; is being brought out by Mr. T. Fisher&lt;br /&gt;
Unwin. It deals with modern life, and is a study&lt;br /&gt;
of strongly contrasted temperaments. The scenes&lt;br /&gt;
are laid on the west coast of Scotland and in&lt;br /&gt;
Hampshire.&lt;br /&gt;
Three numbers of Messrs. Crewsher &amp;amp; Co.&amp;#039;s&lt;br /&gt;
New School Series of Songs have just been pub-&lt;br /&gt;
lished. They are all by Miss L. Budgen, and are&lt;br /&gt;
entitled: No. 1. &ldquo;The Hurricane&rdquo; and &ldquo;The&lt;br /&gt;
Snowdrop&amp;quot;; No. 2. &ldquo;True Charm&rdquo;; No. 3.&lt;br /&gt;
&ldquo;There&amp;#039;s Beauty in the Air.&rdquo;&lt;br /&gt;
We have received from Mr. Henry Frowde&lt;br /&gt;
&ldquo;Select Poems of William Barnes,&rdquo; chosen and&lt;br /&gt;
edited, with a preface and glossarial notes, by&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
We have received from Mr. John Ouseley&lt;br /&gt;
&ldquo;Shelley : a Poem,&rdquo; by Captain Claude E. Foster;&lt;br /&gt;
&ldquo;Mark Talbot,&rdquo; by Crofton Spencer; &ldquo;The Silver&lt;br /&gt;
Cross,&rdquo; by Jenkins Stenning; &ldquo;The Flitting of&lt;br /&gt;
Angelina,&rdquo; by Jessica Solomon. Also &ldquo;The Life&lt;br /&gt;
and Times of Robert Emmett,&rdquo; the first volume of&lt;br /&gt;
The Irish Library Series, which is a commendable&lt;br /&gt;
undertaking. It is a pity the cheapness of this&lt;br /&gt;
series&mdash;sixpence&mdash;necessitates disfiguring the text&lt;br /&gt;
with advertisements. -&lt;br /&gt;
Mr. Francis Griffiths has published &ldquo;Mary of&lt;br /&gt;
England,&rdquo; a tragedy in four acts, by N. Thorpe&lt;br /&gt;
Mayne.&lt;br /&gt;
In &ldquo;Philanthropy and the State ; or, Social Poli-&lt;br /&gt;
tics,&rdquo; by B. Kirkman Gray, edited by Eleanor&lt;br /&gt;
Kirkman Gray and B. L. Hutchins, the author&lt;br /&gt;
maintains the thesis that &ldquo;private philanthropy&lt;br /&gt;
cannot provide a remedy for widespread want which&lt;br /&gt;
results from broad and general social causes; that&lt;br /&gt;
it ought not to be expected to do so; that the pro-&lt;br /&gt;
vision of such remedies is the proper responsibility&lt;br /&gt;
of the State, and should be accepted as such.&rdquo; The&lt;br /&gt;
publishers are Messrs. P. S. King and Son.&lt;br /&gt;
Mr. Richard Davey has just published a second&lt;br /&gt;
edition of &ldquo;The Sultan and his Subjects&rdquo; (Messrs.&lt;br /&gt;
Chatto and Windus), and is preparing a second&lt;br /&gt;
edition of his &ldquo;Pageant of London&rsquo;&rsquo; (Messrs.&lt;br /&gt;
Methuen). The former has been considerably&lt;br /&gt;
revised and enlarged.&lt;br /&gt;
&ldquo;A Woman&amp;#039;s Pride,&rdquo; a play of modern society&lt;br /&gt;
life, by Hippolyte Buffenoir (author of the forth-&lt;br /&gt;
coming &ldquo;Portraits of Robespierre * in English) is&lt;br /&gt;
in course of translation and adaptation for the&lt;br /&gt;
English stage by Mary C. Rowsell.&lt;br /&gt;
Mr. Wynford Dewhurst gave an address in the&lt;br /&gt;
Manchester City Art Gallery on December 9. His&lt;br /&gt;
subject was &ldquo;Paris as an Art Mother.&rdquo; Some&lt;br /&gt;
thirty of his pictures have been recently on exhibi-&lt;br /&gt;
tion at the Midland Hotel, Manchester.&lt;br /&gt;
Mr. Fifield has just published two volumes by&lt;br /&gt;
Mrs. Alfred Marks: &ldquo;Landholding in England,&lt;br /&gt;
considered in Relation to Poverty,&rdquo; and &ldquo;The&lt;br /&gt;
Corn Laws.&rdquo; Though issued separately, the&lt;br /&gt;
Volumes may be considered as forming one work.&lt;br /&gt;
On November 28, at Wyndham&amp;#039;s Theatre, &ldquo;Sir&lt;br /&gt;
Anthony,&rdquo; a comedy in three acts, by C. Haddon&lt;br /&gt;
Chambers, was produced. It may be described as&lt;br /&gt;
a satire on Suburbia. The cast included Mr.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 93 (#117) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
93&lt;br /&gt;
Weedon Grossmith, Mr. Edmund Maurice, Mr.&lt;br /&gt;
Evelyn Beerbohm, Miss Suzanne Sheldon, Miss&lt;br /&gt;
Mary Leslie, and Miss Nina Boucicault.&lt;br /&gt;
December 9 was the first night of &ldquo;The Last of&lt;br /&gt;
the De Mullins,&rdquo; by St. John Hankin, produced&lt;br /&gt;
by the Stage Society at the Haymarket Theatre.&lt;br /&gt;
The play concerns a girl with unconventional ideas&lt;br /&gt;
on the subject of marriage. In the last act her&lt;br /&gt;
father becomes almost reconciled to her through a&lt;br /&gt;
liking for her fatherless boy, but Janet de Mullin&lt;br /&gt;
refuses to return permanently to her home. The&lt;br /&gt;
boy, the last of the De Mullins, must earn by his&lt;br /&gt;
own efforts name and reputation. The players&lt;br /&gt;
included Miss Lillah McCarthy and Mr. Nigel&lt;br /&gt;
Playfair.&lt;br /&gt;
A new comedy sketch, by Paul Rubens, entitled&lt;br /&gt;
&ldquo;Fly by Night,&rdquo; was given at the Palace Theatre&lt;br /&gt;
on December 14. It is the first play in English&lt;br /&gt;
that introduces an aviator and his aeroplane. Mr.&lt;br /&gt;
Seymour Hicks and Miss Ellaline Terriss sustained&lt;br /&gt;
the principal parts.&lt;br /&gt;
Mr. Charles W. France and Miss Evelyn D&rsquo;Alroy&lt;br /&gt;
appeared on December 17 in a little one-act play,&lt;br /&gt;
by W. J. Locke, at the Empire Theatre. It is&lt;br /&gt;
called &ldquo;A Blank Cheque,&rdquo; and concerns Mr.&lt;br /&gt;
Mahoney, an innocent convict, who upon his&lt;br /&gt;
release asks his wife to draw a blank cheque in his&lt;br /&gt;
favour and fills in the amount as &ldquo;My wife&amp;#039;s love.&rdquo;&lt;br /&gt;
&ldquo;Peter Pan,&rdquo; by J. M. Barrie, was again revived&lt;br /&gt;
at the Duke of York&amp;#039;s Theatre on December 23&lt;br /&gt;
with Miss Pauline Chase in the name part.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&ndash;0&mdash;s&ordm;-&ordm;-&lt;br /&gt;
LITERARY prize of &pound;200 has just been&lt;br /&gt;
awarded to Edouard Estauni&eacute;, the author&lt;br /&gt;
of &ldquo;La Wie secr&egrave;te,&rdquo; mentioned in last&lt;br /&gt;
month&amp;#039;s article. -&lt;br /&gt;
It will be interesting to all admirers of Renan to&lt;br /&gt;
know that his grandson, Ernest Psichari, has just&lt;br /&gt;
published his first book, &ldquo;Terres de Soleil et de&lt;br /&gt;
Sommeil.&rdquo; It is a delightful description of Africa&lt;br /&gt;
written by a soldier who is a poet in spite of him-&lt;br /&gt;
self. The first chapter is entitled &ldquo;Le Sourire de&lt;br /&gt;
l&amp;#039;Afrique.&rdquo; As well as the author&amp;#039;s first im-&lt;br /&gt;
pressions of Africa, we have a study of the effect&lt;br /&gt;
that the great silence and peace of Africa has on&lt;br /&gt;
his own soul. The next article is entitled &ldquo;Sama,&rdquo;&lt;br /&gt;
and is a study of the Bayas, and more especially of&lt;br /&gt;
the boy Sama in whom he is greatly interested,&lt;br /&gt;
who dies while they are at Yal&eacute;. The account of&lt;br /&gt;
his death and funeral is both dramatic and pathetic,&lt;br /&gt;
and the whole chapter is full of deep feeling and&lt;br /&gt;
poetry. The epilogue and the last chapters of&lt;br /&gt;
notes are full of promise, and it is with the greatest&lt;br /&gt;
as no one else does in France. I&lt;br /&gt;
ch&acirc;teau and knows its history and all that has&lt;br /&gt;
pleasure that we recognize in this book the simpli-&lt;br /&gt;
city of language and the sincerity which we had&lt;br /&gt;
every right to expect from the grandson of Ernest&lt;br /&gt;
Renan.&lt;br /&gt;
&ldquo;Le Tribunal R&eacute;volutionnaire&rdquo; (1793&ndash;1795)&lt;br /&gt;
is another of Lenotre&amp;#039;s volumes on &ldquo;La R&eacute;volution&lt;br /&gt;
et l&amp;#039;Empire,&rdquo; the result of his historical studies&lt;br /&gt;
and discoveries among the archives of his country.&lt;br /&gt;
The chapters of this book are entitled &ldquo;La&lt;br /&gt;
Maison de Justice,&rdquo; &ldquo;Fouquier-Tinville,&rdquo; &ldquo;L&rsquo;Accu-&lt;br /&gt;
sateur public,&rdquo; &ldquo;Fouquier s&amp;#039;&eacute;l&egrave;ve,&rdquo; &ldquo;Les Grands&lt;br /&gt;
Jours,&rdquo; &ldquo;Messes Rouges,&rdquo; &ldquo;L&rsquo;Ecroulement,&rdquo; &ldquo;Le&lt;br /&gt;
Proc&egrave;s du Tribunal.&rdquo; There are several interest-&lt;br /&gt;
ing illustrations in the volume. The account of&lt;br /&gt;
Fouquier-Tinville&amp;#039;s early life is given with many&lt;br /&gt;
picturesque details. His letter to his mother is&lt;br /&gt;
Curious when, as a young man, he was in such&lt;br /&gt;
poverty in spite of his father&amp;#039;s wealth. His trial is&lt;br /&gt;
described later on in detail, and his execution.&lt;br /&gt;
Anatole France&amp;#039;s new book, &ldquo;Les Contes de&lt;br /&gt;
Jacques Tournebroche,&rdquo; is published with coloured&lt;br /&gt;
illustrations by Il&ecirc;on Leb&egrave;gue.&lt;br /&gt;
By way of f&ecirc;ting the centenary of Barbey&lt;br /&gt;
d&rsquo;Aurevilly, Mlle. Louise Read has published a&lt;br /&gt;
Centenary edition of his volume entitled&lt;br /&gt;
&ldquo;Voyageurs et Romanciers.&rdquo; This is a collec-&lt;br /&gt;
tion of articles on about twenty-six French&lt;br /&gt;
writers, among whom are Amp&egrave;re, Fr&eacute;d&eacute;ric Souli&eacute;,&lt;br /&gt;
George Sand, Octave Feuillet, Victor Hugo and&lt;br /&gt;
the Comte de Gobineau. Like all Barbey&lt;br /&gt;
d&rsquo;Aurevilly&amp;#039;s books, there is nothing that seems&lt;br /&gt;
Out of date. These articles and criticisms are just&lt;br /&gt;
as interesting and seem just as fresh as when they&lt;br /&gt;
Were penned so many years ago. The curious&lt;br /&gt;
part of nearly all this author&amp;#039;s articles is that the&lt;br /&gt;
writer seems to have been gifted with prophecy,&lt;br /&gt;
for so frequently in his writings he appears to be&lt;br /&gt;
referring to many of the burning questions of&lt;br /&gt;
to-day.&lt;br /&gt;
M. Pierre de Nolhac, the Conservateur of the&lt;br /&gt;
Versailles Palace, has just brought out a volume&lt;br /&gt;
entitled &ldquo;Versailles et Trianon,&rdquo; with illustrations&lt;br /&gt;
by Ren&eacute; Binet. M. de Nolhac knows Versailles&lt;br /&gt;
He lives in the&lt;br /&gt;
happened there. The present edition is published&lt;br /&gt;
at sixty francs.&lt;br /&gt;
&ldquo;Jean-Luc Pers&eacute;cut&eacute;,&rdquo; by C. F. Ramuz, is a&lt;br /&gt;
curious story of peasant life in the mountains. It&lt;br /&gt;
is told in a graphic style and every detail given.&lt;br /&gt;
The end is tragic, as it is the story of a husband&lt;br /&gt;
who deals out what he considers justice with his&lt;br /&gt;
own hands, and avenges himself on the wife who&lt;br /&gt;
has betrayed him. There are two other curious&lt;br /&gt;
and very original stories in the same volume&mdash;&lt;br /&gt;
stories of simple primitive life, very human and&lt;br /&gt;
with a touch of poetry in them.&lt;br /&gt;
In &ldquo;L&rsquo;Ame libre,&rdquo; by Brada, we have a very&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 94 (#118) #############################################&lt;br /&gt;
&lt;br /&gt;
94&lt;br /&gt;
TISIES A UTHOR.&lt;br /&gt;
true study of French life in a certain circle of&lt;br /&gt;
society. There are no doubt hundreds of girls&lt;br /&gt;
at present in precisely the circumstances described&lt;br /&gt;
by the observant novelist who tells the story.&lt;br /&gt;
Every character in the book lives and is well&lt;br /&gt;
drawn &mdash; the somewhat selfish aristocrat, the&lt;br /&gt;
husband and wife who live, and bring up their&lt;br /&gt;
children, on their expectations, the young girl who&lt;br /&gt;
has more modern ideas than her parents, but who&lt;br /&gt;
is nevertheless bound, as it were, by the old&lt;br /&gt;
traditions. There is, too, a typical &ldquo;arrivist&rdquo; in&lt;br /&gt;
the young doctor. The whole book is extremely&lt;br /&gt;
interesting as a study of a certain phase of French&lt;br /&gt;
life.&lt;br /&gt;
To all those who are interested in the study of&lt;br /&gt;
all phases of German life &ldquo;Mes Prisons en&lt;br /&gt;
Prusse,&rdquo; by Paul Chorenne, will be an attractive&lt;br /&gt;
book. It is the account given by a Frenchman of&lt;br /&gt;
his arrest in Germany as a spy, his trial, and&lt;br /&gt;
imprisonment. The prison etiquette and prison&lt;br /&gt;
life during seven years are described in a graphic&lt;br /&gt;
and amusing way.&lt;br /&gt;
The seventh volume of Georges Duval&rsquo;s trans-&lt;br /&gt;
lation of Shakespeare is now ready, and contains&lt;br /&gt;
four plays.&lt;br /&gt;
In the December numbers of La Revue Hebdoma-&lt;br /&gt;
daire there is an article on Victorien Sardou by&lt;br /&gt;
G. A. de Caillavet, and one on &ldquo;Le March&eacute; de&lt;br /&gt;
l&amp;#039;Automobile et le Salon de 1908,&rdquo; by J. Bordeaux.&lt;br /&gt;
M. Jacques Bardoux also contributes an article on&lt;br /&gt;
Sir Henry Campbell-Bannerman. The novel by&lt;br /&gt;
Maurice Barr&eacute;s, &ldquo;Colette Baudoche,&rdquo; which has&lt;br /&gt;
been published as a serial in this review, is now&lt;br /&gt;
finished, and M. Jean-Louis Wandoyer commences&lt;br /&gt;
&ldquo;La Bien-Aim&eacute;e.&rdquo;&lt;br /&gt;
In the Revue de Paris of December Barbey&lt;br /&gt;
d&rsquo;Aurevilley&rsquo;s Letters to Tr&eacute;butien are published.&lt;br /&gt;
Judith Gautier gives an article on &ldquo;L&rsquo;Empereur&lt;br /&gt;
de Chine &amp;#039;&amp;#039; and Ernest Lavisse on &ldquo;Un S&eacute;jour &agrave;&lt;br /&gt;
Berlin.&rdquo; -&lt;br /&gt;
The theatrical event of the month has been the&lt;br /&gt;
reception of the play &ldquo;Le Foyer&rsquo;&rsquo; at the Th&eacute;&acirc;tre&lt;br /&gt;
Fran&ccedil;ais. It was quite impossible for the piece to&lt;br /&gt;
continue until a number of persons had been ejected.&lt;br /&gt;
The general opinion seems to be that it is regret-&lt;br /&gt;
table that a play of this kind should be given in&lt;br /&gt;
a State theatre. At the Vaudeville &ldquo;Le Lys&amp;quot; is&lt;br /&gt;
being given, and at the Renaissance &ldquo;L&rsquo;Oiseau&lt;br /&gt;
Bless&eacute;.&rdquo;&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;La Vie secr&egrave;te &rsquo;&rsquo; (Perrin).&lt;br /&gt;
&ldquo;Terres de Soleil et de Sommeil&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Le Tribunal Revolutionnaire (1798&ndash;1795)&amp;quot; (Perrin).&lt;br /&gt;
&ldquo;Les Contes de Jacques Tournebroche&rsquo;&rsquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Voyageurs et Romanciers&rdquo; (Lemerre).&lt;br /&gt;
&ldquo;Jean-Luc Pers&eacute;cut&eacute;&rdquo; (Perrin).&lt;br /&gt;
&ldquo;L&rsquo;Ame libre &amp;#039;&amp;#039; (Plon).&lt;br /&gt;
&ldquo;Mes Prisons en Prusse&rdquo; (Juven).&lt;br /&gt;
with which it was sometimes confounded.&lt;br /&gt;
SPANISH NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EWS comes from Valencia that Bernardo&lt;br /&gt;
T Morales has recently published a novel&lt;br /&gt;
entitled &ldquo;La Tribuna Roja&rdquo; (The Scarlet&lt;br /&gt;
Tribune). The work may be said to be a&lt;br /&gt;
psychological study of Woman, and feminism&lt;br /&gt;
seen from a Spaniard&amp;#039;s point of view has a&lt;br /&gt;
particular interest to English readers. This&lt;br /&gt;
author was already well known in Spain by his&lt;br /&gt;
romance called &ldquo;La Rulla.&rdquo; In Rulla readers&lt;br /&gt;
See a character which is arresting, inasmuch as&lt;br /&gt;
it is painted with sincerity and wide sympathy.&lt;br /&gt;
&ldquo;Rebeli&oacute;n&rdquo; by &ldquo;Joyzelle&rdquo; is a realistic novel&lt;br /&gt;
which will interest those who like to plumb the&lt;br /&gt;
evils evolved from marriage as a matter of&lt;br /&gt;
arrangement instead of inclination in the &ldquo;high&lt;br /&gt;
Society&amp;quot; of Spain. There is a touch of genius&lt;br /&gt;
in the fire with which the author describes the&lt;br /&gt;
heroine&amp;#039;s awakening to love when the inevitable&lt;br /&gt;
&ldquo;kindred spirit&rdquo; appears. Like a mighty stream&lt;br /&gt;
it sweeps away all laws of convention ; and as the&lt;br /&gt;
book is evidently written by &ldquo;one who knows,&rdquo; we&lt;br /&gt;
see that the reverse of the medal of contented&lt;br /&gt;
serfdom to the demands of social life, supposed to&lt;br /&gt;
prevail among women of high degree in Spain, is a&lt;br /&gt;
rebellion so keen that the high tide of feeling&lt;br /&gt;
breaks on the quicksand of tragedy.&lt;br /&gt;
From rebellion we turn to &ldquo;El Ni&ntilde;o de Guzman &ordm;&amp;#039;&lt;br /&gt;
(&ldquo;Guzman&amp;#039;s Child.&rdquo;) By Guzman the authoress&lt;br /&gt;
Emilia Pardo Bazan means a Spaniard imbued&lt;br /&gt;
with all the poetic chivalry and honour of past&lt;br /&gt;
ages. The encounter of this young man, who had&lt;br /&gt;
been brought up abroad, with his relatives at San&lt;br /&gt;
Sebastian, is tragic in its disillusion and d&eacute;nouement,&lt;br /&gt;
but it is only the pen of a writer like Pardo Bazan,&lt;br /&gt;
who has recently been made a countess by&lt;br /&gt;
Alfonso XIII. in consideration of her literary&lt;br /&gt;
talent, that could give such striking pictures of the&lt;br /&gt;
feelings and the home life of a Spanish nobleman&lt;br /&gt;
ruined by the heartless conduct of the son&rsquo;s wife.&lt;br /&gt;
&ldquo;Le fr&egrave;re ain&eacute;,&rdquo; by Daudet, has just been&lt;br /&gt;
translated into beautiful Spanish verse by Martinez&lt;br /&gt;
Sierra ; it was rendered the other night in&lt;br /&gt;
public by Se&ntilde;orita Roderiguez and Se&ntilde;or Porredon.&lt;br /&gt;
Madrid has just suffered a great loss in the death&lt;br /&gt;
of the Reverend P. D. Salvador Font.&lt;br /&gt;
It was his&lt;br /&gt;
articles published in the &ldquo;A.B.C.&rdquo; which poured&lt;br /&gt;
oil on the stormy waters of controversy during the&lt;br /&gt;
elections of 1907, when the Solidarity of Catalonia&lt;br /&gt;
proved to be a power too strong to be set aside.&lt;br /&gt;
This Solidarity for the suffrage the priest zealously&lt;br /&gt;
declared was quite distinct from the Separatism&lt;br /&gt;
The&lt;br /&gt;
clever ecclesiastic was called &ldquo;the father of the poor,&rdquo;&lt;br /&gt;
for it was due to his initiation that the Society of&lt;br /&gt;
Santa Rita is such a source of practical benefit to&lt;br /&gt;
the poor; and many of the illustrious ladies who&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 95 (#119) #############################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTHOR,&lt;br /&gt;
95&lt;br /&gt;
devote so much time to cutting out and making&lt;br /&gt;
garments for their less fortunate sisters took their&lt;br /&gt;
farewell of the priest as he lay in the solemnity of&lt;br /&gt;
death in his cell in the Convent of Saint Orozco.&lt;br /&gt;
Among these ladies one noted the Marchionesses of&lt;br /&gt;
Perijaa Montehermoso, the Se&ntilde;oras Dato and Luca de&lt;br /&gt;
Tena, etc. The funeral was attended by the Minister&lt;br /&gt;
of War, General Weyler, and other celebrities.&lt;br /&gt;
The Exhibition, which is still open at the&lt;br /&gt;
palatial editorial house of &ldquo;A.B.C.,&rdquo; has been the&lt;br /&gt;
Scene of many successful entertainments. Se&ntilde;orita&lt;br /&gt;
Carmen Roderiguez Trelles, the girl musician, gave&lt;br /&gt;
a most brilliant pianoforte recital one afternoon, in&lt;br /&gt;
which she interpreted with great facility many&lt;br /&gt;
difficult works of great masters.&lt;br /&gt;
The Royal Academy of Spain saw the reception&lt;br /&gt;
the other day of the new academician, D. Melchor&lt;br /&gt;
de Palau. .&lt;br /&gt;
Count Casa Valencia, Menendez Pidal, Count&lt;br /&gt;
Reparaz, Carracido the Marquis of Wadillo, were&lt;br /&gt;
among those who assisted at the ceremony. The&lt;br /&gt;
discourse of the new academician was very well&lt;br /&gt;
written and replete with interest, the theme being&lt;br /&gt;
&ldquo;Science as the Spring of Poetic Inspiration.&rdquo;&lt;br /&gt;
The Libro Amarillo (Blue Book) on Morocco,&lt;br /&gt;
gives a full account of the policy of France with&lt;br /&gt;
reference to Abd-el-Aziz and Muley Hafid, the&lt;br /&gt;
mission of Monsieur Regnault to Rabat, the&lt;br /&gt;
intervention of France in Casablanca, etc. During&lt;br /&gt;
the long time of his service at Tangier as Secretary&lt;br /&gt;
of the Foreign Office, Don Manuel de Figuerola has&lt;br /&gt;
more than justified the high opinion formed of him&lt;br /&gt;
when in Madrid.&lt;br /&gt;
The great speech of Moret, the leader of the&lt;br /&gt;
Liberal party in Saragossa, was listened to by a&lt;br /&gt;
large assembly at the Town Hall. In his call to&lt;br /&gt;
his followers the orator said, &ldquo;Union is strength,&lt;br /&gt;
union is health, union is the sacrifice of the small&lt;br /&gt;
for the great, union is to have a conscience.&rdquo;&lt;br /&gt;
Cambo, the great statesman of Catalonia, has&lt;br /&gt;
just held an impressive meeting in Barcelona.&lt;br /&gt;
The Solidarist leader declared that the policy of&lt;br /&gt;
Catalonia in its victory for the suffrage will finally&lt;br /&gt;
extend all over Spain. In speaking eloquently for&lt;br /&gt;
this union of interests, the orator declared he had&lt;br /&gt;
never conceived the idea of Separatism for Catalonia,&lt;br /&gt;
for Separatism came under the same category of evils&lt;br /&gt;
for Regions as suicide for individuals.&lt;br /&gt;
RACHEL CHALLICE.&lt;br /&gt;
a &ndash;A&ndash;a&lt;br /&gt;
v-u-w&lt;br /&gt;
CONTRACTS IN WRITING AND THE&lt;br /&gt;
- &amp;#039;STAMP ACT.&lt;br /&gt;
&mdash;s&mdash;e-s&mdash;&lt;br /&gt;
QUESTION which is continually arising&lt;br /&gt;
when there are disputes between authors&lt;br /&gt;
- and publishers is whether the agreement&lt;br /&gt;
entered into between them should be in writing,&lt;br /&gt;
having regard to the provisions of the Sale of&lt;br /&gt;
Goods Act, 1893, and the Statute of Frauds.&lt;br /&gt;
And closely allied to the above question is&lt;br /&gt;
another, viz., assuming the contract to be in writ-&lt;br /&gt;
ing, whether it requires to be stamped.&lt;br /&gt;
Having regard to the words used in the two&lt;br /&gt;
statutes, many cases which have been decided on the&lt;br /&gt;
Statute of Frauds are also authorities on the Stamp&lt;br /&gt;
Act. The sections of the several Acts which bear on&lt;br /&gt;
the subject and which it will be necessary to consider&lt;br /&gt;
are as follows:&ndash;Sec. 4 of the Sale of Goods Act,&lt;br /&gt;
1893, which practically reproduces sec. 17 of the&lt;br /&gt;
Statute of Frauds, provides that &ldquo;A contract for the&lt;br /&gt;
sale of any goods of the value of ten pounds or&lt;br /&gt;
upwards shall not be enforceable by action unless&lt;br /&gt;
the buyer shall accept part of the goods so sold,&lt;br /&gt;
and actually receive the same, or give something&lt;br /&gt;
in earnest to bind the contract, or in part-payment,&lt;br /&gt;
or unless some note or memorandum in writing of&lt;br /&gt;
the contract be made and signed by the party to&lt;br /&gt;
be charged or his agent on that behalf.&rdquo;&lt;br /&gt;
The Stamp Act of 1891 provides that any agree-&lt;br /&gt;
ment or any memorandum of an agreement shall&lt;br /&gt;
be stamped with a sixpenny stamp.&lt;br /&gt;
But the following exemptions are made : agree-&lt;br /&gt;
ment or memorandum the matter whereof is not of&lt;br /&gt;
the value of &pound;5; and agreement, letter, or memor-&lt;br /&gt;
andum made for or relating to the sale of any&lt;br /&gt;
goods.&lt;br /&gt;
The 4th section of the Statute of Frauds renders&lt;br /&gt;
void any agreement that is not to be performed&lt;br /&gt;
within a year from the making thereof, unless the&lt;br /&gt;
agreement upon which the action is brought or&lt;br /&gt;
some memorandum or note thereof, shall be in&lt;br /&gt;
writing and signed by the party to be charged&lt;br /&gt;
there with or by some other person thereunto by him&lt;br /&gt;
lawfully authorised.&lt;br /&gt;
The subject may be roughly divided into (1)&lt;br /&gt;
agreements for the sale of literary work to be done,&lt;br /&gt;
and (2) agreements for the sale of Work already&lt;br /&gt;
done.&lt;br /&gt;
With regard to the first class, one of the leadin&lt;br /&gt;
cases on the subject is that of Clay v. Yates (2&lt;br /&gt;
L. J. N. S. 236).&lt;br /&gt;
The facts were, so far as they are material to&lt;br /&gt;
the present subject, that the plaintiff, a printer,&lt;br /&gt;
having agreed to print for the defendant a work&lt;br /&gt;
which was to contain a dedication to be thereafter&lt;br /&gt;
sent to him, printed the work and also the dedication,&lt;br /&gt;
but on the latter being returned to him revised,&lt;br /&gt;
discovered for the first time that it contained&lt;br /&gt;
libellous matter, whereupon he refused to continue&lt;br /&gt;
the printing of it, and on the defendant refusing&lt;br /&gt;
to accept or pay for the work without the dedica-&lt;br /&gt;
tion, brought an action against him for the price&lt;br /&gt;
of the work without the dedication. It was con-&lt;br /&gt;
tended by the defendant at the trial that the plain-&lt;br /&gt;
tiff could not recover because the provisions of the&lt;br /&gt;
Or&lt;br /&gt;
S&ordm;,&lt;br /&gt;
J&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#120) #############################################&lt;br /&gt;
&lt;br /&gt;
96&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
17th section of the Statute of Frauds had not&lt;br /&gt;
been complied with.&lt;br /&gt;
The Court, however, held that the section did&lt;br /&gt;
not apply, the contract being one of work and&lt;br /&gt;
labour and not of goods sold. Chief Baron Pollock&lt;br /&gt;
in the course of his judgment said, &ldquo;It seems to&lt;br /&gt;
me the true rule is this, whether the work and&lt;br /&gt;
labour is of the essence of the contract, or whether&lt;br /&gt;
it is the materials which are found. My impression&lt;br /&gt;
is, that in the case of a work of art, whether it be&lt;br /&gt;
silver or gold, or marble, or common plaster, that&lt;br /&gt;
is a case of the application of labour of the highest&lt;br /&gt;
description, and the material is of no sort of&lt;br /&gt;
importance as compared with the labour ; and&lt;br /&gt;
therefore that all this would be recoverable as&lt;br /&gt;
work and labour and materials found.&lt;br /&gt;
&ldquo;I do not mean to say the price might not be&lt;br /&gt;
recovered as goods sold and delivered if the work&lt;br /&gt;
were completed and sent home. -&lt;br /&gt;
&ldquo;No doubt it is a chattel that was bargained for&lt;br /&gt;
and delivered, and it might be recovered as goods&lt;br /&gt;
sold and delivered, but still it would not prevent&lt;br /&gt;
the price from being recovered as work and labour&lt;br /&gt;
and materials found. -&lt;br /&gt;
&ldquo;It appears to me, therefore, this was properly&lt;br /&gt;
sued for as work and labour and materials found,&lt;br /&gt;
and that the Statute of Frauds does not apply.&rdquo;&lt;br /&gt;
It follows from the above case that where the&lt;br /&gt;
contract is one for work to be done the contract&lt;br /&gt;
need not be in writing. On the other hand, in such&lt;br /&gt;
a case if the contract should have been reduced&lt;br /&gt;
into writing and the matter thereof exceeded &pound;5&lt;br /&gt;
in value it should be stamped, because it does not&lt;br /&gt;
come within the exemptions of the Stamp Act&lt;br /&gt;
relating to the sale of goods.&lt;br /&gt;
It would also seem to follow that if the contract&lt;br /&gt;
were one for the sale of work already done, that it&lt;br /&gt;
would be a sale of goods and require to be in&lt;br /&gt;
writing if the value of the contract was &pound;10 or&lt;br /&gt;
upwards. Whether such contract would require to&lt;br /&gt;
be stamped is a very difficult question, and each&lt;br /&gt;
case must depend upon its own particular facts.&lt;br /&gt;
If the contract was simply the sale of the manu-&lt;br /&gt;
script for a lump sum it would not require to be&lt;br /&gt;
stamped. On the other hand, if any additional&lt;br /&gt;
terms were embodied in the contract it might very&lt;br /&gt;
possibly be held that it must be stamped.&lt;br /&gt;
In the recent case of In re Grant Richards&lt;br /&gt;
(reported in The Author, May, 1907), an author&lt;br /&gt;
sold the copyright of his book to a publisher upon&lt;br /&gt;
the terms that the publisher should print and&lt;br /&gt;
publish it, and should pay him certain royalties&lt;br /&gt;
upon the sales of the book. -&lt;br /&gt;
The contract was in writing, and had not been&lt;br /&gt;
stamped ; the Judge who heard the case held that&lt;br /&gt;
the contract did not come within the exemptions&lt;br /&gt;
of the Stamp Act relating to the sale of goods, and&lt;br /&gt;
therefore required to be stamped. - -&lt;br /&gt;
The 4th Section of the Statute of Frauds, as&lt;br /&gt;
already stated, renders void any agreement that is&lt;br /&gt;
not to be performed within a year unless the same&lt;br /&gt;
be in writing. -&lt;br /&gt;
Therefore, wherever it appears, either by express&lt;br /&gt;
stipulation or by inference from the surrounding&lt;br /&gt;
circumstances to have been contemplated, that the&lt;br /&gt;
contract could not be completed on either side&lt;br /&gt;
within the year, written evidence of the contract&lt;br /&gt;
is necessary. &amp;#039; -&lt;br /&gt;
Speaking generally, the doctrine of part per-&lt;br /&gt;
formance does not take the case out of the purview&lt;br /&gt;
of this section, and in that respect it differs from&lt;br /&gt;
the 4th Section of the Sale of Goods Act.&lt;br /&gt;
It will be seen from the above how difficult it is&lt;br /&gt;
to lay down any hard-and-fast rule as to whether&lt;br /&gt;
it is absolutely necessary that a contract should be&lt;br /&gt;
in writing and stamped.&lt;br /&gt;
The principle is clear enough, but the trouble&lt;br /&gt;
lies in the application of it, and each case must&lt;br /&gt;
be considered separately. It follows that it is&lt;br /&gt;
highly desirable that authors should see that their&lt;br /&gt;
contracts are reduced into writing, and when they&lt;br /&gt;
are so reduced to have them properly stamped.&lt;br /&gt;
Aſ a &mdash;A- *&lt;br /&gt;
w ~~ w&lt;br /&gt;
MAGAZINE CONTENTs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ATLANTIC MONTHLY.&lt;br /&gt;
On Learning to Write. By Havelock Ellis. -&lt;br /&gt;
Some Moral Aspects of the Problem Play. By Louis&lt;br /&gt;
W. Flaccus.&lt;br /&gt;
Another Source of &ldquo;Paradise Lost.&rdquo; By N. Douglas.&lt;br /&gt;
BIBLIOPHILE.&lt;br /&gt;
Milton. By Professor Edward Dowden, LL.D.&lt;br /&gt;
James Thomson. By Bertram Dobell.&lt;br /&gt;
The Napoleonic Literature of 1908. By Harold F. B.&lt;br /&gt;
Wheeler.&lt;br /&gt;
BOOKMAN. -&lt;br /&gt;
The Latest Foreign Criticism of Milton. By Jane T.&lt;br /&gt;
Stoddart. -&lt;br /&gt;
Henley the Critic and other Matters. By Y. Y.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
The Book on the Table: &ldquo;The Holland House Circle.&rdquo;&lt;br /&gt;
By Virginia Stephen.&lt;br /&gt;
Lewis Campbell. By Leonard Huxley.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
Porson. By H. E. P. P.&lt;br /&gt;
Milton and Modern Men. By J. E. G. de Montmorency.&lt;br /&gt;
ForTNIGHTLY.&lt;br /&gt;
The Tercentenary of John Milton. By Alice Law.&lt;br /&gt;
Chateaubriand&rsquo;s Second Love. By Francis Gribble.&lt;br /&gt;
The New Life of Whistler. By Walter Sickert.&lt;br /&gt;
The Need for an Endowed Theatre in London. By St.&lt;br /&gt;
John Hankin. :&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#121) #############################################&lt;br /&gt;
&lt;br /&gt;
Convention de Berne Revis&eacute;e&lt;br /&gt;
POUR LA&lt;br /&gt;
Protection des OEuvres Litt&eacute;raires et Artistiques.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#122) #############################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#123) #############################################&lt;br /&gt;
&lt;br /&gt;
Convention de Berne Revis&eacute;e&lt;br /&gt;
POUR LA&lt;br /&gt;
Protection des CEuvres Litt&eacute;raires et Artistiques.&lt;br /&gt;
SA MAJEST&Eacute; L&amp;#039;EMPEREUR D&amp;#039;ALLEMAGNE, ROI DE PRUSSE :&lt;br /&gt;
r p $ 4 41&lt;br /&gt;
(Enum&eacute;ration des Etats),&lt;br /&gt;
E, $ F f a # a \ &ordm; # $&lt;br /&gt;
Egalement anim&eacute;s du d&eacute;sir de prot&eacute;ger d&amp;#039;une mani&egrave;re aussi efficace et aussi uniforme que&lt;br /&gt;
possible les droits des auteurs sur leurs &oelig;uvres litt&eacute;raires et artistiques,&lt;br /&gt;
Ont r&eacute;solu de conclure une Convention &agrave; l&amp;#039;effet de reviser la Convention de Berne du&lt;br /&gt;
9 Septembre, 1886, l&amp;#039;Article additionnel et le Protocole de cl&ocirc;ture joints &agrave; la m&ecirc;me Convention,&lt;br /&gt;
ainsi que l&amp;#039;Acte additionnel et la D&eacute;claration interpr&eacute;tative de Paris, du 4 Mai, 1896.&lt;br /&gt;
Ils ont, en cons&eacute;quence, nomm&eacute; pour leurs Pl&eacute;nipotentiaires, savoir :&lt;br /&gt;
Lesquels, apr&egrave;s s&amp;#039;&ecirc;tre communiqu&eacute; leurs pleins pouvoirs respectifs, trouv&eacute;s en bonne et due&lt;br /&gt;
forme, sont convenus des articles suivants :&lt;br /&gt;
ARTICLE 1&ordm;.&lt;br /&gt;
Les pays contractants sont constitu&eacute;s &agrave; l&amp;#039;&eacute;tat d&amp;#039;Union pour la protection des droits des&lt;br /&gt;
auteurs sur leurs &oelig;uvres litt&eacute;raires et artistiques.&lt;br /&gt;
ARTICLE 2.&lt;br /&gt;
L&amp;#039;expression * &oelig;uvres litt&eacute;raires et artistiques &amp;quot; comprend toute production du domaine&lt;br /&gt;
litt&eacute;raire, scientifique ou artistique, quel qu&amp;#039;en soit le mode ou la forme de reproduction, telle&lt;br /&gt;
que : les livres, brochures, et autres &eacute;crits ; les &oelig;uvres dramatiques ou dramatico-musicales, les&lt;br /&gt;
&oelig;uvres chor&eacute;graphiques et les pantomimes, dont la mise en sc&egrave;ne est fix&eacute;e par &eacute;crit ou autre-&lt;br /&gt;
ment ; les compositions musicales avec ou sans paroles ; les &oelig;uvres de dessin, de peinture,&lt;br /&gt;
d&amp;#039;architecture, de sculpture, de gravure et de lithographie ; les illustrations, les cartes&lt;br /&gt;
g&eacute;ographiques ; les plans, croquis et ouvrages plastiques, relatifs &agrave; la g&eacute;ographie, &agrave; la&lt;br /&gt;
topographie, &agrave; l&amp;#039;architecture ou aux sciences.&lt;br /&gt;
Sont prot&eacute;g&eacute;s comme des ouvrages originaux, sans pr&eacute;judice des droits de l&amp;#039;auteur de&lt;br /&gt;
l&amp;#039;&oelig;uvre originale, les traductions, adaptations, arrangements de musique et autres reproductions&lt;br /&gt;
transform&eacute;es d&amp;#039;une &oelig;uvre litt&eacute;raire ou artistique, ainsi que les recueils de diff&eacute;rentes &oelig;uvres.&lt;br /&gt;
Les pays contractants sont tenus d&amp;#039;assurer la protection des &oelig;uvres mentionn&eacute;es&lt;br /&gt;
ci-dessus. -&lt;br /&gt;
Les &oelig;uvres d&amp;#039;art appliqu&eacute; &agrave; l&amp;#039;industrie sont prot&eacute;g&eacute;es autant que permet de le faire la&lt;br /&gt;
l&eacute;gislation int&eacute;rieure de chaque pays.&lt;br /&gt;
ARTICLE 3.&lt;br /&gt;
La pr&eacute;sente Convention s&amp;#039;applique aux &oelig;uvres photographiques et aux &oelig;uvres obtenues&lt;br /&gt;
par un proc&eacute;d&eacute; analogue &agrave; la photographie. Les pays contractants sont tenus d&amp;#039;en assurer la&lt;br /&gt;
protection.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#124) #############################################&lt;br /&gt;
&lt;br /&gt;
( 4 )&lt;br /&gt;
ARTICLE 4.&lt;br /&gt;
Les auteurs ressortissant &agrave; l&amp;#039;un des pays de l&amp;#039;Union jouissent, dans les pays autres que le&lt;br /&gt;
pays d&amp;#039;origine de l&amp;#039;&oelig;uvre, pour leurs &oelig;uvres, soit non publi&eacute;es, soit publi&eacute;es pour la premi&egrave;re&lt;br /&gt;
fois dans un pays de l&amp;#039;Union, des droits que les lois respectives accordent actuellement ou&lt;br /&gt;
accorderont par la suite aux nationaux, ainsi que des droits sp&eacute;cialement accord&eacute;s par la&lt;br /&gt;
pr&eacute;sente Convention.&lt;br /&gt;
La jouissance et l&amp;#039;exercice de ces droits ne sont subordonn&eacute;s &agrave; aucune formalit&eacute; ; cette&lt;br /&gt;
jouissance et cet exercice sont ind&eacute;pendants de l&amp;#039;existence de la protection dans le pays&lt;br /&gt;
d&amp;#039;origine de l&amp;#039;&oelig;uvre. Par suite, en dehors des stipulations de la pr&eacute;sente Convention, l&amp;#039;&eacute;tendue&lt;br /&gt;
de la protection ainsi que les moyens de recours garantis &agrave; l&amp;#039;auteur pour sauvegarder ses droits&lt;br /&gt;
se r&egrave;glent exclusivement d&amp;#039;apr&egrave;s la l&eacute;gislation du pays o&ugrave; la protection est r&eacute;clam&eacute;e.&lt;br /&gt;
Est consid&eacute;r&eacute; comme pays d&amp;#039;origine de l&amp;#039;&oelig;uvre : pour les &oelig;uvres non publi&eacute;es, celui auquel&lt;br /&gt;
appartient l&amp;#039;auteur ; pour les &oelig;uvres publi&eacute;es, celui de la premi&egrave;re publication ; et pour les&lt;br /&gt;
oeuvres publi&eacute;es simultan&eacute;ment dans plusieurs pays de l&amp;#039;Union, celui d&amp;#039;entre eux dont la&lt;br /&gt;
l&eacute;gislation accorde la dur&eacute;e de protection la plus courte. Pour les &oelig;uvres publi&eacute;es simultan&eacute;-&lt;br /&gt;
ment dans un pays &eacute;tranger &agrave; l&amp;#039;Union et dans un pays de l&amp;#039;Union, c&amp;#039;est ce dernier pays qui est&lt;br /&gt;
exclusivement consid&eacute;r&eacute; comme pays d&amp;#039;origine.&lt;br /&gt;
Par &oelig;uvres publi&eacute;es, il faut, dans le sens de la pr&eacute;sente Convention, entendre les &oelig;uvres&lt;br /&gt;
&eacute;dit&eacute;es. La repr&eacute;sentation d&amp;#039;une &oelig;uvre dramatique ou dramatico-musicale, l&amp;#039;ex&eacute;cution d&amp;#039;une&lt;br /&gt;
oeuvre musicale, l&amp;#039;exposition d&amp;#039;une &oelig;uvre d&amp;#039;art et la construction d&amp;#039;une &oelig;uvre d&amp;#039;architecture&lt;br /&gt;
ne constituent pas une publication.&lt;br /&gt;
ARTICLE 5.&lt;br /&gt;
Les ressortissants de l&amp;#039;un des pays de l&amp;#039;Union, qui publient pour la premi&egrave;re fois leurs&lt;br /&gt;
oeuvres dans un autre pays de l&amp;#039;Union, ont, dans ce dernier pays, les m&ecirc;mes droits que les&lt;br /&gt;
auteurs nationaux.&lt;br /&gt;
ARTICLE 6.&lt;br /&gt;
Les auteurs ne ressortissant pas &agrave; l&amp;#039;un des pays de l&amp;#039;Union, qui publient pour la premi&egrave;re&lt;br /&gt;
fois leurs &oelig;uvres dans l&amp;#039;un de ces pays, jouissent, dans ce pays, des m&ecirc;mes droits que les auteurs&lt;br /&gt;
mationaux, et dans les autres pays de l&amp;#039;Union des droits accord&eacute;s par la pr&eacute;sente Convention.&lt;br /&gt;
ARTICLE 7.&lt;br /&gt;
La dur&eacute;e de la protection accord&eacute;e par la pr&eacute;sente Convention comprend la vie de l&amp;#039;auteur&lt;br /&gt;
et cinquante ans apr&egrave;s sa mort.&lt;br /&gt;
Toutefois, dans le cas o&ugrave; cette dur&eacute;e ne serait pas uniform&eacute;ment adopt&eacute;e par tous les pays&lt;br /&gt;
de i&amp;#039;Union, la dur&eacute;e sera r&eacute;gl&eacute;e par la loi du pays o&ugrave; la protection sera r&eacute;clam&eacute;e et elle ne&lt;br /&gt;
pourra exc&eacute;der la dur&eacute;e fix&eacute;e dans le pays d&amp;#039;origine de l&amp;#039;&oelig;uvre. Les pays contractants me seront,&lt;br /&gt;
en cons&eacute;quence, tenus d&amp;#039;appliquer la disposition de l&amp;#039;alin&eacute;a pr&eacute;c&eacute;dent que dans la mesure o&ugrave; elle&lt;br /&gt;
se concilie avec leur droit interne.&lt;br /&gt;
Pour les &oelig;uvres photographiques et les &oelig;uvres obtenues par un proc&eacute;d&eacute; analogue &agrave; la&lt;br /&gt;
photographie, pour les &oelig;uvres posthumes, pour les &oelig;uvres anonymes ou pseudonymes, la dur&eacute;e&lt;br /&gt;
de la protection est r&eacute;gl&eacute;e par la loi du pays o&ugrave; la protection est r&eacute;clam&eacute;e, sans que cette dur&eacute;e&lt;br /&gt;
puisse exc&eacute;der la dur&eacute;e fix&eacute;e dans le pays d&amp;#039;origine de l&amp;#039;&oelig;uvre.&lt;br /&gt;
ARTICLE 8.&lt;br /&gt;
Les auteurs d&amp;#039;&oelig;uvres non publi&eacute;es, ressortissant &agrave; l&amp;#039;un des pays de l&amp;#039;Union, et les auteurs&lt;br /&gt;
d&amp;#039;&oelig;uvres publi&eacute;es pour la premi&egrave;re fois dans un de ces pays jouissent, dans les autres pays de&lt;br /&gt;
l&amp;#039;Union, pendant toute la dur&eacute;e du droit sur l&amp;#039;&oelig;uvre originale, du droit exclusif de faire ou&lt;br /&gt;
d&amp;#039;autoriser la traduction de leurs &oelig;uvres.&lt;br /&gt;
ARTICLE 9.&lt;br /&gt;
Les romans-feuilletons, les nouvelles et toutes autres &oelig;uvres, soit litt&eacute;raires, soit scientifiques,&lt;br /&gt;
soit artistiques, quel qu&amp;#039;en soit l&amp;#039;objet, publi&eacute;s dans les journaux ou recueils p&eacute;riodiques d&amp;#039;un&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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des pays de l&amp;#039;Union, ne peuvent &ecirc;tre reproduits dans les autres pays sans le consentement des&lt;br /&gt;
auteurS. J.-&lt;br /&gt;
&Agrave; l&amp;#039;exclusion des romans-feuilletons et des nouvelles, tout article de journal peut &ecirc;tre&lt;br /&gt;
reproduit par un autre journal, si la reproduction n&amp;#039;en est pas express&eacute;ment interdite.&lt;br /&gt;
Toutefois, la source doit &ecirc;tre indiqu&eacute;e ; la sanction de cette obligation est d&eacute;termin&eacute;e par la&lt;br /&gt;
l&eacute;gislation du pays o&ugrave; la protection est r&eacute;clam&eacute;e.&lt;br /&gt;
La protection de la pr&eacute;sente Convention ne s&amp;#039;applique pas aux nouvelles du jour ou aux&lt;br /&gt;
faits divers qui ont le caract&egrave;re de simples informations de presse.&lt;br /&gt;
ARTICLE 10.&lt;br /&gt;
En ce qui concerne la facult&eacute; de faire licitement des emprunts &agrave; des &oelig;uvres litt&eacute;raires ou&lt;br /&gt;
artistiques pour des publications destin&eacute;es &agrave; l&amp;#039;enseignement ou ayant un caract&egrave;re scientifique,&lt;br /&gt;
ou pour des chrestomathies, est r&eacute;serv&eacute; l&amp;#039;effet de la l&eacute;gislation des pays de l&amp;#039;Union et des&lt;br /&gt;
arrangements particuliers existants ou &agrave; conclure entre eux.&lt;br /&gt;
ARTICLE ll.&lt;br /&gt;
Les stipulations de la pr&eacute;sente Convention s&amp;#039;appliquent &agrave; la repr&eacute;sentation publique des&lt;br /&gt;
&oelig;uvres dramatiques ou dramatico-musicales, et &agrave; l&amp;#039;ex&eacute;cution publique des &oelig;uvres musicales,&lt;br /&gt;
que ces &oelig;uvres soient publi&eacute;es ou non.&lt;br /&gt;
Les auteurs d&amp;#039;&oelig;uvres dramatiques ou dramatico-musicales sont, pendant la dur&eacute;e de leur&lt;br /&gt;
droit sur l&amp;#039;&oelig;uvre originale, prot&eacute;g&eacute;s contre la repr&eacute;sentation publique non autoris&eacute;e de la&lt;br /&gt;
traduction de leurs ouvrages.&lt;br /&gt;
Pour jouir de la protection du pr&eacute;sent article, les auteurs, en publiant leurs &oelig;uvres, ne&lt;br /&gt;
sont pas tenus d&amp;#039;en interdire la repr&eacute;sentation ou l&amp;#039;ex&eacute;cution publique.&lt;br /&gt;
ARTICLE 12.&lt;br /&gt;
Sont sp&eacute;cialement comprises parmi les reproductions illicites auxquelles s&amp;#039;applique la&lt;br /&gt;
pr&eacute;sente Convention, les appropriations indirectes non autoris&eacute;es d&amp;#039;un ouvrage litt&eacute;raire ou&lt;br /&gt;
artistique, telles que : adaptations, arrangements de musique, transformations d&amp;#039;un roman,&lt;br /&gt;
d&amp;#039;une nouvelle ou d&amp;#039;une po&eacute;sie en pi&egrave;ce de th&eacute;&acirc;tre et r&eacute;ciproquement, &amp;amp;c., lorsqu&amp;#039;elles ne sont&lt;br /&gt;
que la reproduction de cet ouvrage, dans la m&ecirc;me forme ou sous une autre forme, avec des&lt;br /&gt;
changements, additions ou retranchements, non essentiels, et sans pr&eacute;senter le caract&egrave;re d&amp;#039;une&lt;br /&gt;
nouvelle &oelig;uvre originale.&lt;br /&gt;
ARTICLE 13.&lt;br /&gt;
Les auteurs d&amp;#039;&oelig;uvres musicales ont le droit exclusif d&amp;#039;autoriser : (1) l&amp;#039;adaptation de ces&lt;br /&gt;
&oelig;uvres &agrave; des instruments servant &agrave; les reproduire m&eacute;caniquement ; (2) l&amp;#039;&eacute;x&eacute;cution publique des&lt;br /&gt;
m&ecirc;mes &oelig;uvres au moyen de ces instruments.&lt;br /&gt;
Des r&eacute;serves et conditions relatives &agrave; l&amp;#039;application de cet article pourront &ecirc;tre d&eacute;ter-&lt;br /&gt;
min&eacute;es par la l&eacute;gislation int&eacute;rieure de chaque pays, en ce qui le concerne , mais toutes&lt;br /&gt;
r&eacute;serves et conditions de cette nature n&amp;#039;auront qu&amp;#039;un effet strictement limit&eacute; au pays qui les&lt;br /&gt;
aurait &eacute;tablies.&lt;br /&gt;
La disposition de l&amp;#039;alin&eacute;a 1&ordm; n&amp;#039;a pas d&amp;#039;effet r&eacute;troactif et, par suite, n&amp;#039;est pas applicable,&lt;br /&gt;
dans un pays de l&amp;#039;Union, aux &oelig;uvres qui, dans ce pays, auront &eacute;t&eacute; adapt&eacute;es licitement aux&lt;br /&gt;
instruments m&eacute;caniques avant la mise en vigueur de la pr&eacute;sente Convention.&lt;br /&gt;
Les adaptations faites en vertu des alin&eacute;as 2 et 3 du pr&eacute;sent article et import&eacute;es, sans&lt;br /&gt;
autorisation des parties int&eacute;ress&eacute;es, dans un pays o&ugrave; elles ne seraient pas licites, pourront y&lt;br /&gt;
&ecirc;tre saisies.&lt;br /&gt;
ARTICLE 14,&lt;br /&gt;
Les auteurs d&amp;#039;&oelig;uvres litt&eacute;raires, scientifiques ou artistiques ont le droit exclusif d&amp;#039;autoriser&lt;br /&gt;
- &bull;---, Q e #&lt;br /&gt;
la reproduction et la repr&eacute;sentation publique de leurs &oelig;uvres par la cin&eacute;matographie.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#126) #############################################&lt;br /&gt;
&lt;br /&gt;
( 6 )&lt;br /&gt;
Sont prot&eacute;g&eacute;es comme &oelig;uvres litt&eacute;raires ou artistiques les productions cin&eacute;matographiques&lt;br /&gt;
lorsque, par les dispositifs de la mise en sc&egrave;ne ou les combinaisons des incidents repr&eacute;sent&eacute;s,&lt;br /&gt;
l&amp;#039;auteur aura donn&eacute; &agrave; l&amp;#039;&oelig;uvre un caract&egrave;re personnel et original.&lt;br /&gt;
Sans pr&eacute;judice des droits de l&amp;#039;auteur de l&amp;#039;&oelig;uvre originale, la reproduction par la cin&eacute;mato-&lt;br /&gt;
graphie d&amp;#039;une &oelig;uvre litt&eacute;raire, scientifique ou artistique est prot&eacute;g&eacute;e comme une &oelig;uvre&lt;br /&gt;
originale.&lt;br /&gt;
Les dispositions qui pr&eacute;c&egrave;dent s&amp;#039;appliquent &agrave; la reproduction ou production obtenue par&lt;br /&gt;
tout autre proc&eacute;d&eacute; analogue &agrave; la cin&eacute;matographie.&lt;br /&gt;
ARTICLE 15.&lt;br /&gt;
Pour que les auteurs des ouvrages prot&eacute;g&eacute;s par la pr&eacute;sente Convention soient, jusqu&amp;#039;&agrave;&lt;br /&gt;
preuve contraire, consid&eacute;r&eacute;s comme tels et admis, en cons&eacute;quence, devant les tribunaux des&lt;br /&gt;
divers pays de l&amp;#039;Union, &agrave; exercer des poursuites contre les contrefacteurs, il suffit que leur nom&lt;br /&gt;
soit indiqu&eacute; sur l&amp;#039;ouvrage en la mani&egrave;re usit&eacute;e.&lt;br /&gt;
Pour les &oelig;uvres anonymes ou pseudonymes, l&amp;#039;&eacute;diteur dont le nom est indiqu&eacute; sur&lt;br /&gt;
l&amp;#039;ouvrage est fond&eacute; &agrave; sauvegarder les droits appartenant &agrave; l&amp;#039;auteur. Il est, sans autres preuves,&lt;br /&gt;
r&eacute;put&eacute; ayant cause de l&amp;#039;auteur anonyme ou pseudonyme.&lt;br /&gt;
ARTICLE 16.&lt;br /&gt;
Toute &oelig;uvre contrefaite peut &ecirc;tre saisie par les autorit&eacute;s comp&eacute;tentes des pays de l&amp;#039;Union&lt;br /&gt;
o&ugrave; l&amp;#039;&oelig;uvre originale a droit &agrave; la protection l&eacute;gale.&lt;br /&gt;
Dans ces pays, la saisie peut aussi s&amp;#039;appliquer aux reproductions provenant d&amp;#039;un pays o&ugrave;&lt;br /&gt;
l&amp;#039;&oelig;uvre n&amp;#039;est pas prot&eacute;g&eacute;e ou a cess&eacute; de l&amp;#039;&ecirc;tre.&lt;br /&gt;
La saisie a lieu conform&eacute;ment &agrave; la l&eacute;gislation int&eacute;rieure de chaque pays.&lt;br /&gt;
ARTICLE 17.&lt;br /&gt;
Les dispositions de la pr&eacute;sente Convention ne peuvent porter pr&eacute;judice, en quoi que ce&lt;br /&gt;
soit, au droit qui appartient au Gouvernement de chacun des pays de l&amp;#039;Union de permettre, de&lt;br /&gt;
surveiller, d&amp;#039;interdire, par des mesures de l&eacute;gislation ou de police int&eacute;rieure, la circulation, la&lt;br /&gt;
repr&eacute;sentation, l&amp;#039;exposition de tout ouvrage ou production &agrave; l&amp;#039;&eacute;gard desquels l&amp;#039;autorit&eacute; com-&lt;br /&gt;
p&eacute;tente aurait &agrave; exercer ce droit.&lt;br /&gt;
ARTICLE 18.&lt;br /&gt;
La pr&eacute;sente Convention s&amp;#039;applique &agrave; toutes les &oelig;uvres qui, au moment de son entr&eacute;e en&lt;br /&gt;
vigueur, ne sont pas encore tomb&eacute;es dans le domaine public de leur pays d&amp;#039;origine par l&amp;#039;expira-&lt;br /&gt;
tion de la dur&eacute;e de la protection. -&lt;br /&gt;
Cependant, si une &oelig;uvre, par l&amp;#039;expiration de la dur&eacute;e de protection qui lui &eacute;tait&lt;br /&gt;
ant&eacute;rieurement reconnue, est tomb&eacute;e dans le domaine public du pays o&ugrave; la protection est&lt;br /&gt;
r&eacute;clam&eacute;e, cette &oelig;uvre n&amp;#039;y sera pas prot&eacute;g&eacute;e &agrave; nouveau.&lt;br /&gt;
L&amp;#039;application de ce principe aura lieu suivant les stipulations contenues dans les conventions&lt;br /&gt;
sp&eacute;ciales existantes ou &agrave; conclure &agrave; cet effet entre pays de l&amp;#039;Union. A d&eacute;faut de semblables&lt;br /&gt;
stipulations, les pays respectifs r&eacute;gleront, chacun pour ce qui le concerne, les modalit&eacute;s relatives&lt;br /&gt;
&agrave; cette application. 3-&lt;br /&gt;
Les dispositions qui pr&eacute;c&ecirc;dent s&amp;#039;appliquent &eacute;galement en cas de nouvelles accessions &agrave;&lt;br /&gt;
l&amp;#039;Union et dans le cas o&ugrave; la dur&eacute;e de la protection serait &eacute;tendue par application de l&amp;#039;article 7.&lt;br /&gt;
ARTICLE 19.&lt;br /&gt;
Les dispositions de la pr&eacute;sente Convention n&amp;#039;emp&ecirc;chent pas de revendiquer l&amp;#039;application de&lt;br /&gt;
dispositions plus larges qui seraient &eacute;dict&eacute;es par la l&eacute;gislation d&amp;#039;un pays de l&amp;#039;Union en faveur de&lt;br /&gt;
&eacute;trangers en g&eacute;n&eacute;ral. r 1&lt;br /&gt;
&lt;br /&gt;
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## p. 96 (#127) #############################################&lt;br /&gt;
&lt;br /&gt;
( 7 )&lt;br /&gt;
ARTICLE 20.&lt;br /&gt;
Les Gouvernements des pays de l&amp;#039;Union se r&eacute;servent le droit de prendre entre eux des&lt;br /&gt;
arrangements particuliers, en tant que ces arrangements conf&eacute;reraient aux auteurs des droits&lt;br /&gt;
plus &eacute;tendus que ceux accord&eacute;s par l&amp;#039;Union, ou qu&amp;#039;ils renfermeraient d&amp;#039;autres stipulations non&lt;br /&gt;
contraires &agrave; la pr&eacute;sente Convention. Les dispositions des arrangements existants qui r&eacute;pondent&lt;br /&gt;
aux conditions pr&eacute;cit&eacute;es restent applicables.&lt;br /&gt;
ARTICLE 21.&lt;br /&gt;
Est maintenu l&amp;#039;office international institu&eacute; sous le nom de ** Bureau de l&amp;#039;Union imter-&lt;br /&gt;
nationale pour la protection des &oelig;uvres litt&eacute;raires et artistiques.&amp;quot;&lt;br /&gt;
Ce Bureau est plac&eacute; sous la haute autorit&eacute; du Gouvernement de la Conf&eacute;d&eacute;ration Suisse,&lt;br /&gt;
qui en r&egrave;gle l&amp;#039;organisation et en surveille le fonctionnement.&lt;br /&gt;
La langue officielle du Bureau est la langue fran&ccedil;aise.&lt;br /&gt;
ARTICLE 22.&lt;br /&gt;
Le Bureau international centralise les renseignements de toute nature relatifs &agrave; la&lt;br /&gt;
protection des droits des auteurs sur leurs &oelig;uvres litt&eacute;raires et artistiques. Il les coordonne&lt;br /&gt;
et les publie. Il proc&egrave;de aux &eacute;tudes d&amp;#039;utilit&eacute; commune int&eacute;ressant l&amp;#039;Union et r&eacute;dige, &agrave; l&amp;#039;aide&lt;br /&gt;
des documents qui sont mis &agrave; sa disposition par les diverses Administrations, une feuille&lt;br /&gt;
p&eacute;riodique, en langue fran&ccedil;aise, sur les questions concernant l&amp;#039;objet de l&amp;#039;Union. Les Gouverne-&lt;br /&gt;
ments des pays de l&amp;#039;Union se r&eacute;servent d&amp;#039;autoriser, d&amp;#039;un commun accord, le Bureau &agrave; publier&lt;br /&gt;
une &eacute;dition dans une ou plusieurs autres langues, pour le cas o&ugrave; l&amp;#039;exp&eacute;rience en aurait d&eacute;montr&eacute;&lt;br /&gt;
le besoin.&lt;br /&gt;
Le Bureau international doit se tenir en tout temps &agrave; la disposition des membres de&lt;br /&gt;
l&amp;#039;Union pour leur fournir, sur les questions relatives &agrave; la protection des &oelig;uvres litt&eacute;raires et&lt;br /&gt;
artistiques, les renseignements sp&eacute;ciaux dont ils pourraient avoir besoin.&lt;br /&gt;
Le Directeur du Bureau international fait sur sa gestion un rapport amnuel qui est&lt;br /&gt;
communiqu&eacute; &agrave; tous les membres de l&amp;#039;Union.&lt;br /&gt;
ARTICLE 23.&lt;br /&gt;
Les d&eacute;penses du Bureau de l&amp;#039;Union internationale sont support&eacute;es en commum par les pays&lt;br /&gt;
contractants. Jusqu&amp;#039;&agrave; nouvelle d&eacute;cision, elles ne pourront pas d&eacute;passer la somme de soixante&lt;br /&gt;
mille francs par ann&eacute;e. Cette somme pourra &ecirc;tre augment&eacute;e au besoin par simple d&eacute;cision&lt;br /&gt;
d&amp;#039;une des Conf&eacute;rences pr&eacute;vues &agrave; l&amp;#039;article 24.&lt;br /&gt;
Pour d&eacute;terminer la part contributive de chacun des pays dans cette somme totale des&lt;br /&gt;
frais, les pays contractants et ceux qui adh&eacute;reront ult&eacute;rieurement &agrave; l&amp;#039;Union sont divis&eacute;s en six&lt;br /&gt;
classes contribuant chacune dans la proportion d&amp;#039;un certain nombre d&amp;#039;unit&eacute;s, savoir :-&lt;br /&gt;
l&ordm; classe ... &bull; a &bull; e ， a g @ e &bull; &bull; @ 25 unit&eacute;s.&lt;br /&gt;
2me , &laquo; &bull; e &ordm; &bull; &bull; - &copy; * 4 $ - - &copy;t 20 5 )&lt;br /&gt;
3me , - - - - - - a &ordm; &bull; e &ordm; ... l&ouml; ,&lt;br /&gt;
4&ordm;&ordm; ,, &bull; &bull; &bull; &copy; &ordm; &ordm; &bull; &copy; - s e $ ... 10 ,,&lt;br /&gt;
5&ordm;&ordm; , - &ordm; - &laquo;e &bull; &bull; s s &copy; s $ $ # &copy; - &ordm; 5 ,,&lt;br /&gt;
6me , e &bull; &copy; &eacute; &ordm; &ordm; &ordm; $ $ &bull; &bull; &copy; 3 ,,&lt;br /&gt;
Ces coefficients sont multipli&eacute;s par le nombre des pays de chaque classe, et la somme des&lt;br /&gt;
produits ainsi obtenus fournit le nombre d&amp;#039;unit&eacute;s par lequel la d&eacute;pense totale doit &ecirc;tre divis&eacute;e.&lt;br /&gt;
Le quotient donne le montant de l&amp;#039;unit&eacute; de d&eacute;pense.&lt;br /&gt;
Chaque pays d&eacute;clarera, au moment de son accession, dans laquelle des susdites classes il&lt;br /&gt;
demande &agrave; &ecirc;tre rang&eacute;.&lt;br /&gt;
L&amp;#039;Administration suisse pr&eacute;pare le budget du Bureau et en surveille les d&eacute;penses, fait&lt;br /&gt;
les avances n&eacute;cessaires et &eacute;tablit le compte annuel qui sera communiqu&eacute; &agrave; toutes les autres&lt;br /&gt;
Administrations.&lt;br /&gt;
&lt;br /&gt;
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## p. 96 (#128) #############################################&lt;br /&gt;
&lt;br /&gt;
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ARTICLE 24.&lt;br /&gt;
La pr&eacute;sente Convention peut &ecirc;tre soumise &agrave; des revisions en vue d&amp;#039;y introduire les&lt;br /&gt;
am&eacute;liorations de nature &agrave; perfectionner le syst&egrave;me de l&amp;#039;Union.&lt;br /&gt;
Les questions de cette nature, ainsi que celles qui int&eacute;ressent &agrave; d&amp;#039;autres points de vue le&lt;br /&gt;
d&eacute;veloppement de l&amp;#039;Union, sont trait&eacute;es dans des Conf&eacute;rences qui auront lieu successivement&lt;br /&gt;
dans les pays de l&amp;#039;Union entre les d&eacute;l&eacute;gu&eacute;s desdits pays. L&amp;#039;Administration du pays o&ugrave; doit&lt;br /&gt;
si&eacute;ger une Conf&eacute;rence pr&eacute;pare, avec le concours du Bureau international, les travaux de celle-ci.&lt;br /&gt;
Le Directeur du Bureau assiste aux s&eacute;ances des Conf&eacute;rences et prend part aux discussions sans&lt;br /&gt;
voix d&eacute;lib&eacute;rative. -&lt;br /&gt;
Aucun changement &agrave; la pr&eacute;sente Convention n&amp;#039;est valable pour l&amp;#039;Union que moyennant&lt;br /&gt;
l&amp;#039;assentiment unanime des pays qui la composent.&lt;br /&gt;
ARTICLE 25.&lt;br /&gt;
Les &Eacute;tats &eacute;trangers &agrave; l&amp;#039;Union et qui assurent la protection l&eacute;gale des droits faisant l&amp;#039;objet&lt;br /&gt;
de la pr&eacute;sente Convention, peuvent y acc&eacute;der sur leur demande.&lt;br /&gt;
Cette accession sera notifi&eacute;e par &eacute;crit au Gouvernement de la Conf&eacute;d&eacute;ration Suisse, et par&lt;br /&gt;
celui-ci &agrave; tous les autres.&lt;br /&gt;
Elle emportera, de plein droit, adh&eacute;sion &agrave; toutes les clauses et admission &agrave; tous les&lt;br /&gt;
avantages stipul&eacute;s dans la pr&eacute;sente Convention. Toutefois, elle pourra contenir l&amp;#039;indication des&lt;br /&gt;
dispositions de la Convention du 9 Septembre 1886 ou de l&amp;#039;Acte additionnel du 4 Mai 1896&lt;br /&gt;
qu&amp;#039;ils jugeraient n&eacute;cessaire de substituer, provisoirement au moins, aux dispositions correspon-&lt;br /&gt;
dantes de la pr&eacute;sente Convention.&lt;br /&gt;
ARTICLE 26.&lt;br /&gt;
Les pays contractants ont le droit d&amp;#039;acc&eacute;der en tout temps &agrave; la pr&eacute;sente Convention pour&lt;br /&gt;
leurs colonies ou possessions &eacute;trang&egrave;res.&lt;br /&gt;
Ils peuvent, &agrave; cet effet, soit faire une d&eacute;claration g&eacute;n&eacute;rale par laquelle toutes leurs&lt;br /&gt;
colonies ou possessions sont comprises dans l&amp;#039;accession, soit nommer express&eacute;ment celles qui y&lt;br /&gt;
sont comprises, soit se borner &agrave; indiquer celles qui en sont exclues.&lt;br /&gt;
Cette d&eacute;claration sera notifi&eacute;e par &eacute;crit au Gouvernement de la Conf&eacute;d&eacute;ration Suisse, et par&lt;br /&gt;
celui-ci &agrave; tous les autres.&lt;br /&gt;
ARTICLE 27.&lt;br /&gt;
La pr&eacute;sente Convention remplacera, dans les rapports entre les Etats contractants, la&lt;br /&gt;
Convention de Berne du 9 Septembre 1886, y compris l&amp;#039;Article additionnel et le Protocole de&lt;br /&gt;
cl&ocirc;ture du m&ecirc;me jour, ainsi que l&amp;#039;Acte additionnel et la D&eacute;claration interpr&eacute;tative du 4 Mai&lt;br /&gt;
1896. Les actes conventionnels pr&eacute;cit&eacute;s resteront en vigueur dans les rapports avec les Etats&lt;br /&gt;
qui ne ratifieraient pas la pr&eacute;sente Convention.&lt;br /&gt;
Les Etats signataires de la pr&eacute;sente Convention pourront, lors de l&amp;#039;&eacute;change des&lt;br /&gt;
ratifications, d&eacute;clarer qu&amp;#039;ils entendent, sur tel ou tel point, rester encore li&eacute;s par les&lt;br /&gt;
dispositions des Conventions auxquelles ils ont souscrit ant&eacute;rieurement.&lt;br /&gt;
ARTICLE 28.&lt;br /&gt;
La pr&eacute;sente Convention sera ratifi&eacute;e, et les ratifications en seront &eacute;chang&eacute;es &agrave; Berlin au plus&lt;br /&gt;
tard le 1&ordm; Juillet 1910.&lt;br /&gt;
Chaque Partie contractante remettra, pour l&amp;#039;&eacute;change des ratifications, un seul instrument,&lt;br /&gt;
qui sera d&eacute;pos&eacute;, avec ceux des autres pays, aux archives du Gouvernement de la Conf&eacute;d&eacute;ration&lt;br /&gt;
Suisse. Chaque Partie recevra en retour un exemplaire du proc&egrave;s-verbal d&amp;#039;&eacute;change des&lt;br /&gt;
ratifications, sign&eacute; par les Pl&eacute;nipotentiaires qui y auront pris part.&lt;br /&gt;
ARTICLE 29.&lt;br /&gt;
La pr&eacute;sente Convention sera mise &agrave; ex&eacute;cution trois mois apr&egrave;s l&amp;#039;&eacute;change des ratifications et&lt;br /&gt;
demeurera en vigueur pendant un temps ind&eacute;termin&eacute;, jusqu&amp;#039;&agrave; l&amp;#039;expiration d&amp;#039;une ann&eacute;e &agrave; partir&lt;br /&gt;
du jour o&ugrave; la d&eacute;nonciation en aura &eacute;t&eacute; faite. - -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#129) #############################################&lt;br /&gt;
&lt;br /&gt;
( 9 )&lt;br /&gt;
Cette d&eacute;monciation sera adress&eacute;e au Gouvernement de la Conf&eacute;d&eacute;ration Suisse. Elle me&lt;br /&gt;
produira son effet qu&amp;#039;&agrave; l&amp;#039;&eacute;gard du pays qui l&amp;#039;aura faite, la Convention restant ex&eacute;cutoire pour&lt;br /&gt;
les autres pays de l&rsquo;Union.&lt;br /&gt;
ARTICLE 30.&lt;br /&gt;
Les Etats qui introduiront dans leur l&eacute;gislation la dur&eacute;e de protection de cinquante ans&lt;br /&gt;
pr&eacute;vue par l&amp;#039;article 7, alin&eacute;a 1*, de la pr&eacute;sente Convention, le feront connaitre au Gouverne-&lt;br /&gt;
ment de la Conf&eacute;d&eacute;ration Suisse par une notification &eacute;crite qui sera communiqu&eacute;e aussit&oacute;t par&lt;br /&gt;
ce Gouvermement &agrave; tous les autres &Eacute;fats de l&rsquo;Union.&lt;br /&gt;
Il en sera de m&eacute;me pour les Etats qui remonceront aux r&eacute;serves faites par eux en vertu&lt;br /&gt;
des articles 25, 26, et 27.&lt;br /&gt;
En foi de quoi, les Pl&eacute;nipotentiaires respectifs ont sign&eacute; la pr&eacute;sente Convention et y ont&lt;br /&gt;
appos&eacute; leurs cachets.&lt;br /&gt;
Fait &agrave; Berlin, le 13 Novembre mil neuf cent huit, en un seul exemplaire, qui sera d&eacute;pos&eacute;&lt;br /&gt;
dans les archives du Gouvernement de la Conf&eacute;d&eacute;ration Suisse et dont des copies, certifi&eacute;es&lt;br /&gt;
conformes, Seront remises par la voie diplomatique aux pays contractants.&lt;br /&gt;
Revised Text, 1908, of the Convention creating the International&lt;br /&gt;
Copyright Union.&lt;br /&gt;
|Reprinted from the United States Publishers&amp;#039; Weekly.]&lt;br /&gt;
ARTICLE 1.&lt;br /&gt;
Union to protect literary and artistic works.-The contracting countries are constituted into&lt;br /&gt;
a union for the protection of the rights of authors in their literary and artistic works.&lt;br /&gt;
ARTICLE 2.&lt;br /&gt;
Definition of &ldquo;literary and artistic works.&rdquo;&mdash;The expression &ldquo;literary and artistic works&rdquo;&lt;br /&gt;
includes all productions in the literary, scientific, or artistic domain, whatever the mode or form&lt;br /&gt;
of reproduction, such as books, pamphlets, and other writings; dramatic or dramatico-musical&lt;br /&gt;
works; choreographic works and pantomimes, the stage directions (mise-en-sc&egrave;ne) of which&lt;br /&gt;
are fixed in writing or otherwise ; musical compositions with or without words; drawings,&lt;br /&gt;
paintings; works of architecture and sculpture; engravings and lithographs ; illustrations;&lt;br /&gt;
geographical charts; plans, sketches, and plastic works relating to geography, topography,&lt;br /&gt;
architecture, or the sciences,&lt;br /&gt;
Translations, arrangements, and adaptations protected.&mdash;Translations, adaptations, arrange-&lt;br /&gt;
ments of music, and other reproductions transformed from a literary or artistic work, as well as&lt;br /&gt;
compilations from different works, are protected as original works without prejudice to the&lt;br /&gt;
rights of the author of the original work.&lt;br /&gt;
The contracting countries are pledged to secure protection in the case of the works&lt;br /&gt;
mentioned above. .&lt;br /&gt;
- Works of art applied to industry.&mdash;Works of art applied to industry are protected so far as&lt;br /&gt;
the domestic legislation of each country allows.&lt;br /&gt;
ARTICLE 3.&lt;br /&gt;
Photographic works to be protected.&mdash;The present Convention applies to photographic works&lt;br /&gt;
and to works obtained by any process analogous to photography. The contracting countries&lt;br /&gt;
are pledged to guarantee protection to such works.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#130) #############################################&lt;br /&gt;
&lt;br /&gt;
( 10 )&lt;br /&gt;
ARTICLE 4.&lt;br /&gt;
Authors to enjoy in countries of the Union the rights granted to &ordm;vatives.&mdash;Authors within the&lt;br /&gt;
jurisdiction of one of the countries of the Union enjoy for their works, whether unpublished or&lt;br /&gt;
published for the first time in one of the countries of the Union, such rights, in the countries&lt;br /&gt;
other than the country of origin of the work, as the respective laws now accord or shall here-&lt;br /&gt;
after accord to natives, as well as the rights specially accorded by the present Convention.&lt;br /&gt;
No formalities required.&mdash; The enjoyment and the exercise of such rights are not subject to&lt;br /&gt;
any formality; such enjoyment and such exercise are independent of the existence of protection&lt;br /&gt;
in the country of origin of the work. Consequently, apart from the stipulations of the present&lt;br /&gt;
Convention, the extent of the protection, as well as the means of redress guaranteed to the&lt;br /&gt;
author to safeguard his rights, are regulated exclusively according to the legislation of the&lt;br /&gt;
country where the protection is claimed.&lt;br /&gt;
Definition of country of origin.-The following is considered as the country of origin of&lt;br /&gt;
the work: for unpublished works, the country to which the author belongs; for published&lt;br /&gt;
works, the country of first publication, and for works published simultaneously in several&lt;br /&gt;
countries of the Union, the country among them whose legislation grants the shortest term of&lt;br /&gt;
protection. For works published simultaneously in a country outside of the Union and in a&lt;br /&gt;
country within the Union, it is the latter country which is exclusively considered as the country&lt;br /&gt;
of origin.&lt;br /&gt;
Published works.-By published works (oeuvres publi&eacute;es) must be understood, according&lt;br /&gt;
to the present Convention, works which have been issued (oeuvres &eacute;dit&eacute;es). The representation&lt;br /&gt;
of a dramatic or dramatico-musical work, the performance of a musical work, the exhibition of&lt;br /&gt;
a work of art, and the construction of a work of architecture do not constitute publication.&lt;br /&gt;
ARTICLE 5.&lt;br /&gt;
Authors of countries of the Union have same rights as natives of other countries.&mdash;Authors&lt;br /&gt;
within the jurisdiction of one of the countries of the Union who publish their works for the&lt;br /&gt;
first time in another country of the Union have in this latter country the same rights as&lt;br /&gt;
mational authors. .&lt;br /&gt;
ARTICLE 6.&lt;br /&gt;
Authors not belonging to countries of the Union also protected if they first publish in a Union&lt;br /&gt;
country.&mdash;Authors not within the jurisdiction of any one of the countries of the Union, who&lt;br /&gt;
publish for the first time their works in one of these countries, enjoy in that country the&lt;br /&gt;
same rights as national authors, and in the other countries of the Union the rights accorded by&lt;br /&gt;
the present Convention.&lt;br /&gt;
ARTICLE 7.&lt;br /&gt;
Term of protection : life and fifty years.-The term of protection granted by the present&lt;br /&gt;
Convention comprises the life of the author and fifty years after his death.&lt;br /&gt;
If not adopted, laws of country to govern term.&ndash;In case this term, however, should not be&lt;br /&gt;
adopted uniformly by all the countries of the Union, the duration of the protection shall&lt;br /&gt;
be regulated by the law of the country where protection is claimed, and cannot exceed the&lt;br /&gt;
term granted in the country of origin of the work. The contracting countries will consequently&lt;br /&gt;
only be required to apply the provision of the preceding paragraph to the extent to which it&lt;br /&gt;
agrees with their domestic law.&lt;br /&gt;
Term for photographic, posthumous, amonymous, or pseudonymous works,&mdash;For photographic&lt;br /&gt;
works and works obtained by a process analogous to photography, for posthumous works, for&lt;br /&gt;
anonymous or pseudonymous works, the term of protection is regulated by the law of the&lt;br /&gt;
country where protection is claimed, but this term may not exceed the term fixed in the country&lt;br /&gt;
of origin of the work.&lt;br /&gt;
ARTICLE 8.&lt;br /&gt;
Eacclusive right of translation for entire term.&mdash;Authors of unpublished works within the&lt;br /&gt;
jurisdiction of one of the countries of the Union, and authors of works published for the first&lt;br /&gt;
time in one of these countries, enjoy in the other countries of the Union during the whole&lt;br /&gt;
term of the right in the original work the exclusive right to make or to authorise the translation&lt;br /&gt;
of their works.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#131) #############################################&lt;br /&gt;
&lt;br /&gt;
( 11 )&lt;br /&gt;
ARTICLE 9.&lt;br /&gt;
Serial novels protected when published in newspapers or periodicals.-Serial stories (romans&lt;br /&gt;
feuilletons), novels, and all other works, whether literary, scientific, or artistic, whatever may&lt;br /&gt;
be their subject, published in newspapers or periodicals of one of the countries of the Union,&lt;br /&gt;
may not be reproduced in the other countries without the consent of the authors.&lt;br /&gt;
Reproduction of newspaper articles. &ndash; With the exception of serial stories (romans-&lt;br /&gt;
feuilletons) and of novels, any newspaper article may be reproduced by another newspaper if&lt;br /&gt;
reproduction has not been expressly forbidden. The source, however, must be indicated. The&lt;br /&gt;
confirmation of this obligation shall be determined by the legislation of the country where&lt;br /&gt;
protection is claimed.&lt;br /&gt;
Mews items not protected.&mdash;The protection of the present Convention does not apply to news&lt;br /&gt;
of the day or to miscellaneous news having the character merely of press information.&lt;br /&gt;
ARTICLE 10.&lt;br /&gt;
Extracts from literary or artistic works for educational publications.&mdash;As concerns the right&lt;br /&gt;
of borrowing lawfully from literary or artistic works for use in publications intended for&lt;br /&gt;
instruction or having a scientific character, or for chrestomathies, the provisions of the legislation&lt;br /&gt;
of the countries of the Union and of the special treaties existing or to be concluded between&lt;br /&gt;
them shall govern.&lt;br /&gt;
ARTICLE ll.&lt;br /&gt;
Representation of dramatic or dramatico-musical works.-The stipulations of the present&lt;br /&gt;
Convention apply to the public representation of dramatic or dramatico-musical works and to&lt;br /&gt;
the public performance of musical works, whether these works are published or not.&lt;br /&gt;
Representation of translations of dramatic works. &ndash;Authors of dramatic or dramatico-musical&lt;br /&gt;
works are protected, during the term of their copyright in the original work, against the&lt;br /&gt;
unauthorised public representation of a translation of their works.&lt;br /&gt;
Notice of reservation of performance not required.&mdash;In order to enjoy the protection of this&lt;br /&gt;
article, authors, in publishing their works, are not obliged to prohibit the public representation&lt;br /&gt;
or public performance of them.&lt;br /&gt;
ARTICLE 12.&lt;br /&gt;
Adaptations, etc., considered as infringements.-Among the unlawful reproductions to which&lt;br /&gt;
the present Convention applies are specially included indirect, unauthorised appropriations of a&lt;br /&gt;
literary or artistic work, such as adaptations, arrangements of music, transformations of&lt;br /&gt;
a romance or novel or of a poem into a theatrical piece, and vice vers&aacute;, etc., when they are only&lt;br /&gt;
the reproduction of such work in the same form or in another form with non-essential changes,&lt;br /&gt;
additions, or abridgments, and without presenting the character of a new, original work.&lt;br /&gt;
ARTICLE 13.&lt;br /&gt;
Adaptation of musical works to mechanical instruments.-Authors of musical works have&lt;br /&gt;
the exclusive right to authorise&mdash;(1) the adaptation of these works to instruments serving to&lt;br /&gt;
reproduce them mechanically; (2) the public performance of the same works by means of these&lt;br /&gt;
instruments.&lt;br /&gt;
Each country to regulate for itself the mamme, in which Convention shall apply.&mdash;The&lt;br /&gt;
limitations and conditions relative to the application of this article shall be determined by the&lt;br /&gt;
domestic legislation of each country in its own case ; but all limitations and conditions of this&lt;br /&gt;
nature shall have an effect strictly limited to the country which shall have adopted them.&lt;br /&gt;
Not retroactive.&mdash;The provisions of paragraph 1 have no retroactive effect, and therefore&lt;br /&gt;
are not applicable in a country of the Union to works which in that country shall have been&lt;br /&gt;
lawfully adapted to mechanical instruments before the going into force of the present&lt;br /&gt;
Convention.&lt;br /&gt;
Importation of mechanical musical appliances prohibited.&mdash;The adaptations made by virtue&lt;br /&gt;
of paragraphs 2 and 3 of this article and imported without the authorisation of the parties&lt;br /&gt;
interested into a country where they are not lawful may be seized there.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#132) #############################################&lt;br /&gt;
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( 12 )&lt;br /&gt;
ARTICLE 14.&lt;br /&gt;
Reproduction by cinematograph.-Authors of literary, scientific, or artistic works have the&lt;br /&gt;
exclusive right to authorise the reproduction and the public representation of their works by&lt;br /&gt;
means of the cinematograph.&lt;br /&gt;
Cinematographic productions protected.&mdash;Cinematographic productions are protected as&lt;br /&gt;
literary or artistic works when by the arrangement of the stage effects, or by the combination&lt;br /&gt;
of incidents represented, the author shall have given to the work a personal and original&lt;br /&gt;
character.&lt;br /&gt;
Cinematographs copyrightable.&mdash;Without prejudice to the rights of the author in the&lt;br /&gt;
Original work, the reproduction by the cinematograph of a literary, scientific, or artistic work is&lt;br /&gt;
protected as an original work.&lt;br /&gt;
Also any analogous production.&mdash;The preceding provisions apply to the reproduction or&lt;br /&gt;
production obtained by any other process analogous to that of the cinematograph.&lt;br /&gt;
ARTICLE 15.&lt;br /&gt;
Author&amp;#039;s name indicated on work sufficient proof of authorship.&ndash;In order that the authors&lt;br /&gt;
of the works protected by the present Convention may be considered as such until proof to the&lt;br /&gt;
contrary, and admitted in consequence before the courts of the various countries of the Union&lt;br /&gt;
to proceed against infringers, it is sufficient that the author&amp;#039;s name be indicated upon the work&lt;br /&gt;
in the usual manner.&lt;br /&gt;
Publisher of anonymous or pseudonymous works considered as representative of author.&mdash;For&lt;br /&gt;
anonymous or pseudonymous works, the publisher whose name is indicated upon the work is&lt;br /&gt;
entitled to protect the rights of the author. He is without other proofs considered, the legal&lt;br /&gt;
representative of the anonymous or pseudonymous author.&lt;br /&gt;
ARTICLE 16.&lt;br /&gt;
Seizure of pirated copies.&mdash;All infringing works may be seized by the competent authorities&lt;br /&gt;
of the countries of the Union where the original work has a right to legal protection.&lt;br /&gt;
Seizure may also be made in these countries of reproductions which come from a country&lt;br /&gt;
where the copyright in the work has terminated, or where the work has not been protected.&lt;br /&gt;
Seizure to be made according to the laws of each country.&mdash;The seizure takes place in&lt;br /&gt;
conformity with the domestic legislation of each country.&lt;br /&gt;
ARTICLE 17.&lt;br /&gt;
Jach Government to evercise supervision as to circulation, representation, or exhibition of&lt;br /&gt;
worſes.&mdash;The provisions of the present Convention may not prejudice in any way the right&lt;br /&gt;
which belongs to the Government of each of the countries of the Union to permit, to supervise,&lt;br /&gt;
or to forbid, by means of legislation or of domestic police, the circulation, the representation, or&lt;br /&gt;
the exhibition of every work or production in regard to which competent authority may have to&lt;br /&gt;
exercise this right. .&lt;br /&gt;
ARTICLE 18.&lt;br /&gt;
Convention to apply to all works mot in public domain at the time of its going into force.&mdash;&lt;br /&gt;
The present Convention applies to all works which, at the time it goes into effect, have not&lt;br /&gt;
fallen into the public domain of their country of origin because of the expiration of the term Of&lt;br /&gt;
protection. - - -&lt;br /&gt;
But if a work by reason of the expiration of the term of protection which was previously&lt;br /&gt;
secured for it has fallen into the public domain of the country where protection is claimed, such&lt;br /&gt;
work will not be protected anew. ~ * ~ *&lt;br /&gt;
Special conventions and domestic legislation may govern.-This principle will be applied in&lt;br /&gt;
accordance with the stipulations to that effect contained in the special conventions either&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#133) #############################################&lt;br /&gt;
&lt;br /&gt;
( 13 )&lt;br /&gt;
existing or to be concluded between countries of the Union, and in default of such stipulations,&lt;br /&gt;
its application will be regulated by each country in its own case.&lt;br /&gt;
Provisions of Convention to apply to new accessions.&mdash;The preceding provisions apply equally&lt;br /&gt;
in the case of new accessions to the Union and where the term of protection would be extended&lt;br /&gt;
by the application of article 7.&lt;br /&gt;
ARTICLE 19.&lt;br /&gt;
More extensive rights may be granted by domestic legislation.&mdash;The provisions of the present&lt;br /&gt;
Convention do not prevent a claim for the application of more favourable provisions which may&lt;br /&gt;
be enacted by the legislation of a country of the Union in favour of foreigners in general.&lt;br /&gt;
ARTICLE 20.&lt;br /&gt;
More extensive right may be secured by special treaties.&mdash;The Governments of the countries of&lt;br /&gt;
the Union reserve the right to make between themselves special treaties, when these treaties&lt;br /&gt;
would confer upon authors more extended rights than those accorded by the Union, or when&lt;br /&gt;
they contain other stipulations not conflicting with the present Convention. The provisions of&lt;br /&gt;
existing treaties which answer the aforesaid conditions remain in force.&lt;br /&gt;
ARTICLE 21.&lt;br /&gt;
Bureau of the International Union.&mdash;The international office instituted under the name of&lt;br /&gt;
&ldquo;Bureau of the International Union for the Protection of Literary and Artistic Works&rdquo;&lt;br /&gt;
(&ldquo;Bureau de l&rsquo;Union Internationale pour la protection des CEuvres Litt&eacute;raires et Artistiques&rdquo;)&lt;br /&gt;
is maintained.&lt;br /&gt;
Under control of Switzerland.&mdash;This Bureau is placed under the high authority of the&lt;br /&gt;
Government of the Swiss Confederation, which controls its organisation and supervises its&lt;br /&gt;
working.&lt;br /&gt;
Language of Bureau to be French.-The official language of the Bureau is the French&lt;br /&gt;
language.&lt;br /&gt;
ARTICLE 22.&lt;br /&gt;
Duties of International Bureau.-The International Bureau brings together, arranges, and&lt;br /&gt;
publishes information of every kind relating to the protection of the rights of authors in their&lt;br /&gt;
literary and artistic works. It studies questions of mutual utility interesting to the Union,&lt;br /&gt;
and edits, with the aid of documents placed at its disposal by the various administrations, a&lt;br /&gt;
periodical in the French language, treating questions concerning the purpose of the Union.&lt;br /&gt;
The Governments of the countries of the Uuion reserve the right to authorise the Bureau by&lt;br /&gt;
common accord to publish an edition in one or more other languages, in case experience&lt;br /&gt;
demonstrates the need.&lt;br /&gt;
Will furnish information as to copyright.&mdash;The International Bureau must hold itself at&lt;br /&gt;
all times at the disposal of members of the Union to furnish them, in relation to questions&lt;br /&gt;
concerning the protection of literary and artistic works, the special information of which they&lt;br /&gt;
have need.&lt;br /&gt;
Director of the International Bureau.-The Director of the International Bureau makes an&lt;br /&gt;
annual report on his administration, which is communicated to all the members of the Union.&lt;br /&gt;
ARTICLE 23.&lt;br /&gt;
Ea&amp;#039;penses of the International Bureau to be shared by contracting States.&mdash;The expenses of the&lt;br /&gt;
Bureau of the International Union are shared in common by the contracting countries. Until&lt;br /&gt;
a new decision, they may not exceed sixty thousand francs per year. This sum may be&lt;br /&gt;
increased when needful by the simple decision of one of the conferences provided for in&lt;br /&gt;
article 24. -&lt;br /&gt;
Method of sharing expenses.&mdash;To determine the part of this sum total of expenses to be paid&lt;br /&gt;
by each of the countries, the contracting countries and those which later adhere to the Union&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#134) #############################################&lt;br /&gt;
&lt;br /&gt;
( 14 )&lt;br /&gt;
are divided into six classes each contributing in proportion to a certain number of units,&lt;br /&gt;
to wit &mdash; -&lt;br /&gt;
1st class t&ordm; ſ&ordm; t&ordm; $ t&ordm; t&ordm; $ t&ordm; g&ordm; t&ordm; s&ordm;. ... 25 units.&lt;br /&gt;
2nd class * * * t&ordm; ſ&ordm; e t&ordm; &ordm; &ordm; t&ordm; e &amp;amp; ... 20 ,&lt;br /&gt;
3rd class e t&ordm; &ordm; * * * t&ordm; &ordm; &ordm; t&ordm; s t&ordm; ... 15 ,&lt;br /&gt;
4th class &copy; t&ordm; &ordm; e &amp;amp; &ordm; t&ordm; e &ordm; t&ordm; &ordm; ge ... 10 ,&lt;br /&gt;
5th class e &lsquo;&ordm; e &amp;amp; C&ordm; &ordm; t&ordm; g&ordm; &ordm; * = &amp;amp; ... 5 ,&lt;br /&gt;
6th class * * @ &amp;amp; &amp;amp; &ordm; * * * t&ordm; e &ordm; ... 3 s,&lt;br /&gt;
These coefficients are multiplied by the number of countries of each class, and the sum of&lt;br /&gt;
the products thus obtained furnishes the number of units by which the total expense is to be&lt;br /&gt;
divided. The quotient gives the amount of the unit of expense.&lt;br /&gt;
Each country shall declare, at the time of its accession, in which of the above-mentioned&lt;br /&gt;
classes it desires to be placed.&lt;br /&gt;
Swiss Administration to prepare the budget of the International Bureau, etc.&mdash;The Swiss&lt;br /&gt;
Administration prepares the budget of the Bureau and superintends its expenditures, makes&lt;br /&gt;
necessary advances, and draws up the annual account, which shall be communicated to all other&lt;br /&gt;
administrations.&lt;br /&gt;
ARTICLE 24.&lt;br /&gt;
Revision of Convention.&mdash;The present Convention may be subjected to revision with a view&lt;br /&gt;
to the introduction of amendments calculated to perfect the system of the Union.&lt;br /&gt;
To take place successively in the countries of the Union.&mdash;Questions of this nature, as well as&lt;br /&gt;
those which from other points of view pertain to the development of the Union, are considered&lt;br /&gt;
in the conferences which will take place successively in the countries of the Union between the&lt;br /&gt;
delegates of the said countries. The administration of the country where a conference is to be&lt;br /&gt;
held will, with the co-operation of the International Bureau, prepare the business of the same.&lt;br /&gt;
The Director of the Bureau will attend the meetings of the conferences and take part in the&lt;br /&gt;
discussions without a deliberate voice.&lt;br /&gt;
Changes require unanimous consent.&mdash;No change in the present Convention is valid for the&lt;br /&gt;
Union except on condition of the unanimous consent of the countries which compose it.&lt;br /&gt;
ARTICLE 25.&lt;br /&gt;
Accession of other countries.&mdash;The States outside of the Union which assure legal protection&lt;br /&gt;
of the rights which are the object of the present Convention may accede to it upon their&lt;br /&gt;
request.&lt;br /&gt;
To be made known by Switzerland.&mdash;This accession shall be made known in writing to the&lt;br /&gt;
Government of the Swiss Confederation and by the latter to all the others.&lt;br /&gt;
May 8wbstitute provisions of previous conventions.&mdash;Such accession shall imply full adhesion&lt;br /&gt;
to all the clauses and admission to all the advantages stipulated in the present Convention. It&lt;br /&gt;
may, however, indicate such provisions of the Convention of September 9, 1886, or of the&lt;br /&gt;
Additional Act of May 4, 1896, as it may be judged necessary to substitute provisionally, at&lt;br /&gt;
least, for the corresponding provisions of the present Convention.&lt;br /&gt;
ARTICLE 26.&lt;br /&gt;
Accession for colonies or foreign possessions.&mdash;The contracting countries have the right to&lt;br /&gt;
accede at any time to the present Convention for their colonies or foreign possessions.&lt;br /&gt;
They may, for that purpose, either make a general declaration by which all their colonies&lt;br /&gt;
or possessions are included in the accession, or name expressly those which are included therein,&lt;br /&gt;
or confine themselves to indicating those which are excluded from it.&lt;br /&gt;
This declaration shall be made known in writing to the Government of the Swiss Con-&lt;br /&gt;
federation, and by the latter to all the others.&lt;br /&gt;
ARTICLE 27.&lt;br /&gt;
Present Convention to replace Berne Convention and Additional Articles. But Berne&lt;br /&gt;
Convention remains in force between countries not signatory to present Convention.&mdash;The present&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#135) #############################################&lt;br /&gt;
&lt;br /&gt;
( 15 )&lt;br /&gt;
Convention shall replace, in the relations between the contracting States, the Convention of&lt;br /&gt;
Berne of September 9, 1886, including the Additional Article and the Final Protocol of the&lt;br /&gt;
same day, as well as the Additional Act and the Interpretative Declaration of May 4, 1896.&lt;br /&gt;
The Convention Acts above mentioned shall remain in force in the relations with the States&lt;br /&gt;
which do not ratify the present Convention.&lt;br /&gt;
Sigmatory States may declare themselves bound by former conventions upon certain points.-&lt;br /&gt;
The States signatory to the present Convention may, at the time of the exchange of ratifications,&lt;br /&gt;
declare that they intend, upon such or such point, still to remain bound by the provisions of&lt;br /&gt;
the conventions to which they have previously subscribed.&lt;br /&gt;
ARTICLE 28.&lt;br /&gt;
Convention to be ratified not laler than July 1, 1910.-The present Convention shall be&lt;br /&gt;
ratified, and the ratifications shall be exchanged at Berlin, not later than the first of July, 1910.&lt;br /&gt;
Instrument to be filed with Swiss Government.&mdash;Each contracting party shall send, for the&lt;br /&gt;
exchange of ratifications, a single instrument, which shall be deposited, with those of the other&lt;br /&gt;
countries, in the archives of the Government of the Swiss Confederation. Each party shall&lt;br /&gt;
receive in return a copy of the proc&egrave;s-verbal of the exchange of ratifications, signed by the&lt;br /&gt;
plenipotentiaries who shall have taken part therein.&lt;br /&gt;
ARTICLE 29.&lt;br /&gt;
Convention to take effect three months after exchange of ratifications.&mdash;The present Convention&lt;br /&gt;
shall be put into execution three months after the exchange of the ratifications, and shall&lt;br /&gt;
remain in force for an indefinite time, until the expiration of one year from the day when&lt;br /&gt;
denunciation of it shall have been made.&lt;br /&gt;
Withdrawal from the Convention.&mdash;This denunciation shall be addressed to the Government&lt;br /&gt;
of the Swiss Confederation. It shall only be effective as regards the country which shall have&lt;br /&gt;
made it, the Convention remaining in force for the other countries of the Union.&lt;br /&gt;
ARTICLE 30.&lt;br /&gt;
Adoption of term of life and fifty years to be motified.&mdash;The States which introduce into their&lt;br /&gt;
legislation the term of protection of fifty years&rdquo; provided for by article 7, paragraph 1, of the&lt;br /&gt;
present Convention, shall make it known to the Government of the Swiss Confederation by a&lt;br /&gt;
written notification, which shall be communicated at Once by that Government to all the other&lt;br /&gt;
countries of the Union.&lt;br /&gt;
Notice shall be given of renouncement of any reservations.&mdash;It shall be the same for such&lt;br /&gt;
States as shall renounce any reservations made by them in virtue of articles 25, 26, and 27.&lt;br /&gt;
Signatures.&mdash;In testimony of which the respective Plenipotentiaries have signed the&lt;br /&gt;
present Convention and have attached thereto their seals.&lt;br /&gt;
Date of signing, Wovember 13, 1908.-Dome at Berlin the thirteenth of November, one&lt;br /&gt;
thousand nine hundred and eight, in a single copy, which shall be deposited in the archives of&lt;br /&gt;
the Government of the Swiss Confederation, and of which copies, properly certified, shall be&lt;br /&gt;
sent through diplomatic channels to the contracting countries.&lt;br /&gt;
* Article 7 provides for a general term of protection for life and fifty years.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 96 (#136) #############################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 97 (#137) #############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
97&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
- ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright,&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society. -&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement). -&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor | -&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author,&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In e2, DS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld,&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGs To DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
tmanager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
(b) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
&amp;#039; performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case,&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction is&lt;br /&gt;
of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantiał&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
| authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 98 (#138) #############################################&lt;br /&gt;
&lt;br /&gt;
98&lt;br /&gt;
TFIES A UTFIOR,&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
-&ordm;-&ordm;-o-&lt;br /&gt;
1. WERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion. All this&lt;br /&gt;
without any cost to the member.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Send to the Office copies of past agreements and past&lt;br /&gt;
accounts, with a copy of the book represented. The&lt;br /&gt;
Secretary will always be glad to have any agreements, new&lt;br /&gt;
or old, for inspection and note. The information thus&lt;br /&gt;
obtained may prove invaluable.&lt;br /&gt;
4. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
5. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
6. The Committee have now arranged for the reception&lt;br /&gt;
of members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
&mdash;(1) To read and advise upon agreements and to give&lt;br /&gt;
advice concerning publishers. (2) To stamp agreements&lt;br /&gt;
in readiness for a possible action upon them. (3) To keep&lt;br /&gt;
agreements. (4) To enforce payments due according to&lt;br /&gt;
a greements. Fuller particulars of the Society&amp;#039;s work&lt;br /&gt;
can be obtained in the Prospectus.&lt;br /&gt;
7. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society. -&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
8. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
9. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
10. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
TO MUSICAL COMPOSERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or&lt;br /&gt;
part of 100. The members&rsquo; stamps are kept in the&lt;br /&gt;
Society&rsquo;s safe. The musical publishers communicate direct&lt;br /&gt;
With the Secretary, and the voucher is then forwarded to&lt;br /&gt;
the members, who are thus saved much unnecessary trouble.&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in the&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month. -&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of the Society or not, are invited to&lt;br /&gt;
communicate to the Editor any points connected with their&lt;br /&gt;
work which it would be advisable in the general interest to&lt;br /&gt;
publish.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all subjects connected with literature, but on&lt;br /&gt;
no other subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post,&lt;br /&gt;
and he requests members who do not receive an&lt;br /&gt;
answer to important communications within two days to&lt;br /&gt;
write to him without delay. All remittances should be&lt;br /&gt;
crossed Union Bank of London, Chancery Lane, or be sent&lt;br /&gt;
by registered letter only.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LEGAL AND GENERAL LIFE ASSURANCE&lt;br /&gt;
SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
ENSIONS to commence at any selected age,&lt;br /&gt;
either with or without Life Assurance, can&lt;br /&gt;
be obtained from this Society.&lt;br /&gt;
Full particulars can be obtained from the City&lt;br /&gt;
Branch Manager, Legal and General Life Assurance&lt;br /&gt;
Society, 158, Leadenhall Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 99 (#139) #############################################&lt;br /&gt;
&lt;br /&gt;
Trips A Drt Hor.&lt;br /&gt;
99&lt;br /&gt;
GENERAL, NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;- -&lt;br /&gt;
THE BERLIN CONFERENCE.&lt;br /&gt;
THE Government Report of the Berlin Conference&lt;br /&gt;
was not published on going to press, but we publish,&lt;br /&gt;
by the courtesy of Mr. Askwith of the Board of&lt;br /&gt;
Trade, the revised convention in French, and&lt;br /&gt;
a translation of the same from the U.S.A.&lt;br /&gt;
Publishers&rsquo; Weekly. Le Droit d&amp;#039;Auteur, the&lt;br /&gt;
official organ of the Bureau Internationale, has&lt;br /&gt;
not as yet published a report of the conference,&lt;br /&gt;
although the revised convention was published in&lt;br /&gt;
the November issue. The secretary, however, pro-&lt;br /&gt;
poses to prepare a full statement of the proceedings,&lt;br /&gt;
which will be published at the end of this month,&lt;br /&gt;
and a series of critical articles, which will appear in&lt;br /&gt;
Le Droit d&amp;#039;Auteur in the early months of this year.&lt;br /&gt;
MUSIC PUBLISHING.&lt;br /&gt;
IN one of the current issues of Musical Opinion,&lt;br /&gt;
there is an article entitled &ldquo;Advice to Young&lt;br /&gt;
Composers,&rdquo; by &ldquo;An Old Hand.&rdquo; In this article&lt;br /&gt;
the author has done the society the honour of&lt;br /&gt;
mentioning its name.&lt;br /&gt;
He is kind enough to state that the advice given&lt;br /&gt;
by this society is cheap at a guinea, and is invalu-&lt;br /&gt;
able to the young composer. This, however, is&lt;br /&gt;
not the point to which we would draw attention.&lt;br /&gt;
The article is really not half strong enough when&lt;br /&gt;
it discusses the relations between music publishers&lt;br /&gt;
and composers. For years the Society has been&lt;br /&gt;
trying to get the musical composers to combine,&lt;br /&gt;
but unsuccessfully, owing mainly to the fact that&lt;br /&gt;
there has been no leadership from those whose&lt;br /&gt;
names carry weight in the musical world ; indeed,&lt;br /&gt;
some who should be leaders have scoffed at the&lt;br /&gt;
utility of such a combination, we trust not because&lt;br /&gt;
they do not need it themselves. If ever there was&lt;br /&gt;
a profession that needed a strong combination it&lt;br /&gt;
is the musical profession. The publishers, with&lt;br /&gt;
grasping avidity, take the copyrights and perform-&lt;br /&gt;
ing rights, not in England only but everywhere.&lt;br /&gt;
The remuneration they offer is in many cases&lt;br /&gt;
grotesquely small ; and the composer is not infre-&lt;br /&gt;
quently merely the paid hack of the publisher,&lt;br /&gt;
bound to produce so much work every year.&lt;br /&gt;
The position is an outrage on the dignity of the&lt;br /&gt;
profession. If one of the younger generation&lt;br /&gt;
kicks, his compositions are either rejected or, if he&lt;br /&gt;
publishes at his own expense, they are left to rot on the&lt;br /&gt;
publisher&amp;#039;s shelves. He is gradually flogged into&lt;br /&gt;
obedience. There is only one remedy&mdash;combination.&lt;br /&gt;
If publishers found that composer after com-&lt;br /&gt;
poser would not accept terms, they would gradually&lt;br /&gt;
by slow pressure yield, and look at the matter from&lt;br /&gt;
a more rational standpoint. But the fight must&lt;br /&gt;
be a long and stubborn one, for the composers&lt;br /&gt;
have left the matter so long. In consequence, the&lt;br /&gt;
publishers feel that they have established their&lt;br /&gt;
position. If the movement will not come from&lt;br /&gt;
those who ought to be leaders, then let it come&lt;br /&gt;
from the men of the younger generation. Let&lt;br /&gt;
them show that indebtedness to their profession&lt;br /&gt;
which Bacon says every man should owe. The&lt;br /&gt;
good result is sure to come though it may be only&lt;br /&gt;
in the fulness of years.&lt;br /&gt;
*m-&ordm;sm&lt;br /&gt;
THE NUMBERS OF THE SOCIETY.&lt;br /&gt;
THIS is the commencement of the twenty-fifth&lt;br /&gt;
year of the society&amp;#039;s existence. The last year&lt;br /&gt;
closed with an election of 243 members, and the&lt;br /&gt;
last circular issued&mdash;that sent out on behalf of the&lt;br /&gt;
Pension Fund&mdash;showed a total membership of&lt;br /&gt;
considerably over 1,900. It should be stated that&lt;br /&gt;
the numbers at the end of the year are generally&lt;br /&gt;
higher than they are about March or April, for at&lt;br /&gt;
that time certain non-payers have been taken off&lt;br /&gt;
the books, and the resignations consequent on&lt;br /&gt;
the call for the annual subscription are more&lt;br /&gt;
frequent. It is possible, however, even then to&lt;br /&gt;
put down the numbers roughly at 1,900.&lt;br /&gt;
The question arises, is this result satisfactory&lt;br /&gt;
A statistician whose figures may be relied upon&lt;br /&gt;
as fairly accurate reckoned the writers of books&lt;br /&gt;
and dramatists in England at a total of 11,000.&lt;br /&gt;
There are not a few writers in the colonies who&lt;br /&gt;
belong to the society, and sundry in the United&lt;br /&gt;
States of America have found the society exceed-&lt;br /&gt;
ingly useful when their works are published both&lt;br /&gt;
sides of the water. It is to be hoped, therefore,&lt;br /&gt;
that the yearly increase will be maintained,&lt;br /&gt;
so that at no very distant date the society may&lt;br /&gt;
reckon on an annual income from subscriptions of&lt;br /&gt;
somewhere about &pound;3,000. As the income increases,&lt;br /&gt;
the expenditure increases also, for the applications&lt;br /&gt;
for legal assistance grow more numerous. The&lt;br /&gt;
legal expenditure is a heavy item in the Society&amp;#039;s&lt;br /&gt;
accounts. But when its yearly income from sub-&lt;br /&gt;
scriptious amounts to &pound;3,000, unless any serious&lt;br /&gt;
misfortune should descend, it ought to have an&lt;br /&gt;
invested capital as well of at least the same&lt;br /&gt;
amount. May the New Year show that these&lt;br /&gt;
hopes will in part, at any rate, be fulfilled.&lt;br /&gt;
THE NOBEL PRIZE.&lt;br /&gt;
THE Nobel Prize for Literature has been awarded&lt;br /&gt;
to Professor Rudolph Eucken, of Jena University,&lt;br /&gt;
to whom we beg to offer our sincere congratula-&lt;br /&gt;
tions. Professor Eucken is responsible for that&lt;br /&gt;
development of philosophy known as the New&lt;br /&gt;
Idealism, and we understand that a translation of&lt;br /&gt;
one of his most recent works, entitled &ldquo;The Life&lt;br /&gt;
of the Spirit,&rdquo; is about to be issued by Messrs.&lt;br /&gt;
Williams and Norgate.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 100 (#140) ############################################&lt;br /&gt;
&lt;br /&gt;
100&lt;br /&gt;
TRIE A UſTHOR.&lt;br /&gt;
With reference to the rumours that have appeared&lt;br /&gt;
in the daily Press of the assignment of the prize&lt;br /&gt;
to Mr. Swinburne, we have high authority for&lt;br /&gt;
saying that the decision of the Committee was&lt;br /&gt;
very nearly given in his favour. At the same&lt;br /&gt;
time, it could hardly be expected, after Mr. Rud-&lt;br /&gt;
yard Kipling&amp;#039;s success of last year, that the prize&lt;br /&gt;
would again be given to an Englishman. The&lt;br /&gt;
Nobel Prize Committee, with the whole world to&lt;br /&gt;
consider, have a very difficult duty to perform in&lt;br /&gt;
adjudicating the claims of the numerous nominees,&lt;br /&gt;
and in this especial subject of literature their&lt;br /&gt;
intentions and efforts have been to distribute the&lt;br /&gt;
prize among as many countries as possible.&lt;br /&gt;
**-ms &ldquo;s&ordm;-&lt;br /&gt;
EDITORIAL FAILINGs.&lt;br /&gt;
THE correspondence on this subject which has&lt;br /&gt;
appeared recently in our columns has brought us&lt;br /&gt;
many further communications. Information both&lt;br /&gt;
for and against Messrs. C. Arthur Pearson&amp;#039;s treat-&lt;br /&gt;
ment of MSS. has been received, though it is only&lt;br /&gt;
fair to suppose in the latter case the bad treatment&lt;br /&gt;
did not come under the notice of our correspondent&lt;br /&gt;
&ldquo;The Editor.&rdquo; Other complaints have been re-&lt;br /&gt;
ceived against publishers, and there seems a very&lt;br /&gt;
widespread feeling among authors that their&lt;br /&gt;
tentative MSS. do not as a rule receive the tender&lt;br /&gt;
handling that is their due.&lt;br /&gt;
We would state with regard to publishers that,&lt;br /&gt;
generally speaking, MSS. confided to their care&lt;br /&gt;
are treated with the greatest consideration. We&lt;br /&gt;
desire, however, to warn the few exceptions to take&lt;br /&gt;
heed of their conduct in this matter.&lt;br /&gt;
In the magazine and periodical market the&lt;br /&gt;
outlook is more serious, and the slaughter of the&lt;br /&gt;
innocents more general. It is bad enough for the&lt;br /&gt;
author to have his MS. returned&mdash;though no one&lt;br /&gt;
is to blame for this&mdash;but to receive it in a con-&lt;br /&gt;
dition that renders re-copying imperative is, as&lt;br /&gt;
one of our correspondents remarks, &ldquo;needlessly&lt;br /&gt;
cruel.&rdquo; -&lt;br /&gt;
Editors may be allowed a certain measure of&lt;br /&gt;
human failings, but not this especial short-&lt;br /&gt;
Coming.&lt;br /&gt;
THE AUTHORS&rsquo; CLUB.&lt;br /&gt;
WE are pleased to hear that Mr. George Mere-&lt;br /&gt;
dith, our president, has signified his acceptance, in&lt;br /&gt;
an autograph letter, of the invitation of the Execu-&lt;br /&gt;
tive Committee of the Authors&amp;#039; Club to occupy the&lt;br /&gt;
office of president of their General Council for the&lt;br /&gt;
ensuing year. The club held its first dinner in the&lt;br /&gt;
new premises on Thursday, the 17th of December.&lt;br /&gt;
There was a most enthusiastic gathering. Members&lt;br /&gt;
and guests to the number of seventy-five were&lt;br /&gt;
present. Mr. Charles Garvice, the chairman of the&lt;br /&gt;
club, presided. After the toast of &ldquo;The King,&rdquo;&lt;br /&gt;
&ldquo;The Prosperity of the Authors&rsquo; Club &amp;#039;&amp;#039; was the&lt;br /&gt;
first toast. It was proposed by the chairman and&lt;br /&gt;
most enthusiastically received. Mr. Francis&lt;br /&gt;
Gribble then proposed the health of the guest,&lt;br /&gt;
Sir Francis Carruthers Gould. After dinner there.&lt;br /&gt;
Was an excellent programme of music. The&lt;br /&gt;
Authors&rsquo; Club may be congratulated on the success&lt;br /&gt;
of its revival. -&lt;br /&gt;
*E****&lt;br /&gt;
&bull;&ordm;m&ordm;m&ordm;m&ordm;m&ordm;-&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
&ldquo;THE Literary Year Book&rdquo; for 1909 is just out,&lt;br /&gt;
but has arrived at the office of the society too late.&lt;br /&gt;
for review in this issue. In view of the importance&lt;br /&gt;
of this publication to members of the society it is&lt;br /&gt;
particularly necessary that it should be carefully&lt;br /&gt;
read and considered before any criticism is passed.&lt;br /&gt;
The number of authors in England, given in&lt;br /&gt;
another paragraph, is computed at 11,000. &ldquo;The&lt;br /&gt;
Literary Year Book&rdquo; contains a list of just over&lt;br /&gt;
3,000. We do not know on what principle this list&lt;br /&gt;
is compiled, nor do we know whether the list is&lt;br /&gt;
submitted as exhaustive, but if &ldquo;The Literary Year&lt;br /&gt;
Book&rsquo;s&rdquo; figures are correct, then the society&amp;#039;s mem-&lt;br /&gt;
bership of 2,000 is a cause for congratulation, but&lt;br /&gt;
we fear that the 11,000 is much nearer the truth.&lt;br /&gt;
Although we have not had time to look through&lt;br /&gt;
the volume with care, we have glanced through the&lt;br /&gt;
part referring to law and letters, and consider that,&lt;br /&gt;
in the space allotted for this complicated and&lt;br /&gt;
difficult subject, the question has been dealt with,&lt;br /&gt;
on the whole, satisfactorily. We cannot, however,&lt;br /&gt;
compliment the writer on his form of royalty&lt;br /&gt;
agreement.&lt;br /&gt;
&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;m-&ordm; Am&ordm;s&ordm;m-m-m-t&ordm;-m&ordm;&lt;br /&gt;
SIR HENRY BERGNE, K.C.M.G., K.C.B.&lt;br /&gt;
WE print the following letter from the President.&lt;br /&gt;
of La Soci&eacute;t&eacute; des Gens de Lettres with the kind&lt;br /&gt;
permission of Lady Bergne. It shows the warm.&lt;br /&gt;
appreciation that was felt for Sir Henry and his&lt;br /&gt;
work in France, and affords further evidence of&lt;br /&gt;
the value of that work for the cause of international&lt;br /&gt;
copyright.&lt;br /&gt;
MADAME,-La Soci&eacute;t&eacute; des Gens de Lettres de France a&lt;br /&gt;
&eacute;t&eacute; tr&egrave;s attrist&eacute;e en apprenant que Sir Henry Bergne,&lt;br /&gt;
ancien pr&eacute;sident de la Soci&eacute;t&eacute; des Auteurs Anglais, est&lt;br /&gt;
mort &agrave; Berlin oti il &eacute;tait venu repr&eacute;senter la Grande-&lt;br /&gt;
Bretagne &agrave; la Conf&eacute;rence pour la propri&eacute;t&eacute; litt&eacute;raire et.&lt;br /&gt;
artistique.&lt;br /&gt;
Je me suis fait un devoir de dire au Comit&eacute; quelle perte&lt;br /&gt;
font les &eacute;crivains detous les pays par la disparition Vraiment&lt;br /&gt;
cruelle et trop prompte, d&amp;#039;un homme si digne, si courtois, si&lt;br /&gt;
aimable, qui fut, toute sa vie, un d&eacute;fenseur convaincu du&lt;br /&gt;
droit des auteurs sur leur Oeuvre et qui, avec la grande:&lt;br /&gt;
autorit&eacute; morale dont il jouissait en Angleterre, aurait cer-&lt;br /&gt;
tainement contribu&eacute; a obtenir poureux une reconnaissance:&lt;br /&gt;
plus compl&eacute;te de leurs droits l&eacute;gitimes. - - -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 101 (#141) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UITISIOR.&lt;br /&gt;
101&lt;br /&gt;
Aussi le Comit&eacute; de la Soci&eacute;t&eacute; des Gens de Lettres de&lt;br /&gt;
France a-t-il manifest&eacute; par un vote unanime ses regrets&lt;br /&gt;
bien sinceres, et m&amp;#039;a-t-il confi&eacute; le soin de vous les exprimer&lt;br /&gt;
16Il SOI), Il OIOl.&lt;br /&gt;
Je le fais avec d&amp;#039;autant plus d&rsquo;&eacute;motion que, ayant eu&lt;br /&gt;
l&amp;#039;honneur de travailler a Londres et &agrave; Berlin avec sir Henry&lt;br /&gt;
Bergne, a la d&eacute;fense des justes int&eacute;r&ecirc;ts litt&eacute;raires, j&rsquo;ai pu&lt;br /&gt;
appr&eacute;cier ses qualit&eacute;s d&amp;#039;esprit et de caract&egrave;re, l&amp;#039;ardeur si&lt;br /&gt;
prudente et si avis&eacute;e qu&amp;#039;il apportait, avec tant de d&eacute;sin-&lt;br /&gt;
t&eacute;ressement personnel, &agrave; cette cause ch&egrave;re &agrave; son coeur.&lt;br /&gt;
Au nom de la Soci&eacute;t&eacute; des Gens de Lettres de France et&lt;br /&gt;
en mon nom personnel j&rsquo;ai l&rsquo;honneur de vous dire la part&lt;br /&gt;
bien Sinc&egrave;re que nous premons &agrave; votre douleur.&lt;br /&gt;
Et je vous prie de vouloir bien agr&eacute;er, Madame, l&rsquo;hom-&lt;br /&gt;
mage de messentiments de sympathie respectueuse et bien&lt;br /&gt;
attrist&eacute;e.&lt;br /&gt;
Le Pr&eacute;sident de la Soci&eacute;t&eacute; des Gens de Lettres.&lt;br /&gt;
Sign&eacute; : GEORGES LECOMTE.&lt;br /&gt;
The December number of Le Droit d&amp;#039;Auteur also&lt;br /&gt;
contains a long article, which illustrates the feeling&lt;br /&gt;
of his colleagues, the delegates of other nations. It&lt;br /&gt;
commends in the warmest language his special and&lt;br /&gt;
personal efforts toward the ends of international&lt;br /&gt;
agreement.&lt;br /&gt;
&copy;-----&lt;br /&gt;
BASIL FIELD.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N the last few months we have had to chronicle&lt;br /&gt;
the deaths of J. C. Parkinson, one of the&lt;br /&gt;
oldest members of the society and of the&lt;br /&gt;
council, of the Rev. Prof. Ilewis Campbell, and of&lt;br /&gt;
Sir Henry Bergne. Now we have to regret the&lt;br /&gt;
death of Mr. Basil Field, the head of the firm of&lt;br /&gt;
Messrs. Field, Roscoe &amp;amp; Co., the society&amp;#039;s solicitors.&lt;br /&gt;
In the early days of the society, when friends were&lt;br /&gt;
not so numerous as they are now, it was of great&lt;br /&gt;
importance to the society to have the support of&lt;br /&gt;
Mr. Field and his firm. He laboured with the&lt;br /&gt;
promoters with energy and sympathy, and his&lt;br /&gt;
mature judgment and sound practical advice often&lt;br /&gt;
guided the course of the society&amp;#039;s ship in the early&lt;br /&gt;
days of its voyage. He assisted in the society&rsquo;s&lt;br /&gt;
efforts to deal with copyright reform, and to&lt;br /&gt;
him they used to refer with confidence doubtful&lt;br /&gt;
legal issues. In the last few years he has not&lt;br /&gt;
given so much personal attention to our work as&lt;br /&gt;
previously, but his goodwill was always with the&lt;br /&gt;
society&amp;#039;s endeavours and the society&amp;#039;s aims. It&lt;br /&gt;
will be impossible for those who still remember&lt;br /&gt;
the early days to forget his labours during those&lt;br /&gt;
anxious struggles, and it is well that these facts&lt;br /&gt;
should be brought to the ken of those who never&lt;br /&gt;
knew. To Mr. Basil Field the society and all&lt;br /&gt;
members owe a deep debt of gratitude.&lt;br /&gt;
Mr. Field was born in 1835, and educated at&lt;br /&gt;
the London University, where he took his degree.&lt;br /&gt;
At the age of twenty-five he was admitted to prac-&lt;br /&gt;
tice, joining the firm of his father, Mr. Edwin&lt;br /&gt;
Field, the eminent solicitor. On the 12th of&lt;br /&gt;
December, while at the Law Society&amp;#039;s hall, he&lt;br /&gt;
suffered a paralytic stroke and was removed to his&lt;br /&gt;
home, where he died the following morning.&lt;br /&gt;
&mdash;&ordm;- A&lt;br /&gt;
-&mdash;w&lt;br /&gt;
COMMITTEE ELECTION.&lt;br /&gt;
&ndash;0&mdash;s&ordm;-0&ndash;&lt;br /&gt;
NOTICE TO ALL SUBSCRIBING MEMBERs.&lt;br /&gt;
N pursuance of Article 19 of the Articles of&lt;br /&gt;
Association of the society, the committee&lt;br /&gt;
give notice that the election of members to&lt;br /&gt;
the committee of management will be proceeded&lt;br /&gt;
with in the following manner &mdash; -&lt;br /&gt;
(1) One-third of the members of the present&lt;br /&gt;
committee of management retire from office in&lt;br /&gt;
accordance with Article 17.&lt;br /&gt;
(2) The members desiring to offer themselves&lt;br /&gt;
for re-election who have been nominated by the&lt;br /&gt;
retiring committee are the Hon. Mrs. A. L. Felkin,&lt;br /&gt;
Mr. Arthur Rackham, Mr. S. S. Sprigge, Mr.&lt;br /&gt;
Sidney Webb.&lt;br /&gt;
(3) The date fixed by the committee up to&lt;br /&gt;
which nominations by the subscribing members&lt;br /&gt;
of candidates for election to the new committee&lt;br /&gt;
may be made is the 15th day of February.&lt;br /&gt;
(4) The committee nominate the following&lt;br /&gt;
candidates, being subscribing members of the&lt;br /&gt;
Society, to fill the vacancies caused by the retire-&lt;br /&gt;
ment of one-third of the committee, according to&lt;br /&gt;
the new constitution :-&lt;br /&gt;
Mrs. A. L. Felkin (Ellen Thorneycroft Fowler).&lt;br /&gt;
Mr. Arthur Rackham.&lt;br /&gt;
Mr. S. S. Sprigge.&lt;br /&gt;
Mr. Sidney Webb.&lt;br /&gt;
The committee remind the members that under&lt;br /&gt;
Article 19 of the amended articles of association,&lt;br /&gt;
&ldquo;any two subscribing members of the society may&lt;br /&gt;
nominate one or more subscribing members, other&lt;br /&gt;
than themselves, not exceeding the number of&lt;br /&gt;
vacancies to be filled up, by notice in writing sent&lt;br /&gt;
to the secretary, accompanied by a letter signed by&lt;br /&gt;
the candidate or candidates expressing willingness&lt;br /&gt;
to accept the duties of the post.&rdquo;&lt;br /&gt;
Members desiring to exercise their powers under&lt;br /&gt;
this rule must send in the name of the candidate&lt;br /&gt;
or candidates they nominate, not exceeding four in&lt;br /&gt;
all, on or before the 15th day of February, together&lt;br /&gt;
with an accompanying letter written by the candi-&lt;br /&gt;
date or candidates expressing readiness to accept&lt;br /&gt;
nomination. The complete list of candidates will&lt;br /&gt;
be printed in the March issue of The Author.&lt;br /&gt;
Having regard to the fact that the present com-&lt;br /&gt;
mittee has not been in office for a full year, the&lt;br /&gt;
committee consider it in the interest of the society&lt;br /&gt;
not to suggest any change in the constitution.&lt;br /&gt;
They have therefore re-nominated the four retiring&lt;br /&gt;
members.&lt;br /&gt;
&agrave;.&lt;br /&gt;
w&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 102 (#142) ############################################&lt;br /&gt;
&lt;br /&gt;
102.&lt;br /&gt;
TI ILS A UTI IO PR.&lt;br /&gt;
THE PENSION FUND COMMITTEE.&lt;br /&gt;
*&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
N accordance with annual custom, and in order&lt;br /&gt;
to give members of the society, should they&lt;br /&gt;
desire to appoint a fresh member to the&lt;br /&gt;
Pension Fund Committee, full time to act, it has&lt;br /&gt;
been thought advisable to place in The Author a&lt;br /&gt;
complete statement of the method of election under&lt;br /&gt;
the scheme for administration of the Pension Fund.&lt;br /&gt;
Under that scheme the committee is composed of&lt;br /&gt;
three members elected by the committee of the&lt;br /&gt;
society, three members elected by the society at the&lt;br /&gt;
general meeting, and the chairman of the Society&lt;br /&gt;
for the time being, ea officio. The three members&lt;br /&gt;
elected at the general meeting when the fund was&lt;br /&gt;
started were Mr. Morley Roberts, Mr. M. H. Spiel-&lt;br /&gt;
mann, and Mrs. Alec Tweedie. These have in turn&lt;br /&gt;
during the past years resigned, and, submitting&lt;br /&gt;
their names for re-election, have been unanimously&lt;br /&gt;
re-elected. Mr. Spielmann resigned and was re-&lt;br /&gt;
elected in 1907. This year Mr. Morley Roberts,&lt;br /&gt;
under the rules of the scheme, tenders his resigna-&lt;br /&gt;
tion, and submits his name for re-election. The&lt;br /&gt;
members have power to put forward other names&lt;br /&gt;
under clause 9, which runs as follows:&mdash;&lt;br /&gt;
Any candidate for election to the Pension Fund Com-&lt;br /&gt;
mittee by the members of the society (not being a retiring&lt;br /&gt;
member of such committee) shall be nominated in writing&lt;br /&gt;
to the secretary at least three weeks prior to the general&lt;br /&gt;
meeting at which such candidate is to be proposed, and the&lt;br /&gt;
nomination of each such candidate shall be subscribed by&lt;br /&gt;
at least three members of the society. A list of the names&lt;br /&gt;
of the candidates so nominated shall be sent to the members&lt;br /&gt;
of the society, with the annual report of the Managing&lt;br /&gt;
Committee, and those candidates obtaining the most votes&lt;br /&gt;
at the general meeting shall be elected. to serve on the&lt;br /&gt;
Pension Fund Committee.&lt;br /&gt;
In case any member should desire to refer to the&lt;br /&gt;
list of members, the new list, taking the elections&lt;br /&gt;
up to the end of July, was published in October,&lt;br /&gt;
1907. This list is complete, with the exception of&lt;br /&gt;
the thirty-eight members referred to in the short&lt;br /&gt;
preface. All further elections have been duly&lt;br /&gt;
notified in The Author. They can easily be referred&lt;br /&gt;
to, as members receive a copy every month.&lt;br /&gt;
It will be as well, therefore, should any of the&lt;br /&gt;
members desire to put forward a candidate, to take&lt;br /&gt;
the matter within their immediate consideration.&lt;br /&gt;
The general meeting of the Society has usually&lt;br /&gt;
been held towards the end of February or the&lt;br /&gt;
beginning of March. It is essential that all&lt;br /&gt;
nominations should be in the hands of the&lt;br /&gt;
secretary before January 31, 1908.&lt;br /&gt;
&mdash;6- &mdash;r&ordm;--------&mdash;-&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S&ordm; far as can be judged at present, the year 1908.&lt;br /&gt;
has been by no means an unprosperous one&lt;br /&gt;
for the American book trade. Practically&lt;br /&gt;
the only effect of the Presidential elections has been&lt;br /&gt;
to stimulate the production of political literature.&lt;br /&gt;
Other influences that have had perceptible results&lt;br /&gt;
upon the output are last year&amp;#039;s commercial depres-&lt;br /&gt;
sion and the prevailing ferment in the religious&lt;br /&gt;
World. For the rest, novels are said to be numeri-&lt;br /&gt;
cally on the decline, but &ldquo;gift books&rdquo; more in&lt;br /&gt;
demand than ever ; whilst we have it on the&lt;br /&gt;
authority of the Publishers&rsquo; Weekly that &ldquo;the&lt;br /&gt;
public taste improves and the publishers realise&lt;br /&gt;
it.&rdquo;&lt;br /&gt;
The Milton tercentenary has been worthily&lt;br /&gt;
celebrated by the Grolier Club of New York. Some&lt;br /&gt;
three hundred portraits, with forty engravings done&lt;br /&gt;
in America, have been on exhibition, besides many&lt;br /&gt;
first editions of the poet&amp;#039;s works, and books and&lt;br /&gt;
manuscripts with his autograph. Mr. Beverley&lt;br /&gt;
Chew and his colleagues are to be congratulated on&lt;br /&gt;
the success of their efforts.&lt;br /&gt;
Perhaps the greatest achievement of American&lt;br /&gt;
scholarship during the year has been the editing of&lt;br /&gt;
the &ldquo;Tragedy of King Richard the Third,&rdquo; in the&lt;br /&gt;
Shakespearean Wariorum, by Howard Furness,&lt;br /&gt;
junior. It must have been not only a most&lt;br /&gt;
laborious but also a very difficult task.&lt;br /&gt;
We most heartily congratulate Dr. Frederick&lt;br /&gt;
Morrow Fling, of the University of Nebraska,&lt;br /&gt;
upon the great promise shown in &ldquo;The Youth of&lt;br /&gt;
Mirabeau,&rdquo; the first of three projected volumes on&lt;br /&gt;
the life of the great French statesman. In our&lt;br /&gt;
judgment it seems likely, when completed, to&lt;br /&gt;
equal, if not surpass, any historical work yet&lt;br /&gt;
Written in America, though its literary qualities&lt;br /&gt;
are scarcely on a level with its very considerable&lt;br /&gt;
Value as a monument of extensive research and&lt;br /&gt;
Critical acumen.&lt;br /&gt;
The Pennell Life of Whistler will be too familiar&lt;br /&gt;
to readers of The Author to need comment here ;&lt;br /&gt;
but there are other outstanding books of American&lt;br /&gt;
biography that must be noticed. William H.&lt;br /&gt;
Low&amp;#039;s &ldquo;A Chronicle of Friendships,&rdquo; containing&lt;br /&gt;
reminiscences of French and American artists and&lt;br /&gt;
Some recollections of the British Stevensons (R. L.&lt;br /&gt;
and R. A. M.), will be widely read ; whilst the&lt;br /&gt;
musical and dramatic worlds will be greatly inte-&lt;br /&gt;
rested in the veteran William Winter&rsquo;s &ldquo;Other&lt;br /&gt;
Days&rdquo; and Paul Wilstach&rsquo;s &ldquo;Richard Mansfield.&rdquo;&lt;br /&gt;
&ldquo;An Alabama Student and Other Biographical&lt;br /&gt;
Essays * comes from Professor Osler as a pleasant&lt;br /&gt;
reminder that the tradition of Sir Thomas Browne,&lt;br /&gt;
Oliver Wendell Holmes and Dr. John Brown is&lt;br /&gt;
being handed on&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 103 (#143) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
103.&lt;br /&gt;
Then there is that remarkable record of a&lt;br /&gt;
wanderer&amp;#039;s existence, &ldquo;My Life,&rdquo; by Josiah Flynt,&lt;br /&gt;
with its recollections of Tolstoi, Mommsen, and the&lt;br /&gt;
nameless vagrant, more especially the last. Josiah&lt;br /&gt;
Flynt Willard is said by those who knew him to have&lt;br /&gt;
talked better than he wrote ; but as someone re-&lt;br /&gt;
marked, &ldquo;It must be remembered that Flynt was the&lt;br /&gt;
tramp writing not the literary man tramping.&rdquo;&lt;br /&gt;
Of a more purely literary interest are Ferris&lt;br /&gt;
Greenslet&amp;#039;s book on Thomas Bailey Aldrich and&lt;br /&gt;
the &ldquo;Letters and Memorials of Wendell Phillips&lt;br /&gt;
Garrison,&rdquo; who edited the Nation for more than&lt;br /&gt;
forty years.&lt;br /&gt;
The third volume of Carl Schurz&amp;#039;s Reminiscences&lt;br /&gt;
are of at least equal interest to the preceding&lt;br /&gt;
instalments. Other notable additions to biographi-&lt;br /&gt;
cal literature are Henry L. Nelson&amp;#039;s Life of George&lt;br /&gt;
William Curtis, to which we may return later ;&lt;br /&gt;
and Thomas Nelson Page&amp;#039;s study of Robert E. Lee.&lt;br /&gt;
F. M. Sanborn&amp;#039;s new Hawthorne book should also&lt;br /&gt;
not be omitted in this connection.&lt;br /&gt;
In the domain of history two Boston books&lt;br /&gt;
arrest attention, M. C. Crawford&rsquo;s &ldquo;St. Botolph&amp;#039;s&lt;br /&gt;
Town,&rdquo; and James De Wolff Lovett&amp;#039;s &ldquo;Old Boston&lt;br /&gt;
Boys and the Games they Played &rdquo;; whilst we&lt;br /&gt;
have also Charles W. Colby&rsquo;s &ldquo;Canadian Types of&lt;br /&gt;
the Old R&eacute;gime,&rdquo; Galusha Anderson&rsquo;s &ldquo;A Border&lt;br /&gt;
City during the Civil War,&rdquo; and Agnes C. Laut&amp;#039;s&lt;br /&gt;
&ldquo;Conquest of the Great North-West.&rdquo;&lt;br /&gt;
Abraham Lincoln has inspired an epic, Francis&lt;br /&gt;
Howard Williams&rsquo;s &ldquo;The Burden Bearer,&rdquo; and the&lt;br /&gt;
dead preserver of the Union has received a &ldquo;tribute,&rdquo;&lt;br /&gt;
from George Bancroft. Sydney G. Fisher&amp;#039;s&lt;br /&gt;
&ldquo;Struggle for American Independence&rdquo; should have&lt;br /&gt;
appeared last year : it is a distinct addition to the&lt;br /&gt;
historical literature of America.&lt;br /&gt;
President Eliot&amp;#039;s retirement from the headship&lt;br /&gt;
of Harvard has been followed by his &ldquo;University&lt;br /&gt;
Administration,&rdquo; an important educational apologia&lt;br /&gt;
which has been and will be much read and dis-&lt;br /&gt;
cussed.&lt;br /&gt;
Another American University President, Nicholas&lt;br /&gt;
|M. Butler of Columbia, has published under the&lt;br /&gt;
title &ldquo;The American as He Is,&rdquo; his recent lectures&lt;br /&gt;
at Copenhagen. They have appeared in Danish,&lt;br /&gt;
French, and German, as well as in English.&lt;br /&gt;
&ldquo;Alaska, the Great Country,&rdquo; by Mrs. Ella&lt;br /&gt;
Higginson, issued by the Macmillan Company, is&lt;br /&gt;
a very good type of this kind of book, which to-day&lt;br /&gt;
attracts so many readers.&lt;br /&gt;
When we come to fiction our heart always fails&lt;br /&gt;
us. Selection is difficult and often invidious. It&lt;br /&gt;
has happened that we have passed over altogether&lt;br /&gt;
works of the first importance, notably, as we have&lt;br /&gt;
been reminded, those of Mrs. Atherton, whose&lt;br /&gt;
position as a novelist is incontestably in the front&lt;br /&gt;
rank.&lt;br /&gt;
An interesting experiment in this department&lt;br /&gt;
of literature has been made under the auspices of&lt;br /&gt;
the Harper Brothers. &ldquo;The Whole Family &amp;quot; is&lt;br /&gt;
a novel which is the joint composition of twelve&lt;br /&gt;
authors, among whom were Mr. James, W. D.&lt;br /&gt;
Howells, M. E. Wilkins, Elizabeth Stuart Phelps,&lt;br /&gt;
and John Kendrick Bangs.&lt;br /&gt;
In &ldquo;Lewis Rand,&rdquo; Mary Johnston seems to&lt;br /&gt;
have attained her high water-mark; and John&lt;br /&gt;
Fox, junior, in &ldquo;The Trail of the Lonesome Pine,&rdquo; a&lt;br /&gt;
romance of the South, would also appear to have&lt;br /&gt;
surpassed his previous efforts. George W. Cable&amp;#039;s&lt;br /&gt;
&ldquo;Kincaid&amp;#039;s Battery&rsquo; is a thrilling romance of&lt;br /&gt;
the South, the furthest south of New Orleans.&lt;br /&gt;
Dr. S. Weir Mitchell has given us two works of&lt;br /&gt;
fiction this fall, &ldquo;A Venture in 1777 &deg; and &ldquo;The&lt;br /&gt;
Red City.&rdquo; The former is a story of Valley&lt;br /&gt;
Forge, and recounts in stirring fashion the capture&lt;br /&gt;
of a map from the British and the conveyance of&lt;br /&gt;
it to Washington&amp;#039;s camp.&lt;br /&gt;
In &ldquo;The Diva&amp;#039;s Ruby&rsquo;&rsquo; Mr. Marion Crawford&lt;br /&gt;
has related an exciting episode in the life of his&lt;br /&gt;
former heroine.&lt;br /&gt;
Robert W. Chambers has added to his laurels&lt;br /&gt;
by &ldquo;The Firing Line&rdquo;; and Stewart White and&lt;br /&gt;
F. Hopkinson Smith have provided good stories&lt;br /&gt;
for their respective publics in the &ldquo;The River-&lt;br /&gt;
man&amp;quot; and &ldquo;Peter.&rdquo;&lt;br /&gt;
George C. Eggleston&lt;br /&gt;
Virginian stories.&lt;br /&gt;
The new Oppenheim story is called &ldquo;The Long&lt;br /&gt;
Arm of Mannister.&rdquo;&lt;br /&gt;
Amongst lady novelists&amp;#039; triumphs this season&lt;br /&gt;
are Alice MacGowan&rsquo;s &ldquo;Judith of the Cumber-&lt;br /&gt;
lands&rdquo; and Elizabeth Stuart Phelps&rsquo; &ldquo;Through&lt;br /&gt;
Life in the Past.&rdquo;&lt;br /&gt;
George P. Upton&rsquo;s &ldquo;Musical Memories,&rdquo; ex-&lt;br /&gt;
tending over half a century, should be added to&lt;br /&gt;
the tale of biographical books.&lt;br /&gt;
Booth Tarkington, in &ldquo;The Quest of Quesnay,&rdquo;&lt;br /&gt;
adds to the list begun by &ldquo;Monsieur Beaucaire.&rdquo;&lt;br /&gt;
William Farquhar Payson&rsquo;s &ldquo;Barry Gordon&amp;quot; is&lt;br /&gt;
a romance in somewhat the same vein by a less-&lt;br /&gt;
known story-teller.&lt;br /&gt;
Andrew Carnegie&rsquo;s &ldquo;Problems of To-day&rdquo; and&lt;br /&gt;
James Brown-Scott&rsquo;s &ldquo;Texts of the Peace Con-&lt;br /&gt;
ferences at the Hague&rdquo; are two publications which&lt;br /&gt;
should be of use in their several ways.&lt;br /&gt;
The publication of a concordance to Gray&amp;#039;s&lt;br /&gt;
poems, edited by Albert S. Cook, shows that the&lt;br /&gt;
eighteenth century is still of interest to Ameri-&lt;br /&gt;
cans, apart from Washington, Franklin, and the&lt;br /&gt;
Revolution.&lt;br /&gt;
The greatest loss to the American literary&lt;br /&gt;
world during the latter part of the year has been&lt;br /&gt;
that of Charles Eliot Norton, who died on&lt;br /&gt;
October 21. After a short experience of business&lt;br /&gt;
life, he returned to Harvard as a French lecturer,&lt;br /&gt;
but soon had to go to Europe for reasons of health,&lt;br /&gt;
has published two&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 104 (#144) ############################################&lt;br /&gt;
&lt;br /&gt;
104.&lt;br /&gt;
TISIES A UſTFSIOR.&lt;br /&gt;
having meanwhile published his first book,&lt;br /&gt;
&ldquo;Considerations on some Recent Social Theories&rdquo;&lt;br /&gt;
(1853). He went to Italy and formed a friendship&lt;br /&gt;
with Ruskin. On his return he published a trans-&lt;br /&gt;
lation of Dante&rsquo;s &ldquo;Vita Nuova &amp;quot; and &ldquo;Notes of&lt;br /&gt;
Travel and Study in Italy,&rdquo; and joined the cele-&lt;br /&gt;
brated Cambridge circle. He helped Lowell to&lt;br /&gt;
edit the North American Review, 1862&mdash;8, and aided&lt;br /&gt;
in the foundation of the Nation in &amp;#039;65. Having&lt;br /&gt;
spent five years in Europe, he returned to take up&lt;br /&gt;
art teaching under President Eliot, holding his&lt;br /&gt;
chair at Harvard from 1875 to 1898.&lt;br /&gt;
the friendships of Carlyle and Leslie Stephen, as well&lt;br /&gt;
as those of Emerson and Lowell, and he edited&lt;br /&gt;
several volumes of their Letters as well as those of&lt;br /&gt;
G. W. Curtis. Ruskin called Eliot &ldquo;my first real&lt;br /&gt;
tutor.&rdquo; Daniel Coit Gilman, who died earlier in&lt;br /&gt;
the same month, was successively a Professor at&lt;br /&gt;
Yale, and President of the University of California&lt;br /&gt;
and Johns Hopkins. He was also head of the&lt;br /&gt;
Carnegie Institute and of the National Civil&lt;br /&gt;
Service Reform League, and published several&lt;br /&gt;
biographies and educational works. Harvard lost&lt;br /&gt;
its Professor of Greek and Dean of the Graduate&lt;br /&gt;
School, John Henry Wright, on November 25, and&lt;br /&gt;
earlier in the same month another alumnus and&lt;br /&gt;
benefactor, John Harvey Treat. Esther Chamber-&lt;br /&gt;
lain, who died at Mount Clemens, Michigan, was&lt;br /&gt;
author of &ldquo;The Court of Chance,&rdquo; and other&lt;br /&gt;
popular stories. Frank Parsons (died September 26)&lt;br /&gt;
lectured on law at the Boston University, and on&lt;br /&gt;
other subjects in Ruskin University, Missouri and&lt;br /&gt;
Kansas College, and was a prolific author. &ldquo;The&lt;br /&gt;
Railways, the Trusts, and the People &amp;#039;&amp;#039; (1906) was&lt;br /&gt;
his last work.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
TERCENTENARY CELE-&lt;br /&gt;
BRATIONS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
f HE Tercentenary of Milton&amp;#039;s birth was&lt;br /&gt;
celebrated on the 8th, 9th, and 10th of&lt;br /&gt;
December by the British Academy, sup-&lt;br /&gt;
ported by all the leading representatives of&lt;br /&gt;
Literature, Music, Drama, and Science, and also&lt;br /&gt;
by many services, lectures, meetings, and exhibi-&lt;br /&gt;
tions held in the metropolis and the provinces.&lt;br /&gt;
The ceremonies of the British Academy on the&lt;br /&gt;
first day were opened with an address by Dr.&lt;br /&gt;
A. W. Ward, the Master of Peterhouse, which was&lt;br /&gt;
followed by the recitation by Professor I. Gollancz&lt;br /&gt;
of some lines on Milton contributed by Mr. George&lt;br /&gt;
Meredith, whose advanced age prevented him from&lt;br /&gt;
being present. The lines, which Mr. Meredith&lt;br /&gt;
has kindly given us permission to reprint, were as&lt;br /&gt;
follows:&mdash;&lt;br /&gt;
THE MILTON&lt;br /&gt;
He enjoyed&lt;br /&gt;
MILTON.&lt;br /&gt;
December 9, 1608 : December 9, 1908.&lt;br /&gt;
What splendour of imperial station man,&lt;br /&gt;
The Tree of Life, may reach when, rooted fast,&lt;br /&gt;
His branching stem points way to upper air&lt;br /&gt;
And skyward still aspires, we see in him&lt;br /&gt;
Who Sang for us the Archangelical host&lt;br /&gt;
Made Morning by old Darkness urged to the abyss&lt;br /&gt;
A voice that down three centuries onward rolls;&lt;br /&gt;
Onward will roll while lives our English tongue,&lt;br /&gt;
In the devout of music unsurpassed -&lt;br /&gt;
Since Piety won Heaven&amp;#039;s ear on Israel&rsquo;s harp.&lt;br /&gt;
The face of Earth, the soul of Earth, her charm,&lt;br /&gt;
Her dread austerity ; the quavering fate&lt;br /&gt;
Of mortals with blind hope by passion swayed,&lt;br /&gt;
His mind embraced, the while on trodden soil,&lt;br /&gt;
Defender of the Commonwealth, he joined&lt;br /&gt;
Our temporal fray, whereof is vital fruit,&lt;br /&gt;
And choosing armoury of the Scholar, stood&lt;br /&gt;
Beside his peers to raise the voice for Freedom :&lt;br /&gt;
Nor has fair Liberty a champion armed&lt;br /&gt;
To meet on heights or plains the Sophister&lt;br /&gt;
Throughout the ages, equal to this man,&lt;br /&gt;
Whose spirit breathed high Heaven, and drew thenc&lt;br /&gt;
The ethereal sword to Smite. .&lt;br /&gt;
Were England sunk&lt;br /&gt;
Beneath the shifting tides, her heart, her brain,&lt;br /&gt;
The Smile she wears, the faith she holds, her best,&lt;br /&gt;
Would live full-toned in the grand delivery&lt;br /&gt;
Of his cathedral speech : an utterance&lt;br /&gt;
Almost divine, and such as Hellespont,&lt;br /&gt;
Crashing its breakers under Ida&amp;#039;s frown,&lt;br /&gt;
Inspired : yet worthier he, whose instrument&lt;br /&gt;
Was by comparison the coarse reed-pipe ;&lt;br /&gt;
Whereof have come the marvellous harmonies,&lt;br /&gt;
Which, with his lofty theme, of infinite range,&lt;br /&gt;
Abash, entrance, exalt,&lt;br /&gt;
We need him now,&lt;br /&gt;
This latest Age in repetition cries :&lt;br /&gt;
For Belial, the adroit, is in our midst ;&lt;br /&gt;
Mammon, more swoln to squeeze the slavish sweat&lt;br /&gt;
From hopeless toil : and overshadowingly&lt;br /&gt;
(Aggrandized, monstrous in his grinning mask&lt;br /&gt;
Of hypocritical Peace), inveterate Moloch&lt;br /&gt;
Remains the great example.&lt;br /&gt;
Homage to him&lt;br /&gt;
His debtor band, innumerable as waves&lt;br /&gt;
Running all golden from an eastern Sun,&lt;br /&gt;
Joyfully render, in deep reverence&lt;br /&gt;
Subscribe, and as they speak their Milton&amp;#039;s name,&lt;br /&gt;
Rays of his glory on their foreheads bear.&lt;br /&gt;
GEORGE MEREDITH.&lt;br /&gt;
&ldquo;After the applause &rsquo;&rsquo;&mdash;said the Times report&mdash;&lt;br /&gt;
&ldquo;which followed the reciting of the lines had&lt;br /&gt;
ceased, Dr. Ward expressed the sincere and cordial&lt;br /&gt;
thanks of the Academy to Mr. Meredith for his&lt;br /&gt;
message. No greater grace, he said, could have&lt;br /&gt;
been added to their tribute than the Words which&lt;br /&gt;
Mr. Meredith had sent them. (Cheers.)&rdquo;&lt;br /&gt;
The meeting closed with an address by Sir&lt;br /&gt;
Frederick Bridge on &ldquo;Milton and Music,&rdquo; during&lt;br /&gt;
the course of which members of the Westminster&lt;br /&gt;
Abbey Choir, accompanied by the Grimson Quartet,&lt;br /&gt;
rendered compositions from the incidental music&lt;br /&gt;
written for the first performance of &ldquo;Comus.&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 105 (#145) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIES ACTRIOR.&lt;br /&gt;
105&lt;br /&gt;
On the 9th&ndash;the poet&amp;#039;s birthday&mdash;a commemo-&lt;br /&gt;
ration service was held at Bow Church, the sermon&lt;br /&gt;
being delivered by the Bishop of Ripon on the&lt;br /&gt;
text of verses 4 and 5 of the second chapter of&lt;br /&gt;
Zechariah. In the evening a banquet was given&lt;br /&gt;
at the Mansion House by the Lord Mayor, Sir&lt;br /&gt;
George Wyatt Truscott. The speakers were the&lt;br /&gt;
Lord Mayor (&ldquo;The King&rdquo;); Canon Beeching&lt;br /&gt;
(&ldquo;The Immortal Memory of John Milton &rsquo;&rsquo;); the&lt;br /&gt;
Italian Ambassador (&ldquo;Poetry&rdquo;), in reply, Mr.&lt;br /&gt;
Alfred Austin, P.L. ; Mr. Justice Darling&lt;br /&gt;
(&ldquo;Music and Drama&rdquo;), in reply, Sir Hubert&lt;br /&gt;
Parry (&ldquo;Music&rdquo;) and Mr. Pinero (&ldquo;Drama&amp;quot;); the&lt;br /&gt;
American Ambassador (&ldquo;The Lord Mayor&rsquo;&rsquo;), sup-&lt;br /&gt;
ported by Dr. A. W. Ward.&lt;br /&gt;
On the 10th, at an ordinary general meeting of&lt;br /&gt;
the British Academy, Dr. A. W. Ward announced&lt;br /&gt;
that the Council had passed votes of special thanks&lt;br /&gt;
to the Lord Mayor, Sir Frederick Bridge, Mr.&lt;br /&gt;
George Meredith, the Rev. A. W. Hutton (incum-&lt;br /&gt;
bent of Bow Church), Professor I. Gollancz, and&lt;br /&gt;
the Press generally, for the great assistance they&lt;br /&gt;
had rendered to the Academy in the celebrations.&lt;br /&gt;
The following papers were then read : &ldquo;Samson&lt;br /&gt;
Agonistes and the Hellenic Drama,&rdquo; by the late&lt;br /&gt;
Sir Henry Jebb : &ldquo;Milton in the Eighteenth&lt;br /&gt;
Century (1701&mdash;1750),&rdquo; by Professor Edward&lt;br /&gt;
Dowden ; &ldquo;Milton&amp;#039;s Fame on the Continent,&rdquo; by&lt;br /&gt;
Professor J. G. Robertson ; &ldquo;Milton as Schoolboy&lt;br /&gt;
and Schoolmaster,&rdquo; by Mr. Arthur F. Leach ; and&lt;br /&gt;
&ldquo;A Consideration of Macaulay&amp;#039;s Comparison of&lt;br /&gt;
Dante and Milton,&rdquo; by Mr. W. J. Courthope.&lt;br /&gt;
A seemly close to the celebrations was provided&lt;br /&gt;
by the performance in the Theatre, Burlington&lt;br /&gt;
Gardens, of &ldquo;Samson Agonistes&rdquo; before a brilliant&lt;br /&gt;
audience, including the Princess Louise and the&lt;br /&gt;
Duke and Duchess of Argyll, on December 16.&lt;br /&gt;
This, it is worth noting, was the first public repre-&lt;br /&gt;
sentation of the play. The cast was made up as&lt;br /&gt;
follows :--&lt;br /&gt;
Samson Mr. Ian Maclaren.&lt;br /&gt;
&lsquo;Manoa Mr. Chas. A. Doran.&lt;br /&gt;
T)alila 1Miss Evelyn Weeden.&lt;br /&gt;
Harapha . Mr. Lionel Braham.&lt;br /&gt;
Public Officer Mr. Clive Currie.&lt;br /&gt;
NLessenger &ordm; . Mr. Percy Anstey.&lt;br /&gt;
&ldquo;Dalila,&rdquo; according to the Times report, &ldquo;wore&lt;br /&gt;
an Elizabethan dress of great splendour, while&lt;br /&gt;
Harapha&amp;#039;s attendants and the soldiers were&lt;br /&gt;
dressed as Romans, Samson&amp;#039;s attendant as a Greek,&lt;br /&gt;
and the Danites in a dress we did not recognise.&rdquo;&lt;br /&gt;
The action passed before a background of&lt;br /&gt;
purple hangings&mdash;a fit setting for &ldquo;grave-browed&lt;br /&gt;
Milton&amp;#039;s solemn harmonies.&rdquo;&lt;br /&gt;
* f&ordm;&lt;br /&gt;
w w&lt;br /&gt;
&mdash;a-&lt;br /&gt;
&mdash;w-&lt;br /&gt;
THE WRITERS&rsquo; AND ARTISTS&amp;#039; YE&lt;br /&gt;
BOOK, 1909.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N always welcome publication is &ldquo;The&lt;br /&gt;
A. Writers&amp;#039; Year Book.&rdquo; It is handy, well&lt;br /&gt;
arranged, and never wastes space with&lt;br /&gt;
useless information. In fact it is quite indis-&lt;br /&gt;
pensable, and, if it were adequate, would be quite&lt;br /&gt;
invaluable. It is, however, some way from per-&lt;br /&gt;
fection yet, although in every succeeding issue&lt;br /&gt;
something is added towards that desirable con&lt;br /&gt;
summation.&lt;br /&gt;
In the present&mdash;the fourth annual&mdash;issue, the&lt;br /&gt;
list of English periodicals and the information&lt;br /&gt;
about each could hardly be bettered ; the English&lt;br /&gt;
publishers&amp;#039; list, too, is good, and so are the lists of&lt;br /&gt;
colour printers, literary agents, photographers&lt;br /&gt;
and so on. Other lists included are also good &mdash;&lt;br /&gt;
quite good, as far as they go ; but here it becomes&lt;br /&gt;
necessary to drop generalisation for detail.&lt;br /&gt;
The two new features of the 1909 Year Book&lt;br /&gt;
are the addition of particulars and information to&lt;br /&gt;
the list of American journals and magazines, and&lt;br /&gt;
a list of English syndicates that purchase MSS.&lt;br /&gt;
In the latter we miss the National Press Agency&lt;br /&gt;
of Whitefriars, and notice that the Northern&lt;br /&gt;
Newspaper Syndicate appears as the Northern&lt;br /&gt;
Syndicate. In the former are quite a number of&lt;br /&gt;
omissions. We are well aware that the periodicals&lt;br /&gt;
published in the States total well over 20,000,&lt;br /&gt;
and therefore it would be impossible to include all&lt;br /&gt;
of them ; at the same time it is stated in the&lt;br /&gt;
preface that &ldquo;all the leading American magazines&lt;br /&gt;
and journals.&rdquo; are included. We are therefore&lt;br /&gt;
constrained to give a short list of some of the&lt;br /&gt;
leading periodicals that are not, as follows:&ndash;&lt;br /&gt;
Aeron&aacute;utics, Designer, International Studio, Life,&lt;br /&gt;
Live Wire, Scrap Book, Scrip, Strand, Theater,&lt;br /&gt;
Town and Country, World&amp;#039;s Work and Yachting,&lt;br /&gt;
all o New York ; Technical World, Chicago, Ill. ;&lt;br /&gt;
Jiving Age, Boston, Mass. ; Spare Moments,&lt;br /&gt;
Rochester, N.Y.; People&amp;#039;s Popular Monthly, Des&lt;br /&gt;
Moines, Ia. : Sunset Maſſazine, San Francisco, Cal. ;&lt;br /&gt;
Holland&amp;#039;s Magazine, Dallas, Texas; South Atlantic&lt;br /&gt;
Quarterly, Durham, N.C. ; and among juvenile&lt;br /&gt;
periodicals we fail to find Children&amp;#039;s Magazine,&lt;br /&gt;
N.Y.C.; Youth, Philadelphia, Pa.; American Boy,&lt;br /&gt;
Detroit, Mich. ; and Practical Young America,&lt;br /&gt;
Des Moines, Ia. Among the leading religious&lt;br /&gt;
papers omitted are:&ndash;Catholic AWews (R.C.);&lt;br /&gt;
Benziger&amp;#039;s Magazine (R.C.), Church Economist,&lt;br /&gt;
Churchman (Epis.), Epaminer (Baptist), Christian&lt;br /&gt;
Advocate (Presb.), all of New York; Expositor,&lt;br /&gt;
Cleveland, Ohio ; Ram&amp;#039;s Horn, Chicago, Ill. ;&lt;br /&gt;
Westminster, Philadelphia, Pa.&lt;br /&gt;
* The Writers&rsquo; and Artists&amp;#039; Year Book, 1909. Messrs.&lt;br /&gt;
A. and C, Black, 1s. m.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 106 (#146) ############################################&lt;br /&gt;
&lt;br /&gt;
106&lt;br /&gt;
TISIE A DfTISIOR.&lt;br /&gt;
The list of American publishers is still far from&lt;br /&gt;
complete. No indication is given of what their&lt;br /&gt;
special lines are, and only general addresses are&lt;br /&gt;
given. The following are not included:&mdash;Ames&lt;br /&gt;
Publishing Co., Clyde, Ohio : T. S. Denison,&lt;br /&gt;
Chicago, Ill. ; The Ball Publishing Co., Boston ;&lt;br /&gt;
Dramatic Publishing Co., Chicago, Ill. : Saalfield&lt;br /&gt;
Publishing Co., New York ; E. A. Fink, New&lt;br /&gt;
York ; Samuel French, New York ; Penn Publish-&lt;br /&gt;
ing Co., Philadelphia, Pa. It is only fair to add&lt;br /&gt;
that Samuel French&amp;#039;s American address is given in&lt;br /&gt;
the English publishers&rsquo; list. On the other hand,&lt;br /&gt;
Frederick Warne appears rightly in both lists.&lt;br /&gt;
Before passing on we beg the editor to correct&lt;br /&gt;
the well-known name of Moffatt (of Moffatt, Yard&lt;br /&gt;
&amp;amp; Co.) It has appeared as &ldquo;Moffett &amp;quot; these two&lt;br /&gt;
years. -&lt;br /&gt;
In the classified index that concludes the&lt;br /&gt;
book there are some glaring inconsistencies.&lt;br /&gt;
We only propose to mention a few instances,&lt;br /&gt;
merely sufficient to justify our assertion.&lt;br /&gt;
Aeronautics appears as an American magazine.&lt;br /&gt;
This as far as it goes is correct. But Aeronautics&lt;br /&gt;
does not appear among the list of American pub-&lt;br /&gt;
lications, whereas the English Aeronautics is&lt;br /&gt;
included in its own list, but not in the index.&lt;br /&gt;
Publishers&rsquo; Weekly is in the American list, but not&lt;br /&gt;
in the index. The two religious American&lt;br /&gt;
periodicals in the list are not in the index. The&lt;br /&gt;
New Democrat in the English list is not in the&lt;br /&gt;
index&mdash;and so on.&lt;br /&gt;
Furthermore, Pearson&amp;#039;s Magazine appears&lt;br /&gt;
rightly in both English and American lists, Strand&lt;br /&gt;
Magazine is only in the English list and Smart Set&lt;br /&gt;
only in the American.&lt;br /&gt;
Finally, if the Year Book is sufficiently up-to-&lt;br /&gt;
date to include Victor Grayson as a co-editor of&lt;br /&gt;
the New Age, why are the Englishman and the&lt;br /&gt;
Scout omitted in the English list and Travel and&lt;br /&gt;
&pound;pploration, the new monthly, whose advent this&lt;br /&gt;
month has been announced for some time past 2&lt;br /&gt;
We object to pulling a book to pieces, and where&lt;br /&gt;
we cannot commend, we generally refrain from&lt;br /&gt;
all comment. In the case of &ldquo;The Writers&amp;#039; Year&lt;br /&gt;
Book,&rdquo; bowever, the case is different, for it is a&lt;br /&gt;
book which is essential to many members of the&lt;br /&gt;
Authors&rsquo; Society. Though, as we have stated, it&lt;br /&gt;
grows better year by year, there is considerable room&lt;br /&gt;
for improvement.&lt;br /&gt;
The idea of the book is excellent, but the contents&lt;br /&gt;
should be accurate and adequate. These points&lt;br /&gt;
might be easily attained by a little more care and&lt;br /&gt;
attention to details.&lt;br /&gt;
We recommend the book, as it is the only one of&lt;br /&gt;
its kind before the public, yet consider that its use-&lt;br /&gt;
fulness, and in consequence its circulation, might&lt;br /&gt;
very well be increased. -&lt;br /&gt;
- : Z.&lt;br /&gt;
HARDY ANNUALS.*&lt;br /&gt;
&mdash;e-&ordm;-o-&lt;br /&gt;
Ch&ordm;i would hardly be recognisable&lt;br /&gt;
J without the crop of reference books which&lt;br /&gt;
blaze in red covers on the reviewer&amp;#039;s table at&lt;br /&gt;
this season. Not least among them are &ldquo;Who&rsquo;s&lt;br /&gt;
Who &amp;quot; and &ldquo;Who&rsquo;s Who Year Book,&rdquo; from&lt;br /&gt;
Messrs. A. &amp;amp; C. Black, and the &ldquo;Daily Mail&lt;br /&gt;
Year Book.&rdquo;&lt;br /&gt;
The first of these old friends is as interesting as&lt;br /&gt;
ever. Seventy-two pages have been added to the&lt;br /&gt;
biographies since last year, making a total of&lt;br /&gt;
2,112 pages; but whether this is because there&lt;br /&gt;
are more people of importance or because there is&lt;br /&gt;
less mortality among the famous, the reviewer is&lt;br /&gt;
unable to determine. If we were to suggest any-&lt;br /&gt;
thing for its improvement it would be that&lt;br /&gt;
biographies that are purely autobiographies should&lt;br /&gt;
be starred, so that the future historian of these&lt;br /&gt;
times referring to its pages may be able to marshal&lt;br /&gt;
his facts with some degree of accuracy.&lt;br /&gt;
&ldquo;Who&rsquo;s Who Year-Book&rdquo; (should it not be&lt;br /&gt;
&ldquo;Who&rsquo;s Who&amp;#039;s Year Book&rdquo; 2) is made up of the&lt;br /&gt;
tables, which, says the editor, &ldquo;were formerly such&lt;br /&gt;
a popular feature in &ldquo;Who&rsquo;s Who.&rsquo;&rdquo; The new tables&lt;br /&gt;
in the present issue include those of Newdigate&lt;br /&gt;
Prizemen and Nobel Prize winners. Among other&lt;br /&gt;
information of special interest to authors are lists&lt;br /&gt;
of the London offices of the leading Indian and&lt;br /&gt;
colonial newspapers, of pseudonyms and pen-&lt;br /&gt;
names, and of peculiarly-pronounced proper&lt;br /&gt;
Ila,I\leS.&lt;br /&gt;
The last volume before us worthily maintains&lt;br /&gt;
the standard of its eight predecessors. The brains&lt;br /&gt;
of the year 1908 are skilfully picked and displayed&lt;br /&gt;
in a bold and comprehensive way. In the list of&lt;br /&gt;
this year&amp;#039;s centenaries we notice Edgar Allan&lt;br /&gt;
Poe (January 19), Edward Fitzgerald (March 31),&lt;br /&gt;
Richard Monckton Milnes (June 19), A. W.&lt;br /&gt;
Kingslake (August 5), Lord Tennyson (August 6),&lt;br /&gt;
and Oliver Wendell Holmes (August 29).&lt;br /&gt;
-*&mdash; a&lt;br /&gt;
MUSICAL CRITICS AND PUBLISHERS:&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NIR CHARLES WILLIERS STANFORD&rsquo;S&lt;br /&gt;
&ldquo;Studies and Memories &amp;#039;&amp;#039; is well worth&lt;br /&gt;
reading for the light it throws on some&lt;br /&gt;
phases of English music, and for the notes that he&lt;br /&gt;
has put together of his own personal experience of&lt;br /&gt;
men and matters; but it is not these so much that&lt;br /&gt;
* &ldquo;Who&amp;#039;s Who, 1909&amp;quot; (A. &amp;amp; C. Black), 10s. n. ; &ldquo;Who&amp;#039;s&lt;br /&gt;
Who Year Book, 1909&amp;quot; (A. &amp;amp; C. Black), 18. n. ; &ldquo;Daily&lt;br /&gt;
Mail Year Book&rdquo; (edited by Percy L. Parker, Associated&lt;br /&gt;
Newspapers, Ltd.), 6d. n. -&lt;br /&gt;
f &ldquo;Studies and Memories,&rdquo; by Sir Charles Williers&lt;br /&gt;
Stanford. Constable and Co., 7s. 6d. net.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 107 (#147) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
107&lt;br /&gt;
appeal to us as his two chapters, one on &ldquo;Criticism&lt;br /&gt;
in England,&rdquo; the other on &ldquo;Music Publishing in&lt;br /&gt;
England.&rdquo; His complaint in each case seems due&lt;br /&gt;
to the same cause, modern superficiality and lack&lt;br /&gt;
of serious study.&lt;br /&gt;
These two seem to be a natural sequence of the&lt;br /&gt;
modern desire for rapidity and change.&lt;br /&gt;
He brings two charges against the critics : first,&lt;br /&gt;
that they are bound to fill their paper the day after&lt;br /&gt;
any important performance ; in other words, have&lt;br /&gt;
to leave the theatre or the concert at about 11.30,&lt;br /&gt;
and produce some sort of article to satisfy the&lt;br /&gt;
public in time to go to press for the next day&amp;#039;s&lt;br /&gt;
paper. The second, that one man should write&lt;br /&gt;
five or six different notices, in different papers,&lt;br /&gt;
leading the public to think that they come from as&lt;br /&gt;
many different critics.&lt;br /&gt;
Both these charges are serious, but it is difficult&lt;br /&gt;
&mdash;almost impossible&mdash;to remedy them. The first&lt;br /&gt;
might be altered as the author himself suggests, but&lt;br /&gt;
the second seems past cure. Did not Sir Arthur&lt;br /&gt;
Conan Doyle lay his lance in rest against this second&lt;br /&gt;
windmill, and unsuccessfully, some years ago&lt;br /&gt;
In chapter number two he complains that serious&lt;br /&gt;
music is not given a chance by the English pub-&lt;br /&gt;
lisher. This no doubt springs from the same two&lt;br /&gt;
causes&mdash;superficiality and rapidity. Superficiality,&lt;br /&gt;
for the public who pay will not waste their time&lt;br /&gt;
on serious study unless it is forced upon them ; and&lt;br /&gt;
rapidity, for the publishers, being men of business,&lt;br /&gt;
like to gamble in quick and substantial returns,&lt;br /&gt;
rather than laboriously to sow the seed and fertilise&lt;br /&gt;
a slow-growing though luxuriant crop.&lt;br /&gt;
But there is no doubt another reason. The&lt;br /&gt;
terms offered by musical publishers to the writers&lt;br /&gt;
of serious music are enough to strangle any industry.&lt;br /&gt;
The authors of literature have much to complain&lt;br /&gt;
of, but the terms they are able to get are not unsatis-&lt;br /&gt;
factory. The unfortunate composers have never&lt;br /&gt;
had any combination ; in spite of various attempts&lt;br /&gt;
made on their behalf; have never tried to take&lt;br /&gt;
their neck from under the yoke. In consequence&lt;br /&gt;
of this long and passive endurance the publishers&lt;br /&gt;
in their contracts make the most fanciful demands,&lt;br /&gt;
and get them. 1 *&lt;br /&gt;
They ask for all copyrights; the composers&lt;br /&gt;
yield without a struggle. They ask for all per-&lt;br /&gt;
forming rights; the composers bow their heads&lt;br /&gt;
in acquiescence. #31&amp;amp;Q 2. B&ordm;&ouml;0. Klead&lt;br /&gt;
If they asked for more still, no doubt they would&lt;br /&gt;
get it. For these rights they pay varying sums,&lt;br /&gt;
according to their business instinct and to the&lt;br /&gt;
composer&amp;#039;s ignorance, and the rights are marketed&lt;br /&gt;
or not according to the publisher&amp;#039;s fancy or lack of&lt;br /&gt;
enterprise. If by any chance in years to come the&lt;br /&gt;
composer becomes famous, then it is not the&lt;br /&gt;
&ordm; of the work but the publisher who becomes&lt;br /&gt;
TIC[]. * . .&lt;br /&gt;
&ldquo;DE LIBRIS.&amp;quot; -&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE first thought of the reviewer in reading a&lt;br /&gt;
book of prose and verse by Mr. Austen&lt;br /&gt;
Dobson is, like Little Jack Horner, to put&lt;br /&gt;
in his thumb and pull out the plums.&lt;br /&gt;
In other words, though we admire the author as&lt;br /&gt;
a writer of essays, we love him as a writer of verse.&lt;br /&gt;
It could hardly be expected in a book De Libris&lt;br /&gt;
to come across poems of such beauty of subject&lt;br /&gt;
and delicacy of treatment as &ldquo;Before Sedan,&rdquo;&lt;br /&gt;
&ldquo;The Dying of Tanneguy de Bois,&rdquo; or &ldquo;The For-&lt;br /&gt;
gotten Grave,&rdquo; though perhaps &ldquo;A Revolutionary&lt;br /&gt;
Relic&rdquo; might have been included. Mr. Dobson in&lt;br /&gt;
this volume is in the lighter vein. In &ldquo;The&lt;br /&gt;
Passionate Printer to his Love&amp;quot; he deals with the&lt;br /&gt;
printer&amp;#039;s jargon dexterously &mdash; -&lt;br /&gt;
Your cheek seems &ldquo; Ready for the Press&rsquo;&rsquo;;&lt;br /&gt;
Your laugh as Clarendon is clear ;&lt;br /&gt;
There&amp;#039;s more distinction in your dress&lt;br /&gt;
Than in the oldest Elzevil&amp;#039;.&lt;br /&gt;
And in &ldquo;An Epistle to an Editor&rdquo; there is some&lt;br /&gt;
Sound advice which many a modern critic might&lt;br /&gt;
take to heart.&lt;br /&gt;
All his essays show the devout student. It&lt;br /&gt;
would be astonishing to find a misquotation, a&lt;br /&gt;
false date, in the writings of one so careful to verify&lt;br /&gt;
his facts. &ldquo;Books and their Associations&rdquo; is indeed&lt;br /&gt;
a masterpiece of Mr. Dobson&rsquo;s art. He leads you&lt;br /&gt;
forward from One treasured volume to another,&lt;br /&gt;
till the reader feels the fascination of the book&lt;br /&gt;
collector creeping over him, and straightway goes&lt;br /&gt;
out to search the second-hand book shops.&lt;br /&gt;
Here too is an example of his accuracy.&lt;br /&gt;
Speaking of the &ldquo;Works&rdquo; of mock-heroic John&lt;br /&gt;
Phillips, 1720, he remarks: &ldquo;This copy bears also&lt;br /&gt;
on the title page the autograph of James Thomson,&lt;br /&gt;
not yet the author of &lsquo;The Seasons.&rsquo;&rdquo;&lt;br /&gt;
Two essays on &ldquo;Modern Illustrators&rdquo; (Kate&lt;br /&gt;
Greenaway and Hugh Thomson), with sundry&lt;br /&gt;
examples of their art, further help to waken the&lt;br /&gt;
reader&amp;#039;s interest.&lt;br /&gt;
To the book lover&amp;#039;s library, &ldquo;De Libris&amp;quot; will&lt;br /&gt;
certainly be a pleasant addition.&lt;br /&gt;
&mdash;e&mdash;&ordm;-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-O-0&ndash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
SIR,--I hope, as a humble individual and mem-&lt;br /&gt;
ber of the Society, that there are many who will&lt;br /&gt;
respond to Mr. Douglas Freshfield&amp;#039;s recent appeal&lt;br /&gt;
on behalf of the Pension Fund.&lt;br /&gt;
* &ldquo;De Libris,&rdquo; Prose and Verse, by Austen Dobson.&lt;br /&gt;
Published by Macmillan &amp;amp; Co.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#148) ############################################&lt;br /&gt;
&lt;br /&gt;
108&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
May I make the suggestion that all those who&lt;br /&gt;
use the Society in any way, or utilise the services&lt;br /&gt;
of our secretary, council, or others connected with&lt;br /&gt;
the Society, should make a point of sending a&lt;br /&gt;
donation towards the Pension Fund 2&lt;br /&gt;
Some publishers and editors appear to possess a&lt;br /&gt;
keen desire to give authors and writers as much&lt;br /&gt;
trouble and inconvenience (to put it mildly) as&lt;br /&gt;
possible, and I have found in several instances that&lt;br /&gt;
only as a result of intervention by the society has&lt;br /&gt;
any good been done.&lt;br /&gt;
Personally, I am under great obligation to&lt;br /&gt;
Mr. Thring for much valuable assistance. As a&lt;br /&gt;
result of this, and in response to Mr. Freshfield&amp;#039;s&lt;br /&gt;
appeal, it has afforded me pleasure to contribute a&lt;br /&gt;
Small donation towards the Pension Fund, and I&lt;br /&gt;
suggest that those fellow members who feel under&lt;br /&gt;
the same obligation to the society should do&lt;br /&gt;
likewise.&lt;br /&gt;
The guinea per annum that we contribute is&lt;br /&gt;
a mere bagatelle, and we should all show our&lt;br /&gt;
willingness to support the council in their efforts&lt;br /&gt;
to put the finances of the Pension Fund in a&lt;br /&gt;
thoroughly sound condition, if for no other reason&lt;br /&gt;
because in supporting our less fortunate craftsmen&lt;br /&gt;
and women we shall, indirectly, be preparing for&lt;br /&gt;
ourselves against a rainy day.&lt;br /&gt;
I am, Sir,&lt;br /&gt;
Your Obedient Servant,&lt;br /&gt;
W. PERCIVAL WESTELL, F.L.S.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HEROES AND HEROINES-CHIEFLY HEROINEs.&lt;br /&gt;
SIR,--In taking up the challenge of S. to deal&lt;br /&gt;
with men&amp;#039;s heroines, I wish to begin by saying that I&lt;br /&gt;
fully agree with him regarding John and Jack. I&lt;br /&gt;
feel that I have myself invented several Johns and&lt;br /&gt;
Jacks, though I do not think many English&lt;br /&gt;
authoresses are quite so bad as E. Werner in Ger-&lt;br /&gt;
many, who invariably brings out two types of hero&lt;br /&gt;
in each book, which I suppose represent John and&lt;br /&gt;
Jack to the German mind&mdash;one proud, dark,&lt;br /&gt;
melancholy and Byronic, the other fair, frivolous,&lt;br /&gt;
and good-tempered.&lt;br /&gt;
Most of us agree with the lady S. quotes in&lt;br /&gt;
approving of George Meredith&rsquo;s women, but not on&lt;br /&gt;
her grounds. We feel that George Meredith and&lt;br /&gt;
Shakespeare, unlike most men authors, realise that&lt;br /&gt;
women have a relation to women and not only to&lt;br /&gt;
men. One might almost say that until George&lt;br /&gt;
Meredith wrote, Shakespeare was the only man who&lt;br /&gt;
grasped this fact, and were it not for him we&lt;br /&gt;
might almost have imagined that love and loyalty&lt;br /&gt;
did not exist between women until our own period.&lt;br /&gt;
But Beatrice, Sylvia, Celia, and many others are&lt;br /&gt;
capable of faithful and honest friendship; and so&lt;br /&gt;
are George Meredith&amp;#039;s women, and we welcome&lt;br /&gt;
their advent into literature.&lt;br /&gt;
This is not a small matter in the portraiture of&lt;br /&gt;
Women, for it shows that the author distinguishes&lt;br /&gt;
between the &ldquo;female&rsquo;&rsquo; and the woman. This is&lt;br /&gt;
exactly what Thackeray does not do. One of the&lt;br /&gt;
characteristics of the &ldquo;female&rdquo; is jealousy, and&lt;br /&gt;
therefore Thackeray makes his good women in&lt;br /&gt;
&ldquo;Pendennis&rdquo; behave atrociously about poor little&lt;br /&gt;
Fanny, and Amelia, even when happily married,&lt;br /&gt;
jealous of her own little daughter. It does not&lt;br /&gt;
seem to have struck him that a woman who had&lt;br /&gt;
risen to the spiritual elevation of Mrs. Pendennis&lt;br /&gt;
might have learnt to suppress her animal instinct,&lt;br /&gt;
and would not have been so cruel to poor Laura.&lt;br /&gt;
B.&lt;br /&gt;
&mdash;4-0-0&ndash;&mdash;&lt;br /&gt;
METHODS OF CRITICISM.&lt;br /&gt;
SIR,-Will you permit me to use the columns of&lt;br /&gt;
The Author for issuing an invitation to all the&lt;br /&gt;
members of the Incorporated Society to whom the&lt;br /&gt;
subject may appeal to write their views on &ldquo;Some&lt;br /&gt;
Modern Methods of Criticism &amp;quot; ?&lt;br /&gt;
The editor of the Worth Mail, a paper circu-&lt;br /&gt;
lating extensively between the Tyne and the&lt;br /&gt;
Humber, has most generously offered to open his&lt;br /&gt;
columns to such a discussion, which it is sincerely&lt;br /&gt;
hoped may serve a useful purpose.&lt;br /&gt;
There are, no doubt, hundreds of authors who&lt;br /&gt;
feel strongly on the subject, but who have hitherto&lt;br /&gt;
not cared to tackle it in case they should by so&lt;br /&gt;
doing raise a storm of enmity against themselves.&lt;br /&gt;
It is surely high time that the more courageous&lt;br /&gt;
among us should fling away this pusillanimity&lt;br /&gt;
and enter the lists with the object of slaying&lt;br /&gt;
the dragon of unfairness and inconsistency in&lt;br /&gt;
Criticism.&lt;br /&gt;
I shall be very glad to hear from any of my&lt;br /&gt;
fellow-members, men or women, who are willing&lt;br /&gt;
to take up the cudgels, particularly with regard to&lt;br /&gt;
the aspect of opposition in criticism.&lt;br /&gt;
I have personally had some rather remarkable&lt;br /&gt;
experiences in this direction, and should be very&lt;br /&gt;
pleased to hear from others who can give personal&lt;br /&gt;
details on these lines.&lt;br /&gt;
The discussion starts in the Worth Mail by an&lt;br /&gt;
article contributed by myself, at the request of the&lt;br /&gt;
editor, and I shall be glad to post on a copy of the&lt;br /&gt;
issue of the paper containing it to any member&lt;br /&gt;
interested.&lt;br /&gt;
Nothing of the nature of an advertisement, it is&lt;br /&gt;
perhaps needless to say, will be admitted into the&lt;br /&gt;
correspondence.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
Orchard House, JAMES CASSIDY.&lt;br /&gt;
Whitton Road,&lt;br /&gt;
Twickenham, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#149) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&amp;#039; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words, I have nothing&lt;br /&gt;
, but praise for the accuracy, speed, and meatness with which She&lt;br /&gt;
does her work.-FRANK SAVILLE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKIDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
SIKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893) -&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating ; Plays and Actors&amp;#039; Parts ;&lt;br /&gt;
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Authors&rsquo; MSS., Legal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
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Mrs. SOUTHEE, 273, Francis Rd., LEYTON, LONDON, E.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. FROM 10d. PER 1, ooo WORDS.&lt;br /&gt;
WORKMANSHIP AND MATERIALS OF THE BEST.&lt;br /&gt;
Acc&ordm;rate and Prompt. &mdash;&lt;br /&gt;
J&ordm;ccellent Testimonials.&lt;br /&gt;
ERNEST PEARCE, 30, College Road, READING.&lt;br /&gt;
MRS. GILL, Typetoriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
WE have pleasure in announcing that we have made an arrange-&lt;br /&gt;
ment with Mr. William Archer by which, upon request of&lt;br /&gt;
the author, he undertakes to read, criticise, and advise upon any&lt;br /&gt;
plays entrusted to us, and he will read no manuscript plays which do&lt;br /&gt;
not reach him through us.&lt;br /&gt;
The reading fees are fixed as follows:&mdash; &pound; S. d.&lt;br /&gt;
For scenarios of not over 2,000 words 1 10 0&lt;br /&gt;
For plays of one or two acts 1 10 0&lt;br /&gt;
For plays of three or more acts 2 10 0&lt;br /&gt;
The payment of these fees entitles the author to a written opinion&lt;br /&gt;
from 300 to 800 words in length, dealing with the theme, con-&lt;br /&gt;
struction, characterisation, and diction of his play, suggesting altera-&lt;br /&gt;
tions where they seem called for, and (so far as possible) conveying&lt;br /&gt;
both theoretical criticism and practical advice.&lt;br /&gt;
The fact that a play has been submitted to Mr. Archer will be&lt;br /&gt;
treated by him, and by us, as confidential. On the other hand, the&lt;br /&gt;
author is at liberty to show Mr. Archer&amp;#039;s opinion to managers, actors,&lt;br /&gt;
etc., if he so desires. It would manifestly be misleading, however,&lt;br /&gt;
to quote detached phrases or make garbled extracts from a detailed&lt;br /&gt;
criticism. Mr. Archer therefore leaves it to the author&amp;#039;s sense of fair-&lt;br /&gt;
ness to show to managers, etc., the whole opinion if he shows any&lt;br /&gt;
part of it.&lt;br /&gt;
, If, in addition to the opinion, the author should desire a personal&lt;br /&gt;
&ordm;w with Mr. Archer, a further fee of two guineas would be&lt;br /&gt;
charged. -&lt;br /&gt;
Fl&aring;ys re-submitted after alteration are subject to the same fees as&lt;br /&gt;
plays submitted for the first time.&lt;br /&gt;
Manuscripts should be addressed to :&mdash;&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Massie, 5, Henrietta, St., Covent Garden, W.C.,&lt;br /&gt;
and, if Mr. Archer&rsquo;s opinion is required, they should be accompanied&lt;br /&gt;
by the reading fee in advance. Cheques should be made payable to&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Mlassie. If, as may sometimes happen, a&lt;br /&gt;
play does not seem to call for serious consideration, but can be&lt;br /&gt;
adequately dealt with in three or ſour lines, half the reading fee will&lt;br /&gt;
be returned.&lt;br /&gt;
Plays should in all cases be type-written (or printed), and a copy&lt;br /&gt;
should be retained by the author. , While all reasonable care will be&lt;br /&gt;
taken of manuscripts, we cannot be responsible for their loss in the&lt;br /&gt;
post, or otherwise.&lt;br /&gt;
Mr. Archer will endeavour to give his opinion of any play within two&lt;br /&gt;
weeks of receiving the manuscript.&lt;br /&gt;
It is not necessary that plays entrusted to us for placing with&lt;br /&gt;
managers should be submitted to Mr. Archer, and, on the other hand,&lt;br /&gt;
it is not necessary that plays sent to us for Mr. Archer&amp;#039;s inspection&lt;br /&gt;
should be entrusted to us for placing, although We have many open-&lt;br /&gt;
ings for good plays. Our agency for playwrights, and our arrange-&lt;br /&gt;
ments with Mr. Archer are not interdependent.&lt;br /&gt;
Especial attention is called to the advantage of expert criticism on&lt;br /&gt;
scenarios. On the other hand, we find it practically, impossible to&lt;br /&gt;
interest managers in plays not complete in every detail. It is our&lt;br /&gt;
practice to send to actors and managers only plays of which it can be&lt;br /&gt;
said they are worth the manager&amp;#039;s personal and immediate attention.&lt;br /&gt;
Plays placed by us are subject to a commission of ten per cent of the&lt;br /&gt;
receipts. We can undertake arrangements for only such plays as are&lt;br /&gt;
left exclusively in our hands. -&lt;br /&gt;
CURTIS 13ROWN &amp;amp; MASSIE.&lt;br /&gt;
3 BOOKS by GHARLES GRANVILLE,&lt;br /&gt;
(i.)&lt;br /&gt;
THE INDISSOLUBLE KNOT.&lt;br /&gt;
A Tragedy of the Convention in Chapters.&lt;br /&gt;
Price, 2s. 6d, net.&lt;br /&gt;
&ldquo;&lsquo;The Indissoluble Knot is a story of thrilling interest. . . . Mr. Granville&lt;br /&gt;
l&ordm;ss; a trenchant style, and no little knowledge of the seamy side of City&lt;br /&gt;
ife.&rdquo;&mdash;Westminsten&amp;#039; Review.&lt;br /&gt;
&ldquo;It is not often that a novel written avowedly for the purpose of showing the&lt;br /&gt;
evils of drink can be treated as a serious work of art. But, &amp;#039; The Indissoluble&lt;br /&gt;
Knot&amp;quot; is an exception. It has style, the characterisation is good, and the story&lt;br /&gt;
is interesting from start to finish.&rdquo;-Nottingham Guardian Literary Swpplement.&lt;br /&gt;
&ldquo;A powerful story. Mr. Granville wins his success by a direct and powerful&lt;br /&gt;
appeal to elementary emotions.&rdquo;&mdash;Birmingham Post.&lt;br /&gt;
(2.)&lt;br /&gt;
THE PLAINT OF THE WANDERING JEW.&lt;br /&gt;
From First Notices, 2s, met.&lt;br /&gt;
&ldquo;As the Teutonic word &lsquo;Zeitgeist&amp;#039; supplies the scintilla which flashes from&lt;br /&gt;
mind, to mind the moulding influences of an age, so &lsquo;The Wandering Jew is&lt;br /&gt;
used by the author to express the yearning of a chosen few for a new Kingdom.&lt;br /&gt;
a day of higher things.&rdquo;&mdash;Morning Post.&lt;br /&gt;
&ldquo;A vigorously-written prose allegory.&rdquo;&mdash;Scotsman.&lt;br /&gt;
&ldquo;His an&ordm;&amp;#039;esting C&ordm;llegory. . . . It LITERATU t&ordm; Is Ever To AcIII Eve. A BETTER.&lt;br /&gt;
CONDITION of THINGS, MR. GRAN VILLE&amp;#039;s Book will 11AYE ITs owN s11ARE IN THE&lt;br /&gt;
work.&rdquo;&mdash;Dundee Advertiser.&lt;br /&gt;
&ldquo;The language is poetical, the ideas humanitarian, and a great truth looks owt&lt;br /&gt;
from the pages of this little book. . . .&rdquo;&mdash;Dundee Courier.&lt;br /&gt;
&ldquo;A very suggestive attack. . . . The little book is written with simplicity and&lt;br /&gt;
earnestness. There is no, Yiolence in it, but &ordm;nwell that is well worth serious&lt;br /&gt;
consideration.&amp;quot;&mdash;Glasgow Herald.&lt;br /&gt;
(3.)&lt;br /&gt;
SOME EMOTIONS. * Di&ordm;gok Of&lt;br /&gt;
From First Notices. 2s. Ilet.&lt;br /&gt;
&ldquo;Reflect in verse of an engaging grace and dignity of style the feelings of a.&lt;br /&gt;
cultured and thoughtful mind.&amp;quot;-Scotsman. -&lt;br /&gt;
&ldquo;Thoughtful verse of the reflective kind. . .&lt;br /&gt;
are not wanting.&rdquo;&mdash;The Times.&lt;br /&gt;
&ldquo;Mr. Granville deals with the deep things of life, and does so melodiously and&lt;br /&gt;
pleasingly.&rdquo;&mdash;Dunwilee Cowrien&amp;#039;.&lt;br /&gt;
&ldquo;There is no doubt but that a great number of thinking beings whose intellect&lt;br /&gt;
is at war with conventional religion will find much in this book that will&lt;br /&gt;
awaken fervent, response. , Mr. Granville blends science and poetry into a.&lt;br /&gt;
pleasing whole.&rdquo;&mdash;Dundee &ordm;ldvertiser.&lt;br /&gt;
&bull; poetic phrase and imagination.&lt;br /&gt;
LONDON : OPEN ROAD PUBLISHING CO.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#150) ############################################&lt;br /&gt;
&lt;br /&gt;
iv AD VERTISEMEN&amp;#039;I&amp;#039;S.&lt;br /&gt;
wow ready.&lt;br /&gt;
WHO&amp;#039;S WHO, 1909.&lt;br /&gt;
Containing about 23,000 biographies,&lt;br /&gt;
Price 10/- net&lt;br /&gt;
(Post free, price 10/6),&lt;br /&gt;
or in full limp leather, gilt edges, price 12/6 net.&lt;br /&gt;
WHO&amp;#039;S WHO WEAR B00K.&lt;br /&gt;
Containing useful tables, formerly in &ldquo;Who&rsquo;s Who.&rdquo;&lt;br /&gt;
Price 1|- net&lt;br /&gt;
(Postřfree, price 1/3).&lt;br /&gt;
ENGLISHWOMAN&amp;#039;s YEAR BOOK.&lt;br /&gt;
Twenty-eighth year of issue.&lt;br /&gt;
Price 2/6 net&lt;br /&gt;
(Post free, price 2/10).&lt;br /&gt;
WRITER&amp;#039;S &amp;amp; ARTIST&amp;#039;S WEAR B00K.&lt;br /&gt;
With 600 addresses to which MSS. may be sent.&lt;br /&gt;
Price 1|- net&lt;br /&gt;
(Post free, price 1/2).&lt;br /&gt;
A. &amp;amp; C. BLACK, Soho Sq., London, W.&lt;br /&gt;
g&ordm;&lt;br /&gt;
AUTIH [O] RS 2&lt;br /&gt;
BRADBURY, AGNEW, &amp;amp; Co. Ld.&lt;br /&gt;
wh&ordm; . . . . . . . LONDON &amp;amp;&lt;br /&gt;
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HAVING LARGELY INCREASED THEIR&lt;br /&gt;
printing and Bookbinoing plant&lt;br /&gt;
(which is now one of the most complete in&lt;br /&gt;
the British Isles), are prepared to undertake,&lt;br /&gt;
&mdash; at short notice, the production of &mdash;&lt;br /&gt;
Works of Fiction,&lt;br /&gt;
Legal and Medical Text Books,&lt;br /&gt;
High-class Magazines, -&lt;br /&gt;
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ESTIMATES FREE.&lt;br /&gt;
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Branch of the Firm sent on receipt of a Post Card.&lt;br /&gt;
Telegrams: Charivari, London; Charivari, Tonbridge.&lt;br /&gt;
Telephones : 28 Holborn ; 19 Tonbridge ; 9108 Central.&lt;br /&gt;
AIM [ RI (GE [T 2.&lt;br /&gt;
ITAKE it that you require your MSS. to be neatly and &amp;#039;accurately typed on a good paper and thy a competent operator,&lt;br /&gt;
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SPECIAL NEW YEAR OFFER.&lt;br /&gt;
Am I right 2 If so, write at once for my Price List and&lt;br /&gt;
C. HERBERT CAESAR, Homefield, Woodstock Road, St. Albans.&lt;br /&gt;
Numerous Testimonials from First Novel Competitors.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Please mention this Paper. -&lt;br /&gt;
Tatt&ordm;nton. - [XVIII. CENT.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES&lt;br /&gt;
OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
Novel and Story Work&lt;br /&gt;
General Copying t&ordm; &ordm; ... 1 - 53 j } y J 1/3&lt;br /&gt;
Plays, ruled (a Speciality) ... 1/- 22 3 * 93 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
sutton, MAccLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
Address to &ldquo;WESTLEIGH,&rdquo; KING RICHARD&lt;br /&gt;
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#&ordm; Victoria Road. TYPEwRITING OF EVERY&lt;br /&gt;
* DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
References when required.&lt;br /&gt;
. 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
&lsquo;&lsquo;TEIE AUTHOER.&rdquo;&lt;br /&gt;
SCA LE FOR A D VERTISEMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)&lt;br /&gt;
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Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for&lt;br /&gt;
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Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
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All letters respecting Advertisements should be addressed to the&lt;br /&gt;
ADvERTISEMENT MANAGER, The Author Office, 39, Old Queen Street,&lt;br /&gt;
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Printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED),&lt;br /&gt;
at 10, Bouverie Street, London, E.C. -</td><td>https://historysoa.com/files/original/5/388/1909-01-01-The-Author-19-4.pdf</td><td>publications, The Author</td></tr><tr><td>390</td><td>https://historysoa.com/items/show/390</td><td>The Author, Vol. 19 Issue 05 (February 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+05+%28February+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 05 (February 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-02-01-The-Author-19-5</td><td></td><td></td><td></td><td></td><td>109&ndash;136</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-02-01&quot;&gt;1909-02-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>5</td><td></td><td></td><td>19090201</td><td>C be El u t b or .&lt;br /&gt;
(The organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
Vol. XIX.-No. 5. EEBRUARY 1, 1909. [PRICE SINPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
|&lt;br /&gt;
- . PAGE PAGE&lt;br /&gt;
Notices, ... * - G * - t&ordm; t&ordm; e is - - - - - - &bull; . . - - - 109, 124 Warnings to Dramatic Authors - - - * - - s &ordm; e - - - ... 123&lt;br /&gt;
&amp;#039;Qommittee Notes - - - t&ordm; &ordm; &ordm; - - - &bull; * * * * * - - - ... 112 Warnings to Musical Composers ... * * * * e &ordm; - - - ... 123&lt;br /&gt;
Books published by Members of the Society * g &ordm; - - - ... 114 How to Use the Society t&ordm; t&ordm; a - - - e - - * * * - - - ... 124&lt;br /&gt;
Books published in America by Members ... t&ordm; &ordm; &ordm;s - * * ... 115 To Musical Composers e t&ordm; e - - - 6 &ordm;&amp;#039; - * = &amp;amp; - - - ... 134&lt;br /&gt;
Literary, Dramatic and Musical Notes ... e e e - - - ... 115 The Reading Branch ... * * * - - - t&ordm; - - * c &amp;amp; - - - ... 124&lt;br /&gt;
Paris, Notes - - - - - - t&ordm; e e * * * - - - &bull; * s - - - ... 117 Legal and General Life Assurance Society... e 6 - - - - ... 124&lt;br /&gt;
Spanish Notes ... . ... &ordm;, a &amp;amp; - - - e - - e &amp;amp; &copy; - - - ... 118 General Notes ... * * * t&ordm; t&ordm; e - * * - - - * * * - - - ... 125&lt;br /&gt;
&ldquo;Copyright in Musical Compositions... - - - &amp;amp; ſ&ordm; t&ordm; - - - ... I.19 Arthur William A. Beckett ... - - - - - - &amp;amp; e - - - - ... 126&lt;br /&gt;
The Dramatisation of Novels ... . ... * - - as s &amp;amp; - * * ... 120 British Authors and American Copyright ... s = &amp;amp; - * * ... 127&lt;br /&gt;
Performing Rights in Sketch... - - - - - - * * * - t&ordm; - ... 121 On Rendering Accounts * * * - - - - - - * e a - - - , , , 129&lt;br /&gt;
...A Bill to Abolish the Powers of the Lord Chamberlain in To Be Ol&amp;#039; Not To JBe ... c. * * - - - - - - - e - - - - ... 129&lt;br /&gt;
Respect of Stage Plays, &amp;amp;c. e - - - t&ordm; &ordm; - - - ... 121 The Decadence Of the Novel ... - - - - - - * * * - - - ... 131&lt;br /&gt;
Magazine Contents e - - t&ordm; e t&ordm; - - - t&ordm; - - * * * - - - ... 122 The Literary Year look s&ordm; &ordm; &ordm; * * * - - - * * * - - - ... 133&lt;br /&gt;
Warnings to Producers of Books ... &bull; * - * * * - - - ... 123 Correspondence ... &bull; * * t&ordm; t&ordm; &ordm; - - - * * * * * * * * * ... 135&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 18.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per Vol. - -&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gems de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 28.&lt;br /&gt;
T. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 18. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#152) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Ilje &Scaron;uriefn of Autburg (ſmrurpurated).&lt;br /&gt;
PRESIDENT,&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. JEROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD KIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAxwell (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW,&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR. -&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEB.B.&lt;br /&gt;
MAURICE HEWIETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB,&lt;br /&gt;
Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
PAUL RUBENS.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
NIORLEY ROBERTS.&lt;br /&gt;
|M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
ART sub-COMMITTEE.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
} Solicitors,&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
J.H. H. Yox ALL, M.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de L8ttres,&lt;br /&gt;
OFFICES.&lt;br /&gt;
Telegraphic Address : &ldquo;AUTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
G-EBOIERG-EB TMIETRIET).ITIET, O. MI-&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
A. W. A BECKETT.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C. -&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGB-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRAW FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COIMIMITTEE OF MANAGEMENT,&lt;br /&gt;
MRS. E. NESBIT BLAND,&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl ER).&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
IDRAIMIATIC SUB-COMMITTEE,&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS, E. NESBIT BLAND.&lt;br /&gt;
H. GRANVILLE BARKER.&lt;br /&gt;
PENSION FUND COIMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, Roscoe &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. -&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 109 (#153) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FoundED BY SIR&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
Vol. XIX.-No. 5.&lt;br /&gt;
FEBRUARY 1st, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER:&lt;br /&gt;
374 VICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;s&mdash;e-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author.&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
a &mdash;&ordm;- a&lt;br /&gt;
v-u-v&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL, XIX,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society. +&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash; &mdash; &mdash; &mdash;&lt;br /&gt;
LIST OF MEMBERs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
*&mdash;&ordm;-&mdash; a&lt;br /&gt;
w--~-w&lt;br /&gt;
PEN SION FUND,&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
T the beginning of 1908, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
&pound;230 in the purchase of Irish Land Act 2; per&lt;br /&gt;
cent. Guaranteed Stock.&lt;br /&gt;
The amount purchased is &pound;258, and is added to&lt;br /&gt;
the list printed below.&lt;br /&gt;
The investments are steadily increasing from&lt;br /&gt;
year to year, the amount varying between &pound;200&lt;br /&gt;
and &pound;250.&lt;br /&gt;
Consols 23%.............................. 31,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 0&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan .............. &bull; * * * * * * * * * * * * * * * e a e 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... 200 () ()&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 110 (#154) ############################################&lt;br /&gt;
&lt;br /&gt;
110&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
tock .......................... ... e &ordm; &amp;#039;&ordm; e &ordm; s&ordm; e &ordm; e t&ordm; 3200&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228&lt;br /&gt;
New Zealand 34% Stock........... 247&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Total &hellip; #3,376&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908.&lt;br /&gt;
Oct. 10, Macnaughton-Jones,&lt;br /&gt;
Oct. 20, Garvice, Charles&lt;br /&gt;
Nov. 12, Woods, Miss Mary A.&lt;br /&gt;
Nov. 20, Boycott, G. W. M..&lt;br /&gt;
Nov. 20, Budgeon, Miss&lt;br /&gt;
Nov. 21, Benjamin, Lewis J.&lt;br /&gt;
Nov. 21, Coulton, G. G. &ordm; *&lt;br /&gt;
Nov. 21, Dixon, Miss H. Margaret&lt;br /&gt;
Nov. 21, Colquhoun, A. t&ordm;&lt;br /&gt;
Nov. 23, Holmes, Miss Eleanor&lt;br /&gt;
Nov. 23, Hussey, Eyre&lt;br /&gt;
Nov. 23, Capes, Bernard&lt;br /&gt;
Nov. 23, Hecht, Mrs. Arthur &amp;amp;&lt;br /&gt;
Nov. 23, Festing, Miss Gabrielle .&lt;br /&gt;
Nov. 23, Carolin, Mrs. . e &sect;&lt;br /&gt;
Nov. 23, Bland, Mrs. E. Nesbit&lt;br /&gt;
Nov. 23, Hichens, Robert&lt;br /&gt;
Nov. 23, Grogan, W. E. e&lt;br /&gt;
Nov. 23, Stowell, Mrs. Rodolph&lt;br /&gt;
Nov. 23, Gay, Mrs. g&lt;br /&gt;
23, Summers, J. . s&ordm;&lt;br /&gt;
23, Bloundelle-Burton, J.&lt;br /&gt;
23, Freshfield, Douglas&lt;br /&gt;
24, Rowsell, Miss Mary&lt;br /&gt;
24, Bell, Lady t&ordm;&lt;br /&gt;
24, Sanders, Miss E. K.&lt;br /&gt;
25, Count Plunkett&lt;br /&gt;
25, Victoria Cross &amp;amp;&lt;br /&gt;
25, Cromartie, the Countess of&lt;br /&gt;
25, Sutro, Alfred. o&lt;br /&gt;
25, Kipling, Rudyard .&lt;br /&gt;
25, Pope, Miss Jessie .&lt;br /&gt;
25, Scott, G. Forrester&lt;br /&gt;
25, Carr, Miss Mildred E. .&lt;br /&gt;
25, O&rsquo;Brien, The Rev. G. E.&lt;br /&gt;
25, Wills, The Rev. Freeman&lt;br /&gt;
25, Lewis, T. C. * &amp;amp;&lt;br /&gt;
25, Fenwick, Miss S. F.&lt;br /&gt;
26, Montgomery, Miss K. L.&lt;br /&gt;
26, Dummelow, The Rev. J. R.&lt;br /&gt;
26, Jopp, Miss E. A. .&lt;br /&gt;
26, Wintle, Harold R..&lt;br /&gt;
26, Malcolm, Mrs. Ian. e&lt;br /&gt;
26, Felkin, The Hon. Mrs. .&lt;br /&gt;
26, Ward, Wilfrid i&ordm; &ordm; ge&lt;br /&gt;
26, Marks, Mrs. Mary A. M. &ordm;&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Noy.&lt;br /&gt;
Nov.&lt;br /&gt;
Mov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Noy.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
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Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
i&lt;br /&gt;
.0&lt;br /&gt;
18&lt;br /&gt;
1&lt;br /&gt;
l&lt;br /&gt;
l&lt;br /&gt;
:1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
8.O&lt;br /&gt;
Dec.&lt;br /&gt;
t&ordm; #.&lt;br /&gt;
Nov. 26, &ldquo;E.&rdquo; . ſe e . ()&lt;br /&gt;
Nov. 27, Prideaux, Miss S. T. ()&lt;br /&gt;
Nov. 27, Saies, Mrs. F. H. . ()&lt;br /&gt;
Nov. 27, Heath, Miss Ella ()&lt;br /&gt;
Nov. 27, Thomas, Edward 1&lt;br /&gt;
Nov. 27, Shaw, Mrs. Bernard 3&lt;br /&gt;
Nov. 27, Smith, Bertram 1&lt;br /&gt;
Nov. 27, Niven, Frederick . g ()&lt;br /&gt;
Nov. 27, Nembhard, Miss Isabel . ()&lt;br /&gt;
Nov. 27, Smith, Miss M. E. . ()&lt;br /&gt;
Nov. 28, Brandon, Miss Dorothy. ()&lt;br /&gt;
Nov. 28, de la Pasture, Mrs. Henry I&lt;br /&gt;
Nov. 28, Scott, Mrs. C. ()&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
28, Harrison, Mrs. Darent .&lt;br /&gt;
28, Logan, The Rev. Robert&lt;br /&gt;
28, Chesterton, G. K. &ordm;&lt;br /&gt;
30, Sherwood, Miss A. w&ordm; ge&lt;br /&gt;
30, Hutchinson, The Rev. H. N. .&lt;br /&gt;
1, Sachs, E. T. . &copy; t&ordm; &amp;amp;&lt;br /&gt;
1, Truman, Miss Olivia&lt;br /&gt;
3, Yolland, Miss E.&lt;br /&gt;
4, Bagnall, Miss L. T. . &amp;amp; *&lt;br /&gt;
4, Humphreys, Mrs. Desmond (Rita)&lt;br /&gt;
4, Anon. . g &amp;amp; &amp;amp;&lt;br /&gt;
7, Westrup, Miss Margaret&lt;br /&gt;
7, Lynch, H. T. B., M.P.&lt;br /&gt;
8, Caillard, Miss E. M.&lt;br /&gt;
8, Askew, Claude&lt;br /&gt;
8, Felkin, A. L. .&lt;br /&gt;
9, Rosetti, W. M. e&lt;br /&gt;
9, Miller, Miss Esther .&lt;br /&gt;
11, Woodward, Miss Ida&lt;br /&gt;
12, Mann, Mrs. Mary E. . &copy;&lt;br /&gt;
12, Lack, H. Lambert . t&ordm; e&lt;br /&gt;
14, Winchilsea and Nottingham&lt;br /&gt;
The Countess of ſ&ordm;&lt;br /&gt;
14, Sinclair, Miss May&lt;br /&gt;
14, Weyman, Stanley .&lt;br /&gt;
17, Macpherson, John F. .&lt;br /&gt;
17, Hills, Mrs. Martha .&lt;br /&gt;
Dec. 18, Hands, Mrs. Morris&lt;br /&gt;
Dec. 18, Geddes, Mrs. .&lt;br /&gt;
Dec. 22, Miles, Bertram&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
T)ec.&lt;br /&gt;
Dec. 23, Mackenzie, Miss Helen .&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Twycross, Miss M . &amp;amp;&lt;br /&gt;
Jan. 2, Macquarie, Arthur t&ordm;&lt;br /&gt;
Jan. 4, Sproston, Mrs. Stanley&lt;br /&gt;
Jan. 4, Phipson, Miss Emma *&lt;br /&gt;
Jan. 4, Middlemas, Miss Jean .&lt;br /&gt;
Jan. 4, Pott, J. A. . g&ordm; &ordm;&lt;br /&gt;
Jan. 7, Marchmont, A. W. .&lt;br /&gt;
Jan. 7, Sharwood, T. S. &ordm;&lt;br /&gt;
Jan. 12, Durand, Ralph&lt;br /&gt;
Jan. 12, Laing, Mrs. . &ordm;&lt;br /&gt;
Jan. 14, Banks, Mrs. M. M. .&lt;br /&gt;
Jan. 14, Steel, Richard t&ordm;&lt;br /&gt;
(&lt;br /&gt;
)&lt;br /&gt;
lI&lt;br /&gt;
()&lt;br /&gt;
10&lt;br /&gt;
i&lt;br /&gt;
1&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 111 (#155) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
111&lt;br /&gt;
- . 3 s. d. - :# 8.&lt;br /&gt;
Jan. 16, Garnett, Edward . 1 1 0 Nov. 27, Simes, Miss O. Kathleen O 5&lt;br /&gt;
Jan. 16, Fenn, Frederick 1 1 0 Nov. 27, Penny, The Rev. Frank I 1&lt;br /&gt;
Jan. 18, Hering, Henry A. 0 10 6 Nov. 27, Westell, W. P. . e O 1 ()&lt;br /&gt;
Jan. 18, Fox, Archibald, D. 0 5 0 Nov. 28, Coolidge, The Rev. W. A. B. 2 2&lt;br /&gt;
Jan. 31, Anon . &copy; &bull; 0 5 0 Nov. 28, Tennant, Lady Pamela 2 2&lt;br /&gt;
N&ordm;. 28, N&ordm;. H. . . &amp;amp; 1 1&lt;br /&gt;
&bull; Wov. 30, Northcote, The Rev. H. O 5&lt;br /&gt;
Domations, 1908. Nov. 30, Dexter, Walter . 2 2&lt;br /&gt;
July 16, Carolin, Mrs. &amp;amp; * 0 5 0 Nov. 30, Oliver, Miss Selwyn . O 5&lt;br /&gt;
July 28, Atherton, Mrs. Gertrude 21 0 0 Nov. 30, Kaye-Smith, Miss Sheila O 5&lt;br /&gt;
Aug. 21, Beckett, Arthur W. . 1 1 0 Nov. 30, Bent, Mrs. Theodore 1 0&lt;br /&gt;
Sept. 28, &ldquo;Whitworth Wynne &amp;quot; . 1 1 0 Nov. 30, Atkins, Miss Margaret A. () 5&lt;br /&gt;
Oct. 23, Woolf, Miss Bella Sidney 0 5 0 Dec. 7, Hood, Francis te g&ordm; O 5&lt;br /&gt;
Oct. 31, Robinson, J. R. . g&ordm; 0 6 0 Dec. 7, Maunsell, A. E. Lloyd () 10&lt;br /&gt;
Nov. 6, Wroughton, Miss Cicely . 1 0 0 Dec. 7, Carolin, Mrs. . () 10&lt;br /&gt;
Nov. 7, Sherard, R. H. . g 1 1 0 Dec. 7, Drake, Lady Eliott 1 1&lt;br /&gt;
Nov. 7, Cameron, Miss Charlotte 0 10 0 Dec. 7, Parker, Mrs. Nella. 1 I&lt;br /&gt;
Nov. 12, Tweedie, Mrs. Alec. . 1 1 0 Dec. 7, Montr&eacute;sor, Miss F. F. 3 ()&lt;br /&gt;
Nov. 17, Tench, Miss Mary F. A. 0 10 0 Dec. 7, Shepherd, George H. 1 I&lt;br /&gt;
Nov. 17, Anon. . e &copy; &ordm; 1 1 0 Dec. 9, Maartens, Maarten. 5 ()&lt;br /&gt;
Nov. 21, Anson, Sir William, Bart. 10 0 0 Dec. 9, Y. F. S. O 5&lt;br /&gt;
Nov. 21, Cordeaux, Miss K. M. . . 0 10 6 Dec. 9, Lefroy, Mrs. . &amp;amp; 1 1&lt;br /&gt;
Nov. 21, Drewitt, F. Dawtrey, M.D. . 1 1 0 Dec. 9, Bourdillon, Miss Rose () 5&lt;br /&gt;
Nov. 21, Delaire, Madame Jean . 1 0 0 Dec. 9, White, Mrs. Woollaston () 5&lt;br /&gt;
Nov. 21, Hecht, Mrs. Arthur . 0 10 0 Dec. 10, Gilliatt, The Rev. E. 1 ()&lt;br /&gt;
Nov. 21, Collier, The Hon. John 1 1 0 Dec. 13, Evans, Miss C. M. g ... O 5&lt;br /&gt;
Nov. 21, Keltie, G. Scott . t&ordm; 1 1 0 Dec. 14, Pennell, Mrs. Elizabeth Robins l I&lt;br /&gt;
Nov. 21, Shepeard-Walwyn, H. W. 1 0 0 Dec. 14, Oppenheim, E. C. 2 ()&lt;br /&gt;
Nov. 21, Church, Prof. A. H. 5 5 0 Dec. 16, Blake, J. P. . I 1&lt;br /&gt;
Nov. 21, James, Miss S. Boucher 0 10 6 Dec. 17, Medlicott, Cecil () J ()&lt;br /&gt;
Nov. 21, Ramsden, The Lady Gwen- Dec. 18, Tansley, A. G. . t&ordm; . 2 2&lt;br /&gt;
dolen { } s&ordm; . 1 1 0 Dec. 19, Thurston, Mrs. Ratherine Cecil 1 1&lt;br /&gt;
Nov. 21, Spielmann, M. H. 1 1 0 Dec. 19, Todd, John L. 1 l&lt;br /&gt;
Nov. 21, Saville, Frank 5 0 0 Dec. 21, White, Percy 1 1&lt;br /&gt;
Nov. 24, Kennedy, E. B. . 0 5 0 Dec. 23, Vance, Louis J. 0 10&lt;br /&gt;
Nov. 24, Bennett, Prof. W. H. 0 5 0 Dec. 28, Guthrie, Anstey . 2 2&lt;br /&gt;
Nov. 24, Batty, Mrs. Braithwaite 0 5 0 Dec. 29, Roberts, Miss Edith () 5&lt;br /&gt;
Nov. 24, Crouch, A. P. . &amp;amp; 0 5 0 Dec. 30, Coke, Desmond () 1()&lt;br /&gt;
Nov. 24, Hawtrey, Miss Walentin 0 5 0 Dec. 30, Mackenzie, Miss J. () 5&lt;br /&gt;
Nov. 24, Sedgwick, Miss Anna Douglas 0 5 0 Dec. 30, Lathbury, Miss Eva () 5&lt;br /&gt;
Nov. 24, Anon. . &copy; &copy; t&ordm; . 1 1 0 Dec. 31, Egbert, Henry () 5&lt;br /&gt;
Nov. 25, Page, Herbert W. 2 2 0 1909.&lt;br /&gt;
Nov. 25, Brereton, Capt. F. S. . 1 1 0 Jan. 1, Zangwill, Israel 1 I&lt;br /&gt;
Nov. 25, Knight, Mrs. Maude C. 0 5 0 Jan. 1, Hamilton, John A. . 0 5&lt;br /&gt;
Nov. 25, Bowen, Miss Marjorie . 1 1 0 Jan. 4, Stopford, Francis I 1&lt;br /&gt;
Nov. 25, Turner, Reginald 1 1 0 Jan. 4, Falmouth, The Wiscountess 5 ()&lt;br /&gt;
Nov. 25, Nash, T. A. 1 1 0 Jan. 4, Carrel, Frederick () 1()&lt;br /&gt;
Nov. 25, Trevor, John 0 5 0 Jan. 4, Laws, T. C. . $ O 5&lt;br /&gt;
Nov. 25, Wacher, Francis . 0 10 0 Jan. 4, Abercrombie, Lascelles () 5&lt;br /&gt;
Nov. 25, Hughes-Gibb, Mrs. 0 5 0 Jan. 5, Bradgate, Mrs. I I&lt;br /&gt;
INov. 25, Farmer, Miss A. A. 0 5 0 Jan. 6, Leach, Henry () 10&lt;br /&gt;
Nov. 25, Hunt, Holman 1 1 0 Jan. 6, Cullen, H. N. t&ordm; * . () 5&lt;br /&gt;
Nov. 25, Tuckett, F. F. 1 0 0 Jan. 6, Lyall, The Right Hon. Sir&lt;br /&gt;
Nov. 25, Allen, Mrs. Grant 0 1 0 6 Alfred, P.C., etc. I 1.&lt;br /&gt;
Nov. 26, Hole, W. G. G 1 1 0 Jan. 7, Underdown, Miss Emily () )&lt;br /&gt;
Nov. 27, Granville, Charles 0 10 0 Jan. 8, Omond, T. S. * &amp;amp; 1 1&lt;br /&gt;
Nov. 27, Henoch, Miss Emily T. 1 1 0 Jan. 8, Paternoster, G. Sidney 1 1&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 112 (#156) ############################################&lt;br /&gt;
&lt;br /&gt;
112&lt;br /&gt;
DITSIOR,&lt;br /&gt;
T&lt;br /&gt;
ISIES&lt;br /&gt;
2A&lt;br /&gt;
Jan.&lt;br /&gt;
Jan,&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
9, Stockley, Mrs.&lt;br /&gt;
9, Tanner, James T. .&lt;br /&gt;
12, Tighe, Henry&lt;br /&gt;
12, Aitken, Robert&lt;br /&gt;
12, Bolton, Miss Anna&lt;br /&gt;
14, Williamson, W. H.&lt;br /&gt;
16, Furze, Miss Bessie&lt;br /&gt;
16, Shirley, Arthur t&ordm;&lt;br /&gt;
18, &ldquo;Austin Clare &amp;quot; . e&lt;br /&gt;
Jan. 22, Williamson, Mrs. C. N.&lt;br /&gt;
Jan. 22, Williamson, C. N. &copy; o&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above, are&lt;br /&gt;
unavoidably held over to the March issue.&lt;br /&gt;
We regret the omission in the January number&lt;br /&gt;
among the new subscribers of the names of the&lt;br /&gt;
Hon. Mrs. Felkin (&pound;1) and Wilfrid Ward (10s.).&lt;br /&gt;
The total amount of annual subscriptions&lt;br /&gt;
received and promised since the issue of the&lt;br /&gt;
circular amounts to &pound;71. The total amount of&lt;br /&gt;
donations to &pound;105.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
rTYHE first meeting of the committee in the&lt;br /&gt;
year 1909 was held at the offices of the&lt;br /&gt;
society on January 11. The New Year&lt;br /&gt;
has opened well with the election of thirty-four&lt;br /&gt;
members and associates. There were, however,&lt;br /&gt;
twenty-three resignations. At the commencement&lt;br /&gt;
of the year an increase in the number of resigna-&lt;br /&gt;
tions is to be expected. At the same time the&lt;br /&gt;
committee would like to call attention to the fact&lt;br /&gt;
that when, as is often the case, members who have&lt;br /&gt;
resigned for one reason or another desire to return&lt;br /&gt;
to the society, they are liable to be called on for a&lt;br /&gt;
statement of the reasons for their resignation, and&lt;br /&gt;
also for their seeking re-election ; and that the&lt;br /&gt;
committee will further consider the amount of&lt;br /&gt;
work which the society undertook for the applicant&lt;br /&gt;
during his former membership. These matters&lt;br /&gt;
will be taken into account by the committee in&lt;br /&gt;
determining the payment in respect of arrears to&lt;br /&gt;
be called for in each case. It is obviously unfair&lt;br /&gt;
that authors who only support the Society when&lt;br /&gt;
and while in direct need of its assistance should&lt;br /&gt;
reap the benefit of the society&amp;#039;s machinery, which&lt;br /&gt;
has been built up mainly through the funds contri-&lt;br /&gt;
buted by constant subscribers who, very often&lt;br /&gt;
without need of its direct help, have nevertheless&lt;br /&gt;
felt it their duty to support the trades union of their&lt;br /&gt;
profession. This is not the first time that attention&lt;br /&gt;
has been drawn in these notes to this subject ; but&lt;br /&gt;
at this period of the year the committee deem it&lt;br /&gt;
unable to take up the duties.&lt;br /&gt;
desirable to put clearly before our members their&lt;br /&gt;
view and the action by which they propose to&lt;br /&gt;
enforce it.&lt;br /&gt;
The question of the Berlin Conference was&lt;br /&gt;
mentioned by the secretary, who reported the&lt;br /&gt;
action he had taken since the last meeting of&lt;br /&gt;
the committee, and it was decided to write to&lt;br /&gt;
the Music Publishers&rsquo; Association, the Publishers&amp;#039;&lt;br /&gt;
Association, and the Copyright Association with a&lt;br /&gt;
view to the formation of a joint sub-committee to&lt;br /&gt;
consider the question of copyright legislation, and&lt;br /&gt;
to take action, should it be necessary, to bring the&lt;br /&gt;
matter before the Government. The committee&lt;br /&gt;
appointed two delegates from the copyright sub-&lt;br /&gt;
committee (Mr. Anthony Hope Hawkins and Mr.&lt;br /&gt;
E. J. MacGillivray) to represent the society. Mr.&lt;br /&gt;
MacGillivray has consented to serve, but Mr.&lt;br /&gt;
Hawkins has, to the committee&amp;#039;s regret, been&lt;br /&gt;
Another delegate&lt;br /&gt;
will be selected in his place. The secretary was&lt;br /&gt;
instructed to get the matter in train as early as&lt;br /&gt;
possible.&lt;br /&gt;
A case of infringement of copyright in China&lt;br /&gt;
was brought to the notice of the committee. The&lt;br /&gt;
Secretary was instructed to make the fullest&lt;br /&gt;
inquiries and to ascertain whether it was possible&lt;br /&gt;
to stop such infringement by action in the Consular&lt;br /&gt;
Courts. It is hoped to place a full report in The&lt;br /&gt;
Author at a later date.&lt;br /&gt;
Mr. Anstey Guthrie, one of the committee&rsquo;s&lt;br /&gt;
nominees on the pension fund committee, retired&lt;br /&gt;
at the beginning of the year under the rules of the&lt;br /&gt;
Scheme, and was unanimously re-elected.&lt;br /&gt;
The sub-committee appointed, as stated in the&lt;br /&gt;
January issue of The Author, on the invitation of&lt;br /&gt;
Mr. C. J. Longman, on behalf of his firm and other&lt;br /&gt;
publishers, to discuss certain questions relating to&lt;br /&gt;
the book trade, have not, as yet, settled their report,&lt;br /&gt;
and accordingly, the matter was adjourned to the&lt;br /&gt;
next meeting.&lt;br /&gt;
The report of the committee on office manage-&lt;br /&gt;
ment was considered, and it was decided that, in&lt;br /&gt;
View of the increase of work at the office, another&lt;br /&gt;
clerk should be engaged and that other steps should&lt;br /&gt;
be taken to relieve the present pressure. The&lt;br /&gt;
committee have taken an extra room for the storage&lt;br /&gt;
of papers at the rent of &pound;10 per annum.&lt;br /&gt;
The opinion of the society&amp;#039;s counsel in the&lt;br /&gt;
United States on the dramatic case mentioned in&lt;br /&gt;
previous committee notes, was read, and it was&lt;br /&gt;
decided, as the matter is of great importance to&lt;br /&gt;
dramatists, to obtain another opinion. The Chair-&lt;br /&gt;
man proposed also to communicate the facts of the&lt;br /&gt;
case to the Right Hon. James Bryce, the British&lt;br /&gt;
Ambassador at Washington, a member of the&lt;br /&gt;
Society&amp;#039;s council, and to ask him whether he&lt;br /&gt;
could in any way advise the Society as to its&lt;br /&gt;
best course. .&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 113 (#157) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UTISIOR.&lt;br /&gt;
113&lt;br /&gt;
The opinion of the society&rsquo;s solicitors in a case&lt;br /&gt;
of alleged infringement of copyright was then read&lt;br /&gt;
to the committee who, after full consideration of&lt;br /&gt;
the facts, regretted their inability to take the&lt;br /&gt;
matter up, -&lt;br /&gt;
During the past year the committee authorised&lt;br /&gt;
the inspection of a publisher&amp;#039;s books by their&lt;br /&gt;
accountant. The accountant appeared before the&lt;br /&gt;
committee, and in his report expressed his inability&lt;br /&gt;
to satisfy himself on a good many items in the&lt;br /&gt;
accounts owing to the publisher&amp;#039;s reluctance to&lt;br /&gt;
produce his books. It was decided to take the&lt;br /&gt;
matter up on behalf of the member and to proceed&lt;br /&gt;
with an action at law as soon as possible.&lt;br /&gt;
One of the dramatic members of the society&lt;br /&gt;
brought forward a case which appeared to the&lt;br /&gt;
committee to be of great importance to all&lt;br /&gt;
dramatic authors. They accordingly decided to&lt;br /&gt;
place the matter at once in the solicitors&rsquo; hands&lt;br /&gt;
and instructed the secretary to report to the&lt;br /&gt;
dramatic sub-committee what they had done. It&lt;br /&gt;
was impossible to refer the matter to the dramatic&lt;br /&gt;
sub-committee in the first instance as immediate&lt;br /&gt;
action was essential. -&lt;br /&gt;
Mrs. E. Nesbit Bland&amp;#039;s resolution which was&lt;br /&gt;
adjourned from last month has now been with-&lt;br /&gt;
drawn at her request.&lt;br /&gt;
The date of the General Meeting of the society&lt;br /&gt;
has been definitely fixed for Monday, the 22nd day&lt;br /&gt;
of March. Formal notice, together with the report&lt;br /&gt;
for the past year, will be sent round to members in&lt;br /&gt;
due course.&lt;br /&gt;
The committee have to thank Mrs. Gunn, a&lt;br /&gt;
member of the Society, for a donation to the&lt;br /&gt;
society&rsquo;s funds for work which had been carried&lt;br /&gt;
through on her behalf.&lt;br /&gt;
Mr. S. L. Clemens (&ldquo;Mark Twain&rsquo;&rsquo;) has accepted&lt;br /&gt;
his nomination as a member of the council of the&lt;br /&gt;
society.&lt;br /&gt;
A vote of condolence was passed to the firm of&lt;br /&gt;
Messrs. Field, Roscoe &amp;amp; Co. on the loss they sus-&lt;br /&gt;
tained by the death of Mr. Basil Field, the senior&lt;br /&gt;
partner in that firm. Mr. Field&amp;#039;s connection with&lt;br /&gt;
the society was fully set forth in the January issue&lt;br /&gt;
of The Author.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author there have&lt;br /&gt;
been ten cases in the hands of the Secretary.&lt;br /&gt;
Five of this number were claims for money; three&lt;br /&gt;
for the return of MSS.; and two for accounts.&lt;br /&gt;
Two of the claims for money were against a firm&lt;br /&gt;
which is now in liquidation &mdash; Messrs. Sisleys.&lt;br /&gt;
Other members of the society are involved in this&lt;br /&gt;
case. The liquidator is Mr. H. Wingfield, of&lt;br /&gt;
64, Cannon Street, E.C. The secretary will be&lt;br /&gt;
obliged if those members who have books published&lt;br /&gt;
by this firm will place their papers in his hands&lt;br /&gt;
that he may conduct the negotiations for them&lt;br /&gt;
through the society&amp;#039;s solicitors. Of the other&lt;br /&gt;
three demands for money, one has been settled ; one&lt;br /&gt;
has been placed in the solicitors&rsquo; hands, and action&lt;br /&gt;
will be commenced in the County Court if neces-&lt;br /&gt;
Sary. Part of the claim in the last one has been&lt;br /&gt;
Settled, but there is still an amount due. One&lt;br /&gt;
of the MSS. cases has been settled, and the others&lt;br /&gt;
are in the course of negotiation. The cases of&lt;br /&gt;
accounts have only recently come into the secre-&lt;br /&gt;
tary&amp;#039;s hands and at the time of going to press no&lt;br /&gt;
answer has been received to his letters. -&lt;br /&gt;
There are five cases still outstanding from the&lt;br /&gt;
previous month. One of these has been placed in the&lt;br /&gt;
Solicitors&rsquo; hands with instructions, to commence&lt;br /&gt;
County Court proceedings; one is in the course of&lt;br /&gt;
settlement, and the three others being respectively&lt;br /&gt;
in Madras, New Zealand and the United States of&lt;br /&gt;
America require some time before they can be&lt;br /&gt;
brought to a successful issue.&lt;br /&gt;
January Elections.&lt;br /&gt;
Baring, The Hon. Francis 34, Great Cumberland&lt;br /&gt;
Place, W.&lt;br /&gt;
Bateman, Sir Alfred, Woodhouse,&lt;br /&gt;
R.C.M.G. Wimbledon Park,&lt;br /&gt;
S.W.&lt;br /&gt;
Biss, Gerald . * . 1, Melina Place,&lt;br /&gt;
St. John&amp;#039;s Wood,&lt;br /&gt;
N.W.&lt;br /&gt;
Carlyle, The Rev. A. J. . St. Edmund&amp;#039;s Hall&lt;br /&gt;
House, Oxford.&lt;br /&gt;
Clifford, Mrs. W. K. 7, Chilworth Street,&lt;br /&gt;
W&lt;br /&gt;
Farringdon, Herbert M. . . 18, Queensborough&lt;br /&gt;
Terrace, Hyde&lt;br /&gt;
Park, W.&lt;br /&gt;
Fegan, J. B. 22, Great Marl-&lt;br /&gt;
borough Street, W.&lt;br /&gt;
Seaforth, Malvern.&lt;br /&gt;
4, Portman Mansions,&lt;br /&gt;
W.&lt;br /&gt;
28, Glebe Place,&lt;br /&gt;
Chelsea, S.W.&lt;br /&gt;
88, Twyford Avenue,&lt;br /&gt;
Fox, Archibald D. &copy;&lt;br /&gt;
Grossmith, George, Junr. .&lt;br /&gt;
Hamilton, Miss Cicely&lt;br /&gt;
Hamilton, Mrs. C. J.&lt;br /&gt;
Acton, W.&lt;br /&gt;
Ring, Mrs. Paul H. . Customs House,&lt;br /&gt;
Canton.&lt;br /&gt;
Lagden, Sir Godfrey, The Croft,&lt;br /&gt;
R.C.M.G.&lt;br /&gt;
Morton, Michael&lt;br /&gt;
Mulliken, Mrs. E. G.&lt;br /&gt;
Walton-on-Thames.&lt;br /&gt;
Lyceum Club, 128,&lt;br /&gt;
Piccadilly, W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 114 (#158) ############################################&lt;br /&gt;
&lt;br /&gt;
114&lt;br /&gt;
TRIES A Pſ&amp;quot;TRIOR.&lt;br /&gt;
Pigott, J. W. . -&lt;br /&gt;
Potter, Frank E. Fairfield, 48,&lt;br /&gt;
Broomhouse Road,&lt;br /&gt;
Hurlingham, S.W.;&lt;br /&gt;
&ldquo;Branksome,&rdquo; Bishop-&lt;br /&gt;
stoke, Hants.&lt;br /&gt;
Newport House, Great&lt;br /&gt;
Newport Street,&lt;br /&gt;
W.C.&lt;br /&gt;
2, Whitehall Court,&lt;br /&gt;
S.W.&lt;br /&gt;
34, Brooke Street,&lt;br /&gt;
Holborn, E.C.&lt;br /&gt;
Hartford Bridge,&lt;br /&gt;
Winchfield, Hants.&lt;br /&gt;
Zig Zag Hall, Liscard,&lt;br /&gt;
Cheshire.&lt;br /&gt;
Acacia House, 10,&lt;br /&gt;
A c acia Ro a d,&lt;br /&gt;
Regent&amp;#039;s Park.&lt;br /&gt;
Shirley, Arthur&lt;br /&gt;
Stanley, Lady .&lt;br /&gt;
St. Aubyn, F. .&lt;br /&gt;
Stayton, Frank&lt;br /&gt;
Steel, Richard .&lt;br /&gt;
Sutcliffe, Constance .&lt;br /&gt;
Tadema, Miss Laurance . The Fair Haven,&lt;br /&gt;
Alma Wittersham, Kent.&lt;br /&gt;
Taylor, 23, Tottenhall Road,&lt;br /&gt;
Miss Elizabeth&lt;br /&gt;
Annie . t&ordm; t&ordm; t&ordm;&lt;br /&gt;
Unwin, Raymond&lt;br /&gt;
Wolverhampton.&lt;br /&gt;
&ldquo;Wyldes,&rdquo; North End,&lt;br /&gt;
Hampstead, N.W.&lt;br /&gt;
&ldquo;Whatrang,&rdquo; Annan,&lt;br /&gt;
French Indo-China.&lt;br /&gt;
Vaux, Patrick . . Thundersley, Essex.&lt;br /&gt;
Winter, Miss E. Saxon . 3, Lansdone Road,&lt;br /&gt;
Holl a n d Park&lt;br /&gt;
- Avenue, W.&lt;br /&gt;
Four members desire neither their names, their&lt;br /&gt;
pseudonyms, nor their addresses published.&lt;br /&gt;
Wassal, Mrs.&lt;br /&gt;
*&mdash;&ordm;-&mdash;a&lt;br /&gt;
w-v-w&lt;br /&gt;
Books PUBLISHED BY MEMBERs of&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&bull;-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ART.&lt;br /&gt;
THE MEDICI AT FLORENCE. Being Part III. of the&lt;br /&gt;
Benaissance in Italian Art and containing a separate&lt;br /&gt;
analysis of Artists and their Works in Sculpture and&lt;br /&gt;
Painting. By SELwyN BRINTON. 7# &times; 5%. 149 pp.&lt;br /&gt;
Fairbairns. 2s. 6d. n.&lt;br /&gt;
MEDIAEVAL SINBALESE ART. By ANANDA IK. COOMAR-&lt;br /&gt;
ASWAMY. Fellow of University College, London.&lt;br /&gt;
133 &times; 10%. 339 pp. The Essex House Press. 43 38. m.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LIFE STORY OF SIR CHARLES TILSTON BRIGHT,&lt;br /&gt;
Civil Engineer. Revised and Abridged Edition. By&lt;br /&gt;
C. BRIGHT, F.R.S.E. 8; x 5}. xx + 478 pp. Con-&lt;br /&gt;
stable. 12s. 6d. n.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
MINNIE AND TEDDIE. A true story. By MRs. E. Row-&lt;br /&gt;
LAND. Published by the Author, Llwyn-y-Brain,&lt;br /&gt;
Whitland, South Wales. 18.&lt;br /&gt;
CHILDREN FOR EVER.&lt;br /&gt;
6%. 352 pp.&lt;br /&gt;
6s, n.&lt;br /&gt;
By JOHN F. MACPHERSON. 83 &times;&lt;br /&gt;
Illustrated by TONY SARG. J. Long.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
THE CATHOLIC WHO&amp;#039;s WHO AND YEAR-Book, 1909.&lt;br /&gt;
Edited by SIR. F. C. BURNAND. 7+ x 43. 555 pp.&lt;br /&gt;
Burns and Oates. 3s. 6d. n.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. Vol. XI.&lt;br /&gt;
1,335 pp. Smith, Elder.&lt;br /&gt;
Kennett-Lluelyn.&lt;br /&gt;
15s, m.&lt;br /&gt;
9; x 6+.&lt;br /&gt;
CLASSICAL.&lt;br /&gt;
THE YEAR&rsquo;s WORK IN CLASSICAL STUDIES, 1908. Edited&lt;br /&gt;
for the Council of the Classical Association by W. H. D.&lt;br /&gt;
ROUSE, M.A., Litt.D. (3rd Year of Issue). 83, X 53.&lt;br /&gt;
176 pp. Murray. 2s. 6d. n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
HYMENAEUs. A Comedy. Now first printed with an&lt;br /&gt;
Introduction and Notes by G. C. MooRE SMITH, Litt.D.&lt;br /&gt;
6# X 5. xvi + 84 pp. Cambridge University Press.&lt;br /&gt;
2s. 6d. m.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
LANDHOLDING IN ENGLAND, CONSIDERED IN RELATION&lt;br /&gt;
TO POVERTY. By MRS. ALFRED MARKs. 74 &times; 5.&lt;br /&gt;
193 pp. Fifield. 1s. n.&lt;br /&gt;
THE EVIL OF THE MILLIONAIRE. By REV. FRANCIS&lt;br /&gt;
MINTON, M.A. X. &mdash;H 208 pp. Swan Sonnenschein.&lt;br /&gt;
3s. 6d. n.&lt;br /&gt;
FICTION.&lt;br /&gt;
MARAMA. By MRS. WOOLLASTON WHITE. 73 &times; 5.&lt;br /&gt;
196 pp. Washbourne.&lt;br /&gt;
LEILA : AND HER RING COPHETUA.. By MRs. E. Row-&lt;br /&gt;
LAND. Published by the Author, Llwyn-y-Brain, Whit-&lt;br /&gt;
land, South Wales. 2s. 6d.&lt;br /&gt;
HARRY OF ATHOL. By R. H. FOSTER.&lt;br /&gt;
Long. 68. .&lt;br /&gt;
THE WHIPS OF TIME. By ARABELLA KENEALY. 73 &times; 5.&lt;br /&gt;
384 pp. J. Long. 68.&lt;br /&gt;
SARAH VALLIANT&amp;#039;S PROBLEM.&lt;br /&gt;
Ouseley. 1s.&lt;br /&gt;
LOVE AND A WOMAN. By CHARLOTTE MANSFIELD.&lt;br /&gt;
7} x 5. 330 pp. Werner Laurie. 6s. -&lt;br /&gt;
LITTLE MISS MUFFET. By ROSA NOCCHETTE CAREY.&lt;br /&gt;
8} x 5%. 160 pp. The Leisure Hour Library Office. 6d.&lt;br /&gt;
GOD&amp;#039;s ABYSS AND A WOMAN. By CHARLES GRAN VILLE.&lt;br /&gt;
7 &times; 4%. 156 pp. (Cheap Reprint). The Open Road&lt;br /&gt;
Publishing Co. 1s. n.&lt;br /&gt;
THE GIRL FROM GATFORD. By OLIVIA RAMSEY. 73 &times; 43.&lt;br /&gt;
307 pp. John Long. 6s.&lt;br /&gt;
THE MARRIAGE OF LIONEL GLYDE. By OLIVIA RAMSEY.&lt;br /&gt;
74 &times; 4%. 316 pp. John Long. 6s. r&lt;br /&gt;
THE WAYS OF MEN. By H. F.Low ERDEw.&lt;br /&gt;
344 pp. Unwin. 6s.&lt;br /&gt;
THE HOUSE CALLED HURRISH.&lt;br /&gt;
372 pp. Hutchinson. 6s.&lt;br /&gt;
THE TESTAMENT OF JUDAS.&lt;br /&gt;
318 pp. J. Long. 68.&lt;br /&gt;
THE LONG ARM. By E. PHILLIPs OPPENHEIM. 7# &times; 53.&lt;br /&gt;
318 pp. Ward, Lock. 6s.&lt;br /&gt;
SEPTIMUS. By W. J. LoCKE. 73 &times; 5. 360 pp. Murray. 6s.&lt;br /&gt;
THE GOLDEN KEY: A CoMEDY of TEMPERAMENTs. By&lt;br /&gt;
DESMOND COKE. 7# &times; 5: 312 pp. Chapman and&lt;br /&gt;
Hall. 6s.&lt;br /&gt;
THE INTERRUPTED KISS.&lt;br /&gt;
328 pp. Cassell. 68.&lt;br /&gt;
MERELY MAN. By GERTRUDE WARDEN. 73 x 5. 311 pp.&lt;br /&gt;
White, 68.&lt;br /&gt;
315 pp. J.&lt;br /&gt;
By H. B. BLAIR. 129 pp.&lt;br /&gt;
7% x 5.&lt;br /&gt;
By RITA. 73 &times; 5.&lt;br /&gt;
7&lt;br /&gt;
By H. BYALT.&lt;br /&gt;
By RICHARD MARSH. 73 &times; 5.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 115 (#159) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
115&lt;br /&gt;
LITERARY.&lt;br /&gt;
THE CHARACTERS OF PARADISE LOST.&lt;br /&gt;
73 &times; 5. 149 pp. Ouseley. 28.&lt;br /&gt;
THE COLLECTED WORKS IN VERSE AND PROSE OF&lt;br /&gt;
WILLIAM BUTLER YEATS. Wols. VII. and VIII.&lt;br /&gt;
(Bibliography 111 pp.) 9 &times; 53. 299 + 287 pp. Strat-&lt;br /&gt;
ford-on-Avon. The Shakespeare Head Press.&lt;br /&gt;
By M. A. WooDs.&lt;br /&gt;
HERMES AND PLATO. By FDOUARD SCHURf. Trans-&lt;br /&gt;
lated by F. RotRWELL. 73 &times; 5. 117 pp. W. Rider.&lt;br /&gt;
1s. 6d.&lt;br /&gt;
MEDICAL.&lt;br /&gt;
THE FOOD INSPECTOR&amp;#039;S HANDBOOK. By FRANCIS WACHER.&lt;br /&gt;
73 &times; 5. xxiv. -- 268 pp. Fifth Edition. The Sanitary&lt;br /&gt;
Publishing Co. 7s.6d. n.&lt;br /&gt;
DOCTORS. An Address [9 pp.] delivered to the Students&lt;br /&gt;
of the Medical School of the Middlesex Hospital.&lt;br /&gt;
1st October, 1908. Sold for the benefit of the Middlesex&lt;br /&gt;
Hospital. By RUDYARD KIPLING. With preface [12&lt;br /&gt;
pp.] 7} x 4%. 21 pp. Macmillan. 1S. m.&lt;br /&gt;
MISCELLANEOUS. -&lt;br /&gt;
LITTLE GAMES FOR LONDON DRAWING-ROOMS. By LADY&lt;br /&gt;
BELL. 6 x 43. 30 pp. Humphreys. 6d.&lt;br /&gt;
THE CORN LAW&amp;#039;s : A POPULAR HISTORY. By MRS.&lt;br /&gt;
ALFRED MARKS. 74 &times; 5. 166 pp. Fifield. 18. n.&lt;br /&gt;
POETRY.&lt;br /&gt;
, BEADS FROM A LovER&amp;#039;s ROSARY. By GEORGE F.&lt;br /&gt;
WILSON. George Allen. 2s. 6d. n.&lt;br /&gt;
THE DAWN OF LIFE, AND OTHER PoEMs. By H. MAC-&lt;br /&gt;
NAUGHTON-Jon ES. 83 &times; 6%. 31 pp. Kegan Paul.&lt;br /&gt;
2s. 6d. In.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE COVENTRY LEET Book, PART I. Edited by MARY&lt;br /&gt;
DORMER HARRIS. (Early English Text Society.)&lt;br /&gt;
SOCIOLOGY. -&lt;br /&gt;
FABIAN ESSAYS IN SOCIALISM. By BERNARD SHAW AND&lt;br /&gt;
OTHERs. 8 x 5%. xxi + 233 pp. Walter Scott Pub-&lt;br /&gt;
lishing Co. 6d. n.&lt;br /&gt;
UTOPIAN PAPERs. Edited by DOROTHEA Holl,INs.&lt;br /&gt;
73 &times; 5. 208 pp. Masters. 3s.6d. n.&lt;br /&gt;
* ~ * TEIEOLOGY.&lt;br /&gt;
THE ONE VOLUME BIBLE COMMENTARY. Edited by J.&lt;br /&gt;
R. DUMMELOW., M.A. 9 &times; 6. 1,092 pp. Macmillan.&lt;br /&gt;
7s.6d. n. - &amp;#039;,&lt;br /&gt;
FATHER TYRRELL&amp;#039;s MoDERNISM. An Expository&lt;br /&gt;
Criticism of &ldquo;Through Scylla and Charybdis,&rdquo; in an&lt;br /&gt;
open letter to Mr. Athelstan Riley. By HAKLUYT&lt;br /&gt;
EGERTON. 7; x 5. 216 pp. Kegan Paul. 5s.&lt;br /&gt;
PAUL THE MISSIONARY, AND OTHER STUDIES. By THE&lt;br /&gt;
REV. P. W. DE QUETTEVILLE. 73 &times; 5. 265 pp. P.&lt;br /&gt;
Green. 3s. 6d. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
PARIS IN ITS SPLENDOUR. By E. A. REYNOLDS BALL.&lt;br /&gt;
Two vols. 8 &times; 53. 354 + 405 pp. Unwin. 10s. n.&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
THE MONARCHS OF MERRY ENGLAND. (William I. to&lt;br /&gt;
Richard III.) By Rol,AND CARSE. Illustrated by W.&lt;br /&gt;
HEATH ROBINSON. Fred A. Stokes. $1.50.&lt;br /&gt;
GOLDEN SQUARE HIGH SCHOOL.&lt;br /&gt;
Lippincott. $1.25.&lt;br /&gt;
ROUGHRIDERS OF THE PAMPAs. A Tale of Ranch Life in&lt;br /&gt;
South America. By CAPTAIN F. SADLIER BRERETON.&lt;br /&gt;
By MARY BALDWIN.&lt;br /&gt;
$1.25.&lt;br /&gt;
A BOY AND A SECRET. By RAYMOND JACBERNs.&lt;br /&gt;
Lippincott. $1.25.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. By SIR LESLIE&lt;br /&gt;
STEPHEN AND SIDNEY LAZARUs LEE. New edition.&lt;br /&gt;
In 22 vols. Vol. X. Howard&mdash;Kenneth. Macmillan.&lt;br /&gt;
$4.25 n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
A MYSTERY PLAY IN HONOUR OF THE NATIVITY OF OUR&lt;br /&gt;
LORD. By ROBERT HUGH BENSON. Longmans, Green.&lt;br /&gt;
906.&lt;br /&gt;
A MIDSUMMER-NIGHT&rsquo;s DREAM. By WILLIAM SHAKES-&lt;br /&gt;
PEARE. Illustrated by ARTHUR RACKHAM. Doubleday,&lt;br /&gt;
Page, $5. n.&lt;br /&gt;
FICTION.&lt;br /&gt;
LIFE&amp;#039;S HANDICAP. MANY INVENTIONS. THE SEVEN&lt;br /&gt;
SEAS. By RUDYARD RIPLING. (Pocket Kipling.)&lt;br /&gt;
Doubleday, Page. $1.50 m. each. -&lt;br /&gt;
P&ordm; By UNA LUCY SILBERRAD. Doubleday, Page.&lt;br /&gt;
1.50. -&lt;br /&gt;
*** By BEATRICE HARRADEN. Fred A. Stokes.&lt;br /&gt;
1.50. -&lt;br /&gt;
CAPTAIN MARGARET : A ROMANCE. By JOHN MASEFIELD.&lt;br /&gt;
Lippincott. $1.50 m. r&lt;br /&gt;
AS MAN LIVES ; OR THE MYSTERY OF THE YELLOW&lt;br /&gt;
EIOUSE. By E. PHILLIPs OPPENHEIM. $1.50.&lt;br /&gt;
SEPTIMUs. By W. J. LocKE. John Lane. $1.50.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
ENGLISH FIGURE SKATING. A Guide to the Theory and&lt;br /&gt;
Practice of Skating in the English Style. By E.&lt;br /&gt;
FREDERIC BENSON. Macmillam. 2.50, n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
A TREATISE ON SPHERICAL ASTRONOMY. By SIR ROBERT&lt;br /&gt;
STAWELL BALL. Putnam. $3.75 m.&lt;br /&gt;
SOCIOI, OGY.&lt;br /&gt;
THE MISERY OF BOOTS. By HERBERT G. WELLs.&lt;br /&gt;
Publishing Co. 506. n.&lt;br /&gt;
SocIALISM AND THE FAMILY. By HERBERT G. WELLs.&lt;br /&gt;
Ball Publishing Co. 500. n.&lt;br /&gt;
Ball&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N our December number &ldquo;The Adventures of&lt;br /&gt;
Cock Robin and His Mates,&rdquo; by R. Kear-&lt;br /&gt;
ton, F.Z.S., was erroneously announced as&lt;br /&gt;
published by Messrs. Macmillan. The actual pub-&lt;br /&gt;
lishers are Messrs. Cassell, to whom We beg to&lt;br /&gt;
express our regrets for the error.&lt;br /&gt;
At the last meeting of the Acad&eacute;mie Royale&lt;br /&gt;
d&rsquo;Arch&eacute;ologie de Belgique, Count Plunkett (author&lt;br /&gt;
of &ldquo;Sandro Botticelli&rdquo;) was nominated a foreign&lt;br /&gt;
corresponding member of the Academy.&lt;br /&gt;
Messrs. Hodder and Stoughton announce for&lt;br /&gt;
early in the Spring a volume of humorous sketches&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 116 (#160) ############################################&lt;br /&gt;
&lt;br /&gt;
116&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
by Mr. Charles Garvice, entitled &ldquo;The Scribblers&rsquo;&lt;br /&gt;
Club.&rdquo; Some of these have appeared from time to&lt;br /&gt;
time in the Westminster Gazette, and other journals&lt;br /&gt;
and magazines. It will be remembered that, by&lt;br /&gt;
the courtesy of the proprietors of the Westminster&lt;br /&gt;
Gazette, we printed one of these sketches, &ldquo;The&lt;br /&gt;
Transformation of a Great Novelist,&rdquo; in an issue&lt;br /&gt;
of The Author. Mr. Garvice desires to state that&lt;br /&gt;
the Scribblers&amp;#039; Club does not exist, excepting in his&lt;br /&gt;
imagination. Judging by those sketches we have&lt;br /&gt;
read, this fact is rather to be deplored.&lt;br /&gt;
E. Nesbit (Mrs. Hubert Bland) has just finished&lt;br /&gt;
a novel of a sensational and original kind. It will&lt;br /&gt;
be published early this year by Alston Rivers. It&lt;br /&gt;
is called &ldquo;Salome and the Head,&rdquo; and the heroine&lt;br /&gt;
is a famous dancer whose popularity involves her&lt;br /&gt;
in intrigue, mystery, and crime.&lt;br /&gt;
George Allen and Sons are publishing this month&lt;br /&gt;
a collection of E. Nesbit&amp;#039;s stories that have been&lt;br /&gt;
written about children, not for them ; and the&lt;br /&gt;
author hopes that they may enable some readers to&lt;br /&gt;
understand children better. This book is called&lt;br /&gt;
&ldquo;These Little Ones.&rdquo;&lt;br /&gt;
&ldquo;Daphne in Fitzroy Street&rdquo; is the story of a&lt;br /&gt;
girl&rsquo;s life among the art students of London, and&lt;br /&gt;
has engaged E. Nesbit intermittently during the&lt;br /&gt;
past two years. It is being published by G. Allen&lt;br /&gt;
and Sons.&lt;br /&gt;
E. Nesbit is also contributing a serial story for&lt;br /&gt;
children to the Strand Magazine, and has written&lt;br /&gt;
the first chapters of a novel to be called &ldquo;Heron&lt;br /&gt;
Hall.&rdquo;&lt;br /&gt;
We have received from Mr. Henry Froude,&lt;br /&gt;
&ldquo;Joseph and his Brethren,&rdquo; a dramatic poem by&lt;br /&gt;
Charles Wells, with an introduction by A. C. Swin-&lt;br /&gt;
burne, and a note on Rossetti and Charles Wells,&lt;br /&gt;
by Theodore Watts-Dunton. The volume is&lt;br /&gt;
No. 143 of &ldquo;The World&rsquo;s Classics&rdquo; series.&lt;br /&gt;
Miss Arabella Kenealy&amp;#039;s new novel, &ldquo;The Whips&lt;br /&gt;
of Time &rsquo;&rsquo; (Mr. John Long), is a study in heredity.&lt;br /&gt;
A professor of science, believing that persons are&lt;br /&gt;
the resultant of their environment and upbringing,&lt;br /&gt;
and that heredity plays no part in the formation&lt;br /&gt;
of character, exchanges the child of a notorious&lt;br /&gt;
murderess for that of a cultured, highly-bred&lt;br /&gt;
mother. The American publishers of the book are&lt;br /&gt;
Messrs. Little, Brown, of Boston.&lt;br /&gt;
The &ldquo;Treatise on Zoology,&rdquo; edited by Sir E.&lt;br /&gt;
Ray Lankester and published by Messrs. A. and C.&lt;br /&gt;
Black, in now nearing completion. Five volumes&lt;br /&gt;
have already been issued, and two more will appear&lt;br /&gt;
immediately, viz., Part I. Introduction and Pro-&lt;br /&gt;
tozoa by Prof. F. J. Hickson and others, and&lt;br /&gt;
Part VII., Crustacea, by W. T. Calman, D.Sc.&lt;br /&gt;
Mr. Werner Iaurie is publishing shortly &ldquo;Nights&lt;br /&gt;
with the Gods,&rdquo; by Dr. Emil Reich. It is a study&lt;br /&gt;
of present day social, religious, literary and political&lt;br /&gt;
features, clothed in form of humorous criticism of&lt;br /&gt;
things and persons. The gods of ancient Greece&lt;br /&gt;
are depicted discussing modern England from the&lt;br /&gt;
standpoint of Hellenic and Roman civilisation with&lt;br /&gt;
Plato, Aristotle, Julius C&aelig;sar, and other great&lt;br /&gt;
Greeks and Romans of the past.&lt;br /&gt;
&ldquo;The Burglars&amp;#039; Club,&rdquo; by Henry A. Hering,&lt;br /&gt;
which first came out in Cassell&amp;#039;s Magazine, is now&lt;br /&gt;
appearing in a Paris Weekly. It has been trans-&lt;br /&gt;
lated into German, Italian, Spanish, Swedish and&lt;br /&gt;
Dutch.&lt;br /&gt;
In &ldquo;Trees and Shrubs of the British Isles,&lt;br /&gt;
Native and Acclimatised,&rdquo; the authors, Messrs.&lt;br /&gt;
C. S. Cooper, F.R.H.S., and W. Percival Westell,&lt;br /&gt;
F.L.S., have produced a work which deals popularly&lt;br /&gt;
and authoritatively with over 550 species. The&lt;br /&gt;
book includes a glossary, a lengthy introduction,&lt;br /&gt;
and eighty-six illustrations, of which sixteen are in&lt;br /&gt;
colour. Messrs. Dent are issuing it in sixteen&lt;br /&gt;
parts at a shilling each part.&lt;br /&gt;
In connection with the recent award of the&lt;br /&gt;
Nobel Prize for Literature, it may be noted that&lt;br /&gt;
&ldquo;Rudolf Eucken&amp;#039;s Philosophy of Life,&rdquo; by Prof.&lt;br /&gt;
W. R. Boyce Gibson, is already in a second&lt;br /&gt;
edition. Professor and Mrs. Gibson have almost&lt;br /&gt;
ready for publication in the Spring Eucken&amp;#039;s&lt;br /&gt;
&ldquo;The Meaning and Value of Life.&rdquo; The&lt;br /&gt;
publishers are Messrs. A. and C. Black.&lt;br /&gt;
&ldquo;Love and a Woman,&rdquo; a new novel by Charlotte&lt;br /&gt;
Mansfield, has just been brought out by Mr.&lt;br /&gt;
Werner Laurie.&lt;br /&gt;
Mrs. Irene Harborough-Sherard (Irene Osgood)&lt;br /&gt;
has gone to Jamaica to obtain materials for a new&lt;br /&gt;
novel.&lt;br /&gt;
We have received the following books from Mr.&lt;br /&gt;
John Ouseley : &mdash;&ldquo;The Characters of Paradise&lt;br /&gt;
Lost,&rdquo; by M. A. Woods; &ldquo;Girl-life in the Harem,&rdquo;&lt;br /&gt;
by Annie Reichardt ; &ldquo;Little Dorothy,&rdquo; by T. H.&lt;br /&gt;
Chetwynd ; &ldquo;Sarah Walliant&amp;#039;s Problem,&rdquo; by H. B.&lt;br /&gt;
Blair ; &ldquo;Paul Richards, Detective,&rdquo; by Duncan&lt;br /&gt;
Dallas.&lt;br /&gt;
Mrs. E. Rowland has just brought out &ldquo;Leila :&lt;br /&gt;
and her King Cophetua.&rdquo; and &ldquo;Minnie and Teddie :&lt;br /&gt;
a True Story.&rdquo; They may be obtained of the&lt;br /&gt;
author, Llwn-y-Brain, Whitland, South Wales.&lt;br /&gt;
Messrs. Crewsher&amp;#039;s latest issues in their School&lt;br /&gt;
Series of Songs by L. Budgen are &ldquo;King Frost,&rdquo;&lt;br /&gt;
&ldquo;Early June,&rdquo; &ldquo;Spring Weather,&rdquo; and &ldquo;The&lt;br /&gt;
Scent of the May.&rdquo;&lt;br /&gt;
The Kingsgate Press are publishing a definitive&lt;br /&gt;
edition of &ldquo;Poems&rdquo; by Mackenzie Bell. Mr. Bell&lt;br /&gt;
dedicates the book to Mr. Theodore Watts-Dunton.&lt;br /&gt;
Mrs. Florence Gay is at present engaged on a&lt;br /&gt;
new romance, entitled &ldquo; Brude the Pict,&rdquo; which&lt;br /&gt;
will be published by Mr. John Ouseley. Sir&lt;br /&gt;
Gilbert Parker will contribute an introduction to&lt;br /&gt;
the book, which deals with the same early period&lt;br /&gt;
of British history as Mrs. Gay&amp;#039;s recent publication,&lt;br /&gt;
&ldquo;The Druidess.&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 117 (#161) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE AUTISIOIR,&lt;br /&gt;
117&lt;br /&gt;
Miss Emily Baker has contributed to the Occult&lt;br /&gt;
Review for January a biographical article on&lt;br /&gt;
&ldquo;Two Famous Astrologers of the 17th and 18th&lt;br /&gt;
Centuries&mdash;Vincent and Tycho Wing.&rdquo;&lt;br /&gt;
Mr. John Lane will issue shortly a new colour&lt;br /&gt;
book by Miss Agnes Herbert, with illustrations by&lt;br /&gt;
Mr. Donald Maxwell. Miss Herbert is the author&lt;br /&gt;
of &ldquo;Two Dianas in Somaliland,&rdquo; and &ldquo;Two Dianas&lt;br /&gt;
in Alaska.&rdquo;&lt;br /&gt;
Mr. Robert Machray, who is busy this winter on&lt;br /&gt;
the biography of his uncle, the late Archbishop of&lt;br /&gt;
Rupert&amp;#039;s Land, the first Primate of Canada, will&lt;br /&gt;
publish in mid-February his new novel, &ldquo;The&lt;br /&gt;
Disappearance of Lady Diana,&rdquo; which has been&lt;br /&gt;
running for the past six months in the Novel&lt;br /&gt;
Magazine.&lt;br /&gt;
On January 9, at the Comedy Theatre, a&lt;br /&gt;
comedy in three acts by W. Somerset Maugham&lt;br /&gt;
was produced. It is entitled &ldquo;Penelope,&rdquo; and&lt;br /&gt;
concerns the efforts&mdash;finally crowned with success&mdash;&lt;br /&gt;
of a young wife to reclaim her erring husband.&lt;br /&gt;
The cast included Miss Marie Tempest, Miss Kate&lt;br /&gt;
Bishop, Miss Norma Whalley, Mrs. Calvert, Mr.&lt;br /&gt;
Eric Lewis, and Mr. Graham Browne.&lt;br /&gt;
The Afternoon Theatre Company are producing&lt;br /&gt;
in a series of matin&eacute;es at His Majesty&amp;#039;s Theatre,&lt;br /&gt;
&ldquo;The Admiral Bashville,&rdquo; by Bernard Shaw, and&lt;br /&gt;
&ldquo;Tilda&rsquo;s New Hat,&rdquo; by George Paston. The latter&lt;br /&gt;
is a revival, while the former has previously only&lt;br /&gt;
been privately staged. The first performances were&lt;br /&gt;
given on January 26.&lt;br /&gt;
&ldquo;Diana of Dobson&amp;#039;s,&rdquo; by Cicely Hamilton, was&lt;br /&gt;
revived at the Kingsway Theatre by Miss Lena&lt;br /&gt;
Ashwell last month.&lt;br /&gt;
&ldquo;The Hypocrites&rdquo; has been produced with&lt;br /&gt;
success at the Teatro Principal at Barcelona.&lt;br /&gt;
There were seven curtains after Act III. &ldquo;The&lt;br /&gt;
Liars &rdquo; will be produced at the same theatre in&lt;br /&gt;
April.&lt;br /&gt;
January 23 was the first night of &ldquo;Our Miss&lt;br /&gt;
Gibbs,&rdquo; by J. T. Tanner and &ldquo;Cryptos&rdquo; at the&lt;br /&gt;
Gaiety Theatre. The plot concerns the adventures&lt;br /&gt;
of an assistant at Garrod&amp;#039;s Stores, who is engaged&lt;br /&gt;
to an earl disguised as a bank clerk. Miss Gertie&lt;br /&gt;
Millar in the name part was supported, among&lt;br /&gt;
others, by Miss Jean Aylwin, Miss Denise Orme,&lt;br /&gt;
Mr. O. B. Clarence, Mr. George Grossmith, and&lt;br /&gt;
|Mr. Edmund Payne. The music is by Ivan Caryll&lt;br /&gt;
and Lionel Monckton. -&lt;br /&gt;
*&mdash;&ordm;- a&lt;br /&gt;
w-v-w&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-&ordm;-&lt;br /&gt;
&amp;amp; 6. A Mort de Philae,&rdquo; by Pierre Loti, is a&lt;br /&gt;
book on Egypt, dedicated to his friend&lt;br /&gt;
&ldquo;Moustafa Kamel Pacha, who died in&lt;br /&gt;
February, 1908, in the midst of his admirable&lt;br /&gt;
attempt to uphold the dignity of his country and&lt;br /&gt;
of Islam.&rdquo; The volume contains twenty chapters,&lt;br /&gt;
each one describing in Loti&rsquo;s exquisite language&lt;br /&gt;
and poetical style the various places and scenes&lt;br /&gt;
which made the most impression on him. Among&lt;br /&gt;
these chapters are the following :-&lsquo;Minuit d&amp;#039;hiver&lt;br /&gt;
en face du grand sphinx,&rdquo; &ldquo;La mort du Caire,&rdquo;&lt;br /&gt;
&ldquo;Un centre d&rsquo;Islam,&rdquo; &ldquo;La Race de bronze,&rdquo; &ldquo;La&lt;br /&gt;
d&eacute;ch&eacute;ance du Nil,&rdquo; &ldquo;A Th&eacute;bes, la nuit,&rdquo; &ldquo;Thebes&lt;br /&gt;
au Soleil,&rdquo; and &ldquo;La mort, de Philae.&rdquo; In these short&lt;br /&gt;
chapters the author succeeds in giving the atmo-&lt;br /&gt;
sphere of Egypt, with all its poetry, its mystery,&lt;br /&gt;
and its antiquity. From the first line to the last,&lt;br /&gt;
though, it is very evident that he resents the in-&lt;br /&gt;
vasion of the &ldquo;modernists,&rdquo; and perhaps more than&lt;br /&gt;
all the sans g&eacute;ne of the English, in Egypt. He&lt;br /&gt;
tells us that behind the Ch&eacute;ops pyramid a huge&lt;br /&gt;
hotel has been built which is &ldquo;full of snobs and&lt;br /&gt;
elegant women, befeathered like so many Red&lt;br /&gt;
Indians for their scalp dance.&rdquo; Later on he&lt;br /&gt;
describes a mosque and the evening prayer dis-&lt;br /&gt;
turbed by a band of tourists laughing and talking.&lt;br /&gt;
Pierre Loti asks, in what European church, when&lt;br /&gt;
people were at prayer, would Mussulman tourists&lt;br /&gt;
be allowed to disport themselves &ldquo;like these&lt;br /&gt;
Savages &amp;quot; ? At Abydos everything is spoilt once&lt;br /&gt;
more for Loti by the arrival of another band of&lt;br /&gt;
English tourists. &ldquo;Oh, poor temple !&rdquo; he ex-&lt;br /&gt;
claims, &ldquo;to be profaned by anything so grotesque&lt;br /&gt;
is a greater insult than to be pillaged by bar-&lt;br /&gt;
barians.&rdquo; A table for about thirty men and&lt;br /&gt;
Women is arranged for luncheon, and these guests&lt;br /&gt;
belong to &ldquo;that special race of humanity which&lt;br /&gt;
frequents Thos. Cook &amp;amp; Son.&rdquo; He goes on to&lt;br /&gt;
describe the meal of whisky-and-soda and sand-&lt;br /&gt;
wiches, and the pieces of greasy paper strewed&lt;br /&gt;
about the marble flags afterwards. &ldquo;And the ladies&lt;br /&gt;
of the party,&rdquo; he says, &ldquo; oh, the ladies, what scare-&lt;br /&gt;
crows for the birds !&rdquo; After this scene Abydos&lt;br /&gt;
and the desert no longer exist for Loti. He is&lt;br /&gt;
haunted by the faces of these women and by their&lt;br /&gt;
hats. He says that he has heard an explanation&lt;br /&gt;
given for the peculiar ugliness of the women who&lt;br /&gt;
travel with Cook&amp;#039;s tickets. It appears that all&lt;br /&gt;
English women who are not considered pretty&lt;br /&gt;
enough to marry receive an unlimited amount of&lt;br /&gt;
money to be spent in Cook&amp;#039;s tickets. They are&lt;br /&gt;
doomed, therefore, to travel for the rest of their&lt;br /&gt;
lives, so that they may not have time to think of&lt;br /&gt;
other things. This arrangement is made in order&lt;br /&gt;
that the English race of women may not deteriorate.&lt;br /&gt;
&ldquo;Cette explication m&amp;#039;await s&eacute;duit d&amp;#039;abord,&rdquo; says&lt;br /&gt;
Loti : &ldquo;mais un examen plus attentif des bandes&lt;br /&gt;
qui infestent du Nil m&amp;#039;a permis de constater que&lt;br /&gt;
toutes ces Anglaises y Sont d&amp;#039;un age notoirement&lt;br /&gt;
canonique ; done la catastrophe de la procr&eacute;ation,&lt;br /&gt;
si tant est qu&rsquo;elle ait pu se produire chez elles&lt;br /&gt;
doit remonter a des &eacute;poques bien ant&eacute;rieures &agrave; leur&lt;br /&gt;
enr&ocirc;lement. Et je demeure perplexe . . . .&rdquo; It&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 118 (#162) ############################################&lt;br /&gt;
&lt;br /&gt;
118&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
is very evident, from nearly every chapter of the&lt;br /&gt;
book, that the beauty and harmony of all that is&lt;br /&gt;
sacred in Egypt was completely destroyed for Loti&lt;br /&gt;
by the horde of tourists he met at every turn.&lt;br /&gt;
&ldquo;M&eacute;moires de la Cour de Louis XIV., by&lt;br /&gt;
Primi Visconti,&rdquo; is an extremely entertaining&lt;br /&gt;
volume in which the author gives an account of&lt;br /&gt;
the every-day events which took place at the Court&lt;br /&gt;
of the &ldquo;Great Monarch.&rdquo;&lt;br /&gt;
Primi Visconti was born in 1648 in Italy. At&lt;br /&gt;
the age of nineteen he published a novel, and in&lt;br /&gt;
1672 he went to France. He was very much&lt;br /&gt;
interested in the occult sciences, and before very&lt;br /&gt;
long became quite famous as a graphologist and&lt;br /&gt;
a diviner of future events. Very soon after his&lt;br /&gt;
arrival in France the Court ladies were most eager&lt;br /&gt;
to have the lines of their hands told by him.&lt;br /&gt;
In 1682 Primi published the first volume of his&lt;br /&gt;
&ldquo;History of the Dutch War.&rdquo; As he gave details&lt;br /&gt;
about the visit of Madame to Dover for the pur-&lt;br /&gt;
pose of negotiating an alliance between England&lt;br /&gt;
and France against Holland, the English ambas-&lt;br /&gt;
sador Preston took offence, and the consequence was&lt;br /&gt;
that Louis XIV. wrote to La Reynie requesting that&lt;br /&gt;
the book should be withdrawn from circulation.&lt;br /&gt;
The King&amp;#039;s orders were obeyed, and Primi was&lt;br /&gt;
imprisoned in the Bastille for six months. At&lt;br /&gt;
the end of that time, though, we are told that the&lt;br /&gt;
King took him back into favour, so that the im-&lt;br /&gt;
prisonment was evidently merely diplomatic policy.&lt;br /&gt;
In 1687 Comte Primi Visconti married Mar-&lt;br /&gt;
guerite, the daughter of Fr&eacute;d&eacute;ric Leonard, one of&lt;br /&gt;
the first publishers in Paris. Marguerite had&lt;br /&gt;
translated, from the Italian, a work on the state of&lt;br /&gt;
the Republic of Naples&mdash;rather a remarkable feat&lt;br /&gt;
for a woman in those days.&lt;br /&gt;
Marguerite was first married to a M. Herbin,&lt;br /&gt;
and on consulting Wisconti about her future lot&lt;br /&gt;
in life, the latter prophesied her husband&amp;#039;s death&lt;br /&gt;
and her second marriage. When M. Herbin died&lt;br /&gt;
she was accused of poisoning him, and was not&lt;br /&gt;
acquitted for several months. She was shortly&lt;br /&gt;
after engaged to Wisconti, but her father would&lt;br /&gt;
not hear of the marriage, and although she was at&lt;br /&gt;
that time thirty-two years old he obtained a decree&lt;br /&gt;
of Parliament to prevent it and to send his daughter&lt;br /&gt;
to a convent. Leonard published various pamphlets&lt;br /&gt;
endeavouring to prove that Wisconti was an&lt;br /&gt;
impostor, and the accused man on his side did all&lt;br /&gt;
he could to influence his protectors at Court, and&lt;br /&gt;
in the end he won his cause. The marriage was&lt;br /&gt;
celebrated in 1688.&lt;br /&gt;
Comte Primi Visconti seems to have been a&lt;br /&gt;
privileged person at Court and to have come into&lt;br /&gt;
contact with a great number of the historical&lt;br /&gt;
personages of his times. He tells anecdotes about&lt;br /&gt;
Mademoiselle de la Valli&egrave;re, Madame de Montespan,&lt;br /&gt;
the Chevalier de Rohan, Mademoiselle de Fontanges,&lt;br /&gt;
Madame de Maintenon, and very many other&lt;br /&gt;
members of Louis XIV.&amp;#039;s Court. -&lt;br /&gt;
The &ldquo;M&eacute;moires du G&eacute;neral Griois&rdquo; cover the&lt;br /&gt;
period from 1792 to 1822. He tells of his edu-&lt;br /&gt;
cation at Ch&acirc;lons, of his family, of the early days&lt;br /&gt;
of the Revolution, the emigration of the aristocrats,&lt;br /&gt;
the September massacres. He then describes his&lt;br /&gt;
military career, his departure for Elba and life&lt;br /&gt;
there. He gives details about the Italian campaign.&lt;br /&gt;
The charm of the book is its extreme simplicity.&lt;br /&gt;
It is just a soldier&amp;#039;s account of his life and its&lt;br /&gt;
everyday events, told without any seeking-after&lt;br /&gt;
effect but in the most natural manner possible.&lt;br /&gt;
The description of Calabria is particularly&lt;br /&gt;
interesting just now. The author speaks of the&lt;br /&gt;
terrible earthquake which had devastated it in&lt;br /&gt;
1788. He tells that the shocks continued for&lt;br /&gt;
Several months, and he relates some of the stories&lt;br /&gt;
told by the survivors.&lt;br /&gt;
The Acad&eacute;mie Goncourt prize for 1908 has&lt;br /&gt;
been awarded to Francis de Miomandre for his&lt;br /&gt;
novel &ldquo;Ecrit sur de l&amp;#039;Eau.&rdquo; Among other new books&lt;br /&gt;
are the following:&mdash;&ldquo;L&rsquo;Idylle de Marie Bir&eacute;,&rdquo;&lt;br /&gt;
by Gustave Geffroy ; &ldquo;La Mont&eacute;e,&rdquo; by Pierre&lt;br /&gt;
Willetard ; &ldquo;Un grand homme,&rdquo; by Gaston Rageot.&lt;br /&gt;
&ldquo;Cyr&egrave;ne,&rdquo; by Ossit, is a novel which, in reality,&lt;br /&gt;
is the love story of a somewhat enigmatic man and&lt;br /&gt;
woman. Cyr&eacute;ne from her childhood has a strange&lt;br /&gt;
passionate nature. She is married at an early age&lt;br /&gt;
to a man whom she afterwards despises and detests.&lt;br /&gt;
After her husband&amp;#039;s death she meets again a man&lt;br /&gt;
who has always interested her, and this time her&lt;br /&gt;
love ends in tragedy. The minor characters of&lt;br /&gt;
the book are well drawn, the interest sustained,&lt;br /&gt;
and the whole story very real and living.&lt;br /&gt;
&ldquo;La Jolie Princesse,&rdquo; by Marie Anne de Bovet,&lt;br /&gt;
is a volume of short stories told in the vivacious&lt;br /&gt;
style peculiar to this author. &ldquo;Le Sabre et la&lt;br /&gt;
Plume&rdquo; is a very clever psychological study told&lt;br /&gt;
with distinct dramatic effect. &ldquo;Saint Cyriens,&rdquo;&lt;br /&gt;
&ldquo;La Proie et l&amp;#039;Ombre,&rdquo; and &ldquo;Le Tabernacle,&rdquo; are&lt;br /&gt;
the other stories in the book.&lt;br /&gt;
In the latest numbers of La Revue hebdomadaire&lt;br /&gt;
M. Henry Van Dyke writes on &ldquo;L&amp;#039;esprit d&amp;#039;inde-&lt;br /&gt;
pendance et la R&eacute;publique des Etats-Unis&rsquo;&rsquo;;&lt;br /&gt;
M. Andr&eacute; Beaunier publishes some of Gounod&amp;#039;s&lt;br /&gt;
letters, and Andr&eacute; Chaumeix writes an article on&lt;br /&gt;
the new Academician, M. Francis Charmes, who&lt;br /&gt;
succeeded Bruneti&egrave;re as editor of the Revue des&lt;br /&gt;
Deua Mondes. Fr&eacute;d&eacute;ric Masson gives an interest-&lt;br /&gt;
ing account of Sir Hudson Lowe and his earlier&lt;br /&gt;
life before he was made Governor of St. Helena ;&lt;br /&gt;
Jean Izoulet writes on &ldquo;J. J. Rousseau, aristo-&lt;br /&gt;
crate &rsquo;&rsquo;; Guglielmo Ferrero writes a curious article&lt;br /&gt;
on &ldquo;Le Vin dans l&amp;#039;histoire de Rome,&rdquo; and finishes&lt;br /&gt;
by applying what he has said of Rome to the Paris&lt;br /&gt;
of to-day. &ldquo;Paris,&rdquo; he says, &ldquo;is the modern&lt;br /&gt;
Rome, the metropolis of the Latin world.&rdquo;&lt;br /&gt;
/&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 119 (#163) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A DITFIOR.&lt;br /&gt;
119&lt;br /&gt;
In the recent numbers of La Revue de Paris&lt;br /&gt;
Richard Wagner&amp;#039;s letters to Otto Wesendonk are&lt;br /&gt;
published. There are articles by Victor B&eacute;rard on&lt;br /&gt;
&ldquo;Autriche et Servie,&rdquo; and by Louis Houllevigne on&lt;br /&gt;
Da Synth&egrave;se de la Lumi&egrave;re. Ernest Lavisse Con-&lt;br /&gt;
tinues his account of his visit to Berlin, and Clara&lt;br /&gt;
Wiebig her novel, &ldquo;P&eacute;cheresse.&rdquo; There are also&lt;br /&gt;
articles on &ldquo;L&rsquo;Accord Am&eacute;ricain-japonais,&rdquo; by&lt;br /&gt;
Louis Aubert ; and on &ldquo;Discipline et Silence,&rdquo; by&lt;br /&gt;
Comte Leonce Abeille. g&lt;br /&gt;
At the Th&eacute;&acirc;tre Fran&ccedil;ais &ldquo;Le Foyer&rdquo; is still&lt;br /&gt;
being played. - *&lt;br /&gt;
&ldquo;Le Poussin,&rdquo; by M. Edmond Guirand, is being&lt;br /&gt;
given at the Od&eacute;on. M. Guirand is well known to&lt;br /&gt;
the public by his clever adaptation of &ldquo;Anna&lt;br /&gt;
Rarenina,&rdquo; which was also given a short time ago&lt;br /&gt;
by M. Antoine.&lt;br /&gt;
The opening of a new theatre, the Th&eacute;&acirc;tre&lt;br /&gt;
Michel, was quite a Parisian event. A comedy by&lt;br /&gt;
M. Tristan Bernard was given, entitled &ldquo;Le&lt;br /&gt;
Poulailler.&rdquo; -&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;La Mort de Philae&amp;#039;&amp;#039; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;M&eacute;moires de la Cour de Louis XIV.&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;M&eacute;moires du G&eacute;n&eacute;ral Griois&rsquo;&rsquo; (Plon).&lt;br /&gt;
&ldquo;Cyr&egrave;ne,&rdquo; by Ossit (Lemerre).&lt;br /&gt;
&ldquo;L&amp;#039;Idylle de Marie Bir&eacute;&rdquo; (Fasquelle).&lt;br /&gt;
&ldquo;La Mont&eacute;e&rsquo;&rdquo; (Fasquelle).&lt;br /&gt;
&ldquo;Un grand homme &amp;quot; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;La Jolie Princesse,&rdquo; by Marie Anne de Boret (Lemerre).&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
SPANISH NOTES.&lt;br /&gt;
&amp;lt; 4 A Ciudad de la Niebla&rsquo;&rsquo; (The City of Fog),&lt;br /&gt;
L by Pio Baroja, shows that this Spanish&lt;br /&gt;
author is a keen observer, and his descrip-&lt;br /&gt;
tions of London, to which he gives the above title,&lt;br /&gt;
are interesting as the impressions our Capital&lt;br /&gt;
make on a Southern character. The policeman&amp;#039;s&lt;br /&gt;
power in the order of the traffic, the dreary fogs,&lt;br /&gt;
the aspects of a boarding-house in Bloomsbury, are&lt;br /&gt;
all well noted. The father and daughter, the chief&lt;br /&gt;
characters in the book, seem to have escaped from&lt;br /&gt;
Spain as they were suspected of being concerned&lt;br /&gt;
in the Bomb outrage. The girl is stimulated to&lt;br /&gt;
make her own living by the sight of the industry&lt;br /&gt;
of her English acquaintances. But energy at last&lt;br /&gt;
dies down in the Southerner, especially as her father&lt;br /&gt;
forsook her on his marriage with a flighty French-&lt;br /&gt;
woman in the boarding-house. A Spaniard Sets&lt;br /&gt;
before the heroine the hard conditions of a life of&lt;br /&gt;
independence in a foreign country compared to&lt;br /&gt;
the ease of a marriage in her own Sunny Spain.&lt;br /&gt;
The advocate for &ldquo;submission &rdquo; prevails, and the&lt;br /&gt;
girl returns to Madrid, where she becomes the wife&lt;br /&gt;
of her cousin, and occasionally dreams of the&lt;br /&gt;
experiences she so&lt;br /&gt;
England.&lt;br /&gt;
Bernardo Morales Sam Martin has just published&lt;br /&gt;
a dramatic novelette called &ldquo;Alma de Artista&rdquo;&lt;br /&gt;
(The Soul of an Artist). The hero, Michael de la&lt;br /&gt;
Huerta, justifies the hopes and sacrifices of his&lt;br /&gt;
peasant parents by taking a very high place in the&lt;br /&gt;
world of art. A marriage with a lady of high&lt;br /&gt;
degree seems to complete the artist&amp;#039;s happiness.&lt;br /&gt;
But the lady wearies of her husband and starts a&lt;br /&gt;
flirtation with Michael&rsquo;s best pupil, and, as he&lt;br /&gt;
thought, his staunchest friend. Finding a letter&lt;br /&gt;
from this man making an appointment with his&lt;br /&gt;
wife, Michael, after the storm of indignation and&lt;br /&gt;
sorrow had swept his soul clean of love, determines&lt;br /&gt;
that he himself will make the way free to the&lt;br /&gt;
intriguing pair. So the d&eacute;nouement comes in a&lt;br /&gt;
most original way. The wife is bidden to take a&lt;br /&gt;
drive with her husband. Fear fills the shallow&lt;br /&gt;
lady&amp;#039;s heart when she finds herself at the spot&lt;br /&gt;
where the tryst had been arranged. But Michael,&lt;br /&gt;
Seeing his traitor friend, quietly walks up to him&lt;br /&gt;
and, after putting the hand of his wife in his,&lt;br /&gt;
turns his back on them both ; his delicate soul&lt;br /&gt;
could brook no tampering with loyalty, and with&lt;br /&gt;
his own hand he set the seal on his wife&amp;#039;s course&lt;br /&gt;
which proved her to be no longer worthy to be&lt;br /&gt;
queen of his soul.&lt;br /&gt;
Morales San Martin has written another story, to&lt;br /&gt;
which I will refer next month, showing the effect&lt;br /&gt;
of the same sort of treachery on a mind uncultured&lt;br /&gt;
and undisciplined; for the author is essentially a&lt;br /&gt;
psychologist.&lt;br /&gt;
Doctor Garcia Harta has just published an&lt;br /&gt;
&ldquo;Essay on Social Pathology,&rdquo; and its pages, which&lt;br /&gt;
throw much light on how the poor live, draw&lt;br /&gt;
attention to the necessary prevention of pauperism&lt;br /&gt;
by education,&lt;br /&gt;
Se&ntilde;or Luca de Tena, the energetic proprietor of&lt;br /&gt;
A. B. C., is Organising a special number of his&lt;br /&gt;
paper with contributions from those ranking high&lt;br /&gt;
in politics, art, and science, in aid of those suffer-&lt;br /&gt;
ing from the disaster in Messina. Se&ntilde;or Luca de&lt;br /&gt;
Tena has just been appointed a life Senator&lt;br /&gt;
(Senador Vitalico) by the King&amp;#039;s order, and the&lt;br /&gt;
palatial hall of the paper was the scene the other&lt;br /&gt;
day of an enthusiastic ovation of congratulation to&lt;br /&gt;
the chief by his immense staff of employees.&lt;br /&gt;
The death of Don Cayo Lopez leaves a blank in&lt;br /&gt;
the company of those who worked loyally for the&lt;br /&gt;
Restoration, and who was an enthusiastic follower&lt;br /&gt;
of the great Sagasta, and as Civil Governor of&lt;br /&gt;
Barcelona he did much useful work.&lt;br /&gt;
La Avellaneda, the renowned Spanish poetess, was&lt;br /&gt;
compared by Juan Valera to Victoria Colonna, so&lt;br /&gt;
the publication of her letters and autobiography&lt;br /&gt;
has excited much interest. In the letters of 1840&lt;br /&gt;
to Cepeda there is a falling off of the primal fervour,&lt;br /&gt;
graphically describes in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 120 (#164) ############################################&lt;br /&gt;
&lt;br /&gt;
120&lt;br /&gt;
TISIE AICſ&rsquo;&rsquo;INFIOR.&lt;br /&gt;
and it is noteworthy that the public now owe this&lt;br /&gt;
collection of letters to the widow of this great friend&lt;br /&gt;
of the poetess.&lt;br /&gt;
The cession of the Island of Cortegada, off the&lt;br /&gt;
coast of Galicia, to H.M. King Alfonso of Spain&lt;br /&gt;
has now finally been completed, says El Mundo&lt;br /&gt;
(The World). The Galicians are delighted, for the&lt;br /&gt;
visit of their Majesties of Spain to this beautiful&lt;br /&gt;
neighbourhood is announced for the Spring, and it&lt;br /&gt;
is hoped that Mondariz will be included in the&lt;br /&gt;
royal tour of the Region. Her Majesty Queen&lt;br /&gt;
Victoria of Spain has just united a large number of&lt;br /&gt;
illustrious ladies into a working party for the poor&lt;br /&gt;
under the appellation of Society of Saint Victoria.&lt;br /&gt;
Much sympathy is expressed in Madrid with&lt;br /&gt;
Se&ntilde;or Moret, the leader of the Liberal party, on&lt;br /&gt;
the death of his wife at Biarritz after a short illness.&lt;br /&gt;
The centenary of the death of Sir John Moore&lt;br /&gt;
was celebrated last month with enthusiasm. The&lt;br /&gt;
army and navy both took part in the ceremonies,&lt;br /&gt;
and after General Arpe had delivered an eloquent&lt;br /&gt;
oration he placed on the tomb of the hero a magnifi-&lt;br /&gt;
cent wreath of flowers tied with the colours of&lt;br /&gt;
France and Spain ; and all Corunna was en f&ecirc;te.&lt;br /&gt;
A book entitled &ldquo;Anthropologia Criminal&rdquo; has&lt;br /&gt;
just been published by Don Fructuoso Carpena.&lt;br /&gt;
The author gives the histories of many criminals,&lt;br /&gt;
and scientifically shows that their deficient morality&lt;br /&gt;
is for the most part due to physiological reasons.&lt;br /&gt;
When visiting the chief prison of Madrid I was&lt;br /&gt;
much struck with the attention given to this side of&lt;br /&gt;
criminality. Policemen attend regularly lectures&lt;br /&gt;
on physiology, and in another department the eyes,&lt;br /&gt;
ears, hands, heads, etc. of criminals are put under&lt;br /&gt;
the examination of a clever scientist.&lt;br /&gt;
RACHEL CHALLICE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COPYRIGHT IN MUSICAL COMPOSITIONS.&lt;br /&gt;
MABE v. CONNOR.&lt;br /&gt;
HE question in this case, which came before&lt;br /&gt;
the Divisional Court, was whether a per-&lt;br /&gt;
forated music roll, adapted for use on an&lt;br /&gt;
instrument called a Cecilian piano player, so as to&lt;br /&gt;
produce the music of a copyright song entitled&lt;br /&gt;
&ldquo;Bandolero,&rdquo; was a pirated copy of a musical&lt;br /&gt;
work, in respect of which remedies are provided&lt;br /&gt;
by the Musical (Summary Proceedings) Copyright&lt;br /&gt;
Act, 1902. The perforated music roll had been&lt;br /&gt;
offered for sale in the street, and on behalf of the&lt;br /&gt;
owner of the copyright the roll was seized by a&lt;br /&gt;
constable, and the vendor was summoned before the&lt;br /&gt;
magistrate to show cause why the roll should not&lt;br /&gt;
be forfeited or destroyed, in accordance with the&lt;br /&gt;
provisions of the statute. The magistrate, follow-&lt;br /&gt;
ing the decision in Boosey v. Whight, decided that&lt;br /&gt;
the perforated music roll was not a copy of the&lt;br /&gt;
musical composition, and dismissed the summons,&lt;br /&gt;
but he stated a case for the opinion of the High&lt;br /&gt;
Court. -&lt;br /&gt;
In the more recent Act relating to summary&lt;br /&gt;
remedies for infringement of copyright in musical&lt;br /&gt;
compositions&mdash;the Musical Copyright Act, 1906&ndash;&lt;br /&gt;
it is expressly provided that &ldquo;pirated copies&rdquo;&lt;br /&gt;
referred to therein do not include perforated music&lt;br /&gt;
rolls used for playing mechanical instruments, or&lt;br /&gt;
records used for the reproduction of sound waves,&lt;br /&gt;
or the matrices or other appliances by which such&lt;br /&gt;
rolls or records are made. It was contended, how-&lt;br /&gt;
ever, that as there was no such clause in the Act&lt;br /&gt;
of 1902, the Legislature must have intended such&lt;br /&gt;
rolls to be considered as pirated copies. There is&lt;br /&gt;
no definition of &ldquo;pirated copies&rdquo; in the Act of&lt;br /&gt;
1902. A &ldquo;pirated musical work&amp;quot; is mentioned in&lt;br /&gt;
the interpretation clause, but not elsewhere in the&lt;br /&gt;
Act, and is declared to mean any musical work&lt;br /&gt;
written, printed, or otherwise reproduced, without&lt;br /&gt;
the consent of the copyright owner. It was urged&lt;br /&gt;
that any reproduction, whether a copy or not,&lt;br /&gt;
&agrave;mounted to a piracy, and that the roll in question&lt;br /&gt;
was a reproduction to which the provisions of the&lt;br /&gt;
Act of 1902 applied.&lt;br /&gt;
The Lord Chief Justice, in delivering judgment,&lt;br /&gt;
pointed out that the Act of 1902 was passed two&lt;br /&gt;
years after the decision in Boosey v. Whight, and&lt;br /&gt;
it must be taken that Parliament knew that for an&lt;br /&gt;
action for infringement of copyright perforated&lt;br /&gt;
music rolls were not copies of a musical work. It&lt;br /&gt;
had been argued that the Act of 1906 had altered the&lt;br /&gt;
position by saying that &ldquo;pirated copies&rdquo; for the&lt;br /&gt;
purposes of that Act should not include perforated&lt;br /&gt;
music rolls, and so implying that for the purposes&lt;br /&gt;
of other Acts they should be included. He knew&lt;br /&gt;
of no rule by which he would be justified in&lt;br /&gt;
drawing that inference.&lt;br /&gt;
The Court held that they were bound by the&lt;br /&gt;
decision in Boosey v. Whight, and the appeal was&lt;br /&gt;
dismissed.&lt;br /&gt;
Leave to appeal was given.&lt;br /&gt;
THE DRAMATISATION OF NOVELS.&lt;br /&gt;
AMERICAN CASE.&lt;br /&gt;
RECENT case in the United States brings&lt;br /&gt;
into prominence the peculiarity of English&lt;br /&gt;
law relating to the dramatisation of novels,&lt;br /&gt;
and the more generous treatment accorded to&lt;br /&gt;
authors in other countries.&lt;br /&gt;
The widow of the late Henry J. W. Dam&lt;br /&gt;
brought an action against the Kirke La Shelle&lt;br /&gt;
Company in respect of the infringement of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 121 (#165) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
121&lt;br /&gt;
dramatic rights in a story entitled &ldquo;The Trans-&lt;br /&gt;
mogrification of Dan,&rdquo; of which her husband was&lt;br /&gt;
the author, and which was published in the Smart&lt;br /&gt;
Set in 1901. The defendant company, some four&lt;br /&gt;
years afterwards, produced in New York a play&lt;br /&gt;
called &ldquo;The Heir to the Hoorah,&rdquo; by Paul&lt;br /&gt;
Armstrong, and it was alleged that the play had&lt;br /&gt;
been taken from the story. No part of the&lt;br /&gt;
dialogue in the play had been copied from the&lt;br /&gt;
magazine ; but the judge found that there was a&lt;br /&gt;
substantial similarity between the literary com-&lt;br /&gt;
position, which was duly copyrighted, and the&lt;br /&gt;
play. He held, therefore, that the author&amp;#039;s&lt;br /&gt;
exclusive right, according to American law, to&lt;br /&gt;
dramatise his work had been infringed, and that&lt;br /&gt;
the plaintiff was entitled to an injunction and an&lt;br /&gt;
account of the profits arising out of the per-&lt;br /&gt;
formances of the play produced by the defendant&lt;br /&gt;
company.&lt;br /&gt;
The following passages in the judgment may be&lt;br /&gt;
quoted:&mdash;&ldquo;The theme or subject of the story is&lt;br /&gt;
substantially imitated in the play. . . . It is true&lt;br /&gt;
the dialogue of the drama is not in the words of&lt;br /&gt;
the story, but its exact phraseology is not neces-&lt;br /&gt;
sary to the adaptation of the plot or subject, or&lt;br /&gt;
the portrayal of the different characters of the&lt;br /&gt;
play. The actors imitate or portray the characters&lt;br /&gt;
in the story, and make use of the incidents and&lt;br /&gt;
situations, which apparently give expression to the&lt;br /&gt;
central theme or purpose of the author. . . .&lt;br /&gt;
The story is not strictly a dramatic composition,&lt;br /&gt;
although its special features, its incidents, per-&lt;br /&gt;
sonages, and episodes, plainly indicate that it is&lt;br /&gt;
not without dramatic interest, and can, by appro-&lt;br /&gt;
priate dialogue, scenes, and stage business, be&lt;br /&gt;
transformed into a drama. . . . It is enough that&lt;br /&gt;
the essence of the play has been taken from the&lt;br /&gt;
story.&rdquo;&lt;br /&gt;
Now, it may be observed that if this action had&lt;br /&gt;
been brought in England the plaintiff must have&lt;br /&gt;
failed, because according to English law the author&lt;br /&gt;
of a novel or story is not entitled, as in other&lt;br /&gt;
countries, to the exclusive right of dramatising&lt;br /&gt;
his work. This right is given to authors not only&lt;br /&gt;
by the law of the United States, but it is recognised&lt;br /&gt;
by all the countries of the Union constituted by the&lt;br /&gt;
Berne Convention, with the exception of Great&lt;br /&gt;
Britain. It is also given to authors in Australia&lt;br /&gt;
by the Copyright Act, 1905 (Commonwealth of&lt;br /&gt;
Australia).&lt;br /&gt;
With regard to the dramatisation of novels, the&lt;br /&gt;
position of Great Britain is unique among the&lt;br /&gt;
sixteen countries comprising the Copyright Union&lt;br /&gt;
under the Berne Convention. One of the aims of&lt;br /&gt;
the recent Berlin Conference was to bring Great&lt;br /&gt;
Britain into line with the other countries in this&lt;br /&gt;
respect. In order to achieve this end, however, it&lt;br /&gt;
will be necessary to amend the domestic law of Eng-&lt;br /&gt;
land by an Act of Parliament. This was one of the&lt;br /&gt;
difficulties which led to the refusal of Great Britain&lt;br /&gt;
to assent to the Declaration of Paris in 1896 ; but&lt;br /&gt;
now that the British delegates have accepted the&lt;br /&gt;
principle under the Berlin Convention,&rdquo; there is&lt;br /&gt;
reason to hope that the law will be amended, and&lt;br /&gt;
that this country will no longer deny to authors&lt;br /&gt;
the exclusive right of dramatising their works,&lt;br /&gt;
which is recognised by all the other countries&lt;br /&gt;
within, and even by countries outside, the Copy-&lt;br /&gt;
right Union.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
* See Article 12 of the Revised Convention, made at&lt;br /&gt;
Berlin, November 13, 1908, of which a translation&lt;br /&gt;
appeared as a supplement to the January issue of the&lt;br /&gt;
Author.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
A BILL TO ABOLISH THE POWERS OF&lt;br /&gt;
THE LORD CHAMBERLAIN IN RESPECT&lt;br /&gt;
OF STAGE PLAYS AND TO TRANSFER&lt;br /&gt;
TO THE LOCAL AUTHORITY THE&lt;br /&gt;
POWERS OF THE LORD CHAMBERLAIN&lt;br /&gt;
IN RESPECT OF THE LICENSING OF&lt;br /&gt;
THEATRES IN LONDON. -&lt;br /&gt;
MEMORANDUM.&lt;br /&gt;
HE object of this Bill is to abolish the censor-&lt;br /&gt;
ship of plays exercised in Great Britain&lt;br /&gt;
under the authority of the Lord Chamber-&lt;br /&gt;
lain and to transfer to the London County Council&lt;br /&gt;
as the local authority the power of licensing&lt;br /&gt;
and controlling theatres exercised by the Lord&lt;br /&gt;
Chamberlain in the central parts of the metropolis.&lt;br /&gt;
As to the censorship of plays it is proposed to&lt;br /&gt;
make theatrical performances subject to the same&lt;br /&gt;
control as performances in music halls. In the&lt;br /&gt;
case of music halls no censorship exists, but any&lt;br /&gt;
impropriety can be dealt with by the police or by a&lt;br /&gt;
refusal of the licence by the licensing authority,&lt;br /&gt;
which in London is the London County Council.&lt;br /&gt;
The censorship of plays does not exist in Ireland.&lt;br /&gt;
As to the licensing of theatres this power is now&lt;br /&gt;
exercised by or under the control of the local&lt;br /&gt;
authority in practically the whole of Great Britain&lt;br /&gt;
where theatres are found, except the central&lt;br /&gt;
district of London, the University cities of Oxford&lt;br /&gt;
and Cambridge, and places where His Majesty&lt;br /&gt;
resides. Further, even in the central district of&lt;br /&gt;
London, the London County Council as the local&lt;br /&gt;
authority has already extensive powers over the&lt;br /&gt;
structure of theatres under the Metropolis Manage-&lt;br /&gt;
ment Act, 1878.&lt;br /&gt;
Arrangement of Clauses.&lt;br /&gt;
1. Abolition of censorship of Lord Chamberlain.&lt;br /&gt;
2. Transfer to local authority of power of Lord&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 122 (#166) ############################################&lt;br /&gt;
&lt;br /&gt;
122&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
Chamberlain to license theatres in parts of&lt;br /&gt;
the county of London.&lt;br /&gt;
. Saving of Lord Chamberlain&rsquo;s jurisdiction in&lt;br /&gt;
places of royal residence outside London.&lt;br /&gt;
Repeals.&lt;br /&gt;
. Definitions.&lt;br /&gt;
Short title.&lt;br /&gt;
Schedule.&lt;br /&gt;
3&lt;br /&gt;
;&lt;br /&gt;
Be it enacted by the King&amp;#039;s most Excellent&lt;br /&gt;
Majesty, by and with the advice and consent of&lt;br /&gt;
the Lords Spiritual and Temporal, and Commons,&lt;br /&gt;
in this present Parliament assembled, and by the&lt;br /&gt;
authority of the same, as follows:&mdash;&lt;br /&gt;
1. Abolition of Censorship of Lord Chamberlain.&lt;br /&gt;
&mdash;It shall not be necessary to submit any stage&lt;br /&gt;
play to the Lord Chamberlain before the first&lt;br /&gt;
acting or presenting thereof, whether for hire or&lt;br /&gt;
otherwise, and it shall not be lawful for the Lord&lt;br /&gt;
Chamberlain to forbid the acting or presenting in&lt;br /&gt;
Great Britain of any stage play.&lt;br /&gt;
2. Transfer fo Local Authority of Power to Lord&lt;br /&gt;
Chamberlain to License Theatres in Parts of the&lt;br /&gt;
County of London.&mdash;(1.) The powers of the Lord&lt;br /&gt;
Chamberlain under the Theatres Act, 1843 (6 &amp;amp; 7&lt;br /&gt;
Vict. c. 68), in respect of the licensing and closing&lt;br /&gt;
of theatres within the ancient parliamentary&lt;br /&gt;
boundaries of the cities of London and West-&lt;br /&gt;
minster and of the boroughs of Finsbury and&lt;br /&gt;
Marylebone, the Tower Hamlets, Lambeth, and&lt;br /&gt;
Southwark, shall be transferred to the London&lt;br /&gt;
County Council. -&lt;br /&gt;
(2) The licence of the Ilondon County Council&lt;br /&gt;
shall be required in respect of a theatre within the&lt;br /&gt;
said ancient parliamentary boundaries authorised&lt;br /&gt;
by virtue of letters patent from His Majesty or his&lt;br /&gt;
predecessors (in this Act called a patent theatre) in&lt;br /&gt;
the same manner as if no letters patent had been&lt;br /&gt;
granted in respect thereof.&lt;br /&gt;
(3) The licence of the London County Council&lt;br /&gt;
shall be for such period not exceeding one year as&lt;br /&gt;
the Council may think proper. -&lt;br /&gt;
(4) The London County Council may delegate&lt;br /&gt;
its powers under this Act with or without any&lt;br /&gt;
restrictions or conditions as may be thought fit to&lt;br /&gt;
a committee (or to the justices of the county of&lt;br /&gt;
Ilondon in the same manner as if these powers had&lt;br /&gt;
been transferred to the Council by virtue of the&lt;br /&gt;
Local Government Act, 1888 (51 &amp;amp; 52 Wict. c.41).&lt;br /&gt;
(5) The fees payable to the Lord Chamberlain&lt;br /&gt;
under section four of the Theatres Act, 1843&lt;br /&gt;
(6 &amp;amp; 7 Vict. c. 68), shall be payable to the London&lt;br /&gt;
County Council and shall apply to patent theatres.&lt;br /&gt;
3. Savinſ of Lord Chamberlain&amp;#039;s Jurisdiction in&lt;br /&gt;
Places of Royal Residence outside London.&mdash;Nothing&lt;br /&gt;
in this Act shall affect the powers of the Lord&lt;br /&gt;
Chamberlain under the Theatres Act, 1843 (6 &amp;amp; 7&lt;br /&gt;
Vict. c. 68), in respect of the licensing and closing&lt;br /&gt;
of theatres in those places outside the adminis-&lt;br /&gt;
trative county of London in which His Majesty,&lt;br /&gt;
his heirs and successors, shall in their royal persons&lt;br /&gt;
Occasionally reside.&lt;br /&gt;
4. Repeals.-The enactment mentioned in the&lt;br /&gt;
schedule to this Act is hereby repealed to the&lt;br /&gt;
extent specified in the third column of that&lt;br /&gt;
schedule.&lt;br /&gt;
3. Definitions. &ndash; In this Act the expression&lt;br /&gt;
&ldquo;theatre&rsquo; means any house or other place of&lt;br /&gt;
&ordm; resort for the public performance of stage&lt;br /&gt;
playS.&lt;br /&gt;
The expression &ldquo;stage play&rdquo; has the same&lt;br /&gt;
&ordm; as in the Theatres Act, 1843 (6 &amp;amp; 7 Vict.&lt;br /&gt;
C. 68). -&lt;br /&gt;
6. Short Title.&mdash;This Act may be cited as the&lt;br /&gt;
Theatres Act, 1908.&lt;br /&gt;
SCHEDULE.&lt;br /&gt;
J&ordm;nactment Repealed.&lt;br /&gt;
s&lt;br /&gt;
Session and&lt;br /&gt;
Chapter. Short Title.&lt;br /&gt;
Extent of Repeal.&lt;br /&gt;
The Theatres Act, Sections twelve, thirteen,&lt;br /&gt;
1843. fourteen, and fifteen.&lt;br /&gt;
6 &amp;amp; 7 Vict.&lt;br /&gt;
c. 68.&lt;br /&gt;
-&ordm;-&ordm;:&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BIBLIOPHILE.&lt;br /&gt;
Edgar Allen Poe, 1809-1849. By F. C. Owlett.&lt;br /&gt;
The Poetry of James Thomson. By Bertram Dobell.&lt;br /&gt;
BLACKWOOD.&lt;br /&gt;
By Oliver Elton.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
By Professor Richard M. Meyer.&lt;br /&gt;
Crabbe.&lt;br /&gt;
German Literature.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
By Frederic Harrison.&lt;br /&gt;
By Jane H. Findlater.&lt;br /&gt;
Charles Eliot Norton.&lt;br /&gt;
The Novels of Fogazzaro.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
Daniel Defoe. By John Masefield.&lt;br /&gt;
The New Poetry. By Filson Young.&lt;br /&gt;
The Writing of Books of Sport. By F. G. Aflalo.&lt;br /&gt;
MONTH.&lt;br /&gt;
John Milton. By the Rev. Herbert Thurston.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
The Oxford Thackeray. By Austin Dobson.&lt;br /&gt;
The Shakespearean Problem. By George Hookham.&lt;br /&gt;
PUTNAM&amp;#039;S.&lt;br /&gt;
Edgar Allen Poe : From an English Point of View. By&lt;br /&gt;
Norman Douglas.&lt;br /&gt;
Poe as a Critic. By Sherwin Cody.&lt;br /&gt;
3alsac in Brittany. By W. H. Helm.&lt;br /&gt;
Israel Zangwill. By Clarence Rook.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 123 (#167) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
123;&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;&mdash;e&mdash;&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement). &bull; -&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. &amp;quot;It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the OutSet are :&ndash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In 622. IlS. &ordm;&lt;br /&gt;
(2) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld. t&ordm;&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
e&mdash;&ordm;-0&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;e-Q-0--&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority. -&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager, -&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date.&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
grOSS receipts. Percentages vary between 5.&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts,&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be.&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to.&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always.&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and,&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction is.&lt;br /&gt;
of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager.&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English.&lt;br /&gt;
agreements without the author obtaining a substantiał&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of .&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract,&lt;br /&gt;
He should therefore guard himself all the more carefully in ,&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market,&lt;br /&gt;
is exceedingly limited, and that for a novice the first object .&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
L assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as .&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 124 (#168) ############################################&lt;br /&gt;
&lt;br /&gt;
124.&lt;br /&gt;
TFIE A CITISIOR.&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e-S-0&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion. All this&lt;br /&gt;
without any cost to the member.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Send to the Office copies of past agreements and past&lt;br /&gt;
accounts, with a copy of the book represented. The&lt;br /&gt;
Secretary will always be glad to have any agreements, new&lt;br /&gt;
or old, for inspection and note. The information thus&lt;br /&gt;
obtained may prove invaluable.&lt;br /&gt;
4. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
5. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
6. The Committee have now arranged for the reception&lt;br /&gt;
of members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
&mdash;(1) To read and advise upon agreements and to give&lt;br /&gt;
advice concerning publishers. (2) To stamp agreements&lt;br /&gt;
in readiness for a possible action upon them. (3) To keep&lt;br /&gt;
agreements. (4) To enforce payments due according to&lt;br /&gt;
agreements. Fuller particulars of the Society&rsquo;s work&lt;br /&gt;
can be obtained in the Prospectus.&lt;br /&gt;
7. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
8. Many agents neglect to stamp agreements. Th&lt;br /&gt;
&euro;&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
9. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
10. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
TO MUSICAL COMPOSERS.&lt;br /&gt;
HE Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or&lt;br /&gt;
part of 100. The members&amp;#039; stamps are kept in the&lt;br /&gt;
Society&amp;#039;s Safe. The musical publishers communicate direct&lt;br /&gt;
with the Secretary, and the voucher is then forwarded to&lt;br /&gt;
the members, who are thus saved much unnecessary trouble.&lt;br /&gt;
a&mdash;&ordm;- a&lt;br /&gt;
w&ordm; - w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in the&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
All persons engaged in literary work of any kind,&lt;br /&gt;
whether members of the Society or not, are invited to&lt;br /&gt;
communicate to the Editor any points connected with their&lt;br /&gt;
work which it would be advisable in the general interest to&lt;br /&gt;
publish.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all subjects connected with literature, but on&lt;br /&gt;
no other subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post,&lt;br /&gt;
and he requests members who do not receive an&lt;br /&gt;
answer to important communications within two days to&lt;br /&gt;
write to him without delay. All remittances should be&lt;br /&gt;
crossed Union Bank of London, Chancery Lane, or be sent&lt;br /&gt;
by registered letter only.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LEGAL AND GENERAL LIFE ASSURANCE&lt;br /&gt;
SOCIETY.&lt;br /&gt;
&mdash;e-O-0&ndash;&lt;br /&gt;
ENSIONS to commence at any selected age,&lt;br /&gt;
either with or without Life Assurance, can&lt;br /&gt;
be obtained from this Society.&lt;br /&gt;
Full particulars can be obtained from the City&lt;br /&gt;
Branch Manager, Legal and General Life Assurance&lt;br /&gt;
Society, 158, Leadenhall Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 125 (#169) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A [Cſ&rsquo;INFIOR.&lt;br /&gt;
125&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
AUTHORS&rsquo; AGENTS.&lt;br /&gt;
ONCE again it is necessary to call the attention&lt;br /&gt;
of the members of the society to the position of&lt;br /&gt;
authors&rsquo; agents. Authors&amp;#039; agents are no doubt&lt;br /&gt;
absolutely essential to many authors, if they are&lt;br /&gt;
to obtain the best price for their work, the best&lt;br /&gt;
contracts, and numerous markets, but an author&amp;#039;s&lt;br /&gt;
agent, in order to do his best for the author, must&lt;br /&gt;
be in a position of great trust.&lt;br /&gt;
It is, therefore, much more important that the&lt;br /&gt;
author should supervise with the greatest care and&lt;br /&gt;
stringency a contract with an agent than a contract&lt;br /&gt;
with a publisher.&lt;br /&gt;
No agent should be allowed such a hold over&lt;br /&gt;
the author&amp;#039;s property that he can destroy his&lt;br /&gt;
market. No agent should be allowed to insert&lt;br /&gt;
a clause in an agreement between author and&lt;br /&gt;
publisher:&lt;br /&gt;
1. That the agent alone can collect the monies&lt;br /&gt;
due to the author under that agreement :&lt;br /&gt;
2. That the agent alone is entitled to settle&lt;br /&gt;
disputes arising under that agreement.&lt;br /&gt;
An author should be very careful when an&lt;br /&gt;
agent, who is not his regular agent, approaches&lt;br /&gt;
him with an offer from a publisher, for in that&lt;br /&gt;
case the agent may be acting merely as the&lt;br /&gt;
publisher&amp;#039;s tout.&lt;br /&gt;
The agent in many cases, it must be said with&lt;br /&gt;
regret, acts for the benefit of the publisher, and&lt;br /&gt;
prefers the easier solution of a difficulty by placing&lt;br /&gt;
a contract with a publisher with whom he is on&lt;br /&gt;
friendly terms, than trying if he can obtain a&lt;br /&gt;
better market elsewhere.&lt;br /&gt;
No agent should be allowed to bind the author&lt;br /&gt;
for a settled period to take the author&amp;#039;s work or&lt;br /&gt;
should be allowed to obtain his fees on any contract&lt;br /&gt;
beyond the one he actually fixes on an author&amp;#039;s&lt;br /&gt;
behalf.&lt;br /&gt;
If in a contract there is a clause binding the&lt;br /&gt;
author to offer other books to the same publisher,&lt;br /&gt;
the agent should not be allowed to draw his fees&lt;br /&gt;
on the other books unless the further transaction,&lt;br /&gt;
with the author&amp;#039;s consent, passes through his&lt;br /&gt;
hands.&lt;br /&gt;
The mere fact that he has allowed the author to&lt;br /&gt;
sign such a clause tends to show he is a bad&lt;br /&gt;
agent. The period over which, under any agree:&lt;br /&gt;
ment, an agent draws his fees, and the amount of&lt;br /&gt;
his f&eacute;es, should, if possible, be limited.&lt;br /&gt;
If on a contract the author allows the publisher&lt;br /&gt;
the exclusive right to deal with his foreign rights,&lt;br /&gt;
his dramatic rights, and his serial rights, an agent&lt;br /&gt;
should not be allowed his agency fees under such&lt;br /&gt;
a clause, especially when, as in some cases, the&lt;br /&gt;
publisher takes 50 per cent. of the returns.&lt;br /&gt;
The mere fact that an agent has allowed the&lt;br /&gt;
author to assign this exclusive right tends to show&lt;br /&gt;
he is a bad agent, that he has allowed the pub-&lt;br /&gt;
lisher to do his work and the unfortunate author&lt;br /&gt;
to pay a double fee, first to the publisher, and,&lt;br /&gt;
Secondly, to himself.&lt;br /&gt;
. An agent, too, who, when brought to book, fails to&lt;br /&gt;
give full information or return MSS. and then&lt;br /&gt;
Writes : &ldquo;We assume no responsibility beyond&lt;br /&gt;
that of accounting to the author in the event of&lt;br /&gt;
sales,&rdquo; is like Lady Clara Were de Vere, &ldquo;not one&lt;br /&gt;
to be desired.&rdquo;&lt;br /&gt;
These are some of the reasons, shortly stated,&lt;br /&gt;
why an author must be most careful about his&lt;br /&gt;
dealings and contracts with an agent. We make&lt;br /&gt;
these statements as certain matters in their usual&lt;br /&gt;
cycle have again become prominent.&lt;br /&gt;
It is at the same time almost unnecessary to&lt;br /&gt;
state that a good agent is often essential, may&lt;br /&gt;
double an author&amp;#039;s income, and leave him time&lt;br /&gt;
and rest for the more important, the artistic, side&lt;br /&gt;
of his work.&lt;br /&gt;
SCHOLZ v. AMASIS, LD.&lt;br /&gt;
A CASE of interest to all dramatic authors was&lt;br /&gt;
decided by Mr. Justice Jelf last month&mdash;Scholz v.&lt;br /&gt;
Amasis, Ld. It was a case of infringement of&lt;br /&gt;
dramatic copyright.&lt;br /&gt;
As the matter is going to the Court of Appeal&lt;br /&gt;
we refrain from making a detailed comment. One&lt;br /&gt;
or two remarks, however, may not be out of place.&lt;br /&gt;
The first point to be determined is the date of&lt;br /&gt;
the first production of each piece, or the date when&lt;br /&gt;
each completed piece first came within the baneful&lt;br /&gt;
influence of the Copyright Statutes. When this&lt;br /&gt;
has been settled, it then remains a question of&lt;br /&gt;
fact whether piece No. 2 is an infringement of piece&lt;br /&gt;
No. 1.&lt;br /&gt;
The Judge remarked, when going through the&lt;br /&gt;
evidence, &ldquo;that there was ample opportunity for&lt;br /&gt;
leakage &rsquo;&rsquo;; in other words, that it was possible&lt;br /&gt;
that author No. 2 might have seen the play of&lt;br /&gt;
author No. 1. But there appears to have been no&lt;br /&gt;
direct evidence on this point.&lt;br /&gt;
Now direct evidence of or ample opportunity for&lt;br /&gt;
leakage might, in a case where the infringement&lt;br /&gt;
of copyright was doubtful, be a strong factor in&lt;br /&gt;
determining the issue ; but if there is a clear&lt;br /&gt;
infringement we submit that there is no need of&lt;br /&gt;
evidence of leakage at all; in other Words, that&lt;br /&gt;
an innocent infringer is always liable. The real&lt;br /&gt;
difficulty that arises in a case of this kind is&lt;br /&gt;
whether book No. 2, or drama No. 2, or poem&lt;br /&gt;
No. 2, is a copy or colourable imitation of book&lt;br /&gt;
No. 1, drama No. 1, or poem No. 1. This can&lt;br /&gt;
only be decided by those who have read both and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 126 (#170) ############################################&lt;br /&gt;
&lt;br /&gt;
126&lt;br /&gt;
TISIE A CITISIOR.&lt;br /&gt;
have sufficient literary and legal acumen to weigh&lt;br /&gt;
the facts.&lt;br /&gt;
We cannot discuss the evidence, not only for the&lt;br /&gt;
reason stated, that the case is going to the Appeal&lt;br /&gt;
*Courts, but also for the better reason that as yet&lt;br /&gt;
we have not had an opportunity of carefully&lt;br /&gt;
digesting it. All dramatic members of the society&lt;br /&gt;
will await the result of the appeal with anxiety.&lt;br /&gt;
WE publish in another column of The Author&lt;br /&gt;
the Bill for the Abolition of the Censorship, which&lt;br /&gt;
was introduced by Mr. R. Vernon Harcourt, and&lt;br /&gt;
is backed by the following names &mdash;Mr. A. E. W.&lt;br /&gt;
Mason, Sir Gilbert Parker, Mr. Ponsonby, Mr.&lt;br /&gt;
T. P. O&amp;#039;Connor, and Mr. Ramsay Macdonald, and&lt;br /&gt;
was ordered to be printed on the 17th December,&lt;br /&gt;
1908.&lt;br /&gt;
It would be interesting to know whether the&lt;br /&gt;
JBill, before it was drafted, was submitted to any&lt;br /&gt;
representative gathering or committee of dramatic&lt;br /&gt;
authors.&lt;br /&gt;
The dramatic committee of the Society of Authors&lt;br /&gt;
sees it now for the first time.&lt;br /&gt;
COLONIAL SALES.&lt;br /&gt;
WE print the following cutting from the Australian&lt;br /&gt;
paper, Z&amp;#039;he Book Lover :-&lt;br /&gt;
The American publishers have taken the matter of push-&lt;br /&gt;
ing their goods into the Australian markets very seriously&lt;br /&gt;
of late. Besides the selling of large editions of special&lt;br /&gt;
books, a number of firms have appointed Messrs. Nott and&lt;br /&gt;
Ramsay as their agents, and Mr. E. A. Woodd is represent-&lt;br /&gt;
ing them in Melbourne. Among those firms who have so&lt;br /&gt;
acted may be mentioned the Century Co.; Dodd, Mead and&lt;br /&gt;
Co.; Harper and Bros. ; Little, Brown and Co.; Chas.&lt;br /&gt;
Scribner&amp;#039;s Sons, etc. This looks like a team which might&lt;br /&gt;
-do a great deal that is very much needed&mdash;from the reader&amp;#039;s&lt;br /&gt;
point of view.&lt;br /&gt;
New books will shortly be coming in, and at last the&lt;br /&gt;
libraries will be able to have specimens of the best&lt;br /&gt;
American literature. It has been thought that we were&lt;br /&gt;
amply supplied ; but in reality our choice has been con-&lt;br /&gt;
trolled by the edicts of one or two men, and the freedom of&lt;br /&gt;
choice has been abolished altogether. It is the way of&lt;br /&gt;
trade ; and we hasten to say that it is not the fault of&lt;br /&gt;
individuals, but the perfectly normal working of the absurd&lt;br /&gt;
system which judges for us all as if we were so many sheep.&lt;br /&gt;
While that lasts, our only chance is to see that no single&lt;br /&gt;
man has power to flood our markets with rubbish and to&lt;br /&gt;
&ldquo;exclude the smallest specimens of high-class work.&lt;br /&gt;
The question of colonial sales is one of growing&lt;br /&gt;
importance to English authors. If the English&lt;br /&gt;
publishers, through lack of energy and enterprise,&lt;br /&gt;
are being ousted from the colonial markets by the&lt;br /&gt;
American publishers, it is time that the English&lt;br /&gt;
author made some alteration in his business&lt;br /&gt;
methods.&lt;br /&gt;
What have the publishers to say ? Have they&lt;br /&gt;
any proposals to make Will they&mdash;to use a&lt;br /&gt;
colloquial phrase&mdash;take it sitting 2&lt;br /&gt;
It appears that their organisation in the colonies&lt;br /&gt;
must be very defective, to judge from the accounts&lt;br /&gt;
that come to the office.&lt;br /&gt;
It would be a good thing for authors to try and&lt;br /&gt;
get into touch with some enterprising houses in&lt;br /&gt;
Canada, South Africa, Australia, New Zealand,&lt;br /&gt;
and see if by obtaining a contract direct they&lt;br /&gt;
cannot obtain higher royalties and larger sales.&lt;br /&gt;
MRS. MYALL.&lt;br /&gt;
MEMBERS of the society may remember that in&lt;br /&gt;
November the Pension Fund Committee awarded&lt;br /&gt;
a pension at the rate of &pound;25 per annum to Mrs.&lt;br /&gt;
Myall (Laura Hain Friswell) under clause 16 of&lt;br /&gt;
the Pension Fund Scheme. By this clause the&lt;br /&gt;
committee may grant a pension if and while a&lt;br /&gt;
member is totally incapacitated for work, even&lt;br /&gt;
though he or she has not attained the age limit.&lt;br /&gt;
We regret to state that in the last few days of&lt;br /&gt;
1908 Mrs. Myall succumbed to that illness which&lt;br /&gt;
had stopped her from pursuing her literary labours.&lt;br /&gt;
Mrs. Myall&mdash;she wrote under her maiden name of&lt;br /&gt;
Laura Hain Friswell&mdash;was the daughter of the&lt;br /&gt;
well-known author of &ldquo;The Gentle Life.&rdquo; In&lt;br /&gt;
1898 she published a record of his life. One of&lt;br /&gt;
her last Works was a book of Reminiscences, pub-&lt;br /&gt;
lished in 1905, under the title of &ldquo;In the Sixties&lt;br /&gt;
and the Seventies.&rdquo; -&lt;br /&gt;
OP-e&mdash;4&lt;br /&gt;
ARTHUR WILLIAM A BECKETT.&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;&ndash;&lt;br /&gt;
E have to regret the loss of an old and&lt;br /&gt;
prominent member of the Society of&lt;br /&gt;
Authors in the person of Mr. A. W. a&lt;br /&gt;
Beckett, whose death occurred on Thursday,&lt;br /&gt;
January 14, in the Home attached to St. Thomas&amp;#039;s&lt;br /&gt;
Hospital. The news came as a great shock to&lt;br /&gt;
Mr. a. Beckett&amp;#039;s friends and acquaintances, few of&lt;br /&gt;
whom had heard of the distressing circumstances&lt;br /&gt;
under which an operation had become necessary,&lt;br /&gt;
while an additional note of sadness was caused by&lt;br /&gt;
the fact that his death nearly synchronized with&lt;br /&gt;
the marriage in India of his elder son.&lt;br /&gt;
Arthur William a Beckett was the member of a&lt;br /&gt;
Wiltshire family claiming descent on good grounds&lt;br /&gt;
from the father of St. Thomas &agrave; Beckett. He was&lt;br /&gt;
the third son of Gilbert Abbott &agrave; Beckett, the&lt;br /&gt;
well-known metropolitan magistrate and humorist,&lt;br /&gt;
who wrote, among other things, the &ldquo;Comic&lt;br /&gt;
History of England,&rdquo; and the &ldquo;Quizziology of the&lt;br /&gt;
British Drama,&rdquo; and was one of the original staff&lt;br /&gt;
of Punch. He was born sixty-four years ago and&lt;br /&gt;
educated in that excellent old Eastern County&lt;br /&gt;
School, Felstead, whence at the age of eighteen he&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 127 (#171) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES AICTEIOR,&lt;br /&gt;
127&lt;br /&gt;
obtained a clerkship in the War Office. After&lt;br /&gt;
three years&amp;#039; service in the War Office he was trans-&lt;br /&gt;
ferred to the Post Office, and even in these early&lt;br /&gt;
days the hereditary instinct towards literature began&lt;br /&gt;
to tell. He proceeded to dabble in journalism, wrote&lt;br /&gt;
a comic guide to the Royal Academy in collabora-&lt;br /&gt;
tion with his brother Gilbert, edited a small paper&lt;br /&gt;
called the Glowworm, started and edited another&lt;br /&gt;
small paper called the Britannia-&mdash;these were the&lt;br /&gt;
days when small individual efforts in journalism&lt;br /&gt;
had a chance&mdash;-wrote a novel, and at least one&lt;br /&gt;
play. In 1870 he was sent to the seat of the&lt;br /&gt;
Franco-German war as special correspondent to&lt;br /&gt;
the Standard and Globe, his knowledge of war&lt;br /&gt;
being derived from keen work both in the militia&lt;br /&gt;
and the volunteers. On his return he became&lt;br /&gt;
private secretary to the then Duke of Norfolk, and&lt;br /&gt;
in 1874 joined the staff of Punch, of which he&lt;br /&gt;
remained a member for no less than twenty-eight&lt;br /&gt;
years, acting as assistant editor to Sir Francis&lt;br /&gt;
Burnand. Among his most successful contribu-&lt;br /&gt;
tions to Punch was a series called &ldquo;Papers from&lt;br /&gt;
Pump-handle Court,&rdquo; the topical knowledge being&lt;br /&gt;
due to the fact that he was now called to the bar.&lt;br /&gt;
During these years he wrote four or five novels&lt;br /&gt;
and several plays, which duly made their appear-&lt;br /&gt;
ance in West End theatres, while for five years&lt;br /&gt;
(1891&ndash;1895) he found time to edit the Sunday&lt;br /&gt;
Times, in which he also wrote copiously. His&lt;br /&gt;
early connection with the War Office gave him&lt;br /&gt;
particular interest in military affairs, and he was&lt;br /&gt;
for a short time editor of the Naval and Military&lt;br /&gt;
Aſagazine. -&lt;br /&gt;
Mr. a Beckett&amp;#039;s connection with the Society of&lt;br /&gt;
Authors was a long one. Joining the Society in&lt;br /&gt;
1890, he was elected almost immediately, upon the&lt;br /&gt;
motion of his friend, the late Mr. J. M. Lely, a&lt;br /&gt;
member of the managing committee, upon which&lt;br /&gt;
he sat without intermission for seventeen years,&lt;br /&gt;
serving for a time as vice-chairman&mdash;a post since&lt;br /&gt;
abolished as unnecessary. He was a member for&lt;br /&gt;
varying periods of the copyright sub-committee,&lt;br /&gt;
the pension fund committee, and the dramatic sub-&lt;br /&gt;
committee, and ungrudgingly responded to the&lt;br /&gt;
calls upon his time which all this entailed. His&lt;br /&gt;
associates of the society throughout his long official&lt;br /&gt;
tale of work found in him a colleague who was&lt;br /&gt;
alike industrious, adaptable and tactful, and we&lt;br /&gt;
take this opportunity of recording our sense of the&lt;br /&gt;
value of his services. It is an open Secret that&lt;br /&gt;
during recent discussions which arose among those&lt;br /&gt;
then responsible for the government of the society.&lt;br /&gt;
Mr. A. Beckett considered eventually that Wrong&lt;br /&gt;
counsels prevailed. He attended, however, meetings&lt;br /&gt;
both of the committee and council after the differ-&lt;br /&gt;
ence of opinion had been made public, and showed&lt;br /&gt;
in all possible ways his desire to remain at one&lt;br /&gt;
with the main objects of the Society, even while&lt;br /&gt;
differing, in company with other members, from the&lt;br /&gt;
Course pursued in certain instances. He welcomed&lt;br /&gt;
cordially the reconstitution of the society which&lt;br /&gt;
took place recently, and in the bringing about of&lt;br /&gt;
which he had no small share.&lt;br /&gt;
Mr. a. Beckett was also at different times&lt;br /&gt;
president and chairman of the council of the&lt;br /&gt;
Institute of Journalists and president of the News-&lt;br /&gt;
paper Society.&lt;br /&gt;
In his many capacities as journalist, author,&lt;br /&gt;
dramatist, litt&eacute;rateur, and man of affairs, he&lt;br /&gt;
showed great activity and versatility, and possessed&lt;br /&gt;
bright and varied qualities which served him well&lt;br /&gt;
throughout a long and hard-working life. In&lt;br /&gt;
private he was a well-known club man, with much&lt;br /&gt;
that was amusing and piquant to say of the very&lt;br /&gt;
many interesting people he had been intimate&lt;br /&gt;
with during his career.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;-&lt;br /&gt;
BRITISH AUTHORS AND AMERICAN&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE business of book production in Great&lt;br /&gt;
Britain and the Empire is being more and&lt;br /&gt;
more seriously affected by the working of&lt;br /&gt;
American copyright law, as at present constituted.&lt;br /&gt;
It is therefore imperatively necessary that all those&lt;br /&gt;
concerned with the business should study the&lt;br /&gt;
question and, being convinced of its urgency,&lt;br /&gt;
should take such action as may appear to them&lt;br /&gt;
the likeliest to safeguard their various interests.&lt;br /&gt;
Emphatically I am convinced that it is high time&lt;br /&gt;
the attitude and probable action of the authors, as&lt;br /&gt;
primal factors in this business, were known.&lt;br /&gt;
Investigation has convinced me that, of the three&lt;br /&gt;
main bodies of men concerned in British book pro-&lt;br /&gt;
duction&mdash;authors, publishers, printers and men of&lt;br /&gt;
allied trades&mdash;certain amongst the two latter bodies&lt;br /&gt;
will shortly propose definite and drastic action.&lt;br /&gt;
Of the probable course of this action I shall speak&lt;br /&gt;
later : meantime I shall give, broadly, my reasons&lt;br /&gt;
for thinking that it is the duty, and very much to&lt;br /&gt;
the interest, of authors, to make haste and join&lt;br /&gt;
the leaders of the other two bodies of men.&lt;br /&gt;
Copyright, as a measure for the safeguarding of&lt;br /&gt;
an author&amp;#039;s interests, is precisely on all fours with&lt;br /&gt;
Patent, as a measure of protection for the inventor;&lt;br /&gt;
in this connexion, certain recent legislation suggests&lt;br /&gt;
reflection, too obvious to call for more than&lt;br /&gt;
suggestion. In U.S.A., pre-copyright days were&lt;br /&gt;
the days of let us be moderate, and say&mdash;whole-&lt;br /&gt;
sale annexation. But even in those primitive&lt;br /&gt;
times, certain American publishers recognised that&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 128 (#172) ############################################&lt;br /&gt;
&lt;br /&gt;
128&lt;br /&gt;
TRIES A. LITISIOR.&lt;br /&gt;
prevailing conditions savoured somewhat of free-&lt;br /&gt;
booting : these, to their lasting honour, extended to&lt;br /&gt;
British authors certain courtesy rights, the fruits&lt;br /&gt;
of which appeared in, occasional, considerable&lt;br /&gt;
returns. Ultimately, after some fifty odd years of&lt;br /&gt;
agitation, in 1891 the American Copyright Law,&lt;br /&gt;
substantially as it exists to-day, was passed.&lt;br /&gt;
This law, the best&mdash;say, the only thing&mdash;we&lt;br /&gt;
could get, embodies the notorious industrial clause,&lt;br /&gt;
which provides that before a British author can&lt;br /&gt;
get copyright in U.S.A. his book must be set up&lt;br /&gt;
in type by American workmen. There are, of&lt;br /&gt;
course, other restrictions upon British authors.&lt;br /&gt;
At the outset, however, I want to emphasise the&lt;br /&gt;
mischief wrought upon us by this industrial clause.&lt;br /&gt;
Firstly, it is the worst we have to bear ; and&lt;br /&gt;
secondly, any author who cannot or will not&lt;br /&gt;
recognise the mischief, and do his part in curing&lt;br /&gt;
it is, in my opinion, past praying for. Now, the&lt;br /&gt;
direct consequences of this American Copyright&lt;br /&gt;
Act, with its industrial clause, were mainly&lt;br /&gt;
these :&mdash;&lt;br /&gt;
1. It became possible, as it was not before, for&lt;br /&gt;
a British author to obtain copyright in America.&lt;br /&gt;
2. A substantial proportion of the production of&lt;br /&gt;
books commanding a sale on both sides of the&lt;br /&gt;
Atlantic has been done in America, and is being&lt;br /&gt;
so done to a greater and greater extent.&lt;br /&gt;
3. It has given the American author copyright&lt;br /&gt;
throughout the British Empire, irrespective of the&lt;br /&gt;
country wherein his copyright is manufactured.&lt;br /&gt;
4. It has, of course, materially improved the&lt;br /&gt;
position of the American author in his own country,&lt;br /&gt;
by greatly checking, if not altogether putting an end&lt;br /&gt;
to, the issue of unauthorised reprints of popular&lt;br /&gt;
British books.&lt;br /&gt;
(Referring to 4, of course, even now, popular&lt;br /&gt;
authors who command big royalties do very well&lt;br /&gt;
in both countries. Incidentally, the popular author&lt;br /&gt;
does very well in any case by commanding his&lt;br /&gt;
home market&mdash;even as, in pre-copyright days, such&lt;br /&gt;
as Dickens, Thackeray, Scott, Byron, George&lt;br /&gt;
Eliot, and the rest did very well. But )&lt;br /&gt;
5. Where the present law bears&mdash;once again, to&lt;br /&gt;
put it mildly&mdash;with gross injustice, and while it&lt;br /&gt;
prevails will continue to bear, is upon the rank&lt;br /&gt;
and file of British authors. These have not fame,&lt;br /&gt;
or notoriety ; yet amongst them are to be found, it&lt;br /&gt;
is likely, the most faithful and painstaking workers:&lt;br /&gt;
maybe the coming giants of imaginative literature;&lt;br /&gt;
also workers in the technical branches, and in&lt;br /&gt;
science; the infinitely patient, who devote their&lt;br /&gt;
lives to research work, mayhap invaluable of its&lt;br /&gt;
kind&mdash;in short, all the meritorious obscure. Upon&lt;br /&gt;
these, who most deserve and need protection and&lt;br /&gt;
encouragement, this law presses with the most&lt;br /&gt;
relentless severity.&lt;br /&gt;
It presses upon these, because of the expense,&lt;br /&gt;
delay and infinite complexity involved in getting&lt;br /&gt;
their work set up in America, according to this&lt;br /&gt;
utterly inequitable law.&lt;br /&gt;
Here, the position bristles with technicalities;&lt;br /&gt;
broadly speaking, however, the practical results&lt;br /&gt;
of these complex obstructions are perfectly clear.&lt;br /&gt;
They are, chiefly &mdash;&lt;br /&gt;
1. The author, not being able to afford American&lt;br /&gt;
copyright, leaves his book unprotected ; if it turns&lt;br /&gt;
out to be worth reprinting, it is promptly issued&lt;br /&gt;
in America, giving him no return. It would be&lt;br /&gt;
an extensive and a striking list&mdash;that of British&lt;br /&gt;
books annexed in this manner: no doubt the&lt;br /&gt;
Authors&rsquo; Society could easily furnish the same. On&lt;br /&gt;
the other hand, the American author gains pro-&lt;br /&gt;
tection, not only in his own country, but through-&lt;br /&gt;
out the British Empire, by the simple and quite&lt;br /&gt;
inexpensive business of registering at Stationers&rsquo;&lt;br /&gt;
Hall, and fulfilling other simple conditions.&lt;br /&gt;
(This state of things, of course, gives a healthy&lt;br /&gt;
impetus to American book-production, and accounts,&lt;br /&gt;
amongst many other things, for their successful&lt;br /&gt;
raiding of our colonial markets.)&lt;br /&gt;
2. On the commercial and industrial side, these&lt;br /&gt;
complications necessarily and inevitably drive the&lt;br /&gt;
British author and publisher, in many instances,&lt;br /&gt;
simply to hand over a large proportion of British&lt;br /&gt;
books to America. Here, the Publishers&rsquo; Associa-&lt;br /&gt;
tion would, I believe, be ready to draw up a list of&lt;br /&gt;
British books, by British authors, wholly or in part&lt;br /&gt;
produced beyond the Atlantic. Certain master-&lt;br /&gt;
printers also, to my certain knowledge, can unfold&lt;br /&gt;
a tale of steady and growing loss of British work.&lt;br /&gt;
So, the work of producing British books is being&lt;br /&gt;
given more and more to American workmen. If&lt;br /&gt;
Our own men and our rivals worked on level terms,&lt;br /&gt;
Sportsman or business-man would say, &ldquo;Let the&lt;br /&gt;
best man win &amp;quot;; as it is, the Americans are&lt;br /&gt;
entrenched and armed ; our men are in the open&lt;br /&gt;
and, under present conditions, defenceless.&lt;br /&gt;
Our transatlantic rivals have wit enough to&lt;br /&gt;
make the most of these conditions aforesaid ; more&lt;br /&gt;
and more they study English taste in type, paper&lt;br /&gt;
and the rest of it ; and so the loss of British&lt;br /&gt;
book-production to British workmen goes on with&lt;br /&gt;
ever-increasing momentum.&lt;br /&gt;
Here, then, is the central problem. Unless past&lt;br /&gt;
and present damage is to eventuate in ultimate&lt;br /&gt;
disaster, there can be but one solution, we must&lt;br /&gt;
have open competition&mdash;the &ldquo;square deal &amp;quot; of&lt;br /&gt;
President Roosevelt&mdash;or equal laws.&lt;br /&gt;
Certain publishers recognise these as the only&lt;br /&gt;
possible alternatives. Certain printers, and others&lt;br /&gt;
concerned in the business of book-production,&lt;br /&gt;
recognise them also. The trade unions, rank and&lt;br /&gt;
file, are becoming aware of this steady and growing&lt;br /&gt;
loss of work and wages; and the present trouble,&lt;br /&gt;
together with its only possible remedy, is shortly&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 129 (#173) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
129&lt;br /&gt;
to be definitively stated to certain associations of&lt;br /&gt;
workmen.&lt;br /&gt;
Granted permission, I shall have more to say of&lt;br /&gt;
this. So far as I am aware, authors as a body, or&lt;br /&gt;
even singly, have not as yet testified in this, their&lt;br /&gt;
recognised organ, where they stand as regards this&lt;br /&gt;
vital and urgent affair. As I said in the beginning,&lt;br /&gt;
they are the primal factors in the business of book-&lt;br /&gt;
production ; and it is high time they were heard&lt;br /&gt;
from. I trust I have said enough to induce at&lt;br /&gt;
least some expression of opinion on their part, an&lt;br /&gt;
expression to my mind distinctly overdue.&lt;br /&gt;
HERBERT C. MACILWAINE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
ON RENDERING ACCOUNTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
T used to be the custom of all publishers to pay&lt;br /&gt;
royalties on every copy of a book sold, the&lt;br /&gt;
wording of the clause running, &ldquo;undertake&lt;br /&gt;
to pay per cent. on every copy sold.&rdquo;&lt;br /&gt;
This custom has been broken through by some&lt;br /&gt;
of the younger publishers, who desired to make an&lt;br /&gt;
extra percentage ; and some of the older houses&lt;br /&gt;
have followed their example. The new method is&lt;br /&gt;
to pay a percentage on every copy sold, with a&lt;br /&gt;
proviso ; the wording of the clause running some-&lt;br /&gt;
what as follows: &ldquo;In estimating the royalty on&lt;br /&gt;
copies sold thirteen copies shall be reckoned as&lt;br /&gt;
twelve.&rdquo;&lt;br /&gt;
It is manifest from these two arrangements that&lt;br /&gt;
publishers clearly understood the difference&lt;br /&gt;
between paying the royalty on every copy sold, in&lt;br /&gt;
whatever quantities they were sold and at what-&lt;br /&gt;
ever price, and paying the royalties on thirteen&lt;br /&gt;
copies as twelve. This would be apparent to the&lt;br /&gt;
meanest capacity, but particular attention has been&lt;br /&gt;
drawn to the point and to the different form of&lt;br /&gt;
the agreement in order to elucidate the position in&lt;br /&gt;
the following instance.&lt;br /&gt;
A publisher entered into a contract with an&lt;br /&gt;
author and agreed to pay a royalty on every copy&lt;br /&gt;
sold, but in rendering the royalty accounts he took&lt;br /&gt;
the whole number sold, deducted the thirteenth&lt;br /&gt;
copies, and paid the royalties on the lower figure.&lt;br /&gt;
The author naturally objected to this method,&lt;br /&gt;
and when he remonstrated by letter the publisher&lt;br /&gt;
replied as follows:&mdash;&lt;br /&gt;
&ldquo;With regard to the difference between . . . copies and&lt;br /&gt;
... on which your royalty is computed, we beg to say the&lt;br /&gt;
odd copies are not sold but given away to the booksellers,&lt;br /&gt;
in order to induce them to buy 12 copies, and we give to&lt;br /&gt;
the booksellers 7 as 6% and 13 as 12.&rdquo;&lt;br /&gt;
There is no excuse for a statement of this kind.&lt;br /&gt;
It is quite clear from the wording in the clauses&lt;br /&gt;
referred to above that publishers are well aware of&lt;br /&gt;
the difference in the results, and that they do not&lt;br /&gt;
reckon the thirteenth copy as being given away, or&lt;br /&gt;
7 as 6% when they undertake to pay on every copy&lt;br /&gt;
Sold. . A customer, buying oranges, when he is&lt;br /&gt;
offered 7 for 2d., supposing the price is 3 for 1d.,&lt;br /&gt;
does not reckon that he is given the extra orange,&lt;br /&gt;
but that the Oranges are sold to him at that price&lt;br /&gt;
because he is taking a quantity. The publisher&amp;#039;s&lt;br /&gt;
answer is a mere quibble in order to avoid pay-&lt;br /&gt;
ment of the royalty.&lt;br /&gt;
It is to be hoped that it will be possible to bring&lt;br /&gt;
this point into Court. The opinion of the judge&lt;br /&gt;
and jury would be interesting.&lt;br /&gt;
We should like to add a further remark about&lt;br /&gt;
this method of cutting down the author&amp;#039;s royalty.&lt;br /&gt;
The only way to counteract the loss is by asking&lt;br /&gt;
for a higher royalty. If the author would usually&lt;br /&gt;
get 10 per cent. On every copy sold he should get&lt;br /&gt;
11 per cent. On 13 copies being reckoned as 12, or&lt;br /&gt;
refuse to sign the agreement. (Full details as to&lt;br /&gt;
the different percentages were printed in the&lt;br /&gt;
December Author, 1907.) If the author chooses to&lt;br /&gt;
sign, then he alone is responsible for the consequent&lt;br /&gt;
depreciation of his income. He must, however, in&lt;br /&gt;
no circumstances, having signed the agreement&lt;br /&gt;
that he is to receive a royalty on every copy sold,&lt;br /&gt;
be content to receive it on 12 copies out of 13. If&lt;br /&gt;
the accounts are rendered on this basis he had&lt;br /&gt;
better place all the papers before the society.&lt;br /&gt;
&mdash;&mdash;e&mdash;Q&ndash;0&mdash;&lt;br /&gt;
TO BE OR NOT TO BE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
7 E happened to be glancing through the&lt;br /&gt;
V V pages of Wol. I. of The Author, and came&lt;br /&gt;
across the following paragraph from the&lt;br /&gt;
pen of our founder &mdash;&lt;br /&gt;
&ldquo;&lsquo;I have never yet had any disagreement with my pub-&lt;br /&gt;
lisher,&rsquo; said a well-known man of letters the other day,&lt;br /&gt;
&lsquo;therefore, I have not joined the society.&rsquo; The remark and&lt;br /&gt;
the inference alike illustrate a common disposition to look&lt;br /&gt;
on the Society as one which exists for the purpose of patch-&lt;br /&gt;
ing up or even of creating quarrels and grievances with&lt;br /&gt;
publishers. That is not the case, of course, only one is well&lt;br /&gt;
nigh tired of repeating the fact. It suits certain persons&lt;br /&gt;
who regard us with natural hostility to keep this delusion&lt;br /&gt;
alive. The Society has no quarrel with publishers as such,&lt;br /&gt;
and never has had any. It maintains continually that the&lt;br /&gt;
services which publishers render to literature are solid, and&lt;br /&gt;
must be substantially paid for. The Society exists, however,&lt;br /&gt;
mainly for the purpose of maintaining the rights, the&lt;br /&gt;
sacredness and the reality of literary property. Therefore&lt;br /&gt;
it fights the battle of all authors, and should be supported&lt;br /&gt;
by all who approve of its principles.&rdquo;&lt;br /&gt;
We print it for various reasons. It recalls to&lt;br /&gt;
our mind a little verse that was printed in a later&lt;br /&gt;
number, which ran somewhat as follows:&mdash;&lt;br /&gt;
Author : The agreement&amp;#039;s signed the profits we divide,&lt;br /&gt;
A half to each applaud a just decision.&lt;br /&gt;
Publisher : Peace and goodwill to all at Christmastide,&lt;br /&gt;
Surely &amp;#039;twixt you and me there&amp;#039;s no&lt;br /&gt;
division.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 130 (#174) ############################################&lt;br /&gt;
&lt;br /&gt;
130&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
That was no doubt merely meant as a jest, but&lt;br /&gt;
there is a more serious side to the author&amp;#039;s original&lt;br /&gt;
remark, &ldquo;I have never yet had any disagreement&lt;br /&gt;
with my publisher, therefore I have not joined the&lt;br /&gt;
society.&rdquo; This remark is still made, and will pro-&lt;br /&gt;
bably continue to be made so long as human&lt;br /&gt;
nature remains the same.&lt;br /&gt;
There are two kinds of authors:&ndash;&lt;br /&gt;
1. Authors that know the value of their property&lt;br /&gt;
and the nature and variety of the rights they&lt;br /&gt;
possess.&lt;br /&gt;
2. Those authors who don&rsquo;t.&lt;br /&gt;
If the first do not join the society they ought to&lt;br /&gt;
for the following reasons: Firstly, the altruistic and&lt;br /&gt;
unselfish reason that they ought, by their support,&lt;br /&gt;
to strengthen the position of their less fortunate&lt;br /&gt;
fellow craftsmen. By their less fortunate is not&lt;br /&gt;
meant, those who flood the market with their&lt;br /&gt;
illiterate effusions, but those who turn out good&lt;br /&gt;
work with but poor return. Bacon put this point&lt;br /&gt;
in a more practical way when he said, &ldquo;Every man&lt;br /&gt;
is a debtor to his own profession.&rdquo;&lt;br /&gt;
Secondly, the practical reason that though they&lt;br /&gt;
have no dispute with their own pet publisher, yet&lt;br /&gt;
their property may be attacked by thieves and&lt;br /&gt;
pirates, of whom they have but little knowledge.&lt;br /&gt;
s&eacute;1 1s. a year insurance Inay save them from &pound;100&lt;br /&gt;
law costs when the crisis comes. This fact becomes&lt;br /&gt;
more self-evident year by year.&lt;br /&gt;
A dramatist has his work pirated on the&lt;br /&gt;
Continent. He thinks twice before he enters into&lt;br /&gt;
a long and costly lawsuit. While he is thinking&lt;br /&gt;
his property has gone. A writer of books, or&lt;br /&gt;
contributor to magazines, cannot get his money&lt;br /&gt;
from an American publisher or editor. It is&lt;br /&gt;
a cheap investment if he gets the amount for&lt;br /&gt;
&pound;1 1s. a year. With a composer the matter is even&lt;br /&gt;
of greater importance, for music is a universal&lt;br /&gt;
language. Piracy and infringement is therefore&lt;br /&gt;
so much easier.&lt;br /&gt;
For selfish, as well as altruistic reasons, therefore,&lt;br /&gt;
the author who knows ought to become a member.&lt;br /&gt;
For the author who does not know the reasons&lt;br /&gt;
are of greater importance. There are many&lt;br /&gt;
authors making a pretty income by their work,&lt;br /&gt;
who are in absolute ignorance of the true value of&lt;br /&gt;
literary property. This sometimes occurs even&lt;br /&gt;
with writers of fiction.&lt;br /&gt;
The following case came to the notice of the&lt;br /&gt;
Secretary:&mdash;A novelist who had been a member for&lt;br /&gt;
Some years was at length persuaded by a friend to&lt;br /&gt;
place his contracts for review. The terms he was&lt;br /&gt;
receiving were quite absurd. This was pointed&lt;br /&gt;
out to him.&lt;br /&gt;
publisher. As he was able to bring some pressure&lt;br /&gt;
to bear by a threat to remove his books, he was in&lt;br /&gt;
rather a strong position. The publisher doubled&lt;br /&gt;
his royalties.&lt;br /&gt;
He in turn pointed it out to the&lt;br /&gt;
In this case no charge was brought against the&lt;br /&gt;
publisher. He had made no false assertions&mdash;as.&lt;br /&gt;
unfortunately sometimes occurs when publishers&lt;br /&gt;
write, &ldquo;My reader reports favourably on your MS.,&lt;br /&gt;
and I am ready to publish it on the payment of&lt;br /&gt;
3.150.&rdquo; He had merely made a good bargain.&lt;br /&gt;
This author then had no dispute with his&lt;br /&gt;
publisher, but was merely ignorant of cost of&lt;br /&gt;
production, publishers&amp;#039; profits, and literary values.&lt;br /&gt;
The ignorant author is, however, much more.&lt;br /&gt;
frequently found in the ranks of technical writers,&lt;br /&gt;
and among those who write more solid books.&lt;br /&gt;
These books are generally published at a larger.&lt;br /&gt;
price compared with the cost of production than&lt;br /&gt;
works of fiction, and are almost always published net.&lt;br /&gt;
Many think that they are dealt with liberally if&lt;br /&gt;
they get #50, on a 10 per cent. royalty on a &pound;1 1s.&lt;br /&gt;
net book, and would be astonished if, on looking&lt;br /&gt;
through the returns, they were told that the book&lt;br /&gt;
could have easily paid 20 per cent. They are&lt;br /&gt;
ignorant, too, as to the many rights that exist&lt;br /&gt;
outside the mere publication in the British Empire,&lt;br /&gt;
and consequently give all their rights or an&lt;br /&gt;
exclusive licence to publish when asked to do so,&lt;br /&gt;
and the publisher takes what he can get with an&lt;br /&gt;
easy conscience. -&lt;br /&gt;
In the case of dramatists this gift of an exclusive.&lt;br /&gt;
licence to perform is more disastrous still. When&lt;br /&gt;
once a manager gets holds of it he does not let it.&lt;br /&gt;
go, and the piece may practically be killed all over&lt;br /&gt;
the world save in the one West End theatre where&lt;br /&gt;
the actor-manager exhibits himself. The ignorance&lt;br /&gt;
of the dramatist is fatal to his success.&lt;br /&gt;
The musical publisher takes from the composer&mdash;&lt;br /&gt;
such is his business capacity, or rather rapacity&mdash;&lt;br /&gt;
both his copyright and performing right, for in&lt;br /&gt;
much music the double right is profitable. In a&lt;br /&gt;
book the primary right is of course copyright. In&lt;br /&gt;
a theatrical piece the primary right is of course&lt;br /&gt;
performing right, but in a musical composition the&lt;br /&gt;
two often exist side by side, and might bring in&lt;br /&gt;
large sums to the composer if practically marketed.&lt;br /&gt;
To the ignorant author, whether of a book, of a&lt;br /&gt;
drama, of a piece of music, it should be essential&lt;br /&gt;
to join the ranks of his fellow members. Every&lt;br /&gt;
author with a little understanding can gauge his&lt;br /&gt;
own ignorance or knowledge. The buyer of a&lt;br /&gt;
horse does not purchase without the certificate of&lt;br /&gt;
a veterinary surgeon, nor the purchaser of a motor&lt;br /&gt;
car without the opinion of an expert. y&lt;br /&gt;
When we first made the quotation from Vol. I. of&lt;br /&gt;
The Author it was not our intention to write more&lt;br /&gt;
than a few words, but the subject started by Sir&lt;br /&gt;
Walter Besant and his lucid remarks, not all of&lt;br /&gt;
which are contained in the paragraph, brought a&lt;br /&gt;
fresh train of thought on what unfortunately is not&lt;br /&gt;
to every author, dramatist, or composer, a self-&lt;br /&gt;
evident proposition. %&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 131 (#175) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
131&lt;br /&gt;
THE DECADENCE OF THE NOVEL.&lt;br /&gt;
-&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TS it permitted to have doubts regarding the&lt;br /&gt;
decadence of the novel ? -&lt;br /&gt;
&ldquo;Where are your Dickens, your Thackerays,&lt;br /&gt;
and your Scotts P&rdquo; immediately retorts the&lt;br /&gt;
impugner of contemporary fiction.&lt;br /&gt;
To which the best reply is,&lt;br /&gt;
&ldquo;And Fieldings P&rsquo;&rsquo; .&lt;br /&gt;
Because, sad to say, it is ten to one that the&lt;br /&gt;
detractor has not read Fielding. In consequence&lt;br /&gt;
of which he will at once proceed to entangle him-&lt;br /&gt;
self in efforts either, to conceal his ignorance, which&lt;br /&gt;
will be impossible, or to justify his neglect, which&lt;br /&gt;
will put him out of court.&lt;br /&gt;
If &ldquo;Tom Jones&rdquo; is to be the standard, the&lt;br /&gt;
English novel has been certainly on the down&lt;br /&gt;
grade since February 28, 1749. But this is not&lt;br /&gt;
a reasonable way of regarding any phenomenon of&lt;br /&gt;
literary production. For some reason, not yet&lt;br /&gt;
explained, the superlatively best in every literary&lt;br /&gt;
form makes its appearance very soon. Greece&lt;br /&gt;
never produced anything to rival the Iliad; nor,&lt;br /&gt;
indeed, has it been approached by any work in any&lt;br /&gt;
one of the Western literatures, all of which are&lt;br /&gt;
essentially offshoots of the supreme Homeric torrent&lt;br /&gt;
spreading itself in the divergent winding streams&lt;br /&gt;
and backwaters of a delta. No Greek dramatist&lt;br /&gt;
rose to the height of the Orestea. No Roman lyric&lt;br /&gt;
&lsquo;Successor of Horace,&lt;br /&gt;
&ldquo;Princeps Aeoleum carmen ad Italos.&lt;br /&gt;
Deduxisse modos,&rdquo;&lt;br /&gt;
wever equalled him. Quintilian opined &ldquo;Lyricorum&lt;br /&gt;
Horatius fere solus legi dignus.&rdquo; Had time, and&lt;br /&gt;
the Byzantine monks, spared us the works of&lt;br /&gt;
Terpander and of the other early Greek lyric poets,&lt;br /&gt;
should we have found in them things not surpassed&lt;br /&gt;
by Pindar 2 It is certain that the poetess who can&lt;br /&gt;
rival Sappho has still to make her appearance ; and&lt;br /&gt;
seems very unlikely to appear. No Englishman&lt;br /&gt;
has written such blank verse as Milton. And so&lt;br /&gt;
on. Indeed, that the best is soon reached&lt;br /&gt;
appears to be a phenomenon dominant in all pro-&lt;br /&gt;
vinces connected with letters. No document is so&lt;br /&gt;
indestructible as a Babylonian tablet. The Script&lt;br /&gt;
of the oldest inscriptions and manuscripts is the&lt;br /&gt;
handsomest. The Mazarine Bible still remains&lt;br /&gt;
an unrivalled example of letterpress ; and no&lt;br /&gt;
printer has ever produced pages and type of more&lt;br /&gt;
beautiful proportions than those presented by the&lt;br /&gt;
&ldquo;Hypnerotomachia Pamphili.&rdquo;&lt;br /&gt;
Possibly a partial explanation of this dominant&lt;br /&gt;
phenomenon is to be found in the fact that for those&lt;br /&gt;
who came first&lt;br /&gt;
&ldquo;The world was all before them where to choose :&rdquo;&lt;br /&gt;
and they chose the best. Afterwards their less&lt;br /&gt;
fortunate successors had either to tell the same&lt;br /&gt;
story, to use the same form, or to take what the&lt;br /&gt;
first comers had prudently eschewed. But seeing&lt;br /&gt;
how far-reaching is this phenomenon of the best&lt;br /&gt;
being very soon reached, it is evidently always an&lt;br /&gt;
easy thing for anyone who wishes to insist upon&lt;br /&gt;
literary decadence to prove his point.&lt;br /&gt;
At the same time it is open to question whether&lt;br /&gt;
the works of authors whose writings are adduced to&lt;br /&gt;
shame the labours of their successors are in all&lt;br /&gt;
cases so perfect as they are represented to be. This&lt;br /&gt;
does not apply to the very greatest, to such novelists&lt;br /&gt;
as Fielding and Cervantes. But Sir Walter Scott&lt;br /&gt;
has certain longueurs. It would be difficult entirely&lt;br /&gt;
to exonerate Dickens of exaggeration and &ldquo;playing&lt;br /&gt;
to the gallery.&rdquo; And will any one defend &ldquo;her eyes&lt;br /&gt;
were full of almost tears,&rdquo; &ldquo;different to,&rdquo; &ldquo;many&lt;br /&gt;
opprobrious epithets in the English and French&lt;br /&gt;
language,&rdquo; all which flowers of speech are to be&lt;br /&gt;
found in &ldquo;Pendennis&rdquo; Is it possible to find the&lt;br /&gt;
parallels of these in the pages of any novelist of&lt;br /&gt;
1908 who is careful about his style 2&lt;br /&gt;
&ldquo;But many are disgracefully careless. You&lt;br /&gt;
must judge by an average.&rdquo;&lt;br /&gt;
Oh, but there were novelists who were not&lt;br /&gt;
Scotts nor Thackerays even when Scott and&lt;br /&gt;
Thackeray were living ! And it is instructive to&lt;br /&gt;
peruse on the fly-leaves of fiction of fifty years ago&lt;br /&gt;
the press notices of the novels of the day. They&lt;br /&gt;
are generous, those press notices; exactly as are&lt;br /&gt;
many press notices now. And if what they said&lt;br /&gt;
was to be taken &ldquo;au pied de la lettre&rdquo; those stories&lt;br /&gt;
ought still to be favourites. They are not. Their&lt;br /&gt;
titles are forgotten ; and it is often difficult to find&lt;br /&gt;
any one who can say who the authors were. But&lt;br /&gt;
these writers were the contemporaries of Dickens&lt;br /&gt;
and Thackeray and ought to count. In effect, the&lt;br /&gt;
comparison of all that is being written to-day with&lt;br /&gt;
the exceptional work of fifty and more years ago&lt;br /&gt;
which has been found worthy to survive is essentially&lt;br /&gt;
unjust.&lt;br /&gt;
A smaller number of novels than might be sup-&lt;br /&gt;
posed survives a decade : only a fraction survives&lt;br /&gt;
a century. It is not entirely the fault of the work.&lt;br /&gt;
Sir Walter Scott remarked very justly that after&lt;br /&gt;
fifty years a novel to be rightly understood requires&lt;br /&gt;
notes. Or if it does not require notes, it demands&lt;br /&gt;
of the reader some such knowledge of a state of&lt;br /&gt;
society that has passed away as only Well-informed&lt;br /&gt;
people possess. In consequence to obtain anything&lt;br /&gt;
resembling a lucid view of the actual situation it is&lt;br /&gt;
not only requisite first of all to distinguish novels&lt;br /&gt;
of very various merit published at the same date, but&lt;br /&gt;
also no less necessary to distinguish the various&lt;br /&gt;
classes to which these novels appeal.&lt;br /&gt;
Are the &ldquo;serials&rdquo; at present running in half-&lt;br /&gt;
penny prints, and (whatsoever may be their merits&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 132 (#176) ############################################&lt;br /&gt;
&lt;br /&gt;
132&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
or demerits) devoured with avidity by a certain&lt;br /&gt;
class of readers, inferior to the tales in the &ldquo;Penny&lt;br /&gt;
Readers&rdquo; of fifty years ago 2 Those &ldquo;Penny&lt;br /&gt;
Readers&rdquo; had a public. Had they not had one&lt;br /&gt;
they would not have been published. It seems not&lt;br /&gt;
at all improbable that their publishers reaped a&lt;br /&gt;
larger profit than is at present reaped by the pub-&lt;br /&gt;
lishers of the penny fiction at the present day offered&lt;br /&gt;
to a public of about the same intellectual level.&lt;br /&gt;
There were then by far fewer publications of this&lt;br /&gt;
kind ; and it is now many years since a news-&lt;br /&gt;
vendor observed to the present writer &ldquo;If there&lt;br /&gt;
were only one or two of these weekly penny fiction&lt;br /&gt;
periodicals they would be a gold mine. But there&lt;br /&gt;
are so many that they are of no value to any one.&rdquo;&lt;br /&gt;
And since then the competition for the penny of&lt;br /&gt;
the reader of cheap weekly fiction has certainly not&lt;br /&gt;
diminished.&lt;br /&gt;
Here we probably touch the secret of the&lt;br /&gt;
&ldquo;decadence,&rdquo; if there is a decadence. Undeniably&lt;br /&gt;
the conditions favour decadence. And the condi-&lt;br /&gt;
tions are not to be justly charged against either&lt;br /&gt;
authors or publishers. They are in no small degree&lt;br /&gt;
results of human nature. -&lt;br /&gt;
Now, it is useless to quarrel with human nature.&lt;br /&gt;
Human nature is a phenomenon of the same kind.&lt;br /&gt;
as gravitation and magnetism, and, whether it is&lt;br /&gt;
What any one would wish it to be or not, it has to&lt;br /&gt;
be accepted as it is. Neither does it help to say,&lt;br /&gt;
&ldquo;It is, but hadn&rsquo;t ought to be.&rdquo;&lt;br /&gt;
In &ldquo;Don Quixote&rsquo; Marcela justly excuses her-&lt;br /&gt;
self for having turned the head of Grisostomo by&lt;br /&gt;
remarking, &ldquo;As the viper deserves no blame for its&lt;br /&gt;
sting, although it be mortal, because it is the gift&lt;br /&gt;
of nature, neither ought I to be reviled for being&lt;br /&gt;
beautiful.&rdquo; And it is one of the gifts of nature to&lt;br /&gt;
humanity to scramble for halfpence ; or, if the coin&lt;br /&gt;
be of any larger worth, to scramble with propor-&lt;br /&gt;
tionately keener ardour. That has to be accepted&lt;br /&gt;
as the viper&amp;#039;s &ldquo;sting &rdquo; has to be accepted, howsoever&lt;br /&gt;
much it &ldquo;hadn&rsquo;t ought to be.&rdquo;&lt;br /&gt;
A publisher is a man who hopes to make an&lt;br /&gt;
income by bringing out books. To do that he has&lt;br /&gt;
first to get the copy, and afterwards to purchase&lt;br /&gt;
paper, to pay the printer and binder, and&mdash;this last&lt;br /&gt;
is the rub&mdash;to sell the books. It is said that there&lt;br /&gt;
are people who will give away copy; and it is cer-&lt;br /&gt;
tain that mechanical inventions have reduced the&lt;br /&gt;
Cost of paper, printing, and binding, to prices that&lt;br /&gt;
Would once have been considered impossible,&lt;br /&gt;
though these prices may still not be so small as a&lt;br /&gt;
publisher could wish. In fact, none of the pre-&lt;br /&gt;
liminary expenses are very serious. But to sell the&lt;br /&gt;
book demands genius. Books do not sell them-&lt;br /&gt;
selves; publishers wish they would. Nor will the&lt;br /&gt;
public part with their money for any book that is&lt;br /&gt;
offered them. If the public would do that, the&lt;br /&gt;
situation would become too sunny. Every author&lt;br /&gt;
would bring out his own works, and there would be&lt;br /&gt;
no publishers. But the public will purchase, by&lt;br /&gt;
no means generously, if their expectations have&lt;br /&gt;
been properly tickled, if they can be persuaded (no&lt;br /&gt;
matter how) that they are going to have a little&lt;br /&gt;
more than their money&amp;#039;s worth for their money,&lt;br /&gt;
and, this is the chief thing, if the humour takes&lt;br /&gt;
them. What they ought to purchase is a problem&lt;br /&gt;
for the critic, not for the publisher. What they&lt;br /&gt;
will purchase the publisher desires to supply in the&lt;br /&gt;
largest quantity saleable at a profit. If the public&lt;br /&gt;
wanted the &ldquo;Rig-Veda&rdquo; in the original, the pub-&lt;br /&gt;
lishers would be delighted to sell them the &ldquo;Rig-&lt;br /&gt;
Veda&rdquo; up to any number of hundreds of thousands;&lt;br /&gt;
and some publisher would no doubt offer the com-&lt;br /&gt;
plete Sanscrit text, edited by a first-class scholar,&lt;br /&gt;
for fourpence-halfpenny&mdash;to &ldquo;cut out&amp;quot; the other&lt;br /&gt;
publishers.&lt;br /&gt;
Well, the public do not want the &ldquo;Rig-Veda.&rdquo;&lt;br /&gt;
And they do want a certain number of novels.&lt;br /&gt;
How many they want no one knows. But they&lt;br /&gt;
Would like them at cheaper rates. This also is&lt;br /&gt;
of a piece with the viper&amp;#039;s &ldquo;sting&rdquo; and Marcela&amp;#039;s&lt;br /&gt;
beauty, a gift of nature. But no matter how&lt;br /&gt;
ingeniously the cost of production may be manipu-&lt;br /&gt;
lated, as the selling-price is ruthlessly diminished&lt;br /&gt;
at the bidding of a furious competition, the actual&lt;br /&gt;
profits tend towards a vanishing point. Many&lt;br /&gt;
Small profits now become the remedy for shrinking&lt;br /&gt;
returns; and the publisher plays for a profit&lt;br /&gt;
Q?&lt;br /&gt;
Of 3&lt;br /&gt;
One. That multiplies the output of novels; not&lt;br /&gt;
necessarily of volumes, 500 of A, and 500 of B,&lt;br /&gt;
and 500 of C, taking the place of 1,500 of A.&lt;br /&gt;
Next the author does the same ; and, be it&lt;br /&gt;
noted, with by far less excuse. Publishing three&lt;br /&gt;
books instead of one, as above, means only spend-&lt;br /&gt;
ing rather more on composition. It is true that&lt;br /&gt;
the modification is one that leads to sinister effects&lt;br /&gt;
upon percentages of gain, more capital being in-&lt;br /&gt;
Wested to earn the same return. But if a man&lt;br /&gt;
has the capital, and particularly when he can&lt;br /&gt;
invest the same capital thrice successively in three&lt;br /&gt;
small ventures, the result may be merely a con-&lt;br /&gt;
siderably increased production of books with no&lt;br /&gt;
very great corresponding extra expenditure. But,&lt;br /&gt;
the author who, because he finds the value of copy&lt;br /&gt;
*/ *&lt;br /&gt;
2&rsquo;&lt;br /&gt;
two novels in place of one is committing literary&lt;br /&gt;
suicide. The time necessary to write a novel,&lt;br /&gt;
and still more the all-important period of incuba-&lt;br /&gt;
tion that must precede the invention of any story,&lt;br /&gt;
will be very different in the case of different indi-&lt;br /&gt;
viduals; just as the final result will differ in con-&lt;br /&gt;
Sequence of their different abilities. But no writer&lt;br /&gt;
on three novels instead of a profit of a upon&lt;br /&gt;
reduced from y to #, coolly sets to work to write&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 133 (#177) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UITISIOR.&lt;br /&gt;
133&lt;br /&gt;
can &ldquo;put on steam &rdquo; and run out two novels in&lt;br /&gt;
the time that he would normally spend upon one,&lt;br /&gt;
without incurring an enormous risk of drifting into&lt;br /&gt;
mere journeyman work. No man can in such&lt;br /&gt;
circumstances do his best. And the novelist who&lt;br /&gt;
is not writing his best would be by far better&lt;br /&gt;
advised in not writing at all. It is, however, no&lt;br /&gt;
secret that some men have been trying to remedy&lt;br /&gt;
a reduction in prices by an increased output.&lt;br /&gt;
Such tactics would certainly make for decadence.&lt;br /&gt;
But the mischief does not end with the probable&lt;br /&gt;
deterioration of the work of the individual. When&lt;br /&gt;
publisher and author deliberately combine to play&lt;br /&gt;
a double game of forced production at low profits,&lt;br /&gt;
the output must be inevitably exaggerated. Pro-&lt;br /&gt;
bably it is already grossly exaggerated ; and the&lt;br /&gt;
books exceeding the demand stand in one another&amp;#039;s&lt;br /&gt;
way. So much is this avowedly the case that it&lt;br /&gt;
will not be indiscreet to hazard a conjecture that a&lt;br /&gt;
certain proportion of the much wider popularity of&lt;br /&gt;
some of the novels of the past was due to the fact&lt;br /&gt;
that the tales got a wider reading in consequence&lt;br /&gt;
of there not being others that could be taken up&lt;br /&gt;
instead. At present of ten novels that are pub-&lt;br /&gt;
lished, seven never have a fair chance. The&lt;br /&gt;
numerous others that succeed them week by Week&lt;br /&gt;
rob them immediately of their claim to be new&lt;br /&gt;
novels. And the new novel is the biggest of all&lt;br /&gt;
the fetiches of the novel-reading public. Swept&lt;br /&gt;
headlong by the combined forces of feverish pro-&lt;br /&gt;
duction and demand for nothing but what is &ldquo;new,&rdquo;&lt;br /&gt;
&ldquo;newest,&rdquo; and &ldquo;only just out,&rdquo; fiction is threaten-&lt;br /&gt;
ing to become purely ephemeral. If that should&lt;br /&gt;
arrive, if the novelist is to know that as the jour-&lt;br /&gt;
&ordm;nalist&amp;#039;s work has a life of a day only, his is to exist&lt;br /&gt;
but for a month, is it possible, is it in human&lt;br /&gt;
nature, that he should put into his book the quali-&lt;br /&gt;
ties that a man might labour to compass in a work&lt;br /&gt;
that might hope to be a favourite with a genera-&lt;br /&gt;
tion, that had a chance of being remembered when&lt;br /&gt;
its writer had passed away ? If there is a deca-&lt;br /&gt;
dence, if less and less of the work at present done&lt;br /&gt;
has permanent value, to what extent is that due to&lt;br /&gt;
the novelist&amp;#039;s labouring for the moment only&lt;br /&gt;
because he has lost hope of a future ?&lt;br /&gt;
It is possible enough that when time shall have&lt;br /&gt;
sifted the work, and shall have brought a date from&lt;br /&gt;
which the literature of to-day can be viewed in&lt;br /&gt;
due perspective, the fiction of the present genera-&lt;br /&gt;
tion may be found quite worthy to reckon with&lt;br /&gt;
that of the generations that have preceded it. If&lt;br /&gt;
in all but the very best a distinct decadence) is&lt;br /&gt;
visible that will have been in no small degree the&lt;br /&gt;
result of idiotic competition.&lt;br /&gt;
-&ordm;-e&lt;br /&gt;
&copy;&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
&ndash;0-&ordm;-&ordm;-&lt;br /&gt;
LAW AND LETTERS.&lt;br /&gt;
HE article devoted to Law and Letters in 1909&lt;br /&gt;
differs but slightly from the article dealing&lt;br /&gt;
with the same subject in 1908.&lt;br /&gt;
The fresh cases that have been tried in the past&lt;br /&gt;
year which are of any importance have been&lt;br /&gt;
epitomised ; among the number, the case of&lt;br /&gt;
Humphreys v. Thomson. The writer of the&lt;br /&gt;
article remarks at the end &mdash;&ldquo;An interesting&lt;br /&gt;
feature in the case was the opinion expressed by&lt;br /&gt;
certain authors, editors and others connected with&lt;br /&gt;
literature, that in the absence of any specific&lt;br /&gt;
agreement to the contrary the editor or other&lt;br /&gt;
purchaser of a story for serial use may alter it to&lt;br /&gt;
almost any extent, while the author can do nothing&lt;br /&gt;
to prevent it. The jury thought otherwise, and&lt;br /&gt;
took a common-sense view of the matter.&rdquo;&lt;br /&gt;
It is impossible to understand the mental attitude&lt;br /&gt;
of an author who would allow his work to be ruth-&lt;br /&gt;
lessly altered. He cannot care for his art, he&lt;br /&gt;
cannot value his own work ; he must live without&lt;br /&gt;
ideals. But still, looking at the issue from the&lt;br /&gt;
Sordid point of view, it is dangerous to risk your&lt;br /&gt;
reputation as a writer by allowing others to alter&lt;br /&gt;
your work. Such alteration may damage the&lt;br /&gt;
financial returns in the future.&lt;br /&gt;
Of the editors and others who gave testimony&lt;br /&gt;
there is but little to be said. If they appreciated&lt;br /&gt;
their own style and the value of their own pen&lt;br /&gt;
they ought to have recognised those points in&lt;br /&gt;
others; if they did not, then their little minds&lt;br /&gt;
could not rise above the level of cash value. This&lt;br /&gt;
is by the way, and has nothing to do with the&lt;br /&gt;
Literary Year Book.&lt;br /&gt;
The epitome of the Copyright Laws has been&lt;br /&gt;
carefully and accurately done, and as far as it is&lt;br /&gt;
possible within twenty-three pages to deal with so&lt;br /&gt;
vast a subject, so far has it been dealt with satis-&lt;br /&gt;
factorily. The very contentious Section XVIII.&lt;br /&gt;
is fairly explained, but will this explanation convey&lt;br /&gt;
much to the minds of the uninitiated P&lt;br /&gt;
The paragraph on &ldquo;The Assignment of Right&amp;quot;&lt;br /&gt;
should be studied. Is it possible that the perusal&lt;br /&gt;
of it will carry any information to the unstudied&lt;br /&gt;
reader ? We should like to assert strongly that the&lt;br /&gt;
grant of an exclusive licence to print and publish&lt;br /&gt;
is totally distinct at law from an assignment of the&lt;br /&gt;
copyright.&lt;br /&gt;
It would have been as well also to point out&lt;br /&gt;
clearly in the article dealing with the Fine Art&lt;br /&gt;
Copyright the danger of the artist&amp;#039;s rights falling&lt;br /&gt;
into the public domain, though this may be deduced&lt;br /&gt;
it is nowhere positively declared, and the positive&lt;br /&gt;
declaration is much more likely to carry con-&lt;br /&gt;
viction with those who do not know.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 134 (#178) ############################################&lt;br /&gt;
&lt;br /&gt;
134&lt;br /&gt;
TISIES ALTISIOR.&lt;br /&gt;
We cannot, however, unreservedly cengratulate&lt;br /&gt;
the author on the second section of his article,&lt;br /&gt;
&ldquo;Author, Publisher, and Agent.&rdquo;&lt;br /&gt;
By far the best part is that which deals with the&lt;br /&gt;
relation between author and agent.&lt;br /&gt;
In the pages of The Aufhor it has been stated&lt;br /&gt;
Over and over again, that the position between&lt;br /&gt;
author and agent is in many cases most dangerous.&lt;br /&gt;
An author will naturally, until the agreement is&lt;br /&gt;
signed, keep the publisher more or less at arms&rsquo;&lt;br /&gt;
length ; but with an agent, if he is to be of any&lt;br /&gt;
use, the author must be on the most intimate and&lt;br /&gt;
confidential footing from the first ; agents are&lt;br /&gt;
inclined to take advantage of this position and&lt;br /&gt;
protect their own interests at the expense of the&lt;br /&gt;
author. It is therefore with the utmost care that&lt;br /&gt;
the latter must bind himself to the former. He&lt;br /&gt;
must make no contract which will prejudice the&lt;br /&gt;
proper marketing of his literary efforts, nor agree&lt;br /&gt;
to any terms that hamper his action if the work&lt;br /&gt;
with his agent is irksome or intolerable. The Year&lt;br /&gt;
Book says: &mdash; &ldquo;The author should be warned&lt;br /&gt;
against a clause which requires him to pay the&lt;br /&gt;
agent a commission, not merely on the book under&lt;br /&gt;
discussion but on future books which the author&lt;br /&gt;
may write during a stated number of years.&rdquo; Let&lt;br /&gt;
the author take this to heart : the agent may claim&lt;br /&gt;
On all books under one contract. To save himself&lt;br /&gt;
trouble he may bind the author under that most&lt;br /&gt;
iniquitous form of contract, for one, two, or three&lt;br /&gt;
books to one publisher. The author will, unless he is&lt;br /&gt;
careful, be bound to pay the agent on each of those&lt;br /&gt;
books as they are delivered to the publisher. An&lt;br /&gt;
agent has even been known to claim commission on&lt;br /&gt;
any books placed with that publisher under any&lt;br /&gt;
contract during the author&amp;#039;s life. If he becomes&lt;br /&gt;
displeased with the agent&amp;#039;s work and wishes to with-&lt;br /&gt;
draw his business he may find in the agreement an&lt;br /&gt;
agency clause which entitles the agent to collect&lt;br /&gt;
and receive all monies due under the terms of the&lt;br /&gt;
agreement. The danger of this is explained on&lt;br /&gt;
page 501. But the clause often goes further than&lt;br /&gt;
the mere collection and receipt of monies, and&lt;br /&gt;
empowers the agent to settle all disputes that may&lt;br /&gt;
arise under the contract. &ldquo;Such clause,&rdquo; the&lt;br /&gt;
writer of the article says, &ldquo;should be signed only&lt;br /&gt;
with the utmost caution.&rdquo; It is necessary to&lt;br /&gt;
state in the strongest terms that such clause&lt;br /&gt;
should never be signed at all.&lt;br /&gt;
If the author desires to put his business into the&lt;br /&gt;
hands of another agent, he may have to pay twice&lt;br /&gt;
OVer On One COntract.&lt;br /&gt;
The reasons for this advice have been set forth&lt;br /&gt;
In the columns of The Author over and over again.&lt;br /&gt;
But still, it is difficult to get to all authors who&lt;br /&gt;
employ agents, and oftentimes an agent impresses&lt;br /&gt;
upon the author that it is not to his advantage to&lt;br /&gt;
join the Society.&lt;br /&gt;
If the agent is not financially sound, he has been&lt;br /&gt;
known to retain the money due to his client, and&lt;br /&gt;
in some cases play for the interests of the publisher&lt;br /&gt;
rather than the author.&lt;br /&gt;
The advice given in the pages of the Year Book&lt;br /&gt;
is sound and most important, and the editor is quite&lt;br /&gt;
right when he states that the protection of the&lt;br /&gt;
Authors&amp;#039; Society is almost as frequently sought&lt;br /&gt;
against agents as against publishers.&lt;br /&gt;
We have emphasised the article on Agents; for in&lt;br /&gt;
some cases the agent is useful, in others he is&lt;br /&gt;
absolutely essential. But if they intend to hold so&lt;br /&gt;
large a control of the author&amp;#039;s property, they&lt;br /&gt;
must be bound by contract to act only for the&lt;br /&gt;
benefit of that property. Their control must not&lt;br /&gt;
be such as to hamper the author&amp;#039;s action or damage&lt;br /&gt;
him financially.&lt;br /&gt;
But little space is left to criticise the forms of&lt;br /&gt;
agreement. . This part of the article is, perhaps,&lt;br /&gt;
the least satisfactory, and shows less experience and&lt;br /&gt;
knowledge than is contained in the first section.&lt;br /&gt;
For example, under the commission agreement,&lt;br /&gt;
why should the books be accounted for to the&lt;br /&gt;
author at the lowest prices charged to wholesale&lt;br /&gt;
booksellers and exporters ? To account for every&lt;br /&gt;
book at the actual price received might complicate&lt;br /&gt;
the accounts and be irksome to the publisher. It&lt;br /&gt;
would be easy to arrive at an average. -&lt;br /&gt;
Again, the book should never be sold at reduced&lt;br /&gt;
prices without the author&amp;#039;s sanction ; for as he has&lt;br /&gt;
paid for the book he has a right to control the&lt;br /&gt;
price lest it is sold at a figure which could not&lt;br /&gt;
possibly bring him any profit.&lt;br /&gt;
In the Sale of Copyright one most important&lt;br /&gt;
point has been omitted : the date of publication.&lt;br /&gt;
If the book is not published by a certain date the&lt;br /&gt;
publisher should be penalised. Publication is as&lt;br /&gt;
important to an author as public performance to&lt;br /&gt;
a dramatist ; that either should allow his property&lt;br /&gt;
to be buried for ever would be a gross error of&lt;br /&gt;
judgment. .&lt;br /&gt;
Further, for a sale outright no author should&lt;br /&gt;
take less than &pound;1 per thousand words; to encourage&lt;br /&gt;
lower prices is to encourage sweating.&lt;br /&gt;
On the Profit-sharing Agreement the advice is&lt;br /&gt;
given, &ldquo;Authors should only enter upon it with&lt;br /&gt;
the utmost caution.&rdquo; We would go further, and&lt;br /&gt;
advise that authors should never accept these&lt;br /&gt;
terms. Constant experience shows that the result&lt;br /&gt;
is eminently unsatisfactory to the author.&lt;br /&gt;
On the Royalty Agreement and the remarks&lt;br /&gt;
passed upon this system of publication we should&lt;br /&gt;
have liked to write an entire article, but space will&lt;br /&gt;
not permit. This is the most important of all&lt;br /&gt;
agreements. It is a pity that the comments upon&lt;br /&gt;
it and the clauses included in it should be the&lt;br /&gt;
least satisfactory part of the whole review. The&lt;br /&gt;
writer seems to have had the publisher&amp;#039;s influence&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 135 (#179) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
135&deg;&lt;br /&gt;
strongly upon him ; but his review ought to be&lt;br /&gt;
for the author. The publisher, if he knows his&lt;br /&gt;
business, ought to know all details of the legal&lt;br /&gt;
aspect, and to need no coaching. But the author&lt;br /&gt;
holds a different position, and as other parts of&lt;br /&gt;
the book are written generally for the author, this&lt;br /&gt;
portion should be particularly so.&lt;br /&gt;
It is curious that in the parties to the agreement&lt;br /&gt;
the publisher is mentioned as the party of the first&lt;br /&gt;
part, and not the author. This may be a sign of&lt;br /&gt;
the influence to which we have referred. -&lt;br /&gt;
The successors and assignees of the publishers are&lt;br /&gt;
included, without any remark. Some comment on&lt;br /&gt;
this form was absolutely necessary; a contract for&lt;br /&gt;
publication should, if possible, be a personal con-&lt;br /&gt;
tract. The writer then states:&mdash;&ldquo;A royalty agree-&lt;br /&gt;
ment proceeds thus, or to this effect : &ldquo;That in&lt;br /&gt;
consideration that the copyright and plant, includ-&lt;br /&gt;
ing therein such foreign and colonial rights of&lt;br /&gt;
translation and reproduction as the author may&lt;br /&gt;
arrange to part with,&amp;#039; shall forthwith belong&lt;br /&gt;
to and become the property of the publisher,&lt;br /&gt;
etc.&rdquo; -&lt;br /&gt;
He then proceeds, by way of comment: &ldquo;He&lt;br /&gt;
(the publisher) will commonly be willing to con-&lt;br /&gt;
sent to accept &lsquo;the exclusive right of printing &amp;#039; in&lt;br /&gt;
lieu of the copyright. Should he demur to this&lt;br /&gt;
variation, and should the author genuinely prefer&lt;br /&gt;
it&mdash;in practice it has no real significance&mdash;the advice&lt;br /&gt;
of an intermediary should be sought.&rdquo;&lt;br /&gt;
The italics are ours. In practice the difference&lt;br /&gt;
is very real, and the result to an author of the&lt;br /&gt;
conveyance of copyright to a publisher is disas-&lt;br /&gt;
trous. One case is quoted, that of Mr. Warwick&lt;br /&gt;
Deeping. This case alone ought to have made&lt;br /&gt;
some further advice to the author essential.&lt;br /&gt;
Another case was tried last year bearing on the&lt;br /&gt;
same issue.&lt;br /&gt;
In plain words, an author should never con-&lt;br /&gt;
vey his copyright to a publisher even if it is&lt;br /&gt;
limited to England, her colonies and depen-&lt;br /&gt;
dencies, or to the English language. An author,&lt;br /&gt;
if forced to . convey an exclusive licence to&lt;br /&gt;
publish, should still safeguard himself by other&lt;br /&gt;
clauses and limitations, and should never go&lt;br /&gt;
beyond the licence to publish in book form in the&lt;br /&gt;
English language. Enough has been said to&lt;br /&gt;
show the danger in this most common form of&lt;br /&gt;
agreement as propounded by the Literary Year&lt;br /&gt;
Book.&lt;br /&gt;
We do not propose&mdash;nor is this the place&mdash;to&lt;br /&gt;
draft a model agreement on the royalty basis, but&lt;br /&gt;
it is our duty to warn authors to avoid the present&lt;br /&gt;
example.&lt;br /&gt;
We regret that, in an otherwise good review of&lt;br /&gt;
&ldquo;Law and Letters,&rdquo; this form should have been&lt;br /&gt;
included unless it was done so purposely to assist&lt;br /&gt;
the publisher rather than the author. In that&lt;br /&gt;
by Messrs. Harper.&lt;br /&gt;
Case a note, should have been appended for the&lt;br /&gt;
author&amp;#039;s guidance.&lt;br /&gt;
G. H. T.&lt;br /&gt;
Note:-We regret that the review of the other&lt;br /&gt;
R&ordm;&ordm;ts of the Year Book has been unavoidably&lt;br /&gt;
delayed. We hope to print it in the March.&lt;br /&gt;
number.&mdash;EDITOR.&lt;br /&gt;
&agrave;. -&ordm;-&lt;br /&gt;
w -&ordm;-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&ndash;0-0-0&ndash;&lt;br /&gt;
PROPERTY IN TITLES.&lt;br /&gt;
SIR,-My novel, &ldquo;The Inner Shrine,&rdquo; appeared&lt;br /&gt;
Serially in the weekly edition of the Times. In&lt;br /&gt;
1900 it was published in volume form in London.&lt;br /&gt;
Accounts relating to its sales&lt;br /&gt;
have passed between us ever since, and I think the&lt;br /&gt;
last copy was sold about a year ago. I am&lt;br /&gt;
informed that Messrs. Harper are now publishing&lt;br /&gt;
a novel called &ldquo;The Inner Shrine,&rdquo; by a new&lt;br /&gt;
author, in their magazine, and I understand, not&lt;br /&gt;
only that I have no redress, but that if my novel,&lt;br /&gt;
&ldquo;The Inner Shrine,&rdquo; comes out in a cheap reprint.&lt;br /&gt;
I shall have to find a new title. I admit that for&lt;br /&gt;
my novel &ldquo;The Inner Shrine &amp;quot; was a poor title,&lt;br /&gt;
but I had always supposed it to be my own.&lt;br /&gt;
Yours truly,&lt;br /&gt;
CECILY SIDGWICK.&lt;br /&gt;
&mdash;t&mdash;c&ordm;-e&mdash;&lt;br /&gt;
METHODS OF CRITICISMI.&lt;br /&gt;
SIR,--I enclose herewith, not for publication, a&lt;br /&gt;
&ldquo;review,&rdquo; clipped from Truth, of a recent novel of&lt;br /&gt;
mine&mdash;a &ldquo;review &ordm;&amp;#039; which, except for a single.&lt;br /&gt;
critical adjective, consists of an inaccurate synopsis&lt;br /&gt;
of my story.&lt;br /&gt;
Had Truth any right to supply its readers with&lt;br /&gt;
any synopsis at all ? On the title-page of the book&lt;br /&gt;
is the printed caution: &ldquo;All rights reserved.&rdquo; If&lt;br /&gt;
Truth had that right, was it dealing fairly with&lt;br /&gt;
either author or publishers in treating thus a novel&lt;br /&gt;
entrusted to it in all good faith and dependent on&lt;br /&gt;
its plot for a possible sale 2&lt;br /&gt;
As to the latter point, may I quote the Dundee.&lt;br /&gt;
Courier :&mdash;&ldquo;. events culminate in a most&lt;br /&gt;
exciting climax, which of course it would be most&lt;br /&gt;
wnfair to give away here.&rdquo;&lt;br /&gt;
The italics within the quotation are mine. And,&lt;br /&gt;
I am), sir,&lt;br /&gt;
Your obedient servant,&lt;br /&gt;
ROBERT AITREN.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
&ldquo;THE WRITERS&rsquo; YEARBOOK.&rdquo;&lt;br /&gt;
SIR,-As a U.S.A. contributor may I be per-&lt;br /&gt;
mitted to make a few observations on the review&lt;br /&gt;
of the &ldquo;Writers&amp;#039; and Artists&amp;#039; Yearbook&rdquo; in last.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#180) ############################################&lt;br /&gt;
&lt;br /&gt;
136&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
month&amp;#039;s Author. Some of &ldquo;Z.&amp;#039;s &amp;quot; statements are&lt;br /&gt;
erroneous, and a few calculated to mislead the&lt;br /&gt;
Britisher essaying sales to certain U.S.A. monthlies&lt;br /&gt;
and weeklies. The periodicals published through-&lt;br /&gt;
out the United States are not &ldquo;over 20,000 &deg;&ndash;&lt;br /&gt;
but 25,000. His short list of &ldquo; leading periodi-&lt;br /&gt;
cals&rdquo; is just what I reckon the &ldquo;Writers&amp;#039; and&lt;br /&gt;
Artists&rsquo;Yearbook&rdquo; editors have wisely eschewed, for,&lt;br /&gt;
as I personally know, the majority of them do not&lt;br /&gt;
desire English contributions except in so far as&lt;br /&gt;
they deal directly with American subjects. . An&lt;br /&gt;
American might as well send contributions in to&lt;br /&gt;
Punch as a Britisher into Life, Scrip, Theater, and&lt;br /&gt;
others. I have yet to learn that there is a U.S.A.&lt;br /&gt;
Strand which is not the same as the English one !&lt;br /&gt;
Technical World uses material based only on some&lt;br /&gt;
phase of engineering or invention. ... Living Age is&lt;br /&gt;
a compilation of quoted matter. Spare Moments,&lt;br /&gt;
a species of American London Journal, is a&lt;br /&gt;
particularly American production, and uses only one&lt;br /&gt;
short story every month. Its material is especially&lt;br /&gt;
indigenous. People Popular Monthly is a 5 cent.&lt;br /&gt;
magazine, and no more a leading production than&lt;br /&gt;
Home Notes, London, is Sunset Magazine pays&lt;br /&gt;
for matter in transportation over its proprietary&rsquo;s&lt;br /&gt;
railways, except in a few instances, and accepts&lt;br /&gt;
work and fiction dealing only with the Californian&lt;br /&gt;
Slope and Further America on the Pacific.&lt;br /&gt;
For the English contributor, who knows not the&lt;br /&gt;
States in an intimate manner, it is a waste of&lt;br /&gt;
stamps and time to send in MSS. to Holland&amp;#039;s&lt;br /&gt;
Magazine, another indigenous monthly, that&lt;br /&gt;
occasionally uses British matter from fictionalists&lt;br /&gt;
of the highest rank. Youth, Philadelphia, has&lt;br /&gt;
been dead a considerable time, and the American&lt;br /&gt;
Boy and Practical Young America cry for American&lt;br /&gt;
matter written in an American manner. As for&lt;br /&gt;
the religious papers given by &ldquo;Z.,&rdquo; if he had wasted&lt;br /&gt;
as many stamps as I have on our religious Weeklies&lt;br /&gt;
&mdash;$1&mdash;$2 at 1,000 words &mdash; that crib most&lt;br /&gt;
courageously, and pay abominably low rates as&lt;br /&gt;
a whole for original matter, he would not have&lt;br /&gt;
quoted them&lt;br /&gt;
Regarding the list of U.S.A. publishers, what is&lt;br /&gt;
wanted is not a complete one, but one that&lt;br /&gt;
represents the most creditable firms in the States,&lt;br /&gt;
those known for probity and right dealing.&lt;br /&gt;
I the more espouse the cause of the &ldquo;Year-&lt;br /&gt;
book &amp;quot; because it is such a help to one. If the&lt;br /&gt;
English list was in its details as full as the&lt;br /&gt;
American one, i.e., as to length of stories wanted,&lt;br /&gt;
character, setting, etc., it would be an ideal pro-&lt;br /&gt;
duction ; plus, of course, a dependable list of&lt;br /&gt;
U.S.A. publishers&mdash;not all the sharks and&lt;br /&gt;
crocodiles of the trade. &ldquo;Z.,&rdquo; I think, must have&lt;br /&gt;
done his review with Sell&rsquo;s World&rsquo;s Press, U.S.A.&lt;br /&gt;
section, lying to his eye. Yours, etc.,&lt;br /&gt;
M.&lt;br /&gt;
SIR,-In reply to &ldquo;M.&amp;#039;s&amp;quot; extraordinarily minute&lt;br /&gt;
criticism of my review of &ldquo;The Writers&amp;#039; Year&lt;br /&gt;
Book,&rdquo; which you have kindly permitted me to see,&lt;br /&gt;
I would in turn remark that some of his statements&lt;br /&gt;
are erroneous and a few calculated to mislead.&lt;br /&gt;
With regard to the number of periodicals pub-&lt;br /&gt;
lished in the States, my expression was &ldquo;well over&lt;br /&gt;
20,000.&rdquo; How far this differs from 25,000 in&lt;br /&gt;
general terms perhaps &ldquo;M.&rdquo; will explain.&lt;br /&gt;
The list of periodicals I gave (which, by the&lt;br /&gt;
way, did not come from the source he suggests)&lt;br /&gt;
was inspired by the desire to make the list&lt;br /&gt;
thoroughly representative, as it ought to be. On&lt;br /&gt;
the other hand, does &ldquo;M.&rdquo; seriously mean to say&lt;br /&gt;
that all the American journals and magazines&lt;br /&gt;
given in &ldquo;The Writers&amp;#039; Year Book&rdquo; are &ldquo;leading&rdquo;&lt;br /&gt;
&mdash;for one instance, &ldquo;5 cent productions * such&lt;br /&gt;
as the Family Story Paper, Housekeeper, People&amp;#039;s&lt;br /&gt;
Home Journal, Vick&amp;#039;s Magazine, and the Wasp 2&lt;br /&gt;
Can he affirm that a quarter of the American&lt;br /&gt;
magazines given in the &ldquo;Year Book&rdquo; are likely to&lt;br /&gt;
accept English MSS. 2 The Sunset Magazine used&lt;br /&gt;
to pay good cash in pre-earthquake days, to my&lt;br /&gt;
own knowledge, and even now is quite a &ldquo;leading &rdquo;&lt;br /&gt;
magazine out West. - -&lt;br /&gt;
As to U.S.A. publishers, if &ldquo;M.&rdquo; will be&lt;br /&gt;
personally responsible for the probity and right&lt;br /&gt;
dealing of the &ldquo;Year Book&amp;quot; list, I will undertake&lt;br /&gt;
responsibility for mine.&lt;br /&gt;
Finally, if &ldquo;M.&rdquo; has not yet discovered the&lt;br /&gt;
difference between the Strand published in America&lt;br /&gt;
and that published on this side, he should put&lt;br /&gt;
himself wise at once. Yours, etc.,&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB AND WORKS OF MEMBERS&lt;br /&gt;
OF THE SOCIETY OF AUTHORS.&lt;br /&gt;
SIR,-No doubt there are many members of the&lt;br /&gt;
latter who belong to the former. As I understand&lt;br /&gt;
there is a small circulating or permanent library&lt;br /&gt;
in the Club, the following suggestion is respect-&lt;br /&gt;
fully made for the favourable consideration of the&lt;br /&gt;
committee : That authors of the society might&lt;br /&gt;
loan or present works which have been well&lt;br /&gt;
reviewed, with, of course, approbation of the Com-&lt;br /&gt;
mittee, to above library. A young author&amp;#039;s Works&lt;br /&gt;
might receive a glance during a spare half-hour&amp;#039;s&lt;br /&gt;
lounge in the library, might take the interest of a&lt;br /&gt;
member, and perhaps lead to his work becoming&lt;br /&gt;
known over the head of a capricious public library&lt;br /&gt;
or bookseller, who acquire works simply by the&lt;br /&gt;
writer&amp;#039;s name, irrespective of contents.&lt;br /&gt;
Why should leaflets, which cost the editors&lt;br /&gt;
nothing, be tabooed from the pages of The Author?&lt;br /&gt;
A MEMBER OF THE SOCIETY.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#181) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-. Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation. -&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
SIRES and SIPKES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating; Plays and Actors&amp;#039; Parts ;&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. Usual Terms. References.&lt;br /&gt;
TYPEVVRITING&lt;br /&gt;
OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDs.&lt;br /&gt;
Two COPIEs, 1s. PER 1,000 WORDS.&lt;br /&gt;
Authors&rsquo; MSS., Legal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
accurately copied. Orders by Post promptly attended to.&lt;br /&gt;
Mrs. SOUTHEE, 273, Francis Rd., LEWION, LONDON, E.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. FROM 10d. PER 1,000 WORDS&lt;br /&gt;
WORKMANSHIP AND NMATERIALS OF THE BEST.&lt;br /&gt;
Accurate and Prompt. &mdash;&lt;br /&gt;
J&ordm;ccellent Testimonials,&lt;br /&gt;
ERNEST PEARCE, 30, College Road, READING.&lt;br /&gt;
&ldquo;Miss M. R. HORNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her Work,-FRANIK SAVILLE.&rdquo; - .&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
MRS. GILL, Typewriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
WE have pleasure in announcing that we have made an arrange-&lt;br /&gt;
ment with Mr. William Archer by which, upon request of&lt;br /&gt;
the author, he undertakes to read, criticise, and advise upon any&lt;br /&gt;
plays entrusted to us, and he will read no manuscript plays which do&lt;br /&gt;
not reach him through us.&lt;br /&gt;
The reading fees are fixed as follows:&ndash; # S. d.&lt;br /&gt;
For scenarios of not over 2,000 words 1 10 0&lt;br /&gt;
For plays of one or two acts ... l 10 0&lt;br /&gt;
For plays of three or more acts ... ... 2 10 0&lt;br /&gt;
The payment of these fees entitles the author to a written opinion&lt;br /&gt;
from 300 to 800 words in length, dealing with the theme, con-&lt;br /&gt;
Struction, characterisation, and diction of his play, suggesting altera-&lt;br /&gt;
tions where they seem called for, and (so far as possible) conveying&lt;br /&gt;
both theoretical criticism and practical advice.&lt;br /&gt;
The fact that a play has been submitted to Mr. Archer will be&lt;br /&gt;
treated by him, and by us, as confidential. On the other hand, the&lt;br /&gt;
author is at liberty to show Mr. Archer&amp;#039;s opinion to managers, actors,&lt;br /&gt;
etc., if he so desires. It would manifestly be misleading, however,&lt;br /&gt;
to quote detached phrases or make garbled extracts from a detailed&lt;br /&gt;
criticism. Mr. Archer therefore leaves it to the author&amp;#039;s sense of fair-&lt;br /&gt;
mess to show to managers, etc., the whole opinion if he shows any&lt;br /&gt;
part of it.&lt;br /&gt;
If, in addition to the opinion, the author should desire a personal&lt;br /&gt;
interview with Mr. Archer, a further fee of two guineas would be&lt;br /&gt;
charged.&lt;br /&gt;
Plays re-submitted after alteration are subject to the same fees as&lt;br /&gt;
plays submitted for the first time.&lt;br /&gt;
Manuscripts should be addressed to :-&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Massie, 5, Henrietta, St., Covent Garden, W.C.,&lt;br /&gt;
and, if Mr. Archer&amp;#039;s opinion is required, they should be accompanied&lt;br /&gt;
by the reading fee in advance. Cheques should be made payable to&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Massie. If, as may sometimes happen, a&lt;br /&gt;
play does not seem to call for serious consideration, but can be&lt;br /&gt;
adequately dealt with in three or four lines, half the reading fee will&lt;br /&gt;
be returned.&lt;br /&gt;
Plays should in all cases be type-written (or printed), and a copy&lt;br /&gt;
should be retained by the author. While all reasonable care will be&lt;br /&gt;
taken of manuscripts, we cannot be responsible for their loss in the&lt;br /&gt;
post, or otherwise.&lt;br /&gt;
Mr. Archer will endeavour to give his opinion of any play within two&lt;br /&gt;
weeks of receiving the manuscript.&lt;br /&gt;
It is not necessary that plays entrusted to us for placing with&lt;br /&gt;
managers should be submitted to Mr. Archer, and, on the other hand,&lt;br /&gt;
it is not necessary that plays sent to us for Mr. Archer&amp;#039;s inspection&lt;br /&gt;
should be entrusted to us for placing, although we have many open-&lt;br /&gt;
ings for good plays. Our agency for playWrights, and our arrange-&lt;br /&gt;
ments with Mr. Archer are not interdependent.&lt;br /&gt;
Especial attention is called to the advantage of expert criticism on&lt;br /&gt;
scenarios. On the other hand, we find it practically, impossible to&lt;br /&gt;
interest managers in plays not complete in every detail. It is our&lt;br /&gt;
practice to send to actors and managers only plays of which it can be&lt;br /&gt;
said they are worth the manager&amp;#039;s personal and immediate attention.&lt;br /&gt;
Plays placed by us are subject to a commission of ten per cent of the&lt;br /&gt;
receipts. We can undertake arrangements for only such plays as are&lt;br /&gt;
left exclusively in our hands.&lt;br /&gt;
CURTIS BROWN &amp;amp; MASSIE.&lt;br /&gt;
BRADBURYAGNEW.&amp;amp; C&ordm;.L.&lt;br /&gt;
The Whitefriars Press,&lt;br /&gt;
LONDON and TONBRIDGE,&lt;br /&gt;
IBIAVING LARGELY INCREASED THEIR&lt;br /&gt;
Printing and B00kbinding Plant&lt;br /&gt;
(which is now one of the most complete in&lt;br /&gt;
the British Isles), are prepared to undertake,&lt;br /&gt;
&mdash; at short notice, the production of &mdash;&lt;br /&gt;
Works of Fiction,&lt;br /&gt;
Legal and Medical Text Books,&lt;br /&gt;
{&lt;br /&gt;
High-class Magazines,&lt;br /&gt;
Newspapers, etc.&lt;br /&gt;
ESTIMATES FREE.&lt;br /&gt;
An Illustrated Booklet descriptive of the Country&lt;br /&gt;
Branch of the Firm sent on receipt of a Post Card,&lt;br /&gt;
Telegrams: Chariwari, London; Chariwari, Tonbridge,&lt;br /&gt;
Telephones: 28 Holborn ; 19 Tonbridge ; 9108 Central,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#182) ############################################&lt;br /&gt;
&lt;br /&gt;
fiv AD VERTISEMENTS.&lt;br /&gt;
BREEly W&ordm;lſ|NG PMS.&lt;br /&gt;
44&amp;#039;IO J S AU 1. HORS, anxious to diverge from the&lt;br /&gt;
beaten track, should read the following new guides :&mdash;&lt;br /&gt;
| n ;I.:&lt;br /&gt;
t&ordm; a ſ t&ordm;-&lt;br /&gt;
shall I Write about?&lt;br /&gt;
, , ess. Plots, and How to Find Them.&lt;br /&gt;
By R. A. H. GOODYEAR.&lt;br /&gt;
2. Tale-Writing for Money.&lt;br /&gt;
Bright Stories: How to Write and Where&lt;br /&gt;
to Sell Them at Best Prices. -&lt;br /&gt;
By R. A. H. GOODYEAR.&lt;br /&gt;
3. 101 Money-making&lt;br /&gt;
Recipes for Authors.&lt;br /&gt;
From the Private Papers of Eminent&lt;br /&gt;
Writers.&lt;br /&gt;
SEVENPENCE EACH,&lt;br /&gt;
Two for Is. I d., or three for Is. 6d., post free,&lt;br /&gt;
of THE MAGAZINE SYNDICATE, Publishing&lt;br /&gt;
Office, Southport, Lancs.&lt;br /&gt;
THE TIDE MILL SEC2&amp;#039; T&ordm;r.&lt;br /&gt;
By PERCY YoUNG. Handsomely&lt;br /&gt;
paper, with Frontispiece. 320 pps. r&lt;br /&gt;
A novel of exceptional originality al.g.,,,,&hellip;. . . *I&amp;#039;y&ordm;f , ;&lt;br /&gt;
*The book has a fascination all its own.&amp;quot; The Aiii}r. &amp;quot;&amp;#039;t it. ...&lt;br /&gt;
\. -&lt;br /&gt;
&ordm;ted on antique&lt;br /&gt;
5: &ordm;&ordm; &ordm;r t&ordm;:&lt;br /&gt;
WHEN THE WOMEN REIGN : 193O.&lt;br /&gt;
(With Queen Alexandra as Front&amp;#039;spiece.) 2s. net. Hand-&lt;br /&gt;
somely bound in cloth, with bevelled boards d gold lettering.&lt;br /&gt;
&ldquo;A lively tale of the future by a writer who holds strong&lt;br /&gt;
views. The ladies come into power . . .&rdquo;&mdash;The Times.&lt;br /&gt;
OWEN GLYN DWR - and other Poerms.&lt;br /&gt;
By CHAs. II. PRITCHARD. Dound attractively in cloth, with&lt;br /&gt;
bevelled boards, 2s. 6d. Inet.&lt;br /&gt;
&ldquo;Mr. Pritchard&rsquo;s ode is inspiriting and will appeal to lovers&lt;br /&gt;
of the heroic muse. There is much good work in his volume.&rdquo;&lt;br /&gt;
Dundee Advertiser.&lt;br /&gt;
*TIS WE MUSICANS KNOW.&lt;br /&gt;
By Jocer,WN IRENE RAINEY. A capital story, well and&lt;br /&gt;
attractively produced. With Frontispiece on art paper, 2s. met.&lt;br /&gt;
&ldquo;A story of love and music.&rdquo;&mdash;The Globe.&lt;br /&gt;
&ldquo;The lives of the four principal people in this story become&lt;br /&gt;
interwoven in a network of love, tragedy and music.&rdquo;&mdash;Literary&lt;br /&gt;
JJ&rsquo;orld. -&lt;br /&gt;
SINNER AND JUDGE, and other Stories.&lt;br /&gt;
JBy Rosſ. PERKINs. Bound in cloth covers, with pretty&lt;br /&gt;
design, black and gold lettering, Is... net.&lt;br /&gt;
&ldquo;These stories have pathos and beauty and literary skill.&lt;br /&gt;
Will be remembered after they are read.&rdquo;&mdash;Baptist.&lt;br /&gt;
Authors should forward MSS. of any description&lt;br /&gt;
(Novels, Stories, Poems, Essays, &amp;amp;c.) direct to Mr.&lt;br /&gt;
STOCIXWELL, who will immediately advise, free&lt;br /&gt;
of charge, as to publication.&lt;br /&gt;
LONDON :&lt;br /&gt;
AERTHUR. H. STO CRVVELL,&lt;br /&gt;
29, LUDGATE HILL, IE.C.&lt;br /&gt;
Full lists on application, post free.&lt;br /&gt;
Al UTE [O] RS &amp;gt;&lt;br /&gt;
AIVI [ RI[G] HIT 2&lt;br /&gt;
I TAKE it that you require your MSS. to be neatly and &lsquo;accurately typed on a good paper and by a competent Operator;&lt;br /&gt;
for which Service you are prepared to pay a reasonable price.&lt;br /&gt;
SPECIAL NEW YEAR OFFER.&lt;br /&gt;
Am I right 2 If so, write at once for my Price List and&lt;br /&gt;
C. HERBERT CAESAR, Homefield, Woodstock Road, St. Albans.&lt;br /&gt;
Numerous Testimonials from First Novel Competitors.&lt;br /&gt;
Please mention this Paper&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
[XVIII. CENT.&lt;br /&gt;
Tazt&ordm;&ordm;to22.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES&lt;br /&gt;
OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
Novel and Story Work 9d. per 1,000 words; 2 Copies, 1ſ-&lt;br /&gt;
*General Copying - e. ... 1 - 73 3 y 35 1/3&lt;br /&gt;
Plays, ruled (a Speciality) ... 1)- 5 y 3 * 3 y 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
#F&ordm;r COVENTRY. &mdash; Please note Change of&lt;br /&gt;
r ##### { % rry r T&ordm;n ??&lt;br /&gt;
#&ordm; Address to &ldquo;WESTLEIGH,&rdquo; KING RICHARD&lt;br /&gt;
&ordm;W t STREET, T from Oswald House, Queen&lt;br /&gt;
Aft; 21%;&amp;quot; Victoria Road. Typh&ordm;wRITING OF EVERY&lt;br /&gt;
&ordm; &ordm; DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
J&ordm;cellent Testimonials from Play Writers.&lt;br /&gt;
&lsquo;&lsquo; TELE AUTIEIOIER.&rdquo;&lt;br /&gt;
SCALE FOR AD VERTISEMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
Front Page ...#4 0 ()&lt;br /&gt;
Other Pages&lt;br /&gt;
Half of a Page ..., t&ordm; e a &amp;amp; e a e e e is t&ordm; - e - t&ordm; t&ordm; - - ... 1 10 0&lt;br /&gt;
Quarter of a Page ... ... ... ... ... ... ... 9 13 9&lt;br /&gt;
Eighth of a Page is $ t&ordm; * * * it t&ordm; &ordm; t&ordm; ſ&ordm; &ordm; &bull; * * ... . ... Q 7 %&lt;br /&gt;
Single Column Advertisements per inch 0 6 0&lt;br /&gt;
Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for&lt;br /&gt;
Twelve Insertions.&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue. -&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
ADvERTISEMENT MANAGER, The Author Office, 39, Old Queen Street,&lt;br /&gt;
Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED),&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/390/1909-02-01-The-Author-19-5.pdf</td><td>publications, The Author</td></tr><tr><td>391</td><td>https://historysoa.com/items/show/391</td><td>The Author, Vol. 19 Issue 06 (March 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+06+%28March+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 06 (March 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-03-01-The-Author-19-6</td><td></td><td></td><td></td><td></td><td>137&ndash;164</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-03-01&quot;&gt;1909-03-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>6</td><td></td><td></td><td>19090301</td><td>C be Elut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
&lt;br /&gt;
&ndash;r.&lt;br /&gt;
Wol. XIX. &mdash;No. 6. MARCH 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
T - 4-3 PAGE PAGE&lt;br /&gt;
. Notices, ... . ... a s - e &ordm; s e o a c e s s e a ... ... 137 Warnings to Musical Composers ... ... ... ... ... 152&lt;br /&gt;
Committee Notes * - - &bull; * * - - - t&ordm; s - - - - - - - ... 140 Stamping Music... * * * - - - - - - - - - - * * - - - ... 152&lt;br /&gt;
Books published by Members of the Society * - e. - - - ... 142 The Reading Branch ... * &amp;amp; e - - - t&ordm; &ordm;r &ordm; t&ordm; &ordm; &amp;#039;&ordm; - - - ... 152&lt;br /&gt;
Books published in America by Members ... * * * - - - ... 144 &ldquo;The Author &amp;#039;&amp;#039; ... * * * &bull; . . . . . . e t&ordm; &ordm; - t&ordm; e - - - ... 152&lt;br /&gt;
Literary, Dramatic and Musical Notes ... - e &amp;amp; ... ... 144 Remittances ... * * * * - &copy; - - - &bull; * * * * * - - - ... 152&lt;br /&gt;
Paris Notes ... ... ... ... ... ... ... 146 General Notes ... ... ... ... ... ... ... ... 153&lt;br /&gt;
Spanish Notes ... t&ordm; t&ordm; e - t&ordm; g t&ordm; a &ordm; t&ordm; e - - e. g. - - - ... 147 United States Jottings... * * * - - - * - - - - - - - - ... 154&lt;br /&gt;
Performing Rights in a Sketch &bull; * * * t&ordm; a * g&ordm; &ordm; - - - ... 148 Magazine Writers and the Income Tax ... * * * * - - ... 156&lt;br /&gt;
Representation of Sketch by Cinematograph ... - - - ... 149 Reviving a Language ... - * * - - - * - - - * * - - - ... 158&lt;br /&gt;
Scholz v. Amasis, Ltd.... e s e - - - * - - * * * - - - ... 149 The Degeneration of Twentieth Century Humour - - - ... 159&lt;br /&gt;
Magazine Contents ... * * * &bull; - e. e s - - * * --- ... 150 The Art of Fiction * - - * g e - - * - - - e. g. - - - ... 160&lt;br /&gt;
How to Use the Society * * * - - - &bull; - - t&ordm; e &ordm;s - - - ... 151 The Literary Year Book, 1909 - - - &amp;amp; &amp;amp; t&ordm; - G - - - - ... 160&lt;br /&gt;
Warnings to Producers of Books ... t&ordm; d&ordm; t&ordm; t&ordm; e &amp;amp; - - - ... 151 &ldquo;Pippa Passes&rdquo;... * * * * = &amp;amp; - - - * * * &bull; * * - - - ... 161&lt;br /&gt;
Warnings to Dramatic Authors - - - e e - - * * - - - ... 151 Britain&amp;#039;s Great Authors - - - * - - - - - - - - ... 162&lt;br /&gt;
Registration of Scenarios - - - - - - e - - - - - - - ... 152 Correspondence ... t&ordm; e - * * * - - - e e v - a s - - - ... 162&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 18.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 18. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892), 1s.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 32, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#184) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
(Ilje &Scaron;arietn of Authors (ſmrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
G-TECIERG-E IMCIEERIET).ITIEH, C - IMI-&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR WM. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
ROBERT BATEMAN. -&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. Bon NEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENs (&ldquo;MARK TWAIN&rsquo;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
T. MARION CRAW FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHEIELD. -&lt;br /&gt;
THE HON. MRs. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. J.EROMF,&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REV. W. J. LOETIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAxw ELL (M. E. BRADDoN).&lt;br /&gt;
JUSTIN MCCA RTHY. -&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M. P.&lt;br /&gt;
A. W. PIN ERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE. &amp;quot;.&lt;br /&gt;
FIELD MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT Wolseley, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
COIMIMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl.ER).&lt;br /&gt;
Chairmam&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEB.B.&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
Cha&ordm;z&ordm;man&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
W. SOMERSET MAUGHAM.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
PAUL RUEENS.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
|M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
E. J. M. ACGILLIVRAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
OFFICIES.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
J. H. YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. H IGRBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
WILLIAM ARCHER.&lt;br /&gt;
MRS, E. NESBIT BLAND.&lt;br /&gt;
EI. GRAN VILLE BARKER.&lt;br /&gt;
PENSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY PHOPE HAWKINS.&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
THE EION. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, Rosco E &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. t&ordm; g&ordm;&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, O LD QUEEN STREET, STOI&amp;amp;EY&amp;#039;S GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 137 (#185) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XIX&mdash;No. 6.&lt;br /&gt;
MARCH 1sT, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
-w&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;&ndash;&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid. &bull;&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only. -&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
#350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. &pound;1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 0&lt;br /&gt;
Wictorian Government 3% Consoli- * * *&lt;br /&gt;
dated lnscribed Stock ............... 291 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben- -&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 138 (#186) ############################################&lt;br /&gt;
&lt;br /&gt;
138 TISIE A DITISIOR.&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... 3200&lt;br /&gt;
Cape of Good Hope 34% Inscribed&lt;br /&gt;
Stock .................................... 200&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228&lt;br /&gt;
New Zealand 3% Stock. . . . . . . . ... 247&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Corporation of London 2;% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 4.38&lt;br /&gt;
Total ............... 393,815&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908.&lt;br /&gt;
Oct. 10, Macnaughton-Jones, &ndash; .&lt;br /&gt;
Oct. 20, Garvice, Charles .&lt;br /&gt;
Nov. 12, Woods, Miss Mary A.&lt;br /&gt;
Nov. 20, Boycott, G. W. M..&lt;br /&gt;
Nov. 20, Budgeon, Miss&lt;br /&gt;
Nov. 21, Benjamin, Lewis J.&lt;br /&gt;
Nov. 21, Coulton, G. G. e *&lt;br /&gt;
Nov. 21, Dixon, Miss H. Margaret&lt;br /&gt;
Nov. 21, Colquhoun, A. t&ordm; * &amp;gt;&lt;br /&gt;
Nov. 23, Holmes, Miss Eleanor&lt;br /&gt;
Nov. 23, Hussey, Eyre g e&lt;br /&gt;
Nov. 23, Capes, Bernard&lt;br /&gt;
Nov. 23, Hecht, Mrs. Arthur te&lt;br /&gt;
Nov. 23, Festing, Miss Gabrielle .&lt;br /&gt;
Nov. 23, Carolin, Mrs. . e &copy;&lt;br /&gt;
Nov. 23, Bland, Mrs. E. Nesbit&lt;br /&gt;
Nov. 23, Hichens, Robert&lt;br /&gt;
Nov. 23, Grogan, W. E. .&lt;br /&gt;
Nov. 23, Stowell, Mrs. Rodolph&lt;br /&gt;
Nov. 23, Gay, Mrs. . &copy;&lt;br /&gt;
Nov. 23, Summers, J. . &amp;amp;&lt;br /&gt;
Nov. 23, Bloundelle-Burton, J.&lt;br /&gt;
Nov. 23, Freshfield, Douglas&lt;br /&gt;
Nov. 24, Rowsell, Miss Mary&lt;br /&gt;
Nov. 24, Bell, Lady . . e &copy;&lt;br /&gt;
Nov. 24, Sanders, Miss E. K.&lt;br /&gt;
Nov. 25, Count Plunkett&lt;br /&gt;
Nov. 25, Victoria Cross &ordm;&lt;br /&gt;
Nov. 25, Cromartie, the Countess of&lt;br /&gt;
Nov. 25, Sutro, Alfred.&lt;br /&gt;
Nov. 25, Kipling, Rudyard .&lt;br /&gt;
Nov. 25, Pope, Miss Jessie .&lt;br /&gt;
Nov. 25, Scott, G. Forrester&lt;br /&gt;
Nov. 25, Carr, Miss Mildred E. .&lt;br /&gt;
Nov. 25, O&amp;#039;Brien, The Rev. G. E.&lt;br /&gt;
Nov. 25, Wills, The Rev. Freeman&lt;br /&gt;
Nov. 25, Lewis, T. C. e&lt;br /&gt;
Nov. 25, Fenwick, Miss S. F. * :&lt;br /&gt;
Nov. 26, Montgomery, Miss K. L.&lt;br /&gt;
Nov. 26, Dummelow, The Rev. J. R.&lt;br /&gt;
Nov. 26, Jopp, Miss E. A. .&lt;br /&gt;
Nov. 26, Wintle, Harold R..&lt;br /&gt;
1.&lt;br /&gt;
S.&lt;br /&gt;
I&lt;br /&gt;
l&lt;br /&gt;
;&lt;br /&gt;
:()()&lt;br /&gt;
4OO&lt;br /&gt;
imm&ordm;mmem&ordm;&lt;br /&gt;
()&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
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NOV.&lt;br /&gt;
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Nov.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Nov.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
NOV.&lt;br /&gt;
Nov.&lt;br /&gt;
Now.&lt;br /&gt;
Now.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
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Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
26, Malcolm, Mrs. Ian. t&ordm;&lt;br /&gt;
26, Felkin, The Hon. Mrs. .&lt;br /&gt;
26, Ward, Wilfrid t&ordm; e&lt;br /&gt;
26, Marks, Mrs. Mary A. M.&lt;br /&gt;
26, &ldquo;E.&rdquo; . &ordm; * ſe&lt;br /&gt;
27, Prideaux, Miss S. T.&lt;br /&gt;
27, Saies, Mrs. F. H. .&lt;br /&gt;
27, Heath, Miss Ella&lt;br /&gt;
27, Thomas, Edward&lt;br /&gt;
27, Shaw, Mrs. Bernard&lt;br /&gt;
27, Smith, Bertram&lt;br /&gt;
27, Niven, Frederick . *&lt;br /&gt;
27, Nembhard, Miss Isabel .&lt;br /&gt;
27, Smith, Miss M. E. t&ordm;&lt;br /&gt;
28, Brandon, Miss Dorothy.&lt;br /&gt;
28, de la Pasture, Mrs. Henry&lt;br /&gt;
28, Scott, Mrs. C. e te&lt;br /&gt;
28, Harrison, Mrs. Darent .&lt;br /&gt;
28, Logan, The Rev. Robert&lt;br /&gt;
28, Chesterton, G. K.&lt;br /&gt;
30, Sherwood, Miss A. *&lt;br /&gt;
30, Hutchinson, The Rev. H. N.&lt;br /&gt;
1, Sachs, E. T. . &amp;amp; t&ordm;&lt;br /&gt;
1, Truman, Miss Olivia&lt;br /&gt;
3, Yolland, Miss E.&lt;br /&gt;
4, Bagnall, Miss L. T. .&lt;br /&gt;
4, Humphreys, Mrs. Desmond (Rita)&lt;br /&gt;
4, Anon. . * *&lt;br /&gt;
7, Westrup, Miss Margaret&lt;br /&gt;
7, Lynch, H. T. B., M.P.&lt;br /&gt;
8, Caillard, Miss E. M.&lt;br /&gt;
8, Askew, Claude&lt;br /&gt;
8, Felkin, A. L. .&lt;br /&gt;
9, Rosetti, W. M. &amp;amp;&lt;br /&gt;
9, Miller, Miss Esther .&lt;br /&gt;
11, Woodward, Miss Ida&lt;br /&gt;
12, Mann, Mrs. Mary E.&lt;br /&gt;
12, Lack, H. Lambert . *&lt;br /&gt;
14, Winchilsea and Nottingham&lt;br /&gt;
The Countess of&lt;br /&gt;
14, Sinclair, Miss May&lt;br /&gt;
14, Weyman, Stanley .&lt;br /&gt;
17, Macpherson, John F.&lt;br /&gt;
17, Hills, Mrs. Martha&lt;br /&gt;
18, Hands, Mrs. Morris&lt;br /&gt;
18, Geddes, Mrs. .&lt;br /&gt;
22, Miles, Bertram t&ordm;&lt;br /&gt;
23, Mackenzie, Miss Helen .&lt;br /&gt;
1909.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
1, Twycross, Miss M.&lt;br /&gt;
2, Macquarie, Arthur&lt;br /&gt;
4, Sproston, Mrs. Stanley&lt;br /&gt;
4, Phipson, Miss Emma&lt;br /&gt;
4, Middlemas, Miss Jean&lt;br /&gt;
4, Pott, J. A. &copy;&lt;br /&gt;
7, Marchmont, A. W. .&lt;br /&gt;
7, Sharwood, T. S.&lt;br /&gt;
:&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
i&lt;br /&gt;
|&lt;br /&gt;
11&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 139 (#187) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR.&lt;br /&gt;
139&lt;br /&gt;
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12, Durand, Ralph .&lt;br /&gt;
12, Laing, Mrs. . w&ordm;&lt;br /&gt;
14, Banks, Mrs. M. M.&lt;br /&gt;
14, Steel, Richard&lt;br /&gt;
16, Garnett, Edward .&lt;br /&gt;
16, Fenn, Frederick&lt;br /&gt;
18, Hering, Henry A.&lt;br /&gt;
18, Fox, Archibald, D.&lt;br /&gt;
31, Anon. . g&ordm; &amp;amp;&lt;br /&gt;
31, Kelly, W. P. c&lt;br /&gt;
31, Cotesworth, Miss .&lt;br /&gt;
1, Phillipps-Wolley, Clive .&lt;br /&gt;
1, Dawson, Warrington&lt;br /&gt;
4, Willard, Mrs. E. S.&lt;br /&gt;
Donations, 1908.&lt;br /&gt;
July 16, Carolin, Mrs. &amp;amp; ſ&ordm;&lt;br /&gt;
July 28, Atherton, Mrs. Gertrude&lt;br /&gt;
Aug. 21, Beckett, Arthur W. .&lt;br /&gt;
Sept. 28, &ldquo;Whitworth Wynne&amp;quot; .&lt;br /&gt;
Oct. 23, Woolf, Miss Bella Sidney&lt;br /&gt;
Oct. 31, Robinson, J. R. . e&lt;br /&gt;
Nov. 6, Wroughton, Miss Cicely.&lt;br /&gt;
Nov. 7, Sherard, R. H. . t&ordm;&lt;br /&gt;
Nov. 7, Cameron, Miss Charlotte&lt;br /&gt;
Nov. 12, Tweedie, Mrs. Alec. .&lt;br /&gt;
Nov. 17, Tench, Miss Mary F. A.&lt;br /&gt;
Nov. 17, Anon. . t&ordm;&lt;br /&gt;
Nov.&lt;br /&gt;
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NOV.&lt;br /&gt;
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21, Cordeaux, Miss K. M. .&lt;br /&gt;
21, Delaire, Madame Jean .&lt;br /&gt;
21, Hecht, Mrs. Arthur .&lt;br /&gt;
21, Collier, The Hon. John&lt;br /&gt;
21, Keltie, G. Scott . te&lt;br /&gt;
21, Church, Prof. A. H.&lt;br /&gt;
21, James, Miss S. Boucher&lt;br /&gt;
dolen ſ&ordm; * t&ordm;&lt;br /&gt;
21, Spielmann, M. H.&lt;br /&gt;
21, Saville, Frank&lt;br /&gt;
24, Kennedy, E. B. .&lt;br /&gt;
24, Bennett, Prof. W. H. .&lt;br /&gt;
24, Batty, Mrs. Braithwaite&lt;br /&gt;
24, Crouch, A. P. . . . . .&lt;br /&gt;
24, Hawtrey, Miss Valentine&lt;br /&gt;
24, Anon. . e e e&lt;br /&gt;
25, Page, Herbert W.&lt;br /&gt;
Nov. 25, Brereton, Capt. F. S. .&lt;br /&gt;
Nov. 25, Knight, Mrs. Maude C.&lt;br /&gt;
Nov. 25, Bowen, Miss Marjorie .&lt;br /&gt;
Nov. 25, Turner, Reginald&lt;br /&gt;
Nov. 25, Nash, T. A.&lt;br /&gt;
Nov. 25, Trevor, John&lt;br /&gt;
2i, Anson, Sir William, Bart.&lt;br /&gt;
21, Drewitt, F. Dawtrey, M.D.&lt;br /&gt;
21, Shepeard-Walwyn, H. W.&lt;br /&gt;
21, Ramsden, The Lady Gwen.&lt;br /&gt;
24, Sedgwick, Miss Anna Douglas&lt;br /&gt;
1&lt;br /&gt;
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I&lt;br /&gt;
1&lt;br /&gt;
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DeC.&lt;br /&gt;
25, Wacher, Francis .&lt;br /&gt;
25, Hughes-Gibb, Mrs. t&ordm;&lt;br /&gt;
25, Farmer, Miss A. A. * &agrave;&lt;br /&gt;
25, Hunt, Holman t&ordm;&lt;br /&gt;
25, Tuckett, F. F.&lt;br /&gt;
25, Allen, Mrs. Grant&lt;br /&gt;
26, Hole, W. G. ſ&ordm;&lt;br /&gt;
27, Granville, Charles &amp;amp;&lt;br /&gt;
27, Henoch, Miss Emily T.&lt;br /&gt;
27, Simes, Miss O. Kathleen&lt;br /&gt;
27, Penny, The Rev. Frank&lt;br /&gt;
27, Westell, W. P. . &amp;amp; e&lt;br /&gt;
28, Coolidge, The Rev. W. A. B. .&lt;br /&gt;
28, Tennant, Lady Pamela&lt;br /&gt;
28, Wingfield, H. . &amp;amp;&lt;br /&gt;
30, Northcote, The Rev. H.&lt;br /&gt;
30, Dexter, Walter&lt;br /&gt;
30, Oliver, Miss Selwyn .&lt;br /&gt;
30, Kaye-Smith, Miss Sheila&lt;br /&gt;
30, Bent, Mrs. Theodore&lt;br /&gt;
30, Atkins, Miss Margaret A.&lt;br /&gt;
7, Hood, Francis &ordm; e&lt;br /&gt;
7, Maunsell, A. E. Lloyd&lt;br /&gt;
7, Carolin, Mrs. .&lt;br /&gt;
7, Drake, Lady Eliott&lt;br /&gt;
7, Parker, Mrs. Nella.&lt;br /&gt;
7, Montr&eacute;sor, Miss F. F.&lt;br /&gt;
7, Shepherd, George H.&lt;br /&gt;
9, Maartens, Maarten.&lt;br /&gt;
9, Y. F. S.&lt;br /&gt;
9, Lefroy, Mrs. .&lt;br /&gt;
9, Bourdillon, Miss Rose&lt;br /&gt;
9, White, Mrs. Woollaston&lt;br /&gt;
10, Gilliatt, The Rev. E.&lt;br /&gt;
13, Evans, Miss C. M. e &amp;amp;&lt;br /&gt;
14, Pennell, Mrs. Elizabeth Robins&lt;br /&gt;
14, Oppenheim, E. C.&lt;br /&gt;
16, Blake, J. P. .&lt;br /&gt;
17, Medlicott, Cecil&lt;br /&gt;
18, Tansley, A. G. . e g&lt;br /&gt;
19, Thurston, Mrs. Katherine Cecil&lt;br /&gt;
19, Todd, John L. g&lt;br /&gt;
21, White, Percy&lt;br /&gt;
23, Vance, Louis J.&lt;br /&gt;
28, Guthrie, Anstey&lt;br /&gt;
29, Roberts, Miss Edith&lt;br /&gt;
30, Coke, Desmond&lt;br /&gt;
30, Mackenzie, Miss J.&lt;br /&gt;
30, Lathbury, Miss Eva&lt;br /&gt;
31, Egbert, Henry&lt;br /&gt;
1909.&lt;br /&gt;
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Jam.&lt;br /&gt;
Jan.&lt;br /&gt;
1, Zangwill, Israel&lt;br /&gt;
1, Hamilton, John A. .&lt;br /&gt;
4, Stopford, Francis&lt;br /&gt;
4, Falmouth, The Wiscountess&lt;br /&gt;
4, Carrel, Frederick&lt;br /&gt;
4, Laws, T. C. . e&lt;br /&gt;
i&lt;br /&gt;
*&lt;br /&gt;
S&lt;br /&gt;
l&lt;br /&gt;
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l&lt;br /&gt;
:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 140 (#188) ############################################&lt;br /&gt;
&lt;br /&gt;
140&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
S&lt;br /&gt;
l&lt;br /&gt;
i&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
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Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
4, Abercrombie, Lascelles&lt;br /&gt;
5, Bradgate, Mrs.&lt;br /&gt;
6, Leach, Henry&lt;br /&gt;
6, Cullen, H. N. &amp;amp; &ordm; e&lt;br /&gt;
6, Lyall, The Right Hon. Sir&lt;br /&gt;
Alfred, P.C., etc. .&lt;br /&gt;
7, Underdown, Miss Emily&lt;br /&gt;
8, Omond, T. S. &copy; &ordm;&lt;br /&gt;
8, Paternoster, G. Sidney&lt;br /&gt;
9, Stockley, Mrs.&lt;br /&gt;
9, Tanner, James T. .&lt;br /&gt;
12, Tighe, Henry&lt;br /&gt;
12, Aitken, Robert&lt;br /&gt;
12, Bolton, Miss Anna&lt;br /&gt;
14, Williamson, W. H.&lt;br /&gt;
16, Furze, Miss Bessie&lt;br /&gt;
16, Shirley, Arthur &ordm;&lt;br /&gt;
18, &ldquo;Austin Clare &amp;quot; . &amp;amp;&lt;br /&gt;
22, Williamson, Mrs. C. N.&lt;br /&gt;
22, Williamson, C. N.&lt;br /&gt;
23, Brown, R. Grant .&lt;br /&gt;
28, Raphael, Mrs. M. . &amp;amp; &ordm;&lt;br /&gt;
4, Wilson, Miss Theodore Wilson&lt;br /&gt;
4, Cousland, W. M. &ordm;&lt;br /&gt;
4, Hardy, Thomas&lt;br /&gt;
5, Bremner, Robert L.&lt;br /&gt;
6, Todhunter, John&lt;br /&gt;
6, Pettigrew, W. F.&lt;br /&gt;
8, Russell, G. H. s&lt;br /&gt;
8, Walker, Capt. J. H.&lt;br /&gt;
8, Dutton, Miss Annie&lt;br /&gt;
8, Baldwin, Mrs. Alfred&lt;br /&gt;
11, Ainslie, Miss e&lt;br /&gt;
11, Steward, Miss E. M.&lt;br /&gt;
11, Rumble, Mrs. t&ordm;&lt;br /&gt;
Feb. 15, Beveridge, A. S. .&lt;br /&gt;
Feb. 16, Toplis, Miss Grace &ordm;&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the April issue.&lt;br /&gt;
The total amount of annual subscriptions&lt;br /&gt;
received and promised since the issue of the&lt;br /&gt;
circular amounts to &pound;71. The total amount of&lt;br /&gt;
donations to &pound;105.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
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Feb.&lt;br /&gt;
1&lt;br /&gt;
*&lt;br /&gt;
&amp;lt;&amp;amp; -*&mdash;&lt;br /&gt;
w-v-w&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE February meeting of the committee of&lt;br /&gt;
management was held at the offices of the&lt;br /&gt;
Society on the 1st of last month. Twelve&lt;br /&gt;
members and associates were elected. Their names&lt;br /&gt;
Will be found on another page. This brings the&lt;br /&gt;
total election for the current year to forty-five.&lt;br /&gt;
The committee decided that in case there were&lt;br /&gt;
more than the eligible number of candidates&lt;br /&gt;
for the committee, the date for the return of the&lt;br /&gt;
voting papers should be March 15, and they also&lt;br /&gt;
took steps to appoint scrutineers to count the&lt;br /&gt;
Votes. &lsquo;.&lt;br /&gt;
Various cases which it might be necessary to&lt;br /&gt;
place in the hands of the solicitors of the Society,&lt;br /&gt;
or which already in the hands of the solicitors&lt;br /&gt;
needed reconsideration, were dealt with. The first&lt;br /&gt;
was an important case of dramatic copyright.&lt;br /&gt;
The committee decided to place all the papers&lt;br /&gt;
before a leading copyright lawyer and, if counsel&lt;br /&gt;
considered there was a reasonable chance of&lt;br /&gt;
success, to take the matter up on behalf of the&lt;br /&gt;
member concerned. A case relating to premature&lt;br /&gt;
publication of the plots of forthcoming plays, which&lt;br /&gt;
was laid before the society at the meeting in&lt;br /&gt;
January, and which the committee had decided to&lt;br /&gt;
take up, was reconsidered owing to the fact that&lt;br /&gt;
the author declined to take legal action, while&lt;br /&gt;
suggesting another course for the committee&amp;#039;s con-&lt;br /&gt;
sideration. The committee resolved to forward a&lt;br /&gt;
letter dealing with the matter to the editors of the&lt;br /&gt;
London Press. Another case respecting an author&amp;#039;s&lt;br /&gt;
rights was considered ; but as, although the author&lt;br /&gt;
had good ground of complaint, he held no legal&lt;br /&gt;
status, the committee decided to publish a letter in&lt;br /&gt;
The Author setting forth the facts, subject to the&lt;br /&gt;
approval of the society&amp;#039;s solicitors, should the&lt;br /&gt;
member aggrieved desire to adopt the suggestion.&lt;br /&gt;
In a curious case of infringement of the rights&lt;br /&gt;
of an author in Sweden, it was decided to obtain&lt;br /&gt;
the opinion of a Swedish lawyer as to the author&amp;#039;s&lt;br /&gt;
rights under the laws of that country. The com-&lt;br /&gt;
mittee then considered whether or not they should&lt;br /&gt;
support an artist in an appeal from a county&lt;br /&gt;
court judgment which had been given against&lt;br /&gt;
him in the matter of a picture postcard. After&lt;br /&gt;
full consideration of all the circumstances the&lt;br /&gt;
committee came to the conclusion that they could&lt;br /&gt;
not do so, but would furnish him with the advice&lt;br /&gt;
of the society&rsquo;s solicitors. The secretary laid&lt;br /&gt;
before the committee the costs of the Indian&lt;br /&gt;
lawyer in the case which the society had been forced&lt;br /&gt;
to abandon at the beginning of last year, and the&lt;br /&gt;
committee ordered that the balance due should be&lt;br /&gt;
paid forthwith. - -&lt;br /&gt;
The sub-committee appointed to discuss the&lt;br /&gt;
question of cheap books stated that they were&lt;br /&gt;
unable, as yet, to draft a final report, as the matter&lt;br /&gt;
was one of serious interest, and they desired to&lt;br /&gt;
have the views of the booksellers on the subject.&lt;br /&gt;
The matter was adjourned to the next meeting.&lt;br /&gt;
The joint sub-committee mentioned in the&lt;br /&gt;
February issue of The Author has now been formed.&lt;br /&gt;
Sir Alfred Bateman and Mr. E. J. Macgillivray will&lt;br /&gt;
represent the Society of Authors; Mr. Henry R.&lt;br /&gt;
Clayton and Mr. Reginald Smith will act for the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 141 (#189) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UſTEIOR.&lt;br /&gt;
141&lt;br /&gt;
Copyright Association; and Mr. W. A. Elkin and&lt;br /&gt;
Mr. William Boosey will represent the Music Pub-&lt;br /&gt;
lishers&amp;#039; Association; while the Publishers&amp;#039; Associa-&lt;br /&gt;
tion will be represented by Mr. John Murray and&lt;br /&gt;
IMr. Edward Bell. A meeting will be held imme-&lt;br /&gt;
diately to consider the action which should be&lt;br /&gt;
adopted in order to bring forward copyright legis-&lt;br /&gt;
lation.&lt;br /&gt;
The date of the Annual Dinner has been fixed&lt;br /&gt;
for Thursday, April 29, at the Criterion Restaurant.&lt;br /&gt;
Full particulars will be sent to the members in due&lt;br /&gt;
COUITS&eacute;.&lt;br /&gt;
The consideration of the music publishers&amp;#039; agree-&lt;br /&gt;
ments, owing to the pressure of business, was&lt;br /&gt;
adjourned till the next meeting ; it will then be&lt;br /&gt;
proposed to form a small sub-committee. The&lt;br /&gt;
committee sanctioned the expenditure of a further&lt;br /&gt;
sum of money towards the furnishing of the office,&lt;br /&gt;
in order that the secretary might be able to deal&lt;br /&gt;
more expeditiously with the increased business&lt;br /&gt;
under his charge.&lt;br /&gt;
Lastly, the committee passed a vote of sympathy&lt;br /&gt;
and condolence with Mrs. A. W. A. Beckett on the&lt;br /&gt;
death of her husband, who had been for so long a&lt;br /&gt;
member of the committee and vice-chairman of the&lt;br /&gt;
Society. The secretary was instructed to com-&lt;br /&gt;
municate the vote to Mrs. ā, Beckett.&lt;br /&gt;
DRAMATIC SUB-COMMITTEE NOTES.&lt;br /&gt;
I.&lt;br /&gt;
THE first meeting of the Dramatic Sub-Com-&lt;br /&gt;
mittee held in 1909 took place on January 25, at&lt;br /&gt;
the offices of the society. It was impossible to&lt;br /&gt;
hold the meeting earlier owing to the absence of&lt;br /&gt;
Mr. Henry Arthur Jones, the chairman.&lt;br /&gt;
The substance of the Dramatic Pamphlet was&lt;br /&gt;
again considered, and adjourned to the next&lt;br /&gt;
meeting. Owing to the regretted absence&lt;br /&gt;
through illness of Mr. Bernard Shaw, it was&lt;br /&gt;
impossible to lay before the committee the final&lt;br /&gt;
draft.&lt;br /&gt;
The question of the new Dramatic Sub-Com-&lt;br /&gt;
mittee was adjourned to the next meeting, when the&lt;br /&gt;
names of the nominees will be finally settled. The&lt;br /&gt;
discussion of the Censorship Bill was also adjourned.&lt;br /&gt;
The secretary reported the action taken by the&lt;br /&gt;
Committee of Management in the dramatic cases&lt;br /&gt;
which had been taken up by the Society. He read&lt;br /&gt;
the opinion of the American lawyers, and reported&lt;br /&gt;
that owing to the importance which the Com-&lt;br /&gt;
mittee of Management attached to the case they&lt;br /&gt;
had concluded to take a further opinion. To&lt;br /&gt;
obtain this it had been decided to communicate&lt;br /&gt;
the facts of the case to the Right Hon. James&lt;br /&gt;
Bryce, and to ask him whether he could in&lt;br /&gt;
any way advise the Society as to its best course.&lt;br /&gt;
This step was fully reported in the Committee&lt;br /&gt;
Notes in the February issue of The Author. The&lt;br /&gt;
Dramatic Committee expressed approval of what&lt;br /&gt;
had been done, and hoped that the Committee&lt;br /&gt;
of Management would not allow the case to pass&lt;br /&gt;
unchallenged. The secretary reported that he had&lt;br /&gt;
communicated with the member concerned as to&lt;br /&gt;
the step the Committee had taken, and had asked&lt;br /&gt;
him to keep the society informed of the course of&lt;br /&gt;
the case.&lt;br /&gt;
Another case which owing to its urgent nature the&lt;br /&gt;
Committee of Management had been bound to take&lt;br /&gt;
up at once without consulting the Dramatic Sub-&lt;br /&gt;
Committee, was reported by the secretary, who&lt;br /&gt;
read the draft of a letter which it was proposed to&lt;br /&gt;
circulate to the papers. The letter was passed&lt;br /&gt;
with a few corrections and will be laid before the&lt;br /&gt;
Committee of Management in due course.&lt;br /&gt;
Another important dramatic case was con-&lt;br /&gt;
sidered, and after discussion the committee recom-&lt;br /&gt;
mended the Committee of Management to take up&lt;br /&gt;
the matter on behalf of the member concerned, as&lt;br /&gt;
it was one of great importance. The matter will&lt;br /&gt;
accordingly be put forward.&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
The committee decided the details for the regis-&lt;br /&gt;
tration of scenarios at the office. Any dramatic&lt;br /&gt;
author, member of the society, who desires to&lt;br /&gt;
have his scenario registered must send in to the&lt;br /&gt;
secretary of the society two typewritten copies on&lt;br /&gt;
foolscap with a registration fee of 2s. 6d. The&lt;br /&gt;
scenarios will be checked at the offices of the&lt;br /&gt;
society. One will be retained and locked up in&lt;br /&gt;
the registration box of the society, the other&lt;br /&gt;
stamped with the society&amp;#039;s stamp, dated, and&lt;br /&gt;
returned to the author. The original copy that&lt;br /&gt;
is registered will not pass out of the society&amp;#039;s&lt;br /&gt;
keeping, but copies will be made at the request&lt;br /&gt;
of the author who files the scenario, at the usual&lt;br /&gt;
typewriting rates of 18. a thousand Words.&lt;br /&gt;
II.&lt;br /&gt;
The second meeting of the Dramatic Sub-Com-&lt;br /&gt;
mittee was held on Tuesday, February 2.&lt;br /&gt;
After the minutes of the last meeting had been&lt;br /&gt;
read and signed the question of the new Dramatic&lt;br /&gt;
Sub-Committee, adjourned from the former meeting,&lt;br /&gt;
was discussed, and a committee of twelve mem-&lt;br /&gt;
bers were chosen from the nominees put forward&lt;br /&gt;
by Mr. Pinero on behalf of the new Dramatic&lt;br /&gt;
Authors&rsquo; Society. It was decided to ask Mr.&lt;br /&gt;
Bernard Shaw to write to Mr. Pinero about the&lt;br /&gt;
matter and to report to the next meeting the&lt;br /&gt;
arrangements which had been made.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 142 (#190) ############################################&lt;br /&gt;
&lt;br /&gt;
142&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
The discussion of the Censorship Bill, adjourned&lt;br /&gt;
from the former meeting, was again raised, and the&lt;br /&gt;
Bill was placed before the committee. After&lt;br /&gt;
consideration of its terms, the committee expressed&lt;br /&gt;
their approval of its objects.&lt;br /&gt;
The secretary reported the action the Committee&lt;br /&gt;
of Management had taken in respect to two cases&lt;br /&gt;
involving the dramatic rights of members of the&lt;br /&gt;
society. Owing to some fresh information which&lt;br /&gt;
had been obtained a strong discussion arose over&lt;br /&gt;
one case. The Committee of Management had&lt;br /&gt;
decided that all the papers were to go before&lt;br /&gt;
King&amp;#039;s Counsel and a conference was to be held in&lt;br /&gt;
order that the society might have satisfactory&lt;br /&gt;
independent advice. It was arranged that one of&lt;br /&gt;
the members of the committee should be present at&lt;br /&gt;
the conference so that the society&rsquo;s advisers might&lt;br /&gt;
be fully informed and have the benefit of the new&lt;br /&gt;
facts connected with the case. The consideration&lt;br /&gt;
of the Dramatic Pamphlet was adjourned till the&lt;br /&gt;
next meeting.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
THE month of February brought in thirteen new&lt;br /&gt;
cases to the offices of the society. Six of these&lt;br /&gt;
referred to the recovery of MSS. It is satisfactory&lt;br /&gt;
to announce that three of them have been settled&lt;br /&gt;
already, the MSS. having been returned and sent to&lt;br /&gt;
the authors. In one case the editor seems to have&lt;br /&gt;
mislaid the MSS., but the legal position of the case&lt;br /&gt;
has made it practically impossible to take action&lt;br /&gt;
for recovery. Of the two remaining cases, one is&lt;br /&gt;
in America and will take some time to settle, and&lt;br /&gt;
the other has only just come to hand. There have&lt;br /&gt;
been two claims for accounts. The accounts have&lt;br /&gt;
been rendered by the publisher and forwarded to&lt;br /&gt;
the author. Lastly there have been five claims for&lt;br /&gt;
the recovery of money. One of these has been&lt;br /&gt;
settled, one in the United States must necessarily&lt;br /&gt;
take time, two are only just to hand, and the&lt;br /&gt;
remaining case will most probably have to be&lt;br /&gt;
transferred to the Society&amp;#039;s solicitors, as no answer&lt;br /&gt;
has been received to the secretary&rsquo;s letters.&lt;br /&gt;
Of the cases left over from the former month&lt;br /&gt;
only one is still outstanding. The matter is a&lt;br /&gt;
difficult one and the author has no actual legal&lt;br /&gt;
claim, and so long as the publisher refuses to&lt;br /&gt;
answer the letters nothing can be done. It is&lt;br /&gt;
hoped, however, that it will be possible to close&lt;br /&gt;
the matter shortly.&lt;br /&gt;
Three cases have been placed in the hands of the&lt;br /&gt;
society&rsquo;s solicitors with instructions to take action&lt;br /&gt;
in court if necessary. The remaining work in the&lt;br /&gt;
solicitors&rsquo; hands has been mentioned in the Com-&lt;br /&gt;
mittee Notes.&lt;br /&gt;
&mdash;0-s&ordm;-0&ndash;&lt;br /&gt;
February Elections.&lt;br /&gt;
Brown, Miss E. Mackie c/o Miss Bain, 26, .&lt;br /&gt;
Pitt Street, Edin-&lt;br /&gt;
&ordm; burgh.&lt;br /&gt;
Cannan, Gilbert 1, Temple Gardens,&lt;br /&gt;
E.C. .&lt;br /&gt;
The White House,&lt;br /&gt;
Hampton Court,&lt;br /&gt;
S.W.&lt;br /&gt;
H or swell House,&lt;br /&gt;
King s bridge,&lt;br /&gt;
Devon. -&lt;br /&gt;
11, Cathcart Studios,&lt;br /&gt;
33, Redcliffe Road,&lt;br /&gt;
S.W.&lt;br /&gt;
Cory, Mrs. Theodore&lt;br /&gt;
(Winifred Graham).&lt;br /&gt;
Green, Miss&lt;br /&gt;
Conyngham.&lt;br /&gt;
Kathleen&lt;br /&gt;
Irvine, J. Harry .&lt;br /&gt;
Quin, Henfield,&lt;br /&gt;
Sussex.&lt;br /&gt;
Mack, Miss Margaret&lt;br /&gt;
M. E. R.&lt;br /&gt;
M&ouml;ller, Fr&auml;ulein Clara Llandreiter str,&lt;br /&gt;
Schwerin, i.M.&lt;br /&gt;
Pollock, John&lt;br /&gt;
Titterton, W. R. . 50, Willoughby Road,&lt;br /&gt;
Hampstead, N.W.&lt;br /&gt;
88, The Drive Man-&lt;br /&gt;
sions, Fulham, S.W.&lt;br /&gt;
... Littlehampton.&lt;br /&gt;
Trotēre, H. . * &amp;gt;&lt;br /&gt;
Willson, W. Llewis .&lt;br /&gt;
We regret that, in recording the elections in the&lt;br /&gt;
last issue of Z&amp;#039;he Author, Mr. James B. Fagan&amp;#039;s&lt;br /&gt;
name was misspelt. We apologize for the mistake,&lt;br /&gt;
and desire to make this correction.&lt;br /&gt;
a&mdash;&ordm;- f&ordm;.&lt;br /&gt;
w-v-w&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
Some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
CO-Operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
aCCUllrate.&lt;br /&gt;
- ART.&lt;br /&gt;
MR. PUNCH&amp;#039;s PAGEANT, 1841&mdash;1909. Introduction by&lt;br /&gt;
E. W. LUCAS. 84 &times; 7. The Leicester Galleries. 10s. n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
A SISTER OF PRINCE RUPERT : ELIZABETH, PRINCESS&lt;br /&gt;
PALATINE AND ABBESS OF HEREFORD. By ELIZABETH&lt;br /&gt;
GODFREY. 83 &times; 5%. 362 pp. Lane. 12s. 6d. n.&lt;br /&gt;
RICHARD JEFFERIES. His Life and Work. By EDWARD&lt;br /&gt;
THOMAS. 83 &times; 5%. 340 pp. Hutchinson. 10s. 6d. n.&lt;br /&gt;
THE PROMINENT FAMILIES OF THE UNITED STATES OF&lt;br /&gt;
AMERICA. Edited by A. M. BURKE. Vol. I. 11; x&lt;br /&gt;
8}, 509 pp. The Sackville Press. &copy;2 2s. n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 143 (#191) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
143&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY or NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. (New Edition.) Vol. XII. LLWYD-&lt;br /&gt;
MASON. 9% &times; 6%. 1,343 pp. Smith, Elder. 15s. n.&lt;br /&gt;
CLASSICAL.&lt;br /&gt;
THE RHETORIC of ARISTOTLE, A Translation by SIR&lt;br /&gt;
RICHARD CLAVERHOUSE JEBB, Litt.D. Edited, with&lt;br /&gt;
an Introduction and Supplementary Notes, by J. E.&lt;br /&gt;
SANDYS, Litt.D. 83 &times; 53. 207 pp. Cambridge Uni-&lt;br /&gt;
versity Press. 6s. n.&lt;br /&gt;
THE CHARACTERS OF THEOPHRASTUs. An English trans-&lt;br /&gt;
lation from a revised text, with introduction and notes&lt;br /&gt;
by R. C. J.E.B.B. New Edition. Edited by J. E. SANDYs,&lt;br /&gt;
Litt.D. 9 &times; 5%. 229 pp. Macmillan. 7s. 6d. n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
An Episode in the History of a&lt;br /&gt;
In Four Acts. By A. W. PINERO.&lt;br /&gt;
Heinemann. 1s. 6d.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
RAILWAY RATES, The Method of Calculating Equitable&lt;br /&gt;
Rates and Charges for Merchandise carried on Railways.&lt;br /&gt;
THE THUNDERBOLT.&lt;br /&gt;
Provincial Family.&lt;br /&gt;
73 &times; 5. 270 pp.&lt;br /&gt;
By the late JoSEPH HORROCKS. 9; x 53. 485 pp.&lt;br /&gt;
Sonnenschein. 21S. n.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
BEDE&rsquo;s HISTORY OF THE CHURCH OF ENGLAND. 124 pp.&lt;br /&gt;
THE CRowN OF WILD OLIVE. By JoBN RUSKIN.&lt;br /&gt;
(Blackie&amp;#039;s English Texts.) Edited by W. H. D. Rous E.&lt;br /&gt;
Blackie. 6d. each.&lt;br /&gt;
THE PUBLIC SCHOOLS AND PREPARATORY SCHOOLS YEAR&lt;br /&gt;
| BOOK. 717 pp. Swan Sonnenschein &amp;amp; Co. 3s.6d. n.&lt;br /&gt;
FICTION. -&lt;br /&gt;
JoBN BROOME&amp;#039;s WIFE. By E. B. MoRFAT. 73 &times; 5&lt;br /&gt;
319 pp. Unwin. 6s.&lt;br /&gt;
THE QUENCHLESS FLAME. By VIOLET TWEEDALE. 8 &times; 5.&lt;br /&gt;
318 pp. John Long. 68.&lt;br /&gt;
THE HAND OF THE SPOILER. By G. SIDNEY PATER-&lt;br /&gt;
NOSTER. 8 &times; 5. 358 pp. Hodder and Stoughton. 6s.&lt;br /&gt;
TONO-BUNGAY. By H. G. WELLS. 73 &times; 53. 493 pp.&lt;br /&gt;
Macmillan. 68.&lt;br /&gt;
GREEN GINGER. By ARTHUR MORRISON, 7} x 5. 328 pp.&lt;br /&gt;
Hutchinson. 6s.&lt;br /&gt;
IDOLATRY. By ALICE PERRIN. 73 &times; 5. 396 pp. Chatto&lt;br /&gt;
and Windus. 6s.&lt;br /&gt;
THE GIFTED FAMILY.&lt;br /&gt;
311 pp. Methuen. 68.&lt;br /&gt;
THE DEVIL AND THE CRUSADER. By ALICE and CLAUDE&lt;br /&gt;
ASKEW. 73 &times; 4%. 156 pp. White. 18.&lt;br /&gt;
KATHERINE THE ARROGANT. By B. M. CROKER. 73 &times; 5.&lt;br /&gt;
348 pp. Methuen. 68.&lt;br /&gt;
THE MYSTERY OF THE MYRTLEs. By EDGAR JEPSON,&lt;br /&gt;
73 &times; 5. 343 pp. Hutchinson. 6s. ... &amp;quot;&lt;br /&gt;
HILARY THORNTON. By HUBERT WALES. 73 &times; 5. 318 pp.&lt;br /&gt;
John Long. 68.&lt;br /&gt;
AN ACTRESS&amp;#039;s HUSBAND. By GERTRUDE WARDEN.&lt;br /&gt;
73 x 5. 316 pp. C. H. White. 6s.&lt;br /&gt;
THE SILENT ONEs. By MARY GAUNT and J. R. ESSEx.&lt;br /&gt;
7; x 5. 344 pp. Werner Laurie. 6s.&lt;br /&gt;
JULIAN REVELSTONE. By JUSTIN MCCARTHY. 7} x 5.&lt;br /&gt;
316 pp. Chatto and Windus. 6s.&lt;br /&gt;
BEYOND THE SKYLINE. By R. AITKEN. 7% &times; 5. 309&lt;br /&gt;
pp. Murray. 6s.&lt;br /&gt;
BROTHERS ALL, More Stories of Dutch Peasant&lt;br /&gt;
By MAARTEN MAARTENS. 73 x 5.&lt;br /&gt;
6s.&lt;br /&gt;
By BARRY PAIN. 7# &times; 53.&lt;br /&gt;
Life.&lt;br /&gt;
324 pp. Methuen.&lt;br /&gt;
THE NEW ANDROM EDA. By CARLTON DAWE. 73 &times; 5.&lt;br /&gt;
315 pp. Eveleigh Nash. 6x.&lt;br /&gt;
THE SIN OF ALISON DERING. By L. G. MoPERLY.&lt;br /&gt;
5. 320 pp. Ward, Lock. 6s,&lt;br /&gt;
WE OF THE NEVER NEVER. By MRS. AENEAS GUNN.&lt;br /&gt;
340 pp. Hutchinson &amp;amp; Co.&lt;br /&gt;
THE LOVE THAT KILLs.&lt;br /&gt;
HEATH HOSKEN. 7, X 5.&lt;br /&gt;
TRAITOR AND TRUE. By J. BioUNDELLE BURTON.&lt;br /&gt;
&Scaron;&aacute; X 5%. 122 pp. (Cheap Reprint.) J. Long. 6d.&lt;br /&gt;
LYSBETH. A Tale of the Dutch. 496 pp. PEARL M AIDEN.&lt;br /&gt;
A Tale of the Fall of Jerusalem. 463 pp. By H. RIDER&lt;br /&gt;
HAGGARD, 73 &times; 5. (The Silver Library.) Longmans.&lt;br /&gt;
3s. 6d. each.&lt;br /&gt;
A WHIRL ASUNDER. By GERTRUDE ATHERTON. (New&lt;br /&gt;
and Cheaper Edition.) 7} x 5. 184 pp. Lane, is. m.&lt;br /&gt;
73 N,&lt;br /&gt;
i i X&lt;br /&gt;
By CORALIE STANTON and&lt;br /&gt;
320 pp. Milne. 6s.&lt;br /&gt;
|FORESTRY.&lt;br /&gt;
OUR FORESTS AND WooDLANDs. By John NISBET.&lt;br /&gt;
(Haddon Hall Series.) New and Revised. Cheap&lt;br /&gt;
Edition. 74 &times; 5. 243 pp. J. M. Dent &amp;amp; Co. 8s. 6d. n.&lt;br /&gt;
HISTORY.&lt;br /&gt;
THE STORY OF PISA. By JANET Ross and NELLY&lt;br /&gt;
ERICHSEN. 7 &times; 4}. 407 pp. Dent. 4s. 6d. m.&lt;br /&gt;
LITERARY.&lt;br /&gt;
NIGHTS WITH THE GODs. By EMIL REICEI.&lt;br /&gt;
225 pp. Werner Laurie. 6s,&lt;br /&gt;
PEACE AND HAPPINESS. By THE RIGHT HON. THE&lt;br /&gt;
LORD AVEBURY. 73 &times; 5. 386 pp. Macmillan. 6s.&lt;br /&gt;
THE TEACHING OF JESUS. By LEO ToISTOY. Translated&lt;br /&gt;
by L. and A. MAUDE. 120 pp. Harper. 2s. 6d. m.&lt;br /&gt;
PERSONAL RELIGION IN EGYPT BEFORE CHRISTIANITY.&lt;br /&gt;
By W. M. FLINDERS PETRIE. 174 pp. Harper.&lt;br /&gt;
2s. 6d. Im.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
MILITARY.&lt;br /&gt;
IS INVASION IMPOSSIBLE 2 By LIEUT. ALFRED C. DEWAR&lt;br /&gt;
R.N. 73 &times; 4%. 57 pp. Griffin. 1s. n.&lt;br /&gt;
MISCELLANIEOUS.&lt;br /&gt;
THIEVES AND SWINDLERS. By S. B. BANERJEA. Indian&lt;br /&gt;
Publishing House, Calcutta. 18, 5d. post free.&lt;br /&gt;
MIUSIC.&lt;br /&gt;
THE VIKING. Poem No. 2 for Grand Orchestra. By&lt;br /&gt;
JOSEPH HOLBROOK.E. Joseph Larway. 5s. m.&lt;br /&gt;
THE GIRL I LEFT BEHIND ME. Variations for&lt;br /&gt;
Orchestra. By JOSEPH HOLBROOKE.&lt;br /&gt;
oS. Il.&lt;br /&gt;
THREE BLIND MICE. Variations for Full Orchestra. By&lt;br /&gt;
JOSEPH HOLBROOK.E. J. B. Cramer &amp;amp; Co. 5s. n.&lt;br /&gt;
THE SONG OF Gwyn AP NUDD. Poem by T. E. ELLIS.&lt;br /&gt;
Music for Pianoforte and Orchestra by JOSEPH HOL-&lt;br /&gt;
BROOK.E. J. B. Cramer &amp;amp; Co. 68. m. -&lt;br /&gt;
DYLAN, SON OF THE WAVE. By T. E. ELLIS. Music by&lt;br /&gt;
Jose PH HOLBROOK.E. J. Davy &amp;amp; Sons, Dryden Press,&lt;br /&gt;
S and 9 Frith Street, Soho, W.&lt;br /&gt;
ANALYSIS OF THE EVOLUTION OF MUSICAL FORMI. By&lt;br /&gt;
MARGARET H. GLYN. 9} x 6%. 331 pp. Longmans.&lt;br /&gt;
10s. 6d. m.&lt;br /&gt;
Full&lt;br /&gt;
Joseph Larway.&lt;br /&gt;
ORIENTAL,&lt;br /&gt;
LINGUISTIC SURVEY OF INDIA. Vol. IX, Indo-Aryam&lt;br /&gt;
Family Central Group, Part II. Specimens of the&lt;br /&gt;
Rājasthani and Gujar&aacute;ti. Collected and edited by G. A.&lt;br /&gt;
GRIERSON, C.F.E., Ph.D., D.Litt. 14 &times; 10%. 495 pp.&lt;br /&gt;
Calcutta : Government Printing Office. 9s. 9d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 144 (#192) ############################################&lt;br /&gt;
&lt;br /&gt;
144&lt;br /&gt;
TRIE AUTISIOR,&lt;br /&gt;
POETRY.&lt;br /&gt;
THE POEMs OF MACKENZIE BELL. 141 pp. James&lt;br /&gt;
Clarke &amp;amp; Co., 13 and 14, Fleet Street, E.C., and The&lt;br /&gt;
Ringsgate Press, 4, Southampton Row, W.C.&lt;br /&gt;
LIGHT AND SHADE, AND OTHER POEMS.&lt;br /&gt;
LEHMANN. 73 &times; 5}. 141 pp. Blackwood.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
THIRD REPORT OF THE WELLCOME RESEARCH LABORA-&lt;br /&gt;
TORIES AT THE GORDON MEMORIAL COLLEGE, KHAR-&lt;br /&gt;
ToUM. By ANDREW BALFOUR, M.D., Director.&lt;br /&gt;
11 &times; 7#. 477 pp. 21s.&lt;br /&gt;
REVIEW OF SOME OF THE RECENT ADVANCES IN TROPICAL&lt;br /&gt;
MEDICINE. Being a supplement to the above. 11 &times; 7#.&lt;br /&gt;
251 pp. Balli&egrave;re, Tindall and Cox. 10s. 6d.&lt;br /&gt;
A TREATISE ON ZOOLOGY. Part I. Introduction and&lt;br /&gt;
Protozoa. First Fascicle. Edited by SIR. E. RAY&lt;br /&gt;
By R. C.&lt;br /&gt;
5s. In.&lt;br /&gt;
LANKESTER, K.C.B. 93 &times; 6. 293 pp. Black. 15s. n.&lt;br /&gt;
SPORT.&lt;br /&gt;
SKATING CALLs. By E. F. BENSON. Six Cards in Case.&lt;br /&gt;
Reprinted from &ldquo;English Figure Skating.&rdquo; Bell, 1s. n.&lt;br /&gt;
TEIEOLOGY.&lt;br /&gt;
THE CONQUERING CHRIST. By J. R. MILLER, D.D. With&lt;br /&gt;
Illustrations by Modern Painters from the Life of Christ.&lt;br /&gt;
Edited by WALTER SHAw SPARROW. 133 &times; 10. Hodder&lt;br /&gt;
and Stoughton. 2s. m.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
VINCENZO FORPA OF BRESCIA. His life and his work. By&lt;br /&gt;
CONSTANCE JOCELYN FFOULKEs and MAIOCCHI&lt;br /&gt;
RODOLFO. 90 Illustrations. John Lane &amp;amp; Co. $25 m.&lt;br /&gt;
RICTION.&lt;br /&gt;
TONo-BUNGAY. By H. G. WELLs. Duffield &amp;amp; Co. $1.50.&lt;br /&gt;
THE MISSIONER. By E. P. OPPENHEIM. Little Brown&lt;br /&gt;
&amp;amp; Co. $1.50.&lt;br /&gt;
CATHERINE&amp;#039;S CHILD. By E. DE LA PASTURE. Dutton.&lt;br /&gt;
$1.20 m.&lt;br /&gt;
THE THREE MISS GRAEMES, By S. MACNAUGHTAN.&lt;br /&gt;
Dutton. $1.50.&lt;br /&gt;
THE CASE OF LADY BROADSTONE. By A. W. MARCHMONT.&lt;br /&gt;
Empire Book Co. $1.50.&lt;br /&gt;
THE NovELS AND TALES OF HENRY JAMEs. (With&lt;br /&gt;
special prefaces by the author.) Vol. XIII. LADY&lt;br /&gt;
BARBARINA, THE SIEGE OF LONDON, etc. Vol. XIV.&lt;br /&gt;
THE REVERBERATOR, MADAME DE MAUVES, etc.&lt;br /&gt;
Scribner. $2.&lt;br /&gt;
THE MAGICIAN. By W. SOMERSET MAUGHAM. Duffield&lt;br /&gt;
&amp;amp; Co. $1.50.&lt;br /&gt;
&ordm; BRAN. By MORLEY ROBERTS. L. C. Page &amp;amp; Co.&lt;br /&gt;
1.50.&lt;br /&gt;
LITERARY.&lt;br /&gt;
MILTON As A HISTORIAN. From the Proceedings of the&lt;br /&gt;
British Academy. Vol. III. Oxford University Press.&lt;br /&gt;
31 pp. 40 c. -&lt;br /&gt;
* POEMS.&lt;br /&gt;
THE POEMS OF A. C. BENSON. John Lane &amp;amp; Co. $1.50.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
DAN TO BEERSHEBA. By ARCHIBALD R. COLQUHOUN,&lt;br /&gt;
Premier Press.&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
- NOTES.&lt;br /&gt;
E are glad to see that the Publishers&rsquo;&lt;br /&gt;
V W Circular has been exposing the methods&lt;br /&gt;
of Thomas B. Mosher, bookseller, of&lt;br /&gt;
Portland, Maine. Mr. Mosher has for many years&lt;br /&gt;
been engaged in systematic piracy. His business is&lt;br /&gt;
to appropriate any work of literary merit, reprint&lt;br /&gt;
it and sell it, not only without scruple, but, as his&lt;br /&gt;
catalogues bear witness, with impudent effrontery.&lt;br /&gt;
Many members of the Society of Authors have&lt;br /&gt;
suffered from his depredations, Mr. George Mere-&lt;br /&gt;
dith and Mr. Maurice Hewlett among the numbers&lt;br /&gt;
Mr. Swinburne has also suffered greatly at the&lt;br /&gt;
hands of Mr. Mosher, who also publishes works&lt;br /&gt;
by Walter Pater, Stevenson, William Morris, J. A.&lt;br /&gt;
Symonds, Oscar Wilde, Francis Thompson, and&lt;br /&gt;
many others. As the Publishers&rsquo; Circular remarks,&lt;br /&gt;
&ldquo;Booksellers and private book-buyers should note&lt;br /&gt;
that this Portland pirate is offering and selling&lt;br /&gt;
scores of editions which it is illegal to buy, sell, or&lt;br /&gt;
advertise for sale in any part of the British&lt;br /&gt;
Empire.&rdquo;&lt;br /&gt;
We hope the Publishers&rsquo; Association will do all&lt;br /&gt;
in their power to prevent the circulation of the&lt;br /&gt;
wares of Mr. Mosher in this country.&lt;br /&gt;
We have received &ldquo;The Annals of Psychical&lt;br /&gt;
Science,&rdquo; January&ndash;March, 1909, vol. viii., No. 49.&lt;br /&gt;
This quarterly is edited by Mrs. Laura E. Finch,&lt;br /&gt;
assisted by Mr. Dudley Wright. The present issue&lt;br /&gt;
contains, among other articles, one on &ldquo;The&lt;br /&gt;
Tendencies of Metapsychism&amp;#039; by the editor.&lt;br /&gt;
&ldquo;Thieves and Swindlers,&rdquo; by S. B. Banerjea, is&lt;br /&gt;
being published this month by The Indian Pub-&lt;br /&gt;
lishing House, 73/1, Sukea&amp;#039;s Street, Calcutta. As&lt;br /&gt;
the name implies, it is an attempt to put the&lt;br /&gt;
public on their guard against the thieving and the&lt;br /&gt;
Swindling fraternities. Their methods are exposed,&lt;br /&gt;
and the public are advised how to protect&lt;br /&gt;
themselves.&lt;br /&gt;
Messrs. Dent are publishing almost immediately&lt;br /&gt;
a new volume in their Mediaeval Towns Series, viz.,&lt;br /&gt;
&ldquo;Pisa,&rdquo; by Janet Ross and Nelly Erichsen. It is&lt;br /&gt;
believed that this is the first historical guide to&lt;br /&gt;
this city ever written. The volume will be uniform&lt;br /&gt;
with its predecessors in the series.&lt;br /&gt;
&ldquo;Voluspa,&rdquo; done into English from the Icelandic&lt;br /&gt;
by A. K. Coomara Swamy, has been issued in a&lt;br /&gt;
limited edition by the Essex House Press.&lt;br /&gt;
&ldquo;The Silent Ones,&rdquo; a tale of adventure in&lt;br /&gt;
Central Africa, has been brought out by Mr.&lt;br /&gt;
Werner Laurie. The authors are Mary Gaunt and&lt;br /&gt;
J. Ridgwell Essex, who will be remembered as the&lt;br /&gt;
collaborators in &ldquo;Fools Rush In.&rdquo;&lt;br /&gt;
We have received from Mr. John Ouseley &ldquo;My&lt;br /&gt;
Service Days: India, Afghanistan, Suakim &amp;#039;85,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 145 (#193) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTEIOR.&lt;br /&gt;
145&lt;br /&gt;
and China,&rdquo; by Major-General Sir Norman Stewart,&lt;br /&gt;
Bart., C.B., and volume ii. of the Irish Library,&lt;br /&gt;
&ldquo;The Fenian Movement : The Story of the&lt;br /&gt;
Manchester Martyrs,&rdquo; by F. L. Crilly.&lt;br /&gt;
Miss Theodora Wilson-Wilson&amp;#039;s story &ldquo;By Black&lt;br /&gt;
Tarn Edge,&rdquo; which has been running serially in the&lt;br /&gt;
Mid-Cumberland Herald, will be published in the&lt;br /&gt;
spring by Messrs. Hutchinson &amp;amp; Co. The same&lt;br /&gt;
writer is represented by a story in the March issue&lt;br /&gt;
of Chambers&amp;#039;s Journal, under the title &ldquo;A Yarlside&lt;br /&gt;
Romance.&rdquo;&lt;br /&gt;
Messrs. James Clarke &amp;amp; Co. and the Kingsgate&lt;br /&gt;
Press have published the poems of Mr. Mackenzie&lt;br /&gt;
Bell. The volume contains a Dedication to Mr.&lt;br /&gt;
Theodore Watts Dunton, and an Introductory&lt;br /&gt;
Essay.&lt;br /&gt;
&ldquo;We of the Never Never,&rdquo; by Mrs. Aeneas&lt;br /&gt;
Gunn, author of &ldquo;The Little Black Princess,&rdquo; is a&lt;br /&gt;
presentation of life on one of the great cattle runs&lt;br /&gt;
three hundred miles from a town; and records the&lt;br /&gt;
experiences of the &ldquo;Little Missus,&rdquo; who joins her&lt;br /&gt;
husband, and, unwelcomed at first by the stockmen,&lt;br /&gt;
finally wins their respect. Messrs. Hutchinson &amp;amp;&lt;br /&gt;
Co. are the publishers.&lt;br /&gt;
A new club for women has recently been estab-&lt;br /&gt;
lished at 40, Sackville Street, Piccadilly. It is&lt;br /&gt;
called the Salon, and has for its main object the&lt;br /&gt;
education of women who wish to keep themselves&lt;br /&gt;
abreast of the current events and movements of the&lt;br /&gt;
times. This it proposes to achieve by means of&lt;br /&gt;
instruction in English literature, conversation,&lt;br /&gt;
elocution, and oratory, lecturing, etc. Monthly&lt;br /&gt;
conversaziones are also to be held and will be&lt;br /&gt;
presided over by some of the leading women of the&lt;br /&gt;
day. Particulars of fees may be had on application&lt;br /&gt;
to the Secretary.&lt;br /&gt;
&ldquo;Health, Morals and Longevity,&rdquo; by George&lt;br /&gt;
Gresswell, M.A., L.R.C.P., and Albert Gresswell,&lt;br /&gt;
M.A., M.D., is a short r&eacute;sum&eacute; of the more&lt;br /&gt;
important conditions necessary for a healthy life.&lt;br /&gt;
The question is considered from the two-fold&lt;br /&gt;
aspect, (a) that of individuals, and (b) that of&lt;br /&gt;
communities. The book is put forth as a sketch&lt;br /&gt;
of an important subject, and the writers have&lt;br /&gt;
endeavoured to throw some additional light on the&lt;br /&gt;
very difficult questions intimately related to it.&lt;br /&gt;
Messrs. Simpkin, Marshall, &amp;amp; Co. are the London&lt;br /&gt;
publishers, while Messrs. John Wright &amp;amp; Sons, Ltd.,&lt;br /&gt;
are the publishers in Bristol. .&lt;br /&gt;
Mr. Joseph Holbrooke gave a vocal and piano-&lt;br /&gt;
forte recital at Steinway Hall on January 29.&lt;br /&gt;
The programme included Four Rhapsodie Etudes by&lt;br /&gt;
Miss Lydia Stage, variations on &ldquo;Three Blind&lt;br /&gt;
Mice,&rdquo; by Henry R. Bird and Joseph Holbrooke,&lt;br /&gt;
and songs by Miss Grainger Kerr, Mr. Reginald&lt;br /&gt;
Davidson, and Miss Perceval Allen.&lt;br /&gt;
Miss A. E. Keeton gave a lecture on the&lt;br /&gt;
Russian fabulist Kryloff, at the Lyceum Club, on&lt;br /&gt;
February 11. To Russians young and old Kryloff&lt;br /&gt;
is a household word and a proverb. Miss Keeton&lt;br /&gt;
read a number of her own translations of the most&lt;br /&gt;
popular of his fables, amongst them : &ldquo;The Pig,&rdquo;&lt;br /&gt;
&ldquo;The Cat and the Cork,&rdquo; and &ldquo;The Trigamist.&rdquo;&lt;br /&gt;
A large percentage of the audience present was&lt;br /&gt;
Russian.&lt;br /&gt;
Miss Keeton will give a few more translations at the&lt;br /&gt;
next Havonic Circle on March 11, when Madame&lt;br /&gt;
Kipman will also sing &ldquo;The Quartet,&rdquo; and several&lt;br /&gt;
others of Rubinstein&amp;#039;s settings of Kryloff for soprano&lt;br /&gt;
voice and pianoforte.&lt;br /&gt;
We have received from the Oxford University&lt;br /&gt;
Press a reprint of &ldquo;The Heroine&rdquo; by Eaton&lt;br /&gt;
Stannard Barrett, with an introduction by Prof.&lt;br /&gt;
Walter Raleigh.&lt;br /&gt;
&ldquo;The Public Schools Year Book&rdquo; for 1909 con-&lt;br /&gt;
tains tabulated lists of Preparatory Schools, new&lt;br /&gt;
articles on the Universities, giving full details of&lt;br /&gt;
Universities other than Oxford and Cambridge.&lt;br /&gt;
The aim of the editor has been to give accurate&lt;br /&gt;
businesslike information, to avoid theory, and to:&lt;br /&gt;
deal in sound facts, and he invites the co-operation&lt;br /&gt;
and support of his readers to this end.&lt;br /&gt;
Messrs. Cassell and Company, Limited, are issuing&lt;br /&gt;
a new novel by Walter Wood, entitled &ldquo;The Secret&lt;br /&gt;
Paper.&rdquo; This is the third of four novels which&lt;br /&gt;
Mr. Wood has written for Messrs. Cassell for serial&lt;br /&gt;
and volume publication. Mr. Wood recently&lt;br /&gt;
returned from another visit to America, where he&lt;br /&gt;
was engaged, largely in the Middle West, in&lt;br /&gt;
collecting material for stories to be included in&lt;br /&gt;
&ldquo;Survivors&amp;#039; Tales of Great Events,&rdquo; a series&lt;br /&gt;
which has now entered upon the fifth year of&lt;br /&gt;
publication in the Royal Magazine. . More than&lt;br /&gt;
fifty of these articles have been published, a&lt;br /&gt;
number which is said to be without a record for&lt;br /&gt;
such a series.&lt;br /&gt;
Count Lutzow has now completed his extensive&lt;br /&gt;
work entitled &ldquo;The Life and Times of Master John&lt;br /&gt;
Hus.&rdquo; It will be published in April by Messrs.&lt;br /&gt;
Dent &amp;amp; Co. .&lt;br /&gt;
Mr. John Bloundelle-Burton&rsquo;s new romance&lt;br /&gt;
&ldquo;Within Four Walls,&rdquo; to be published immediately&lt;br /&gt;
by Mr. John Milne, derives its source from a little&lt;br /&gt;
known act of injustice perpetrated on an innocent&lt;br /&gt;
woman shortly after the assassination of Henri IV.&lt;br /&gt;
She had discovered a plot to kill the King, which&lt;br /&gt;
was fixed for the identical day when he was slain by&lt;br /&gt;
Ravaillac, and was anticipated by him. Her&lt;br /&gt;
valiant denunciation of the authors of this plot, who&lt;br /&gt;
were of the highest rank, led to her incarceration&lt;br /&gt;
in a distant fortress, and round this Mr. Bloundelle-&lt;br /&gt;
Burton&amp;#039;s story is built. Writers of a somewhat later&lt;br /&gt;
period than her own have hinted that her ad-&lt;br /&gt;
ventures only began after the sentence was passed&lt;br /&gt;
on her, and those adventures furnish the motif of&lt;br /&gt;
the novel.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 146 (#194) ############################################&lt;br /&gt;
&lt;br /&gt;
146&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
We have received from Messrs. J. M. Dent &amp;amp; Co.&lt;br /&gt;
a list of their recent publications, which includes&lt;br /&gt;
&ldquo;New Things and Old in Saint Thomas Aquinas,&rdquo;&lt;br /&gt;
edited by Mr. H. C. O&rsquo;Neill; and &ldquo;The History&lt;br /&gt;
of Modern Painting,&rdquo; by Richard Muther.&lt;br /&gt;
Mr. G. P. R. James&amp;#039;s historical novel &ldquo;Richelieu&rsquo;&rsquo;&lt;br /&gt;
will be published by Messrs. Dent in &ldquo;Everyman&amp;#039;s&lt;br /&gt;
Library &amp;#039;&amp;#039; early this month, with an introduction&lt;br /&gt;
by Mr. Rudolf Dircks.&lt;br /&gt;
&ldquo;Railway Rates : The Method of Calculating&lt;br /&gt;
Equitable Rates and Charges for Merchandise&lt;br /&gt;
carried on Railways,&rdquo; by the late Joseph&lt;br /&gt;
Horrocks, has been published by Messrs. Swan&lt;br /&gt;
Sonnenschein &amp;amp; Co., Ltd. The work is divided&lt;br /&gt;
into three parts :&lt;br /&gt;
I. Definitions&lt;br /&gt;
Obligations.&lt;br /&gt;
II. The Method Described.&lt;br /&gt;
III. The Method Illustrated by Examples.&lt;br /&gt;
Mr. Henry Arthur Jones&amp;#039;s play, &ldquo;The Dancing&lt;br /&gt;
Girl,&rdquo; was revived at His Majesty&amp;#039;s Theatre on&lt;br /&gt;
February 16, with a new last act. The caste&lt;br /&gt;
included Miss Alice Crawford, Mr. Louis Calvert,&lt;br /&gt;
and Mr. Vane Tempest.&lt;br /&gt;
Among Messrs. Archibald Constable &amp;amp; Co.&amp;#039;s&lt;br /&gt;
announcements we notice Mr. Douglas Ainslie&rsquo;s&lt;br /&gt;
Prelude to his Cycle of Poems entitled &ldquo;The Song&lt;br /&gt;
of the Stewarts.&rdquo; The Prelude consists of a series&lt;br /&gt;
of brief poems in various metres, dealing with the&lt;br /&gt;
days before the Lord High Stewart of Scotland&lt;br /&gt;
mounted the throne, in the person of Robert II.,&lt;br /&gt;
grandson of Robert Bruce. The Battles of&lt;br /&gt;
Falkirk and Bannockburn, the strange wooing of&lt;br /&gt;
the father of Robert Buis, and many other events&lt;br /&gt;
are described.&lt;br /&gt;
The present work will be followed by other&lt;br /&gt;
poems dealing with the House of Stewart and the&lt;br /&gt;
Vicissitudes through which it has passed.&lt;br /&gt;
Messrs. Constable &amp;amp; Co. have also on sale, in one&lt;br /&gt;
Volume, Mr. G. Bernard Shaw&amp;#039;s two plays, &ldquo;The&lt;br /&gt;
Doctor&amp;#039;s Dilemma&amp;quot; and &ldquo;Getting Married,&rdquo;&lt;br /&gt;
together with two Prefaces from Mr. Shaw&amp;#039;s&lt;br /&gt;
pen. -&lt;br /&gt;
Mr. E. Grant Hooper has written, and Mr.&lt;br /&gt;
Effingham Wilson has published, a pamphlet&lt;br /&gt;
explaining the German State Insurance System for&lt;br /&gt;
providing invalid and old age pensions and assist-&lt;br /&gt;
ance in case of temporary illness and of accidents&lt;br /&gt;
Occurring in the course of employment.&lt;br /&gt;
&ldquo;Motor Tours in Yorkshire,&rdquo; by Mrs. Rodolph&lt;br /&gt;
Stawell, is a companion volume to the same writer&amp;#039;s&lt;br /&gt;
&ldquo;Motor Tours in Wales.&rdquo; Messrs. Hodder and&lt;br /&gt;
Stoughton are the publishers of the volume, which&lt;br /&gt;
is intended for the passenger rather than the driver.&lt;br /&gt;
It is written for those who wish to know before-&lt;br /&gt;
hand where they will find the most beautiful places,&lt;br /&gt;
and contains photographs, a map of the route, and&lt;br /&gt;
an index.&lt;br /&gt;
of Services, Liabilities, and&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&ndash;0-&ordm;-&ordm;-&lt;br /&gt;
7 ITHIN, a comparatively short time the&lt;br /&gt;
W French Academy has lost nine of its&lt;br /&gt;
most prominent members. H&eacute;r&eacute;dia was&lt;br /&gt;
the first of this list, and was followed by Berthelot,&lt;br /&gt;
Ludovic Hal&eacute;vy, Andr&eacute; Theuriet, Ferdinand Brune-&lt;br /&gt;
ti&egrave;re, Sully-Prudhomme, Fran&ccedil;ois Copp&eacute;e, and&lt;br /&gt;
Victorien Sardou. The death of the Marquis Costa&lt;br /&gt;
de Beauregard leaves another fauteuil vacant.&lt;br /&gt;
The late Academician was born in Savoy in 1835.&lt;br /&gt;
It was during the Franco-German War, and whilst&lt;br /&gt;
in captivity, that M. Costa de Beauregard was&lt;br /&gt;
elected by Savoy as its representative in the&lt;br /&gt;
National Assembly.&lt;br /&gt;
Later on, tempted by his own family archives,&lt;br /&gt;
he commenced that series of historical works for&lt;br /&gt;
which he was elected to the French Academy.&lt;br /&gt;
&ldquo;Un homme d&amp;#039;autrefois&rdquo; is the book with which&lt;br /&gt;
he won his laurels. It is the biography of his&lt;br /&gt;
famous ancestor, the Marquis Joseph-Henri Costa&lt;br /&gt;
de Beauregard.&lt;br /&gt;
Within three weeks, too, France has lost Ernest&lt;br /&gt;
Reyer, the two Coquelins, and Catulle Mend&egrave;s.&lt;br /&gt;
Coquelin ain&eacute; was born in 1841 at Boulogne-&lt;br /&gt;
sur-Mer. After hearing Rachel in &ldquo;Adrienne&lt;br /&gt;
Lecouvreur,&rdquo; he came to Paris to study at the&lt;br /&gt;
Conservatoire. He was eighteen years of age at&lt;br /&gt;
that time, and in 1860, at the age of nineteen,&lt;br /&gt;
he was playing at the Com&eacute;die-Fran&ccedil;aise. For&lt;br /&gt;
twenty-six years he remained at the Fran&ccedil;ais, and&lt;br /&gt;
his fame from the very first, as a comedian, has&lt;br /&gt;
been world-wide.&lt;br /&gt;
He had founded a Maison des Com&eacute;diens for&lt;br /&gt;
artistes in their old age and, while studying his&lt;br /&gt;
&ordm;r&oacute;le in Rostand&rsquo;s new play, &ldquo;Chantecler,&rdquo; he had&lt;br /&gt;
gone to this house to rest. It was here that he&lt;br /&gt;
died suddenly, to the grief and dismay, not only of&lt;br /&gt;
his compatriots but of the world at large. -&lt;br /&gt;
Coquelin cadet was suffering from a nervous&lt;br /&gt;
disease, and was being attended at a private&lt;br /&gt;
hospital. His devotion to his brother was such&lt;br /&gt;
that he only lived three days after being in-&lt;br /&gt;
formed of the latter&amp;#039;s death. He had followed&lt;br /&gt;
his brother to Paris, and they had been devoted to&lt;br /&gt;
each other. Coquelin cadet had also had enormous&lt;br /&gt;
success, and his rendering of monologues was&lt;br /&gt;
inimitable.&lt;br /&gt;
Another sudden death was that of Catulle&lt;br /&gt;
Mend&egrave;s, who it is believed fell from the railway&lt;br /&gt;
carriage in getting out of the train before it had&lt;br /&gt;
stopped. Catulle Mend&egrave;s was born in 1843 at&lt;br /&gt;
Bordeaux He came to Paris in 1860, and pub-&lt;br /&gt;
lished his first poetry in 1862. About the same&lt;br /&gt;
time he was condemned to a month&amp;#039;s imprison-&lt;br /&gt;
ment and a fine of twenty pounds for the publica-&lt;br /&gt;
tion of an article in a review. In 1866 he married&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 147 (#195) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE A CITFIOR.&lt;br /&gt;
147&lt;br /&gt;
Judith Gautier, from whom he was later on&lt;br /&gt;
divorced. From this time forth until his death&lt;br /&gt;
he wrote a quantity of short stories, novels, poems&lt;br /&gt;
and plays. For the last twelve years Catulle&lt;br /&gt;
Mend&egrave;s was also theatrical critic to Le Journal.&lt;br /&gt;
Many were the duels which he fought, among&lt;br /&gt;
others with Lugn&eacute;-Po&eacute; and George Wanor.&lt;br /&gt;
&ldquo;L&rsquo;Affaire Nell,&rdquo; by Louis Estang, is an&lt;br /&gt;
interesting psychological study of characters which&lt;br /&gt;
are very true to life. Each person is well studied&lt;br /&gt;
and the story itself well told. A wealthy young&lt;br /&gt;
widow arrives in Paris almost unknown and, through&lt;br /&gt;
no fault of her own, finds herself involved in a law-&lt;br /&gt;
suit. She is very soon surrounded by a little crowd&lt;br /&gt;
of parasites who are attracted by her wealth. The&lt;br /&gt;
chief interest of the book is the study of this young&lt;br /&gt;
provincial woman, her development and evolution.&lt;br /&gt;
The other characters are also developed in a&lt;br /&gt;
masterly way, and the habits and customs of a&lt;br /&gt;
certain set of society are admirably depicted.&lt;br /&gt;
Among other new novels are the following:&mdash;&lt;br /&gt;
&ldquo;Une Mariage am&eacute;ricain,&rdquo; by Georges Ohmet ;&lt;br /&gt;
&ldquo;Sur les Deux Rives,&rdquo; by L&eacute;on de Tinseau, a&lt;br /&gt;
story of a young French nobleman who finds a&lt;br /&gt;
second home in Canada ; &ldquo; Notre Compagne,&rdquo; by&lt;br /&gt;
Marcel Pr&eacute;vost, a new illustrated edition of this&lt;br /&gt;
author&amp;#039;s novel.&lt;br /&gt;
Among books of memoir and historical works&lt;br /&gt;
are the following :-&lsquo;&lsquo;Lettres de Jeunesse,&rdquo; by&lt;br /&gt;
Eugene Fromentin, with bibliography and notes&lt;br /&gt;
by Pierre Blanchon ; &ldquo;Le Mar&eacute;chal Canrobert &rsquo;&rsquo;&lt;br /&gt;
(&ldquo;Souvenirs d&rsquo;un Si&egrave;cle&rdquo;), by Germain Bapst.&lt;br /&gt;
&ldquo;Italica,&rdquo; by Joseph l&amp;#039;H&ocirc;pital, is a work of&lt;br /&gt;
impressions and souvenirs in which the author&lt;br /&gt;
gives us some excellent pictures of Milan, Venice,&lt;br /&gt;
Bologna, and Florence.&lt;br /&gt;
A revised and corrected edition of Anatole&lt;br /&gt;
France&amp;#039;s &ldquo;Jeanne d&rsquo;Arc &rsquo;&rsquo; is announced.&lt;br /&gt;
&ldquo;Le Fruit D&eacute;fendu,&rdquo; by Henry Wignemal, takes&lt;br /&gt;
us away from France, as the scene is placed in&lt;br /&gt;
Italy. The author appears to know this country&lt;br /&gt;
and its people well. He introduces a family&lt;br /&gt;
belonging to the old nobility and describes the&lt;br /&gt;
difference between the people of former days and&lt;br /&gt;
of to-day. He describes the death of Leo XIII.&lt;br /&gt;
and the election of Pius X. A passionate love-&lt;br /&gt;
story runs through the volume. Altogether it is&lt;br /&gt;
a strong novel, with powerful interest from the first&lt;br /&gt;
page to the last.&lt;br /&gt;
Madame Juliette Adam&amp;#039;s sixth volume of&lt;br /&gt;
&ldquo;M&eacute;moires&rdquo; has appeared. It takes in the&lt;br /&gt;
period between May, 1873, and May, 1877,&lt;br /&gt;
and is entitled &ldquo;Nos Amiti&eacute;s politiques avant&lt;br /&gt;
l&amp;#039;abandon de la revanche.&rdquo; There are many&lt;br /&gt;
letters from Gambetta in this volume.&lt;br /&gt;
Comte Robert de Montesquiou has published&lt;br /&gt;
another volume of his prose essays, entitled&lt;br /&gt;
&ldquo;Assembl&eacute;e de Notables.&rdquo;&lt;br /&gt;
most beautiful is certainly the&lt;br /&gt;
It is with great pleasure that we see the volume&lt;br /&gt;
of poetry entitled &ldquo;Giboul&eacute;es,&rdquo; signed by Alice&lt;br /&gt;
Lardin de Musset. It would indeed be a pity for&lt;br /&gt;
the name to die out in France. Alfred de Musset&amp;#039;s&lt;br /&gt;
sister died rather more than three years ago. Her&lt;br /&gt;
granddaughter, the great-niece of the poet, has just&lt;br /&gt;
published her first book of verse. There are some&lt;br /&gt;
exquisite poems in the volume, and one of the&lt;br /&gt;
One entitled&lt;br /&gt;
&ldquo;Deuil,&rdquo; composed after the death of her beloved&lt;br /&gt;
grandmother. There are several others, too, full&lt;br /&gt;
of promise. Their great charm is their absolute&lt;br /&gt;
simplicity and sincerity.&lt;br /&gt;
Among translations: &ldquo; Carri&egrave;re d&amp;#039;Artiste,&rdquo; by&lt;br /&gt;
Mrs. Humphry Ward. This is an exceptionally&lt;br /&gt;
good translation, signed by Th. Bentzon and A.&lt;br /&gt;
Fliche.&lt;br /&gt;
In the Revue de Paris, Judith Gautier continues&lt;br /&gt;
the &ldquo;Troisi&egrave;merang&rdquo; of her &ldquo;Le Collier des jours,&rdquo;&lt;br /&gt;
and there are serials by Mathilde Serao and Claude&lt;br /&gt;
Farr&egrave;re.&lt;br /&gt;
In the Revue hebdomadaire Frederic Masson&lt;br /&gt;
Writes an interesting article on &ldquo;Le Pape et&lt;br /&gt;
l&amp;#039;Empereur.&rdquo; There is also an article by Gabriel&lt;br /&gt;
Hanotaux on &ldquo;La Diplomatie de l&amp;#039;avenir,&rdquo; and&lt;br /&gt;
another one by C. M. Savarit on &ldquo;Le D&eacute;peuplement&lt;br /&gt;
de la France.&rdquo;&lt;br /&gt;
&ldquo;L&rsquo;Oiseau bless&eacute;&rdquo; is the new play by Alfred&lt;br /&gt;
Capus now being given at the Renaissance. &ldquo;Le&lt;br /&gt;
Lis,&rdquo; by MM. P. Wolff and Gaston Leroux, is&lt;br /&gt;
being played at the Vaudeville, and &ldquo;La Trag&eacute;die&lt;br /&gt;
royale,&rdquo; by M. Saint Georges de Bouhelier, at the&lt;br /&gt;
Od&eacute;on.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Lettres de Jeunesse&rsquo;&rsquo; (Plon).&lt;br /&gt;
&ldquo;Italica&amp;quot; (Perrin).&lt;br /&gt;
&ldquo;Jeanne d&amp;#039;Arc&amp;quot; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Le Fruit D&eacute;fendu &rsquo;&rsquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;L&rsquo;Affaire Nell&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Un Mariage am&eacute;ricain&amp;quot; (Ollendorff).&lt;br /&gt;
&ldquo;Sur les Deux Rives &amp;#039;&amp;#039; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Notre Compagne &amp;quot; (Lemerre).&lt;br /&gt;
&ldquo;Giboul&eacute;es&rdquo; (G. Arrault).&lt;br /&gt;
&ldquo;Carri&eacute;re d&rsquo;Artiste&rdquo; (Hachette),&lt;br /&gt;
*&mdash;-&ordm;n-&lt;br /&gt;
w-&lt;br /&gt;
SPANISH NOTES.&lt;br /&gt;
HAVE just received from Madrid a striking&lt;br /&gt;
I little book called &ldquo;La Solidaridad Social,&rdquo;&lt;br /&gt;
by Victoriano Garcia Marti, whose addresses&lt;br /&gt;
in The Athen&aelig;um have been listened to with atten-&lt;br /&gt;
tion by the members. The author shows his&lt;br /&gt;
zeal for suffering humanity when he says: &ldquo;To&lt;br /&gt;
the poor, to the disabled, and to all those who&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 148 (#196) ############################################&lt;br /&gt;
&lt;br /&gt;
148&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
thirst for justice, I dedicate this work and my&lt;br /&gt;
whole life.&rdquo; The chapter on the connection of&lt;br /&gt;
Solidarity with Positivism is practical, showing&lt;br /&gt;
that when contemplation was shared by science&lt;br /&gt;
humanity became more practical in its philanthropy.&lt;br /&gt;
Moreover, the perpetual struggle between the Real&lt;br /&gt;
and the Ideal is touched upon philosophically in&lt;br /&gt;
its connection with the Solidarity of Humanity.&lt;br /&gt;
The author pays a generous tribute to Do&ntilde;a&lt;br /&gt;
Concepci&oacute;n Arenal, the clever poetess of Galicia,&lt;br /&gt;
who devoted her poetic talent to the laudation of&lt;br /&gt;
the real Brotherhood of Humanity, and whom&lt;br /&gt;
Azcarate, the great litt&eacute;rateur, termed &ldquo;not only&lt;br /&gt;
the glory of Galicia or Spain, but of the entire&lt;br /&gt;
World.&rdquo;&lt;br /&gt;
In her &ldquo;Letters to a Gentleman,&rdquo; the late&lt;br /&gt;
authoress says: &ldquo;Nineteen centuries ago the&lt;br /&gt;
Divine Master taught that all men were brothers,&lt;br /&gt;
but we have either not learnt the doctrine or&lt;br /&gt;
forgotten it.&rdquo;&lt;br /&gt;
Se&ntilde;or Garc&iacute;a Marti aptly remarks that the&lt;br /&gt;
Table of the Rights of Man which figured in the&lt;br /&gt;
French Revolution should now be accompanied by&lt;br /&gt;
that of the duties relating to liberty and fraternity.&lt;br /&gt;
The book is, in fact, one of those daily proofs of&lt;br /&gt;
the awakening of Spain to the duties of altruism.&lt;br /&gt;
El Teatro Espa&ntilde;ol has staged with great success&lt;br /&gt;
the new play by Se&ntilde;or Linares Rivas in which,&lt;br /&gt;
through the extravagances of a conception in&lt;br /&gt;
which the characters are represented by animals,&lt;br /&gt;
he shows the redeeming influence of love, so that&lt;br /&gt;
&ldquo;Master Wolf&rdquo; (the title of the play) is able to&lt;br /&gt;
live in peaceful proximity with the lamb by his&lt;br /&gt;
conquest of old prejudices. The play forms an&lt;br /&gt;
admirable opportunity for the author to attack&lt;br /&gt;
many of the conventionalities of life which lead to&lt;br /&gt;
callous neglect of the weak and helpless.&lt;br /&gt;
The Academy of History has just celebrated the&lt;br /&gt;
centenary of the War of Independence by a&lt;br /&gt;
brilliant function honoured by the presence of&lt;br /&gt;
King Alfonso XIII. The third anniversary of the&lt;br /&gt;
death of General G&oacute;mez de Arteche was also cele-&lt;br /&gt;
brated on the Occasion, and his monumental&lt;br /&gt;
work entitled &ldquo;Historia de la Guerra de la Inde-&lt;br /&gt;
pendencia.&rdquo; General Suarez Incl&aacute;n read an elo-&lt;br /&gt;
quent address on the subject. He explained it&lt;br /&gt;
was not only a simple relation : it was much more,&lt;br /&gt;
as every fact was accompanied by a judgment of&lt;br /&gt;
the authors which threw fresh light on the sub-&lt;br /&gt;
jects. Thus, the rising of the people on May 2,&lt;br /&gt;
the defence of the Artillery Park, the organisation&lt;br /&gt;
of the Spanish troops against Napoleon, etc., were&lt;br /&gt;
all vividly and logically brought forward, and the&lt;br /&gt;
aid of the English was given a fair tribute.&lt;br /&gt;
The Academy of Medicine has recently in-&lt;br /&gt;
augurated its work for 1909, and Don Baldomero&lt;br /&gt;
Gonzalez Alvarez gave a clever discourse on&lt;br /&gt;
&ldquo;Heredity.&rdquo; After some scientific remarks on the&lt;br /&gt;
origin of life, the doctor explained that biological&lt;br /&gt;
heredity is the transmission of character, original&lt;br /&gt;
and acquired by adaptation, selection, or infirmity.&lt;br /&gt;
Heredity of disease was fully entered into, includ-&lt;br /&gt;
ing that of alcoholism. Doctor Legrain&amp;#039;s inte-&lt;br /&gt;
resting statistics on the various infirmities accruing&lt;br /&gt;
to children of alcoholic parents were quoted, and&lt;br /&gt;
the lecturer terminated his discourse by repeat-&lt;br /&gt;
ing the words of Lacassaque, &ldquo;Society has its&lt;br /&gt;
criminals,&rdquo; and he recommended to his audience&lt;br /&gt;
the adoption of the method in vogue in Ohio, that&lt;br /&gt;
a certificate of health should be legally necessary&lt;br /&gt;
before marriage.&lt;br /&gt;
In Corunna a stone has just been unveiled on&lt;br /&gt;
the house where Sir John Moore died from his&lt;br /&gt;
Wounds at the battle of Elvira on January 16,&lt;br /&gt;
1809.&lt;br /&gt;
Se&ntilde;or Prat de la Riva, the Catalonian historian,&lt;br /&gt;
has just received the Grand Cross of Isabella the&lt;br /&gt;
Catholic for his work on the period of Ferdinand W.&lt;br /&gt;
and Isabella the Catholic. The view given of many&lt;br /&gt;
of the incidents of the period has aroused the ire&lt;br /&gt;
of many Castilians.&lt;br /&gt;
The confusion reigning on the subject of Soli-&lt;br /&gt;
darity and Separatism produces great disorder in&lt;br /&gt;
the Congress. The liberal leader Moret had&lt;br /&gt;
hardly commenced an eloquent speech, in which he&lt;br /&gt;
showed himself opposed to a debated administra-&lt;br /&gt;
tive reform, when a Solidarist of Barcelona inter-&lt;br /&gt;
rupted the orator, and passion rose so high on both&lt;br /&gt;
sides of opinion that the ex-Prime Minister had to&lt;br /&gt;
forego the rest of his speech from emotion.&lt;br /&gt;
Se&ntilde;or Pi y Margall has just published a&lt;br /&gt;
powerful article paper called &ldquo;Las Manifesta-&lt;br /&gt;
ciones Regionalistas,&rdquo; and another one on &ldquo;El&lt;br /&gt;
Separatismo.&rdquo;&lt;br /&gt;
RACHEL CHALLICE.&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
--w&lt;br /&gt;
&ordm;&lt;br /&gt;
~&lt;br /&gt;
PERFORMING RIGHT IN A SKETCH.&lt;br /&gt;
&mdash;e-Q-e-&lt;br /&gt;
BISHOP v. WIVIANA &amp;amp; Co.&lt;br /&gt;
HE plaintiff in this case claimed to be the&lt;br /&gt;
author of a dancing scena or sketch entitled&lt;br /&gt;
&ldquo;My Gollywog,&rdquo; and sued Miss Florence&lt;br /&gt;
Coles, who carries on business as Viviana &amp;amp; Co.,&lt;br /&gt;
for damages on account of alleged infringements&lt;br /&gt;
of his performing right. The plaintiff also claimed&lt;br /&gt;
damages for &ldquo;passing off,&rdquo; alleging that the&lt;br /&gt;
defendant represented the sketch performed by her,&lt;br /&gt;
entitled &ldquo;The Toy Shop,&rdquo; as being the plaintiff&rsquo;s&lt;br /&gt;
sketch.&lt;br /&gt;
The plaintiff stated that he had originated the&lt;br /&gt;
idea of the gollywog dance, and of having a rod&lt;br /&gt;
with a hook upon it from which he was suspended&lt;br /&gt;
by the middle. The sketch opened with children&lt;br /&gt;
... &ordm;r&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 149 (#197) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITISIOR-&lt;br /&gt;
149&lt;br /&gt;
singing a song, and then one of the children hung&lt;br /&gt;
him upon the hook. There were seven performers&lt;br /&gt;
who assisted in the dance, and a page boy who had&lt;br /&gt;
gags The plaintiff said that he was the author of&lt;br /&gt;
the apparatus and the gags.&lt;br /&gt;
As to the &ldquo;passing off,&rdquo; it appeared that on one&lt;br /&gt;
occasion when the plaintiff was advertised on the&lt;br /&gt;
programme at the Olympia Music Hall, Shoreditch,&lt;br /&gt;
the defendant was engaged to deputise there, and&lt;br /&gt;
gave a performance of &ldquo;The Toy Shop,&rdquo; but with-&lt;br /&gt;
out any knowledge that the plaintiff&rsquo;s sketch had&lt;br /&gt;
been advertised. .&lt;br /&gt;
Mr. Justice Channell, following the decision of&lt;br /&gt;
the Court of Appeal in Tate v. Fullbrook, held that&lt;br /&gt;
the plaintiff had no performing right in the dance.&lt;br /&gt;
As to the &ldquo;passing off,&rdquo; he said that if anyone&lt;br /&gt;
was to blame, it was the manager and not the&lt;br /&gt;
defendant. If the latter had been a party to her&lt;br /&gt;
performance being represented as the plaintiff&rsquo;s&lt;br /&gt;
performance, she would have made herself liable ;&lt;br /&gt;
but upon her evidence he was of opinion that she&lt;br /&gt;
was no party to it. He accordingly gave judgment&lt;br /&gt;
for the defendant.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REPRESENTATION OF SKETCH BY&lt;br /&gt;
CINEMATOGRAPH.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
RARNo v. PATH&aacute; FREREs.&lt;br /&gt;
f | WHE plaintiff in this action, Mr. Fred Karno,&lt;br /&gt;
was the owner of the performing right in a&lt;br /&gt;
pantomimic sketch entitled &ldquo;The Mumming&lt;br /&gt;
Birds,&rdquo; and sued the defendant company for&lt;br /&gt;
damages in respect of the infringement of his&lt;br /&gt;
right. The defendant company manufactured and&lt;br /&gt;
sold cinematograph films to proprietors and per-&lt;br /&gt;
formers at music halls, and amongst other films in&lt;br /&gt;
their catalogue was one entitled &ldquo;At the Music&lt;br /&gt;
Hall,&rdquo; which the plaintiff alleged to be a representa-&lt;br /&gt;
tion of his sketch, or the instrument from which&lt;br /&gt;
the representation was made.&lt;br /&gt;
On behalf of the defendant company it was&lt;br /&gt;
contended that the sketch was not a dramatic&lt;br /&gt;
piece in which there was any performing right,&lt;br /&gt;
and that the defendant company had not caused&lt;br /&gt;
the sketch to be represented by reason of the&lt;br /&gt;
sale of the cinematograph film, even though they&lt;br /&gt;
knew that it was intended to be used for the&lt;br /&gt;
purpose of the representation. -&lt;br /&gt;
Mr. Justice Jelf held that, upon the grounds&lt;br /&gt;
stated by the Court of Appeal in Tate v. Fullbrook,&lt;br /&gt;
a pantomimic sketch, performed for the most part in&lt;br /&gt;
dumb show but with a certain amount of &ldquo;gag,&rdquo; of&lt;br /&gt;
which there was no book of words or stage direc-&lt;br /&gt;
tions, which was not capable of being printed and&lt;br /&gt;
published as a literary composition, was not a&lt;br /&gt;
dramatic piece. In the case of a dramatic piece,&lt;br /&gt;
however, he was of opinion that a representation&lt;br /&gt;
by cinematograph might constitute an infringement&lt;br /&gt;
of the performing right; moreover, the defendant&lt;br /&gt;
company were not liable upon another ground,&lt;br /&gt;
because by merely manufacturing and selling the&lt;br /&gt;
cinematograph film, even though they knew the&lt;br /&gt;
film was bought for the purpose of representation&lt;br /&gt;
at places of public entertainment, they had not&lt;br /&gt;
caused the sketch to be represented so as to con-&lt;br /&gt;
stitute an infringement of the performing right, if&lt;br /&gt;
any existed.&lt;br /&gt;
The Court of Appeal upheld the decision of&lt;br /&gt;
Mr. Justice Jelf upon this latter ground, and it&lt;br /&gt;
was therefore unnecessary to go into the question&lt;br /&gt;
as to whether the sketch was a &ldquo;dramatic piece.&rdquo;&lt;br /&gt;
If there was any performing right in the sketch,&lt;br /&gt;
the action should have been brought against the&lt;br /&gt;
persons who represented it or caused the representa-&lt;br /&gt;
tion to be made. -&lt;br /&gt;
The appeal was accordingly dismissed.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-e&mdash;&lt;br /&gt;
SCHOLZ v. AMASIS, LTD.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NIR,--The &ldquo;General Note &rsquo;&rsquo; which appears on&lt;br /&gt;
this subject in the February number of your&lt;br /&gt;
journal is so misleading and, in fact, posi-&lt;br /&gt;
tively incorrect, as to lead to the suspicion that an&lt;br /&gt;
amateur has been dabbling in law ; and even the&lt;br /&gt;
writer&amp;#039;s excuse of want of time will not prevent&lt;br /&gt;
the lay reader of your journal from falling into&lt;br /&gt;
grave error if he relies upon the note.&lt;br /&gt;
Your contributor says that &ldquo;the first point to&lt;br /&gt;
be considered is the date . . . when each com-&lt;br /&gt;
pleted piece first came within the baneful influence&lt;br /&gt;
of the Copyright Statutes.&rdquo; As a matter of fact,&lt;br /&gt;
no question of copyright was involved in the case ;&lt;br /&gt;
the plaintiff&amp;#039;s play having been neither published&lt;br /&gt;
nor acted, and being, therefore, unprotected by&lt;br /&gt;
copyright law.&lt;br /&gt;
The action was based upon common law fraud,&lt;br /&gt;
q.e., an accusation of deliberate theft of the plain-&lt;br /&gt;
tiff&amp;#039;s material by the defendant. For reasons which&lt;br /&gt;
may or may not commend themselves to the Court&lt;br /&gt;
of Appeal, the judge found, on circumstantial&lt;br /&gt;
evidence, that in fact fraud or theft had been&lt;br /&gt;
committed, and therefore awarded the plaintiff&lt;br /&gt;
damages, not for breach of copyright, but for the&lt;br /&gt;
common law offence of stealing his material.&lt;br /&gt;
There can be no award on such a ground unless&lt;br /&gt;
the court believes that in fact the defendant copied&lt;br /&gt;
from the plaintiff. .&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 150 (#198) ############################################&lt;br /&gt;
&lt;br /&gt;
150&lt;br /&gt;
TISIES ALITISIOR,&lt;br /&gt;
Your contributor is, of course, quite entitled to&lt;br /&gt;
say that the law on this point is ridiculous, but, so&lt;br /&gt;
long as it exists, it must be observed by authors.&lt;br /&gt;
Moreover, it does not seem to me at all unjust to&lt;br /&gt;
say that, if a second writer accidentally hits upon the&lt;br /&gt;
ideas and phrases of a first author, who has not&lt;br /&gt;
communicated them to the public, the second&lt;br /&gt;
author is not to blame. As everyone knows, such&lt;br /&gt;
instances have occurred in the scientific world, and&lt;br /&gt;
I do not know why they should not occur in&lt;br /&gt;
literature. It may be doubted whether it would&lt;br /&gt;
be for the benefit either of authors or the public&lt;br /&gt;
that a writer should be able, as it were, to annex a&lt;br /&gt;
certain number of ideas and phrases by putting&lt;br /&gt;
them on paper and locking them up in his drawer.&lt;br /&gt;
In that way a fertile but unskilled playwright&lt;br /&gt;
might practically stop the production of all plays&lt;br /&gt;
but his own, without himself being able to get a&lt;br /&gt;
single play acted. The common law in this case&lt;br /&gt;
seems to me to be also common Sense.&lt;br /&gt;
I may add, in conclusion, that my information&lt;br /&gt;
about the case is first-hand, but it agrees with the&lt;br /&gt;
reports in the papers.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
EDWARD JENKS.&lt;br /&gt;
From &ldquo;Who&rsquo;s Who&rsquo;&rsquo; it appears that Mr. Jenks&lt;br /&gt;
is Principal and Director of Legal Studies of the&lt;br /&gt;
Law Society. &amp;amp;&lt;br /&gt;
I must thank Mr. Jenks for his condescension&lt;br /&gt;
in writing from his tutorial chair and for his&lt;br /&gt;
endeavour to set me right in a matter con-&lt;br /&gt;
nected with copyright. The question whether&lt;br /&gt;
an innocent infringer is always liable may be&lt;br /&gt;
a question of opinion, and may, perhaps, receive&lt;br /&gt;
some further elucidation when the case of Scholz&lt;br /&gt;
v. Amasis, Ltd., is discussed in the Court of&lt;br /&gt;
Appeal: but the grounds both of law and of fact&lt;br /&gt;
on which Mr. Jenks bases his letter are wrong, as&lt;br /&gt;
I will endeavour to show even at the risk of being&lt;br /&gt;
termed an amateur.&lt;br /&gt;
Mr. Jenks&amp;#039; first point is contained in the follow-&lt;br /&gt;
ing sentence : &ldquo;As a matter of fact, no question of&lt;br /&gt;
copyright was involved in the case, the plaintiff&amp;#039;s&lt;br /&gt;
play having been neither published nor acted, and&lt;br /&gt;
being, therefore, unprotected by copyright law.&rdquo;&lt;br /&gt;
Mr. Jenks must study his copyright law more&lt;br /&gt;
carefully. A general practitioner is not always&lt;br /&gt;
a good specialist. He should study 3 &amp;amp; 4&lt;br /&gt;
William IV., the judgment of Mr. Justice Hawkins&lt;br /&gt;
in Reichardt v. Sapie, the comments on the Act in&lt;br /&gt;
Copinger&amp;#039;s Law of Copyright, 4th edition, by J. M.&lt;br /&gt;
Easton, and Macgillivray&amp;#039;s Law of Copyright. He&lt;br /&gt;
will then see that his statement is not justified.&lt;br /&gt;
It is not requisite for a play to be published or&lt;br /&gt;
acted to bring it under the Copyright Statute.&lt;br /&gt;
It may still be a matter of opinion, but I am&lt;br /&gt;
content with my authorities.&lt;br /&gt;
.*.&lt;br /&gt;
24.&lt;br /&gt;
The second point in Mr. Jenks&amp;#039; letter is not one&lt;br /&gt;
of opinion, but one of fact. He says: &ldquo;The&lt;br /&gt;
action was based upon a common law fraud and&lt;br /&gt;
damages were awarded not for breach of copyright&lt;br /&gt;
but for the common law offence of stealing the&lt;br /&gt;
material.&rdquo; -&lt;br /&gt;
The plaintiff&rsquo;s claim in his pleadings was for&lt;br /&gt;
infringement of copyright and not for common law&lt;br /&gt;
fraud. In giving judgment, the judge stated that&lt;br /&gt;
&ldquo;the action was brought by the plaintiff to recover&lt;br /&gt;
damages for the alleged infringement of the&lt;br /&gt;
plaintiff&rsquo;s copyright.&rdquo; Further, he said : &ldquo;All&lt;br /&gt;
the proper steps had been taken under the Statutes&lt;br /&gt;
to protect his (the plaintiff&rsquo;s) copyright,&rdquo; and,&lt;br /&gt;
finally, &ldquo;I have come to the conclusion and find,&lt;br /&gt;
as a fact, that the defendants have infringed a&lt;br /&gt;
material and substantial part of the plaintiff&rsquo;s&lt;br /&gt;
copyright.&rdquo;&mdash;THE WRITER OF THE PARAGRAPH.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BIBLIOPHILE.&lt;br /&gt;
On Certain Bronte MSS. By Harold F. B. Wheeler.&lt;br /&gt;
English Book Illustration in the Eighteenth Century.&lt;br /&gt;
By Katharine Esdaile.&lt;br /&gt;
BIACKWOOD&rsquo;S.&lt;br /&gt;
Oxford, Past and Present. By P. A. Wright Henderson.&lt;br /&gt;
Boswell.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Charles Darwin. By Edward Clodd.&lt;br /&gt;
Richard Jefferies and London. By Edward Thomas.&lt;br /&gt;
The Penalties of Failure. By Edwin Pugh.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
Mendelssohn in 1909. By Ernest Newman.&lt;br /&gt;
The Love of Wild Nature. By Havelock Ellis.&lt;br /&gt;
English Literature and the Indian Student. By Tau.&lt;br /&gt;
The Centenary of Edgar Allan Poe. By Edmund Gosse.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
Robert Browning in Edinburgh. By Rosaline Masson.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Beaten Track. By W. Garrott Brown.&lt;br /&gt;
Americans as Actors. By Bram Stoker.&lt;br /&gt;
The Writings of Mr. W. B. Yeats. By E. M. D.&lt;br /&gt;
Poetry and the Stage. By Stephen Gwynn.&lt;br /&gt;
The Fatigue of Anatole France. By I. M. Kettle, M.P.&lt;br /&gt;
Sir Edward Elgar&rsquo;s Symphony. By E. A. Baughan,&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Modern Antiques. By Helen Zimmern.&lt;br /&gt;
The Shakespearean Problem. By Geo. Hookham&lt;br /&gt;
NINETEENTH CENTURY AND AFTER.&lt;br /&gt;
The Real Lafcadio Hearn. By Mrs. Arthur Kennard.&lt;br /&gt;
Felix Mendelssohn-Bartholdy. By A. E. Keeton.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 151 (#199) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
151&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;4-0&ndash;&lt;br /&gt;
1, VERY member has a right to ask for and to receive&lt;br /&gt;
E advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor, but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
&sect;ecretary will undertake it on behalf of members.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
Iſle2, D.S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority. -&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manageT.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash; -&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain dat&lt;br /&gt;
and for proper publication of his name on i.&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 152 (#200) ############################################&lt;br /&gt;
&lt;br /&gt;
152&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur Tights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
&mdash;w-w&lt;br /&gt;
A&lt;br /&gt;
w&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;&ordm;-Q-0&ndash;&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
- forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
-&ordm;-&ordm;-e-&lt;br /&gt;
L*. can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
Composer a transfer of fuller rights and less liberal finan.&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
pr&ordm;perty. , The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&ndash;0-6-0&ndash;&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Soci&eacute;ty&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
a &mdash;&ordm;-&lt;br /&gt;
w---&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
&ldquo;THE AUTHOR,&rdquo;&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
T the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
* -*&mdash; *.&lt;br /&gt;
- w&lt;br /&gt;
w&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 153 (#201) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITFIOR.&lt;br /&gt;
153&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&ndash;t-&ordm;-&ordm;-&lt;br /&gt;
On the ballot paper which accompanies&lt;br /&gt;
this month&rsquo;s &ldquo;Author&rsquo; subscribing members&lt;br /&gt;
have full details as to the manner in which&lt;br /&gt;
their yotes should be recorded. Any members&lt;br /&gt;
who have not received ballot papers with&lt;br /&gt;
their &ldquo;Authors&rdquo; are requested to write to&lt;br /&gt;
the Secretary at once.&lt;br /&gt;
THE BOOK TRADE.&lt;br /&gt;
THE February number of the Book Monthly con-&lt;br /&gt;
tains an article from the editor on &ldquo;The Ill State&lt;br /&gt;
of the Book Trade,&rdquo; and various letters from&lt;br /&gt;
publishers dealing with the same subject.&lt;br /&gt;
Judging from these, there seems to be good&lt;br /&gt;
reason to suppose that &ldquo;Queen Victoria&amp;#039;s Letters,&rdquo;&lt;br /&gt;
&ldquo;Morley&amp;#039;s Gladstone,&rdquo; published in cheap form,&lt;br /&gt;
and Queen Alexandra&amp;#039;s volume of photographs, may&lt;br /&gt;
have had something to do with the slack business&lt;br /&gt;
at Christmas. The general reason of depression&lt;br /&gt;
if it exists&mdash;we cannot doubt this if we read&lt;br /&gt;
the statements contained in these letters&mdash;is&lt;br /&gt;
over-production, not merely over-production by&lt;br /&gt;
cheap reprints, but by new copyright matter. Mr.&lt;br /&gt;
Reginald Smith, of Messrs. Smith, Elder &amp;amp; Co.,&lt;br /&gt;
limits his statement, and thinks second-rate books,&lt;br /&gt;
and still more third-rate books, alone have suffered&lt;br /&gt;
from over-production.&lt;br /&gt;
Surely this is in a great part the fault of the&lt;br /&gt;
publishers, not of the best firms, but of those who&lt;br /&gt;
write &ldquo;Our reader has reported favourably on&lt;br /&gt;
your work, and if you will pay &pound;150 towards&lt;br /&gt;
the cost of production, and give us the refusal of&lt;br /&gt;
your next six novels,&rdquo; etc., etc.&lt;br /&gt;
It would be interesting to know how often the&lt;br /&gt;
secretary of the society has stopped authors from&lt;br /&gt;
accepting this offer. But unfortunately, there are&lt;br /&gt;
many authors, with first books, who do not come to&lt;br /&gt;
the society till they have been caught in the trap.&lt;br /&gt;
SETTLEMENT OF AGREEMENTS.&lt;br /&gt;
OWING to the bankruptcy of a certain publisher,&lt;br /&gt;
many agreements have been handed to the Secretary&lt;br /&gt;
in order that the society might take up the claims&lt;br /&gt;
of those members involved. In going through&lt;br /&gt;
these agreements, it has again been brought strongly&lt;br /&gt;
to our notice that the ordinary publisher&amp;#039;s agree-&lt;br /&gt;
ment signed without advice is in most cases an&lt;br /&gt;
unsatisfactory document.&lt;br /&gt;
In the standing matter of The Author from&lt;br /&gt;
month to month under the heading of &ldquo;Warnings&lt;br /&gt;
to producers of books&rdquo; is printed this statement:&lt;br /&gt;
&ldquo;Never, sign any agreement without competent&lt;br /&gt;
advice from the secretary of the society,&rdquo; but&lt;br /&gt;
like all standing matter it is not unfrequently&lt;br /&gt;
overlooked by readers. Again, therefore, we must&lt;br /&gt;
ask all our members to use the society before they&lt;br /&gt;
Sign their agreements. Sometimes it happens&lt;br /&gt;
that when the secretary has placed before a member&lt;br /&gt;
the pros and cons of the case, the terms which&lt;br /&gt;
should be asked, the clauses which should be&lt;br /&gt;
avoided, the member weighing these matters&lt;br /&gt;
decides to sign in spite of the advice tendered.&lt;br /&gt;
Then the author takes the responsibility on his&lt;br /&gt;
er her own shoulders, and cannot complain. But&lt;br /&gt;
it is of the utmost importance to all authors to&lt;br /&gt;
know exactly what dangers surround their con-&lt;br /&gt;
tragt;. To belong to the society and not to use it,&lt;br /&gt;
and then, as in some cases, complain that it does&lt;br /&gt;
nothing, is not &ldquo;playing the game.&rdquo; -&lt;br /&gt;
MAGAZINE WRITERS AND INCOME TAX.&lt;br /&gt;
IN another column we print an article under the&lt;br /&gt;
title placed above.&lt;br /&gt;
While we think it advisable to bring the matter&lt;br /&gt;
forward, as it is possible that ventilation of the&lt;br /&gt;
subject may lead to some practical solution of the&lt;br /&gt;
difficulty, yet we hardly think it likely that any&lt;br /&gt;
Government will legislate for a small section of a&lt;br /&gt;
small section of society. If once the Government&lt;br /&gt;
began to differentiate among classes of tax-payers&lt;br /&gt;
the matter would assume enormous proportions.&lt;br /&gt;
Though it is clear that magazine writers have&lt;br /&gt;
good cause for complaint, it is easier to complain&lt;br /&gt;
than to find a remedy.&lt;br /&gt;
We quote the following case as an example:&ndash;&lt;br /&gt;
Some years ago, owing to the unsatisfactory&lt;br /&gt;
life history of certain magazines, and the recur-&lt;br /&gt;
ring difficulty of obtaining justice for the con-&lt;br /&gt;
tributors, the Society took up their cause and&lt;br /&gt;
endeavoured to secure a change in the Bankruptcy&lt;br /&gt;
Law by which contributors to magazines and&lt;br /&gt;
periodicals who had claims against these publications&lt;br /&gt;
should receive preferential treatment with those&mdash;&lt;br /&gt;
clerks and officials&mdash;who already obtained this&lt;br /&gt;
advantage under the Act ; but the Government&amp;#039;s&lt;br /&gt;
answer was an expression of regret at their inability&lt;br /&gt;
to move in the matter.&lt;br /&gt;
We should like, however, to draw the attention&lt;br /&gt;
of members to the fact that in reckoning income&lt;br /&gt;
tax returns, they are entitled to charge all out of&lt;br /&gt;
pocket expenses, such as books and any special&lt;br /&gt;
premises used exclusively for literary work, and even&lt;br /&gt;
the rent of a study&mdash;part of the rent of a house&mdash;&lt;br /&gt;
if the deduction can be justified to the satisfaction&lt;br /&gt;
of the income tax authorities.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 154 (#202) ############################################&lt;br /&gt;
&lt;br /&gt;
154&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
METICULOUS.&lt;br /&gt;
THE Chicago Dial has lately contained some&lt;br /&gt;
comment and correspondence on the use and abuse&lt;br /&gt;
of the word &ldquo;meticulous,&rdquo; which it declares should&lt;br /&gt;
never be used, as it is commonly used to-day, in&lt;br /&gt;
the sense of &ldquo;over-careful.&rdquo; The result of our&lt;br /&gt;
own researches is in accord with this view. The&lt;br /&gt;
word is of quite respectable age and with the&lt;br /&gt;
established meaning of timid or fearful (Lat.&lt;br /&gt;
&ordm;neticulosus from metus. Cf. French m&eacute;ticuleuw).&lt;br /&gt;
It was used by Sir Thomas Browne, and occurs&lt;br /&gt;
also in Topsell&rsquo;s &ldquo;Historie of Serpents, * 1608,&lt;br /&gt;
p. 116. Johnson does not include it in his&lt;br /&gt;
dictionary. In 1827 it was not in use, though&lt;br /&gt;
&ldquo;meticulously&amp;quot; was&mdash;according to Dr. Todd, who&lt;br /&gt;
quotes from Brown, Chr. Mor. i. 33, &ldquo;Move&lt;br /&gt;
circumspectly, not meticulously.&rdquo; In 1883,&lt;br /&gt;
Ogilvie declared it obsolete, and at the beginning&lt;br /&gt;
of this century it was included in Halliwell&amp;#039;s&lt;br /&gt;
Dictionary of Archaic and Provincial Words.&lt;br /&gt;
On the other hand Webster does not so regard it,&lt;br /&gt;
berein having the support of modern journalism.&lt;br /&gt;
Somebody rediscovered it a few years back and&lt;br /&gt;
used it, unfortunately in the perverted sense&lt;br /&gt;
referred to above. The word was a distinct&lt;br /&gt;
acquisition to journalism, and has been very&lt;br /&gt;
popular ever since. As, however, its true value&lt;br /&gt;
should be appreciated, we venture to recommend&lt;br /&gt;
it to the consideration of our readers.&lt;br /&gt;
EDGAR ALLAN POE.&lt;br /&gt;
THE centenary of the American writer and poet,&lt;br /&gt;
Edgar Allan Poe, will be celebrated on the 1st of&lt;br /&gt;
March, the date of this issue, by the Authors&rsquo;&lt;br /&gt;
Club. The members are giving a dinner at the&lt;br /&gt;
Whitehall Rooms in honour of his memory.&lt;br /&gt;
Sir Arthur Conan Doyle will be the chairman of&lt;br /&gt;
the dinner, and His Excellency the Hon. Whitelaw&lt;br /&gt;
Reid, the American Ambassador, has promised to&lt;br /&gt;
be present and speak.&lt;br /&gt;
There will be recitations of some of Poe&amp;#039;s poems,&lt;br /&gt;
and we understand that some of his lyrics which&lt;br /&gt;
have been set to music will be sung on that&lt;br /&gt;
occasion.&lt;br /&gt;
Mr. Herbert Trench, the author of &ldquo;Deirdre&lt;br /&gt;
Wedded &rdquo; will write an ode to commemorate the&lt;br /&gt;
event.&lt;br /&gt;
There is a long list before us of the patrons of&lt;br /&gt;
the dinner, including many names of well-known&lt;br /&gt;
Americans resident in England; we wish the&lt;br /&gt;
Authors&rsquo; Club every success in carrying out their&lt;br /&gt;
programme.&lt;br /&gt;
*-*-a-ma-se&lt;br /&gt;
OSWALD CRAWFURD, C.M.G.&lt;br /&gt;
WE regret to record the death of Mr. Oswald&lt;br /&gt;
Crawfurd, C.M.G., on January 30 last. From&lt;br /&gt;
1867 to 1891 Mr. Crawfurd was H.M.&amp;#039;s Consul&lt;br /&gt;
at Oporto, during which time he wrote several&lt;br /&gt;
works dealing with Portugal, including &ldquo;Travels&lt;br /&gt;
in Portugal,&rdquo; under the pseudonym of John&lt;br /&gt;
Latouche. On his return to London he interested&lt;br /&gt;
himself in literary work, founding Black and&lt;br /&gt;
While and becoming its first editor. Later on&lt;br /&gt;
he joined the firm of Messrs. Chapman and Hall&lt;br /&gt;
as a director.&lt;br /&gt;
Mr. Crawfurd was for many years a member of&lt;br /&gt;
the Society of Authors, and though he resigned&lt;br /&gt;
while connected with Messrs. Chapman and Hall,&lt;br /&gt;
as he did not consider it suitable in these circum-&lt;br /&gt;
stances for him to remain a member, he was&lt;br /&gt;
re-elected in 1898 and continued a member until&lt;br /&gt;
his death.&lt;br /&gt;
Among his numerous publications are eight&lt;br /&gt;
novels, including &ldquo;Sylvia Arden &amp;quot; and &ldquo; In Green&lt;br /&gt;
Fields,&rdquo; and two volumes of poetry entitled &ldquo;Two&lt;br /&gt;
Masques&rdquo; and &ldquo;The Sire of Prince Eladane.&rdquo;&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
UNITED STATES JOTTINGS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
THE Chicago Dial in one of its recent issues&lt;br /&gt;
has a healthy editorial article on Copyright in the&lt;br /&gt;
United States.&lt;br /&gt;
It is started from the fact that &ldquo;the Celebrated&lt;br /&gt;
Jumping Frog&rdquo; will be removed from Copyright&lt;br /&gt;
Protection during 1909 and will &ldquo;become the&lt;br /&gt;
prey of the irresponsible publisher.&rdquo; The editor&lt;br /&gt;
drives home two points that he considers need&lt;br /&gt;
special revision, the first the term of copyright&lt;br /&gt;
protection, the second the type-setting clause.&lt;br /&gt;
It is hard on the United States author who lives&lt;br /&gt;
to a vigorous old age to see his brain children&lt;br /&gt;
ceasing to support him during his advancing years.&lt;br /&gt;
To remedy this difficulty the editor states, &ldquo;We&lt;br /&gt;
consider the principle of perpetual copyright,&lt;br /&gt;
although logically sound, to be of academic interest&lt;br /&gt;
only ; for we believe that substantial justice would&lt;br /&gt;
be done by protecting literary property during the&lt;br /&gt;
author&amp;#039;s lifetime and for one or two generations&lt;br /&gt;
beyond.&rdquo;&lt;br /&gt;
Life and fifty years was the length approved by&lt;br /&gt;
the Berlin Conference. Let the Americans join&lt;br /&gt;
the band of civilised nations and accept the same&lt;br /&gt;
limitation.&lt;br /&gt;
On the second point he remarks, as follows:&mdash;&lt;br /&gt;
&ldquo;To say that an Englishman shall have no rights&lt;br /&gt;
mnder our law to the product of his brain until&lt;br /&gt;
that product shall be put into marketable form by&lt;br /&gt;
American labour is precisely like Saying that the&lt;br /&gt;
same Englishman, landing in New York, shall have&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 155 (#203) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTFIOR.&lt;br /&gt;
155&lt;br /&gt;
no right to personal protection against violence&lt;br /&gt;
until he has purchased American-made garments&lt;br /&gt;
and clothed himself therein.&rdquo;&lt;br /&gt;
He has no immediate hope of the clause being&lt;br /&gt;
removed, but he says that the acceptance of the&lt;br /&gt;
clause in 1891 was a compromise essentially revolt-&lt;br /&gt;
ing to the sense of international justice.&lt;br /&gt;
This we believe to be the view of all educated&lt;br /&gt;
Americans, who appear therefore to be governed, in&lt;br /&gt;
this respect at any rate, by the uneducated masses. .&lt;br /&gt;
It will be a happy day when the intellectual&lt;br /&gt;
minority can persuade Congress to join the Berne&lt;br /&gt;
Convention.&lt;br /&gt;
*-m-m-m-e &ordm;s--msm&ordm;,&lt;br /&gt;
WE print below a paragraph taken from the&lt;br /&gt;
New York Nation, which shows also the opinion&lt;br /&gt;
of that paper on the question of the position of the&lt;br /&gt;
United States with regard to International Copy-&lt;br /&gt;
right. It is, indeed, a pity that those who have&lt;br /&gt;
no claim whatever on the property of authors&lt;br /&gt;
should be able to control the methods by which&lt;br /&gt;
these authors should market their productions.&lt;br /&gt;
As truth will come out even in an affidavit, according&lt;br /&gt;
to the Saying of an English judge, so it sometimes comes&lt;br /&gt;
Out in a public document. House Document No. 1,208,&lt;br /&gt;
of the present session of Congress, contains the correspon-&lt;br /&gt;
dence leading up to the appointment of an American&lt;br /&gt;
delegate to the recent International Copyright Congress&lt;br /&gt;
at Berlin. In pointing out to the Secretary of State the&lt;br /&gt;
fact that the United States had no right to be represented,&lt;br /&gt;
because we have not adopted the Berne Convention rela-&lt;br /&gt;
tive to literary property, the Librarian of Congress&lt;br /&gt;
Suggested that this Government regard itself as a &ldquo;non-&lt;br /&gt;
union participant.&rdquo; The phrase falls pat with current&lt;br /&gt;
terminology. It seems to make us a &ldquo;scab &amp;#039;&amp;#039; among the&lt;br /&gt;
nations in the matter of copyright. Unfortunately, that&lt;br /&gt;
is very much what we are. The leading civilised nations&lt;br /&gt;
have formed a union to protect literary and artistic pro-&lt;br /&gt;
perty, but we have refused to join it. Under labour-&lt;br /&gt;
union practice they are entitled to attack and outlaw us ;&lt;br /&gt;
but instead of that, they are courteous enough to receive&lt;br /&gt;
us at their Congresses as a &ldquo;non-union participant.&rdquo;&lt;br /&gt;
Their hope undoubtedly is to kill us with kindness, or&lt;br /&gt;
lead us to see the error of our ways and adhere to the&lt;br /&gt;
Berne Convention with the rest.&lt;br /&gt;
IN reference to this same United States Copy-&lt;br /&gt;
right law a letter appeared in the Times, signed&lt;br /&gt;
T. T. Hodgson, suggesting that England should&lt;br /&gt;
pass into law a type-setting clause as against the&lt;br /&gt;
United States, quoting the Berne Convention&lt;br /&gt;
article 2, and objecting to Mr. Winston Churchill&amp;#039;s&lt;br /&gt;
assertion in the House of Commons that such a&lt;br /&gt;
clause would involve the retirement of this country&lt;br /&gt;
from the International Copyright Union.&lt;br /&gt;
We think Mr. Churchill is right, and that such a&lt;br /&gt;
clause would not only prejudice the position of this&lt;br /&gt;
Country under the Berne Convention, but might&lt;br /&gt;
also cause the withdrawal of the President&amp;#039;s pro-&lt;br /&gt;
clamation under the Act of Congress of 1891.&lt;br /&gt;
Mr. T. T. Hodgson has made his deductions&lt;br /&gt;
(We are unable to quote the full statement) from an&lt;br /&gt;
insufficient knowledge of the Berne Convention&lt;br /&gt;
and the subsequent Act of Paris. In the latter&lt;br /&gt;
article 8 of the original convention has been altered&lt;br /&gt;
to read as follows:&ndash;&lt;br /&gt;
&ldquo;Authors not belonging to one of the countries of the&lt;br /&gt;
Union, who shall have published or caused to be published&lt;br /&gt;
for the first time their literary or artistic works in a&lt;br /&gt;
C&ordm;unty which is party to the Union shall enjoy in respect&lt;br /&gt;
of such Works the protection accorded by the Berne Conven-&lt;br /&gt;
tion and by the present additional Act.&rdquo;&lt;br /&gt;
If, therefore, an American author wanted a test&lt;br /&gt;
case he would merely copyright his work in France&lt;br /&gt;
or Germany and then produce in England without&lt;br /&gt;
type-setting. If, then, we refused to grant him&lt;br /&gt;
Copyright the signatories to the Berne Convention&lt;br /&gt;
would have every right to object.&lt;br /&gt;
That the type-setting clause might cause the&lt;br /&gt;
Withdrawal of the Presidential proclamation is self-&lt;br /&gt;
evident, even if England could establish her posi-&lt;br /&gt;
tion as against article 3 quoted above.&lt;br /&gt;
We fear the type-setting law, if it were passed,&lt;br /&gt;
Would be most dangerous; but apart from this we&lt;br /&gt;
should regret to see a retrogressive step in the&lt;br /&gt;
evolution of copyright ideals. We should rather&lt;br /&gt;
ask the United States to advance their intellectual&lt;br /&gt;
development than that England should recede.&lt;br /&gt;
EDUCATIONAL WORKS IN THE UNITED STATES.&lt;br /&gt;
IN the New York Nation is printed a letter from&lt;br /&gt;
a correspondent who wants for educational purposes&lt;br /&gt;
the tariff removed from imported books. There is&lt;br /&gt;
a subtle irony throughout this letter, as the writer&lt;br /&gt;
does not at any point appear to realise that a book&lt;br /&gt;
is the author&amp;#039;s property and originated from his&lt;br /&gt;
brain.&lt;br /&gt;
&ldquo;By the copyright law both printers and&lt;br /&gt;
publishers in this country are well protected.&lt;br /&gt;
No book may be copyrighted here which has&lt;br /&gt;
not been manufactured in the United States.&rdquo;&lt;br /&gt;
But what about the authors, the United States&lt;br /&gt;
authors. Surely if this copyrighting and type-&lt;br /&gt;
setting business is worth anything it should be&lt;br /&gt;
for the protection of the author. If this high&lt;br /&gt;
tariff on imported books is to work any good it is&lt;br /&gt;
to teach the United States authors to write educa-&lt;br /&gt;
tional books for themselves; if they cannot pro-&lt;br /&gt;
duce the necessary scholars to write the critical&lt;br /&gt;
educational works, then surely there is still a&lt;br /&gt;
chance left for the pirate.&lt;br /&gt;
High tariff and type-setting clauses if they&lt;br /&gt;
cannot help the United States author ought at&lt;br /&gt;
least to foster the brood of piratical printers and&lt;br /&gt;
publishers. But evidently, according to the Nation&amp;#039;s&lt;br /&gt;
correspondent, the latter have missed an oppor-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 156 (#204) ############################################&lt;br /&gt;
&lt;br /&gt;
156&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
tunity. It is not too late ; the new American&lt;br /&gt;
Copyright Law has not as yet been passed, and&lt;br /&gt;
the States have not yet found it possible to join&lt;br /&gt;
the Berne Convention.&lt;br /&gt;
-** *-ms&lt;br /&gt;
THE UNITED STATES DRAMATIC AUTHORS&rsquo; CLUB.&lt;br /&gt;
WE have received a cutting from an American&lt;br /&gt;
newspaper referring to an American Dramatists&rsquo;&lt;br /&gt;
Club. It would appear from this cutting that the&lt;br /&gt;
club is going to alter its constitution, and that the&lt;br /&gt;
members have decided to accomplish &ldquo;feats of more&lt;br /&gt;
enduring consequence than assembling at a table&lt;br /&gt;
and telling each other how downtrodden they are.&rdquo;&lt;br /&gt;
They are going to attempt to form a Society of&lt;br /&gt;
Dramatic Authors and Composers of the United&lt;br /&gt;
States, and hope to work on similar lines to&lt;br /&gt;
those of the Soci&eacute;t&eacute; des Auteurs Dramatique.&lt;br /&gt;
This is certainly a sensible step. It is the first&lt;br /&gt;
combination of authors which has taken place in&lt;br /&gt;
America, if we except the Society of Authors which&lt;br /&gt;
started some years ago. This latter society, begun&lt;br /&gt;
under good auspices, failed miserably through its&lt;br /&gt;
incapacity to grapple satisfactorily with the&lt;br /&gt;
practical wants of authors. We hope that the&lt;br /&gt;
Society of Dramatic Authors will not experience a&lt;br /&gt;
similar fate, but we are afraid. By the statement&lt;br /&gt;
before us it proposes to affiliate with the National&lt;br /&gt;
Association of Theatrical Producing Managers.&lt;br /&gt;
Surely this is a disastrous step if the dramatists&lt;br /&gt;
desire to establish themselves on an independent&lt;br /&gt;
basis. How can they discuss agreements How&lt;br /&gt;
can they take action in the courts How can they&lt;br /&gt;
criticise freely when possibly their committee may&lt;br /&gt;
be controlled by the managers ? If we remember&lt;br /&gt;
rightly the old American Authors&rsquo; Society had&lt;br /&gt;
a publisher on its board of management. This&lt;br /&gt;
may, quite possibly, have caused its disruption.&lt;br /&gt;
THE UNITED STATES LITERARY AGENT.&lt;br /&gt;
Do you advocate the literary sales agent 7&lt;br /&gt;
&ldquo;We do not. We fail to see his advantages, we know&lt;br /&gt;
editors in general are prejudiced against the average, and&lt;br /&gt;
we have yet to become acquainted with one we could trust.&lt;br /&gt;
Perhaps our experience has been unfortunate ; but those&lt;br /&gt;
we know have not only been careless in business methods,&lt;br /&gt;
but absolutely dishonest. For example, a letter was&lt;br /&gt;
recently shown us from a Chicago editor, calling attention&lt;br /&gt;
to the fact that a New York agent had sold an article of&lt;br /&gt;
his, been paid, and had never remitted ; further, he had&lt;br /&gt;
paid the agent for an article sold to his magazine, and&lt;br /&gt;
the latter had never remitted to the author. An article&lt;br /&gt;
sold to Recreation in 1907 benefited only the agent and&lt;br /&gt;
not the author ; the money was paid to the former.&lt;br /&gt;
A series of articles in the Delineator was paid for on&lt;br /&gt;
acceptance and the author secuted the money in small&lt;br /&gt;
&Scaron;ums, months afterward, through the agency of the law.&lt;br /&gt;
We cite these facts because they have come to our&lt;br /&gt;
knowledge. The agent charges to examine a manu-&lt;br /&gt;
Script as much or more than the (Editor) Literary&lt;br /&gt;
Bureau , charges for a full criticism. He charges&lt;br /&gt;
&amp;amp; Commission on each sale. The author has no way of&lt;br /&gt;
knowing the amount received, the time the money was&lt;br /&gt;
paid, nor where nor how his work is hawked about.&lt;br /&gt;
Editors are always ready to examine any manuscript an&lt;br /&gt;
author may submit, and the fool who in the face of dis.&lt;br /&gt;
claimers, by every writer of note persists in hoping for&lt;br /&gt;
&ordm; through some friend at court remains always the&lt;br /&gt;
OOl.&lt;br /&gt;
We have taken the cutting printed above from&lt;br /&gt;
a little paper produced in the United States called&lt;br /&gt;
the Ediſor. . The paper is written with the pur-&lt;br /&gt;
pose of assisting authors in the disposal of their&lt;br /&gt;
Wares and contains many useful hints : but we&lt;br /&gt;
think that the writer is a little hard on agents.&lt;br /&gt;
We know of some agents guilty of actual fraud,&lt;br /&gt;
some dishonest, and we know of those indifferent&lt;br /&gt;
honest, who are in the pocket of the publishers.&lt;br /&gt;
With the best intentions they do not give the&lt;br /&gt;
author a fair market.&lt;br /&gt;
But We also know, this side of the Channel, those&lt;br /&gt;
who are indispensable to the author, against whom&lt;br /&gt;
editors have no prejudice and with whom publishers&lt;br /&gt;
have no disagreement. It is true that we have had&lt;br /&gt;
difficulty in discovering a sample of these last in&lt;br /&gt;
America. Perhaps it may be that the commercial&lt;br /&gt;
integrity of the United States does not admit of&lt;br /&gt;
the position as confidential as that which must&lt;br /&gt;
exist between the author and his agent, or it may&lt;br /&gt;
be that the United States author is himself too&lt;br /&gt;
good a business man. But it seems absurd to say&lt;br /&gt;
that &ldquo;the author has no way of knowing the&lt;br /&gt;
amount received, etc.&rdquo;&lt;br /&gt;
In fact, the Editor seems, as he himself suggests,&lt;br /&gt;
to have been unfortunate.&lt;br /&gt;
*&mdash;&ordm;- *&lt;br /&gt;
v-v-w&lt;br /&gt;
MAGAZINE WRITERS AND THE INCOME&lt;br /&gt;
TAX. -&lt;br /&gt;
&mdash;&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S the time approaches to fill up again the&lt;br /&gt;
A income tax returns, the question arises&mdash;&lt;br /&gt;
could not something be done for small&lt;br /&gt;
authors and contributors to magazine literature to&lt;br /&gt;
alleviate the importunate demand made upon&lt;br /&gt;
&ldquo;earned incomes &amp;quot; derived from such a precarious&lt;br /&gt;
and unreliable source 2 Nowadays the competition&lt;br /&gt;
is so keen and the opportunities of the pen thereby&lt;br /&gt;
for earning have fallen so far short of former years&lt;br /&gt;
the matter is worthy of attention, especially as the&lt;br /&gt;
tax is still at almost a war figure&lt;br /&gt;
To the writer of magazine contributions parti-&lt;br /&gt;
cularly, the money received in return for his work&lt;br /&gt;
is generally inadequate to the labour bestowed upon&lt;br /&gt;
it, and is earned at high pressure. I would, there-&lt;br /&gt;
fore, advocate the entire exemption from taxation&lt;br /&gt;
for incomes or portions of incomes derivable by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 157 (#205) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
157&lt;br /&gt;
authors of magazine contributions, whenever the&lt;br /&gt;
incomes acquired from such sources are fluctuating&lt;br /&gt;
and not permanent.&lt;br /&gt;
If we keep in view the following points connected&lt;br /&gt;
with the magazine contributor it seems more than&lt;br /&gt;
hard that should he prove sufficiently successful to&lt;br /&gt;
come within the scope of taxation he should be&lt;br /&gt;
taxed as other earners in the more certain and pro-&lt;br /&gt;
ductive professions. To a magazine writer the&lt;br /&gt;
following have to be contended with before he can&lt;br /&gt;
earn sufficient to entitle himself to be called success-&lt;br /&gt;
ful and come within the power of the income tax&lt;br /&gt;
collector.&lt;br /&gt;
(1) The inadequacy of the emolument he&lt;br /&gt;
receives, compared with the time and thought&lt;br /&gt;
bestowed upon his writings.&lt;br /&gt;
(2) The uncertainty of the acceptance of his&lt;br /&gt;
MSS. and consequent loss of time and labour.&lt;br /&gt;
(3) The tardiness of payment in a large number&lt;br /&gt;
of the cases.&lt;br /&gt;
(4) The time which elapses before his con-&lt;br /&gt;
tributions, if accepted, appear in print.&lt;br /&gt;
(5) The time and postage which he must expend,&lt;br /&gt;
should an article have to be sent to a number of&lt;br /&gt;
magazines before it is accepted.&lt;br /&gt;
(6) The long period which generally elapses before&lt;br /&gt;
an author&rsquo;s writings win a permanent or secured&lt;br /&gt;
position in the literary market, with the necessary&lt;br /&gt;
sacrifices dependent thereon.&lt;br /&gt;
Therefore, on this class of earnings, so hardly&lt;br /&gt;
worked for and so uncertain in its nature, it seems&lt;br /&gt;
to me that complete exemption of tax should be&lt;br /&gt;
made possible. To tax a man in full, according to&lt;br /&gt;
the &ldquo;earned income * scale on the emoluments&lt;br /&gt;
received for accepted contributions, is not only an&lt;br /&gt;
unjust charge but an extortionate one.&lt;br /&gt;
In addition to the foregoing let me quote the&lt;br /&gt;
following instance. Take the so-called &ldquo;success-&lt;br /&gt;
ful&rdquo; author whose income comes between &pound;150 and&lt;br /&gt;
4500 per annum. His earnings are chargeable&lt;br /&gt;
with the full &ldquo;earned income &amp;#039;&rsquo; demand on any-&lt;br /&gt;
thing realised over the &pound;150, less the rebate return-&lt;br /&gt;
able under the somewhat unsatisfactory recent&lt;br /&gt;
arrangement. Then let me quote two typical,&lt;br /&gt;
though (as here stated) unique, cases which may&lt;br /&gt;
not at once seem deserving of the same sympathy&mdash;&lt;br /&gt;
I give these in all seriousness, however amusing at&lt;br /&gt;
a first glance is the reading. Take for instance a&lt;br /&gt;
magazine writer whose wife is possessed of an&lt;br /&gt;
independent income with which she contributes to&lt;br /&gt;
the household expenses. He has to depend on his&lt;br /&gt;
literary efforts or successes for personal funds, and&lt;br /&gt;
has to pay income tax to scale on his own uncertain&lt;br /&gt;
earnings. Again, an official incapacitated by ill&lt;br /&gt;
health from official duty, but the recipient of a&lt;br /&gt;
small pension, who augments same by contributions&lt;br /&gt;
to magazines, the monetary return for which&lt;br /&gt;
fluctuates from year to year, and is in some years&lt;br /&gt;
almost nil; he is charged, nevertheless, to the full,&lt;br /&gt;
whenever by diligence and hard work he is lucky&lt;br /&gt;
enough to turn in sufficient to render himself liable&lt;br /&gt;
to duty.&lt;br /&gt;
In case No. 1 it may be said the author is&lt;br /&gt;
very fortunate to be able to earn anything&lt;br /&gt;
between &pound;150 and &pound;500 by his pen. In case&lt;br /&gt;
No. 2, that the author is equally fortunate to be&lt;br /&gt;
married to a woman who has an income of her&lt;br /&gt;
own ; though, according to the Married Women&amp;#039;s&lt;br /&gt;
Property Act not necessarily at his disposal; and&lt;br /&gt;
in case No. 3, that the writer is no less fortunate&lt;br /&gt;
to be possessed of a pension. These facts I do not&lt;br /&gt;
dispute. The point at issue, however, is that the&lt;br /&gt;
nature of such literary earnings is so precarious, and&lt;br /&gt;
often embodies labour so unproductive and there-&lt;br /&gt;
fore untaxable, that it is little short of injustice to&lt;br /&gt;
levy tax on incomes so tardily derived if they&lt;br /&gt;
happen to top the exemption limit.&lt;br /&gt;
That a considerable amount of sympathy exists&lt;br /&gt;
for the indigent author is evidenced by the support&lt;br /&gt;
which has been given to the Pension Fund of this&lt;br /&gt;
Society by our fellow authors. The old adage that&lt;br /&gt;
&ldquo;Charity begins at home&rdquo; is fittingly exemplified&lt;br /&gt;
by the response of the members to this deserving&lt;br /&gt;
object, but there is also this to be said&mdash;if possible&lt;br /&gt;
don&amp;#039;t let your author become indigent, and even in a&lt;br /&gt;
Small matter like income tax don&rsquo;t suffer the earn-&lt;br /&gt;
ings of so precarious a profession to be curtailed by&lt;br /&gt;
allowing it to be subject to diminution by taxa-&lt;br /&gt;
tion. Give your author a chance to put by for a&lt;br /&gt;
day when the brain ceases to be active and the pen&lt;br /&gt;
is no longer powerful. It is a regrettable thing that&lt;br /&gt;
men who earn their incomes at such a disadvan-&lt;br /&gt;
tage should be placed alongside the fortunate&lt;br /&gt;
possessor of a permanent Civil Service appointment,&lt;br /&gt;
the remuneration for which never varies and is&lt;br /&gt;
assured. This, surely, is a matter deserving of&lt;br /&gt;
attention, and I am certain it has only to be&lt;br /&gt;
properly represented to receive the support and&lt;br /&gt;
consideration of those who have the power and, I&lt;br /&gt;
trust, would also have the inclination to rectify it.&lt;br /&gt;
I would also suggest that the remedy should&lt;br /&gt;
recovery&mdash;say for three years&mdash;of tax&lt;br /&gt;
already overpaid by writers, in addition to the&lt;br /&gt;
abatement of all tax in the future, as in the case&lt;br /&gt;
of benevolent funds and charitable institutions&lt;br /&gt;
whose incomes are entirely exempt, and I have no&lt;br /&gt;
doubt the return of an accumulated three years of&lt;br /&gt;
income tax would prove to most magazine Writers&lt;br /&gt;
a very welcome and acceptable little douceur at the&lt;br /&gt;
hands of H.M.&amp;#039;s Customs.&lt;br /&gt;
include&lt;br /&gt;
ALFRED SMYTHE.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 158 (#206) ############################################&lt;br /&gt;
&lt;br /&gt;
158&lt;br /&gt;
TRIES A UTISIOR.&lt;br /&gt;
REVIVING A LANGUAGE.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
OME Latin and French, and probably rather&lt;br /&gt;
less German or Greek, have usually formed a&lt;br /&gt;
part of the school work of any man who has&lt;br /&gt;
received anything more than a primary education.&lt;br /&gt;
The curriculum provided for young women embraces&lt;br /&gt;
rather more French, about the same amount of&lt;br /&gt;
German, and occasionally a Smattering of Latin.&lt;br /&gt;
How some men can rant&mdash;the &ldquo;weaker&rsquo; sex are&lt;br /&gt;
not prone to the same infirmity&mdash;concerning the&lt;br /&gt;
time that they were made to waste at School over&lt;br /&gt;
languages &ldquo;that could not possibly ever be of any&lt;br /&gt;
use to them &rsquo;&rsquo; every one knows. Men and women&lt;br /&gt;
of letters, on the other hand&mdash;though the former&lt;br /&gt;
may be occasionally heard declaiming on the&lt;br /&gt;
stereotyped lines&mdash;are disposed, particularly if their&lt;br /&gt;
work is of any serious kind, to regret that they&lt;br /&gt;
were not taught rather more than less. To be&lt;br /&gt;
unable to consult some French or German author&lt;br /&gt;
is at times an embarrassment. Even if a transla-&lt;br /&gt;
tion exists it is not always safe to place absolute&lt;br /&gt;
confidence in translators. There is no certainty&lt;br /&gt;
that an amanuensis will have the discrimination to&lt;br /&gt;
hit exactly upon what is wanted. And if any long&lt;br /&gt;
trail of references has to be pursued, who does not&lt;br /&gt;
know by experience how easily that may lead out&lt;br /&gt;
of one language into another ? Then the author&lt;br /&gt;
begins to envy the individual whose range is not&lt;br /&gt;
restricted within the limits of a single language.&lt;br /&gt;
Once upon a time the author did learn some French,&lt;br /&gt;
German, Latin&mdash;though hardly enough to render&lt;br /&gt;
the language serviceable. Now, all that was&lt;br /&gt;
learned is either forgotten or, at any rate, hope-&lt;br /&gt;
lessly inadequate for any practical purpose.&lt;br /&gt;
That is the question. For the contention of the&lt;br /&gt;
present article is this&mdash;that the difference between&lt;br /&gt;
what a man once knew of a language and what he&lt;br /&gt;
knows of it to-day is usually very small.&lt;br /&gt;
Is there any one, who has not heard some story&lt;br /&gt;
such as that of the lady whose girlhood was spent&lt;br /&gt;
in Florence, who, after quitting Italy, for more&lt;br /&gt;
than five-and-twenty years, never opened an Italian&lt;br /&gt;
book, never spoke a word of Italian, and believed&lt;br /&gt;
herself to have entirely forgotten that language,&lt;br /&gt;
but on returning to Italy no sooner found herself&lt;br /&gt;
in the Italian Customs House than she began&lt;br /&gt;
speaking Italian on the spot ? In society such&lt;br /&gt;
stories are listened to with polite attention,&lt;br /&gt;
accompanied by a conviction that the speaker is&lt;br /&gt;
lying. Only the latter need not be the case.&lt;br /&gt;
Linguistic attainments are of a strangely indelible&lt;br /&gt;
nature.&lt;br /&gt;
Here there is no wish to exaggerate, nor any&lt;br /&gt;
Occasion for exaggeration. It may be freely ad-&lt;br /&gt;
mitted that individuals exist to whom any language&lt;br /&gt;
saving the one to which they have been accustomed&lt;br /&gt;
from infancy is a bewildering mystification. There&lt;br /&gt;
are individuals also to whom their own language,&lt;br /&gt;
excepting in its crudest colloquial forms is equally&lt;br /&gt;
unmanageable. The people who habitually make&lt;br /&gt;
such assertions as, &ldquo;He took me in ; and when I&lt;br /&gt;
ran down to look him up, I found him out,&rdquo; are&lt;br /&gt;
generally as incapable of expressing what they&lt;br /&gt;
mean in more cultivated English, or less ambiguous,&lt;br /&gt;
as they are of translating their statements into&lt;br /&gt;
Etruscan.&lt;br /&gt;
But after due allowance has been made for the&lt;br /&gt;
exceptional people who cannot adapt themselves to&lt;br /&gt;
any tongue but their own, attention is really the&lt;br /&gt;
only thing necessary to learn a language. No&lt;br /&gt;
great demand is made even upon the memory.&lt;br /&gt;
Words are more easily remembered than anything&lt;br /&gt;
else, and will store themselves in the brain by a&lt;br /&gt;
process of perfectly unconscious cerebration. It is&lt;br /&gt;
true that the proficiency of the linguist, particularly&lt;br /&gt;
if he is familiar with several modern languages, is&lt;br /&gt;
often much admired. But his accomplishments&lt;br /&gt;
are all of the most elementary kind. To speak and&lt;br /&gt;
to think in any language, no matter how complex,&lt;br /&gt;
is within the capacity of every child that habitually&lt;br /&gt;
hears it. Writing correctly is quite another thing.&lt;br /&gt;
The child finds speaking and thinking easier than&lt;br /&gt;
reading. For use alone in language is everything,&lt;br /&gt;
and the only difficulty unfamiliarity. To be able&lt;br /&gt;
to read is often all that the author needs; and of&lt;br /&gt;
all the uses that can be made of a foreign language&lt;br /&gt;
reading is the easiest.&lt;br /&gt;
But how is it to be compassed ? How is the&lt;br /&gt;
language that has become so &ldquo;rusty &amp;quot; to be revived P&lt;br /&gt;
If reading alone is the object the recipe is &ldquo;re-read.&rdquo;&lt;br /&gt;
Take up again the easiest old school reading book;&lt;br /&gt;
if possible, if it has not gone to the book-stall or&lt;br /&gt;
lit the kitchen fire, the identical volume, the&lt;br /&gt;
appearance of whose thumbed pages was once so&lt;br /&gt;
familiar to the eyes. A very curious psychological&lt;br /&gt;
phenomenon will almost certainly ensue. At first&lt;br /&gt;
hardly anything is remembered. Then one by one,&lt;br /&gt;
and then a few at a time, the words and phrases&lt;br /&gt;
begin to emerge, as it were, from some distant&lt;br /&gt;
recess at the back of the brain, and to resume their&lt;br /&gt;
places in the foreground of memory. A very little&lt;br /&gt;
at a time suffices, about half an hour. Only every&lt;br /&gt;
day the half-hour&amp;#039;s reading covers more and more&lt;br /&gt;
ground. But &ldquo;re-read&rdquo; is still the recipe, patient&lt;br /&gt;
reperusal of the same matter until it has become&lt;br /&gt;
familiar. That will be accomplished in less time&lt;br /&gt;
than was anticipated, and with results other than&lt;br /&gt;
those of the school lessons. Those lessons had to&lt;br /&gt;
be learned&mdash;if they could not be avoided. Desire&lt;br /&gt;
of knowledge was little or none. Now the will is&lt;br /&gt;
co-operating. If there is need, and before long&lt;br /&gt;
there will be need, to consult a grammar, let that&lt;br /&gt;
be the old grammar. Is it out of date 2 It can&lt;br /&gt;
be replaced by a better one by-and-by ; but at first&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 159 (#207) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
159&lt;br /&gt;
it will assist the revival more than any other. And&lt;br /&gt;
it will be found a much simpler book than it&lt;br /&gt;
formerly seemed. All the rest is simply to persevere.&lt;br /&gt;
Objections will be raised, and probably this one&lt;br /&gt;
first : in childhood and youth the memory is quick&lt;br /&gt;
to absorb impressions, but afterwards less receptive.&lt;br /&gt;
That is true. But the smaller receptivity plus&lt;br /&gt;
attention (in childhood volatile), plus will (in child-&lt;br /&gt;
hood often completely absent) are together little&lt;br /&gt;
less effective, if at all less effective, than the younger&lt;br /&gt;
keener memory alone. More serious than any&lt;br /&gt;
dulling of the memory may be found the distractions&lt;br /&gt;
resulting from those cares of life, from which&lt;br /&gt;
childhood is exempt. But that distractions have&lt;br /&gt;
to be reckoned with is a fact of which few writers&lt;br /&gt;
can be ignorant.&lt;br /&gt;
Another objection will most certainly be, &ldquo;Who&lt;br /&gt;
can resume the toil of searching for words in a&lt;br /&gt;
lexicon P&rsquo;&rsquo; That, however, is only an aspect of a&lt;br /&gt;
much wider misgiving, probably best stated thus&mdash;&lt;br /&gt;
&ldquo;Were the whole that was ever known recovered,&lt;br /&gt;
it would still be insufficient for any practical use.&rdquo;&lt;br /&gt;
That is very likely, in consequence of an&lt;br /&gt;
insufficient familiarity with the vocabulary. In&lt;br /&gt;
the case of the adult the remedy for that is a trans-&lt;br /&gt;
lation. The best sort of translation, if it can be&lt;br /&gt;
had, is one that presents the original and the&lt;br /&gt;
version in parallel columns. With this it is easy&lt;br /&gt;
to study phrase by phrase ; and when a page has&lt;br /&gt;
been mastered to cover the translation with a card,&lt;br /&gt;
and to test the results. If a schoolboy can secure&lt;br /&gt;
a &ldquo;crib&rdquo; he scamps his work as a matter of&lt;br /&gt;
course. His aim is not knowledge, but to escape&lt;br /&gt;
from &ldquo;fag,&rdquo; and from the cane, and other personal&lt;br /&gt;
inconveniences. But when the aim is knowledge,&lt;br /&gt;
a text may be studied with a translation to very&lt;br /&gt;
good purpose, and with the result of picking up&lt;br /&gt;
the meaning of words with great rapidity. Only&lt;br /&gt;
now and then will the lexicon be needful. And a&lt;br /&gt;
felt need of it will indicate a marked advance.&lt;br /&gt;
Meanwhile the reader will probably become&lt;br /&gt;
acquainted with some of the gentle ways of&lt;br /&gt;
translators; and should he feel moved to use bad&lt;br /&gt;
language when the translator omits every passage&lt;br /&gt;
that presents any real difficulty, that will be&lt;br /&gt;
natural, but not right. It is easier, and leads to&lt;br /&gt;
more rapid advance, to read first a good deal of&lt;br /&gt;
some one author. That secures his vocabulary; and&lt;br /&gt;
the vocabulary of another may come afterwards.&lt;br /&gt;
The new words found in the works of various&lt;br /&gt;
writers, that is to say the new crop of difficulties,&lt;br /&gt;
is necessarily a perpetually diminishing quantity.&lt;br /&gt;
A chrestomathy, presenting selections from many&lt;br /&gt;
writers, is more difficult to read than any author&amp;#039;s&lt;br /&gt;
work, and never contains enough of each writer to&lt;br /&gt;
make his vocabulary familiar. And, as has been&lt;br /&gt;
already said, use is everything. A man accustomed&lt;br /&gt;
to read a language will read it with facility howso-&lt;br /&gt;
ever irregular and erratic his study of it may have&lt;br /&gt;
been. And a man not used to reading a language&lt;br /&gt;
may possess a philologist&amp;#039;s knowledge of all its&lt;br /&gt;
phenomena, and yet be puzzled by an ordinary&lt;br /&gt;
paragraph in a newspaper. Reading and re-reading&lt;br /&gt;
of course cost time, and attention must be given.&lt;br /&gt;
It is not asserted that any magical &ldquo;course of six&lt;br /&gt;
lessons&rdquo; will enable the person who believes in it&lt;br /&gt;
to read German at sight, or to acquire any other&lt;br /&gt;
similarly useful accomplishment. But this is&lt;br /&gt;
asserted, that people have seldom forgotten a&lt;br /&gt;
language, or such elements of it as they once&lt;br /&gt;
learned, so completely as they suppose; and that&lt;br /&gt;
by mere reading and re-reading, with occasional aid&lt;br /&gt;
from the grammar and lexicon, a useful familiarity&lt;br /&gt;
may be acquired more easily than is generally&lt;br /&gt;
imagined.&lt;br /&gt;
a -&ordm;- a&lt;br /&gt;
w&mdash;w-w&lt;br /&gt;
THE DEGENERATION OF TWENTIETH&lt;br /&gt;
CENTURY HUMOUR.&lt;br /&gt;
(Being an extract from a History of Literature of 2008.)&lt;br /&gt;
. . . The degeneration of humour, be it said,&lt;br /&gt;
began with the law-compelled increase of partial&lt;br /&gt;
education amongst the masses&mdash;a little knowledge&lt;br /&gt;
is fatal to the most flourishing native wit&mdash;and the&lt;br /&gt;
subsequent rise of democracy foreshadowed the&lt;br /&gt;
end. Humour preserved in clarity among the&lt;br /&gt;
cultured struggled feebly against the rising tide&lt;br /&gt;
and finally capitulated ; while professional&lt;br /&gt;
humorists, constrained by necessity to cater for&lt;br /&gt;
the majority, deserted Thersites to follow Caliban.&lt;br /&gt;
Popular humour, hitherto confined to a few&lt;br /&gt;
obscure papers with a slum circulation, broke all&lt;br /&gt;
bounds, leering brazenly in England&amp;#039;s stateliest&lt;br /&gt;
homes. Knock-about foolery, the naked pun, the&lt;br /&gt;
more or less unveiled innuendo flaunted in tinsel&lt;br /&gt;
through Literature and Journalism alike ; the&lt;br /&gt;
Comic Muse grew pale and died before the stare of&lt;br /&gt;
Vulgarity, and so it came about that Journalism&lt;br /&gt;
invented a peculiar humour.&lt;br /&gt;
Perhaps journalists imagined that this humour&lt;br /&gt;
was of a high order, but it is safer to suppose that&lt;br /&gt;
they merely looked upon it as the only alternative&lt;br /&gt;
to its poor relation in the gutter. Gone was light&lt;br /&gt;
and delicate persiflage, gone subtle exaggeration,&lt;br /&gt;
the deft turn of fancy, the keen satire that healed&lt;br /&gt;
with laughter even as it struck : but it did what it&lt;br /&gt;
could with the non-sequitur, the double entenſe,&lt;br /&gt;
and the parody, and fought with its poor relation&lt;br /&gt;
over the obvious.&lt;br /&gt;
But by far the most important side of its cha-&lt;br /&gt;
racter was the exclusive joke&mdash;the joke, gaped at&lt;br /&gt;
by of tr&oacute;AAoi, which Journalism took to its heart&lt;br /&gt;
and crooned over. It was felt that to create a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 160 (#208) ############################################&lt;br /&gt;
&lt;br /&gt;
160&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
species of humour incomprehensible and caviare to&lt;br /&gt;
the general was at least to establish an islet, where&lt;br /&gt;
brethren of the pen might foregather and chortle&lt;br /&gt;
convivially without the raucous cachinnation of&lt;br /&gt;
respectable householders offending their tympani.&lt;br /&gt;
Besides, a competitory factor in the field was held&lt;br /&gt;
to be politic. But this good influence was not for&lt;br /&gt;
long.&lt;br /&gt;
Gradually all classes entered journalism in some&lt;br /&gt;
capacity or other ; sans-Culottism rushed the bar-&lt;br /&gt;
riers; the sphinx&amp;#039;s riddles were answered by cam-&lt;br /&gt;
paigning phonographs, and the finer spirits, falling&lt;br /&gt;
back on the dead languages, found their retreat&lt;br /&gt;
cut off by parents disguised as help-meets of their&lt;br /&gt;
offspring&amp;#039;s studies. Journalistic humour, doomed&lt;br /&gt;
beyond recall, took the only course open to it&mdash;&lt;br /&gt;
unconditional surrender. And this was the be-&lt;br /&gt;
ginning of what is now known as Humorous&lt;br /&gt;
Socialism. . . .&lt;br /&gt;
It was not until after the final capitulation of&lt;br /&gt;
Journalism that Literature, hitherto the mainstay&lt;br /&gt;
of the defeated party, seriously considered the&lt;br /&gt;
gravity of its position. It found its ranks riddled&lt;br /&gt;
with pretentious charlatans and transfigured rodo-&lt;br /&gt;
monts, adherents in turn of Demos and the&lt;br /&gt;
Olympians, strutting now with grocer&amp;#039;s incense and&lt;br /&gt;
second-hand halos on the Sacred Mount, and again&lt;br /&gt;
grinning through horse-collars in the kennel. It&lt;br /&gt;
found &ldquo;Art for Art&amp;#039;s sake &rsquo;&rsquo; pierced by the&lt;br /&gt;
snicker-snees of rampant Comstockians, and&lt;br /&gt;
&ldquo;God and Mammon &rsquo;&rsquo; inscribed as the new canon&lt;br /&gt;
and motto upon the wall. In a word, it awoke to&lt;br /&gt;
find itself a dead body, impotent and immobile,&lt;br /&gt;
amid a choir of worms long past their prime. . .&lt;br /&gt;
T. O&rsquo;B. H.&lt;br /&gt;
--&mdash;e&mdash;s&ordm;-,--&mdash;&lt;br /&gt;
THE ART OF FICTION.-k&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ERHAPS there is a Faculty of Fiction at one&lt;br /&gt;
of the American Universities. Perhaps Mr.&lt;br /&gt;
Clayton Hamilton has lectured there ; and&lt;br /&gt;
perhaps this book is a reprint of his lectures. We&lt;br /&gt;
do not know ; but there is something in the tone&lt;br /&gt;
of the book which somehow suggests such an origin.&lt;br /&gt;
An actual craftsman, we imagine, would be a little&lt;br /&gt;
less didactic, a little more prone to button-hole his&lt;br /&gt;
reader, and lead him behind the scenes; whereas&lt;br /&gt;
Mr. Clayton addresses his public as if he were on&lt;br /&gt;
a rostrum, with a glass of water by his side, and a&lt;br /&gt;
class of intelligent pupils in front of him diligently&lt;br /&gt;
taking notes. Many of his precepts&mdash;let us even&lt;br /&gt;
say most of them&mdash;are sound; but a pupil who&lt;br /&gt;
observed them all and yet wrote as his teacher&lt;br /&gt;
Writes would be a dull dog and therefore a bad&lt;br /&gt;
novelist. If we had to summarise the contents of&lt;br /&gt;
the work, we should say that it consisted of an&lt;br /&gt;
analysis of the tricks by which the great authors&lt;br /&gt;
get their effects coupled with an injunction to the&lt;br /&gt;
students to go and do likewise. There is little to&lt;br /&gt;
be said against the analysis except that it is long-&lt;br /&gt;
winded and wearisome ; but there is one writer&lt;br /&gt;
among those held up to imitation whose secret Mr.&lt;br /&gt;
Hamilton does not seem to us quite to have&lt;br /&gt;
grasped. He commends Guy de Maupassant for&lt;br /&gt;
his skill in working up to a climax; but surely&lt;br /&gt;
Maupassant is most characteristic when he delib&eacute;-&lt;br /&gt;
rately avoids climax and works up to anti-climax&lt;br /&gt;
instead, as in, for instance, his version of the story&lt;br /&gt;
of Enoch Arden. His returning husband, lost for&lt;br /&gt;
so many years, finding his place taken, does nothing&lt;br /&gt;
desperate or heroic whether in the way of self-&lt;br /&gt;
sacrifice or otherwise. On the contrary, the strange&lt;br /&gt;
emotional situation dazes him. He goes off with&lt;br /&gt;
the husband-in-possession to the public house, to&lt;br /&gt;
have a drink and talk the matter over with the&lt;br /&gt;
landlord ; and the reader feels that, after all, life is&lt;br /&gt;
like that, and drops to the banal more often than&lt;br /&gt;
it rises to the sublime. Similarly with the story&lt;br /&gt;
of the childless Norman farmer and his wife. The&lt;br /&gt;
wife, reproached for her barrenness, boasts that,&lt;br /&gt;
before her marriage, she has borne a child to one&lt;br /&gt;
of the farm labourers. One expects a scene of&lt;br /&gt;
violence and brutality, but nothing of the kind&lt;br /&gt;
follows. The farmer says that he is very glad, and&lt;br /&gt;
that, if his wife will keep the secret, he will adopt&lt;br /&gt;
the child. There is a realism there which seems&lt;br /&gt;
to have escaped Mr. Hamilton&rsquo;s observation. On&lt;br /&gt;
the whole, however, his analysis is perspicuous if&lt;br /&gt;
not entertaining ; and the introductory essay con-&lt;br /&gt;
tributed by Professor Brander Matthews is worthy&lt;br /&gt;
of the Volume in which it is incorporated, and&lt;br /&gt;
derives no inconsiderable distinction from its&lt;br /&gt;
measured and ponderous sagacity.&lt;br /&gt;
OP-e&mdash;46&mdash;&lt;br /&gt;
THE LITERARY YEAR BOOK, 1909.4&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
GENERAL REVIEW.&lt;br /&gt;
HIS is a book which is keenly appreciated&lt;br /&gt;
by a great many authors whose income is&lt;br /&gt;
derived from their labours with the pen.&lt;br /&gt;
Undoubtedly the Literary Year Book is becoming&lt;br /&gt;
more indispensable year by year. The credit must&lt;br /&gt;
* &ldquo;Materials and Methods of Fiction.&rdquo; By Clayton&lt;br /&gt;
Hamilton. With an introduction by Brander Matthews.&lt;br /&gt;
(Grant Richards.) .&lt;br /&gt;
* Thirteenth Annual Volume. (George Routledge &amp;amp; Sons,&lt;br /&gt;
Ltd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 161 (#209) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A CITISIOR.&lt;br /&gt;
161&lt;br /&gt;
be given to Messrs. Routledge &amp;amp; Sons for being&lt;br /&gt;
the only publishers who have made a serious&lt;br /&gt;
endeavour to furnish the large body of writers&lt;br /&gt;
with a handbook of reference which may bring&lt;br /&gt;
them in touch with publishers, editors, librarians,&lt;br /&gt;
agents, literary societies, retailers of books, and&lt;br /&gt;
others who may be of practical service to them.&lt;br /&gt;
Year by year it has devolved upon us to criticise&lt;br /&gt;
the growth of successive editions. Sometimes We&lt;br /&gt;
have done so adversely, but in all good faith, regard-&lt;br /&gt;
ing it as our duty to draw attention to short-&lt;br /&gt;
comings. It is satisfactory to note that such&lt;br /&gt;
friendly comments have been taken in good part.&lt;br /&gt;
In this volume a noteworthy departure is a&lt;br /&gt;
separate Obituary List of authors and others con-&lt;br /&gt;
nected with literature, whose deaths have occurred&lt;br /&gt;
during the time since the twelfth edition was&lt;br /&gt;
issued.&lt;br /&gt;
It is satisfactory to note that care has been&lt;br /&gt;
taken to revise the list of periodical publications.&lt;br /&gt;
Printing in a separate form an index to the&lt;br /&gt;
periodicals is a welcome innovation. It is as&lt;br /&gt;
useful as the index of authors in the earlier part&lt;br /&gt;
of the book.&lt;br /&gt;
In Part II. of the Year Book we are glad to&lt;br /&gt;
find that the contents are now arranged alpha-&lt;br /&gt;
betically. This is a step in the right direction,&lt;br /&gt;
and we are sure that we are voicing the feelings of&lt;br /&gt;
the majority of the purchasers of this new edition&lt;br /&gt;
when we venture to suggest that the alphabetical&lt;br /&gt;
arrangement might be extended throughout the&lt;br /&gt;
entire volume, abolishing the red and green divi-&lt;br /&gt;
sions which the uninitiated fail to appreciate, and&lt;br /&gt;
printing at the top right-hand corner of each page&lt;br /&gt;
in heavy type a fly title as a guide for rapid refer-&lt;br /&gt;
ence. If for editorial reasons this is not possible&lt;br /&gt;
in all sections, a supplement might contain the&lt;br /&gt;
matter which has to be held over until the last&lt;br /&gt;
moment.&lt;br /&gt;
We note with pleasure that the section dealing&lt;br /&gt;
with Public Libraries has as far as possible been&lt;br /&gt;
brought up to date, and the information given&lt;br /&gt;
regarding the Nobel Prizes is always useful. In&lt;br /&gt;
a future year perhaps the interesting calendar may&lt;br /&gt;
be amplified. We do not, for instance, see in&lt;br /&gt;
January the birthday noted of Edgar Allan Poe,&lt;br /&gt;
concerning whom so much ado is being made this&lt;br /&gt;
year. It is in the list of Authors that we suggest&lt;br /&gt;
there is most room for amplification. Sir Walter&lt;br /&gt;
Besant long ago remarked that the literary pro-&lt;br /&gt;
fession was not confined to men who lived by&lt;br /&gt;
authorship. Noteworthy books have been and&lt;br /&gt;
continue to be written by members of all the&lt;br /&gt;
learned professions. To live entirely by the pen&lt;br /&gt;
means usually a small income and a great struggle.&lt;br /&gt;
If we take the most successful writers of the day&lt;br /&gt;
we find that not a few of them have made some&lt;br /&gt;
other profession their mainstay or they have been&lt;br /&gt;
the fortunate possessors of a private income.&lt;br /&gt;
Consequently if we turn to the names of authors&lt;br /&gt;
in circulating libraries and take the trouble to&lt;br /&gt;
look them up in &ldquo;Who&rsquo;s Who,&rdquo; we find in many&lt;br /&gt;
Cases that there are soldiers, sailors, clergymen,&lt;br /&gt;
physicians, or many engaged in commerce. In&lt;br /&gt;
the face of that fact, surely what is here called a&lt;br /&gt;
&ldquo;Full Directory of Authors&rdquo; should be at least as&lt;br /&gt;
ample as are the separate directories of members&lt;br /&gt;
of the aforenamed callings. Yet, the list of&lt;br /&gt;
authors bears no numerical comparison with the&lt;br /&gt;
names in the Army List, the Navy List, the&lt;br /&gt;
Clergy List, the Medical Directory, or the Musical&lt;br /&gt;
Directory. To compile an authoritatively &ldquo;full&rdquo;&lt;br /&gt;
list of authors residing in the British Isles no&lt;br /&gt;
doubt would be a big task, but we feel convinced&lt;br /&gt;
that Messrs. Routledge &amp;amp; Sons have the necessary&lt;br /&gt;
machinery for the purpose. If the pages of&lt;br /&gt;
&ldquo;Who&rsquo;s Who&rdquo; and Churchill&rsquo;s &ldquo;Medical Directory&rdquo;&lt;br /&gt;
were gone through systematically we feel sure that&lt;br /&gt;
from those two sources alone considerable additions&lt;br /&gt;
to the present list of authors would result. Another&lt;br /&gt;
year the names of such worthies as Lafcadio&lt;br /&gt;
Hearn, Alfred Stead, Thomas Perkins, Henry&lt;br /&gt;
Paten Gurney, Henry Barton Baker, Henry Grey&lt;br /&gt;
Graham, James Hay, Herbert Compton, Rudolf&lt;br /&gt;
Lehman (of Bushey), Joseph John Nesbitt,&lt;br /&gt;
etc., might be deleted from living authors,&lt;br /&gt;
since we believe they passed away some time ago.&lt;br /&gt;
In every work of reference done on a large scale&lt;br /&gt;
casual slips are inevitable, and on the whole the&lt;br /&gt;
Literary Year Book for 1909 is a great improve-&lt;br /&gt;
ment on previous editions. -&lt;br /&gt;
A. R.&lt;br /&gt;
a &mdash;s&ordm;- a&lt;br /&gt;
v-u-w&lt;br /&gt;
&ldquo;PIPPA PASSES.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ESSRS. CHATTO &amp;amp; WINDUS have put on&lt;br /&gt;
1. the market a beautiful volume containing&lt;br /&gt;
Robert Browning&rsquo;s &ldquo;Pippa Passes and&lt;br /&gt;
Men and Women,&rdquo; with ten illustrations, at the&lt;br /&gt;
rice of 6s.&lt;br /&gt;
In these days there is very little to be said which&lt;br /&gt;
has not already been said about Robert Browning&amp;#039;s&lt;br /&gt;
poetry; whether the criticism is true or false, a&lt;br /&gt;
mere statement of self-evident facts or a budget of&lt;br /&gt;
paradoxes. It is much better to leave the student&lt;br /&gt;
to read the book without comment. No person&lt;br /&gt;
who is really interested in English poetry can fail&lt;br /&gt;
to take out that which is beautiful from Browning&amp;#039;s&lt;br /&gt;
works and reject that which is uninteresting. Each&lt;br /&gt;
reader will follow his own taste. It is no longer a&lt;br /&gt;
question of whether Browning is to be included in,&lt;br /&gt;
or omitted from, the list of poets.&lt;br /&gt;
With ten&lt;br /&gt;
* &ldquo;Pippa Passes and Men , and Women.&rdquo;&lt;br /&gt;
(Chatto&lt;br /&gt;
illustrations in colour after Helena F. Brickdale.&lt;br /&gt;
&amp;amp; Windus, 6s. Inet.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 162 (#210) ############################################&lt;br /&gt;
&lt;br /&gt;
162&lt;br /&gt;
TISIES A UTRIOR*.e.&lt;br /&gt;
The selection before us is certainly a very good&lt;br /&gt;
selection for those who love the poet and his works.&lt;br /&gt;
It begins with &ldquo;Pippa Passes.&rdquo; It contains such&lt;br /&gt;
poems as &ldquo;Evelyn Hope,&rdquo; &ldquo;Fra Lippo Lippi,&rdquo;&lt;br /&gt;
&ldquo;A Light Woman,&rdquo; &ldquo;The Patriot,&rdquo; and many&lt;br /&gt;
others of his best known works.&lt;br /&gt;
The real appeal, however, in a book of this&lt;br /&gt;
character must lie in the illustrations and the&lt;br /&gt;
artistic get up. These could not have been better.&lt;br /&gt;
Miss Brickdale&rsquo;s illustrations are excellent and have&lt;br /&gt;
been most carefully reproduced, the print is large&lt;br /&gt;
and clear, the paper good, and the binding artistic.&lt;br /&gt;
Perhaps if we were asked to choose any one picture,&lt;br /&gt;
we should select the picture illustrating &ldquo;A Light&lt;br /&gt;
Woman,&rdquo; page 122, as the best, as i J&lt;br /&gt;
have caught artistically the fancy of the poem.&lt;br /&gt;
We must express a regret that &ldquo;Pippa Passes &amp;#039;&amp;#039;&lt;br /&gt;
has not been more fully and more sympa-&lt;br /&gt;
thetically illustrated. The two illustrations&lt;br /&gt;
devoted to this poem are good as works of illustra-&lt;br /&gt;
tive art, but hardly characteristic of the feeling&lt;br /&gt;
expressed in the words. The little drama is so full&lt;br /&gt;
of artistic possibilities that it is a pity the artist has&lt;br /&gt;
not devoted more of her undoubted skill to its&lt;br /&gt;
explanation in colours. Perhaps some day she may&lt;br /&gt;
turn her attention to this poem alone and absorb&lt;br /&gt;
its Italian colouring and sentiment. It is wholly&lt;br /&gt;
out of place to endeavour to explain its Italian&lt;br /&gt;
Sentiment by an illustration of a girl sitting in an&lt;br /&gt;
English cottage garden. The illustrated editions&lt;br /&gt;
of Browning&amp;#039;s works are not numerous ; we gladly&lt;br /&gt;
welcome this edition. The book is exceedingly&lt;br /&gt;
cheap at the price of 6s.&lt;br /&gt;
BRITAIN&amp;#039;S GREAT AUTHORS.*&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
E have received from the Fine Arts&lt;br /&gt;
Publishing Company an interesting port-&lt;br /&gt;
folio which they have produced at the very&lt;br /&gt;
reasonable price of half-a-guinea. It contains&lt;br /&gt;
twelve reproductions of English authors, the&lt;br /&gt;
first William Shakespeare, 1564, and the last&lt;br /&gt;
Alfred Tennyson, 1892. The reproductions,&lt;br /&gt;
carefully done, are in most cases from well-&lt;br /&gt;
known pictures, and the portfolio is accompanied&lt;br /&gt;
with an introduction by Arthur Waugh. Mr.&lt;br /&gt;
Waugh&amp;#039;s paragraphs dealing with each picture&lt;br /&gt;
are necessarily short, but his position as a critic&lt;br /&gt;
and true lover of literature ensures that they&lt;br /&gt;
are sympathetic and scholarly. Indeed they are&lt;br /&gt;
* &ldquo;Britain&amp;#039;s Great Authors.&rdquo; With introduction and&lt;br /&gt;
descriptive text by Arthur Waugh. Published by the&lt;br /&gt;
Fine Arts Publishing Co., Ltd., 10s. 6d.&lt;br /&gt;
admirable: in a few words, with the skilful touch of&lt;br /&gt;
a practised hand he conveys much of the character&lt;br /&gt;
of the writers. It would be impossible to find a&lt;br /&gt;
more satisfactory present to give to a friend, and&lt;br /&gt;
the photogravures (we believe this is the process&lt;br /&gt;
of reproduction) would form a proper decoration&lt;br /&gt;
for any library.&lt;br /&gt;
We give a list of the pictures, as those who&lt;br /&gt;
desire to purchase would no doubt like a record of&lt;br /&gt;
the names of the authors the portfolio contains.&lt;br /&gt;
It would be difficult to say that one or the other&lt;br /&gt;
should be omitted from the list, though no doubt&lt;br /&gt;
Some would-be purchaser with particular favourites&lt;br /&gt;
may say that others should have been added.&lt;br /&gt;
William Shakespeare 1564&ndash;1616&lt;br /&gt;
John Milton * * * 1608&ndash;1674.&lt;br /&gt;
Oliver Goldsmith ... 1728&ndash;1774&lt;br /&gt;
Robert Burns 1759&ndash;1796&lt;br /&gt;
Sir Walter Scott ...&lt;br /&gt;
William Wordsworth&lt;br /&gt;
John Keats t&ordm; e s t&ordm; t&ordm; t&ordm;&lt;br /&gt;
W. Makepeace Thackeray&lt;br /&gt;
Charles Dickens t&ordm; t&ordm; e&lt;br /&gt;
Thomas Carlyle&lt;br /&gt;
Robert Browning ...&lt;br /&gt;
1771&ndash;1832&lt;br /&gt;
1770&ndash;1856&lt;br /&gt;
1795&ndash;1821&lt;br /&gt;
1811&ndash;1863&lt;br /&gt;
1812&ndash;1870&lt;br /&gt;
1795&ndash;1881&lt;br /&gt;
1812&ndash;1889&lt;br /&gt;
Alfred Tennyson .. I 809&ndash;1892&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
SIR, In &ldquo; G. H. T.&rsquo;s&rdquo; very kind review of the&lt;br /&gt;
&ldquo;Law and Letters&rdquo; section of this Annual in the&lt;br /&gt;
February Author, he writes: &ldquo;The successors and&lt;br /&gt;
assignees of the publishers are included without&lt;br /&gt;
any remark. Some comment on this form was&lt;br /&gt;
absolutely necessary.&rdquo;&lt;br /&gt;
You will allow me to direct attention to the&lt;br /&gt;
remark and comment on page 512, being the third&lt;br /&gt;
of &ldquo;the points worthy of notice,&rdquo; the second of&lt;br /&gt;
which your reviewer discusses. It runs as follows:&lt;br /&gt;
&ldquo;3. &lsquo;Their successors and assignees.&amp;#039; We leave&lt;br /&gt;
these words as they stand in ordinary agreements.&lt;br /&gt;
Their expediency must be determined by the status&lt;br /&gt;
of the firm with which the author is negotiating.&lt;br /&gt;
See above, about bankruptcy. This is a difficult&lt;br /&gt;
and, to some extent, a delicate question, on which&lt;br /&gt;
guidance should be sought in cases of doubt and&lt;br /&gt;
ignorance.&rdquo;&lt;br /&gt;
Yours obediently,&lt;br /&gt;
BASIL STEWART,&lt;br /&gt;
Editor.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 163 (#211) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A [CITISIOR.&lt;br /&gt;
163&lt;br /&gt;
AMERICAN COPYRIGHT.&lt;br /&gt;
SIR,--In response to the appeal by your con-&lt;br /&gt;
tributor, Mr. Herbert MacIlwaine, permit me to&lt;br /&gt;
say that in 1903 I was bringing out the second&lt;br /&gt;
edition of my &ldquo;Judicial Dictionary,&rdquo; for which it&lt;br /&gt;
was thought expedient to secure the American&lt;br /&gt;
copyright. To get this we had to observe, and&lt;br /&gt;
bow to, the manufacturing clause in the American&lt;br /&gt;
Copyright Act, to which Mr. MacIlwaine so rightly&lt;br /&gt;
objects, with this result, the book cost a little&lt;br /&gt;
over &pound;2,000 to produce, all of which went to&lt;br /&gt;
America, and was lost to the British workmen.&lt;br /&gt;
Yours truly,&lt;br /&gt;
F. STROUD.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
SHALL WE PUBLISH FOR OURSELVES 2&lt;br /&gt;
SIR,--The gloomy reflections which have lately&lt;br /&gt;
appeared in your columns and in those of the&lt;br /&gt;
Athen&aelig;um on the future of the novel are the&lt;br /&gt;
occasion, if you will allow them to be so, of the&lt;br /&gt;
following remarks.&lt;br /&gt;
There seems to be a consensus of opinion that&lt;br /&gt;
good work stands very little chance with the pub-&lt;br /&gt;
lisher and the public of the present day. I should&lt;br /&gt;
not like to incur the odium of calling my own work&lt;br /&gt;
good ; but if I may give my experience, as briefly&lt;br /&gt;
as possible, it may lead to suggestions from others.&lt;br /&gt;
For whether we succeed in doing good work, or&lt;br /&gt;
only try to do it, or only want to read it, we must&lt;br /&gt;
feel such a state of things to be deplorable.&lt;br /&gt;
The first novel I ever wrote was accepted,&lt;br /&gt;
twelve years ago, by the first publisher to whom I&lt;br /&gt;
submitted it. I still receive a few shillings&lt;br /&gt;
annually from the Colonial sales.&lt;br /&gt;
I have never been able to dispose of the second,&lt;br /&gt;
which was, in the opinion of all my friends, the&lt;br /&gt;
better book of the two. Here are some of the&lt;br /&gt;
remarks which publishers of high standing, or&lt;br /&gt;
their readers, have made to me upon it :&lt;br /&gt;
&ldquo;It has plenty of excitement, and the characters,&lt;br /&gt;
or some of them, are very good indeed.&rdquo; (This&lt;br /&gt;
firm refused it on the ground that they &ldquo;did not&lt;br /&gt;
like to anticipate only a succ&egrave;s d&amp;#039;estime for it.&rdquo;)&lt;br /&gt;
&ldquo;It is beautifully written from a literary point&lt;br /&gt;
of view, but it is not sufficiently exciting for the&lt;br /&gt;
class of readers which publishers, unfortunately, have&lt;br /&gt;
to cater for at present.&rdquo;&rdquo;&lt;br /&gt;
&ldquo;Two thoroughly competent readers . . . find&lt;br /&gt;
in it literary qualities of a high order, but both&lt;br /&gt;
hesitate to recommend it for publication when the&lt;br /&gt;
commercial question arises, Will it pay ? . . . The&lt;br /&gt;
duty of declining a work that manifests such&lt;br /&gt;
description and analytic power and such wit and&lt;br /&gt;
grace in dialogue is not congenial.&rdquo;&lt;br /&gt;
&ldquo;While fully appreciating the excellence of &minus;&lt;br /&gt;
* The italics are mine.&lt;br /&gt;
as a character, do not feel sanguine of the&lt;br /&gt;
Success . . . of the book as a whole.&rdquo;&lt;br /&gt;
Two of the four firms added that they had&lt;br /&gt;
hesitated long before coming to a decision.&lt;br /&gt;
All this is maddening, but this is not my point.&lt;br /&gt;
I believe and hope there are still many who care&lt;br /&gt;
for the novel which involves the heart and soul of&lt;br /&gt;
the author, and demands some thought, or at least&lt;br /&gt;
attention, from the reader. But it is not worth&lt;br /&gt;
the publisher&amp;#039;s while to aim at them. I am not&lt;br /&gt;
blaming the publisher&mdash;he must do what is worth&lt;br /&gt;
his (pecuniary) while or cease to exist. But he&lt;br /&gt;
has to aim at a crowd&mdash;a fagged, half-educated&lt;br /&gt;
crowd who are in a hurry.&lt;br /&gt;
It seems to me that what is not worth the pub-&lt;br /&gt;
lisher&amp;#039;s while might very well be worth the author&amp;#039;s.&lt;br /&gt;
Publication is often everything to him, if the book&lt;br /&gt;
Will only pay expenses. He need not demand the&lt;br /&gt;
profit which the publisher, from his different point&lt;br /&gt;
of view, must have.&lt;br /&gt;
Is there no way in which the author who cares&lt;br /&gt;
for his work can reach the reader&mdash;who does exist&lt;br /&gt;
-who might also care for it Must the fagged&lt;br /&gt;
half-educated crowd of the publisher&amp;#039;s ambition&lt;br /&gt;
always stand between them 2&lt;br /&gt;
Advertising one&amp;#039;s book and getting it reviewed&lt;br /&gt;
|present the greatest difficulties to the amateur&lt;br /&gt;
mind. If one printed one&amp;#039;s own book, would the&lt;br /&gt;
reviewers treat it as they would the prot&eacute;g&eacute; of a&lt;br /&gt;
publisher ? Would one make a happy use of the&lt;br /&gt;
limited sum at one&amp;#039;s disposal for advertisement 2&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
C. A. M.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
AN AUTHORS&amp;#039; INSURANCE FUND.&lt;br /&gt;
SIR,--The Pension Fund of our society is a great&lt;br /&gt;
idea and deserves fuller support than it obtains.&lt;br /&gt;
But can We not go a step further and make of it,&lt;br /&gt;
or combine with it, a kind of insurance, or provident&lt;br /&gt;
fund from which members could draw small sums&lt;br /&gt;
in times of need It is possible that if we writers&lt;br /&gt;
could sometimes tide over pressing difficulties of&lt;br /&gt;
the moment, we might not have to ask a pension&lt;br /&gt;
at last, after a life of hard work.&lt;br /&gt;
To every brain-worker there come periods of&lt;br /&gt;
exhaustion and mental lassitude when the mind&lt;br /&gt;
seems to strike, the nerves go wrong, insomnia&lt;br /&gt;
maddens, and the only thing to prevent a complete&lt;br /&gt;
physical breakdown is rest or change. But how&lt;br /&gt;
many writers can afford to take a rest or change 2&lt;br /&gt;
To stop work, even for a few weeks, often means&lt;br /&gt;
the cessation of income and the accumulation of&lt;br /&gt;
small debts which sit on one&amp;#039;s head for months&lt;br /&gt;
afterwards&mdash;sometimes for ever afterwards. If,&lt;br /&gt;
then, by paying some definite sum&mdash;say Is. a week&lt;br /&gt;
or &pound;1 a year&mdash;we could be occasionally relieved&lt;br /&gt;
from strain, what a boon it would be The big&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 164 (#212) ############################################&lt;br /&gt;
&lt;br /&gt;
164&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
insurance companies, I believe, charge rather high&lt;br /&gt;
premiums and require a compulsory medical&lt;br /&gt;
examination ; but the plan I suggest would be&lt;br /&gt;
more in the form of a mutual benefit society or&lt;br /&gt;
club, and it ought not to be beyond our power to&lt;br /&gt;
organise.&lt;br /&gt;
There would, of course, have to be a fixed limit&lt;br /&gt;
to the sum available on demand ; it would not be a&lt;br /&gt;
large sum, and it might be necessary to require a&lt;br /&gt;
doctor&amp;#039;s certificate of ill-health, although I cannot&lt;br /&gt;
conceive any writer would ever try to take an&lt;br /&gt;
unfair advantage.&lt;br /&gt;
The chief points I see in favour of such an&lt;br /&gt;
insurance scheme are :&mdash;&lt;br /&gt;
1. That it would afford immense relief to the&lt;br /&gt;
terribly harassing strain of feeling impotent when&lt;br /&gt;
necessity drives against time and power, a strain&lt;br /&gt;
that oppresses as cruelly as the brain grows sluggish,&lt;br /&gt;
vitality fails, and sleep refuses even the wooing&lt;br /&gt;
sedative.&lt;br /&gt;
2. It would have no stigma of charity. We&lt;br /&gt;
should feel we had a right to draw a few pounds on&lt;br /&gt;
emergency. In fact, it would smack less of charity&lt;br /&gt;
than a pension does.&lt;br /&gt;
3. It might become a means of enlarging the&lt;br /&gt;
membership of the Authors&rsquo; Society and creating a&lt;br /&gt;
wider esprit de corps. -&lt;br /&gt;
I submit this idea to my fellow-members trust-&lt;br /&gt;
ing that someone more capable than myself will&lt;br /&gt;
take it up and lick it into shape. On the principle&lt;br /&gt;
of the &ldquo;stitch in time &rsquo;&rsquo; even a ten-pound note, at&lt;br /&gt;
the psychological moment, might often save a de;&lt;br /&gt;
vitalized writer from the gradual slide into serious&lt;br /&gt;
illness and consequent poverty. The time always&lt;br /&gt;
comes, sooner or later, when that slide goes too far,&lt;br /&gt;
and a pension of twenty or thirty pounds does not&lt;br /&gt;
adequately meet the trouble. But it might be&lt;br /&gt;
prevented if arrested at the start.&lt;br /&gt;
Faithfully yours,&lt;br /&gt;
M. L. P.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
SIR,-My attention has been called to &ldquo;Z.&amp;#039;s &amp;quot;&lt;br /&gt;
strictures on the U.S.A. list in the &ldquo;Writers&rsquo; and&lt;br /&gt;
Artists&rsquo; Year Book,&rdquo; 1909 issue.&lt;br /&gt;
I think to all intents and purposes &ldquo;M.&rdquo; has&lt;br /&gt;
sufficiently replied for me, but I desire to draw&lt;br /&gt;
attention to the fact that the list was compiled for&lt;br /&gt;
U.S.A. contributors as well as British, and that&lt;br /&gt;
the aim is to give those monthlies, etc., that are&lt;br /&gt;
known for their straightforward dealing and fair&lt;br /&gt;
treatment of contributors. As to &ldquo;Z.&amp;#039;s &amp;quot;knowledge&lt;br /&gt;
of the magazines he complains were not inserted,&lt;br /&gt;
it may be safely judged by his inclusion of the&lt;br /&gt;
Living Age, a monthly to whose propensities Mr.&lt;br /&gt;
Lucy did well to draw attention in his recent&lt;br /&gt;
letter to the Daily Telegraph.&lt;br /&gt;
May I point out the Strand is so entirely similar&lt;br /&gt;
in its U.S.A. make-up to the London publication&lt;br /&gt;
of that name that it is never included in the lists&lt;br /&gt;
of American magazines. Pearson&amp;#039;s is, on the&lt;br /&gt;
other hand, wholly and peculiarly American.&lt;br /&gt;
Had &ldquo;Z.&rdquo; carefully gone over the &ldquo;Year Book&amp;quot;&lt;br /&gt;
he would have gathered evidence that its circulation&lt;br /&gt;
is not confined to the British Isles -&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
THE COMPILER OF THE U.S.A. LIST.&lt;br /&gt;
&ndash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
RESIGNATIONS.&lt;br /&gt;
SIR,--I read in the Committee Notes last month&lt;br /&gt;
the views the committee have taken in the matter&lt;br /&gt;
of resignation and re-election. I quite see their&lt;br /&gt;
point of view, and as a constant subscriber entirely&lt;br /&gt;
agree with it. There are a certain class of men&lt;br /&gt;
and women who will always get what they want at&lt;br /&gt;
the lowest price, for nothing if possible. It is only&lt;br /&gt;
just that the committee should protect those who&lt;br /&gt;
have paid the annual insurance fee, for so I look&lt;br /&gt;
upon the guinea, with regularity and cheerfulness.&lt;br /&gt;
There is, however, no doubt considerable danger&lt;br /&gt;
that the Society may lose guineas by being too&lt;br /&gt;
stringent. -&lt;br /&gt;
The copyright of a friend of mine who had&lt;br /&gt;
belonged to the society and had ceased to sub-&lt;br /&gt;
scribe was infringed. He mentioned the facts to&lt;br /&gt;
me ; I recommended him to rejoin and asked him&lt;br /&gt;
why he had left. He made the usual excuses,&lt;br /&gt;
that it did not benefit him personally, to which I&lt;br /&gt;
made reply that the society&amp;#039;s action must benefit&lt;br /&gt;
all authors, and had done so indirectly if not&lt;br /&gt;
directly, whether they were members or not.&lt;br /&gt;
His answer came pat&mdash;&ldquo;If it benefits non-mem-&lt;br /&gt;
bers as well as members, then I shall get what I&lt;br /&gt;
can for nothing.&rdquo; This, no doubt, is the attitude&lt;br /&gt;
of those&mdash;I trust there are but few&mdash;who remain&lt;br /&gt;
outside. - -&lt;br /&gt;
When I questioned my friend further about the&lt;br /&gt;
infringement of his copyright and suggested his&lt;br /&gt;
rejoining, he said that he understood he might be&lt;br /&gt;
liable for back subscriptions. I remonstrated with&lt;br /&gt;
him, and pointed out that perhaps the damages he&lt;br /&gt;
might obtain would cover those, but it was no&lt;br /&gt;
good.&lt;br /&gt;
He would not take action himself, thus weaken-&lt;br /&gt;
ing his own position and that of his fellows by&lt;br /&gt;
allowing the pirate to go unpunished, and he&lt;br /&gt;
would not rejoin for fear of having to pay a few&lt;br /&gt;
guineas, which would probably come back to him&lt;br /&gt;
tenfold. }&lt;br /&gt;
I left him with feelings of sadness. We are still&lt;br /&gt;
friends, but do not discuss the Society when we meet.&lt;br /&gt;
What is the good&lt;br /&gt;
A CONSTANT SUBSCRIBER.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 164 (#213) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
III&lt;br /&gt;
&amp;amp; &ordm; e&lt;br /&gt;
z&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-. Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words, I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work.&mdash;FRANK SAVILLE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
MRS. GILL, Typetwriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
&lsquo;MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
&lsquo;lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
.A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
SIPCES and SIPCES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating; Plays and Actors&amp;#039; Parts :&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. Usual Terms. References.&lt;br /&gt;
TYPEVVRITING&lt;br /&gt;
OF EVERY DESCRIPTION, 9d. PER 1,000 WORDS.&lt;br /&gt;
Two COPIES, 1s. PER 1,000 WORDS.&lt;br /&gt;
Authors&rsquo; MSS., Legal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
accurately copied. Orders by Post promptly attended to.&lt;br /&gt;
Mrs. SOUTHEE, 273, Francis Rd., LEWION, LONDON, E.&lt;br /&gt;
TYPEW RITING.&lt;br /&gt;
MISS BARRETT, *::... &ordm;n&amp;quot;.&lt;br /&gt;
London, E.C.&lt;br /&gt;
Telephone : 9677 Central.&lt;br /&gt;
Literary Work, Plays, &amp;amp;c., promptly &amp;amp; accurately copied.&lt;br /&gt;
Orders by post quickly carried out.&lt;br /&gt;
Efficient Clerks supplied to Clients by day, week, or month.&lt;br /&gt;
Terms and specimen of work on application. Highest References.&lt;br /&gt;
AWOW READY.&lt;br /&gt;
WHO&amp;#039;S WHO, 1909.&lt;br /&gt;
Containing about 23,000 biographies,&lt;br /&gt;
Price 10|- net&lt;br /&gt;
(Post free, price 1016),&lt;br /&gt;
or in full limp leather, gilt edges, price 1216 met.&lt;br /&gt;
WHO&amp;#039;S WHO YEAR B00K.&lt;br /&gt;
Containing useful tables, formerly in &ldquo;Who&rsquo;s Who.&rdquo; .*, *&lt;br /&gt;
Price 1|- net&lt;br /&gt;
(Post free, price 1/3).&lt;br /&gt;
ENGLISHWOMAN&amp;#039;S WEAR B00K.&lt;br /&gt;
Twenty-eighth year of issue.&lt;br /&gt;
Price 2/6 net&lt;br /&gt;
(Post free, price 2/10).&lt;br /&gt;
WRITER&amp;#039;s &amp;amp; ARTIST&amp;#039;S YEAR BOOK.&lt;br /&gt;
With 600 addresses to which MSS. may be sent.&lt;br /&gt;
Price 1|- net&lt;br /&gt;
(Post free, price 1|2).&lt;br /&gt;
A.&amp;amp;c.BLACK, Soho Sq., London, W.&lt;br /&gt;
* . ;&lt;br /&gt;
* -&lt;br /&gt;
WE have pleasure in announcing that we have made an arrange-&lt;br /&gt;
.&amp;#039; ment with Mr. William Archer by which, upon request of&lt;br /&gt;
the author, he undertakes to read, criticise, and advise upon any&lt;br /&gt;
plays entrusted to us, and he will read no manuscript plays which do&lt;br /&gt;
not reach him through us.&lt;br /&gt;
The reading fees are fixed as follows:&mdash; &amp;amp; S. d.&lt;br /&gt;
Fou scenarios of not Over 2,000 words 1 10 0&lt;br /&gt;
For plays of one or two acts 1 10 0&lt;br /&gt;
For plays of three or more acts 2 10 0&lt;br /&gt;
The payment of these fees entitles the author to a written opinion&lt;br /&gt;
from 300 to 800 words in length, dealing with the theme, con-&lt;br /&gt;
struction, characterisation, and diction of his play, suggesting altera-&lt;br /&gt;
tions where they seem called for, and (so far as possible) conveying&lt;br /&gt;
both theoretical criticism and practical advice.&lt;br /&gt;
The fact that a play has been submitted to Mr. Archer will be&lt;br /&gt;
treated by him, and by us, as confidential. On the other hand, the&lt;br /&gt;
author is at liberty to show Mr. Archer&amp;#039;s opinion to managers, actors,&lt;br /&gt;
etc., if he so desires. It would manifestly be misleading, however,&lt;br /&gt;
to quote detached phrases or make garbled extracts from a detailed&lt;br /&gt;
Criticism. Mr. Archer therefore leaves it to the author&amp;#039;s sense of fair-&lt;br /&gt;
mess to show to managers, etc., the whole opinion if he shows any&lt;br /&gt;
part of it. -&lt;br /&gt;
If, in addition to the opinion, the author should desire a personal&lt;br /&gt;
interview with Mr. Archer, a further fee of two guineas would be&lt;br /&gt;
charged.&lt;br /&gt;
Plays re-submitted after alteration are subject to the same fees as&lt;br /&gt;
plays submitted for the first time.&lt;br /&gt;
Manuscripts should be addressed to :&mdash;&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Massie, 5, Henrietta, St., Covent Garden, W.C.,&lt;br /&gt;
and, if Mr. Archer&amp;#039;s opinion is required, they should be accompanied&lt;br /&gt;
by the reading fee in advance, Cheques should be made payable to&lt;br /&gt;
Messrs. Curtis Brown &amp;amp; Mlassie. If, as may sometimes happen, a&lt;br /&gt;
play does not seen to call for serious consideration, but can be&lt;br /&gt;
adequately dealt with in three or ſour lines, half the reading fee will&lt;br /&gt;
be returned.&lt;br /&gt;
Plays should in all cases be type-written (or printed), and a copy&lt;br /&gt;
should be retained by the author. While all reasonable care will be&lt;br /&gt;
taken of manuscripts, we cannot be responsible for their loss in the&lt;br /&gt;
post, or otherwise.&lt;br /&gt;
Mr. Archer will endeavour to give his opinion of any play within two&lt;br /&gt;
weeks of receiving the manuscript.&lt;br /&gt;
It is not necessary that plays entrusted to us for placing with&lt;br /&gt;
managers should be submitted to Mr. Archer, and, on the other hand,&lt;br /&gt;
it is not necessary that plays sent to us for Mr. Archer&amp;#039;s inspection&lt;br /&gt;
should be entrusted to us for placing, although We have many open-&lt;br /&gt;
ings for good plays. Our agency for playwrights, and our arrange-&lt;br /&gt;
ments with Mr. Archer are not interdependent.&lt;br /&gt;
Especial attention is called to the advantage of expert criticism on&lt;br /&gt;
scenarios. On the other hand, we find it practically impossible to&lt;br /&gt;
interest managers in plays not complete in every detail. It is our&lt;br /&gt;
practice to send to actors and managers only plays of which it can be&lt;br /&gt;
said they are worth the manager&amp;#039;s personal and immediate attention.&lt;br /&gt;
Plays placed by us are subject to a commission of ten per cent of the&lt;br /&gt;
receipts. We can undertake arrangements for only such plays as are&lt;br /&gt;
left exclusively in our hands. .&lt;br /&gt;
CURTIS BROWN &amp;amp; MASSIE.&lt;br /&gt;
* * * * ~ * *&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 164 (#214) ############################################&lt;br /&gt;
&lt;br /&gt;
iv. - AD VERTISEMENTS.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTs.&lt;br /&gt;
* The writer, whether he aspires to write movels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
&bull; THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence College&lt;br /&gt;
teaches the aspirant to serve his apprenticeship&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary Agency&lt;br /&gt;
business of all kinds.&lt;br /&gt;
For full particulars write at once for pamphlet&lt;br /&gt;
D.K. to the LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
FIRST LESSONS IN STORY WRITING.&lt;br /&gt;
By BARRY PAIN.&lt;br /&gt;
2s. 6d. net; 2s. 8d. post free.&lt;br /&gt;
* Of this work the Westminste?&amp;quot; Gazette writes: &ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be&lt;br /&gt;
quite assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
HOW TO BECOME AN AUTHOR.&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide ; full of&lt;br /&gt;
useful hints. 5s. net; 5s. 4d. post free.&lt;br /&gt;
THE LITERARY CORRESPONDENCE college,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
AUTHORS MSS.&lt;br /&gt;
We Guarantee&lt;br /&gt;
AGGURAGY.&lt;br /&gt;
Our skilled operators are trained to&lt;br /&gt;
accurately copy MSS. of every de-&lt;br /&gt;
scription, however intricate or technical.&lt;br /&gt;
SPEEDY DELIVERY.&lt;br /&gt;
All work is executed without delay,&lt;br /&gt;
but none is returned until it has been&lt;br /&gt;
carefully checked.&lt;br /&gt;
BRADBURW, AGNEW, &amp;amp; G0. Ld.,&lt;br /&gt;
Whitefriars, London, E.C.&lt;br /&gt;
Typewriting,&lt;br /&gt;
can guarantee good work at reasonable charges.&lt;br /&gt;
Orders by post receive prompt attention.&lt;br /&gt;
Duplicating,&lt;br /&gt;
SENP for Estimate if you require any MSS. typed or Circulars duplicated.&lt;br /&gt;
and Copying.&lt;br /&gt;
It will cost you nothing, and I&lt;br /&gt;
Price List and Testimonials on application.&lt;br /&gt;
C. HERBERT CAESAR, Homefield, Woodstock Road, St. Albans.&lt;br /&gt;
Special terms to Authors if you mention this paper.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Tatt&ordm;tozz. [xviii. CENT.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE EN QUIRIES RESPECTING PRINT ING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&amp;#039; TYPEWRITING.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying is s&ordm; ... 1 - 35 5 y 33 1/3&lt;br /&gt;
Plays, ruled (a Speciality) ... 1)- 3 x y w p 3 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
#&ordm;&lt;br /&gt;
# * Address to &ldquo;WESTEEIGH,&amp;quot; KINGTRICHARD&lt;br /&gt;
&ordm; # STREET, from Oswald House, Queen&lt;br /&gt;
&ordm;r j&ordm;&lt;br /&gt;
&Eacute; #% &ordm;f Victoria Road. TYPEwRITING of EveRx&lt;br /&gt;
DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
J&ordm;cellent Testimonials from Play Writers.&lt;br /&gt;
&lsquo;&lsquo;TEIE AUTIELOIR.&rdquo;&lt;br /&gt;
SOALE FOR A D VERTISEMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
Front Page &amp;amp; s g t&ordm; &ordm; &amp;amp; ſ&ordm; t&ordm; ſ&ordm; &amp;amp; &copy; t&ordm; t&ordm; g&ordm; t&ordm; t&ordm; ſ&ordm; ...4.4 0 0&lt;br /&gt;
Other Pages ... t&ordm; $ 9 s t&ordm; &ordm; t&ordm; e &amp;amp; t&ordm; &ordm; t&ordm; t&ordm; &ordm; &ordm;s e is t&ordm; ... 3 0 0&lt;br /&gt;
Half of a Page ... is t&ordm; e t&ordm; e e &amp;amp; &copy; t&ordm; * @ e e q &amp;amp; e is 9 ... 1 10 0&lt;br /&gt;
Quarter of a Page e &ordm; e t&ordm; &ordm; ſ&ordm; p &ordm; &ordm; g&ordm; &ordm; &ordm; is ſ&ordm; t&ordm; ... 0 15 0&lt;br /&gt;
Eighth of a Page * * * * &dagger; &ordm;n ... . .; Q 7 6&lt;br /&gt;
Single Column Advertisements per inch 0 6 0&lt;br /&gt;
Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for&lt;br /&gt;
Twelve Insertions.&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
ADVERTISEMENT MANAGER, The Author Office, 39, Old Queen Street,&lt;br /&gt;
Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SocIETY OF AUTHORS (INCORPORATED),&lt;br /&gt;
at 10, Bouverie Street, London, E.C. 6&lt;br /&gt;
* .2g&rarr; s</td><td>https://historysoa.com/files/original/5/391/1909-03-01-The-Author-19-6.pdf</td><td>publications, The Author</td></tr><tr><td>392</td><td>https://historysoa.com/items/show/392</td><td>The Author, Vol. 19 Issue 07 (April 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+07+%28April+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 07 (April 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-04-01-The-Author-19-7</td><td></td><td></td><td></td><td></td><td>165&ndash;196</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-04-01&quot;&gt;1909-04-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>7</td><td></td><td></td><td>19090401</td><td>C be Elut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
Vol. XIX. &mdash;No. 7. APRIL 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices ... * c &amp;amp; t&ordm; &ordm; &ordm; t&ordm; &ordm; 0 * t&ordm; e t&ordm; &ordm; &ordm; t&ordm; g&ordm; t&ordm; t&ordm; us &amp;amp; ... 155 Warnings to Musical Composers ... * * * t&ordm; d&ordm; &ordm; * G&ordm; t&ordm; ... 184&lt;br /&gt;
Committee Notes e t&ordm; g&ordm; * * * &bull; . . . . . . * * * t&ordm; &ordm; a ... 167 Stamping Music..., &amp;amp; &ordm; &bull; * * * * * * * * * * * * &amp;amp; &ordm; e ... 184&lt;br /&gt;
Report on the Sevenpenny Cloth-bound Copyright Novel ... 169 The Reading Branch ... * * * * * * &amp;amp; &copy; e. t&ordm; g&ordm; &ordm; * * * ... 184&lt;br /&gt;
Books published by Members of the Society ... ... ... 172 &ldquo;The Author&amp;quot; ... ... ... ... ... ... ... ... 184&lt;br /&gt;
Books published in America by Members ... * = * &amp;amp; &copy; t&ordm; ... 174 Remittances * * * t&ordm; e e t&ordm; g&ordm; &ordm; t&ordm; g&ordm; &ordm; * * e &amp;amp; e e t&ordm; &ordm; &ordm; ... 184&lt;br /&gt;
Literary, Dramatic and Musical Notes ... t&ordm; &ordm; g&ordm; &ordm; &ordm;g &amp;amp; ... 175 General Notes ... t&ordm; e &ordm; t&ordm; &ordm; &ordm; t&ordm; e t&ordm; t&ordm; ſ&ordm; &ordm; t&ordm; &ordm; q * * * ... 185&lt;br /&gt;
Paris Notes * &amp;amp; &copy; g&ordm; t&ordm; &ordm; t&ordm; &ordm; ſ&ordm; * * * e &ordm; s&ordm; t&ordm; &ordm; &amp;amp; * &amp;amp; e ... 178 Committee Elections ... * * * a s g * * * * * * * is &ordm; ... 186&lt;br /&gt;
United States Notes ... * * * &amp;amp; g&ordm; &amp;amp; * * * t&ordm; e &ordm; &amp;amp; e e ... 170 The Annual General Meeting ... * * * t&ordm; $ t&ordm; * * * * * g. ... 187&lt;br /&gt;
British Authors and American Copyright... t&ordm; g&ordm; &ordm; * * * ... 181 Fragments of Centenary Ode on Edgar Allan Poe &amp;amp; s&ordm; &ordm; ... 189&lt;br /&gt;
The Berlin International Copyright Conference ... t&ordm; s&ordm; &ordm; ... 181 Colonial Sales ... g&ordm; &ordm; e * * * &copy; t&ordm; e e t&ordm; ge t&ordm; &ordm; &ordm; t&ordm; $ t&ordm; ... 190&lt;br /&gt;
How to Use the Society &amp;amp; s&ordm; a t&ordm; is ſ&ordm; t&ordm; &ordm; &ordm; &amp;amp; &copy; &ordm; t&ordm; e e ... 183 An Optimist&amp;#039;s View of our Decadent Drama * * * t&ordm; a ge ... 191&lt;br /&gt;
Warnings to the Producers of Books t&ordm; g&ordm; &amp;amp; t&ordm; e &ordm; &ordm;, &ordm; e ... 183 The Letterpress Merchants ... t&ordm; &ordm; te t&ordm; $ t&ordm; * * * t&ordm; &ordm; ... 193&lt;br /&gt;
Warnings to Dramatic Authors * * * * * * t&ordm; g&ordm; &ordm; t&ordm; &ordm; q ... 183 Correspondence ... t&ordm; &ordm;n 8 * * * * * * * * * e t&ordm; &ordm; t&ordm; 9 t&ordm; ... 194&lt;br /&gt;
Registration of Scenarios * * * t&ordm; &ordm; is * * * * * * * * ... 184&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
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(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
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[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 164 (#216) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Ilje &Scaron;ariety of Autburg (ſmrurpurated).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MBS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY. -&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY Norm AN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&amp;quot;&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
JEROME K. JEROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS, HUMPHRY WARD.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
J. H. YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres.&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
G-TEROIEv, G-IET:&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENs (&ldquo;MARK TWAIN&rsquo;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRAW FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON, P.C.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHEIELD.&lt;br /&gt;
THE HON. M.R.S. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fowl.ER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. JEROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD KIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT EION. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHA wy.&lt;br /&gt;
IMCIEERIET)ITH, C - IMC-&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FowlER).&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
| MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTEIUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
IDRAIVIATIC SUB-COIVIMITTEE.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY EIAMILTON.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
| CECIL RALEIGH.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY PHOPE HAWKINS,&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
FIELD, Rosco E &amp;amp; Co., 36, Ilincoln&amp;#039;s Inn Fields, W.C. - &amp;amp; 9&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
OFFICES.&lt;br /&gt;
39, OLD QUEEN STREET, S, or EY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 165 (#217) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XIX. &mdash;No. 7.&lt;br /&gt;
APRIL 1ST, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
+ OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
* &mdash;&ordm;- -- a&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-o-&lt;br /&gt;
&ndash; ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
Vol. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;6&ndash;e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PENSION FUND,&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
() the Pension Fund of the Society, after&lt;br /&gt;
- the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
3350 in the purchase of Corporation of London&lt;br /&gt;
24 per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 24%.............................. #1,000 0 ()&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3%. Consoli- *&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11.&lt;br /&gt;
War Loan ................. &bull; * - - - - - - - - - - - - - - 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 (0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 166 (#218) ############################################&lt;br /&gt;
&lt;br /&gt;
166 TISIES A UITSIOR,&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates ............... &pound;200 0 0 Jan. 18, Fox, Archibald D.&lt;br /&gt;
Cape of Good Hope 33% Inscribed Jan. 31, Anon. . - te&lt;br /&gt;
Stock .................................... 200 0 0 Jan. 31, Kelly, W. P.&lt;br /&gt;
Glasgow and South-Western Railway Jan. 31, Cotesworth, Miss . -&lt;br /&gt;
4% Preference Stock.................. 228 0 0 Feb. 1, Phillipps-Wolley, Clive .&lt;br /&gt;
New Zealand 34%. Stock. . . . . . . . ... 247 9 6 Feb. 1, Dawson, Warrington&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0 Feb. 4, Willard, Mrs. E. S.&lt;br /&gt;
Corporation of Ilondon 24% Stock, Feb. 19, Paget, Mrs. Gerald&lt;br /&gt;
1927&ndash;57 .................... . . . . . . . . . . 438 2 4 Feb. 20, Andrews, C. C.&lt;br /&gt;
&mdash; March 5, Speed, Lancelot&lt;br /&gt;
Total ............... &pound;3,815 1 0 March 8, Calderon, George&lt;br /&gt;
= March 8, Jackson, C. S. . &bull; *&lt;br /&gt;
March 9, Young, Col. George F., C.B.&lt;br /&gt;
March 10, Sullivan, Herbert .&lt;br /&gt;
March 11, Merritt, Mrs. Anna Lea&lt;br /&gt;
March 22, Dale, T. F. t&ordm; &bull;&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1908.&lt;br /&gt;
Tec. 1, Sachs, E. T. e&lt;br /&gt;
Dec. 1, Truman, Miss Olivia&lt;br /&gt;
1)ec. 3, Yolland, Miss E. &copy; g&lt;br /&gt;
J)ec. 4, Bagnall, Miss L. T. . &ordm; *&lt;br /&gt;
Dec. 4, Humphreys, Mrs. Desmond (Rita)&lt;br /&gt;
Dec. 4, Anon. . . &ordm; &ordm; e&lt;br /&gt;
Dec. 7, Westrup, Miss Margaret&lt;br /&gt;
Dec. 7, Lynch, H. T. B., M.P.&lt;br /&gt;
Dec. 8, Caillard, Miss E. M.&lt;br /&gt;
f)ec. 8, Askew, Claude&lt;br /&gt;
Dec. 8, Felkin, A. L. .&lt;br /&gt;
I)ec. 9, Rosetti, W. M. &ordm;&lt;br /&gt;
IDec. 9, Miller, Miss Esther .&lt;br /&gt;
Dec. 11, Woodward, Miss Ida &copy;&lt;br /&gt;
I)ec. 12, Mann, Mrs. Mary E. Dec. 9, Lefroy, Mrs. . ſ&ordm;&lt;br /&gt;
T}ec. 12, Lack, H. Lambert . &copy; Dec. 9, Bourdillon, Miss Rose&lt;br /&gt;
Dec. 14, Winchilsea and Nottingham, Dec. 9, White, Mrs. Woollaston&lt;br /&gt;
The Countess of g Dec. 10, Gilliatt, The Rev. E.&lt;br /&gt;
Dec. 14, Sinclair, Miss May Dec. 13, Evans, Miss C. M. &ordm; -&lt;br /&gt;
Dec. 14, Weyman, Stanley . Dec. 14, Pennell, Mrs. Elizabeth Robins&lt;br /&gt;
Dec. 17, Macpherson, John F. Dec. 14, Oppenheim, E. C.&lt;br /&gt;
Dec. 17, Hills, Mrs. Martha Dec. 16, Blake, J. P. .&lt;br /&gt;
Dec. 18, Hands, Mrs. Morris Dec. 17, Medlicott, Cecil&lt;br /&gt;
Dec. 18, Geddes, Mrs. . Dec. 18, Tansley, A. G. . &ordm; e&lt;br /&gt;
Dec. 22, Miles, Bertram &copy; Dec. 19, Thurston, Mrs. Katherine Cecil&lt;br /&gt;
Dec. 23, Mackenzie, Miss Helen . Dec. 19, Todd, John L. . e &copy;&lt;br /&gt;
I 909. Dec. 21, White, Percy&lt;br /&gt;
Donations.&lt;br /&gt;
1908.&lt;br /&gt;
Dec. 7, Hood, Francis e&lt;br /&gt;
Dec. 7, Maunsell, A. E. Lloyd&lt;br /&gt;
Dec. 7, Carolin, Mrs. . e&lt;br /&gt;
Dec. 7, Drake, Lady Eliott&lt;br /&gt;
Dec. 7, Parker, Mrs. Nella.&lt;br /&gt;
Dec. 7, Montr&eacute;sor, Miss F. F.&lt;br /&gt;
Dec. 7, Shepherd, George H.&lt;br /&gt;
Dec. 9, Maartens, Maarten.&lt;br /&gt;
Dec. 9, Y. F. S.&lt;br /&gt;
:-&lt;br /&gt;
-II&lt;br /&gt;
Jan. 1, Twycross, Miss M. 0 5 0 Dec. 23, Vance, Louis J.&lt;br /&gt;
Jan. 2, Macquarie, Arthur . 0 10 6 Dec. 28, Guthrie, Anstey .&lt;br /&gt;
Jan. 4, Sproston, Mrs. Stanley O 5 0 Dec. 29, Robarts, Miss Edith&lt;br /&gt;
Jan. 4, Phipson, Miss Emma 0 5 0 Dec. 30, Coke, Desmond&lt;br /&gt;
Jan. 4, Middlemass, Miss Jean () 5 0 Dec. 30, Mackenzie, Miss J.&lt;br /&gt;
Jan. 4, Pott, J. A. 1 0 0 Dec. 30, Lathbury, Miss Eva&lt;br /&gt;
Jan. 4, Miller, Mrs. &ordm; O 5 0 Dec. 31, Egbert, Henry&lt;br /&gt;
Jan. 7, Marchmont, A. W. . O 5 () 1909.&lt;br /&gt;
Jan. 7, Sharwood, T. S. 0 5 0 Jan. 1, Zangwill, Israel&lt;br /&gt;
Jan. 12, Durand, Ralph 0 1 0 Jan. 1, Hamilton, John A. .&lt;br /&gt;
Jan. 12, Laing, Mrs. . &ordm; 1 1 0 Jan. 4, Stopford, Francis &copy;&lt;br /&gt;
Jan. 14, Banks, Mrs. M. M. 0 7 6 Jan. 4, Falmouth, The Wiscountess&lt;br /&gt;
Jan. 14, Steel, Richard O 5 0 Jan. 4, Carrel, Frederick&lt;br /&gt;
Jan. 16, Garnett, Edward . 1 1 0 Jan. 4, Laws, T. C. e&lt;br /&gt;
Jan. 16, Fenn, Frederick 1 1 0 Jan. 4, Abercrombie, Lascelles&lt;br /&gt;
Jan. 18, Hering, Henry A. 0 10 6 Jan. 5, Bradgate, Mrs.&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
l&lt;br /&gt;
:&lt;br /&gt;
I&lt;br /&gt;
1.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 167 (#219) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE AUTHOR,&lt;br /&gt;
167&lt;br /&gt;
S.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
6, Leach, Henry&lt;br /&gt;
6, Cullen, H. N. e g &amp;amp;&lt;br /&gt;
6, Lyall, The Right Hon. Sir&lt;br /&gt;
Alfred, P.C., etc.&lt;br /&gt;
7, Underdown, Miss Emily&lt;br /&gt;
8, Omond, T. S. g&lt;br /&gt;
8, Paternoster, G. Sidney .&lt;br /&gt;
9, Stockley, Mrs. -&lt;br /&gt;
9, Tanner, James T. .&lt;br /&gt;
12, Tighe, Henry&lt;br /&gt;
12, Aitken, Robert&lt;br /&gt;
12, Bolton, Miss Anna&lt;br /&gt;
14, Williamson, W. H.&lt;br /&gt;
16, Furze, Miss Bessie&lt;br /&gt;
16, Shirley, Arthur&lt;br /&gt;
18, &ldquo;Austin Clare&rsquo;&rdquo; . &amp;amp;&lt;br /&gt;
22, Williamson, Mrs. C. N.&lt;br /&gt;
22, Williamson, C. N.&lt;br /&gt;
23, Brown, R. Grant , &amp;amp;&lt;br /&gt;
28, Raphael, Mrs. M. . &amp;amp; g&lt;br /&gt;
4, Wilson, Miss Theodore Wilson&lt;br /&gt;
4, Cousland, W. M. g&lt;br /&gt;
4, Hardy, Thomas&lt;br /&gt;
5, Bremner, Robert I,&lt;br /&gt;
6, Todhunter, John&lt;br /&gt;
6, Pettigrew, W. F.&lt;br /&gt;
8, Russell, G. H. &ordm;&lt;br /&gt;
8, Walker, Capt. J. H.&lt;br /&gt;
8, Dutton, Miss Annie&lt;br /&gt;
8, Baldwin, Mrs. Alfred&lt;br /&gt;
11, Ainslie, Miss&lt;br /&gt;
11, Steward, Miss E. M.&lt;br /&gt;
11, Rumble, Mrs. .&lt;br /&gt;
15, Beveridge, A. S. .&lt;br /&gt;
16, Toplis, Miss Grace&lt;br /&gt;
19, Wilkinson, D.&lt;br /&gt;
Feb. 24, Landa, Mrs. t&ordm; &ordm; &ordm;&lt;br /&gt;
Feb. 26, Fitz Gerald, Mrs. . t&ordm; &amp;amp;&lt;br /&gt;
March 2, Tadema, Miss Laurence Alma&lt;br /&gt;
March 2, Reynolds, Mrs. Baillie.&lt;br /&gt;
March 4, Henry, Miss Alice&lt;br /&gt;
March 4, Wilson, Edwin&lt;br /&gt;
March 5, Hardy, Harold&lt;br /&gt;
March 9, Crozier, Dr. Beattie&lt;br /&gt;
March 9, Ross, Miss Janet&lt;br /&gt;
March 15, Gregory, Lady .&lt;br /&gt;
&ordm;&lt;br /&gt;
I&lt;br /&gt;
&ordm;&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
J a ſl.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb,&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
1&lt;br /&gt;
l&lt;br /&gt;
l&lt;br /&gt;
:&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the May issue.&lt;br /&gt;
The total amount of annual subscriptions&lt;br /&gt;
received and promised since the issue of the&lt;br /&gt;
circular in November amounts to about &pound;75, the&lt;br /&gt;
total amount of donations to &pound;126. .&lt;br /&gt;
We regret that we omitted Mrs. Miller&amp;#039;s annual&lt;br /&gt;
subscription of 5s. from the list of new subscribers&lt;br /&gt;
during the month of January.&lt;br /&gt;
comMITTEE NOTEs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
A T the meeting of the committee of the society&lt;br /&gt;
held on March 1, nineteen members and&lt;br /&gt;
three associates were elected, bringing the&lt;br /&gt;
total elections for the current year up to sixty-six.&lt;br /&gt;
Seventeen members resigned, bringing the resigna-&lt;br /&gt;
tions for the current year to forty-five. This total,&lt;br /&gt;
though large, is not unusual in the first quarter of&lt;br /&gt;
the year, when the applications for subscriptions are&lt;br /&gt;
sent out. We would remind our readers that in&lt;br /&gt;
the February issue of The Aufhor the committee&lt;br /&gt;
made a statement with regard to the re-election of&lt;br /&gt;
members, and pointed out the practice which&lt;br /&gt;
they feel bound to adopt in these cases. At&lt;br /&gt;
, this meeting they settled the form of a circular to&lt;br /&gt;
be sent to those members who intimate their inten-&lt;br /&gt;
tion to resign ; but they desire to impress upon all&lt;br /&gt;
members that where the society&rsquo;s aid is called&lt;br /&gt;
for, prior consideration will be given to the claims&lt;br /&gt;
of those who are constant and steady supporters&lt;br /&gt;
of the Society. The larger the society grows the&lt;br /&gt;
greater is the obligation which the counmittee&lt;br /&gt;
feel to protect the interests of those who have&lt;br /&gt;
supported the society continuously without waiting&lt;br /&gt;
until its help was essential to them in respect of&lt;br /&gt;
the maintenance of their copyright property.&lt;br /&gt;
It will be remembered that the sub-committee&lt;br /&gt;
appointed to consider the question of the sale of&lt;br /&gt;
cheap books postponed sending in their report&lt;br /&gt;
until the March meeting. The report was laid&lt;br /&gt;
before the committee and discussed. It was&lt;br /&gt;
ordered to be printed, and appears in full in&lt;br /&gt;
another column of the present issue.&lt;br /&gt;
The sub-committee which had been formed,&lt;br /&gt;
consisting of delegates from the various bodies&lt;br /&gt;
interested in copyright property, held its first&lt;br /&gt;
meeting at the society&amp;#039;s office on the 23rd day&lt;br /&gt;
of February. Sir Alfred Bateman and Mr. E. J.&lt;br /&gt;
Macgillivray represented the Society of Authors.&lt;br /&gt;
Sir Alfred Bateman was elected chairman. After&lt;br /&gt;
some discussion of the contents of the Blue Book&lt;br /&gt;
dealing with the Berlin Conference which had just&lt;br /&gt;
been issued, it was decided that the committee&lt;br /&gt;
should adjourn till the 31st of March in order to&lt;br /&gt;
give the delegates time to study the contents of&lt;br /&gt;
the Blue Book and receive instructions from the&lt;br /&gt;
managing committees of the various bodies they&lt;br /&gt;
represented. Sir Alfred Bateman reported to the&lt;br /&gt;
committee of management what had taken place. He&lt;br /&gt;
stated that there appeared to be three most important&lt;br /&gt;
points in regard to the Berlin Conference. The&lt;br /&gt;
first was the duration of copyright, the second, the&lt;br /&gt;
inclusion of mechanical reproductions in copyright&lt;br /&gt;
property, and the third, which referred particularly&lt;br /&gt;
to the position of Great Britain, the possibility of&lt;br /&gt;
obtaining Colomial support to a Uniform Copyright&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 168 (#220) ############################################&lt;br /&gt;
&lt;br /&gt;
168&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
Law. He explained that a Departmental Com-&lt;br /&gt;
mittee had been called by the Government to&lt;br /&gt;
consider the Berlin Convention and the Blue&lt;br /&gt;
Book ; that it would be necessary for the Society&lt;br /&gt;
of Authors and the joint sub-committee to collect&lt;br /&gt;
and put before the Departmental Committee evi-&lt;br /&gt;
dence on the main points that might arise, and&lt;br /&gt;
he desired especially to have the support of the&lt;br /&gt;
committee of management on the three points he&lt;br /&gt;
mentioned. The committee agreed that uni-&lt;br /&gt;
formity in copyright law was of the greatest&lt;br /&gt;
importance if it were to be of international value,&lt;br /&gt;
and approved the term of life and fifty years;&lt;br /&gt;
they approved the proposal to bring mechanical&lt;br /&gt;
reproductions under the copyright law ; and&lt;br /&gt;
trusted the sub-committee would use its best&lt;br /&gt;
endeavours to obtain the support of the Colonies&lt;br /&gt;
towards uniform legislation. With these instruc-&lt;br /&gt;
tions the delegates will again meet the other&lt;br /&gt;
members of the joint sub-committee and will&lt;br /&gt;
proceed to take what action the sub-committee&lt;br /&gt;
may think fit towards copyright legislation.&lt;br /&gt;
The Secretary next reported the action taken&lt;br /&gt;
with regard to the reconstitution of the dramatic&lt;br /&gt;
sub-committee. In regard to the nominees for the&lt;br /&gt;
dramatic sub-committee the candidates chosen at&lt;br /&gt;
the last meeting had been approved by the com-&lt;br /&gt;
mittee presided over by Mr. Pinero. These names&lt;br /&gt;
were submitted to the committee of management&lt;br /&gt;
and were approved.&lt;br /&gt;
Counsel&amp;#039;s opinion on the important case of&lt;br /&gt;
dramatic copyright mentioned in the last issue of&lt;br /&gt;
The Author was then laid before the committee,&lt;br /&gt;
and as this opinion was favourable the committee&lt;br /&gt;
decided to support the appeal on behalf of the&lt;br /&gt;
member concerned.&lt;br /&gt;
The next point before the committee was the&lt;br /&gt;
form in which certain questions relating to authors&rsquo;&lt;br /&gt;
property and income tax should be put in the&lt;br /&gt;
House of Commons. The secretary was instructed&lt;br /&gt;
to draft the questions for the committee&amp;#039;s considera-&lt;br /&gt;
tion. A letter on the subject from Mr. A. E. W.&lt;br /&gt;
Mason, M.P., was read. The committee decided to&lt;br /&gt;
forward him the questions as soon as they had&lt;br /&gt;
been drafted. -&lt;br /&gt;
During the month the secretary had drafted a&lt;br /&gt;
formal agreement for musical composers, and had&lt;br /&gt;
discussed the same with Sir Charles Williers&lt;br /&gt;
Stanford. Sir Charles had expressed certain&lt;br /&gt;
Views as to the position of composers at the&lt;br /&gt;
present time in the matter of publication. These&lt;br /&gt;
views the secretary laid before the committee,&lt;br /&gt;
and it was decided to obtain counsel&amp;#039;s opinion&lt;br /&gt;
on the drafting of certain clauses which would&lt;br /&gt;
protect the composer under the present conditions&lt;br /&gt;
of the trade. The chairman stated that he had&lt;br /&gt;
been in correspondence with Sir C. Stanford&lt;br /&gt;
and Mr. MacEwen, the secretary of the Society of&lt;br /&gt;
British Composers, with a view to the stronger&lt;br /&gt;
representation of musical composers on the musical&lt;br /&gt;
sub-committee, and an arrangement on the same&lt;br /&gt;
lines as that concluded with the dramatists was&lt;br /&gt;
under discussion. g&lt;br /&gt;
Various cases came before the committee.&lt;br /&gt;
The first case, the secretary was pleased to state,&lt;br /&gt;
had been withdrawn by the member concerned,&lt;br /&gt;
owing to the fact that the publishers were pro.&lt;br /&gt;
ceeding to carry out the contract which they had&lt;br /&gt;
entered into. The member thanked the society&lt;br /&gt;
for the pressure which had been brought to bear in&lt;br /&gt;
the matter.&lt;br /&gt;
In the second case, counsel&amp;#039;s opinion was read to&lt;br /&gt;
the committee, advising that it was impossible in&lt;br /&gt;
the present circumstances to take action on behalf&lt;br /&gt;
of the member whose books were involved. The&lt;br /&gt;
committee decided, therefore, to act on counsel&rsquo;s&lt;br /&gt;
advice, and abandon the matter for the present.&lt;br /&gt;
The next was a curious case of infringement of&lt;br /&gt;
a member&amp;#039;s rights in Denmark. The opinion of&lt;br /&gt;
the Danish lawyer, unfavourable to the member&amp;#039;s&lt;br /&gt;
claim, was laid before the committee, but he&lt;br /&gt;
stated that he would be in London in March,&lt;br /&gt;
When he would discuss the legal position further&lt;br /&gt;
With the Society&rsquo;s representative. Accordingly,&lt;br /&gt;
the committee instructed the secretary to meet the&lt;br /&gt;
lawyer, and to report to them at their next meeting.&lt;br /&gt;
At the request of the Earl of Wemyss certain&lt;br /&gt;
resolutions for the better representation of the&lt;br /&gt;
interests of public bodies in the House of Lords&lt;br /&gt;
that he proposed to place before that House were&lt;br /&gt;
laid before the committee of management. The&lt;br /&gt;
secretary was instructed to convey to his Lordship&lt;br /&gt;
the committee&amp;#039;s approval of his proposals.&lt;br /&gt;
A further sum was sanctioned to be spent on&lt;br /&gt;
office furniture.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
PENSION Fu ND COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
At the meeting of the pension fund committee,&lt;br /&gt;
held at the society&amp;#039;s offices on Monday, March I,&lt;br /&gt;
the secretary reported the action the trustees had&lt;br /&gt;
taken at the beginning of the year after considering&lt;br /&gt;
the financial position of the fund. He stated that&lt;br /&gt;
a sum of &pound;350 had been invested in the Corporation&lt;br /&gt;
of London 2% per Cent. Stock 1927&mdash;1957, and&lt;br /&gt;
that there was a further sum of &pound;100 per annum&lt;br /&gt;
at the disposal of the pension fund committee&lt;br /&gt;
should any suitable application come before them.&lt;br /&gt;
The committee then proceeded to consider the&lt;br /&gt;
application of Dr. J. Beattie Crozier, and allotted&lt;br /&gt;
him a pension of &pound;50 a year, commencing from&lt;br /&gt;
the March quarter. He mentioned also the satis-&lt;br /&gt;
factory response which had been received to the&lt;br /&gt;
circular which was sent out at the end of 1908.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 169 (#221) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A DITISIORs&lt;br /&gt;
169&lt;br /&gt;
II.&lt;br /&gt;
The committee met again on March 19 to&lt;br /&gt;
consider an application received since their last&lt;br /&gt;
meeting from Mr. Richard Whiteing, and allotted&lt;br /&gt;
him a pension of &pound;50 per annum, commencing&lt;br /&gt;
from the March quarter.&lt;br /&gt;
&ndash;&ndash;&ndash;&ndash;&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
THE newly formed dramatic sub-committee&lt;br /&gt;
held its first meeting at the offices of the society,&lt;br /&gt;
39, Old Queen Street, Storey&amp;#039;s Gate, S.W., on&lt;br /&gt;
Thursday, March 11, at four o&amp;#039;clock. It was&lt;br /&gt;
decided to adjourn the election of the chairman&lt;br /&gt;
for the current year until the next meeting.&lt;br /&gt;
The first matter for consideration was the Berlin&lt;br /&gt;
Convention and the Government Blue Book relating&lt;br /&gt;
thereto. The secretary explained that a Depart-&lt;br /&gt;
mental Committee had been formed in order to&lt;br /&gt;
consider the details of the Convention with a view&lt;br /&gt;
to the alteration of the present copyright law, and&lt;br /&gt;
that evidence would be taken by that committee&lt;br /&gt;
from the various bodies and individuals interested&lt;br /&gt;
in copyright property. He added that it would be&lt;br /&gt;
necessary, in order that the interests of dramatists&lt;br /&gt;
should be satisfactorily represented, that the sub-&lt;br /&gt;
committee should consider the Blue Book, and&lt;br /&gt;
should, if possible, come to some unanimous&lt;br /&gt;
decision as to the points which it was desirable to&lt;br /&gt;
lay before the Departmental Committee; he further&lt;br /&gt;
stated that delegates should be appointed to put&lt;br /&gt;
forward the committee&amp;#039;s wiews. After some dis-&lt;br /&gt;
cussion, the members of the committee decided to&lt;br /&gt;
ask Sir W. S. Gilbert and Mr. J. W. Comyns Carr&lt;br /&gt;
to undertake the duty. The secretary was&lt;br /&gt;
instructed in the meantime to forward copies of&lt;br /&gt;
the Blue Book to all the members of the dramatic&lt;br /&gt;
sub-committee for consideration, in order that&lt;br /&gt;
they might be in a position, at their next meeting,&lt;br /&gt;
to discuss the points which should be emphasised&lt;br /&gt;
in the interests of dramatic authors.&lt;br /&gt;
The dramatic pamphlet which had been settled&lt;br /&gt;
by the former sub-committee was laid on the table,&lt;br /&gt;
and the secretary explained what work had already&lt;br /&gt;
been done, and what remained to be done upon it.&lt;br /&gt;
It was decided that the members should be supplied&lt;br /&gt;
with copies with a view to enable them, at the&lt;br /&gt;
next meeting, to go through the publication in&lt;br /&gt;
detail. -&lt;br /&gt;
The secretary reported on an important case&lt;br /&gt;
which had been causing the committee of manage-&lt;br /&gt;
ment and the dramatic sub-committee no small&lt;br /&gt;
anxiety during the past three or four months, and&lt;br /&gt;
on which two opinions had been taken from pro-&lt;br /&gt;
minent American lawyers. He stated that, in all&lt;br /&gt;
probability, the case would now be terminated&lt;br /&gt;
satisfactorily on behalf of the member whose&lt;br /&gt;
property was involved, owing to a recent decision&lt;br /&gt;
in the United States Courts. An article on this&lt;br /&gt;
decision will be printed in The Author.&lt;br /&gt;
A proposal of one of the members for the&lt;br /&gt;
registration of plays was also considered. The&lt;br /&gt;
Committee expressed their thanks to the member&lt;br /&gt;
for bringing the matter to their notice, but con-&lt;br /&gt;
sidered that his proposal was covered by the existing&lt;br /&gt;
arrangements for the registration of scenarios.&lt;br /&gt;
&mdash; &mdash; &mdash;4----t&ordm;- e.&lt;br /&gt;
REPORT ON THE SEVENPENNY CLOTH-&lt;br /&gt;
BOUND COPYRIGHT NOVEL.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ON December 21, 1908, we attended a meet-&lt;br /&gt;
ing at 39, Paternoster Row, on the invitation&lt;br /&gt;
of Mr. Longman, and were met there by Mr.&lt;br /&gt;
Longman, Mr. Macmillan, Mr. Reginald Smith,&lt;br /&gt;
Mr. Methuen and Mr. Hutchinson.&lt;br /&gt;
These gentlemen called our attention to the effect&lt;br /&gt;
of the issue by the firm of Nelson of Edinburgh of&lt;br /&gt;
copyright novels bound in cloth at 7d. net, and&lt;br /&gt;
urged us, on the following grounds, to use our&lt;br /&gt;
influence to dissuade authors from adopting this&lt;br /&gt;
form of publication :-&lt;br /&gt;
1. That the present customary price of 6s. could&lt;br /&gt;
not be maintained in competition with a new&lt;br /&gt;
customary price of 7d., as bookbuyers would&lt;br /&gt;
not only prefer to wait for the sevenpenny&lt;br /&gt;
edition, but would receive an impression that 6s.&lt;br /&gt;
is an excessive price for a novel ;&lt;br /&gt;
2. That as novels at 7d. could make a profit&lt;br /&gt;
only on condition of attaining a very large circula-&lt;br /&gt;
tion, the substitution of that price for 6s. would&lt;br /&gt;
make it impossible to publish many novels which&lt;br /&gt;
at present readily find a publisher, and in particular&lt;br /&gt;
would make it much more difficult for novices to&lt;br /&gt;
get their first books brought out at the publisher&amp;#039;s&lt;br /&gt;
risk ; -&lt;br /&gt;
3. That the soundness of these views is proved&lt;br /&gt;
by the fact that during the past year booksellers&lt;br /&gt;
have found great difficulty in disposing of 6s.&lt;br /&gt;
novels;&lt;br /&gt;
4. That any author allowing a novel to be sold&lt;br /&gt;
at 7d. will find the sales of his next book at 6s.&lt;br /&gt;
suffering a considerable decrease.&lt;br /&gt;
In the course of the discussion which ensued, it&lt;br /&gt;
was agreed by the publishers present that flimsy&lt;br /&gt;
sixpenny editions in paper covers do not injure the&lt;br /&gt;
sale of 6s. books. Later on we shall see that this&lt;br /&gt;
view is not shared by the booksellers. But no&lt;br /&gt;
objection was made by the publishers to 1s. books&lt;br /&gt;
or to any of the intermediate prices. It was the&lt;br /&gt;
clothbound book of good appearance at 7d. that&lt;br /&gt;
was alleged to be mischievous.&lt;br /&gt;
Later on we took an opportunity of informing&lt;br /&gt;
ourselves of the position from the point of view of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 170 (#222) ############################################&lt;br /&gt;
&lt;br /&gt;
170&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
the advocates of the sevenpenny books. We were&lt;br /&gt;
informed that the manufacture of these books has&lt;br /&gt;
been organised on the most elaborate modern&lt;br /&gt;
methods by costly machinery which dispenses with&lt;br /&gt;
hand labour, and which involves at the outset a&lt;br /&gt;
command of capital on a scale which places it&lt;br /&gt;
beyond the competition of ordinary book-manu-&lt;br /&gt;
facturing businesses. There is, therefore, no&lt;br /&gt;
likelihood of the system being discontinued, as&lt;br /&gt;
the machinery already in existence is too costly to&lt;br /&gt;
be abandoned, and its output is so large that the&lt;br /&gt;
lowest possible prices are necessary to enable a&lt;br /&gt;
sufficient quantity to be sold to keep the plant&lt;br /&gt;
fully employed. Besides, there are already many&lt;br /&gt;
copyright novels in the market at 7d., under con-&lt;br /&gt;
tracts with the publisher which presumably secure&lt;br /&gt;
him against the author&amp;#039;s withdrawal. All that&lt;br /&gt;
can be done, therefore, is for authors to refuse to&lt;br /&gt;
enter into such contracts in future.&lt;br /&gt;
Is this advisable 2 It is admitted that the&lt;br /&gt;
majority of novels published are dead, for business&lt;br /&gt;
purposes, before the end of two years, as far as the&lt;br /&gt;
ordinary 6s. edition is concerned. They can, how-&lt;br /&gt;
ever, if they are good stories, be revived by a cheap&lt;br /&gt;
edition, and yield to the author a further harvest&lt;br /&gt;
and a valuable advertisement. So far both the 6s.&lt;br /&gt;
publishers and the sevenpenny ones are agreed. The&lt;br /&gt;
difference of opinion is that the 6s. publishers con-&lt;br /&gt;
tend that the cheap reprint must be a sixpenny one,&lt;br /&gt;
bound in paper and unfit for the library shelf,&lt;br /&gt;
whereas the sevenpenny publishers believe in the&lt;br /&gt;
cloth-bound, permanent, and presentable volume&lt;br /&gt;
retailed at 7d. Thus the dispute is not as to&lt;br /&gt;
whether there should be cheap reprints or not,&lt;br /&gt;
but only as to whether the reprints should be&lt;br /&gt;
&ldquo;cheap and nasty&rdquo; or cheap and nice.&lt;br /&gt;
Obviously it would need very strong evidence to&lt;br /&gt;
persuade authors to sacrifice their artistic instincts&lt;br /&gt;
so far as to choose the former alternative. They&lt;br /&gt;
would choose it only under the pressure of a con-&lt;br /&gt;
clusive proof of serious pecuniary loss; and it is&lt;br /&gt;
practically impossible fo convince any author that&lt;br /&gt;
the revival of a dead book, accompanied by a&lt;br /&gt;
substantial advance on account of royalties, will&lt;br /&gt;
damage him financially. But the issue of a cheap&lt;br /&gt;
edition whilst the 6s. edition is still alive is quite&lt;br /&gt;
another matter. The next step in our investigation&lt;br /&gt;
convinced us that though an attempt to suppress&lt;br /&gt;
cheap editions altogether would be neither successful&lt;br /&gt;
nor commendable, they should certainly be withheld&lt;br /&gt;
during the lifetime of the 6s. edition.&lt;br /&gt;
This next step was a conference with representa-&lt;br /&gt;
tives of The Associated Booksellers of Great Britain&lt;br /&gt;
and Ireland. The president, Mr. Henry W. Keay,&lt;br /&gt;
with Mr. Hanson and Mr. B. H. Blackwell, were&lt;br /&gt;
good enough to meet us and place before us&lt;br /&gt;
communications from twenty-six booksellers&lt;br /&gt;
throughout the kingdom, besides discussing the&lt;br /&gt;
matter with&lt;br /&gt;
experience.&lt;br /&gt;
In the main the evidence of the booksellers&lt;br /&gt;
bears out the argument of the publishers. The&lt;br /&gt;
sevenpenny cloth-bound novel has the effect of&lt;br /&gt;
making the public complain of the 4s. 6d. (6s.)&lt;br /&gt;
novel as too dear. Customers wait for the cheap&lt;br /&gt;
edition ; and Several provincial booksellers have&lt;br /&gt;
given up stocking 68. books altogether. Practically&lt;br /&gt;
the only dissentients are the large firms with many&lt;br /&gt;
bookstalls and shops throughout the country, such&lt;br /&gt;
as Messrs. Smith &amp;amp; Son and Messrs. Wyman.&lt;br /&gt;
They do not find that the sevenpenny has inter-&lt;br /&gt;
fered with the 6s. novel. They declare that each&lt;br /&gt;
appeals to a different public.&lt;br /&gt;
The booksellers do not distinguish the sixpenny&lt;br /&gt;
paper reprint from the sevenpenny cloth-bound one&lt;br /&gt;
as confidently as the publishers. They are generally&lt;br /&gt;
of opinion that all cheap reprints make it more&lt;br /&gt;
difficult to sell at 4s. 6d., and they applaud the&lt;br /&gt;
practice of Miss Marie Corelli in abstaining alto-&lt;br /&gt;
gether from cheap editions. They also differ from&lt;br /&gt;
the publishers in having no hope of stopping the&lt;br /&gt;
sevenpenny reprint. Too many of their members&lt;br /&gt;
have already ceased to stock 6s. books and thus&lt;br /&gt;
become dependent on the lower prices to make any&lt;br /&gt;
such step acceptable to them. What they desire is&lt;br /&gt;
a time limit within which they can assure their&lt;br /&gt;
customers that there is no possibility of a cheap&lt;br /&gt;
edition appearing. Without any prompting from&lt;br /&gt;
us they suggested two years as a suitable period.&lt;br /&gt;
Our conclusions are as follows:&ndash;&lt;br /&gt;
1. Making all allowances for such concurrent&lt;br /&gt;
causes of the slump in 6s. books as reckless over-&lt;br /&gt;
production by publishers at certain seasons, and&lt;br /&gt;
retrenchment of expenditure by purchasers owing&lt;br /&gt;
to bad trade, and for doubts cast on the reality of&lt;br /&gt;
the slump by one London bookseller in a large way&lt;br /&gt;
of business who reports a revival of demand for 68.&lt;br /&gt;
books, as well as for the opinion quoted above of&lt;br /&gt;
the firms of Smith and Wyman, we are convinced&lt;br /&gt;
that the standard price of 6s. has been shaken by&lt;br /&gt;
the sevenpenny novel in the case of booksellers&lt;br /&gt;
keeping a single shop and depending on the custom&lt;br /&gt;
of people of moderate or slender incomes ; and as&lt;br /&gt;
this is still the typical means of distributing books&lt;br /&gt;
in the kingdom, we recommend the establishment&lt;br /&gt;
of a time limit on which the booksellers and the&lt;br /&gt;
public can rely as fixing the period within which it&lt;br /&gt;
will be impossible to obtain a cheap edition of a&lt;br /&gt;
new book published at 6s.&lt;br /&gt;
2. We suggest that this limit should be at least&lt;br /&gt;
two years. This period may wisely be extended at&lt;br /&gt;
the author&amp;#039;s discretion in cases where the 68. edition&lt;br /&gt;
is still enjoying a substantial sale ; indeed, it must&lt;br /&gt;
be understood that the bookseller&amp;#039;s assurance to the&lt;br /&gt;
purchaser that there will be no cheap edition for&lt;br /&gt;
two years does not imply that there will necessarily&lt;br /&gt;
us in the light of their own&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 171 (#223) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
171&lt;br /&gt;
be one even then, as it is not clear that the policy&lt;br /&gt;
of maintaining a standard 6s. price for all books by&lt;br /&gt;
certain authors is not in their case a sound one.&lt;br /&gt;
The two years is therefore a minimum. In fixing&lt;br /&gt;
that term we have been guided by the evidence as&lt;br /&gt;
to the lifetime of an average 6s. book.&lt;br /&gt;
taken it as being, roughly, about eighteen months.&lt;br /&gt;
In view of the terms offered to authors for seven-&lt;br /&gt;
penny reprints, we doubt whether a longer time&lt;br /&gt;
limit than two years would be faithfully observed ;&lt;br /&gt;
and without such observance the usage could not&lt;br /&gt;
be created ; for the assurances of booksellers as to&lt;br /&gt;
the impossibility of cheap editions being obtainable&lt;br /&gt;
in less than two years would soon be contradicted&lt;br /&gt;
by the evidence of their own shelves.&lt;br /&gt;
3. We suggest that steps should be taken by the&lt;br /&gt;
Committee of Management of the Society of Authors&lt;br /&gt;
to ascertain how far the members are prepared to&lt;br /&gt;
pledge themselves to observe the suggested time&lt;br /&gt;
limit. A similar inquiry by the Publishers&rsquo;&lt;br /&gt;
Association would complete the evidence as to&lt;br /&gt;
the possibility of establishing a firm usage in the&lt;br /&gt;
book market.&lt;br /&gt;
We add the following general comments for the&lt;br /&gt;
information of authors.&lt;br /&gt;
The 6s, edition is very largely a circulating&lt;br /&gt;
library edition. The advocates of the sevenpenny&lt;br /&gt;
book estimate the proportion at 80 per cent. to the&lt;br /&gt;
libraries and 20 per cent. to the public. Among the&lt;br /&gt;
publishers hostile to the sevenpenny book, one went&lt;br /&gt;
so far in the opposite direction as to put the pro-&lt;br /&gt;
portion at half and half. These are probably the&lt;br /&gt;
limits. Obviously the proportion varies from book&lt;br /&gt;
to book according to the impatience of the public&lt;br /&gt;
to read the book or its desire to keep it when read.&lt;br /&gt;
But all the estimates left the average 6s. book&lt;br /&gt;
practically dependent on the circulating library for&lt;br /&gt;
its feasibility as a commercial enterprise. As the&lt;br /&gt;
library subscriber does not care what a book costs,&lt;br /&gt;
and has therefore no inducement to wait for the&lt;br /&gt;
cheap edition, novelty is much more important to&lt;br /&gt;
the libraries than cheapness. To the bookseller&lt;br /&gt;
cheapness is more important than novelty. Many&lt;br /&gt;
booksellers report that they have given up stocking&lt;br /&gt;
68. books; but all libraries have to stock them.&lt;br /&gt;
Therefore it may be said that the average 6s, book&lt;br /&gt;
depends for its existence on the libraries. Now if&lt;br /&gt;
a new book can be obtained for 7d. in a form and&lt;br /&gt;
binding actually more convenient and attractive&lt;br /&gt;
than the 6s. form, and not less permanent, many&lt;br /&gt;
library subscribers will buy it, and thus reduce the&lt;br /&gt;
quantity ordered by the libraries. A point may be&lt;br /&gt;
reached in this process at which the 6s, edition is&lt;br /&gt;
not worth producing ; and this means that many&lt;br /&gt;
books which are now only produced because of the&lt;br /&gt;
high rate of profit at 6s, and the demand of the&lt;br /&gt;
libraries, would not be produced at all unless the&lt;br /&gt;
publisher were guaranteed against the appearance&lt;br /&gt;
We have&lt;br /&gt;
of a cheap edition for as long as he has any expecta-&lt;br /&gt;
tion of selling at 68. Such expectation in the case&lt;br /&gt;
of an average book is negligible after the lapse of&lt;br /&gt;
eighteen months or so.&lt;br /&gt;
The buyers of sevenpenny novels arean increasing&lt;br /&gt;
public, who buy to read, and to keep, and to read&lt;br /&gt;
again. We have evidence before us, which we have no&lt;br /&gt;
reason to doubt, that a novel re-issued at 7d. keeps&lt;br /&gt;
its place, and does not die&mdash;at all events, not so&lt;br /&gt;
SOon as its 6s. forerunner.&lt;br /&gt;
The public which is able and willing to pay 7d.,&lt;br /&gt;
but not more, for a good novel, is said to be an&lt;br /&gt;
increasing and intelligent public, discriminating&lt;br /&gt;
keenly between books, but comparatively indifferent&lt;br /&gt;
to the names and reputations of the authors.&lt;br /&gt;
It is not contended by the sevenpenny publishers&lt;br /&gt;
that authors could get a living at present by writing&lt;br /&gt;
Sevenpenny books. The sevenpenny book, so far, is&lt;br /&gt;
always a reprint ; and it is assumed that the author&lt;br /&gt;
has already been remunerated, wholly or in part,&lt;br /&gt;
for the work of writing it by the sale of the first&lt;br /&gt;
edition at 68. or some such comparatively high&lt;br /&gt;
price.&lt;br /&gt;
There is, therefore, no question as yet of publish&lt;br /&gt;
ing in the first instance at 7d.&lt;br /&gt;
The difficulty at present in the way of such&lt;br /&gt;
a publication is that the improvement in the&lt;br /&gt;
machinery of production has not been accom-&lt;br /&gt;
panied by any corresponding development of the&lt;br /&gt;
means of distribution. The business of book-&lt;br /&gt;
Selling remains much as it was when the mass of&lt;br /&gt;
the population could not read. There are millions&lt;br /&gt;
of potential readers in the country who cannot get&lt;br /&gt;
books for want of bookshops. The readers are&lt;br /&gt;
there, and the machinery capable of supplying the&lt;br /&gt;
books is there ; but the means of bringing the two&lt;br /&gt;
together is still to seek ; and for this reason, what-&lt;br /&gt;
ever policy authors may adopt as to reprints, they&lt;br /&gt;
must maintain the 6s. standard for first editions,&lt;br /&gt;
for at least two years, until a great development in&lt;br /&gt;
the business of book distribution creates circulations&lt;br /&gt;
of a magnitude at present out of the question.&lt;br /&gt;
(Signed) ANTHONY HoPE HAWKINS.&lt;br /&gt;
MAURICE FIEWLETT.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
&mdash;6&mdash;Q-e&mdash;&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author thirteen cases&lt;br /&gt;
have come before the secretary. Four of these&lt;br /&gt;
related to the recovery of money. In two the&lt;br /&gt;
secretary has been successful ; the cheques have&lt;br /&gt;
been obtained and forwarded to the members. In&lt;br /&gt;
one of the two remaining cases the secretary&lt;br /&gt;
has received an answer, and negotiations for a&lt;br /&gt;
settlement are pending. The other dispute is&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 172 (#224) ############################################&lt;br /&gt;
&lt;br /&gt;
172&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
against a New Zealand paper, and must necessarily&lt;br /&gt;
take some time. Three members desired the&lt;br /&gt;
assistance of the society to recover their MSS.&lt;br /&gt;
The secretary has settled two, and the MSS. have&lt;br /&gt;
been forwarded to the members. The remaining&lt;br /&gt;
one has only just come into the office. Out of&lt;br /&gt;
four claims for accounts two have been disposed&lt;br /&gt;
of, the other two have only recently come to hand ;&lt;br /&gt;
but in one of these the publisher has promised to&lt;br /&gt;
forward the accounts in the course of a few days.&lt;br /&gt;
Of two claims for infringement of copyright, one&lt;br /&gt;
has only just come into the office; but, as it relates&lt;br /&gt;
to a matter in France, it will take some little time&lt;br /&gt;
to negotiate, as the papers must go through the&lt;br /&gt;
hands sf the society&rsquo;s French lawyer. The other is&lt;br /&gt;
a curious case. An agent in England sold an article&lt;br /&gt;
to an American magazine of high standing, without&lt;br /&gt;
the sanction of the author, and has received money&lt;br /&gt;
in payment from the magazine. It is possible&lt;br /&gt;
that some question may arise as to whether&lt;br /&gt;
the author had copyright in the article in the&lt;br /&gt;
United States. Even assuming that such copy-&lt;br /&gt;
right did not exist, although the agent is within&lt;br /&gt;
his legal rights, the course he has thought fit to&lt;br /&gt;
adopt is hardly fair either to the author or to the&lt;br /&gt;
magazine to which he sold the article, as the&lt;br /&gt;
magazine had no knowledge of the peculiar situa-&lt;br /&gt;
tion. At present the agent is the only one who&lt;br /&gt;
has benefited, which he has done to the extent of&lt;br /&gt;
ten dollars.&lt;br /&gt;
The only cases left open from the former month&lt;br /&gt;
are two in the United States. In one of these&lt;br /&gt;
there is very little prospect of a satisfactory con-&lt;br /&gt;
clusion, as it has come to the knowledge of the&lt;br /&gt;
secretary, through a correspondent in New York,&lt;br /&gt;
that the delinquent&mdash;an author&amp;#039;s agent&mdash;has left&lt;br /&gt;
his address, and cannot be found. The other case&lt;br /&gt;
deals with the return of MSS.&lt;br /&gt;
The chairman has sanctioned one case in the&lt;br /&gt;
county court. It had been impossible for the&lt;br /&gt;
secretary to obtain the money due by application&lt;br /&gt;
to the editor of the magazine. The matter will be&lt;br /&gt;
carried through in due course.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
March Elections.&lt;br /&gt;
Calderon, George . Heathland Lodge,&lt;br /&gt;
Hampstead Heath,&lt;br /&gt;
N.W.&lt;br /&gt;
Calvert, Albert F. Royston, E to n&lt;br /&gt;
Avenue, N.W.&lt;br /&gt;
Carton, R. C. . e . The Red Lodge,&lt;br /&gt;
Springfield Park,&lt;br /&gt;
Acton.&lt;br /&gt;
Compton - Rickett, Sir 100, Lancaster Gate,&lt;br /&gt;
Joseph, D.L., M.P. . W.&lt;br /&gt;
Cooper, Charles S.&lt;br /&gt;
Deery, Hugh . &ordm; e&lt;br /&gt;
Fountain, Paul&lt;br /&gt;
Gallatly, James M.&lt;br /&gt;
Gell, Miss Edith M. (Edna&lt;br /&gt;
Wallace) . e&lt;br /&gt;
Hamel, Herbert G. de&lt;br /&gt;
Hedgeock, Frank A.&lt;br /&gt;
Jackson, C. S. . e&lt;br /&gt;
Longgarde, Madame Lon-&lt;br /&gt;
gard de (Dorothea&lt;br /&gt;
Gerard) e o e&lt;br /&gt;
Pool, The Rev. John J.,&lt;br /&gt;
F.R.G.S. e e e&lt;br /&gt;
Raleigh, Cecil . e &ordm;&lt;br /&gt;
&ldquo;Dewhurst,&rdquo; Ches-&lt;br /&gt;
hunt, Herts.&lt;br /&gt;
Ballintra, co.Donegal,&lt;br /&gt;
Ireland.&lt;br /&gt;
8, Raby Road, New&lt;br /&gt;
Malden, Surrey.&lt;br /&gt;
37, Torring to n&lt;br /&gt;
Square, W.C.&lt;br /&gt;
6, St. Stephen&amp;#039;s&lt;br /&gt;
Square, Bayswater.&lt;br /&gt;
43, Argyll Road, Ken-&lt;br /&gt;
sington, W.&lt;br /&gt;
44, Boulevard de Port&lt;br /&gt;
Royal, Paris,&lt;br /&gt;
France.&lt;br /&gt;
25, Nightingale Place,&lt;br /&gt;
Woolwich.&lt;br /&gt;
3, Finsbury Square,&lt;br /&gt;
E.C. -&lt;br /&gt;
2, Brunswick Place,&lt;br /&gt;
Regent&amp;#039;s Park.&lt;br /&gt;
Sullivan, Herbert T. . Manor House, Bright-&lt;br /&gt;
lingsea.&lt;br /&gt;
Thompson, Harold Stuart. Forest View, Wale&lt;br /&gt;
Road, Upper Park-&lt;br /&gt;
Stone.&lt;br /&gt;
Wigram, Miss Eirene Broomfield, Wey-&lt;br /&gt;
bridge.&lt;br /&gt;
Wilson, Edwin (Paul Hin-&lt;br /&gt;
derwell)&lt;br /&gt;
Young, Colonel G. F., C.B.&lt;br /&gt;
Ivyleigh, Batley.&lt;br /&gt;
51, Via de&amp;#039; Serragli,&lt;br /&gt;
Florence.&lt;br /&gt;
(Two members do not desire their names or&lt;br /&gt;
addresses published.)&lt;br /&gt;
OP-e&mdash;s&ordm;&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;t-Q-0&ndash;&lt;br /&gt;
WHILE every effort is made by the compilers, to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
aCCurate.&lt;br /&gt;
ART&lt;br /&gt;
A PopUIAR HANDBOOK To THE NATIONAL GALLERY, in-&lt;br /&gt;
cluding, by special permission, Notes collected from the&lt;br /&gt;
Works of JoHN RUSKIN. Compiled by E. T. COOK.&lt;br /&gt;
Vol. I. Foreign Schools. Seventh Edition. 73 &times; 5.&lt;br /&gt;
775 pp. Macmillan. 108. n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 173 (#225) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTHOR.&lt;br /&gt;
173&lt;br /&gt;
EL GRECO. An Account of his Life and Works. By A. F.&lt;br /&gt;
CALVERT and C. GASQUOINE HARTLEY. With 136&lt;br /&gt;
Reproductions from his most celebrated Pictures. 73 &times;&lt;br /&gt;
5. (The Spanish Series.) Lane. 3s. 6d. n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LIVES OF THE BRITISH SAINTS. The Saints of&lt;br /&gt;
Wales and Cornwall, and such Irish Saints as have&lt;br /&gt;
Dedications in Britain. By S. BARING GOULD and&lt;br /&gt;
J. FISHER. In Four Vols. Vol. II. C. E. 104 &times; 6}.&lt;br /&gt;
477 pp. C. J. Clark, 65, Chancery Lane, W.C. 10s. 6d. n.&lt;br /&gt;
PESTALOZZI : HIS LIFE AND WORK. By H. HOLMAN.&lt;br /&gt;
7% &times; 5. vii. -- 318 pp. Longmans. 38. In.&lt;br /&gt;
ELIZA BRIGHTwi&egrave;N. The Life and Thoughts of a&lt;br /&gt;
Naturalist. Edited by W. H. CHESSON. With Intro-&lt;br /&gt;
duction and Epilogue by EDMUND GOSSE. 8% &times; 5%.&lt;br /&gt;
215 pp. Unwin. 58. n.&lt;br /&gt;
A BISHOP IN THE ROUGH. Edited by the Rev. D.&lt;br /&gt;
WALLACE DUTHIE. With a Preface by the Right Rev.&lt;br /&gt;
the Lord Bishop of Norwich. 83 &times; 53. 386 pp. Smith,&lt;br /&gt;
Elder. 7s. 6d. n.&lt;br /&gt;
VINCENZO For PA OF BRESCIA, FounDER OF THE&lt;br /&gt;
LOMBARD SCHOOL. HIS LIFE AND WORK. By CON-&lt;br /&gt;
STANCE JOCELYN FFOULKES and MONSIGNOR RODOLFO&lt;br /&gt;
MAIOCCHI, D.D., Rector of the Collegio Borromeo, Pavia.&lt;br /&gt;
Based on Research in the Archives of Milan, Pavia,&lt;br /&gt;
Brescia, and Genoa, and on the Study of all his known&lt;br /&gt;
works, with 15 Photogravures, over 70 Illustrations in&lt;br /&gt;
half tone, and nearly 100 Documents. John Lane.&lt;br /&gt;
#5 5.S. n.&lt;br /&gt;
GLIMPSES OF THE TWENTIES.&lt;br /&gt;
9 &times; 53. 372 pp. Constable.&lt;br /&gt;
DICTIONARY OF&lt;br /&gt;
By WILLIAM ToyNBEE.&lt;br /&gt;
12s. 6d. n.&lt;br /&gt;
NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. Vol. XIII. Masquerier-Myles. 9% &times; 6%.&lt;br /&gt;
1359 pp. Smith, Elder. 158. m.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
LANCELOT AND ELAINE : A PLAY IN FIVE ACTS. By&lt;br /&gt;
MORLEY STEYNOR. London : George Bell &amp;amp; Sons.&lt;br /&gt;
LANCELOT AND GUENEVERE : A PLAY IN A PROLOGUE&lt;br /&gt;
AND FOUR ACTs. By MORLEY STEYNOR. London :&lt;br /&gt;
George Bell &amp;amp; Sons.&lt;br /&gt;
PLAYS : THE SILVER BOX ;&lt;br /&gt;
JOY ;&lt;br /&gt;
GALSWORTHY, 7 &times; 5}.&lt;br /&gt;
STRIFE. By JoHN&lt;br /&gt;
294 pp.&lt;br /&gt;
Duckworth. 63.&lt;br /&gt;
EIDUCATIONAL.&lt;br /&gt;
|FRENCH AND ENGLISH PARALLELS.&lt;br /&gt;
By F. R. M.&lt;br /&gt;
IFURSDON. Methuen &amp;amp; Co. 3s. 6d. m.&lt;br /&gt;
FICTION.&lt;br /&gt;
FRATERNITY. By JOHN GALSWORTHY, 7} x 5.&lt;br /&gt;
Heinemann, 68.&lt;br /&gt;
JIMBO: A Fantasy. By ALGERNON BLACKWOOD. 8 &times; 5}.&lt;br /&gt;
258 pp. Macmillan. 3s. 6d. m.&lt;br /&gt;
THE ROYAL END. By HENRY HARLAND.&lt;br /&gt;
320 pp. Hutchinsom. 6s.&lt;br /&gt;
THE PILGRIM&amp;#039;s MARCH. By H. H. BASHFORD. 73 &times; 5.&lt;br /&gt;
345 pp. Melrose. 6s.&lt;br /&gt;
ARAMINTA. By J. C. SNAITH.&lt;br /&gt;
Elder. 6s. -&lt;br /&gt;
THE WORLD, THE FLESH, AND THE CASINo. By&lt;br /&gt;
GERTRUDE WARDEN. 73 x 5. 318 pp. John Long.&lt;br /&gt;
68.&lt;br /&gt;
SNow-Bound : The Record of a Theatrical Touring Party.&lt;br /&gt;
By BRAM STOKER, 7} &times; 5. 256 pp. Collier.&lt;br /&gt;
18., n.&lt;br /&gt;
SANDFORD OF MERTON&lt;br /&gt;
BELINDA BLINDERS.&lt;br /&gt;
7# x 5.&lt;br /&gt;
346 pp.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
371 pp. Smith,&lt;br /&gt;
AND THE SMART SET. By&lt;br /&gt;
Edited by DESMOND CokE.&lt;br /&gt;
122 pp. Chapman &amp;amp; Hall. 28. m.&lt;br /&gt;
THE YELLOW GOD. By H. RIDER HAGGARD, 73 &times; 5.&lt;br /&gt;
352 pp. Cassell. 6s.&lt;br /&gt;
POMP AND CIRCUMISTANCE. By DoROTHEA GERARD.&lt;br /&gt;
7# &times; 5. 318 pp. John Long. 6s.&lt;br /&gt;
THE VICISSITUDEs of FLYNN. By BART KENNEDY.&lt;br /&gt;
7} x 5. 283 pp. Nash. 6s.&lt;br /&gt;
DAPHNE IN FITZROY STREET.&lt;br /&gt;
417 pp. George Allen. 6s.&lt;br /&gt;
THE NEW JUNE. By HENRY NEwBoI.T. 7.&lt;br /&gt;
386 pp. Blackwood. 6s.&lt;br /&gt;
THE DEGENERATE. By FRED WHISHAw. 73 &times; 5.&lt;br /&gt;
311 pp. Everett. 6s.&lt;br /&gt;
THE HAPPY ELOPEMENT. By E. H. LACON WATSON:&lt;br /&gt;
73 &times; 5. 319 pp. Brown, Langham. 6s.&lt;br /&gt;
MRS. WHISTON&amp;#039;s Hous E PARTY. By THOMAS Cobb.&lt;br /&gt;
7% x 5. 294 pp. Everett. 6s.&lt;br /&gt;
By JoHN BLOUNDELLE-BURTON.&lt;br /&gt;
By E. NESBIT. 74 &times; 5.&lt;br /&gt;
X O.&lt;br /&gt;
#&lt;br /&gt;
WITHIN FOUR WALLS.&lt;br /&gt;
73 x 5. 359 pp. John Milne. 6s.&lt;br /&gt;
THE DUKE IN THE SUBURBs. By EDGAR WALLACE.&lt;br /&gt;
7# &times; 5. 304 pp. Ward, Lock. 6s.&lt;br /&gt;
THE DISAPPEARANCE OF LADY DIANA. By RoPERT&lt;br /&gt;
MACHRAY. 7} x 5. 308 pp. Everett. 6s.&lt;br /&gt;
THE PRINCE&amp;#039;s PRANKS. By CHARLEs LOWE. 73 &times; 5}.&lt;br /&gt;
31.4 pp. John Lane. 6s.&lt;br /&gt;
FELIX STONE. By ALICE and CLAUDE ASKEw. 7; x 5.&lt;br /&gt;
320 pp. Everett.&lt;br /&gt;
NOBLESSE OBLIGE. By M. E. FRANCIS (Mrs. Francis&lt;br /&gt;
Blundell). 73 x 5. 362 pp. John Long. 6s.&lt;br /&gt;
NIGHTSHADE. By ROY HORNIMAN. 73 &times; 5. 266 pp.&lt;br /&gt;
Sisleys. 6s.&lt;br /&gt;
SEEKERS : A Romance of the Balkans. By FRANK SAVILE.&lt;br /&gt;
7# x 5. 320 pp. Arnold. 6s.&lt;br /&gt;
THE JUNE PRINCESS. By CONSTANCE SMEDLEY. 73 &times;&lt;br /&gt;
43, 429 pp. Chatto &amp;amp; Windus. 6s.&lt;br /&gt;
THE KING&amp;#039;s CAUSE. By W. E. GROGAN, 73 &times; 5. 312 pp.&lt;br /&gt;
Milne. 68. -&lt;br /&gt;
TOMMY AND A TOWER. By FERGUS GRAHAMI.&lt;br /&gt;
Nutt. 2s.&lt;br /&gt;
THE LOVE STORY OF ST. BEL. By BERNARD CAPEs.&lt;br /&gt;
7# x 5. 313 pp. Methuen. 6s.&lt;br /&gt;
MONEY. By MARIE CONNOR LEIGHTON.&lt;br /&gt;
pp. Ward, Lock. 6s.&lt;br /&gt;
300 pp.&lt;br /&gt;
* ~ 4&times; KY a&lt;br /&gt;
7; x 5. 383&lt;br /&gt;
FORESTRY.&lt;br /&gt;
TREES AND SHRUBS OF THE BRITISH ISLEs, Native and&lt;br /&gt;
Acclimatized. By C. S. CoopFR, F.R.H.S., and W. P.&lt;br /&gt;
WESTELL, F.L.S. Part I. 12 x 9. 12 pp. Dent. 1s. m.&lt;br /&gt;
I/ITERARY.&lt;br /&gt;
THE WANDER YEARS. Being some account of Journeys&lt;br /&gt;
into Life, Letters, and Art. By J. H. Yox ALL, M.P.&lt;br /&gt;
83 &times; 5+, 329 pp. Smith, Elder. 6s. n.&lt;br /&gt;
THE GATE OF DEATH. A. Diary by A. C. BBNSON. Second&lt;br /&gt;
Edition. 84 &times; 53. 231 pp. Smith, Elder. 6s. n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
&amp;amp;&lt;br /&gt;
HINTS ON House FURNISHING. By W. SHAw SPARROW.&lt;br /&gt;
9 &times; 64. 309 pp. Nash. 7s. 6d. n.&lt;br /&gt;
THE CHURCHES OF EXETER. By BEATRIX F. CRESSWELL.&lt;br /&gt;
9 &times; 53. James G. Commim, Exeter. 7s. 6d. n.&lt;br /&gt;
MUSIC.&lt;br /&gt;
MoRN AND EVE, by ROBERT GOLDBECK and L. BUDGEN ;&lt;br /&gt;
FREDDIE&amp;#039;s GARDEN, by ROBERT GOLDBECK and L.&lt;br /&gt;
BUDGEN ; RUB-A-DUB, DUB : THE SUNBEAMS, by R.&lt;br /&gt;
GOLDBECK and L. BUDGEN. Bradford : Crewsher &amp;amp; Co.&lt;br /&gt;
2d. each.&lt;br /&gt;
CHANSON D&rsquo;AMOUR, for Violim and Pianoforte. By&lt;br /&gt;
THEODORE HOLLAND. Schott &amp;amp; Co. 2s. n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 174 (#226) ############################################&lt;br /&gt;
&lt;br /&gt;
174&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
* NAVAL.&lt;br /&gt;
THE STORY OF THE SUBMARINE FROM THE EARLIEST&lt;br /&gt;
AGES TO THE PRESENT DAY. By COLONEL C. FIELD.&lt;br /&gt;
Sampson, Low &amp;amp; Co. 6s. m.&lt;br /&gt;
PAMPHILETS.&lt;br /&gt;
THE GERMAN STATE INSURANCE SYSTEM. By E. GRANT&lt;br /&gt;
PIOOPER. Effingham Wilsom. 1s. m.&lt;br /&gt;
POETRY.&lt;br /&gt;
By A. Maquarie. 7 x 43.&lt;br /&gt;
THE VOICE IN THE CLIFF.&lt;br /&gt;
London : Simpkin.&lt;br /&gt;
51 pp. Florence : The Olive Press.&lt;br /&gt;
ls, n.&lt;br /&gt;
PoliticAL.&lt;br /&gt;
B00KS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
*&mdash;e-&ordm;-e&mdash;&mdash;&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
SOME EMINENT WICTORIANS.&lt;br /&gt;
the World of art and letters.&lt;br /&gt;
Scribners. $3.50 m.&lt;br /&gt;
AUBREY BEARDSLEY. . By ROBERT Ross. With 16 full&lt;br /&gt;
page illustrations and a revised iconography by AYMER.&lt;br /&gt;
YALLANCE, 112 pp. John Lane &amp;amp; Co. $i.25 n.&lt;br /&gt;
THE LIFE OF FRANCIS PLACE, 1771&ndash;1854. By GRAHAM&lt;br /&gt;
WALLAS. 405 pp. Longmans, Green &amp;amp; Co. $l n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
An Episode in the History of a&lt;br /&gt;
Boston. Walter H. Baker &amp;amp; Co.&lt;br /&gt;
FICTION.&lt;br /&gt;
By M. A. BELLOC LowNDES.&lt;br /&gt;
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Personal recollections in&lt;br /&gt;
By J. W. COMYNs CARR.&lt;br /&gt;
THE THUNDERBoLT.&lt;br /&gt;
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50 cents.&lt;br /&gt;
THE PULSE OF DIFE.&lt;br /&gt;
405 pp. Dodd, Mead &amp;amp; Co.&lt;br /&gt;
MAP BARBARA. By WARWICK DEEPING, 373 pp.&lt;br /&gt;
Harper. $1.50.&lt;br /&gt;
THE EXPLORER. . By W. SOMERSET MAUGHAM. 297 pp.&lt;br /&gt;
Baker and Taylor Co. $1.50. -&lt;br /&gt;
THE DEVIL, IN, LONDON. . By GEORGE R. SIMs. 166 pp.&lt;br /&gt;
Dodge Publishing Co. $1.&lt;br /&gt;
PRIESTs of PROGRESS. By G. ColMoRE. 384 pp.&lt;br /&gt;
THE MINORITY REPORT OF THE POOR LAW COMMISSION.&lt;br /&gt;
Part I. The Break up of the Poor Law. Part II. The&lt;br /&gt;
Public Organization of the Labour Market. Edited,&lt;br /&gt;
with Introduction, by SIDNEY and BEATRICE WEBB.&lt;br /&gt;
9 &times; 53. 601 + 345 pp. 2 vols. Longmans. 12s. 6d. In.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE WoRKs of JoBN RUskIN. Library Edition. Wols.&lt;br /&gt;
XXXVI. and XXXVII. Letters. Edited by E. T. Cook&lt;br /&gt;
and ALEXANDER WEDDERBURN. 10 &times; 6%. 601 + 739 pp.&lt;br /&gt;
Allen.&lt;br /&gt;
SCENES OF CLERICAL LIFE. By GEORGE ELIOT. With&lt;br /&gt;
an Introduction (14 pp.) by ANNIE MATHESON. 6 &times; 33.&lt;br /&gt;
424 pp. (The World&amp;#039;s Classics.) Frowde. 13. n.&lt;br /&gt;
SOCIOILOGY.&lt;br /&gt;
THE PUBLIC HEALTH AGITATION, 1833&ndash;48. By B. L.&lt;br /&gt;
HUTCHINs. 73 &times; 5. 150 pp. Fifield. 28. 6d.&lt;br /&gt;
TECHNICAL,&lt;br /&gt;
COMPRESSED AIR WORK AND DIVING. A. Handbook for&lt;br /&gt;
Engineers. By G. W. M. BOYCOTT, Assoc. M. Inst. C.E.&lt;br /&gt;
Crosby Lockwood. 10s. 6d. n.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
The Day Book of a Country Parson. By&lt;br /&gt;
343 pp. Longmans.&lt;br /&gt;
PASTOR OvIUM.&lt;br /&gt;
JOHN HUNTLEY SKRINE. 8 &times; 53.&lt;br /&gt;
5s. n.&lt;br /&gt;
SONGS OF LOVE AND PRAISE FOR HOME SINGING.&lt;br /&gt;
Edited by ANNIE MATHESON. With designs by C.&lt;br /&gt;
ROBINSON. 64 &times; 4%. Dent. 23. n.&lt;br /&gt;
THE NEW TESTAMENT IN MODERN ENGLISH. Seventh&lt;br /&gt;
Edition. Translated by FERRAR FENTON, M.R.A.S.&lt;br /&gt;
S. W. Partridge &amp;amp; Co. 13. m.&lt;br /&gt;
THE COMPLETE BIBLE IN MODERN ENGLISH. Fourth&lt;br /&gt;
Edition. Translated by FERRAR FENTON, M.R.A.S.&lt;br /&gt;
S. W. Partridge &amp;amp; Co. 10s. n.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE NORTH COAST OF CORNWALL FROM CONSTANTINE&lt;br /&gt;
BAY TO CRACKINGTON HAVEN ; NEWTON ABBOT AND&lt;br /&gt;
ITS NEIGHBOURING WILLAGES. By BEATRIX F. CRESS-&lt;br /&gt;
WELL. 7% x 5. The Homeland Association. 13. In.&lt;br /&gt;
BRIGHTON : ITS HISTORY, ITS FOLLIES, AND ITS FASHIONS.&lt;br /&gt;
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Hall. 103. 6d. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
MADRID. An Historical Description and Hand-book of the&lt;br /&gt;
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453 plates. Lane.&lt;br /&gt;
B. W. Dodge &amp;amp; Co. $1.50.&lt;br /&gt;
ARAMINTA. By J. C. SNAITH. 423 pp.&lt;br /&gt;
Co. $1.50.&lt;br /&gt;
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day, Page &amp;amp; Co. $1.50.&lt;br /&gt;
THE PILGRIM&amp;#039;s MARCH. By H. H. BASHFoRD. 320 pp.&lt;br /&gt;
Henry Holt &amp;amp; Co. $1.50.&lt;br /&gt;
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329 pp. Edward J.&lt;br /&gt;
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LORD AVEBURY, P.C., etc. 386 pp. Macmillan &amp;amp; Co.&lt;br /&gt;
$1.50 m.&lt;br /&gt;
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THE STORY OF PISA. By JANET ROSS and NELLY.&lt;br /&gt;
ERICHSEN. Macmillan. $1.50 m.&lt;br /&gt;
POETRY.&lt;br /&gt;
SALVAGE. By Owen SEAMAN.&lt;br /&gt;
Co. $1.25 m.&lt;br /&gt;
151 pp. Henry Holt &amp;amp;&lt;br /&gt;
REPRINTS.&lt;br /&gt;
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ARTHUR SYMONs. Oxford University Press. 90 cel,ts. n.&lt;br /&gt;
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A TREATISE ON ZOOſ, OGY. Part I. Introduction and&lt;br /&gt;
Protozoa. Edited by SIR EDWIN RAY LANKESTER,&lt;br /&gt;
Macmillan. $2.25 m.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
A COMMENTARY ON THE HOLY BIBLE. By Various.&lt;br /&gt;
Writers. With general articles and maps. Under the&lt;br /&gt;
direction of the REV. J. R. DUMMELOW. Macmillan.&lt;br /&gt;
$2.50 m.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 175 (#227) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UTISIOR.&lt;br /&gt;
175&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
R. JOHN LONG announces a new novel by&lt;br /&gt;
Dorothea Gerard, entitled &ldquo;Pomp and&lt;br /&gt;
Circumstance,&rdquo; which exemplifies the&lt;br /&gt;
disaster that follows in the train of a marriage&lt;br /&gt;
where there is no communion of mind or purpose.&lt;br /&gt;
Messrs. Crewsher &amp;amp; Co. have added to their&lt;br /&gt;
School series songs by L. Budgen and R. Goldbeck,&lt;br /&gt;
entitled respectively, &ldquo;The Sunbeams,&rdquo; &ldquo;Rub-a-&lt;br /&gt;
dub, dub,&rdquo; &ldquo;Freddie&amp;#039;s Garden,&rdquo; and &ldquo;Morn and&lt;br /&gt;
Eve.&rdquo;&lt;br /&gt;
Mrs. Alfred Sidgwick&amp;#039;s new novel, &ldquo;The&lt;br /&gt;
Severins,&rdquo; will appear serially in the weekly&lt;br /&gt;
edition of The Times, and will be published in&lt;br /&gt;
volume form in the autumn by Messrs. Methuen&lt;br /&gt;
&amp;amp; Co. Mrs. Sidgwick has also written a little&lt;br /&gt;
account of &ldquo;German Life,&rdquo; which will be included&lt;br /&gt;
in Messrs. A. and C. Black&amp;#039;s Series, &ldquo;Peeps at&lt;br /&gt;
Many Lands.&rdquo;&lt;br /&gt;
Another book for children, written in collabora-&lt;br /&gt;
tion with Mrs. Paynter, will not be out until the&lt;br /&gt;
autumn.&lt;br /&gt;
Mrs. Sidgwick&amp;#039;s novel, &ldquo;Cynthia&amp;#039;s Way,&rdquo; which&lt;br /&gt;
reached a fifth impression, is just about to appear&lt;br /&gt;
in Nelson&amp;#039;s Sevenpenny Reprints. A later novel,&lt;br /&gt;
&ldquo;The Professor&amp;#039;s Legacy,&rdquo; has been bought by the&lt;br /&gt;
Amalgamated Press, and will appear in a cheap&lt;br /&gt;
form during the year.&lt;br /&gt;
Messrs. Crosby, Lockwood &amp;amp; Son have just&lt;br /&gt;
published a handbook for engineers on Com-&lt;br /&gt;
pressed Air Work and Diving, by Mr. G. W. M.&lt;br /&gt;
Boycott. The work comprises deep-water diving&lt;br /&gt;
and the use of compressed air for sinking caissons&lt;br /&gt;
and cylinders, and for driving subaqueous tunnels.&lt;br /&gt;
Perspective drawings and photographs, diagrams,&lt;br /&gt;
working drawings, and tables illustrate the volume,&lt;br /&gt;
which is published at 10s. 6d. net.&lt;br /&gt;
Mr. Carlton Dawe&amp;#039;s new novel is published in&lt;br /&gt;
England by Messrs. Stanley Paul &amp;amp; Co., under the&lt;br /&gt;
title of &ldquo;The New Andromeda &amp;quot;; and in America&lt;br /&gt;
by the Stuvesant Press, with the title of &ldquo;The&lt;br /&gt;
Woman, the Nun, and the Monastery.&rdquo;&lt;br /&gt;
Mr. G. S. Layard&amp;#039;s new novel, &ldquo;Wax,&rdquo; will be&lt;br /&gt;
published this month by George Allen &amp;amp; Sons.&lt;br /&gt;
The adventures of the heroine include a night&lt;br /&gt;
spent in the weird surroundings of Madame&lt;br /&gt;
Tussaud&amp;#039;s famous exhibition. Hence the title.&lt;br /&gt;
Mr. Werner Laurie is about to issue a shilling&lt;br /&gt;
edition of &ldquo;The Complete Fisherman,&rdquo; by W. M.&lt;br /&gt;
Gallich in.&lt;br /&gt;
A new book, by Mr. William Toynbee, entitled&lt;br /&gt;
&ldquo;Glimpses of the Twenties,&rdquo; was published last&lt;br /&gt;
month by Messrs. Archibald Constable &amp;amp; Co. The&lt;br /&gt;
volume, which is kindred in character to the author&amp;#039;s&lt;br /&gt;
&ldquo;Wignettes of the Regency,&rdquo; deals with the principal&lt;br /&gt;
personages and events of the decade preceding the&lt;br /&gt;
reform period, and comprises studies of George IV.,&lt;br /&gt;
his courtiers and principal ministers&mdash;particular&lt;br /&gt;
prominence being given to Castlereagh and&lt;br /&gt;
Canning. --&lt;br /&gt;
&ldquo;The Stairway of Honour&amp;quot; is the title of a&lt;br /&gt;
Volume of short stories by Mrs. Stepney Rawson,&lt;br /&gt;
which Messrs. Mills &amp;amp; Boon are publishing imme-&lt;br /&gt;
diately. A long novel from the same writer will&lt;br /&gt;
be published in the summer by Messrs. Methuen.&lt;br /&gt;
&ldquo;The Story of the Submarine,&rdquo; by Colonel C.&lt;br /&gt;
Field, is a history of submarine navigation from&lt;br /&gt;
the Middle Ages to the present year. The actual&lt;br /&gt;
construction and work of submarines is explained,&lt;br /&gt;
With over one hundred sketches and diagrams,&lt;br /&gt;
which, however, are in no way technical.&lt;br /&gt;
Messrs. Schott &amp;amp; Co. are the publishers of&lt;br /&gt;
Mr. Theodore Holland&amp;#039;s composition, &ldquo;Chanson&lt;br /&gt;
d&amp;#039;Amour,&rdquo; for violin and pianoforte.&lt;br /&gt;
The annual general meeting of the Royal&lt;br /&gt;
Literary Fund was held at Denison House, Vaux-&lt;br /&gt;
hall Bridge Road, on March 10. In the absence&lt;br /&gt;
of Lord Tennyson, the president of the fund, the&lt;br /&gt;
chair was taken by Sir Alfred Bateman. In&lt;br /&gt;
moving the adoption of the report, which disclosed&lt;br /&gt;
an actual expenditure in grants of &pound;2,880, or&lt;br /&gt;
&pound;800 more than in the previous year, the chair-&lt;br /&gt;
man stated that the demands made upon the fund&lt;br /&gt;
showed no signs of falling off, but pointed out&lt;br /&gt;
that whereas they used to give smaller grants to a&lt;br /&gt;
larger number of people, they now distributed&lt;br /&gt;
larger grants to a smaller number of people.&lt;br /&gt;
Their aim, he stated, was to relieve only those of&lt;br /&gt;
real literary merit, and they were now more&lt;br /&gt;
particular with regard to those to whom grants&lt;br /&gt;
were made.&lt;br /&gt;
The report was adopted, and Lord Tennyson&lt;br /&gt;
re-elected president, the proceedings being brought&lt;br /&gt;
to a conclusion with a vote of thanks to the&lt;br /&gt;
chairman. -&lt;br /&gt;
Following her recent lecture on Kryloff at the&lt;br /&gt;
Lyceum Club, Miss A. E. Keeton gave a few more&lt;br /&gt;
of her translations of his fables at the musical meet-&lt;br /&gt;
ing of the Slavonic Circle, Thursday, March 11,&lt;br /&gt;
at 4.30. The readings included &ldquo;The Ant,&rdquo;&lt;br /&gt;
&ldquo;The Lonely Man and the Bear,&rdquo; and &ldquo;Trishka&amp;#039;s&lt;br /&gt;
Coat.&rdquo; Madame Anna Kipman also sang several&lt;br /&gt;
of Rubinstein&amp;#039;s settings of Kryloff for soprano&lt;br /&gt;
voice and pianoforte, and other Russian songs.&lt;br /&gt;
Mr. Wlad&eacute;mir F&eacute;ocritov sang bass arias from&lt;br /&gt;
Russian operas.&lt;br /&gt;
Mr. Henry Holman has written, and Messrs.&lt;br /&gt;
Longmans have published, a volume on Pestalozzi,&lt;br /&gt;
The author&amp;#039;s aim has been to provide students with&lt;br /&gt;
an easy introduction to the study of educational&lt;br /&gt;
biography by means of appeals to original sources.&lt;br /&gt;
To this end full and frequent quotations are given&lt;br /&gt;
from Pestalozzi&amp;#039;s own writings and from the writings&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 176 (#228) ############################################&lt;br /&gt;
&lt;br /&gt;
176&lt;br /&gt;
TISIES A [ſ&ordm;]HOR,&lt;br /&gt;
of those who knew him and worked with him.&lt;br /&gt;
Analyses of his theories and methods are also given&lt;br /&gt;
on the same lines. Combined with the above is a&lt;br /&gt;
connected account of his life, and an appreciation&lt;br /&gt;
and criticism of the man and his work.&lt;br /&gt;
&ldquo;Sangimiguano,&rdquo; by Jean Carlyle Graham and&lt;br /&gt;
Elizabeth M. Derbishire, is to be published at once&lt;br /&gt;
by Ermauno Loescher &amp;amp; Co., Rome, the firm which&lt;br /&gt;
published Mrs. Jean Carlyle Graham&amp;#039;s former&lt;br /&gt;
illustrated art-history work, &ldquo;The Problem of&lt;br /&gt;
Fiorenzo di Lorenzo of Perugia,&rdquo; in 1903.&lt;br /&gt;
A People&amp;#039;s Edition of Mr. Ferrar Fenton&amp;#039;s&lt;br /&gt;
&ldquo;Complete Bible in Modern English &rsquo; has been&lt;br /&gt;
published by Messrs. S. W. Partridge &amp;amp; Co., at&lt;br /&gt;
the price of 10s. net. The same writer&rsquo;s &ldquo;New&lt;br /&gt;
Testament in Modern English &rsquo;&rsquo; is also obtainable&lt;br /&gt;
from the same firm, the price being 18. net.&lt;br /&gt;
The latest additions to Messrs. J. M. Dent &amp;amp; Co.&amp;#039;s&lt;br /&gt;
&ldquo;Everyman&amp;#039;s Library&rdquo; are the selection of Cicero&amp;#039;s&lt;br /&gt;
Letters and Essays, prefaced by the sketch written&lt;br /&gt;
by De Quincey ; and a selection of the series of&lt;br /&gt;
literary portraits by George Gilfillan typifying the&lt;br /&gt;
school of criticism of which he was almost the last&lt;br /&gt;
leader. This selection has been edited and con-&lt;br /&gt;
tains an introduction by Dr. Robertson Nicoll.&lt;br /&gt;
Mr. Lewis Melville&amp;#039;s new book, &ldquo;Brighton : its&lt;br /&gt;
History, its Follies and its Fashions&amp;quot; has recently&lt;br /&gt;
been published by Messrs. Chapman &amp;amp; Hall. The&lt;br /&gt;
same writer, in conjunction with his wife, has com-&lt;br /&gt;
piled an anthology of prose and verse passages&lt;br /&gt;
bearing on London. Messrs. Bell are the publishers&lt;br /&gt;
of the latter volume which bears the title of&lt;br /&gt;
&ldquo;London&rsquo;s Lure.&rdquo;&lt;br /&gt;
On February 25 Mr. Cecil J. Sharp delivered&lt;br /&gt;
the first of three concert-lectures on the subject&lt;br /&gt;
of English folk-songs. At this lecture Mr.&lt;br /&gt;
Sharp touched upon the origin of folk-songs, and&lt;br /&gt;
pointed out that they belonged to the people, that&lt;br /&gt;
they were created as a communal effort at a time&lt;br /&gt;
when society was homogeneous and not individual&lt;br /&gt;
as now. He traced the development of the song&lt;br /&gt;
from the stage at which it was used to accompany&lt;br /&gt;
the dance, through the &ldquo;acted &amp;#039;&amp;#039; songs to the&lt;br /&gt;
songs used to accompany an occupation, and&lt;br /&gt;
through the cumulative song to its restricted form&lt;br /&gt;
in the &ldquo;situation &rdquo; ballad to the narrative song.&lt;br /&gt;
In treating of the antiquity of the songs the&lt;br /&gt;
lecturer pointed out that though in some cases the&lt;br /&gt;
process of their being banded down from mouth to&lt;br /&gt;
mouth may suggest certain comparatively modern&lt;br /&gt;
qualities, yet for the most part the basis of the&lt;br /&gt;
tune is clear, no less than the remoteness of the&lt;br /&gt;
period to which it belongs.&lt;br /&gt;
Interpretations of the songs were rendered by&lt;br /&gt;
children from the Elementary School of St. Mary,&lt;br /&gt;
Paddington, while single examples of folk-song&lt;br /&gt;
were given by Miss Mattie Kay, accompanied by&lt;br /&gt;
Mr. Sharp.&lt;br /&gt;
Mr. Heinemann has published a new novel, by&lt;br /&gt;
John Galsworthy, entitled &ldquo;Fraternity.&rdquo; This&lt;br /&gt;
book is described as a study of modern men and&lt;br /&gt;
Women, with the same character-drawing as dis-&lt;br /&gt;
tinguished &ldquo;The Country House&rdquo; and &ldquo;A Man of&lt;br /&gt;
Property.&rdquo;&lt;br /&gt;
&ldquo;A Bishop in the Rough,&rdquo; which Messrs. Smith,&lt;br /&gt;
Elder &amp;amp; Co. will shortly publish, is the record of&lt;br /&gt;
eight adventurous years in the early life of Dr.&lt;br /&gt;
Sheepshanks, the present Bishop of Norwich.&lt;br /&gt;
Pioneer priest in British Columbia, missioner to&lt;br /&gt;
gold-miners and aboriginal Indians, he was also a&lt;br /&gt;
notable traveller, crossing two continents with such&lt;br /&gt;
unusual experiences as preaching to Brigham Young&lt;br /&gt;
and his people in Salt Lake City, and witnessing,&lt;br /&gt;
as no other Englishman has done, the adoration of&lt;br /&gt;
the Grand Lama in the heart of Mongolia. The&lt;br /&gt;
book is edited and supplemented by the Rev. D.&lt;br /&gt;
Wallace Duthie, and has a preface by the Bishop,&lt;br /&gt;
and several illustrations.&lt;br /&gt;
&ldquo;So Very Human&rdquo; is, the title of Miss Victoria&lt;br /&gt;
Maitland&amp;#039;s new story, published by the Century&lt;br /&gt;
Press, publishers of the same writer&rsquo;s &ldquo;Hub of&lt;br /&gt;
Life.&rdquo; The present story is that of a girl admir-&lt;br /&gt;
ably gifted by Nature, but weighed down by birth&lt;br /&gt;
and environment, and heavily handicapped by an&lt;br /&gt;
unsuspicious temperament.&lt;br /&gt;
Cullen Gouldsbury has for some time past been&lt;br /&gt;
engaged upon a long novel for Mr. Eveleigh Nash,&lt;br /&gt;
dealing with the colour question. The scene is&lt;br /&gt;
laid in Europe and in Central Africa, and the&lt;br /&gt;
book will probably be published in the autumn.&lt;br /&gt;
The latest addition to the World&rsquo;s Classics is&lt;br /&gt;
George Eliot&rsquo;s &ldquo;Scenes of Clerical Life.&rdquo; The&lt;br /&gt;
volume contains an introduction by Miss Annie&lt;br /&gt;
Matheson, and, like its predecessors, is published&lt;br /&gt;
by the Oxford University Press. -&lt;br /&gt;
Mr. G. Sidney Paternoster&amp;#039;s new novel, &ldquo;The&lt;br /&gt;
Hand of the Spoiler,&rdquo; has for its central figure one&lt;br /&gt;
Lynton Hora, who, because of some fancied wrong,&lt;br /&gt;
declares war upon society, which he plunders&lt;br /&gt;
remorselessly. He has also a private hate to&lt;br /&gt;
gratify, and to this end he kidnaps the son of the&lt;br /&gt;
man whom he views as his enemy, and educates&lt;br /&gt;
him according to a criminal philosophy, which com-&lt;br /&gt;
bines Nietzschean theories with Fagan practices.&lt;br /&gt;
Messrs. Hodder &amp;amp; Stoughton are the publishers.&lt;br /&gt;
We have received a publication called Broad-&lt;br /&gt;
side, which is published monthly by E. C. Yeats,&lt;br /&gt;
at the Cuala Press, Churchtown, Dundrum, County&lt;br /&gt;
Dublin, and illustrated by Jack B. Yeats. The&lt;br /&gt;
issue under notice contains a street ballad called&lt;br /&gt;
&ldquo;World.&rdquo; The subscription is 128. a year, and&lt;br /&gt;
the monthly issue is limited to 300 copies.&lt;br /&gt;
&ldquo;French and English Parallels,&rdquo; by F. R.&lt;br /&gt;
Fursdon (Messrs. Methuen &amp;amp; Co.), is an advanced&lt;br /&gt;
class book for the study of languages. It consists&lt;br /&gt;
of a selection in three parts of French and English,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 177 (#229) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR.&lt;br /&gt;
177&lt;br /&gt;
idiomatical phrases, idioms, and metaphors, and a&lt;br /&gt;
consecutive chain of maxims and proverbs expressing&lt;br /&gt;
the varied circumstances of life.&lt;br /&gt;
Mr. Werner Laurie is just publishing an illus-&lt;br /&gt;
trated volume, &ldquo;Stories from the Greek Legends,&rdquo;&lt;br /&gt;
by C. Gasquoine Hartley. In this book a selec-&lt;br /&gt;
tion of the Greek Legends that have been world&lt;br /&gt;
favourites are told simply as stories to interest all&lt;br /&gt;
young people, and an undue use of difficult names&lt;br /&gt;
is avoided. These Legends appeal strongly to the&lt;br /&gt;
young mind. They have become an inseparable&lt;br /&gt;
part of the literature and art of every nation ; and&lt;br /&gt;
it is of the utmost importance that they should be&lt;br /&gt;
known to children while their imagination is&lt;br /&gt;
young, so that for them the old myths may live.&lt;br /&gt;
At first they will recall them as fairy stories, but&lt;br /&gt;
afterwards the delight gained will lead them to a&lt;br /&gt;
love of the purest and finest literature in the&lt;br /&gt;
world.&lt;br /&gt;
We regret that we made an erroneous statement&lt;br /&gt;
of the price of &ldquo;Britain&amp;#039;s Great Authors&rdquo; in the&lt;br /&gt;
notice of this work which appeared in our last&lt;br /&gt;
issue. The price is one guinea, and not half a&lt;br /&gt;
guinea, as we stated, and we tender our apologies&lt;br /&gt;
to the Fine Art Publishing Company for the slip.&lt;br /&gt;
Messrs. George Bell &amp;amp; Sons have published&lt;br /&gt;
Mr. Morley Steynor&amp;#039;s two historical plays,&lt;br /&gt;
&ldquo;Lancelot and Elaine,&rdquo; and &ldquo;Lancelot and&lt;br /&gt;
Guenevere,&rdquo; both of which were performed for&lt;br /&gt;
copyright purposes at the Bijou Theatre, on&lt;br /&gt;
April 8, 1905.&lt;br /&gt;
On the last day of February, two one-act plays,&lt;br /&gt;
adapted by Ella Erskine from the German, were&lt;br /&gt;
produced at the Rehearsal Theatre, Maiden Lane.&lt;br /&gt;
One was entitled &ldquo;Fifi &amp;#039; and the other &ldquo;The&lt;br /&gt;
Friends.&rdquo; The name-part in the former play was&lt;br /&gt;
taken by the adapter. Included in the cast&lt;br /&gt;
was Mr. C. Leveson Lane, while Miss Victoria&lt;br /&gt;
Addison acted in &ldquo;The Friends.&rdquo;&lt;br /&gt;
&ldquo;The Spare Room,&rdquo; a one-act play by E. M.&lt;br /&gt;
Bryant, was produced on February 27 in front of&lt;br /&gt;
&ldquo;A Real Woman.&rdquo; Miss Alice Beet as Kesiah&lt;br /&gt;
Crawford, Miss Amy Lamborn as Jane Crawford,&lt;br /&gt;
Mr. Lytton Grey as Henry (her brother), and Miss&lt;br /&gt;
Gwendolen Wren as Dulcie, formed the cast.&lt;br /&gt;
A one-act play called &ldquo;Ezra Solomon,&rdquo; by Major&lt;br /&gt;
Arthur Layard and Leopold Pam, was first per-&lt;br /&gt;
formed at the Palace Theatre on March 1. The&lt;br /&gt;
piece, which it was found , necessary owing to&lt;br /&gt;
the exigencies of the music-hall stage, to cut to&lt;br /&gt;
nearly half its length, deals with the efforts of a&lt;br /&gt;
rich old Jew (who has the welfare of his persecuted.&lt;br /&gt;
race at heart) to secure an interview with an&lt;br /&gt;
influential High Chancellor of Music, in order to&lt;br /&gt;
enlist his sympathy at a conference upon Jewish&lt;br /&gt;
emancipation which is imminent.&lt;br /&gt;
In order to attain his object he offers a thousand&lt;br /&gt;
roubles for &ldquo;one word&rdquo; with the prince, and the&lt;br /&gt;
latter, who is cold-blooded and cruel, insists on&lt;br /&gt;
interpreting the phrase quite literally. The rest&lt;br /&gt;
of the play is concerned with the dilemma of the&lt;br /&gt;
Jew to concentrate all his eloquence on behalf of&lt;br /&gt;
his people into one word, and shows the means by&lt;br /&gt;
which he attained success.&lt;br /&gt;
The cast includes Mr. Louis Calvert as the Jew,&lt;br /&gt;
Mr. William Haviland as Prince Saratoff, Mr.&lt;br /&gt;
Sebastian Smith, and Miss Lucie Caine.&lt;br /&gt;
Mrs. Mabel Dearmer&amp;#039;s play, &ldquo;Nan Pilgrim,&rdquo;&lt;br /&gt;
produced by the Dramatic Production Club, at&lt;br /&gt;
the Court Theatre, on the afternoon of March 8,&lt;br /&gt;
relates to an estrangement between an overworked&lt;br /&gt;
parish priest and his wife, due to the action of the&lt;br /&gt;
latter who, in order to purchase the necessities for&lt;br /&gt;
her husband&amp;#039;s cure, poses as a model for an artist&lt;br /&gt;
friend without disclosing the fact to her husband.&lt;br /&gt;
Mr. Arthur Holmes-Gore, as the Rev. John&lt;br /&gt;
Pilgrim, and Miss Lilian Braithwaite were respon-&lt;br /&gt;
sible for the two leading parts; while others&lt;br /&gt;
included in the cast were Mr. Ben Webster, Miss&lt;br /&gt;
Evelyn Weeden, and Mr. William Haviland.&lt;br /&gt;
Mr. John Galsworthy&amp;#039;s drama, &ldquo;Strife,&rdquo; was pro-&lt;br /&gt;
duced at the Duke of York&amp;#039;s Theatre, on the&lt;br /&gt;
afternoon of March 9. The strife with which&lt;br /&gt;
the play deals is consequent on a strike, which is&lt;br /&gt;
prolonged by the obstimacy of the chairman of the&lt;br /&gt;
company on the one hand, and the over-zealous&lt;br /&gt;
altruism of one of the workmen on the other.&lt;br /&gt;
When, eventually, the strike is brought to an end,&lt;br /&gt;
the terms of settlement are identical with those&lt;br /&gt;
which might have been accepted before the fighting&lt;br /&gt;
had begun. *&lt;br /&gt;
Included in the cast are Miss Lillah Macarthy,&lt;br /&gt;
Mr. Dennis Eadie, Mr. Norman McKinnel, and&lt;br /&gt;
Mr. J. Fisher White.&lt;br /&gt;
&ldquo;The Song of Liberty,&rdquo; a romantic drama in&lt;br /&gt;
three acts, by Mary C. Rowsell and H. A. Saints-&lt;br /&gt;
bury, is in course of preparation for a trial per-&lt;br /&gt;
formance during April at a West End theatre.&lt;br /&gt;
The rights of this piece in translation were acquired&lt;br /&gt;
some time since for the Swedish stage. The&lt;br /&gt;
drama is based on Lamartine&amp;#039;s account of the&lt;br /&gt;
composition of the &ldquo;Marseillaise&rdquo; by Rouget de&lt;br /&gt;
l&amp;#039;Isle, and the recurrent choruses throughout of&lt;br /&gt;
&ldquo;The Song&rdquo; enhance the effect of the romantic&lt;br /&gt;
and stirring details which take place during the&lt;br /&gt;
height of the Terror. These choruses, and a&lt;br /&gt;
violin solo on the same theme, will probably be&lt;br /&gt;
undertaken by &ldquo;The Edward Mason Choir.&rdquo;&lt;br /&gt;
Mr. A. E. W. Mason&amp;#039;s new play, &ldquo;Colonel Smith,&rdquo;&lt;br /&gt;
will be Mr. George Alexander&amp;#039;s next production at&lt;br /&gt;
the St. James&amp;#039;s Theatre. The action of the play&lt;br /&gt;
has for its background the excitement of a Parlia-&lt;br /&gt;
mentary election, but the political element is only&lt;br /&gt;
a secondary thread of the story. In the cast, with&lt;br /&gt;
Mr. Geo. Alexander, will be Miss Irene Wambrugh.&lt;br /&gt;
Mr. R. C. Carton&amp;#039;s new play, which is being&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 178 (#230) ############################################&lt;br /&gt;
&lt;br /&gt;
178&lt;br /&gt;
TISIE AUTHOR,&lt;br /&gt;
rehearsed for production at the Criterion, will be&lt;br /&gt;
interpreted by a cast which will include Miss&lt;br /&gt;
Compton, Mr. Weedon Grossmith, and Mr. Lytton&lt;br /&gt;
Grey.&lt;br /&gt;
&ordm;the Noble Spaniard,&rdquo; adapted from the French&lt;br /&gt;
by Mr. W. Somerset Maugham, was produced at&lt;br /&gt;
the Royalty on March 20. Mr. Charles Hawtrey&lt;br /&gt;
in the title r&ocirc;le, and Miss Kate Cutler and Miss&lt;br /&gt;
Fanny Brough helped to form a cast, which&lt;br /&gt;
included also Miss Annie Cleaver and Mr. Athol&lt;br /&gt;
Stewart. .&lt;br /&gt;
A dramatised version of Mr. Stanley Weyman&amp;#039;s&lt;br /&gt;
novel, &ldquo;Count Hannibal,&rdquo; the joint work of&lt;br /&gt;
Mr. Norreys Connell and Mr. Oscar Asche, was&lt;br /&gt;
produced by the latter at the Prince of Wales&amp;#039;s&lt;br /&gt;
Theatre, Bristol, towards the end of March.&lt;br /&gt;
The play closely follows the book, and opens, as&lt;br /&gt;
in the book, with a scene in the ante-chamber in&lt;br /&gt;
the Louvre ; and one of the chief scenes is in the&lt;br /&gt;
act in which Miss Brayton figures with the mob&lt;br /&gt;
and Hannibal, concluding with the escape of her&lt;br /&gt;
lover, Tignonville.&lt;br /&gt;
* ~~ a&lt;br /&gt;
v-v- w&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
IN &ldquo;Colette Baudoche&rdquo; M. Maurice Barr&egrave;s&lt;br /&gt;
gives us a simple story of a young girl of&lt;br /&gt;
Metz. It is very much the same theme as&lt;br /&gt;
his other book, &ldquo;Au Service de l&rsquo;Allemagne.&rdquo;&lt;br /&gt;
Fr&eacute;d&eacute;ric Asmus, a German professor, is in love&lt;br /&gt;
with Colette, and wishes to marry her. After some&lt;br /&gt;
hesitation, the young girl refuses, feeling that she&lt;br /&gt;
must remain faithful to her country. The story&lt;br /&gt;
is simple, but exquisitely pathetic, for this young&lt;br /&gt;
girl represents Lorraine, and the professor the ever&lt;br /&gt;
encroaching Germany.&lt;br /&gt;
&ldquo;La Vie Int&eacute;rieure,&rdquo; by Mme. Ren&eacute; Waltz, is a&lt;br /&gt;
remarkable psychological study, in the form of a&lt;br /&gt;
novel, of a certain type of Frenchwoman of to-day.&lt;br /&gt;
The author has studied her subject carefully, and&lt;br /&gt;
given us a true picture of life as it is in many&lt;br /&gt;
hundreds of French families.&lt;br /&gt;
story, with very little plot and no stirring episodes.&lt;br /&gt;
The events are described just as they might happen&lt;br /&gt;
in so many French homes. Each character is&lt;br /&gt;
carefully drawn, and has a strong individuality.&lt;br /&gt;
It is distinctly a roman &agrave; th&egrave;t, but unlike so many&lt;br /&gt;
of such novels, the personages are not treated as&lt;br /&gt;
marionettes merely to prove the truth of the&lt;br /&gt;
author&amp;#039;s theory.&lt;br /&gt;
M. Claude Farr&egrave;re, to whom the Goncourt&lt;br /&gt;
Academy prize was awarded for a former book,&lt;br /&gt;
gives us a remarkable novel, entitled &ldquo;La Bataille.&rdquo;&lt;br /&gt;
He shows us Japan as it really is, with its passionate&lt;br /&gt;
love for its old traditions, and its dislike of&lt;br /&gt;
European civilisation, which it nevertheless adopts.&lt;br /&gt;
It is a very simple&lt;br /&gt;
In Georges Ohnet&rsquo;s &ldquo;Un Mariage am&eacute;ricain&rsquo;&rdquo;&lt;br /&gt;
(Ollendorff) the love story is most romantic. A&lt;br /&gt;
millionaire, in love with a young girl, does not&lt;br /&gt;
hesitate to ruin her father, thus constituting himself&lt;br /&gt;
her benefactor. There is a second story of a very&lt;br /&gt;
different note in the same volume.&lt;br /&gt;
M. L&eacute;on Berthaut continues his series of Sea&lt;br /&gt;
Stories with a volume of short ones, entitled &ldquo;Le&lt;br /&gt;
Peuple de la Mer.&rdquo; To all who have read &ldquo;Le&lt;br /&gt;
Pilote No. 10,&rdquo; and &ldquo;L&rsquo;Absente,&rdquo; this new&lt;br /&gt;
addition will be very welcome. The author gives&lt;br /&gt;
Some very thrilling stories of heroism by seafaring&lt;br /&gt;
folk of Normandy, Brittany, and Newfoundland.&lt;br /&gt;
He has taken as an epitaph those words of Michelet:&lt;br /&gt;
&ldquo;I have lived a long time on the sea-coast, and&lt;br /&gt;
heroic deeds, which would be remarked on inland&lt;br /&gt;
as rare events, are episodes of every-day life near&lt;br /&gt;
the Sea.&rdquo; M. L&eacute;on Berthaut&amp;#039;s name is among&lt;br /&gt;
those on the list of promotions this year. He has&lt;br /&gt;
received the Order of Knight of the Legion of&lt;br /&gt;
Honour.&lt;br /&gt;
Guy Chantepleure, the author of &ldquo;Fianc&eacute;e&lt;br /&gt;
d&amp;#039;Avril,&rdquo; a novel which won an Academy prize,&lt;br /&gt;
has now published another volume, entitled &ldquo;La&lt;br /&gt;
Folle Histoire de Fridoline.&rdquo;&lt;br /&gt;
&ldquo;Secrets d&amp;#039;Etat&rdquo; is the title of an amusing&lt;br /&gt;
book by Tristan Bernard. The State about which&lt;br /&gt;
we learn the Secrets is said to be situated in&lt;br /&gt;
Central Europe, and to be called Schoenburg.&lt;br /&gt;
Rarely has such sustained interest been felt in&lt;br /&gt;
connection with an author&amp;#039;s centenary as that&lt;br /&gt;
which was evident throughout France on the&lt;br /&gt;
occasion of Barbey d&amp;#039;Aurevilly&amp;#039;s hundredth anni-&lt;br /&gt;
versary. His portrait, accompanied by long&lt;br /&gt;
articles, was in all the papers. Lectures were&lt;br /&gt;
given on him and on his work, and this series of&lt;br /&gt;
lectures still continues. Paul Bourget&amp;#039;s is awaited&lt;br /&gt;
with great interest. Books and pamphlets have&lt;br /&gt;
also appeared. One of the most curious of the&lt;br /&gt;
former is the collection of letters from Barbey&lt;br /&gt;
d&rsquo;Aurevilly himself to Trebutien, his publisher at&lt;br /&gt;
Caen. The letters are charming. Many of them&lt;br /&gt;
are masterpieces of style and originality. It seems&lt;br /&gt;
almost incredible that, besides the enormous amount&lt;br /&gt;
of literary work done by Barbey d&rsquo;Aurevilly, he&lt;br /&gt;
should have found time to write volumes of such&lt;br /&gt;
letters.&lt;br /&gt;
&ldquo;Wingt jours parmi les Sinistr&eacute;s,&rdquo; by Dr.&lt;br /&gt;
Bouloumi&eacute;, is an account of the experiences of&lt;br /&gt;
the French Croix-Rouge on its recent expedition&lt;br /&gt;
to Naples, Calabria, and Sicily.&lt;br /&gt;
&ldquo;Cent Pastels du XVIII* si&egrave;cle &amp;#039;&amp;#039; is the title of&lt;br /&gt;
a volume containing a hundred reproductions of&lt;br /&gt;
some of the most famous pastels of Boucher,&lt;br /&gt;
Chardin, Perroneau, Rosalba Carriera, Greuze, and&lt;br /&gt;
other celebrated artists. The preface is by Albert&lt;br /&gt;
Besnard, and all those who had the good fortune&lt;br /&gt;
to hear the CauSerie given last year by the great&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 179 (#231) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
179&lt;br /&gt;
French artist in the Georges Petit Gallery on this&lt;br /&gt;
subject, will be glad of an opportunity of reading&lt;br /&gt;
this study of Pastels from the pen of so competent&lt;br /&gt;
a judge.&lt;br /&gt;
M. Georges Duval has just brought out his&lt;br /&gt;
eighth and last volume of the translation of Shake-&lt;br /&gt;
speare&amp;#039;s dramatic works.&lt;br /&gt;
&ldquo;La Pens&eacute;e de Ruskin,&rdquo; by Andr&eacute; Chevrillon,&lt;br /&gt;
is a study of the development of the principal ideas&lt;br /&gt;
of Ruskin and the influence these have had in&lt;br /&gt;
England. The author writes with his usual clear-&lt;br /&gt;
ness and charm, and it is very evident that the&lt;br /&gt;
subject is one which he has studied carefully and&lt;br /&gt;
thoughtfully.&lt;br /&gt;
In the recent numbers of the Revue de Paris&lt;br /&gt;
Anatole France continues the publication of &ldquo;La&lt;br /&gt;
Chemise,&rdquo; and Mathilde Serao of &ldquo;Wive la Vie.&rdquo;&lt;br /&gt;
There is also an article by Henri van Dyke on&lt;br /&gt;
Edgar Allan Poe, and another by Victor B&eacute;rard on&lt;br /&gt;
&ldquo;La Serbie et l&amp;#039;Europe.&rdquo;&lt;br /&gt;
In the last numbers of La Revue hebdomadaire&lt;br /&gt;
there is an article on Mme. R&eacute;camier, by Jules&lt;br /&gt;
Lemaitre, and one by Ren&eacute; Doumie on George&lt;br /&gt;
Sand. Mme. Juliette Adam publishes a short story&lt;br /&gt;
entitled &ldquo;L&rsquo;Esquiros,&rdquo; and Edouard Rod an article&lt;br /&gt;
on Benjamin Constant.&lt;br /&gt;
Madame Dumont-Lindemann, the well-known&lt;br /&gt;
directress of the D&uuml;sseldorf theatre, has been giving&lt;br /&gt;
a series of plays at the Th&eacute;&acirc;tre Marigny. With&lt;br /&gt;
her husband as stage manager, taking also one of&lt;br /&gt;
the chief r&ocirc;les in the various pieces, she has been&lt;br /&gt;
able to give an excellent idea of her theories with&lt;br /&gt;
regard to the interpretation of modern dramatic art.&lt;br /&gt;
It is her intention to return to Paris and to give&lt;br /&gt;
a series of representations of Goethe&amp;#039;s &ldquo;Faust.&rdquo;&lt;br /&gt;
&ldquo;Les Grands,&rdquo; a play in four acts by MM. Pierre&lt;br /&gt;
Weber and Serge Basset, has been given with success&lt;br /&gt;
at the Od&eacute;on. &ldquo;Beethoven&rsquo;&rsquo; is now being pro-&lt;br /&gt;
duced. At the Renaissance &ldquo;L&rsquo;Oiseau bless&eacute;,&rdquo; a&lt;br /&gt;
play in four acts by M. Alfred Capus, has been&lt;br /&gt;
running for some time, and at the Vaudeville&lt;br /&gt;
&ldquo;Le Lys,&rdquo; by MM. Pierre Wolff and Gaston&lt;br /&gt;
Leroux.&lt;br /&gt;
The Grand Guignol has just produced another&lt;br /&gt;
play by Charles Foley, the author of &ldquo;Heard at&lt;br /&gt;
the Telephone.&rdquo; The new piece is entitled &ldquo;Un&lt;br /&gt;
Concert chez les Fous.&rdquo; It is a remarkable&lt;br /&gt;
mixture of tragedy and comedy, and is having&lt;br /&gt;
&euro;I\OTlſl OUIS SllCC&eacute;SS.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;La Vie Int&eacute;rieure&amp;quot; (Perrin).&lt;br /&gt;
&ldquo;Le Peuple de la Mer&rdquo; (Flammarion).&lt;br /&gt;
&ldquo;Fianc&eacute;e d&amp;#039;Avril&rsquo;&rsquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Secrets d&amp;#039;Etat&rdquo; (Monde Illustr&eacute;).&lt;br /&gt;
&ldquo;Vingt jours parmi les Sinistr&eacute;s&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Cent Pastels du XVIII&amp;#039;me si&egrave;cle&rdquo; (Soci&eacute;t&eacute; Georges Petit).&lt;br /&gt;
&ldquo;La Pens&eacute;e de Ruskin &amp;quot; (Hachette).&lt;br /&gt;
&ldquo;Un Mariage Am&eacute;rician &amp;quot; (Ollendorff).&lt;br /&gt;
&ldquo;La Folle Historie de Fridoline &amp;quot; (Calmann L&eacute;vy).&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
L* year was not very far behind the&lt;br /&gt;
&ldquo;record&amp;quot; year, 1907, in the quantity of&lt;br /&gt;
books produced. In the department of&lt;br /&gt;
fiction there was, indeed, an appreciable increase&lt;br /&gt;
in 1908; and in books of all kinds by American&lt;br /&gt;
authors, as distinguished from importations and&lt;br /&gt;
reprints, there was also a perceptible surplus.&lt;br /&gt;
Theology retains the second place in bulk of&lt;br /&gt;
Output, showing but a slight falling off. Political&lt;br /&gt;
and social Science and history alone are able&lt;br /&gt;
to show slight increases over the preceding year,&lt;br /&gt;
the most notable decrease being in fine art and&lt;br /&gt;
illustrated works.&lt;br /&gt;
The thematic novel was largely in the ascendant&lt;br /&gt;
during 1908, and there was much novelising of&lt;br /&gt;
plays. A good level of merit was maintained, but&lt;br /&gt;
there was no indication of startling originality. It&lt;br /&gt;
was a good year for readers of history, more especially&lt;br /&gt;
in the purely American field ; and there were&lt;br /&gt;
notable contributions to political and social science.&lt;br /&gt;
Education and physical science were also well&lt;br /&gt;
represented; and there was a slight recovery in&lt;br /&gt;
poetry. A less gratifying symptom was the con-&lt;br /&gt;
siderable accretion of works devoted to mental&lt;br /&gt;
healing, or &ldquo;psycho-therapeutics,&rdquo; as the initiated&lt;br /&gt;
love to call their craze.&lt;br /&gt;
America, had to mourn the loss last year of&lt;br /&gt;
Charles Eliot Norton, Edmund Clarence Stedman,&lt;br /&gt;
Joel Chandler Harris, not to mention &ldquo;Ik Marvel,&rdquo;&lt;br /&gt;
Bronson Howard, Mrs. Moulton, and many a&lt;br /&gt;
lesser name.&lt;br /&gt;
1909 in America, as in Europe, seems likely to&lt;br /&gt;
be remembered as a year of centenaries. Edgar&lt;br /&gt;
Allan Poe was, perhaps one of those who have more&lt;br /&gt;
honour abroad than in their own country; yet&lt;br /&gt;
January 19 was not suffered to pass without&lt;br /&gt;
recognition, even there. Nothing upon a national&lt;br /&gt;
Scale was attempted ; but local celebrations were&lt;br /&gt;
duly held in New York, at Richmond, Providence,&lt;br /&gt;
and Baltimore. There was also a memorial dinner&lt;br /&gt;
at Boston, under the auspices of John W. Luce&lt;br /&gt;
and H. H. Schaff. A bronze statue was dedicated&lt;br /&gt;
in Poe Park, and a memorial has been proposed&lt;br /&gt;
at West Point. Professor Trent gave an address&lt;br /&gt;
on January 28, before the Authors&rsquo; Club. A&lt;br /&gt;
&ldquo;Centenary Life,&rdquo; issued later, came from the pen&lt;br /&gt;
of Mr. George E. Woodberry.&lt;br /&gt;
The Lincoln Centenary, February 12, made a&lt;br /&gt;
wider appeal, and the great President&amp;#039;s memory&lt;br /&gt;
received honour from Mr. Bryce and M. Jusserand,&lt;br /&gt;
as well as from the tributes of his own countrymen.&lt;br /&gt;
The public celebrations do not especially concern&lt;br /&gt;
our readers, but a word may be said here as to the&lt;br /&gt;
books evoked by the occasion. It has amounted&lt;br /&gt;
to a veritable flood.&lt;br /&gt;
Messrs. Houghton, Mifflin and Co. print a special&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 180 (#232) ############################################&lt;br /&gt;
&lt;br /&gt;
180&lt;br /&gt;
TISIE A DITISIOR.&lt;br /&gt;
edition of the standard biography by the late Carl&lt;br /&gt;
Schurz and Truman H. Bartlett, and an anniversary&lt;br /&gt;
edition of Alonzo Rothschild&rsquo;s work and the two-&lt;br /&gt;
volume study by John T. Morse, jun., besides&lt;br /&gt;
reprints of the Gettysburg Speech, and the&lt;br /&gt;
Emancipation Proclamation ; whilst among new&lt;br /&gt;
works they issue one by J. Henry Lea and&lt;br /&gt;
J. R. Hutchinson, specially devoted to Lincoln&amp;#039;s&lt;br /&gt;
ancestry&mdash;his English descent is claimed to have&lt;br /&gt;
been traced four generations further back than&lt;br /&gt;
it has been before&mdash;and a &ldquo;Life of Lincoln for&lt;br /&gt;
Boys and Girls,&rdquo; by Charles W. Moores. From&lt;br /&gt;
the Macmillan Company comes James Morgan&rsquo;s&lt;br /&gt;
&ldquo;Abraham Lincoln : the Boy and the Man,&rdquo; as&lt;br /&gt;
well as David Millet De Witt&amp;#039;s &ldquo;The Assassination&lt;br /&gt;
and its Expiation,&rdquo; and a Centenary Ode, by Percy&lt;br /&gt;
|MacKaye; whilst from the Crowell Company we&lt;br /&gt;
get Dr. W. Hayes Ward&amp;#039;s Lincoln &ldquo;Tributes,&rdquo;&lt;br /&gt;
Mr. Choate&amp;#039;s Address, and another &ldquo;Life for&lt;br /&gt;
Boys.&rdquo; Messrs. McClurg issue a &ldquo;Lincoln Year-&lt;br /&gt;
Book,&rdquo; and several publications by Charles E.&lt;br /&gt;
Carr, as well as &ldquo;The Children&amp;#039;s Life,&rdquo; by Louise&lt;br /&gt;
Putnam ; and Francis Grierson&rsquo;s &ldquo;The Valley of&lt;br /&gt;
the Shadow,&rdquo; containing descriptions of the Lincoln&lt;br /&gt;
country from a former resident, and impressions of&lt;br /&gt;
the Civil War should not pass unnoticed. Some&lt;br /&gt;
unpublished Lincoln letters appeared in the&lt;br /&gt;
February Century. -&lt;br /&gt;
Oliver Wendell Holmes was born on August 29,&lt;br /&gt;
1809. One hopes that his genial and essentially&lt;br /&gt;
healthy personality will be recalled with due honour&lt;br /&gt;
When the time comes&mdash;that is, if we have not all&lt;br /&gt;
become centenary-sick by that time.&lt;br /&gt;
Some eight thousand letters of Millard Fillmore,&lt;br /&gt;
while Vice-President and President of the United&lt;br /&gt;
States, have been discovered at Buffalo, and a&lt;br /&gt;
Selection will be published shortly by the Buffalo&lt;br /&gt;
Historical Society. A request by Mr. Pierpont&lt;br /&gt;
Morgan for an autograph (anno 1851) is among&lt;br /&gt;
the collection.&lt;br /&gt;
The Boston Bibliophile Society has recently&lt;br /&gt;
come into possession of the manuscript of Thoreau&rsquo;s&lt;br /&gt;
&ldquo;Walden,&rdquo; and will publish it ere long This find&lt;br /&gt;
reveals the fact that Thoreau&amp;#039;s publishers cut out&lt;br /&gt;
in the printed book matter amounting to some&lt;br /&gt;
twelve thousand words.&lt;br /&gt;
Professor Abbott Lawrence Lowell, author of&lt;br /&gt;
&ldquo;The Government of England,&rdquo; succeeds President&lt;br /&gt;
Eliot at Harvard. He has won great success as&lt;br /&gt;
lecturer and educationalist.&lt;br /&gt;
We hear that Messrs. Duffield are making the&lt;br /&gt;
experiment of issuing paper books in the French&lt;br /&gt;
manner, and beginning appropriately with a volume&lt;br /&gt;
of &ldquo;picturesque&amp;quot; stories of Paris, by Mrs.&lt;br /&gt;
Archibald K. Mackay. This method of pub-&lt;br /&gt;
lication has its obvious advantages; but there&lt;br /&gt;
is another side to the question.&lt;br /&gt;
A spring book, which will be looked forward to&lt;br /&gt;
with some interest, is F. B. Sauborn&rsquo;s &ldquo;Recollec-&lt;br /&gt;
tions of Seventy Years.&rdquo; The two volumes of the&lt;br /&gt;
work are devoted to the Concord philosopher&amp;#039;s&lt;br /&gt;
political and literary life respectively.&lt;br /&gt;
Among the spring novels are books by Robert&lt;br /&gt;
W. Chambers, F. Marion Crawford, Mrs. Atherton,&lt;br /&gt;
and Alice Brown.&lt;br /&gt;
Among the earliest important books of the&lt;br /&gt;
New Year was Miss Agnes Laut&amp;#039;s &ldquo;The Conquest&lt;br /&gt;
of the Great North-West,&rdquo; which tells the story&lt;br /&gt;
of the Hudson Bay Company. A good deal of&lt;br /&gt;
hitherto undiscovered material has been utilised&lt;br /&gt;
by the writer of this interesting, if somewhat&lt;br /&gt;
voluminous, book. w&lt;br /&gt;
President Woodrow Wilson&rsquo;s &ldquo;Constitutional&lt;br /&gt;
Government in the United States&rsquo;&rsquo; is an important&lt;br /&gt;
contribution to the subject. A special feature of&lt;br /&gt;
it is his defence of the Senate. On the other&lt;br /&gt;
hand, he concedes to critics of the judicial system&lt;br /&gt;
the serious charges made by them against our&lt;br /&gt;
courts, of want of simplicity and directness, and an&lt;br /&gt;
expensiveness which is almost prohibitive to suitors&lt;br /&gt;
not of the richer classes.&lt;br /&gt;
Mr. Eugene Tompkins&amp;#039;s &ldquo;History of the Boston&lt;br /&gt;
Theatre,&rdquo; contains an annual history of some fifty&lt;br /&gt;
Seasons, and has been deservedly described as some-&lt;br /&gt;
thing like a Wade-mecum of the drama in America&lt;br /&gt;
for half a century. Mr. Quincy Kilby has given&lt;br /&gt;
the author valuable assistance.&lt;br /&gt;
Lafcadio Hearn&amp;#039;s version of Th&eacute;ophile Gautier&lt;br /&gt;
has been reprinted by E. P. Dutton &amp;amp; Co. in their&lt;br /&gt;
series &ldquo;The World&amp;#039;s Story-Tellers.&rdquo;&lt;br /&gt;
There are likely to be further &ldquo;remains&rdquo; of Carl&lt;br /&gt;
Schurz, probably in the form of correspondence.&lt;br /&gt;
Certain comments of a leading English literary&lt;br /&gt;
weekly in connection with the &ldquo;Shelburne Essays&rdquo;&lt;br /&gt;
of Paul Elmer More, have given much umbrage to&lt;br /&gt;
the critics on this side. The Dial, for instance,&lt;br /&gt;
remarks that &ldquo;if there are traits of readers that&lt;br /&gt;
date back to 1820 or thereabouts&rdquo; (this was the&lt;br /&gt;
dictum of the offending British journal), &ldquo;there is&lt;br /&gt;
also a certain manner of book-reviewing that can&lt;br /&gt;
claim a like antiquity l&rsquo;&rdquo;&lt;br /&gt;
Two useful compilations that have recently&lt;br /&gt;
appeared are Burton Stevenson&rsquo;s &ldquo;Poems of&lt;br /&gt;
American History,&rdquo; and &ldquo;Modern Constitutions,&rdquo;&lt;br /&gt;
by Walter Farleigh Dodd.&lt;br /&gt;
A great loss to the United States, and particularly&lt;br /&gt;
to New York city, has been suffered in the death of&lt;br /&gt;
Russell Sturgis, the architect and art critic, on&lt;br /&gt;
February 11. His great &ldquo;History of Architec-&lt;br /&gt;
ture&rdquo; had been completed, but one volume is still&lt;br /&gt;
in manuscript, and another was in proof at his death.&lt;br /&gt;
Will Lillibridge, best known as the author of&lt;br /&gt;
&ldquo;Ben Blair,&rdquo; died suddenly at Sioux Falls, Dakota,&lt;br /&gt;
quite recently ; and there passed away on Valen-&lt;br /&gt;
tine&amp;#039;s day, at Boston, in his ninety-first year, the&lt;br /&gt;
veteran author and educator, William Matthews.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 181 (#233) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITFIOR.&lt;br /&gt;
181&lt;br /&gt;
BRITISH AUTHORS AND AMERICAN&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
A SUGGESTION.&lt;br /&gt;
ARLIAMENTS and Congresses come and go,&lt;br /&gt;
but the American copyright question we have&lt;br /&gt;
with us for ever. I admit that it bristles&lt;br /&gt;
with difficulties, but that is, I think, because the&lt;br /&gt;
legal-cum-literary minds which have endeavoured&lt;br /&gt;
to solve it in the past have aimed at a perfect&lt;br /&gt;
scheme which shall apply to all classes of writers&lt;br /&gt;
and cover an indefinitely prolonged period of time.&lt;br /&gt;
Candidly, I regard any such legal protection as&lt;br /&gt;
Quite impracticable, and, possibly, exceedingly&lt;br /&gt;
unfair. Let it be borne in mind that the&lt;br /&gt;
authorities of the United States have laid down&lt;br /&gt;
two principles:&mdash;Firstly, that the people shall not&lt;br /&gt;
be debarred from the use of all that is best in&lt;br /&gt;
literature ; secondly, that the interests of the&lt;br /&gt;
printing and allied industries shall not be injured&lt;br /&gt;
by the free importation of foreign books. It seems&lt;br /&gt;
to me that Congress is fully justified in insisting&lt;br /&gt;
on these essential conditions. Instead of growling&lt;br /&gt;
at them and doing nothing, why should we not&lt;br /&gt;
accept them and give a real impetus to the exchange&lt;br /&gt;
of all that is good and noteworthy in the literary&lt;br /&gt;
products of Britain and America&lt;br /&gt;
There is but one real obstacle to surmount&mdash;the&lt;br /&gt;
proviso that there shall be simultaneous publica-&lt;br /&gt;
tion. In nine hundred and ninety-nine cases out&lt;br /&gt;
of a thousand (where good work by unknown&lt;br /&gt;
authors is concerned) that stipulation is fatal. The&lt;br /&gt;
unknown genius is almost certainly poor; it is&lt;br /&gt;
probable that his work has been refused by many&lt;br /&gt;
publishers; when accepted, in the long run, it will&lt;br /&gt;
be a speculative matter for the publisher, and, if&lt;br /&gt;
sold as a serial, a leap in the dark for the magazine&lt;br /&gt;
or newspaper. It is simply out of the question for&lt;br /&gt;
the author to pay for simultaneous publication, and&lt;br /&gt;
almost as prohibitive to secure a user in the States&lt;br /&gt;
who will or can conform to British dates. The&lt;br /&gt;
British user, whether publisher or editor of a&lt;br /&gt;
periodical, cannot be asked in reason to undertake&lt;br /&gt;
the expense of protection. It could not be made&lt;br /&gt;
a commercial success. Out of a hundred serials&lt;br /&gt;
used by a big house annually, perhaps one might&lt;br /&gt;
sell in the States, and even then fall far short of&lt;br /&gt;
the cost of protecting the other ninety-nine. I&lt;br /&gt;
assume, of course, that the man is not living who&lt;br /&gt;
can tell beforehand whether or not the whimsical&lt;br /&gt;
public will take to any given book by my hypothe-&lt;br /&gt;
tical &ldquo;unknown.&rdquo; -&lt;br /&gt;
Well, then, how conquer this dragon of expense?&lt;br /&gt;
Apply to all books and literary products in both&lt;br /&gt;
countries the provisions of the Patents Laws.&lt;br /&gt;
Give absolute protection, gratis, for six months&lt;br /&gt;
after date of publication, and give a period of&lt;br /&gt;
twelve months&amp;#039; additional protection on payment&lt;br /&gt;
of a fee of 48, or a dollar. Keep the local com-&lt;br /&gt;
position, binding, etc., stipulations intact, and&lt;br /&gt;
throw open to the people (to be exact, to the&lt;br /&gt;
Stealers of unpaid-for copy) the right to use, free&lt;br /&gt;
of penalty, after the lapse of one or both of these&lt;br /&gt;
periods. The eighteen months&rsquo; fee, obviously,&lt;br /&gt;
Would be payable in the country where protection&lt;br /&gt;
was sought.&lt;br /&gt;
How would this proposal operate in practice 2&lt;br /&gt;
Admirably, I believe. The book or serial, the&lt;br /&gt;
copyright of which is really valuable, which does&lt;br /&gt;
not create sufficient stir within six months of&lt;br /&gt;
publication to justify a protecting fee of 4s., must&lt;br /&gt;
be rare, indeed, in these days. It may exist.&lt;br /&gt;
Another Fitzgerald may translate another &ldquo;Omar,&rdquo;&lt;br /&gt;
and wait a good many years for fame. Well, this&lt;br /&gt;
fine fish would escape my net, and swim into im-&lt;br /&gt;
mortality lightened of certain royalties. But, for&lt;br /&gt;
all practical purposes, the needs of honest pub-&lt;br /&gt;
lishers and hard-working authors would be met,&lt;br /&gt;
and a grievous disability removed from those&lt;br /&gt;
upon whom, though most worthy, fortune has failed&lt;br /&gt;
to smile.&lt;br /&gt;
I could say a good deal more on this topic, but&lt;br /&gt;
I leave it for the moment with the explanation that&lt;br /&gt;
my plea for fair dealing is altruistic, since every&lt;br /&gt;
line I write is fully protected by an enterprising&lt;br /&gt;
publisher in the United States.&lt;br /&gt;
LOUIS TRACY.&lt;br /&gt;
THE BERLIN INTERNATIONAL COPY-&lt;br /&gt;
RIGHT CONFERENCE.&lt;br /&gt;
&mdash;t&mdash;&ordm;-e&mdash;&lt;br /&gt;
HE correspondence respecting the Revised&lt;br /&gt;
Convention of Berne has now been published&lt;br /&gt;
in the form of a Blue Book.&lt;br /&gt;
It is full of interesting reading for those whose&lt;br /&gt;
object is the technical study of copyright evolution ;&lt;br /&gt;
but there is little to add for the interest of the&lt;br /&gt;
members beyond the Revised Convention itself&lt;br /&gt;
which was printed as a supplement to the January&lt;br /&gt;
number of The Author.&lt;br /&gt;
What it is possible for Great Britain and her&lt;br /&gt;
Colonies to accept, what points of the present law&lt;br /&gt;
must be altered to bring about the necessary&lt;br /&gt;
changes, and how those changes are going to be&lt;br /&gt;
effected is a matter for the Government to consider.&lt;br /&gt;
It is the duty of all those bodies who represent&lt;br /&gt;
the holders of copyright property to be active and&lt;br /&gt;
on the alert.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 182 (#234) ############################################&lt;br /&gt;
&lt;br /&gt;
182&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
Sir Edward Grey stated to the British delegates&lt;br /&gt;
&ldquo; that if the results of this conference should&lt;br /&gt;
assume a shape which is considered to be satisfac-&lt;br /&gt;
tory for Great Britain, His Majesty&amp;#039;s Government&lt;br /&gt;
will not delay to make a serious effort to come to&lt;br /&gt;
an understanding with the British Colonies on the&lt;br /&gt;
subject.&rdquo;&lt;br /&gt;
The Convention has now been settled as altered&lt;br /&gt;
by the conference, and, we understand, has assumed&lt;br /&gt;
a shape which is considered satisfactory.&lt;br /&gt;
It is now that the critical danger begins.&lt;br /&gt;
The Berne Convention was originally accepted&lt;br /&gt;
in order to obtain some order out of the chaos&lt;br /&gt;
of multiplied treaties existing between the many&lt;br /&gt;
European countries. The terms of these treaties,&lt;br /&gt;
in many cases dissimilar and divergent, made it&lt;br /&gt;
impossible to obtain any certainty as to the rights&lt;br /&gt;
of those concerned. Uncertainty brings weakness.&lt;br /&gt;
In the end it was almost impossible to say what&lt;br /&gt;
was the law or how it was to be enforced.&lt;br /&gt;
The Berne Convention did its work admirably as&lt;br /&gt;
far as it went, but it was the first attempt at Inter-&lt;br /&gt;
national Copyright Legislation and did not go far&lt;br /&gt;
enough. Then followed the Act of Paris going a&lt;br /&gt;
little further, but creating a divergence, for some&lt;br /&gt;
of the nations that sent in their adhesion to the&lt;br /&gt;
Berne Convention could not subscribe to the Act&lt;br /&gt;
of Paris. Now lastly comes the Berlin Convention,&lt;br /&gt;
a great step in advance in many ways ; but again&lt;br /&gt;
there is bound to follow a falling off, only some&lt;br /&gt;
nations agreeing to the terms. So that it would&lt;br /&gt;
appear that International Copyright Protection&lt;br /&gt;
will be almost as complicated and confused in 1910,&lt;br /&gt;
the date when the acceptance of the terms may be&lt;br /&gt;
notified, as it was when each country had its&lt;br /&gt;
varying treaties. We state, therefore, with some&lt;br /&gt;
assurance that the real danger begins now.&lt;br /&gt;
It is to be hoped there will be little difficulty in&lt;br /&gt;
getting the self-governing Colonies to fall into line.&lt;br /&gt;
They will easily grasp the fact that no native litera-&lt;br /&gt;
ture can exist if you curtail its market, and that to&lt;br /&gt;
cut themselves adrift from International Copyright&lt;br /&gt;
is to kill the native industry and to destroy the&lt;br /&gt;
growth of that literature which even now is a&lt;br /&gt;
cherished growth. It is needless to mention the&lt;br /&gt;
names of the authors of Australia, New Zealand,&lt;br /&gt;
South Africa, or Canada. .&lt;br /&gt;
But there is a greater danger ahead than even&lt;br /&gt;
the disruption of the Colonies, and that is the lack&lt;br /&gt;
of uniformity which may arise when any Bill is&lt;br /&gt;
massing throngh the House of Commons and the&lt;br /&gt;
House of Lords.&lt;br /&gt;
In the oft quoted phrase there are three things&lt;br /&gt;
to be aimed at : the first is Uniformity, the second&lt;br /&gt;
is Uniformity, and the third is Uniformity. By&lt;br /&gt;
this we mean that certain clauses passed by the&lt;br /&gt;
conference at Berlin must be adopted wholesale&lt;br /&gt;
ald not in bits. If our law at pres(nt gives&lt;br /&gt;
greater rights than those conveyed in the Berlin&lt;br /&gt;
Convention, let us keep them ; if lesser rights, then&lt;br /&gt;
let the new Act bring uniformity.&lt;br /&gt;
Here are a few points of the many which want.&lt;br /&gt;
altering to bring our law into uniformity with the&lt;br /&gt;
law of the Convention&mdash;what is hoped will be the&lt;br /&gt;
law of all civilised countries.&lt;br /&gt;
1. The length of the term &ldquo;Life and fifty years.&rdquo;&lt;br /&gt;
We understand that the term is satisfactory to the&lt;br /&gt;
present Government, that the United States + will&lt;br /&gt;
struggle for this limit in any new Copyright legis-&lt;br /&gt;
lation, and that the German Empire is willing to&lt;br /&gt;
bring in a small amending Act extending its present&lt;br /&gt;
term, life and thirty, to life and fifty years. Let&lt;br /&gt;
us endeavour then, with all the forces at our dis-&lt;br /&gt;
posal, to carry the thing through for the sake of&lt;br /&gt;
uniformity; a Wretched compromise of life and&lt;br /&gt;
thirty or life and forty would do more than show&lt;br /&gt;
weakness, it would show a crass stupidity.&lt;br /&gt;
2. Translation rights; these are to be protected&lt;br /&gt;
for a term commensurate with copyright. Surely&lt;br /&gt;
this is common sense. It is curious that this&lt;br /&gt;
decision should have been so long in coming.&lt;br /&gt;
3. Then there is the difference under the&lt;br /&gt;
English law and the law of most other countries as&lt;br /&gt;
to the publication of performing rights. The&lt;br /&gt;
point is very technical, there is no need to explain&lt;br /&gt;
the issues. But here again it would simplify the&lt;br /&gt;
establishment of an author&amp;#039;s and dramatist&amp;#039;s rights.&lt;br /&gt;
and strengthen him in the possession of his own&lt;br /&gt;
property if we could legislate for uniformity with&lt;br /&gt;
the Convention and with the law as at present&lt;br /&gt;
existing in other civilised countries.&lt;br /&gt;
4. Then comes the question of mechanical&lt;br /&gt;
reproduction. Musical composers and dramatists,&lt;br /&gt;
are suffering severely, and will suffer still more&lt;br /&gt;
unless mechanical reproductions obtain copyright&lt;br /&gt;
protection. It would be foolish, and indeed is&lt;br /&gt;
foolish, for the law to say you have right in the&lt;br /&gt;
property of your own brain, and then to say you,&lt;br /&gt;
only have the right when the copies are made in a&lt;br /&gt;
certain way. It would be just as sensible to say&lt;br /&gt;
that the dramatist has only performing rights at a&lt;br /&gt;
certain theatre, or an author protection when his&lt;br /&gt;
books are sold at a certain price.&lt;br /&gt;
We have quoted four points out of many that&lt;br /&gt;
arise ; they are perhaps the most important, but&lt;br /&gt;
there should be only one aim, and that is, to carry&lt;br /&gt;
through a law which will bring the law of Great.&lt;br /&gt;
Britain into international uniformity.&lt;br /&gt;
Is it possible that common sense will prevail&lt;br /&gt;
G. H. T.&lt;br /&gt;
* This has unfortunately not been achieved in the Act&lt;br /&gt;
just passed by the United States, in spite of the efforts of&lt;br /&gt;
the wise.&mdash;FD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 183 (#235) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIES ACTFIOR,&lt;br /&gt;
183&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
1. WERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
\member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society. -&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
Hars of the Society&amp;#039;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property:-&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
Competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
p &ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
Tights.&lt;br /&gt;
@.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
&ordm; . bind yourself for the future to any one&amp;#039;s&oacute;licitor or&lt;br /&gt;
OCUOI&rsquo;&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
What the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2) Keep control of the advertisements.&lt;br /&gt;
(3) Keep control of the sale price of the book.&lt;br /&gt;
General. -&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without Competent advice from&lt;br /&gt;
the Secretary of the Society. -&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
II].68, IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld. -&lt;br /&gt;
(3) Always avoid a transfer of copyright.&lt;br /&gt;
A --d&ordm;- Aſ a&lt;br /&gt;
w ~- w&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&ndash;0-0-0&ndash;&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
mallage.T.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 184 (#236) ############################################&lt;br /&gt;
&lt;br /&gt;
184&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case,&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&copy;&lt;br /&gt;
&mdash;4-&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan.&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. . The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;s&mdash;e-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only Works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&ldquo;THE AUTHOR,&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
T&ordm;: Editor of The Author begs to remind members of&lt;br /&gt;
* &mdash;&ordm;- a&lt;br /&gt;
~~ w&lt;br /&gt;
the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
* &mdash;&ordm;- a&lt;br /&gt;
-&ordm;- w&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-Q-4&ndash;&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 185 (#237) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
185&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE ANNUAL DINNER.&lt;br /&gt;
THE annual dinner of the Society will be&lt;br /&gt;
held at the Criterion Restaurant, on Thursday,&lt;br /&gt;
April 29, at 7 o&amp;#039;clock for 7.30. The usual&lt;br /&gt;
notice will be circularised to all members and&lt;br /&gt;
associates. The price of the ticket will be 7s.6d.,&lt;br /&gt;
exclusive of wine. Those ladies who desire to&lt;br /&gt;
attend may bring one guest, for whom an addi-&lt;br /&gt;
tional ticket will be required.&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
ON the first day of March the Pension Fund&lt;br /&gt;
Committee awarded a pension of &pound;50 a year to&lt;br /&gt;
Dr. J. Beattie Crozier, the eminent philosopher&lt;br /&gt;
and historian. Dr. Crozier has been a member of&lt;br /&gt;
the society for ten years, having joined in 1899.&lt;br /&gt;
He was born in Canada, and was educated at Galt&lt;br /&gt;
Grammar School and Toronto University.&lt;br /&gt;
All those who are interested in modern philosophi-&lt;br /&gt;
cal works and writings will know Dr. Crozier as&lt;br /&gt;
the author of &ldquo;The Religion of the Future,&rdquo; which&lt;br /&gt;
was published in 1880; &ldquo;Civilisation and Progress,&rdquo;&lt;br /&gt;
published in 1885; and &ldquo;The History of Intel-&lt;br /&gt;
lectual Development,&rdquo; part of a series of important&lt;br /&gt;
works from his pen, much read and appreciated in&lt;br /&gt;
Germany.&lt;br /&gt;
In addition to these publications he has written&lt;br /&gt;
other works and has contributed many articles&lt;br /&gt;
to the reviews, more especially the Fortnightly,&lt;br /&gt;
dealing with political, economic, and philosophical&lt;br /&gt;
subjects.&lt;br /&gt;
On the 19th of March the Pension Fund Com-&lt;br /&gt;
mittee met again, and awarded a pension of &pound;50&lt;br /&gt;
a year to Mr. Richard Whiteing, the journalist and&lt;br /&gt;
novelist. Mr. Richard Whiteing is now in his&lt;br /&gt;
sixty-ninth year, having been born in 1840. He&lt;br /&gt;
made his first essay in journalism with a series of&lt;br /&gt;
satirical papers, political and social, in the Evening&lt;br /&gt;
Star. He then contributed to many different&lt;br /&gt;
papers, and finally became Paris correspondent of&lt;br /&gt;
the Manchester Guardian, The World (London),&lt;br /&gt;
and The World (New York). On his return to&lt;br /&gt;
London he joined the staff of the Daily News,&lt;br /&gt;
where he worked for a period of fourteen years,&lt;br /&gt;
resigning his position in 1899. In that year he&lt;br /&gt;
published his successful work, &ldquo;No. 5 John Street.&rdquo;&lt;br /&gt;
Since then he has published a series of novels,&lt;br /&gt;
including &ldquo;The Yellow Van,&rdquo; &ldquo;Ring in the New,&rdquo;&lt;br /&gt;
and &ldquo;All Moonshine.&rdquo;&lt;br /&gt;
About ten years ago Mr. Whiteing had a serious&lt;br /&gt;
illness, which has permanently impaired his health&lt;br /&gt;
and his powers.&lt;br /&gt;
| Such pensions are given by the society as offer-&lt;br /&gt;
ings of appreciation by fellow members.&lt;br /&gt;
BERLIN CONVENTION DEPARTMENTAL COMMITTEE.&lt;br /&gt;
WE are informed that the President of the&lt;br /&gt;
Board of Trade has appointed the Right Hon.&lt;br /&gt;
Lord Gorell (chairman), Sir Lawrence Alma-&lt;br /&gt;
Tadema, O.M., Mr. George Ranken Askwith, K.C.,&lt;br /&gt;
Mr. H. Granville Barker, Mr. William Boosey,&lt;br /&gt;
Mr. Charles W. Bowerman, M.P., Mr. Henry&lt;br /&gt;
R. Clayton, Mr. Henry J. C. Cust, Mr. Edward&lt;br /&gt;
Cutler, K.C., Mr. Anthony Hope Hawkins,&lt;br /&gt;
Mr. William Joynson Hicks, M.P., Mr. William&lt;br /&gt;
Algernon Law, C.B., Mr. Frederick Macmillan,&lt;br /&gt;
Mr. Thomas Power O&rsquo;Connor, M.P., Professor.&lt;br /&gt;
Walter Raleigh, Mr. Thomas Edward Scrutton,&lt;br /&gt;
K.C., and Mr. Edmund Trevor L. Williams,&lt;br /&gt;
to be a committee to examine the various&lt;br /&gt;
points in which the revised International Copy-&lt;br /&gt;
right Convention, signed at Berlin on the 13th&lt;br /&gt;
November, 1908, is not in accordance with the&lt;br /&gt;
law of the United Kingdom, and to consider.&lt;br /&gt;
whether the law should be altered so as to enable&lt;br /&gt;
His Majesty&amp;#039;s Government to give effect to the&lt;br /&gt;
revised Convention. The President has also.&lt;br /&gt;
appointed Mr. T. W. Phillips to be secretary to.&lt;br /&gt;
the committee.&lt;br /&gt;
THE POE CENTENARY DINNER.&lt;br /&gt;
THE centenary of the birth of Edgar Allan Pee.&lt;br /&gt;
was celebrated by the Authors&amp;#039; Club, at the White-&lt;br /&gt;
hall Rooms, on March 1. Nearly three hundred sat&lt;br /&gt;
down to dinner. Many members of the American&lt;br /&gt;
colony in London were present ; his Excellency&lt;br /&gt;
the American Ambassador, Mr. Whitelaw Reid,&lt;br /&gt;
being the chief guest.&lt;br /&gt;
Sir Arthur Conan Doyle was chairman, and&lt;br /&gt;
after the usual Royal toasts, in a feeling speech.&lt;br /&gt;
asked those present to drink to the great author&amp;#039;s&lt;br /&gt;
memory. -&lt;br /&gt;
He spoke with full sympathy, both of the&lt;br /&gt;
sorrows Poe had gone through during his life,&lt;br /&gt;
and his struggles to overcome them ; he dwelt&lt;br /&gt;
with appreciative criticism on his work. He spoke&lt;br /&gt;
of his powers as strange and haunting, musical to&lt;br /&gt;
a degree, original and masterful. He confessed to.&lt;br /&gt;
feeling their limitations.&lt;br /&gt;
The American Ambassador spoke in response ;&lt;br /&gt;
his speech was eloquent, but judicial; sympathetic,&lt;br /&gt;
but critical. Yet he stated with all abatements.&lt;br /&gt;
Poe&amp;#039;s place was surely in the front rank.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 186 (#238) ############################################&lt;br /&gt;
&lt;br /&gt;
&sect; 86&lt;br /&gt;
TISIES A UTFIOR-&lt;br /&gt;
Mr. Herbert Trench, author of &ldquo; Deidre&lt;br /&gt;
Wedded,&rdquo; recited an original poem in honour of&lt;br /&gt;
the occasion.&lt;br /&gt;
Mr. Garvice, chairman of the club, occupied&lt;br /&gt;
the vice-chair, and proposed the health of the&lt;br /&gt;
wisitors. Many well-known authors were present.&lt;br /&gt;
&ldquo;THE SOCIETY OF UNAOTED AUTHORS.&rdquo;&lt;br /&gt;
THE first meeting of the recently formed Society&lt;br /&gt;
of Unacted Authors was held on March 3, at&lt;br /&gt;
217, Piccadilly, and was largely attended.&lt;br /&gt;
Mr. N. Thorpe Mayne, the originator of the&lt;br /&gt;
movement, after indicating the circumstances&lt;br /&gt;
which seemed to him to call for such an organiza-&lt;br /&gt;
tion, proceeded to lay before the meeting certain&lt;br /&gt;
Working proposals. The most important of these&lt;br /&gt;
proposals were as follows:&mdash;&lt;br /&gt;
(a.) The appointment of some competent reader&lt;br /&gt;
to read and give a candid criticism of the plays of&lt;br /&gt;
the society&amp;#039;s members, after such plays had been&lt;br /&gt;
passed by the committee of the society as good.&lt;br /&gt;
(b.) To approach managers for the use of their&lt;br /&gt;
theatres for the production of members&amp;#039; plays, to&lt;br /&gt;
which well-known actors and actresses should be&lt;br /&gt;
admitted on presentation of their cards.&lt;br /&gt;
(c.) To arrange for such productions to be&lt;br /&gt;
public.&lt;br /&gt;
(d.) To seek the co-operation of the members of&lt;br /&gt;
the theatrical profession, which, in the case of provin-&lt;br /&gt;
&amp;#039;cial artistes, should at first be given gratuitously in&lt;br /&gt;
return for their introduction by this means to&lt;br /&gt;
London managers.&lt;br /&gt;
It was decided to appoint two committees. (1.) A&lt;br /&gt;
Committee of management to manage the affairs of&lt;br /&gt;
the society ; and (2.) A committee to read plays&lt;br /&gt;
and judge which should be submitted to the&lt;br /&gt;
Society&rsquo;s critic.&lt;br /&gt;
It was agreed also that the acceptance of two&lt;br /&gt;
plays through the agency of the society should&lt;br /&gt;
qualify the dramatist for honorary membership, in&lt;br /&gt;
which capacity he should undertake to do what he&lt;br /&gt;
could to promote the efforts of the society from the&lt;br /&gt;
outside.&lt;br /&gt;
** -&lt;br /&gt;
AMERICAN COPYRIGHT.&lt;br /&gt;
A NEW United States Copyright Bill has&lt;br /&gt;
Suddenly been passed through both Houses. The&lt;br /&gt;
text came to hand too late for insertion in the&lt;br /&gt;
current number, but we hope to print it in one&lt;br /&gt;
of the coming issues of The Author. From a&lt;br /&gt;
cursory glance it would appear that the American&lt;br /&gt;
legislators have advanced but little towards the&lt;br /&gt;
level of other civilised nations in connection&lt;br /&gt;
with copyright matters. They have given pro-&lt;br /&gt;
tection to mechanical reproductions, etc., but&lt;br /&gt;
only in a half-hearted way; they have allowed&lt;br /&gt;
anyone to reproduce music mechanically, subject&lt;br /&gt;
to the payment of a fixed royalty to the copyright&lt;br /&gt;
owner. Again, they ignore the rights of the&lt;br /&gt;
owner of the property. This method of protec-&lt;br /&gt;
tion is, but a weak compromise, and wrong in&lt;br /&gt;
principle. It appears also that they allow an&lt;br /&gt;
English author from the date of publication a&lt;br /&gt;
month in which to file his book produced in&lt;br /&gt;
England ; that another month is then allowed&lt;br /&gt;
him in order to obtain United States copyright&lt;br /&gt;
under the type-setting clause. This means that&lt;br /&gt;
the English author has two months after the date&lt;br /&gt;
of publication in England in which to obtain copy.&lt;br /&gt;
right in the States, instead of being bound, as&lt;br /&gt;
hitherto, to publish simultaneously. The Pub-&lt;br /&gt;
lishers&amp;#039; C&ordm;rcular congratulates Mr. Hunemann&lt;br /&gt;
on the value of the concessions which it is alleged&lt;br /&gt;
he has obtained : we cannot do so. This, again,&lt;br /&gt;
is another weak and unpractical compromise, and&lt;br /&gt;
Compromise has already ruined the American law.&lt;br /&gt;
If in 1891 England and the other nations had&lt;br /&gt;
refused to accept any compromise whatever,&lt;br /&gt;
America would have been bound, rather than&lt;br /&gt;
allow their authors to be robbed of their returns,&lt;br /&gt;
to adopt the principle adopted by all civilised&lt;br /&gt;
nations in respect to copyright property.&lt;br /&gt;
We regret that this law should have been passed,&lt;br /&gt;
as it is possible, had the American legislators&lt;br /&gt;
Waited a little longer, that American opinion would&lt;br /&gt;
have altered considerably.&lt;br /&gt;
A&lt;br /&gt;
w v&ordm;y&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
~-&lt;br /&gt;
COMMITTEE ELECTIONS.&lt;br /&gt;
1909.&lt;br /&gt;
&ndash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE following is the signed statement of the&lt;br /&gt;
Scrutineers recording the votes in the&lt;br /&gt;
election to the committee of management&lt;br /&gt;
for 1909.&lt;br /&gt;
In the following order:-&lt;br /&gt;
S. Squire Sprigge 235&lt;br /&gt;
Sidney Webb ... 227&lt;br /&gt;
Arthur Rackham - e - ... 221&lt;br /&gt;
The Hon. Mrs. A. L. Felkin ... 202&lt;br /&gt;
Mackenzie Bell 134&lt;br /&gt;
Signed,&lt;br /&gt;
Henry Cresswell.&lt;br /&gt;
Francis Gribble.&lt;br /&gt;
Philip W. Sergeant.&lt;br /&gt;
E. H. Lacon Watson.&lt;br /&gt;
The members of the society may remember that&lt;br /&gt;
one-third of the committee have to be elected&lt;br /&gt;
every year. The first four in the above list,&lt;br /&gt;
therefore, are those who will rejoin the committee.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 187 (#239) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
187.&lt;br /&gt;
THE ANNUAL GENERAL MEETING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Annual General Meeting of the Incorporated&lt;br /&gt;
Society of Authors was held at 20, Hanover&lt;br /&gt;
Square, on March 22, Mr. Douglas Fresh-&lt;br /&gt;
field, chairman of the Committee of Management,&lt;br /&gt;
presiding over a rather scanty gathering.&lt;br /&gt;
The chairman announced that Mr. Morley&lt;br /&gt;
Roberts had resigned from the Pension Fund Com-&lt;br /&gt;
mittee, in accordance with the regulations, but&lt;br /&gt;
offered himself for re-election. There being no&lt;br /&gt;
other candidates, Mr. Roberts was declared re-&lt;br /&gt;
elected.&lt;br /&gt;
The meeting was invited to appoint, if it wished,&lt;br /&gt;
scrutineers in case of a contested election for the&lt;br /&gt;
committee next year under the new constitution,&lt;br /&gt;
but preferred to leave the appointment to the&lt;br /&gt;
committee.&lt;br /&gt;
The result of the recent poll for places on the&lt;br /&gt;
committee of management for 1909 having been&lt;br /&gt;
read out, the chairman then passed to the accounts&lt;br /&gt;
and report of the society. He began with a feeling&lt;br /&gt;
reference to the loss sustained by the society in&lt;br /&gt;
the death of one of his recent predecessors in the&lt;br /&gt;
chair, Sir Henry Bergne. Sir Henry had died in&lt;br /&gt;
harness, while attending the International Con-&lt;br /&gt;
ference on copyright, a victim to the brutal climate&lt;br /&gt;
of Berlin. After apologising for his own re-&lt;br /&gt;
appearance in the chair, which was the fault of the&lt;br /&gt;
Society, he said, in putting him second on the poll&lt;br /&gt;
to Sir Henry Bergne last spring, Mr. Freshfield&lt;br /&gt;
condemned the pernicious notion that places on&lt;br /&gt;
the committee were a reward of merit for literary&lt;br /&gt;
eminence. The council was their honorary body,&lt;br /&gt;
the committee essentially a working body, whose&lt;br /&gt;
duties were often difficult and very technical, per-&lt;br /&gt;
haps two-thirds of them legal. It had, therefore,&lt;br /&gt;
been the practice to nominate to the committee&lt;br /&gt;
those who had the technical knowledge, business&lt;br /&gt;
experience, ability, and leisure called for in such a&lt;br /&gt;
task. He made, for what it was worth, a suggestion&lt;br /&gt;
for their consideration with regard to the working&lt;br /&gt;
of the new constitution. He proposed nothing to&lt;br /&gt;
modify the power now vested in the whole society&lt;br /&gt;
to elect its committee, a power which was very&lt;br /&gt;
valuable ; but it did not follow that because a&lt;br /&gt;
power existed it need always be exercised, involving&lt;br /&gt;
as it did some cost and trouble. He recommended&lt;br /&gt;
therefore that members anxious to nominate one or&lt;br /&gt;
two candidates should send the suggested name or&lt;br /&gt;
names to the secretary some time beforehand, and&lt;br /&gt;
so give the committee a chance of including in&lt;br /&gt;
their own list such names, and thus avoiding a&lt;br /&gt;
contested election. Going on to another topic in&lt;br /&gt;
the report, that of resignations from the Society, he&lt;br /&gt;
protested against the treatment of the Society by&lt;br /&gt;
certain people as if it were a sort of warren which&lt;br /&gt;
they could run in and out of like rabbits, at their&lt;br /&gt;
Convenience. It was obvious that the author who&lt;br /&gt;
Only joined the Society when he had a dispute on&lt;br /&gt;
hand and left it when the danger was over was at&lt;br /&gt;
Once injuring the society&amp;#039;s stability and inflicting&lt;br /&gt;
a hardship on the steady subscribers, which could&lt;br /&gt;
Only be met by firm action on the part of the com-&lt;br /&gt;
mittee in postponing the claims of these casuals to&lt;br /&gt;
those of more loyal members.&lt;br /&gt;
Not long ago the question of the censorship,&lt;br /&gt;
caused no small stir in the dramatic world, and led&lt;br /&gt;
to the suggestion of an independent Dramatic.&lt;br /&gt;
Authors&rsquo; Society. The negotiations which ensued&lt;br /&gt;
were fully set out in the report, which showed how&lt;br /&gt;
the dramatists (many of them already members of&lt;br /&gt;
the Society of Authors) had seen that they would&lt;br /&gt;
do better by reinforcing the already existing&lt;br /&gt;
Dramatic Sub-Committee of the society, which had&lt;br /&gt;
now been reconstructed to meet the requirements.&lt;br /&gt;
of the situation, and had already some important&lt;br /&gt;
work in hand. Overtures had also recently been&lt;br /&gt;
made on behalf of the Society of British Composers,&lt;br /&gt;
with a view to strengthening the musical element&lt;br /&gt;
in the Society of Authors, but so far without&lt;br /&gt;
definite result.&lt;br /&gt;
Of more general matters, the most important&lt;br /&gt;
within the last twelve months had been in connec-&lt;br /&gt;
tion with copyright. M. Lecompte, president of&lt;br /&gt;
the French Soci&eacute;t&eacute; des Gens de Lettres, had visited&lt;br /&gt;
London, and had been placed by Sir Henry Bergne&lt;br /&gt;
and himself in communication with Mr. Winston,&lt;br /&gt;
Churchill. At the Berlin Conference the French&lt;br /&gt;
delegates had urged the prolongation of the period.&lt;br /&gt;
of copyright from its present term to life and fifty&lt;br /&gt;
years. Many would regret that the British,&lt;br /&gt;
delegates had not been authorised to support&lt;br /&gt;
that proposal. In the trade of authorship, as&lt;br /&gt;
Mr. Rudyard Kipling put it, every deceased author&lt;br /&gt;
before long became a blackleg to posterity, and&lt;br /&gt;
each new series of sixpenny or shilling editions&lt;br /&gt;
made him a more formidable blackleg. It was to&lt;br /&gt;
be hoped that Labour members would not forget&lt;br /&gt;
that authors were also labouring men, and that it&lt;br /&gt;
was inconsistent, as it was unjust to grudge them&lt;br /&gt;
the chance of a reasonable reward in a very pre-&lt;br /&gt;
carious form of employment. The whole ques-&lt;br /&gt;
tion of copyright was under consideration by&lt;br /&gt;
a Departmental Committee appointed by the&lt;br /&gt;
Government to lay evidence before which a joint-&lt;br /&gt;
committee of the Authors&rsquo; Society and of other&lt;br /&gt;
representatives of copyright property had been&lt;br /&gt;
formed. The visit of delegates from the Colonies&lt;br /&gt;
during this year should give opportunity for&lt;br /&gt;
ascertaining their views on the subject, and&lt;br /&gt;
endeavouring to bring them into line with those&lt;br /&gt;
of the producers of literature in this country. In&lt;br /&gt;
the past divergences in detail between the Colonies&lt;br /&gt;
and Great Britain had put Serious obstacles for the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 188 (#240) ############################################&lt;br /&gt;
&lt;br /&gt;
188&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
way of the Imperial Government with regard to&lt;br /&gt;
international legislation. There was, he feared, no&lt;br /&gt;
sign in the recent legislation at Washington of any&lt;br /&gt;
substantial or satisfactory alteration of the American&lt;br /&gt;
law, which required that for a book to secure copy-&lt;br /&gt;
right in the United States it must be printed there.&lt;br /&gt;
Taht was a requirement which inflicted great hard-&lt;br /&gt;
ship on English printers, and which was not excused&lt;br /&gt;
by any similar law in this country or elsewhere.&lt;br /&gt;
Should reasonable argument fail to induce the&lt;br /&gt;
United States to assimilate their law to that of other&lt;br /&gt;
civilised nations retaliation might be fully justified.&lt;br /&gt;
That, however, was a complicated question, and&lt;br /&gt;
touched too nearly on current politics for him to&lt;br /&gt;
do more than allude to it.&lt;br /&gt;
Another important matter was the effect of the&lt;br /&gt;
sevenpenny novel on the six-shilling (or four-and-&lt;br /&gt;
six net) novel. A Committee of Investigation had&lt;br /&gt;
been formed at the invitation of several leading&lt;br /&gt;
publishers, on which Messrs. Hope Hawkins,&lt;br /&gt;
Bernard Shaw, and Maurice Hewlett represented&lt;br /&gt;
the society. The conclusions arrived at would be&lt;br /&gt;
published in full in The Author, and he need only&lt;br /&gt;
say that, while they were of opinion that any&lt;br /&gt;
wholesale attempt to suppress sevenpenny editions&lt;br /&gt;
would be undesirable, they were convinced that in&lt;br /&gt;
order to protect the six-shilling novel it was essential&lt;br /&gt;
that a time limit on which both publisher and&lt;br /&gt;
public could rely should be fixed, before which it&lt;br /&gt;
should be impossible to get a cheap edition of a&lt;br /&gt;
six-shilling book. The minimum limit should be&lt;br /&gt;
two years. It appeared to have been agreed on all&lt;br /&gt;
hands that authors could not at present hope for a&lt;br /&gt;
living from the sale of a book first published at&lt;br /&gt;
7d., and that there was no question as yet of pub-&lt;br /&gt;
lishing at that price in the first instance. It was&lt;br /&gt;
further suggested that steps should be taken to&lt;br /&gt;
ascertain how far the society&amp;#039;s members were pre-&lt;br /&gt;
pared to maintain the proposed time limit by&lt;br /&gt;
insisting on a clause Securing it in their agree-&lt;br /&gt;
ments with publishers.&lt;br /&gt;
In conclusion, he tendered his thanks to his&lt;br /&gt;
colleagues for the help which they had given him,&lt;br /&gt;
and particularly to Mr. Bernard Shaw, who had&lt;br /&gt;
taken a leading part in the reconstitution of the&lt;br /&gt;
Dramatic Committee. He must also pay a tribute&lt;br /&gt;
to their indefatigable secretary, Mr. Thring,&lt;br /&gt;
whose enthusiasm was only equalled by his&lt;br /&gt;
assiduity in the work of the society. His own&lt;br /&gt;
breakfast-table without a letter from Mr. Thring&lt;br /&gt;
would be unrecognisable.&lt;br /&gt;
Discussion on the subject of the report and&lt;br /&gt;
accounts having been invited,&lt;br /&gt;
Mr. H. C. MacIlwaine expressed his disappoint-&lt;br /&gt;
ment that the chairman had not spoken more&lt;br /&gt;
strongly on the subject of American copyright,&lt;br /&gt;
and was sure that many of his fellow-authors&lt;br /&gt;
looked for more than a mere allusion such as had&lt;br /&gt;
been made. As a writer who had himself had&lt;br /&gt;
work stolen in America under the iniquitous&lt;br /&gt;
Industrial Act, he demanded that we should fight&lt;br /&gt;
the Americans on this point. Either we must have&lt;br /&gt;
equal laws or we must put a tariff on imports. A&lt;br /&gt;
member of a great firm of publishers had said to&lt;br /&gt;
him personally, &ldquo;We lost one-third of our work&lt;br /&gt;
when that Act was passed in America.&rdquo; Was&lt;br /&gt;
this the only reply which the Authors&amp;#039; Society&lt;br /&gt;
could make, that we must leave the topic alone for&lt;br /&gt;
fear of touching on current politics 2 -&lt;br /&gt;
Mr. Howard Swan supported the last speaker.&lt;br /&gt;
He had found, in travelling round the world, that&lt;br /&gt;
British authors had gained a reputation for taking&lt;br /&gt;
things very easy. In America, Japan, and China,&lt;br /&gt;
British copyrights were being stolen. It was&lt;br /&gt;
necessary to take action in order to put a whole-&lt;br /&gt;
Some fear into the wrong-doers. There was,&lt;br /&gt;
indeed, a necessity for a literary code of ethics in&lt;br /&gt;
general, for he had experienced a case where&lt;br /&gt;
30 per cent. of the material of one of his books&lt;br /&gt;
had been taken by another writer. Could not&lt;br /&gt;
such a thing be stopped ? He went on to speak&lt;br /&gt;
of the society&rsquo;s debt to the committee, and to Mr.&lt;br /&gt;
Thring in particular, for the way in which they&lt;br /&gt;
kept so difficult a team as the authors in hand,&lt;br /&gt;
and concluded with an appeal to all members of&lt;br /&gt;
the society to support The Author by literary&lt;br /&gt;
contributions, to do something toward providing&lt;br /&gt;
more beautiful offices as headquarters, and to gain&lt;br /&gt;
as many recruits as possible for their ranks.&lt;br /&gt;
The chairman, replying to Mr. MacIlwaine,&lt;br /&gt;
Said that he feared that his jesting allusion to&lt;br /&gt;
&ldquo;touching on current politics&amp;quot; had been taken&lt;br /&gt;
too seriously. He had merely hinted that there&lt;br /&gt;
might be Free Traders present to whom Retaliation&lt;br /&gt;
might be a word of fear. It would shortly be their&lt;br /&gt;
duty to consider whether Retaliation was the best&lt;br /&gt;
policy, and if so in what form ; and also to&lt;br /&gt;
remember that they were tied by the Berne Con-&lt;br /&gt;
vention. The whole question of copyright was&lt;br /&gt;
coming up this year before the Departmental Com-&lt;br /&gt;
mittee appointed by Government. Experts who&lt;br /&gt;
had been consulted warned them that it would be&lt;br /&gt;
unwise to take too sudden steps with regard to&lt;br /&gt;
America, and that if they were precipitate they&lt;br /&gt;
might not find authors unanimous behind them.&lt;br /&gt;
As for Mr. Swan&amp;#039;s remarks on the crime of con-&lt;br /&gt;
veying material from a fellow-writer, the difficulty&lt;br /&gt;
of course was that one required a very strong case&lt;br /&gt;
in order to be able to punish the evil-doer, and a&lt;br /&gt;
failure to bring the charge home only encouraged&lt;br /&gt;
him and like criminals. With reference to the&lt;br /&gt;
improvement of the society&amp;#039;s offices, it must be&lt;br /&gt;
remembered that this was a matter of finance, and&lt;br /&gt;
that their money must be spent for the benefit of&lt;br /&gt;
the society&amp;#039;s members. The lawyers&amp;#039; bills must be&lt;br /&gt;
paid. After that they might improve their offices.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 189 (#241) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
189&lt;br /&gt;
Mr. Rider Haggard moved a hearty vote of&lt;br /&gt;
thanks to the chairman for his continuous, arduous,&lt;br /&gt;
and disinterested labours. As a very old member&lt;br /&gt;
of the society, who had himself been chairman&lt;br /&gt;
twice, he knew how onerous the post was, even in&lt;br /&gt;
his time. In Mr. Freshfield&amp;#039;s it was far harder,&lt;br /&gt;
and it had been to the very great benefit of the&lt;br /&gt;
society that Mr. Freshfield had consented to act.&lt;br /&gt;
The society was now prosperous as it had never&lt;br /&gt;
been before, and it was a pleasure to him to think&lt;br /&gt;
how his dear old friend, Sir Walter Besant, would&lt;br /&gt;
have been delighted at the progress made. They&lt;br /&gt;
numbered now mearly two thousand members, and&lt;br /&gt;
had every reason for congratulating themselves.&lt;br /&gt;
Turning to the subject of sevenpenny books, he&lt;br /&gt;
said that he had talked with many publishers&lt;br /&gt;
about them, and he believed that if the seven-&lt;br /&gt;
penny did not cease the six-shilling novel would&lt;br /&gt;
be killed. Authors should, as Mr. Freshfield&lt;br /&gt;
suggested, insist on there being no premature&lt;br /&gt;
publication of their works as sevenpennies&mdash;which,&lt;br /&gt;
unlike the sixpenny paper-covered editions, were&lt;br /&gt;
bought by people to be put on their shelves and&lt;br /&gt;
kept.&lt;br /&gt;
&ordm;f. Swan seconded the vote of thanks, which&lt;br /&gt;
was thoroughly deserved by Mr. Freshfield, he said;&lt;br /&gt;
for he had made great sacrifices for the society, and&lt;br /&gt;
was the type of man whom they wanted at their&lt;br /&gt;
head.&lt;br /&gt;
The chairman, in acknowledging the vote, pro-&lt;br /&gt;
tested that he could have done nothing without&lt;br /&gt;
the aid which he had received from the committee&lt;br /&gt;
and secretary.&lt;br /&gt;
The meeting then closed.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
FRAGMENTS OF CENTENARY ODE ON&lt;br /&gt;
EDGAR ALLAN POE.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
I.&lt;br /&gt;
HEN Death&amp;#039;s embrace uncloaketh&lt;br /&gt;
The false and true it yoketh,&lt;br /&gt;
When slow libation smoketh&lt;br /&gt;
And all the host&lt;br /&gt;
That wronged him most&lt;br /&gt;
The singer&amp;#039;s urn convoketh,&lt;br /&gt;
How utterly remouldeth&lt;br /&gt;
The flame that all enfoldeth&lt;br /&gt;
No more the scolder scoldeth,&lt;br /&gt;
One would have said&lt;br /&gt;
Some God were dead :&lt;br /&gt;
He worships who beholdeth.&lt;br /&gt;
For all men&amp;#039;s fames, O sternest&lt;br /&gt;
Deific priest, thou burnest&lt;br /&gt;
On altars deeply furnaced,&lt;br /&gt;
Aloft the peak&lt;br /&gt;
All climbers seek&lt;br /&gt;
Thou winnowest, thou discernest&lt;br /&gt;
* The complete text of this poem is published in the&lt;br /&gt;
Saturday Review for March 13, 1909.&lt;br /&gt;
Night sinks unto the verges,&lt;br /&gt;
Fierce hate no longer urges,&lt;br /&gt;
Foe beside foe emerges&lt;br /&gt;
The wild beasts slake&lt;br /&gt;
At one fell lake&lt;br /&gt;
The desert in their gurges.&lt;br /&gt;
How soon the crowd bemoaneth&lt;br /&gt;
As though such grief atoneth&lt;br /&gt;
The beauty it dethroneth ;&lt;br /&gt;
It shrines the pen&lt;br /&gt;
The mantle then,&lt;br /&gt;
The man himself it stoneth !&lt;br /&gt;
Now by the brain they blunted,&lt;br /&gt;
Now by the heart they hunted,&lt;br /&gt;
Now by the soul they stunted,&lt;br /&gt;
Even here to-night,&lt;br /&gt;
In the banquet-light,&lt;br /&gt;
The cowards are confronted&lt;br /&gt;
And at last the song confuted&lt;br /&gt;
Of this vagabond sweet-luted,&lt;br /&gt;
Celestial, persecuted,&lt;br /&gt;
Poor mystagogue&lt;br /&gt;
Or drunken rogue,&lt;br /&gt;
Is by the world saluted.&lt;br /&gt;
III.&lt;br /&gt;
Therefore we hail him, winged poet undated,&lt;br /&gt;
Backward-gazer, seer Chaldean belated,&lt;br /&gt;
Hymning Terror and Chaos, as Earth in her vagrance&lt;br /&gt;
Leaves long behind her in space wild tresses of fragrance,&mdash;&lt;br /&gt;
Hymning all wonder, as momently grey Earth breaketh&lt;br /&gt;
Still into spaces new, and mew-eyed awaketh&lt;br /&gt;
He floats in the ivory boat he hath carven for pleasure,&lt;br /&gt;
On, down a faery gorge, as one treads a measure,&lt;br /&gt;
Bound for the paladise still where his heart hath treasure.&lt;br /&gt;
Deep-Wombed valleys delight him, ambrosial, clouded&mdash;&lt;br /&gt;
Clear streams wan with lilies and forest-shrouded,&lt;br /&gt;
Walled by autumnal mountains, all sunset-lustred,&lt;br /&gt;
Streams that mirror the cypress, dark, cedar-clustered.&lt;br /&gt;
Down the mid-flood he bears through a vaporous Rhineland&lt;br /&gt;
Borne in his plume i shallop by pool and vineland&lt;br /&gt;
(Strange and phantasmal country () by towers enchanted&lt;br /&gt;
Ablaze With his enemies&amp;#039; souls or by demons haunted.&lt;br /&gt;
Broideries droop no longer from keep or casement&lt;br /&gt;
Ruins honeycombed with horror, and foul abasement.&lt;br /&gt;
Rats Swim off in he water&mdash;dead shoulders welter&mdash;&lt;br /&gt;
Cold on the bulwark, lo a dead hand craves shelter.&lt;br /&gt;
No, he must hasten past, this poet unfriended,&lt;br /&gt;
He too is shelterless, cold, till this voyage be ended.&lt;br /&gt;
Melodies dark he sings, low-toned, melancholy,&lt;br /&gt;
He too has wrestled with Gods in his radiant folly,&lt;br /&gt;
He, too, has felt the breath of passion too near him,&lt;br /&gt;
Still the lost ecstasy clings, and lost arms ensphere him.&lt;br /&gt;
O high houses crumbling down to the water,&lt;br /&gt;
He seeks one lost and gone, the heaven&amp;#039;s wise daughter&lt;br /&gt;
Named under many names, although none recals her&mdash;&lt;br /&gt;
Ligeia or Berenice, all ! what befalls her ?&lt;br /&gt;
Valleys and forests and cities that Time enchanteth,&lt;br /&gt;
Have they not marked her passing for whom he panteth 2&lt;br /&gt;
&ldquo;None hath gone by, O Genius Serene and sombre&lt;br /&gt;
Whom dost thou still pursue, through waking and slumber 2&amp;quot;&lt;br /&gt;
&ldquo;I seek one face alone on my Soul&rsquo;s arrival&lt;br /&gt;
At Hades&amp;#039; glimmering wharves, one divine survival &amp;quot;&lt;br /&gt;
&ldquo;Lo she thy lost one it is, who in airs above thee&lt;br /&gt;
Urges thy faery sail with the lips that love thee I&lt;br /&gt;
She took thy Sore heart hence, and shall heal its bruises&lt;br /&gt;
Far in the deathless country, the land of Muses. . . .&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 190 (#242) ############################################&lt;br /&gt;
&lt;br /&gt;
190&lt;br /&gt;
TISIES A UTEIOR,&lt;br /&gt;
IV.&lt;br /&gt;
Glory unto thee, high Beauty, light in the drearness,&lt;br /&gt;
Poised fragility, pure w th the spirit&amp;#039;s clearness&lt;br /&gt;
Strengths umgauged, unguessed, in thy petals shining&lt;br /&gt;
Blown from the deeps of God through the heart divining.&lt;br /&gt;
Again and again for ever to Beauty returning&lt;br /&gt;
3ack must the eyes revert, and the lips be yearning.&lt;br /&gt;
l&amp;#039;anting we pause, for a sibylline whisper reigneth ;&lt;br /&gt;
By its perfection only the song enchaineth.&lt;br /&gt;
Here at the tempest&amp;#039;s core is that windless zone&lt;br /&gt;
&lsquo;Of poise, . . . Here the wave of Beauty, spreading its tone&lt;br /&gt;
Bell-like, the light Uranian, ringing unknown&lt;br /&gt;
Wider than the wave aethereal, murmurs alone.&lt;br /&gt;
HERBERT TRENCH.&lt;br /&gt;
&agrave; -*&mdash; A&lt;br /&gt;
w--&mdash;w&lt;br /&gt;
COLONIAL SALES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BRITISH AUTHORS v. AMERICAN SALESMEN.&lt;br /&gt;
&sect; HE business of selling and distributing English&lt;br /&gt;
books in Australia demands a certain amount&lt;br /&gt;
of foresight and energy. Immense distances&lt;br /&gt;
have to be bridged, postal delays which often count&lt;br /&gt;
for success or failure, where fashions in novels are&lt;br /&gt;
concerned, have to be reckoned with. As a market&lt;br /&gt;
for English books Australia offers a splendid field,&lt;br /&gt;
once that elusive quality known as the personal&lt;br /&gt;
equation has been finally overcome. There&lt;br /&gt;
are other minor difficulties which I shall refer&lt;br /&gt;
to later on.&lt;br /&gt;
Now, it is all very well for an English author to&lt;br /&gt;
spend his life in the making of books only to dis-&lt;br /&gt;
cover that his work is being systematically &ldquo;dropped&lt;br /&gt;
under the counter.&rdquo; Of course I am speaking&lt;br /&gt;
strictly of the Australian book dep&ocirc;ts as I have&lt;br /&gt;
known them for the last ten years.&lt;br /&gt;
The Australian publisher is not a hustler ; on the&lt;br /&gt;
contrary he is slack and easy going to a painful&lt;br /&gt;
degree, a fact which has long since dawned on the&lt;br /&gt;
astute American publishers to the detriment of&lt;br /&gt;
English authors and book exporters.&lt;br /&gt;
To begin with, there is a large class of buyers and&lt;br /&gt;
readers at the Antipodes whose trend in fiction is&lt;br /&gt;
distinctly American. This fact added to Jonathan&amp;#039;s&lt;br /&gt;
business methods gives him a decided pull over&lt;br /&gt;
British competitors. In a Melbourne book store&lt;br /&gt;
once I observed an American agent assisting the&lt;br /&gt;
shopman to dress the window. Passing the shop&lt;br /&gt;
an hour later I was not surprised to see that the&lt;br /&gt;
whole front was occupied by a small regiment of&lt;br /&gt;
American books. Now, how many British commer-&lt;br /&gt;
cial men would have ventured to advise that store&lt;br /&gt;
proprietor regarding the disposition of his own&lt;br /&gt;
Wares 2&lt;br /&gt;
Another factor in the American&amp;#039;s present success&lt;br /&gt;
is the tremendous amount of business sympathy he&lt;br /&gt;
has to spare. It is not enough to consign a dead&lt;br /&gt;
weight of books, per steamer, to a far distant&lt;br /&gt;
group of customers and patiently await results.&lt;br /&gt;
Something more is needed to lift that dead weigh&lt;br /&gt;
of books into the front window, something more&lt;br /&gt;
than a mere stereotyped letter of advice or batch of&lt;br /&gt;
laudatory Press notices culled from the British&lt;br /&gt;
reviews. The American knows this and promptly&lt;br /&gt;
sends along a cultured business man of the world,&lt;br /&gt;
a man interested in his customer&amp;#039;s affairs, his&lt;br /&gt;
losses, his prospects for the coming year. This&lt;br /&gt;
highly trained representative is capable of advising&lt;br /&gt;
even the experienced bookseller in certain matters&lt;br /&gt;
connected with the trade. Here and there he may&lt;br /&gt;
meet with a cool reception, but in the majority of&lt;br /&gt;
cases his visits are welcomed until by degrees he&lt;br /&gt;
assumes the position of a business adviser, and&lt;br /&gt;
Sooner or later assists in dressing the window.&lt;br /&gt;
These are the initial tactics of the American man&lt;br /&gt;
of business; the ice of reserve and indifference are&lt;br /&gt;
Cut every time he applies the knife. This keen-&lt;br /&gt;
edged competition leaves the English author a bad&lt;br /&gt;
Second in a field where there are untried chances in&lt;br /&gt;
his favour.&lt;br /&gt;
One is compelled to ask whether it would pay&lt;br /&gt;
Colonial publishers and British writers to unite&lt;br /&gt;
and dispense with the services of the London book&lt;br /&gt;
exporters. From an extensive experience gathered&lt;br /&gt;
&ldquo;down under,&rdquo; I am positive that very few&lt;br /&gt;
Australian publishers would be sufficiently enter-&lt;br /&gt;
prising to take anything in the way of risks except&lt;br /&gt;
from a few well-tried names.&lt;br /&gt;
On the other hand, if the books were published&lt;br /&gt;
at the author&amp;#039;s expense, or at the expense of his&lt;br /&gt;
Society in England, and exported to Australia, he&lt;br /&gt;
would still have to face the unenthusiastic Mel-&lt;br /&gt;
bourne agent and the American man of business.&lt;br /&gt;
Assuming also that the British author permitted&lt;br /&gt;
the Melbourne publishers to produce his books&lt;br /&gt;
locally, I can assure him that the increased cost of&lt;br /&gt;
production would swamp all profits likely to accrue&lt;br /&gt;
from an edition of 2,000 copies at least. And how&lt;br /&gt;
many British authors are there whose sales exceed&lt;br /&gt;
that number 2&lt;br /&gt;
At present the situation is one that almost defies&lt;br /&gt;
the literary skill and labour thrown away on so&lt;br /&gt;
many Colonial editions. Even the good English&lt;br /&gt;
novel does not sell itself readily in Australia.&lt;br /&gt;
Like merchandise and other goods, it requires&lt;br /&gt;
Scientific handling and distribution. And to-day&lt;br /&gt;
the Americans are supplying the trade with the&lt;br /&gt;
proper amount of science that goes with the selling&lt;br /&gt;
of each book.&lt;br /&gt;
The visit of the American fleet to Australia&lt;br /&gt;
during 1908 has had a distinctly favourable effect&lt;br /&gt;
on all things American in that country. Scores of&lt;br /&gt;
unknown transatlantic authors have been pushed&lt;br /&gt;
to the front; the booming they received in several&lt;br /&gt;
prominent Australian newspapers was only equalled&lt;br /&gt;
by the thunder of Uncle Sam&amp;#039;s guns when his fleet&lt;br /&gt;
entered Sydney harbour.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 191 (#243) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
191&lt;br /&gt;
Still, one is not inclined to pessimism in litera-&lt;br /&gt;
ture even where a little gun-firing is concerned.&lt;br /&gt;
The Australian people are keen judges of book&lt;br /&gt;
values, and are not likely to be permanently led&lt;br /&gt;
astray by the astute methods of a few American&lt;br /&gt;
salesmen. Matters, I feel sure, would be more&lt;br /&gt;
than equalised if the English authors or publishers&lt;br /&gt;
would unite in claiming efficient representation&lt;br /&gt;
throughout the Australian book world.&lt;br /&gt;
ALBERT DORRINGTON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
AN OPTIMIST&amp;#039;S VIEW OF OUR DECADENT&lt;br /&gt;
DRAMA.&lt;br /&gt;
AM about to make a demand for an endowment,&lt;br /&gt;
not for a play-house, not for the player, but&lt;br /&gt;
for the playwright. I think it is fully con-&lt;br /&gt;
ceded, outside of certain high professional quarters&lt;br /&gt;
where there is an interest in asserting the contrary,&lt;br /&gt;
that Drama in England has fallen into a decadence.&lt;br /&gt;
It, therefore, may be worth while to analyse exactly&lt;br /&gt;
what constitutes decadence; for decadence is not a&lt;br /&gt;
vague, uncertain disease ; it can be accurately&lt;br /&gt;
diagnosed.&lt;br /&gt;
Decadence in art consists of an enslaving of&lt;br /&gt;
design to handicraft, of creative thought to execu-&lt;br /&gt;
tive ability.&lt;br /&gt;
This, in the particular domain of drama, resolves&lt;br /&gt;
itself into the subjection of the dramatist&amp;#039;s aim&lt;br /&gt;
to the actor&amp;#039;s; as has been hinted, rather than&lt;br /&gt;
expressed, in recent controversy.&lt;br /&gt;
The dramatist who knows nothing of stage-craft&lt;br /&gt;
has often been held up to us as a terrible warning.&lt;br /&gt;
Such a man may exist, but is he a dramatist at&lt;br /&gt;
all 2 Many dramatists have graduated as actors,&lt;br /&gt;
and the knowledge which comes of watching plays&lt;br /&gt;
in front, and noting what effects really tell on an&lt;br /&gt;
audience, is at least as open to an author&amp;#039;s attain-&lt;br /&gt;
ment as to an actor&amp;#039;s.&lt;br /&gt;
The actor&amp;#039;s assumption that he knows how a&lt;br /&gt;
play ought to be written, and that an author does&lt;br /&gt;
not, is both a symptom and an aggravation of the&lt;br /&gt;
disease of decadence.&lt;br /&gt;
Let us consider the right relation of author to&lt;br /&gt;
actor. It is precisely that of composer to musician,&lt;br /&gt;
of architect to builder. In every case, ignorance&lt;br /&gt;
of manipulation may lead to impossible design: the&lt;br /&gt;
designer must have a fair knowledge of the capa-&lt;br /&gt;
bilities of material and workmanship; but we know&lt;br /&gt;
how architecture fails, when decoration is con-&lt;br /&gt;
structed, instead of construction decorated ; and&lt;br /&gt;
music writter, to show off the capacity of instru-&lt;br /&gt;
ment or vocalist is hardly of the highest.&lt;br /&gt;
It follows from this, that the founding of schools&lt;br /&gt;
for actors, however useful in other ways, is not the&lt;br /&gt;
medicine for drama.&lt;br /&gt;
It may be useful to give an illustration from the&lt;br /&gt;
history of opera of what is meant. The leading&lt;br /&gt;
case on the point is that of Wagner. Let us sup-&lt;br /&gt;
pose that King Ludwig, instead of standing patron&lt;br /&gt;
to Wagner, had endowed a number of opera houses.&lt;br /&gt;
No doubt certain German towns would have heard&lt;br /&gt;
good music ; but would that have led to this&lt;br /&gt;
revolution of musical thought, and this vital move-&lt;br /&gt;
ment which has resulted from the composer&amp;#039;s&lt;br /&gt;
unfettered utterance 2 Wagner&amp;#039;s work was heresy&lt;br /&gt;
to the canons, and was not adapted to the require-&lt;br /&gt;
ments of the human voice. Perhaps even Wagner&lt;br /&gt;
had better have been more open than he was to&lt;br /&gt;
advice from the stage, but the point is that he had&lt;br /&gt;
ideas which he could articulate in his own way and&lt;br /&gt;
in no other, and which, so articulated, have&lt;br /&gt;
meant a movement in theory and practice, healthy&lt;br /&gt;
if only because it is movement, not stationary&lt;br /&gt;
perfection on old models.&lt;br /&gt;
Another case in point is also from the Tyric&lt;br /&gt;
stage, in this instance an unendowed financial&lt;br /&gt;
venture under our own London conditions. What&lt;br /&gt;
could have been more perfect, from their own&lt;br /&gt;
artistic standpoint, than the series of Gilbert and&lt;br /&gt;
Sullivan operas 2 And what was the secret of this f&lt;br /&gt;
It is well known that the authority of the author&lt;br /&gt;
was resolutely upheld as against even the leading&lt;br /&gt;
actor. A piece of business might bring down the&lt;br /&gt;
house every night, but was stopped at the instance&lt;br /&gt;
of the author if it in any way clashed with his&lt;br /&gt;
idea of the part, or with the general intention of&lt;br /&gt;
the play. This is a very different thing from&lt;br /&gt;
parrot-like drill by the actor-manager. The&lt;br /&gt;
author&amp;#039;s province is to say what business is&lt;br /&gt;
pertinent, not to know how it can be done; he is&lt;br /&gt;
not to teach the actor acting, but to decide how&lt;br /&gt;
proficiency in acting shall be used.&lt;br /&gt;
I am not alluding here to the oft-repeated&lt;br /&gt;
charge that the actor-manager will selfishly use his&lt;br /&gt;
power, to fatten his own part at the expense of&lt;br /&gt;
other actor&amp;#039;s parts. If this is ever done it is &ldquo;most&lt;br /&gt;
tolerable and not to be endured.&rdquo; But I am&lt;br /&gt;
speaking of the question as between actor and&lt;br /&gt;
author. The actor&amp;#039;s right standpoint is to regard&lt;br /&gt;
a play as opportunity for the actor. The author&amp;#039;s&lt;br /&gt;
right standpoint is to regard the actors as Soldier&amp;#039;s&lt;br /&gt;
to carry out his general idea.&lt;br /&gt;
And now let us see how all this works out&lt;br /&gt;
toward an author who has a play to be produced.&lt;br /&gt;
If the play is an entirely fresh and original hand-&lt;br /&gt;
ling of theatrical opportunities&mdash;as plays by men&lt;br /&gt;
worth anything usually are&mdash;it probably contra-&lt;br /&gt;
dicts the established canons of structure, etc. The&lt;br /&gt;
actor concludes it is lawless; and is artist enough&lt;br /&gt;
to know that lawlessness is not art. But this is&lt;br /&gt;
the very mistake with which every departure in art&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 192 (#244) ############################################&lt;br /&gt;
&lt;br /&gt;
I92&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
is met. The laws of art are eternal ; the canons&lt;br /&gt;
of criticism are only working hypotheses approxi-&lt;br /&gt;
mating to those laws.&lt;br /&gt;
The eternal laws of art are deducible from the&lt;br /&gt;
practice of the masters, but can never be exhaus-&lt;br /&gt;
tively deduced from the practice of the past only ;&lt;br /&gt;
whereas the canons of criticism are deduced almost&lt;br /&gt;
wholly from the practice of the past or present, and&lt;br /&gt;
never will admit those re-statements of law which&lt;br /&gt;
should constantly modify accepted canons.&lt;br /&gt;
This is true of all art movements. But the&lt;br /&gt;
dramatist cannot, as the P.R.B. did, finish his&lt;br /&gt;
masterpiece, and bide his time. He can print and&lt;br /&gt;
publish his play, but a printed play is not a&lt;br /&gt;
fininshed work of art; it is, at best, but the score&lt;br /&gt;
of a piece of music not yet played. If, before he&lt;br /&gt;
can get a hearing for the finished work, he must&lt;br /&gt;
wait to convince the players, wedded to their&lt;br /&gt;
experience--who, of course, have never seen the&lt;br /&gt;
work in question performed&mdash;what chance is there&lt;br /&gt;
for anything but the conventional&lt;br /&gt;
Furthermore, experience shows that, when actors&lt;br /&gt;
make up their mind to cut the Gordian knot, and&lt;br /&gt;
produce something unconventional, they do not&lt;br /&gt;
know in the least which way to look ; hence they&lt;br /&gt;
produce mere eccentricity, because they lack&lt;br /&gt;
knowledge of dramaturgy, more of which can be&lt;br /&gt;
learned by writing one play with an idea in it, than&lt;br /&gt;
by acting hundreds, however fine. Thus, managerial&lt;br /&gt;
experiments are much more likely to be wrong than&lt;br /&gt;
right.&lt;br /&gt;
I need hardly say this is nowise written to decry&lt;br /&gt;
the value of the actor&amp;#039;s art ; the ultimate success&lt;br /&gt;
of a play must depend on the quality of the acting.&lt;br /&gt;
Neither does it mean that the author, unless he&lt;br /&gt;
direct his rehearsals in person, should &ldquo;fuss&amp;quot;&lt;br /&gt;
about on these occasions. What the author has to&lt;br /&gt;
say would be better discussed in conference with&lt;br /&gt;
the director of the performances, before and after&lt;br /&gt;
rehearsal. No doubt, this is usual already, when&lt;br /&gt;
the play is once chosen ; but it is in the choice of&lt;br /&gt;
plays in the first instance, by whoever finds the&lt;br /&gt;
necessary funds, that the actor should not be con-&lt;br /&gt;
sidered as more than an assessor in the department&lt;br /&gt;
of his own craft, while in the mounting, casting,&lt;br /&gt;
and blue-pencilling, the author, once chosen, should&lt;br /&gt;
be paramount.&lt;br /&gt;
No one can tell, until a play is tried, whether it&lt;br /&gt;
will prove good or bad&mdash;the author is the only&lt;br /&gt;
person who knows in advance what he is aiming&lt;br /&gt;
at, and he can only express his aim by presenting&lt;br /&gt;
the play&mdash;for the meaning of a work of art can&lt;br /&gt;
only be expressed by that work of art itself.&lt;br /&gt;
To choose a play with stuff of some sort in it,&lt;br /&gt;
and then let the author blunder through with it,&lt;br /&gt;
is the best training for him.&lt;br /&gt;
But who is to pay for it 2&lt;br /&gt;
Experienced actors must be put at the service of&lt;br /&gt;
the untried author ; the borrowing of novices from&lt;br /&gt;
the conservatoires of acting has the disadvantage&lt;br /&gt;
that a new play, to do it justice, requires tried&lt;br /&gt;
exponents, while new actors do better to try them-&lt;br /&gt;
selves on acknowledged models. I now come to&lt;br /&gt;
the suggestion with which I began and to which&lt;br /&gt;
this leads: why should not scholarships or exhibi-&lt;br /&gt;
tions be granted to likely authors for the presenting&lt;br /&gt;
of their plays * This would involve, of course, a&lt;br /&gt;
reading committee, and an endowment.&lt;br /&gt;
Something of the sort was tried when the Play-&lt;br /&gt;
goers&amp;#039; Club chose one out of certain plays submitted,&lt;br /&gt;
while certain of our leading actors pledged them-&lt;br /&gt;
selves to produce and appear in the play selected.&lt;br /&gt;
And if this process had been repeated often enough,&lt;br /&gt;
I have little doubt it would have proved a real&lt;br /&gt;
school of drama. But it had the disadvantage that&lt;br /&gt;
every actor is not at his best in every play, while&lt;br /&gt;
an offer so graciously made could only be accepted.&lt;br /&gt;
The cast should be filled up after the choice of the&lt;br /&gt;
play, and the actors should receive fees out of the&lt;br /&gt;
endowment, if the author is to be unfettered in&lt;br /&gt;
casting the parts. A theatre also would need to&lt;br /&gt;
be hired or borrowed ; better the former, as much&lt;br /&gt;
depends on the size of the theatre suiting the Scale&lt;br /&gt;
of the play, and the proverb that beggars cannot&lt;br /&gt;
be choosers holds good in this likewise.&lt;br /&gt;
Several performances should be given, as a&lt;br /&gt;
solitary matin&eacute;e seldom runs smoothly ; and,&lt;br /&gt;
besides, the result should repay the labour of&lt;br /&gt;
rehearsal if heart and spirit are to be put into it.&lt;br /&gt;
It would be exceedingly difficult to say how&lt;br /&gt;
large a sum would be required for such a founda-&lt;br /&gt;
tion, as the cost of mounting plays varies so much.&lt;br /&gt;
One would be inclined to say that the sort of&lt;br /&gt;
plays which would be selected might not require&lt;br /&gt;
extravagant mounting; but it would be a great&lt;br /&gt;
mistake to tie a dramatist down, in advance, to&lt;br /&gt;
any fixed maximum of mounting; as the purpose of&lt;br /&gt;
the scheme is to leave to him unfettered develop-&lt;br /&gt;
ment. But perhaps a prize-winner might be&lt;br /&gt;
allowed the choice of one expensive, or several&lt;br /&gt;
inexpensive, experiments.&lt;br /&gt;
By the time the prize-man had spent this money,&lt;br /&gt;
he would presumably have &ldquo;arrived,&rdquo; or at least&lt;br /&gt;
learnt how to &ldquo;arrive.&rdquo; But this would provide&lt;br /&gt;
us with a theatre not pledged to prose or Verse,&lt;br /&gt;
scenery or non-scenery, realism or idealism,&lt;br /&gt;
limitations which have done much to set a bound&lt;br /&gt;
to the usefulness of the various free theatre societies&lt;br /&gt;
which have so far existed.&lt;br /&gt;
To sum up, let us have a foundation granting&lt;br /&gt;
xhibitions to the playwright. If we are to&lt;br /&gt;
regenerate our drama, someone must finance&lt;br /&gt;
author, not player.&lt;br /&gt;
ARTHUR DILLON.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 193 (#245) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR.&lt;br /&gt;
193&lt;br /&gt;
THE LETTERPRESS MERCHANTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OME years ago the late Sir Walter Besant&lt;br /&gt;
remarked that only two sorts of men ever&lt;br /&gt;
make a name in literature. They were &ldquo;the&lt;br /&gt;
men who make their readers cry, and the men who&lt;br /&gt;
make them laugh.&rdquo;&lt;br /&gt;
He said nothing about those authors who in&lt;br /&gt;
endeavouring to make their readers weep succeed&lt;br /&gt;
only in awakening their sense of the ridiculous;&lt;br /&gt;
or of those others who, in striving to make their&lt;br /&gt;
readers laugh, stir up animosity instead.&lt;br /&gt;
That humour of the sort known as &ldquo;unconscious.&rdquo;&lt;br /&gt;
should go unrewarded is regrettable, for it is the&lt;br /&gt;
truest kind of humour that we have. Some books&lt;br /&gt;
of reference that have lately come into the writer&amp;#039;s&lt;br /&gt;
hands contain well-nourished specimens of uncon-&lt;br /&gt;
scious humour. These manuals of practical hints&lt;br /&gt;
are for the guidance of litt&eacute;rateurs properly so&lt;br /&gt;
called, as well as of free-lance journalists. They&lt;br /&gt;
give lists of all the periodical publications&mdash;&lt;br /&gt;
newspapers, magazines and reviews&mdash;that are&lt;br /&gt;
issued in this country and in some other countries;&lt;br /&gt;
the kinds of stories, articles, news paragraphs,&lt;br /&gt;
miscellaneous contributions, and illustrations that&lt;br /&gt;
each publication requires ; the lengths such&lt;br /&gt;
contributions should be ; the respective rates of&lt;br /&gt;
payment ; and the political views and the general&lt;br /&gt;
atmosphere of every journal named.&lt;br /&gt;
Open one of these books at haphazard, and you&lt;br /&gt;
will come upon the following :&mdash;&lt;br /&gt;
&ldquo;The . . . . is emphatically a review of literature and&lt;br /&gt;
science. . . . The articles are not popular Science, but they&lt;br /&gt;
discuss scientific topics as far as possible in an unintellectual&lt;br /&gt;
manner.&rdquo;&lt;br /&gt;
It is, at any rate, refreshing to find a journal&lt;br /&gt;
with the courage to admit that it deals with topics&lt;br /&gt;
&ldquo;in an unintellectual manner.&rdquo; Of course we all&lt;br /&gt;
know that plenty of journals do deal with quite&lt;br /&gt;
serious topics in that way&mdash;especially where their&lt;br /&gt;
views differ from one&amp;#039;s own&mdash;but the majority&lt;br /&gt;
are too modest to advertise the fact.&lt;br /&gt;
Then, in a list of newspapers soliciting con-&lt;br /&gt;
tributions is one with the pleasing title, The&lt;br /&gt;
World of Gas. Judging by the utterances of a&lt;br /&gt;
proportion of the gentlemen who figure in the lime-&lt;br /&gt;
light of publicity in these days there should be&lt;br /&gt;
little enough difficulty in filling the columns of&lt;br /&gt;
The World of Gas over and over again.&lt;br /&gt;
We come next to journals of quite a different&lt;br /&gt;
class&mdash;those that deal mainly with automobilism&lt;br /&gt;
and all that thereunto appertains. Here are some&lt;br /&gt;
of the requirements of one of them :&mdash;&lt;br /&gt;
&ldquo;The . . . . is a medium for all interested in self-&lt;br /&gt;
propelled traffic. Roadside experiences, descriptions of&lt;br /&gt;
accidents and mishaps, especially when of a humorous&lt;br /&gt;
nature . . . . also points likely to promote controversy&lt;br /&gt;
... are all wanted. So are good motor jokes, which are&lt;br /&gt;
paid for at from 2s. 6d. to 10s. apiece, according to their&lt;br /&gt;
merit, while as much as a guinea is paid for an undoubtedly&lt;br /&gt;
Comic motor anecdote.&rdquo;&lt;br /&gt;
With regard to &ldquo;motor accidents . . . . of a&lt;br /&gt;
humorous nature,&rdquo; the question at once arises,&lt;br /&gt;
Must such accidents have been humorous from&lt;br /&gt;
the standpoint of the driver, or from that of the&lt;br /&gt;
Victim P&lt;br /&gt;
Somebody said once that the difference between&lt;br /&gt;
the quick and the dead&mdash;from a chauffeur&amp;#039;s stand-&lt;br /&gt;
point&mdash;is that the quick are the people who get&lt;br /&gt;
Out of the way, the dead are those who don&amp;#039;t.&lt;br /&gt;
But surely a motor accident sufficiently humorous&lt;br /&gt;
to make the victim laugh before being slaughtered&lt;br /&gt;
should be paid for at a higher rate than one that&lt;br /&gt;
causes only the chauffeur to grin 2&lt;br /&gt;
Then as to &ldquo;motor jokes.&rdquo; What is a &ldquo;motor&lt;br /&gt;
joke,&rdquo; precisely Would &ldquo;Why did the cotter&lt;br /&gt;
pin Because it saw the sparking plug,&rdquo; be called&lt;br /&gt;
a motor joke and as such valued at half-a-sovereign 2&lt;br /&gt;
Again, who fixes the degree of &ldquo;merit&amp;quot; of a motor&lt;br /&gt;
joke 2 Is a board meeting held once a week in the&lt;br /&gt;
editorial chamber to pronounce judgment and&lt;br /&gt;
divide the motor jokes into half-crown, five-shilling,&lt;br /&gt;
Seven-and-sixpenny and ten-shilling jokes 2 And&lt;br /&gt;
then that &ldquo;undoubtedly comic motor anecdote &rsquo;&rsquo;&lt;br /&gt;
for which &ldquo;as much as a guinea&amp;#039; is paid, who&lt;br /&gt;
delivers sentence about that ? Must the &ldquo;motor&lt;br /&gt;
anecdote &rsquo;&rsquo; cause the faces of the entire board of&lt;br /&gt;
directors to expand before it can be declared to be&lt;br /&gt;
&ldquo;undoubtedly comic,&rdquo; or will it do if it crumples&lt;br /&gt;
up the r&eacute;dacteur-en-chef ?&lt;br /&gt;
One would like to know these things before&lt;br /&gt;
setting to work to compete. -&lt;br /&gt;
A journal called Our Animal Brothers&mdash;ought&lt;br /&gt;
not this to be &ldquo;Our Brother Animals&rdquo; 2&mdash;requires&lt;br /&gt;
&ldquo; photos from life of animals not in captivity . . . .&lt;br /&gt;
head-pieces, tail-pieces,&rdquo; etc.&lt;br /&gt;
Of course it is easy for the editor to write like&lt;br /&gt;
that in the security of his den, with half-a-dozen&lt;br /&gt;
sinewy compositors and a couple of foundrymen&lt;br /&gt;
probably within hail ; but who is going to bell the&lt;br /&gt;
cat, so to speak, by photographing the head-piece&lt;br /&gt;
of, let us say, a Tasmanian devil not in captivity ?&lt;br /&gt;
One might risk a snap-shot at the tail-piece of&lt;br /&gt;
some docile creature&mdash;a giraffe, for instance&mdash;not&lt;br /&gt;
in captivity, but the writer considers that that&lt;br /&gt;
should be about the limit.&lt;br /&gt;
Then we come to the fiction department, and&lt;br /&gt;
here we find that the requirements of the various&lt;br /&gt;
editors fluctuate considerably.&lt;br /&gt;
One editor, for instance, &ldquo;draws the line at all&lt;br /&gt;
to do with any matter of erotic tendency&amp;#039;&rdquo; and&lt;br /&gt;
&ldquo;debars tales of divorce, infidelity, fast life, loose women&lt;br /&gt;
. and Tequires a clean, healthy tone, and throughout&lt;br /&gt;
a strong domestic interest.&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 194 (#246) ############################################&lt;br /&gt;
&lt;br /&gt;
194&lt;br /&gt;
TISIES A UITISIOIR,&lt;br /&gt;
Run on somewhat similar lines is the journal in&lt;br /&gt;
need of&lt;br /&gt;
&ldquo;good, healthy, moral stories of human interest, but&lt;br /&gt;
nothing namby-pamby or goody-goody. Yet the narratives&lt;br /&gt;
must be full of human sweetness and incident, and . . . .&lt;br /&gt;
a strong love element should pervade each.&rdquo;&lt;br /&gt;
Another gentleman asks for&lt;br /&gt;
&ldquo;short, sparkling stories of achievement in the world ;&lt;br /&gt;
of home life : of childhood and old age ; of delicate senti-&lt;br /&gt;
ment and appreciation of the beautiful. Stories with a&lt;br /&gt;
purpose, conveying wholesome truths influencing life and&lt;br /&gt;
conduct, are desired. No tragedy, wickedness, or scandal.&lt;br /&gt;
Characteristics : earnestness, brightness, and purposeful&lt;br /&gt;
truths presented in growth of plot, not in Sermonizing.&lt;br /&gt;
Also uses feature articles for the home and betterment of&lt;br /&gt;
human existence, and verse which appeals to the higher&lt;br /&gt;
and more noble sentiments.&rdquo;&lt;br /&gt;
Clearly an Ideal Editor, beautiful in a world where&lt;br /&gt;
not even man is Vile.&lt;br /&gt;
How different the requirements of an American&lt;br /&gt;
editor on the next page, who clamours for&lt;br /&gt;
&ldquo;Love, passion, humour, &lsquo;Frenchy&amp;#039; or suggestive tales&lt;br /&gt;
inside the line of decency . . . . also fantastic fiction&lt;br /&gt;
taken. Amy Setting ; any nationality ; and sometimes&lt;br /&gt;
short, praiseworthy translations of French authors.&rdquo;&lt;br /&gt;
And of this one, who&lt;br /&gt;
&ldquo;Solicits bright, risqu&eacute;, spicy stories, likewise &lsquo;salacious&rsquo;&lt;br /&gt;
dramas.&rdquo;&lt;br /&gt;
It is a pity the editors who want clean, whole-&lt;br /&gt;
some fiction, and the editors in need of stories&lt;br /&gt;
mainly erotic, should be mixed uphiggledy-piggledy,&lt;br /&gt;
as they are in the pages of these manuals. The&lt;br /&gt;
editors of these otherwise excellent books of refer-&lt;br /&gt;
ence should have remembered the aphorism to do&lt;br /&gt;
with evil communications, good manners, and cor-&lt;br /&gt;
ruption. Next we have an American monthly,&lt;br /&gt;
People&amp;#039;s Maſſazine, which&lt;br /&gt;
&ldquo;wants . . . . novels . . . . inspired with the beauty,&lt;br /&gt;
sweetness, and truth of life . . . . of a healthy tone, and&lt;br /&gt;
appealing to the masses . . . . also love stories when they&lt;br /&gt;
are not inane or too frothy . . . . stories not fantastic&lt;br /&gt;
. . . . but not the cheap, trite tales written in near Bowery&lt;br /&gt;
dialect.&rdquo;&lt;br /&gt;
One journal earnestly assures us that &ldquo;reputa-&lt;br /&gt;
tion of author is no catch towards acceptance of&lt;br /&gt;
MSS. . . . but good U.S. setting much desired &rdquo;;&lt;br /&gt;
another, Mothers&amp;#039; Magazine, that its contents&lt;br /&gt;
&ldquo;appeal exclusively to mothers and would-be&lt;br /&gt;
mothers, not necessarily U.S.A. &rdquo;; a third, Modern&lt;br /&gt;
Priscilla, that stories are more acceptable &ldquo;when&lt;br /&gt;
embroidery and fancy work is worked into the&lt;br /&gt;
fiction.&rdquo; 3.&lt;br /&gt;
Indeed, nearly every imaginable kind of journal&lt;br /&gt;
has its requirements here set forth&mdash;the require-&lt;br /&gt;
ments of some of them almost bring a blush&mdash;from&lt;br /&gt;
the Helenic Herald and the Homiletic Review down&lt;br /&gt;
to The Hockey Field and Golf Green and the&lt;br /&gt;
Halfpenny Surprise.&lt;br /&gt;
The wants even of The Zoophilist and Animals&rsquo;&lt;br /&gt;
Defender are duly catalogued.&lt;br /&gt;
BASIL TOZER.&lt;br /&gt;
CORRESPONDENCE,&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
LITERARY AGENTs.&lt;br /&gt;
SIR,-With the development of the business of&lt;br /&gt;
the literary agent there is arising a considerable&lt;br /&gt;
difficulty about the collection of money from pub-&lt;br /&gt;
lishers. It is becoming customary for the agents&lt;br /&gt;
to insert a clause in any agreement drawn up, declar-&lt;br /&gt;
ing their signatures a good and valid receipt for&lt;br /&gt;
money due to authors&mdash;a very dangerous and undesir-&lt;br /&gt;
able custom, in view of the financial standing of&lt;br /&gt;
many of these enterprising and necessary middle-&lt;br /&gt;
men. Not a few of them are quite unsubstantial men,&lt;br /&gt;
and if they refuse to hand over monies received, it&lt;br /&gt;
may surprise many authors to learn that they can&lt;br /&gt;
only recover the sum due to them as an ordinary&lt;br /&gt;
debt. On the other hand, I am told there is only&lt;br /&gt;
too much justification for the agent&amp;#039;s desire to&lt;br /&gt;
handle the money in transit from publisher to&lt;br /&gt;
author. I would like to suggest to you that the&lt;br /&gt;
treatment of this question by our society is becoming&lt;br /&gt;
urgently necessary. For my own part, I am not&lt;br /&gt;
averse to the agency clause if the agent&amp;#039;s solvency&lt;br /&gt;
is properly guaranteed. It seems to me that the&lt;br /&gt;
best plan might be for the Society to make a register&lt;br /&gt;
of English and American agents of standing and&lt;br /&gt;
repute, and oblige them, as it could very easily do, to&lt;br /&gt;
find sureties for the prompt payment of sums that&lt;br /&gt;
may become due to our members under the agency&lt;br /&gt;
clause. A mere register of unguaranteed respect-&lt;br /&gt;
abilities would, of course, be worse than useless.&lt;br /&gt;
The society could publish the list month by month,&lt;br /&gt;
and its members would then have only them-&lt;br /&gt;
selves to blame if they suffer through an agent&amp;#039;s&lt;br /&gt;
default. And, on the other hand, the struggling&lt;br /&gt;
author&mdash;who is most disposed for many reasons to&lt;br /&gt;
resort to the struggling but promising agent&mdash;&lt;br /&gt;
will get a regularly reiterated warning against&lt;br /&gt;
acquiescence in the agency clause when dealing with&lt;br /&gt;
unsubstantial men. The honest small agent who is&lt;br /&gt;
not a capitalist should be quite willing to waive the&lt;br /&gt;
dangerous delight of collecting money that may&lt;br /&gt;
become fatally involved in&mdash;let us say&mdash;his unpre-&lt;br /&gt;
meditated bankruptcy.&lt;br /&gt;
Very sincerely yours,&lt;br /&gt;
H. G. WELLS.&lt;br /&gt;
P.S.&ndash;It seems to me that it would addenormously&lt;br /&gt;
to the usefulness of the Society of Authors if it could&lt;br /&gt;
undertake the whole business of collecting monies&lt;br /&gt;
due to authors&mdash;if, for instance, one could file one&amp;#039;s&lt;br /&gt;
agreements with it, and have the society receive and&lt;br /&gt;
transmit accounts and cash. Quite a small per-&lt;br /&gt;
centage upon the amounts handled should make this&lt;br /&gt;
a profitable as well as valuable branch, and we&lt;br /&gt;
should then incidentally solve the little difficulty&lt;br /&gt;
between the agent who manifestly does not trust,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 195 (#247) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTFIOR.&lt;br /&gt;
195&lt;br /&gt;
the author, and the author who is only too ready to&lt;br /&gt;
trust any agent.&lt;br /&gt;
P.P.S.&mdash;Since writing the above I have dis-&lt;br /&gt;
covered the following beautiful development of the&lt;br /&gt;
&ldquo;agency clause &rsquo;&rsquo;:&mdash; -&lt;br /&gt;
&ldquo;And any sums due to the Author shall be paid&lt;br /&gt;
to the Author&amp;#039;s representative, Mr. Allworthy,&lt;br /&gt;
whose receipt alone shall be a full and sufficient&lt;br /&gt;
discharge of the obligation and this authority shall&lt;br /&gt;
not be revocable by the Author without the previous&lt;br /&gt;
20ritten consent of the said representalive.&rdquo;&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
AMERICAN COPYRIGHT.&lt;br /&gt;
SIR,-Having read with great interest Mr.&lt;br /&gt;
McIlwaine&amp;#039;s article in the February number of&lt;br /&gt;
The Author on copyright in America for British&lt;br /&gt;
authors, I wish to express my hearty agreement&lt;br /&gt;
with all he says, especially on behalf of the semi-&lt;br /&gt;
successful. My own experiences might interest&lt;br /&gt;
some comrades, but I fear to take up space with&lt;br /&gt;
personal grievances.&lt;br /&gt;
Yours truly, -&lt;br /&gt;
MAY CROMMELIN.&lt;br /&gt;
&mdash;0&ndash;&ordm;-0&ndash;&lt;br /&gt;
&ldquo;SHALL WE PUBLISH FOR OURSELVES 2 &rdquo;&lt;br /&gt;
SIR,--The letter of C. A. M. in The Aufhor for&lt;br /&gt;
March is so full of interest to many novel-writers&lt;br /&gt;
that it is to be hoped we shall see some authoritative&lt;br /&gt;
answers to his questions.&lt;br /&gt;
His experiences are practically identical with my&lt;br /&gt;
own, and I feel sure that they must be similar to&lt;br /&gt;
those of a very large number of novelists. I should&lt;br /&gt;
like to inquire from him if he submitted his second&lt;br /&gt;
novel to the publisher who accepted his first novel,&lt;br /&gt;
and if not, why not ?&lt;br /&gt;
The answer to his two last questions as to&lt;br /&gt;
reviewing and advertising, I feel sure must be No.&lt;br /&gt;
The average author cannot manage either advan-&lt;br /&gt;
tageously for himself. At the same time, is there&lt;br /&gt;
nothing else for it but to adopt the miserable&lt;br /&gt;
present-day standard of &ldquo;nothing but what pays&rdquo;&lt;br /&gt;
in literature as in all else ? It there no way in&lt;br /&gt;
which &ldquo;the novel which involves the heart and,&lt;br /&gt;
Soul of the author who cares for his work&amp;quot; can&lt;br /&gt;
Teach the reader ?&lt;br /&gt;
Yours, etc., L. M. B.&lt;br /&gt;
- e-Q-e&mdash; -&lt;br /&gt;
THE LITERARY PICKEERER.&lt;br /&gt;
SIR,-For some time I have edited a monthly&lt;br /&gt;
periodical which once had prospects of becoming a&lt;br /&gt;
property of some pecuniary value. Each month&lt;br /&gt;
its chances of success decrease, because all that is&lt;br /&gt;
novel, distinctive and attractive in its contents is&lt;br /&gt;
appropriated by an imitative publication. During&lt;br /&gt;
the last fifteen months this rival has adopted&lt;br /&gt;
eighteen features I introduced into my magazine,&lt;br /&gt;
and now I never open a copy of this competing&lt;br /&gt;
periodical without realising that imitation is the&lt;br /&gt;
meanest form of flattery.&lt;br /&gt;
The practice is common and widespread. This&lt;br /&gt;
Week&amp;#039;s mail brings me a letter from a journalist in&lt;br /&gt;
Hongkong, who writes: &ldquo;the . . . here are doing&lt;br /&gt;
their utmost to kill us, while copying ideas from&lt;br /&gt;
us wholesale. No matter what new features we&lt;br /&gt;
introduce, one or more of the local papers are sure&lt;br /&gt;
to imitate, but studiously avoid giving us credit&lt;br /&gt;
for what they crib.&rsquo;&lt;br /&gt;
His trouble is my trouble, and the trouble of all&lt;br /&gt;
British editors who endeavour to originate novel&lt;br /&gt;
features, treat old subjects in new ways, present&lt;br /&gt;
facts in a more attractive manner, and strive to&lt;br /&gt;
progress in the art of expression. Apparently&lt;br /&gt;
copyright protects phrases, lines, pictures, and&lt;br /&gt;
Combinations of these, but does not protect ideas,&lt;br /&gt;
or that which is vital and essential to the property&lt;br /&gt;
it is supposed to protect.&lt;br /&gt;
What is the remedy ?&lt;br /&gt;
The matter is of importance to authors because,&lt;br /&gt;
in the first place they, or at least some of them,&lt;br /&gt;
are originators; in the second place, because no&lt;br /&gt;
periodical can afford to pay them for ideas which&lt;br /&gt;
competing publications obtain gratis by copying&lt;br /&gt;
only the essentials. It is not the editor alone who&lt;br /&gt;
is to blame ; my publisher complains that his&lt;br /&gt;
Schemes are exploited by the publisher of the&lt;br /&gt;
imitating competitor, and the advertisement&lt;br /&gt;
manager reports that the novel methods he initiates&lt;br /&gt;
to attract business are used by his competitor.&lt;br /&gt;
Some may suppose that the public reward the&lt;br /&gt;
originator and decline to support the imitator.&lt;br /&gt;
The public takes the cheapest thing offered. The&lt;br /&gt;
paper which borrows ideas, instead of paying for&lt;br /&gt;
them, is produced more cheaply; it can cut rates&lt;br /&gt;
for advertising space; advertisers and readers sup-&lt;br /&gt;
port it, regarding any plaints we utter as only the&lt;br /&gt;
Outcome of jealousy or envy we have for a successful&lt;br /&gt;
competitor. It may be urged that at least the&lt;br /&gt;
originator finds pleasure in being first ; but the&lt;br /&gt;
mind of the imitator is so constituted that he&lt;br /&gt;
experiences equal, if not greater, satisfaction in&lt;br /&gt;
copying successfully.&lt;br /&gt;
In my experience, enterprise shown in originat-&lt;br /&gt;
ing schemes does not pay. The literary pioneer&lt;br /&gt;
clears the ground, ploughs the soil, sows the seed,&lt;br /&gt;
weeds the fields, destroys the locusts, and then the&lt;br /&gt;
literary pickeerer reaps the harvest and fattens his&lt;br /&gt;
manubial cattle on the crop.&lt;br /&gt;
I do not know how to protect the originator.&lt;br /&gt;
If authors cannot help me to a remedy, in justice&lt;br /&gt;
to the proprietors I must adopt the policy of the&lt;br /&gt;
pickeerer ; or, what amounts to the same thing as&lt;br /&gt;
far as authors are concerned, resign, and allow&lt;br /&gt;
someone who will follow and not lead, the privilege&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 196 (#248) ############################################&lt;br /&gt;
&lt;br /&gt;
196&lt;br /&gt;
TISIES A CITISIOR-&lt;br /&gt;
of conducting the periodical with fewer and smaller&lt;br /&gt;
payments to its contributors.&lt;br /&gt;
Yours faithfully, PARAPH.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
MR. ARCHER AND THE &ldquo; ACADEMY.&rdquo;&lt;br /&gt;
SIR,-As certain comments in the Academy&lt;br /&gt;
regarding our advertisement in The Author of our&lt;br /&gt;
arrangement with Mr. Archer for reading and&lt;br /&gt;
criticism of plays are made to reflect upon The&lt;br /&gt;
Author, through a misunderstanding on the part of&lt;br /&gt;
the editor of the Academy, may we observe that Mr.&lt;br /&gt;
Archer&amp;#039;s arrangement with us is exactly that which&lt;br /&gt;
the Academy desires. His services to the literary&lt;br /&gt;
aspirant are &ldquo;limited to instruction,&rdquo; and have no&lt;br /&gt;
connection with the work of placing the plays with&lt;br /&gt;
managers except that if Mr. Archer&amp;#039;s suggestions&lt;br /&gt;
help to improve a play they improve its chances of&lt;br /&gt;
being placed.&lt;br /&gt;
As the Academy rightly points out : &ldquo;Only an&lt;br /&gt;
infinitesimal percentage of the plays written by&lt;br /&gt;
amateurs can in the nature of things be produced&lt;br /&gt;
at theatres.&rdquo; We are obliged to decline the&lt;br /&gt;
honour of offering to managers nine out of ten of&lt;br /&gt;
the plays submitted to us. If an agent gains the&lt;br /&gt;
reputation with managers of submitting to them&lt;br /&gt;
only such plays as are worthy of their immediate&lt;br /&gt;
attention, that agent is entitled to say that he has&lt;br /&gt;
some &ldquo;influence&amp;quot; with managers. If bundles of&lt;br /&gt;
plays, good, bad, and indifferent, were sent around&lt;br /&gt;
indiscriminately to managers on payment of some&lt;br /&gt;
kind of preliminary agency fee from the author,&lt;br /&gt;
the business would be little less than a swindle, for&lt;br /&gt;
no experienced manager would be likely to waste&lt;br /&gt;
his time on these heterogeneous bundles, and the&lt;br /&gt;
agency fees paid by the author would be worse&lt;br /&gt;
than wasted. The mistake that the Academy&lt;br /&gt;
makes is in founding its comments on the supposi-&lt;br /&gt;
tion that this is the way we do business.&lt;br /&gt;
As to the use of Mr. Archer&amp;#039;s criticisms with&lt;br /&gt;
managers, if Mr. Archer were to say about any play&lt;br /&gt;
sent to him by us that it was a thoroughly good&lt;br /&gt;
play, Worthy of acceptance as it stood, we should&lt;br /&gt;
undoubtedly wish to quote that comment to any&lt;br /&gt;
manager likely to be interested in it; but I do not&lt;br /&gt;
think Mr. Archer has ever said this of any play we&lt;br /&gt;
have sent to him. Judging by the painstaking&lt;br /&gt;
criticisms received from him so far, we do not&lt;br /&gt;
believe that one in twenty of them would help to&lt;br /&gt;
place the play with any manager, except in the&lt;br /&gt;
only legitimate way, and the only way Mr. Archer&lt;br /&gt;
or ourselves ever had in view, viz., by helping the&lt;br /&gt;
author to improve that play.&lt;br /&gt;
I think it is due to The Author that this frank&lt;br /&gt;
statement should be made, and that its publication&lt;br /&gt;
will clear away any misconception that may have&lt;br /&gt;
arisen in the minds of the Academy readers.&lt;br /&gt;
Yours faithfully, CURTIS BROWN AND MASSIE.&lt;br /&gt;
SCHOLZ v. AMASIs, LTD.&lt;br /&gt;
SIR,-The writer of the paragraph joins issue&lt;br /&gt;
with my criticisms on two points. He says I am&lt;br /&gt;
wrong (a) in my reading of the documents in the&lt;br /&gt;
case ; (b) in my view of the law.&lt;br /&gt;
On the first point, I have now, through the&lt;br /&gt;
courtesy of the Authors&amp;#039; Society, had an oppor-&lt;br /&gt;
tunity of seeing the documents ; and, as a&lt;br /&gt;
matter of fact, the pleadings literally bear out&lt;br /&gt;
the statement in my letter that no claim of copy-&lt;br /&gt;
right was made by the plaintiff. The expression&lt;br /&gt;
all through is &ldquo;right of performance.&rdquo; Where the&lt;br /&gt;
writer of the paragraph finds authority for his&lt;br /&gt;
statement that the plaintiff&rsquo;s claim was for infringe-&lt;br /&gt;
ment of copyright, I cannot discover. It is true&lt;br /&gt;
that, in his judgment, Mr. Justice Jelf once or&lt;br /&gt;
twice casually uses the term &ldquo;copyright&rdquo;; but&lt;br /&gt;
generally with explanatory words, which show that&lt;br /&gt;
he is not employing the term in its technical&lt;br /&gt;
sense. In any case, my statement was correct.&lt;br /&gt;
The fact that the plaintiff&rsquo;s solicitors happened to&lt;br /&gt;
endorse the writ &ldquo;infringement of copyright&amp;quot; is,&lt;br /&gt;
of course, quite immaterial, regard being had to&lt;br /&gt;
the framing of the pleadings.&lt;br /&gt;
On the second point, it is well known that the&lt;br /&gt;
&ldquo;Act to Amend the Laws relating to Literary&lt;br /&gt;
Property&amp;quot; (1833) does not contain the word&lt;br /&gt;
&ldquo;copyright,&rdquo; in preamble, text, or marginal notes,&lt;br /&gt;
and that sect. 20 of the Copyright Act, 1842, which&lt;br /&gt;
adopts and strengthens the provisions of 1833,&lt;br /&gt;
pointedly distinguishes, all through, between the&lt;br /&gt;
&ldquo;liberty of representing or performing &rdquo; a dramatic&lt;br /&gt;
piece, and the &ldquo;copyright in books,&rdquo; merely men-&lt;br /&gt;
tioning the latter by way of contrast. If your&lt;br /&gt;
contributor chooses to apply to the acting right a&lt;br /&gt;
term which the Acts carefully refrain from giving&lt;br /&gt;
to it, he can, of course, do so. But he ought to&lt;br /&gt;
warn his readers that he is adopting an unusual,&lt;br /&gt;
and, as I venture to submit, a misleading course.&lt;br /&gt;
Apart from language, the plaintiff in Scholz v.&lt;br /&gt;
Amasis, Ltd., could only succeed by proving piracy.&lt;br /&gt;
Without proof of that, the defendant had as much&lt;br /&gt;
right to present his play as the plaintiff to present&lt;br /&gt;
his. Certainly there is nothing inconsistent with&lt;br /&gt;
that view in Reichardt v. Sapfe, rather the other&lt;br /&gt;
way. And, if secret piracy is not fraud, I have yet&lt;br /&gt;
to learn what is. g&ordm;&lt;br /&gt;
With regard to the question of publication not&lt;br /&gt;
being necessary to bring a play under the copyright&lt;br /&gt;
statute, would your contributor kindly inform us,&lt;br /&gt;
in that event, from what date the period of what&lt;br /&gt;
he calls &ldquo;copyright &amp;quot; would begin to run ?&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
EDWARD JENKS.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 196 (#249) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work.-FRANK SAVILLE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX,&lt;br /&gt;
MRS. GILL, Typetoriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
DRAMATIST AND SUCCESSFUL&lt;br /&gt;
COLLABORATOR having just con-&lt;br /&gt;
cluded Contract, is ready to undertake another.&lt;br /&gt;
&mdash;Apply, 27, UPPER BERKELEY STREET,&lt;br /&gt;
W.&lt;br /&gt;
The Eagle Typewriting and Gopying Office&lt;br /&gt;
. &amp;amp; L. NIARTIN),&lt;br /&gt;
5.o, Bruce Road, MITCHAM, Surrey.&lt;br /&gt;
Authors&rsquo; MSS. very carefully and promptly typed at&lt;br /&gt;
8q. per 1,000 words. Plays and Actors&amp;#039; Parts&lt;br /&gt;
equally moderate. Carbon copies 1 d. per 1,000 words.&lt;br /&gt;
Punctuation and Spelling strictly adhered to. Best Paper&lt;br /&gt;
used. Wumerous Testimonials.&lt;br /&gt;
TYPEVVRITING&lt;br /&gt;
OF EVERY DESCRIPTION, 9d. PER 1,000 Words.&lt;br /&gt;
Two CoPIEs, 1s. PER 1,000 WORDS.&lt;br /&gt;
Authors&rsquo; MSS., Legal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
accurately copied. Orders by Post promptly attended to.&lt;br /&gt;
Mrs. SOUTHEE, 273, Francis Rd., LEWTON, LONDON, E.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
MISS BARRET 21, Copthall Avenue,&lt;br /&gt;
9 London, E.C.&lt;br /&gt;
Telephone: 9677 Central.&lt;br /&gt;
Literary Work, Plays, &amp;amp;c., promptly &amp;amp; accurately copied.&lt;br /&gt;
Orders by post quickly carried out.&lt;br /&gt;
Efficient Clerks supplied to Clients by day, week, or month.&lt;br /&gt;
Terms and specimen of work on application. Highest IReferences.&lt;br /&gt;
SIPKES and SIPKES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Harmmersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating ; Plays and Actors&amp;#039; Parts :&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. Usual Terms. References.&lt;br /&gt;
&ldquo;Wherever English is spoken &lsquo;PUNCH&amp;#039; has&lt;br /&gt;
become a household word for humour in sketch&lt;br /&gt;
and letterpress. The volumes of &lsquo;PUNCH.&amp;quot; are a&lt;br /&gt;
Veritable storehouse of good things.&rdquo;&lt;br /&gt;
in &ldquo;Punch. &rdquo;&rsquo;&rsquo;&lt;br /&gt;
*&lt;br /&gt;
;&lt;br /&gt;
&sect;&lt;br /&gt;
:&lt;br /&gt;
&sect;&lt;br /&gt;
&sect;Y:&lt;br /&gt;
&ordm;&lt;br /&gt;
i&lt;br /&gt;
t&lt;br /&gt;
&ordm;&lt;br /&gt;
;&lt;br /&gt;
N&lt;br /&gt;
&sect;&lt;br /&gt;
s&lt;br /&gt;
&sect;&lt;br /&gt;
&sect;&lt;br /&gt;
y&lt;br /&gt;
R&lt;br /&gt;
i&lt;br /&gt;
&sect;&lt;br /&gt;
&sect;&lt;br /&gt;
N *&lt;br /&gt;
Y$ &sect;&lt;br /&gt;
RS &sect; y * * * * * ////5 &sect; &ndash;&lt;br /&gt;
ASS &sect;&sect; &ordm;: s. 2&lt;br /&gt;
WOMAN &mdash;EVER, UNREASONABLE.&lt;br /&gt;
&ldquo; HANI)S UP OR, I FIRE i !&rdquo;&lt;br /&gt;
Reduced Specimen of one of the Pictures.&lt;br /&gt;
&ldquo;The Finest Library of Humour in the World.&rdquo;&lt;br /&gt;
&ldquo;An endless Source of Interest and Amusement.&rdquo;&lt;br /&gt;
FG) (JR THOUSAN1) PICTURES.&lt;br /&gt;
TWO THOUSAN1) PAGES.&lt;br /&gt;
F@UR HAND SOME VOLUMES.&lt;br /&gt;
Price&mdash;Half Red Morocco, 55s. nett. ; Cloth, 40S. nett.&lt;br /&gt;
Carriage paid in the United Kingdom. -&lt;br /&gt;
&ldquo;PUNCH.&amp;quot; OFFICE, 10, Bouverie St., London, E.G.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 196 (#250) ############################################&lt;br /&gt;
&lt;br /&gt;
IV AD VERTISEMENTS.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTS.&lt;br /&gt;
* The writer, whether he aspires to write novels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
T THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence College&lt;br /&gt;
teaches the aspirant to serve his apprenticeship&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary Agency&lt;br /&gt;
business of all kinds.&lt;br /&gt;
For full particulars write at once for pamphlet&lt;br /&gt;
I).L. to the LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
FIRST LESSONS N STORY WRITING.&lt;br /&gt;
By BARRY I&rsquo;AIN.&lt;br /&gt;
2s. 6d. in et; 2s. 8d. post free.&lt;br /&gt;
&lsquo;ſſ Of this work the Westminster Gazette writes: &ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be&lt;br /&gt;
quite assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
HOW TO BECOME AN AUTHOR.&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide; full of&lt;br /&gt;
useful hints. 5s, net; 5s. 4d. post free. -&lt;br /&gt;
THE LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
A WELL-PRINTED BOOK&lt;br /&gt;
AUTHOR and READER alike love to&lt;br /&gt;
see clear type, perfect setting, good&lt;br /&gt;
paper and appropriate binding. These&lt;br /&gt;
excellent qualities are prominent&lt;br /&gt;
features of our book-printing service.&lt;br /&gt;
Moreover, local conditions at Tonbridge&lt;br /&gt;
(where we have extensive printing&lt;br /&gt;
works) enable us to produce the&lt;br /&gt;
best possible work at most reasonable&lt;br /&gt;
prices.&lt;br /&gt;
Authors&amp;#039; MSS. typed by&lt;br /&gt;
specially selected operators.&lt;br /&gt;
BRADBURY, &ordm;&lt;br /&gt;
AGNEW, &amp;amp; Co. Ld.,&lt;br /&gt;
Whitefriars, London, E.C.&lt;br /&gt;
&bull; P R N T i N G -&lt;br /&gt;
THE-SIGN.OF-QUALITY&lt;br /&gt;
Type Y&ordm;yritirag,&lt;br /&gt;
can guarantee good work at reasonable charges.&lt;br /&gt;
Orders by post receive prompt attention.&lt;br /&gt;
C. HERE&lt;br /&gt;
IDuplicating,&lt;br /&gt;
S&ordm; for Estimate if you require any MSS. typed or Circulars duplicated.&lt;br /&gt;
arad Copying-&lt;br /&gt;
It will cost you nothing, and I&lt;br /&gt;
Price List and Testimonials on application.&lt;br /&gt;
ERT CAESAR, Homefield, Woodstock Road, St. Albans.&lt;br /&gt;
Special terms to Authors if you mention this paper.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
BARNICOTT &amp;amp;&lt;br /&gt;
Tazt&ordm;&ordm;to?? (xviii. CENT.&lt;br /&gt;
PEARCE&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHors&amp;#039; TYPEwriting.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying t&ordm; g&ordm; ... 1 - 3 y 32 y 3 1/3&lt;br /&gt;
Plays, ruled (a Speciality) .. 1/- y? 3 * y? 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
SOALE FOR AD VERTISEMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
&ordm; ...#4&lt;br /&gt;
... 3&lt;br /&gt;
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Other Pages a s = t&ordm; t&ordm; &ordm; t&ordm; g&ordm; &ordm; t&ordm; e &ordm; * * * g&ordm; O&lt;br /&gt;
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Quarter of a Page t&ordm; t&ordm; t&ordm; &ordm; ſ&ordm; g&ordm; &ordm; t&ordm; t&ordm; t&ordm; &ordm; t&ordm; c &amp;amp; .., 0 15 &ordm;&lt;br /&gt;
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DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
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single Column Advertisements per inch 0 6&lt;br /&gt;
Reduction of 20 per cent, made for a Series of Six and of 25 per cent. for&lt;br /&gt;
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Advertisements should reach the Office not later-than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue. -&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
Apygr&ordm;ſs&ordm;mſen&amp;#039;ſ MANAGER, The Awthor Office, 39, Old Queen Street,&lt;br /&gt;
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printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SocIETY of AUTHORS (INCORPORATED),&lt;br /&gt;
- at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/392/1909-04-01-The-Author-19-7.pdf</td><td>publications, The Author</td></tr><tr><td>393</td><td>https://historysoa.com/items/show/393</td><td>The Author, Vol. 19 Issue 08 (May 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+08+%28May+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 08 (May 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-05-01-The-Author-19-8</td><td></td><td></td><td></td><td></td><td>197&ndash;228</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-05-01&quot;&gt;1909-05-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>8</td><td></td><td></td><td>19090501</td><td>C be Elut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
Wol. XIX. &mdash;No. 8. MAY 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
- PAGE PAGE&lt;br /&gt;
Notices ... * - c. - * * t&ordm; q c t&ordm; a t&ordm; t e &isin; s is t&ordm; t&ordm; g&ordm; to ... 197 Warnings to Musical Composers ... * - - * * 0. &bull; &amp;amp; e ... 214&lt;br /&gt;
Committee Notes * * * * * * e - - ... ** g e * G - ... I&amp;#039;99 Stanlping Music... - - - - - - - - e. * * * - - - - - - ... 214&lt;br /&gt;
Books published by Members of the Society e t&ordm; &ordm; &amp;amp; &ordm; &ordm; ... 201 The Reading Branch. ... - - - e e - * - - a t&ordm; a - * * ... 214&lt;br /&gt;
Books published in America by Members ... - s e e - - ... 203 &ldquo;The Author&amp;quot; ... ... &bull; * * t&ordm; a t&ordm; - - - - - - * * * ... 214&lt;br /&gt;
Literary, Dramatic and Musical Notes ... e = * * - - ... 203 Remittances s t&ordm; . . * * * * - - - * - e - - - - - &bull; s &amp;amp; ... 214&lt;br /&gt;
Paris Notes - - - - * * s s&ordm; e * - a - - - &amp;amp; e &ordm; * * * ... 206 General Notes ... * - - &bull; * * t&ordm; e &isin; * - - * * * &bull; * * ... 215.&lt;br /&gt;
The United States Copyright Act ... - - - * * * * * * ... 207 Algernon Charles Swinburne ..., * * * * - - - - - - * * , , , 217&lt;br /&gt;
Playright and Public Performance ... * * * t&ordm; s e * * * ... 209 Creation and Criticism ... * * * - * = * - - - - - &bull; * e ... 21S&lt;br /&gt;
Printed Plays and Manufacturing Clause ... s t&ordm; s e t&ordm; t&ordm; ... 211 Memoir on the Protection of the Right of Translation ... ... 220&amp;#039;&lt;br /&gt;
Magazine Contents &amp;amp; e &ordm; * * * * - - - a &ordm; * * * * &amp;amp; - ... 212 A Plutocrat of the Press ; or, The Cynic&amp;#039;s Success &bull; * * ..., 223.&lt;br /&gt;
How to Use the Society * * * * - e. - - - &bull; -- * - - ... 213 The Utility of Reviews... - - - e s - t&ordm; &ordm; - - - - - * * .., 225.&lt;br /&gt;
Warnings to the Producers of Books - * * a &ordm; &ordm; t&ordm; a t&ordm; ... 213 Books at Auction - - - - * * - a - * - - - - - - - - ... 226.&lt;br /&gt;
Warnings to Dramatic Authors - - - - - - t&ordm; s&ordm; e - - ... 213 Correspondence ... e - t&ordm; - - - * * * * * * * - - - &amp;amp; a e ... 227&lt;br /&gt;
Registration of Scenarios e s &amp;quot;e - - - - - - t&ordm; a * - - ... 214&lt;br /&gt;
P-&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year, 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol. -&lt;br /&gt;
3. Literature and the Pension List. By W. MoRRIS COLLES, Barrister-at-Law. - 38.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.) -&lt;br /&gt;
6. The Warious Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&rsquo;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo; Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d. -&lt;br /&gt;
10. Forms of: Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. Is.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 196 (#252) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VHRTISEMENTS.&lt;br /&gt;
(ſlie &Scaron;uriefly of Autburg (incorporates).&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
A UST IN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD,&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRS. HARRIson (&ldquo;I,UCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
E. W. HORN UNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. J EROM F.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LI. D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LAN KESTER, F.R.S.&lt;br /&gt;
THE REV. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PIN ERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNAIRD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS,&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
.THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
| MAURICE HEWLETT.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
G. BERNA RD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
JEROME K. JEROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
Chairman&mdash;DOUGLAS FRESHFIELD.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
ART&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
} Solicitors.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
J. H. YoxALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. H ERBERT THRING,&lt;br /&gt;
Solicitor inv England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gens de Lettres,&lt;br /&gt;
OFFICES.&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
G-EOIERG-E IMIEERIET) ITIEH, C - IMI-&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR WM. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD A V E-&lt;br /&gt;
J. M. BARRIE. | BURY, P.C.&lt;br /&gt;
SIR ALFRHD BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
T. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAIN E.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENs (&ldquo;MARK TWAIN ?).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
F. MARION CRAW FORD.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON, P.C.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT Fow LER).&lt;br /&gt;
DRAIMIATIC SUB-COIMIMITTEE.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
&amp;#039;THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, Rosco E &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
G, HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
LAwRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;S GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 197 (#253) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El ut bor.&lt;br /&gt;
(The organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
Vol. |XTX.&mdash;No. 8.&lt;br /&gt;
IMAY 1st, 1909.&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDREss:&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
: . |&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
NOR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case. - -&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&amp;#039; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application. -&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;2&ndash;0&ndash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&amp;amp; &mdash;&ordm;- &amp;amp;&lt;br /&gt;
w--U-w&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
&pound;350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. 31,000 0 0&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 ()&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 198 (#254) ############################################&lt;br /&gt;
&lt;br /&gt;
198 THES A UTISIOH&amp;amp;.&lt;br /&gt;
Egyptian Government Irrigation - &pound; S.&lt;br /&gt;
Trust 4% Certificates ............... 3200 () Jan. 4, Abercrombie, Lascelles O 5&lt;br /&gt;
Cape of Good Hope 33% Inscribed Jan. 5, Bradgate, Mrs. 1 1&lt;br /&gt;
Stock .................................... 200 Jan. 6, Leach, Henry () 10&lt;br /&gt;
Glasgow and South-Western Railway Jan. 6, Cullen, H. N. () 5&lt;br /&gt;
()&lt;br /&gt;
4% Preference Stock.................. 228 ()&lt;br /&gt;
New Zealand 34% Stock. . . . . . . . ... 247 9 Alfred, P.C., etc. .&lt;br /&gt;
O Jan. 7, Underdown, Miss Emily&lt;br /&gt;
2 t&ordm; e&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Jan. 8, Omond, T. S.&lt;br /&gt;
O&lt;br /&gt;
0&lt;br /&gt;
0 Jan. 6, Lyall, The Right Hon. Sir&lt;br /&gt;
&sect;&lt;br /&gt;
Corporation of London 24% Stock, 4&lt;br /&gt;
1927&ndash;57 .............................. 4.38 Jan. 8, Paternoster, G. Sidney .&lt;br /&gt;
- &mdash; Jan. 9, Stockley, Mrs. e&lt;br /&gt;
Total ............... &pound;3,815 1 0 Jan. 9, Tanner, James T. .&lt;br /&gt;
= Jan. 12, Tighe, Henry&lt;br /&gt;
Subscriptions. Jan. 12, Aitken, Robert&lt;br /&gt;
1909. S. Jan. 12, Bolton, Miss Anna&lt;br /&gt;
&ordm; Jan. 14, Williamson, W. H.&lt;br /&gt;
Jan. 1, Twycross, Miss M. . 5 Jan. 16, Furze, Miss Bessie&lt;br /&gt;
Jan. 2, Macquarie, Arthur . 10 jan. 16, Shirley, Arthur&lt;br /&gt;
Jan. 4, Sproston, Mrs. Stanley&lt;br /&gt;
Jan. 4, Phipson, Miss Emma&lt;br /&gt;
Jan. 4, Middlemass, Miss Jean .&lt;br /&gt;
Jan. 4, Pott, J. A. . . .&lt;br /&gt;
Jan. 4, Miller, Mrs. . t&ordm;&lt;br /&gt;
Jan. 7, Marchmont, A. W..&lt;br /&gt;
Jan. 7, Sharwood, T. S.&lt;br /&gt;
Jan. 12, Durand, Ralph&lt;br /&gt;
Jan. 12, Laing, Mrs. . &copy;&lt;br /&gt;
Jan. 14, Banks, Mrs. M. M.&lt;br /&gt;
Jan. 14, Steel, Richard&lt;br /&gt;
Jan. 16, Garnett, Edward .&lt;br /&gt;
Jan. 16, Fenn, Frederick&lt;br /&gt;
Jan. 18, Hering, Henry A.&lt;br /&gt;
Jan. 18, Fox, Archibald D.&lt;br /&gt;
Jan. 31, Anon. . &ordm; o&lt;br /&gt;
Jan. 31, Kelly, W. P. &ordm;&lt;br /&gt;
Jan. 31, Cotesworth, Miss . &copy;&lt;br /&gt;
Feb. 1, Phillipps-Wolley, Clive .&lt;br /&gt;
Feb. 1, Dawson, Warrington&lt;br /&gt;
Jan. 18, &ldquo;Austin Clare&rdquo; . e&lt;br /&gt;
Jan. 22, Williamson, Mrs. C. N.&lt;br /&gt;
Jan. 22, Williamson, C. N.&lt;br /&gt;
Jan. 23, Brown, R. Grant , &ordm; ſ&ordm;&lt;br /&gt;
Jan. 28, Raphael, Mrs. M. . e e&lt;br /&gt;
Feb. 4, Wilson, Miss Theodore Wilson&lt;br /&gt;
Feb. 4, Cousland, W. M. . o&lt;br /&gt;
Feb. 4, Hardy, Thomas&lt;br /&gt;
Feb. 5, Bremner, Robert L.&lt;br /&gt;
Feb. 6, Todhunter, John&lt;br /&gt;
Feb. 6, Pettigrew, W. F.&lt;br /&gt;
Feb. 8, Russell, G. H. e&lt;br /&gt;
Feb. 8, Walker, Capt. J. H.&lt;br /&gt;
Feb. 8, Dutton, Miss Annie&lt;br /&gt;
Feb. 8, Baldwin, Mrs. Alfred&lt;br /&gt;
Feb. 11, Ainslie, Miss e&lt;br /&gt;
Feb. 11, Steward, Miss E. M.&lt;br /&gt;
Feb. 11, Rumble, Mrs.&lt;br /&gt;
Feb. 15, Beveridge, A. S.&lt;br /&gt;
Feb. 16, Toplis, Miss Grace&lt;br /&gt;
-I&lt;br /&gt;
I1&lt;br /&gt;
&pound;&lt;br /&gt;
Feb. 4, Willard, Mrs. E. S. 1 t&ordm; * * &amp;gt;&lt;br /&gt;
Feb. 19, Paget, Mrs. Gerald ; : W&ordm;&ordm;. o 1.&lt;br /&gt;
Feb. 20, Andrews, C. G. Feb.26, FitzGerald, Mrs. . . . 1&lt;br /&gt;
* 5, &sect;: Lancelot 1 March 2, Tadema, Miss Laurence Alma 10&lt;br /&gt;
i. &ordm; &ordm;&ordm; - 1 March 2, Reynolds, Mrs. Baillie. 5&lt;br /&gt;
: y 2 * t&ordm; &ordm; e e H * } w -&lt;br /&gt;
March 9, Young, Col. George F., C.B. *. &ordm; W. ** 1.&lt;br /&gt;
March 10, Sullivan, Herbert &ordm; March 3. Hardy, &amp;#039;Hanoid 10&lt;br /&gt;
March !!! Merritt, Mrs. Anna Lea March 9, Crozier, Dr. Beattie 5&lt;br /&gt;
Margh 32. Dale, T. F. . . * March 9, Ross, Mrs. Janet &ordm; ()&lt;br /&gt;
April 13, Gask, Miss Lilian |March 15, Gregory, Lady . e O&lt;br /&gt;
Donati March 31, Wizzari, Leopold de S. 5&lt;br /&gt;
07tations. - April 5, Burchell, Sidney H. 5&lt;br /&gt;
1909. April 15, Linton, C. Stuart 5&lt;br /&gt;
. 1, Zangwill, Isra April 19, Loraine, Lady . e &amp;amp; 10&lt;br /&gt;
Jan. 1, Zangwill, Israel 1 I () April 19, Durand, Sir Henry Mortimer O&lt;br /&gt;
Jan. 1, Hamilton, John A. . () 5 0 &ordm; e&lt;br /&gt;
Jan. 4, Stopford, Francis 6 April 20, Stephens, Riccardo . 1 1&lt;br /&gt;
Jan. 4, Falmouth, The Wiscountess 5 () () The names of those subscribers and donors which&lt;br /&gt;
Jan. 4, Carrel, Frederick 0 10 0 are not included in the lists printed above are&lt;br /&gt;
Jan. 4, Laws, T. C. . . O 5 0 unavoidably held over to the June issue.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 199 (#255) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
199&lt;br /&gt;
The total amount of annual subscriptions&lt;br /&gt;
received and promised since the issue of the&lt;br /&gt;
circular in November amounts to about &pound;75, the&lt;br /&gt;
total amount of donations to &pound;126. .&lt;br /&gt;
&mdash;&mdash;&lt;br /&gt;
comMITTEE NOTEs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HE April meeting of the committee was held&lt;br /&gt;
on Monday, the 5th day of that month, at&lt;br /&gt;
the offices of the society, 39, Old Queen&lt;br /&gt;
Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Their first action was to elect a new chairman.&lt;br /&gt;
Mr. Maurice Hewlett was appointed for the current&lt;br /&gt;
year. The sub-committees were then re-elected to&lt;br /&gt;
serve for 1909. No alterations were made in the&lt;br /&gt;
old sub-committees. The alterations in the dra-&lt;br /&gt;
matic sub-committee have already been chronicled&lt;br /&gt;
in The Author.&lt;br /&gt;
After this business the committee proceeded&lt;br /&gt;
with the election of members. Thirty-one members&lt;br /&gt;
and associates were elected, bringing the number&lt;br /&gt;
for the current year up to ninety-seven. The com-&lt;br /&gt;
mittee have to chronicle eleven resignations, bring-&lt;br /&gt;
ing the number for the current year up to fifty-six,&lt;br /&gt;
which is rather above the average of former years.&lt;br /&gt;
The next point discussed was the date of the&lt;br /&gt;
second statutory meeting of the council. The&lt;br /&gt;
first meeting, which was held just before the&lt;br /&gt;
general meeting, proved very unsatisfactory, for&lt;br /&gt;
although a three-line notice had been despatched,&lt;br /&gt;
it was found impossible to obtain an attendance&lt;br /&gt;
sufficient to form a quorum. The committee would&lt;br /&gt;
like to call attention to the fact that under the new&lt;br /&gt;
constitution of the society two meetings of the&lt;br /&gt;
council in each year are obligatory. It was decided&lt;br /&gt;
to hold the next council meeting on June 7, when&lt;br /&gt;
a report will be submitted of the action taken by&lt;br /&gt;
the committee in respect to copyright legislation.&lt;br /&gt;
Due notice of this meeting will be sent out.&lt;br /&gt;
The committee next settled the form of the&lt;br /&gt;
questions which they desired to put to the Chan-&lt;br /&gt;
cellor of the Exchequer in regard to authors and&lt;br /&gt;
income tax. The secretary was instructed to&lt;br /&gt;
forward the questions to Mr. A. E. W. Mason, who&lt;br /&gt;
has kindly consented to put them forward.&lt;br /&gt;
In bringing before the committee the question of&lt;br /&gt;
colonial sales, the secretary explained that during&lt;br /&gt;
the past year or so he had been investigating this&lt;br /&gt;
matter ; that the result of his investigations had&lt;br /&gt;
convinced him that colonial sales were inadequate,&lt;br /&gt;
and from the view of people acquainted with the&lt;br /&gt;
colonies, that the American publishers and book&lt;br /&gt;
agents were gradually pushing English authors and&lt;br /&gt;
their books out of the colonial markets. It was&lt;br /&gt;
decided, finally, that the chairman should write a&lt;br /&gt;
letter to the Publishers&amp;#039; Association calling their&lt;br /&gt;
attention to this state of things, and inquiring as&lt;br /&gt;
to the steps which they thought might be taken&lt;br /&gt;
with a view to mitigating the evil.&lt;br /&gt;
The question of the chairman and guests for the&lt;br /&gt;
annual dinner was then discussed.&lt;br /&gt;
A letter from the Society of Friends of Russian&lt;br /&gt;
Literature, inquiring whether the Society of&lt;br /&gt;
Authors desired to take part in the Gogol Celebra-&lt;br /&gt;
tion, was next considered, and the committee&lt;br /&gt;
decided that a formal letter should be written,&lt;br /&gt;
signed by the chairman of the society, expressing&lt;br /&gt;
their wish to associate themselves with the ceremony&lt;br /&gt;
which was to take place in honour of one of the&lt;br /&gt;
greatest Russian authors, Nicolas Wassilićvitch&lt;br /&gt;
Gogol. -&lt;br /&gt;
The report of the Sub-committee on Cheap Books&lt;br /&gt;
was then discussed, and letters from Mr. H. Rider&lt;br /&gt;
Haggard, Mr. C. J. Longman, and Mr. Arthur&lt;br /&gt;
Morrison, dealing with questions rising out of the&lt;br /&gt;
report, were read and considered. The committee&lt;br /&gt;
Settled the form of post-card which should be&lt;br /&gt;
sent to all members of the Society of Authors to be&lt;br /&gt;
signed and returned to the office by those who, as&lt;br /&gt;
Writers of fiction, were interested in the discussion&lt;br /&gt;
and in the report.&lt;br /&gt;
The secretary reported the action taken by&lt;br /&gt;
the joint copyright committee and the dramatic&lt;br /&gt;
Sub-Committee, and placed on the table a letter he&lt;br /&gt;
had received from the secretary of the departmental&lt;br /&gt;
Committee in regard to evidence. He explained&lt;br /&gt;
that the dramatic sub-committee had settled the&lt;br /&gt;
evidence which it desired to put before the com-&lt;br /&gt;
mittee, and that they had also settled on the&lt;br /&gt;
delegates whom they would select to give such&lt;br /&gt;
evidence. The committee of management con-&lt;br /&gt;
firmed the action of the dramatic sub-committee.&lt;br /&gt;
The secretary then reported that the joint com-&lt;br /&gt;
mittee had unanimously decided in favour of&lt;br /&gt;
immediate alteration in the domestic law of Great&lt;br /&gt;
Britain in order to bring it into harmony with the&lt;br /&gt;
Berlin Convention. The committee desired to&lt;br /&gt;
Support this view, and unanimously approved a&lt;br /&gt;
motion to the effect that the domestic law of Great&lt;br /&gt;
Britain should be altered at the earliest opportunity.&lt;br /&gt;
to bring it into accord with the Berlin Convention,&lt;br /&gt;
and that the legislature of Great Britain should&lt;br /&gt;
give the lead to colonial legislatures, and should&lt;br /&gt;
not wait till it was possible to obtain the favour-&lt;br /&gt;
able support of the colonies. It was decided, also,&lt;br /&gt;
to call a meeting of the copyright sub-committee&lt;br /&gt;
to consider what further questions should be laid&lt;br /&gt;
before the departmental committee, and to ask&lt;br /&gt;
Mr. E. J. MacGillivray and Mr. A. Hope Hawkins&lt;br /&gt;
whether they would undertake the duty of giving&lt;br /&gt;
evidence on behalf of the society before that&lt;br /&gt;
committee. .&lt;br /&gt;
An important question respecting the business&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 200 (#256) ############################################&lt;br /&gt;
&lt;br /&gt;
200&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
relations between authors and agents was con-&lt;br /&gt;
sidered, but owing to the lateness of the hour, it&lt;br /&gt;
had to be adjourned to the next meeting.&lt;br /&gt;
Of three cases laid before the committee, it was&lt;br /&gt;
decided to take up two. One was a breach of&lt;br /&gt;
agreement and inadequate rendering of accounts,&lt;br /&gt;
the other was a claim for infringement of copy-&lt;br /&gt;
right against a publisher who had re-issued a book&lt;br /&gt;
after the expiration of the original agreement&lt;br /&gt;
between the author and himself.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
JOINT COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
THE Joint Sub-committee called together by&lt;br /&gt;
the Society of Authors met at the society&amp;#039;s offices&lt;br /&gt;
On March 31.&lt;br /&gt;
Sir Alfred Bateman occupied the chair.&lt;br /&gt;
After the reading of the minutes, the secretary&lt;br /&gt;
read a letter he had received from the secretary of&lt;br /&gt;
the departmental committee on the question of&lt;br /&gt;
the evidence it might be necessary to place before&lt;br /&gt;
that committee.&lt;br /&gt;
The joint committee were unanimous that&lt;br /&gt;
legislation should at once be called for to alter&lt;br /&gt;
the domestic law of Great Britain in order to bring&lt;br /&gt;
it into harmony with the Berlin Convention. If it&lt;br /&gt;
was impossible to obtain the favourable support of&lt;br /&gt;
the Colonies, then that an amending Act and not&lt;br /&gt;
a codifying Act should be passed, and that Great&lt;br /&gt;
Britain should lead the way in the hope that the&lt;br /&gt;
self-governing Colonies would declare for uniformity&lt;br /&gt;
at a later date.&lt;br /&gt;
The members of the different bodies represented&lt;br /&gt;
were unanimous in support of all the main issues&lt;br /&gt;
comprised in the clauses of the Convention, though&lt;br /&gt;
the representatives of the Music Publishers&rsquo;&lt;br /&gt;
Association stated that there were some minor&lt;br /&gt;
points on which, from their point of view, there&lt;br /&gt;
might be discussion. Among other points they&lt;br /&gt;
stated that the opinion of the music publishers&lt;br /&gt;
was divided on the question of the advisability of&lt;br /&gt;
the abolition of what is known as &ldquo;The Wall Act,&rdquo;&lt;br /&gt;
but, on the whole, for the sake of uniformity with&lt;br /&gt;
Other nations, they thought that the music&lt;br /&gt;
publishers would vote for its abolition. -&lt;br /&gt;
The unanimity which prevailed on the many&lt;br /&gt;
points in the Convention showed how satisfactory&lt;br /&gt;
was the result obtained by calling the joint&lt;br /&gt;
committee together.&lt;br /&gt;
&mdash;&ordm;-&ordm;-o-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
THE Dramatic Sub-committee met at the&lt;br /&gt;
society&amp;#039;s offices on March 30, when Mr. Henry&lt;br /&gt;
Arthur Jones was in the chair.&lt;br /&gt;
After reading the minutes, the secretary reported&lt;br /&gt;
that he had heard from Sir W. S. Gilbert, who&lt;br /&gt;
expressed his regret that he was unable to under-&lt;br /&gt;
take the duties of delegate to put forward the&lt;br /&gt;
views of dramatists before the departmental com-&lt;br /&gt;
mittee. He read a letter from Mr. J. W. Comyns&lt;br /&gt;
Carr in which that gentleman expressed his&lt;br /&gt;
willingness to act. The sub-committee decided&lt;br /&gt;
to ask Mr. Sydney Grundy whether he would be&lt;br /&gt;
willing to undertake the duties if his views were in&lt;br /&gt;
accord with the views of the sub-committee on the&lt;br /&gt;
subject. * r&lt;br /&gt;
The next question before the meeting related to&lt;br /&gt;
the nature of the evidence to be given before the&lt;br /&gt;
departmental committee on behalf of dramatic&lt;br /&gt;
authors. Mr. Pinero expressed the view that it&lt;br /&gt;
was of the utmost importance that the committee&lt;br /&gt;
should, if possible, be unanimous, and added that&lt;br /&gt;
the English law should be brought into uniformity&lt;br /&gt;
with the Berlin Convention. He proceeded, with&lt;br /&gt;
the sanction of the chairman, from notes which he&lt;br /&gt;
had prepared, to put forward the most important&lt;br /&gt;
points which he thought should be supported by&lt;br /&gt;
dramatic authors. These points, after some dis-&lt;br /&gt;
cussion, were accepted. They proved of so&lt;br /&gt;
exhaustive a character that there was no further&lt;br /&gt;
need, after discussion, for any other member of the&lt;br /&gt;
committee to add additional details. -&lt;br /&gt;
The secretary was instructed to draft into proper&lt;br /&gt;
form the points that had been accepted from&lt;br /&gt;
Mr. Pinero&amp;#039;s notes, and at the next meeting of the&lt;br /&gt;
committee it was decided finally to approve the&lt;br /&gt;
document. - ..&lt;br /&gt;
The lengthy discussion incidental to these&lt;br /&gt;
matters rendered it necessary that the other ques-&lt;br /&gt;
tions on the agenda should be postponed, and on&lt;br /&gt;
Mr. Pinero&amp;#039;s suggestion this course was adopted.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
A MEETING of the Copyright Sub-committee was&lt;br /&gt;
held on Monday, April 19, at 39, Old Queen Street,&lt;br /&gt;
when Sir Charles Williers Stanford occupied the&lt;br /&gt;
chair.&lt;br /&gt;
The committee expressed approval of the points&lt;br /&gt;
which had been settled by the dramatic sub-com-&lt;br /&gt;
mittee and the committee of management of the&lt;br /&gt;
society, and decided to support the policy of&lt;br /&gt;
immediate domestic legislation in order to bring&lt;br /&gt;
Great Britain into uniformity with the Berlin&lt;br /&gt;
Convention, if it should prove impossible to obtain&lt;br /&gt;
the prior consent of the Colonies. They considered&lt;br /&gt;
that the most important point of all was that&lt;br /&gt;
the law of Great Britain should be altered. To&lt;br /&gt;
obtain this point any small differences should be&lt;br /&gt;
sunk. The committee suggested the following&lt;br /&gt;
names to give evidence on behalf of the Society :-&lt;br /&gt;
The chairman of the Society, in support of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 201 (#257) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE A DITISIOR-&lt;br /&gt;
201&lt;br /&gt;
the broad views which the society desired to put&lt;br /&gt;
forward;&lt;br /&gt;
Mr. E. J. MacGillivray, on the technical questions&lt;br /&gt;
involved in the process of bringing the present law&lt;br /&gt;
into conformity with the Berlin Convention ;&lt;br /&gt;
Mr. J. W. Comyns Carr, whose name had&lt;br /&gt;
&amp;#039;been proposed by the dramatic sub-committee,&lt;br /&gt;
&pound;0 give the evidence settled by that committee;&lt;br /&gt;
&amp;amp;Il&lt;br /&gt;
Sir A. C. Mackenzie, to speak on behalf of&lt;br /&gt;
musical composers.&lt;br /&gt;
Mr. MacGillivray then submitted to the com-&lt;br /&gt;
mittee the points in detail which he desired to&lt;br /&gt;
make in his evidence, and asked for the committee&amp;#039;s&lt;br /&gt;
approval. The committee went through the notes&lt;br /&gt;
one by one and passed the points after discus-&lt;br /&gt;
sion and consideration. The committee thanked&lt;br /&gt;
Mr. MacGillivray for the labour he had bestowed&lt;br /&gt;
On the matter.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-o-&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month nine cases have come to&lt;br /&gt;
the Office. Three were claims for the return of&lt;br /&gt;
1MSS. In one of these the MS. has been returned ;&lt;br /&gt;
in the second, negotiations are being satisfactorily&lt;br /&gt;
carried on and the MS. will be returned shortly ;&lt;br /&gt;
the third has only recently come into the office.&lt;br /&gt;
Of two cases for accounts: one has been settled by&lt;br /&gt;
the receipt of the accounts which have been for-&lt;br /&gt;
warded to the author ; the second only came into&lt;br /&gt;
the office just before the magazine went to press.&lt;br /&gt;
There were three claims for money. We regret&lt;br /&gt;
that none of these has, as yet, been settled ; but,&lt;br /&gt;
no doubt, the intervention of the Easter holidays&lt;br /&gt;
has thrown out business to some extent. There is&lt;br /&gt;
one claim for money and accounts. This has&lt;br /&gt;
only recently come into the secretary&amp;#039;s hands.&lt;br /&gt;
Of the claims still open, the majority refer to&lt;br /&gt;
matters abroad, either in the colonies or on the&lt;br /&gt;
Continent, and there is naturally some delay.&lt;br /&gt;
All those in England have been satisfactorily&lt;br /&gt;
dealt with. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
April Elections.&lt;br /&gt;
Bage, The Rev. John Chester.&lt;br /&gt;
Baker, Mrs. Jessie C. M. . Robindene, Kemp-&lt;br /&gt;
town, Brighton.&lt;br /&gt;
Fettis College, Edin-&lt;br /&gt;
burgh.&lt;br /&gt;
Empire Theatre, W.C.&lt;br /&gt;
Tivoli Crescent,&lt;br /&gt;
Brighton.&lt;br /&gt;
Dyson, Miss Charlotte C. Panchgani,&lt;br /&gt;
Pres.&lt;br /&gt;
Figgis, W. E.&lt;br /&gt;
Beith, John Hay .&lt;br /&gt;
Clarke, Cuthbert . &copy;&lt;br /&gt;
Dorrington, Albert . &amp;amp;&lt;br /&gt;
Bombay&lt;br /&gt;
Forsyth David, M.D. Sc. .&lt;br /&gt;
Gask, Miss Lilian&lt;br /&gt;
Greenwood, William,&lt;br /&gt;
F.S.A.&lt;br /&gt;
Housman, Laurence.&lt;br /&gt;
Rershaw, John B. C.&lt;br /&gt;
Larken, Edmund Paul&lt;br /&gt;
Legard, E. B.&lt;br /&gt;
Lloyd, Mrs. Ernest .&lt;br /&gt;
Pridham, Harvey&lt;br /&gt;
Price, Florence Cecilia&lt;br /&gt;
(&ldquo;Eff Kaye.&amp;quot;)&lt;br /&gt;
Pritchard, Mrs. F.&lt;br /&gt;
Russell, G. W. M.&lt;br /&gt;
Smith, Sophie Shillets&lt;br /&gt;
Stopes, Marie C., D.Sc.&lt;br /&gt;
Ph.D., F.L.S.&lt;br /&gt;
Sykes, Arnold W. .&lt;br /&gt;
Thornton, Charles E. C.&lt;br /&gt;
Townshend, Arthur F.&lt;br /&gt;
Vaun, Russell .&lt;br /&gt;
Wagner, Hugh K.&lt;br /&gt;
Whall, W. B. .&lt;br /&gt;
&amp;amp;&lt;br /&gt;
v&ordm;y&lt;br /&gt;
43, Queen Anne&amp;#039;s&lt;br /&gt;
Street, Cavendish&lt;br /&gt;
Square.&lt;br /&gt;
33, Lithos Road,&lt;br /&gt;
Hampstead, N.W.&lt;br /&gt;
Croylands, Spring&lt;br /&gt;
Grove, Isleworth.&lt;br /&gt;
c/o J. B. Pinker,&lt;br /&gt;
Talbot House,&lt;br /&gt;
Arundel Street,&lt;br /&gt;
Strand, W.C.&lt;br /&gt;
West Lancashire La-&lt;br /&gt;
boratory, Waterloo,&lt;br /&gt;
Liverpool.&lt;br /&gt;
19, Victoria Grove,&lt;br /&gt;
Kensington.&lt;br /&gt;
16, Auriol Road, West&lt;br /&gt;
Kensington, W.&lt;br /&gt;
Montrose Cottage,&lt;br /&gt;
Cly de Road,&lt;br /&gt;
I nowle, Bristol.&lt;br /&gt;
Marks Hall, Cogges-&lt;br /&gt;
hall, Essex.&lt;br /&gt;
St. John&amp;#039;s Road, Sid-&lt;br /&gt;
Cup.&lt;br /&gt;
17, Rathgar Avenue,&lt;br /&gt;
Rathgar, Dublin.&lt;br /&gt;
18, Southmoor Road,&lt;br /&gt;
Oxford.&lt;br /&gt;
The University, Man-&lt;br /&gt;
chester.&lt;br /&gt;
Netherleigh, Hudders-&lt;br /&gt;
field.&lt;br /&gt;
17, Montpelier Square,&lt;br /&gt;
S.W.&lt;br /&gt;
Sea Field, Castle&lt;br /&gt;
Townshend, Skib-&lt;br /&gt;
bereen, Ireland.&lt;br /&gt;
1 11, Finborough&lt;br /&gt;
Road, Earl&amp;#039;s Court,&lt;br /&gt;
S.W.&lt;br /&gt;
Suite 503, Fullerton&lt;br /&gt;
Building, St. Louis,&lt;br /&gt;
Mo., U.S.A.&lt;br /&gt;
Thurning,&lt;br /&gt;
Glam.&lt;br /&gt;
Barry,&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 202 (#258) ############################################&lt;br /&gt;
&lt;br /&gt;
202&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
aCCurate. &amp;amp; r-&lt;br /&gt;
ANTHROPOLOGY.&lt;br /&gt;
PRIMITIVE MAN. By EDWARD CLODD. 6; &times; 4}.&lt;br /&gt;
Newnes. 18. m.&lt;br /&gt;
206 pp.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LOVE LETTERS OF THOMAS CARLYLE AND JANE&lt;br /&gt;
WELSH. Edited by ALEXANDER CARLYLE. Two vols.&lt;br /&gt;
9 x 6. 400 + 448 pp. Lane. 25s. m.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. New Edition.&lt;br /&gt;
Edited by SIDNEY LEE. Vol. XIV. Myllar&mdash;Owen.&lt;br /&gt;
94 &times; 63. 1,367 pp. Smith Elder. 158. n. &bull; .&lt;br /&gt;
BOOKS FOR TELE YOUNG.&lt;br /&gt;
STORIES FROM THE GREEK LEGENDS. By C. GASQUOINE&lt;br /&gt;
HARTLEY. 7} x 5. 170 pp. Werner Laurie. 3s. 6d. n.&lt;br /&gt;
A MOUNTAIN PATH, AND FORTY-THREE OTHER TALKS To&lt;br /&gt;
YoUNG PEOPLE. By J. A. HAMILTON. 7} x 5. 190 pp.&lt;br /&gt;
Allenson. 2s. 6d. In. 2&lt;br /&gt;
DRAMA.&lt;br /&gt;
VOTES FOR WOMEN : A Play in Three Acts.&lt;br /&gt;
BETH ROBINS. 74 &times; 4%. 115 pp. . Mills &amp;amp; Boon. 1s.&lt;br /&gt;
LANCELOT AND ELAINE : A Play in Five Acts. By&lt;br /&gt;
MoRLEY STEYNOR. 73 &times; 5}. 88 pp. Bell.&lt;br /&gt;
THE STORY OF GLASTONBURY AND THE GRAIL ; OR, THE&lt;br /&gt;
LIGHT OF AVALON. By MELCHIOR MACBRIDE. 7# &times; 5.&lt;br /&gt;
106 pp. Hunter &amp;amp; Longhunt. , 48.6d. n. - :&lt;br /&gt;
FICTION.&lt;br /&gt;
OUR ADVERSARY. By M. E. BRADDON. 73 x 5. 427 pp.&lt;br /&gt;
Hutchinson. 68.&lt;br /&gt;
THE THRESHOLD. By WINEFRIDE TRAFFORD-TAUNTON.&lt;br /&gt;
73 &times; 5. 318 pp. J. Long. 68. ... w&lt;br /&gt;
MORE BUNKUM. By FRANK RICHARDSON. 7} x 5.&lt;br /&gt;
324 pp. Nash. 68.&lt;br /&gt;
CHIP. By F. E. MILLS YOUNG, 7} x 5. 314 pp.&lt;br /&gt;
Lane. 68. -&lt;br /&gt;
SALOME AND THE HEAD. By E. NESBIT. 74 &times; 5.&lt;br /&gt;
309 pp. Alston Rivers. 68.&lt;br /&gt;
THE CITY of BEAUTIFUL NoNSENSE. By E. TEMPLE&lt;br /&gt;
THURSTON, 73 &times; 5. 360 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
A KING&amp;#039;s TREACHERY. By ALBERT LEE. 8 &times; 53.&lt;br /&gt;
296 pp. The Pilgrim Press. 3s. 6d. .&lt;br /&gt;
THE TREASURE OF THE TEMPLE. By J. LYONs and&lt;br /&gt;
CECIL RALEIGH. 8% x 5%. (Lyons&amp;#039; Library, No 2.) 6d.&lt;br /&gt;
THE KEY OF LIFE. By A. A. METHLEY. 7: x 5. 318 pp.&lt;br /&gt;
Fisher Unwin. 68. J.&lt;br /&gt;
1&amp;#039;HE DAFT DAYS. By NEIL MUNRO. 73 &times; 5.&lt;br /&gt;
(Cheap edition.) Blackwood. 18.&lt;br /&gt;
THE SOCIAL KALEIDOSCOPE. By GEORGE R. SIMs.&lt;br /&gt;
8% x 5%. 132 pp. (Cheap re-issue.) Greening. 6d.&lt;br /&gt;
Follow UP I A Story of Harrow School. By A. D. Fox.&lt;br /&gt;
Second edition. 320 pp. Brown Langham. 63.&lt;br /&gt;
AN INCOMPLEAT ETONIAN. By FRANK DANBY.&lt;br /&gt;
366 pp. Heinemann. 63.&lt;br /&gt;
A YOUNG MAN MARRIED. By SYDNEY C. GRIER. 73 &times; 43.&lt;br /&gt;
341 pp. Hutchinson. 68.&lt;br /&gt;
THE ROAD OF NO RETURN. By A. C. INCHBOLD. 74 &times; 5.&lt;br /&gt;
390 pp. Chatto &amp;amp; Windus. 63.&lt;br /&gt;
281 pp.&lt;br /&gt;
7; x 5.&lt;br /&gt;
QUEEN KATE. By CHARLES GARVICE. 7; x 5. 456 pp.&lt;br /&gt;
, Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
WAX. By GEORGE SOMES LAYARD. 73 &times; 5. 338 pp.&lt;br /&gt;
Allen. 63.&lt;br /&gt;
MAYFAIR. By WINIFRED GRAHAM. 73 x 5. 320 pp.&lt;br /&gt;
Greening. 18. m.&lt;br /&gt;
By ELIZA- .&lt;br /&gt;
THE STAIRWAY OF HONOUR. By MAUD STEPNEY&lt;br /&gt;
RAWSON. 7# x 5. 317 pp. Mills &amp;amp; Boon. 6s.&lt;br /&gt;
THE BARGAIN. By THEODORA WILSON WILSON. 74 &times; 5.&lt;br /&gt;
340 pp. Hutchinson. 6s. - p -&lt;br /&gt;
THESE LITTLE ONES. By E. NESBIT. 73 &times; 53. 210 pp.&lt;br /&gt;
Allen. 3s. 6d. n.&lt;br /&gt;
GARDENING.&lt;br /&gt;
THE BOOK OF THE COTTAGE GARDEN. By c. THONGER.&lt;br /&gt;
73 &times; 5. 91 pp. (Handbooks of Practical Gardening.)&lt;br /&gt;
Lane. 2s. 6d. n.&lt;br /&gt;
LITERARY.&lt;br /&gt;
MILTON MEMORIAL LECTURES, 1908: Read before the&lt;br /&gt;
Royal Society of Literature. Edited with an Introduc-&lt;br /&gt;
tion by W. PERCY AMES. 83 &times; 53. 222 pp. Frowde.&lt;br /&gt;
6S. n.&lt;br /&gt;
THE MEANING OF HAPPINESS : A DISCOURSE. By&lt;br /&gt;
LAURENCE ALMA TADEMA. 7 x 5. 80 pp. Elkin&lt;br /&gt;
Mathews. 2s. 6d. n. -&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
S. CLEMENT&amp;#039;S CHURCH, FULHAM, ANNUAL REPORT FOR&lt;br /&gt;
1908. By RICHARD TREE, 1s. *&lt;br /&gt;
THE DOG WORLD AND ANTI-CAT REVIEW, Written and&lt;br /&gt;
illustrated by Dogs for Dogs, assisted by WALTER&lt;br /&gt;
EMMANUEL. 93 &times; 74. 44 pp. Lawrence &amp;amp; Jellicoe.&lt;br /&gt;
18. In. - -&lt;br /&gt;
MUSIC.&lt;br /&gt;
THE THRUSH ; THE ROSE ; THE Rooks; HoPE ON. By&lt;br /&gt;
L. BUDGEN and ROBERT GOLDBECK. School Series.&lt;br /&gt;
Bradford : Crewsher &amp;amp; Co. 2d. each.&lt;br /&gt;
NATURAL ELISTORY.&lt;br /&gt;
THE HEDGE I KNow. Edited by W. P. WESTELL, F.L.S.,&lt;br /&gt;
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ORIENTAL.&lt;br /&gt;
CATALOGUE OF THE HEBREW AND SAMARITAN&lt;br /&gt;
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MARGOLIOUTH. Part III., Section I. Kabbalah. 12%&lt;br /&gt;
x 10%. 155 pp. British Museum. 24s.&lt;br /&gt;
PEIILOSOPHY.&lt;br /&gt;
LIFE AND MATTER. By SIR OLIVER LODGE. Second&lt;br /&gt;
edition, with an Appendix of Definitions and Explana-&lt;br /&gt;
tions. 84 &times; 53. 106 pp. Williams &amp;amp; Norgate. 6d. n.&lt;br /&gt;
POETRY.&lt;br /&gt;
W&ouml;I,USPA. Done into English out of the Icelandic of the&lt;br /&gt;
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29 pp. Nutt. 2s. 6d. m. - -&lt;br /&gt;
ARTEMISION : IDYLLS AND SONGS. By MAURICE&lt;br /&gt;
HEwlFTT. 64 &times; 5. 124 pp. Elkin Mathews. 3s.6d. n.&lt;br /&gt;
A FEW LYRICs. By LAURENCE ALMA TADEMA, 7 &times; 5.&lt;br /&gt;
56 pp. Elkin Mathews. 2s. 6d. n.&lt;br /&gt;
PoEMs. By DOROTHEA. HoDLINS. 72 pp.&lt;br /&gt;
Masters. 2s. 6d. n. .&lt;br /&gt;
THE SONG OF THE STEWARTS. Prelude by DOUGLAS&lt;br /&gt;
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73 x 5}.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
AUTHORS AND PRINTERs&amp;#039; DICTIONARY : A guide for&lt;br /&gt;
authors, editors, printers, correctors of the Press, com-&lt;br /&gt;
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Henry Frowde. Is. n. *&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
STUDIES IN THE TEACHING OF RELIGION. By WILLIAM&lt;br /&gt;
SCOTT PALMER. 73 &times; 5. 89 pp. Longmans. 18, n.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 203 (#259) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR.&lt;br /&gt;
203&lt;br /&gt;
TOPOGRAPHY. -&lt;br /&gt;
A HOLIDAY IN CONNEMARA. By STEPHEN Gwyn N.&lt;br /&gt;
9 &times; 6. 320 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
MOTOR TOURS IN YORKSHIRE. By MRS. Rodol, PH&lt;br /&gt;
STAWELL, 8% &times; 53. 230 pp. Hodder &amp;amp; Stoughton.&lt;br /&gt;
6s. n. r *&lt;br /&gt;
TRAVEL.&lt;br /&gt;
ROYAL PALACES OF SPAIN. An Historical and Descriptive&lt;br /&gt;
Account of the Seven Principal Palaces of the Spanish&lt;br /&gt;
Kings. With 164 Illustrations. By ALBERT F. CALVERT.&lt;br /&gt;
7# x 5. 107 pp. Lane. 3s.6d. n. t&lt;br /&gt;
LAUSANNE. Painted by J. HARDWICKE LEWIS and MAY&lt;br /&gt;
HARDWICKE LEWIS. Described by FRANCIS GRIBBLE.&lt;br /&gt;
9 x 6%. 110 pp. Black. 7s.6d. n.&lt;br /&gt;
THE ENGLISHwomAN IN INDIA. By MAUD DIVER,&lt;br /&gt;
7} x 5. 259 pp. Blackwood. 5s. n.&lt;br /&gt;
Books PUBLISHED IN AMERICA By&lt;br /&gt;
MEMBERS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ART.&lt;br /&gt;
INDIAN SCULPTURE AND PAINTING. By E. B. HAVELL.&lt;br /&gt;
Illustrated by Typical Masterpieces, with an Explanation&lt;br /&gt;
of their Motives and Ideals. 278 pp. Scribner. $25 m.&lt;br /&gt;
EL GRECO. An Account of his Life and Works ; with&lt;br /&gt;
136 reproductions from his most celebrated pictures.&lt;br /&gt;
By ALBERT F. CALVERT and C. GASQUOINE HARTLEY.&lt;br /&gt;
New York: John Lane Co. $1.50.&lt;br /&gt;
BIOGRAPEHY.&lt;br /&gt;
THE LIFE OF JAMES McNEIL WHISTLER. By E. R. and&lt;br /&gt;
J. PENNELL, 2 vols. Lippincott. $10 m.&lt;br /&gt;
THE MAKING OF CARLYLE. By R. S. CRAIG. New York:&lt;br /&gt;
John Lane Co. $4 n.&lt;br /&gt;
+ BOOKS FOR BOYS.&lt;br /&gt;
KING OF THE AIR ; OR, TO MOROCCO ON AN AIRSHIP.&lt;br /&gt;
Indianapolis : Bobbs-Merrill Co. $1.50.&lt;br /&gt;
- CLASSICAL.&lt;br /&gt;
THE INTERPRETATION OF ANCIENT GREEK LITERATURE.&lt;br /&gt;
An inaugural Lecture delivered before the University of&lt;br /&gt;
Oxford, January 27, 1909. By Prof. GILBERT MURRAY.&lt;br /&gt;
New York: Oxford University Press. 35 cents.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
THE MINORITY REPORT OF THE POOR LAW COMMISSION.&lt;br /&gt;
Edited by SIDNEY and BEATRICE WEBB. 2 Vols. 601&lt;br /&gt;
and 345 pp. $2.50 m. and $1.75 m.&lt;br /&gt;
FABIAN ESSAYS IN SOCIALISM. Edited with New Preface&lt;br /&gt;
by G. BERNARD SHAW. Boston : Ball Pub. Co. 50 cents n.&lt;br /&gt;
FICTION.&lt;br /&gt;
JOHN SILENCE. By ALGERNON BLACKWOOD.&lt;br /&gt;
Boston ; John W. Luce &amp;amp; Co. $1.50.&lt;br /&gt;
FRATERNITY. By JoHN GALSWORTHY. 386 pp. Putnam.&lt;br /&gt;
$1.35 m.&lt;br /&gt;
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mans, Green &amp;amp; Co. $1.50.&lt;br /&gt;
A. DAUGHTER OF FRANCE. By CONSTANCE ELIZABETH&lt;br /&gt;
MAUD. 345 pp. John Lane Co., $1.50.&lt;br /&gt;
THE BRONZE BELL. Illustrated by HARRISON FISHER.&lt;br /&gt;
361 pp. Dodd, Mead &amp;amp; Co. $1.50.&lt;br /&gt;
THE NOVELS AND TALES OF HENRY JAMES, Vol. XV.&lt;br /&gt;
The Lesson of the Master, The Death of the Lion, The&lt;br /&gt;
390 pp.&lt;br /&gt;
355 pp. Long-&lt;br /&gt;
Next Time, The Figure in the Carpet, The Coxton Fund.&lt;br /&gt;
Vol. XVI., The Author of Beltraffio, The Middle Ages,&lt;br /&gt;
Greville Fane, Broken Wings, The Tree of Knowledge,&lt;br /&gt;
The Abasement of the Northmores, The Great Good&lt;br /&gt;
Place, Four Meetings, Paste, Europe, Miss Gunton of&lt;br /&gt;
Poughkeepsie. New York : Scribner. Cloth $2; half&lt;br /&gt;
levant $4.&lt;br /&gt;
THE WHIPS OF TIME. By ARABELLA KENEALY. Boston :&lt;br /&gt;
Little, Brown &amp;amp; Co. $1.50. -&lt;br /&gt;
THE HAND ON THE LATCH. By MAY CHOLMONDELEY.&lt;br /&gt;
New York: Dodd, Mead &amp;amp; Co. $1.25.&lt;br /&gt;
THE MEASURE OF OUR YOUTH. By ALICE HERBERT.&lt;br /&gt;
New York: John Lane Co. $1.50.&lt;br /&gt;
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Co. $1.50. -&lt;br /&gt;
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SISTER MARY. Boston : Dana Estes &amp;amp; Co. $1.50.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
THE BIOGRAPHY OF A SILVER Fox ; OR, Dom(INO REY-&lt;br /&gt;
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SETON. With over 100 Drawings by the Author. New&lt;br /&gt;
York : Century Co. $1.50.&lt;br /&gt;
POETRY.&lt;br /&gt;
TowARDS THE LIGHT: A MYSTIC PoEM. By THE PRIN-&lt;br /&gt;
CESS KARADJA. New York: Dodd, Mead &amp;amp; Co. 50 cents n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
MADRID. An Historical Description and Handbook of the&lt;br /&gt;
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trations. New York : John Lane Co. $1.50 m.&lt;br /&gt;
MOTOR TOURS IN WALES AND THE BORDER COUNTIES.&lt;br /&gt;
By MRs. RUDOLPH STAWELL. With photographs&lt;br /&gt;
by R. de S. Stawell. Boston : L. C. Page &amp;amp; Co.&lt;br /&gt;
$2.50. -&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&amp;amp; 4 HE Country Home&rdquo; for April contains a&lt;br /&gt;
specially authorised article on Miss Marie&lt;br /&gt;
Corelli&amp;#039;s home at Stratford-on-Avon, with&lt;br /&gt;
its many interesting features fully described and&lt;br /&gt;
illustrated.&lt;br /&gt;
Mr. E. F. Benson has a story called &ldquo;The&lt;br /&gt;
Osbornes,&rdquo; which will run serially in the Cornhill.&lt;br /&gt;
The first instalment will appear in the July issue of&lt;br /&gt;
that magazine. A second &ldquo; Book of Months,&rdquo; by&lt;br /&gt;
Mr. Benson, will appear in June.&lt;br /&gt;
Frank Danby, whose new novel, &ldquo;An Incom-&lt;br /&gt;
pleat Etonian,&rdquo; was published last month, has,&lt;br /&gt;
in hand another novel of about the same length,&lt;br /&gt;
&ldquo;The Blackmailers,&rdquo; and, in addition, is drama-&lt;br /&gt;
tising her book, &ldquo;The Heart of a Child,&rdquo; in&lt;br /&gt;
collaboration with Mr. Seymour Hicks.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 204 (#260) ############################################&lt;br /&gt;
&lt;br /&gt;
204&lt;br /&gt;
TISIES A DITFIOR.&lt;br /&gt;
Mr. W. J. Locke is busy finishing a novel&lt;br /&gt;
which will run serially during the autumn prior&lt;br /&gt;
to its appearance in book form in the spring of&lt;br /&gt;
191 ().&lt;br /&gt;
Mrs. Inchbold&rsquo;s new novel, &ldquo;The Road of No&lt;br /&gt;
Return,&rdquo; opens with some dramatic incidents of&lt;br /&gt;
the Russian revolution, woven round a young couple&lt;br /&gt;
united in a &ldquo;nihilistic marriage.&rdquo; The heroine&lt;br /&gt;
is soon forced to escape to the Holy Land,&lt;br /&gt;
and on her arrival at Jerusalem is drawn into&lt;br /&gt;
a largely religious and partly political revolu-&lt;br /&gt;
tionary movement, the secret headquarters of&lt;br /&gt;
which are in that city. The husband, who has&lt;br /&gt;
been reprieved on condition of becoming a monk,&lt;br /&gt;
is seized with the ambition to effect a revolu-&lt;br /&gt;
tion in the Church, and for a period of proba-&lt;br /&gt;
tion he is sent to a Russian monastery in&lt;br /&gt;
Palestine. The climax is reached when the&lt;br /&gt;
divided characters meet unexpectedly in the&lt;br /&gt;
Holy Land. Messrs. Chatto &amp;amp; Windus are the&lt;br /&gt;
publishers. -&lt;br /&gt;
Mr. W. H. Dawson&rsquo;s &ldquo;Evolution of Modern&lt;br /&gt;
Germany,&rdquo; of which Mr. Fisher Unwin is the&lt;br /&gt;
publisher, traces the economic and industrial&lt;br /&gt;
transition through which Germany has been&lt;br /&gt;
passing during the last thirty or forty years. The&lt;br /&gt;
author&amp;#039;s aim has been to present a picture of the&lt;br /&gt;
Germany which England has to reckon with to-day&lt;br /&gt;
&mdash;to show what Germany has done in commerce,&lt;br /&gt;
industry, and colonisation, and to estimate the&lt;br /&gt;
more important movements and forces which are&lt;br /&gt;
at work, influencing its life, prosperity, and policy.&lt;br /&gt;
A volume dealing with the Temple, Lincoln&amp;#039;s&lt;br /&gt;
Inn, Gray&rsquo;s Inn, and the lesser homes of the law&lt;br /&gt;
in London, also the architecture in which they are&lt;br /&gt;
enshrined, will be published immediately by&lt;br /&gt;
Messrs. A. &amp;amp; C. Black under the title of &ldquo;The&lt;br /&gt;
Inns of Court.&rdquo; Mr. Cecil Headlam is the author&lt;br /&gt;
of the book, and Mr. Gordon Home illustrates it&lt;br /&gt;
with a series of twenty water-colour drawings&lt;br /&gt;
which are reproduced in colour fac-simile.&lt;br /&gt;
Mr. Francis Griffiths, of 34, Maiden Lane,&lt;br /&gt;
Strand, W.C., will issue early this month a novel&lt;br /&gt;
by &ldquo;Marcus Servian,&rdquo; the title of which will be&lt;br /&gt;
&ldquo;Anne Inescourt.&rdquo;&lt;br /&gt;
Mr. G. K. Chesterton&amp;#039;s monograph on Mr.&lt;br /&gt;
Bernard Shaw will appear very shortly through&lt;br /&gt;
Mr. John Lane. Mr. Chesterton is also writing a&lt;br /&gt;
book called &ldquo;What is Wrong &rdquo; (to be published by&lt;br /&gt;
Messrs. Cassell &amp;amp; Co.), which is in the nature of an&lt;br /&gt;
attack on the peculiar evils of modern civilisation.&lt;br /&gt;
A little book on Blake, from the same pen, Will&lt;br /&gt;
appear later on.&lt;br /&gt;
A new novel by Miss Emma Brooke was pub-&lt;br /&gt;
lished by Messrs. Smith, Elder &amp;amp; Co., on March 26.&lt;br /&gt;
It is a story of Westmorland folk and of life and&lt;br /&gt;
character on a farm near Morecambe Bay.&lt;br /&gt;
&ldquo;Tom Genuflex&rdquo; is the title of a new novel by&lt;br /&gt;
Mrs. Jane Rowland, who has written many books&lt;br /&gt;
under the pseudonym of &ldquo;Aunt Cherry.&rdquo; Mr.&lt;br /&gt;
John Ousely will publish the present volume.&lt;br /&gt;
Miss Esm&eacute; Stuart is publishing, through Messrs.&lt;br /&gt;
Jarrold, a novel entitled &ldquo;Toney&amp;#039;s Treasure,&rdquo;&lt;br /&gt;
which is a sequel to the same writer&rsquo;s &ldquo;Harum&lt;br /&gt;
Scarum.&rdquo; -&lt;br /&gt;
The Hon. Mrs. Alfred Lyttelton is at present&lt;br /&gt;
engaged on a series of small one-act plays as well&lt;br /&gt;
as a mystery play on the subject of St. Ursula.&lt;br /&gt;
She has also finished two three-act plays, one of&lt;br /&gt;
which will probably be published.&lt;br /&gt;
&ldquo;The Spirit of the Downs,&rdquo; written by Arthur&lt;br /&gt;
Beckett and illustrated in colour by Stanley Inch-&lt;br /&gt;
bold, is a Volume of impressions and reminiscences&lt;br /&gt;
of the Sussex Downs. The earlier chapters of the&lt;br /&gt;
work comprise a rapid survey of the history of the&lt;br /&gt;
famous range, and are followed by a narration of&lt;br /&gt;
the experiences of the author and the artist during&lt;br /&gt;
an autumn tour through the Downs, from the&lt;br /&gt;
Hampshire border to Beachy Head. This section&lt;br /&gt;
is interspersed with many anecdotes concerning the&lt;br /&gt;
people met with and the places visited. Messrs.&lt;br /&gt;
Methuen &amp;amp; Co. are the publishers. -&lt;br /&gt;
Mary L. Pendered (author of &ldquo;Musk of Roses,&rdquo;&lt;br /&gt;
&ldquo;An Englishman,&rdquo; &ldquo;Dust and Lands,&rdquo; etc.) has&lt;br /&gt;
just finished a novel, upon which she has been at&lt;br /&gt;
work, intermittently, for over three years. It is&lt;br /&gt;
called &ldquo;The Secret of the Dragon,&rdquo; and has an&lt;br /&gt;
atmosphere of mystery, romance and magic. Its&lt;br /&gt;
scenes are chiefly laid in an old garden.&lt;br /&gt;
&ldquo;A Little Garland for Remembrance&rdquo; (occa-&lt;br /&gt;
sional verse), by the same writer, is on sale at&lt;br /&gt;
Sachs &amp;amp; Co., Victoria Street ; while her last two&lt;br /&gt;
compilations, in the form of memorandum books&lt;br /&gt;
for mothers and Nature-lovers, entitled &ldquo;My&lt;br /&gt;
Baby&amp;quot; and &ldquo;My Garden,&rdquo; are published by&lt;br /&gt;
Sisley &amp;amp; Co.&lt;br /&gt;
The Woman Writers&amp;#039; Suffrage League (presi-&lt;br /&gt;
dent : Miss Elizabeth Robins) is taking a stall at&lt;br /&gt;
the forthcoming exhibition and bazaar to be held&lt;br /&gt;
at Prince&amp;#039;s Skating Rink from May 13 to 23,&lt;br /&gt;
under the auspices of the N.W.S.P.U. The&lt;br /&gt;
stall is to be furnished entirely by books and&lt;br /&gt;
signed photographs of authors, and as it will be&lt;br /&gt;
presided over by a number of celebrated women&lt;br /&gt;
writers, is sure to prove attractive. Promises of&lt;br /&gt;
contributions will be gladly received by Miss&lt;br /&gt;
Bessie Hatton, hon. Sec. to the League, 15,&lt;br /&gt;
Sandringham Court, Maida Wale; and by Miss&lt;br /&gt;
Pendered, The Fold, Beltinge, Herne Bay.&lt;br /&gt;
Autographical copies of books are especially&lt;br /&gt;
desired.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co. have included in their&lt;br /&gt;
&ldquo;Everyman&amp;#039;s Library&rdquo; Capt. L. J. Trotter&amp;#039;s&lt;br /&gt;
&ldquo;Lives of Hodson and Outram.&rdquo;&lt;br /&gt;
The same writer&amp;#039;s &ldquo;Nicholson &amp;quot; has sold widely&lt;br /&gt;
in Messrs. Nelson&amp;#039;s hands since last autumn ; while&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 205 (#261) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR,&lt;br /&gt;
205&lt;br /&gt;
Messrs. Kegan Paul &amp;amp; Co. are in treaty with him&lt;br /&gt;
for a cheap edition of his &ldquo;History of India under&lt;br /&gt;
Victoria.&rdquo;&lt;br /&gt;
Madame Sarah Grand has two novels partly&lt;br /&gt;
written, one of which she hopes to finish during&lt;br /&gt;
the present year.&lt;br /&gt;
M. E. Francis, whose new novel, &ldquo;Galatea of&lt;br /&gt;
the Wheatfield,&rdquo; will be issued by Messrs. Methuen&lt;br /&gt;
&amp;amp; Co. this summer, is at present engaged on a&lt;br /&gt;
rustic romance called &ldquo;The Wild Heart.&rdquo; A short&lt;br /&gt;
story by the same writer will appear in Nash&amp;#039;s&lt;br /&gt;
Magazine, and will bear the title, &ldquo;Farmer Symes&amp;#039;&lt;br /&gt;
Best Counsellor.&rdquo; A dramatic version of Miss&lt;br /&gt;
Francis&amp;#039; book, &ldquo;The Manor Farm,&rdquo; which has&lt;br /&gt;
been prepared by Mr. George Arless and Mrs.&lt;br /&gt;
Oscar Beringer, will shortly be produced in the&lt;br /&gt;
United States.&lt;br /&gt;
&ldquo;The Intruding Angel&rdquo; is the title of a new&lt;br /&gt;
novel by Mr. Charles Marriott, which will be ready&lt;br /&gt;
for publication in the autumn.&lt;br /&gt;
A book dealing with the recreative and sporting&lt;br /&gt;
side of the French and Italian Rivieras, with the&lt;br /&gt;
title, &ldquo;Sport on the Rivieras,&rdquo; will be published&lt;br /&gt;
next November by the Reynolds-Ball&amp;#039;s Guides&lt;br /&gt;
Syndicate, 27, Chancery Lane. It will deal with&lt;br /&gt;
golf, tennis, motoring, cycling, yachting, fishing,&lt;br /&gt;
and other sports, and will be edited by Eustace&lt;br /&gt;
Reynolds-Ball and C. A. Payton, M.V.O.&lt;br /&gt;
(&ldquo;Sarcello&rdquo; of the Field). The chapter on motor-&lt;br /&gt;
ing will be written by Mr. C. N. Williamson. An&lt;br /&gt;
important feature of the book will be chapters on&lt;br /&gt;
sea and river fishing on the two Rivieras, the&lt;br /&gt;
Pyrenees, South Italy, Corsica, Sardinia, etc., by&lt;br /&gt;
Mr. C. A. Payton, a leading authority on angling.&lt;br /&gt;
The price will be 2s. 6d. net., and there will be&lt;br /&gt;
numerous illustrations from Original photographs.&lt;br /&gt;
&ldquo;Rita &amp;quot; has a story in Wash&amp;#039;s Magazine, entitled&lt;br /&gt;
&ldquo;The Second Edition,&rdquo; as well as a story in the&lt;br /&gt;
current number of the Story Teller, dealing with&lt;br /&gt;
aeroplanes. -&lt;br /&gt;
Mr. Justin McCarthy is at present engaged upon,&lt;br /&gt;
but is not likely to finish till the autumn, a volume&lt;br /&gt;
on &ldquo;Early Memories of Ireland,&rdquo; the title of which&lt;br /&gt;
indicates the nature of the work. Mr. McCarthy&lt;br /&gt;
has also in project an addition to his list of novels.&lt;br /&gt;
&ldquo;Omnium Gatherum &rdquo; is a booklet, which&lt;br /&gt;
Mrs. Alec Tweedie is editing for the benefit of&lt;br /&gt;
University College. Walter Crane has designed&lt;br /&gt;
the cover, and amongst the generous contributors&lt;br /&gt;
are : Madame Albanesi, Sir F. Carruthers Gould,&lt;br /&gt;
Marie Corelli, George Grossmith, Bernard Shaw,&lt;br /&gt;
Silas Hocking, Frankfort Moore, G. Marconi,&lt;br /&gt;
John Hassall, Mrs. Heron Maxwell, Lady Bancroft,&lt;br /&gt;
E. W. Lucas, G. K. Chesterton, &ldquo;Rita,&rdquo; Frank&lt;br /&gt;
Richardson, Harry Furniss, Chevalier Taylor,&lt;br /&gt;
Halliwell Sutcliffe, Adolph Mann, Fredk. C.&lt;br /&gt;
Britton, L. F. Thompson, Mrs. Alec. Tweedie.&lt;br /&gt;
This booklet will be on sale everywhere early this&lt;br /&gt;
&ordm; for the benefit of University College, price&lt;br /&gt;
1S. 6d. -&lt;br /&gt;
Mr. Heinemann is publishing, about the middle&lt;br /&gt;
of May, a volume by Mrs. Belloe Lowndes, entitled&lt;br /&gt;
&ldquo;Studies in Wives.&rdquo; Each story deals with a&lt;br /&gt;
phase of married life, and among those included&lt;br /&gt;
in the volume are four which appeared in the&lt;br /&gt;
Fortnightly Review, one of which, entitled &ldquo;The&lt;br /&gt;
Decree Made Absolute,&rdquo; is being dramatised by&lt;br /&gt;
George Paston.&lt;br /&gt;
We regret two errors in our note on Mr. Carlton&lt;br /&gt;
DaWe&rsquo;s new book, &ldquo;The New Andromeda,&rdquo; which&lt;br /&gt;
appeared in the last issue of The Author. The&lt;br /&gt;
London publisher is Mr. J. Eveleigh Nash, and not&lt;br /&gt;
Messrs. Stanley Paul &amp;amp; Co., as we inadvertently&lt;br /&gt;
stated, and the title given to the story in America&lt;br /&gt;
is &ldquo; The Woman, the Man, and the Monster.&rdquo;&lt;br /&gt;
Miss Gladys Davidson has just published a new&lt;br /&gt;
musical pastoral play, entitled &ldquo;In the Days of&lt;br /&gt;
Good Queen Bess.&rdquo; The play is in two acts, and&lt;br /&gt;
has an original plot, in which Queen Elizabeth and&lt;br /&gt;
Sir Walter Raleigh are introduced. The operetta&lt;br /&gt;
is a suitable piece for performance by choral and&lt;br /&gt;
amateur operatic societies. The music is by J.&lt;br /&gt;
Duffell, Mus. Bac. The publishers are J. Curwen&lt;br /&gt;
&amp;amp; Sons, Ltd., London.&lt;br /&gt;
Miss Davidson has also published recently a new&lt;br /&gt;
musical fairy play for children. The subject is&lt;br /&gt;
&ldquo;Puss-in-Boots,&rdquo; and this favourite story is here&lt;br /&gt;
presented in quite an original dress, and many&lt;br /&gt;
pretty Songs and familiar nursery characters are&lt;br /&gt;
introduced. The music is by Stephen R. Philpot,&lt;br /&gt;
and the publishers are Egerton &amp;amp; Co., London.&lt;br /&gt;
&ldquo;The Wreathed Dagger,&rdquo; announced by Messrs.&lt;br /&gt;
Cassell &amp;amp; Co., is the first novel of Margaret Young,&lt;br /&gt;
writer of plays produced by Miss Ellen Terry and&lt;br /&gt;
Mr. Forbes Robertson. It is a story of Cromwell&amp;#039;s&lt;br /&gt;
time, and deals with the breaking up of sham codes&lt;br /&gt;
of honour under the pressure of fact.&lt;br /&gt;
Messrs. Crewsher &amp;amp; Co., of Bradford, have added&lt;br /&gt;
to their series of songs for the school four more&lt;br /&gt;
pieces by Miss L. Budgen and Mr. Robert Gold-&lt;br /&gt;
beck. They are entitled respectively &ldquo;Hope On,&rdquo;&lt;br /&gt;
&ldquo;The Rook,&rdquo; &ldquo;The Thrush,&rdquo; and &ldquo;The Rose.&rdquo;&lt;br /&gt;
Mr. Henry Frowde has just issued a shilling .&lt;br /&gt;
edition of Mr. F. Howard Collins&rsquo; &ldquo;Authors&rsquo; and&lt;br /&gt;
Printers&rsquo; Dictionary,&rdquo; which codifies the best&lt;br /&gt;
typographical practices of the present day. First&lt;br /&gt;
published in 1905, the volume is now in its tenth&lt;br /&gt;
thousand, and the edition under notice is published&lt;br /&gt;
at a price which should be within the means of&lt;br /&gt;
all who are interested.&lt;br /&gt;
Following Mr. Melrose&amp;#039;s Prize Novel Competition&lt;br /&gt;
last year comes a new competition from the same&lt;br /&gt;
house with the same award of two hundred and&lt;br /&gt;
fifty guineas, but with different judges. Acting&lt;br /&gt;
on the assumption that women form the bulk of&lt;br /&gt;
novel readers, Mr. Melrose has secured Mrs. Flora&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 206 (#262) ############################################&lt;br /&gt;
&lt;br /&gt;
206 TISIES&lt;br /&gt;
A CITYSIOR.&lt;br /&gt;
Annie Steel, Mrs. Henry de la Pasture, and Miss&lt;br /&gt;
Mary Cholmondeley as adjudicators in the new&lt;br /&gt;
competition. The only difference between this&lt;br /&gt;
and the former competition will be that, instead of&lt;br /&gt;
being confined to first novelists, the award will be&lt;br /&gt;
given to the writer of the best story submitted,&lt;br /&gt;
without regard to the author&amp;#039;s previous record.&lt;br /&gt;
As before, particulars may be obtained by sending&lt;br /&gt;
a stamped envelope to the Literary Agency of&lt;br /&gt;
London, 5, Henrietta Street, Covent Garden,&lt;br /&gt;
London, W.C.&lt;br /&gt;
Mr. W. M. Rossetti wrote some little while ago&lt;br /&gt;
a study of moderate length on Dante&amp;#039;s famous book,&lt;br /&gt;
&ldquo;Il Convito,&rdquo; aiming to show, in a clear parallel&lt;br /&gt;
form, the relation between the literal and the&lt;br /&gt;
allegorical meanings, as expounded by Dante him-&lt;br /&gt;
self, of the poems included in that book. The&lt;br /&gt;
essay treats also of various other poems by Dante,&lt;br /&gt;
and some further relevant matters. Some steps&lt;br /&gt;
are being taken towards the publication of this&lt;br /&gt;
essay at an early date.&lt;br /&gt;
The &ldquo;Diary of Dr. John William Palidori&amp;quot;&lt;br /&gt;
(Mr. Rossetti&amp;#039;s maternal uncle), written in 1816&lt;br /&gt;
about the time when he had accompanied Lord&lt;br /&gt;
Byron to the Continent as his travelling physician,&lt;br /&gt;
and edited by Mr. Rossetti, has for some while&lt;br /&gt;
past been ready to be published by Messrs. Brown,&lt;br /&gt;
Langham &amp;amp; Co. -&lt;br /&gt;
The correspondence between Dante Gabriel&lt;br /&gt;
Rossetti and Ford Madox Brown, from the year 1870&lt;br /&gt;
onwards, edited by Mr. W. M. Rossetti, has been&lt;br /&gt;
bespoken by the editor of the English Review for that&lt;br /&gt;
periodical, and may be expected to appear pretty soon.&lt;br /&gt;
There is also some further correspondence&lt;br /&gt;
between D. G. Rossetti and his friends, and&lt;br /&gt;
between Christina Rossetti and members of her&lt;br /&gt;
family, which, under Mr. W.M. Rossetti&amp;#039;s editorship,&lt;br /&gt;
is offered for publication if an opportunity occurs.&lt;br /&gt;
Messrs. Methuen &amp;amp; Co. are publishing this&lt;br /&gt;
month Part II. of &ldquo;An English Church History&lt;br /&gt;
for Children&rsquo;&rsquo; (A.D. 1066&ndash;1500), by Mary E.&lt;br /&gt;
Shipley, with a preface by the Bishop of Gibraltar.&lt;br /&gt;
We regret that in our recent paragraph relating&lt;br /&gt;
to &ldquo;Ezra Solomon,&rdquo; by Pam and Major Arthur&lt;br /&gt;
Layard, we referred to one of the characters as&lt;br /&gt;
&ldquo;The High Chancellor of Music,&rdquo; instead of &ldquo;The&lt;br /&gt;
High Chancellor of Moscow.&rdquo;&lt;br /&gt;
Mr. R. C. Carton&amp;#039;s new play, &ldquo;Mr. Preedy&lt;br /&gt;
and the Countess&rdquo; was staged at the Criterion on&lt;br /&gt;
April 13. The piece turns on the position of a&lt;br /&gt;
young tradesman launched into a sea of farcical&lt;br /&gt;
difficulties. Included in the cast are Mr. Weedon&lt;br /&gt;
Grossmith, Miss Compton, and Mr. Fred Lewis.&lt;br /&gt;
Among the features of the fair given under the&lt;br /&gt;
auspices of the Women&amp;#039;s Freedom League last&lt;br /&gt;
month was a play with the title &ldquo;How the Vote&lt;br /&gt;
was Won,&rdquo; by Miss Cicely Hamilton and Christopher&lt;br /&gt;
St. John.&lt;br /&gt;
Mr. James B. Fagan&amp;#039;s new play &ldquo;The Earth,&rdquo;&lt;br /&gt;
was produced at the Kingsway Theatre on April 14.&lt;br /&gt;
The theme of the dramatist is found in the in-&lt;br /&gt;
fluence wielded by a newspaper magnate, and the&lt;br /&gt;
play treats of a conflict between him and a Cabinet&lt;br /&gt;
minister with democratic tendencies ; the centre of&lt;br /&gt;
the quarrel being a certain Wages Bill which the&lt;br /&gt;
minister has introduced. The cast includes Miss&lt;br /&gt;
Lena Ashwell, Mr. Norman McKinnel, Mr. Allan&lt;br /&gt;
Aynesworth, and Mr. Dennis Eadie.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
6 ( ES Deux Routes,&rdquo; by Paul Tany, is a novel&lt;br /&gt;
by a new Writer. It is an extremely inte-&lt;br /&gt;
resting psychological study. Each of the&lt;br /&gt;
characters is well drawn. All the personages are&lt;br /&gt;
more or less connected with the artistic world of&lt;br /&gt;
Paris, either as workers or amateurs. The chief&lt;br /&gt;
interest centres in the personality of Henry Maillard,&lt;br /&gt;
a dilettante of the kind so well known in Paris, a&lt;br /&gt;
man who frequents all the salons, who is well up&lt;br /&gt;
on every subject and considered an authority on all&lt;br /&gt;
artistic questions. He has the reputation of being&lt;br /&gt;
a remarkable artist, poet and author himself, but&lt;br /&gt;
in reality he can only criticise the work of others.&lt;br /&gt;
Side by side with him the author studies the&lt;br /&gt;
psychology of a group of painters, sculptors, society&lt;br /&gt;
men and women in such a way that the whole book&lt;br /&gt;
is rather a page of life than a novel. &ldquo;Les Deux&lt;br /&gt;
Routes&rdquo; is Paul Tany&amp;#039;s second volume, and his&lt;br /&gt;
next book will be awaited with interest.&lt;br /&gt;
&ldquo;Bon an, Malan,&rdquo; by Henri Lavedan, is probably&lt;br /&gt;
the author&amp;#039;s diary. The volume commences in&lt;br /&gt;
January, 1908, and most of the chief events of the&lt;br /&gt;
year are touched on, or rather the events that have&lt;br /&gt;
interested M. Lavedan. The Universit&eacute; des&lt;br /&gt;
Annales, the Salon des Po&egrave;tes, the Diabolo of the&lt;br /&gt;
children, a visit to Fran&ccedil;ois Copp&eacute;e, the crime of&lt;br /&gt;
the Passage Ronsin, the publication of Daniel&lt;br /&gt;
Lesueur&rsquo;s novel, &ldquo;Nietzsch&eacute;ene,&rdquo; Wilbur Wright&lt;br /&gt;
and his aerial flights, and some scores of other&lt;br /&gt;
subjects, are all touched on lightly in this second&lt;br /&gt;
series of impressions with all the wit and charm of&lt;br /&gt;
the well-known dramatic author. -&lt;br /&gt;
&ldquo;De la Valli&egrave;re &agrave; Montespan * is the title of&lt;br /&gt;
a volume by J. Lemoine and A. Lichtenberger.&lt;br /&gt;
The authors have wished to explain how it came&lt;br /&gt;
about that Louis XIV. should have transferred his&lt;br /&gt;
affections from Louise de la Walli&egrave;re to Fran&ccedil;oise&lt;br /&gt;
de Rochechouart, Marquise de Montespan. They&lt;br /&gt;
have studied a considerable number of documents&lt;br /&gt;
hitherto unpublished, from which they give us&lt;br /&gt;
curious details about the intrigues against&lt;br /&gt;
Mademoiselle de la Valli&egrave;re, about her brother the&lt;br /&gt;
Marquis de la Valli&egrave;re, about the family of M. de&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 207 (#263) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTEIOR.&lt;br /&gt;
207&lt;br /&gt;
Montespan, and about the competition between&lt;br /&gt;
the two rivals for the king&amp;#039;s favour. The whole&lt;br /&gt;
book is interesting and throws much new light on&lt;br /&gt;
this romantic episode in the life of Louis XIV.&lt;br /&gt;
&ldquo;Mlle. Sall&eacute;&rsquo;&rdquo; (&ldquo;Une danseuse de l&amp;#039;Op&eacute;ra sous&lt;br /&gt;
Louis XV.&rdquo;), by Emile Dacier, is a curious book,&lt;br /&gt;
taking us back to 1707, when the celebrated dancer&lt;br /&gt;
was born. At the age of four the child was quite&lt;br /&gt;
&agrave; noted little dancer, and when she was eleven she&lt;br /&gt;
made her d&eacute;b&ugrave;t in the &ldquo;Princesse de Carisme,&rdquo; a&lt;br /&gt;
comic opera by Lesage. At the age of eighteen&lt;br /&gt;
Mlle. Sall&eacute; and her brother were engaged by John&lt;br /&gt;
Rich for his theatre in Lincoln&amp;#039;s Inn Fields. At&lt;br /&gt;
the end of the season they had their benefit night.&lt;br /&gt;
In 1727 Mlle. Sall&eacute; was engaged at the Paris&lt;br /&gt;
Opera, but for some unknown reason she suddenly&lt;br /&gt;
gave up her engagement there and started once&lt;br /&gt;
more for England. It is supposed that she had&lt;br /&gt;
some difficulties with her manager. Voltaire writes&lt;br /&gt;
at this time :&lt;br /&gt;
&ldquo;O toi, jeune Sall&eacute;, fille de Terpsichore&lt;br /&gt;
Qu&amp;#039;on insulte &agrave; Paris, mais que tout Londre honore,&lt;br /&gt;
Dans tes nouveaux succ&egrave;s, re&ccedil;ois avec mes Voeux&lt;br /&gt;
Les applaudissements d&amp;#039;un peuple respectable. . .&lt;br /&gt;
Later on she had letters of introduction for Locke&lt;br /&gt;
and for Montesquieu, who was then in England.&lt;br /&gt;
The book is extremely interesting, showing as it&lt;br /&gt;
does something of the life of London at that epoch.&lt;br /&gt;
Handel was producing his operas, and Mlle. Sall&eacute;&lt;br /&gt;
danced in &ldquo;Ariadne &amp;quot; and in &ldquo;Ariodante.&rdquo; She&lt;br /&gt;
introduced many reforms, particularly with regard&lt;br /&gt;
to the costumes of dancers. She was one of the&lt;br /&gt;
rare ballet dancers whose private life was blameless.&lt;br /&gt;
&ldquo;Pages Choisies de Taine&rdquo; is a volume of frag-&lt;br /&gt;
ments selected by M. Giraud from the works of&lt;br /&gt;
the great French critic. For those who have not&lt;br /&gt;
time to read the complete works of Taine, this&lt;br /&gt;
volume gives an excellent idea of his writings.&lt;br /&gt;
Among new books are the following: &ldquo;L&rsquo;Ame&lt;br /&gt;
Bretonne,&rdquo; by Ch. Le Goffic. &ldquo;La Route du&lt;br /&gt;
Bonheur,&rdquo; by Yvonne Sarcey, &ldquo;L&rsquo;Amour Masqu&eacute;,&rdquo;&lt;br /&gt;
by Jean-Louis Vaudoyer. &ldquo;Les Accapareurs,&rdquo; par&lt;br /&gt;
Hugues Lapaire, the author of &ldquo;Le Fardean&rsquo;&rsquo; and&lt;br /&gt;
&ldquo;L&amp;#039;Epervier.&rdquo;&lt;br /&gt;
&ldquo;Reflets de Rome,&rdquo; by Gaspard Vallette, is a&lt;br /&gt;
volume giving the impressions of various writers&lt;br /&gt;
on visiting Rome for the first time. A chapter is&lt;br /&gt;
given up to Montaigne and his journey to Rome.&lt;br /&gt;
Balzac&amp;#039;s impressions are also given, and chapters&lt;br /&gt;
are devoted to Goethe, Chateaubriand, Cherbuliez,&lt;br /&gt;
Stendhal, Amp&egrave;re, Goncourt, Taine, Renan, Bourget,&lt;br /&gt;
Zola, and Anatole France, and their ideas and&lt;br /&gt;
impressions with regard to the Eternal City.&lt;br /&gt;
In La Revue de Paris Judith Gautier continues&lt;br /&gt;
&ldquo;Le Collier des jours,&rdquo; M. Louis Battifol writes&lt;br /&gt;
an interesting article on &ldquo;L&rsquo;Origine du Ch&acirc;teau&lt;br /&gt;
de Versailles,&rdquo; Louis Houllevigue publishes an&lt;br /&gt;
article on &ldquo;Le Tel&eacute;graphie sans fil,&rdquo; and Captain W.&lt;br /&gt;
Writes on &ldquo;Le Japon apr&egrave;s la Guerre.&rdquo;&lt;br /&gt;
} }&lt;br /&gt;
e&lt;br /&gt;
. In the Revue hebdomadaire Ren&eacute; Doumic con&lt;br /&gt;
tinues, his series of articles on &ldquo;George Sand,&rdquo;&lt;br /&gt;
and Paul Bourget gives an excellent article on&lt;br /&gt;
&ldquo;Barbey d&rsquo;Aur&eacute;villy&rdquo;; Paul Adam writes on&lt;br /&gt;
&ldquo;L&amp;#039;Opinion et l&amp;#039;Argent.&rdquo;&lt;br /&gt;
At the Fran&ccedil;ais &ldquo;Modestie&amp;quot; and &ldquo;Connais-&lt;br /&gt;
toi,&rdquo; by Paul Hervieu, are both on the bill&lt;br /&gt;
together. At the Od&eacute;on &ldquo;Beethoven&rsquo;&rsquo; is a great&lt;br /&gt;
Success. The production of &ldquo;L&rsquo;Imp&eacute;ratrice,&rdquo; now&lt;br /&gt;
being given at the Th&eacute;&acirc;tre R&eacute;jane, is one of the&lt;br /&gt;
theatrical events of the season. At the Porte&lt;br /&gt;
Saint-Martin &ldquo;Lauzun ~ is attracting the public,&lt;br /&gt;
and at the Th&eacute;&acirc;tre Antoine &ldquo;Master Bob.&rdquo;&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Les Deux Routes&rdquo; (Perrin).&lt;br /&gt;
&ldquo;Pages choisies de Taine&amp;quot; (Hachette).&lt;br /&gt;
&ldquo;L&rsquo;Ame bretonne&rdquo; (Champion).&lt;br /&gt;
La Route du Bonheur&rdquo; (Libraire des Annales).&lt;br /&gt;
&ldquo;L&amp;#039;Amour masqu&eacute;&rdquo; (Calmann Levy).&lt;br /&gt;
&ldquo;Les Accapareurs&rdquo; (Calmann Levy).&lt;br /&gt;
&ldquo;Reflets de Rome&rdquo; (Plon).&lt;br /&gt;
*- - -&lt;br /&gt;
THE UNITED STATES COPYRIGHT ACT.&lt;br /&gt;
Th; new American Copyright Act is now&lt;br /&gt;
before us. It is difficult to know exactly&lt;br /&gt;
what comment to make. On some points&lt;br /&gt;
it would appear that the United States have&lt;br /&gt;
advanced towards the standard of other civilised&lt;br /&gt;
countries: on some others they are sadly retro-&lt;br /&gt;
gressive. On the whole, perhaps, our comment is&lt;br /&gt;
favourable; for although works in the English&lt;br /&gt;
language are treated very badly, more liberal&lt;br /&gt;
conditions are given to foreigners.&lt;br /&gt;
We have read the Act very carefully, and have&lt;br /&gt;
nothing but praise for the draftsmanship, which&lt;br /&gt;
seems to be exceedingly accurate and clear. This&lt;br /&gt;
is all the more important in a law which will have&lt;br /&gt;
to be interpreted internationally.&lt;br /&gt;
The Act includes the following as copyright-&lt;br /&gt;
able &mdash;&lt;br /&gt;
(a) Books, including composite and cyclopaedic&lt;br /&gt;
works, directories, gazetteers, and other compila-&lt;br /&gt;
tions.&lt;br /&gt;
(b) Periodicals, including newspapers.&lt;br /&gt;
(c) Letters, sermons, addresses, prepared for&lt;br /&gt;
oral delivery.&lt;br /&gt;
(d) Dramatic or dramatico-musical compositions.&lt;br /&gt;
(e) Musical compositions.&lt;br /&gt;
(f) Maps. -&lt;br /&gt;
(g) Works of art ; models or designs for works&lt;br /&gt;
of art.&lt;br /&gt;
(h) Reproductions of a work of art.&lt;br /&gt;
(i) Drawings or plastic works of a scientific&lt;br /&gt;
or technical character.&lt;br /&gt;
(j) Photographs.&lt;br /&gt;
(k) Prints and pictorial illustrations.&lt;br /&gt;
The author has the right over the translation of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 208 (#264) ############################################&lt;br /&gt;
&lt;br /&gt;
208&lt;br /&gt;
THE A DITFSHOR,&lt;br /&gt;
his work, and if it is a non-dramatic work to drama-&lt;br /&gt;
tise it ; if it is a dramatic work he has the right of&lt;br /&gt;
turning it into a novel, and all rights of abridg-&lt;br /&gt;
ment, adaptations, and arrangements are also&lt;br /&gt;
inherent in the author&amp;#039;s property.&lt;br /&gt;
Copyright is secured by publication, with the&lt;br /&gt;
copyright notice demanded by the Act printed on&lt;br /&gt;
every copy. There is a distinction made between&lt;br /&gt;
copies of copyright works not for sale, as dramatic&lt;br /&gt;
works and musical works, and copies that are for&lt;br /&gt;
sale, as books and musical works when they are&lt;br /&gt;
published in saleable form. Any work for publica-&lt;br /&gt;
tion must be &ldquo;promptly registered &amp;quot; : but it does&lt;br /&gt;
not appear from the Act that there is any loss of&lt;br /&gt;
copyright if the work is not promptly registered,&lt;br /&gt;
but no action or proceeding can be maintained for&lt;br /&gt;
infringement of copyright until the provisions of&lt;br /&gt;
the Act, with respect to deposit of copies and&lt;br /&gt;
registration, have been complied with. If the&lt;br /&gt;
work is not promptly registered, the Registrar can&lt;br /&gt;
demand its registration, and if after such a demand&lt;br /&gt;
the work is not registered within a fixed time the&lt;br /&gt;
copyright shall become void. This point is a&lt;br /&gt;
distinct advance.&lt;br /&gt;
Section 15 runs as follows:&ndash;&lt;br /&gt;
&ldquo;That of the printed book or periodical specified in&lt;br /&gt;
section 5, sub-sections &ldquo;a&rdquo; and &ldquo;b&ordm;&rdquo; (quoted above), except&lt;br /&gt;
the original text of a book of foreign origin in language or&lt;br /&gt;
languages other than English, the text of all copies&lt;br /&gt;
accorded protection under this Act shall be printed from&lt;br /&gt;
type set within the limits of the United States or from&lt;br /&gt;
plates made within the limits of the United States from&lt;br /&gt;
type set therein,&rdquo; etc.&lt;br /&gt;
Books of foreign origin in a foreign language&lt;br /&gt;
would seem, therefore, to be exempt from the&lt;br /&gt;
type-setting clause, and English books&mdash;that is,&lt;br /&gt;
books in the English language published abroad&mdash;&lt;br /&gt;
can obtain an interim protection by filing one&lt;br /&gt;
complete copy of the foreign edition not later than&lt;br /&gt;
thirty days after its publication abroad, which&lt;br /&gt;
shall secure to the author or proprietor an ad&lt;br /&gt;
*nterim copyright until the expiration of thirty&lt;br /&gt;
days after such deposit. Certain formalities have&lt;br /&gt;
to be observed in connection with this registration ;&lt;br /&gt;
but if it is carried out in accordance with the Act,&lt;br /&gt;
and within this interim protection, the book is&lt;br /&gt;
published from type set in the United States, as is&lt;br /&gt;
essential under the former section, then the United&lt;br /&gt;
States copyright can be obtained. This gives a&lt;br /&gt;
slight advantage to English books, but the advan-&lt;br /&gt;
tage is so slight that in the majority of cases&mdash;in&lt;br /&gt;
the case of those books of sound literary value&lt;br /&gt;
which do not attain popularity till some years&lt;br /&gt;
after their publication&mdash;this short allowance is&lt;br /&gt;
useless. Moreover, there is an additional hard-&lt;br /&gt;
ship which will not only affect English but also&lt;br /&gt;
United States authors&mdash;namely, that every regis-&lt;br /&gt;
tration for copyright must be accompanied by an&lt;br /&gt;
affidavit duly made by the person claiming the&lt;br /&gt;
copyright, or his duly authorised agent or repre-&lt;br /&gt;
sentative in the United States, or by the printer&lt;br /&gt;
who has printed the book, which must set out&lt;br /&gt;
certain details as to the printing or process of&lt;br /&gt;
reproduction in the United States. It is also&lt;br /&gt;
essential that an assignment of copyright executed&lt;br /&gt;
in a foreign country must be acknowledged before&lt;br /&gt;
a consular officer or a secretary of legation of the&lt;br /&gt;
United States. This latter provision is another&lt;br /&gt;
handicap ; but ought to make it clear that no&lt;br /&gt;
English author who desires his book to be pro-&lt;br /&gt;
duced in the United States should assign his&lt;br /&gt;
copyright.&lt;br /&gt;
Dramatic and musical compositions must be&lt;br /&gt;
registered in order that they may obtain the&lt;br /&gt;
statutory performing rights, but it is not necessary&lt;br /&gt;
that the copies registered should be from type set&lt;br /&gt;
in the United States, unless subsequently the&lt;br /&gt;
dramatic and musical compositions are produced&lt;br /&gt;
for sale as books or otherwise. Then the type-&lt;br /&gt;
setting clause takes effect.&lt;br /&gt;
There have been in all the countries of the worl&lt;br /&gt;
considerable difference and discussion in the&lt;br /&gt;
Courts respecting the reproduction of dramatic&lt;br /&gt;
and musical property by mechanical instruments.&lt;br /&gt;
In regard to musical reproduction the Act runs&lt;br /&gt;
as follows :- |&lt;br /&gt;
&ldquo;Whenever the owner of musical copyright has used or per-&lt;br /&gt;
mitted or knowingly acquiesced in the use of the copyright&lt;br /&gt;
work upon the parts of instruments serving to reproduce&lt;br /&gt;
mechanical musical work,&rdquo; i&lt;br /&gt;
Any other person can make a similar use of it upon&lt;br /&gt;
payment to the copyright owner of a fixed royalty.&lt;br /&gt;
There are certain safeguards by which the author&lt;br /&gt;
of the copyright work is supposed to be able to&lt;br /&gt;
obtain knowledge of the reproducer and payment&lt;br /&gt;
of the royalties, but these seem to be hardly&lt;br /&gt;
adequate, and the United States citizen will suffer&lt;br /&gt;
from the same difficulty as that from which the&lt;br /&gt;
English composer suffered until the recent Musical&lt;br /&gt;
Copyright Act. -&lt;br /&gt;
The Act contains the usual protection against&lt;br /&gt;
importation. In the case of an omission by acci-&lt;br /&gt;
dent or mistake of the notice of copyright, which&lt;br /&gt;
has to be published on every copy, provision is&lt;br /&gt;
made that such omission shall not invalidate the&lt;br /&gt;
copyright. This, again, marks a considerable&lt;br /&gt;
advance. Provision has been made to protect the&lt;br /&gt;
innocent infringer. f&lt;br /&gt;
There are also certain clauses relating to the&lt;br /&gt;
penalties and remedies in cases of infringement.&lt;br /&gt;
These are, no doubt, very strong, and it is a good&lt;br /&gt;
thing that they should be so, for in a large country&lt;br /&gt;
like the United States it is sometimes very difficult&lt;br /&gt;
to get hold of those who break the law, especially&lt;br /&gt;
in the case of infringement of dramatic rights.&lt;br /&gt;
Lastly, attention should be drawn to the question&lt;br /&gt;
of the duration of copyright. Under the new law&lt;br /&gt;
!&lt;br /&gt;
H&lt;br /&gt;
f&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 209 (#265) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
209&lt;br /&gt;
copyright is secured for twenty-eight years from&lt;br /&gt;
the date of first publication, with a further term&lt;br /&gt;
of twenty-eight years upon application, which has&lt;br /&gt;
to be made in the manner prescribed by the Act.&lt;br /&gt;
This is an important increase on the present law&lt;br /&gt;
of the United States ; but it is very unsatisfactory&lt;br /&gt;
and very short-sighted for the United States in&lt;br /&gt;
this matter, as in other matters, to omit to come&lt;br /&gt;
into uniformity with the Berlin Convention and&lt;br /&gt;
the methods of European countries. In nearly all&lt;br /&gt;
European countries the term is for life and a&lt;br /&gt;
certain period. The Berlin Convention has set&lt;br /&gt;
down life and fifty years, and it was understood&lt;br /&gt;
that the United States in their alteration of the&lt;br /&gt;
Copyright law would also strive for a similar&lt;br /&gt;
period. That they have made an extension of the&lt;br /&gt;
copyright term is satisfactory, but we must deplore&lt;br /&gt;
their methods.&lt;br /&gt;
These appear to be the main points in this&lt;br /&gt;
mportant Act, but we would refer members of&lt;br /&gt;
the society to the Act itself, which is circulated&lt;br /&gt;
as a supplement with this issue of The Author.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PLAYRIGHT AND PUBLIC PERFORMANCE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
FROHMAN v. FERRIS.&lt;br /&gt;
HE decision of the Supreme Court in the&lt;br /&gt;
United States, reversing the judgment of&lt;br /&gt;
the Appellate Court of Illinois in this case,&lt;br /&gt;
is not &ordm;nly a matter of interest and significance to&lt;br /&gt;
dramatc authors and managers generally, but it is&lt;br /&gt;
One of special importance to the Authors&amp;#039; Society&lt;br /&gt;
at the present time.&lt;br /&gt;
The pidgment deals with the question of the&lt;br /&gt;
effect of public performance of a play and as to&lt;br /&gt;
what contitutes publication, a subject upon which&lt;br /&gt;
the law (f England differs from the law of the&lt;br /&gt;
United States and of all the countries of the Union&lt;br /&gt;
constituted by the Berne Convention. This latter&lt;br /&gt;
discrepancy forms one of the most important altera-&lt;br /&gt;
tions suggested by the Berlin Conference which&lt;br /&gt;
will come under the consideration of the committee&lt;br /&gt;
recently appinted by the Board of Trade.&lt;br /&gt;
The judgment also contains a definite pronounce-&lt;br /&gt;
ment upon the futility of purporting to copyright&lt;br /&gt;
a manuscriptolay in the United States by registra-&lt;br /&gt;
tion and deposit of copies, unless the work is&lt;br /&gt;
printed and published.&lt;br /&gt;
The facts in the case were not disputed. Mr.&lt;br /&gt;
Charles Frohman, the plaintiff, brought an action&lt;br /&gt;
in the United States in respect of the infringement&lt;br /&gt;
of his performng right in a play entitled &ldquo;The&lt;br /&gt;
Fatal Card,&rdquo; which was first produced at the&lt;br /&gt;
Adelphi Theatri, London, in 1894. The performing&lt;br /&gt;
rights in the United States and Canada were&lt;br /&gt;
claiming the statutory performing right.&lt;br /&gt;
assigned to the plaintiff, who produced the play in&lt;br /&gt;
many cities of those countries with considerable&lt;br /&gt;
success. The defendant produced a play, sub-&lt;br /&gt;
stantially identical with &ldquo;The Fatal Carl,&rdquo; and&lt;br /&gt;
bearing the same name, which he formally copy-&lt;br /&gt;
righted in the United States, and he continued to&lt;br /&gt;
perform the piece, until the plaintiff instituted&lt;br /&gt;
proceedings for infringement in the Circuit Court&lt;br /&gt;
and obtained an injunction.&lt;br /&gt;
The play was not printed, and as there had been&lt;br /&gt;
no simultaneous publication, enabling the plaintiff&lt;br /&gt;
to copyright the work under the provisions of the&lt;br /&gt;
American statutes, the plaintiff was precluded from&lt;br /&gt;
It was&lt;br /&gt;
Contended, therefore, on behalf of the defendant,&lt;br /&gt;
that as the public performance of a play, according&lt;br /&gt;
to English law, amounts to publication, the&lt;br /&gt;
common law right, which precedes publication,&lt;br /&gt;
had ceased, and that the only protection available&lt;br /&gt;
to the plaintiff would be such as is provided by&lt;br /&gt;
the copyright statutes.&lt;br /&gt;
On the other hand, it was submitted on behalf&lt;br /&gt;
of the plaintiff, that as the public performance of&lt;br /&gt;
a play is not publication according to the law of&lt;br /&gt;
the United States, and the play had not been pub-&lt;br /&gt;
lished in printed form, the provisions of the&lt;br /&gt;
American copyright statutes were inapplicable to&lt;br /&gt;
the case, and the plaintiff was entitled to rely on&lt;br /&gt;
the proprietary right which belongs at common&lt;br /&gt;
law to every author or his assignee in respect of an&lt;br /&gt;
unpublished work.&lt;br /&gt;
At the trial before the Appellate Court of&lt;br /&gt;
Illinois, the judge decided in favour of the&lt;br /&gt;
defendant, upon the ground that the common law&lt;br /&gt;
right was lost by the public performance of the&lt;br /&gt;
play in England ; and that as no statutory right&lt;br /&gt;
had been acquired by simultaneous publication&lt;br /&gt;
and registration in America, neither the author&lt;br /&gt;
nor the plaintiff had any right in the play in the&lt;br /&gt;
United States subsequent to the publication of the&lt;br /&gt;
work in London.&lt;br /&gt;
Against this decision the plaintiff appealed.&lt;br /&gt;
The judgment of the Supreme Court, delivered&lt;br /&gt;
by Mr. Justice Farmer, contains such an exact&lt;br /&gt;
statement of the English and American law with&lt;br /&gt;
regard to playright that it may be useful to quote&lt;br /&gt;
certain passages in eatenso. After referring to an&lt;br /&gt;
author&amp;#039;s proprietary right at common law in all&lt;br /&gt;
unpublished works, which is recognised in the&lt;br /&gt;
United States and in England, the judgment&lt;br /&gt;
refers to the copyright statutes of both countries,&lt;br /&gt;
the formalities for copyrighting printed works in&lt;br /&gt;
America, and the Chace Act in 1891, followed by&lt;br /&gt;
the President&amp;#039;s proclamation, giving to British&lt;br /&gt;
subjects the benefits of statutory copyright in&lt;br /&gt;
America upon the same basis as citizens of the&lt;br /&gt;
United States. The judgment proceeds as follows:&mdash;&lt;br /&gt;
&ldquo;Even after the taking effect of the Act of 1891,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 210 (#266) ############################################&lt;br /&gt;
&lt;br /&gt;
210&lt;br /&gt;
TRIES A DITISIOR.&lt;br /&gt;
an English author could not, after publication of&lt;br /&gt;
his production in England, Secure a copyright, in&lt;br /&gt;
this country, but in order to avail himself of that&lt;br /&gt;
privilege it became necessary that, simultaneously&lt;br /&gt;
with its publication and securing a copyright in&lt;br /&gt;
England, he should also comply with the copyright&lt;br /&gt;
statutes in this country. A publication of his&lt;br /&gt;
production, without such compliance with our&lt;br /&gt;
statutes, prevented him from afterwards securing&lt;br /&gt;
the benefits of our copyright statutes, and rendered&lt;br /&gt;
the publication public property in this country.&lt;br /&gt;
There is no provision in our statute for securing&lt;br /&gt;
to the author of a drama the exclusive right to&lt;br /&gt;
perform it, except where the drama is printed in a&lt;br /&gt;
book, but the common law rights apply in such&lt;br /&gt;
cases, and the author does not lose his rights in&lt;br /&gt;
the production by public representation.&rdquo;&lt;br /&gt;
Reference is then made to the provisions of the&lt;br /&gt;
English copyright statutes in detail, with the&lt;br /&gt;
following comments:&mdash;&ldquo;The effect of these statutes&lt;br /&gt;
was to substitute, after the first publication, for&lt;br /&gt;
the common law right of the author the statutory&lt;br /&gt;
right to represent or perform his production for&lt;br /&gt;
the period limited by the statute. The public&lt;br /&gt;
performance of the play in England had the effect&lt;br /&gt;
of divesting the authors of their common law rights&lt;br /&gt;
and investing them with the right conferred by&lt;br /&gt;
the statutes. The Act of 5 &amp;amp; 6 Wict. c. 45, pro-&lt;br /&gt;
vides &ldquo;that the first public representation or&lt;br /&gt;
performance of any dramatic piece or musical&lt;br /&gt;
composition shall be deemed equivalent, in the&lt;br /&gt;
construction of this Act, to the first publication&lt;br /&gt;
of any book.&rdquo; Before the adoption of the said&lt;br /&gt;
Act the public performance of a dramatic piece&lt;br /&gt;
was not equivalent to the publication of a book,&lt;br /&gt;
and as we have said, the common law rights of&lt;br /&gt;
the author were unaffected thereby. When the&lt;br /&gt;
statutory conditions were complied with, the rights&lt;br /&gt;
conferred thereby attached, and the common law&lt;br /&gt;
rights ceased. . . .&rdquo; &ldquo;It is not disputed that a per-&lt;br /&gt;
formance of &lsquo;The Fatal Card&rsquo; in England was by&lt;br /&gt;
the English statute a publication, and that in that&lt;br /&gt;
country the author&amp;#039;s common law rights thereupon&lt;br /&gt;
ceased. The defendant contends that when the&lt;br /&gt;
authors of this drama surrender their common law&lt;br /&gt;
rights in England for the rights conferred by the&lt;br /&gt;
statutes they ceased to have any common law&lt;br /&gt;
rights in the production, in England or elsewhere.&lt;br /&gt;
The plaintiff contends that, as under our laws the&lt;br /&gt;
performance of the manuscript drama is not a pub:&lt;br /&gt;
iication of it, and does not deprive the author of&lt;br /&gt;
his common law rights, and as our statute provides&lt;br /&gt;
no means for copyrighting a drama unless it is&lt;br /&gt;
printed and published in a book, our Courts, in&lt;br /&gt;
deciding what is such a publication as to divest&lt;br /&gt;
the author of his common law rights, are not to be&lt;br /&gt;
governed by what the English statute declares shall&lt;br /&gt;
constitute a publication thereof. . . .&rdquo; &ldquo;In the&lt;br /&gt;
absence of the provision of the English Act referred&lt;br /&gt;
to, that the first public representation or perform-&lt;br /&gt;
ance of a dramatic piece shall be deemed equivalent,&lt;br /&gt;
in the construction of that Act, to the first publica-&lt;br /&gt;
tion of a book, it could not be claimed that the&lt;br /&gt;
performance of &lsquo;The Fatal Card&rdquo; in England was&lt;br /&gt;
a publication, any more than would its performance&lt;br /&gt;
in this country, while it remained unprinted, be&lt;br /&gt;
deemed a publication. The object of copyright&lt;br /&gt;
statutes is to protect the authors&rsquo; rights to their&lt;br /&gt;
own productions. There is no international copy-&lt;br /&gt;
right law or agreement between this country and&lt;br /&gt;
England providing for the copyrighting of manu-&lt;br /&gt;
script dramas, and as we have seen, &lsquo;The Fatal&lt;br /&gt;
Card&amp;#039; could not have been copyrighted in this country&lt;br /&gt;
without printing.&rdquo;&lt;br /&gt;
The use of the word &ldquo;playright&rdquo; is explained&lt;br /&gt;
and recommended in the judgment.&lt;br /&gt;
&ldquo;The property in a dramatic composition is of &ordm;&lt;br /&gt;
called &lsquo;dramatic copyright.&amp;#039; But this expressio&lt;br /&gt;
is faulty and inaccurate. If it refers to the&lt;br /&gt;
exclusive right of printing a drama it would je&lt;br /&gt;
equivalent to the name poetic copyright, pr&ordm;se&lt;br /&gt;
copyright, or historical copyright, as applied to&lt;br /&gt;
works in poetry, prose, or history. If its use is&lt;br /&gt;
restricted to the right of representing a dram; it&lt;br /&gt;
is not accurate, because this is not a right to&lt;br /&gt;
multiply copies in the proper meaning of &ordm;&lt;br /&gt;
expression, and cannot, therefore, strictly be gilled&lt;br /&gt;
copyright. If it is intended as a name for both&lt;br /&gt;
rights together, it can serve only to increaſe the&lt;br /&gt;
confusion which should be wholly removed! The&lt;br /&gt;
sole liberty of publicly performing a dāmatic&lt;br /&gt;
composition might more properly be | called&lt;br /&gt;
&lsquo;dramatic right&amp;#039; or &lsquo;acting right.&rdquo; The exſpession&lt;br /&gt;
&lsquo;stageright,&rsquo; coined by Charles Reade, is not&lt;br /&gt;
uncommon, but there are objections to this word&lt;br /&gt;
with respect both to its formation and thſ purpose&lt;br /&gt;
which it is required to serve. I have adopted&lt;br /&gt;
&lsquo;playright&rsquo; as being, in my judgment, the best&lt;br /&gt;
name for the purpose. It is a &ordm;&lt;br /&gt;
word, and its formation is analogous ſo that of&lt;br /&gt;
copyright. As the latter word literally means the&lt;br /&gt;
right to copy a work or the right to he copy, so&lt;br /&gt;
playright means the right to play a dama or the&lt;br /&gt;
right to the play ; and it may properly be used to&lt;br /&gt;
mean not only the right of # a play, but&lt;br /&gt;
also the right of performing a musical mposition.&rdquo;&lt;br /&gt;
The American cases, in which &ordm; perform-&lt;br /&gt;
ance of a play is not regarded as pſblication, are&lt;br /&gt;
cited: Crowe v. Aiken (1870), 2 Biss, 108; Tompkins&lt;br /&gt;
v. Halleck (1882), 133 Mass, 32; K&ordm;ney. Kimball&lt;br /&gt;
(1860), 16 Gray, 549 ; Palmer v. Ile Witt (1872),&lt;br /&gt;
47 N. Y. 532 ; and the English c&ordm;ses, Boucicault&lt;br /&gt;
v. Delafield (1863), 1 H. and M. 57; and Bouci-&lt;br /&gt;
cault v. Chatterton (1876), 5 Ch. D.267, where the&lt;br /&gt;
English Courts held that public prformance was&lt;br /&gt;
publication. k&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 211 (#267) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A. UTISIO Pv.&lt;br /&gt;
211&lt;br /&gt;
After the citation of the English cases the&lt;br /&gt;
judgment continues:&ndash;&ldquo;These cases were decided&lt;br /&gt;
subsequent to 5 &amp;amp; 6 Wict. c. 45, and 7 &amp;amp; 8&lt;br /&gt;
Vict. c. 12. Section 19 of the latter Act pro-&lt;br /&gt;
vided that the author of a dramatic piece which&lt;br /&gt;
should be first published out of Her Majesty&rsquo;s&lt;br /&gt;
dominions should have no copyright therein, nor&lt;br /&gt;
any exclusive right to the public representation&lt;br /&gt;
or performance thereof. In both the cases re-&lt;br /&gt;
ferred to Boucicault was the author of dramas&lt;br /&gt;
that had been first performed in this country,&lt;br /&gt;
and sought to prevent their production in England&lt;br /&gt;
by persons acting them without his consent or&lt;br /&gt;
authority. He was denied the relief asked, on&lt;br /&gt;
the ground that the public representation of the&lt;br /&gt;
drama in this country was a publication of them,&lt;br /&gt;
and by section 19 of 7 &amp;amp; 8 Vict. c. 12, he was not&lt;br /&gt;
entitled to the protection of the British statutes,&lt;br /&gt;
and it was said that this was true whether the&lt;br /&gt;
author of the play was a British subject or an alien.&lt;br /&gt;
It would follow, therefore, that if &lsquo;The Fatal&lt;br /&gt;
Card&rdquo; had been first performed in this country,&lt;br /&gt;
the English Courts would have treated it as a&lt;br /&gt;
dedication to the public, and as having the effect&lt;br /&gt;
of divesting the author of any rights whatever&lt;br /&gt;
under the laws of England to its exclusive&lt;br /&gt;
production.&rdquo;&lt;br /&gt;
&ldquo;As the English decisions appear to be based&lt;br /&gt;
upon provisions of the statute referred to, and&lt;br /&gt;
there is no such statute in this country, we are of&lt;br /&gt;
opinion that they are not decisive of the question&lt;br /&gt;
here involved, and this view is sustained, we think,&lt;br /&gt;
by the American cases above cited. The view of&lt;br /&gt;
the Appellate Court was that in Crowe v. Aiken the&lt;br /&gt;
learned Chancellor did not have in mind the con-&lt;br /&gt;
struction of the English statute adopted by the&lt;br /&gt;
Courts in the action we have cited. Crowe v. Aiken&lt;br /&gt;
was decided in 1870, and Boucicault v. Chatterton&lt;br /&gt;
was not decided until 1876; but Boucicault v.&lt;br /&gt;
Delafield was decided in 1863, and Judge Drummond&lt;br /&gt;
said in Crowe v. Aiken : &amp;quot; I understand that it has&lt;br /&gt;
been decided in England that the public perform-&lt;br /&gt;
ance, even in a foreign country, of the play of&lt;br /&gt;
which an English subject is the author, defeats his&lt;br /&gt;
claim to the copyright under the British statutes.&rdquo;&lt;br /&gt;
From this expression it would seem clear that the&lt;br /&gt;
author of the opinion was familiar with the&lt;br /&gt;
doctrine announced in the Delafield case, so that&lt;br /&gt;
the opinion in that respect could not have been&lt;br /&gt;
based upon any misapprehension. To our minds&lt;br /&gt;
it is squarely in point, and its reasoning is sound.&lt;br /&gt;
Besides, it is in harmony with sound principles of&lt;br /&gt;
justice, and we are disposed to follow it rather than&lt;br /&gt;
adopt the rule that we are bound by the decisions&lt;br /&gt;
of the English Courts made under their statute.&rdquo;&lt;br /&gt;
&ldquo;The judgment of the Appellate Court will&lt;br /&gt;
therefore be reversed, and the decree of the Circuit&lt;br /&gt;
Court affirmed.&rdquo;&lt;br /&gt;
It is necessary to point out that the plaintiff in&lt;br /&gt;
this case is a citizen of the United States, and is&lt;br /&gt;
therefore entitled to the rights conferred at common&lt;br /&gt;
law upon American subjects. But it does not.&lt;br /&gt;
follow from the judgment that the common law&lt;br /&gt;
rights in the United States are available for British&lt;br /&gt;
authors, in the absence of assignment to a citizen&lt;br /&gt;
Or subject of the United States. The President&amp;#039;s&lt;br /&gt;
proclamation of 1891 confers upon British subjects&lt;br /&gt;
the benefit of copyright on substantially the same&lt;br /&gt;
basis as the American statutes allow the same to&lt;br /&gt;
citizens of the United States, but the &ldquo;benefit of&lt;br /&gt;
Copyright&amp;quot; referred to must be distinguished from&lt;br /&gt;
the common law proprietary right in unpublished&lt;br /&gt;
Works. The judgment points out that a play&lt;br /&gt;
Cannot be copyrighted in the United States without&lt;br /&gt;
printing, and therefore a British author may well&lt;br /&gt;
Consider the advisability of either assigning his&lt;br /&gt;
American playright to a citizen of the United&lt;br /&gt;
States in order to secure the common law right in:&lt;br /&gt;
an unpublished work, or printing and publishing.&lt;br /&gt;
and duly copyrighting the work in that country,&lt;br /&gt;
in order to secure the statutory protection.&lt;br /&gt;
The decision of the Supreme Court has come at&lt;br /&gt;
an Opportune moment. Mr. Frohman&rsquo;s commend-&lt;br /&gt;
able persistency, and the successful issue of his&lt;br /&gt;
appeal, have enabled the Authors&amp;#039; Society to put&lt;br /&gt;
forward the claim of a member, which, according&lt;br /&gt;
to the opinion of an American lawyer whose advice&lt;br /&gt;
Was taken by the society, was regarded as hopeless&lt;br /&gt;
in consequence of the judgment of the Appellate&lt;br /&gt;
Court. .&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
* * &mdash;&ordm;- &agrave;&lt;br /&gt;
w&mdash;v-w&lt;br /&gt;
PRINTED PLAYS AND MANUFACTURING&lt;br /&gt;
CLAUSE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HERVIEU v. THE J. S. OGILVIE PUBLISHING CO.&lt;br /&gt;
N this case the judge of the Circuit Court of&lt;br /&gt;
the United States has held that the proviso&lt;br /&gt;
in the American Act&mdash;commonly known as&lt;br /&gt;
the &ldquo;manufacturing clause,&rdquo;&mdash;which requires&lt;br /&gt;
that the two copies of a book deposited with the&lt;br /&gt;
Librarian of Congress for copyright registration&lt;br /&gt;
shall be printed from type set up in the United&lt;br /&gt;
States, does not apply to plays even when they&lt;br /&gt;
are published in printed form.&lt;br /&gt;
The decision is important in connection with&lt;br /&gt;
the above reported judgment in Frohman v.&lt;br /&gt;
Ferris, where the Court pointed out that according&lt;br /&gt;
to American law the author of a play cannot&lt;br /&gt;
obtain statutory copyright protection in the United&lt;br /&gt;
States unless the work is printed and published.&lt;br /&gt;
The facts of the case may be briefly stated.&lt;br /&gt;
In 1903 M. Paul Hervieu, the French dramatist,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 212 (#268) ############################################&lt;br /&gt;
&lt;br /&gt;
212&lt;br /&gt;
TFIE A DITFIOR.&lt;br /&gt;
published his play, entitled &ldquo;Le Dedale,&rdquo; in a&lt;br /&gt;
Parisian periodical, and deposited two copies of&lt;br /&gt;
the work, printed in France, with the Librarian&lt;br /&gt;
of Congress for copyright registration.&lt;br /&gt;
years afterwards a play was registered in England&lt;br /&gt;
at Stationers&amp;#039; Hall by the defendant company,&lt;br /&gt;
under the title of &ldquo;The Labyrinth ; or, a Case&lt;br /&gt;
for Divorce,&rdquo; which the plaintiff alleged to be&lt;br /&gt;
based upon his drama, and he brought an action&lt;br /&gt;
for infringement of his statutory copyright.&lt;br /&gt;
The defendant company contended that the&lt;br /&gt;
plaintiff had no statutory copyright in the United&lt;br /&gt;
States because he had published the play in book&lt;br /&gt;
form and had not complied with the statutory&lt;br /&gt;
proviso in respect of books.&lt;br /&gt;
It was urged on behalf of the plaintiff that the&lt;br /&gt;
proviso relating to &ldquo;books&rsquo; contains no mention&lt;br /&gt;
of &ldquo;dramatic compositions,&rdquo; which are, however,&lt;br /&gt;
specifically mentioned in conjunction with books in&lt;br /&gt;
other parts of the Act ; and that the Omission was&lt;br /&gt;
clearly intended to exclude musical and dramatic&lt;br /&gt;
compositions even when published in printed form,&lt;br /&gt;
from the requirements of the &ldquo;manufacturing&lt;br /&gt;
clause.&rdquo;&lt;br /&gt;
The judge referred to the section of the Act&lt;br /&gt;
which prescribes the conditions for obtaining&lt;br /&gt;
copyright protection in the United States, and he&lt;br /&gt;
pointed out that express mention is made of a&lt;br /&gt;
&ldquo;book, map, chart, dramatic or musical composition,&lt;br /&gt;
engraving, cut, print, photograph or chromo,&lt;br /&gt;
painting, drawing, statue, and statuary *; whereas&lt;br /&gt;
the proviso is as follows:&mdash;&lt;br /&gt;
&ldquo;Provided that in the case of a book, photo-&lt;br /&gt;
graph, chromo or lithograph, the two copies of&lt;br /&gt;
the same to be deposited shall be printed from&lt;br /&gt;
type set within the limits of the United&lt;br /&gt;
States, or from plates made therefrom, or from&lt;br /&gt;
negatives or drawings on stone made within&lt;br /&gt;
the limits of the United States, or made from&lt;br /&gt;
transfers therefrom.&rdquo;&lt;br /&gt;
The judgment then proceeds&mdash;&ldquo;From the fore-&lt;br /&gt;
going language, it is apparent to me that Congress&lt;br /&gt;
did not intend to include &lsquo;dramatic or musical&lt;br /&gt;
compositions&rsquo; as a &ldquo;book.&rsquo; The proviso leaves out&lt;br /&gt;
map, chart, dramatic or musical compositions,&lt;br /&gt;
engraving, cut, print, painting, drawing, statue,&lt;br /&gt;
statuary or model design for a work of fine art.&lt;br /&gt;
All these seem to have been purposely onlitted&lt;br /&gt;
from the list of those articles for which the type&lt;br /&gt;
must be set or plates and drawings made in the&lt;br /&gt;
United States. . . . The question here presented&lt;br /&gt;
is not whether a dramatic composition can ever be&lt;br /&gt;
regarded as a &ldquo;book,&rdquo; but whether Congress&lt;br /&gt;
intended, by the Act, to include dramatic com-&lt;br /&gt;
positions within the terms of the proviso.&rdquo;&lt;br /&gt;
The judge held that the plaintiff&rsquo;s claim was&lt;br /&gt;
valid and that he was entitled to full copyright&lt;br /&gt;
protection.&lt;br /&gt;
2&lt;br /&gt;
Some two&lt;br /&gt;
In an earlier case, Littleton v. Oliver Diison Co.,&lt;br /&gt;
which related to a musical composition, the Court&lt;br /&gt;
took the same view, and incidentally dramatic&lt;br /&gt;
compositions were referred to as being outside the&lt;br /&gt;
requirements of the proviso relating to books.&lt;br /&gt;
It is now clearly established, therefore, that, in&lt;br /&gt;
order to secure statutory copyright protection in&lt;br /&gt;
the United States in respect of a play or musical&lt;br /&gt;
composition, the work must be published in printed&lt;br /&gt;
form, because performance in public is not publica-&lt;br /&gt;
tion ; but it is not necessary that the work should&lt;br /&gt;
be printed from type set, or plates made, in the&lt;br /&gt;
United States.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
* ~~ *&lt;br /&gt;
~~ v&ordm;y&lt;br /&gt;
w&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
BLACKWOOD&rsquo;S.&lt;br /&gt;
The Literary Side of the Law Reports.&lt;br /&gt;
The Seaman. By David Hannay.&lt;br /&gt;
Lady Louisa Stuart. By Florence MacCunn.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
The Bookman Gallery : Mr. John Masefield.&lt;br /&gt;
Samuel Pepys. By Henry B. Wheatley.&lt;br /&gt;
The Carlyle Love Letters. By W. Robertson Nicoll,&lt;br /&gt;
LL.D.&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
Hugo&amp;#039;s Guernsey. By Edythe R. Paen.&lt;br /&gt;
Epistles of Ruskin.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
An Early Christian Hymn Book.&lt;br /&gt;
Harris.&lt;br /&gt;
Milton&amp;#039;s God and Milton&amp;#039;s Satan. By Dr. Forsyth, D.D.&lt;br /&gt;
Wind : A Poem. By Geoffrey Winthrop Young.&lt;br /&gt;
By Dr. J. Rendel&lt;br /&gt;
CORNHILL .&lt;br /&gt;
Edward Fitzgerald at Woodbridge.&lt;br /&gt;
Benson.&lt;br /&gt;
Did Browning Whistle or Sing? By F. M. Padelford,&lt;br /&gt;
A Martyr for Style. By W. P. James.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The History and Legend of Antony and Cleopatra. By&lt;br /&gt;
Guglielmo Ferrero. g&lt;br /&gt;
Edward Fitzgerald. By Francis Gribble.&lt;br /&gt;
The History of a Day. By Herbert Trench.&lt;br /&gt;
Are Journalism and Literature Incompatible 7 By J. St.&lt;br /&gt;
Loe Strachey.&lt;br /&gt;
The Irish Dialect of English. By Mary Hayden and&lt;br /&gt;
Professor Marcus Hartog.&lt;br /&gt;
MONTH.&lt;br /&gt;
The Dream of Gerontius and the Philosophy of St. Thomas.&lt;br /&gt;
By the Rev. F. A. Newsome.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Percy and Goldsmith. By Austin Dobson.&lt;br /&gt;
By Arthur C.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
The Defamers of Shakespeare. By Sir Edward Sullivan,&lt;br /&gt;
Bart.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 213 (#269) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR.&lt;br /&gt;
213&lt;br /&gt;
How To USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;- -&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society. -&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society. -&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS To THE PRODUCERs&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property:-&lt;br /&gt;
I. Selling it Outright. -&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement). -&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
&sect; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
i. well bind yourself for the future to any one solicitor or&lt;br /&gt;
Octor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
II]{22,I\S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
WIARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manageT.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 214 (#270) ############################################&lt;br /&gt;
&lt;br /&gt;
214.&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
grOSS receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;6-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
-&ordm;-&ordm;-e&mdash;&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
Composer a transfer of fuller rights and less liberal finan.&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. , The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into :&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Soci&eacute;ty&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
* &agrave;&lt;br /&gt;
w w&lt;br /&gt;
&mdash;A-&lt;br /&gt;
~-&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&ndash;0-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
* &mdash;&ordm;- *&lt;br /&gt;
w&mdash;w-w&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
58. 6d. Subscription for the year. -&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 215 (#271) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A CITFIOR.&lt;br /&gt;
215&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
PUBLISHERS&rsquo; AND AUTHORS&amp;#039; LETTERS.&lt;br /&gt;
WHAT right has a publisher over letters addressed&lt;br /&gt;
to his office for an author for whom he publishes 2&lt;br /&gt;
The question has come to the front again. Some&lt;br /&gt;
years ago we wrote to the leading publishers,&lt;br /&gt;
obtained their opinions, and printed a statement&lt;br /&gt;
in The Author. Naturally, as one would expect&lt;br /&gt;
from business men and gentlemen, the publishers&lt;br /&gt;
answered that they forwarded the letters unopened.&lt;br /&gt;
This would appear to be the self-evident course to&lt;br /&gt;
pursue. It is conceivable that some publishers,&lt;br /&gt;
objecting to being forwarding agents, might return&lt;br /&gt;
the letters to the postman, but it is inconceivable&lt;br /&gt;
that any publishers should claim a right to open&lt;br /&gt;
and read the letters. Yet this is what one publisher&lt;br /&gt;
does and claims the right to do.&lt;br /&gt;
It is difficult to know how to stop this, for often&lt;br /&gt;
the author is unaware of what takes place, but it is&lt;br /&gt;
as well to call authors&amp;#039; attention to the fact in case&lt;br /&gt;
they suspect that any letter has gone astray.&lt;br /&gt;
w&ordm;mma=s&ordm; &ordm;-s&ordm;-s&ordm;&lt;br /&gt;
THE INTERNATIONAL LITERARY AND ARTISTIC&lt;br /&gt;
- ASSOCIATION.&lt;br /&gt;
THE International Literary and Artistic Associ-&lt;br /&gt;
ation will hold their next Congress at Copenhagen,&lt;br /&gt;
from the 21st to the 26th of June, 1909. The&lt;br /&gt;
programme will consist of :-&lt;br /&gt;
1. An explanation of the results of the Berlin&lt;br /&gt;
Conference.&lt;br /&gt;
2. Annual review of copyright legislation.&lt;br /&gt;
3. The universal assimilation of the duration of&lt;br /&gt;
authors&rsquo; rights. -&lt;br /&gt;
4. Copyright in respect of phonographs and&lt;br /&gt;
cinematographs.&lt;br /&gt;
5. Protection of works of architecture.&lt;br /&gt;
6. Industrial application of artistic works, and&lt;br /&gt;
their national and international protection.&lt;br /&gt;
7. The author&amp;#039;s moral rights.&lt;br /&gt;
The meetings will take place at the Copenhagen&lt;br /&gt;
University,&lt;br /&gt;
Persons wishing to attend the Congress, or to&lt;br /&gt;
join the Association, should address themselves to&lt;br /&gt;
M. A. Taillefer, 215 bis, Boulevard Saint Germain,&lt;br /&gt;
Paris. -&lt;br /&gt;
*= &ordm;m&ordm;ms&lt;br /&gt;
A PUBLISHER&amp;#039;s CONTRACT.&lt;br /&gt;
THE following clause is not an uncommon clause&lt;br /&gt;
in a publisher&amp;#039;s agreement.&lt;br /&gt;
&ldquo;The author will not write or publish, or be concerned&lt;br /&gt;
either directly or indirectly in writing or publishing, any&lt;br /&gt;
other book on the same subject of such a kind, or published&lt;br /&gt;
the market.&lt;br /&gt;
*...Such a price, as may reasonably be regarded as likely to&lt;br /&gt;
affect injuriously the sale of the said work.&rdquo;&lt;br /&gt;
Once or twice comment has been made in these&lt;br /&gt;
columns on the unfairness of the clause. It is&lt;br /&gt;
unequitable that the author should bind himself to&lt;br /&gt;
these terms without obtaining from the publisher&lt;br /&gt;
a similar undertaking. Cases have occurred,&mdash;and&lt;br /&gt;
Will occur&mdash;where the publisher, desiring to get&lt;br /&gt;
Control of the market, and hearing of a work to be&lt;br /&gt;
produced by another author on the same subject as&lt;br /&gt;
the one which he (the publisher) has already in hand,&lt;br /&gt;
has offered to publish both. What is the result &aacute;&lt;br /&gt;
One of the two books is killed, and the other&lt;br /&gt;
perhaps has a prosperous career. In other words,&lt;br /&gt;
the Work of one of the two authors is precluded&lt;br /&gt;
from having a fair chance. But the one that is&lt;br /&gt;
killed is not killed so absolutely that the exclusive&lt;br /&gt;
right to print and publish granted to the publisher&lt;br /&gt;
is destroyed, and the author recovers possession of&lt;br /&gt;
his property.&lt;br /&gt;
If these two books had been in the hands of&lt;br /&gt;
different publishers there would, no doubt, have&lt;br /&gt;
been keen competition, and the best book would&lt;br /&gt;
have won in the end; but both would have&lt;br /&gt;
had an increased sale, owing to the desire&lt;br /&gt;
of each publisher to secure the command of&lt;br /&gt;
This latter position is the position&lt;br /&gt;
in which the author should be placed. His book&lt;br /&gt;
should have a free market, and should not be&lt;br /&gt;
arbitrarily withheld from the public. He should&lt;br /&gt;
meet With fair treatment. An author will be well&lt;br /&gt;
advised to refuse to sign any agreement containing&lt;br /&gt;
this clause unless the publisher is willing to be&lt;br /&gt;
bound reciprocally, or unless the book is such a&lt;br /&gt;
One that no other of the same kind can enter into&lt;br /&gt;
competition with it. Difficulties have arisen, and&lt;br /&gt;
are likely to arise, in the case of educational books,&lt;br /&gt;
of topographical books, of medical books, of his-&lt;br /&gt;
torical books dealing with certain periods or certain&lt;br /&gt;
biographies. The field is a large one, so writers&lt;br /&gt;
should keep their eyes open, and take warning.&lt;br /&gt;
PERFORMING RIGHTS IN THE UNITED STATES.&lt;br /&gt;
A CORRESPONDENT has been kind enough to&lt;br /&gt;
forward us a cutting from an American paper,&lt;br /&gt;
containing a judgment in a case which has just&lt;br /&gt;
been tried bearing on dramatic property. This&lt;br /&gt;
judgment confirms the view of the law which we&lt;br /&gt;
have for some time upheld&mdash;that to secure the per-&lt;br /&gt;
forming-rights of a dramatic piece in the United&lt;br /&gt;
States it is not essential that the copies filed at&lt;br /&gt;
Washington should be printed from type set up in&lt;br /&gt;
the United States. But by the law of the United&lt;br /&gt;
States as it stands under the Act that has just&lt;br /&gt;
been passed, sec. 11 does not demand apparently&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 216 (#272) ############################################&lt;br /&gt;
&lt;br /&gt;
216&lt;br /&gt;
TISIE A CITFIOR.&lt;br /&gt;
that the copy to be filed in order to secure the&lt;br /&gt;
performing rights should even be printed.&lt;br /&gt;
We call the especial attention of dramatic&lt;br /&gt;
authors to the two cases Frohman v. Ferris and&lt;br /&gt;
Herview v. The J. S. Ogilvie Publishing Company,&lt;br /&gt;
printed in this issue, and to the New United States&lt;br /&gt;
Copyright Act, under which future registration will&lt;br /&gt;
be made. Our correspondent assures us that many&lt;br /&gt;
dramatic authors were ignorant of the position.&lt;br /&gt;
There may have been some doubt as to the inter-&lt;br /&gt;
pretation of the former Act until this case was&lt;br /&gt;
decided, but there is no doubt whatever under the&lt;br /&gt;
clause of the present Act. This Act comes into&lt;br /&gt;
operation in July, 1909. -&lt;br /&gt;
AMERICAN METHODS.&lt;br /&gt;
WE have, in these columns and elsewhere,&lt;br /&gt;
frequently warned authors of the difficulties arising&lt;br /&gt;
from the lack of finality in their contracts with&lt;br /&gt;
editors, publishers and others commercially inter-&lt;br /&gt;
ested in the profession of letters. Fully half of the&lt;br /&gt;
cases which are chronicled in The Author and&lt;br /&gt;
in the Society&amp;#039;s Reports, would have been&lt;br /&gt;
avoided had the authors seen that their con-&lt;br /&gt;
tracts were, at least, as clear and firm as those&lt;br /&gt;
which obtain in other commercial circles. The&lt;br /&gt;
necessity for this business prudence is no more&lt;br /&gt;
evident than in the relations between editor and&lt;br /&gt;
contributor.&lt;br /&gt;
It is, therefore, with the greater pleasure that we&lt;br /&gt;
draw the attention of magazine writers to a label&lt;br /&gt;
which accompanied a M.S. submitted to us recently&lt;br /&gt;
by an American correspondent, and was attached&lt;br /&gt;
to the end of his MS., but could easily be&lt;br /&gt;
removed.&lt;br /&gt;
(If available mail this tag.)&lt;br /&gt;
The editor of accepts for publication the MS.&lt;br /&gt;
entitled &ldquo; &rdquo; at his regular rates.&lt;br /&gt;
- (An article of sale of MS. is that one copy be mailed on&lt;br /&gt;
publication, cost to be deducted from payment made.&lt;br /&gt;
Unless specifically provided the right to reproduce&lt;br /&gt;
photograhs is retained by the author.)&lt;br /&gt;
It is the idea to which we would particularly&lt;br /&gt;
draw attention as the wording of the label is not&lt;br /&gt;
all that could be desired.&lt;br /&gt;
So long as the writer is acquainted with the&lt;br /&gt;
regular rates of the paper to which he submits his&lt;br /&gt;
work the first paragraph of this will stand, but in&lt;br /&gt;
view of the fact that with many magazines there is&lt;br /&gt;
no regular rate of payment, it would be much&lt;br /&gt;
simpler for the author to mention a fixed sum per&lt;br /&gt;
thousand words for which he is willing to allow&lt;br /&gt;
the editor the use of his work. He should also&lt;br /&gt;
limit that use to one issue of the paper with which&lt;br /&gt;
he is dealing, and should not leave the matter&lt;br /&gt;
hopelessly indefinite&mdash;the rights he really intends&lt;br /&gt;
to sell. It is sometimes possible to sell second&lt;br /&gt;
serial rights in articles or stories, and though the&lt;br /&gt;
remuneration for these rights is not extravagant,&lt;br /&gt;
they are generally more valuable to the author&lt;br /&gt;
than to the editor, and should, therefore, be&lt;br /&gt;
retained.&lt;br /&gt;
*T*-* -&lt;br /&gt;
COPYRIGHT CASEs, 1909.&lt;br /&gt;
ANNUALLY, the Publishers&rsquo; Association com-&lt;br /&gt;
missions Mr. E. J. MacGillivray to collect the&lt;br /&gt;
copyright cases for the past year, and annually we&lt;br /&gt;
are indebted to the Publishers&rsquo; Association for a&lt;br /&gt;
copy of this exceedingly useful pamphlet. Indeed,&lt;br /&gt;
from the point of view of authors, dramatists,&lt;br /&gt;
composers, artists, and owners of copyright&lt;br /&gt;
property, it is difficult to imagine that anything&lt;br /&gt;
more serviceable could be published.&lt;br /&gt;
During the past year many important cases have&lt;br /&gt;
been settled : among them Humphreys v. Thomson,&lt;br /&gt;
which was conducted on behalf of the plaintiff by&lt;br /&gt;
the Society of Authors. But perhaps the cause&lt;br /&gt;
c&eacute;l&egrave;bre of the year was Murray v. Walter. Although&lt;br /&gt;
the case had little to do with the question of copy-&lt;br /&gt;
right, many interesting questions respecting the&lt;br /&gt;
cost of production of books and publishers&amp;#039; contracts&lt;br /&gt;
were involved.&lt;br /&gt;
There have been one or two cases touching&lt;br /&gt;
phonographic and cinematograph reproduction.&lt;br /&gt;
It is possible that, were the question of phono-&lt;br /&gt;
graphic reproduction taken to the House of Lords,&lt;br /&gt;
the present position of affairs would be reversed.&lt;br /&gt;
In regard to cinematograph reproduction the&lt;br /&gt;
Judge in one case stated that it was his opinion&lt;br /&gt;
that reproduction on a cinematograph was unlawful&lt;br /&gt;
representation, but rightly concluded that the&lt;br /&gt;
people who made the representation, not the&lt;br /&gt;
manufacturers, were liable. Perhaps the most&lt;br /&gt;
interesting case of all is the case of Nichols v.&lt;br /&gt;
Amalgamated Press&mdash;a report of which those&lt;br /&gt;
interested in copyright have had the oppor-&lt;br /&gt;
tunity of reading in the columns of The Author.&lt;br /&gt;
There was also a particularly interesting case&lt;br /&gt;
under the title of Re Clinical Obstetrics. It was&lt;br /&gt;
decided that when an author had granted to a&lt;br /&gt;
publisher the sole and exclusive right of publica-&lt;br /&gt;
tion, it did not necessarily follow that he had&lt;br /&gt;
transferred the copyright.&lt;br /&gt;
Mr. MacGillivray has dealt with the cases with&lt;br /&gt;
great care and judgment. His work is lucid,&lt;br /&gt;
without being too long drawn out. He seizes the&lt;br /&gt;
salient points and interprets them graphically.&lt;br /&gt;
The book is no doubt a work for lawyers, but&lt;br /&gt;
it may well be read by those who desire to have&lt;br /&gt;
Some knowledge of the value of the property they&lt;br /&gt;
produce. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 217 (#273) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
217&lt;br /&gt;
MARION CRAWFORD.&lt;br /&gt;
MARION CRAWFORD, who died at Sorrento, his&lt;br /&gt;
home in Italy, on April 9, was one of the first&lt;br /&gt;
members of the Society of Authors, as he joined&lt;br /&gt;
in 1884, the year of the society&amp;#039;s incorporation.&lt;br /&gt;
It is with feelings of sadness that we have to&lt;br /&gt;
chronicle, as time goes on, the passing of those who&lt;br /&gt;
supported, with nowavering, our founder, Sir Walter&lt;br /&gt;
Besant, in his early struggles for the cause of his&lt;br /&gt;
brother authors.&lt;br /&gt;
Marion Crawford was elected a member of the&lt;br /&gt;
council. Though, owing to the fact that he lived&lt;br /&gt;
abroad, he was not an active worker in the affairs&lt;br /&gt;
of the society, yet he gave the society that assist-&lt;br /&gt;
ance and sympathy which means so much in the&lt;br /&gt;
beginning. -&lt;br /&gt;
There is no need to give a list of the many&lt;br /&gt;
novels that came from his pen. He sprung into&lt;br /&gt;
fame with his first work, &ldquo;Mr. Isaacs,&rdquo; which was&lt;br /&gt;
published in 1882, and he gained in reputation&lt;br /&gt;
with &ldquo;Dr. Claudius&rdquo; and &ldquo;A Roman Singer,&rdquo;&lt;br /&gt;
published in 1883 and 1884, respectively. His&lt;br /&gt;
work was always up to a high literary standard.&lt;br /&gt;
Nothing that came from his pen was slovenly in&lt;br /&gt;
execution. He was a sound craftsman. Though&lt;br /&gt;
he produced many historical works as well as a&lt;br /&gt;
long list of novels he maintained a level of excel-&lt;br /&gt;
lence which, though it may not have carried him&lt;br /&gt;
among the immortals, yet assured him the respect&lt;br /&gt;
of a large circle of readers.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ALGERNON CHARLES SWINBURNE.&lt;br /&gt;
APRIL, 1837, TO APRIL, 1909.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N most of the &ldquo;notices&rdquo; and &ldquo;appreciations&rdquo;&lt;br /&gt;
I of Swinburne which have appeared since his&lt;br /&gt;
death, reference, naturally enough, has been&lt;br /&gt;
made to &ldquo;The Garden of Proserpine.&rdquo; But, what&lt;br /&gt;
appears to me to be a little absurd, the majority&lt;br /&gt;
of the writers have quoted the last verse but one&lt;br /&gt;
of that exquisite poem as expressing what they&lt;br /&gt;
have called the poet&rsquo;s &ldquo;life philosophy.&rdquo; Apart&lt;br /&gt;
from the fact that conclusions arrived at by the&lt;br /&gt;
immature mind of thirty undergo radical modifica-&lt;br /&gt;
tions in the course of forty years, there is another&lt;br /&gt;
objection to this view of the matter.&lt;br /&gt;
Swinburne, of all the great Victorian poets, was&lt;br /&gt;
the last man to wear his heart upon his sleeve in&lt;br /&gt;
his poems. It is possible to fix upon certain lines&lt;br /&gt;
of Tennyson and to say that these express his life&lt;br /&gt;
philosophy. Tennyson was a preacher as well&lt;br /&gt;
as a poet, perhaps we may say that he was a&lt;br /&gt;
preacher first and then a poet, and the preacher&lt;br /&gt;
is of course bound to admit the world into his&lt;br /&gt;
innermost secrets; if he does not do so he is a&lt;br /&gt;
humbug and ought to be unfrocked. Browning,&lt;br /&gt;
too, was a philosopher first and a poet afterwards.&lt;br /&gt;
His first duty was to give his philosophy to the&lt;br /&gt;
world; his second duty was to sing for the world&amp;#039;s&lt;br /&gt;
delight. But Swinburne was primarily neither&lt;br /&gt;
preacher nor philosopher. He was an artist. He&lt;br /&gt;
Worked with words as a painter works with his&lt;br /&gt;
canvas and his colours, as a sculptor works with&lt;br /&gt;
his clay. His material lay outside him waiting to&lt;br /&gt;
be brought into form by the magic of his art.&lt;br /&gt;
This does not mean, of course, that his art did not&lt;br /&gt;
reveal his soul, such a thing is impossible in a great&lt;br /&gt;
artist, but that it is in his art, not in the revealing&lt;br /&gt;
of his soul that we are to look for his life&amp;#039;s work.&lt;br /&gt;
He has no message to give the world, as we under-&lt;br /&gt;
stand a message when we speak of religion or&lt;br /&gt;
philosophy. Incidentally a message came, as come&lt;br /&gt;
it must, but it came clothed in such beautiful gar-&lt;br /&gt;
ments that the world was forced to regard the&lt;br /&gt;
clothing rather than the wearer of them. And&lt;br /&gt;
this is what Swinburne intended.&lt;br /&gt;
But the poet, if he did not trouble to reveal his&lt;br /&gt;
soul deliberately, told us with sufficient clearness of&lt;br /&gt;
his loves and his hatreds. Little children he loved&lt;br /&gt;
passionately all his lifelong : not ideal little children&lt;br /&gt;
such as come to a poet in his dream as they came&lt;br /&gt;
to Charles Lamb, but real everyday little children&lt;br /&gt;
of the town streets and country lanes. His poetry&lt;br /&gt;
again and again raises the Veil upon this strong&lt;br /&gt;
love of his. He professed baby worship&mdash;which is a&lt;br /&gt;
rare thing in a man. No man or woman of our&lt;br /&gt;
time has written cradle songs to equal those of&lt;br /&gt;
Swinburne. These cradle songs and this praise of&lt;br /&gt;
childhood were for the most part the fruits of his&lt;br /&gt;
later work. But even in the first series of &ldquo;Songs&lt;br /&gt;
and Ballads&rdquo; we may find traces of this tenderness&lt;br /&gt;
towards childhood which later on blossomed into so&lt;br /&gt;
fair a flower. There are two lines in &ldquo;Itylus.&rdquo;&lt;br /&gt;
which could only have been written by a genuine&lt;br /&gt;
child-lover. The feeling which dictates&mdash;&lt;br /&gt;
&ldquo;The small slain body, the flowerlike face&rdquo;&lt;br /&gt;
and still more&mdash;&lt;br /&gt;
&ldquo;The hands that cling and the feet that follow &rsquo;&rsquo;&lt;br /&gt;
can have owed its inspiration to nothing but a&lt;br /&gt;
patient loving observance of the beauty and the&lt;br /&gt;
ways of childhood.&lt;br /&gt;
He loved the sea, too, in all its moods. He loved&lt;br /&gt;
the terror of it. He loved the unwearying beauty&lt;br /&gt;
of it. The sea was at once his mother and his lover&lt;br /&gt;
in whose bosom he fain would rest. All beautiful&lt;br /&gt;
things come from her and all terrible things too.&lt;br /&gt;
She bears life and death in her bosom. The joys&lt;br /&gt;
of life are there, and the failures of life are the sea-&lt;br /&gt;
wrack cast upon the shore.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 218 (#274) ############################################&lt;br /&gt;
&lt;br /&gt;
218&lt;br /&gt;
THE A DTHOR.&lt;br /&gt;
&ldquo;The loves and hours of the life of a man,&lt;br /&gt;
They are swift and sad being born of the sea.&lt;br /&gt;
Hours that rejoice and regret for a span,&lt;br /&gt;
Born with a man&rsquo;s breath, mortal as he.&rdquo;&lt;br /&gt;
&amp;gt;&amp;lt; :k XK &times;&lt;br /&gt;
&ldquo;It is not much that a man can save&lt;br /&gt;
On the sands of life, in the straits of time,&lt;br /&gt;
Who swims in sight of the great third wave&lt;br /&gt;
That never a swimmer may cross or climb.&rdquo;&lt;br /&gt;
Browning calls a seagull &ldquo;a fair sea lover.&rdquo; This&lt;br /&gt;
term might well be applied to Swinburne. Nay,&lt;br /&gt;
does not he himself claim close affinity to the sea-&lt;br /&gt;
gull in virtue of some past existence 2&lt;br /&gt;
&ldquo;When I had wings, my brother,&lt;br /&gt;
Such wings were mine as thine.&rdquo;&lt;br /&gt;
The mutableness of the sea lies not only in change&lt;br /&gt;
of form, but in change of colour. Many are the eyes&lt;br /&gt;
which Swinburne has opened to&mdash;&lt;br /&gt;
&ldquo;The grey sea&amp;#039;s notes of green,&lt;br /&gt;
The green sea&amp;#039;s fervent flakes of blue : &rdquo;&lt;br /&gt;
eyes which may have gazed a thousand times upon&lt;br /&gt;
the sea without seeing these things. So deep was his&lt;br /&gt;
love of the sea and the winds and &ldquo;the Viewless ways&rdquo;&lt;br /&gt;
that one feels that had there come upon him, that&lt;br /&gt;
day at Etret&auml;t, the fate which came upon his&lt;br /&gt;
brother lyrist, it would have been but fitting.&lt;br /&gt;
What a fascinating story that is which &ldquo;G. M.&rdquo;&lt;br /&gt;
tells of the birth of &ldquo;Laus veneris &amp;#039;&amp;#039; and of the&lt;br /&gt;
relationship in form of that great poem to Fitz-&lt;br /&gt;
gerald&rsquo;s &ldquo;Omar&rdquo; . But the relationship is close only&lt;br /&gt;
in form, and not wholly in that. Inwardly the two&lt;br /&gt;
poems have nothing in common. While the&lt;br /&gt;
philosopher poet drives home his philosophy, the&lt;br /&gt;
artist poet carries us away into a dreamland of&lt;br /&gt;
beautiful things.&lt;br /&gt;
A sense of humour is a gift rarely bestowed upon&lt;br /&gt;
a poet. Swinburne had it. His parodies are&lt;br /&gt;
among the best in the English language &mdash;&lt;br /&gt;
especially the parody of himself. Who could&lt;br /&gt;
imagine, say, Tennyson parodying &ldquo;Locksley Hall&rdquo;&lt;br /&gt;
as Swinburne parodies &ldquo; Dolores&rdquo; 2. A man must&lt;br /&gt;
be a very great man to be able to smile at his own&lt;br /&gt;
great work. One shrinks from using the term&lt;br /&gt;
&ldquo;genius&rdquo; in speaking of Swinburne. The term&lt;br /&gt;
has become discredited, applied as it is to every&lt;br /&gt;
little writer of the hour. What we may say is that&lt;br /&gt;
Swinburne has won for himself a place in that Small&lt;br /&gt;
group of stars, that band of immortals whose work&lt;br /&gt;
transcends the work of mortal men&mdash;even of the&lt;br /&gt;
ablest of them. Could mere ability, even at its&lt;br /&gt;
highest, have produced &ldquo;Atalanta in Calydon,&rdquo;&lt;br /&gt;
so perfect as it is, or so nearly perfect as anything&lt;br /&gt;
in another language could be, in AEschylean form&lt;br /&gt;
and feeling 2 And what shall we say of these&lt;br /&gt;
Wonderful choruses:&ndash;&lt;br /&gt;
&ldquo;When the hounds of spring are on winter&amp;#039;s traces,&lt;br /&gt;
The mother of months in meadow or plain&lt;br /&gt;
Fills the shadows and windy places&lt;br /&gt;
With lisp of leaves and ripple of rain ; &rdquo;&lt;br /&gt;
and&mdash; *&lt;br /&gt;
&ldquo;Before the beginning of years&lt;br /&gt;
Then came to the making of man&lt;br /&gt;
Time, with a gift of tears;&lt;br /&gt;
Grief, with a glass that ran &amp;quot; ?&lt;br /&gt;
These things are not the handiwork of a skilled&lt;br /&gt;
Workman. They are the products of an inspired&lt;br /&gt;
artist, and as an inspired lyrical artist Swinburne&lt;br /&gt;
will live While the world lasts and while the&lt;br /&gt;
English language holds. His words were the&lt;br /&gt;
material with which he wrought, will haunt the&lt;br /&gt;
ears of our children&rsquo;s children, as they haunt our&lt;br /&gt;
ears when we stand upon the brown uplands and&lt;br /&gt;
look out upon the sea, or when we lie in the shade&lt;br /&gt;
of summer Woods and recall the days when gods&lt;br /&gt;
and godesses, gracious and terrible, beautiful and&lt;br /&gt;
foul moved among men and talked to them as a man&lt;br /&gt;
talks to a man face to face. Never will the judg-&lt;br /&gt;
ment of his great contemporary be reversed, &ldquo;Song&lt;br /&gt;
was his natural voice. He was the greatest of our&lt;br /&gt;
lyrical poets&mdash;of the world&amp;#039;s, indeed, considering&lt;br /&gt;
what language he wielded.&rdquo;&lt;br /&gt;
- E. P. L.&lt;br /&gt;
&mdash;OP-e&mdash;sqQ&ndash;&lt;br /&gt;
CREATION AND CRITICISM.&lt;br /&gt;
&mdash;t&mdash;Q-4&ndash;&lt;br /&gt;
(Reprinted by kind permission of the Editor of the&lt;br /&gt;
Chicago Dial, March, 1909.) . -&lt;br /&gt;
I AM far from believing that literature is only&lt;br /&gt;
a criticism of life. Creation and criticism&lt;br /&gt;
are as much opposed as synthesis and analy-&lt;br /&gt;
sis&mdash;the putting together and the taking apart.&lt;br /&gt;
Indeed, they are further removed ; for the putting&lt;br /&gt;
together implies a conscious act, whereas the&lt;br /&gt;
greatest effects in literature are given to the artist.&lt;br /&gt;
After his work in assembling his materials and&lt;br /&gt;
placing them in a mould is done, it requires the&lt;br /&gt;
fusing fire of inspiration to weld them together&lt;br /&gt;
and make them into a new whole. - -&lt;br /&gt;
But it is doubtful whether anything is given to&lt;br /&gt;
the artist who does not strive&mdash;whether the light-&lt;br /&gt;
ning flash will descend upon any altar which is not&lt;br /&gt;
heaped with combustibles. Observation, study,&lt;br /&gt;
conscious judgments, the acceptance or rejection of&lt;br /&gt;
this or that quality or material, all these operations&lt;br /&gt;
are necessary to the construction of a work of art,&lt;br /&gt;
and they are all critical operations. It follows that&lt;br /&gt;
a good literary artist must be a good critic. -&lt;br /&gt;
The part which the na&iuml;ve, the unconscious, the&lt;br /&gt;
untrained faculties of man play in the production&lt;br /&gt;
of literature was over-insisted upon in the criticism&lt;br /&gt;
of the last century. It was held then that litera-&lt;br /&gt;
ture was the spontaneous speech of man ; that the&lt;br /&gt;
folklores, mythologies, ballad poetry, and early&lt;br /&gt;
epics were the work of natural geniuses. The&lt;br /&gt;
great existing epics of the world were divided into&lt;br /&gt;
two classes, the na&iuml;ve and the artificial. As far as&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 219 (#275) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UITISIOR.&lt;br /&gt;
219&lt;br /&gt;
they are concerned, this position is abandoned&lt;br /&gt;
to-day. It is seen that as much thought and Con-&lt;br /&gt;
scious art must have gone to the making of the&lt;br /&gt;
&ldquo;Iliad&amp;#039; as of &ldquo;Paradise Lost.&rdquo; But still, as&lt;br /&gt;
regards the slighter form of literature, the old idea&lt;br /&gt;
of spontaneous creation lingers. &ldquo;These books&lt;br /&gt;
were not made by fools, or for the use of fools,&rdquo;&lt;br /&gt;
said Thomas Moore of the early Irish legends and&lt;br /&gt;
poems. The beginnings of most literatures are&lt;br /&gt;
lost in mist, so that we cannot tell how they arose&lt;br /&gt;
or what manner of men produced them. But the&lt;br /&gt;
Irish and Welsh bardic systems are revealed to us&lt;br /&gt;
in something more than glimpses, and we can See&lt;br /&gt;
that they were keenly critical and entirely con-&lt;br /&gt;
scious attemps to produce literature. Nothing in&lt;br /&gt;
our modern world is like the consecration, the&lt;br /&gt;
training, the control which these systems suggest&lt;br /&gt;
&mdash;unless it may be De Maupassant&amp;#039;s apprenticeship&lt;br /&gt;
to Flaubert. The Celtic bards believed that in-&lt;br /&gt;
spiration was a result, not a cause ; and their&lt;br /&gt;
works prove that they were largely right. From&lt;br /&gt;
the example of their schools it may fairly be argued&lt;br /&gt;
that something of the same sort existed in the&lt;br /&gt;
early life of most nations. For it is another mis-&lt;br /&gt;
take to suppose that the first poets of any race are&lt;br /&gt;
the best. On the contrary, it takes a long time for&lt;br /&gt;
the language, the ideals, the very life of a people,&lt;br /&gt;
to be got into shape fit for literature.&lt;br /&gt;
Leaving races and coming down to individuals,&lt;br /&gt;
there are two main ways in which a writer begins&lt;br /&gt;
artistic creation. One is the way of imitation :&lt;br /&gt;
something in the literature of the past pleases him,&lt;br /&gt;
stimulates him, and he tries to copy it. The other&lt;br /&gt;
is the way of revolt: the work that is being done&lt;br /&gt;
around him disgusts him&mdash;he says, &ldquo;That is not&lt;br /&gt;
true, that is not life or beauty as I see them,&rdquo; and&lt;br /&gt;
he strikes out a method of his own. The imitative&lt;br /&gt;
incentive accounts for the long reigns of certain&lt;br /&gt;
types or forms or styles in literature. The rebellious&lt;br /&gt;
motive explains the sudden changes, reversions, or&lt;br /&gt;
originations which every now and then sweep over&lt;br /&gt;
literature. Some writer, or group of writers, revolts&lt;br /&gt;
against the rule that seemed good to their fathers,&lt;br /&gt;
and, drawing a third part of the kingdom of litera-&lt;br /&gt;
ture after them, set up a new government, which in&lt;br /&gt;
turn becomes conventional or despotic. It is obvious&lt;br /&gt;
that the literature of appreciation and the literature&lt;br /&gt;
of rebellion alike have their beginning in a critical&lt;br /&gt;
attitude.&lt;br /&gt;
The reason that the critical movements in the&lt;br /&gt;
past&mdash;the ebb and flow of opinion&mdash;are not so&lt;br /&gt;
apparent as they are in modern times, is that there&lt;br /&gt;
was then little market for criticism as such.&lt;br /&gt;
Authors published their main works, but all their&lt;br /&gt;
preparatory studies and sketches were destroyed.&lt;br /&gt;
Their private opinions about life and art, their&lt;br /&gt;
shop-talk among themselves, their letters, were all&lt;br /&gt;
criticism, and all aided in making their Works&lt;br /&gt;
What they are ; but whereas now all this is largely&lt;br /&gt;
Caught and preserved and published, in olden&lt;br /&gt;
times it only lived as the rain and sunlight of the&lt;br /&gt;
past live in the corn and wine they mature,&lt;br /&gt;
Imagine a Boswell or an Eckermann for Shake-&lt;br /&gt;
Speare Two-thirds of modern criticism would&lt;br /&gt;
have been superfluous.&lt;br /&gt;
Shakespeare began with the imitative mood&mdash;if,&lt;br /&gt;
as I believe is probable, &ldquo;Titus Andronicus&amp;quot; and&lt;br /&gt;
&ldquo;The Two Gentlemen of Verona&rsquo;&rsquo; are his earliest&lt;br /&gt;
Works; but in &ldquo;Love&amp;#039;s Labour&amp;#039;s Lost&amp;quot; he sets up&lt;br /&gt;
the banner of critical revolt. Throughout this&lt;br /&gt;
piece he is making fun of the existing styles in&lt;br /&gt;
dramatic poetry ; and Marlowe, Greene, Lyly, the&lt;br /&gt;
objects of his previous admiration, come in for&lt;br /&gt;
unsparing satire. After this he became so various&lt;br /&gt;
and universal in the excellences he aimed at and&lt;br /&gt;
reached, that it is difficult to follow the critical&lt;br /&gt;
trend of his mind&mdash;to decide whether he is idealist or&lt;br /&gt;
realist, conscious stylist or na&iuml;ve producer of poetry.&lt;br /&gt;
Ben Jonson was a determined critic, and his&lt;br /&gt;
plays are built up with rigid regard to rule and&lt;br /&gt;
authority ; but criticism as a trade was hardly born&lt;br /&gt;
in English literature until Dryden&amp;#039;s time. His&lt;br /&gt;
prefaces, which Swift declared were &ldquo;writ to fill&lt;br /&gt;
in, and raise the volume&amp;#039;s price a shilling,&rdquo; are&lt;br /&gt;
admirable in the quality they profess, and they&lt;br /&gt;
show that he &ldquo;learned by teaching.&rdquo;&lt;br /&gt;
The eighteenth century in England has been&lt;br /&gt;
called a critical age ; but I think it is just the&lt;br /&gt;
reverse. Dominated by two great writers, Dryden&lt;br /&gt;
and Pope, yet not quite satisfied with them, it was&lt;br /&gt;
afraid to trust itself to new or original forms of&lt;br /&gt;
thought in literature, and it vacillated between&lt;br /&gt;
Servile copying of its master&amp;#039;s work and feeble&lt;br /&gt;
attempts at something different. It was a choppy&lt;br /&gt;
Sea with no great ground-swell on. Not until the&lt;br /&gt;
Romantic revival came in sight, with its fore-&lt;br /&gt;
runners in Collins, Gray, Chatterton, and Blake, and&lt;br /&gt;
its culminating kings, in Wordsworth, Coleridge,&lt;br /&gt;
and Byron, was there a real critical movement.&lt;br /&gt;
There can be no question that this movement&lt;br /&gt;
was a conscious one. Wordsworth and Coleridge&lt;br /&gt;
did not do their work out of impulse and feeling ;&lt;br /&gt;
they were intellectually alive to the change they&lt;br /&gt;
desired to bring about : Wordsworth&amp;#039;s first poems&lt;br /&gt;
are Popeian in form, and Coleridge&amp;#039;s early pieces&lt;br /&gt;
are mainly mild imitations of Gray and Collins.&lt;br /&gt;
But they came together, and the flint and steel&lt;br /&gt;
were struck to light a blaze of revolution. As is&lt;br /&gt;
the case of most reformers, they were partly uncer-&lt;br /&gt;
tain in their principles and partly demonstrably&lt;br /&gt;
wrong. Late in life, Wordsworth declared that he&lt;br /&gt;
never thought very much of his famous preface to&lt;br /&gt;
the &ldquo;Lyrical Ballads,&rdquo; and that he only wrote it&lt;br /&gt;
to please Coleridge ; but at the time it was doubt-&lt;br /&gt;
less real and earnest enough to him.&lt;br /&gt;
It is not worth while to go through the histories&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 220 (#276) ############################################&lt;br /&gt;
&lt;br /&gt;
220&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
of the other great movements in modern literature&lt;br /&gt;
&mdash;the German revolt against French models cap-&lt;br /&gt;
tained by Lessing and Herder and Goethe, the&lt;br /&gt;
revolt of the French themselves under Hugo and&lt;br /&gt;
Dumas against their own classical literature, the&lt;br /&gt;
advent of the realists, and so on. My point simply&lt;br /&gt;
is that creation in the main is born of criticism&mdash;&lt;br /&gt;
that artists generally know what they are doing,&lt;br /&gt;
be their deeds ever so mistaken ; and also that&lt;br /&gt;
practically all writers, even though not swept away&lt;br /&gt;
in any great movement, begin and continue their&lt;br /&gt;
work in a critical attitude ; that each one has his&lt;br /&gt;
compass and chronometer, and takes his bearings&lt;br /&gt;
from day to day instead of drifting idly about on&lt;br /&gt;
the ocean of art.&lt;br /&gt;
It is an old jest that the critic is the man who&lt;br /&gt;
has failed in creation. Well, then, three-fourths of&lt;br /&gt;
our greatest moderns must have failed, for at least&lt;br /&gt;
that proportion have left vast outpourings of criti-&lt;br /&gt;
cism, either in the form of recorded conversations,&lt;br /&gt;
letters, or formal treatises. Lessing is equally great&lt;br /&gt;
in critical and creative work, and one might almost&lt;br /&gt;
dare to say the same of Goethe. Wagner&amp;#039;s critical&lt;br /&gt;
works are a huge reservoir of good, bad, and in-&lt;br /&gt;
different opinions. Hugo&amp;#039;s deliverances are com-&lt;br /&gt;
paratively few in number, but they make up&lt;br /&gt;
in intensity what they lack in extent. Coleridge&lt;br /&gt;
and Arnold, the two greatest English critics, are&lt;br /&gt;
unsetting stars in our poetic field. The letters of&lt;br /&gt;
Byron and Keats are full of glittering nuggets of&lt;br /&gt;
criticism, and there are a good many in those of&lt;br /&gt;
Tennyson. In America, Emerson, Lowel), Poe,&lt;br /&gt;
and a score of others are Janus-faced and have&lt;br /&gt;
their outlook equally on the peace of poetry and&lt;br /&gt;
the war of criticism. Among the best of modern&lt;br /&gt;
men I can recall only one, Dickens, who seems to&lt;br /&gt;
have written no criticism ; and only one abso-&lt;br /&gt;
lutely great critic, Hazlitt, who did nothing that&lt;br /&gt;
can be called creative work.&lt;br /&gt;
Criticism would therefore seem to be almost a&lt;br /&gt;
necessity to the creative artist. The Greeks sur-&lt;br /&gt;
rounded their pregnant women with beautiful&lt;br /&gt;
statues and pictures ; and the preoccupation with&lt;br /&gt;
the divine, noble, or terrible forms and thoughts of&lt;br /&gt;
past literature should and undoubtedly does aid in&lt;br /&gt;
the shaping of new works. But when all that&lt;br /&gt;
criticism can do for an artist is wrought, there yet&lt;br /&gt;
remains something that he must hope and pray&lt;br /&gt;
for-the daemoniac, the inspirational element in&lt;br /&gt;
art, from which comes its intoxicating, its enchant-&lt;br /&gt;
ing spell. By this the man is lifted to converse&lt;br /&gt;
with the gods, and he comes back with his face&lt;br /&gt;
aglow, and their language upon his lips. No&lt;br /&gt;
amount of critical study or preparation can guaran-&lt;br /&gt;
tee to him this translation of soul. But he can&lt;br /&gt;
keep himself ready for it, and that is the chief&lt;br /&gt;
object of criticism.&lt;br /&gt;
CHARLES LEONARD MOORE.&lt;br /&gt;
MEMOIR ON THE PROTECTION OF THE&lt;br /&gt;
RIGHT OF TRANSLATION.&lt;br /&gt;
Publicly read at the Berlin Conference by Professor&lt;br /&gt;
A. OSTERRIETH, German Delegate.&lt;br /&gt;
(From Le Droit d&amp;#039;Auteur.)&lt;br /&gt;
HE Convention of 1886 established the reten-&lt;br /&gt;
tion by the author of the right of translation&lt;br /&gt;
for ten years. The Conference of Paris&lt;br /&gt;
extended this right, making it equivalent to the&lt;br /&gt;
general duration of the copyright, on the condition&lt;br /&gt;
that the author should, within the first period of&lt;br /&gt;
ten years, publish in a country belonging to the&lt;br /&gt;
Union a translation in the language of the country&lt;br /&gt;
for which he claimed the right.&lt;br /&gt;
Norway and Sweden not having accepted the&lt;br /&gt;
additional Act of Paris, the Berne Union practically&lt;br /&gt;
contains two Unions, the general Union and the&lt;br /&gt;
more restricted Union to which Norway and Sweden&lt;br /&gt;
do not belong. The result of this is that Norwegian&lt;br /&gt;
and Swedish works enjoy in other countries only a&lt;br /&gt;
restricted protection from translation, limited to&lt;br /&gt;
ten years.&lt;br /&gt;
In consequence of the special conventions which&lt;br /&gt;
Germany has recently made with Belgium, France,&lt;br /&gt;
and Italy, translation has been simply and com-&lt;br /&gt;
pletely assimilated to other modes of reproduction.&lt;br /&gt;
This last system is that which the Imperial&lt;br /&gt;
Government proposes to adopt as a rule for the&lt;br /&gt;
whole Union.&lt;br /&gt;
In the very lucid report which was presented in&lt;br /&gt;
the name of the Commission at the Conference of&lt;br /&gt;
Paris, M. Renault remarked that translation is the&lt;br /&gt;
international question par eacellence. It is, in fact,&lt;br /&gt;
in so far as literary works are concerned, certainly&lt;br /&gt;
the most interesting of all the questions decided&lt;br /&gt;
by the Convention. For, from the date of the&lt;br /&gt;
Tower of Babel, translation has been the only means&lt;br /&gt;
of making known to a people the works of a&lt;br /&gt;
country of another language. Practically the&lt;br /&gt;
number of persons who are sufficiently masters of&lt;br /&gt;
a foreign tongue to be able to understand all the&lt;br /&gt;
refinements and shades of meaning which the&lt;br /&gt;
author of a work is able to use in it, is very&lt;br /&gt;
restricted.&lt;br /&gt;
These are precisely the considerations which&lt;br /&gt;
have made certain countries hesitate to accord&lt;br /&gt;
foreign authors an exclusive right of translation ;&lt;br /&gt;
and from the same considerations have arisen the&lt;br /&gt;
restrictions which the Berne Convention of 1886&lt;br /&gt;
and the Paris Conference have placed upon the&lt;br /&gt;
protection of translation by the Convention. On&lt;br /&gt;
the other hand, if it is true that, internationally,&lt;br /&gt;
translation constitutes the principal means of&lt;br /&gt;
reproducing a literary work, the refusal of protec-&lt;br /&gt;
tion, or its limitation, is a crime against the funda-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 221 (#277) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITFIOR.&lt;br /&gt;
22].&lt;br /&gt;
mental principle of the author&amp;#039;s rights&mdash;that is to&lt;br /&gt;
say, against the principle that every author ought&lt;br /&gt;
to possess the exclusive right to reproduce his&lt;br /&gt;
work.&lt;br /&gt;
Hence we here perceive this anomaly, that the&lt;br /&gt;
same arguments which go to support the general&lt;br /&gt;
extension of the right of translation are put forward&lt;br /&gt;
also to contest the right, or to restrict it.&lt;br /&gt;
Translation is the principal means of making a&lt;br /&gt;
nation acquainted with foreign literature. In&lt;br /&gt;
consequence of this it is an essential element in&lt;br /&gt;
the development of the intellectual cultivation of a&lt;br /&gt;
nation. All the world is agreed on that point.&lt;br /&gt;
On the other hand, divergencies of opinion exist&lt;br /&gt;
regarding the consequences which result.&lt;br /&gt;
The adversaries of the protection of translation&lt;br /&gt;
&mdash;you must kindly pardon my using this rather&lt;br /&gt;
strong expression, which, however, is precise and&lt;br /&gt;
clear&mdash;are particularly concerned to facilitate trans-&lt;br /&gt;
lation in every possible way. And they consider&lt;br /&gt;
that liberty to translate is the most perfect way of&lt;br /&gt;
encouraging translation ; and that the consequence&lt;br /&gt;
of protecting the author would be to place the&lt;br /&gt;
translations out of the reach of the general public.&lt;br /&gt;
The partisans of the right of translation, on the&lt;br /&gt;
contrary, are of opinion that an exclusive right to&lt;br /&gt;
translate presents the advantage of assuring the&lt;br /&gt;
production of correct versions which present the&lt;br /&gt;
original in its complete integrity.&lt;br /&gt;
You will at once perceive the difference between&lt;br /&gt;
the points of view of these two groups. To explain&lt;br /&gt;
it with absolute precision I shall say that the&lt;br /&gt;
adversaries insist most of all upon the maximum&lt;br /&gt;
possible quantity of translations, whilst the partisans&lt;br /&gt;
of protection of the right of translation lay stress&lt;br /&gt;
upon the quality.&lt;br /&gt;
To which of these two points of view is the&lt;br /&gt;
preference to be given P General considerations,&lt;br /&gt;
as well as some experiences of which we have been&lt;br /&gt;
able to gather evidence, can leave us no doubt&lt;br /&gt;
respecting the answer which ought to be given.&lt;br /&gt;
Let us first examine the hypothesis of liberty of&lt;br /&gt;
translation&mdash;whether it be complete liberty, or&lt;br /&gt;
liberty accorded after the lapse of a certain&lt;br /&gt;
period. -&lt;br /&gt;
In the former case any one may translate a&lt;br /&gt;
foreign work, and any publisher may publish the&lt;br /&gt;
translation. On the part of a publisher the pro-&lt;br /&gt;
duction of any book, whether it be a translation or&lt;br /&gt;
not, is a commercial transaction. Hence an&lt;br /&gt;
essential consideration, from the point of view of&lt;br /&gt;
the publisher who is making his calculations, is&lt;br /&gt;
the extent of the sale which the book may be able&lt;br /&gt;
to secure. And herein is involved the importance&lt;br /&gt;
of competition on the part of other publishers to&lt;br /&gt;
which he may be exposed. When the liberty to&lt;br /&gt;
compete is absolute, the chances of selling the&lt;br /&gt;
Whole edition of the work is diminished. The&lt;br /&gt;
publisher, exposed to the risk of having to meet on&lt;br /&gt;
the market the same work brought out by another&lt;br /&gt;
publisher, is obliged to reduce his expenses to a&lt;br /&gt;
minimum, in order to avoid the danger of never&lt;br /&gt;
Covering his cost of production. He will not be&lt;br /&gt;
looking for the best translator, but for the one who&lt;br /&gt;
Will make the translation on the lowest terms.&lt;br /&gt;
He will, therefore, not concern himself to procure&lt;br /&gt;
a good translation, to respect the integrity of the&lt;br /&gt;
original, and to offer a faithful rendering, but will&lt;br /&gt;
be desirous of publishing a cheap translation in&lt;br /&gt;
order that he may be able to face the immediate&lt;br /&gt;
competition of the other publishers, who will also&lt;br /&gt;
publish translations of the same work, very likely&lt;br /&gt;
ones equally bad, and often mutilated, but such as&lt;br /&gt;
will be likewise sold at a low price. On the other&lt;br /&gt;
hand, if the publisher risks the expenses of a careful&lt;br /&gt;
edition, he will be obliged to ask a high price to&lt;br /&gt;
recoup his expenses, it being evident that the sale&lt;br /&gt;
Will be very limited in consequence of the competi-&lt;br /&gt;
tion of the other translations published at a lower&lt;br /&gt;
price.&lt;br /&gt;
Well, gentlemen, what I have been explaining&lt;br /&gt;
to you is not a theoretical speculation, but is&lt;br /&gt;
founded upon a reality. I can quote to you, in&lt;br /&gt;
Support of what I have just advanced, the fact&lt;br /&gt;
that there exist at present in Germany very few&mdash;&lt;br /&gt;
if any exist at all&mdash;good translations of the great&lt;br /&gt;
authors who are the present glory of contemporary&lt;br /&gt;
Russian literature.&lt;br /&gt;
The situation in Russia appears to be analogous.&lt;br /&gt;
I have learned that there have been published in&lt;br /&gt;
Russia fourteen translations of Zola&rsquo;s &ldquo;La D&eacute;b&acirc;cle.&rdquo;&lt;br /&gt;
I am not in a position to say whether there may&lt;br /&gt;
be among these fourteen one good one. But I&lt;br /&gt;
believe that I may say that the majority are bad.&lt;br /&gt;
Nevertheless the liberty of translation is considered&lt;br /&gt;
to be of service in the development of national&lt;br /&gt;
culture.&lt;br /&gt;
I have just cited an example of a work that has&lt;br /&gt;
world-wide reputation. But I must beg you also&lt;br /&gt;
to observe that in countries where the liberty of&lt;br /&gt;
translation is complete, the activity of translators&lt;br /&gt;
is usually devoted to making translations of the&lt;br /&gt;
great mass of futile works which have no value, the&lt;br /&gt;
publishers and translators not being able to make&lt;br /&gt;
any such selection as is made in other countries, a&lt;br /&gt;
selection generally in accordance with the value of&lt;br /&gt;
the works. This mass of worthless literature also&lt;br /&gt;
competes seriously with the works of the national&lt;br /&gt;
authors. Their demand for remuneration, howsoever&lt;br /&gt;
modest it may be, is invalidated by the number of&lt;br /&gt;
foreign works which can be had for nothing.&lt;br /&gt;
Let us now examine the hypothesis of a rule of&lt;br /&gt;
protection of the rights of translation.&lt;br /&gt;
I can do this the more easily as we have had in&lt;br /&gt;
Germany up to 1897 only the very restricted pro-&lt;br /&gt;
tection resulting from the Convention of 1886.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 222 (#278) ############################################&lt;br /&gt;
&lt;br /&gt;
222&lt;br /&gt;
TISIES A Pſ&amp;quot;TRIOR.&lt;br /&gt;
Since the additional Act of Paris has come into&lt;br /&gt;
force, we have been under the provisions of that&lt;br /&gt;
Act. With respect to France, we have been since&lt;br /&gt;
1903 under the provision of a complete assimila-&lt;br /&gt;
tion. Thus, in so far as the literature of France&lt;br /&gt;
is concerned, we have passed since 1897 from a&lt;br /&gt;
very restricted protection to a complete one.&lt;br /&gt;
What have the consequences been P A diminu-&lt;br /&gt;
tion in the number of works translated 2 A&lt;br /&gt;
diminution of translations in general accompanied&lt;br /&gt;
by an increase in the price of foreign works 2&lt;br /&gt;
That is what should have been expected if the&lt;br /&gt;
persuasions of the adversaries of protection had&lt;br /&gt;
been based upon solid grounds.&lt;br /&gt;
Now, we are able to prove that what has&lt;br /&gt;
happened is the exact contrary. It is true&lt;br /&gt;
that the number of translations may have&lt;br /&gt;
diminished. But that has certainly been to the&lt;br /&gt;
advantage of the reputation of French literature.&lt;br /&gt;
For previously one found journals and reviews of&lt;br /&gt;
a certain kind filled with translations&mdash;for the&lt;br /&gt;
most part ill-executed&mdash;of romances, novels, short&lt;br /&gt;
stories, and tales more or less light, which do not&lt;br /&gt;
occupy a high place in French literature, and are&lt;br /&gt;
repudiated by French men of letters. Or else one&lt;br /&gt;
met with translations of novels of incontestable&lt;br /&gt;
value, but mutilated translations, or in some form&mdash;&lt;br /&gt;
if I may borrow an expression from the epoch of&lt;br /&gt;
the humanists&mdash;emendation et correction. The last&lt;br /&gt;
twelve years have witnessed a complete turning of&lt;br /&gt;
the tables. I am not able to present to you a&lt;br /&gt;
statistical statement of the translations made&lt;br /&gt;
during that period, but I can affirm that it is&lt;br /&gt;
astonishing to see how many translations of French&lt;br /&gt;
works have appeared in recent years, translations&lt;br /&gt;
of Works of all kinds&mdash;poetry, romance, tales,&lt;br /&gt;
biographies, historical works, scientific works, and&lt;br /&gt;
Works on photography, asthetics, sociology, etc.&lt;br /&gt;
I am able personally to assert that at present there&lt;br /&gt;
are many French works which cannot be so easily&lt;br /&gt;
found in the booksellers&amp;#039; shops in Paris as the&lt;br /&gt;
translations of them can be found in the booksellers&amp;#039;&lt;br /&gt;
shops of Berlin.&lt;br /&gt;
The majority of these translations, which are&lt;br /&gt;
complete, and present the original in its entirety,&lt;br /&gt;
are very well executed, and are published at very&lt;br /&gt;
reasonable prices. Among translators of French&lt;br /&gt;
works are to be found many distinguished German&lt;br /&gt;
authors, such as Omteda, Hartleben, Oppeln-&lt;br /&gt;
Bronikowski. We have a group of publishers who&lt;br /&gt;
pay particular attention to the publication of&lt;br /&gt;
Series of translations which are an honour to&lt;br /&gt;
German booksellers. The price of these trans-&lt;br /&gt;
lations is not generally very high, particularly if&lt;br /&gt;
compared with the price of German works of the&lt;br /&gt;
same kind. :&lt;br /&gt;
Gentlemen, I am fully persuaded that this&lt;br /&gt;
change, on which we have every reason to con-&lt;br /&gt;
gratulate ourselves, is, to a great extent, due to&lt;br /&gt;
our copyright legislation and to the Convention.&lt;br /&gt;
This can be easily explained. Book commerce,&lt;br /&gt;
like all other commerce, is ruled by the law of&lt;br /&gt;
Supply and demand. When a publisher meets with&lt;br /&gt;
a foreign work which may offer some interest to&lt;br /&gt;
the German public, and for which he may reckon&lt;br /&gt;
upon a demand of some certain extent, he can&lt;br /&gt;
calculate his expenses (sums to be paid to the&lt;br /&gt;
original author, and to the translator, cost of&lt;br /&gt;
printing, paper, binding, etc.), and the sale-price&lt;br /&gt;
of the work that shall be based upon the welcome&lt;br /&gt;
that the book is likely to find at the hands of the&lt;br /&gt;
German public. He is able to make this calcu-&lt;br /&gt;
lation because the authorisation which he has&lt;br /&gt;
obtained from the original author puts him in a&lt;br /&gt;
privileged position, from which competition is&lt;br /&gt;
excluded.&lt;br /&gt;
The right of translation consequently produces&lt;br /&gt;
the result of favouring good translations, and of&lt;br /&gt;
permitting the publisher who has secured the&lt;br /&gt;
exclusive right to sell at a reasonable price,&lt;br /&gt;
calculated upon definite probabilities of public&lt;br /&gt;
demand. -&lt;br /&gt;
With respect to the question of the price of&lt;br /&gt;
translations a general observation is necessary.&lt;br /&gt;
The absolute liberty to translate has the result of&lt;br /&gt;
the production of multiple translations. Now&lt;br /&gt;
these inevitably augment the sum total paid for&lt;br /&gt;
the whole number of translations made from the&lt;br /&gt;
original. There are so many translators to be&lt;br /&gt;
paid (howsoever modest their remuneration may&lt;br /&gt;
be), and so many payments to be made correspond-&lt;br /&gt;
ingly for printing, paper, stitching, etc. The&lt;br /&gt;
general expenses of each edition have also to be&lt;br /&gt;
calculated an equal number of times, until the&lt;br /&gt;
whole amounts to&mdash;if you will allow me the&lt;br /&gt;
expression&mdash;squandering money. And all that&lt;br /&gt;
We avoid by protection.&lt;br /&gt;
People are sometimes alarmed by the idea that&lt;br /&gt;
the original author will exact Some extravagant&lt;br /&gt;
sum for his authorisation of the right to translate.&lt;br /&gt;
This preconception has not proved correct.&lt;br /&gt;
Experience has shown that the sums which pub-&lt;br /&gt;
lishers pay authors are small. For a novel of&lt;br /&gt;
middling length they come to about two hundred&lt;br /&gt;
francs. In the case of scientific Works (which&lt;br /&gt;
particularly occupy attention in Russia) the authors&lt;br /&gt;
or publishers of the originals usually limit them-&lt;br /&gt;
selves to asking simply for the right of authorisation.&lt;br /&gt;
It is also well known that the remunerations which&lt;br /&gt;
the authors of scientific works receive are very&lt;br /&gt;
small. In savants the mercantile sense is not&lt;br /&gt;
highly developed.&lt;br /&gt;
An interesting proof that the protection of the&lt;br /&gt;
right of translation has not the effect of raising&lt;br /&gt;
the price of foreign works has been furnished in&lt;br /&gt;
Sweden, by a memoir presented in 1894 by the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 223 (#279) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTHOR.&lt;br /&gt;
223&lt;br /&gt;
Society of Swedish Authors to the King of Sweden.&lt;br /&gt;
To show the effects which the treaties concluded&lt;br /&gt;
with France and with Italy had had upon the&lt;br /&gt;
price of books, the authors of this petition drew up&lt;br /&gt;
a statistical table of the price of certain French&lt;br /&gt;
and Italian books (by de Amicis, Bourget, Daudet,&lt;br /&gt;
Feuillet, Greville, Loti, Maupassant, and Zola),&lt;br /&gt;
&ordm;ned before and after the treaties came into&lt;br /&gt;
OTC&eacute;.&lt;br /&gt;
At the close of this statistical table the memoir&lt;br /&gt;
contains the following words:&mdash; -&lt;br /&gt;
&ldquo;It results from these statistics, which have been&lt;br /&gt;
carefully prepared, that the works of de Amicis&lt;br /&gt;
and Bourget have become cheaper since the literary&lt;br /&gt;
treaties have come into force : that the prices of&lt;br /&gt;
those of Feuillet and Maupassant have remained&lt;br /&gt;
unaltered, and that the works of Daudet and Zola&lt;br /&gt;
alone have become dearer, 25 and 75 centimes&lt;br /&gt;
respectively for the story of 200 pages. But these&lt;br /&gt;
are authors of so wide a reputation that this small&lt;br /&gt;
increase of the price can occasion no serious&lt;br /&gt;
diminution of their sale.&rdquo; -&lt;br /&gt;
By these explanations I have desired to prove&lt;br /&gt;
the utility of the protection of the right of trans-&lt;br /&gt;
lation. The arguments which I have unfolded are&lt;br /&gt;
equally in favour of the general principle of the&lt;br /&gt;
recognition of the right of translation, and in&lt;br /&gt;
favour of the adoption of the widest system of pro-&lt;br /&gt;
tection&mdash;that is to say, the assimilation of the right&lt;br /&gt;
of translation to the right of reproduction.&lt;br /&gt;
In reality the period of ten years does not, in&lt;br /&gt;
the case of the great majority of books, suffice for&lt;br /&gt;
the creation of a situation favourable to the publica-&lt;br /&gt;
tion of a translation. It is true that writers who&lt;br /&gt;
have made themselves very popular find the ground&lt;br /&gt;
prepared, even for their most recent creations.&lt;br /&gt;
But the great majority of works published at any&lt;br /&gt;
epoch in many cases require a space of time equal&lt;br /&gt;
to several years before their real value is perceived,&lt;br /&gt;
even in the countries in which they were first&lt;br /&gt;
produced. Add the difficulty of estimating the&lt;br /&gt;
value of a work published in a foreign country ;&lt;br /&gt;
add that of finding the best translator, who (in the&lt;br /&gt;
case of a scientific or technical work) must possess&lt;br /&gt;
knowledge of special kinds; add the time necessary&lt;br /&gt;
to make the translation, and to print it, etc., and&lt;br /&gt;
you must admit that the fact of not having pub-&lt;br /&gt;
lished a translation of a work within the ten years&lt;br /&gt;
that follow next after its first appearance cannot&lt;br /&gt;
constitute, either on the part of the author or of&lt;br /&gt;
the publisher, an omission which should entail the&lt;br /&gt;
loss of rights. -&lt;br /&gt;
Such, gentlemen, are the considerations by&lt;br /&gt;
which the Imperial Government was inspired in&lt;br /&gt;
proposing to the Conference that it should&lt;br /&gt;
assimilate the right of translation to the original&lt;br /&gt;
right of reproduction. -&lt;br /&gt;
Allow me yet to add a few words on the proposal&lt;br /&gt;
put forward by the Government of Japan, which&lt;br /&gt;
asks to have translations made in the Japanese&lt;br /&gt;
language exempted from the protection of the&lt;br /&gt;
Convention. If I have been able to show that&lt;br /&gt;
protection has not the effect of either excluding or&lt;br /&gt;
fettering the translation of foreign works, but&lt;br /&gt;
rather favours it, assuring to every country&lt;br /&gt;
advantages both in regard to the choice of books&lt;br /&gt;
to be translated, and in regard to the quality of&lt;br /&gt;
the translations, I have, by showing this, answered&lt;br /&gt;
the arguments, very interesting in themselves,&lt;br /&gt;
which have been put forward by the Government&lt;br /&gt;
of Japan.&lt;br /&gt;
But I am anxious to add yet one word more to&lt;br /&gt;
explain the prejudicial consequences which the&lt;br /&gt;
adoption of the Japanese proposal would entail.&lt;br /&gt;
Much stress is laid upon the fact that the Japanese&lt;br /&gt;
language is little known in the countries of the&lt;br /&gt;
Union, and that a Japanese translation could never&lt;br /&gt;
be prejudicial to the interests of the author and&lt;br /&gt;
publisher of the original work. I am willing to&lt;br /&gt;
admit that this may be true. But is Japanese the&lt;br /&gt;
only language in favour of which this plea might&lt;br /&gt;
be urged 2 In many of the countries of the&lt;br /&gt;
Union languages and dialects are to be found, the&lt;br /&gt;
knowledge of which is restricted to a proportionately&lt;br /&gt;
Small part of the population. I would cite Breton,&lt;br /&gt;
the dialect of Picardy, Romansch in the Grisons,&lt;br /&gt;
Basque, and Welsh. If we were to accept the&lt;br /&gt;
Japanese proposal, we should be led on logically&lt;br /&gt;
to accord these particular languages similar&lt;br /&gt;
privileges, and so at once destroy the very system&lt;br /&gt;
of the Berne Convention. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
A PLUTOGRAT OF THE PRESS; OR, THE&lt;br /&gt;
CYNIC&amp;#039;S SUCCESS. -&lt;br /&gt;
NEVER cared very much for Wynyard Graves.&lt;br /&gt;
He was an obscure and impecunious Scribbler&lt;br /&gt;
like myself, in those far-off days, when half a&lt;br /&gt;
guinea for an article or a story meant rejoicing,&lt;br /&gt;
while a guinea for a thousand words was pay&lt;br /&gt;
indeed. -&lt;br /&gt;
To begin with, we were not scions of the aristo-&lt;br /&gt;
cracy, and our middle-class patronymics served no&lt;br /&gt;
purposes of &ldquo;tone&rdquo; on a list of contributors. In&lt;br /&gt;
fact we enjoyed none of those meretricious claims&lt;br /&gt;
to literary recognition, which some few editors and&lt;br /&gt;
publishers are believed to take into account when&lt;br /&gt;
perusing manuscripts sent in to them by uninvited&lt;br /&gt;
outsiders. - &amp;#039;&amp;#039;&lt;br /&gt;
However, after five years spent in genuine hard&lt;br /&gt;
work, we decided to &ldquo;chuck&rdquo; a labour that had&lt;br /&gt;
proved itself a labour of love in more senses than&lt;br /&gt;
OIl62, -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 224 (#280) ############################################&lt;br /&gt;
&lt;br /&gt;
224&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
As Graves said, somewhat vulgarly it is true,&lt;br /&gt;
&ldquo;Literature is a bad egg, old boy. There&amp;#039;s no tin&lt;br /&gt;
in it.&rdquo;&lt;br /&gt;
He had thought that he needed only to&lt;br /&gt;
circulate his lucubrations to be received with open&lt;br /&gt;
arms, and that &ldquo;coin &amp;quot; would splash over him as&lt;br /&gt;
copiously as rain in September.&lt;br /&gt;
Now after five years he looked upon &pound;100 as a&lt;br /&gt;
noble reward for a year&rsquo;s toil.&lt;br /&gt;
Had we depended on our pens the workhouse&lt;br /&gt;
would have been our only refuge. Luckily, we had&lt;br /&gt;
small, very small, private means, which enabled us,&lt;br /&gt;
living frugally, to maintain body and soul under&lt;br /&gt;
one tenement. Still, it was a grind which nothing&lt;br /&gt;
but the self-confidence and enthusiasm of youth&lt;br /&gt;
could have made endurable.&lt;br /&gt;
One evening as we sat by a miserable fire in our&lt;br /&gt;
dingy little sitting-room, cach with a long envelope&lt;br /&gt;
in his hand containing a rejected MS., Graves&lt;br /&gt;
suddenly broke my rather rueful meditations by&lt;br /&gt;
! &raquo;&lt;br /&gt;
exclaiming, &ldquo;That&amp;#039;s the last&lt;br /&gt;
&ldquo;Last what P&rsquo;&rsquo;&lt;br /&gt;
&ldquo;Last rejected manuscript I mean to receive.&rdquo;&lt;br /&gt;
&ldquo; HOW&rsquo;s that, 2 &rdquo;&lt;br /&gt;
&ldquo;Because I shall never send another out.&rdquo;&lt;br /&gt;
His explanation seemed to be conclusive. I pro-&lt;br /&gt;
duced my briar, filled, and lighted it. After a few&lt;br /&gt;
composing whiffs, I asked him what he meant&lt;br /&gt;
to do.&lt;br /&gt;
&ldquo;Do l&rsquo; he echoed, his eyes glittered angrily.&lt;br /&gt;
He flung the document into the centre of the fire,&lt;br /&gt;
and broke into violent invective.&lt;br /&gt;
&ldquo;Do Why chuck the rotten game and try&lt;br /&gt;
for something that will at all events afford me a&lt;br /&gt;
docker&rsquo;s wage. Good Heavens ! man, here have we&lt;br /&gt;
been wasting the best years of our lives chasing a&lt;br /&gt;
will-o&amp;#039;-the-wisp, a boneless phantom an intangible&lt;br /&gt;
shadow !&rdquo;&lt;br /&gt;
&ldquo;But you forget, Graves, that a successful&lt;br /&gt;
journalist or novelist commands big pay,&rdquo; I&lt;br /&gt;
interposed.&lt;br /&gt;
&ldquo;And a successful money-grabber commands a&lt;br /&gt;
sight bigger pay,&rdquo; he returned hotly. &ldquo;What&amp;#039;s&lt;br /&gt;
your plutocrat but a fellow who passed his youth&lt;br /&gt;
watching how and where he could &ldquo;best &amp;#039; his&lt;br /&gt;
neighbours We&rsquo;ve been a couple of silly fools.&lt;br /&gt;
Had we worked as steadily and conscientiously as&lt;br /&gt;
mechanics, we should have been trusted overseers&lt;br /&gt;
in receipt of good wages, or better still, have turned&lt;br /&gt;
small employers.&rdquo;&lt;br /&gt;
He kicked the smouldering paper on the small&lt;br /&gt;
fire savagely. * -&lt;br /&gt;
&ldquo;But you forget that poets, authors, painters and&lt;br /&gt;
composers have always suffered hardship, neglect,&lt;br /&gt;
and poverty for years before coming into their&lt;br /&gt;
kingdom. Wordsworth was an old man before&lt;br /&gt;
people read him. Keats was never read at all&lt;br /&gt;
during his lifetime 22 -&lt;br /&gt;
&ldquo;Oh shut up, for Heaven&rsquo;s sake | I believe&lt;br /&gt;
in labour earning its reward. If there&amp;#039;s no reward,&lt;br /&gt;
I&amp;#039;ll turn to something more healthy.&rdquo;&lt;br /&gt;
His monologue abated something of its fury&lt;br /&gt;
after he had delivered himself of this declaration.&lt;br /&gt;
To say that I sympathised with him is only to .&lt;br /&gt;
be expected, considering that we had both been&lt;br /&gt;
rowing in the same boat.&lt;br /&gt;
Hard as it was to do so, we were forced to admit&lt;br /&gt;
the plain unvarnished truth that as free-lance&lt;br /&gt;
journalists we were simply egregious failures.&lt;br /&gt;
Men no better equipped in the matter of brains&lt;br /&gt;
than ourselves had passed us altogether in the race.&lt;br /&gt;
One or two had pocketed their pride and turned&lt;br /&gt;
reporters, Here a would-be poet was doing dry&lt;br /&gt;
statistical work on a trade journal. There a&lt;br /&gt;
reformer, from one of the Universities, was con-&lt;br /&gt;
cocting servile interviews for a sensation-mongering&lt;br /&gt;
halfpenny daily.&lt;br /&gt;
Some day they would make quite a decent living&lt;br /&gt;
Out of newspapers, but they would have sacrificed&lt;br /&gt;
every hope, every faith, every virtue that had once&lt;br /&gt;
been theirs.&lt;br /&gt;
Cogitating on these experiences, I held my tongue,&lt;br /&gt;
and puffed at my pipe. -&lt;br /&gt;
Graves turned on me abruptly.&lt;br /&gt;
&ldquo;To-morrow, I go into trade,&rdquo; he said.&lt;br /&gt;
&ldquo;Yes.&rdquo; -&lt;br /&gt;
&ldquo;And you ?&rdquo; he continued.&lt;br /&gt;
&ldquo;I shall try to obtain an appointment of some&lt;br /&gt;
congenial kind. Failing that, I shall qualify for a&lt;br /&gt;
profession&mdash;the Bar for choice.&rdquo;&lt;br /&gt;
&ldquo;GOOd &rdquo; :&lt;br /&gt;
Without further comment, he turned to his&lt;br /&gt;
desk.&lt;br /&gt;
All his MSS., over which he had taken infinite&lt;br /&gt;
pains, he heaped and thrust upon the fire. With&lt;br /&gt;
a set jaw, he handled the poker in an endeavour&lt;br /&gt;
to coax a better draught. A burst of flame&mdash;a&lt;br /&gt;
roar&mdash;the mass of paper had taken light and was&lt;br /&gt;
rapidly transmitted to black flakes.&lt;br /&gt;
Graves&amp;#039;s face bore evidence to conflicting&lt;br /&gt;
emotions beneath the surface ; but he uttered no&lt;br /&gt;
word, and made no sign.&lt;br /&gt;
I watched him intently.&lt;br /&gt;
Ashes, sombre in colour, testified to the crema-&lt;br /&gt;
tion of what had once been part of a human&lt;br /&gt;
Soul.&lt;br /&gt;
&ldquo;Your turn next,&rdquo; he said after a while, leaning&lt;br /&gt;
over the smothered coal, and gazing upon the last&lt;br /&gt;
remains of his mental offspring.&lt;br /&gt;
&ldquo;My turn ? No! I cannot bring myself to&lt;br /&gt;
imitate your example&mdash;at least, not now.&rdquo;&lt;br /&gt;
Graves laughed mirthlessly.&lt;br /&gt;
&ldquo;You&rsquo;d better. Burn your boats, old chap, and&lt;br /&gt;
start on a new campaign. Ghosts&rdquo;&mdash;he kicked the&lt;br /&gt;
black flakes&mdash;&ldquo;ghosts that will haunt and torment&lt;br /&gt;
you.&rdquo; -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 225 (#281) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A CITISIOR,&lt;br /&gt;
225&lt;br /&gt;
But I would not be persuaded to copy his act of&lt;br /&gt;
renunciation. .&lt;br /&gt;
A week after that memorable scene, our ways&lt;br /&gt;
parted. We gave up our &ldquo;diggings.&rdquo; I left the&lt;br /&gt;
metropolis. Graves disappeared out of my life,&lt;br /&gt;
and I made no efforts to trace his whereabouts.&lt;br /&gt;
PART II.&lt;br /&gt;
S0 years ran on, ten of them. These I had spent&lt;br /&gt;
on the Gold Coast mostly, for there I possessed&lt;br /&gt;
some status as an official of His Britannic Majesty&amp;#039;s&lt;br /&gt;
Colonial Service. Living cost me next to nothing,&lt;br /&gt;
so that I saved nearly the whole of my salary.&lt;br /&gt;
Blessed with a tough constitution I resisted&lt;br /&gt;
climatic dangers which proved fatal to many more&lt;br /&gt;
robust looking specimens. So that taking every-&lt;br /&gt;
thing into consideration I was not dissatisfied with&lt;br /&gt;
my lot.&lt;br /&gt;
Now that I had no need to put pen to paper in&lt;br /&gt;
the way of literary compositions, I became aware&lt;br /&gt;
that I could always &ldquo;Place&rdquo; descriptive articles&lt;br /&gt;
relative to my experiences abroad. Certain periodi-&lt;br /&gt;
cals with a leaning towards ethnography actually&lt;br /&gt;
found me out, and made proposals for occasional&lt;br /&gt;
contributions which, at one time, would have&lt;br /&gt;
driven me frantic with joy. It was my turn to&lt;br /&gt;
reject now. And I did reject most of them.&lt;br /&gt;
Literary work had grown most confoundedly&lt;br /&gt;
abiguing, while pay that would have appeared&lt;br /&gt;
princely to me once, now seemed absurdly small.&lt;br /&gt;
Here and there I broke the rule, and by so doing&lt;br /&gt;
came to know the marvellous publishing firm of&lt;br /&gt;
Gregory Grub &amp;amp; Co.&lt;br /&gt;
Being home on my annual leave, I was strolling&lt;br /&gt;
along Fleet Street aimlessly glancing at the news-&lt;br /&gt;
paper offices to right and left of me, when an idea&lt;br /&gt;
struck me. .&lt;br /&gt;
&ldquo;I&rsquo;ll call on Grub and see for myself what kind&lt;br /&gt;
of chap he is. I&rsquo;ve cashed a cheque or two of his,&lt;br /&gt;
and found them correct, but I don&rsquo;t even know him&lt;br /&gt;
by sight.&rdquo;&lt;br /&gt;
So I wandered on, until I stopped in amazement.&lt;br /&gt;
Instead of the shabby hole-and-corner affair in&lt;br /&gt;
which most solvent publishers modestly transact&lt;br /&gt;
their business, here was a palatial structure, brand&lt;br /&gt;
new, resplendent, fitted up with the latest improve-&lt;br /&gt;
ments.&lt;br /&gt;
&ldquo;By George &amp;#039; &amp;quot; I exclaimed, &ldquo;does publishing&lt;br /&gt;
ay ! 7 5 t&ordm;.&lt;br /&gt;
Nothing daunted, however, I entered and made&lt;br /&gt;
my way to a spot marked &ldquo;Inquiry Office.&rdquo; A list&lt;br /&gt;
of editorial rooms, as overawing as that of the&lt;br /&gt;
departmental officials&rsquo; sanctums in a Government&lt;br /&gt;
Building, attracted my eye. I could not discern&lt;br /&gt;
the title of any periodical, however, which bore a&lt;br /&gt;
geographical significance upon it.&lt;br /&gt;
&ldquo;Best to send up my card,&rdquo; I thought.&lt;br /&gt;
A minion in livery handed the pasteboard into a&lt;br /&gt;
pipe arrangement, and requested me politely to take&lt;br /&gt;
a seat.&lt;br /&gt;
I waited some short while on the great man&amp;#039;s&lt;br /&gt;
pleasure before word came down a speaking-tube&lt;br /&gt;
that he would see me.&lt;br /&gt;
I was then taken in tow by another envoy.&lt;br /&gt;
We negotiated corridors carpeted with thick firm&lt;br /&gt;
material, passing doors innumerable. Here and&lt;br /&gt;
there a statuette placed on a pedestal ornamented&lt;br /&gt;
these passages. Occasionally a map, picture, or&lt;br /&gt;
photograph of unusual dimensions adorned the&lt;br /&gt;
Walls.&lt;br /&gt;
I wondered whether Gregory Grub&amp;#039;s authors&lt;br /&gt;
shared in these riches; and found this same specula-&lt;br /&gt;
tion crossing my mind again and again, as we&lt;br /&gt;
encountered fresh evidence of the firm&amp;#039;s opulence&lt;br /&gt;
and splendour.&lt;br /&gt;
Our tramp ceased before a door hidden behind&lt;br /&gt;
a portiere.&lt;br /&gt;
My guide tapped upon this, and, receiving an&lt;br /&gt;
answer from within, opened it.&lt;br /&gt;
I was in the presence of Gregory Grub.&lt;br /&gt;
(To be continued.)&lt;br /&gt;
THE UTILITY OF REVIEWS.&lt;br /&gt;
--&lt;br /&gt;
TVHOUGH I am a young author, I am not, I am&lt;br /&gt;
sorry to record, a young man, and though&lt;br /&gt;
it is only some seven years since my first&lt;br /&gt;
volume appeared, it is more than forty since my first&lt;br /&gt;
&ldquo;fugitive piece &rsquo;&rsquo; passed through the fingers of&lt;br /&gt;
devil, printer, editor, and critic. (&ldquo;Reviewers&rdquo;&lt;br /&gt;
were called &ldquo;critics&rdquo; in those days.) I ought to&lt;br /&gt;
have been a writer a third of a century ago, but I&lt;br /&gt;
have been so busy that I have often scarcely had&lt;br /&gt;
time to pull my boots off and say my prayers; and,&lt;br /&gt;
I may as well confess, I have often been too tired&lt;br /&gt;
to perform the latter duty. But I have had my eye&lt;br /&gt;
on the literary reviewer all my life; chiefly because&lt;br /&gt;
I came very early to a conclusion that reviewing a&lt;br /&gt;
book is not one of the best ways of advertising it,&lt;br /&gt;
or ensuring its success.&lt;br /&gt;
I admit at once that the modern reviewer is a&lt;br /&gt;
far better and fairer workman than the old critic,&lt;br /&gt;
who was often a literary failure, and, therefore, a&lt;br /&gt;
crabbed and jealous exponent of the work of more&lt;br /&gt;
successful men.&lt;br /&gt;
Personally I have no quarrel with reviewers;&lt;br /&gt;
indeed, I think they have, with few exceptions,&lt;br /&gt;
treated my work most favourably, yet I think that&lt;br /&gt;
authors are entitled to have this class of literary&lt;br /&gt;
men placed under much greater restriction than&lt;br /&gt;
they are at present.&lt;br /&gt;
In the first place, every reviewer should be com-&lt;br /&gt;
pelled by law to affix his signature to his criticism.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 226 (#282) ############################################&lt;br /&gt;
&lt;br /&gt;
226.&lt;br /&gt;
TISIES A UITISIOR-&lt;br /&gt;
An author is entitled to that guarantee of good&lt;br /&gt;
faith, and such a course would probably put a stop&lt;br /&gt;
to the present most improper practice of one man&lt;br /&gt;
writing reviews for three or four different papers.&lt;br /&gt;
A review is, after all, simply the opinion of one&lt;br /&gt;
man ; and newspaper editors are not always good&lt;br /&gt;
judges of the most fit person to perform the serious&lt;br /&gt;
task of praising, or of cutting up a book. The&lt;br /&gt;
reputation of a young author is easily blasted, and&lt;br /&gt;
though an editor may be responsible for the work&lt;br /&gt;
of his reviewer, law-angling is very expensive, and&lt;br /&gt;
quite as uncertain as other forms of the &ldquo;gentle&lt;br /&gt;
art.&rdquo; For this, and other important reasons, it is&lt;br /&gt;
desirable to make the reviewer himself directly&lt;br /&gt;
answerable for his work. A reviewer is far more&lt;br /&gt;
likely to avoid an offensive attack if he knows he&lt;br /&gt;
may be made to pay for it, than a rich newspaper&lt;br /&gt;
proprietor who, on his part, in some cases may not&lt;br /&gt;
be averse to a legal squabble, especially if he knows&lt;br /&gt;
that his opponent is too poor to fight him.&lt;br /&gt;
I am inclined to believe that it would be to the&lt;br /&gt;
advantage of authors if reviewers were abolished.&lt;br /&gt;
It is the writers of scientific works and books of&lt;br /&gt;
travels that are most affected by them. A very&lt;br /&gt;
few bad notices of a book of this class will render&lt;br /&gt;
its sale unprofitable, while a long series of excel-&lt;br /&gt;
lent reviews will not increase the sale beyond&lt;br /&gt;
1,000 to 1,500 copies. A great many persons are&lt;br /&gt;
astonished at hearing that the Sale of a book of&lt;br /&gt;
travels rarely exceeds 1,500 copies. This, however,&lt;br /&gt;
is a lamentable fact. The work of a single&lt;br /&gt;
reviewer, therefore, especially if he has the Com-&lt;br /&gt;
mand of three or four papers, is capable of doing&lt;br /&gt;
an unknown writer very great mischief&mdash;a mischief&lt;br /&gt;
that may be malicious and quite undeserved ; for&lt;br /&gt;
reviewers, like other people, have fads, and there&lt;br /&gt;
are persons who allow their fads to get the better&lt;br /&gt;
of their powers of honest discrimination.&lt;br /&gt;
Writers of fiction suffer little or nothing from&lt;br /&gt;
reviewers. A novelist once established is far above&lt;br /&gt;
criticism, indeed, I do not think the weakest&lt;br /&gt;
scribbler in this branch of literature has anything&lt;br /&gt;
to fear from the critic. People who read novels&lt;br /&gt;
rarely look at literary notices, and when they do,&lt;br /&gt;
being highly crotchety and sentimental people, a&lt;br /&gt;
good &ldquo;cutting up&rsquo;&rsquo; is more likely to recommend a&lt;br /&gt;
book to them than otherwise.&lt;br /&gt;
It is, therefore, a question whether publishers&lt;br /&gt;
could not find a better means of advertising their.&lt;br /&gt;
publications than submitting them to reviewers.&lt;br /&gt;
This is really what reviewing is&mdash;a form of gratui-&lt;br /&gt;
tous advertising, a practice to which there are&lt;br /&gt;
many grave objections. e&lt;br /&gt;
I hope this little paper is only the first of a series&lt;br /&gt;
of attempts to improve the position of authors, who&lt;br /&gt;
are at this moment the worst remunerated and&lt;br /&gt;
most oppressed of all professional men. Quixotic&lt;br /&gt;
as the attempt may seem, I am determined to&lt;br /&gt;
endeavour to get an alteration in the laws which&lt;br /&gt;
affect literary men. I shall be thankful for support&lt;br /&gt;
in this work, but even if I lack help and sympathy&lt;br /&gt;
I will carry it on singlehanded. The state of the&lt;br /&gt;
laws concerning literary men is disgraceful, as I&lt;br /&gt;
hope to show presently. A tailor, with an old&lt;br /&gt;
coat, has often a better case and more attention in&lt;br /&gt;
the Courts than an author with a valuable MS.&lt;br /&gt;
PAUL FOUNTAIN.&lt;br /&gt;
s&ordm;&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-m&ordm;m.&lt;br /&gt;
BOOKS AT AUCTION.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HE chief event in the book world since the&lt;br /&gt;
last part of &ldquo;Book Prices Current, 1908,&rdquo;*&lt;br /&gt;
was published, has been, of course, the sale&lt;br /&gt;
of the library of the Right Hon. Lord Amherst of&lt;br /&gt;
Hackney. Some fifty pages of the first part of the&lt;br /&gt;
new volume are devoted to a portion of this&lt;br /&gt;
famous library&mdash;450 lots, to be exact, which&lt;br /&gt;
realised &pound;18,072 19s. The cream of the collec-&lt;br /&gt;
tion, however, the Caxtons, were sold privately to&lt;br /&gt;
Mr. Pierpont Morgan for a sum that, if it any-&lt;br /&gt;
where approaches the rumoured figures, was a&lt;br /&gt;
record even for the prized productions of the great&lt;br /&gt;
printer. Among them was the renowned &ldquo;Dictes&lt;br /&gt;
or Sayings&rdquo; (1477), and &ldquo;The Morale Proverbes&rdquo;&lt;br /&gt;
(emprintede by Caxton in Feverer the Colde Season),&lt;br /&gt;
in one calf-bound, small folio volume. . The &ldquo;Dictes&lt;br /&gt;
or Sayings &rsquo;&rsquo; is the first book ever printed in,&lt;br /&gt;
England, of which only twelve copies&mdash;six of them.&lt;br /&gt;
imperfect&mdash;are known to exist. Of the &ldquo;Morale&lt;br /&gt;
Proverbes&rsquo;&rsquo; (1478) only three copies are extant.&lt;br /&gt;
Among many other books of the utmost rarity.&lt;br /&gt;
and value may be noted a copy of the first classic&lt;br /&gt;
ever printed, Cicero&rsquo;s &ldquo;Officiorum Librii iii.,&lt;br /&gt;
Paradoxa, et Versus xii. Sapiertum &amp;amp;c.&rdquo; (Moquntial,&lt;br /&gt;
Fust &amp;amp; Schoiffer, 1465), which went for &pound;700, and&lt;br /&gt;
a first edition &ldquo;Robinson Crusoe&rsquo;&rdquo; (W. Taylor,&lt;br /&gt;
1719), which seems inexpensive at &pound;100.&lt;br /&gt;
An illuminating example of how books increase&lt;br /&gt;
in value was afforded by the sale for &pound;315 of&lt;br /&gt;
Martin Frobisher&rsquo;s &ldquo;True Discourse of the late.&lt;br /&gt;
Voyages of Discoverie for the finding of a Passage&lt;br /&gt;
to Catinaya.&rdquo; In 1808 this same copy was bought,&lt;br /&gt;
for a shilling, and in 1887 for &pound;100.&lt;br /&gt;
A copy of the (supposed) fourth edition of &ldquo;The&lt;br /&gt;
Institution of a Christian Man &amp;#039;&amp;#039; (1543), with&lt;br /&gt;
Ring Henry VII.&amp;#039;s preface, was sold for &pound;4. This&lt;br /&gt;
book is specially worthy of mention as it has,&lt;br /&gt;
printed above the colophon at the end, the Words,&lt;br /&gt;
&ldquo;This Boke bounde in paper boardes or in clasps&lt;br /&gt;
* &ldquo;Book Prices Current : A Bi-Monthly Record of the&lt;br /&gt;
Prices at which Books have been sold at Auction.&rdquo; London :&lt;br /&gt;
Elliot Stock. &pound;1 5s. 6d. per annum. ..&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 227 (#283) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTHOR.&lt;br /&gt;
227&lt;br /&gt;
not to be solde above XVI. d.&rdquo;&mdash;a curious example&lt;br /&gt;
of early net prices.&lt;br /&gt;
Among modern authors, Meredith seems to&lt;br /&gt;
maintain the lead : an autographed first edition of&lt;br /&gt;
the &ldquo;Poems&rdquo; brought &pound;22 last October; while&lt;br /&gt;
the rare &ldquo;Departmental Ditties&rdquo; of Kipling,&lt;br /&gt;
published in Lahore, in 1886, dropped to &pound;2 7s.&lt;br /&gt;
The most rapidly rising values in books at&lt;br /&gt;
present are early aeronautical works, all of which&lt;br /&gt;
are rare and eagerly sought after. It appears&lt;br /&gt;
that, very shortly, the prices will be prohibitive.&lt;br /&gt;
In the last few months the average increase in&lt;br /&gt;
value has been 400 per cent.&lt;br /&gt;
CoRRESPONDENCE,&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
SIR,-May it not be that the singular neglect on&lt;br /&gt;
the part of the author to make any active protest&lt;br /&gt;
against the present illogical system of our English&lt;br /&gt;
copyright, which has been mentioned in The Author,&lt;br /&gt;
may arise from the conviction, based on experience,&lt;br /&gt;
of the utter futility of the author to appeal to that&lt;br /&gt;
Sense of justice which is said to be the characteristic&lt;br /&gt;
of the English nation. Failing the appeal to&lt;br /&gt;
justice, that of agitation naturally arises in the&lt;br /&gt;
mind, but from this method of forcing the pace the&lt;br /&gt;
poor author is likewise debarred, by his want of a&lt;br /&gt;
&lsquo;skin of ebony, or the leisure to manufacture bombs,&lt;br /&gt;
to bolt buns in the Zoological Gardens, or appear&lt;br /&gt;
in any of those characters which would give him&lt;br /&gt;
the suffrage of a warm-hearted and intelligent&lt;br /&gt;
public. There appears, therefore, to be left no&lt;br /&gt;
appeal but that advanced, with so much vigour by&lt;br /&gt;
&ldquo;G. H. T.&rdquo; in his stimulating paper in the April&lt;br /&gt;
number, the appeal to common sense. Given that&lt;br /&gt;
the object of English copyright is to protect the&lt;br /&gt;
English author, the argument would be irrefutable,&lt;br /&gt;
but that is the point which is in doubt, witness the&lt;br /&gt;
present state of our copyright with America.&lt;br /&gt;
Surely, there is a measure of humbug in our hold-&lt;br /&gt;
ing up our hands at the action of America in&lt;br /&gt;
annexing the brains of our authors and the wages&lt;br /&gt;
of our printers which are gratuitously offered to&lt;br /&gt;
him by England As an American said a year or&lt;br /&gt;
two ago, &ldquo;You English have the question entirely&lt;br /&gt;
in your own hands, treat American authors as we&lt;br /&gt;
treat English, and the result will be Free Trade in&lt;br /&gt;
literature in a very short time.&rdquo; On one point we&lt;br /&gt;
&lsquo;may rest assured: authors have to fight this battle&lt;br /&gt;
without outside aid; the public do not care if the&lt;br /&gt;
author makes a living wage; all the public want&lt;br /&gt;
care our books, neatly bound in cloth, price seven-&lt;br /&gt;
pence, which they will have shortly unless the&lt;br /&gt;
two years standard is rigorously enforced. Having&lt;br /&gt;
regard to the array of great literary names in the&lt;br /&gt;
House at present, this surely is the moment for the&lt;br /&gt;
Cause of the poor author to be forced on the con-&lt;br /&gt;
sideration of authority. Above all it should be&lt;br /&gt;
remembered that the author has one asset, and one&lt;br /&gt;
only&mdash;the printer whom American copyright has&lt;br /&gt;
ruined. The printer should be run for all he is&lt;br /&gt;
Worth ; that it is through the printer that justice&lt;br /&gt;
Will eventually be meted out to the poor author, is&lt;br /&gt;
the conviction of&lt;br /&gt;
- Yours obediently,&lt;br /&gt;
JULIEN ARMSTRONG.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TWO SMALL ITEMS AND A BIG ONE.&lt;br /&gt;
SIR,-As an embryo author, perhaps I may be&lt;br /&gt;
permitted to present some items, which are likely&lt;br /&gt;
to dominate the minds of such, and which seem to&lt;br /&gt;
require some treatment.&lt;br /&gt;
(1) Would it not be possible to establish the&lt;br /&gt;
Copyright of noms de plume, and also of the titles&lt;br /&gt;
of literary art 2. Were this accomplished, every&lt;br /&gt;
publisher and editor would doubtless take the pre-&lt;br /&gt;
Caution, before putting a work in print, to ascertain&lt;br /&gt;
if he were lawfully permitted to use some title or&lt;br /&gt;
nom de plume. . At Stationers&amp;#039; Hall could be kept a&lt;br /&gt;
title and nom de plume register, extracts therefrom&lt;br /&gt;
being published from time to time for the perusal&lt;br /&gt;
of authors and publishers.&lt;br /&gt;
It would also seem necessary to make provision&lt;br /&gt;
for safeguarding the reputation of the successful&lt;br /&gt;
author&mdash;say John Smith, against the subtleties of&lt;br /&gt;
such literary parasites who strive to publish similar&lt;br /&gt;
Work under similar titles and the name of&lt;br /&gt;
J. Smith.&lt;br /&gt;
(2) I recently produced a work, and ordered fifty&lt;br /&gt;
review copies to be sent, not specifying the papers.&lt;br /&gt;
The publisher sent out a hundred. Error, but on&lt;br /&gt;
the right side. The following, however, is some-&lt;br /&gt;
What more serious to the impecunious author. In&lt;br /&gt;
three months&amp;#039; time barely twenty notices of the&lt;br /&gt;
Work had come to hand, and worse&mdash;personal&lt;br /&gt;
letters to the editors elicited a few replies&mdash;(90 per&lt;br /&gt;
cent. Of them didn&amp;#039;t reply)&mdash;that the work in&lt;br /&gt;
question could not be traced. Advertisement is&lt;br /&gt;
evidently a great stumbling block to art, but that&lt;br /&gt;
cannot at present be remedied. An editor will not&lt;br /&gt;
review a book for love if he receives another book&lt;br /&gt;
for review and a large cheque between its pages.&lt;br /&gt;
I wonder if this is a great evil, and if there is a&lt;br /&gt;
remedy ?&lt;br /&gt;
(3) Authors&amp;#039; Publishing Company, Limited.&mdash;&lt;br /&gt;
&ldquo;If I could only print, bind, and sell my works&lt;br /&gt;
myself &rdquo; thinks many a young author, and,&lt;br /&gt;
maybe, some old ones.&lt;br /&gt;
Would it be feasible 2 Would it tend to the&lt;br /&gt;
general good to form Some gigantic publishing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 228 (#284) ############################################&lt;br /&gt;
&lt;br /&gt;
22S&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
concern with which all authors would be amalga-&lt;br /&gt;
mated&mdash;would be the shareholders ?&lt;br /&gt;
It smacks somewhat of the Social State, when&lt;br /&gt;
doubtless there will be but one State publishing&lt;br /&gt;
department ; and all authors, having passed their&lt;br /&gt;
examination as State artists, will be paid salaries,&lt;br /&gt;
and be given their special line of work&lt;br /&gt;
At present it would mean the boycott of existing&lt;br /&gt;
publishers, and throwing out of work a lot of men,&lt;br /&gt;
unless such men were taken over by the Authors&rsquo;&lt;br /&gt;
Publishing Company, Limited. But since all printing&lt;br /&gt;
and binding work is much the same, the scheme&lt;br /&gt;
lacks not feasibility.&lt;br /&gt;
It is likely that, with such a concern, authors&lt;br /&gt;
would receive an almost perfect monetary recompense&lt;br /&gt;
for their works (in fact a reasonable income in pro-&lt;br /&gt;
portion to their amount of labour), and that books&lt;br /&gt;
could thus be sold at cheaper and more uniform&lt;br /&gt;
prices, and thus circulate far wider, and benefit all&lt;br /&gt;
the public.&lt;br /&gt;
But doubtless this has been considered by&lt;br /&gt;
intellects greater and more experienced than I may&lt;br /&gt;
boast of.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
EMIBRYO.&lt;br /&gt;
&mdash;4&mdash;s&ordm;-0&ndash;&lt;br /&gt;
PRIZES FOR AUTHORS.&lt;br /&gt;
SIR,--Two letters in the last issue of The Author&lt;br /&gt;
and a note on the reading branch in the com-&lt;br /&gt;
mittee&amp;#039;s annual report suggest that more could,&lt;br /&gt;
and should, be done to encourage and assist the&lt;br /&gt;
struggling beginner whose failure to obtain a hearing&lt;br /&gt;
for his work is due to its unpopular character and&lt;br /&gt;
not to any intrinsic demerit.&lt;br /&gt;
La Soci&eacute;t&eacute; des Gens de Leſtres awards several&lt;br /&gt;
prizes yearly. Would not the many financially&lt;br /&gt;
successful members of our own society be willing .&lt;br /&gt;
to contribute to a fund for a similar purpose, and&lt;br /&gt;
thus prove that their devotion to literature extends&lt;br /&gt;
somewhat further than the protection of their own&lt;br /&gt;
interests 2&lt;br /&gt;
It is from no desire to parade my misfortunes&lt;br /&gt;
that I venture to detail my own position : the case&lt;br /&gt;
for assistance cannot otherwise be sustained than&lt;br /&gt;
by such illustrations.&lt;br /&gt;
For having at the age of twenty-six issued&lt;br /&gt;
privately, at my own expense, a slim booklet of&lt;br /&gt;
poems, I may be forgiven.&lt;br /&gt;
Few of the publications to which it was sent for&lt;br /&gt;
review condescended to notice it at all ; several did&lt;br /&gt;
not even include it in the list of books received.&lt;br /&gt;
This was certainly not accidental on the part of&lt;br /&gt;
one very popular weekly whose chief is never tired&lt;br /&gt;
of posing as the guide, philosopher, and friend of&lt;br /&gt;
the literary aspirant. I sent him three copies on&lt;br /&gt;
separate occasions, but the book never appeared in&lt;br /&gt;
the weekly lists. Why?&lt;br /&gt;
Another weekly, however, widely known for its&lt;br /&gt;
exacting literary standard, accorded me a generous&lt;br /&gt;
notice concluding that &ldquo;if the writer is a young&lt;br /&gt;
man now publishing his first book, he should do&lt;br /&gt;
something&rdquo; Generous encouragement was also&lt;br /&gt;
received by private letter from men whose verdict&lt;br /&gt;
(in print) is everywhere received with the respect-&lt;br /&gt;
ful attention commanded by acknowledged experts.&lt;br /&gt;
Now, what is the net result of all this 2 A few&lt;br /&gt;
appearances in the reviews and a total gross receipt&lt;br /&gt;
of &pound;12 1s. 6d. &amp;#039;&lt;br /&gt;
I pay my guinea gladly (when I have it) and am&lt;br /&gt;
willing to continue to do so, though I have, as yet,&lt;br /&gt;
no connections with publishers and little or no&lt;br /&gt;
published work that is likely to need protection.&lt;br /&gt;
But if I were suddenly incapacitated (a prospect&lt;br /&gt;
always more or less imminent, on account of a&lt;br /&gt;
chronic disorder), how could the society help ?&lt;br /&gt;
What have I produced to deserve its assistance 2&lt;br /&gt;
Would the unceasingly rejected MSS. which fill&lt;br /&gt;
my drawers be counted to me for righteousness 2&lt;br /&gt;
Finally, to make a practical suggestion, why not&lt;br /&gt;
arrange to crown annually the one, two, or three&lt;br /&gt;
best works (according to subject&mdash;poetry, fiction,&lt;br /&gt;
or belles-lettres) submitted to the reading branch,&lt;br /&gt;
and pay for their publication with the guineas&lt;br /&gt;
received P&lt;br /&gt;
The painter&amp;#039;s picture, though unsold, is not&lt;br /&gt;
unseen ; its acceptance in a gallery is based on its&lt;br /&gt;
artistic and not on its selling qualities. But it is&lt;br /&gt;
unspeakably hard for the unrecognised writer to&lt;br /&gt;
forego indefinitely all opportunity of recognition,&lt;br /&gt;
as compelled by the present condition of public&lt;br /&gt;
taste, aided and abetted by the timidity or cupidity&lt;br /&gt;
of the publishers. .&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
A WAYFARER.&lt;br /&gt;
[If the prizes were paid for out of the guineas&lt;br /&gt;
which are now received and paid to the readers,&lt;br /&gt;
who or what would pay the readers and judges 2&lt;br /&gt;
To secure a judge of such literary standing that&lt;br /&gt;
his opinion would carry finality, would demand&lt;br /&gt;
a heavy fee.&mdash;ED.] -&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
SHALL WE PUBLISH FOR OURSELVES :&lt;br /&gt;
SIR,--In reply to &ldquo;L. M. B.&rsquo;s &rdquo; question, I&lt;br /&gt;
offered my second novel as a matter of course&lt;br /&gt;
to the firm who had published my first. I have&lt;br /&gt;
always attributed their final adverse decision to&lt;br /&gt;
public events which were disastrous to the publish-&lt;br /&gt;
ing trade, since at first they seemed inclined to&lt;br /&gt;
accept ; but I may be wrong.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
C. A. M.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 228 (#285) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
iii&lt;br /&gt;
WIFE, OR SWEETHEART 2 and other Stories. By W.&lt;br /&gt;
H.SMITH... Capital stories; well told, and will be read&lt;br /&gt;
With real interest throughout. Bound in thick and&lt;br /&gt;
attractive brochure covers, with white foil lettering. 6d.&lt;br /&gt;
net. [Now Ready.&lt;br /&gt;
THE ADVENTURES OF MRS. RUSSELL. (Stories of&lt;br /&gt;
Mystery from India.) By S. B. BANERJEA. Full of&lt;br /&gt;
healthy excitement. &ldquo;Mrs. Russell&rsquo;&rsquo; is a lady &ldquo;Sherlock&lt;br /&gt;
Holmes,&rdquo; and each of the stories comprising the book will&lt;br /&gt;
be read with great pleasure and with fully sustained&lt;br /&gt;
interest throughout. Bound in cloth boards, 1/= net.&lt;br /&gt;
GERMAN THE WIKING : A Story of Ancient England.&lt;br /&gt;
By JAMES STUART. Printed on thick antique paper,&lt;br /&gt;
and bound in handsome bevelled boards, 1/6 net. his&lt;br /&gt;
book is specially recommended by the publisher, the&lt;br /&gt;
interest and excitement being well sustained from start&lt;br /&gt;
to finish. The plot is good, and is capitally worked out.&lt;br /&gt;
MONICA OF ESSEBURN: A Novel. By MARGARET&lt;br /&gt;
F. OSBORNE. Contains splendid photograph as frontis-&lt;br /&gt;
piece, and is printed throughout on thick antique paper.&lt;br /&gt;
Bound with attractive design in best cloth. 2/= met.&lt;br /&gt;
&ldquo;Contains several very clever character studies . . . the romance may&lt;br /&gt;
well be commended.&rdquo;&mdash; Dundee Advertiser.&lt;br /&gt;
The story of a girl who fell in love with her sister&amp;#039;s lover . . . Includes&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
MISS B ARRETT, 21, Copthall Avenue,&lt;br /&gt;
London, E.C.&lt;br /&gt;
Telephone : 0077 Central. -&lt;br /&gt;
Literary Work, Plays, &amp;amp;c., promptly &amp;amp; accurately copied.&lt;br /&gt;
Orders by post quickly carried out.&lt;br /&gt;
Efficient Clerks supplied to Clients by day, week, or month.&lt;br /&gt;
Terms and specimen of work on application. Highest References.&lt;br /&gt;
The Eagle Typewriting and Copying Office&lt;br /&gt;
. &amp;amp; L. NIARTIN),&lt;br /&gt;
50, Bruce Road, MITCHAM, Surrey.&lt;br /&gt;
Authors&rsquo; MISS. very carefully and promptly typed at&lt;br /&gt;
8d. per 1,000 words. Plays and Actors&amp;#039; Parts&lt;br /&gt;
equally moderate. Carbon copies 1d. per 1,000 words.&lt;br /&gt;
Punctuation and Spelling strictly adhered to. Best Paper&lt;br /&gt;
used. Wumerous Testimonia/s.&lt;br /&gt;
some pretty description of the village.&rdquo;&mdash; Christian World.&lt;br /&gt;
IN THE LONG RUN : A Novel. By ROBERT B.&lt;br /&gt;
MORENO. A strong book, which will be read with excite-&lt;br /&gt;
ment and pleasure from beginning to end. Frontispiece&lt;br /&gt;
on art paper. Printed on thick antique paper, with hand-&lt;br /&gt;
Some cloth covers; bound in half red and half blue, with&lt;br /&gt;
white lettering on front and gold lettering on back. 2/6&lt;br /&gt;
net. [Just Published.&lt;br /&gt;
A WELL-PRINTED B00K&lt;br /&gt;
AUTHOR and READER&lt;br /&gt;
LONDON :&lt;br /&gt;
ARTHUR. H. STOCKWELL,&lt;br /&gt;
29, Ludgate Hill, E.C.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-. Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
alike love to&lt;br /&gt;
See clear type, perfect setting, good&lt;br /&gt;
paper and appropriate binding. These&lt;br /&gt;
excellent qualities&lt;br /&gt;
are prominent . . . .&lt;br /&gt;
features of our book-printing service.&lt;br /&gt;
Moreover, local conditions at Tonbridge&lt;br /&gt;
oNE of NUMEROUS TESTIMONIALs. (where we have extensive printing&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, Speed, and neatness with which she&lt;br /&gt;
does her work.-FRANK SAVILLE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
MRS. GILL, Typetoriting Cffice,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephome 84.64 Central.&lt;br /&gt;
TYPEWRITING&lt;br /&gt;
OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDS.&lt;br /&gt;
Two CoPIES, 1s. PER 1,000 Worlds.&lt;br /&gt;
Authors&rsquo; MSS., Legal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
accurately copied. Orders by Post promptly attended to.&lt;br /&gt;
Mrs. SOUTHEE, 273, Francis Rd., LEWTON, LONDON, E,&lt;br /&gt;
works) enable us to produce the&lt;br /&gt;
best possible work at most reasonable&lt;br /&gt;
prices.&lt;br /&gt;
Authors&rsquo; MISS. typed by&lt;br /&gt;
specially selected operators.&lt;br /&gt;
BRADBURY,&lt;br /&gt;
AGNEw, &amp;amp; Co. Ld.&lt;br /&gt;
Whitefriars, London, E.C.&lt;br /&gt;
&bull; PRI NT IN C .&lt;br /&gt;
THE SIGN-OF.OUALITY&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 228 (#286) ############################################&lt;br /&gt;
&lt;br /&gt;
iy A D VERTISEMENTS.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTS.&lt;br /&gt;
* The writer, whether he aspires to write novels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
&bull; THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence College&lt;br /&gt;
teaches the aspirant to serve his apprenticeship&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary Agency&lt;br /&gt;
business of all kinds.&lt;br /&gt;
IFor full particulars write at Once for pamphlet&lt;br /&gt;
T).M. to the DITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
FIRST LESSONS IN STORY WRITING.&lt;br /&gt;
By BARRY PAIN.&lt;br /&gt;
2s. 6d. net; 2s. 8d. post free.&lt;br /&gt;
&ordm;ff Of this work the Westminster Gazette Writes: &ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be&lt;br /&gt;
quite assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
HOW TO BECOME AN AUTHOR.&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide ; full of&lt;br /&gt;
useful hints. 5s. net; 5s. 4d. post free.&lt;br /&gt;
THE LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. ACCURATELY AND NEATLY COPIED,&lt;br /&gt;
9d. PER 1,000 WORDS, INCLUDING CARBON COPY.&lt;br /&gt;
Also General Copying, Plays and Actors&amp;#039; Parts, etc., at very&lt;br /&gt;
moderate terms. Reduced terms for regular work.&lt;br /&gt;
MISS B. KERRY, Rohilla, CARSHALTON, Surrey.&lt;br /&gt;
SIKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting Offices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating ; Plays and Actors&amp;#039; Parts :&lt;br /&gt;
Legal, General and Commercial Documents. Private Rooms for&lt;br /&gt;
Dictation. References. -&lt;br /&gt;
&ldquo;Sangwinigmanſ of Val d&amp;#039;Elsa&lt;br /&gt;
in TusCany.&amp;quot;&lt;br /&gt;
AN ART HISTORICAL WORK.&lt;br /&gt;
Usual Terms.&lt;br /&gt;
Jean Carlyle Graham and Elizabeth M. Derbishire.&lt;br /&gt;
With 27 Pen and Ink Drawings, many hitherto&lt;br /&gt;
unpublished Documents from Tuscan State&lt;br /&gt;
Archives, a Bibliography, and numerous Copy-&lt;br /&gt;
righted Photographs.&lt;br /&gt;
ERNMANNO LOESCHER &amp;amp; CO.&lt;br /&gt;
(Bretschneider &amp;amp; Regenberg), ROME,&lt;br /&gt;
Typewriting,&lt;br /&gt;
can guarantee good work at reasonable charges.&lt;br /&gt;
Orders by post receive prompt attention.&lt;br /&gt;
Duplicating,&lt;br /&gt;
SEP for Estimate if you require any MSS. typed or Circulars duplicated.&lt;br /&gt;
and Copying-&lt;br /&gt;
It will cost you nothing, and I&lt;br /&gt;
Price List and Testimonials on application.&lt;br /&gt;
C. HERBERT CAESAR, Homefield, Woodstock Road, St. Albans.&lt;br /&gt;
Special terms to Authors if you mention this paper.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Taztzzton [XVIII. CENT,&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE EN QUIRIES RESPECTING PRINT ING. -&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
AUTHORS&amp;#039; TYPEWRITING.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying * * ... 1 - 5 y 53 5 y 1/3&lt;br /&gt;
Plays, ruled (a Speciality) ... 1)- 33 y 2 3 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
Address to &ldquo;WESTLEIGH,&rdquo; KING RICHARD&lt;br /&gt;
STREET, Tfrom Oswald House, Queen&lt;br /&gt;
Victoria, Hoad. TYPE WRITING OF EVERY&lt;br /&gt;
DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
Excellent Testimonials from Plgy Writers.&lt;br /&gt;
** TELE ATUTIHOIR.&rdquo;&lt;br /&gt;
SOALE FOR A D VERTIS FM/E/WTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)&lt;br /&gt;
Front Page s &ordm; &ordm; e e ſ&ordm; t&ordm; e a e - &copy; e &lsquo;&ordm; &ordm; ...4.4 0 0&lt;br /&gt;
Other Pages * * * e t&ordm; s g&ordm; &ordm; &ordm; t&ordm; e e t&ordm; g&ordm; e e g t&ordm; t&ordm; ge ... 3 0 0&lt;br /&gt;
Half of a Page ... t e s t&ordm; s&ordm; &ordm; &ordm; &bull; * * e &amp;amp; &amp;amp; t&ordm; E t&ordm; ... l 10 0&lt;br /&gt;
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Eighth of a Page g&ordm; t&ordm; a t&ordm; $ t&ordm; ... . .; Q 7, 9&lt;br /&gt;
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Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for&lt;br /&gt;
Twelve Imsertions.&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
Apyrr&ordm;risement MANAGER, The Awthor Office, 39, Old Queen Street,&lt;br /&gt;
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Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED),&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/393/1909-05-01-The-Author-19-8.pdf</td><td>publications, The Author</td></tr><tr><td>394</td><td>https://historysoa.com/items/show/394</td><td>The Author, Vol. 19 Issue 09 (June 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+09+%28June+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 19 Issue 09 (June 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-06-01-The-Author-19-9</td><td></td><td></td><td></td><td></td><td>229&ndash;260</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=19&quot;&gt;19&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-06-01&quot;&gt;1909-06-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>9</td><td></td><td></td><td>19090601</td><td>C be Elut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XIX.&mdash;No. 9. JUNE 1, 1909. [PRICE SIxPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAG F&lt;br /&gt;
Notices ... * &dagger; &ordm;n * &amp;amp; e t&ordm; t&ordm; e t&ordm; s&ordm; a * &ordm;f G * &dagger; 6 t&ordm; e &amp;amp; ... 229 Registration of Scenarios * * * * * * &amp;amp; &amp;amp; &amp;amp; e &ordm; * * * ... 247&lt;br /&gt;
Committee Notes * * * * g&ordm; &ordm; t&ordm; &ordm; &ordm; t&ordm; g&ordm; &ordm; &amp;amp; &ordm; &ordm; * * * ... 231 Warnings to Musical Composers ... d&ordm; &ordm; g &amp;amp; &copy; a * * * ... 247&lt;br /&gt;
Books published by Members of the Society ... ... ... 234 Stamping Music... e &amp;amp; as e t&ordm; s&ordm; e &ordm; &amp;amp; &ordm; ... ... ... 247&lt;br /&gt;
Literary, Dramatic and Musical Notes ... ... ... ... 235 The Reading Branch ... ... * * * * * * ... ... ... 247&lt;br /&gt;
Paris Notes t&ordm; &ordm; &amp;amp; t&ordm; t&ordm; &amp;amp; &amp;amp; &amp;amp; &copy; s t&ordm; 9 t&ordm; &ordm; &amp;amp; * * * * * * ... 237 &ldquo;The Author &rsquo;&rsquo; ... * * * : * * * * * * a &ordm; &ordm; * * * * g as ... 247&lt;br /&gt;
American Copyright Again ... * * * t&ordm; s &ordm; * g e g&ordm; t&ordm; ſ&ordm; ... 239 Remittances t&ordm; a g&ordm; &amp;amp; &ordm;r &ordm; * * * * * * t&ordm; g e * * * * * * ... 247&lt;br /&gt;
Cheap Editions ... * * * e t&ordm; &ordm; as g&ordm; &ordm; * * * ge t&ordm; g&ordm; &amp;amp; e s&ordm; ... 240 George Meredith, O.M. &amp;amp; &copy; t&ordm; * &amp;amp; &amp;amp; e &amp;amp; e a g&ordm; &ordm; &amp;amp; e : ... 248&lt;br /&gt;
The Annual Dinner ... t&ordm; g&ordm; g&ordm; &amp;amp; 4 &amp;amp; &ordm;, &ordm; &ordm; t&ordm; t&ordm; g&ordm; * * * ... 242 General Notes * &amp;amp; 4 * c w&ordm; t&ordm; g&ordm; &ordm; * &amp;amp; e t&ordm; s &ordm; * &ordm; &ordm; ... 254&lt;br /&gt;
How to Use the Society &amp;amp; &ordm; &amp;amp; * * * t&ordm; ſ&ordm; &ordm; t&ordm; e e * * * ... 246 Is He 2 ... * - &copy; &amp;amp; e e * * * * * * * * * e = * g&ordm; t&ordm; e ... 255&lt;br /&gt;
Warnings to Producers of Books ... t&ordm; &ordm; &ordm; &sect; &ordm; &ordm; t&ordm; g&ordm; g ... 240 A Plutocrat of the Press; or, The Cynic&amp;#039;s Success (concluded) 257&lt;br /&gt;
Warnings to Dramatic Authors * t&ordm; ſ&ordm;. t&ordm; &ordm; t&ordm; * Q &amp;amp; g&ordm; t&ordm; e ... 246 Correspondence ... t&ordm; &ordm; &ordm; * * * # * * &amp;amp; &amp;amp; &copy; e E &amp;amp; a &ordm; e ... 259&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
8. Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Warious Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
&ordm; office of the Society since the publication of the &ldquo;Methods.&rdquo; . With comments and&lt;br /&gt;
advice. 28.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 1s.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d. &amp;lt;3&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
- and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 228 (#288) ############################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
ſlie &Scaron;uriefn of Autburg (jnrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. | BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON, AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
PHE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENs (&ldquo;MARK TwAIN ?).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE BIGHT HON. THE LORD CURZON&lt;br /&gt;
of KEDLESTON, D.C.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY. &amp;amp;&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NorMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
A. W. PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY.WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON,&lt;br /&gt;
THE WISCOUNT Wolseley, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
H. G. WELLS.&lt;br /&gt;
}&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN.&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
DRAMATIC SUB-CoMMITTEE.&lt;br /&gt;
MRS. ALEC TWEEDI E.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus: Doc.&lt;br /&gt;
J. H. YoxALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
; Solicitor int England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THoRNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRs. HARRIson (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. J.EROMF.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD KIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REV. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY IUGARD&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
(MISS FLORA L.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
| Douglas FRESHFIELD.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
Chairman&mdash;A. W. PINERO.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
CECII, RALEIGH.&lt;br /&gt;
Vice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
G. BERNARD SH Aw.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY PHOPE HAWKINS,&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
COPYRIGHT STUE-COMMITTEE.&lt;br /&gt;
HAROLD HAIRDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
ART,&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. * * *&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
OFFICES.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 229 (#289) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
Vol. XIX&mdash;No. 9.&lt;br /&gt;
JUNE 1ST, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 VICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&amp;#039; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;- -&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
- at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
#350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. #1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 29] 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 (0.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 230 (#290) ############################################&lt;br /&gt;
&lt;br /&gt;
230&lt;br /&gt;
TFIES A DITFIOR.&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... #3200&lt;br /&gt;
Cape of Good Hope 3% Inscribed&lt;br /&gt;
Stock ..... a &bull; * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 200&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228&lt;br /&gt;
New Zealand 3;% Stock........... 247&lt;br /&gt;
Jrish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Corporation of London 24% Stock,&lt;br /&gt;
1927&mdash;57&lt;br /&gt;
* * * * * * * * * e &ordm; e &ordm; e s t&ordm; t &rarr; * * * * * * * * * * * *&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
1, Twycross, Miss M. .&lt;br /&gt;
2, Macquarie, Arthur .&lt;br /&gt;
4, Sproston, Mrs. Stanley&lt;br /&gt;
4, Phipson, Miss Emma&lt;br /&gt;
4, Middlemass, Miss Jean&lt;br /&gt;
4, Pott, J. A.&lt;br /&gt;
4, Miller, Mrs. e&lt;br /&gt;
7, Marchmont, A. W..&lt;br /&gt;
7, Sharwood, T. S.&lt;br /&gt;
12, Durand, Ralph&lt;br /&gt;
12, Laing, Mrs. . &ordm;&lt;br /&gt;
14, Banks, Mrs. M. M.&lt;br /&gt;
14, Steel, Richard&lt;br /&gt;
16, Garnett, Edward .&lt;br /&gt;
16, Fenn, Frederick&lt;br /&gt;
18, Hering, Henry A.&lt;br /&gt;
18, Fox, Archibald D.&lt;br /&gt;
31, Anon. . e &amp;amp;&lt;br /&gt;
31, Kelly, W. P. &ordm;&lt;br /&gt;
31, Cotes worth, Miss .&lt;br /&gt;
1, Phillipps-Wolley, Clive .&lt;br /&gt;
1, Dawson, Warrington&lt;br /&gt;
4, Willard, Mrs. E. S.&lt;br /&gt;
Feb. 19, Paget, Mrs. Gerald&lt;br /&gt;
Feb. 20, Andrews, C. C.&lt;br /&gt;
March 5, Speed, Lancelot&lt;br /&gt;
March 8, Calderon, George &amp;amp;&lt;br /&gt;
March 8, Jackson, C. S. . * e&lt;br /&gt;
March 9, Young, Col. George F., C.B.&lt;br /&gt;
March 10, Sullivan, Herbert &copy;&lt;br /&gt;
March 11, Merritt, Mrs. Anna Lea&lt;br /&gt;
March 22, Dale, T. F. &ordm; e&lt;br /&gt;
April 13, Gask, Miss Lilian&lt;br /&gt;
May 17, Rorison, Miss Edith&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Zangwill, Israel&lt;br /&gt;
Jan. 1, Hamilton, John A. .&lt;br /&gt;
Jan. 4, Stopford, Francis&lt;br /&gt;
Jan. 4, Falmouth, The Wiscountess&lt;br /&gt;
Jan. 4, Carrel, Frederick&lt;br /&gt;
Jan. 4, Laws, T. C. . &ordm;&lt;br /&gt;
Jan. 4, Abercrombie, Lascelles&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
I-&lt;br /&gt;
.O()&lt;br /&gt;
2&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
i&lt;br /&gt;
i&lt;br /&gt;
5, Bradgate, Mrs.&lt;br /&gt;
6, Leach, Henry&lt;br /&gt;
6, Cullen, H. N. &ordm; &ordm; &ordm;&lt;br /&gt;
6, Lyall, The Right Hon. Sir&lt;br /&gt;
Alfred, P.C., etc.&lt;br /&gt;
7, Underdown, Miss Emily&lt;br /&gt;
8, Omond, T. S. e e&lt;br /&gt;
8, Paternoster, G. Sidney&lt;br /&gt;
9, Stockley, Mrs.&lt;br /&gt;
9, Tanner, James T. .&lt;br /&gt;
12, Tighe, Henry&lt;br /&gt;
12, Aitken, Robert&lt;br /&gt;
12, Bolton, Miss Anna&lt;br /&gt;
14, Williamson, W. H.&lt;br /&gt;
16, Furze, Miss Bessie&lt;br /&gt;
16, Shirley, Arthur&lt;br /&gt;
18, &ldquo;Austin Clare&rsquo;&rdquo; .&lt;br /&gt;
22, Williamson, Mrs. C. N.&lt;br /&gt;
22, Williamson, C. N.&lt;br /&gt;
23, Brown, R. Grant ,&lt;br /&gt;
28, Raphael, Mrs. M. . &ordm; e&lt;br /&gt;
4, Wilson, Miss Theodore Wilson&lt;br /&gt;
4, Cousland, W. M. . &copy; &ordm;&lt;br /&gt;
4, Hardy, Thomas&lt;br /&gt;
5, Bremner, Robert L.&lt;br /&gt;
6, Todhunter, John&lt;br /&gt;
6, Pettigrew, W. F.&lt;br /&gt;
8, Russell, G. H. e&lt;br /&gt;
8, Walker, Capt. J. H.&lt;br /&gt;
8, Dutton, Miss Annie&lt;br /&gt;
8, Baldwin, Mrs. Alfred&lt;br /&gt;
11, Ainslie, Miss 4.&lt;br /&gt;
11, Steward, Miss E. M.&lt;br /&gt;
11, Rumble, Mrs.&lt;br /&gt;
15, Beveridge, A. S.&lt;br /&gt;
16, Toplis, Miss Grace&lt;br /&gt;
19, Wilkinson, D.&lt;br /&gt;
Feb. 24, Landa, Mrs. &ordm;&lt;br /&gt;
Feb. 26, Fitz Gerald, Mrs. . e&lt;br /&gt;
March 2, Tadema, Miss Laurence Alma&lt;br /&gt;
March 2, Reynolds, Mrs. Baillie.&lt;br /&gt;
March 4, Henry, Miss Alice&lt;br /&gt;
March 4, Wilson, Edwin .&lt;br /&gt;
March 5, Hardy, Harold .&lt;br /&gt;
March 9, Crozier, Dr. Beattie&lt;br /&gt;
March 9, Ross, Mrs. Janet&lt;br /&gt;
March 15, Gregory, Lady . &ordm;&lt;br /&gt;
March 31, Wizzari, Leopold de S.&lt;br /&gt;
April 5, Burchell, Sidney H.&lt;br /&gt;
April 15, Linton, C. Stuart&lt;br /&gt;
April 19, Loraine, Lady . &amp;amp; -&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer&lt;br /&gt;
April 20, Stephens, Riccardo&lt;br /&gt;
May 24, Lefroy, Mrs. C. P.&lt;br /&gt;
Jam.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
&ordm;&lt;br /&gt;
S&lt;br /&gt;
&ordm;&lt;br /&gt;
1&lt;br /&gt;
i&lt;br /&gt;
I1.&lt;br /&gt;
;&lt;br /&gt;
I&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the July issue.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 231 (#291) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
231&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;o-&ordm;-&ordm;-&lt;br /&gt;
HE May meeting of the committee was held&lt;br /&gt;
at the offices of the society on the 10th.&lt;br /&gt;
As Mr. Maurice Hewlett, the chairman for&lt;br /&gt;
the year, was abroad, Sir Alfred Bateman was&lt;br /&gt;
elected to the chair.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been signed, the chairman proposed a vote of&lt;br /&gt;
thanks to the retiring chairman, Mr. Douglas&lt;br /&gt;
Freshfield, for the work he had done for the&lt;br /&gt;
Society during the period of his chairmanship. He&lt;br /&gt;
reminded the members present that Mr. Freshfield,&lt;br /&gt;
prior to the reconstitution of the society, had been&lt;br /&gt;
chairman for two years, and had again taken that&lt;br /&gt;
position when the reconstitution came into force&lt;br /&gt;
last year. He stated how indebted the society had&lt;br /&gt;
been to Mr. Freshfield for the labour he had so&lt;br /&gt;
generously given to its affairs, and laid especial&lt;br /&gt;
stress on its obligations to him for undertaking&lt;br /&gt;
the duties after the critical period of the society&rsquo;s&lt;br /&gt;
reconstitution. The vote was passed unanimously.&lt;br /&gt;
Seventeen members and associates were elected,&lt;br /&gt;
bringing the total elections for the year up to 114.&lt;br /&gt;
The list of names appears on another page. Six&lt;br /&gt;
resignations brought the total of resignations up&lt;br /&gt;
to 62.&lt;br /&gt;
Mr. H. G. Wells was elected to the society&amp;#039;s&lt;br /&gt;
council.&lt;br /&gt;
The next matter before the committee&mdash;one of&lt;br /&gt;
great importance to novelists&mdash;&mdash;was a statement of&lt;br /&gt;
the result of the circular issued by the society in&lt;br /&gt;
regard to cheap books. The committee decided to&lt;br /&gt;
print the statement, which appears in another&lt;br /&gt;
column. The list of those who have no objection&lt;br /&gt;
to the publication of their names is also set out. In&lt;br /&gt;
close connection with the subject of cheap editions,&lt;br /&gt;
the committee discussed the question of new copy-&lt;br /&gt;
right novels which it was proposed to issue at the&lt;br /&gt;
price of 2s. They had received various letters&lt;br /&gt;
from members of the society bearing on this point.&lt;br /&gt;
After some slight discussion the whole question&lt;br /&gt;
was referred to the sub-committee which had been&lt;br /&gt;
appointed to deal with the cheap 7d. novel. As&lt;br /&gt;
members may recollect, that sub-committee consists&lt;br /&gt;
of Mr. Maurice Hewlett, Mr. Anthony Hope&lt;br /&gt;
Hawkins, and Mr. Bernard Shaw. It is hoped&lt;br /&gt;
that their report will be ready for the next meeting&lt;br /&gt;
of the committee.&lt;br /&gt;
The committee next discussed the question&lt;br /&gt;
contained in Mr. H. G. Wells&amp;#039; letter in the April&lt;br /&gt;
issue of The Author, referring to authors&rsquo;&lt;br /&gt;
agents and insurance, and the secretary was&lt;br /&gt;
instructed to make enquiries in the matter and&lt;br /&gt;
report to the next meeting of the committee.&lt;br /&gt;
Owing to one or two objections having been&lt;br /&gt;
raised to the publication of the names of the&lt;br /&gt;
Society&amp;#039;s pensioners, and the amounts which they&lt;br /&gt;
received, the committee went into the matter very&lt;br /&gt;
fully, but came to the conclusion that it was only&lt;br /&gt;
fair to the subscribers to the fund, as well as to&lt;br /&gt;
members of the society who might in the future&lt;br /&gt;
become subscribers, that this information should&lt;br /&gt;
appear in The Author. -&lt;br /&gt;
The secretary reported the action of the copy-&lt;br /&gt;
right sub-committee which had met during the past&lt;br /&gt;
month, and the desire expressed by that committee&lt;br /&gt;
that the chairman of the Committee of Management,&lt;br /&gt;
Mr. Maurice Hewlett, should, if necessary, give&lt;br /&gt;
evidence before the departmental committee. He&lt;br /&gt;
also reported the receipt of a letter from the&lt;br /&gt;
Secretary of the departmental committee as to the&lt;br /&gt;
points on which they desired evidence to be given.&lt;br /&gt;
It was decided that the proofs which had been&lt;br /&gt;
prepared by the copyright and dramatic sub-com-&lt;br /&gt;
mittees should be sent in together with the names&lt;br /&gt;
of those whom the society would suggest as wit-&lt;br /&gt;
IłęSS&eacute;S.&lt;br /&gt;
The committee decided, also, that the report&lt;br /&gt;
of the action taken by the committee during the&lt;br /&gt;
past year to assist the cause of copyright, which&lt;br /&gt;
was to be laid before the Council in June, should be&lt;br /&gt;
drafted by the Secretary subject to the approval of&lt;br /&gt;
the chairman.&lt;br /&gt;
The secretary reported that he had heard from&lt;br /&gt;
the solicitors of Miss Alice Sargant, who had, for&lt;br /&gt;
many years, been a member of the Society, that&lt;br /&gt;
she had left a legacy to the Pension Fund of the&lt;br /&gt;
society of all her copyrights and interests in her&lt;br /&gt;
published books. The committee requested the&lt;br /&gt;
secretary to make further inquiries and to report&lt;br /&gt;
to the next meeting.&lt;br /&gt;
Members of the society may remember that the&lt;br /&gt;
question of Colonial sales was raised at the last&lt;br /&gt;
meeting, and the Publishers&amp;#039; Association was com-&lt;br /&gt;
municated with. From the answer of the Associa-&lt;br /&gt;
tion, laid before the committee, it appeared that&lt;br /&gt;
the publishers had appointed a small sub-committee&lt;br /&gt;
to meet the Authors&rsquo; Society in order to discuss&lt;br /&gt;
the situation. The matter was referred to the sub-&lt;br /&gt;
committee which had already been appointed for&lt;br /&gt;
the consideration of the question of cheap books.&lt;br /&gt;
The secretary reported the action taken by the&lt;br /&gt;
Dramatic Sub-Committee at their last meeting, and&lt;br /&gt;
it was decided to send a notice to the papers of&lt;br /&gt;
their approval of Mr. R. Vernon Harcourt&amp;#039;s Music&lt;br /&gt;
Halls and Theatres Bill.&lt;br /&gt;
The secretary then asked for an authority to&lt;br /&gt;
require the payment on dinner tickets from those&lt;br /&gt;
who did not return them within a reasonable time.&lt;br /&gt;
The committee decided that all dinner tickets&lt;br /&gt;
returned to the secretary within four days of the&lt;br /&gt;
date of the dinner should be paid for, and authorised&lt;br /&gt;
the secretary to demand payment for those tickets&lt;br /&gt;
which had only been returned on the day of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 232 (#292) ############################################&lt;br /&gt;
&lt;br /&gt;
232&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
dinner in the present year. It would obviously be&lt;br /&gt;
impossible to organise satisfactorily a big dinner&lt;br /&gt;
such as the society&amp;#039;s annual function, if every&lt;br /&gt;
member who had asked for a ticket claimed the&lt;br /&gt;
right to return it without payment, one, two, or&lt;br /&gt;
three days before the dinner. The committee have&lt;br /&gt;
fixed four days as a reasonable limit.&lt;br /&gt;
The committee then turned their attention to&lt;br /&gt;
the legal cases which they were asked to support.&lt;br /&gt;
Of the four cases considered, the first&mdash;a question&lt;br /&gt;
of the infringement of an author&amp;#039;s rights in Den-&lt;br /&gt;
mark&mdash;the committee decided to take up and&lt;br /&gt;
carry through the Danish courts if necessary.&lt;br /&gt;
The second the committee felt bound to refuse as&lt;br /&gt;
there appeared to be no legal cause of action.&lt;br /&gt;
This view was supported by the solicitors of the&lt;br /&gt;
society. The third case, the secretary reported,&lt;br /&gt;
had been withdrawn that morning, as the matter&lt;br /&gt;
had been settled in favour of the author. The&lt;br /&gt;
fourth case, against the editor of a magazine, the&lt;br /&gt;
committee decided to take up.&lt;br /&gt;
The committee instructed the secretary to re-&lt;br /&gt;
draft the prospectus of the Society and to submit&lt;br /&gt;
it to the next meeting.&lt;br /&gt;
Sundry letters from members were placed before&lt;br /&gt;
the committee and considered.&lt;br /&gt;
The committee decided to send an official letter,&lt;br /&gt;
signed by the chairman of the society, to Mr.&lt;br /&gt;
Thorvald Solberg, Registrar of Copyrights at&lt;br /&gt;
Washington, to express their appreciation of his&lt;br /&gt;
efforts towards the promotion of better American&lt;br /&gt;
copyright legislation.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
DRAMATIC COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee of&lt;br /&gt;
the Society of Authors was held at the offices&lt;br /&gt;
of the society on Tuesday, May 4. The first&lt;br /&gt;
business of the meeting was to elect a chairman&lt;br /&gt;
for the current year. On the proposal of Mr. Cecil&lt;br /&gt;
Raleigh, seconded by Mr. Henry Arthur Jones,&lt;br /&gt;
Mr. A. W. Pinero was elected chairman, and on&lt;br /&gt;
the proposal of Mr. Alfred Sutro, seconded by Mr.&lt;br /&gt;
R. C. Carton, Mr. Henry Arthur Jones was elected&lt;br /&gt;
to the post of vice-chairman.&lt;br /&gt;
After the minutes had been read and signed, the&lt;br /&gt;
secretary laid before the meeting a formal proof of&lt;br /&gt;
the notes which had been passed at the last meet-&lt;br /&gt;
ing. This proof embodied those points dealing&lt;br /&gt;
with the alteration of the law as it affected dramatic&lt;br /&gt;
authorship, which the committee desired should&lt;br /&gt;
be laid before the Departmental Committee now&lt;br /&gt;
sitting on the Berlin Convention. The proof was&lt;br /&gt;
formally approved by the committee. The secre-&lt;br /&gt;
tary then reported that Mr. Grundy had been&lt;br /&gt;
their consideration.&lt;br /&gt;
unable to undertake the duty of giving evidence&lt;br /&gt;
before that committee, and that from Mr. Comyns&lt;br /&gt;
Carr he had not, as yet, received a final answer.&lt;br /&gt;
As the chairman represented that owing to urgent&lt;br /&gt;
private reasons he would be unable to give evidence,&lt;br /&gt;
at the request of the committee Mr. Bernard Shaw&lt;br /&gt;
stated that he would undertake the duty if required&lt;br /&gt;
to do so.&lt;br /&gt;
The next matter before the committee was the&lt;br /&gt;
consideration of the Theatres and Music Halls&lt;br /&gt;
Bill, Mr. Cecil Raleigh, who had taken great&lt;br /&gt;
interest in and had made a close study of the&lt;br /&gt;
Bill, explained at length to the committee all the&lt;br /&gt;
points which it covered and their bearing on&lt;br /&gt;
dramatic authorship. Considerable discussion&lt;br /&gt;
ensued. As a result two points presented them-&lt;br /&gt;
selves for the final approval of the committee.&lt;br /&gt;
The first, whether the committee was in favour of&lt;br /&gt;
free trade in amusements. The second, whether&lt;br /&gt;
the office of Censor of Plays should be abolished,&lt;br /&gt;
and the power of licensing theatres and music&lt;br /&gt;
halls be left entirely to the county authorities,&lt;br /&gt;
subject to the clauses of the Bill set forth.&lt;br /&gt;
The committee unanimously agreed to the first&lt;br /&gt;
point. Proposed by Mr. Cecil Raleigh and seconded&lt;br /&gt;
by Mr. R. C. Carton, the second point was carried&lt;br /&gt;
776/77. C07?). r&lt;br /&gt;
As the discussion of these important matters&lt;br /&gt;
had taken a considerable time, it was decided that&lt;br /&gt;
the other questions before the committee&mdash;the&lt;br /&gt;
Managers&amp;#039; Treaty and the Dramatic Pamphlet&ndash;&lt;br /&gt;
should be adjourned to the next meeting.&lt;br /&gt;
II.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee&lt;br /&gt;
was held on Thursday, May 20, at the Society&amp;#039;s&lt;br /&gt;
office, to consider the various questions ad-&lt;br /&gt;
journed from the former meeting. After the&lt;br /&gt;
minutes had been read and signed the Secretary&lt;br /&gt;
reported that the appeal lodged by the society&lt;br /&gt;
on behalf of Mr. Frederick Fenn in the case&lt;br /&gt;
of Scholz v. Amasis, Ltd., had been successful,&lt;br /&gt;
the judgment of the three judges of the Appeal&lt;br /&gt;
Court being unanimous. The Dramatic Com-&lt;br /&gt;
mittee congratulated the society on the result of&lt;br /&gt;
its efforts in this case.&lt;br /&gt;
The Managers&amp;#039; Treaty and the Dramatic&lt;br /&gt;
Pamphlet then came before the committee for&lt;br /&gt;
Mr. Shaw made a long&lt;br /&gt;
statement explaining the difference between the&lt;br /&gt;
two documents and the work the former Committee&lt;br /&gt;
during the past years had expended upon them.&lt;br /&gt;
It was decided, after some discussion, that the&lt;br /&gt;
Dramatic Pamphlet should be taken first and&lt;br /&gt;
finally settled before the Managers&amp;#039; Treaty, Was&lt;br /&gt;
discussed. Accordingly Mr. Pinero, as chair-&lt;br /&gt;
man, began the reading through of the Dramatic&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 233 (#293) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Pamphlet, and the clauses in the first agreement&lt;br /&gt;
which it contained were discussed one by one.&lt;br /&gt;
The substance of the treatise was fully con-&lt;br /&gt;
sidered. The secretary described the basis on&lt;br /&gt;
which it had been drafted, and the reasons for&lt;br /&gt;
its being put forward in the present shape. The&lt;br /&gt;
committee were only able in the time at their&lt;br /&gt;
disposal to get through a few of the clauses of&lt;br /&gt;
the first agreement, and the matter was further&lt;br /&gt;
adjourned to the next meeting, which will be held&lt;br /&gt;
this month.&lt;br /&gt;
The committee trust to be able to settle the&lt;br /&gt;
final form of the Pamphlet and to put it before the&lt;br /&gt;
dramatic members of the Society in the autumn.&lt;br /&gt;
&mdash;e-C-6&ndash;&lt;br /&gt;
COPYRIGHT COMMITTEE.&lt;br /&gt;
A MEETING of the Copyright Committee was held&lt;br /&gt;
at the offices of the society on Tuesday, May 18.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been read and signed, the final proof of Mr. Mac-&lt;br /&gt;
Gillivray&amp;#039;s evidence was laid before the committee&lt;br /&gt;
and, after some discussion, was accepted. The&lt;br /&gt;
secretary then read to the committee letters received&lt;br /&gt;
from the Departmental Committee, and was in-&lt;br /&gt;
structed to write to those members of the society who&lt;br /&gt;
had promised to give evidence, informing them of the&lt;br /&gt;
contents of the letters, of the dates when they&lt;br /&gt;
might be called, and the evidence they would be&lt;br /&gt;
required to give. r f&lt;br /&gt;
The secretary reported that he had already&lt;br /&gt;
despatched the proofs to the Departmental Com-&lt;br /&gt;
mittee. - -&lt;br /&gt;
The next question before the committee was a&lt;br /&gt;
small Bill drafted by Mr. E. J. MacGillivray, at the&lt;br /&gt;
suggestion of Sir Charles Williers Stanford, for the&lt;br /&gt;
protection of musical composers. After considera-&lt;br /&gt;
tion, the committee thought it would be best that&lt;br /&gt;
the matter should be referred to the Committee of&lt;br /&gt;
Management to inquire whether the committee&lt;br /&gt;
would be ready to support the principles contained&lt;br /&gt;
in the Bill. -&lt;br /&gt;
: - - - &mdash;t-s&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author nine cases&lt;br /&gt;
have been in the hands of the secretary. The first&lt;br /&gt;
was a claim against a publisher for the infringe-&lt;br /&gt;
ment of an author&amp;#039;s rights. This has been&lt;br /&gt;
settled. The position has been explained and the&lt;br /&gt;
author advised as to the course which he should&lt;br /&gt;
take. There have been four cases for the recovery&lt;br /&gt;
of money. In three of these the money has come&lt;br /&gt;
to hand and been forwarded to the author. The&lt;br /&gt;
last has only just come into the office for settle-&lt;br /&gt;
ment. There were four cases for the recovery of&lt;br /&gt;
MSS. One has been successful, and the three&lt;br /&gt;
remaining are still in course of negotiation.&lt;br /&gt;
Only two cases remain open from former months.&lt;br /&gt;
One is a case of infringement of copyright in New&lt;br /&gt;
Zealand. In this case a reply has been received&lt;br /&gt;
from the infringer, who is asking for a settlement&lt;br /&gt;
on lower terms than those asked for by the society.&lt;br /&gt;
The other is a difficult case in connection with&lt;br /&gt;
a press-cutting agency. It may be worth while to&lt;br /&gt;
mention here that authors should be very careful of&lt;br /&gt;
their dealings with press-cutting agents. No press-&lt;br /&gt;
cutting agent is absolutely perfect, or will supply&lt;br /&gt;
the author with everything that he desires, but&lt;br /&gt;
Some agents take the fee, supply a few cuttings and&lt;br /&gt;
nothing more, and the author, who may have know-&lt;br /&gt;
ledge that his book has been reviewed in many&lt;br /&gt;
quarters, finds that the fee has been paid in vain.&lt;br /&gt;
Authors should be warned to be extremely careful&lt;br /&gt;
to what press-cutting agency they contribute, and&lt;br /&gt;
should never subscribe without obtaining advice in&lt;br /&gt;
the first instance as to the position and reliability&lt;br /&gt;
of the agent.&lt;br /&gt;
The secretary has to report the settlement of one&lt;br /&gt;
case of infringement where the full amount asked for&lt;br /&gt;
has been paid through the society&amp;#039;s solicitors in&lt;br /&gt;
Spain, and one case of infringement in New Zealand,&lt;br /&gt;
where the sum asked has also been received. - -&lt;br /&gt;
Three other matters in the hands of the society&amp;#039;s&lt;br /&gt;
solicitors have been settled satisfactorily.&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
May Elections. s&lt;br /&gt;
Wade-&lt;br /&gt;
Argyll-Saxby, A., M.A., &ldquo;Brooklyn,&rdquo;&lt;br /&gt;
F.R.G.S., etc. (Argyll- bridge, Cornwall.&lt;br /&gt;
Sawby). - .&lt;br /&gt;
Baines, Lady * Kidlington, Oxon.&lt;br /&gt;
Barnard, Edmund 50, Erpingham Road,&lt;br /&gt;
George, M.A. Putney, S.W.&lt;br /&gt;
Cook, Mrs. Thornton 45, Finsbury Square,&lt;br /&gt;
(Maorilanda). E.C. -&lt;br /&gt;
Ferguson, J. C. M. G. .&lt;br /&gt;
Fleurot, George G.&lt;br /&gt;
Gerrard, Mrs. Edith C.&lt;br /&gt;
Lambert,&lt;br /&gt;
(Mrs.).&lt;br /&gt;
Lubbock, Mrs. Monta-&lt;br /&gt;
gue.&lt;br /&gt;
McEwen, John B.&lt;br /&gt;
O&rsquo;Brien, The&lt;br /&gt;
Georgima.&lt;br /&gt;
Agnes H.&lt;br /&gt;
Hon.&lt;br /&gt;
Rorison, Edith S. . &bull;&lt;br /&gt;
Schwarz, Prof. Ernest,&lt;br /&gt;
H.L.&lt;br /&gt;
Southfield House, Wat-&lt;br /&gt;
ford, Herts.&lt;br /&gt;
17, Avenue Montaigne,&lt;br /&gt;
Paris.&lt;br /&gt;
Glenburnie,&lt;br /&gt;
N. Devon.&lt;br /&gt;
Fairlawn House, Wood-&lt;br /&gt;
manstern, Surrey.&lt;br /&gt;
127, Mount Street,&lt;br /&gt;
Berkeley Square, W.&lt;br /&gt;
The Doon, Pinner.&lt;br /&gt;
Bideford,&lt;br /&gt;
The Deanery, Perth,&lt;br /&gt;
N.B.&lt;br /&gt;
Box 116, Grahamstown,&lt;br /&gt;
S. Africa. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 234 (#294) ############################################&lt;br /&gt;
&lt;br /&gt;
234&lt;br /&gt;
THE Arra HoR.&lt;br /&gt;
Sheeby-Skeffington, 11, Grosvenor Place,&lt;br /&gt;
Francis. Rathmines, Dublin.&lt;br /&gt;
30, Philbeach Gardens,&lt;br /&gt;
Earl&amp;#039;s Court, S.W.&lt;br /&gt;
Williams, Mrs. Leonora 4, Whitehall Court,&lt;br /&gt;
Bruce. S.W.&lt;br /&gt;
(One member does not desire publication of his&lt;br /&gt;
name or address.)&lt;br /&gt;
Shillingford, Osmond .&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers.&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ASTRONOMICAI).&lt;br /&gt;
FARTHEST SouTH. By E. E. MIDDLETON, Tower House,&lt;br /&gt;
St. Matthew&amp;#039;s Gardens, St. Leonards-on-Sea. 1d.&lt;br /&gt;
It is hoped, however, that members will&lt;br /&gt;
THE WAR OF THE SPANISH SUCCESSION, 94 pp.&lt;br /&gt;
DEFOE : CAPTAIN SINGLETON&amp;#039;s EARLY ADVENTURES.&lt;br /&gt;
126 pp. (Blackie&amp;#039;s English Texts.) Edited by W. H. D.&lt;br /&gt;
ROUSE. 63 &times; 23. Blackie. 6d. each.&lt;br /&gt;
AN ENGLISH CHURGH HISTORY FOR CHILDREN. By MARY&rdquo;&lt;br /&gt;
E. SHIPLEY, With Preface by THE BISHOP OF&lt;br /&gt;
GIBRALTAR. 339 pp. Methuen &amp;amp; Co.&lt;br /&gt;
ENGINEERING,&lt;br /&gt;
ENGINEERING WONDERS OF THE WoRLD. Edited by&lt;br /&gt;
A: WILLIAMS. Part I, 11 &times; 8%. 64 pp. Nelson.&lt;br /&gt;
7d. m.&lt;br /&gt;
FICTION.&lt;br /&gt;
ROSE OF THE WILDERNESs. By S. R. CRoCKETT. 8 &times; 54.&lt;br /&gt;
336 pp. Hodder &amp;amp; Stoughton, 6s.&lt;br /&gt;
AN IMPENDING SWORD : An Adventure by the Sea. By&lt;br /&gt;
HORACE ANNESLEY WACHELL. 74 &times; 5, 186 pp.&lt;br /&gt;
Murray. 2s. 6d. n.&lt;br /&gt;
THE SHOW GIRL. By MAX PEMBERTON. 8 &times; 5. 343 pp.&lt;br /&gt;
Cassell. 6s.&lt;br /&gt;
THE GIRL IN THE BLUE DRESS. By RICHARD MARSH.&lt;br /&gt;
7; X 5. 318 pp. John Long, 6s.&lt;br /&gt;
GERVASE. By MABEL DEARMER.&lt;br /&gt;
Macmillan. 6s.&lt;br /&gt;
JEANNE OF THE MARSHIES. By B. PHILLIPS OPPENHEIM.&lt;br /&gt;
7# &times; 5. 320 pp. Ward Lock. 6s.&lt;br /&gt;
SET IN. SILVER, By C. N. WILLIAMSON and A. M.&lt;br /&gt;
WILLIAMSON. 73 &times; 5. 445 pp. Methuen. 6s.&lt;br /&gt;
SAMSON UNSHORN. By REGINALD TURNER. 73 &times; 5.&lt;br /&gt;
371 pp. Chapman &amp;amp; Hall. 68. .&lt;br /&gt;
THE RED SAINT. By WARWICK DEEPING, 8 x 5. 376 pp.&lt;br /&gt;
Cassell. 6s. -&lt;br /&gt;
THE WREATHED DAGGER. By MARGARET YouNG. 8 &times;&lt;br /&gt;
5. 340 pp. Cassell. 6s.&lt;br /&gt;
THE STRANGE DISAPPEARANCE OF JOHN HAVERSBAM.&lt;br /&gt;
7# &times; 53.&lt;br /&gt;
443 pp.&lt;br /&gt;
By IZA DUFFUS HARDY. 74 &times; 5. 320 pp. Digby&lt;br /&gt;
Long. 6s.&lt;br /&gt;
&ldquo;MEG OF THE SALT-PANs.&rdquo; By MAY ALDINGTON. 8 &times; 5.&lt;br /&gt;
320 pp. Everett. 63.&lt;br /&gt;
THE TEARS OF DESIRE. By Cora LIE STANTON and&lt;br /&gt;
HEATH HOSKEN. 73, x 5. 324 pp. Werner Laurie.&lt;br /&gt;
68.&lt;br /&gt;
TOM GENUFLEX. By JANE Rowl,AND (&ldquo;Aunt Cherry.&rdquo;)&lt;br /&gt;
7; X 5. 288 pp. Ouseley. 6s. .&lt;br /&gt;
EMMA HAMILTON : THE TARIFF REFORMER. By&lt;br /&gt;
WINIFRED GRAHAM. 84 &times; 5%. 128 pp. Digby&lt;br /&gt;
Long. 6d.&lt;br /&gt;
BARBARY SHEEP. By ROBERT HICHENs. 73 &times; 53.&lt;br /&gt;
236 pp. Methuen. 3s. 6d.&lt;br /&gt;
PRISCILLA OF THE GooD INTENT. By HALLIWELL&lt;br /&gt;
SUTCLIFFE. 73 &times; 5. 332 pp. Smith Elder. 68.&lt;br /&gt;
THE SHUTTLES OF THE LOOM. By K. M. EDGE. (MRs.&lt;br /&gt;
C. T. CAULEEILD). 7% x 5. 343 pp. Murray. 6s.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
FAIR WOMEN AT FONTAINEBLEAU.&lt;br /&gt;
Eveleigh Nash. 15s. n.&lt;br /&gt;
THE LIFE OF MAJOR-GENERAL SIR JOHN ARDAG.H. By&lt;br /&gt;
his WIFE, SUSAN COUNTESS OF MALMESBURY (Lady&lt;br /&gt;
Ardagh). With portraits and illustrations from drawings&lt;br /&gt;
by Sir John Ardagh. 9 &times; 53. 479 pp. Murray.&lt;br /&gt;
158. In.&lt;br /&gt;
By FRANK HAMEL.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
THE BIOGRAPHY OF A SILVER-FOX, OR DOMINO REYNARD&lt;br /&gt;
OF GoLDEN Town. By E. T. SETON. 8 &times; 6. 209 pp.&lt;br /&gt;
Constable. 5s. n.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY or NATIONAL Biography. Edited by&lt;br /&gt;
SIDNEY LEE. New Edition. Vol. 15. Oatens&mdash;Pockrich.&lt;br /&gt;
93 &times; 64. 1,352 pp. Smith Elder. 153.&lt;br /&gt;
DRAMA.&lt;br /&gt;
THE FEUD : A Play in Three Acts. By EDWARD GARNETT.&lt;br /&gt;
7+ x 4%. 67 pp. A. H. Bullen. 18. n.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
THE INDUSTRIAL SYSTEM. AN INQUIRY INTO EARNED&lt;br /&gt;
AND UNEARNED INCOME. By J. A. Hobson.&lt;br /&gt;
328 pp. Longmans. 7s. 6d. n.&lt;br /&gt;
MAKERS OF OUR CLOTHES : A Case for Trade Boards.&lt;br /&gt;
By MRs. CARL MEYER and CLEMENTINA BLACK. 94.&lt;br /&gt;
&times; 53. 304 pp. Duckworth. 58. n.&lt;br /&gt;
EDUCATION.&lt;br /&gt;
PRINCIPLES AND METHODS OF UNIVERSITY REFORM :&lt;br /&gt;
Being a Letter Addressed to the University of Oxford.&lt;br /&gt;
By LoRD CURZON OF KEDLESTON, Chancellor of the&lt;br /&gt;
University. 9 &times; 53. 220 pp. Oxford : Clarendon Press.&lt;br /&gt;
London : Frowde. 2s. 6d. n.&lt;br /&gt;
LORD MACAULAY : ESSAY ON JOHN HAMPDEN, 94 pp.&lt;br /&gt;
ESSAY ON SIR WILLIAM TEMPLE, 125 pp. ESSAY ON&lt;br /&gt;
93 &times; 6.&lt;br /&gt;
PETER HOMUNCULUs, T8y GILBERT CANNAN. 73 &times; 53.&lt;br /&gt;
327 pp. Heinemann. 6s.&lt;br /&gt;
BEYOND. By F. T. BULLEN. 73 &times; 5. 310 pp. Chapman&lt;br /&gt;
&amp;amp; Hall. 6s.&lt;br /&gt;
FHEALTH.&lt;br /&gt;
120 YEARS OF LIFE, AND How To ATTAIN THEM. By&lt;br /&gt;
CHARLES REINHARDT, M.D. 50 pp. London Publicity&lt;br /&gt;
Co., 379, Strand, W.C. 1s.&lt;br /&gt;
LITERARY,&lt;br /&gt;
DANTE IN ENGLISH LITERATURE. FROM CHAUCER TO.&lt;br /&gt;
CARY (c. 1880-1844). By PAGET TOYNBEE. Two.&lt;br /&gt;
volumes. 9 &times; 53. 638 + 757 pp. Methuen. 218. m.&lt;br /&gt;
IENGLISH LITERATURE IN THE NINETEENTH CENTURY.&lt;br /&gt;
By LAURIE MAGNUs. 409 pp. Andrew Melrose,&lt;br /&gt;
7s. 6d. n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 235 (#295) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE AUTISIOR,&lt;br /&gt;
235&lt;br /&gt;
LONDON&amp;#039;S LURE : An Anthology in Prose and Verse. By&lt;br /&gt;
HELEN and LEWIS MELVILLE. 64 &times; 4}. 328 pp.&lt;br /&gt;
Bell. 3s.6d. n.&lt;br /&gt;
MILITARY.&lt;br /&gt;
BRITISH MILITARY PRINTs. By RALPH NEVILL.&lt;br /&gt;
11 &times; 8%. 72 pp. The Connoisseur Publishing Co.&lt;br /&gt;
MISCELLANEOUS,&lt;br /&gt;
SELECT READINGS AND RECITATIONs: Adapted and&lt;br /&gt;
arranged for the Class-room, the Drawing-room and the&lt;br /&gt;
Platform. By J. Forsyth. 74 &times; 5. 200 pp. Paisley:&lt;br /&gt;
Gardner.&lt;br /&gt;
MUSIC.&lt;br /&gt;
MUSICAL MONSTROSITIES. By C. I. GRAVES. Illustrated&lt;br /&gt;
by GEORGE MoRRow. 7 &times; 43. 217 pp, Sir Isaac&lt;br /&gt;
Pitman. 13. n.&lt;br /&gt;
ORIENTAL.&lt;br /&gt;
THE INDIAN CRAFTSMAN. By A. K. CoomfARASWAMY&amp;#039;&lt;br /&gt;
D.Sc. 73 &times; 5%. 130 pp. Probsthain. 3s.6d. m.&lt;br /&gt;
PHILOSOPHY.&lt;br /&gt;
BEYOND GOOD AND EVIL: Prelude to a Philosophy of the&lt;br /&gt;
JFuture. By NIETZSCHE. Translated by HELEN&lt;br /&gt;
ZIMMERN. 8 &times; 5+. 268 pp. Foulis. 3s.6d. n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
&pound;ARENTHOOD AND RACE CULTURE : An Outline in&lt;br /&gt;
Eugenics. By C. W. SALEEBY, M.D. 9} x 6. 331 pp.&lt;br /&gt;
Cassell. 7s. 6d. m.&lt;br /&gt;
THE ETHER OF SPACE. By SIR OLIVER LODGE, F.R.S.&lt;br /&gt;
73 &times; 4%. 156 pp. Harper. 2s. 6d.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
ORIGIN AND FAITH. AN ESSAY OF RECONCILIATION. By&lt;br /&gt;
J. COMPTON-RICKETT. 83 &times; 5%. 272 pp. Hodder &amp;amp;&lt;br /&gt;
Stoughton. 6s. -&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE HEART OF SCOTLAND. Painted by SUTTON PALMER.&lt;br /&gt;
Described by A. R. HoPE MONCRIEFF. 104 &times; 7#.&lt;br /&gt;
206 pp. Black. 7s.6d. n.&lt;br /&gt;
ESSEX. Painted by L. BURLEIGH BRUHL, A.R.C.A.&lt;br /&gt;
Described by A. R. HoPE MonCRIEFF. 9 &times; 64. 262 pp.&lt;br /&gt;
Black. 20s. n.&lt;br /&gt;
MEMORIALS OF OED LANCASHIRE. Edited by LIEUT.-COL.&lt;br /&gt;
FISHWICK and the REV. P. H. DITCHFIELD. Two&lt;br /&gt;
Wols. 9 &times; 6. 286 -&ndash; 314 pp. (MEMORIALS OF&lt;br /&gt;
THE COUNTIES OF ENGLAND. General Editor, REV.&lt;br /&gt;
P. H. DITCHFIELD, F.S.A., &amp;amp;c.). Bemrose. 25s. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
THE BRETONS AT HOME. By FRANCES M. GOSTLING.&lt;br /&gt;
With an Introduction by ANATOLE LE BRAY.&lt;br /&gt;
304 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
QUAINT SUBJECTS OF THE KING. By JOHN FOSTER&lt;br /&gt;
FRASER. 73 x 5. 304 pp. Cassell. 68.&lt;br /&gt;
9 x 5%.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;e-e&ndash;&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
- R. C. R. HAINES has published, through&lt;br /&gt;
Messrs. Barnicott &amp;amp; Pearce, a little volume&lt;br /&gt;
on &ldquo;Joan of Arc.&rdquo; The object of the book&lt;br /&gt;
is ethical rather than purely historical, though the&lt;br /&gt;
Writer has endeavoured at the same time to be&lt;br /&gt;
perfectly accurate and impartial.&lt;br /&gt;
HEALTH.&lt;br /&gt;
&ldquo;120 Years of Life and How to Attain Them,&rdquo;&lt;br /&gt;
by Dr. Charles Reinhardt, is a treatise upon the&lt;br /&gt;
use of lactic ferments for the prevention and cure&lt;br /&gt;
of disease and the prolongation of life. The book&lt;br /&gt;
is published by the London Publicity Company of&lt;br /&gt;
379, Strand, W.C.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
Miss Mary E. Shipley&rsquo;s &ldquo;English Church His-&lt;br /&gt;
tory for Children, A.D. 1066&ndash;1500,&rdquo; published by&lt;br /&gt;
Messrs. Methuen &amp;amp; Co., contains a preface by the&lt;br /&gt;
Bishop of Gibraltar, William Edward Collins, D.D.&lt;br /&gt;
The present work is a companion volume to Miss&lt;br /&gt;
Shipley&amp;#039;s first volume on &ldquo;English Church History&lt;br /&gt;
for Children,&rdquo; and the reader is carried from the&lt;br /&gt;
Norman Conquest to the eve of the Reformation.&lt;br /&gt;
Twelve illustrations and one map have been&lt;br /&gt;
included in the work, which contains also an index.&lt;br /&gt;
Mr. Andrew Melrose has recently issued Mr.&lt;br /&gt;
Taurie Magnus&amp;#039; book dealing with &ldquo;English Litera-&lt;br /&gt;
ture in the Nineteenth Century.&rdquo; The author states,&lt;br /&gt;
in a preface to the work, that he has attempted to&lt;br /&gt;
present rather a survey of English literature as a&lt;br /&gt;
whole than a history of that literature between&lt;br /&gt;
1784 and the present day. There is an index to&lt;br /&gt;
the book. -&lt;br /&gt;
A new edition of &ldquo;The Children&amp;#039;s Study&rsquo;&rdquo;&lt;br /&gt;
History of France, of which Miss Mary C. Rowsell is&lt;br /&gt;
the author, has just been issued by Mr. Fisher&lt;br /&gt;
Unwin. The edition is published at 1s. 6d.&lt;br /&gt;
Mr. Ferrar Fenton has in the printers&amp;#039; hands an&lt;br /&gt;
eighth edition of his modern English version of the&lt;br /&gt;
New Testament. This edition, in paper covers, is&lt;br /&gt;
published at 1s. Over 74,000 copies of Mr.&lt;br /&gt;
Fenton&rsquo;s &ldquo;Complete Bible in Modern English &rsquo;&rsquo;&lt;br /&gt;
have left the press.&lt;br /&gt;
FICTION.&lt;br /&gt;
&ldquo;The Tears of Desire&rdquo; is the title of a new&lt;br /&gt;
novel by Coralie Stanton and Heath Hosken, which&lt;br /&gt;
Mr. Werner Laurie issued last month.&lt;br /&gt;
K. M. Edge, the author of &ldquo;Ahana,&rdquo; has just&lt;br /&gt;
published, through Mr. John Murray, &ldquo;The&lt;br /&gt;
Shuttles of the Loom,&rdquo; a novel which deals with&lt;br /&gt;
the life and work of a forest officer in Southern&lt;br /&gt;
India. It is concerned with the claim made upon&lt;br /&gt;
India by those who serve her faithfully. The life&lt;br /&gt;
of the hero contains elements of tragedy, but the&lt;br /&gt;
author shows the place which these elements have&lt;br /&gt;
in the scheme of things evolved by the &ldquo;Fixed&lt;br /&gt;
Power for Good&amp;quot; that moves towards ultimate&lt;br /&gt;
perfection.&lt;br /&gt;
Robert Aitken&amp;#039;s new volume of short stories,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 236 (#296) ############################################&lt;br /&gt;
&lt;br /&gt;
236&lt;br /&gt;
TISIES A UTEIOR.&lt;br /&gt;
which Mr. John Murray recently issued here, has&lt;br /&gt;
been published in America by Mr. B. W. Huebsch.&lt;br /&gt;
Mr. Harold Wintle&amp;#039;s new novel, &ldquo;The Waking&lt;br /&gt;
Hour,&rdquo; will shortly be published by Mr. Fisher&lt;br /&gt;
Unwin. -&lt;br /&gt;
Mrs. Fred Reynolds&amp;#039; new book, which Messrs.&lt;br /&gt;
Hurst &amp;amp; Blackett are publishing, is entitled&lt;br /&gt;
&ldquo;The Lady in Grey,&rdquo; and, like her previous novel,&lt;br /&gt;
&ldquo;S. David of the Dust,&rdquo; has its setting in the&lt;br /&gt;
heart of Wales amongst the Welsh people.&lt;br /&gt;
Messrs. Alston Rivers&amp;#039; announcements include&lt;br /&gt;
new novels from the following members of our&lt;br /&gt;
society : Marjorie Bowen, E. Nesbit, Eva Lath-&lt;br /&gt;
bury, and Mrs. Havelock Ellis.&lt;br /&gt;
Miss Bowen&amp;#039;s tale, &ldquo;Black Magic,&rdquo; is described&lt;br /&gt;
as mediaeval and picaresque, and has to do with&lt;br /&gt;
the rise and fall of antichrist. The opening&lt;br /&gt;
scenes are laid in Flanders, whence a journey&lt;br /&gt;
is made to Frankfort and on to Rome, Many&lt;br /&gt;
strange adventures, from which the distinctive&lt;br /&gt;
violence of the period is rarely absent, befall the&lt;br /&gt;
wanderers with whom the story is concerned.&lt;br /&gt;
&ldquo;Salome and the Head&rdquo;&mdash;the story by which&lt;br /&gt;
E. Nesbit is represented &mdash; has for its heroine&lt;br /&gt;
a famous dancer who attracts a young officer on&lt;br /&gt;
the point of leaving England for foreign service.&lt;br /&gt;
On his return, after some years&amp;#039; absence, he finds&lt;br /&gt;
her firmly established in London as a dancer.&lt;br /&gt;
The complications on which the story turns are&lt;br /&gt;
consequent upon a rather eccentric education&lt;br /&gt;
which has left her involved in relations with&lt;br /&gt;
another man, and the story culminates in a strange&lt;br /&gt;
crime with a no less strange d&eacute;nouement.&lt;br /&gt;
Miss Lathbury&amp;#039;s novel is called &ldquo;The Desert&lt;br /&gt;
Island.&rdquo; We have received no information from&lt;br /&gt;
the publishers respecting this book, but Miss&lt;br /&gt;
Lathbury will be remembered as the author of&lt;br /&gt;
two others published, we believe, by the same&lt;br /&gt;
firm, &ldquo;Mr. Meyer&amp;#039;s People&rdquo; and &ldquo;The People&lt;br /&gt;
Downstairs.&rdquo;&lt;br /&gt;
&ldquo;Attainment,&rdquo; Mrs. Havelock Ellis&amp;#039; first attempt&lt;br /&gt;
at a long novel, is a story founded on experi-&lt;br /&gt;
ments Socialistic, philanthropic, and realistic, and&lt;br /&gt;
points to the value of a natural life in every&lt;br /&gt;
respect.&lt;br /&gt;
&ldquo;Lords of the Sea,&rdquo; which Messrs. Methuen &amp;amp;&lt;br /&gt;
Co. will publish at six shillings on August 12, is&lt;br /&gt;
a new novel by Mr. Edward Noble, written round&lt;br /&gt;
the life of a shipowner who has climbed from small&lt;br /&gt;
beginnings to greatness through the operation of a&lt;br /&gt;
transaction which is now known as P.P.I. in the&lt;br /&gt;
shipping world and elsewhere ; of the stress he&lt;br /&gt;
endures in consequence, and the manner in which&lt;br /&gt;
he faces it, together with an incident which grows&lt;br /&gt;
from other actions committed in early youth. The&lt;br /&gt;
first and last Sections of the book are laid on board&lt;br /&gt;
the Atlantic &ldquo;flyer,&rdquo; the Mauretania.&lt;br /&gt;
&ldquo;The Lady Calphurnia Royal&rdquo; is the title of a&lt;br /&gt;
book which Messrs. Mills &amp;amp; Boon are to publish in&lt;br /&gt;
June. Mr. Albert Dorrington, who wrote it in&lt;br /&gt;
collaboration with A. G. Stephens, late of the&lt;br /&gt;
S/dney Bullet&ordm;n, journeyed from Rockhampton in&lt;br /&gt;
a three-quarter deck yacht, in 1906, to the French&lt;br /&gt;
penal settlement of Ile Nou, in order to obtain local&lt;br /&gt;
colour and impressions. A big half of the book&lt;br /&gt;
deals with convict life in and around Noumea.&lt;br /&gt;
The rest contains a very close study of Australian&lt;br /&gt;
life and conditions on a big cattle station &ldquo;outback.&rdquo;&lt;br /&gt;
In spite of her long and severe illness last year,&lt;br /&gt;
Miss R. N. Carey has completed a novel entitled&lt;br /&gt;
&ldquo;The King of the Unknown,&rdquo; which will be issued&lt;br /&gt;
as usual in September by Messrs. Macmillan &amp;amp;&lt;br /&gt;
Co., and simultaneously in America by Messrs.&lt;br /&gt;
Lippincott.&lt;br /&gt;
Mr. John Long will publish early this month a&lt;br /&gt;
new novel by Mr. Henry Tighe, entitled &ldquo;The&lt;br /&gt;
Four Candles.&rdquo; The story opens, and for three-&lt;br /&gt;
quarters of the book remains, in a prospector&amp;#039;s&lt;br /&gt;
Valley in Australia, and the circumstances of such&lt;br /&gt;
isolation creates the theme of the book, in which&lt;br /&gt;
four candles play, an important part in deciding&lt;br /&gt;
who shall take the heroine to wife&mdash;since her&lt;br /&gt;
husband and child have both died in the pro-&lt;br /&gt;
Spector&amp;#039;s camp. The result of this act to the hero.&lt;br /&gt;
and to the Woman is told in detail. -&lt;br /&gt;
&ldquo;Peggy Gainsborough,&rdquo; Miss Emily Baker&amp;#039;s&lt;br /&gt;
new book, published this month by Mr. Francis&lt;br /&gt;
Griffiths, is a story of the great painter&amp;#039;s daughter&lt;br /&gt;
and the times in which she lived. The illustra-&lt;br /&gt;
tions are from portraits and pictures by Thomas&lt;br /&gt;
Gainsborough, R.A.&lt;br /&gt;
Messrs. Milner &amp;amp; Co., of 15A, Paternoster Row,&lt;br /&gt;
are the publishers of two plays for children by&lt;br /&gt;
Miss L. Budgen. The plays are &ldquo;Hay Time,&rdquo; a&lt;br /&gt;
cantata with action, and &ldquo;Winter,&rdquo; a little action&lt;br /&gt;
play for children. Both plays are published at&lt;br /&gt;
threepence.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
Sir Isaac Pitman &amp;amp; Sons, Ltd., are the publishers&lt;br /&gt;
of &ldquo;Musical Monstrosities,&rdquo; being the collected&lt;br /&gt;
articles which Mr. C. L. Graves has contributed&lt;br /&gt;
at intervals, dealing with the atrocities committed&lt;br /&gt;
in the musical world. Mr. George Morrow has&lt;br /&gt;
illustrated the work.&lt;br /&gt;
&ldquo;Glimpses of Hidden India&rsquo;&rsquo; is a new book by&lt;br /&gt;
John Law, published by Messrs. Thacker &amp;amp; Co.&lt;br /&gt;
Among the aspects of Indian life which are dealt&lt;br /&gt;
with may be mentioned Hindu lawyers, modern&lt;br /&gt;
Calcutta, the Hindu student, marriage and women,&lt;br /&gt;
Indian progress on western lines, and editors and&lt;br /&gt;
newspapers. s&lt;br /&gt;
Messrs. Black in their series of colour books,&lt;br /&gt;
which already includes several on gardens, have&lt;br /&gt;
found room for another on &ldquo;Dutch Bulbs and&lt;br /&gt;
Gardens,&rdquo; in which three ladies collaborate, Miss&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 237 (#297) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTFIOR.&lt;br /&gt;
237&lt;br /&gt;
Mima Nixon as artist, and the Misses Una&lt;br /&gt;
Silberrad and Sophie Lyall as authors. -&lt;br /&gt;
NAVAL. -&lt;br /&gt;
The 1909 edition of Jane&rsquo;s &ldquo;Fighting Ships&rdquo; is&lt;br /&gt;
announced to appear early this month. Mr. Jane has&lt;br /&gt;
succeeded in securing plans of the German Dread-&lt;br /&gt;
noughts, including those of which the Government&lt;br /&gt;
has just confessed complete ignorance. There are&lt;br /&gt;
altogether three distinct types of German Dread-&lt;br /&gt;
noughts building. The latest designs for German&lt;br /&gt;
Dreadnought cruisers are also given, including the&lt;br /&gt;
famous &ldquo;Von der Taun.&rdquo; The new edition con-&lt;br /&gt;
tains a variety of other improvements and additions.&lt;br /&gt;
A point of interest in connection with Part 2 is&lt;br /&gt;
that Commander Hovgaard, the famous Danish-&lt;br /&gt;
American expert on ship design, has joined the staff&lt;br /&gt;
of &ldquo;Fighting Ships,&rdquo; and contributes for the 1909&lt;br /&gt;
edition an article on underwater protection against&lt;br /&gt;
torpedoes. Mr. Charles de Grave Sells, M.Inst.C.E.,&lt;br /&gt;
deals with the progress of warship engineering.&lt;br /&gt;
THEOLOGICAL.&lt;br /&gt;
We have received a copy of the second edition of&lt;br /&gt;
&ldquo;A Commentary on the Holy Bible,&rdquo; which has&lt;br /&gt;
been produced by Messrs. Macmillan &amp;amp; Co. under&lt;br /&gt;
the editorship of the Rev. J. R. Dummelow. The&lt;br /&gt;
object of the originators of the work has been to&lt;br /&gt;
make clear to the reader many of the circumstances&lt;br /&gt;
under which the various books of the Bible were&lt;br /&gt;
composed, to present a clear statement of the&lt;br /&gt;
mental habits of the people to whom they were&lt;br /&gt;
addressed, and to indicate the actual needs which&lt;br /&gt;
they were designed to meet. Introductions and&lt;br /&gt;
notes have been supplied to the various books with&lt;br /&gt;
a view to explaining the principal difficulties,&lt;br /&gt;
textual, moral or doctrinal, which may arise in con-&lt;br /&gt;
nection with them.&lt;br /&gt;
Messrs. Mowbray announce an edition of 50,000&lt;br /&gt;
copies of the Rev. Percy Dearmer&amp;#039;s work, &ldquo;Every-&lt;br /&gt;
man&rsquo;s History of the English Church.&rdquo; Mr.&lt;br /&gt;
Dearmer is also publishing this month, through&lt;br /&gt;
Messrs. Pitmans, a volume entitled &ldquo;Body and&lt;br /&gt;
Soul,&rdquo; which traces the practice of faith healing&lt;br /&gt;
from the early Church downwards through the&lt;br /&gt;
works of the saints, and healings at famous shrines&lt;br /&gt;
down to the new developments in our scientific age.&lt;br /&gt;
POETRY.&lt;br /&gt;
&ldquo;The Red King&amp;#039;s Dream,&rdquo; and other poems, by&lt;br /&gt;
E. M. Rutherford, is a collection of pieces, many of&lt;br /&gt;
which have been published already in various&lt;br /&gt;
magazines. Mr. Henry Drane is the publisher.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
A statutory performance on April 30, at&lt;br /&gt;
the Bijou Theatre, was given of Mr. Melchior&lt;br /&gt;
MacBride&amp;#039;s mystery play, &ldquo;The Story of Glaston-&lt;br /&gt;
bury and the Grail.&rdquo; The work deals with the&lt;br /&gt;
arrival in England of Joseph of Arimathea and his&lt;br /&gt;
party, bearing the Grail and other emblems of&lt;br /&gt;
Christianity; with their reception by the Druids;&lt;br /&gt;
with the adoption of Christianity in Britain. The&lt;br /&gt;
reading was directed by Mr. Geoffrey Besant, who&lt;br /&gt;
was assisted by Miss Gertrude Bibby; Mrs. Edward&lt;br /&gt;
Stirling, as Gladys (the chief Druidess), and the&lt;br /&gt;
Arch-Druid Cymnitin, Mr. A. F. Jones, Miss&lt;br /&gt;
Margaret Hardy, and others.&lt;br /&gt;
Mr. A. E. W. Mason&amp;#039;s comedy &ldquo;Colonel Smith &rdquo;&lt;br /&gt;
was produced at the St. James&rsquo; on April 23. The&lt;br /&gt;
play is based on the action of a young lady who&lt;br /&gt;
invents a lover as the speediest means of obtaining&lt;br /&gt;
one, and shows the measure of success which&lt;br /&gt;
attended her deception. The cast included Miss&lt;br /&gt;
Irene Wamburgh, Mr. George Alexander, and Mr.&lt;br /&gt;
William Farren.&lt;br /&gt;
Mr. W. Somerset Maugham&amp;#039;s play &ldquo;The Ex-&lt;br /&gt;
plorer &amp;#039;&amp;#039; was revived at the Lyric Theatre last&lt;br /&gt;
month. Mr. Lewis Waller, Miss Fanny Brough,&lt;br /&gt;
and Mr. A. E. George are in the cast.&lt;br /&gt;
&ldquo;At a Junction,&rdquo; the new one-act play in which&lt;br /&gt;
Miss Ellen Terry is appearing this season, is&lt;br /&gt;
written by Miss Margaret Young, whose first&lt;br /&gt;
novel, &ldquo;The Wreathed Dagger,&rdquo; came out last&lt;br /&gt;
month.&lt;br /&gt;
A new one-act play by Mr. W. W. Jacobs and&lt;br /&gt;
Mr. Horace Mills was produced in front of &ldquo;The&lt;br /&gt;
Arm of the Law,&rdquo; at the Garrick Theatre, on&lt;br /&gt;
May 25. It is an episode between two simple-&lt;br /&gt;
hearted sailors and a widow, to whom one of them&lt;br /&gt;
is paying attentions. The cast includes Mr. Leon&lt;br /&gt;
Quartermaine, Miss Mary Weigall, and Mr. Arthur&lt;br /&gt;
Whitby.&lt;br /&gt;
&mdash;&mdash;&ordm;-e&mdash;&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;e-Q-0&ndash;&lt;br /&gt;
HE death of George Meredith is universally&lt;br /&gt;
regretted here by all lovers of English litera-&lt;br /&gt;
ture. Unfortunately very few of his books&lt;br /&gt;
have been translated into French, and one of them,&lt;br /&gt;
&ldquo;The Egoist,&rdquo; has appeared in a poor translation.&lt;br /&gt;
Those French readers who know Meredith&rsquo;s works in&lt;br /&gt;
the original greatly appreciate the psychology to be&lt;br /&gt;
found in them. Strangely enough, the last portrait&lt;br /&gt;
for which George Meredith posed, the medallion by&lt;br /&gt;
Spicer-Simson, is now being exhibited in the Salon.&lt;br /&gt;
This is naturally of great interest now, and attracts&lt;br /&gt;
a great deal of attention. Spicer-Simson also did&lt;br /&gt;
an excellent medallion of Watts shortly before his&lt;br /&gt;
death. This, too, was the last portrait for which&lt;br /&gt;
the great artist posed, and just after George&lt;br /&gt;
Gissing&amp;#039;s death an admirable portrait of him by&lt;br /&gt;
this same sculptor was to be seen in the Paris Salom.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 238 (#298) ############################################&lt;br /&gt;
&lt;br /&gt;
238&lt;br /&gt;
TISIE A DITISIGDR.&lt;br /&gt;
Ren&eacute; Doumic&amp;#039;s book on George Sand is perhaps&lt;br /&gt;
the most interesting of the recently published&lt;br /&gt;
volumes. He goes back to the genealogy of the&lt;br /&gt;
family on the maternal and paternal side and, by&lt;br /&gt;
this study in atavism, much that may have hitherto&lt;br /&gt;
seemed incomprehensible in this celebrated woman&amp;#039;s&lt;br /&gt;
character is, more or less, accounted for. Ren&eacute;&lt;br /&gt;
Doumic has studied his subject thoroughly. He&lt;br /&gt;
gives us, in the first chapter, an excellent Summing&lt;br /&gt;
up of the psychology of this &ldquo;child of Rousseau,&rdquo;&lt;br /&gt;
as he calls her. He shows us the various influences&lt;br /&gt;
with which she, as a girl, had to contend. In the&lt;br /&gt;
next chapter she is married to Baron Dudevant,&lt;br /&gt;
and in the third chapter the author considers her&lt;br /&gt;
&ldquo;a feminist of 1832.&rdquo; After this we have the&lt;br /&gt;
series of her various romances with Alfred de&lt;br /&gt;
Musset, Chopin, and her other lovers. Later on&lt;br /&gt;
there is a chapter on the humanitarian dream and&lt;br /&gt;
her acquaintance with Pierre Leroux. In 1848&lt;br /&gt;
she is deeply interested in politics, and in the&lt;br /&gt;
closing chapters, we find her in her country home&lt;br /&gt;
at Nohant. Her friendship with Flaubert, her&lt;br /&gt;
letters to him, and a study of her later writings are&lt;br /&gt;
the last subjects on which M. Doumic touches.&lt;br /&gt;
The whole book is intensely interesting. The&lt;br /&gt;
subject is a very big one, but the author of this&lt;br /&gt;
volume has that rare quality, the Science of selec-&lt;br /&gt;
tion, in a marked degree. There is never a word&lt;br /&gt;
too much, and yet all sides are considered before&lt;br /&gt;
the critic draws his conclusions. In these days of&lt;br /&gt;
literary, or rather unliterary, rush and Scramble,&lt;br /&gt;
it is refreshing to find a book that one feels&lt;br /&gt;
has been carefully and studiously thought out,&lt;br /&gt;
a book which brings new light on a subject&lt;br /&gt;
which has tempted and will ever tempt so many&lt;br /&gt;
Writers. -&lt;br /&gt;
&ldquo;Les Unis,&rdquo; by Edouard Rod, is another roman&lt;br /&gt;
&agrave; th&egrave;se. In this author&amp;#039;s last book, &ldquo;Aloyse&lt;br /&gt;
Val&eacute;rien,&rdquo; it seemed as though the writer of it&lt;br /&gt;
had left himself with a problem to solve. In this&lt;br /&gt;
new work he appears to have solved it. The&lt;br /&gt;
subject of the novel is the question of free love.&lt;br /&gt;
A certain astronomer and philosopher, who has&lt;br /&gt;
himself been fortunate in his love affairs, considers&lt;br /&gt;
an unfettered union infinitely more ideal and&lt;br /&gt;
elevated than an official marriage. He educates&lt;br /&gt;
his children according to his theories, and the&lt;br /&gt;
consequence is that, out of the four free unions in&lt;br /&gt;
his family, three prove disastrous, and the fourth&lt;br /&gt;
couple decide that it will be preferable to legalise&lt;br /&gt;
their marriage. The conclusion of the book seems&lt;br /&gt;
to be an attempt to prove that, in the present&lt;br /&gt;
state of Society, free unions cannot be substituted&lt;br /&gt;
for legalised marriages. This does not perhaps&lt;br /&gt;
prevent the author from sympathising with the&lt;br /&gt;
idealist in his theories. The conclusion is rather&lt;br /&gt;
that such an ideal is too premature for the Sordid&lt;br /&gt;
times in which we live.&lt;br /&gt;
5&lt;br /&gt;
The questions of marriage, divorce, and free&lt;br /&gt;
unions have furnished subjects for numbers of&lt;br /&gt;
novels within the last few years. &ldquo;Le Couple&lt;br /&gt;
invincible,&rdquo; by M. Louis Lefebvre, is another novel&lt;br /&gt;
on the same theme. In 1629, a band of French&lt;br /&gt;
emigrants set out with their families, hoping to&lt;br /&gt;
find peace and tranquillity in other lands. They&lt;br /&gt;
are shipwrecked, and only a boat laden with&lt;br /&gt;
children, the eldest of whom is five years old,&lt;br /&gt;
reaches a little island inhabited by fishermen. It&lt;br /&gt;
is the first time that the natives of the island have&lt;br /&gt;
ever seen any Europeans, and as their habits and&lt;br /&gt;
customs are Very simple, they adopt the newcomers.&lt;br /&gt;
The children, of course, have a language of their&lt;br /&gt;
own. They live on very friendly terms with the&lt;br /&gt;
inhabitants of the island, but as a colony quite&lt;br /&gt;
apart. Time passes by, and as these children grow&lt;br /&gt;
up they gradually educate themselves and make&lt;br /&gt;
their own rules, and later on laws. Three hundred&lt;br /&gt;
years later this little colony has developed into a&lt;br /&gt;
community of twenty thousand people. One of&lt;br /&gt;
the most curious of their laws is the one concerning&lt;br /&gt;
marriage. A register is kept of marriages and of&lt;br /&gt;
d&eacute;mariages. As soon as a husband wishes to&lt;br /&gt;
change his wife he gives notice to the Governor,&lt;br /&gt;
and the dissolution of his marriage is at once&lt;br /&gt;
pronounced. At the time when the story opens&lt;br /&gt;
there is great excitement in the island. A certain&lt;br /&gt;
Professor and his wife have promised each other to:&lt;br /&gt;
be faithful for life, and not to contract a marriage&lt;br /&gt;
With another person. This is considered criminal&lt;br /&gt;
and illegal, and the would-be reformer is thrown&lt;br /&gt;
into prison. He pleads his cause most eloquently,&lt;br /&gt;
but this idea of absolute fidelity to one wife is con-&lt;br /&gt;
sidered rank heresy, and he is condemned to.&lt;br /&gt;
imprisonment for life. Gradually, though, the&lt;br /&gt;
idea is discussed in the island and, as time goes&lt;br /&gt;
on, the advantages of such a custom are seen by&lt;br /&gt;
Some of the more important members of the com-&lt;br /&gt;
munity. Finally, there is a reaction in favour of&lt;br /&gt;
the Professor, and it is decided that he shall be set&lt;br /&gt;
free, and that his principle shall be adopted.&lt;br /&gt;
When the Governor goes to the prison with these&lt;br /&gt;
good tidings it is too late, as the prisoner has just&lt;br /&gt;
died. Great sympathy is felt for his widow, but,&lt;br /&gt;
she tells the Governor that she will never be alone,&lt;br /&gt;
as she is sure of her husband&rsquo;s love even after&lt;br /&gt;
death. Some little time after this a French boat&lt;br /&gt;
touches at the island and, on comparing notes, it&lt;br /&gt;
is discovered that this little colony belongs to&lt;br /&gt;
France. The Governor, in his pride, tells of the&lt;br /&gt;
new law that has just been passed, and is delighted&lt;br /&gt;
that the colony will be worthy of the mother&lt;br /&gt;
country. The officer replies in an evasive manner.&lt;br /&gt;
It is 1915, and in France the law has just decreed&lt;br /&gt;
that all marriages shall be dissolved at will.&lt;br /&gt;
&ldquo;Le Mariage de Mlle. Gimei, dactylographe,&rdquo; is&lt;br /&gt;
the title of Ren&eacute; Bazin&amp;#039;s latest book. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 239 (#299) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
239&lt;br /&gt;
&ldquo;Une Trag&eacute;die d&rsquo;Amour&rdquo; is a work by Ernest&lt;br /&gt;
Seilli&egrave;re, giving the details of the suicide of&lt;br /&gt;
Charlotte Stieglitz. The whole story is very&lt;br /&gt;
curious, and several volumes have already been&lt;br /&gt;
written on the subject. Henri Stieglitz was a poet&lt;br /&gt;
of an extremely melancholy and nervous disposition.&lt;br /&gt;
His wife finally committed suicide, hoping that a&lt;br /&gt;
real trouble might arouse her husband from his&lt;br /&gt;
imaginary sorrows, and enable him to produce the&lt;br /&gt;
masterpieces of literature of which they both&lt;br /&gt;
appear to think he was capable. The whole book&lt;br /&gt;
is a study of psychology and of German mentality&lt;br /&gt;
during the 1830 period.&lt;br /&gt;
Among other recent books are:&mdash;&ldquo;Sur les deux&lt;br /&gt;
Rives,&rdquo; by Leon de Timseau; &ldquo;Le soldat Bernard,&rdquo;&lt;br /&gt;
by Paul Acker; &ldquo;Simone la Romanesque,&rdquo;, by&lt;br /&gt;
Lucien Trotignon; &ldquo;La Course &agrave; l&rsquo;Abime,&rdquo; by&lt;br /&gt;
Ernest Daudet.&lt;br /&gt;
&ldquo;Un Concert chez les Fous&rdquo; is the title of the&lt;br /&gt;
volume of short stories which Charles Foley, the&lt;br /&gt;
author of &ldquo;Heard at the Telephone,&rdquo; has just&lt;br /&gt;
brought out. The first story, which gives its name&lt;br /&gt;
to the volume, is the one from which the play that&lt;br /&gt;
has had such success in Paris this winter was taken.&lt;br /&gt;
The translation of this story has already appeared&lt;br /&gt;
in an English magazine, and several of the others&lt;br /&gt;
will be published shortly in English.&lt;br /&gt;
The lectures given at the Sorbonne by the&lt;br /&gt;
American professor, Henry Van Dyke, have been&lt;br /&gt;
translated by E. Sainte Marie Perrin, and are&lt;br /&gt;
now published in book form as &ldquo;Le G&eacute;nie de&lt;br /&gt;
l&rsquo;Am&eacute;rique,&rdquo; with a preface by A. Ribot, of the&lt;br /&gt;
French Academy. A translation of a book by&lt;br /&gt;
Benson has just appeared, entitled &ldquo;Par quelle&lt;br /&gt;
Autorit&eacute; P.&rdquo;&lt;br /&gt;
&ldquo;Douze Histoires et un R&eacute;ve&amp;quot; is the title of a&lt;br /&gt;
translation recently published of a book by Wells.&lt;br /&gt;
In the Revue de Paris of the 15th of May, there&lt;br /&gt;
is an article by Jacques Blanche on the &ldquo;Hundred&lt;br /&gt;
English and French Portraits.&rdquo; In the last three&lt;br /&gt;
numbers of La Revue hebdomadaire there has&lt;br /&gt;
been a series of articles on &ldquo;Le D&eacute;peuplement de&lt;br /&gt;
la France.&rdquo; Mademoiselle Chaptal, who has done&lt;br /&gt;
such fine work in the war that is being waged&lt;br /&gt;
against tuberculosis, writes an extremely interesting&lt;br /&gt;
article entitled &ldquo;Histoire d&amp;#039;un Faubourg.&rdquo; Through&lt;br /&gt;
her efforts great changes have taken place in one&lt;br /&gt;
of the most populous districts of Paris. She has&lt;br /&gt;
built a model lodging-house for the working man,&lt;br /&gt;
and she is now engaged in the founding of a very&lt;br /&gt;
modern hospital, which she will supply with&lt;br /&gt;
trained nurses. In the same review M. De&lt;br /&gt;
:Quirielle gives a study of &ldquo;The Evolution of&lt;br /&gt;
Maurice Barres.&rdquo;&lt;br /&gt;
In Paul Hervieu&amp;#039;s play at the Th&eacute;&acirc;tre Fran&ccedil;ais,&lt;br /&gt;
entitled &ldquo;Connais-toi,&rdquo; we have one of the finest&lt;br /&gt;
feminine characters which this author has given&lt;br /&gt;
sus. In Clarisse, the wife of the G&eacute;n&eacute;ral de Sib&eacute;ran,&lt;br /&gt;
We have an extremely feminine, charming woman,&lt;br /&gt;
a distinct relief from the ultra-modern woman&lt;br /&gt;
now in vogue. All the other characters are living&lt;br /&gt;
and real; there is nothing of the marionette about&lt;br /&gt;
them. They have not been invented merely to&lt;br /&gt;
figure in a play written to instruct us. It is quite&lt;br /&gt;
refreshing to have either a play or a novel at&lt;br /&gt;
present in which we have no long tirades on the&lt;br /&gt;
rights and requirements of women. &ldquo;Le Scan-&lt;br /&gt;
dale,&rdquo; by Henri Bataille, is being played at the&lt;br /&gt;
Renaissance. At the Porte Saint-Martin the play&lt;br /&gt;
by MM. Gustave Guiches and Fran&ccedil;ois de Nion,&lt;br /&gt;
entitled &ldquo;Lauzun,&rdquo; is having success.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;George Sand&rdquo; (Perrin).&lt;br /&gt;
&ldquo;Les Unis&rdquo; (Fasquelle).&lt;br /&gt;
&ldquo;Le Couple invincible &amp;quot; (Perrin).&lt;br /&gt;
&ordm; # Mariage de Mlle. Gimel, dactylographe &amp;quot; (Calmann-&lt;br /&gt;
evy).&lt;br /&gt;
&ldquo;Une Trag&eacute;die d&amp;#039;Amour&rdquo; (Plon).&lt;br /&gt;
&ldquo;Sur les deux Rives&rdquo; (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Le Soldat Bernard&rdquo; (Fayard).&lt;br /&gt;
&ldquo;Simone la Romanesque &amp;quot; (Perrin).&lt;br /&gt;
&ldquo;Un Concert chez les Fous&rdquo; (Ollendorf).&lt;br /&gt;
a &ndash; A &ndash; a&lt;br /&gt;
v-&ordm;-w&lt;br /&gt;
AMERICAN COPYRIGHT AGAIN.&lt;br /&gt;
&mdash;&ordm;-O-0&ndash;&lt;br /&gt;
A COINCIDENCE.&lt;br /&gt;
TT is surely a singular coincidence that the&lt;br /&gt;
April number of The Author, which contains&lt;br /&gt;
my suggestion that Great Britain and the&lt;br /&gt;
United States should give their respective authors&lt;br /&gt;
the protection granted willingly to patentees,&lt;br /&gt;
should also publish a brief digest of a new United&lt;br /&gt;
States Copyright Bill which actually takes a step in&lt;br /&gt;
the direction I indicated. But it is only a step&mdash;a&lt;br /&gt;
weak effort to break away from earlier trammels.&lt;br /&gt;
I proposed a protected period of six months after&lt;br /&gt;
publication, and a further period of one year on&lt;br /&gt;
payment of a small fee. The new American Act&lt;br /&gt;
gives one month for filing the copy of a British&lt;br /&gt;
book and one month for applying the type-setting&lt;br /&gt;
clause. Now, with all deference to The Author&amp;#039;s&lt;br /&gt;
adverse opinion, I hail this as a real benefit, but&lt;br /&gt;
the absurdly inadequate time limits prove clearly,&lt;br /&gt;
to my thinking, that the Act was drawn up by&lt;br /&gt;
someone who had very little practical experience&lt;br /&gt;
of the difficulty he was trying to solve. Will you&lt;br /&gt;
permit me to point out some phases of this&lt;br /&gt;
difficulty 2&lt;br /&gt;
I am not concerned about the leading authors of&lt;br /&gt;
either country. The very drawbacks imposed by&lt;br /&gt;
this copyright muddle are good for them. Their&lt;br /&gt;
books are accepted eagerly, and publishers are&lt;br /&gt;
naturally prepared to fulfil the provisions of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 240 (#300) ############################################&lt;br /&gt;
&lt;br /&gt;
240&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
law, whether simultaneous publication is insisted&lt;br /&gt;
on or not. It is the beginner, the unknown writer&lt;br /&gt;
&mdash;the man or woman with a story to tell that shall&lt;br /&gt;
hold spellbound the multitude when once its atten-&lt;br /&gt;
tion is caught&mdash;who suffers most grievously under&lt;br /&gt;
existing conditions. To such a one this slight&lt;br /&gt;
relaxation of the &ldquo;simultaneous publication &rdquo;&lt;br /&gt;
clause is nearly, though not quite, useless. Take,&lt;br /&gt;
for instance, a novel that is published serially ;&lt;br /&gt;
before it appears in book form it may have been&lt;br /&gt;
running six months: what becomes then of the&lt;br /&gt;
two months&amp;#039; grace allowed by the United States ?&lt;br /&gt;
Again, let a non-serialised book by a new writer&lt;br /&gt;
be head and shoulders over its contemporaries of a&lt;br /&gt;
season, it cannot leap into prominence SO Suddenly&lt;br /&gt;
that all the reading public shall know of it, and an&lt;br /&gt;
American house be ready to adopt the needed safe-&lt;br /&gt;
guards almost before the circulating libraries have&lt;br /&gt;
made up their minds to order a second supply.&lt;br /&gt;
It seems to be only too clear that the two&lt;br /&gt;
months period was determined by legislators who&lt;br /&gt;
meant to act fairly, but lacked knowledge of print-&lt;br /&gt;
ing and publishing exigences. The concession is&lt;br /&gt;
a real boon to publishers and authors whose&lt;br /&gt;
arrangements are already made. It saves anxiety&lt;br /&gt;
and doubt on such a vitally important matter as to&lt;br /&gt;
what does actually constitute &ldquo;simultaneous&rdquo;&lt;br /&gt;
publication. But it does not give proper protec-&lt;br /&gt;
tion to the author who is unable to Secure a pub-&lt;br /&gt;
lisher on both sides of the Atlantic. It helps, I&lt;br /&gt;
admit. There may be some few cases where the&lt;br /&gt;
transcending merits of a book (probably overlooked.&lt;br /&gt;
by a round dozen of wideawake publishers when&lt;br /&gt;
in MS.) will demand such prompt attention that&lt;br /&gt;
an American edition can be rushed into print.&lt;br /&gt;
within the time.&lt;br /&gt;
far between.&lt;br /&gt;
I hope, therefore, that The Author will withdraw&lt;br /&gt;
its ban, and advocate the extended period I described&lt;br /&gt;
a month ago. By payment of 4s. the owner of&lt;br /&gt;
the copyright should be able to secure protection&lt;br /&gt;
for eighteen months. If, in that time, he has not&lt;br /&gt;
persuaded an American publisher to take up his&lt;br /&gt;
book&mdash;well, he must write another and a better&lt;br /&gt;
one&mdash;or, at any rate, one more suited to the&lt;br /&gt;
American market. -&lt;br /&gt;
LOUIS TRACY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CHEAP EDITIONS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
RESULT OF THE SOCIETY&amp;#039;s CIRCULAR.&lt;br /&gt;
HE committee desire to put before the&lt;br /&gt;
members of the society the result of the&lt;br /&gt;
postcard circular which was sent round&lt;br /&gt;
to all the members in April.&lt;br /&gt;
But such cases will be few and&lt;br /&gt;
As members will call to mind, this circular ran&lt;br /&gt;
as follows:&ndash; -&lt;br /&gt;
&ldquo;The committee desire to call your attention to the&lt;br /&gt;
report of the sub-committee on bookselling in the April&lt;br /&gt;
issue of The Author, and will be glad&mdash;should the matter&lt;br /&gt;
under discussion affect you as a writer of fiction&mdash;if you&lt;br /&gt;
would be kind enough to fill up, sign, and return the&lt;br /&gt;
accompanying postcard. It is most important for the&lt;br /&gt;
booksellers to know the names of those authors who&lt;br /&gt;
approve of the time limit and are willing to assist in&lt;br /&gt;
enforcing it.&rdquo;&lt;br /&gt;
and that the following was the form of card for&lt;br /&gt;
reply :&mdash; -&lt;br /&gt;
&ldquo;* (1) I am (OT am not) a writer of novels.&lt;br /&gt;
&ldquo;&rdquo; (2) I undertake (do not undertake) not to publish&lt;br /&gt;
either myself, or through my agents or assigns, an edition&lt;br /&gt;
of any novel first issued at the price of 6s. or over in a&lt;br /&gt;
cheaper form at any time within two years from date of&lt;br /&gt;
its first publication,&lt;br /&gt;
&ldquo;&rdquo; (3) I have no objection (I object) to the publication&lt;br /&gt;
of my name in The Author or otherwise.&lt;br /&gt;
&ldquo;* Please delete these portions not applicable.&rdquo;&lt;br /&gt;
The list of those who are willing, and those who&lt;br /&gt;
are unwilling, to give the undertaking will be of&lt;br /&gt;
interest, not only to all writers of fiction, but to&lt;br /&gt;
all the booksellers when purchasing their stock of&lt;br /&gt;
68. novels, and also to the publishers.&lt;br /&gt;
It should be borne in mind that this under-&lt;br /&gt;
taking could not possibly bind members in the&lt;br /&gt;
matter of those contracts which have already been&lt;br /&gt;
entered into either by themselves or their agents,&lt;br /&gt;
and it should be stated that some of the signatories&lt;br /&gt;
who gave this undertaking made an exception in&lt;br /&gt;
favour of 38. 6d. editions, or, conversely, limited the&lt;br /&gt;
undertaking to non-production at 1s. or under.&lt;br /&gt;
From many of the novelist members of the&lt;br /&gt;
Society, as a careful perusal of the list will at&lt;br /&gt;
once show, no answers have been received&mdash;this&lt;br /&gt;
point should be kept in mind by any statistician&lt;br /&gt;
who desires to make logical deductions&mdash;but if&lt;br /&gt;
any other names come in to the offices of the&lt;br /&gt;
Society of Authors after this list has gone to&lt;br /&gt;
press, they will, with the consent of the authors,&lt;br /&gt;
be inserted in the July number.&lt;br /&gt;
About six hundred answers have so far been&lt;br /&gt;
received. Of these 290 were from those members&lt;br /&gt;
of the Society who did not claim to be novelists,&lt;br /&gt;
and 310 were from novelists. -&lt;br /&gt;
We only propose to deal with a classification of&lt;br /&gt;
the latter. Of these the majority gave the under-&lt;br /&gt;
taking suggested by the sub-committee and&lt;br /&gt;
approved by the committee of management, the&lt;br /&gt;
exact proportions being as follows: 203 in favour&lt;br /&gt;
of the undertaking and 28 against. In fourteen&lt;br /&gt;
cases the writers expressed their views in general&lt;br /&gt;
terms, neither binding nor refusing to bind them-&lt;br /&gt;
selves. Twelve cards were returned unsigned, and&lt;br /&gt;
in consequence cannot be identified.&lt;br /&gt;
The lists produced below naturally only include&lt;br /&gt;
those who have allowed their names to be published.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 241 (#301) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR,&lt;br /&gt;
241&lt;br /&gt;
Authors who undertake not to Publish an Edition&lt;br /&gt;
of any Novel first issued at the price of 68, in a&lt;br /&gt;
cheap form at any time within Two Years from&lt;br /&gt;
date of its first Publication.&lt;br /&gt;
Ansell, Evelyn&lt;br /&gt;
Armstrong, Miss Julien&lt;br /&gt;
Askew, Claude&lt;br /&gt;
Atherton, Mrs. Gertrude&lt;br /&gt;
Baker, Miss Emily&lt;br /&gt;
Baker, James&lt;br /&gt;
Bancroft, Francis&lt;br /&gt;
Banerjea, S. B.&lt;br /&gt;
Barclay, Armiger&lt;br /&gt;
Barrington, Michael&lt;br /&gt;
Battersby, H. F.&lt;br /&gt;
Prevost&lt;br /&gt;
Begbie, Harold,&lt;br /&gt;
Bell, R. S. Warren&lt;br /&gt;
Benson, E. F.&lt;br /&gt;
Black, Miss Clementina&lt;br /&gt;
Booth, Edward C.&lt;br /&gt;
Bloundelle-Burton,&lt;br /&gt;
John&lt;br /&gt;
Boggs, Miss Winifred&lt;br /&gt;
Boore, Miss E.&lt;br /&gt;
Bourke, Lady Florence&lt;br /&gt;
Brighouse, J. H.&lt;br /&gt;
Briggs, Miss Ada E.&lt;br /&gt;
Brooke, Miss Emma&lt;br /&gt;
Burgess, J. J. Haldane&lt;br /&gt;
Calderon, George&lt;br /&gt;
Cameron, Mrs. Charlotte&lt;br /&gt;
Capes, Bernard&lt;br /&gt;
Carey, Miss&lt;br /&gt;
Nouchette&lt;br /&gt;
Carroder, Conrad H.&lt;br /&gt;
Castle, Egerton&lt;br /&gt;
Canman, Gilbert&lt;br /&gt;
Chorley, Herbert&lt;br /&gt;
Clarke, Allen&lt;br /&gt;
Cobbett, Miss Alice&lt;br /&gt;
Coleridge, The Hon.&lt;br /&gt;
Gilbert&lt;br /&gt;
Coleridge, Mrs. Marion&lt;br /&gt;
Connell, Norreys&lt;br /&gt;
Corelli, Miss Marie&lt;br /&gt;
Cowley, Miss J. M. R.&lt;br /&gt;
Craig, Lieut.-Col. R.&lt;br /&gt;
Manifold&lt;br /&gt;
Crommelin, Miss May&lt;br /&gt;
Dawe, Carlton&lt;br /&gt;
De Crespigny, Mrs.&lt;br /&gt;
Delaire, Mrs. Jean&lt;br /&gt;
De la Pasture,&lt;br /&gt;
Henry&lt;br /&gt;
Deeping, Warwick&lt;br /&gt;
Dickson, F. Thorold&lt;br /&gt;
Rosa&lt;br /&gt;
Mrs.&lt;br /&gt;
Digges, The Rev. J.&lt;br /&gt;
C&lt;br /&gt;
Dixon, William Scarth&lt;br /&gt;
Dorrington, Albert&lt;br /&gt;
Doyle, Sir A. Conan&lt;br /&gt;
Drummond, Mrs. Annie&lt;br /&gt;
Drummond, Hamilton&lt;br /&gt;
D&uuml;ring, Mrs. Stella M.&lt;br /&gt;
Dutton, Miss Annie&lt;br /&gt;
V&lt;br /&gt;
Eccles, Miss O&amp;#039;Conor&lt;br /&gt;
Ellis, Mrs. Havelock&lt;br /&gt;
Fetherstonhaugh, W.&lt;br /&gt;
FitzRoy, Isobel (Mrs.&lt;br /&gt;
Arthur Hecht)&lt;br /&gt;
Forbes, Lady Helen&lt;br /&gt;
Forrest, R. E.&lt;br /&gt;
Forster, E. M.&lt;br /&gt;
Fountain, Paul&lt;br /&gt;
Fowler, Ellen Thorney-&lt;br /&gt;
croft (The Hon. Mrs.&lt;br /&gt;
Alfred Felkin)&lt;br /&gt;
Fox, S. M.&lt;br /&gt;
Free, The Rev. Richard&lt;br /&gt;
Freeman, R. Austin&lt;br /&gt;
Fuller, Captain J. F.&lt;br /&gt;
C&lt;br /&gt;
Garvice, Charles&lt;br /&gt;
Gaunt, Miss Mary&lt;br /&gt;
Gay, Mrs. Florence&lt;br /&gt;
Gibson, L. S.&lt;br /&gt;
Gilliat, The Rev. E.&lt;br /&gt;
Gilson, Captain Charles&lt;br /&gt;
Godfrey, Miss Elizabeth&lt;br /&gt;
Goldring, Miss Maude&lt;br /&gt;
Grace, Stephen&lt;br /&gt;
Grand, Madame Sarah&lt;br /&gt;
Granville, C. .&lt;br /&gt;
Graves, Frederick&lt;br /&gt;
Grey, Rowland&lt;br /&gt;
Gribble, Francis&lt;br /&gt;
Grier, Sydney C.&lt;br /&gt;
Guthrie, Anstey (F.&lt;br /&gt;
Anstey)&lt;br /&gt;
Hachblock, Miss Emily&lt;br /&gt;
M. -&lt;br /&gt;
Hamel, Frank&lt;br /&gt;
Hamilton, Anthony&lt;br /&gt;
Hamilton, The Rev.&lt;br /&gt;
John A.&lt;br /&gt;
Harding, Commander&lt;br /&gt;
Claud&lt;br /&gt;
Harker, Mrs. L. Allen&lt;br /&gt;
Harraden, Miss Beatrice&lt;br /&gt;
Harrison, Mrs. Darent&lt;br /&gt;
Harte, Mrs. Bagot&lt;br /&gt;
Heath, Miss Helena&lt;br /&gt;
Henderson, Miss&lt;br /&gt;
Florence L.&lt;br /&gt;
Henoch, Mrs. Emily I.&lt;br /&gt;
Hewlett, Maurice&lt;br /&gt;
Hill, J. Arthur&lt;br /&gt;
Hinkson, Mrs. Katha-&lt;br /&gt;
rine Tynan&lt;br /&gt;
Hodgson, Randolph Ll.&lt;br /&gt;
Holland, Clive&lt;br /&gt;
Holmes, Arthur H.&lt;br /&gt;
Holmes, Miss Eleanor&lt;br /&gt;
Home, Miss M. C.&lt;br /&gt;
Hope, Anthony&lt;br /&gt;
Hope, Graham&lt;br /&gt;
Horniman, Roy&lt;br /&gt;
Hughes-Gibb, Mrs.&lt;br /&gt;
Humphreys, Mrs. Des-&lt;br /&gt;
mond (Rita)&lt;br /&gt;
Hunt, Miss Violet&lt;br /&gt;
Hussey, Eyre&lt;br /&gt;
Jacobs, W. W.&lt;br /&gt;
James, Miss S. Boucher&lt;br /&gt;
Jepson, Edgar&lt;br /&gt;
Jones, W. Braunston&lt;br /&gt;
Reary, C. F.&lt;br /&gt;
Keating, Joseph&lt;br /&gt;
Kenealy, Miss Arabella&lt;br /&gt;
Rinross, Albert&lt;br /&gt;
Ripling, Rudyard&lt;br /&gt;
Koch, Mrs. Mary&lt;br /&gt;
Rnowles, R. B. S.&lt;br /&gt;
Landa, Mrs. Gertrude&lt;br /&gt;
Lathbury, Miss Eva&lt;br /&gt;
Layard, G. S.&lt;br /&gt;
Le Blond, Mrs. Aubrey&lt;br /&gt;
Lechmere, Mrs. (Cecil&lt;br /&gt;
Haselwood)&lt;br /&gt;
Lee, The Rev. Albert&lt;br /&gt;
Lees, Robert James&lt;br /&gt;
Lennox, Lady William&lt;br /&gt;
Locke, W. J.&lt;br /&gt;
Lodge, Juliane de&lt;br /&gt;
Lowndes, Mrs. Belloc&lt;br /&gt;
Louth, Alys&lt;br /&gt;
Lynn, Miss Eve&lt;br /&gt;
Machray, Robert&lt;br /&gt;
Mackellar, C. D.&lt;br /&gt;
MacLeod, G. Hamilton&lt;br /&gt;
Mann, Mrs. Mary E.&lt;br /&gt;
Marchmont, A. W.&lt;br /&gt;
Marks, Mrs. Mary A. M.&lt;br /&gt;
Marriott, Charles&lt;br /&gt;
Marsh, Charles Fielding&lt;br /&gt;
Marshall, Archibald&lt;br /&gt;
McChesney, Miss Dora&lt;br /&gt;
Greenwell&lt;br /&gt;
McCraith, L. M.&lt;br /&gt;
Methley, Miss Alice A.&lt;br /&gt;
Miller, Miss E. T.&lt;br /&gt;
Miniken, Miss Bertha&lt;br /&gt;
M. M.&lt;br /&gt;
Moberley, Miss L. G.&lt;br /&gt;
Moore, Miss Leslie&lt;br /&gt;
Morrah, Herbert A.&lt;br /&gt;
Morrison, Arthur&lt;br /&gt;
Munro, Neil&lt;br /&gt;
Needham, Raymond&lt;br /&gt;
Nesbit, E.&lt;br /&gt;
Noble, E.&lt;br /&gt;
Norris, W. E.&lt;br /&gt;
O&amp;#039;Donnell, Elliott&lt;br /&gt;
Oliphant, P. L.&lt;br /&gt;
Ollivant, Alfred&lt;br /&gt;
Ormsby-Johnson, Major&lt;br /&gt;
Frederick C.&lt;br /&gt;
Panting, J. Harwood&lt;br /&gt;
Parks, H. C.&lt;br /&gt;
Parr, Miss Olive Kath-&lt;br /&gt;
arine&lt;br /&gt;
Paternoster, G. Sidney&lt;br /&gt;
Paull, H. M.&lt;br /&gt;
Pemberton, Max&lt;br /&gt;
Penn, Rachel&lt;br /&gt;
Penny, Mrs. Frank&lt;br /&gt;
Phillimore, Mrs. C. E.&lt;br /&gt;
Phillipps-Wolley, Clive&lt;br /&gt;
Pickering, Sidney&lt;br /&gt;
Pollitt, Milton&lt;br /&gt;
Porritt, Norman&lt;br /&gt;
Prichard, Mrs. Hesketh&lt;br /&gt;
Prichard, H. Hesketh&lt;br /&gt;
Prowse, R. O. -&lt;br /&gt;
Ralli, Constantine&lt;br /&gt;
Ramsden, Lady Gwen-&lt;br /&gt;
dolen&lt;br /&gt;
Randall, F. J.&lt;br /&gt;
Reid-Matheson, E.&lt;br /&gt;
Reynolds, Mrs. Fred.&lt;br /&gt;
Rhys, Ernest&lt;br /&gt;
Richardson, Frank&lt;br /&gt;
Roberts, R. Ellis&lt;br /&gt;
Rose, Algernon&lt;br /&gt;
Rowland, Mrs. Jane&lt;br /&gt;
Rowsell, Miss Mary C.&lt;br /&gt;
Russell, Fox&lt;br /&gt;
Russell, G. Hansby&lt;br /&gt;
Sanford, Miss Mary&lt;br /&gt;
Bouchier&lt;br /&gt;
Schwartz, Herr van der&lt;br /&gt;
Poorten&lt;br /&gt;
Sedgwick, Anne Douglas&lt;br /&gt;
Shaw, G. Bernard&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 242 (#302) ############################################&lt;br /&gt;
&lt;br /&gt;
242&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
Shepheard - Walwyn,&lt;br /&gt;
EI. W.&lt;br /&gt;
Sieveking, J. Giberne&lt;br /&gt;
Silberrad, Miss Una L.&lt;br /&gt;
Sinclair, Miss May&lt;br /&gt;
Smedley, Constance&lt;br /&gt;
(Mrs. Maxwell Arm-&lt;br /&gt;
field)&lt;br /&gt;
Smith, Miss Edith A.&lt;br /&gt;
Smith, W. H. Byron&lt;br /&gt;
Snaith, J. C.&lt;br /&gt;
Soan, The Rev. R. Y.&lt;br /&gt;
Spencer, Alfred&lt;br /&gt;
Stacpoole, Miss Flor-&lt;br /&gt;
&euro;0C&eacute;&lt;br /&gt;
Stayton, Frank&lt;br /&gt;
Stephens, Riccardo&lt;br /&gt;
Stevenson, Mrs. M. E.&lt;br /&gt;
Strae, S.&lt;br /&gt;
Stuart, Esm&eacute;&lt;br /&gt;
Sutcliffe, Halliwell&lt;br /&gt;
Swallow, The Rev. Henry&lt;br /&gt;
J&lt;br /&gt;
Swan, Miss Myra&lt;br /&gt;
Todd, Miss Margaret,&lt;br /&gt;
M.D.&lt;br /&gt;
Tomlinson, Miss Ella&lt;br /&gt;
Tracy, Louis&lt;br /&gt;
Trelawny, Paul&lt;br /&gt;
Troubetzkoy,&lt;br /&gt;
(Amelie Rives)&lt;br /&gt;
Tuite, Hugh&lt;br /&gt;
Wachell, Horace An-&lt;br /&gt;
nesley&lt;br /&gt;
Warty - Smith,&lt;br /&gt;
Augusta A.&lt;br /&gt;
Walker, William S.&lt;br /&gt;
Watson, E. H. Lacon&lt;br /&gt;
Way, Miss Beatrice&lt;br /&gt;
Weekes, Miss R. K.&lt;br /&gt;
Westrup, Miss Mar-&lt;br /&gt;
garet&lt;br /&gt;
Weyman, Stanley J.&lt;br /&gt;
White, Miss Hester&lt;br /&gt;
White, Percy&lt;br /&gt;
Whiteing, Richard&lt;br /&gt;
Willcocks, Miss M. P.&lt;br /&gt;
Williamson, C. N.&lt;br /&gt;
Williamson, Mrs. C. N.&lt;br /&gt;
Williamson, W. H.&lt;br /&gt;
Willis-Swan, Miss W. M.&lt;br /&gt;
Wilson - Wilson, Miss&lt;br /&gt;
Theodora&lt;br /&gt;
Wood, Frances Harriett&lt;br /&gt;
Yolland, Miss E.&lt;br /&gt;
Zangwill, Israel&lt;br /&gt;
Miss&lt;br /&gt;
Members who do not undertake to refrain from&lt;br /&gt;
publishing an edition of any novel first issued at the&lt;br /&gt;
yrice of 6s. in a cheap form at any time within two&lt;br /&gt;
ſyears from the date of its first publication &mdash;&lt;br /&gt;
Aitken, Robert&lt;br /&gt;
Cobb, Thomas&lt;br /&gt;
Cornford, L. Cope&lt;br /&gt;
Crouch, A. P.&lt;br /&gt;
Drake, Maurice&lt;br /&gt;
Gray, Maxwell&lt;br /&gt;
Greener, W. O.&lt;br /&gt;
Haes, Hubert&lt;br /&gt;
Hornung, E. W.&lt;br /&gt;
Hyland, Miss M. E.&lt;br /&gt;
F.&lt;br /&gt;
Hyne, C. J. Cutliffe&lt;br /&gt;
Relly, W. P.&lt;br /&gt;
Little, Mrs. Archibald&lt;br /&gt;
Lucas, E. W.&lt;br /&gt;
March, Miss A. Mollwo&lt;br /&gt;
Marshall, Mrs. Agnes&lt;br /&gt;
Marchbank&lt;br /&gt;
Montgomery, Miss K. L.&lt;br /&gt;
Montresor, Miss F. F.&lt;br /&gt;
Portman, Lionel&lt;br /&gt;
Punshom, E. R.&lt;br /&gt;
Ridge, W. Pett&lt;br /&gt;
Smythe, Alfred&lt;br /&gt;
Thomas, Annie (Mrs.&lt;br /&gt;
Pender Cudlip)&lt;br /&gt;
Tweedale, Wiolet&lt;br /&gt;
Vance, Louis Joseph&lt;br /&gt;
Weaver, Mrs. Baillie&lt;br /&gt;
Willmore, Edward&lt;br /&gt;
v-v-w&lt;br /&gt;
THE ANNUAL DINNER.&lt;br /&gt;
&ndash;0-6-0&ndash;&lt;br /&gt;
YTY HE Annual Dinner of the&lt;br /&gt;
Society of Authors, commemorating the&lt;br /&gt;
25th anniversary of its foundation, was&lt;br /&gt;
held on Thursday, April 29, at the Criterion&lt;br /&gt;
Princess&lt;br /&gt;
Incorporated&lt;br /&gt;
Restaurant, about two hundred members and&lt;br /&gt;
guests being present. The chair was taken b&lt;br /&gt;
Mr. EDMUND GOSSE, who, at the conclusion of the&lt;br /&gt;
dinner, proposed the usual loyal toasts.&lt;br /&gt;
After the healths of the King and of the Queen&lt;br /&gt;
and the Royal Family had been drunk with&lt;br /&gt;
enthusiasm, the chairman rose again in order to&lt;br /&gt;
propose &ldquo;The Society.&rdquo;&lt;br /&gt;
After referring to the occasion, the &ldquo;first jubilee&lt;br /&gt;
anniversary in the history of the society,&rdquo; Mr.&lt;br /&gt;
Gosse declared himself, although not like Queen&lt;br /&gt;
Constance a creature &ldquo;naturally born to fear,&rdquo;&lt;br /&gt;
seriously alarmed at the task of addressing a&lt;br /&gt;
body of professional people on a subject intimately&lt;br /&gt;
connected with their profession&mdash;a large and dis-&lt;br /&gt;
tinguished body of authors, on authorship. He&lt;br /&gt;
was able, however, as a very old member of the&lt;br /&gt;
Society, as One of the very first, to share in the&lt;br /&gt;
pleasure and comfort felt by all in the favourable&lt;br /&gt;
situation in which they found themselves. He&lt;br /&gt;
recalled the first meeting of the society in Mr.&lt;br /&gt;
Scoones&amp;#039;s room, when they listened to the ardent&lt;br /&gt;
eloquence of Walter Besant, and little imagined&lt;br /&gt;
that his grain of mustard-seed would bourgeon&lt;br /&gt;
and push forth branches into all parts of the&lt;br /&gt;
habitable globe. Among those before him who&lt;br /&gt;
had taken part in the foundation of the society he&lt;br /&gt;
referred to Dr. Squire Sprigge (who presided at one&lt;br /&gt;
of the tables). Of the rise and growth of the&lt;br /&gt;
society Mr. Gosse proceeded to say: &ldquo;The thrilling,&lt;br /&gt;
the tremendous point is the fact itself, namely,&lt;br /&gt;
that after a laborious ascent of no fewer than&lt;br /&gt;
twenty-five years, the members of the society have&lt;br /&gt;
reached a turn in the hill road. I daresay you&lt;br /&gt;
remember, in &ldquo;Pilgrim&amp;#039;s Progress,&rdquo; that when&lt;br /&gt;
Christian had been a long while clambering up&lt;br /&gt;
the hill Difficulty, he came to a turn in the hill,&lt;br /&gt;
where was a pleasant arbour, when he pulled his&lt;br /&gt;
roll out of his bosom and fell to reading therein to&lt;br /&gt;
his comfort. It is only right that we should pause,&lt;br /&gt;
after our climb of a quarter of a century, and fall&lt;br /&gt;
to reading our roll. When we look out from our&lt;br /&gt;
arbour half way up the hill Difficulty, we may see&lt;br /&gt;
ourselves, in the fashion of old Italian pictures, as&lt;br /&gt;
we were in the year of our incorporation. What&lt;br /&gt;
we see is a little group of twelve or fifteen&lt;br /&gt;
men, full of zeal for the protection of literature,&lt;br /&gt;
and we see them set forth to fight against all&lt;br /&gt;
manner of gryphons and dragons, under the generous&lt;br /&gt;
leadership of our dear old friend and comrade&lt;br /&gt;
Walter Besant.&rdquo; Mr. Gosse went on to refer to the&lt;br /&gt;
ridicule and opposition which the Society had&lt;br /&gt;
lived down, to its growth from sixty-eight members&lt;br /&gt;
at the close of its first year to an army of two&lt;br /&gt;
thousand in the present day; to its prosperity, to&lt;br /&gt;
its power for helping others and protecting itself;&lt;br /&gt;
and mentioned in this connection its indebtedness&lt;br /&gt;
to the energy of its secretary, Mr. Herbert Thring.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 243 (#303) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
243&lt;br /&gt;
It was not a charitable society, nor a mere debt-&lt;br /&gt;
collecting institution, but a corporation of the&lt;br /&gt;
owners of literary copyright in the kingdom,&lt;br /&gt;
strengthening and defending their rights through-&lt;br /&gt;
out the world. The pirate waved his raw-head and&lt;br /&gt;
bloody bones, but the society ran him down upon&lt;br /&gt;
the high seas in true British style. At that&lt;br /&gt;
moment, he informed his hearers, in response to&lt;br /&gt;
an invitation from the Board of Trade Mr. Thring&lt;br /&gt;
was collecting evidence to be laid before the&lt;br /&gt;
Departmental Committee on the results of the Berlin&lt;br /&gt;
International Copyright Convention, over which&lt;br /&gt;
Lord Gorell will preside. The society took&lt;br /&gt;
cases through the Courts and, as in one instance,&lt;br /&gt;
to the House of Lords, not concerning itself. So&lt;br /&gt;
much with the amount as with the principle of&lt;br /&gt;
law involved, with the result that every case&lt;br /&gt;
fought successfully, every modification obtained in&lt;br /&gt;
a publisher&amp;#039;s agreement, enabled all British authors&lt;br /&gt;
to make better terms for themselves. The society,&lt;br /&gt;
once sneered at by its enemies as a coterie of&lt;br /&gt;
amateurs, included in its membership of two&lt;br /&gt;
thousand the vast majority of the professional&lt;br /&gt;
authors in this country, and in a quarter of a&lt;br /&gt;
century had had but two presidents: Tennyson&lt;br /&gt;
and George Meredith. He asked them in con-&lt;br /&gt;
clusion to drink to the health of the Society, a&lt;br /&gt;
toast which by custom needed no reply.&lt;br /&gt;
The next toast, that of &ldquo;Iliterature and The&lt;br /&gt;
Drama,&rdquo; was proposed by &ldquo;Maarten Maartens&rsquo;&rsquo;&lt;br /&gt;
(Mr. J. M. W. Van der Poorten-Schwartz), who&lt;br /&gt;
in expressing his distrust of his own powers as an&lt;br /&gt;
orator, said: &ldquo;Some men are born to speech-&lt;br /&gt;
making ; some men achieve it ; and some men&lt;br /&gt;
have it kindly and firmly thrust upon them. It&lt;br /&gt;
was Talleyrand&mdash;was it not ?&mdash;who said that &ldquo;a&lt;br /&gt;
speech was allotted to a man so that he might not&lt;br /&gt;
be able to say what he meant.&amp;#039; Talleyrand was&lt;br /&gt;
one of the half-a-dozen fortunate persons in the&lt;br /&gt;
last century who are credited with all the clever&lt;br /&gt;
things they forgot to say. He is the favoured&lt;br /&gt;
French personage of that time, as Sidney Smith&lt;br /&gt;
was the English one, and Saphir the German one.&lt;br /&gt;
Lucky indeed are the wits and authors whose&lt;br /&gt;
plagiarism is done for them by the rest of man-&lt;br /&gt;
kind.&rdquo; Referring to the old American jest as to&lt;br /&gt;
the relief of Daniel in the lion&amp;#039;s den at the reflec-&lt;br /&gt;
tion that he would have to make no after-dinner&lt;br /&gt;
speech, Mr. Maartens observed that on that&lt;br /&gt;
occasion there was in fact no dinner but only&lt;br /&gt;
speeches, Daniel himself proposing the King&amp;#039;s ever-&lt;br /&gt;
lasting health. He himself was thus to propose the&lt;br /&gt;
health of the lions, some of whom had to roar in&lt;br /&gt;
their own wilderness, with none to say, &ldquo;Well roared,&lt;br /&gt;
lion l&rsquo;&rdquo; After all, however, it was better to do&lt;br /&gt;
your roaring in the wilderness than in any popular&lt;br /&gt;
shilling zoo. The speaker paid a personal tribute&lt;br /&gt;
to English literature as it reached him in Holland&lt;br /&gt;
in the shape of books forwarded by English literary&lt;br /&gt;
friends, referring to it as &ldquo;a link in love of letters&lt;br /&gt;
across the sea,&rdquo; and describing &ldquo;down in the&lt;br /&gt;
Village, the workboys, after a day&amp;#039;s often weari-&lt;br /&gt;
Some and unhealthy labour&mdash;the village boys,&lt;br /&gt;
Strange of costume and uncouth of language,&lt;br /&gt;
bending with sparkling eyes over the latest magic&lt;br /&gt;
possibility, the latest world-wonder&mdash;by Wells.&rdquo;&lt;br /&gt;
He hesitated to continue with a list of English&lt;br /&gt;
Writers widely read in Holland, after the chairman&amp;#039;s&lt;br /&gt;
reference to foreign piracy. Turning again to the&lt;br /&gt;
Village already mentioned and to the topic of&lt;br /&gt;
The Drama, he spoke of its delight in its theatrical&lt;br /&gt;
Society, saying, &ldquo;You must come and see how&lt;br /&gt;
through the endless winter evenings in the quiet,&lt;br /&gt;
frost-bound, frost-bitten country these dull peasants,&lt;br /&gt;
Who are beyond the reach of a theatre, find exist-&lt;br /&gt;
ence brightened and gladdened by their slow&lt;br /&gt;
learning and simple costuming, their little sacri-&lt;br /&gt;
fices, their triumphant results.&rdquo; He had spoken&lt;br /&gt;
of literature brought to him by the post; he&lt;br /&gt;
would also recall the sad tidings it might bear.&lt;br /&gt;
Recently it had brought him news of the death of&lt;br /&gt;
Swinburne ; paying an eloquent tribute to the&lt;br /&gt;
poet&amp;#039;s memory, he observed that it should not be&lt;br /&gt;
said that &ldquo;Swinburne was no more.&rdquo; &ldquo;In the&lt;br /&gt;
literary firmament, at any rate, the fixed star shines&lt;br /&gt;
on.&rdquo; Coupling the toast with the name of Mr.&lt;br /&gt;
H. G. Wells, he proposed the toast of &ldquo;Literature&lt;br /&gt;
and The Drama.&rdquo; He had hoped to join the name&lt;br /&gt;
of Mr. Henry Arthur Jones, but he regretted that&lt;br /&gt;
information had been received that Mr. Jones&lt;br /&gt;
was prevented by indisposition from being&lt;br /&gt;
present.&lt;br /&gt;
Replying to the toast of &ldquo;Literature,&rdquo; Mr.&lt;br /&gt;
H. G. Wells said that perhaps for the first time&lt;br /&gt;
in his life he had heard that toast proposed without&lt;br /&gt;
the accompaniment of a lament that literature was&lt;br /&gt;
at present in a bad way&mdash;that the books that were&lt;br /&gt;
written to-day were not comparable in merit with&lt;br /&gt;
the books that were written in the past. This&lt;br /&gt;
was an almost invariable statement on such&lt;br /&gt;
Occasions, but it was an unkindly statement&mdash;it&lt;br /&gt;
wounded the living, and quite possibly never&lt;br /&gt;
reached the ears of the dead. But it was true,&lt;br /&gt;
nevertheless. Literature always had been in a&lt;br /&gt;
bad way. The books that were written at any&lt;br /&gt;
time were never equal in depth and richness of&lt;br /&gt;
association, and a certain indefinable quality that&lt;br /&gt;
everyone understood and no one could explain, to&lt;br /&gt;
the books of the past. They never would be until&lt;br /&gt;
new wine and new cheese, new furniture and new&lt;br /&gt;
history, were as good as the old. But Mr. Maarten&lt;br /&gt;
Maartens, with a juster appreciation of the case&lt;br /&gt;
had taken it for granted that in the achievements&lt;br /&gt;
of literature at the present time there was as good&lt;br /&gt;
promise of a noble vintage for the future as had&lt;br /&gt;
been made by any previous age.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 244 (#304) ############################################&lt;br /&gt;
&lt;br /&gt;
244&lt;br /&gt;
TFIE A Dr&rsquo;TFIOR.&lt;br /&gt;
Mr. Wells went on to say that when it was&lt;br /&gt;
conveyed to him that he was to speak upon the&lt;br /&gt;
subject of literature, his mind began at once to&lt;br /&gt;
run upon the question : &ldquo;What is literature ?&rdquo;&lt;br /&gt;
Was it art, for instance 2 It might perhaps be&lt;br /&gt;
called so, if one were willing to talk of uncon-&lt;br /&gt;
scious art&mdash;which was absurd ; but arts swam in&lt;br /&gt;
literature like waves and eddies in a flood, and&lt;br /&gt;
there was literary art that was not literature.&lt;br /&gt;
Was it philosophy All literature, Mr. Wells&lt;br /&gt;
contended, was formally or informally philosophy,&lt;br /&gt;
inasmuch as it had reference to the broad and&lt;br /&gt;
fundamental things of life. But it was true that&lt;br /&gt;
some philosophy was not literature. Was it&lt;br /&gt;
science 2 Literature was informed with knowledge,&lt;br /&gt;
but there was indeed knowledge which had no claim&lt;br /&gt;
to be considered literature. Literature consisted&lt;br /&gt;
of the whole written expression of a people that&lt;br /&gt;
was not simply either the reiteration of things&lt;br /&gt;
already said, or bare records, or shallow insincerity.&lt;br /&gt;
It was the conscious thought of the community,&lt;br /&gt;
and nothing less, said Mr. Wells, that he found&lt;br /&gt;
himself sustaining in that toast&mdash;just as a page-&lt;br /&gt;
boy might carry a crown and the symbol of the&lt;br /&gt;
empire of the world. For his own part, he took&lt;br /&gt;
literature very seriously indeed. It was the&lt;br /&gt;
greatest thing in life to him. He would rather&lt;br /&gt;
leave a living book behind him than die rich or&lt;br /&gt;
honoured, and rather add a new vein of thought&lt;br /&gt;
to the nation&amp;#039;s thinking than add a province to&lt;br /&gt;
her empire. He claimed for literature, before all&lt;br /&gt;
things, freedom ; it was the fundamental duty of&lt;br /&gt;
literature to express thought with the completest&lt;br /&gt;
freedom and frankness; the idea, that one heard&lt;br /&gt;
of sometimes, of a censorship of literature, was the&lt;br /&gt;
most foolish and mischievous imaginable. It was&lt;br /&gt;
not for those who had not thought and dared not&lt;br /&gt;
think to control the thought of those who did. It&lt;br /&gt;
was doubtful if anyone had ever been really injured&lt;br /&gt;
by a bad book, unless the mischief was already&lt;br /&gt;
done by suppressions and timidities and secrecies&lt;br /&gt;
that made the victim morbidly susceptible to&lt;br /&gt;
strange suggestions. The way to counteract bad&lt;br /&gt;
books was to print good Ones.&lt;br /&gt;
Mr. Wells said he would also like to claim for&lt;br /&gt;
literature something else : a living wage. It was&lt;br /&gt;
extremely puzzling to see how this could be pro-&lt;br /&gt;
vided, and for his own part he had no scheme to&lt;br /&gt;
offer. It seemed possible that hard times were&lt;br /&gt;
coming for writers, perhaps as a consequence of the&lt;br /&gt;
great production of cheap literature, but they would&lt;br /&gt;
have to show their faith in their calling by going&lt;br /&gt;
on writing in spite of that, by adapting themselves&lt;br /&gt;
to the new conditions and by making any alterations&lt;br /&gt;
in their scale of living that might be necessary.&lt;br /&gt;
Authors were a peculiar class, creatures at once&lt;br /&gt;
favoured and doomed. No writer could tell with&lt;br /&gt;
certainty whether he was producing literature&mdash;or&lt;br /&gt;
piffle. For his own part, he knew&mdash;and he believed&lt;br /&gt;
that here he spoke for the majority present&mdash;that&lt;br /&gt;
whatever happened to their fortunes in the future,&lt;br /&gt;
he was going on writing, and very largely he was&lt;br /&gt;
going on Writing what he wanted to write, if&lt;br /&gt;
necessary on a pound a week, or in hiding or in&lt;br /&gt;
jail for debt, or in whatever circumstances might&lt;br /&gt;
be in store for him, so long as paper and pens were&lt;br /&gt;
provided. The only way to stop a writer who had&lt;br /&gt;
Once really tasted ink and the sense of authentic&lt;br /&gt;
creation was to shoot him. That was the peculiar&lt;br /&gt;
weakness of the author&amp;#039;s economic position, a&lt;br /&gt;
position that Mr. Thring and the society had,&lt;br /&gt;
nevertheless, done so much to improve.&lt;br /&gt;
Mr. Anthony Hope Hawkins, in proposing &ldquo;The&lt;br /&gt;
Guests,&rdquo; said that he had been in a certain amount&lt;br /&gt;
of difficulty in ascertaining who were the guests of&lt;br /&gt;
the Society on that evening and who were its&lt;br /&gt;
members, and that if he should praise anyone who&lt;br /&gt;
should not be praised and leave out anybody who&lt;br /&gt;
should be mentioned, he must ask to be forgiven.&lt;br /&gt;
In his peculiar position he must hold out a high&lt;br /&gt;
diplomatic welcome to the representative of the&lt;br /&gt;
Publishers&amp;#039; Association, and being quite unaccus-&lt;br /&gt;
tomed to high diplomatic functions, he felt rather&lt;br /&gt;
like a Sovereign addressing a brother potentate and&lt;br /&gt;
saying, &ldquo;I am very glad to see you. Now come&lt;br /&gt;
and see my army and fleet.&rdquo; This, however, at the&lt;br /&gt;
present time of day was a rather hard way of&lt;br /&gt;
putting it. It was one of the fervent hopes of the&lt;br /&gt;
founder of the society that relations of friendship&lt;br /&gt;
would reign in the future between authors and&lt;br /&gt;
publishers. They were now getting nearer to that&lt;br /&gt;
ideal. They had found many points as to which&lt;br /&gt;
they could act together; such points were&lt;br /&gt;
increasing, and the cordiality of co-operation was&lt;br /&gt;
heightened through there being on both sides a well&lt;br /&gt;
Organised body. There were men and women&lt;br /&gt;
familiar with the issues and able to discuss them&lt;br /&gt;
in a business-like way. The extremists on both&lt;br /&gt;
sides had become of less account, and the business&lt;br /&gt;
was the more likely to be carried on upon lines of&lt;br /&gt;
justice and of harmony. For these reasons, not less&lt;br /&gt;
than for what he had done for literature, he bade&lt;br /&gt;
Mr. Heinemann a hearty welcome. As regards a&lt;br /&gt;
great many of the other guests, his pleasure in&lt;br /&gt;
welcoming them would only be greater if he could&lt;br /&gt;
greet them as members, distinguished as so many&lt;br /&gt;
of them were in the fields of literature. The society&lt;br /&gt;
was honoured by the presence of Lady Dorothy&lt;br /&gt;
Nevill, who, secure herself in immortal youth,&lt;br /&gt;
linked the present with the great men of the past.&lt;br /&gt;
Mr. Henry Newbolt needed no introduction to&lt;br /&gt;
members&mdash;a gifted craftsman in prose and poetry.&lt;br /&gt;
With real pleasure he greeted Kate Douglas Wiggin,&lt;br /&gt;
a member as well as, on that night, the guest of&lt;br /&gt;
the chairman. In claiming for her, as such, the&lt;br /&gt;
full token of the society&amp;#039;s respect, Mr. Hope dis-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 245 (#305) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITISIOR.&lt;br /&gt;
245&lt;br /&gt;
claimed any reflection upon Lord Collins. He&lt;br /&gt;
could well understand that if Lord Collins were a&lt;br /&gt;
member of the society he might, as occupant of a&lt;br /&gt;
high judicial office, soon find himself sitting in&lt;br /&gt;
judgment on himself. The society were incorri-&lt;br /&gt;
gible litigants, and as they always had an unanswer-&lt;br /&gt;
able case he would feel himself obliged to give&lt;br /&gt;
judgment in his own favour. As Master of the&lt;br /&gt;
Rolls, Lord Collins might well be claimed as an&lt;br /&gt;
author, but he had more definite qualifications.&lt;br /&gt;
In his earlier days, he (Mr. Hope Hawkins)&lt;br /&gt;
became acquainted with two ponderous tomes&rdquo;&lt;br /&gt;
bearing Lord Collins&amp;#039; name on their title pages,&lt;br /&gt;
and from his recollection of their contents, he&lt;br /&gt;
wentured to say that Lord Collins was as glad to&lt;br /&gt;
have finished with them as he himself.&lt;br /&gt;
Replying first for the guests, Kate Douglas&lt;br /&gt;
Wiggin (Mrs. George Riggs, Litt.D.) made a speech&lt;br /&gt;
in verse, referring in a humorous vein to literary&lt;br /&gt;
incidents and personalities of the day, and con-&lt;br /&gt;
taining the following passages:&mdash;&lt;br /&gt;
&amp;gt;k &amp;gt;k &times; &amp;gt;k &amp;gt;k&lt;br /&gt;
&ldquo;Do you know what I see as I stand here the guest&lt;br /&gt;
Of the flower of London, its cleverest, best,&lt;br /&gt;
Its poets, its editors, novelists, sages &mdash;&lt;br /&gt;
I see you as you are, then as heirs of the ages&lt;br /&gt;
Your laurels are green, I see others unfaded&lt;br /&gt;
Tho&amp;#039; centuries cold are the brows they once shaded,&lt;br /&gt;
See ghosts of immortals whose eloquent words&lt;br /&gt;
Made England a forest of rare singing birds ;&lt;br /&gt;
Magicians whose tales are still fresh to the ear,&lt;br /&gt;
They spoke, they still speak, and the world bends to hear.&lt;br /&gt;
I own the same tongue, so I share in the glory&lt;br /&gt;
That makes Britain famous in Song and in story.&lt;br /&gt;
(We imperilled our heritage slightly, you&rsquo;ll say,&lt;br /&gt;
When we ventured from out your dominion to stray,&lt;br /&gt;
But not one Pilgrim sailed for his bleak Plymouth Rock&lt;br /&gt;
Till Shakespeare was born, so we&amp;#039;re stock of his stock I)&rdquo;&lt;br /&gt;
&times; &times; &times; &times; &amp;gt;k&lt;br /&gt;
&ldquo;Poor John Davidson&amp;#039;s gone ; he was hopeless and sad :&lt;br /&gt;
If now he&amp;#039;s at peace we can only be glad&lt;br /&gt;
That the &lsquo;weariest river,&amp;#039; when once it flows free,&lt;br /&gt;
Finds somehow and somewhere its path &lsquo;to the sea.&rdquo;&lt;br /&gt;
Now from sorrow to gratitude&mdash;blessings are many,&lt;br /&gt;
Tho&amp;#039; up to this moment I&rsquo;ve not mentioned any&lt;br /&gt;
There&amp;#039;s one splendid voice that is still ringing true,&lt;br /&gt;
One worthy to rank with the immortal few,&lt;br /&gt;
Old or young, he&amp;#039;s as full as a reed is of pith,&lt;br /&gt;
. Your president, God bless him George Meredith !&rdquo;&lt;br /&gt;
&times; Sk - X sk &amp;gt;:&lt;br /&gt;
&lsquo;These then, fellow scribes, are the thoughts of a guest&lt;br /&gt;
Who tacitly in her first sentence confessed&lt;br /&gt;
She hadn&amp;#039;t a notion of speeches at dinners,&lt;br /&gt;
For on these occasions the men are chief sinners&lt;br /&gt;
I thank dear Edmund Gosse for the honour conferred&lt;br /&gt;
In letting me speak for the guests this brief word.&lt;br /&gt;
Lord Collins I thank for dividing the toast,&lt;br /&gt;
Especially when in himself he&amp;#039;s a host.&lt;br /&gt;
And last, friends and authors, I&amp;#039;m glad to be here,&lt;br /&gt;
Not alone for the wit and the mirth and good cheer,&lt;br /&gt;
But because we are sounding the praises to-night&lt;br /&gt;
Of an art in whose service lies keenest delight.&lt;br /&gt;
{&lt;br /&gt;
* Smith&amp;#039;s Leading Cases,&lt;br /&gt;
Talk of angels Poor angels, they play and they sing,&lt;br /&gt;
But never a quill do they pluck from a wing !&lt;br /&gt;
They&rsquo;ve only their harps; no paper, no ink,&lt;br /&gt;
I&rsquo;d rather be author than angel, I think&lt;br /&gt;
I&rsquo;m nearly submerged in a crowd of my betters,&lt;br /&gt;
But proud to be known as a woman of letters &amp;#039;&amp;#039;&lt;br /&gt;
Lord Collins, following Kate Douglas Wiggin,&lt;br /&gt;
declared his enjoyment of the advantage, shared&lt;br /&gt;
that evening by no previous respondents, of being&lt;br /&gt;
a &ldquo;junior.&rdquo; It was well known that the province of&lt;br /&gt;
a &ldquo;leader&rsquo; in the law courts was to say all that&lt;br /&gt;
needed no research, and to leave his junior to fill&lt;br /&gt;
in the details. His leader had, however, adopted&lt;br /&gt;
a different course, taking the whole burden&lt;br /&gt;
of the case, and he was grateful that at least&lt;br /&gt;
it was not obligatory upon him to say ditto&lt;br /&gt;
in an extempore poem. Most men, especially&lt;br /&gt;
professional men, ended by obliterating from&lt;br /&gt;
their constitutions all that belonged to the&lt;br /&gt;
domain of imagination, and by reducing to&lt;br /&gt;
complete inertness the most brilliant faculty&lt;br /&gt;
bestowed by Providence upon mankind. There&lt;br /&gt;
authors came in and preserved that which other-&lt;br /&gt;
wise would become extinct in a generation or two.&lt;br /&gt;
Among authors, he observed, a new disease had&lt;br /&gt;
recently sprung up ; it was called &ldquo; telepathy,&rdquo; a&lt;br /&gt;
different name from the old days when it was&lt;br /&gt;
known by the simpler title of &ldquo;plagiarism.&rdquo; There&lt;br /&gt;
seemed now to be an epidemic of this telepathy, so&lt;br /&gt;
that people who otherwise would incur penalties&lt;br /&gt;
for appropriating the work of others, had only to&lt;br /&gt;
get their nerves into a condition to be permeated&lt;br /&gt;
with the ideas of others in order to evade all&lt;br /&gt;
consequences. This appeared to him to be a new&lt;br /&gt;
and formidable difficulty with which authors had&lt;br /&gt;
now to contend, and he hoped that they would be&lt;br /&gt;
able to find some means of meeting it.&lt;br /&gt;
In conclusion, Sir Alfred Bateman proposed the&lt;br /&gt;
health of the chairman, referring to his first acquaint-&lt;br /&gt;
ance with Mr. Edmund Gosse in the office of the&lt;br /&gt;
Board of Trade, and to this commencement of&lt;br /&gt;
their friendship of many years&amp;#039; standing. In those&lt;br /&gt;
early days, he reminded the society, there were&lt;br /&gt;
working for the Board of Trade Mr. Gosse, Mr.&lt;br /&gt;
Cosmo Monkhouse, and Mr. Austin Dobson, all&lt;br /&gt;
distinguished since in literature, with the result&lt;br /&gt;
that the Board had become a most perfect depart-&lt;br /&gt;
ment. Mr. Gosse had now left the Board of Trade&lt;br /&gt;
for the House of Lords, and as the result of his&lt;br /&gt;
translation had given the Upper House a catalogue.&lt;br /&gt;
He concluded by paying a warm tribute to the&lt;br /&gt;
qualities of Mr. Edmund Gosse, and by asking all&lt;br /&gt;
present to join in drinking his health with&lt;br /&gt;
enthusiasm.&lt;br /&gt;
The company responded warmly to Sir Alfred&lt;br /&gt;
Bateman&rsquo;s invitation, and after Mr. Gosse had&lt;br /&gt;
made a brief reply, adjourned to an adjoining&lt;br /&gt;
room, where the proceedings closed with coffee and&lt;br /&gt;
conversation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 246 (#306) ############################################&lt;br /&gt;
&lt;br /&gt;
246&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society,&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&amp;#039;s Work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s.&lt;br /&gt;
per&lt;br /&gt;
annum, or &pound;10 10s. for life membership. -&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
w-v-w&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS,&lt;br /&gt;
&mdash;e-O-0&ndash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property:&mdash;&lt;br /&gt;
I. Selling it Outright. -&lt;br /&gt;
This is sometimes Satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continenta}&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This, is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General. -&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society. -&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are:&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In ea.InS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
*&mdash;&ordm;-&mdash;a&lt;br /&gt;
w&mdash;v-w&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager. - .&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 247 (#307) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A LITHOR,&lt;br /&gt;
247&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed. - -&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
~~&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario, thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS,&lt;br /&gt;
&ndash;0&ndash;42-e&mdash;&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
&amp;amp; rule, the musical publisher demands from the musical&lt;br /&gt;
C9mposer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
Property. , The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
* *&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
w-r-w&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
T the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REMITTANCES,&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 248 (#308) ############################################&lt;br /&gt;
&lt;br /&gt;
&ordm;f the &ldquo;Daily Mail.&rdquo;&lt;br /&gt;
1881.071, O&lt;br /&gt;
d permi&lt;br /&gt;
cin&lt;br /&gt;
By 1&lt;br /&gt;
GEORGE MEREDITH, O.M.&lt;br /&gt;
1828&ndash;1909.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 249 (#309) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISM OR.&lt;br /&gt;
249&lt;br /&gt;
GEORGE MEREDITH, O.M.&lt;br /&gt;
LL those who love the glory of English&lt;br /&gt;
literature must have heard with the deepest&lt;br /&gt;
regret of the death of Mr. George Mere-&lt;br /&gt;
dith, O.M., but to members of the society the&lt;br /&gt;
knowledge must have come with special force,&lt;br /&gt;
because they have looked upon Mr. Meredith not&lt;br /&gt;
only as a writer of the grandest English fiction,&lt;br /&gt;
but as the father of their profession.&lt;br /&gt;
As soon as it was ascertained at the offices of&lt;br /&gt;
the society that the family of Mr. Meredith had&lt;br /&gt;
no opposition to raise to the interment of their&lt;br /&gt;
father in Westminster Abbey, Mr. Maurice Hew-&lt;br /&gt;
lett (the chairman of the society) gave authority&lt;br /&gt;
that no stone should be left unturned to obtain&lt;br /&gt;
this object, both as an honour to the late president&lt;br /&gt;
and as an honour to English literature. Application&lt;br /&gt;
was at once made to the Dean, and when it became&lt;br /&gt;
evident that the formal application by a body of&lt;br /&gt;
2,000 authors might be insufficient to bring about&lt;br /&gt;
the desired result, support was asked from other&lt;br /&gt;
Quarters. The formal application of the society&lt;br /&gt;
and the personal application of a large number of&lt;br /&gt;
the Society&amp;#039;s most important members and the&lt;br /&gt;
weight of the public Press was only sufficient to&lt;br /&gt;
obtain the sanction of the Dean to a memorial&lt;br /&gt;
service in the Abbey. It is impossible, and it&lt;br /&gt;
would be unseemly, to discuss the reasons that&lt;br /&gt;
may have prompted this decision, for we feel that&lt;br /&gt;
our late president, through his works and by his&lt;br /&gt;
life, needs no further honour to add to the glory&lt;br /&gt;
of his position. Mr. Meredith&rsquo;s connection with&lt;br /&gt;
the Society is, to some extent, distincte from&lt;br /&gt;
his position as the greatest writer of fiction of&lt;br /&gt;
the late Victorian period. Though he was not&lt;br /&gt;
one of the original members of the society, which&lt;br /&gt;
was founded in 1884, he joined the union of his&lt;br /&gt;
brother authors in 1885, and was immediately&lt;br /&gt;
elected on the council. On the death of Lord&lt;br /&gt;
Tennyson he was nominated president.&lt;br /&gt;
great honour to the society to have had two such&lt;br /&gt;
presidents as Lord Tennyson and Mr. George&lt;br /&gt;
Meredith, both of whom showed their sincere&lt;br /&gt;
sympathy with its work. Ever since Mr. Meredith&lt;br /&gt;
held the position he has been most active in&lt;br /&gt;
supporting, both publicly and privately, the&lt;br /&gt;
various efforts which the Committee of Manage-&lt;br /&gt;
ment have taken for the body of members. He&lt;br /&gt;
was one of the first contributors to the pension&lt;br /&gt;
fund. On the many points put before him by the&lt;br /&gt;
Committee of Management his interest and co-&lt;br /&gt;
operation was of the greatest value. The Society&lt;br /&gt;
must deeply regret that Mr. Meredith&amp;#039;s health in&lt;br /&gt;
these later years prevented him from being present at&lt;br /&gt;
many of those meetings which he would gladly have&lt;br /&gt;
attended, and with which he was in full sympathy.&lt;br /&gt;
It is a&lt;br /&gt;
During the present year the society has lost a&lt;br /&gt;
good many of its oldest members and warmest&lt;br /&gt;
supporters, but in none has it lost a more sym-&lt;br /&gt;
pathetic friend than its president. When the&lt;br /&gt;
Qrder of Merit was established by the King,&lt;br /&gt;
Mr. Meredith was chosen as one of the first&lt;br /&gt;
members.&lt;br /&gt;
We desire on behalf of all the members to&lt;br /&gt;
express to the family the deepest sympathy with&lt;br /&gt;
them, in the loss that they and the country have&lt;br /&gt;
sistained by the death of our president, George&lt;br /&gt;
Meredith, O.M.&lt;br /&gt;
Miss May Sinclair has been kind enough to&lt;br /&gt;
Write an appreciation of his work, which we print&lt;br /&gt;
below.&lt;br /&gt;
THE FUNERAL.&lt;br /&gt;
On Friday, May 21, the remains of Mr. George&lt;br /&gt;
Meredith were taken from Dorking to Woking and&lt;br /&gt;
Cremated. The members of the family alone were&lt;br /&gt;
present at the sad ceremony. The urn containing&lt;br /&gt;
the ashes was then re-conveyed to Dorking, and&lt;br /&gt;
on the day following was interred in Dorking&lt;br /&gt;
Cemetery. *&lt;br /&gt;
The funeral was attended by Mr. Meredith&amp;#039;s&lt;br /&gt;
intimate friends, including several members of the&lt;br /&gt;
Society of Authors, among whom we may mention&lt;br /&gt;
J. M. Barrie, A. Hope Hawkins, A. E. W. Mason,&lt;br /&gt;
Hall Caine, Charles Garvice, Mrs. W. K. Clifford,&lt;br /&gt;
and Miss May Sinclair.&lt;br /&gt;
A memorial service was held at 12 noon on&lt;br /&gt;
Saturday, the 22nd, in Westminster Abbey. The&lt;br /&gt;
north transept, allotted to members of the Society&lt;br /&gt;
of Authors, was very nearly full.&lt;br /&gt;
Amongst those present were the following :-&lt;br /&gt;
Maurice Hewlett (chairman of the society),&lt;br /&gt;
William Archer, Alfred Austin, Mackenzie Bell,&lt;br /&gt;
Lewis Benjamin, A. C. Benson, Hall Caine, J. W.&lt;br /&gt;
Comyns Carr, Egerton Castle, Mrs. W. K. Clifford,&lt;br /&gt;
Edward Clodd, James Douglas, Sir Arthur Conan&lt;br /&gt;
Doyle, Walter Emanuel, H. W. Esmond, Mrs.&lt;br /&gt;
Frankau, Edmund Gosse, A. P. Graves, Francis&lt;br /&gt;
Gribble, Lady Grove, Anstev Guthrie, H. Rider&lt;br /&gt;
Haggard, Thomas Hardy, E.W. Hornung, Laurence&lt;br /&gt;
Housman, Miss Violet Hunt, Henry James, Rud-&lt;br /&gt;
yard Kipling, Robb Lawson, W. J. Locke, Mrs.&lt;br /&gt;
Belloc Lowndes, Lady Lugard, Sir Alfred Lyall,&lt;br /&gt;
J. A. Fuller Maitland, Edward Morton, A. W.&lt;br /&gt;
Pinero, Richard Pryce, Ernest Rhys, Frank&lt;br /&gt;
Richardson, Mrs. George Christopher Riggs, Owen&lt;br /&gt;
Seaman, Miss May Sinclair, Keighley Snowden,&lt;br /&gt;
Alfred Sutro, Mrs. Thurston, John Todhunter,&lt;br /&gt;
Mrs. Alec. Tweedie, Humphry Ward (representing&lt;br /&gt;
Mrs. Humphry Ward), Percy White, Richard&lt;br /&gt;
Whiteing, J. H. Yoxall, M.P., Israel Zangwill.&lt;br /&gt;
Many other distinguished ladies and gentlemen&lt;br /&gt;
were also present ready to pay the last honour to&lt;br /&gt;
the great author. We may mention the Prime&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 250 (#310) ############################################&lt;br /&gt;
&lt;br /&gt;
250&lt;br /&gt;
TISIES A CITES OF.&lt;br /&gt;
-E&ordm;&ordm;-&ordm;-&ordm;-m&lt;br /&gt;
Minister, Sir Philip Burne-Jones, Miss Ellen Terry,&lt;br /&gt;
Beerbohm Tree, Sir Squire Bancroft, Forbes&lt;br /&gt;
Robertson, and Holman Hunt. -&lt;br /&gt;
The service was most impressive. It opened&lt;br /&gt;
with Beethoven&amp;#039;s Funeral March from the Sonata&lt;br /&gt;
in A flat, followed by the 51st Psalm.&lt;br /&gt;
Then followed other psalms and prayers chosen&lt;br /&gt;
for the occasion. The service closed with Watts&amp;#039;&lt;br /&gt;
beautiful hymn, &ldquo;O God, our Help in ages past,&rdquo;&lt;br /&gt;
which was sung by the whole congregation, and&lt;br /&gt;
after the Benediction Chopin&amp;#039;s Funeral March&lt;br /&gt;
in B flat minor was played&mdash;all the congregation&lt;br /&gt;
standing till the last notes of the organ had died&lt;br /&gt;
away.&lt;br /&gt;
GEORGE MEREDITH.*&lt;br /&gt;
BY MAY SINCLAIR.&lt;br /&gt;
EORGE MEREDITH was born before his&lt;br /&gt;
time, and he has died before it, as a young&lt;br /&gt;
man dies. For fifty-five years he laboured,&lt;br /&gt;
bringing forth the long and splendid procession of&lt;br /&gt;
his masterpieces, from &ldquo;The Ordeal of Richard&lt;br /&gt;
Feverel,&rdquo; a novel of absolute and incomparable&lt;br /&gt;
greatness, to &ldquo;The Amazing Marriage,&rdquo; which&lt;br /&gt;
would alone have proved greatness in a lesser man.&lt;br /&gt;
And he has not yet come into his own. He is&lt;br /&gt;
king to the kings and the great lords of literature,&lt;br /&gt;
but he can in no way be said to reign by the voice&lt;br /&gt;
of the Sovran people. After a long period of&lt;br /&gt;
obscurity he has passed into the eternal possession&lt;br /&gt;
of the few. But, although by a dreadful fate he&lt;br /&gt;
became for a time the prey of the cultured who are&lt;br /&gt;
fairly numerous, the great heavy mass of people&lt;br /&gt;
who read, or think they read, cannot stand Meredith.&lt;br /&gt;
And to-day, among the cultured and the critical&lt;br /&gt;
who do read him, there is a reaction against him.&lt;br /&gt;
Nobody doubts his greatness, nor the divinity of&lt;br /&gt;
it. Nobody dares suggest that he did not produce&lt;br /&gt;
great literature: the tendency is to complain that&lt;br /&gt;
it was literature that he insisted on reproducing&lt;br /&gt;
and not life. Some of us deny that he was either&lt;br /&gt;
a great novelist or a great poet.&lt;br /&gt;
The younger generation of novelists are all for a&lt;br /&gt;
conscientious realism, and we have a few young&lt;br /&gt;
critics who are conscientious too. And Meredith&lt;br /&gt;
is peculiarly baffling to these. He eludes all their&lt;br /&gt;
attempts to catch and label him. He seems to&lt;br /&gt;
them now a realist of considerable piety and now a&lt;br /&gt;
romantic of the kind they most abhor. Already,&lt;br /&gt;
before his death, they were trying to place him.&lt;br /&gt;
They are painfully anxious, elaborately careful&lt;br /&gt;
not to place him wrong. And he refuses to be&lt;br /&gt;
placed.&lt;br /&gt;
s&ordm;-&lt;br /&gt;
* Copyright in the United States.&lt;br /&gt;
He did away with their preposterous labels once&lt;br /&gt;
for all twenty-three years ago when, in the first&lt;br /&gt;
chapter of &ldquo;Diana of the Crossways,&rdquo; he proclaimed&lt;br /&gt;
himself a prophet of &ldquo;the real,&rdquo; and at the same&lt;br /&gt;
time told us that our realists were our &ldquo;castigators&lt;br /&gt;
for not having yet embraced philosophy.&rdquo;&lt;br /&gt;
He defined fiction as &ldquo;the summary of actual&lt;br /&gt;
life, the within and the without of us.&rdquo; It was as a&lt;br /&gt;
novelist, a Writer of fiction, that he came forward&lt;br /&gt;
for judgment, and it is as a novelist that they&lt;br /&gt;
arraign him to-day, allowing him to be a philosopher&lt;br /&gt;
and, perhaps, as it were by the skin of his teeth,&lt;br /&gt;
a poet. -&lt;br /&gt;
Now, to measure his greatness, not as a philoso-&lt;br /&gt;
pher, nor yet as a poet, but as a novelist, we must&lt;br /&gt;
remember the position of the novelist in the&lt;br /&gt;
Victorian age. He found himself between the&lt;br /&gt;
devil of realism and the deep sea of sentiment : a&lt;br /&gt;
horrible position. It distorted his whole attitude&lt;br /&gt;
to life and his view of the real. Meredith was the&lt;br /&gt;
first to deliver the English novel from that degrada-&lt;br /&gt;
tion. He was the first to see that it is sentiment&lt;br /&gt;
and not conscience that makes novelists cowards.&lt;br /&gt;
He recognised sentimentalism for what it is : the&lt;br /&gt;
&ldquo;fine flower of sensualism,&rdquo; and through its very&lt;br /&gt;
fineness the subtlest source of spiritual corruption.&lt;br /&gt;
He knew that sentiment&mdash;early Victorian senti-&lt;br /&gt;
ment&mdash;piled to its height, topples over into the&lt;br /&gt;
mire. He saw it as the mother of all shams and all&lt;br /&gt;
hypocrisies, the nurse of monstrous illusions.&lt;br /&gt;
Thackeray, the greatest novelist of his time, who&lt;br /&gt;
stood nearest to Meredith in sincerity and fear-&lt;br /&gt;
lessness, and hatred of shams&mdash;Thackeray was&lt;br /&gt;
afraid, and put it on record that he was afraid, to&lt;br /&gt;
tell the truth about a man. He said it in his&lt;br /&gt;
preface to &ldquo;Pendennis,&rdquo; and he laid his cowardice&lt;br /&gt;
to the account of the society who had brought&lt;br /&gt;
fiction to this pass.&lt;br /&gt;
Meredith knew nothing of that fear. &ldquo;Imagine,&rdquo;&lt;br /&gt;
he said, &ldquo;the celestial refreshment of having a&lt;br /&gt;
pure decency in the place of sham, real flesh, a&lt;br /&gt;
Soul born active, wind-beaten, but ascending.&lt;br /&gt;
Honourable will fiction then appear; honourable, a&lt;br /&gt;
fount of life, an aid to live, quick with our blood.&lt;br /&gt;
Why, when you behold it you love it&mdash;and you&lt;br /&gt;
will not encourage it&mdash;or only when presented by&lt;br /&gt;
dead hands 2&amp;quot;&lt;br /&gt;
His message to his generation was, &ldquo; Follow the&lt;br /&gt;
real. To not be led by the tainted sentimental&lt;br /&gt;
lure. Trust yourselves to Nature, though she&lt;br /&gt;
make havoc of your sentiment.&rdquo; For, at the&lt;br /&gt;
heart of Nature he discerned the fiery spiritual&lt;br /&gt;
pulse, through and beyond Nature the purifying&lt;br /&gt;
liberated flame. Thus he escapes his captors who&lt;br /&gt;
Would hold him to pure paganism.&lt;br /&gt;
The unity of Nature and spirit, and the return&lt;br /&gt;
to spirit through Nature, is Meredith&rsquo;s philosophy&lt;br /&gt;
He found his generation sickly, and for the cure of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 251 (#311) ############################################&lt;br /&gt;
&lt;br /&gt;
A UTISIOR.&lt;br /&gt;
251&lt;br /&gt;
its sickliness he prescribedſ&ordm; By passages express his own emotions, and not the&lt;br /&gt;
philosophy he did not mean/anything abstract, emotions of his characters, and this is why he fails&lt;br /&gt;
anything in the least metap&ordm;sical, anything really&lt;br /&gt;
incomprehensible to Qura&iacute;biter of letters, the man&lt;br /&gt;
in the street. Mgredith&rsquo;s philosophy is brain-&lt;br /&gt;
stuff, thought tha; makes up half of the fabric of&lt;br /&gt;
the world. &ldquo;Id&eacute;a,&rdquo; he said, &ldquo;is vital.&rdquo; He was&lt;br /&gt;
an idealist only to that extent. Brains, to be any&lt;br /&gt;
good, m&ordm;tist have blood in them, and that is where&lt;br /&gt;
the heart comes in. No man, no writer, had a&lt;br /&gt;
greater and a fierier heart at the service of his&lt;br /&gt;
brain. And so again he escapes the grasp of those&lt;br /&gt;
who would place him among the unhumanised,&lt;br /&gt;
inaccessible exponents of the cold idea, who say&lt;br /&gt;
that his appeal, was not to the universal human&lt;br /&gt;
heart but to the by no means universal human&lt;br /&gt;
intellect.&lt;br /&gt;
Now our conscientious young critics have no&lt;br /&gt;
quarrel with Meredith&amp;#039;s philosophy as a philosophy.&lt;br /&gt;
Their contention is that, as a novelist, he had no&lt;br /&gt;
right to have any philosophy at all. They resent&lt;br /&gt;
it as an unwarrantable interference with his drama,&lt;br /&gt;
an irritating interruption to his story. They&lt;br /&gt;
attack it on artistic grounds, and because of it&lt;br /&gt;
they persuade themselves that Meredith was not a&lt;br /&gt;
great novelist. Which only proves that they have&lt;br /&gt;
forgotten their Meredith. ...Nobody who reads his&lt;br /&gt;
novels with any care will find his philosophy&lt;br /&gt;
intruding where it can do harm. You will not&lt;br /&gt;
come across it at any of the intenser psychological&lt;br /&gt;
moments, in any of the great dramatic scenes, or&lt;br /&gt;
in any of his inspired passages. It is at its height&lt;br /&gt;
in &ldquo;Diana&rdquo; and &ldquo;The Egoist,&rdquo; but even there it&lt;br /&gt;
is confined to the prologue and the interludes.&lt;br /&gt;
Except by way of comment, it is almost entirely&lt;br /&gt;
absent from &ldquo;Richard Feverel,&rdquo; &ldquo;Rhoda Fleming,&rdquo;&lt;br /&gt;
&ldquo;Evan Harrington,&rdquo; &ldquo;Harry Richmond,&rdquo; and&lt;br /&gt;
&ldquo;Beauchamp&amp;#039;s Career.&rdquo;&lt;br /&gt;
For Meredith was before all things a great&lt;br /&gt;
dramatist and a great psychologist, if he was not&lt;br /&gt;
always a straightforward teller of his tale. And to&lt;br /&gt;
be those two things is, I take it, to be a great&lt;br /&gt;
novelist, even if a man happens to have at the&lt;br /&gt;
same time an irritating philosophy.&lt;br /&gt;
Other and more serious charges have been&lt;br /&gt;
brought against him by our cautious and yet&lt;br /&gt;
irritable young men. We are all tired of hearing&lt;br /&gt;
that Meredith is obscure, that he sins by excess,&lt;br /&gt;
by a vice of temperament, by all sorts of exuberance&lt;br /&gt;
and eccentricity. It tires us, and it annoys us,&lt;br /&gt;
too; for we feel that there is a certain truth in it.&lt;br /&gt;
But we are also told that he is not a great novelist,&lt;br /&gt;
not a novelist at all, for the simple reason that he&lt;br /&gt;
is a poet. And that is interesting. To be a poet,&lt;br /&gt;
it would seem, is even more disastrous than to be a&lt;br /&gt;
philosopher. For, after all, Meredith&amp;#039;s philosophy&lt;br /&gt;
embraced the real. But his poetry, they tell us,&lt;br /&gt;
spoils all that. Because, you see, his lyrical&lt;br /&gt;
though he knows it not.&lt;br /&gt;
to produce the &ldquo;illusion of reality.&rdquo;&lt;br /&gt;
It sounds plausible ; it looks as if there might&lt;br /&gt;
be a certain amount of truth in it. But that is&lt;br /&gt;
only at first sight. Meredith&amp;#039;s lyric passages are&lt;br /&gt;
there precisely because they do express as nothing&lt;br /&gt;
else could the emotion of his characters. For&lt;br /&gt;
emotion, at its climax, is powerless to express&lt;br /&gt;
itself or anything. Lucy in love, Richard in love,&lt;br /&gt;
are dumb, but all heaven is sounding through&lt;br /&gt;
them, and it is that sound of all heaven which&lt;br /&gt;
Meredith&rsquo;s prose gives us. True, his method&lt;br /&gt;
destroys the spectacular illusion for a moment, but&lt;br /&gt;
it does so that it may preserve the illusion of&lt;br /&gt;
emotion, of passion, of reality at its highest&lt;br /&gt;
intensity. Compare him with Dickens in this&lt;br /&gt;
matter of emotion. Dickens, working himself up&lt;br /&gt;
into blank verse over the death of little Nell, is&lt;br /&gt;
Dickens feeling something about little Nell and&lt;br /&gt;
trying to express his feeling. But Meredith in his&lt;br /&gt;
&ldquo;Diversion Played on a Penny Whistle&rdquo; is&lt;br /&gt;
rendering the song of the souls of Richard and&lt;br /&gt;
Lucy. They, poor dears, can only say:&lt;br /&gt;
&ldquo;Lucy, my beloved l&rsquo;&rsquo;&lt;br /&gt;
&ldquo;Oh, Richard &rsquo;&rsquo;&lt;br /&gt;
It is all part of his art, his very perfect art.&lt;br /&gt;
And it is the same with the &ldquo;Comic Spirit.&rdquo;&lt;br /&gt;
The Comic Spirit is not Meredith. It is the Spirit&lt;br /&gt;
immanent in the world, and akin to Mr. Hardy&amp;#039;s&lt;br /&gt;
immortal Ironies. It is part-creative. Even in&lt;br /&gt;
&ldquo;The Egoist,&rdquo; where it is rampant, its play is not&lt;br /&gt;
the play of the author intoxicated by his own wit,&lt;br /&gt;
13.aking merry over the behaviour of Sir Willoughby&lt;br /&gt;
Patterne. It is not doing anything over or about&lt;br /&gt;
or around Sir Willoughby. It is really in him,&lt;br /&gt;
The Comic Spirit is an&lt;br /&gt;
aspect of the cosmic reality in which Sir Willoughby&lt;br /&gt;
has his being. For the essence of Sir Willoughby&lt;br /&gt;
is to be absurd, and the Comic Spirit, exposing his&lt;br /&gt;
absurdity, is the revealer of the eternal verity&lt;br /&gt;
in him.&lt;br /&gt;
Meredith never destroys the &ldquo;illusion of&lt;br /&gt;
reality.&rdquo; It is the illusion of actuality that he&lt;br /&gt;
tampers with. It may be conceded at once that he&lt;br /&gt;
had not a very keen sense of the actual or of local&lt;br /&gt;
atmosphereandsurroundings. His characters appear&lt;br /&gt;
to be surrounded only by the cosmic spaces. He&lt;br /&gt;
does not present them circumscribed by any&lt;br /&gt;
parochial or urban or suburban boundary. He&lt;br /&gt;
seldom if ever paints an interior. His scenic&lt;br /&gt;
effects we remember best are always of the open&lt;br /&gt;
air. At the same time he has a profound sense of&lt;br /&gt;
the bonds, restrictions, distinctions of society and&lt;br /&gt;
race and class. For these things work in the flesh&lt;br /&gt;
and blood of a man : they are part of the drama of&lt;br /&gt;
his soul. That is what Meredith shows us in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 252 (#312) ############################################&lt;br /&gt;
&lt;br /&gt;
252&lt;br /&gt;
TRIES A [ſ&amp;#039;ſ&lt;br /&gt;
&ldquo;Rhoda Fleming,&rdquo; in &ldquo;Beauchamp&amp;#039;s Career,&rdquo; in&lt;br /&gt;
&ldquo;Harry Richmond,&rdquo; and in &ldquo;Evan Harrington,&rdquo;&lt;br /&gt;
all masterly reproductions of English social and&lt;br /&gt;
provincial life in the Victorian age.&lt;br /&gt;
But they tell us that it is not Meredith&rsquo;s method&lt;br /&gt;
only that is all wrong. Art, they sav, is concerned&lt;br /&gt;
only with the average, the normal (let it pass),&lt;br /&gt;
and Meredith wrote of extraordinary people in an&lt;br /&gt;
extraordinary way. This, we are to believe, applies&lt;br /&gt;
especially to his women. They are all goddesses,&lt;br /&gt;
or if not goddesses, all women six feet high. In&lt;br /&gt;
this, they tell us, his art is inferior to that of Mr.&lt;br /&gt;
Hardy. If he desired immortality he should have&lt;br /&gt;
written about simple people in a simple way. He&lt;br /&gt;
should have chosen for his tragedies the elemental&lt;br /&gt;
passions, and treated them elementally. He should&lt;br /&gt;
have written, in short, like Mr. Hardy.&lt;br /&gt;
On the other hand we also hear that, setting out&lt;br /&gt;
as he does to be subtle, he is not half subtle&lt;br /&gt;
enough. He should, to produce the perfect illusion&lt;br /&gt;
of reality, have written more like Mr. Henry James.&lt;br /&gt;
As it is, he is a victim to the fallacy of the master-&lt;br /&gt;
passion, the dominant note in character, and thus&lt;br /&gt;
he gives us bare types, instead of the rich, intricate&lt;br /&gt;
web of inconsistencies, the splendid irrelevancies&lt;br /&gt;
and surprises which make up individuality in real&lt;br /&gt;
life. Sir Willoughby Patterne, for instance, is an&lt;br /&gt;
egoist and nothing but an egoist ; and no man ever&lt;br /&gt;
was nothing but one thing.&lt;br /&gt;
This is strange criticism of a man who knew&lt;br /&gt;
more than any other how to reproduce the very&lt;br /&gt;
accent and gesture of the soul. What justice&lt;br /&gt;
there is in it applies only to &ldquo;The Egoist.&rdquo; There&lt;br /&gt;
Meredith comes perilously near to the artificial&lt;br /&gt;
comedy of Moli&egrave;re where the misanthrope is always&lt;br /&gt;
a misanthrope, and Tartuffe for ever Tartuffe. In&lt;br /&gt;
real life, that is to say, in the eyes of the omniscient or&lt;br /&gt;
of Mr. Henry James, Sir Willoughby Patterne would&lt;br /&gt;
not perhaps appear so manifestly and invariably the&lt;br /&gt;
egoist he is. It is equally true that in real fife if a&lt;br /&gt;
man is an egoist he will believe and he will&lt;br /&gt;
feel remarkably like Sir Willoughby Patterne.&lt;br /&gt;
And our critics have forgotten Clara Middleton,&lt;br /&gt;
Cecilia, and all the irrelevancies and inconsistencies&lt;br /&gt;
of the divine Diana. Mr. Henry James would be&lt;br /&gt;
the first to take off his hat to them.&lt;br /&gt;
As for the everlasting comparison with Mr. Hardy,&lt;br /&gt;
it is futile, as any comparison must be between two&lt;br /&gt;
masters equally supreme in their separate territories.&lt;br /&gt;
But it raises interesting questions: Are their&lt;br /&gt;
territories, after all, so separate 2 Is it true that&lt;br /&gt;
Meredith did not understand elemental men and&lt;br /&gt;
women It is certainly true that he wrote mostly&lt;br /&gt;
about people in whom either breeding, or education,&lt;br /&gt;
or the possession of a restless intellect obscures the&lt;br /&gt;
working of the large tragic passions. The modern&lt;br /&gt;
world is full of such&mdash;full, above all, of such women.&lt;br /&gt;
And Meredith claimed to have discovered the&lt;br /&gt;
modern woman, &ldquo;animated . . . with the fires of&lt;br /&gt;
positive brain-stuff.&amp;#039; He was the first to see that&lt;br /&gt;
the sentimentalism \{again ) of his time was&lt;br /&gt;
degradation to its women, s.&lt;br /&gt;
Even Thackeray, with his exceeding tenderness&lt;br /&gt;
and chivalry, Thackeray who owned himself afraid&lt;br /&gt;
to tell the truth about a man, did not know as&lt;br /&gt;
Meredith knew the truth about a woman. Or&lt;br /&gt;
perhaps he knew it, and was still more afraid.&lt;br /&gt;
Meredith knew the truth and the whole truth, and&lt;br /&gt;
dared to tell it, dared to give the leading role to&lt;br /&gt;
those large-brained, large-hearted women of his&mdash; .&lt;br /&gt;
Diana and Clara, and Ottila and Cecilie Halkett,&lt;br /&gt;
and Rose Jocelyn, Aminta and Carinthia Jane.&lt;br /&gt;
Charlotte Bront&euml;&amp;#039;s Shirley, and the great women of&lt;br /&gt;
George Eliot&ndash;Maggie Tulliver, Dorothea Brooke&lt;br /&gt;
and Dinah Morris&mdash;are small beside them. They&lt;br /&gt;
are modern women, and we cannot complain of&lt;br /&gt;
their stature as abnormal, for modern women are&lt;br /&gt;
often six feet high.&lt;br /&gt;
These are his extraordinary women. But when he&lt;br /&gt;
chose he could draw very ordinary women, and men&lt;br /&gt;
too, and drew them as the masters draw. Look at&lt;br /&gt;
Ripton Thompson, Algernon Blancous, Mrs. Lovell,&lt;br /&gt;
&ldquo;Emmy&amp;quot; and Sir Lukin, Jenny Denham ; even&lt;br /&gt;
Nevil Beauchamp is not extraordinary in our critics&rsquo;&lt;br /&gt;
sense ; and the list could be extended indefinitely.&lt;br /&gt;
As for the elemental and the simple people, Tess&lt;br /&gt;
is not more elemental in her tragedy than Clare&lt;br /&gt;
Doria Forey or Dahlia Fleming or even poor Juley&lt;br /&gt;
in &ldquo;Evan Harrington.&rdquo; And Thomas in &ldquo;Yeo-&lt;br /&gt;
bright&rdquo; is not more divinely simple than Lucy&lt;br /&gt;
Feverel, nor is Rhoda Fleming less captivating in&lt;br /&gt;
her moral beauty than Marty South. For the rest,&lt;br /&gt;
Hardy&amp;#039;s women and Meredith&amp;#039;s women are &ldquo;sisters&lt;br /&gt;
under their skin.&rdquo;&lt;br /&gt;
Still, it is inevitable to place Hardy and Meredith&lt;br /&gt;
side by side, for they are the last of our great&lt;br /&gt;
novelists, and in many ways they are akin. Both&lt;br /&gt;
are philosophers, both poets, and in both philosophy&lt;br /&gt;
is, like their poetry, the result of temperament.&lt;br /&gt;
Mr. Hardy&amp;#039;s genius is bound to make for the&lt;br /&gt;
simpler and the larger tragedy, seeing that he&lt;br /&gt;
regards the lives of men and women as so many&lt;br /&gt;
sacrifices to the eternal, insatiable lust of Nature,&lt;br /&gt;
and they themselves as the playthings of an&lt;br /&gt;
implacably ironic Destiny.&lt;br /&gt;
But to Meredith, Nature, for all her darkness and&lt;br /&gt;
austerity, is the mother of all joy, of all the sanities&lt;br /&gt;
and sanctities. The natural love of men and&lt;br /&gt;
women was to him of all things the sanest and most&lt;br /&gt;
sacred. Their tragedy is not their subservience to&lt;br /&gt;
Nature, but their falling from her, their sins against&lt;br /&gt;
her immanent deity.&lt;br /&gt;
His poems sprang from this joy of his genius in&lt;br /&gt;
Nature, its adoration of all the robust and splendid&lt;br /&gt;
energies of life. Our young critics, more con-&lt;br /&gt;
Scientious than ever as they approach this divinest&lt;br /&gt;
l&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 253 (#313) ############################################&lt;br /&gt;
&lt;br /&gt;
i&lt;br /&gt;
7&lt;br /&gt;
#&lt;br /&gt;
THE AUTHOR. 253&lt;br /&gt;
side of him, have suggested that his philosophy&lt;br /&gt;
spoils his poems as it spoils his novels. They cite&lt;br /&gt;
&ldquo;The Reading of Earth&rdquo; and &ldquo;The Woods of&lt;br /&gt;
Westermain.&rdquo; To be sure in all his great Nature&lt;br /&gt;
poems there are aisles and dells of darkness, inter-&lt;br /&gt;
minable secret mazes, lost ways of &ldquo;The Questions&rdquo;&lt;br /&gt;
traversing the Enchanted Woods. Yet every way&lt;br /&gt;
faithfully followed leads us into almost intolerable&lt;br /&gt;
light. Something happens, and we find the&lt;br /&gt;
Meredithian philosophy (which was, after all, more&lt;br /&gt;
an instinct than a philosophy) transmuted into the&lt;br /&gt;
Meredithian mysticism as by fire. His message sings&lt;br /&gt;
clear :&lt;br /&gt;
&ldquo;Then your spirit will perceive&lt;br /&gt;
Fleshly seed of fleshly sins,&lt;br /&gt;
Where the passions interweave&lt;br /&gt;
How the serpent tangle spins&lt;br /&gt;
Of the sense of Earth misprised&lt;br /&gt;
Brainlessly unrecognised&lt;br /&gt;
She being Spirit in her clods&lt;br /&gt;
Footway to the God of Gods.&rdquo;&lt;br /&gt;
But besides &ldquo;The Woods of Westermain &amp;#039;&amp;#039; and&lt;br /&gt;
&ldquo;The Reading of Earth,&rdquo; Meredith wrote &ldquo;The&lt;br /&gt;
Lark Ascending,&rdquo; that continuous, lucid, liquid&lt;br /&gt;
song of rapture:&mdash;&lt;br /&gt;
&ldquo;Shrill, irreflective, unrestrained,&lt;br /&gt;
Rapt, ringing, on the jet sustained&lt;br /&gt;
Without a break, without a fall,&lt;br /&gt;
Sweet-silvery, sheer lyrical.&rdquo;&lt;br /&gt;
He wrote &ldquo;Love in the Walley,&rdquo; and that pro-&lt;br /&gt;
foundest, subtlest, most concentrated of human&lt;br /&gt;
tragedies, &ldquo; Modern Love.&rdquo; There are lines there&lt;br /&gt;
that gleam and cut like steel, dividing the intricate&lt;br /&gt;
web of soul and body. It is the dissection of heart-&lt;br /&gt;
nerves and brain-cells, a lacerating psychology&lt;br /&gt;
masquerading in a procession of linked quatrains.&lt;br /&gt;
Yet the same genius, so delicately analytic,&lt;br /&gt;
brought forth with a stupendous and Titanic&lt;br /&gt;
energy the &ldquo;Ballads and Poems of Tragic Life.&rdquo;&lt;br /&gt;
Among these is &ldquo;The Nuptials of Attila,&rdquo; where&lt;br /&gt;
the verse rushes downwards in tumult and in&lt;br /&gt;
torrent like the hosts of the armoured Huns, a&lt;br /&gt;
poem barbaric, superb, resonant with the clamour&lt;br /&gt;
of battle. There is &ldquo;IXing Harald&amp;#039;s Trance,&rdquo; a&lt;br /&gt;
masterpiece of grim and terrible simplicity. And&lt;br /&gt;
there is &ldquo;The Song of Theodolinda,&rdquo; that supreme&lt;br /&gt;
hymn of the passion of martyrdom, of divine&lt;br /&gt;
ecstasy in torture, of torture perishing in ecstasy.&lt;br /&gt;
The most perfervid passages of Crashaw&amp;#039;s&lt;br /&gt;
Hymn to Saint Teresa are cold beside Meredith&amp;#039;s&lt;br /&gt;
fire. And the art of it is transcendent. Every&lt;br /&gt;
line glows with furnace heat, and beats in its&lt;br /&gt;
terrible assonances, with the strokes of the&lt;br /&gt;
hammer :&lt;br /&gt;
&ldquo;This that killed Thee, kissed Thee, Lord&lt;br /&gt;
Touched Thee, and we touch it : dear,&lt;br /&gt;
Dark it is ; adored, abhorred,&lt;br /&gt;
Wilest, yet most sainted here.&lt;br /&gt;
Red of heat, 0 white of heat,&lt;br /&gt;
In it hell and heaven meet,&lt;br /&gt;
&times; &times; :: :::&lt;br /&gt;
Brand me, bite me, bitter thing !&lt;br /&gt;
Thus He felt, and thus I am&lt;br /&gt;
One with Him in suffering&lt;br /&gt;
One with Him in bliss, the Lamb.&lt;br /&gt;
Red of heat, O white of heat,&lt;br /&gt;
This is bitterness made sweet.&lt;br /&gt;
Now am I who bear that stamp&lt;br /&gt;
Scorched in me, the living sign&lt;br /&gt;
Sole on earth&mdash;the lighted lamp&lt;br /&gt;
Of the dreadful day divine.&lt;br /&gt;
White of heat, beat on it fast&lt;br /&gt;
Red of heat, its shape has passed.&lt;br /&gt;
&amp;gt;{&amp;lt; &amp;gt;}. &amp;gt;k *:&lt;br /&gt;
Rindle me to constant fire,&lt;br /&gt;
Lest the nail be but a nail&lt;br /&gt;
Give me wings of great desire,&lt;br /&gt;
Lest I look within and fail&lt;br /&gt;
Red of heat, the furnace light,&lt;br /&gt;
White of heat, fix on my sight.&lt;br /&gt;
Never for the chosen peace&lt;br /&gt;
Know, by me tormented know,&lt;br /&gt;
Never shall the wrestling cease&lt;br /&gt;
Till with our outlasting Foe&lt;br /&gt;
Red of heat to white of heat&lt;br /&gt;
Roll we to the Godhead&amp;#039;s feet !&lt;br /&gt;
Beat, beat White of heat,&lt;br /&gt;
Red of heat, beat, beat l&rdquo;&lt;br /&gt;
w&lt;br /&gt;
If he had written nothing else, that one poem&lt;br /&gt;
would be enough to ensure his immortality.&lt;br /&gt;
And some of the younger generation, which is&lt;br /&gt;
so conscientious and so cautious, are wondering&lt;br /&gt;
whether Meredith will live. Posterity, they think,&lt;br /&gt;
is hardly likely to tolerate what his contemporaries&lt;br /&gt;
cannot endure. There is much in him, they say,&lt;br /&gt;
which is intolerable.&lt;br /&gt;
Well, there is much in Fielding, in Scott, in&lt;br /&gt;
Thackeray which is intolerable. And yet they&lt;br /&gt;
live. We still read Fielding, in spite of his per-&lt;br /&gt;
petual digressions and the essays with which he&lt;br /&gt;
dislocates his chapters. We read Scott in spite&lt;br /&gt;
of his interminable descriptive passages; and&lt;br /&gt;
Thackeray in spite of his digressions, and of his&lt;br /&gt;
mortal tendency to moralise in all places of his&lt;br /&gt;
narrative. It is only reasonable to suppose that&lt;br /&gt;
Meredith will be read in spite of everything, even&lt;br /&gt;
of his obscurity. For nothing can kill the novelist&lt;br /&gt;
if the novelist is there ; and in all Meredith&rsquo;s&lt;br /&gt;
novels the novelist is supreme. Who when he&lt;br /&gt;
thinks of &ldquo;The Egoist&amp;quot; really remembers anything&lt;br /&gt;
but the sublime performances of Sir Willoughby&lt;br /&gt;
Patterne or the ways of Clara Middleton 2 Who&lt;br /&gt;
would dream of judging the terrible and poignant&lt;br /&gt;
tragedy of Richard Feverel by fragments from the&lt;br /&gt;
pilgrim&amp;#039;s scrip Who as he sees Diana keeping&lt;br /&gt;
her watch by her dead friend, or kneeling by the&lt;br /&gt;
hearth of Crossways House, will be unchivalrous&lt;br /&gt;
enough to remember her as a woman who attempted&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 254 (#314) ############################################&lt;br /&gt;
&lt;br /&gt;
254&lt;br /&gt;
TriB A UTHOR.&lt;br /&gt;
more epigrams than she ever brought to perfection ?&lt;br /&gt;
And there is Emmy under the surgeon&amp;#039;s knife and&lt;br /&gt;
Sir Lukin raving in his remorse. There is Emilia&lt;br /&gt;
forsaken and Dahlia betrayed, and they are flesh&lt;br /&gt;
and blood that no &ldquo;idea,&rdquo; no philosophy can&lt;br /&gt;
destroy. And flesh and blood they had need be to&lt;br /&gt;
stand in the presence of their creator. Meredith&rsquo;s&lt;br /&gt;
personality is so overpowering that at times it&lt;br /&gt;
comes between us and his creations. He has not,&lt;br /&gt;
as lesser men have had, the habit of detachment.&lt;br /&gt;
No novelist has it completely, nor can have it.&lt;br /&gt;
He betrays his own nature more subtly or more&lt;br /&gt;
inevitably than any other artist, for he handles&lt;br /&gt;
directly the stuff of life, and we know him by the&lt;br /&gt;
manner of his handling. It is impossible to read&lt;br /&gt;
Meredith without seeing him to be before all things&lt;br /&gt;
clean-souled and courageous and passionately&lt;br /&gt;
sincere. We divine that there is no greatness and&lt;br /&gt;
no splendour in his work that had not its match in&lt;br /&gt;
him. His powers were finely mingled.&lt;br /&gt;
intellect was blood-warm and had a heart in it,&lt;br /&gt;
beating like a pulse of flame, and emotion in him&lt;br /&gt;
was a spiritual thing, as if the courses of his blood&lt;br /&gt;
flashed light. To feel with him was to see more&lt;br /&gt;
and not less clearly.&lt;br /&gt;
It is not conceivable that he will not live, he&lt;br /&gt;
who had more life, more virile, fertilising energy&lt;br /&gt;
than any Writer of the two generations that he&lt;br /&gt;
saw rise round him and pass away before him. Our&lt;br /&gt;
own generation will return to him, wearied of the&lt;br /&gt;
lucid excellencies of the lesser men, their finished&lt;br /&gt;
perfection within the limits of the little. He was&lt;br /&gt;
too great for us. If some of us have lost sight of&lt;br /&gt;
him it is not because they have left him behind&lt;br /&gt;
them with the Victorian era ; it is because they&lt;br /&gt;
have not yet &ldquo;caught up.&rdquo; He was too swift for&lt;br /&gt;
us. He has passed us by, and only thus can we&lt;br /&gt;
conceive of him as passing. He has not yielded&lt;br /&gt;
up his fire to any one of us. He is on far&lt;br /&gt;
ahead with his torch, holding high for us the&lt;br /&gt;
inextinguishable flame.&lt;br /&gt;
MAY SINCLAIR.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;0-0-0&ndash;&lt;br /&gt;
THE Editor of The Author would be much&lt;br /&gt;
obliged if any member who happens to possess a&lt;br /&gt;
copy of the November (1907) issue would forward&lt;br /&gt;
the same to the office for the benefit of the society&amp;#039;s&lt;br /&gt;
file, which is short of this issue.&lt;br /&gt;
*- -&lt;br /&gt;
SCHOLZ v. AMASIS.&lt;br /&gt;
WE are pleased to chronicle that the appeal in&lt;br /&gt;
the Scholz v. Amasis case, supported by the Society&lt;br /&gt;
His .&lt;br /&gt;
of Authors, has been successfully upheld. The&lt;br /&gt;
judges of the Court of Appeal were unanimous&lt;br /&gt;
that Mr. Fenn&amp;#039;s version was not an infringe-&lt;br /&gt;
ment of Mr. Scholz&amp;#039;s rights. Members of the&lt;br /&gt;
Society may call to mind that when Mr. Fenn&lt;br /&gt;
put the matter into the society&rsquo;s hands the com-&lt;br /&gt;
mittee took the opinion of counsel, Mr. Eldon&lt;br /&gt;
Bankes, before deciding what course should be&lt;br /&gt;
taken. The members of the committee themselves&lt;br /&gt;
were of the opinion that no infringement had&lt;br /&gt;
occurred, but they considered it necessary that their&lt;br /&gt;
opinion should be supported. The opinion of the&lt;br /&gt;
society&rsquo;s counsel has been amply justified by the&lt;br /&gt;
result of the case.&lt;br /&gt;
All infringements of copyright or performing&lt;br /&gt;
right must depend upon the facts of each individual&lt;br /&gt;
case, and are matters of evidence rather than of&lt;br /&gt;
law. It is too late to report the case fully in this&lt;br /&gt;
month&amp;#039;s Author, but we hope to be able to publish&lt;br /&gt;
any points of special interest in the July number.&lt;br /&gt;
*-&lt;br /&gt;
THE CENSOR.&lt;br /&gt;
MEMBERS of the Society may call to mind that&lt;br /&gt;
Mr. Harcourt&amp;#039;s Theatre and Music Hall Bill was&lt;br /&gt;
carefully studied by the Dramatic Sub-Committee&lt;br /&gt;
and approved by them. It appears that a question&lt;br /&gt;
was raised in Parliament on May 27 owing to the&lt;br /&gt;
recent action of the Censor. Mr. Asquith, in reply,&lt;br /&gt;
said that he thought the position of Dramatic&lt;br /&gt;
Censorship was a most important matter, and that&lt;br /&gt;
it was receiving careful consideration. He stated&lt;br /&gt;
further that he thought the time had come for&lt;br /&gt;
establishing a Select Committee to consider the&lt;br /&gt;
position.&lt;br /&gt;
INJUSTICE TO CANADIAN BOOKSELLERS.&lt;br /&gt;
IN The Bookseller and Stationer, published in&lt;br /&gt;
Toronto, there is an article headed &ldquo;Injustice to&lt;br /&gt;
the Canadian Bookseller.&rdquo; On reading the article,&lt;br /&gt;
we see the writer complains that there are certain&lt;br /&gt;
books copyrighted in Canada which are now out of&lt;br /&gt;
print, that the copyright owners refuse, or, for&lt;br /&gt;
reasons of their own, do not desire to publish&lt;br /&gt;
further editions. The booksellers think that there&lt;br /&gt;
are still sales for the books, but they are unable to&lt;br /&gt;
import cheap United States reprints, because by&lt;br /&gt;
so doing they would be infringing the copyright of&lt;br /&gt;
the Canadian holder.&lt;br /&gt;
Two points suggest themselves. The first is,&lt;br /&gt;
why should the Canadian bookseller think he has&lt;br /&gt;
any right in the property of another person It is&lt;br /&gt;
the old, old story. For so many years authors&amp;#039;&lt;br /&gt;
rights were not recognised at all that the public&lt;br /&gt;
began to consider the property was not the&lt;br /&gt;
author&amp;#039;s, but belonged to them. To this day the&lt;br /&gt;
limitation of the term of copyright makes it clear&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 255 (#315) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
255.&lt;br /&gt;
that the same feeling still exists. According to&lt;br /&gt;
the Canadian bookseller&amp;#039;s argument, supposing&lt;br /&gt;
Jones purchases a book, reads it and puts it on the&lt;br /&gt;
shelf of his library, and does not use it, and has no&lt;br /&gt;
intention of using it again, he is sinning against&lt;br /&gt;
the public, for he ought, of course, either to give it&lt;br /&gt;
away or to sell it to Some other person. Or, again,&lt;br /&gt;
Supposing Jones bought a nice bit of freehold in&lt;br /&gt;
the country, and found, for certain reasons, that&lt;br /&gt;
he was unable to utilise it in any way, the book-&lt;br /&gt;
seller would argue, other people might come and&lt;br /&gt;
demand that they had a right to use it whether he&lt;br /&gt;
liked it or not. So long as there are any private&lt;br /&gt;
rights in property the argument cannot stand. If&lt;br /&gt;
it does not apply to property in land or to personal&lt;br /&gt;
property, it applies still less to that property which,&lt;br /&gt;
of all others, is the outcome of a man&amp;#039;s personal&lt;br /&gt;
effort. . If, therefore, the Canadian copyright&lt;br /&gt;
owner doesn&amp;#039;t want to publish a cheap edition of a&lt;br /&gt;
book, there ought to be no power which could force&lt;br /&gt;
him to do so, and the Canadian bookseller has no&lt;br /&gt;
more right to complain than he would have in the&lt;br /&gt;
instances quoted. This is the first point.&lt;br /&gt;
The Second point refers to the Canadian&lt;br /&gt;
trade. Most of the Canadian copyrights are, we&lt;br /&gt;
believe, held by the Canadian publishers. If,&lt;br /&gt;
therefore, the Canadian tradesman who is living&lt;br /&gt;
by the exploitation of his property, chooses to lose&lt;br /&gt;
a considerable income by the non-exploitation of&lt;br /&gt;
this property, it only tends to prove that he is a&lt;br /&gt;
bad tradesman. If American publishers and&lt;br /&gt;
Canadian booksellers can make profits by selling&lt;br /&gt;
cheap editions, Canadian publishers should be able&lt;br /&gt;
equally to make profits by exploiting their pro-&lt;br /&gt;
perty in the same way. That they do not do so&lt;br /&gt;
shows a lack of enterprise which we should have&lt;br /&gt;
hardly expected in that advancing colony, but we&lt;br /&gt;
have on former occasions suspected something of&lt;br /&gt;
the same kind when the question of Canadian&lt;br /&gt;
Sales of the works of English authors has arisen.&lt;br /&gt;
An enterprising Canadian publisher, with some&lt;br /&gt;
capital behind him, could make better terms and&lt;br /&gt;
find a better market by contracting with the&lt;br /&gt;
English author direct than he could by purchasing&lt;br /&gt;
plates or by purchasing the right for the Canadian&lt;br /&gt;
edition, using the American publisher as middle-&lt;br /&gt;
man. It might be worth while for the Canadian&lt;br /&gt;
publisher to consider the position seriously.&lt;br /&gt;
MISS RACHEL CHALLICE.&lt;br /&gt;
WE regret to record the death of Miss Rachel&lt;br /&gt;
Challice, who has for some time past contributed&lt;br /&gt;
the Spanish Notes to the columns of The Author.&lt;br /&gt;
Although a busy journalist, as well as a writer of&lt;br /&gt;
books, she found time month by month, without&lt;br /&gt;
any hope of reward beyond the appreciation of her&lt;br /&gt;
fellow members, to assist with her work the aim&lt;br /&gt;
and objects of the society. She was an enthusiastic&lt;br /&gt;
Supporter of the best interests of the members of&lt;br /&gt;
her profession, and was well known in the literary&lt;br /&gt;
circles of Spain about which she wrote. She&lt;br /&gt;
represented the Society of Authors on the occasion&lt;br /&gt;
of the Cervantes celebration in Spain, and placed&lt;br /&gt;
a Wreath from the society on the author&amp;#039;s&lt;br /&gt;
monument. Her last work, &ldquo;The Secret History&lt;br /&gt;
of the Court of Spain,&rdquo; will appear shortly. It is&lt;br /&gt;
taken entirely from Spanish sources.&lt;br /&gt;
&mdash;&ordm;-&mdash;-&lt;br /&gt;
~-s&ordm;-w&lt;br /&gt;
IS HE 2&lt;br /&gt;
&ndash;0-&ordm;-e-&lt;br /&gt;
WO or three months ago Mr. H. G. Wells&lt;br /&gt;
referred in the columns of this paper to&lt;br /&gt;
the literary agent as &ldquo;that indispensable&lt;br /&gt;
middleman.&rdquo; Ever since reading that expression,&lt;br /&gt;
I have been wondering if the literary agent really&lt;br /&gt;
is &ldquo;indispensable,&rdquo; and lately I have looked&lt;br /&gt;
through my books to remind myself of my own&lt;br /&gt;
past experiences. I found them interesting, for I&lt;br /&gt;
had never before viewed them &ldquo;in bulk,&rdquo; so to&lt;br /&gt;
speak, and under the impression that they may be&lt;br /&gt;
of interest to others, they are here set down.&lt;br /&gt;
Let me begin by saying that while for obvious&lt;br /&gt;
reasons I do not give names, every detail is taken&lt;br /&gt;
exactly from my books, for of course I keep a&lt;br /&gt;
record of every manuscript, of the 700 word articles&lt;br /&gt;
as of the 100,000 word novel. Let me also say&lt;br /&gt;
that I have no complaint against my agent, whom&lt;br /&gt;
I found invariably courteous and business-like, and&lt;br /&gt;
who is also one of the best known men in his pro-&lt;br /&gt;
fession. Of course I paid him, and he asked for,&lt;br /&gt;
nothing except what he earned by commission on&lt;br /&gt;
stories placed, for I hold the agent who demands.&lt;br /&gt;
an advance fee to be nothing more than an open&lt;br /&gt;
freebooter, living on the Vanity or ignorance of the&lt;br /&gt;
struggling aspirant.&lt;br /&gt;
During my connection, then, with my agent, I&lt;br /&gt;
placed in his hands five long stories. He succeeded&lt;br /&gt;
in selling the serial rights in one, obtaining for&lt;br /&gt;
them the sum of &pound;30. He made no attempt to&lt;br /&gt;
place the story as a volume, and, the serial publica-&lt;br /&gt;
tion having been completed, I am now offering it&lt;br /&gt;
myself to a publisher. The other four stories,&lt;br /&gt;
when I severed connection with him, the agent&lt;br /&gt;
returned to me.&lt;br /&gt;
The first of these he had offered in fourteen&lt;br /&gt;
quarters without success. I offered it myself to&lt;br /&gt;
one firm, who refused it. I then offered it to.&lt;br /&gt;
another firm, who bought the serial rights for &pound;45.&lt;br /&gt;
I then disposed of the volume rights, and it has&lt;br /&gt;
recently been published in volume form on a 15 per&lt;br /&gt;
cent. royalty, and a promise of 20 per cent. should&lt;br /&gt;
it reach a sale of 2,000 copies, which I am afraid.&lt;br /&gt;
it shows no signs of doing.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 256 (#316) ############################################&lt;br /&gt;
&lt;br /&gt;
256&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
The second of these long stories my agent&lt;br /&gt;
had offered in nine quarters. The first firm&lt;br /&gt;
to whom I offered it after its return to me gave&lt;br /&gt;
me &pound;80 for the serial rights. I have not yet&lt;br /&gt;
offered it for volume publication.&lt;br /&gt;
The third story my agent had offered ten times&lt;br /&gt;
without success. I have offered it to three editors,&lt;br /&gt;
but have not yet effected a sale, but it is going out&lt;br /&gt;
again next month.&lt;br /&gt;
The fourth story the agent offered twelve times,&lt;br /&gt;
and I have offered it four times. This I am&lt;br /&gt;
inclined to withdraw permanently, but may offer it&lt;br /&gt;
again if a suitable opening occurs.&lt;br /&gt;
So much for long stories. In addition I sent&lt;br /&gt;
the agent a number of short stories. I will take&lt;br /&gt;
them one by one. - -&lt;br /&gt;
No. 1. Agent sold it for &pound;10 10s. for British&lt;br /&gt;
serial rights.&lt;br /&gt;
No. 2. The agent offered it to nine editors.&lt;br /&gt;
The first editor to whom I offered it gave me&lt;br /&gt;
f1 10s. for the copyright.&lt;br /&gt;
No. 3. The agent sold this for &pound;4 12s. 6d. for&lt;br /&gt;
British serial rights. -&lt;br /&gt;
No. 4. This was offered by my agent ten times&lt;br /&gt;
in vain. I offered it sixteen times equally in vain,&lt;br /&gt;
and then sold it to a leading magazine for &pound;8 5s.&lt;br /&gt;
for British serial rights, and have since received a&lt;br /&gt;
fee of 10s. 6d. for translation into Danish.&lt;br /&gt;
No. 5. Offered nine times in vain by the agent,&lt;br /&gt;
then returned to me. I offered it twenty times&lt;br /&gt;
more, and then sold it for a guinea, which I was&lt;br /&gt;
very glad to get.&lt;br /&gt;
No. 6. My agent offered this to six editors, and&lt;br /&gt;
then returned it to me. The first editor to whom&lt;br /&gt;
I sent it gave me &pound;2 2s. for it.&lt;br /&gt;
No. 7. Neither the agent nor I succeeded in&lt;br /&gt;
disposing of this. -&lt;br /&gt;
No. 8. The agent offered this to nine editors,&lt;br /&gt;
and then returned it to me. I sold it to perhaps&lt;br /&gt;
the best known popular magazine in the world,&lt;br /&gt;
receiving &pound;15 15s. for all serial rights. ;&lt;br /&gt;
No. 9. This, too, neither the agent nor I&lt;br /&gt;
succeeded with.&lt;br /&gt;
No. 10. My agent had this declined eight times.&lt;br /&gt;
I sold it for three guineas at the fourth attempt.&lt;br /&gt;
No. 11. My agent informed me that this had&lt;br /&gt;
been lost by an editor to whom he had submitted&lt;br /&gt;
it. I re-typed the story, and submitted it direct&lt;br /&gt;
to the same editor, who gave me &pound;3 3s? for the&lt;br /&gt;
copyright.&lt;br /&gt;
No. 12. The agent disposed of this for &pound;7 18. 94.&lt;br /&gt;
for British serial rights.&lt;br /&gt;
No. 13. Both the agent and I failed with this.&lt;br /&gt;
One editor told me it was too funny. -&lt;br /&gt;
No. 14. Both the agent and I failed with this.&lt;br /&gt;
One editor told me it was too gruesome.&lt;br /&gt;
No. 15. Another failure for us both.&lt;br /&gt;
No. 16. Also a failure for both of us.&lt;br /&gt;
Therefore with regard to my long stories, the&lt;br /&gt;
agent disposed of one MS. out of five ; that is, he&lt;br /&gt;
sold 20 per cent. of my work. Of the four MSS.&lt;br /&gt;
he returned, I have so far sold two, or 50 per cent.&lt;br /&gt;
He obtained &pound;30, I obtained &pound;125, with more to&lt;br /&gt;
come for royalties. &bull;&lt;br /&gt;
Of the sixteen short stories I placed in his hands&lt;br /&gt;
he sold three, for a total of &pound;22 4s. 3d. Of the&lt;br /&gt;
thirteen short stories he failed with and returned&lt;br /&gt;
to me, I have sold seven for a total of &pound;35 9s. 6d.&lt;br /&gt;
These figures are slightly more complicated than&lt;br /&gt;
those for the long stories, so I will leave the&lt;br /&gt;
comparative percentages to be worked out by&lt;br /&gt;
Somebody more mathematically gifted than I am.&lt;br /&gt;
I perceive, however, that I secured &pound;13 5s. 3d.&lt;br /&gt;
more than did my agent.&lt;br /&gt;
The agent could claim, though, that he secured&lt;br /&gt;
on the average, not invariably, a higher rate per&lt;br /&gt;
thousand than I got for myself. Also I had&lt;br /&gt;
generally to sell copyright or all serial rights. My&lt;br /&gt;
agent never sold anything but British serial rights,&lt;br /&gt;
all minor rights thus being retained by me. They&lt;br /&gt;
have never been any good to me, but it is comforting&lt;br /&gt;
to possess them.&lt;br /&gt;
Then, too, the agent&amp;#039;s dealings with my MSS.&lt;br /&gt;
were confined to fifteen months&mdash;one year&amp;#039;s agree-&lt;br /&gt;
ment, and three months&rsquo; motice to terminate it.&lt;br /&gt;
My own operations with the MSS. he returned me&lt;br /&gt;
have extended over a longer time, from then to&lt;br /&gt;
now, in fact, while some of the MSS. still left me I&lt;br /&gt;
yet hope to dispose of ultimately. So that I have&lt;br /&gt;
had the advantage of more time ; but I suppose I&lt;br /&gt;
can say that it was the cream of my work that he&lt;br /&gt;
disposed of, so that he had a great advantage there.&lt;br /&gt;
I am left wondering if the agent be really&lt;br /&gt;
indispensable. That he is indispensable to himself&lt;br /&gt;
I can well believe. That when an author has&lt;br /&gt;
achieved fame and fortune an agent is indispens-&lt;br /&gt;
able, may also be the case. No doubt motor-cars&lt;br /&gt;
become indispensable then. I do not know, but&lt;br /&gt;
shall be happy to give a personal opinion at the&lt;br /&gt;
earliest possible moment. It is different, however,&lt;br /&gt;
from the point of view of the mere average rear&lt;br /&gt;
rank and filer&mdash;the man to whom his cheques are&lt;br /&gt;
not as the accustomed tribute of the triumphant&lt;br /&gt;
conqueror, but are rather each one the record of a&lt;br /&gt;
doubtful and hardly won success.&lt;br /&gt;
From my own small experience I am inclined to&lt;br /&gt;
say that perseverance is indispensable ; that the&lt;br /&gt;
Postmaster-General is certainly indispensable ;&lt;br /&gt;
but as for the agent being indispensable&mdash;Well,&lt;br /&gt;
is he&lt;br /&gt;
X Y. Z.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 257 (#317) ############################################&lt;br /&gt;
&lt;br /&gt;
\ .&lt;br /&gt;
}&lt;br /&gt;
..&amp;quot; /&lt;br /&gt;
A PLUTOGRAT OF THE PREss; OR, THE&lt;br /&gt;
- CYNIC&amp;#039;S SUCCESS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
(Continued.)&lt;br /&gt;
D before a handsome writing-table, piled&lt;br /&gt;
ith papers, documents, and copies of the&lt;br /&gt;
rous publications his will controlled,&lt;br /&gt;
was th &sect; man. Great in one sense only, be it&lt;br /&gt;
unders bysically he cut rather a poor figure,&lt;br /&gt;
with hy Nagne-bottle shoulders, pale com-&lt;br /&gt;
Male eyes, and hay-coloured hair. His&lt;br /&gt;
demeanour, however, was self-assured, as every&lt;br /&gt;
prosperous man&amp;#039;s must be.&lt;br /&gt;
We exchanged rather searching glances.&lt;br /&gt;
Something in the famous publisher&amp;#039;s manner&lt;br /&gt;
recalled a once familiar personage; but I could not&lt;br /&gt;
&ldquo;place &amp;quot; him right away.&lt;br /&gt;
Then he spoke. His was a thin voice, yet it&lt;br /&gt;
served to give me the cue I wanted.&lt;br /&gt;
&ldquo;Why,&rdquo; I exclaimed half involuntarily, &ldquo;you are&lt;br /&gt;
Wynyard Graves.&rdquo;&lt;br /&gt;
&ldquo;The same !&rdquo;&lt;br /&gt;
His tone was quick and short.&lt;br /&gt;
I stared at him in speechless surprise for a moment.&lt;br /&gt;
He returned my scrutiny. w -&lt;br /&gt;
Presently a sickly sort of smile played round his&lt;br /&gt;
mouth. &ldquo;We meet again under rather changed&lt;br /&gt;
circumstances,&rdquo; he said.&lt;br /&gt;
Recalling that night when he had made an end&lt;br /&gt;
of the manuscripts that were to have brought him&lt;br /&gt;
name, fame and fortune, I could but assent.&lt;br /&gt;
Wynyard Graves, the erstwhile hard-up free-lance,&lt;br /&gt;
and Gregory Grub the publisher, who paid twenty-&lt;br /&gt;
five per cent. to his shareholders, sweated his&lt;br /&gt;
authors, and owned the largest and most expen-&lt;br /&gt;
sively fitted-up place of business of its kind in&lt;br /&gt;
England, one and the same individual I couldn&amp;#039;t&lt;br /&gt;
realise it. -&lt;br /&gt;
&ldquo;Did you happen upon Aladdin&amp;#039;s lamp any-&lt;br /&gt;
where P&rsquo;&rsquo;&lt;br /&gt;
I ventured to ask after taking stock of his&lt;br /&gt;
sumptuously furnished sanctum.&lt;br /&gt;
Graves favoured me with one of his dreamy smiles.&lt;br /&gt;
&ldquo;Not exactly.&rdquo;&lt;br /&gt;
&ldquo;Then how on earth did you do it 2&amp;quot;&lt;br /&gt;
&ldquo;Do it 2 &rdquo; he repeated, leaning back in his arm-&lt;br /&gt;
chair, beating his desk with a paper-knife, &ldquo;Do it 2&lt;br /&gt;
Oh It was not so very difficult. Nothing near so&lt;br /&gt;
&amp;#039;hard as trying to place outside contributions.&rdquo;&lt;br /&gt;
&ldquo;But the start&mdash;how did you begin P&rdquo;&lt;br /&gt;
Wynyard Graves paused a moment.&lt;br /&gt;
&ldquo;Well,&rdquo; he said slowly, &ldquo;I&rsquo;ll be candid with you.&lt;br /&gt;
I began by picking the brains of a man who had&lt;br /&gt;
made a hit with rather a novel idea. After rather&lt;br /&gt;
a wobbling start the thing went. I had struck the&lt;br /&gt;
public taste while the iron was hot.&lt;br /&gt;
&ldquo;Before, I had been engaged in furnishing ide&lt;br /&gt;
TFIOR. 257&lt;br /&gt;
for others without recompense. By annexing some-&lt;br /&gt;
body else&amp;#039;s schemes, I beheld myself feathering my&lt;br /&gt;
Own nest.&rdquo;&lt;br /&gt;
&ldquo;And then P&rdquo;&lt;br /&gt;
&ldquo;Then I determined to tap an unbroached section&lt;br /&gt;
of the reading public. Somebody had circulated a&lt;br /&gt;
rag made up of stale jokes, idiotic drawings, and&lt;br /&gt;
morbid sensationalism. I went one worse in the&lt;br /&gt;
Same line ; as I expected, that also struck oil.&lt;br /&gt;
&ldquo;So in order to make cash breed faster, I&lt;br /&gt;
launched out with another paper&mdash;to catch flies of&lt;br /&gt;
a different kind this time. I concocted a penny&lt;br /&gt;
jumble of fashion diagrams, millinery notes, love&lt;br /&gt;
stories, in which lords woo servant girls, villains are&lt;br /&gt;
Wanquished and virtue triumphs, bits of advice on&lt;br /&gt;
love, marriage, the household, and so forth.&lt;br /&gt;
&ldquo;With this net I enmeshed half the shop-girls,&lt;br /&gt;
housemaids, and other young women of the class&lt;br /&gt;
known at present as &ldquo;ladies&rsquo; in the kingdom. The&lt;br /&gt;
fashion plates were evolved out of the brain of a&lt;br /&gt;
clever, but lowly born, artist, who couldn&amp;#039;t speak&lt;br /&gt;
the King&amp;#039;s English. I myself instructed the readers&lt;br /&gt;
of this precious hotch-potch on connubial problems,&lt;br /&gt;
doing so with the greater assurance because I have&lt;br /&gt;
never married.&lt;br /&gt;
&ldquo;I had now catered to please the ignorant, the&lt;br /&gt;
Vulgar and the silly. , My next venture supplied&lt;br /&gt;
youthful hooligans with a long-felt want. I brought&lt;br /&gt;
out a half-penny Weekly mass of blood and thunder&lt;br /&gt;
&mdash;Jack the Ripper&mdash;Charles Peace literature. It&lt;br /&gt;
Went&mdash;and still goes&mdash;like hot rolls. More than&lt;br /&gt;
once juvenile offenders have thrown blame upon&lt;br /&gt;
the tone of this wonder when questioned before&lt;br /&gt;
the magistrate. A few weak-minded ragamuffins&lt;br /&gt;
have gone so far as to commit suicide, urged thereto,&lt;br /&gt;
So ran the evidence, by devouring pernicious litera-&lt;br /&gt;
ture, in which my property played a leading&lt;br /&gt;
part.&rdquo; - - -&lt;br /&gt;
&ldquo;Are you in no dread of incurring a penalty for&lt;br /&gt;
circulating a periodical of such a character P&rsquo;&rdquo; I&lt;br /&gt;
interposed. -&lt;br /&gt;
Graves laughed.&lt;br /&gt;
&ldquo;Penalty The law confines its labours to&lt;br /&gt;
running-in second-hand booksellers for exposing&lt;br /&gt;
authors like Aristotle, Byron, Zola. It never by&lt;br /&gt;
any chance interfered with a journal that incites&lt;br /&gt;
lads to crime&mdash;or men either, for the matter of&lt;br /&gt;
that.&rdquo;&lt;br /&gt;
The speaker laughed cynically. -&lt;br /&gt;
&ldquo;Though tinged with bitterness, there is some&lt;br /&gt;
truth in what you say,&rdquo; I replied.&lt;br /&gt;
&ldquo;My dear fellow,&rdquo; responded Graves, looking at&lt;br /&gt;
me steadily, &ldquo;you found by experience&mdash;as I did&lt;br /&gt;
&mdash;What encouragement there is for writers of high&lt;br /&gt;
* ſou know as well as I what demand there&lt;br /&gt;
&sect; of scholarly type who use elegant&lt;br /&gt;
quote Occasionally from the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 258 (#318) ############################################&lt;br /&gt;
&lt;br /&gt;
258&lt;br /&gt;
&ldquo;Not much, to be sure, I regret to say.&rdquo;&lt;br /&gt;
&ldquo;Well When a lad is thrashed for telling the&lt;br /&gt;
truth he often turns liar. When a writer begins&lt;br /&gt;
to understand that conscientious matter is a drug&lt;br /&gt;
in the market, he either renounces his ideals with&lt;br /&gt;
a view to scooping in the coin, or abandons the&lt;br /&gt;
game in disgust.&rdquo;&lt;br /&gt;
&ldquo;As you did.&rdquo;&lt;br /&gt;
&ldquo;As I did, when I informed you on a memorable&lt;br /&gt;
evening some ten years ago that I should go into&lt;br /&gt;
trade. Now I am a linited liability company with&lt;br /&gt;
a capital ; but I will spare you details. Nearly all&lt;br /&gt;
my ventures have prospered.&rdquo;&lt;br /&gt;
&ldquo;You will pardon what I am going to say,&rdquo; I&lt;br /&gt;
began. &ldquo;Why, with the wealth your firm can&lt;br /&gt;
command, have you never undertaken the issue of&lt;br /&gt;
some standard work P. So far as I am aware, nothing&lt;br /&gt;
but the veriest rags emanate from your house.&rdquo;&lt;br /&gt;
Graves opened his eyes in real or feigned&lt;br /&gt;
Surprise.&lt;br /&gt;
&ldquo;You ask me such a question&mdash;you who know&lt;br /&gt;
how generously the public patronises any man who&lt;br /&gt;
tries to improve it, mentally or morally. Have I&lt;br /&gt;
not already declared that when I abandoned writing&lt;br /&gt;
I entered business 2 Business If I could raise&lt;br /&gt;
the standard of public taste to-morrow by merely&lt;br /&gt;
lifting my little finger, I wouldn&rsquo;t do so. If I&lt;br /&gt;
could instruct every street-arab, clerk or shop-girl&lt;br /&gt;
in the world up to the level of a University gra-&lt;br /&gt;
duate, by the expenditure of a halfpenny, I would&lt;br /&gt;
keep the copper in my pocket. No, sir, I am not&lt;br /&gt;
a schoolmaster or parson&mdash;most assuredly not a&lt;br /&gt;
philanthropist. Indeed, I have even gone so far&lt;br /&gt;
as to engender a delight for reading matter of a&lt;br /&gt;
kind never before supplied.&rdquo;&lt;br /&gt;
&ldquo;You do not allude to&mdash;to indecency.&rdquo;&lt;br /&gt;
&ldquo;No. My policy is to stultify, not to shock.&rdquo;&lt;br /&gt;
4 &amp;amp; Ah ! 22&lt;br /&gt;
We both maintained silence for a few seconds ;&lt;br /&gt;
I broke it by asking him if he still adhered to his&lt;br /&gt;
former expressed views on democracy.&lt;br /&gt;
A sardonic grin contorted Graves&amp;#039; mouth as he&lt;br /&gt;
replied.&lt;br /&gt;
&ldquo;The nation has for political purposes found it&lt;br /&gt;
expedient to worship a little mud image which it&lt;br /&gt;
calls Demos. Anything breathed against this&lt;br /&gt;
image is rank heresy. Times gone by saw practical&lt;br /&gt;
inventors, engineers and scientists springing from&lt;br /&gt;
the class it stands for&mdash;poor men who thought out&lt;br /&gt;
discoveries in their cottages and taught themselves&lt;br /&gt;
the rudiments of education. We have changed all&lt;br /&gt;
that. The class Demos represents to-day, consists&lt;br /&gt;
chiefly of men whose aim is to work as little for as&lt;br /&gt;
much pay as possible. Their leisure is passed mainly&lt;br /&gt;
in public-houses. Their ambition is to o&ordm;&ordm; Y&ordm;&lt;br /&gt;
latest &lsquo;tips&rsquo; for a race meeting. They ay&lt;br /&gt;
part loud, self-assertive, impudent,&lt;br /&gt;
ape all the worse qualities of the&lt;br /&gt;
majority.&rdquo;&lt;br /&gt;
t&lt;br /&gt;
If they haven&amp;#039;t reached the pitch of playing&lt;br /&gt;
on Sunday, they are fast converting the s&lt;br /&gt;
into a day of rowdy excursions or senseles&lt;br /&gt;
thus are neither so industrious or de&lt;br /&gt;
their grandfathers, yet their liberty i&lt;br /&gt;
greater, their chances in life incompa&lt;br /&gt;
numerous. Yet if you were to se&lt;br /&gt;
opinion to me as proprietor of the Sp&lt;br /&gt;
should do what every editor in Lond&lt;br /&gt;
and stick it on the coals.&rdquo;&lt;br /&gt;
&amp;amp; 4 Why 2 &rdquo; &bull;.&lt;br /&gt;
&ldquo;Because this class is in a prep&lt;br /&gt;
golf&lt;br /&gt;
bath&lt;br /&gt;
&ldquo;Its strikes dislocate trade. Its centralisation&lt;br /&gt;
generates slums. Physical deterioration bids fair&lt;br /&gt;
to make us a nation of cripples and paralytics.&lt;br /&gt;
Idleness swells our rates. Rash and immature&lt;br /&gt;
unions fill our hospitals, asylums, refuges and&lt;br /&gt;
reformatories. We know it, but it would not pay&lt;br /&gt;
us to express a candid opinion. So with our&lt;br /&gt;
tongue in Our cheeks we allude to this little mud&lt;br /&gt;
image as the &ldquo;backbone of the country.&rdquo;&lt;br /&gt;
Graves paused a moment for breath.&lt;br /&gt;
It was all I could do to keep from looking aghast&lt;br /&gt;
at his utterances.&lt;br /&gt;
&ldquo;The democracy is never tired of throwing stones&lt;br /&gt;
at the profligacy of the rich,&rdquo; he burst out afresh,&lt;br /&gt;
&ldquo;but where do you find immorality so atrocious as&lt;br /&gt;
among the denizens of mean streets 2&lt;br /&gt;
&ldquo;Another clause in my indictment, and I have&lt;br /&gt;
done.&lt;br /&gt;
&ldquo;The son of a gentleman goes to a public&lt;br /&gt;
school. He is cheeky to a master, misses his&lt;br /&gt;
lessons or sins in some other way incident to boy-&lt;br /&gt;
hood. He is flogged. Many a duke&amp;#039;s son has&lt;br /&gt;
been flogged at Eton, and will be again, I hope and&lt;br /&gt;
believe.&lt;br /&gt;
&ldquo;The son of a labourer goes to a board School.&lt;br /&gt;
He uses foul language in his teacher&amp;#039;s hearing, or&lt;br /&gt;
refuses to learn his task, and if he is chastised there&lt;br /&gt;
is the whole country in an uproar. His parents&lt;br /&gt;
assault and batter the poor pedagogue, and when&lt;br /&gt;
they&rsquo;ve done with him, the law prosecutes him.&lt;br /&gt;
&ldquo;Did any man ever know such absurdity ?&lt;br /&gt;
Yet we are called an enlightened and progressive&lt;br /&gt;
people !&rdquo; e&lt;br /&gt;
It was amazing to hear the editor and proprietor&lt;br /&gt;
of one of the most democratic organs published&lt;br /&gt;
thus expressing himself.&lt;br /&gt;
&ldquo;Open confession is good for the soul, I find, so&lt;br /&gt;
I will continue to make you my father confessor&lt;br /&gt;
for a few moments longer in order that you may&lt;br /&gt;
take a close view of the machinery which has made&lt;br /&gt;
me a success. I pander to society as well as Demos.&lt;br /&gt;
There is no bit of scandal too Outrageous, no per-&lt;br /&gt;
sonal interview too fulsome, no tittle-tattle too&lt;br /&gt;
paltry for the columns of one or another of my&lt;br /&gt;
ublications. Nobodies believe themselves some-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 259 (#319) ############################################&lt;br /&gt;
&lt;br /&gt;
|&lt;br /&gt;
259&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
bodies because it suits my purposes to print their&lt;br /&gt;
photographs and biographies occasionally, at a price.&rdquo;&lt;br /&gt;
&ldquo;Let us pass on to the next point,&rdquo; I suggested.&lt;br /&gt;
&ldquo;Ah, yes! Let me see&mdash;the next point. Oh&lt;br /&gt;
cruel and ghastly posters. And what my posters&lt;br /&gt;
do for my budgets of fiction my contents bills do&lt;br /&gt;
for my sheets of fact.&rdquo;&lt;br /&gt;
&ldquo;I have seen them,&rdquo; I said, &ldquo;and I think it an&lt;br /&gt;
infernal shame that while a poor newspaper lad&lt;br /&gt;
may be run in for crying false news, editors may&lt;br /&gt;
print misleading, grossly exaggerated bills in order&lt;br /&gt;
to dispose of large editions with impunity.&rdquo;&lt;br /&gt;
&ldquo;I agree with you,&rdquo; assented Graves. &ldquo;Blame&lt;br /&gt;
that ridiculous old ass, the law&mdash;not us who profit&lt;br /&gt;
by its stupidity. Business is business.&rdquo;&lt;br /&gt;
&ldquo;Do you take up any position with regard to&lt;br /&gt;
religion ?&rdquo; I asked. -&lt;br /&gt;
&ldquo;Religion ? No! It is played out in England.&rdquo;&lt;br /&gt;
He regarded me with an inscrutable cast of&lt;br /&gt;
visage as he finished the last sentence. His utter-&lt;br /&gt;
ances had been, here and there, so startling that I&lt;br /&gt;
found myself beginning to wonder whether he was&lt;br /&gt;
speaking in jest or earnest. He belonged to a set&lt;br /&gt;
of men whom it is difficult or impossible to&lt;br /&gt;
&ldquo;weigh up.&rdquo;&lt;br /&gt;
&ldquo;How in the world do you manage to procure .&lt;br /&gt;
ideas for new papers, for articles, for novel com-&lt;br /&gt;
petitions P One brain, no matter how fecund,&lt;br /&gt;
could never breed them all, I am sure,&rdquo; I began&lt;br /&gt;
after a pause. -&lt;br /&gt;
Graves gazed at the ceiling absently for a&lt;br /&gt;
moment. Then his sickly smile played about his&lt;br /&gt;
mouth. &ldquo;You would like to know P&rsquo;&rsquo;&lt;br /&gt;
&ldquo;I WOuld.&rdquo;&lt;br /&gt;
&ldquo;Well, then, you shall. First the law of copy-&lt;br /&gt;
right. Here we have a muddle so confusing that&lt;br /&gt;
any smart man may avail himself of its absurdities&lt;br /&gt;
to annex ideas from authors, from rivals, from a&lt;br /&gt;
hundred sources, without let or hindrance.&rdquo;&lt;br /&gt;
&ldquo;Dishonest &rdquo; I exclaimed.&lt;br /&gt;
&ldquo;Certainly,&rdquo; agreed Graves readily. &ldquo;But&lt;br /&gt;
business. What is to prevent me from advertising&lt;br /&gt;
for an assistant in my literary department&mdash;whether&lt;br /&gt;
I want one or not ? Mr. Pen&mdash;shall we call him 2&lt;br /&gt;
&mdash;answers my advertisement together with some&lt;br /&gt;
scores of others. He, and the most likely among&lt;br /&gt;
them, are accorded interviews.&lt;br /&gt;
&ldquo;&lsquo;Mr. Pen,&amp;#039; I say, &lsquo;what suggestions would you&lt;br /&gt;
make to improve my journal should you be&lt;br /&gt;
appointed to the post applied for P&rsquo;&lt;br /&gt;
&ldquo;Mr. Pen, poor guileless creature, unbosoms him-&lt;br /&gt;
self. Some of his notions are good and feasible.&lt;br /&gt;
My shorthand clerk in attendance takes notes of&lt;br /&gt;
them, as of the others emanating from the&lt;br /&gt;
applicants I review.&lt;br /&gt;
&ldquo;I close each successive interview with a gracious&lt;br /&gt;
promise that the departing penman shall hear&lt;br /&gt;
from me.&lt;br /&gt;
&ldquo;So he does. To the effect that the appointment&lt;br /&gt;
has been filled up.&lt;br /&gt;
&ldquo;Shameful &amp;#039; &amp;quot; I shouted as I grasped his&lt;br /&gt;
meaning.&lt;br /&gt;
Graves slowly stroked his chin.&lt;br /&gt;
&ldquo;The law allows it. What more is to be said.&rdquo;&lt;br /&gt;
&ldquo;You are an unscrupulous fellow,&rdquo; I answered.&lt;br /&gt;
Graves laughed, a harsh, cackling, disagreeable&lt;br /&gt;
laugh.&lt;br /&gt;
&ldquo;I have gone into trade.&rdquo;&lt;br /&gt;
I put on my hat and prepared to quit the place,&lt;br /&gt;
s&ordm; moral atmosphere I began to find growing&lt;br /&gt;
etid.&lt;br /&gt;
&ldquo;Before I go,&rdquo; I said, &ldquo;will you be good&lt;br /&gt;
enough to inform me for what purpose you have&lt;br /&gt;
bought manuscripts of an ethnographical nature&lt;br /&gt;
from me? I should like to know this particularly,&lt;br /&gt;
Seeing that no publication of a character available&lt;br /&gt;
for their insertion appears to figure on your rather&lt;br /&gt;
extensive list.&rdquo;&lt;br /&gt;
Graves stood up behind his writing-table, and&lt;br /&gt;
Once again repeated his detestable grin.&lt;br /&gt;
&ldquo;You have a right to ask what purposes your&lt;br /&gt;
manuscripts serve in our business. I&rsquo;ll tell you.&lt;br /&gt;
They are of use in supplying local colour to some&lt;br /&gt;
of the tales of adventure our boy subscribers love&lt;br /&gt;
so dearly. We can offer you even better terms to&lt;br /&gt;
continue your papers on the same subject.&rdquo;&lt;br /&gt;
I was too disgusted to make any rejoinder.&lt;br /&gt;
Turning on my heel, I left Wynyard Graves or&lt;br /&gt;
Gregory Grubb&mdash;as the reader prefers&mdash;to his&lt;br /&gt;
papers, his schemes, his success, his huge fortune.&lt;br /&gt;
The last I heard of him was his return to&lt;br /&gt;
Parliament as the &ldquo;Champion of the Working&lt;br /&gt;
Classes.&rdquo;&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-e&mdash;&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
DEAR MR. THRING, I have been reading the&lt;br /&gt;
United States Copyright Act and your interesting&lt;br /&gt;
article upon it. It seems a curious innovation to&lt;br /&gt;
give such preference to foreign countries and&lt;br /&gt;
exempt all from the burden of the manufacturing&lt;br /&gt;
clauses, with the exception of England.&lt;br /&gt;
May I call your attention to your paragraph&lt;br /&gt;
about dramatic and musical compositions, wherein&lt;br /&gt;
you say that they must be printed from type set&lt;br /&gt;
in the United States if they are produced for sale&lt;br /&gt;
in book form. This would be a serious alteration&lt;br /&gt;
in the law, which does not appear to me to have&lt;br /&gt;
been intended or enacted. It is only &ldquo;books&rdquo; and&lt;br /&gt;
&ldquo;periodicals&rdquo; which are mentioned in (a) and (b)&lt;br /&gt;
of section 5, to which the manufacturing clauses&lt;br /&gt;
apply. A dramatic composition, even if it is pub-&lt;br /&gt;
lished in book form, should be described as a&lt;br /&gt;
&ldquo;dramatic composition &rdquo; under (d) and not as&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 260 (#320) ############################################&lt;br /&gt;
&lt;br /&gt;
260&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
a &ldquo;book,&rdquo; and if it is so described the manufac-&lt;br /&gt;
turing clauses would not be applicable. I hope&lt;br /&gt;
you do not mind my comment upon this point,&lt;br /&gt;
because it seems to me that the statement &ldquo;then&lt;br /&gt;
the type-setting clause takes effect &rsquo;&rsquo; is inaccurate,&lt;br /&gt;
and may give rise to misunderstanding.&lt;br /&gt;
Yours very truly, HAROLD HARDY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
MAGAZINE WRITERS AND THE INCOME TAx.&lt;br /&gt;
SIR,--I have only to-day, March 28th, seen the&lt;br /&gt;
article on this subject signed by Alfred Smythe ;&lt;br /&gt;
and although it contains much with which one&lt;br /&gt;
cannot fail to sympathise, yet being fully aware, to&lt;br /&gt;
my cost, of the hard struggle which magazine and&lt;br /&gt;
newspaper writers often have, I totally fail to see&lt;br /&gt;
why we should be freed from the payment of&lt;br /&gt;
income tax any more than any other class of&lt;br /&gt;
professional men or women are.&lt;br /&gt;
not rather be thankful that they make sufficient by&lt;br /&gt;
their pen to be taxed at all !&lt;br /&gt;
barrister or doctor has quite as many difficulties to&lt;br /&gt;
contend with for some years, and often for ever, as&lt;br /&gt;
the writer of magazine articles | A long Univer-&lt;br /&gt;
sity education usually is essential in his case, while&lt;br /&gt;
it is by no means so in the case of Writers.&lt;br /&gt;
Compared with many other professional men,&lt;br /&gt;
e.g., Solicitors, architects,l and agents, accountants,&lt;br /&gt;
writers of magazine articles need not have had to&lt;br /&gt;
pay a heavy premium to learn their profession,&lt;br /&gt;
nor when in practice is there the same professional&lt;br /&gt;
&mdash;apart from personal &ndash;expense, nor is there any&lt;br /&gt;
capital expenditure required as is frequently the&lt;br /&gt;
case in business, unless, indeed, some writers are&lt;br /&gt;
disposed to look upon a few &ldquo;postage stamps&amp;quot; as&lt;br /&gt;
capital expenditure.&lt;br /&gt;
H. STUART THOMPSON.&lt;br /&gt;
IS THE 6s. NOVEL DOOMED 2&lt;br /&gt;
SIR,-My temperament is neither gloomy nor&lt;br /&gt;
pessimistic, but, on the contrary, it is of the most&lt;br /&gt;
optimistic character ; yet I cannot help saying that&lt;br /&gt;
in my humble opinion the outlook of the profession&lt;br /&gt;
of novelist is very grave. I have spent a few days&lt;br /&gt;
interviewing booksellers, and to sum up briefly&lt;br /&gt;
what passed between us, I was informed by more&lt;br /&gt;
than one prominent bookseller that the clamour on&lt;br /&gt;
the part of the public for cheap reprints is daily&lt;br /&gt;
growing more intensified, and that the 6s. novel&lt;br /&gt;
of even prominent writers is becoming less and&lt;br /&gt;
less in demand.&lt;br /&gt;
One bookseller exclaimed, &ldquo;Oh, as for the new&lt;br /&gt;
writer, he has, poor devil no chance at all.&rdquo; The&lt;br /&gt;
position is not only serious for the latter, but it is&lt;br /&gt;
even more serious for the former class of writer,&lt;br /&gt;
and there is internal evidence to show that the&lt;br /&gt;
cheap reprints have come to stay.&lt;br /&gt;
Whom is the author to blame 2 Is it the public,&lt;br /&gt;
Should writers&lt;br /&gt;
Surely the struggling&lt;br /&gt;
2&lt;br /&gt;
who apparently find it more entertaining to read&lt;br /&gt;
cheap reprints than new fiction ; or is the blame to&lt;br /&gt;
be fixed upon the trade 2 It would be a difficult&lt;br /&gt;
thing to trace the evolution of the cheap reprint,&lt;br /&gt;
but it is obvious to the author, and also to the&lt;br /&gt;
trade, that in spite of the evidence that the&lt;br /&gt;
&ldquo;enemy&rsquo;&rsquo; has come to stay, the present is a diffi-&lt;br /&gt;
culty which must somehow be overcome both for&lt;br /&gt;
the sake of the publishing trade and also for the&lt;br /&gt;
profession of novelist. Publishers&amp;#039; travellers will&lt;br /&gt;
tell you that they are quite unable to excite the&lt;br /&gt;
curiosity of booksellers with regard to new 63.&lt;br /&gt;
novels, and that the trade will not look at them.&lt;br /&gt;
On the other hand, these same gentlemen have&lt;br /&gt;
their order books crammed with orders running&lt;br /&gt;
into three and four figures for &ldquo;mixed&rdquo; reprints,&lt;br /&gt;
at 7S. per dozen, less 10 per cent.&lt;br /&gt;
It would be really very interesting to know&lt;br /&gt;
whether the person to put in the pillory is the&lt;br /&gt;
bookseller or our old friend the publisher. Or&lt;br /&gt;
perhaps it is the taste of the public which has&lt;br /&gt;
become so depraved, eh?&lt;br /&gt;
Yours faithfully, A NovKLIST.&lt;br /&gt;
&mdash;&ordm;-&ordm;-o-&lt;br /&gt;
MAGAZINE PROPRIETORS.&lt;br /&gt;
SIR,--I should like to bring to the notice of the&lt;br /&gt;
Authors&rsquo; Society the responsibilities of the pro-&lt;br /&gt;
prietors of certain second-class periodicals and&lt;br /&gt;
papers, and should like to inquire whether there is&lt;br /&gt;
a satisfactory solution for the following difficulty.&lt;br /&gt;
A magazine engages a contributor and offers to&lt;br /&gt;
pay him a fixed rate for articles. After a short&lt;br /&gt;
period, the contributor experiences a difficulty in&lt;br /&gt;
obtaining payment, and finally, on threatening to&lt;br /&gt;
bring an action, is informed that the magazine&lt;br /&gt;
has changed hands and that the proprietors are not&lt;br /&gt;
liable for the work published before the date they&lt;br /&gt;
took over the responsibilities. The contributor is&lt;br /&gt;
in the following position : he has to find out what&lt;br /&gt;
has become of the former proprietors and where he&lt;br /&gt;
can apply for payment. In many cases this is&lt;br /&gt;
exceedingly difficult, and in many cases impossible.&lt;br /&gt;
Should he discover the whereabouts of the former&lt;br /&gt;
owners he is very often unable to obtain payment.&lt;br /&gt;
owing to the fact that they have no money and no&lt;br /&gt;
assets. Two points seem to be very hard upon the&lt;br /&gt;
author. First, that the original owner, who has&lt;br /&gt;
most probably obtained something for the sale of&lt;br /&gt;
his magazine, should not meet the just demands of&lt;br /&gt;
his creditors. Secondly, that the magazine should&lt;br /&gt;
be allowed to go on under the same title without&lt;br /&gt;
notifying the creditors of the change in the&lt;br /&gt;
responsibilities.&lt;br /&gt;
I should be glad if the members of the Authors&rsquo;&lt;br /&gt;
Society could give any information as to , the&lt;br /&gt;
course which it is advisable to adopt in these&lt;br /&gt;
Circumstances.&lt;br /&gt;
Yours truly, A SUFFERER.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 260 (#321) ############################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
iii&lt;br /&gt;
THE TIDE MILL SECRET. -&lt;br /&gt;
By PERCY YoUNG. Handsomely produced, 320 pp., with&lt;br /&gt;
Frontispiece, 2s. 6d. net.&lt;br /&gt;
&ldquo;A readable novel . . . life is vividly depicted.&rdquo;&mdash;Dundee&lt;br /&gt;
Advertiser.&lt;br /&gt;
&ldquo;A pleasant tale.&rdquo;&mdash;The Universe.&lt;br /&gt;
GARDEN SONGS, and other Poems.&lt;br /&gt;
By MARGARET E. FoED. A capital book of poetry, highly&lt;br /&gt;
commended to all lovers of fresh and stimulating verse.&lt;br /&gt;
Printed on thick antique paper, with uncut edges, and bound in&lt;br /&gt;
attractive brochure cover, with flaps, 1s.6d. met. NOW READY.&lt;br /&gt;
THE LONG RUN : A Novel.&lt;br /&gt;
By ROBERT B. MoRENO. With Frontispiece on art paper.&lt;br /&gt;
Bound in half red and half blue, in cloth, 2s. 6d. met.&lt;br /&gt;
&ldquo;A very curious novel.&rdquo;&mdash;Publishers Circular.&lt;br /&gt;
&ldquo;This novel is unusual and distinctly original.&rdquo;&mdash;What&amp;#039;s On.&lt;br /&gt;
GERMAN THE VIKING : A Story of Ancient&lt;br /&gt;
England.&lt;br /&gt;
By JAMES STUART. Handsome bevelled boards, 1s. 6d. net.&lt;br /&gt;
&ldquo;A vigorous and interesting tale of the stormy life of the old&lt;br /&gt;
Norsemen.&rdquo;&mdash;Scotsman.&lt;br /&gt;
&ldquo;The author writes pleasantly and with clearness of expres-&lt;br /&gt;
sion; he has managed to bring the old-world atmosphere into his&lt;br /&gt;
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MON CA OF ESSEBURNI : A Novel.&lt;br /&gt;
By MARGARET F. Osborn E. Contains splendid photograph as&lt;br /&gt;
frontispiece, and is bound with attractive design. 2s. met.&lt;br /&gt;
&ldquo;The story of a girl who fell in love with her sister&amp;#039;s lover . . .&lt;br /&gt;
Includes some pretty description of the village.&rdquo;&mdash;Christictim.&lt;br /&gt;
World.&lt;br /&gt;
MSS.&lt;br /&gt;
LONDON :&lt;br /&gt;
ARTHUR. H. STOCKWELL,&lt;br /&gt;
29, L&amp;#039;UIDGATE HILL, E.C.&lt;br /&gt;
Full lists on application, post free.&lt;br /&gt;
Authors should forward MSS. of any description&lt;br /&gt;
(Novels, Stories, Poems, Essays, &amp;amp;c.) direct to Mr.&lt;br /&gt;
STOCKWELL, Who Will immediately advise, free&lt;br /&gt;
of charge, as to publication.&lt;br /&gt;
SANG|M|GNAND OF WAL D&amp;#039;ELSA&lt;br /&gt;
|N TUSGANW.&lt;br /&gt;
AN ART HISTORICAL WORK.&lt;br /&gt;
Y&lt;br /&gt;
Jean Carlyle Graham and Elizabeth M. Derbishire.&lt;br /&gt;
With 27 Pen and Ink Drawings, many hitherto&lt;br /&gt;
unpublished Documents from Tuscan State&lt;br /&gt;
Archives, a Bibliography, and numerous Copy-&lt;br /&gt;
righted Photographs.&lt;br /&gt;
ERMAN NO LOESCHER &amp;amp; CO.&lt;br /&gt;
(Bretschreider &amp;amp; Regenberg), ROME.&lt;br /&gt;
MRS. GILL, Typetoriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
TYPEVVRITING&lt;br /&gt;
OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDs.&lt;br /&gt;
Two COPIES, 1s. PER 1,000 WORDS.&lt;br /&gt;
Authors&rsquo; MSS., I,egal Documents, Reports, &amp;amp;c., carefully and&lt;br /&gt;
accurately copied. Orders by Post promptly attended to.&lt;br /&gt;
Mrs. SOUTHEE, 273, Francis Rd., LEWION, LONDON, E.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
MISS BARRETT,&rdquo; &ordm;ve.&lt;br /&gt;
Telephone : 9677 Central.&lt;br /&gt;
Literary Work, Plays, &amp;amp;c., promptly &amp;amp; accurately copied.&lt;br /&gt;
- Orders by post quickly carried out.&lt;br /&gt;
Efficient Clerks supplied to Clients by day, week, or maonth.&lt;br /&gt;
Terms and specimen of work on application. IHighest References.&lt;br /&gt;
TYPEYWRITING:&lt;br /&gt;
ALL KINDS FROM 9d. PER 1,000.&lt;br /&gt;
Authors&amp;#039;, Playwrights&rsquo;, Clergy men&amp;#039;s, &amp;amp;c.,&lt;br /&gt;
Correctly and efficiently executed.&lt;br /&gt;
Good Work combined with cheapness and cuickness.&lt;br /&gt;
In English, French, or German. Good References.&lt;br /&gt;
SEND A SMALL ORDER NOW!&lt;br /&gt;
MSS RALLING, 175, Loughborough Rd., London, S.W.&lt;br /&gt;
Rd.,&lt;br /&gt;
&sect;&ordm; w&ordm;-,e, s&ordm; s&ordm; -&amp;gt; ...,&amp;quot; &ordm;r s&ordm; *.*, *, *, * * *R*, * * * * &amp;gt; * &ordm;f &ordm;x * * *&lt;br /&gt;
&sect; &sect;&sect;&sect; &lsquo;. . . 5 * &ordm; t&ordm; 2:&lt;br /&gt;
Two HUNDRED AND FIFTY&lt;br /&gt;
(GUINEAS AWARD.&lt;br /&gt;
The Literary Agency of London has pleasure&lt;br /&gt;
in announcing that it has been instructed&lt;br /&gt;
by M.Y. ANDREW MELROSE to conduct an&lt;br /&gt;
open competition For THE&lt;br /&gt;
- BEST NOVEL --&lt;br /&gt;
t&ordm; submitted before November i. 1909. The Adjudicators&lt;br /&gt;
will be D&lt;br /&gt;
MRS. FLORA ANNIE STEEL, .&lt;br /&gt;
MISS MARY CHOLMONDELEY, and&lt;br /&gt;
MRS. HENRY DE LA PASTURE.&lt;br /&gt;
Particulars may be had by sending Starmped Addressed&lt;br /&gt;
Envelope to -&lt;br /&gt;
: THE LITERARY AGENCY OF LONDON, ;&lt;br /&gt;
&ordm; 5, Henrietta Street, Covent Garden, W.C.&lt;br /&gt;
*...&ordm;.&ordm;.&lt;br /&gt;
MSS.&lt;br /&gt;
2.&lt;br /&gt;
s&ordm; t&ordm;&lt;br /&gt;
5 . .&rdquo;&lt;br /&gt;
&ordm;&amp;#039; ---&lt;br /&gt;
&amp;quot;. . . . . . . .&lt;br /&gt;
| Tim T&lt;br /&gt;
carefully and quickly done on good paper.&lt;br /&gt;
References to leading Publishers.&lt;br /&gt;
Miss G. BLAXELLE, King-Potter, Clements &amp;amp; Co. Ld.&lt;br /&gt;
56, Ludgate Hill, H. C.&lt;br /&gt;
NO AUTHOR&lt;br /&gt;
be he amateur or expert, can afford to be without&lt;br /&gt;
HINTS THAT HELP.&lt;br /&gt;
A Book of sound advice and&lt;br /&gt;
instruction on the way to write&lt;br /&gt;
and sell Short Stories.&lt;br /&gt;
There is, of course, a right way and a wrong way,&lt;br /&gt;
and the writer who is not fully versed in his profes-&lt;br /&gt;
sion is handicapped to the extent of his inexperience.&lt;br /&gt;
&ldquo;HINTS THAT HELP&rsquo;&rsquo;: 1s. 6d. post free from&lt;br /&gt;
The Literary Typewriting Bureau,&lt;br /&gt;
46, Earlham Grove, Forest Gate, ESSEX.&lt;br /&gt;
(Please mention &ldquo;The Author.&rdquo;)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. 260 (#322) ############################################&lt;br /&gt;
&lt;br /&gt;
iV ADVERTISEMENTS.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTS.&lt;br /&gt;
* The writer, whether he aspires to write novels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
&bull; THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence College&lt;br /&gt;
teaches the aspirant to serve his apprenticeship&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary Agency&lt;br /&gt;
business of all kinds.&lt;br /&gt;
For full particulars write at once for pamphlet&lt;br /&gt;
D.M. to the LITERARY CORRESPONDENCE CollBGE,&lt;br /&gt;
9, Arundel Street. Strand, W.C.&lt;br /&gt;
| FIRST LEssons INSTORY WRITING.&lt;br /&gt;
By BARRY PAIN.&lt;br /&gt;
2s. 6d. net; 2s. 8d. post free.&lt;br /&gt;
*|| Of this work the Westminste?&amp;#039; Gazette writes: &ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be&lt;br /&gt;
quite assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
HOW TO BECOME AN AUTHOR.&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide; full of&lt;br /&gt;
useful hints. 5s. net; 5s. 4d. post free.&lt;br /&gt;
THE LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
S, Arundel Street, Strand, W.C.&lt;br /&gt;
Typexyriting,&lt;br /&gt;
can guarantee good work at reasonable charges.&lt;br /&gt;
Orders by post receive prompt attention.&lt;br /&gt;
Duplicating,&lt;br /&gt;
SEP for Estimate if you require any MSS. typed or Circulars duplicated.&lt;br /&gt;
TWO popular Hotels in Gentral London.&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL;&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
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(The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
VoI. XIX.-No. 10. JULY 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
e PAGE&lt;br /&gt;
Notices ..... ... ... ... ... ... ... ... ... 261 Registration of Scenarios ... ... .. N &ordm;&lt;br /&gt;
Council Meeting... ... ... . . . . . 263 Warnings to Musical Composers . . . 377&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. 260 (#324) ############################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
ūbe &scaron;urietu af Autburg (ſmrurporaten).&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
MRS. HARRIson (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY BIOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG,&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME. K. JEROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. Scott KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING. :&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
(MISS FLORA. L.&lt;br /&gt;
MRS. MAxw&ordm;l.I. (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPEIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
| Douglas FRESHFIELD.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
S. SQUIRE SPEIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB,&lt;br /&gt;
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W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
OFFICES.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. DOC.&lt;br /&gt;
SIR JAMES YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING;&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
Telegraphic Address: &ldquo;AUTORIDAD, LoNdoN.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
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THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S. ... &bull; * *&lt;br /&gt;
&bull; THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C. , * *&lt;br /&gt;
MRsy E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR,&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENS (&ldquo;MARK TwAIN&amp;quot;).&lt;br /&gt;
EDWARD CLODD. -&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
of KEDLESTON, D.C.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COIMIMITTEE OF MANAGEMENT,&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN.&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
IDRAMATIC SUB-COMMITTEE.&lt;br /&gt;
Chairman&mdash;SIR ARTHUR PINERO.&lt;br /&gt;
H. GRANVILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
Vice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
PENSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
COPYRIGHT STUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, ROSCOE &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. - e.&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 261 (#325) ############################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WoL. XIX.&mdash;No. 10.&lt;br /&gt;
JULY 1ST, 1909.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 VICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS : -&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
F signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
* - &ndash; &ordm; &ndash; a&lt;br /&gt;
v-u-w&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are: (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XIX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
. (2) The Pension Fund. This fund is slowly&lt;br /&gt;
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needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;0&ndash;Q-0&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
#350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 28. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. &pound;1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 0&lt;br /&gt;
Wictorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock ............... . . . . . . . . . . . . . . . 250 0 0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 262 (#326) ############################################&lt;br /&gt;
&lt;br /&gt;
262&lt;br /&gt;
TRIES A UTRIOR-&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock ....................................&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock..................&lt;br /&gt;
New Zealand 3%% Stock. . . . . . . . ...&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock&lt;br /&gt;
Corporation of London 23% Stock,&lt;br /&gt;
1927&ndash;57&lt;br /&gt;
228&lt;br /&gt;
247&lt;br /&gt;
258&lt;br /&gt;
e e o e s a e s e &ordm; e s e e s e s e &ordm; e &ordm; e s is &amp;amp; e &ordm; e &ordm; e&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
1, Twycross, Miss M. .&lt;br /&gt;
2, Macquarie, Arthur .&lt;br /&gt;
4, Sproston, Mrs. Stanley&lt;br /&gt;
4, Phipson, Miss Emma&lt;br /&gt;
4, Middlemass, Miss Jean&lt;br /&gt;
4, Pott, J. A. . .&lt;br /&gt;
4, Miller, Mrs. . &amp;amp;&lt;br /&gt;
7, Marchmont, A. W..&lt;br /&gt;
7, Sharwood, T. S.&lt;br /&gt;
12, Durand, Ralph&lt;br /&gt;
12, Laing, Mrs. . e&lt;br /&gt;
14, Banks, Mrs. M. M.&lt;br /&gt;
14, Steel, Richard&lt;br /&gt;
16, Garnett, Edward .&lt;br /&gt;
16, Fenn, Frederick .&lt;br /&gt;
18, Hering, Henry A.&lt;br /&gt;
18, Fox, Archibald D.&lt;br /&gt;
31, Anon. . &copy; &copy;&lt;br /&gt;
31, Kelly, W. P. o&lt;br /&gt;
31, Cotesworth, Miss . e&lt;br /&gt;
1, Phillipps-Wolley, Clive .&lt;br /&gt;
1, Dawson, Warrington&lt;br /&gt;
4, Willard, Mrs. E. S.&lt;br /&gt;
Feb. 19, Paget, Mrs. Gerald&lt;br /&gt;
Feb. 20, Andrews, C. C. .&lt;br /&gt;
March 5, Speed, Lancelot&lt;br /&gt;
March 8, Calderon, George&lt;br /&gt;
March 8, Jackson, C. S. . g e&lt;br /&gt;
March 9, Young, Col. George F., C.B.&lt;br /&gt;
March 10, Sullivan, Herbert g&lt;br /&gt;
March 11, Merritt, Mrs. Anna Lea&lt;br /&gt;
March 22, Dale, T. F. e &sect;&lt;br /&gt;
April 13, Gask, Miss Lilian&lt;br /&gt;
May 17, Rorison, Miss Edith&lt;br /&gt;
June 10, Voynich, Mrs. E. L.&lt;br /&gt;
June 10, Jaques, E. T. .&lt;br /&gt;
June 11, Grier, Miss Julia M.&lt;br /&gt;
June 11, Field, C. . &amp;amp; &bull;&lt;br /&gt;
June 11, Barrington, Mrs. Russell&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Zangwill, Israel&lt;br /&gt;
Jan. 1, Hamilton, John A. .&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
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Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
h&lt;br /&gt;
12.O()&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1.-&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
;&lt;br /&gt;
4.OO&lt;br /&gt;
!&lt;br /&gt;
4, Stopford, Francis&lt;br /&gt;
4, Falmouth, The Wiscountess&lt;br /&gt;
4, Carrel, Frederick&lt;br /&gt;
4, Laws, T. C. . &copy;&lt;br /&gt;
4, Abercrombie, Lascelles&lt;br /&gt;
5, Bradgate, Mrs.&lt;br /&gt;
6, Leach, Henry&lt;br /&gt;
6, Cullen, H. N. * e g&lt;br /&gt;
6, Lyall, The Right Hon. Sir&lt;br /&gt;
Alfred, P.C., etc. . &ordm;&lt;br /&gt;
7, Underdown, Miss Emily&lt;br /&gt;
8, Omond, T. S. ge e&lt;br /&gt;
8, Paternoster, G. Sidney&lt;br /&gt;
9, Stockley, Mrs.&lt;br /&gt;
9, Tanner, James T. .&lt;br /&gt;
12, Tighe, Henry&lt;br /&gt;
12, Aitken, Robert&lt;br /&gt;
12, Bolton, Miss Anna&lt;br /&gt;
14, Williamson, W. H.&lt;br /&gt;
16, Furze, Miss Bessie&lt;br /&gt;
16, Shirley, Arthur t&ordm;&lt;br /&gt;
18, &ldquo;Austin Clare &amp;quot; . &copy;&lt;br /&gt;
22, Williamson, Mrs. C. N.&lt;br /&gt;
22, Williamson, C. N.&lt;br /&gt;
23, Brown, R. Grant . e&lt;br /&gt;
28, Raphael, Mrs. M. . &bull; &amp;amp;&lt;br /&gt;
4, Wilson, Miss Theodore Wilson&lt;br /&gt;
4, Cousland, W. M. e&lt;br /&gt;
4, Hardy, Thomas&lt;br /&gt;
5, Bremner, Robert L.&lt;br /&gt;
6, Todhunter, John&lt;br /&gt;
6, Pettigrew, W. F.&lt;br /&gt;
8, Russell, G. H. ſe&lt;br /&gt;
8, Walker, Capt. J. H.&lt;br /&gt;
8, Dutton, Miss Annie&lt;br /&gt;
8, Baldwin, Mrs. Alfred&lt;br /&gt;
11, Ainslie, Miss &amp;amp;&lt;br /&gt;
11, Steward, Miss E. M.&lt;br /&gt;
11, Rumble, Mrs.&lt;br /&gt;
15, Beveridge, A. S.&lt;br /&gt;
16, Toplis, Miss Grace&lt;br /&gt;
19, Wilkinson, D.&lt;br /&gt;
Feb. 24, Landa, Mrs. &amp;amp; &Ccedil;&lt;br /&gt;
Feb. 26, Fitz Gerald, Mrs. . e t&ordm;&lt;br /&gt;
March 2, Tadema, Miss Laurence Alma&lt;br /&gt;
March 2, Reynolds, Mrs. Baillie.&lt;br /&gt;
March 4, Henry, Miss Alice&lt;br /&gt;
March 4, Wilson, Edwin&lt;br /&gt;
March 5, Hardy, Harold&lt;br /&gt;
March 9, Crozier, Dr. Beattie&lt;br /&gt;
March 9, Ross, Mrs. Janet&lt;br /&gt;
March 15, Gregory, Lady . o&lt;br /&gt;
March 31, Wizzari, Leopold de S.&lt;br /&gt;
April 5, Burchell, Sidney H.&lt;br /&gt;
April 15, Linton, C. Stuart&lt;br /&gt;
April 19, Loraine, Lady . . . . .&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
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Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
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Jan.&lt;br /&gt;
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Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
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Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
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Feb.&lt;br /&gt;
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Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
i&lt;br /&gt;
1.S&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. 263 (#327) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISIOR,&lt;br /&gt;
263&lt;br /&gt;
&pound; s. d.&lt;br /&gt;
April 20, Stephens, Riccardo 1 1 0&lt;br /&gt;
May 24, Lefroy, Mrs. C. P. 1 1 0&lt;br /&gt;
June 2, &ldquo;Olivia Ramsey&rdquo; e . 0 10 6&lt;br /&gt;
June 7, Horne, A. B. &amp;amp; e . 50 0 ()&lt;br /&gt;
June 10, Muir, Ward 1 1 0&lt;br /&gt;
June 10, Swan, Miss Myra () 5 ()&lt;br /&gt;
June 17, Bradley, A. C. 1 0 ()&lt;br /&gt;
June 22, Trot&eacute;re, H. . 1 1 0&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COUNCIL MEETING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
T the meeting of the Council of the society,&lt;br /&gt;
under the chairmanship of Mr. Maurice&lt;br /&gt;
Hewlett (chairman of the Committee of&lt;br /&gt;
Management), held at 20, Hanover Square, W., on&lt;br /&gt;
June 7, a unanimous vote of sympathy was passed&lt;br /&gt;
to the family of Mr. George Meredith on the great&lt;br /&gt;
loss they had sustained by the death of their father&lt;br /&gt;
&mdash;the late president of the society.&lt;br /&gt;
The Council then proceeded to elect a new&lt;br /&gt;
president, and, on the proposal of Mr. Anthony&lt;br /&gt;
Hope Hawkins, Mr. Thomas Hardy was unani-&lt;br /&gt;
mously elected president of the society. The&lt;br /&gt;
chairman undertook to report the election to Mr.&lt;br /&gt;
Hardy, and to ask him to accept it.&lt;br /&gt;
The chairman then laid before the Council the&lt;br /&gt;
report of the committee setting forth the action&lt;br /&gt;
which they had taken in the matter of copyright&lt;br /&gt;
legislation during the past year. The adoption of&lt;br /&gt;
the report was moved from the chair and accepted&lt;br /&gt;
unanimously. The report itself appears in another&lt;br /&gt;
column of The Author.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE June meeting of the committee was held&lt;br /&gt;
at the rooms of the Society of Medicine,&lt;br /&gt;
20, Hanover Square, immediately after the&lt;br /&gt;
meeting of the Council.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been read and signed, the committee proceeded to&lt;br /&gt;
elect members and associates. Thirty-five members&lt;br /&gt;
and associates were elected. The list appears on&lt;br /&gt;
another page. This brings the total elections for&lt;br /&gt;
the current year up to 145. The committee have&lt;br /&gt;
to chronicle, with regret, one resignation, bringing&lt;br /&gt;
the resignations for the year up to sixty-three.&lt;br /&gt;
The vote of sympathy to the family of Mr.&lt;br /&gt;
George Meredith, which had been passed by the&lt;br /&gt;
Council, was confirmed by the committee, and the&lt;br /&gt;
chairman undertook to convey it to our late&lt;br /&gt;
president&amp;#039;s family. -&lt;br /&gt;
The committee next turned their attention to&lt;br /&gt;
Questions which the society had for some time been&lt;br /&gt;
anxious to put to the Chancellor of the Exchequer,&lt;br /&gt;
relative to the position of authors in regard to the&lt;br /&gt;
payment of income tax. The committee decided to&lt;br /&gt;
approach Mr. Robert Harcourt, M.P., a member of&lt;br /&gt;
the Society, in order that the Chancellor of the&lt;br /&gt;
Exchequer might be interrogated at the earliest&lt;br /&gt;
Opportunity.&lt;br /&gt;
The committee decided, after consideration, that&lt;br /&gt;
they could not take upon themselves the onus of&lt;br /&gt;
the legacy bequeathed to the society by Miss Alice&lt;br /&gt;
Sargent. It appeared from papers laid before them&lt;br /&gt;
that many of the books were out of print, and that&lt;br /&gt;
there was practically no market for the remainder.&lt;br /&gt;
The chairman reported the result of the meeting&lt;br /&gt;
with the publishers, when the question of the&lt;br /&gt;
issue of new copyright novels at 2s. was discussed,&lt;br /&gt;
and the further question of colonial sales. The&lt;br /&gt;
Sub-committee formed for the consideration of&lt;br /&gt;
these matters were of opinion that the issue of new&lt;br /&gt;
novels at 2s. would be injurious to all writers of&lt;br /&gt;
novels, if it were widely adopted and successful;&lt;br /&gt;
but they were inclined to think that publication at&lt;br /&gt;
this price would not succeed. It had been tried on&lt;br /&gt;
former occasions and had failed. However, in&lt;br /&gt;
view of the importance of the issues, the committee&lt;br /&gt;
decided to adjourn the question to the July meeting,&lt;br /&gt;
in order to give members of the committee time to&lt;br /&gt;
consider whether it might not be expedient to&lt;br /&gt;
appoint a strong sub-committee to go thoroughly&lt;br /&gt;
into the whole question of the sale price of works&lt;br /&gt;
of fiction.&lt;br /&gt;
The secretary reported that, owing to the death&lt;br /&gt;
of the society&rsquo;s president, so much work had fallen&lt;br /&gt;
upon him that he had been unable fully to report&lt;br /&gt;
upon the question of authors&amp;#039; agents and insurance.&lt;br /&gt;
He made a statement to the committee, however,&lt;br /&gt;
of the steps he had taken, and the committee&lt;br /&gt;
deferred their consideration till the next meeting.&lt;br /&gt;
They consider it of the utmost importance that the&lt;br /&gt;
relations between authors and agents should be&lt;br /&gt;
fully discussed and considered. -&lt;br /&gt;
The draft prospectus, settled by the secretary of&lt;br /&gt;
the society, and circularised to all the members of&lt;br /&gt;
the committee, was formally passed, and will be&lt;br /&gt;
issued, in due course, with the papers of the Society.&lt;br /&gt;
The secretary reported the action taken in&lt;br /&gt;
respect of musical copyright and musical com-&lt;br /&gt;
posers&amp;#039; agreements. He explained that a small&lt;br /&gt;
Bill had been drafted with a view to protecting&lt;br /&gt;
composers against the special difficulties that&lt;br /&gt;
surround the publication of their works. The&lt;br /&gt;
committee decided to refer the Bill to the Copy-&lt;br /&gt;
right Sub-Committee. It will be laid before them&lt;br /&gt;
in due course.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 264 (#328) ############################################&lt;br /&gt;
&lt;br /&gt;
264&lt;br /&gt;
THE Arr&ordm;rHor.&lt;br /&gt;
Mr. Herbert Sullivan was elected a member of&lt;br /&gt;
the Copyright Sub-Committee. . -&lt;br /&gt;
A letter from Mr. A. Hope Hawkins was laid&lt;br /&gt;
before the committee, in which he pointed out&lt;br /&gt;
that, if possible, evidence should be obtained and&lt;br /&gt;
brought before the Departmental Committee&lt;br /&gt;
to show that many authors of famous books had&lt;br /&gt;
not gained the full recompense from their works,&lt;br /&gt;
either because of the limitation of the copyright&lt;br /&gt;
term, or because of the fact that the public denied&lt;br /&gt;
appreciation of their literary position till after&lt;br /&gt;
their death or till after the copyright had already&lt;br /&gt;
run for many years. It was agreed that such&lt;br /&gt;
evidence should be collected.&lt;br /&gt;
The committee passed a vote of thanks to Mr.&lt;br /&gt;
A. B. Horne for his generous donation of &pound;50 to&lt;br /&gt;
the pension fund of the society.&lt;br /&gt;
There was one small case which the committee&lt;br /&gt;
decided to take up on behalf of the member.&lt;br /&gt;
The secretary reported that he had obtained&lt;br /&gt;
the full sum of money demanded by the society on&lt;br /&gt;
Mr. Shaw&amp;#039;s behalf for infringement of copyright&lt;br /&gt;
in a New Zealand paper ; that he had obtained the&lt;br /&gt;
full sum demanded by the society through their&lt;br /&gt;
Spanish lawyers for the infringement of Mr. E. W.&lt;br /&gt;
Hornung&rsquo;s copyright in Spain. He reported also&lt;br /&gt;
the successful result of the Society&amp;#039;s appeal in&lt;br /&gt;
Scholz v. Amasis, and read Mr. Fenn&amp;#039;s letter of&lt;br /&gt;
thanks to the society. Other letters were laid&lt;br /&gt;
before the committee for their consideration.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC COMMITTEE.&lt;br /&gt;
THE Dramatic Sub-Committee met at 39, Old&lt;br /&gt;
Queen Street, on Thursday, June 17, at 3 P.M.&lt;br /&gt;
After the minutes of the last meeting had been&lt;br /&gt;
read and signed, the Secretary reported that he had&lt;br /&gt;
heard from Mr. Esmond to the effect that the&lt;br /&gt;
action which had been taken in America, in con-&lt;br /&gt;
sequence of an infringement of his property there,&lt;br /&gt;
had been satisfactorily settled, the defendants&lt;br /&gt;
agreeing to a perpetual injunction against them.&lt;br /&gt;
This case has been referred to in these columns on&lt;br /&gt;
One or two occasions previously, and the committee&lt;br /&gt;
had decided, if necessary, to support an appeal on&lt;br /&gt;
Mr. Esmond&amp;#039;s behalf. Before the case came for&lt;br /&gt;
trial, a very important decision was given in the&lt;br /&gt;
Higher Courts in America on exactly the same&lt;br /&gt;
question as that at issue in Mr. Esmond&amp;#039;s case,&lt;br /&gt;
and the judgment delivered in that case had, no&lt;br /&gt;
doubt, a healthy influence on the settlement of&lt;br /&gt;
Mr. Esmond&amp;#039;s claim. The result referred to above&lt;br /&gt;
not only strengthens the position of English&lt;br /&gt;
dramatists with regard to their American rights,&lt;br /&gt;
which, at one time appeared to be in jeopardy,&lt;br /&gt;
but also saves the society from the expense of&lt;br /&gt;
an action at law.&lt;br /&gt;
, The committee then took up the question of the&lt;br /&gt;
dramatic pamphlet. Several different points were&lt;br /&gt;
discussed, such as the most favourable time of year&lt;br /&gt;
for the production of a play intended for a run, the&lt;br /&gt;
best agreement for a performance in repertory and&lt;br /&gt;
other matters. The chairman then made a Sugges-&lt;br /&gt;
tion that the dramatic pamphlet should be drafted&lt;br /&gt;
in a different form. He stated that he had read&lt;br /&gt;
the pamphlet with great care, and that he thought&lt;br /&gt;
it needed simplification; that this simplification&lt;br /&gt;
could be attained by drafting a number of agree-&lt;br /&gt;
ments to cover the different forms of contract,&lt;br /&gt;
rather than by drafting one agreement with a com:&lt;br /&gt;
plicated Series of notes. At the request of the&lt;br /&gt;
committee he read through an agreement of his&lt;br /&gt;
own for a run at a West End theatre, and this form&lt;br /&gt;
of agreement was approved by the committee as the&lt;br /&gt;
basis of a draft. It was finally decided that the&lt;br /&gt;
Secretary should, with the aid of Mr. Shaw and&lt;br /&gt;
Mr. Barker, draft a model form of agreement as&lt;br /&gt;
between author and manager of a repertory theatre,&lt;br /&gt;
and other agreements to cover the different forms&lt;br /&gt;
of contract affecting the work of dramatic authors.&lt;br /&gt;
These will be laid before the committee at he ir&lt;br /&gt;
next meeting, which will be held in October.&lt;br /&gt;
&mdash;4&mdash;s&ordm;-0&ndash;&lt;br /&gt;
Cases.&lt;br /&gt;
FourTEEN cases have come into the secretary&rsquo;s&lt;br /&gt;
hands during the past month. Four of these were&lt;br /&gt;
claims for moneys and accounts. Two have been&lt;br /&gt;
settled, and two, more recently to hand, are still in&lt;br /&gt;
the course of negotiation. Four were claims for&lt;br /&gt;
money only. Here also two have been settled and&lt;br /&gt;
the cheques forwarded. One is still in the course&lt;br /&gt;
of negotiation though part of the money has been&lt;br /&gt;
paid. The fourth came into the office only a day&lt;br /&gt;
before going to press.&lt;br /&gt;
One claim for the return of MSS. has been&lt;br /&gt;
settled. A complaint has been made by the editor&lt;br /&gt;
of one of the papers to which the secretary applied,&lt;br /&gt;
that a great many authors neglect to write their&lt;br /&gt;
names and addresses on their MSS. when submitting&lt;br /&gt;
them for publication. It has on many occasions&lt;br /&gt;
been stated in this paper that authors should&lt;br /&gt;
not only send stamped and addressed envelopes for&lt;br /&gt;
the return of their MSS., but should always write&lt;br /&gt;
on a visible portion of their MSS. their names and&lt;br /&gt;
addresses, as it not infrequently occurs that the&lt;br /&gt;
MSS. are separated from the envelopes. Owing to&lt;br /&gt;
this neglect it seems that the complaints of authors&lt;br /&gt;
against editors are the result of the authors&rsquo; own&lt;br /&gt;
carelessness and not of any unbusinesslike conduct&lt;br /&gt;
on the part of the editor. The editor, who has&lt;br /&gt;
been in communication with the Secretary, states&lt;br /&gt;
that he has at least sixty MSS. ready for publica-&lt;br /&gt;
tion not one of which contains the name of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 265 (#329) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITISIOR,&lt;br /&gt;
265&lt;br /&gt;
author or anything which would serve for purpos&eacute;s&lt;br /&gt;
of identification. When, therefore, these MSS. are&lt;br /&gt;
published, he will not know to whom the cheques&lt;br /&gt;
should be sent in payment. Authors cannot be too&lt;br /&gt;
careful in their method of conducting their business,&lt;br /&gt;
and it is unfair to complain about editors when&lt;br /&gt;
authors are equally unbusinesslike.&lt;br /&gt;
In the only claim for accounts the accounts have&lt;br /&gt;
been rendered and forwarded to the author. Four&lt;br /&gt;
difficult cases arising out of disputes on agreements&lt;br /&gt;
have also been in hand. Two of these have been&lt;br /&gt;
settled satisfactorily, one is on a fair way to settle-&lt;br /&gt;
ment, while the last has only just come into the&lt;br /&gt;
office. Three cases are still open from former&lt;br /&gt;
months. In one of these the secretary has been&lt;br /&gt;
unable to get an answer from the editor against&lt;br /&gt;
whom the claim rests. Owing to lack of evidence,&lt;br /&gt;
the case will most probably have to be abandoned.&lt;br /&gt;
One claim against an important review is in the&lt;br /&gt;
course of satisfactory negotiation, and will, no&lt;br /&gt;
doubt, be settled shortly.&lt;br /&gt;
A claim for the return of a MS. had to be&lt;br /&gt;
abandoned, as there was no legal evidence that it&lt;br /&gt;
had come into the hands of a responsible person in&lt;br /&gt;
the office to which it was addressed. The remarks&lt;br /&gt;
already made in regard to the submission of MSS.&lt;br /&gt;
apply especially in this case, and the committee&lt;br /&gt;
trust that authors will inwardly digest the warning&lt;br /&gt;
given.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
June Elections.&lt;br /&gt;
Affleck, Mrs. Pioneer Club, Grafton&lt;br /&gt;
&amp;gt; * Street, Piccadilly,&lt;br /&gt;
W -&lt;br /&gt;
37, Widdington Ter-&lt;br /&gt;
race, North Shields.&lt;br /&gt;
Vale Cottage, Chisle-&lt;br /&gt;
hurst, Kent.&lt;br /&gt;
12, Eglinton Crescent,&lt;br /&gt;
Edinburgh.&lt;br /&gt;
4, Melbury Road,&lt;br /&gt;
Kensington, W.&lt;br /&gt;
Bain, James A.&lt;br /&gt;
Balme, Mrs. (Loree)&lt;br /&gt;
Barrett, James A. S.&lt;br /&gt;
Barrington, Mrs. Russell .&lt;br /&gt;
Buchan, John . 40, Hyde Park Square,&lt;br /&gt;
W.&lt;br /&gt;
Burke, J. Butler 68, Buckingham Gate,&lt;br /&gt;
* S.W.&lt;br /&gt;
Colles, Ramsay, J.P. 7, Essex Street, Strand,&lt;br /&gt;
W.C.&lt;br /&gt;
Ditchfield, Rev. P. H.,&lt;br /&gt;
M.A., F.S.A. &ordm; Barkham Rectory, Nr.&lt;br /&gt;
Wokingham.&lt;br /&gt;
96, Inverness Terrace,&lt;br /&gt;
W. .&lt;br /&gt;
45, Chetwynd Road,&lt;br /&gt;
N.W.&lt;br /&gt;
Douglas, James&lt;br /&gt;
Field, Rev. Claud, M.A.&lt;br /&gt;
Gibson, Miss Zo&euml; M.&lt;br /&gt;
Grier, Mrs. Julia&lt;br /&gt;
Harland, Mrs. .&lt;br /&gt;
Hindenburg, The Baroness&lt;br /&gt;
Herbert e&lt;br /&gt;
Innes, Norman&lt;br /&gt;
Jelf, Jay .&lt;br /&gt;
Relly, Marshall&lt;br /&gt;
Lennox, Cosmo Gordon&lt;br /&gt;
McLaren, Miss Amy&lt;br /&gt;
Palmer, W. L. .&lt;br /&gt;
Peek, W. Vernon&lt;br /&gt;
Podmore, Frank&lt;br /&gt;
Radbourne, E. .&lt;br /&gt;
Reid, Forrest . ve .&lt;br /&gt;
Steuart, J. A. .&lt;br /&gt;
Tearle, Christian&lt;br /&gt;
Warley, The Rev. Telford .&lt;br /&gt;
Voynich, Mrs. E. L.&lt;br /&gt;
Wallace, William&lt;br /&gt;
Watson, Mrs. Herbert A. .&lt;br /&gt;
Webling, Peggy&lt;br /&gt;
White, J. Martin&lt;br /&gt;
Williams, C. F. Abdy&lt;br /&gt;
Ellerslie, Petersfield,&lt;br /&gt;
Hants.&lt;br /&gt;
10, Leazes Terrace,&lt;br /&gt;
Newcastle-on-Tyne.&lt;br /&gt;
20, Ken sing to n&lt;br /&gt;
Square, W.&lt;br /&gt;
R arolinen platz 5,&lt;br /&gt;
Munich.&lt;br /&gt;
Royal Societies Club,&lt;br /&gt;
St. James Street,&lt;br /&gt;
S.W. -&lt;br /&gt;
19, Turney Road,&lt;br /&gt;
West Dulwich, S.E.&lt;br /&gt;
&ldquo;Howells,&rdquo; Quendon,&lt;br /&gt;
Essex.&lt;br /&gt;
2, Portman Square, W.&lt;br /&gt;
Milnthorpe, Mortimer&lt;br /&gt;
West, Berks.&lt;br /&gt;
c/o Messrs. The&lt;br /&gt;
Bombay - Burmah&lt;br /&gt;
Corporation, Papun,&lt;br /&gt;
Burmah.&lt;br /&gt;
Forest Lodge, Owls&lt;br /&gt;
Road, Boscombe,&lt;br /&gt;
Hants.&lt;br /&gt;
Lawnside, Burley,&lt;br /&gt;
Hants. -&lt;br /&gt;
9, South Parade,&lt;br /&gt;
Belfast.&lt;br /&gt;
Milsey Bank, Holly&lt;br /&gt;
Park, Crouch Hill,&lt;br /&gt;
N .&lt;br /&gt;
c/o A. P. Watt &amp;amp; Son,&lt;br /&gt;
Hastings House,&lt;br /&gt;
Norfolk Street,&lt;br /&gt;
Strand, W.C.&lt;br /&gt;
Peter Symond&amp;#039;s School&lt;br /&gt;
House, Winchester.&lt;br /&gt;
37, St. Peter&amp;#039;s Square,&lt;br /&gt;
W&lt;br /&gt;
11, ladbroke Road,&lt;br /&gt;
W&lt;br /&gt;
The School House,&lt;br /&gt;
Lancaster.&lt;br /&gt;
124, The Grove,&lt;br /&gt;
Hammersmith, W.&lt;br /&gt;
1, Cumberland Place,&lt;br /&gt;
Regent&amp;#039;s Park, N.W.&lt;br /&gt;
. Milford-on-Sea, Hants.&lt;br /&gt;
(One member objects to the publication of her&lt;br /&gt;
name and address.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 266 (#330) ############################################&lt;br /&gt;
&lt;br /&gt;
266&lt;br /&gt;
TISIES A UITPSIOR.&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OF&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
LIFE OF FIELD MARSHAL SIR NEVILLE CHAMBERLAIN,&lt;br /&gt;
G.C.B., G.C.S.I. By G. W. FoEREST, C.I.B. 9 &times; 53.&lt;br /&gt;
512 pp. Blackwood. 188. n. -&lt;br /&gt;
LIFE AND TIMES OF MASTER JOHN HUS. By COUNT&lt;br /&gt;
LUTZOW. Dent. 12s. 6d. In.&lt;br /&gt;
THE MANIAC : A realistic study of madness, from the&lt;br /&gt;
Maniac&amp;#039;s point of view. 304 pp. Rebman. 68.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
THE CEYLON HANDBOOK AND DIRECTORY, 1908&mdash;9.&lt;br /&gt;
Compiled and Edited by the Staff of the Ceylon Observer,&lt;br /&gt;
under the direction of J. FERGUSON, C.M.G. 8% &times; 53.&lt;br /&gt;
1559 pp. Colombo: Ferguson. London: Maclaren.&lt;br /&gt;
THE STATESMAN&rsquo;s YEAR BOOK, 1909. Edited by J.&lt;br /&gt;
SCOTT KELTIE, LL.D. 46th Annual Publication.&lt;br /&gt;
74 &times; 43. 1404 pp. Macmillan. 10s. 6d. n.&lt;br /&gt;
DICTIONARY OF &bull; NATIONAL BIOGRAPHY.&lt;br /&gt;
SIDNEY LEE. Vol. XVI. Pocock&mdash;Robins.&lt;br /&gt;
Edition.) 94 &times; 6}. 1339 pp. Smith Elder.&lt;br /&gt;
Edited by&lt;br /&gt;
(New&lt;br /&gt;
158. n.&lt;br /&gt;
CLASSICAL.&lt;br /&gt;
THE TRACHINIAN MAIDENS OF SOPHOCLES. Translated&lt;br /&gt;
into English verse by HUGO SHARPLEY, translator of&lt;br /&gt;
the &ldquo;Mimes of Herodas.&rdquo;&lt;br /&gt;
DRAMA.&lt;br /&gt;
THE LAST OF THE DE MULLINS.&lt;br /&gt;
Preface. By ST. JOHN HANKIN.&lt;br /&gt;
Eifield. 13. 6d. n.&lt;br /&gt;
A Play without a&lt;br /&gt;
7 x 5. 128 pp.&lt;br /&gt;
FICTION.&lt;br /&gt;
DAPHNE; OR, MARRIAGE A LA MODE. By MRS. HUMPHRY&lt;br /&gt;
WARD. 7# &times; 5. 315 pp. Cassell. 6s. -&lt;br /&gt;
GALATEA OF THE WHEATFIELD. By M. E. FRANCIS&lt;br /&gt;
(Mrs. Francis Blundell). 7% x 5. 320 pp. Methuen. 68.&lt;br /&gt;
THE PERJURER. By W. E. NORRIS. 73 &times; 5. 312 pp.&lt;br /&gt;
Constable. 68.&lt;br /&gt;
THE CAGE. By HAROLD BEGBIE. 73 &times; 5. 312 pp.&lt;br /&gt;
Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
*NEATH AUSTRAL SKIES.&lt;br /&gt;
315 pp. Milne. 6s.&lt;br /&gt;
ATTAINMENT. By MRS. HAVELOCK ELLIS. 7% &times; 5.&lt;br /&gt;
316 pp. Alston Rivers. 6s.&lt;br /&gt;
PERU&rsquo;s PEOPLE: A Story for Mothers&amp;#039; Meetings. By M.&lt;br /&gt;
BRAMSTON. 73 &times; 5. 157 pp. S.P.C.K. 1s. 6d.&lt;br /&gt;
STUDIES IN WIVES. By MRS. BELLOC LowNDES. 73 &times; 5.&lt;br /&gt;
247 pp. Heinemann. 63. -&lt;br /&gt;
GATES OF BRASS. By MRS. AUBREY RICHARDSON.&lt;br /&gt;
7% x 5. 319 pp. Digby, Long, 68. -&lt;br /&gt;
THE RED-HOT CROWN. A Semi-historical Romance. By&lt;br /&gt;
DOROTHEA GERARD (MADAME LONGARD DE LONG-&lt;br /&gt;
GARDE). 7% x 5. 318 pp. John Long. 68.&lt;br /&gt;
COUSINS AND OTHERS. By KATHARINETYNAN.&lt;br /&gt;
319 pp. Werner Laurie. 68.&lt;br /&gt;
By Louis BECKE. 73 &times; 5.&lt;br /&gt;
7} x 5.&lt;br /&gt;
: A YOUNG MAN FROM THE COUNTRY.&lt;br /&gt;
By MADAME&lt;br /&gt;
ALBANESI. 320 pp. THE IDEs of MARCH. By MRs.&lt;br /&gt;
BAILLIE-REYNOLDS. 370 pp. 63 x 43. (Hurst &amp;amp;&lt;br /&gt;
Blackett&amp;#039;s Sevenpenny Reprints.)&lt;br /&gt;
THE SPELL OF THE JUNGLE. By ALICE PERRIN. 73 x 5.&lt;br /&gt;
230 pp. Stanley Paul, 1s. n.&lt;br /&gt;
THE HOUSE OF INTRIGUE. By PERCY WHITE. 8 &times; 5.&lt;br /&gt;
372 pp. Hurst &amp;amp; Blackett. 6s.&lt;br /&gt;
SIXPENNY PIECES. By A. NEIL LYONs. 73 &times; 5. 305 pp.&lt;br /&gt;
Lane. 68. t&lt;br /&gt;
THE LOVE BROKERS.&lt;br /&gt;
290 pp. Cassell. 6s.&lt;br /&gt;
A WERY DOUBTFUL EXPERIMENT.&lt;br /&gt;
By ALBERT KINRoss. 73 &times; 5.&lt;br /&gt;
By L. G. MOBERLY.&lt;br /&gt;
73 &times; 5. 303 pp. Ward, Lock. 6s.&lt;br /&gt;
JOHN GLYNN. By A. PATERSON. 311 pp. DIANA&lt;br /&gt;
TEMPEST. By MARY CHOLMONDELEY. 318 pp. THE&lt;br /&gt;
FoREST LOVERS. By MAURICE HEWLETT. 301 pp.&lt;br /&gt;
64 &times; 4}. Macmillan. 7d.&lt;br /&gt;
THE YoUNGEST MISS Mowbray. By B. M. CROKER.&lt;br /&gt;
6% x 44, 320 pp. Hurst &amp;amp; Blackett. 7d.&lt;br /&gt;
A CHANGE IN THE CABINET. By H. BELLOC, 7} x 5.&lt;br /&gt;
309 pp. Methuen. 6s.&lt;br /&gt;
THE POOLS OF SILENCE. By H. DE WERE STACPooDE.&lt;br /&gt;
73 x 5. 348 pp. Unwin. 6s.&lt;br /&gt;
THE BRONZE BELL. By L. J. VANCE. 73 &times; 5.&lt;br /&gt;
Grant Richards. 6s.&lt;br /&gt;
DIANA DETHRONED. By W. M. LETTS.&lt;br /&gt;
Lane. 68.&lt;br /&gt;
BURNT WINGs. By MRs. STANLEY WRENCH. 73 &times; 5.&lt;br /&gt;
317 pp. John Long. 6s.&lt;br /&gt;
SIR GREGORY&amp;#039;s SILENCE. By A. W. MARCHMONT.&lt;br /&gt;
7# &times; 5. 328 pp. Cassell. 68.&lt;br /&gt;
PEGGY GAINSBOROUGH. The Great Painter&amp;#039;s Daughter.&lt;br /&gt;
By EMILY BAKER. 7: x 5. 243 pp. F. Griffiths.&lt;br /&gt;
58. n.&lt;br /&gt;
350 pp.&lt;br /&gt;
73 &times; 53. 317 pp,&lt;br /&gt;
GARDENING.&lt;br /&gt;
DUTCH BULBS AND GARDENs. Painted by MIMA NIxoN.&lt;br /&gt;
Described by UNA SILBERRAD AND SOPHIE LYALL.&lt;br /&gt;
9 &times; 6%. 176 pp. Black. 7s.6d. n.&lt;br /&gt;
HISTORY.&lt;br /&gt;
E VERY MAN&amp;#039;S HISTORY OF THE ENGLISH CHURCH.&lt;br /&gt;
By the REv. PERCY DEARMER. With over 100&lt;br /&gt;
Illustrations, 7% &times; 5}. 158 pp. Mowbray. 1s. n.&lt;br /&gt;
LAW.&lt;br /&gt;
THE INDIAN CONTRACT ACT. By SIR FREDERICK&lt;br /&gt;
POLLOCK, BART., assisted by DINSHAH FARDUNJI&lt;br /&gt;
MULLA, M.A., LL.B. (Second Edition.) 93 x 64.&lt;br /&gt;
744 pp. London: Sweet &amp;amp; Maxwell. Bombay : Thacker;&lt;br /&gt;
and N. M. Tripathi. 258. n.&lt;br /&gt;
LITERARY.&lt;br /&gt;
OXFORD LECTURES ON POETRY. By A. C. BRADLEY.&lt;br /&gt;
9 x 6. 395 pp. Macmillan. 108. n.&lt;br /&gt;
ESSAYS IN FREEDOM. By H. W. NEVINSON. 8 &times; 5}.&lt;br /&gt;
329 pp. Duckworth. 6s. n. -&lt;br /&gt;
Is SHAKESPEARE DEAD 7 From my Autobiography. By&lt;br /&gt;
MARK TwAIN, 83 &times; 53. 150 pp. Harper. 3s.6d.&lt;br /&gt;
THE LEGEND OF SIR PERCIVAL. Studies upon its Origin,&lt;br /&gt;
Development and Position in the Arthurian Cycle. By&lt;br /&gt;
JESSIE L. WESTON. Vol. II., The Prose Percival&lt;br /&gt;
according to the Modena MS. 73 &times; 5%. 355 pp.&lt;br /&gt;
Nutt. 15s. n.&lt;br /&gt;
ADVENTURES IN LONDON. By JAMES DOUGLAS.&lt;br /&gt;
5%. 415 pp. Cassell. 68. m. *&lt;br /&gt;
GEORGE MEREDITH IN ANECDOTE AND CRITICISM. By&lt;br /&gt;
J. A. HAMMERTON. 9 &times; 53. 391 pp. Grant Richards.&lt;br /&gt;
12s. 6d. n.&lt;br /&gt;
8} x&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 267 (#331) ############################################&lt;br /&gt;
&lt;br /&gt;
TRIE A UTISIOR.&lt;br /&gt;
267&lt;br /&gt;
MEDICAL.&lt;br /&gt;
SANITARY LAWS AND PRACTICE. A. Handbook for&lt;br /&gt;
Students of Public Health and others. By &ordm;&lt;br /&gt;
ROBERTSON, M.D., and C. PoRTER, M.D. (Second&lt;br /&gt;
Edition Revised.) 83 x 5%. 694 pp. The Sanitary&lt;br /&gt;
Publishing Co. 10s. 6d. n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
ANGLO-SAXONS FROM PALESTINE ; OR, THE IMPERIAL&lt;br /&gt;
MYSTERY OF THE LOST TRIBEs. By MRS. THEODORE&lt;br /&gt;
BENT. 7 &times; 43. 75 pp. Sherratt &amp;amp; Hughes. 18. n.&lt;br /&gt;
MUSIC.&lt;br /&gt;
GEMS OF A DAY. Robin and the Violets. By L. BUDGEN&lt;br /&gt;
and R. GOLDBECK. Crewsher &amp;amp; Co.&amp;#039;s School Series.&lt;br /&gt;
Bradford : Crewsher. 2d. each.&lt;br /&gt;
NATURAL HISTOR Y.&lt;br /&gt;
THE POND I KNOW. Edited by W. P. WESTELL and H.&lt;br /&gt;
E. TURNER. 74 x 5. 78 pp. (Open Air Nature&lt;br /&gt;
Books.) Dent. 8d.&lt;br /&gt;
POETRY.&lt;br /&gt;
SONNETS. By LORD ALFRED DOUGLAS. 8 &times; 53. 30 pp.&lt;br /&gt;
The Academy Publishing Co.&lt;br /&gt;
THREE POEMS. By CHARLES F. GRINDROD. Elkin&lt;br /&gt;
Mathews). 1s.&lt;br /&gt;
ELIJAH : An Ascent. A Poem in Three Parts. By J.&lt;br /&gt;
BRITCHARD. 7 x 43. 93 pp. Kegan Paul. 1s. 6d. n.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE CHRONICLE HISTORY OF KING LEIR. The Original&lt;br /&gt;
of Shakespeare&amp;#039;s &ldquo;King Lear.&rdquo; Edited by SIDNEY LEE.&lt;br /&gt;
7 x 5%. Chatto &amp;amp; Windus. 2s. 6d. n.&lt;br /&gt;
SPORT.&lt;br /&gt;
CLUB BRIDGE. By A. DUNN. 7; x 5. 245 pp. Mills&lt;br /&gt;
&amp;amp; Boon. 5s. n.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
MEISTER ECKHART&amp;#039;S SERMONS. First time translated into&lt;br /&gt;
English. By CLAUD FIELD. 60 pp. 64 &times; 74. Allen-&lt;br /&gt;
Son. 18. n.&lt;br /&gt;
THE CHARACTER OF JESUS CHRIST. By the REV. T. A.&lt;br /&gt;
LACEY. 30 pp. 74 &times; 5. The North London Christian&lt;br /&gt;
Evidence League. 3d. n.&lt;br /&gt;
THE MESSAGE OF THE SON OF MAN. By EDWIN A.&lt;br /&gt;
ABBOTT, Author of &ldquo;Silanus the Christian.&rdquo; 9 &times; 6.&lt;br /&gt;
166 pp. 8vo. Cloth. A. and C. Black. 4s. 6d. n.&lt;br /&gt;
THE ENTERPRISE OF ELLA : A Stock Exchange Romance.&lt;br /&gt;
By JAY JELF. 320 pp. John Long. 68.&lt;br /&gt;
BoDY AND SouL. By PERCY DEARMER, 73 &times; 5. 405 pp.&lt;br /&gt;
Sir Isaac Pitman. 6s. n.&lt;br /&gt;
THE NEW THEOLOGY. By the REV. R. J. CAMPBELL.&lt;br /&gt;
Thoroughly revised and with 2 Aew Preface. 7+ x 43.&lt;br /&gt;
228 pp. Mills &amp;amp; Boon. 18, n.&lt;br /&gt;
TOPOGRAPHY,&lt;br /&gt;
THE INNS OF COURT. Painted by GORDON HORNE.&lt;br /&gt;
Described by CECIL HEADLAM. 9 &times; 6%. 211 pp.&lt;br /&gt;
Black. 7s.6d. n.&lt;br /&gt;
THE SPIRIT OF THE DOWNS. Impressions of the Sussex&lt;br /&gt;
Downs. By ARTHUR BECKETT. 9 &times; 53. 366 pp.&lt;br /&gt;
Methuen. 10s. 6d. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
TYROL AND ITS PEOPLE. By CLIVE HOLLAND. 9 &times; 53.&lt;br /&gt;
336 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
B00KS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
&mdash;t-Q-&ordm;&mdash;&lt;br /&gt;
BIOGEAPHY.&lt;br /&gt;
NADIR SHAH. By SIR. H. MoRTIMER DURAND.&lt;br /&gt;
New York: Dutton. $3 m.&lt;br /&gt;
BOOKS FOR THE YOUNG,&lt;br /&gt;
JUST-SO STORIES FOR LITTLE CHILDREN.&lt;br /&gt;
by the Author.&lt;br /&gt;
&amp;amp; Co.&lt;br /&gt;
352 pp.&lt;br /&gt;
Illustrated&lt;br /&gt;
249 pp. New York : Doubleday, Page&lt;br /&gt;
(Pocket Kipling.) Leather. $1.50 n.&lt;br /&gt;
FICTION.&lt;br /&gt;
LOVE&amp;#039;s PRIVILEGE. By MRs.&lt;br /&gt;
375 pp. Lippincott. $1.50.&lt;br /&gt;
TESS OF THE D&amp;#039;URBERVILLES. By THoMAS HARDy.&lt;br /&gt;
(Thin paper edition.) 457 pp. Harper. $1.25 n.&lt;br /&gt;
&ordm;, By F. E. MILLS YOUNG. 31.1 pp. John Lane.&lt;br /&gt;
MARRIAGE A LA MODE. By MRS, HUMPHRY WARD.&lt;br /&gt;
324 pp. Doubleday, Page &amp;amp; Co. $1.20.&lt;br /&gt;
- TITERARY.&lt;br /&gt;
DANTE IN ENGLISH LITERATURE : from Chaucer to Cary.&lt;br /&gt;
STELLA. M. DURING.&lt;br /&gt;
By PAGET TOYNBEE. Two Vols. 683 &times; 757 pp.&lt;br /&gt;
Macmillan. $5 m.&lt;br /&gt;
PHILOSOPHY.&lt;br /&gt;
IS IMMORTALITY DESTRABLE 2 By G. Low ES DICKEN-&lt;br /&gt;
SON. 63 pp. Houghton Mifflin. 75c. n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
THE ETHER OF SPACE. By SIR OLIVER LODGE.&lt;br /&gt;
New York: Harper, 75c. n.&lt;br /&gt;
A FALSE POSITION. By MRS. L. BAILLIE REYNOLDS.&lt;br /&gt;
168 pp.&lt;br /&gt;
348 pp. Brentano. $1.50.&lt;br /&gt;
TECHNICAL.&lt;br /&gt;
CASSELL&rsquo;s CYCLOPAEDIA OF MECHANICs. Edited by&lt;br /&gt;
PAUL HASLUCK. Cassell. $2.50 m.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E must congratulate Mr. A. W. Pinero&lt;br /&gt;
and Mr. J. H. Yoxall, two distinguished&lt;br /&gt;
members of the Society, on the receipt&lt;br /&gt;
of knighthoods in the last list of birthday honours.&lt;br /&gt;
It seems extraordinary that dramatists should have&lt;br /&gt;
been so long neglected when the interpreters of&lt;br /&gt;
their works have received recognition. The genius&lt;br /&gt;
who originates the work is surely of more conse-&lt;br /&gt;
quence than the mimetic interpreter; but this, no&lt;br /&gt;
doubt, is only further evidence that genius is, as a&lt;br /&gt;
rule, neglected.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
The Fortnightly Review for June contains Mr.&lt;br /&gt;
Edward Clodd&amp;#039;s paper, &ldquo;Pre-animistic Stages in&lt;br /&gt;
Religion,&rdquo; which was read at the third Inter-&lt;br /&gt;
national Congress for the History of Religions&lt;br /&gt;
at Oxford in September of last year.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 268 (#332) ############################################&lt;br /&gt;
&lt;br /&gt;
268&lt;br /&gt;
TFIE A DfTFIOR.&lt;br /&gt;
&ldquo;The Message of the Son of Man,&rdquo; by the Rev.&lt;br /&gt;
Edwin A. Abbott, is an attempt to answer the&lt;br /&gt;
question, &ldquo;Why did Christ call Himself &lsquo;the Son&lt;br /&gt;
of Man&rsquo;?&rdquo; The answer arrived at is that the&lt;br /&gt;
title was adopted by Him, not from apocryphal,&lt;br /&gt;
but solely from Biblical sources, so as to indicate&lt;br /&gt;
the man made in the image of God and destined&lt;br /&gt;
to have dominion over the beast. Dr. Abbott&lt;br /&gt;
points out that Ezekiel and Daniel, the only&lt;br /&gt;
prophets called &ldquo;son of man,&rdquo; are shown to have&lt;br /&gt;
had visions pointing to such a dominion of the&lt;br /&gt;
Man or Son of Man. Messrs. A. and C. Black are&lt;br /&gt;
the publishers.&lt;br /&gt;
MUSIC.&lt;br /&gt;
Mr. Joseph Holbrooke&amp;#039;s orchestral and choral&lt;br /&gt;
concert of his new works was held at Queen&amp;#039;s Hall&lt;br /&gt;
on Friday, June 25. The programme included&lt;br /&gt;
choral songs, a dramatic choral Symphony, &ldquo;Anna-&lt;br /&gt;
bel Lee&rsquo;&rdquo; (a ballad with orchestra). Mr. Holbrooke&lt;br /&gt;
had the assistance of Mr. Victor Benham (the&lt;br /&gt;
American pianist), the Alexandra Palace choir of&lt;br /&gt;
four hundred picked voices, and the Beecham&lt;br /&gt;
orchestra of ninety performers. Mr. Allen Gill and&lt;br /&gt;
Mr. Thomas Beecham acted as conductors.&lt;br /&gt;
Messrs. Crewsher &amp;amp; Co.&amp;#039;s latest additions to their&lt;br /&gt;
school series include &ldquo;Gems of a Day,&rdquo; by L.&lt;br /&gt;
Budgen and R. Goldbeck. The songs are published&lt;br /&gt;
at the price of 2d.&lt;br /&gt;
FICTION.&lt;br /&gt;
Dr. Riccardo Stephens has just finished a series&lt;br /&gt;
of stories with the general title of &ldquo;The Signet&lt;br /&gt;
Ring,&rdquo; commissioned for Chambers&rsquo; Journal.&lt;br /&gt;
&ldquo;A Fair Suffragette&rdquo; is the title of a novel by&lt;br /&gt;
Adrienne Mollwo, which Mr. Henry Drane has just&lt;br /&gt;
published.&lt;br /&gt;
&ldquo;Downhill: the Story of a Faithful Servant,&rdquo;&lt;br /&gt;
by Eva Richmond, is a narrative told, in simple&lt;br /&gt;
language, which concerns the life of a horse. She&lt;br /&gt;
describes the sufferings it has to endure at the&lt;br /&gt;
hands of masters, thoughtless when not cruel, and&lt;br /&gt;
untouched by any feelings of affection when, worn&lt;br /&gt;
out by harsh treatment, it is no longer profitable to&lt;br /&gt;
them. Copies of the story, which are on sale at 3s. per&lt;br /&gt;
100, are obtainable at the offices of the Royal&lt;br /&gt;
Society for the Prevention of Cruelty to Animals,&lt;br /&gt;
105, Jermyn Street, S.W.&lt;br /&gt;
&ldquo;Beyond the Skyline,&rdquo; by Robert Aitken, is a&lt;br /&gt;
volume of short stories recently published by Mr.&lt;br /&gt;
John Murray. The scenes of most of them are laid&lt;br /&gt;
beyond the horizon of the average reader&mdash;in lands&lt;br /&gt;
where a man is measured by a standard that&lt;br /&gt;
demands justice here and now, and on seas whose&lt;br /&gt;
open expanse permits no littleness to lurk in the&lt;br /&gt;
souls of those who travel over them. In America&lt;br /&gt;
Mr. B. W. Huebsch is the publisher.&lt;br /&gt;
Mrs. During&amp;#039;s new novel, &ldquo;Love&amp;#039;s Privilege,&rdquo;&lt;br /&gt;
which won a &pound;200 prize in the recent serial&lt;br /&gt;
competition organised by the Chicago Daily News&lt;br /&gt;
Company, has just been brought out in volume&lt;br /&gt;
form by Messrs. Lippincott, of Philadelphia, and is&lt;br /&gt;
being extensively advertised in America. The&lt;br /&gt;
British and Australian serial rights in the story&lt;br /&gt;
have been purchased by Messrs. Tillotson, of Bolton.&lt;br /&gt;
Miss Sheila Kaye-Smith, whose first novel, &ldquo;The&lt;br /&gt;
Tramping Methodist,&rdquo; was published by Messrs.&lt;br /&gt;
Geo. Bell &amp;amp; Son, has just issued, through the same&lt;br /&gt;
house, a second novel, which she calls &ldquo;Starbrace.&rdquo;&lt;br /&gt;
In this book Miss Kaye-Smith deals with life in&lt;br /&gt;
Kent and Sussex during the first half of the&lt;br /&gt;
eighteenth century, partly &ldquo;on the roads&rdquo; and&lt;br /&gt;
partly in the hunting field. The author depicts&lt;br /&gt;
the struggle between two utterly dissimilar natures&lt;br /&gt;
brought together by mutual love, and gives a study&lt;br /&gt;
of human cross-strains as exemplified in the hero&amp;#039;s&lt;br /&gt;
character.&lt;br /&gt;
We regret that in our notice of Miss R. N.&lt;br /&gt;
Carey&amp;#039;s new book last month we gave it an incorrect&lt;br /&gt;
title. Miss Carey&amp;#039;s book is called &ldquo;The Key of&lt;br /&gt;
the Unknown,&rdquo; not &ldquo;The King of the Unknown &amp;quot;&lt;br /&gt;
as stated. We tender our apologies to the author&lt;br /&gt;
for the slip.&lt;br /&gt;
Mrs. M. E. Stevenson, who has latterly only&lt;br /&gt;
been writing descriptive articles, has just completed&lt;br /&gt;
a novel, the scene of which is laid in Yorkshire.&lt;br /&gt;
The interest of this novel centres in two literary&lt;br /&gt;
sisters, who are launched into a domestic removal&lt;br /&gt;
and the care of two children by their brother and&lt;br /&gt;
his wife, who meanwhile go abroad, and subse-&lt;br /&gt;
quently start for a voyage round the world. In&lt;br /&gt;
this, however, they are arrested by an unexpected&lt;br /&gt;
development of events at home, which lead to a&lt;br /&gt;
climax. The title will probably be &ldquo;The Maiden&lt;br /&gt;
Aunts,&rdquo; or &ldquo;Tommy&amp;#039;s Aunts.&rdquo; The story is laid&lt;br /&gt;
in a well-known and historical locality.&lt;br /&gt;
&ldquo;The Enterprise of Ella : a Stock Exchange&lt;br /&gt;
Romance,&rdquo; by Jay Jelf, is a love story of an English&lt;br /&gt;
girl who in her early days is thrown upon her own&lt;br /&gt;
resources, and eventually finds a haven in unex-&lt;br /&gt;
pected waters. Blended with the story is a picture&lt;br /&gt;
of the manners and methods of the Stock Exchange.&lt;br /&gt;
Mr. John Long is the publisher.&lt;br /&gt;
Mrs. de Crespigny&rsquo;s new novel, &ldquo;The Coming of&lt;br /&gt;
Aurora,&rdquo; will be published by Mr. Eveleigh Nash&lt;br /&gt;
on July 7. It is a story of modern times, and&lt;br /&gt;
the first part takes place on the borders of France&lt;br /&gt;
and Switzerland, the second in North Wales.&lt;br /&gt;
There is a cover design by Miss Marjorie Murray.&lt;br /&gt;
Stories from the same writer have appeared in the&lt;br /&gt;
May issue of the Red Magazine, last month&amp;#039;s&lt;br /&gt;
Storyteller, and the Car of June 9th.&lt;br /&gt;
Mr. Michael Barrington&amp;#039;s first book, &ldquo;The&lt;br /&gt;
Reminiscences of Sir Barrington Beaumont,&rdquo;&lt;br /&gt;
dealt with social and political conditions ; his&lt;br /&gt;
second, &ldquo;The King&amp;#039;s Fool,&rdquo; was a story of&lt;br /&gt;
romance. His latest work, &ldquo;The Knight of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 269 (#333) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE A CITISIOR,&lt;br /&gt;
269&lt;br /&gt;
Golden Sword,&rdquo; which is to be published in the&lt;br /&gt;
early autumn by Messrs. Chatto &amp;amp; Windus, while&lt;br /&gt;
giving a cynical picture of the England of the later&lt;br /&gt;
Stuarts and of the intrigues which brought about&lt;br /&gt;
the revolution of 1688, shows John Graham, the&lt;br /&gt;
last great champion of the fallen cause.&lt;br /&gt;
&ldquo;The Shadow of the Ragged Stone&amp;quot; is the title&lt;br /&gt;
of a story by Charles F. Grindrod, published recently&lt;br /&gt;
by Mr. Elkin Mathews, which tells of the days of&lt;br /&gt;
Henry II., and presents the great struggle of that&lt;br /&gt;
reign between Church and State, between King and&lt;br /&gt;
prelate, between secular law and ecclesiastical rule.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
&ldquo;A Merry Devil,&rdquo; Mr. J. B. Fagan&amp;#039;s new play,&lt;br /&gt;
was produced at the Playhouse on June 3. The&lt;br /&gt;
cast included Mr. Cyril Maude, Miss Winifred&lt;br /&gt;
Emery, and Miss Jessie Bateman.&lt;br /&gt;
The Irish Players&amp;#039; season at the Court Theatre&lt;br /&gt;
last month witnessed the production of two one-&lt;br /&gt;
act plays, by Lady Gregory and Mr. Norreys&lt;br /&gt;
Connell respectively. &ldquo;Hyacinth Halvey,&rdquo; Lady&lt;br /&gt;
Gregory&amp;#039;s piece, portrayed Irish life and customs ;&lt;br /&gt;
while Mr. Connell&amp;#039;s work, &ldquo;An Imaginary Conver-&lt;br /&gt;
sation,&rdquo; was a character study, which contrasted&lt;br /&gt;
the cold cynicism of Tom Moore with the passionate&lt;br /&gt;
enthusiasm of the revolutionist Robert Emmet.&lt;br /&gt;
Sir Arthur Conan Doyle&amp;#039;s new play, &ldquo;The Fires&lt;br /&gt;
of Fate,&rdquo; was produced at the Lyric Theatre on&lt;br /&gt;
June 15. The chief character in the piece is&lt;br /&gt;
a young colonel, who, informed by his doctor that&lt;br /&gt;
he has probably only a year to live, abandons his&lt;br /&gt;
first thought of putting an immediate end to his&lt;br /&gt;
existence, in deference to the appeals of his brother (a&lt;br /&gt;
Nonconformist minister), who advances the orthodox&lt;br /&gt;
Christian objections, and the hope expressed by&lt;br /&gt;
the doctor of a possible recovery in the event of&lt;br /&gt;
the administration of a shock. The nature of the&lt;br /&gt;
shock which the colonel experienced, and the&lt;br /&gt;
result it produced, are told in the play, which is&lt;br /&gt;
interpreted by a cast including Mr. Lewis Waller,&lt;br /&gt;
Mr. A. E. George, Mr. Fisher White, and Miss&lt;br /&gt;
Auriol Lee.&lt;br /&gt;
Among the plays included by Miss Horniman,&lt;br /&gt;
in her recent repertory performances at the Coronet&lt;br /&gt;
Theatre, Notting Hill, were Mr. G. Bernard Shaw&amp;#039;s&lt;br /&gt;
&ldquo;Widowers&amp;#039; Houses&rdquo; and Mr. John Galsworthy&amp;#039;s&lt;br /&gt;
&ldquo;The Silver Box.&rdquo;&lt;br /&gt;
Mr. Arthur Dillon&rsquo;s &ldquo;Leto Suppliant,&rdquo; shortly to&lt;br /&gt;
be published by Mr. Elkin Mathews, is modelled in&lt;br /&gt;
the form of Greek drama.&lt;br /&gt;
Mr. St. John Hankin&amp;#039;s new play, &ldquo;The Last of&lt;br /&gt;
the De Mullins,&rdquo; which the Stage Society produced&lt;br /&gt;
at the Haymarket at the end of last year, has now&lt;br /&gt;
been published by Mr. A. C. Fifield at 1s. 6d. net.&lt;br /&gt;
POETRY.&lt;br /&gt;
&ldquo;Elijah : An Ascent,&rdquo; by F. Pritchard (Kegan&lt;br /&gt;
Paul &amp;amp; Co.), is a poem dealing with the last phase&lt;br /&gt;
in the life of the prophet Elijah, from an imaginative&lt;br /&gt;
and ethical standpoint. It is interspersed with&lt;br /&gt;
four songs. -&lt;br /&gt;
Mr. J. M. Stuart-Young, author of &ldquo;Merely a&lt;br /&gt;
Negress,&rdquo; etc., has ready for the press a volume of&lt;br /&gt;
tropical poems upon West Africa. The title chosen&lt;br /&gt;
is &ldquo;The Seductive Coast,&rdquo; and the book will be&lt;br /&gt;
published in the autumn by Mr. John Ouseley.&lt;br /&gt;
The first edition has already been subscribed for by&lt;br /&gt;
COasters.&lt;br /&gt;
Mr. Charles F. Grindrod has published, through&lt;br /&gt;
Mr. Elkin Mathews, a volume which contains, and&lt;br /&gt;
is entitled &ldquo;Three Poems.&rdquo; The first, is &ldquo;An&lt;br /&gt;
Elegy,&rdquo; in which the author plumbs the depths of&lt;br /&gt;
Sorrow and longing. Following this is a poem&lt;br /&gt;
called &ldquo;The Two Spirits,&rdquo; the spirits being Joy&lt;br /&gt;
and Sorrow, and the argument of the poem being&lt;br /&gt;
that each is indispensable to the other, and both&lt;br /&gt;
to God&amp;#039;s purpose. The last poem, &ldquo;The Lost&lt;br /&gt;
Soul,&rdquo; is a soliloquy pregnant with religious&lt;br /&gt;
feeling.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
A series of historical articles, entitled, &ldquo;Four&lt;br /&gt;
Forgotten Great Irishwomen,&rdquo; by L. M. McCraith,&lt;br /&gt;
author of &ldquo;A Green Tree,&rdquo; will appear in the&lt;br /&gt;
Englishwoman&amp;#039;s Review, commencing with the&lt;br /&gt;
current number. The articles deal with St. Brigit,&lt;br /&gt;
Queen Gorringlaith, Margaret O&amp;#039;Carroll (the&lt;br /&gt;
Bountiful), and Grainne O&amp;#039;Malley, the pirate.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
Messrs. Siegle, Hill &amp;amp; Co. have published a&lt;br /&gt;
German translation of Mr. George Meredith&rsquo;s&lt;br /&gt;
&ldquo;Tragic Comedians,&rdquo; which has been prepared by&lt;br /&gt;
Miss Ida Benecke, who has kindly promised the&lt;br /&gt;
proceeds of the sale to the Society&amp;#039;s pension&lt;br /&gt;
fund.&lt;br /&gt;
&ldquo;Clough&amp;#039;s South African Parliamentary Manual&rdquo;&lt;br /&gt;
is a work by Mr. O. Clough, containining a large&lt;br /&gt;
amount of information respecting the constitution&lt;br /&gt;
and governance of South Africa. The first part&lt;br /&gt;
of the book deals with the &ldquo;non-parliamentary&lt;br /&gt;
colonies&rdquo; of British South Africa, and gives par-&lt;br /&gt;
ticulars of the population and constitutional&lt;br /&gt;
information in respect of each territory. Parts 2,&lt;br /&gt;
3, 4, and 5 of the book are devoted respectively to&lt;br /&gt;
the South African self-governing colonies, viz., the&lt;br /&gt;
Cape of Good Hope, Natal, the Transvaal, and&lt;br /&gt;
Orange River Colony. A greater portion of the&lt;br /&gt;
volume, however, is set apart to South African&lt;br /&gt;
parliamentary procedure, both for public business&lt;br /&gt;
and private bills. The book is prefixed by a map&lt;br /&gt;
of British South Africa, showing all railway, tele-&lt;br /&gt;
graph, and telephone communication throughout&lt;br /&gt;
South Africa. The work is published by the&lt;br /&gt;
Central News Ageney of Cape Town, Pietermaritz-&lt;br /&gt;
burg, Bloemfontein, Pretoria, &amp;amp;c, &amp;amp;c.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 270 (#334) ############################################&lt;br /&gt;
&lt;br /&gt;
270&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
REAT satisfaction is felt by French authors&lt;br /&gt;
with regard to the new Act in the American&lt;br /&gt;
Copyright Law, which comes into effect&lt;br /&gt;
from July 1, 1909. From henceforth it will, of&lt;br /&gt;
course, be much more easy for foreign authors to&lt;br /&gt;
secure copyright for their books, either in the&lt;br /&gt;
original language or in translations, throughout the&lt;br /&gt;
United States of America.&lt;br /&gt;
&ldquo;Le Miroir aux Alouettes,&rdquo; by J. de Mestral&lt;br /&gt;
Combremont, is another problem novel. The&lt;br /&gt;
characters are so well drawn and so living that it&lt;br /&gt;
might very well be a story from life transplanted&lt;br /&gt;
into a volume. It is the old, old story of the man&lt;br /&gt;
who marries believing himself to be in love, and&lt;br /&gt;
finds out afterwards that he is bound for life to&lt;br /&gt;
a woman who is not, and never can be, a companion&lt;br /&gt;
to him. He discovers too late that the woman of&lt;br /&gt;
kindred taste, whom he had always treated as a&lt;br /&gt;
friend, is the woman he should have married.&lt;br /&gt;
When the discovery comes to them both, she&lt;br /&gt;
decides to put the ocean between them. The&lt;br /&gt;
problem is therefore left for the future. Mere&lt;br /&gt;
absence cannot solve such a problem, the author&lt;br /&gt;
does not attempt to look into the future, and we&lt;br /&gt;
are left with a situation which demands a sequel.&lt;br /&gt;
There is a distinct tendency in the French literature&lt;br /&gt;
of to-day to leave questions open. Instead of&lt;br /&gt;
attempting to give us the final word, the author&lt;br /&gt;
frequently leaves us with a problem unsolved. In&lt;br /&gt;
Edouard Rod&amp;#039;s recent books, and in those by&lt;br /&gt;
several other authors, this is the case. In the&lt;br /&gt;
book of which we have just spoken a sequel is&lt;br /&gt;
absolutely necessary.&lt;br /&gt;
&ldquo;Pierre et Th&eacute;r&egrave;se&rsquo;&rsquo;&lt;br /&gt;
Prevost&rsquo;s new novel.&lt;br /&gt;
Anatole France has just published a volume&lt;br /&gt;
entitled &ldquo;Les Sept Femmes de la Barbe-Bleue et&lt;br /&gt;
autres Contes Merveilleux.&rdquo;&lt;br /&gt;
&ldquo;Le Droit &agrave; la Force,&rdquo; by Daniel Lesueur, is&lt;br /&gt;
both a roman feuilleton and a psychological study.&lt;br /&gt;
It is only in a few rare cases that an author&lt;br /&gt;
succeeds in writing a novel which is extremely&lt;br /&gt;
dramatic and at the same time an excellent study&lt;br /&gt;
of character. &ldquo;Nietzsch&eacute;ene,&rdquo; the last novel by&lt;br /&gt;
this same author, is now in its twenty-eighth&lt;br /&gt;
edition.&lt;br /&gt;
&ldquo;Lettres de Barbey d&amp;#039;Aurevilly &amp;amp; Trebutien&rdquo; is&lt;br /&gt;
a publication in two large-sized volumes, containing&lt;br /&gt;
the correspondence of D&amp;#039;Aurevilly with his friend&lt;br /&gt;
Trebutien from 1832 to 1856. Trebutien was&lt;br /&gt;
the publisher at Caen who helped D&rsquo;Aurevilly to&lt;br /&gt;
bring out his first books. He published the&lt;br /&gt;
famous review entitled Revue de Caen, on which&lt;br /&gt;
D&rsquo;Aurevilly founded all his hopes. The first&lt;br /&gt;
number of this review was the last one. The&lt;br /&gt;
is the title of Marcel&lt;br /&gt;
opening letter of this collection was written when&lt;br /&gt;
D&amp;#039;Aurevilly was only twenty-four years of age. It is&lt;br /&gt;
full of enthusiasm. The last one is dated twenty-four&lt;br /&gt;
years later, and is still more enthusiastic. During&lt;br /&gt;
the whole period of this correspondence Barbey&lt;br /&gt;
d&amp;#039;Aurevilly wrote letters to his friend, many of&lt;br /&gt;
which are masterpieces of description and wit.&lt;br /&gt;
There are no dull letters in the book. They are&lt;br /&gt;
all natural, full of life and interest, and are perhaps&lt;br /&gt;
even more curious and interesting to read to-day&lt;br /&gt;
than they were at the time they were penned.&lt;br /&gt;
The persons of whom D&rsquo;Aurevilly speaks, Victor&lt;br /&gt;
Hugo, George Sand, Mme. R&eacute;camier, Maurice, and&lt;br /&gt;
Eug&eacute;nie de Gu&eacute;rin, have now become historical&lt;br /&gt;
personages. It is interesting to read the opinion&lt;br /&gt;
of a contemporary like D&amp;#039;Aurevilly. The inaugura-&lt;br /&gt;
tion of the monument erected in honour of his&lt;br /&gt;
centenary is shortly to take place. The bust has&lt;br /&gt;
been executed by Rodin, and subscriptions are&lt;br /&gt;
still being received by the Soci&eacute;t&eacute; des Gens de&lt;br /&gt;
Lettres. Books, pamphlets, articles, and lectures&lt;br /&gt;
on Barbey d&rsquo;Aurevilly have been the order of the&lt;br /&gt;
day for the last few years. It seems as though&lt;br /&gt;
there is a general wish to expiate the injustice with&lt;br /&gt;
which he was treated during his lifetime by this&lt;br /&gt;
posthumous glory in honour of his centenary.&lt;br /&gt;
Mademoiselle Read, the faithful friend who for the&lt;br /&gt;
last twenty years has been editing the thirty&lt;br /&gt;
volumes of his works, which she has brought out&lt;br /&gt;
since his death, is now reaping the reward of her&lt;br /&gt;
unselfishness and devotion.&lt;br /&gt;
The sixth volume of &ldquo;Histoire de l&rsquo;Art &rsquo;&rsquo; has&lt;br /&gt;
just appeared under the title of &ldquo;Les D&eacute;buts de la&lt;br /&gt;
Renaissance.&rdquo;&lt;br /&gt;
&ldquo;La Legende de Jean Jacques Rousseau,&rdquo; by&lt;br /&gt;
Frederika Macdonald, has been translated into&lt;br /&gt;
French by Georges Roth. This curious book shows&lt;br /&gt;
us, with the help of historical documents discovered&lt;br /&gt;
among the French archives by the author, that an&lt;br /&gt;
entirely false idea of Jean Jacques Rousseau&amp;#039;s&lt;br /&gt;
character has come down to us, thanks to a plot&lt;br /&gt;
carried out by two literary men who were his con-&lt;br /&gt;
temporaries. The proofs of this plot are given by&lt;br /&gt;
the author. The subject is of the keenest interest,&lt;br /&gt;
and the discovery throws new light on much which&lt;br /&gt;
has hitherto seemed vague.&lt;br /&gt;
Another interesting book is the &ldquo;Correspondance&lt;br /&gt;
entre Victor Hugo et Paul Meurice.&rdquo;&lt;br /&gt;
&ldquo;Le Congo fran&ccedil;ais,&rdquo; by F. Challaye, is a book&lt;br /&gt;
on the international question of the Congo by an&lt;br /&gt;
extremely able writer who has lived in the country&lt;br /&gt;
of which he writes. The subject of the French&lt;br /&gt;
colonies is being seriously considered now. Several&lt;br /&gt;
authors have consented to give lectures. A league&lt;br /&gt;
has been formed with a view to improving both the&lt;br /&gt;
moral and material situation of France throughout&lt;br /&gt;
the world. Pierre Mille, of whose remarkable&lt;br /&gt;
stories on life in the Congo we spoke recently, is&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 271 (#335) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
271&lt;br /&gt;
also taking the matter up, and it is hoped that by&lt;br /&gt;
means of lectures and publications things may be&lt;br /&gt;
improved in some of the French colonies. With&lt;br /&gt;
such names as are on the committee of the league,&lt;br /&gt;
it seems probable that great schemes may be carried&lt;br /&gt;
through satisfactorily.&lt;br /&gt;
&ldquo;Amor Vincit&rdquo; is the title of the new novel by&lt;br /&gt;
H&eacute;l&egrave;ne Vacaresco. w&lt;br /&gt;
An English edition of Pierre de Couvelain&amp;#039;s&lt;br /&gt;
&ldquo;Sur la Branche&rdquo; will appear shortly in England&lt;br /&gt;
and America under the title of &ldquo;On the Branch.&rdquo;&lt;br /&gt;
A committee has been formed to publish the&lt;br /&gt;
poems of the extraordinary man who signs his&lt;br /&gt;
works &ldquo; Humilis.&rdquo; The Comte de Larmandie dis-&lt;br /&gt;
covered this poet and spoke of him to M. Saint-&lt;br /&gt;
Chamarand, director of La Po&eacute;tique. Thanks to&lt;br /&gt;
their combined efforts, a committee was formed, and&lt;br /&gt;
the first volume is announced for this month. A&lt;br /&gt;
matin&eacute;e was given by M. Saint-Chamarand recently,&lt;br /&gt;
when Madeleine Roch, of the Com&eacute;die Fran&ccedil;aise,&lt;br /&gt;
and M. de Max recited some of the masterpieces&lt;br /&gt;
contained in this volume. -&lt;br /&gt;
A dinner was given recently by the Soci&eacute;t&eacute; des&lt;br /&gt;
Gens de Lettres in honour of Madame Juliette&lt;br /&gt;
Adam, who has now been a member of that society&lt;br /&gt;
for fifty years and who was presented by George&lt;br /&gt;
Sand. Speeches were made at this dinner by M.&lt;br /&gt;
Georges Lecomte, M. Michel Pelletier, and by&lt;br /&gt;
Madame Daniel Lesueur. Madame Juliette Adam&lt;br /&gt;
responded, and in a very touching speech thanked&lt;br /&gt;
all her friends for their good wishes. It will be&lt;br /&gt;
remembered that Madame Adam founded the&lt;br /&gt;
Nouvelle Revue, and that in its pages many of&lt;br /&gt;
the well-known French writers of to-day found&lt;br /&gt;
hospitality for the first time.&lt;br /&gt;
In the Revue de Paris for June 1, there are two&lt;br /&gt;
articles on the Duc d&amp;#039;Enghien: &ldquo;L&rsquo;Affaire du Duc&lt;br /&gt;
d&amp;#039;Enghien,&rdquo; by Prince Murat, and &ldquo;Murat et le&lt;br /&gt;
Duc d&amp;#039;Enghien,&rdquo; by Comte de Mosbourg. There&lt;br /&gt;
is also a curious and interesting article on &ldquo;L&rsquo;Art&lt;br /&gt;
Japonais et la Figure Humaine,&rdquo; by Louis Aubert,&lt;br /&gt;
and the continuation of Myriam Harry&amp;#039;s novel,&lt;br /&gt;
&ldquo;Madame Petit-Jardin.&rdquo; -&lt;br /&gt;
In the Revue Hebdomadaire the Wicomte de&lt;br /&gt;
Reiset writes on &ldquo;La Legende de Maria Stella,&rdquo;&lt;br /&gt;
Philippe Henriot on &ldquo;George Meredith,&rdquo; and&lt;br /&gt;
Edward Rod on &ldquo;Le Mouvement des Id&eacute;es.&rdquo;&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&mdash;&ordm;&lt;br /&gt;
&ldquo;Le Miroir aux Alouettes&rdquo; (Plon).&lt;br /&gt;
&ldquo;Lettres de Barbey d&amp;#039;Aurevilly a Trebutien&rdquo; (A. Blaizot).&lt;br /&gt;
&ldquo;La Legende de Jean Jacques Rousseau &amp;quot; (Hachette).&lt;br /&gt;
&ldquo;Correspondance entre Victor Hugo et Paul Meurice.&rdquo;&lt;br /&gt;
(Fasquelle).&lt;br /&gt;
&ldquo;Le Congo fran&ccedil;ais&amp;quot; (Alcan).&lt;br /&gt;
&agrave;ra-&lt;br /&gt;
v-w---w&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Spring which slew Swinburne, Meredith,&lt;br /&gt;
and Madame Modjeska, did not spare&lt;br /&gt;
- American authors. Marion Crawford, who&lt;br /&gt;
died at Sorrento on April 9, had a wide range of&lt;br /&gt;
interests, great versatility, and, above all, the&lt;br /&gt;
ability to tell a story. He wrote too much and too&lt;br /&gt;
quickly, and had passed his zenith when he died ;&lt;br /&gt;
but he remained readable to the last. It is gene-&lt;br /&gt;
rally admitted, that good as were &ldquo;Mr. Isaacs&rdquo; and&lt;br /&gt;
One or two of its successors, this author was at his&lt;br /&gt;
best in his Italian romances, of which the recently&lt;br /&gt;
issued &ldquo;White Sister&rdquo; was the last. Crawford had&lt;br /&gt;
intended to add to his large output a history of&lt;br /&gt;
Rome in the Middle Ages.&lt;br /&gt;
Mrs. Elinor Macartney Lane, who died at&lt;br /&gt;
Lynchburg, Virginia, on March 15, attracted&lt;br /&gt;
attention by her first novel, &ldquo;The Mills of God,&rdquo;&lt;br /&gt;
which appeared in 1901. This study of heredity&lt;br /&gt;
was followed by the historical romance, &ldquo;Nancy&lt;br /&gt;
Stair.&rdquo; Her posthumous story, &ldquo;Katrine,&rdquo; will&lt;br /&gt;
probably hardly quite rank with its popular&lt;br /&gt;
predecessors.&lt;br /&gt;
Others who have recently fallen out of the ranks&lt;br /&gt;
of American literature are Charles Warren Stoddard,&lt;br /&gt;
author of &ldquo;South Sea Idylls,&rdquo; and other books of&lt;br /&gt;
verse and travel (April 24); Samuel June Barrows,&lt;br /&gt;
the well-known penologist (April 21) ; Peter&lt;br /&gt;
Fenelon Collier, the enterprising publisher and&lt;br /&gt;
proprietor of Collier&amp;#039;s Weekly (April 24); Ham-&lt;br /&gt;
mond Lamont, editor of the Nation and New York&lt;br /&gt;
Evening Post (May 6); Mrs. Wilson (n&eacute;e Augusta&lt;br /&gt;
Evans), author of the once vastly popular stories,&lt;br /&gt;
&ldquo;St. Elmo &amp;quot; and &ldquo;Vashti,&rdquo; amongst others&lt;br /&gt;
(May 9); George Rice Carpenter, educationist&lt;br /&gt;
and biographer (April 8).&lt;br /&gt;
Mr. Paul Elmer More, the essayist, has become&lt;br /&gt;
fourth editor of the Nation. He had been&lt;br /&gt;
associate-editor for the last three years.&lt;br /&gt;
Prof. Bliss Perry, of Harvard, is to lecture&lt;br /&gt;
at the University of Paris and other French&lt;br /&gt;
universities during 1909&ndash;10.&lt;br /&gt;
Appleton&amp;#039;s Magazine is to be discontinued after&lt;br /&gt;
the June number.&lt;br /&gt;
Prof. Eugen K&uuml;hnemann, of Breslau, who has&lt;br /&gt;
been German exchange professor at Harvard, has&lt;br /&gt;
written a study of President Eliot&amp;#039;s career.&lt;br /&gt;
James Huncker&amp;#039;s new volume of critical studies,&lt;br /&gt;
entitled &ldquo;Egoists,&rdquo; has been described as &ldquo;like a&lt;br /&gt;
rapid series of electric sparks.&rdquo; Its &ldquo;supermen&rsquo;&rsquo;&lt;br /&gt;
include such diverse personalities as Nietzsche,&lt;br /&gt;
Stendhal, Bandelaire, and Pater.&lt;br /&gt;
Dr. Elroy McKendree Avery has been delivered&lt;br /&gt;
of the fifth volume of his &ldquo;History of the United&lt;br /&gt;
States,&rdquo; which deals with the revolutionary period.&lt;br /&gt;
It is said to show an advance upon previous&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 272 (#336) ############################################&lt;br /&gt;
&lt;br /&gt;
272&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
volumes in literary restraint and to excel&lt;br /&gt;
some more pretentious works in accuracy and&lt;br /&gt;
balance. - -&lt;br /&gt;
Mr. Rockefeller&rsquo;s &ldquo;Random Reminiscences&rdquo; will&lt;br /&gt;
probably have been read almost as widely in Europe&lt;br /&gt;
as here. Whatever may be thought of the Standard&lt;br /&gt;
Oil magnate, it cannot be denied that as an author&lt;br /&gt;
he has the virtues of simplicity and directness.&lt;br /&gt;
Thompson Seton&rsquo;s &ldquo;Biography of a Silver Fox&rdquo;&lt;br /&gt;
is as good as its &ldquo;Grizzly&rsquo;&rsquo; predecessor. Curiously&lt;br /&gt;
enough it has incidents which closely resemble&lt;br /&gt;
some of those in Mr. Roberts&amp;#039;s &ldquo;Red Fox&rdquo;&lt;br /&gt;
story.&lt;br /&gt;
Two books of American history which the Mac-&lt;br /&gt;
millan Company are issuing this season are likely&lt;br /&gt;
to be of permanent value. The one, Prof. Edmond&lt;br /&gt;
S. Meany&rsquo;s &ldquo;History of the State of Washington,&rdquo;&lt;br /&gt;
tells the story of the great north-west. . The other,&lt;br /&gt;
Mrs. Schuyler Van Reusselaer&amp;#039;s &ldquo;History of the&lt;br /&gt;
City of New York in the Seventeenth Century,&rdquo; is&lt;br /&gt;
an original study of the old Dutch settlement.&lt;br /&gt;
One of Messrs. Houghton, Mifflin &amp;amp; Co.&amp;#039;s recent&lt;br /&gt;
publications, &ldquo;Some Acrostic Signatures of Francis&lt;br /&gt;
Bacon,&rdquo; is described as &ldquo;an array of facts of the&lt;br /&gt;
plainest sort.&rdquo; That the ciphers in it are not&lt;br /&gt;
accidental &ldquo;can be determined,&rdquo; we are told, &ldquo;by&lt;br /&gt;
a simple mathematical calculation.&rdquo; A few of the&lt;br /&gt;
&ldquo;inferences&rdquo; that may be drawn from Mr. Stone&lt;br /&gt;
Booth&rsquo;s book are that Bacon not only wrote the&lt;br /&gt;
works of Shakespeare, but occasionally also used&lt;br /&gt;
the names of Marlowe and Spenser. Here indeed&lt;br /&gt;
is pasture for Baconians !&lt;br /&gt;
The &ldquo;Life and Times of Laurence Sterne,&rdquo; by&lt;br /&gt;
Prof. Wilbur L. Cross, of Yale, will doubtless be&lt;br /&gt;
read with interest on both sides of the Atlantic.&lt;br /&gt;
Americans have been divided in their reception&lt;br /&gt;
of Mark Twain&rsquo;s &ldquo;Is Shakespeare Dead 2 &rdquo; Is&lt;br /&gt;
Mr. Clemens to be numbered among good Baconians,&lt;br /&gt;
or is it only some of his fun ?&lt;br /&gt;
The publication of Ticknor&amp;#039;s &ldquo;Life and Letters&rdquo;&lt;br /&gt;
has been put off until the autumn.&lt;br /&gt;
Mr. Frank B. Sauborn has much to say of the&lt;br /&gt;
Concord circle in his &ldquo;Recollections of Seventy&lt;br /&gt;
Years.&rdquo; He also relates his dealings with John&lt;br /&gt;
Brown, who will soon, he thinks, arrive at the&lt;br /&gt;
mythical stage. But he knew him as a very real&lt;br /&gt;
person, and as &ldquo;the indispensable&rdquo; man of the&lt;br /&gt;
Free Soil fight. Had it not been for his exploits,&lt;br /&gt;
emancipation would, in Sauborn&amp;#039;s opinion, have&lt;br /&gt;
been delayed sixty years.&lt;br /&gt;
The event of the summer from a literary view-&lt;br /&gt;
point will be the appearance of James Lane Allen&amp;#039;s&lt;br /&gt;
book, &ldquo;The Bride of the Mistletoe.&rdquo; The talented&lt;br /&gt;
author of &ldquo;The Choir Invisible&amp;quot; has now been&lt;br /&gt;
silent for six years.&lt;br /&gt;
Probably by far the best work of fiction that&lt;br /&gt;
has appeared in the United States this year is&lt;br /&gt;
Judge Grant&amp;#039;s Bostonian study, &ldquo;The Chippen-&lt;br /&gt;
dales.&rdquo; . The hero typifies successfully, if not&lt;br /&gt;
sympathetically, the Puritan conscience, which is&lt;br /&gt;
now becoming a rarity; the real force of the thing&lt;br /&gt;
is made to stand out triumphantly in its effect&lt;br /&gt;
upon the recalcitrant heroine, a fine creation.&lt;br /&gt;
A third character of note is Hugh Blaisdell, who&lt;br /&gt;
represents the man who is good because he finds it&lt;br /&gt;
ayS.&lt;br /&gt;
Another good piece of work from a novelist is&lt;br /&gt;
Alice Brown&amp;#039;s &ldquo;The Story of Myrza,&rdquo; a powerful&lt;br /&gt;
presentment of a woman&amp;#039;s self-imposed atonement.&lt;br /&gt;
A story which has been appearing anonymously&lt;br /&gt;
in Harper&amp;#039;s has excited much curiosity. The&lt;br /&gt;
author appears to be a woman. She is strong in&lt;br /&gt;
plot and dialogue, but rather uneven in her&lt;br /&gt;
character delineation. The title of the book is&lt;br /&gt;
&ldquo;The Inner Shrine.&rdquo;&lt;br /&gt;
A publication of some note is Prof. Francis&lt;br /&gt;
Newton Thorpe&amp;#039;s &ldquo;The Statesmanship of Andrew&lt;br /&gt;
Jackson.&rdquo; Seven letters which old Hickory wrote&lt;br /&gt;
on &ldquo;Nullification &rdquo; are printed for the first&lt;br /&gt;
time. Occasionally, in the editor&amp;#039;s opinion, the&lt;br /&gt;
writer approaches the eloquence of Lincoln.&lt;br /&gt;
Another encyclop&aelig;dia It emanates from&lt;br /&gt;
Philadelphia and is to bear the name of the&lt;br /&gt;
Winston Company. Eight volumes of 500 pages&lt;br /&gt;
each represent its content, Dr. Annandale being&lt;br /&gt;
among the contributors.&lt;br /&gt;
&ldquo;The Woman in Question,&rdquo; by John Reed Scott ;&lt;br /&gt;
&ldquo;Red Horse Hill,&rdquo; by Sidney McCall; and Ellen&lt;br /&gt;
Glasgow&rsquo;s &ldquo;The Romance of a Plain Man,&rdquo; are&lt;br /&gt;
three stories of modern life which are out of the&lt;br /&gt;
CODOIſlOIl.&lt;br /&gt;
Robert W. Chambers, in &ldquo;Special Messenger,&rdquo;&lt;br /&gt;
has added another to his vivacious tales; and&lt;br /&gt;
Alice Hegan Rice has presented another Sop to her&lt;br /&gt;
admirers. &ldquo;In a Mysterious Way&rdquo; is the title of&lt;br /&gt;
Anne Walmer&amp;#039;s latest story.&lt;br /&gt;
Irving Bacheller&rsquo;s &ldquo;The Hand-made Gentle-&lt;br /&gt;
man&rdquo; is a characteristic piece of work which will&lt;br /&gt;
be certain to appeal to many readers.&lt;br /&gt;
Mrs. Wharton&rsquo;s metrical volume, &ldquo;Artemis to&lt;br /&gt;
Actaeon,&rdquo; Scarcely reaches the level of true poetry,&lt;br /&gt;
though it may be allowed to be accomplished&lt;br /&gt;
WeTS&eacute;.&lt;br /&gt;
Dr. Harry Thurston Peck&rsquo;s &ldquo;Studies in Several&lt;br /&gt;
Literatures&rdquo; covers a wide range, and shows some&lt;br /&gt;
critical acuteness without being ever quite&lt;br /&gt;
illuminating. It is given to few mortals to be a&lt;br /&gt;
competent authority on Horner, Milton, Zola,&lt;br /&gt;
Emerson, the Detective Story, and &ldquo;The Psychology&lt;br /&gt;
of the Printed Page.&rdquo;&lt;br /&gt;
Advertising, according to Mr. George French, is&lt;br /&gt;
soon to be formulated into a science. Art and&lt;br /&gt;
science are to work together in the advertising&lt;br /&gt;
field. This is Utopia for auctioneers and&lt;br /&gt;
publishers, whatever it may be to the rest of&lt;br /&gt;
mankind.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 273 (#337) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
273&lt;br /&gt;
Mr. Filson Young has been following in the&lt;br /&gt;
steps of Mrs. Wapel and Elinor Glyn. In an inter-&lt;br /&gt;
view arranged by the New York Saturday Review,&lt;br /&gt;
he was not unduly flattering to American litera-&lt;br /&gt;
ture. Our novels he refused to admit as equal to&lt;br /&gt;
those of England, whilst as to American drama he&lt;br /&gt;
preferred to observe a discreet silence.&lt;br /&gt;
CHEAP EDITIONS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S stated in the last number of The Author, We&lt;br /&gt;
publish below the names of those novelists&lt;br /&gt;
who have sent in their cards since the first&lt;br /&gt;
list was issued, and who do not object to the&lt;br /&gt;
publication of their names.&lt;br /&gt;
Those who wr&ordm;dertake not to publish an edition of any&lt;br /&gt;
novel first issued at the price of 68. in a cheap form at&lt;br /&gt;
any time within two years from the date of its first&lt;br /&gt;
publication &mdash;&lt;br /&gt;
Alma-Tadema, Laurence.&lt;br /&gt;
Armstrong, Miss Frances.&lt;br /&gt;
Fursdon, Mrs.&lt;br /&gt;
Haggard, H. Rider.&lt;br /&gt;
James, Miss Winifred.&lt;br /&gt;
Osgood, Miss Irene.&lt;br /&gt;
Stockley, Mrs. Joan.&lt;br /&gt;
Those who do not wr&ordm;dertake :&mdash;&lt;br /&gt;
There are no fresh names to add to this list.&lt;br /&gt;
COPYRIGHT LEGISLATION.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE REPORT OF THE COMMITTEE.&lt;br /&gt;
TY HE members of Council of the Society of&lt;br /&gt;
Authors will no doubt call to mind the&lt;br /&gt;
statement in last year&amp;#039;s report of the work&lt;br /&gt;
done by the Committee of Management to forward&lt;br /&gt;
the cause of copyright legislation. It might, how-&lt;br /&gt;
ever, be as well to repeat a few facts. In January,&lt;br /&gt;
1908, by the courtesy of the Board of Trade, the&lt;br /&gt;
proposals sent in by the Bureau at Berne, bearing&lt;br /&gt;
on the international meeting which was to take&lt;br /&gt;
place at Berlin in October, were laid before the&lt;br /&gt;
committee. Sir Henry Bergne kindly undertook&lt;br /&gt;
the arduous duty of going through the proposals&lt;br /&gt;
and reporting. His report was subsequently laid&lt;br /&gt;
before the Copyright Sub-Committee, and very&lt;br /&gt;
carefully considered. . It was finally, with a few&lt;br /&gt;
slight corrections and additions, referred to the&lt;br /&gt;
Committee of Management, and adopted. It was&lt;br /&gt;
then forwarded to the Board of Trade.&lt;br /&gt;
In June, the president of the Soci&eacute;t&eacute; des Gens de&lt;br /&gt;
Lettres came over to England, with the desire to&lt;br /&gt;
obtain the support of the English Society of&lt;br /&gt;
Authors at the Berlin Conference to certain pro-&lt;br /&gt;
posals which were being put forward by the French&lt;br /&gt;
authors, the chief point being the duration of&lt;br /&gt;
copyright. Monsieur Lecomte, the president, had&lt;br /&gt;
interviews with Sir Henry Bergne, the chairman&lt;br /&gt;
(Mr. Douglas Freshfield), Mr. Hawkins, and the&lt;br /&gt;
Secretary; and Mr. Freshfield was enabled to&lt;br /&gt;
introduce Monsieur Lecomte to the President of&lt;br /&gt;
the Board of Trade, who discussed the position&lt;br /&gt;
With him.&lt;br /&gt;
The committee were bound to keep these reports&lt;br /&gt;
confidential. But the mere fact that Sir Henry&lt;br /&gt;
Bergne was working so enthusiastically for the&lt;br /&gt;
Authors&rsquo; Society would be sufficient to carry con-&lt;br /&gt;
Viction that the reform of copyright legislation was&lt;br /&gt;
being dealt with along the right lines. The com-&lt;br /&gt;
mittee take this opportunity of again expressing&lt;br /&gt;
their deep sorrow at the sudden death of Sir&lt;br /&gt;
Henry Bergne at the Berlin Conference.&lt;br /&gt;
The result of the Berlin Conference has been&lt;br /&gt;
fully set out in the columns of The Author, in&lt;br /&gt;
the daily press, and in a Government Blue Book.&lt;br /&gt;
Immediately after the return of the delegates to&lt;br /&gt;
England, the secretary of the Society had a long&lt;br /&gt;
confidential interview with one of the officials of&lt;br /&gt;
the Board of Trade, discussing what had taken&lt;br /&gt;
place at the Berlin Convention, and what steps it&lt;br /&gt;
might be necessary to take to arouse public interest&lt;br /&gt;
in copyright reform. The result of this interview&lt;br /&gt;
was reported to the committee. The committee&lt;br /&gt;
then decided not to discuss their course of action&lt;br /&gt;
until the Blue Book had been issued, but proceeded&lt;br /&gt;
to make arrangements to call together a joint com-&lt;br /&gt;
mittee, consisting of representatives of the Authors&amp;#039;&lt;br /&gt;
Society, the Musical Publishers&amp;#039; Association, the&lt;br /&gt;
Publishers&amp;#039; Association, and the Copyright Associa-&lt;br /&gt;
tion. Sir Alfred Bateman and Mr. E. J. Macgillivray&lt;br /&gt;
represented the Society of Authors. The object of&lt;br /&gt;
calling together the committee was that all repre-&lt;br /&gt;
sentative copyright holders might be able to discuss&lt;br /&gt;
the position; that the differences of opinion, if there&lt;br /&gt;
were any, might be openly dealt with and settled ;&lt;br /&gt;
and that, if possible, a common line of action might&lt;br /&gt;
be adopted. The committee were successful in&lt;br /&gt;
their efforts. -&lt;br /&gt;
As soon as the Government Blue Book was&lt;br /&gt;
issued, the joint committee met together, and it&lt;br /&gt;
was decided that the delegates from the different&lt;br /&gt;
bodies represented should confer with their&lt;br /&gt;
members, should consider carefully the Blue Book&lt;br /&gt;
which had just been issued, and come together again&lt;br /&gt;
at a later date and report the result of their delibera-&lt;br /&gt;
tions. In the meantime, a Departmental Committee&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 274 (#338) ############################################&lt;br /&gt;
&lt;br /&gt;
274&lt;br /&gt;
TISIES AUTISIOR.&lt;br /&gt;
had been appointed by the Government to consider&lt;br /&gt;
the Berlin Convention and the statement set out&lt;br /&gt;
in the Blue Book. The joint committee met again&lt;br /&gt;
on March 31, at the offices of the society, and&lt;br /&gt;
the delegates from the different bodies put forward&lt;br /&gt;
the view of the situation taken by the several&lt;br /&gt;
associations which they represented. It was very&lt;br /&gt;
satisfactory to learn that the terms of the Berlin&lt;br /&gt;
Convention would receive the support of all the&lt;br /&gt;
bodies, though it was possible that on one or two&lt;br /&gt;
minor points the musical publishers might disagree.&lt;br /&gt;
The musical delegates, however, thought it more&lt;br /&gt;
than probable that for the sake of uniformity this&lt;br /&gt;
disagreement would be withdrawn.&lt;br /&gt;
The Committee of Management had thus obtained&lt;br /&gt;
the views of other representative copyright-holding&lt;br /&gt;
bodies. -&lt;br /&gt;
It became necessary for them at the same time&lt;br /&gt;
to gather evidence from the various bodies of&lt;br /&gt;
authors represented by the Society in order to be&lt;br /&gt;
ready to meet any demand that the Departmental&lt;br /&gt;
Committee might make.&lt;br /&gt;
In consequence, at the first meeting of the&lt;br /&gt;
Dramatic Sub-Committee in 1909, the secretary&lt;br /&gt;
made a statement of the present position, and the&lt;br /&gt;
members of the committee decided to study the&lt;br /&gt;
Blue Book and bring forward their suggestions at&lt;br /&gt;
the next meeting. Accordingly, at the meeting&lt;br /&gt;
held on March 30, Mr. Pinero set out an&lt;br /&gt;
exhaustive statement of the points on which it&lt;br /&gt;
would be necessary for the present law to be altered&lt;br /&gt;
in order to conform with the Berlin Convention, as&lt;br /&gt;
it was the unanimous opinion of the Dramatic Sub-&lt;br /&gt;
Committee that the domestic law of Great Britain&lt;br /&gt;
should be brought into uniformity with the&lt;br /&gt;
Convention as early as possible. Mr. Pinero&amp;#039;s&lt;br /&gt;
points were discussed and approved with very slight&lt;br /&gt;
alterations. After Some negotiations, finally Mr.&lt;br /&gt;
Comyns Carr and Mr. G. Bernard Shaw consented&lt;br /&gt;
to act as representatives of the dramatic section of&lt;br /&gt;
the society, should the Departmental Committee&lt;br /&gt;
require to call their evidence. -&lt;br /&gt;
A meeting of the Copyright Committee was also&lt;br /&gt;
held, when Mr. MacGillivray, who had consented&lt;br /&gt;
to give evidence, laid before the committee a proof&lt;br /&gt;
of the evidence that would be necessary. This was&lt;br /&gt;
carefully considered by the Copyright Committee&lt;br /&gt;
and approved. Finally, the Copyright Committee&lt;br /&gt;
endeavoured to arrange for Sir Alexander Mackenzie&lt;br /&gt;
to give evidence on behalf of composers.&rdquo; t&ordm;&lt;br /&gt;
It is unnecessary to discuss the many technical&lt;br /&gt;
alterations to which it may be necessary to call the&lt;br /&gt;
attention of the Departmental Committee, but the&lt;br /&gt;
* Since writing this report Sir Alexander Mackenzie&lt;br /&gt;
has consented to give evidence ; his proof has been prepared&lt;br /&gt;
and forwarded to the secretary of the Departmental&lt;br /&gt;
Committee.&lt;br /&gt;
great issues which the Committee of Management&lt;br /&gt;
have approved of are as follows:&ndash;&lt;br /&gt;
That the existence of Copyright should be for&lt;br /&gt;
life and fifty years.&lt;br /&gt;
That as soon as possible the domestic law of&lt;br /&gt;
Great Britain should be altered to bring it&lt;br /&gt;
into uniformity with the Berlin Convention.&lt;br /&gt;
That the committee consider it of great&lt;br /&gt;
importance for His Majesty&amp;#039;s Government&lt;br /&gt;
to secure, if possible, the consent of the&lt;br /&gt;
Colonies to imperial legislation, but they&lt;br /&gt;
Consider that domestic legislation should&lt;br /&gt;
not be delayed, if it is impossible to secure&lt;br /&gt;
the consent of the Colonies within a&lt;br /&gt;
reasonable time.&lt;br /&gt;
The . Dramatic Sub-Committee approve the&lt;br /&gt;
principle, existing in practice in countries&lt;br /&gt;
other than Great Britain, and approved of&lt;br /&gt;
by the Berlin Convention, that public per-&lt;br /&gt;
formance of a dramatic piece should not be&lt;br /&gt;
publication, and dramatists, composers, and&lt;br /&gt;
authors alike are opposed to allowing&lt;br /&gt;
gramophone and cinematograph records to&lt;br /&gt;
be made without the sanction of the author&lt;br /&gt;
of the original. The committee trust the&lt;br /&gt;
members of the Council will approve the&lt;br /&gt;
action they have taken.&lt;br /&gt;
The committee would like to state at the same&lt;br /&gt;
time that their energies are not relaxed in any&lt;br /&gt;
Way. If, by public appeal in the papers, or by&lt;br /&gt;
other means, it is necessary to stir up interest in&lt;br /&gt;
the question, they will do so, and will continue to&lt;br /&gt;
use their best endeavours for the benefit of the&lt;br /&gt;
large number of authors, dramatic authors, and&lt;br /&gt;
composers whom they represent.&lt;br /&gt;
a &mdash;&ordm;- a&lt;br /&gt;
w&mdash;v-w&lt;br /&gt;
SCHOLZ v. AMASIS, LTD., AND FENN.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
A SUCCESSFUL APPEAL.&lt;br /&gt;
HE Court of Appeal has reversed the decision&lt;br /&gt;
T of Mr. Justice Jelf, who had awarded the&lt;br /&gt;
plaintiff &pound;200 damages for the infringement&lt;br /&gt;
of the plaintiff&rsquo;s rights in his play, entitled &ldquo;The&lt;br /&gt;
Son of the Sun.&rdquo;&lt;br /&gt;
The plaintiff, Mr. W. Hermann Scholz, pro-&lt;br /&gt;
fessionally known as Mr. W. Gunn Gwennet, alleged&lt;br /&gt;
that Mr. Frederic Fenn, the author of the comic&lt;br /&gt;
opera, &ldquo;Amasis,&rdquo; which had been represented by&lt;br /&gt;
the defendant company, had appropriated a sub-&lt;br /&gt;
stantial and material part of his play, and he gave&lt;br /&gt;
certain particulars showing similarities in the plots,&lt;br /&gt;
characters, ideas and words, and scenic arrange-&lt;br /&gt;
ments of the two pieces. From the accumulated&lt;br /&gt;
evidence of such similarities, which in many&lt;br /&gt;
instances were of a trivial character, Mr. Justice&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 275 (#339) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
275&lt;br /&gt;
Jelf, after reading and comparing both plays, came&lt;br /&gt;
to the conclusion that there had been copying, and&lt;br /&gt;
that he was unable to accept the statement of&lt;br /&gt;
Mr. Fenn that he had not seen the plaintiff&amp;#039;s play&lt;br /&gt;
before he had written his own.&lt;br /&gt;
In the Court of Appeal the &ldquo;similarities in ideas&lt;br /&gt;
and Words&rdquo; were the main consideration ; but it&lt;br /&gt;
Was pointed out that similarities in plot and scenic&lt;br /&gt;
arrangements might have an important bearing&lt;br /&gt;
upon the question of conscious copying.&lt;br /&gt;
exhaustive examination of the alleged similarities,&lt;br /&gt;
however, the Court unanimously came to the con-&lt;br /&gt;
clusion that no one of the allegations, nor the&lt;br /&gt;
Combined effect of the whole of them taken&lt;br /&gt;
together, could fairly be said to establish a case&lt;br /&gt;
of infringement.&lt;br /&gt;
Dealing with the similarities cited by Mr. Justice&lt;br /&gt;
Jelf in his judgment, the Lord Chief Justice said:&lt;br /&gt;
&ldquo;Those instances are put forward by the learned&lt;br /&gt;
judge as being the main similarities which force&lt;br /&gt;
him to disbelieve Mr. Fenn on oath. I cannot&lt;br /&gt;
possibly come to that conclusion. I think in&lt;br /&gt;
themselves they are far short of copying at all, and&lt;br /&gt;
they are still further short, in my opinion, of such&lt;br /&gt;
evidence upon which anyone is justified in drawing&lt;br /&gt;
the conclusion that the gentleman committed&lt;br /&gt;
deliberate perjury in the box, and is saying what&lt;br /&gt;
is untrue when he says that before the matter was&lt;br /&gt;
mentioned to him, he had never seen the plaintiff&amp;#039;s&lt;br /&gt;
play or the book.&rdquo;&lt;br /&gt;
Mr. Fenn had also stated in his evidence at the&lt;br /&gt;
trial that he got the idea of his play from a well-&lt;br /&gt;
known work by Dr. Ebers, entitled &ldquo;The Egyptian&lt;br /&gt;
Princess,&rdquo; published many years ago, and a novel&lt;br /&gt;
by Mr. Henty, called &ldquo;The Cat of Bubastes&rdquo;; and&lt;br /&gt;
from the former book he had in fact taken seven-&lt;br /&gt;
teen names of the characters, including that of&lt;br /&gt;
&ldquo;Amasis.&rdquo; In both of these books the killing of&lt;br /&gt;
a cat in Egypt is referred to as a crime punishable&lt;br /&gt;
by death, and the situation arising from this cir-&lt;br /&gt;
cumstance formed a prominent incident in both&lt;br /&gt;
lavs.&lt;br /&gt;
p &ordm;: Justice Jelf, referring to Mr. Fenn&amp;#039;s&lt;br /&gt;
evidence, observed that &ldquo;Mr. Fenn was not above&lt;br /&gt;
taking what he wanted, to some extent at least,&lt;br /&gt;
from other books.&rdquo;&lt;br /&gt;
Commenting upon this part of the judgment,&lt;br /&gt;
the Lord Chief Justice said, &ldquo;If that means any-&lt;br /&gt;
thing, it means that Mr. Fenn was guilty of&lt;br /&gt;
something unworthy ; and, looking at it from the&lt;br /&gt;
point of view of a dramatic author, I must protest&lt;br /&gt;
against such an inference being drawn. . . . .&lt;br /&gt;
I believe the history of dramatic writing in this&lt;br /&gt;
world will show that what the great dramatic&lt;br /&gt;
authors have done is to go to old books and&lt;br /&gt;
history, and to take the facts from that history,&lt;br /&gt;
and then to build up their incidents, some real&lt;br /&gt;
and some imaginary. I believe the greatest play-&lt;br /&gt;
After an&lt;br /&gt;
Writers in the world, from Shakespeare downwards,&lt;br /&gt;
have done it. Therefore to suggest that a man is&lt;br /&gt;
to be discredited, because he is supposed to be not&lt;br /&gt;
above taking what he wanted from other books,&lt;br /&gt;
&ordm;: to me to be applying an entirely wrong&lt;br /&gt;
&euro;SU.&lt;br /&gt;
Upon this point Mr. Justice Farwell said : &ldquo;I&lt;br /&gt;
Was always under the impression that it was&lt;br /&gt;
desirable to learn what one could from former&lt;br /&gt;
publications, and so long as you do not copy you&lt;br /&gt;
are entitled to use all the information you can get;&lt;br /&gt;
and to my mind you ought to do so before you&lt;br /&gt;
attempt to instruct the world, even by a comic&lt;br /&gt;
opera.&rdquo;&lt;br /&gt;
The appeal was allowed, and judgment entered&lt;br /&gt;
for the defendant, with costs of the trial and of&lt;br /&gt;
the appeal.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
y&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BLACKWOODS.&lt;br /&gt;
Musings without Method: The Profits of Literature.&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
The Novel Crisis : Opinions of H. G. Wells, Anthony&lt;br /&gt;
Hope, Madame Albanesi, Sir Gilbert Parker, Baroness&lt;br /&gt;
Orczy, W. J. Locke, Miss Marjorie Bowen, and J. A.&lt;br /&gt;
Steuart.&lt;br /&gt;
Character and the Handling of Literature. By Frank&lt;br /&gt;
Schloesser.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Algernon Charles Swinburne. By Prof. Saintsbury.&lt;br /&gt;
Swinburne and his Circle. By James Douglas.&lt;br /&gt;
Swinburne and Eton. By Blanche Warre Cornish.&lt;br /&gt;
The Genius and Influence of Swinburne. By Edmund&lt;br /&gt;
Gosse, W. M. Rossetti, I. Zangwill, Walter Crane, Dr. Abraham&lt;br /&gt;
Skok, G. Bernard Shaw, Dr. John Todhunter, and George&lt;br /&gt;
Brandes.&lt;br /&gt;
The Down Grade in Literature.&lt;br /&gt;
Nietzsche. By Edward Thomas.&lt;br /&gt;
History in Romance. By Walter Jerrold.&lt;br /&gt;
By Dr. William Barry.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
The Ethics of Greek Art. By L. March Phillipps.&lt;br /&gt;
Shakespeare and the Modern German Stage. By&lt;br /&gt;
Eulenspiegel.&lt;br /&gt;
A Prophet Malgr&eacute; Lui. By Hugh E. P. Platt.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
Swinburne : Personal Recollections. By Edmund Gosse.&lt;br /&gt;
A Novelist&amp;#039;s Allegory. By John Galsworthy.&lt;br /&gt;
French Culture and Tudor England. By Sidney Lee.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
By Charles Whibley.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
A Tribute to Swinburne. By Ernest Rhys.&lt;br /&gt;
The Windicators of Shakespeare. By George G.&lt;br /&gt;
Greenwood.&lt;br /&gt;
Copyright at Home and Abroad.&lt;br /&gt;
Copyright.&lt;br /&gt;
By W. Morris Colles,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 276 (#340) ############################################&lt;br /&gt;
&lt;br /&gt;
276&lt;br /&gt;
TriB A UTHOR.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;o-&ordm;-&ordm;- -&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. . The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where, counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction &ordm;f the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
3. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3). To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
ians of the Society&amp;#039;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society,&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&Aring;&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
&mdash;w&ordm;-w&lt;br /&gt;
A&lt;br /&gt;
v&ordm;y&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
| Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are:&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
Iſlea,I\S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
* * ~~ - a&lt;br /&gt;
w-v- y&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 277 (#341) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITPSIOR.&lt;br /&gt;
277&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract,&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
II. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
S forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
L*. can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
* rule, the musical publisher demands from the musical&lt;br /&gt;
99mposer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
Pr&ordm;perty. , The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
&ordm;n agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&mdash;t-Q&ndash;0&ndash;&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Soci&eacute;ty&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble,&lt;br /&gt;
*&mdash;a- -&lt;br /&gt;
v--&mdash;w-&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&bull; &mdash;A- a&lt;br /&gt;
v-u-w&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
-&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
T the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year. -&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All Temittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 278 (#342) ############################################&lt;br /&gt;
&lt;br /&gt;
278&lt;br /&gt;
TISIES A UſTISIOR.&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
LORD TENNYSON.&lt;br /&gt;
THE centenary of the birth of the first president&lt;br /&gt;
of the society falls on the 5th day of August.&lt;br /&gt;
Such an event should not be passed over without&lt;br /&gt;
expressing a pious &ldquo;In Memoriam.&rdquo; As The&lt;br /&gt;
Author is not published in August and September,&lt;br /&gt;
this expression must fall in this number.&lt;br /&gt;
Many may say that any criticism or appreciation&lt;br /&gt;
of Tennyson is now out of date, and that nothing&lt;br /&gt;
new can be said. This is no doubt to some extent&lt;br /&gt;
true, but this is not our object. Our object is&lt;br /&gt;
first to recall to all members that Tennyson was&lt;br /&gt;
a great poet, and secondly that the Society was&lt;br /&gt;
honoured by having him as its first president&lt;br /&gt;
from the year of its foundation to the day of his&lt;br /&gt;
death.&lt;br /&gt;
Such a thought may arouse in the minds of some&lt;br /&gt;
the desire for a still closer cohesion of the highest&lt;br /&gt;
and lowest in the great art of literature, and may&lt;br /&gt;
induce others, if not because of the benefit they may&lt;br /&gt;
receive directly, still for the good of their humbler&lt;br /&gt;
brethren, to join the society. The spirit of fellow-&lt;br /&gt;
ship animated the late Poet Laureate. The same&lt;br /&gt;
spirit animated George Meredith.&lt;br /&gt;
CANADIAN COPYRIGHT.&lt;br /&gt;
THERE has been some slight movement in&lt;br /&gt;
matters copyright in Canada. A Bill came before&lt;br /&gt;
the Canadian House, which was practically the&lt;br /&gt;
same as 6 Edw. VII. c. 36. It was introduced by&lt;br /&gt;
the Minister of Justice, at the request of Mr. J. F.&lt;br /&gt;
Edgar, barrister, of Toronto, who represented a&lt;br /&gt;
number of musical publishers. It related to&lt;br /&gt;
musical piracy only, and was introduced as an&lt;br /&gt;
amendment to the criminal code. It passed&lt;br /&gt;
the House of Commons, but was rejected by the&lt;br /&gt;
Senate.&lt;br /&gt;
The only other measure affecting copyright was&lt;br /&gt;
the amendment abbreviating the form of copyright&lt;br /&gt;
notice required to be printed on all Canadian&lt;br /&gt;
copyrights.&lt;br /&gt;
All that is now necessary is to print the words,&lt;br /&gt;
&ldquo;Copyright, Canada, 190&mdash;, by A. B.&rdquo;&lt;br /&gt;
COPYRIGHT AND THE BERLIN CONVENTION.&lt;br /&gt;
IN the June reviews there appeared two articles&lt;br /&gt;
on copyright&mdash;in the Wational Review under the&lt;br /&gt;
signature of Charles Whibley; in the Wineteenth&lt;br /&gt;
Century under the signature of W. Morris Colles.&lt;br /&gt;
The first dealt with copyright as a property. The&lt;br /&gt;
writer gave a short history of the struggle to obtain&lt;br /&gt;
recognition of copyright as a property, and drew&lt;br /&gt;
attention to the potent advocacy of Serjeant&lt;br /&gt;
Talfourd and to the unaccountable and irrational&lt;br /&gt;
opposition of Lord Macaulay. One quotation,&lt;br /&gt;
embracing as it does an extraordinary topsy-turvy-&lt;br /&gt;
dom of ideas, we cannot help repeating. &ldquo;The&lt;br /&gt;
principle of copyright,&rdquo; Lord Macaulay said, &ldquo;is&lt;br /&gt;
this, it is a tax on readers for the purpose of giving&lt;br /&gt;
a bounty to writers.&rdquo; - S&lt;br /&gt;
It is clear, however, from the later statements&lt;br /&gt;
contained in the article that the writer is not a&lt;br /&gt;
member of the society, for he confesses he does not&lt;br /&gt;
know what has been done by those who are interested&lt;br /&gt;
in copyright reform and boldly states that no effort&lt;br /&gt;
has been made to improve the law. It is needless&lt;br /&gt;
to repeat what has been done by the society in past&lt;br /&gt;
years ; the report in this month&amp;#039;s Author will show&lt;br /&gt;
the action that has been taken recently. Some&lt;br /&gt;
effort should have been made to gather accurate&lt;br /&gt;
knowledge from accredited sources.&lt;br /&gt;
The line of argument adopted by Mr. Whibley is&lt;br /&gt;
not new, and the deductions he shows have been&lt;br /&gt;
stated frequently in these pages. When copyright&lt;br /&gt;
ceases, the profits arising from the property do not&lt;br /&gt;
accrue for the public benefit, but for the benefit of&lt;br /&gt;
the publishers.&lt;br /&gt;
If it is necessary to secure these for the public,&lt;br /&gt;
either the publishers should pay a royalty, or the&lt;br /&gt;
Government should publish and pay the profits into&lt;br /&gt;
the public purse.&lt;br /&gt;
Mr. Whibley proposes by these means to establish&lt;br /&gt;
a literary fund that asks no alms. The idea is&lt;br /&gt;
eminently sane,&lt;br /&gt;
II.&lt;br /&gt;
The second article is written in quite a different&lt;br /&gt;
spirit. It is written as a criticism of the action of&lt;br /&gt;
the delegates at the Berlin Convention as a note of&lt;br /&gt;
warning to those who desire uniformity. It is&lt;br /&gt;
impossible in the space at our disposal, though it&lt;br /&gt;
would not be difficult, to write an answer to the&lt;br /&gt;
arguments put forward. These are some of the&lt;br /&gt;
catch phrases :&mdash;&ldquo;Instead of preserving and&lt;br /&gt;
strengthening it [the Berlin Convention] throws&lt;br /&gt;
the whole unionist system into the melting pot, and&lt;br /&gt;
complicates it by introducing new and dangerous&lt;br /&gt;
issues.&rdquo; &ldquo;There is every danger that as a result&lt;br /&gt;
they will retard instead of advancing the realisation&lt;br /&gt;
of these aims, and complicate instead of simplifying&lt;br /&gt;
the international system.&rdquo;&lt;br /&gt;
And then what does the writer propose? &ldquo;It is a&lt;br /&gt;
thousand pities that for the nonce, a short additional&lt;br /&gt;
Act of Berlin was not framed providing in the first&lt;br /&gt;
place for obviously innocuous addenda and corri-&lt;br /&gt;
genda.&rdquo;&lt;br /&gt;
Could any suggestion be more fatal P The&lt;br /&gt;
result would have been that very complication he&lt;br /&gt;
so much fears. Some nations would adhere to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 279 (#343) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
279&lt;br /&gt;
Berne Convention only, some to the Berne Con-&lt;br /&gt;
vention and the Act of Paris only, and some to the&lt;br /&gt;
Berne Convention, the Act of Paris, and what&lt;br /&gt;
would have been the Act of Berlin. -&lt;br /&gt;
There is no doubt that the course the delegates&lt;br /&gt;
adopted was the best. They saw the awful compli-&lt;br /&gt;
cation of short additional Acts. In a bold spirit&lt;br /&gt;
they grappled with a difficult issue and adopted the&lt;br /&gt;
only Sane course, an entirely new Convention.&lt;br /&gt;
It is true that all countries may not at once be&lt;br /&gt;
able to adopt its tenets. For these the lesser Berne&lt;br /&gt;
Convention is left. But all Governments have&lt;br /&gt;
before them an ideal at which to aim, and we must&lt;br /&gt;
offer to the delegates our hearty congratulations on&lt;br /&gt;
the broad and statesmanlike manner in which they&lt;br /&gt;
have dealt with the question.&lt;br /&gt;
Again this bogey of uniformity seems to stir up&lt;br /&gt;
weird alarms in the writer in another direction :&lt;br /&gt;
&ldquo;Literary property itself is not homogeneous and&lt;br /&gt;
could, as regards the duration of copyright, usefully&lt;br /&gt;
be classified and differentiated. To claim protection&lt;br /&gt;
for life and fifty years for copyright property indis-&lt;br /&gt;
criminately is an insult to the public common sense.&lt;br /&gt;
Uniformity, whether international or domestic, can&lt;br /&gt;
be attempted at a cost which is wholly dispropor-&lt;br /&gt;
tionate to any practical advantages likely to result.&rdquo;&lt;br /&gt;
The whole turn of the article is one of alarm and&lt;br /&gt;
fear, but it leaves us unmoved. If the present&lt;br /&gt;
Government, or any Government, pass a bad copy-&lt;br /&gt;
right law, that may be their fault or the fault of the&lt;br /&gt;
contending parties in Great Britain.&lt;br /&gt;
But the full result of the work of the delegates&lt;br /&gt;
is satisfactory and praiseworthy. It certainly&lt;br /&gt;
would be an irreparable calamity, to quote the&lt;br /&gt;
alarmist again, if, &ldquo;in the effort to facilitate&lt;br /&gt;
international uniformity, we shattered the Anglo-&lt;br /&gt;
American Agreement, and split up British copy-&lt;br /&gt;
right into fractions.&rdquo;&lt;br /&gt;
But where is the need 2&lt;br /&gt;
INTERNATIONAL AGREEMENT.&lt;br /&gt;
PROFESSOR ROTHLISBERGER, in an article deal-&lt;br /&gt;
ing with the United States law and United States&lt;br /&gt;
piracy that appeared in Le Droit d&amp;#039;Auteur, refers&lt;br /&gt;
to English authors in the following terms:&mdash;&lt;br /&gt;
&ldquo;Let the English authors come out of their &lsquo;splendid&lt;br /&gt;
isolation,&rdquo; and attend the congresses where the moral and&lt;br /&gt;
material interests of the producers of intellectual works&lt;br /&gt;
are discussed ; let them organise, in accord with the&lt;br /&gt;
publishers, an opposition to the normal treatment of&lt;br /&gt;
which they are the victims; let them appeal to the&lt;br /&gt;
international solidarity which is very vital in the unionist&lt;br /&gt;
centres guided by the International Literary and Artistic&lt;br /&gt;
Association&mdash;and they will soon both obtain Satisfaction,&lt;br /&gt;
and render a greater service to the cause of copyright than&lt;br /&gt;
they can render by taking any extreme measures.&rdquo;&lt;br /&gt;
We do not quite understand to what Professor&lt;br /&gt;
Rothlisberger refers. If he refers to the yearly&lt;br /&gt;
Congresses held by the International Literary and&lt;br /&gt;
Artistic Association, we can only say that the&lt;br /&gt;
matter has been before the committee of the&lt;br /&gt;
Society of Authors on several occasions. The&lt;br /&gt;
Society cannot afford to pay a representative to&lt;br /&gt;
attend these Congresses. The result of the Con-&lt;br /&gt;
gresses appears to be more theoretical than practical.&lt;br /&gt;
The committee have found it impossible on various&lt;br /&gt;
former occasions to obtain volunteers to attend&lt;br /&gt;
each Congress, on account of the expense involved.&lt;br /&gt;
Authors are not a wealthy class.&lt;br /&gt;
If, however, Professor Rothlisberger refers to the&lt;br /&gt;
Berne, Paris and Berlin Congresses, we can only&lt;br /&gt;
reply that the matter rests with the Government.&lt;br /&gt;
It is true that the French Government (always&lt;br /&gt;
kind to literary and artistic productions) appointed&lt;br /&gt;
delegates from some of their most famous authors&lt;br /&gt;
to attend the Berlin Congress, but this was not&lt;br /&gt;
done by the British Government, though we are&lt;br /&gt;
pleased to know that Sir Henry Bergne, who did&lt;br /&gt;
represent Great Britain, was a valued member of&lt;br /&gt;
the committee of the society, and knew, from&lt;br /&gt;
holding this position, the views of authors and&lt;br /&gt;
of the society on the matter of legislation.&lt;br /&gt;
TENNYSON.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE first president of the Society of Authors&lt;br /&gt;
was a shy man and one who could not suffer&lt;br /&gt;
fools gladly. These two facts having been&lt;br /&gt;
made public property, there is no indiscretion or&lt;br /&gt;
bad taste in referring to them. There is, how-&lt;br /&gt;
ever, some danger that a reputation thus earned&lt;br /&gt;
may prove misleading. It may cause posterity,&lt;br /&gt;
who personally will be as interested, as we are, in&lt;br /&gt;
the personalities of great men, to be blind to one&lt;br /&gt;
important point. This point is one of which the&lt;br /&gt;
Society of Authors has every reason to be aware and&lt;br /&gt;
to be thankful for&mdash;his sense of good comradeship.&lt;br /&gt;
Tennyson, however reserved he might have been in&lt;br /&gt;
his intercourse with the world&mdash;&ldquo; the World, the&lt;br /&gt;
world, all ear and eye, and with such a foolish heart&lt;br /&gt;
to interpret eye and ear&rdquo;&mdash;however cordially he may&lt;br /&gt;
have hated fools and prigs, was, nevertheless,&lt;br /&gt;
essentially like his own Lancelot, &ldquo;a kindly man&lt;br /&gt;
moving among his kind.&rdquo; The loss which the&lt;br /&gt;
society has suffered from the death of George&lt;br /&gt;
Meredith calls this fact to mind. Nothing could&lt;br /&gt;
have shown Tennyson&amp;#039;s sense of good comradeship,&lt;br /&gt;
his loyalty to his craft, more forcibly than his&lt;br /&gt;
acceptance of the first presidency of the Society.&lt;br /&gt;
Now that the society is established as a recognised&lt;br /&gt;
force, now that its name is a household word with&lt;br /&gt;
all men and women who have to do with letters, we&lt;br /&gt;
are apt to forget that the early fostering of it was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 280 (#344) ############################################&lt;br /&gt;
&lt;br /&gt;
280&lt;br /&gt;
TISIE AUTISIOIR,&lt;br /&gt;
a period of doubt and dread to its parents. The&lt;br /&gt;
society in its early days was surrounded by enemies,&lt;br /&gt;
and, worse still, by indifferent and scoffing onlookers.&lt;br /&gt;
The enemies are not dead, but they have been&lt;br /&gt;
rendered powerless for evil. The indifference and&lt;br /&gt;
the scoffing still continue, but wax fainter. In&lt;br /&gt;
those days it was quite on the cards that the&lt;br /&gt;
Society would not live. It was therefore no small&lt;br /&gt;
thing for the greatest and most popular man of&lt;br /&gt;
letters of his day to lend the weight of his name to&lt;br /&gt;
support the Society in its first struggles for existence.&lt;br /&gt;
Had the Society of Authors perished, as its enemies&lt;br /&gt;
devoutly hoped it would, in a sea of ridicule, the&lt;br /&gt;
name and reputation of its first president must&lt;br /&gt;
have been involved in the fiasco and have suffered&lt;br /&gt;
loss accordingly. Tennyson knew this quite well&lt;br /&gt;
when his faith and courage and loyalty prompted&lt;br /&gt;
him to step forward at all risks to himself and to&lt;br /&gt;
cover the infant society with the shield of his great&lt;br /&gt;
influence. It was a splendid act of unselfishness,&lt;br /&gt;
a noble proof of the sense of good comradeship in&lt;br /&gt;
the heart of the man. That the infant has proved&lt;br /&gt;
itself an infant Hercules is largely due to the fact&lt;br /&gt;
that in its hour of need Lord Tennyson came&lt;br /&gt;
forward as its champion.&lt;br /&gt;
This sense of good fellowship we find reflected in&lt;br /&gt;
his work. His friendships were warm friendships&lt;br /&gt;
and loyal. &ldquo;Fitz&rdquo; and &ldquo;Brooks,&rdquo; above all Arthur&lt;br /&gt;
Hallam, have gained a posthumous fame, which&lt;br /&gt;
might otherwise have been denied to them, even to&lt;br /&gt;
Fitzgerald, had it not been for the association of their&lt;br /&gt;
names with that of Tennyson. Whether or no the&lt;br /&gt;
splendid monument which he raised to Arthur&lt;br /&gt;
Hallam will endure through the ages no one can&lt;br /&gt;
Say ; it has touched the hearts of millions of&lt;br /&gt;
sorrowful men and women in our times as nothing&lt;br /&gt;
else has touched them. But we are still too near&lt;br /&gt;
to Tennyson to be able to judge with any degree&lt;br /&gt;
of certainty of his work. While the touch of a&lt;br /&gt;
Vanished hand still lingers upon our hands, while&lt;br /&gt;
we feel the warmth of it and can even count the&lt;br /&gt;
Weakening pulse-beats, our judgment must perforce&lt;br /&gt;
be held in suspense. It is not for us&mdash;it will be&lt;br /&gt;
for Our children&amp;#039;s children&mdash;to say what is great,&lt;br /&gt;
What is permanent, for in this matter greatness and&lt;br /&gt;
permanency are the same, in his work. The judg-&lt;br /&gt;
ment of the future is the ordeal by fire through&lt;br /&gt;
which the work of every man must pass. Perhaps&lt;br /&gt;
very little, perhaps much more than we think of&lt;br /&gt;
Tennyson&amp;#039;s work will come out of this fire un-&lt;br /&gt;
Scathed. And yet we all find an irresistible&lt;br /&gt;
fascination, utterly idle as we know it to be, in&lt;br /&gt;
attempting to anticipate the judgment of futurity.&lt;br /&gt;
Whenever two or three men and women interested&lt;br /&gt;
in literature are gathered together, and fall into&lt;br /&gt;
talk of the work of Tennyson, they invariably come&lt;br /&gt;
to arguing among themselves, sometimes with con-&lt;br /&gt;
siderable bitterness, as to what will and what will&lt;br /&gt;
not endure. On one point all are agreed, and that&lt;br /&gt;
is with regard to some of the lyrics.&rdquo; &ldquo;A handful,&lt;br /&gt;
a Gargantuan handful,&rdquo; as a writer in the T&ordm;mas&lt;br /&gt;
recently put it, will live. This is common ground&lt;br /&gt;
of agreement. Exactly which lyrics they are upon&lt;br /&gt;
which this anticipated immortality is to be conferred&lt;br /&gt;
is a matter of dispute. Generally it is felt that&lt;br /&gt;
this &ldquo;handful&rdquo; will be drawn mainly from his&lt;br /&gt;
earlier lyrical work, with, of course, &ldquo;Sunset and&lt;br /&gt;
Evening. Star,&rdquo; and that wonderful piece of bird&lt;br /&gt;
music &ldquo;The Thrush.&rdquo; But here must all guess-&lt;br /&gt;
work stop. Will &ldquo;Maud&rsquo; live 2&ndash;4 Maud,&rdquo; which&lt;br /&gt;
is commonly regarded as the greatest of his more&lt;br /&gt;
ambitious efforts&mdash;or &ldquo;The Idylls,&rdquo; which have&lt;br /&gt;
appealed so strongly to the imaginations of two&lt;br /&gt;
generations P or &ldquo;In Memoriam,&rdquo; in which the&lt;br /&gt;
men and women of his day found their cloudy hopes&lt;br /&gt;
and fears, their dim aspirations and doubtings,&lt;br /&gt;
minted into &ldquo;current coin&rdquo;? Who can say? Mean:&lt;br /&gt;
While, of this we can bear witness, that loyalty&mdash;a&lt;br /&gt;
loyalty to his friends which never failed, a loyalty&lt;br /&gt;
shown in innumerable passages in his poetry, a&lt;br /&gt;
loyalty to the best and highest traditions of his&lt;br /&gt;
Country, a loyalty to his fellow men of letters&mdash;was&lt;br /&gt;
the characteristic mark of the first president of the&lt;br /&gt;
Society of Authors.&lt;br /&gt;
E. P. L.&lt;br /&gt;
* *&ordm;-&lt;br /&gt;
AUTHORS&rsquo; AGENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
WAS much interested in an article on the&lt;br /&gt;
literary agent, by &ldquo;X. Y. Z.,&rdquo; which was&lt;br /&gt;
printed in a recent issue of The Author. The&lt;br /&gt;
Writer takes as his text Mr. H. G. Wells&amp;#039;s remark&lt;br /&gt;
that the agent is an &ldquo;indispensable middleman,&rdquo;&lt;br /&gt;
and in two columns bristling with arguments, he&lt;br /&gt;
endeavours to show that to the majority of authors&lt;br /&gt;
an agent is a serious handicap. Now, the question&lt;br /&gt;
of the employment or non-employment of the agent&lt;br /&gt;
is one of great importance to all classes of writers,&lt;br /&gt;
and therefore it is well worth while to examine&lt;br /&gt;
the arguments brought forward by &ldquo;X. Y. Z.&rdquo; in&lt;br /&gt;
his attempt to prove the uselessness of the agent.&lt;br /&gt;
&ldquo;X. Y. Z.&rdquo; naturally draws on his own experience,&lt;br /&gt;
which is limited to dealings during fifteen months&lt;br /&gt;
with one agent, who is, he says, &ldquo;one of the best&lt;br /&gt;
known men in his profession.&rdquo; This agent may&lt;br /&gt;
be well known, but, according to &ldquo;X. Y. Z.,&rdquo; he&lt;br /&gt;
is not conscientious, for after selling the serial&lt;br /&gt;
rights of a novel, he &ldquo;made no attempt to place&lt;br /&gt;
the story as a volume.&rdquo; Of the five long stories&lt;br /&gt;
entrusted to this man, all that he could do was to&lt;br /&gt;
place the serial rights of one for &pound;30; the author,&lt;br /&gt;
however, withdrawing the remaining manuscripts,&lt;br /&gt;
placed the serial and book rights of one, the serial&lt;br /&gt;
rights of another, and cannot dispose of any rights&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 281 (#345) ############################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR.&lt;br /&gt;
281&lt;br /&gt;
in the other two. Of sixteen short stories the&lt;br /&gt;
agent sold the British serial rights of three for,&lt;br /&gt;
respectively, &pound;10 10s, &pound;412s. 6d., and &pound;7 18. 9d. ;&lt;br /&gt;
and the author subsequently sold the British serial&lt;br /&gt;
rights of one for &pound;8 5s., all serial rights of another&lt;br /&gt;
for &pound;15 15s., and the copyrights of others for&lt;br /&gt;
&pound;3. 3s., &pound;1 10s., &pound;1 1s., &pound;2 2s., and &pound;3 38.&lt;br /&gt;
&ldquo;X. Y. Z.&rdquo; does not see that the agent had made&lt;br /&gt;
the author&amp;#039;s task easier by sending him lists of the&lt;br /&gt;
papers where the stories had been offered and&lt;br /&gt;
rejected ; nor does he comment upon the fact that&lt;br /&gt;
the agent had offered six stories he could not&lt;br /&gt;
dispose of to no less than fifty-one editors.&lt;br /&gt;
I have given these statistics because they are&lt;br /&gt;
essential to the forming of a conclusion as to the&lt;br /&gt;
position, from the financial point of view, of&lt;br /&gt;
&ldquo;X. Y. Z.,&rdquo; though this would have been made still&lt;br /&gt;
more clear if &ldquo; K. Y. Z.&rdquo; had mentioned the length&lt;br /&gt;
of the stories, for short stories may be anything&lt;br /&gt;
from 1,200 to, say, 7,000 words. My contention&lt;br /&gt;
is that an author who has to submit, through his&lt;br /&gt;
agent and himself, one short story nine times&lt;br /&gt;
before selling the copyright for &pound;1 10s., and&lt;br /&gt;
another twenty-nine times before obtaining an&lt;br /&gt;
offer for the copyright of &pound;1 1s., which he is &ldquo;very&lt;br /&gt;
glad to get,&rdquo; is wrong to employ an agent. What-&lt;br /&gt;
ever his literary merits may be, he has, practically&lt;br /&gt;
speaking, no commercial value ; and, until there&lt;br /&gt;
is a demand for his work, he can do as well for&lt;br /&gt;
himself as any agent can do for him. I must&lt;br /&gt;
confess I cannot understand how an agent, &ldquo;one of&lt;br /&gt;
the best known men in his profession,&rdquo; who does&lt;br /&gt;
not ask for an advance fee, can have thought it&lt;br /&gt;
worth while to have accepted such a client, a client&lt;br /&gt;
for whom he has to submit, without result, four&lt;br /&gt;
short stories in thirty-two quarters, the copyrights&lt;br /&gt;
of which are afterwards disposed of by the author for&lt;br /&gt;
the total sum of &pound;716s. I go further, and say that,&lt;br /&gt;
unless he had great faith in the literary qualities of&lt;br /&gt;
&ldquo;X. Y. Z.&rdquo; to work, he had no right, either in&lt;br /&gt;
justice to himself or the author, to accept such a&lt;br /&gt;
client. In support of this, let me quote from an&lt;br /&gt;
article in the Fortnightly Review for August, 1906,&lt;br /&gt;
on &ldquo;The Commercialisation of Literature and the&lt;br /&gt;
Literary Agent,&rdquo; by Mr. Curtis Brown, who writes&lt;br /&gt;
with a thorough knowledge of the subject :&mdash;&lt;br /&gt;
&ldquo;Much that has been written about the literary&lt;br /&gt;
agent has been futile, because the writers have not&lt;br /&gt;
understood that authors can be divided into two&lt;br /&gt;
classes: first, those whose work the publisher&lt;br /&gt;
doesn&rsquo;t particularly want ; and second, those whose&lt;br /&gt;
work the publisher does want, or would want if he&lt;br /&gt;
knew of it; and that it is only with the second&lt;br /&gt;
class that a sound literary agent has, or should&lt;br /&gt;
have, to do. Unless an author&amp;#039;s work gives decided&lt;br /&gt;
promise, he is of little interest to the publisher, or&lt;br /&gt;
to the first-class agent. No agent, except one who&lt;br /&gt;
takes &lsquo;retainers,&rsquo; can afford to spend much time&lt;br /&gt;
over him. He can generally find a market for his&lt;br /&gt;
Work as well as a good agent, and better than a&lt;br /&gt;
bad agent ; and he can afford a more thorough&lt;br /&gt;
canvass than either. . . . The only agent who&lt;br /&gt;
really counts, either for the author, or with the&lt;br /&gt;
publisher, or with his own banker, is the one who&lt;br /&gt;
sells the kind of work for which publishers are in&lt;br /&gt;
competition, and who takes advantage of that&lt;br /&gt;
competition to get the best market price for the&lt;br /&gt;
author.&rdquo;&lt;br /&gt;
Here we have the case in a nutshell, and put so&lt;br /&gt;
clearly and forcibly that it is unnecessary to com-&lt;br /&gt;
ment on it; it is quoted here as an effective&lt;br /&gt;
rejoinder to &ldquo; X. Y. Z.&rdquo; It is worth no first-class&lt;br /&gt;
agent&amp;#039;s while to offer short stories the copyright of&lt;br /&gt;
which the author disposes of for a guinea, which&lt;br /&gt;
he is &ldquo;glad to get.&rdquo; We are all of us glad to get&lt;br /&gt;
guineas, but to obtain a guinea by selling the copy-&lt;br /&gt;
right of a short story, however welcome the guinea&lt;br /&gt;
may be, would leave most writers anything but&lt;br /&gt;
gay.&lt;br /&gt;
All sorts of stories are told to the discredit of&lt;br /&gt;
agents. A publisher told me of one who offered&lt;br /&gt;
him a novel at a high price, and told him that five&lt;br /&gt;
thousand copies of the author&amp;#039;s last book had been&lt;br /&gt;
Sold. The publisher, being suspicious, made&lt;br /&gt;
inquiries, and learnt that the sales amounted to&lt;br /&gt;
about six hundred copies. Now, by such a lie, an&lt;br /&gt;
agent might get a big royalty, with a considerable&lt;br /&gt;
sum on account&mdash;he might get this once from a&lt;br /&gt;
publisher too trusting to doubt his statement, or&lt;br /&gt;
too careless to require such corroboration as could&lt;br /&gt;
be afforded by a sight of the statement of sales of&lt;br /&gt;
the last book of the author in question. This&lt;br /&gt;
particular publisher was too shrewd to be caught&lt;br /&gt;
napping ; but suppose he had been, if the agent&lt;br /&gt;
had put his statement in writing, or uttered it&lt;br /&gt;
before a third person, would not an action lie for&lt;br /&gt;
the recovery of money obtained by fraudulent mis-&lt;br /&gt;
representation ? Anyhow, the most wily agent&lt;br /&gt;
could never in this way trick even the most confiding&lt;br /&gt;
publisher twice. I hear, too, of agents who are&lt;br /&gt;
careless in their contracts, and when the author, in&lt;br /&gt;
consequence, gets into difficulty, try to keep him&lt;br /&gt;
from consulting the Society, so that their faults&lt;br /&gt;
shall not be exposed; of dishonest agents, who mis-&lt;br /&gt;
represent the sums they receive; and of others who&lt;br /&gt;
are really publishers&amp;#039; agents in disguise, and try at&lt;br /&gt;
the expense of their clients to favour the firm with&lt;br /&gt;
which either directly or indirectly their interests&lt;br /&gt;
are allied.&lt;br /&gt;
It would be impertinent for me to warn other&lt;br /&gt;
authors against these classes of agents, and, indeed,&lt;br /&gt;
such a warning could only be effective if names&lt;br /&gt;
were given. There is yet another class of agent&lt;br /&gt;
dangerous to the author, and that is the good man&lt;br /&gt;
of business, absolutely honest, yet a trifle careless&lt;br /&gt;
and somewhat dilatory. The man is probably too&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 282 (#346) ############################################&lt;br /&gt;
&lt;br /&gt;
282&lt;br /&gt;
THE AUTEIOR*.&lt;br /&gt;
valuable to be abandoned, for the really first-class&lt;br /&gt;
agents with a connection in England and America&lt;br /&gt;
can be counted on the fingers of one hand ; and,&lt;br /&gt;
with a trifle of that tact for which authors are so&lt;br /&gt;
distinguished, he can usually be induced to do his&lt;br /&gt;
best.&lt;br /&gt;
Disraeli said that every country has the Jews it&lt;br /&gt;
deserves, and perhaps I may venture to say that&lt;br /&gt;
every author has the agent he deserves. The&lt;br /&gt;
truth of the matter is that an author selects an&lt;br /&gt;
agent with far less discrimination than he selects&lt;br /&gt;
his tailor, usually because he does not recognise&lt;br /&gt;
that once his work is a marketable commodity of&lt;br /&gt;
some importance the agent is a most valuable&lt;br /&gt;
instrument. He would not dream of appointing&lt;br /&gt;
as an executor a man of whom he knows little or&lt;br /&gt;
nothing ; but, with a minimum of inquiry, or even&lt;br /&gt;
the chance word of an acquaintance, he will make&lt;br /&gt;
over to some agent the disposal of his literary&lt;br /&gt;
work ; whereas, if I may so put it, it is really&lt;br /&gt;
so much more important to choose with care one&amp;#039;s&lt;br /&gt;
doctor than one&amp;#039;s undertaker.&lt;br /&gt;
TIEWIS MELVILLE.&lt;br /&gt;
j&ordm; -*- ſ&ordm;-&lt;br /&gt;
&mdash;s&ordm;-w-&lt;br /&gt;
ON READING ALOUD.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S I listened a little while since to a literary&lt;br /&gt;
man of eminence whose foible it is to&lt;br /&gt;
play the garrulous autobiographer in mixed&lt;br /&gt;
company, he grumbled to me that one of his&lt;br /&gt;
recent hosts in the country had the detestable&lt;br /&gt;
habit of reading aloud in the evening, to the&lt;br /&gt;
ruin of good talk. I can conceive of Dr. Johnson&lt;br /&gt;
uttering a similar complaint, with a blunter dogma-&lt;br /&gt;
tism, and that naturally causes one to examine the&lt;br /&gt;
situation more closely, since one has the suspicion&lt;br /&gt;
at the back of one&amp;#039;s mind that the Doctor was&lt;br /&gt;
never wrong ; and yet none the less my own feeling&lt;br /&gt;
is that it is in such a house that I should like to stay.&lt;br /&gt;
For some of the pleasantest memories I shall ever&lt;br /&gt;
have are connected with reading aloud, and so&lt;br /&gt;
little do I think the habit detestable that I once&lt;br /&gt;
meditated bringing together in one book a collec-&lt;br /&gt;
tion of extracts suitable for reading aloud at odd&lt;br /&gt;
times, for the use of those derelicts (like myself)&lt;br /&gt;
who like to be lulled by the human voice. As a&lt;br /&gt;
child I heard much of Dickens in this way, all&lt;br /&gt;
Jacob Abbott (whom I adored), Ruskin&rsquo;s &ldquo;King&lt;br /&gt;
of the Golden River,&rdquo; together with a host of&lt;br /&gt;
other stories which I have since discovered had&lt;br /&gt;
little charm of their own, but which read in those&lt;br /&gt;
gentle tones&mdash;in that sweet monotony&mdash;were more&lt;br /&gt;
fascinating than any of the music to which one&amp;#039;s&lt;br /&gt;
adult ears have listened.&lt;br /&gt;
I hope that reading aloud will continue to be&lt;br /&gt;
encouraged in schools, against the revival of&lt;br /&gt;
interest in it that the swing of the pendulum&lt;br /&gt;
should ensure. My own schooldays in several&lt;br /&gt;
establishments were sweetened by it, although&lt;br /&gt;
the example of the master who was most addicted&lt;br /&gt;
to this pleasant art may be held to have been&lt;br /&gt;
a little dangerous. He was a handsome and (I&lt;br /&gt;
now conjecture) profligate Scotchman, with a&lt;br /&gt;
world&amp;#039;s record for some athletic feat&mdash;I think for&lt;br /&gt;
throwing the hammer&mdash;and a tendency to be on&lt;br /&gt;
sponging terms with the older boys and frankly&lt;br /&gt;
piratical terms with the younger, for he still&lt;br /&gt;
possesses (or at least I do not) a silver pencil of&lt;br /&gt;
mine to which he took a fancy. What branch of&lt;br /&gt;
learning he had under his control I forget&lt;br /&gt;
completely, but what I can remember, with&lt;br /&gt;
minute fidelity, is the entertainment that he&lt;br /&gt;
substituted for it ; for it was his genial and&lt;br /&gt;
popular habit to place beneath the text-book&lt;br /&gt;
from which he should have instructed us&mdash;and&lt;br /&gt;
indeed did affect to instruct us when any authority&lt;br /&gt;
or a messenger from another class-room entered&lt;br /&gt;
&mdash; either a play of Shakespeare or a novel of&lt;br /&gt;
Ouida (his two authors), from one of which he&lt;br /&gt;
read to us with fine feeling so long as the coast&lt;br /&gt;
was clear. He was a born reader, his only fault&lt;br /&gt;
being that he felt too much, and I can still see&lt;br /&gt;
the tears streaming down his face over &ldquo;A Leaf&lt;br /&gt;
in the Storm&rsquo;&rsquo; and &ldquo;A Dog of Flanders,&rdquo; and other&lt;br /&gt;
pathetic histories by that generous romantic crea-&lt;br /&gt;
ture, now cold, who in the seventies was read&lt;br /&gt;
from the Thames to Tokio, wherever Englishmen&lt;br /&gt;
assembled.&lt;br /&gt;
I wonder where you are now, sir? You may&lt;br /&gt;
Reep my pencil. -&lt;br /&gt;
Later, it was my fortune&mdash;reading aloud being&lt;br /&gt;
still a cultivated art&mdash;to hear both the brave and&lt;br /&gt;
spirited Brandram and the wistful Clifford Harrison.&lt;br /&gt;
Brandram I most esteemed, and I look round&lt;br /&gt;
among the entertainers to-day for any who com-&lt;br /&gt;
pensate us for his loss or give anything as good.&lt;br /&gt;
Samuel Brandram alone at his desk reading Shake-&lt;br /&gt;
speare or Dickens could be as arresting as an actor&lt;br /&gt;
with all the accessories of stage illusion. I was&lt;br /&gt;
born too late to hear Dickens in person, but I once&lt;br /&gt;
heard his son, who, however, came far behind&lt;br /&gt;
Brandram. Will authors ever again read their&lt;br /&gt;
works in public 2 Will there ever again be penny&lt;br /&gt;
readings 2 I had the idea a few years ago of&lt;br /&gt;
trying to induce a comedian to read &ldquo;Mr. Dooley&rdquo;&lt;br /&gt;
in a music hall, just as an experiment, but no one&lt;br /&gt;
thought anything of the project.&lt;br /&gt;
It is perhaps a little alarming for me to be&lt;br /&gt;
Saying so much of the professionals&mdash;the readers&lt;br /&gt;
who are not ashamed either of displaying emotion&lt;br /&gt;
or of rising to the innocent falsetto in which&lt;br /&gt;
Brandram used to pitch the remarks of Master&lt;br /&gt;
Harry Walmers, junior, in the story of &ldquo;Boots at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 283 (#347) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
283&lt;br /&gt;
the Holly Tree Inn.&rdquo; For the reading aloud that&lt;br /&gt;
really counts is such reading as so exasperated my&lt;br /&gt;
friend the autobiographer when he was staying in&lt;br /&gt;
the country and wanted to talk: reading by readers&lt;br /&gt;
who have no dramatic gift whatever, intelligent&lt;br /&gt;
humorous persons of kindly nature (this of course&lt;br /&gt;
goes with the art) without vocal modulation or&lt;br /&gt;
mimicry. For such the ironical authors are the&lt;br /&gt;
best&mdash;Arnold, for example, in &ldquo;Friendship&amp;#039;s Gar-&lt;br /&gt;
land,&rdquo; which reads aloud wonderfully, or that essay&lt;br /&gt;
by him on America that appeared in the Nineteenth&lt;br /&gt;
Century in the month in which he died, and has, I&lt;br /&gt;
believe, never been republished, possibly out of con-&lt;br /&gt;
sideration (surely an over - sensitiveness) for the&lt;br /&gt;
feelings of the nation under the switch. If any&lt;br /&gt;
one wants an agreeable half-hour let him procure&lt;br /&gt;
that number of the Wineteenth Century and turn to&lt;br /&gt;
an article entitled &ldquo;Civilization in the United&lt;br /&gt;
States,&rdquo; and having mastered it let him then read&lt;br /&gt;
it aloud to a congenial company. Bagehot is&lt;br /&gt;
almost everywhere good to read aloud, but for&lt;br /&gt;
a trial trip begin with his diverting account of&lt;br /&gt;
Crabb Robinson. Leslie Stephen in places could&lt;br /&gt;
not be better, but too much did he control his&lt;br /&gt;
mischief. Gibbon goes admirably for a while, but&lt;br /&gt;
monotony is soon inevitable from the see-saw&lt;br /&gt;
symmetry of his sentences. Goldsmith is always&lt;br /&gt;
good. Heine&amp;#039;s prose in Leland&amp;#039;s translation is&lt;br /&gt;
easy to the unemotional reader and of course&lt;br /&gt;
immensely diverting and awakening. Hazlitt&lt;br /&gt;
reads aloud almost as well as any man ; but to&lt;br /&gt;
read Lamb aloud is a mistake&mdash;you want your eye&lt;br /&gt;
on the words and the stops: an intermediary breaks&lt;br /&gt;
the chain. Cowper&amp;#039;s letters are perfect.&lt;br /&gt;
Other good books for the undramatic reader&lt;br /&gt;
occur to me&mdash;and there is little point in suggest-&lt;br /&gt;
ing material for the others, since their gifts&lt;br /&gt;
can re-create anything, and is not all Dickens&lt;br /&gt;
to hand, never to be exhausted, and Thackeray,&lt;br /&gt;
and Mr. Hardy (but not Mr. Meredith : let no one&lt;br /&gt;
think to obtain him vicariously l), and the adorable&lt;br /&gt;
W. W. Jacobs and the Misses Somerville and Ross P&lt;br /&gt;
But, as I say, there is no need to name the writers&lt;br /&gt;
that require from the reader something of the&lt;br /&gt;
actor&amp;#039;s treatment. Among other good books for&lt;br /&gt;
the reader with but one voice and one manner, and&lt;br /&gt;
no desire for creation, I would name Stevenson&amp;#039;s&lt;br /&gt;
&ldquo;Fables&rdquo; and Dr. Garnett&amp;#039;s stories in &ldquo;The&lt;br /&gt;
Twilight of the Gods,&rdquo; particularly that little&lt;br /&gt;
masterpiece, beyond (I think) even Anatole France,&lt;br /&gt;
entitled &ldquo;Abdallah the Adite,&rdquo; and Mr. Whiteing&amp;#039;s&lt;br /&gt;
early satire &ldquo;The Island,&rdquo; and a book of genuine&lt;br /&gt;
stealthy fun that was published some ten years ago&lt;br /&gt;
under the title &ldquo;The Wallet of Kai Lung,&rdquo; in&lt;br /&gt;
which irresistible use is made of the mechanism of&lt;br /&gt;
Chinese courtesy by an author possessed of true&lt;br /&gt;
humour.&lt;br /&gt;
And what of the reader P Ah, there, I think,&lt;br /&gt;
we touch upon great virtue. If I were the Record-&lt;br /&gt;
ing Angel I would be very gentle with readers&lt;br /&gt;
aloud, whatever they had done at other times: not&lt;br /&gt;
Only from a general admiration of their kindness,&lt;br /&gt;
but from my own particular private horror of the&lt;br /&gt;
suffering which my own reading aloud costs me.&lt;br /&gt;
It makes me hoarse, it makes me sleepy beyond&lt;br /&gt;
drugs, and it twists my tongue, after a little, more&lt;br /&gt;
than anything ever sung by Mr. Wilkie Bard. And,&lt;br /&gt;
lacking the needful power of seeing two lines ahead&lt;br /&gt;
(as John Roberts used to see two cannons ahead), I&lt;br /&gt;
am continually falling into wrong stresses and mis-&lt;br /&gt;
understandings, which annoy me like little stings.&lt;br /&gt;
But the intense physical weariness which reading&lt;br /&gt;
aloud produces&mdash;the yawns and the irritations&mdash;&lt;br /&gt;
this is often so bad that I never reach the late&lt;br /&gt;
stages at all. Hence a veneration of the patient&lt;br /&gt;
untiring reader aloud which I am unable fittingly&lt;br /&gt;
to express.&lt;br /&gt;
E. W. LUCAS.&lt;br /&gt;
THE NOVEL OF THE FUTURE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NE of the oldest similes in the world compares&lt;br /&gt;
human life to a tree, with its roots planted&lt;br /&gt;
deep in the organic life of the past, its&lt;br /&gt;
highest leaves quivering in the winds that herald&lt;br /&gt;
the future, its branches lightning-struck in parts&lt;br /&gt;
by war and revolution, but its firm trunk still acting&lt;br /&gt;
as a channel to convey the sap of life from the roots&lt;br /&gt;
of instinct. And, like the tell-tale grove of King&lt;br /&gt;
Midas, it is the leaves that reveal the story of the&lt;br /&gt;
tree&amp;#039;s inner life, by them we judge of the activity&lt;br /&gt;
or sloth of the force that works at the heart of each&lt;br /&gt;
cell. The tree of life, too, has its whispering leaves.&lt;br /&gt;
We find them in the arts, which are always the&lt;br /&gt;
clearest index of the power of the life-force at every&lt;br /&gt;
period of human history. The Middle Ages, seeing&lt;br /&gt;
existence as a conflict of spirit and matter, give us,&lt;br /&gt;
for art, the Lives of the Saints and the Gothic&lt;br /&gt;
Cathedral, with its frozen vision of forces arrested&lt;br /&gt;
in infinite forms of conflict ; the Renaissance, rioting&lt;br /&gt;
in the pride of life, throws down the gauntlet in&lt;br /&gt;
challenge to all the passions. So it is with every&lt;br /&gt;
period whose arts have come down to us, for the&lt;br /&gt;
tree of life is always in foliage somewhere.&lt;br /&gt;
Intellectually we are now closing one age and&lt;br /&gt;
rapidly entering upon another. . We have come to&lt;br /&gt;
the end of a great age of analysis; we are starting&lt;br /&gt;
on a time when linking, synthesis, will be the main&lt;br /&gt;
preoccupation of all thinkers and practical men.&lt;br /&gt;
The scientist, having carried the analysis of matter,&lt;br /&gt;
as we know it, to the confines where it impinges on&lt;br /&gt;
matter that to our senses is half spiritual, finds&lt;br /&gt;
himself at the jumping-off place, where he must&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 284 (#348) ############################################&lt;br /&gt;
&lt;br /&gt;
284&lt;br /&gt;
THE A DITISIOR.&lt;br /&gt;
either stop or penetrate into the unknown fastnesses&lt;br /&gt;
of the unseen. By a reverse process, the religious&lt;br /&gt;
thinker finds himself brought up sharp by problems&lt;br /&gt;
of physical science whenever he deals with the&lt;br /&gt;
question of personal responsibility. In politics&lt;br /&gt;
and economics, beneath the forces that make for&lt;br /&gt;
war, there moves the ever-stronger spirit that&lt;br /&gt;
draws nation to nation and race to race.&lt;br /&gt;
As always, this special feature of our time is&lt;br /&gt;
beginning to be reflected in our arts, and particularly&lt;br /&gt;
in that most vivid art of all&mdash;literature : the most&lt;br /&gt;
vivid and therefore the most indiscreet, for it is&lt;br /&gt;
still in the spoken, or in its offspring, the written&lt;br /&gt;
word, that the most intimate Secrets are told. For,&lt;br /&gt;
although music seems to be able to tell us the way&lt;br /&gt;
we came, literature can tell us that much more&lt;br /&gt;
interesting thing, the way we are going, by showing&lt;br /&gt;
us the birth of our ideals, the vague ideals, as yet&lt;br /&gt;
unrealised, that will be the every-day principles of&lt;br /&gt;
our descendants.&lt;br /&gt;
And with the dawn of democracy and the conse-&lt;br /&gt;
quent vast increase in the number of the articulate&lt;br /&gt;
classes, it is the novel that has become the chief&lt;br /&gt;
mouthpiece of letters, for in an age when literature&lt;br /&gt;
has left the study for the street, the workshop, the&lt;br /&gt;
villa and the factory, it can no longer move in the&lt;br /&gt;
strict bonds of academic rule, but will adopt as its&lt;br /&gt;
mode of expression the widest form of art that is&lt;br /&gt;
consonant with definite expression at all. This&lt;br /&gt;
form of art is the story.&lt;br /&gt;
Looking backward over the literary history of&lt;br /&gt;
Europe since the fall of the Roman Empire, we find&lt;br /&gt;
four great outstanding cycles of story, each express-&lt;br /&gt;
ing the ideal of the age that evolved it : first, the&lt;br /&gt;
Lives of the Saints, developing for fourteen centuries&lt;br /&gt;
the ideal of bodily purity; second, the tales of the&lt;br /&gt;
trouv&egrave;res with their vision of chivalry; third, the&lt;br /&gt;
romances and dramas of the sixteenth century with&lt;br /&gt;
their incarnation of the love of life; and finally, the&lt;br /&gt;
novel of the last two centuries, which, linked with&lt;br /&gt;
that of our time, is probably destined to become&lt;br /&gt;
the most vital of the whole series.&lt;br /&gt;
At first sight there would seem to be one feature&lt;br /&gt;
in which the fiction of this last cycle is notably&lt;br /&gt;
lacking, namely, in a central point round which its&lt;br /&gt;
works can centre. For the task of the three former&lt;br /&gt;
cycles was to incarnate in a typical figure the ideals&lt;br /&gt;
of the time, to personify the thought-form its love&lt;br /&gt;
had created ; in the romances of the trouv&egrave;res it&lt;br /&gt;
was the knight ; in the Renaissance tale, the lover ;&lt;br /&gt;
in the Lives of the Saints, those lonely figures who&lt;br /&gt;
haunt desert shrines or crouch on pillars of pain.&lt;br /&gt;
But where is the ideal figure who emerges from&lt;br /&gt;
the groaning shelves on which are stacked the&lt;br /&gt;
novels that start with Defoe, and continue with&lt;br /&gt;
Tolstoy, with George Meredith, with Thomas&lt;br /&gt;
Hardy, with Bj&ouml;rnson and Anatole France and&lt;br /&gt;
with the younger descendants of these ?&lt;br /&gt;
It is neither saint nor sinner, weakling nor&lt;br /&gt;
Hercules, the figure that steps down from these&lt;br /&gt;
shelves, but a compound of all these, the compound&lt;br /&gt;
called man. For the age that begins in 1776 with&lt;br /&gt;
a discussion of the common basis of the physical&lt;br /&gt;
life of man in the &ldquo;Wealth of Nations,&rdquo; that&lt;br /&gt;
blazes into a lava flood in the liberty, equality and&lt;br /&gt;
fraternity of 1789, the ideal task is to clothe in&lt;br /&gt;
flesh and blood the essential qualities of the human.&lt;br /&gt;
Hence it is neither knight, nor lover, nor saint,&lt;br /&gt;
but man per se, that is the type figure of this age&amp;#039;s&lt;br /&gt;
fiction. In other words, the task of the novelist&lt;br /&gt;
to-day is synthetic : he has to link knight and lover&lt;br /&gt;
and Saint into one conception, for man is all these,&lt;br /&gt;
and many more things than these.&lt;br /&gt;
And to carry out his work he must strive in the&lt;br /&gt;
most secret places of the heart of man. In that&lt;br /&gt;
fact lies the key to the whole future of the novel&lt;br /&gt;
as a work of art. The school that began with a&lt;br /&gt;
life-like chronicle of the most commonplace happen-&lt;br /&gt;
ings, that was a matter of tool-boxes, umbrellas&lt;br /&gt;
and wheat-grains in Defoe, that became with&lt;br /&gt;
Richardson an analysis of sentiment and a bluff&lt;br /&gt;
picture of lusty happenings in Fielding, is destined&lt;br /&gt;
to follow in the paths of science and deal with the&lt;br /&gt;
very atom of the soul of man. But in saying that&lt;br /&gt;
what may be called &ldquo;the master-novel&rdquo; will become&lt;br /&gt;
more and more psychological, we by no means&lt;br /&gt;
exclude the social novels of manners: these&lt;br /&gt;
&ldquo;abstract and brief chronicles&rdquo; will still continue&lt;br /&gt;
to perform the service they have always performed&lt;br /&gt;
&mdash;the widening of the bonds of sympathy and&lt;br /&gt;
comprehension between class and class, between&lt;br /&gt;
type and type&mdash;but they will take the psychological&lt;br /&gt;
conclusions, the laws of character, given them by the&lt;br /&gt;
deeper novels, much as the compiler of a text-book&lt;br /&gt;
uses the conclusions of a great scientist. The&lt;br /&gt;
social and political novels will be the manuals of&lt;br /&gt;
human biology, but the masters will devote their&lt;br /&gt;
energies to other work&mdash;to the great spiritual&lt;br /&gt;
pictures that stand out in the sphere of human&lt;br /&gt;
investigation, like &ldquo;The Origin of Species,&rdquo; or&lt;br /&gt;
&ldquo;The Data of Ethics&rdquo; in other fields.&lt;br /&gt;
But if the goal be one for all these teachers&lt;br /&gt;
through story, the methods of approaching it are&lt;br /&gt;
as varied as their personalities. Meredith takes&lt;br /&gt;
the keen blade of wit to pierce the mind of man.&lt;br /&gt;
Hardy shows his soul winnowed by the flails of&lt;br /&gt;
fate, Bj&ouml;rnson reveals it as woven in the looms of&lt;br /&gt;
heredity, while Anatole France steeps it in the&lt;br /&gt;
testing solution of his irony, and Tolstoy lays&lt;br /&gt;
violent hands on the chords of his heart. For the&lt;br /&gt;
story is of all forms of art the widest in its appeal.&lt;br /&gt;
It can plunge us in fathomless seas of evil, or lift&lt;br /&gt;
us on the wings of holiness, and for this reason&lt;br /&gt;
story-telling in the past has always been the key&lt;br /&gt;
wherewith the wayfaring man has unlocked his&lt;br /&gt;
heart.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 285 (#349) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A DITFIOR,&lt;br /&gt;
285&lt;br /&gt;
In some southern cities it is usual before a bull-&lt;br /&gt;
fight for the band to go through the streets playing&lt;br /&gt;
a peculiar tune over and over again. After a short&lt;br /&gt;
time strangers who have no inherited associations&lt;br /&gt;
with its message yet come under its spell. They,&lt;br /&gt;
like the citizens, are seized with the thirst for&lt;br /&gt;
blood, they long to see death and suffering. Many&lt;br /&gt;
stories have that power, the power of a Savage&lt;br /&gt;
tune. -&lt;br /&gt;
Take a second instance: a picture of a grey Sea,&lt;br /&gt;
of waves heaving under a cloud-cap that allows no&lt;br /&gt;
ray of sunlight to pierce it. It is a monochrome&lt;br /&gt;
by Claud Monet, and as one looks, one knows why,&lt;br /&gt;
in writing of Eternity, it was expressly said that&lt;br /&gt;
there shall be no sea there, for this is a visual&lt;br /&gt;
representation of the sorrow of the sea. A few&lt;br /&gt;
stories produce the effect of this monochrome, and&lt;br /&gt;
between the noble wonder at the awe of desert&lt;br /&gt;
places and the base kinship of Savagery lies the&lt;br /&gt;
whole gamut of human emotion&mdash;the novelist&amp;#039;s&lt;br /&gt;
province. It is a goodly heritage.&lt;br /&gt;
M. P. WILLCOCKS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&mdash;&lt;br /&gt;
MANUSCRIPT 2 OR WASTE PAPER 2&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THINK I have shown, in a former paper, the&lt;br /&gt;
desirability of compelling reviewers to sign&lt;br /&gt;
their articles. The value of a literary notice&lt;br /&gt;
depends entirely on the name of the writer; and&lt;br /&gt;
author and public have a right to this guarantee to&lt;br /&gt;
the worth of a review. -&lt;br /&gt;
I now call attention to several other points on&lt;br /&gt;
which professional writers are placed in a very&lt;br /&gt;
different position from that of the members of any&lt;br /&gt;
other learned vocation. -&lt;br /&gt;
In the first place, the intrinsic value of a MS. is&lt;br /&gt;
scarcely admitted by English law. If &ldquo;a common&lt;br /&gt;
carrier&amp;quot; (e.g., a railway company) loses a MS., the&lt;br /&gt;
sender has no claim unless he declares the value to&lt;br /&gt;
be over &pound;10 and pays carriage accordingly at the&lt;br /&gt;
time of handing the MS. to the carrier. There is&lt;br /&gt;
no great hardship in this, as the law is the same for&lt;br /&gt;
all classes of goods; but suppose a publisher loses&lt;br /&gt;
a MS., is he responsible 2. There is very consider-&lt;br /&gt;
able doubt about it ; but there is none about your&lt;br /&gt;
claim against a tailor who loses the coat you have&lt;br /&gt;
entrusted to him. Is this fair P and ought not&lt;br /&gt;
writers to insist on an alteration of the law P&lt;br /&gt;
Surely the work of a man&amp;#039;s brains is entitled to as&lt;br /&gt;
much respect as the production of his hands.&lt;br /&gt;
Opinions differ, even among lawyers, concerning&lt;br /&gt;
an author&amp;#039;s right of recovery for a lost MS. I have&lt;br /&gt;
known the price of a MS. to be recovered in a&lt;br /&gt;
county court, and, on the other hand, have seen&lt;br /&gt;
a plaintiff fail in his claim against a publisher in a&lt;br /&gt;
higher court. A publisher returned a MS. to the&lt;br /&gt;
Writer of this article minus half the chapters.&lt;br /&gt;
Two Solicitors of reputation (one of them registrar&lt;br /&gt;
to a county court) expressed the opinion that he&lt;br /&gt;
had no cause of action against the publisher,&lt;br /&gt;
although there was manifest carelessness. Here it&lt;br /&gt;
is obvious that a MS. is treated as if it were of less&lt;br /&gt;
importance than a loaf of bread ; but the popular&lt;br /&gt;
idea is that authors are case-hardened against&lt;br /&gt;
starvation&mdash;as they have need to be What is&lt;br /&gt;
Wanted is that a man should have the same legal&lt;br /&gt;
rights in his writings that he has in his chairs and&lt;br /&gt;
tables&mdash;or a woman in her husband 1&lt;br /&gt;
From the law courts I drop to free libraries.&lt;br /&gt;
The books in these institutions should be&lt;br /&gt;
&ldquo;standard&rdquo; works&mdash;not the productions of modern&lt;br /&gt;
writers, unless they are paid for. No society,&lt;br /&gt;
corporate or private, Ought to be allowed to pur-&lt;br /&gt;
chase a copy of a book and make it the common&lt;br /&gt;
property of many hundreds of readers. Clearly the&lt;br /&gt;
author is robbed by such a proceeding. The&lt;br /&gt;
writer of a modern book ought to be paid a&lt;br /&gt;
royalty every time a copy of it is lent out of a&lt;br /&gt;
library&mdash;at any rate a public library. In many&lt;br /&gt;
places it is the rich and not the poor who make the&lt;br /&gt;
greatest use of these institutions; and I protest&lt;br /&gt;
against the meanness which pays a penny for that&lt;br /&gt;
which ought to cost 6s. or 10s. The committee&lt;br /&gt;
of a library buy two or three copies of a book&lt;br /&gt;
with a name ; and those two or three copies&lt;br /&gt;
go through the hands of, perhaps, two or three&lt;br /&gt;
thousand persons, many of whom would buy copies&lt;br /&gt;
if it were not for the blessed (blessed is not exactly&lt;br /&gt;
what I mean) free library. The readers pay a&lt;br /&gt;
penny &ldquo;towards the expenses.&rdquo; Why should not&lt;br /&gt;
each borrower pay the author another penny ? Or&lt;br /&gt;
those Carnegie chaps, who are so anxious to stock&lt;br /&gt;
the brains of Mr. Hodges with other men&amp;#039;s&lt;br /&gt;
thoughts, might pay it for them ; and, of course,&lt;br /&gt;
pay it with a handsome margin. &ldquo;Thou shalt not&lt;br /&gt;
muzzle the ox,&rdquo; you know.&lt;br /&gt;
To meet possible objections (for alas ! the great&lt;br /&gt;
Darwin does not always agree with me), I may say&lt;br /&gt;
that I have not been able to find evidence that the&lt;br /&gt;
fear that authors would suffer if their books were&lt;br /&gt;
barred free libraries is well founded. On the&lt;br /&gt;
contrary, my position is that if well-to-do people&lt;br /&gt;
could not induce the ratepayers to buy a book for&lt;br /&gt;
them they would buy it themselves; and I have&lt;br /&gt;
some evidence that corporations obtain copies of&lt;br /&gt;
current works at reduced rates, which is doubly&lt;br /&gt;
unfair to authors. Free libraries, also, might be&lt;br /&gt;
compelled to buy so many copies at net ; and, say,&lt;br /&gt;
500 pennies per copy, royalty in advance. , Sauce&lt;br /&gt;
for the goose is sauce for the gander ; and if the&lt;br /&gt;
production of a book costs a penny, 500 pennies or&lt;br /&gt;
&pound;500 per copy, there are still several universities,&lt;br /&gt;
etc., which demand their free copies, especially if&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 286 (#350) ############################################&lt;br /&gt;
&lt;br /&gt;
286&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the book is an expensive one. I wonder what the&lt;br /&gt;
tailors would say if they demanded free suits every&lt;br /&gt;
time the fashion changed But there is a differ-&lt;br /&gt;
ence between brains and money, as I remember&lt;br /&gt;
that enterprising gentleman, the Claimant, once&lt;br /&gt;
explained. -&lt;br /&gt;
However, not to ask too much to begin with, I&lt;br /&gt;
desire to see an author&rsquo;s &ldquo;copy&amp;quot; made property&mdash;&lt;br /&gt;
real, tangible, undisputable property: so that a poor,&lt;br /&gt;
threadbare, half-starved writer (the righteous are&lt;br /&gt;
always oppressed) may be able to enter a court&lt;br /&gt;
and, if a judge tells him he ought to have kept a&lt;br /&gt;
copy, answer, &ldquo;Gammon and now I want the&lt;br /&gt;
spinach &amp;quot;; and I hope to see him get it, too.&lt;br /&gt;
PAUL FOUNTAIN.&lt;br /&gt;
SOME NEW LITERARY WIALUATIONS.*&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NANIMITY of opinion, or even a wide&lt;br /&gt;
agreement regarding the conclusions pre-&lt;br /&gt;
sented in a critical work, is neither to be&lt;br /&gt;
expected, nor possible. The very nature of the&lt;br /&gt;
work forbids it. The critic has, it is true, for one&lt;br /&gt;
part of his public a number of people who either&lt;br /&gt;
dare not or cannot form for themselves definite&lt;br /&gt;
estimates of the value of what they read. These&lt;br /&gt;
good folk come to him to provide them with ready-&lt;br /&gt;
made opinions, and are generally a tractable flock,&lt;br /&gt;
prepared jurare in verba magistri. But the rest,&lt;br /&gt;
the more intelligent readers, who already possess&lt;br /&gt;
views of their own, of necessity criticise the critic&amp;#039;s&lt;br /&gt;
observations ; and his work has thus to take its&lt;br /&gt;
chance before a number of tribunals where the last&lt;br /&gt;
appeal is practically to personal tastes of an incon-&lt;br /&gt;
ceivable variety. But whilst the critic&amp;#039;s work is&lt;br /&gt;
thus more than any others exposed to criticism, the&lt;br /&gt;
critic himself holds an unassailable position so long&lt;br /&gt;
as he is scrupulously accurate. And this is the&lt;br /&gt;
position of Mr. Wilkinson. Differences of opinion&lt;br /&gt;
will no doubt exist concerning some of his con-&lt;br /&gt;
clusions. To his punctilious accuracy it is possible&lt;br /&gt;
only to bow. And saying this amounts to saying&lt;br /&gt;
that &ldquo;some literary valuations&rdquo; represent a&lt;br /&gt;
contribution to critical literature deserving of&lt;br /&gt;
attention.&lt;br /&gt;
The range is wide : Howells as a man of letters;&lt;br /&gt;
Matthew Arnold as critic and poet ; Tennyson as&lt;br /&gt;
an artist in lyric verse ; Edmund Clarence Stead-&lt;br /&gt;
man as a man of letters; John Morley as a critic&lt;br /&gt;
of Diderot and Voltaire ; and Tolstoi. The&lt;br /&gt;
* William Cleaver Wilkinson.&lt;br /&gt;
Wagnall&amp;#039;s Company. 1909.&lt;br /&gt;
London : Funk and&lt;br /&gt;
estimate of Howells is likely to be read with more&lt;br /&gt;
enjoyment than anything else in the book. It is&lt;br /&gt;
an admirable appreciation without exaggeration,&lt;br /&gt;
and an excellent example of criticism of the most&lt;br /&gt;
delicate kind.&lt;br /&gt;
The most valuable portion of the work, however,&lt;br /&gt;
is certainly that dedicated to a searching analysis&lt;br /&gt;
of the actual value of the writings, whether critical&lt;br /&gt;
or poetical, of Matthew Arnold. To discover the&lt;br /&gt;
small merits of most of Matthew Arnold&amp;#039;s poetical&lt;br /&gt;
efforts is, indeed, a task that hardly requires the&lt;br /&gt;
abilities of a critic of Mr. Wilkinson&amp;#039;s calibre.&lt;br /&gt;
But these poems do sorely need to be relegated&lt;br /&gt;
to the position which they deserve. The long&lt;br /&gt;
tyranny of Matthew Arnold&amp;#039;s criticism has won for&lt;br /&gt;
them, from a public too long accustomed to take&lt;br /&gt;
their author au S&eacute;rieua, an appreciation very much&lt;br /&gt;
above their actual merit. And they are only too&lt;br /&gt;
likely to enjoy this undeserved vogue so long as the&lt;br /&gt;
delusion that some boundless wisdom is embodied&lt;br /&gt;
in all that Matthew Arnold has written continues&lt;br /&gt;
to prevail. That delusion ought never to have&lt;br /&gt;
existed. Unhappily it has existed for a long time,&lt;br /&gt;
and, unhappily, is still to be encountered ; so that&lt;br /&gt;
any one who takes up arms against it is doing good&lt;br /&gt;
work. Mr. Wilkinson makes the assault scientifi-&lt;br /&gt;
cally. He sets down, side by side, the oracles&lt;br /&gt;
delivered by Matthew Arnold and the actual&lt;br /&gt;
unadorned facts. Out of this ordeal Matthew&lt;br /&gt;
Arnold comes very badly; in fact, Mr. Wilkinson&lt;br /&gt;
accuses him of being a &ldquo;loose thinker,&rdquo; and proves&lt;br /&gt;
his indictment up to the hilt.&lt;br /&gt;
The great need that this should be done, and&lt;br /&gt;
done drastically, makes the two articles on Matthew&lt;br /&gt;
Arnold as critic and poet by far the most important&lt;br /&gt;
part of the work, and one that should recommend&lt;br /&gt;
it to a wide circle of readers. But other portions&lt;br /&gt;
of the book will be also found well worth reading.&lt;br /&gt;
The very graceful appreciation of the American&lt;br /&gt;
poet Steadman may be particularly mentioned. In&lt;br /&gt;
his criticism of Tennyson as an artist in lyric&lt;br /&gt;
verse, Mr. Wilkinson, whilst insisting upon much&lt;br /&gt;
that is undoubtedly true, seems here and there to&lt;br /&gt;
make rather too little allowance for the privileges of&lt;br /&gt;
poetry. In his estimate of Tolstoi he confesses&lt;br /&gt;
that his sense of the Russian novelist&rsquo;s greatness&lt;br /&gt;
has its limitations, inasmuch as he finds Tolstoi&lt;br /&gt;
wanting in &ldquo;final soundness and justness of judg-&lt;br /&gt;
ment.&rdquo; To disagree with that is impossible. But&lt;br /&gt;
the question naturally suggests itself, Is any great-&lt;br /&gt;
ness in an author possible without those two&lt;br /&gt;
qualities 2 te&lt;br /&gt;
Mention has been already made of Mr. Wilkin-&lt;br /&gt;
son&amp;#039;s accuracy. The temperate character of all&lt;br /&gt;
that he writes also deserves to be noticed. Many&lt;br /&gt;
of the questions which are discussed are of great&lt;br /&gt;
delicacy, and the skill with which they are handled&lt;br /&gt;
should secure the book a wide appreciation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 287 (#351) ############################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIORs&lt;br /&gt;
287&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
LITERARY AGENTs.&lt;br /&gt;
SIR,--Mr. H. G. Wells seems to express a&lt;br /&gt;
reasonable enough view of the financial questions&lt;br /&gt;
that arise between author and agent, and of the&lt;br /&gt;
reforms necessary, on the supposition that these&lt;br /&gt;
agencies are indispensable.&lt;br /&gt;
But in my opinion the literary agent too often&lt;br /&gt;
adds a new terror to an already struggling pro-&lt;br /&gt;
fession. He will not accept a MS. on a percentage&lt;br /&gt;
commission alone, however high. He demands a&lt;br /&gt;
fee of a guinea, not returnable if he fails, like a&lt;br /&gt;
doctor who takes no fee if you live, but one if you&lt;br /&gt;
die. If the agent fails you lose a guinea; and as&lt;br /&gt;
many young authors have hundreds of MSS.&lt;br /&gt;
returned, and have few guineas to waste, the&lt;br /&gt;
increasing prevalence of the literary agent is a&lt;br /&gt;
great misfortune. Whereas, in the old days, you&lt;br /&gt;
risked 2d. in stamps, very soon, when everything&lt;br /&gt;
will need to be submitted through an agent, you&lt;br /&gt;
will risk a guinea.&lt;br /&gt;
In the theatrical profession young actors are met&lt;br /&gt;
at every turn by similar agents, and it becomes a&lt;br /&gt;
Question of pay, pay, pay, to get even an introduction,&lt;br /&gt;
to a manager.&lt;br /&gt;
And the very fact that literary agents claim that&lt;br /&gt;
they can get things accepted which, coming from&lt;br /&gt;
the author, were refused by the same editor, is a&lt;br /&gt;
bad sign. It shows that many editors are more&lt;br /&gt;
and more unwilling to consider MSS. except&lt;br /&gt;
through agents. -&lt;br /&gt;
(a.) If the agent is becoming indispensable,&lt;br /&gt;
then he is gaining a monopoly, and this should&lt;br /&gt;
not be allowed.&lt;br /&gt;
(b.) If the agent is not indispensable, then let&lt;br /&gt;
us dispense with him.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
ASHMORE WINGATE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
REVIEWERS AND REVIEWED.&lt;br /&gt;
DEAR SIR,--I enclose a notice of my novel,&lt;br /&gt;
&ldquo;The Ways of Men,&rdquo; received this morning, which&lt;br /&gt;
seems to me a very good specimen of the sort of&lt;br /&gt;
notice which inflicts an unfair, but probably&lt;br /&gt;
unintentional, injury on the novelist. My first&lt;br /&gt;
impulse on receiving it was to write to the editor&lt;br /&gt;
of the Notts Daily Guardian, pointing out&lt;br /&gt;
that by telling the whole story down to the bitter&lt;br /&gt;
end, his reviewer has robbed his readers of any&lt;br /&gt;
incentive to read the book itself, especially as he&lt;br /&gt;
does not remotely suggest that there are any&lt;br /&gt;
interesting side issues, or anything in the novel to&lt;br /&gt;
make it enjoyable, apart from the main motive.&lt;br /&gt;
Two considerations make me conquer the impulse.&lt;br /&gt;
The first : that one cannot complain of a review&lt;br /&gt;
on any grounds without danger of being classed&lt;br /&gt;
With a certain class of thin-skinned writers,&lt;br /&gt;
generally novices, who object to every review of&lt;br /&gt;
their work unless it is altogether laudatory. The&lt;br /&gt;
Second consideration is that the thing is done, and,&lt;br /&gt;
So far as my book is concerned, I have nothing to&lt;br /&gt;
gain by crying over spilt milk.&lt;br /&gt;
It has occurred to me that the society might do&lt;br /&gt;
Something to mitigate the evil&mdash;if I am right in&lt;br /&gt;
thinking it is one&mdash;either by preparing a circular,&lt;br /&gt;
and sending it to all the reviewing papers, to point&lt;br /&gt;
out the unfairness of &ldquo;giving away &rdquo; the end of a&lt;br /&gt;
story, or, indeed, of telling more than is necessary&lt;br /&gt;
to show probable readers the character of the book&lt;br /&gt;
and theme, or by preparing a printed form of com-&lt;br /&gt;
plaint, to be filled up with details, and sent out&lt;br /&gt;
to the editor of any paper who permits one of&lt;br /&gt;
these unfair notices to appear. I think that the&lt;br /&gt;
members of the society would be pleased to send&lt;br /&gt;
on to you all the notices they receive to which&lt;br /&gt;
they think that objection can be taken on this&lt;br /&gt;
Score, and that a remonstrance made in the name&lt;br /&gt;
of the society would carry more weight than&lt;br /&gt;
Occasional remonstrances made by individual&lt;br /&gt;
sufferers.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
HERBERT FLOWERDEW.&lt;br /&gt;
THE PRICE OF NEW NOVELS.&lt;br /&gt;
DEAR SIR,-The interesting report on the 7d.&lt;br /&gt;
novel which appeared in the April Author contains&lt;br /&gt;
much with which everyone will agree, but there&lt;br /&gt;
is a sentence near the end which I think is&lt;br /&gt;
open to question. The distinguished writers who&lt;br /&gt;
sign the report say&mdash;&ldquo;Whatever policy authors&lt;br /&gt;
may adopt as to reprints, they must maintain the&lt;br /&gt;
6s. standard for first editions. . . .&rdquo; But they do&lt;br /&gt;
not tell us why. -&lt;br /&gt;
If there is one thing absolutely beyond dispute,&lt;br /&gt;
I should say it is that new novels are too dear.&lt;br /&gt;
Does any one with an income of less than &pound;500&lt;br /&gt;
a year ever buy a new novel ? And yet there is&lt;br /&gt;
an immense reading public eager to read the latest&lt;br /&gt;
fiction, if it had the chance. Why cannot this&lt;br /&gt;
public be tapped&lt;br /&gt;
The modern tendency is to lower prices in every&lt;br /&gt;
direction. Food is cheaper, travelling is cheaper,&lt;br /&gt;
amusements are cheaper, but the new novel remains&lt;br /&gt;
at 4s. 6d. This fact excludes nine-tenths of the&lt;br /&gt;
population from ever seeing a new novel.&lt;br /&gt;
During the last two or three months I have read&lt;br /&gt;
various reviews, notices, and comments, on new&lt;br /&gt;
books, and the effect on my mind has been to make&lt;br /&gt;
me desire to read some half-dozen new novels.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 288 (#352) ############################################&lt;br /&gt;
&lt;br /&gt;
288&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
At the moment I call to mind the following:&lt;br /&gt;
&ldquo;Araminta,&rdquo; &ldquo;Septimus,&rdquo; &ldquo;Tono Bungay,&rdquo; &ldquo;The&lt;br /&gt;
Gifted Family.&rdquo; I may say that the desire is not&lt;br /&gt;
a passionate one. It is not strong enough to induce&lt;br /&gt;
me to go without a new hat or curtail my modest&lt;br /&gt;
lunch in order to satisfy it. Nevertheless, if&lt;br /&gt;
those books had been easily available at a reason-&lt;br /&gt;
able price, I should have bought them. There&lt;br /&gt;
must be tens of thousands of people in a like case.&lt;br /&gt;
This brings me to my point. I gather from the&lt;br /&gt;
opening of the report published by you that rival&lt;br /&gt;
publishers can be got together in one room to&lt;br /&gt;
discuss a matter affecting their common interest.&lt;br /&gt;
Let Mr. Longman, Mr. Macmillan, Mr. R. Smith,&lt;br /&gt;
Mr. Methuen, and Mr. Hutchinson have another&lt;br /&gt;
meeting and agree to arrange with their authors&lt;br /&gt;
for the publication of all new novels in paper covers&lt;br /&gt;
at 1s. 6d. -&lt;br /&gt;
The thing would have to be done dramatically,&lt;br /&gt;
as it were, so as to impress on the public that they&lt;br /&gt;
were really getting for 1s. 6d. a .68. novel,&lt;br /&gt;
minus the cloth binding. There would have to be&lt;br /&gt;
some preliminary big space advertising, which,&lt;br /&gt;
however, would be supplemented by many articles,&lt;br /&gt;
interviews, and paragraphs, which such a revolution&lt;br /&gt;
in the book trade would naturally elicit.&lt;br /&gt;
Imagine the first effect of such a reform. All&lt;br /&gt;
the cheap magazines would be swept off the front&lt;br /&gt;
of the bookstalls, and in their place would be piles&lt;br /&gt;
of new novels. This, too, just at the time when&lt;br /&gt;
these very books were being discussed in the daily&lt;br /&gt;
and weekly papers.&lt;br /&gt;
The books would sell as readily as magazines.&lt;br /&gt;
Moreover, being paper-covered, they would dis-&lt;br /&gt;
appear in the same mysterious manner that&lt;br /&gt;
magazines disappear, whereas a cloth-bound book&lt;br /&gt;
is passed from hand to hand for years.&lt;br /&gt;
Authors and book publishers do not yet seem to&lt;br /&gt;
see that the whole problem is one of price. &ldquo;There&lt;br /&gt;
are millions of potential readers in the country who&lt;br /&gt;
cannot get books for want of book-shops,&rdquo; says the&lt;br /&gt;
report. I don&rsquo;t deny the &ldquo;millions,&rdquo; but if the&lt;br /&gt;
books were produced at the right price, the question&lt;br /&gt;
of distribution would solve itself. -&lt;br /&gt;
Yours faithfully&lt;br /&gt;
H. J. A.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE SOCIETY&amp;#039;S ADVICE.&lt;br /&gt;
DEAR SIR,--There has been a good deal lately&lt;br /&gt;
in The Author about members signing agreements&lt;br /&gt;
without the society&amp;#039;s advice. There is one point&lt;br /&gt;
which I think has not been mooted&mdash;about the&lt;br /&gt;
most serious that I know in connection with this&lt;br /&gt;
subject. -&lt;br /&gt;
I give my own experience as probably typical :-&lt;br /&gt;
When my first book was published, I asked the&lt;br /&gt;
society&amp;#039;s advice, and succeeded in having one or&lt;br /&gt;
two clauses in the agreement altered in consequence,&lt;br /&gt;
but my publisher flatly refused to accept the most&lt;br /&gt;
important alteration. As I could not afford a&lt;br /&gt;
rupture with him, I was obliged to withdraw that&lt;br /&gt;
item, bind myself to allow him the first refusal of&lt;br /&gt;
my second novel, and sell the entire copyright to&lt;br /&gt;
him at a price the society warned me was&lt;br /&gt;
insufficient.&lt;br /&gt;
Exactly the same history occurred with my&lt;br /&gt;
second novel (which my first publisher had refused,&lt;br /&gt;
perhaps fortunately for me).&lt;br /&gt;
With my third, by the society&amp;#039;s advice, I asked&lt;br /&gt;
for a rising royalty, and received in consequence a&lt;br /&gt;
letter of indignation from a third publisher, who&lt;br /&gt;
informed me that if his terms were not acceptable,&lt;br /&gt;
he would return the MS. As I was utterly unable&lt;br /&gt;
to afford a rupture with that firm, I withdrew the&lt;br /&gt;
request, and accepted a royalty of 3d. on each copy&lt;br /&gt;
sold&mdash;for all time !&lt;br /&gt;
Since then I have placed two more books&lt;br /&gt;
successfully&mdash;but without advice, and probably at&lt;br /&gt;
much lower terms than an author ought to accept.&lt;br /&gt;
But what is to be done 2 Authors who depend&lt;br /&gt;
upon their pen for a living are not free to quarrel&lt;br /&gt;
with their publishers&mdash;they cannot afford to do so,&lt;br /&gt;
and I have three times at least very nearly come to&lt;br /&gt;
loggerheads through having followed the society&amp;#039;s&lt;br /&gt;
advice /&lt;br /&gt;
Success with two or three books by no means&lt;br /&gt;
Secures a novelist&amp;#039;s position, and whatever the&lt;br /&gt;
ethics of the case may be, authors who have to&lt;br /&gt;
make a living cannot possibly afford to haggle over&lt;br /&gt;
their agreements. It has occurred to me to&lt;br /&gt;
wonder whether the society&rsquo;s advice is ranged too&lt;br /&gt;
high, and whether it fails to take into consideration&lt;br /&gt;
the defenceless position of the beginner&lt;br /&gt;
A. M. I.&lt;br /&gt;
THE GRAFTON GALLERIES.&lt;br /&gt;
SIR,--The Honorary Committee of the Exhibi-&lt;br /&gt;
tion of &ldquo;Chosen Pictures&amp;quot; at these Galleries&lt;br /&gt;
request the honour of the company of the Incor-&lt;br /&gt;
porated Society of Authors at a special view of&lt;br /&gt;
the exhibition on Wednesday July, 7, from three&lt;br /&gt;
to six o&amp;#039;clock.&lt;br /&gt;
Will you kindly convey this invitation to your&lt;br /&gt;
members through your next publication on&lt;br /&gt;
July 1, with an intimation that cards of admis-&lt;br /&gt;
sion will be supplied to those of your members&lt;br /&gt;
desiring to attend, on application to the Secretary&lt;br /&gt;
of the Grafton Galleries, 8, Grafton Street, W.&lt;br /&gt;
I am, dear Sir,&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
FRANCIS HOWARD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#353) ################################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS. iii&lt;br /&gt;
THE DESIRE OF THE HILLS.&lt;br /&gt;
By &ldquo;No RNA.&rdquo; Bound in blue cloth, with gold lettering. Is.&lt;br /&gt;
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&ldquo;These verses are melodious and full of fine thoughts in&lt;br /&gt;
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GARDEN SONGS, and other Poems.&lt;br /&gt;
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IN THE LONG RUN : A Novel.&lt;br /&gt;
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Bound in half red and half blue, in cloth, 2s. 6d. met.&lt;br /&gt;
&ldquo;A very curious novel.&rdquo;&mdash;Publishers&rsquo; Circular. -&lt;br /&gt;
&ldquo;A brightly written and readable novel. The author has a&lt;br /&gt;
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IN THE BEGINNING.&lt;br /&gt;
By CHAs. HAwkINs. With Frontispiece on art paper. Bound&lt;br /&gt;
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&ldquo;The author aims at showing that the Mosaic Cosmogony&lt;br /&gt;
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Authors should forward MSS. of any description&lt;br /&gt;
&sect;&sect;&sect; Stories, Poems, Essays, &amp;amp;c.) direct to Mr.&lt;br /&gt;
In STQCKWELL, who will immediately advise, free&lt;br /&gt;
of charge, as to publication.&lt;br /&gt;
LONDON :&lt;br /&gt;
ARTHUR. H. STOCKWELL,&lt;br /&gt;
29, L&amp;#039;UIDGATE HILL, E.C.&lt;br /&gt;
I&amp;#039;wll lists on application, post free.&lt;br /&gt;
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ERMANNO LOESCHER &amp;amp; CO.&lt;br /&gt;
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Full Tariff, Testimonials, etc., on application,&lt;br /&gt;
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Messrs. Methuen &amp;amp; Co.&lt;br /&gt;
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* Ul OO t&ordm;&lt;br /&gt;
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Manager, Literary and Book Department,&lt;br /&gt;
WIENER AGENCY, LIMITED, 64, Strand, LONDON.&lt;br /&gt;
MRS. GILL, Typetoriting Cffice,&lt;br /&gt;
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Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#354) ################################################&lt;br /&gt;
&lt;br /&gt;
IV ADVERTISEMENTS.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTS.&lt;br /&gt;
&amp;quot;I The writer, whether he aspires to write novels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
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