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395 | https://historysoa.com/items/show/395 | The Author, Vol. 19 Issue 10 (July 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+10+%28July+1909%29"><em>The Author</em>, Vol. 19 Issue 10 (July 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-07-01-The-Author-19-10 | | | | | 261–288 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-07-01">1909-07-01</a> | | | | | | | 10 | | | 19090701 | C be El ut bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.<br />
VoI. XIX.-No. 10. JULY 1, 1909. [PRICE SIXPENCE.<br />
C O N T E N T S.<br />
e PAGE<br />
Notices ..... ... ... ... ... ... ... ... ... 261 Registration of Scenarios ... ... .. N º<br />
Council Meeting... ... ... . . . . . 263 Warnings to Musical Composers . . . 377<br />
Committee Notes ... ... . . . . . 268 Stamping Music ... . . . . . . . . . 37%<br />
Books published by Members of the Society . . . 266 The Reading Branch ... ... ... . º e q is ... 37;<br />
Books published in America by Members. . . . 267 “The Author " ... ... . . . . . . . 377<br />
Literary, Dramatic and Musical Notes . . . . 267 Remittances ... ... ... . . . . . 377<br />
Paris Notes * * * * * * ë is tº tº º g tº e º s º e & º º ... 270 General Notes ..., * * * se se tº º ſº * > * * * = & ... ... 373<br />
United States Notes ... ... . . . . ... 271 Tennyson ... ... ... ... ... . . . 379<br />
Cheap Editions ... ... ... ... ... ... ... ... 273 Authors' Agents... ... ... . . . . . $o<br />
Copyright Legislation ... ... ... ... ... ... ... 273 Qn Reading Aloud ... . . . . . . ;<br />
Scholz v. Amasis, Ltd., and Fenn ... ... tº £ tº tº tº º ... 274 The Novel of the Future * * * * * * ... . . . 233<br />
Magazine Contents ... ... ... ... ... . ... ... 275 Manuscripts? or Waste Paper? . . . . . 2;<br />
How to Use the Society “. ... ... ... ... ... 270 Some New Literary Valuations . . . . . 236<br />
Warnings to Producers of Books ... ... ... ... ... 276 Correspondence ... § g c tº ... ... 357<br />
Warnings to Dramatic Authors ... ... ... ... ... 276 - *4<br />
PUBLICATIONS OF THE sociETY.<br />
1. The Annual Report for the current year. 1s.<br />
2. The Author. Published ten months in the year (August and September omitted), devoted especially<br />
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br />
to all Members gratis. Price to non-members, 6d, or 5s. 6d. per annum, post free. Back<br />
numbers from 1892, at 10s. 6d. per vol.<br />
8. Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 3s.<br />
4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 1s.<br />
5. The Cost of Production. (Out of print.)<br />
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br />
papers in the Society's offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the<br />
Various kinds of fraud which have been made possible by the different clauses therein. 3s.<br />
Addenda to the Aboye. By G. HERBERT THRING. Being additional facts collected at<br />
º office of the Society since the publication of the “Methods.” With comments and<br />
advice. 2s.<br />
7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With<br />
Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
American Copyright Bill. By J. M. LELY. 1s. 6d. -<br />
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
(Chairman of Committee, 1888–1892). Is.<br />
9. The Contract of Publication in Germany, Austria, Hungary, and, Switzerland. By ERNST<br />
LUNGE, J.U.D. 2s. 6d. . N.<br />
10. Forms of Agreement issued by the Publishers' Association ; with Comments. By<br />
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.<br />
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br />
and Periodicals deal with MSS. and Contributions. 6d.<br />
12. Society of Authors. List of Members. Published October, 1907, price 6d.<br />
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S. W.]<br />
<br />
<br />
## p. 260 (#324) ############################################<br />
<br />
ii<br />
AD VERTISEMENTS.<br />
ūbe šurietu af Autburg (ſmrurporaten).<br />
COUNCIL.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESHFIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT FOWLER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD.<br />
THOMAS HARDY.<br />
MRS. HARRIson (“LUCAS MALET").<br />
ANTHONY BIOPE HAWKINS,<br />
E. W. HORNUNG,<br />
MAURICE HEWLETT.<br />
JEROME. K. JEROME.<br />
HENRY ARTHUR JONES.<br />
J. Scott KELTIE, LL.D.<br />
RUDYARD RIPLING. :<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REv. W. J. LOFTIE, F.S.A.<br />
THE RIGHT HON. SIR ALFRED<br />
LYALL, P.C.<br />
LADY LUGARD<br />
SHAw).<br />
SIDNEY LEE.<br />
(MISS FLORA. L.<br />
MRS. MAxwºl.I. (M. E. BRADDON).<br />
JUSTIN MCCARTHY.<br />
THE REV. C. H. MIDDLETON-WAKE,<br />
SIR HENRY NORMAN, M.P.<br />
SIR GILBERT PARKER, M.P.<br />
SIR ARTHUR PINERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKEIAM.<br />
OWEN SEAMAN.<br />
G. BERNARD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPEIGGE.<br />
FRANCIS STORR.<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD-MARSHAL THE RIGHT HON.<br />
THE WISCOUNT WolsFLEY, K.P.,<br />
P.C., &c.<br />
SIDNEY WEBB.<br />
Chairman—MAURICE HEWLETT.<br />
| Douglas FRESHFIELD.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPEIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEBB,<br />
JEROME R. J.EROME.<br />
W. J. LOCKE.<br />
CAPT. ROBERT MARSHALL.<br />
CECIL RALEIGH.<br />
G. BERNARD SHAW.<br />
ALFRED SUTRO.<br />
Chairman—MAURICE HEWLETT.<br />
MORLEY ROBERTS.<br />
M. H. SPIELMANN.<br />
MRS. ALEC TWEEDIE.<br />
MRS. HUMPHRY WARD.<br />
E. J. MACGILLIVRAY.<br />
SIR GILBERT PARKER, M.P.<br />
ART.<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
OFFICES.<br />
SIR CHARLES WILLIERS STANFORD,<br />
Mus. DOC.<br />
SIR JAMES YOXALL, M.P.<br />
ARTHUR RACKHAM.<br />
M. H. SPIELMANN.<br />
Secretary—G. HERBERT THRING;<br />
Solicitor in England to<br />
La Société des Gems de Lettres,<br />
Telegraphic Address: “AUTORIDAD, LoNdoN.”<br />
Telephone No. : 374 Victoria.<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIRWM.REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
ROBERT BATEMAN.<br />
F. E. BEDDARD, F.R.S. ... • * *<br />
• THE RIGHT HON. AUGUSTINE BIR-<br />
RELL, P.C. , * *<br />
MRsy E. NESBIT BLAND.<br />
THE REv. PROF. BONNEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYCE, P.C.<br />
THE RIGHT HON. THE LORD BURGH-<br />
CLERE, P.C.<br />
HALL CAINE.<br />
J. W. COMYINS CARR,<br />
EGERTON CASTLE, F.S.A.<br />
S. L. CLEMENS (“MARK TwAIN").<br />
EDWARD CLODD. -<br />
W. MORRIS COLLES.<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
THE RIGHT HON. THE LORD CURZON<br />
of KEDLESTON, D.C.<br />
AUSTIN DOBSON.<br />
COIMIMITTEE OF MANAGEMENT,<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
MRS. E. NESBIT BLAND.<br />
J. W. COMYINS CARR.<br />
THE HON. MRS. ALFRED FELKIN.<br />
(ELLEN THORNEYCROFT FOWLER).<br />
IDRAMATIC SUB-COMMITTEE.<br />
Chairman—SIR ARTHUR PINERO.<br />
H. GRANVILLE BARKER.<br />
J. M. BARRIE.<br />
R. C. CARTON.<br />
MISS CICELY HAMILTON.<br />
Vice-Chairman—HENRY ARTHUR JONES.<br />
PENSION FUND COMIMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS.<br />
COPYRIGHT STUB-COMMITTEE.<br />
HAROLD HARDY.<br />
ANTHONY HOPE HAWKINS,<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
FIELD, ROSCOE & Co., 36, Lincoln's Inn Fields, W.C. - e.<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. Solicitors.<br />
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
39, OLD QUEEN STREET, STOREY’s GATE, S.W.<br />
<br />
<br />
## p. 261 (#325) ############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
WoL. XIX.—No. 10.<br />
JULY 1ST, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS : -<br />
AUTORIDAD, LONDON.<br />
—e—º-e—<br />
NOTICES.<br />
—º-º-º-<br />
OR the opinions expressed in papers that are<br />
F signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application.<br />
* - – º – a<br />
v-u-w<br />
THE SOCIETY'S FUNDS.<br />
—e-º-º-<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are: (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
WOL. XIX.<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
. (2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
—e—sº-0—<br />
LIST OF MEMBERS.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
—0–Q-0—<br />
PENSION FUND.<br />
—º-º-e—<br />
N the 5th of February, 1909, the Trustees of<br />
the Pension Fund of the Society, after<br />
the secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
#350 in the purchase of Corporation of London<br />
2} per cent. Stock (1927–57).<br />
The amount purchased is £438 28. 4d., and is<br />
added to the list printed below.<br />
The Trustees are glad to report that owing to<br />
the generous answer to the circular sent round at<br />
the end of 1908, they have been able to invest<br />
more than £100 over the amount invested last<br />
year.<br />
Consols 23%.............................. £1,000 0 0<br />
Local Loans .............................. 500 0 0<br />
Wictorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291. 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock ............... . . . . . . . . . . . . . . . 250 0 0<br />
<br />
<br />
## p. 262 (#326) ############################################<br />
<br />
262<br />
TRIES A UTRIOR-<br />
Egyptian Government Irrigation<br />
Trust 4%. Certificates<br />
Cape of Good Hope 33% Inscribed<br />
Stock ....................................<br />
Glasgow and South-Western Railway<br />
4% Preference Stock..................<br />
New Zealand 3%% Stock. . . . . . . . ...<br />
Irish Land Act 23% Guaranteed Stock<br />
Corporation of London 23% Stock,<br />
1927–57<br />
228<br />
247<br />
258<br />
e e o e s a e s e º e s e e s e s e º e º e s is & e º e º e<br />
Subscriptions.<br />
1909.<br />
1, Twycross, Miss M. .<br />
2, Macquarie, Arthur .<br />
4, Sproston, Mrs. Stanley<br />
4, Phipson, Miss Emma<br />
4, Middlemass, Miss Jean<br />
4, Pott, J. A. . .<br />
4, Miller, Mrs. . &<br />
7, Marchmont, A. W..<br />
7, Sharwood, T. S.<br />
12, Durand, Ralph<br />
12, Laing, Mrs. . e<br />
14, Banks, Mrs. M. M.<br />
14, Steel, Richard<br />
16, Garnett, Edward .<br />
16, Fenn, Frederick .<br />
18, Hering, Henry A.<br />
18, Fox, Archibald D.<br />
31, Anon. . © ©<br />
31, Kelly, W. P. o<br />
31, Cotesworth, Miss . e<br />
1, Phillipps-Wolley, Clive .<br />
1, Dawson, Warrington<br />
4, Willard, Mrs. E. S.<br />
Feb. 19, Paget, Mrs. Gerald<br />
Feb. 20, Andrews, C. C. .<br />
March 5, Speed, Lancelot<br />
March 8, Calderon, George<br />
March 8, Jackson, C. S. . g e<br />
March 9, Young, Col. George F., C.B.<br />
March 10, Sullivan, Herbert g<br />
March 11, Merritt, Mrs. Anna Lea<br />
March 22, Dale, T. F. e §<br />
April 13, Gask, Miss Lilian<br />
May 17, Rorison, Miss Edith<br />
June 10, Voynich, Mrs. E. L.<br />
June 10, Jaques, E. T. .<br />
June 11, Grier, Miss Julia M.<br />
June 11, Field, C. . & •<br />
June 11, Barrington, Mrs. Russell<br />
Donations.<br />
1909.<br />
Jan. 1, Zangwill, Israel<br />
Jan. 1, Hamilton, John A. .<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
h<br />
12.O()<br />
1<br />
1<br />
1<br />
1.-<br />
1<br />
1<br />
1<br />
;<br />
4.OO<br />
!<br />
4, Stopford, Francis<br />
4, Falmouth, The Wiscountess<br />
4, Carrel, Frederick<br />
4, Laws, T. C. . ©<br />
4, Abercrombie, Lascelles<br />
5, Bradgate, Mrs.<br />
6, Leach, Henry<br />
6, Cullen, H. N. * e g<br />
6, Lyall, The Right Hon. Sir<br />
Alfred, P.C., etc. . º<br />
7, Underdown, Miss Emily<br />
8, Omond, T. S. ge e<br />
8, Paternoster, G. Sidney<br />
9, Stockley, Mrs.<br />
9, Tanner, James T. .<br />
12, Tighe, Henry<br />
12, Aitken, Robert<br />
12, Bolton, Miss Anna<br />
14, Williamson, W. H.<br />
16, Furze, Miss Bessie<br />
16, Shirley, Arthur tº<br />
18, “Austin Clare " . ©<br />
22, Williamson, Mrs. C. N.<br />
22, Williamson, C. N.<br />
23, Brown, R. Grant . e<br />
28, Raphael, Mrs. M. . • &<br />
4, Wilson, Miss Theodore Wilson<br />
4, Cousland, W. M. e<br />
4, Hardy, Thomas<br />
5, Bremner, Robert L.<br />
6, Todhunter, John<br />
6, Pettigrew, W. F.<br />
8, Russell, G. H. ſe<br />
8, Walker, Capt. J. H.<br />
8, Dutton, Miss Annie<br />
8, Baldwin, Mrs. Alfred<br />
11, Ainslie, Miss &<br />
11, Steward, Miss E. M.<br />
11, Rumble, Mrs.<br />
15, Beveridge, A. S.<br />
16, Toplis, Miss Grace<br />
19, Wilkinson, D.<br />
Feb. 24, Landa, Mrs. & Ç<br />
Feb. 26, Fitz Gerald, Mrs. . e tº<br />
March 2, Tadema, Miss Laurence Alma<br />
March 2, Reynolds, Mrs. Baillie.<br />
March 4, Henry, Miss Alice<br />
March 4, Wilson, Edwin<br />
March 5, Hardy, Harold<br />
March 9, Crozier, Dr. Beattie<br />
March 9, Ross, Mrs. Janet<br />
March 15, Gregory, Lady . o<br />
March 31, Wizzari, Leopold de S.<br />
April 5, Burchell, Sidney H.<br />
April 15, Linton, C. Stuart<br />
April 19, Loraine, Lady . . . . .<br />
April 19, Durand, Sir Henry Mortimer<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
i<br />
1.S<br />
I<br />
1<br />
11<br />
1<br />
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<br />
## p. 263 (#327) ############################################<br />
<br />
TISIES A UTISIOR,<br />
263<br />
£ s. d.<br />
April 20, Stephens, Riccardo 1 1 0<br />
May 24, Lefroy, Mrs. C. P. 1 1 0<br />
June 2, “Olivia Ramsey” e . 0 10 6<br />
June 7, Horne, A. B. & e . 50 0 ()<br />
June 10, Muir, Ward 1 1 0<br />
June 10, Swan, Miss Myra () 5 ()<br />
June 17, Bradley, A. C. 1 0 ()<br />
June 22, Trotére, H. . 1 1 0<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above are<br />
unavoidably held over to the next issue.<br />
—e—º-e—<br />
COUNCIL MEETING.<br />
—º-º-º-<br />
T the meeting of the Council of the society,<br />
under the chairmanship of Mr. Maurice<br />
Hewlett (chairman of the Committee of<br />
Management), held at 20, Hanover Square, W., on<br />
June 7, a unanimous vote of sympathy was passed<br />
to the family of Mr. George Meredith on the great<br />
loss they had sustained by the death of their father<br />
—the late president of the society.<br />
The Council then proceeded to elect a new<br />
president, and, on the proposal of Mr. Anthony<br />
Hope Hawkins, Mr. Thomas Hardy was unani-<br />
mously elected president of the society. The<br />
chairman undertook to report the election to Mr.<br />
Hardy, and to ask him to accept it.<br />
The chairman then laid before the Council the<br />
report of the committee setting forth the action<br />
which they had taken in the matter of copyright<br />
legislation during the past year. The adoption of<br />
the report was moved from the chair and accepted<br />
unanimously. The report itself appears in another<br />
column of The Author.<br />
—e—Q-e—<br />
COMMITTEE NOTES.<br />
—º-º-º-<br />
HE June meeting of the committee was held<br />
at the rooms of the Society of Medicine,<br />
20, Hanover Square, immediately after the<br />
meeting of the Council.<br />
After the minutes of the previous meeting had<br />
been read and signed, the committee proceeded to<br />
elect members and associates. Thirty-five members<br />
and associates were elected. The list appears on<br />
another page. This brings the total elections for<br />
the current year up to 145. The committee have<br />
to chronicle, with regret, one resignation, bringing<br />
the resignations for the year up to sixty-three.<br />
The vote of sympathy to the family of Mr.<br />
George Meredith, which had been passed by the<br />
Council, was confirmed by the committee, and the<br />
chairman undertook to convey it to our late<br />
president's family. -<br />
The committee next turned their attention to<br />
Questions which the society had for some time been<br />
anxious to put to the Chancellor of the Exchequer,<br />
relative to the position of authors in regard to the<br />
payment of income tax. The committee decided to<br />
approach Mr. Robert Harcourt, M.P., a member of<br />
the Society, in order that the Chancellor of the<br />
Exchequer might be interrogated at the earliest<br />
Opportunity.<br />
The committee decided, after consideration, that<br />
they could not take upon themselves the onus of<br />
the legacy bequeathed to the society by Miss Alice<br />
Sargent. It appeared from papers laid before them<br />
that many of the books were out of print, and that<br />
there was practically no market for the remainder.<br />
The chairman reported the result of the meeting<br />
with the publishers, when the question of the<br />
issue of new copyright novels at 2s. was discussed,<br />
and the further question of colonial sales. The<br />
Sub-committee formed for the consideration of<br />
these matters were of opinion that the issue of new<br />
novels at 2s. would be injurious to all writers of<br />
novels, if it were widely adopted and successful;<br />
but they were inclined to think that publication at<br />
this price would not succeed. It had been tried on<br />
former occasions and had failed. However, in<br />
view of the importance of the issues, the committee<br />
decided to adjourn the question to the July meeting,<br />
in order to give members of the committee time to<br />
consider whether it might not be expedient to<br />
appoint a strong sub-committee to go thoroughly<br />
into the whole question of the sale price of works<br />
of fiction.<br />
The secretary reported that, owing to the death<br />
of the society’s president, so much work had fallen<br />
upon him that he had been unable fully to report<br />
upon the question of authors' agents and insurance.<br />
He made a statement to the committee, however,<br />
of the steps he had taken, and the committee<br />
deferred their consideration till the next meeting.<br />
They consider it of the utmost importance that the<br />
relations between authors and agents should be<br />
fully discussed and considered. -<br />
The draft prospectus, settled by the secretary of<br />
the society, and circularised to all the members of<br />
the committee, was formally passed, and will be<br />
issued, in due course, with the papers of the Society.<br />
The secretary reported the action taken in<br />
respect of musical copyright and musical com-<br />
posers' agreements. He explained that a small<br />
Bill had been drafted with a view to protecting<br />
composers against the special difficulties that<br />
surround the publication of their works. The<br />
committee decided to refer the Bill to the Copy-<br />
right Sub-Committee. It will be laid before them<br />
in due course.<br />
<br />
<br />
## p. 264 (#328) ############################################<br />
<br />
264<br />
THE ArrºrHor.<br />
Mr. Herbert Sullivan was elected a member of<br />
the Copyright Sub-Committee. . -<br />
A letter from Mr. A. Hope Hawkins was laid<br />
before the committee, in which he pointed out<br />
that, if possible, evidence should be obtained and<br />
brought before the Departmental Committee<br />
to show that many authors of famous books had<br />
not gained the full recompense from their works,<br />
either because of the limitation of the copyright<br />
term, or because of the fact that the public denied<br />
appreciation of their literary position till after<br />
their death or till after the copyright had already<br />
run for many years. It was agreed that such<br />
evidence should be collected.<br />
The committee passed a vote of thanks to Mr.<br />
A. B. Horne for his generous donation of £50 to<br />
the pension fund of the society.<br />
There was one small case which the committee<br />
decided to take up on behalf of the member.<br />
The secretary reported that he had obtained<br />
the full sum of money demanded by the society on<br />
Mr. Shaw's behalf for infringement of copyright<br />
in a New Zealand paper ; that he had obtained the<br />
full sum demanded by the society through their<br />
Spanish lawyers for the infringement of Mr. E. W.<br />
Hornung’s copyright in Spain. He reported also<br />
the successful result of the Society's appeal in<br />
Scholz v. Amasis, and read Mr. Fenn's letter of<br />
thanks to the society. Other letters were laid<br />
before the committee for their consideration.<br />
—º-º-º-<br />
DRAMATIC COMMITTEE.<br />
THE Dramatic Sub-Committee met at 39, Old<br />
Queen Street, on Thursday, June 17, at 3 P.M.<br />
After the minutes of the last meeting had been<br />
read and signed, the Secretary reported that he had<br />
heard from Mr. Esmond to the effect that the<br />
action which had been taken in America, in con-<br />
sequence of an infringement of his property there,<br />
had been satisfactorily settled, the defendants<br />
agreeing to a perpetual injunction against them.<br />
This case has been referred to in these columns on<br />
One or two occasions previously, and the committee<br />
had decided, if necessary, to support an appeal on<br />
Mr. Esmond's behalf. Before the case came for<br />
trial, a very important decision was given in the<br />
Higher Courts in America on exactly the same<br />
question as that at issue in Mr. Esmond's case,<br />
and the judgment delivered in that case had, no<br />
doubt, a healthy influence on the settlement of<br />
Mr. Esmond's claim. The result referred to above<br />
not only strengthens the position of English<br />
dramatists with regard to their American rights,<br />
which, at one time appeared to be in jeopardy,<br />
but also saves the society from the expense of<br />
an action at law.<br />
, The committee then took up the question of the<br />
dramatic pamphlet. Several different points were<br />
discussed, such as the most favourable time of year<br />
for the production of a play intended for a run, the<br />
best agreement for a performance in repertory and<br />
other matters. The chairman then made a Sugges-<br />
tion that the dramatic pamphlet should be drafted<br />
in a different form. He stated that he had read<br />
the pamphlet with great care, and that he thought<br />
it needed simplification; that this simplification<br />
could be attained by drafting a number of agree-<br />
ments to cover the different forms of contract,<br />
rather than by drafting one agreement with a com:<br />
plicated Series of notes. At the request of the<br />
committee he read through an agreement of his<br />
own for a run at a West End theatre, and this form<br />
of agreement was approved by the committee as the<br />
basis of a draft. It was finally decided that the<br />
Secretary should, with the aid of Mr. Shaw and<br />
Mr. Barker, draft a model form of agreement as<br />
between author and manager of a repertory theatre,<br />
and other agreements to cover the different forms<br />
of contract affecting the work of dramatic authors.<br />
These will be laid before the committee at he ir<br />
next meeting, which will be held in October.<br />
—4—sº-0–<br />
Cases.<br />
FourTEEN cases have come into the secretary’s<br />
hands during the past month. Four of these were<br />
claims for moneys and accounts. Two have been<br />
settled, and two, more recently to hand, are still in<br />
the course of negotiation. Four were claims for<br />
money only. Here also two have been settled and<br />
the cheques forwarded. One is still in the course<br />
of negotiation though part of the money has been<br />
paid. The fourth came into the office only a day<br />
before going to press.<br />
One claim for the return of MSS. has been<br />
settled. A complaint has been made by the editor<br />
of one of the papers to which the secretary applied,<br />
that a great many authors neglect to write their<br />
names and addresses on their MSS. when submitting<br />
them for publication. It has on many occasions<br />
been stated in this paper that authors should<br />
not only send stamped and addressed envelopes for<br />
the return of their MSS., but should always write<br />
on a visible portion of their MSS. their names and<br />
addresses, as it not infrequently occurs that the<br />
MSS. are separated from the envelopes. Owing to<br />
this neglect it seems that the complaints of authors<br />
against editors are the result of the authors’ own<br />
carelessness and not of any unbusinesslike conduct<br />
on the part of the editor. The editor, who has<br />
been in communication with the Secretary, states<br />
that he has at least sixty MSS. ready for publica-<br />
tion not one of which contains the name of the<br />
<br />
<br />
## p. 265 (#329) ############################################<br />
<br />
TFIE A CITISIOR,<br />
265<br />
author or anything which would serve for purposés<br />
of identification. When, therefore, these MSS. are<br />
published, he will not know to whom the cheques<br />
should be sent in payment. Authors cannot be too<br />
careful in their method of conducting their business,<br />
and it is unfair to complain about editors when<br />
authors are equally unbusinesslike.<br />
In the only claim for accounts the accounts have<br />
been rendered and forwarded to the author. Four<br />
difficult cases arising out of disputes on agreements<br />
have also been in hand. Two of these have been<br />
settled satisfactorily, one is on a fair way to settle-<br />
ment, while the last has only just come into the<br />
office. Three cases are still open from former<br />
months. In one of these the secretary has been<br />
unable to get an answer from the editor against<br />
whom the claim rests. Owing to lack of evidence,<br />
the case will most probably have to be abandoned.<br />
One claim against an important review is in the<br />
course of satisfactory negotiation, and will, no<br />
doubt, be settled shortly.<br />
A claim for the return of a MS. had to be<br />
abandoned, as there was no legal evidence that it<br />
had come into the hands of a responsible person in<br />
the office to which it was addressed. The remarks<br />
already made in regard to the submission of MSS.<br />
apply especially in this case, and the committee<br />
trust that authors will inwardly digest the warning<br />
given.<br />
—º-º-º-<br />
June Elections.<br />
Affleck, Mrs. Pioneer Club, Grafton<br />
> * Street, Piccadilly,<br />
W -<br />
37, Widdington Ter-<br />
race, North Shields.<br />
Vale Cottage, Chisle-<br />
hurst, Kent.<br />
12, Eglinton Crescent,<br />
Edinburgh.<br />
4, Melbury Road,<br />
Kensington, W.<br />
Bain, James A.<br />
Balme, Mrs. (Loree)<br />
Barrett, James A. S.<br />
Barrington, Mrs. Russell .<br />
Buchan, John . 40, Hyde Park Square,<br />
W.<br />
Burke, J. Butler 68, Buckingham Gate,<br />
* S.W.<br />
Colles, Ramsay, J.P. 7, Essex Street, Strand,<br />
W.C.<br />
Ditchfield, Rev. P. H.,<br />
M.A., F.S.A. º Barkham Rectory, Nr.<br />
Wokingham.<br />
96, Inverness Terrace,<br />
W. .<br />
45, Chetwynd Road,<br />
N.W.<br />
Douglas, James<br />
Field, Rev. Claud, M.A.<br />
Gibson, Miss Zoë M.<br />
Grier, Mrs. Julia<br />
Harland, Mrs. .<br />
Hindenburg, The Baroness<br />
Herbert e<br />
Innes, Norman<br />
Jelf, Jay .<br />
Relly, Marshall<br />
Lennox, Cosmo Gordon<br />
McLaren, Miss Amy<br />
Palmer, W. L. .<br />
Peek, W. Vernon<br />
Podmore, Frank<br />
Radbourne, E. .<br />
Reid, Forrest . ve .<br />
Steuart, J. A. .<br />
Tearle, Christian<br />
Warley, The Rev. Telford .<br />
Voynich, Mrs. E. L.<br />
Wallace, William<br />
Watson, Mrs. Herbert A. .<br />
Webling, Peggy<br />
White, J. Martin<br />
Williams, C. F. Abdy<br />
Ellerslie, Petersfield,<br />
Hants.<br />
10, Leazes Terrace,<br />
Newcastle-on-Tyne.<br />
20, Ken sing to n<br />
Square, W.<br />
R arolinen platz 5,<br />
Munich.<br />
Royal Societies Club,<br />
St. James Street,<br />
S.W. -<br />
19, Turney Road,<br />
West Dulwich, S.E.<br />
“Howells,” Quendon,<br />
Essex.<br />
2, Portman Square, W.<br />
Milnthorpe, Mortimer<br />
West, Berks.<br />
c/o Messrs. The<br />
Bombay - Burmah<br />
Corporation, Papun,<br />
Burmah.<br />
Forest Lodge, Owls<br />
Road, Boscombe,<br />
Hants.<br />
Lawnside, Burley,<br />
Hants. -<br />
9, South Parade,<br />
Belfast.<br />
Milsey Bank, Holly<br />
Park, Crouch Hill,<br />
N .<br />
c/o A. P. Watt & Son,<br />
Hastings House,<br />
Norfolk Street,<br />
Strand, W.C.<br />
Peter Symond's School<br />
House, Winchester.<br />
37, St. Peter's Square,<br />
W<br />
11, ladbroke Road,<br />
W<br />
The School House,<br />
Lancaster.<br />
124, The Grove,<br />
Hammersmith, W.<br />
1, Cumberland Place,<br />
Regent's Park, N.W.<br />
. Milford-on-Sea, Hants.<br />
(One member objects to the publication of her<br />
name and address.)<br />
<br />
<br />
## p. 266 (#330) ############################################<br />
<br />
266<br />
TISIES A UITPSIOR.<br />
BOOKS PUBLISHED BY MEMBERS<br />
THE SOCIETY.<br />
—º-º-º-<br />
OF<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and as exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
BIOGRAPHY.<br />
LIFE OF FIELD MARSHAL SIR NEVILLE CHAMBERLAIN,<br />
G.C.B., G.C.S.I. By G. W. FoEREST, C.I.B. 9 × 53.<br />
512 pp. Blackwood. 188. n. -<br />
LIFE AND TIMES OF MASTER JOHN HUS. By COUNT<br />
LUTZOW. Dent. 12s. 6d. In.<br />
THE MANIAC : A realistic study of madness, from the<br />
Maniac's point of view. 304 pp. Rebman. 68.<br />
BOOKS OF REFERENCE.<br />
THE CEYLON HANDBOOK AND DIRECTORY, 1908—9.<br />
Compiled and Edited by the Staff of the Ceylon Observer,<br />
under the direction of J. FERGUSON, C.M.G. 8% × 53.<br />
1559 pp. Colombo: Ferguson. London: Maclaren.<br />
THE STATESMAN’s YEAR BOOK, 1909. Edited by J.<br />
SCOTT KELTIE, LL.D. 46th Annual Publication.<br />
74 × 43. 1404 pp. Macmillan. 10s. 6d. n.<br />
DICTIONARY OF • NATIONAL BIOGRAPHY.<br />
SIDNEY LEE. Vol. XVI. Pocock—Robins.<br />
Edition.) 94 × 6}. 1339 pp. Smith Elder.<br />
Edited by<br />
(New<br />
158. n.<br />
CLASSICAL.<br />
THE TRACHINIAN MAIDENS OF SOPHOCLES. Translated<br />
into English verse by HUGO SHARPLEY, translator of<br />
the “Mimes of Herodas.”<br />
DRAMA.<br />
THE LAST OF THE DE MULLINS.<br />
Preface. By ST. JOHN HANKIN.<br />
Eifield. 13. 6d. n.<br />
A Play without a<br />
7 x 5. 128 pp.<br />
FICTION.<br />
DAPHNE; OR, MARRIAGE A LA MODE. By MRS. HUMPHRY<br />
WARD. 7# × 5. 315 pp. Cassell. 6s. -<br />
GALATEA OF THE WHEATFIELD. By M. E. FRANCIS<br />
(Mrs. Francis Blundell). 7% x 5. 320 pp. Methuen. 68.<br />
THE PERJURER. By W. E. NORRIS. 73 × 5. 312 pp.<br />
Constable. 68.<br />
THE CAGE. By HAROLD BEGBIE. 73 × 5. 312 pp.<br />
Hodder & Stoughton. 6s.<br />
*NEATH AUSTRAL SKIES.<br />
315 pp. Milne. 6s.<br />
ATTAINMENT. By MRS. HAVELOCK ELLIS. 7% × 5.<br />
316 pp. Alston Rivers. 6s.<br />
PERU’s PEOPLE: A Story for Mothers' Meetings. By M.<br />
BRAMSTON. 73 × 5. 157 pp. S.P.C.K. 1s. 6d.<br />
STUDIES IN WIVES. By MRS. BELLOC LowNDES. 73 × 5.<br />
247 pp. Heinemann. 63. -<br />
GATES OF BRASS. By MRS. AUBREY RICHARDSON.<br />
7% x 5. 319 pp. Digby, Long, 68. -<br />
THE RED-HOT CROWN. A Semi-historical Romance. By<br />
DOROTHEA GERARD (MADAME LONGARD DE LONG-<br />
GARDE). 7% x 5. 318 pp. John Long. 68.<br />
COUSINS AND OTHERS. By KATHARINETYNAN.<br />
319 pp. Werner Laurie. 68.<br />
By Louis BECKE. 73 × 5.<br />
7} x 5.<br />
: A YOUNG MAN FROM THE COUNTRY.<br />
By MADAME<br />
ALBANESI. 320 pp. THE IDEs of MARCH. By MRs.<br />
BAILLIE-REYNOLDS. 370 pp. 63 x 43. (Hurst &<br />
Blackett's Sevenpenny Reprints.)<br />
THE SPELL OF THE JUNGLE. By ALICE PERRIN. 73 x 5.<br />
230 pp. Stanley Paul, 1s. n.<br />
THE HOUSE OF INTRIGUE. By PERCY WHITE. 8 × 5.<br />
372 pp. Hurst & Blackett. 6s.<br />
SIXPENNY PIECES. By A. NEIL LYONs. 73 × 5. 305 pp.<br />
Lane. 68. t<br />
THE LOVE BROKERS.<br />
290 pp. Cassell. 6s.<br />
A WERY DOUBTFUL EXPERIMENT.<br />
By ALBERT KINRoss. 73 × 5.<br />
By L. G. MOBERLY.<br />
73 × 5. 303 pp. Ward, Lock. 6s.<br />
JOHN GLYNN. By A. PATERSON. 311 pp. DIANA<br />
TEMPEST. By MARY CHOLMONDELEY. 318 pp. THE<br />
FoREST LOVERS. By MAURICE HEWLETT. 301 pp.<br />
64 × 4}. Macmillan. 7d.<br />
THE YoUNGEST MISS Mowbray. By B. M. CROKER.<br />
6% x 44, 320 pp. Hurst & Blackett. 7d.<br />
A CHANGE IN THE CABINET. By H. BELLOC, 7} x 5.<br />
309 pp. Methuen. 6s.<br />
THE POOLS OF SILENCE. By H. DE WERE STACPooDE.<br />
73 x 5. 348 pp. Unwin. 6s.<br />
THE BRONZE BELL. By L. J. VANCE. 73 × 5.<br />
Grant Richards. 6s.<br />
DIANA DETHRONED. By W. M. LETTS.<br />
Lane. 68.<br />
BURNT WINGs. By MRs. STANLEY WRENCH. 73 × 5.<br />
317 pp. John Long. 6s.<br />
SIR GREGORY's SILENCE. By A. W. MARCHMONT.<br />
7# × 5. 328 pp. Cassell. 68.<br />
PEGGY GAINSBOROUGH. The Great Painter's Daughter.<br />
By EMILY BAKER. 7: x 5. 243 pp. F. Griffiths.<br />
58. n.<br />
350 pp.<br />
73 × 53. 317 pp,<br />
GARDENING.<br />
DUTCH BULBS AND GARDENs. Painted by MIMA NIxoN.<br />
Described by UNA SILBERRAD AND SOPHIE LYALL.<br />
9 × 6%. 176 pp. Black. 7s.6d. n.<br />
HISTORY.<br />
E VERY MAN'S HISTORY OF THE ENGLISH CHURCH.<br />
By the REv. PERCY DEARMER. With over 100<br />
Illustrations, 7% × 5}. 158 pp. Mowbray. 1s. n.<br />
LAW.<br />
THE INDIAN CONTRACT ACT. By SIR FREDERICK<br />
POLLOCK, BART., assisted by DINSHAH FARDUNJI<br />
MULLA, M.A., LL.B. (Second Edition.) 93 x 64.<br />
744 pp. London: Sweet & Maxwell. Bombay : Thacker;<br />
and N. M. Tripathi. 258. n.<br />
LITERARY.<br />
OXFORD LECTURES ON POETRY. By A. C. BRADLEY.<br />
9 x 6. 395 pp. Macmillan. 108. n.<br />
ESSAYS IN FREEDOM. By H. W. NEVINSON. 8 × 5}.<br />
329 pp. Duckworth. 6s. n. -<br />
Is SHAKESPEARE DEAD 7 From my Autobiography. By<br />
MARK TwAIN, 83 × 53. 150 pp. Harper. 3s.6d.<br />
THE LEGEND OF SIR PERCIVAL. Studies upon its Origin,<br />
Development and Position in the Arthurian Cycle. By<br />
JESSIE L. WESTON. Vol. II., The Prose Percival<br />
according to the Modena MS. 73 × 5%. 355 pp.<br />
Nutt. 15s. n.<br />
ADVENTURES IN LONDON. By JAMES DOUGLAS.<br />
5%. 415 pp. Cassell. 68. m. *<br />
GEORGE MEREDITH IN ANECDOTE AND CRITICISM. By<br />
J. A. HAMMERTON. 9 × 53. 391 pp. Grant Richards.<br />
12s. 6d. n.<br />
8} x<br />
<br />
<br />
## p. 267 (#331) ############################################<br />
<br />
TRIE A UTISIOR.<br />
267<br />
MEDICAL.<br />
SANITARY LAWS AND PRACTICE. A. Handbook for<br />
Students of Public Health and others. By º<br />
ROBERTSON, M.D., and C. PoRTER, M.D. (Second<br />
Edition Revised.) 83 x 5%. 694 pp. The Sanitary<br />
Publishing Co. 10s. 6d. n.<br />
MISCELLANEOUS.<br />
ANGLO-SAXONS FROM PALESTINE ; OR, THE IMPERIAL<br />
MYSTERY OF THE LOST TRIBEs. By MRS. THEODORE<br />
BENT. 7 × 43. 75 pp. Sherratt & Hughes. 18. n.<br />
MUSIC.<br />
GEMS OF A DAY. Robin and the Violets. By L. BUDGEN<br />
and R. GOLDBECK. Crewsher & Co.'s School Series.<br />
Bradford : Crewsher. 2d. each.<br />
NATURAL HISTOR Y.<br />
THE POND I KNOW. Edited by W. P. WESTELL and H.<br />
E. TURNER. 74 x 5. 78 pp. (Open Air Nature<br />
Books.) Dent. 8d.<br />
POETRY.<br />
SONNETS. By LORD ALFRED DOUGLAS. 8 × 53. 30 pp.<br />
The Academy Publishing Co.<br />
THREE POEMS. By CHARLES F. GRINDROD. Elkin<br />
Mathews). 1s.<br />
ELIJAH : An Ascent. A Poem in Three Parts. By J.<br />
BRITCHARD. 7 x 43. 93 pp. Kegan Paul. 1s. 6d. n.<br />
REPRINTS.<br />
THE CHRONICLE HISTORY OF KING LEIR. The Original<br />
of Shakespeare's “King Lear.” Edited by SIDNEY LEE.<br />
7 x 5%. Chatto & Windus. 2s. 6d. n.<br />
SPORT.<br />
CLUB BRIDGE. By A. DUNN. 7; x 5. 245 pp. Mills<br />
& Boon. 5s. n.<br />
THEOLOGY.<br />
MEISTER ECKHART'S SERMONS. First time translated into<br />
English. By CLAUD FIELD. 60 pp. 64 × 74. Allen-<br />
Son. 18. n.<br />
THE CHARACTER OF JESUS CHRIST. By the REV. T. A.<br />
LACEY. 30 pp. 74 × 5. The North London Christian<br />
Evidence League. 3d. n.<br />
THE MESSAGE OF THE SON OF MAN. By EDWIN A.<br />
ABBOTT, Author of “Silanus the Christian.” 9 × 6.<br />
166 pp. 8vo. Cloth. A. and C. Black. 4s. 6d. n.<br />
THE ENTERPRISE OF ELLA : A Stock Exchange Romance.<br />
By JAY JELF. 320 pp. John Long. 68.<br />
BoDY AND SouL. By PERCY DEARMER, 73 × 5. 405 pp.<br />
Sir Isaac Pitman. 6s. n.<br />
THE NEW THEOLOGY. By the REV. R. J. CAMPBELL.<br />
Thoroughly revised and with 2 Aew Preface. 7+ x 43.<br />
228 pp. Mills & Boon. 18, n.<br />
TOPOGRAPHY,<br />
THE INNS OF COURT. Painted by GORDON HORNE.<br />
Described by CECIL HEADLAM. 9 × 6%. 211 pp.<br />
Black. 7s.6d. n.<br />
THE SPIRIT OF THE DOWNS. Impressions of the Sussex<br />
Downs. By ARTHUR BECKETT. 9 × 53. 366 pp.<br />
Methuen. 10s. 6d. n.<br />
TRAVEL.<br />
TYROL AND ITS PEOPLE. By CLIVE HOLLAND. 9 × 53.<br />
336 pp. Methuen. 10s. 6d. n.<br />
B00KS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
—t-Q-º—<br />
BIOGEAPHY.<br />
NADIR SHAH. By SIR. H. MoRTIMER DURAND.<br />
New York: Dutton. $3 m.<br />
BOOKS FOR THE YOUNG,<br />
JUST-SO STORIES FOR LITTLE CHILDREN.<br />
by the Author.<br />
& Co.<br />
352 pp.<br />
Illustrated<br />
249 pp. New York : Doubleday, Page<br />
(Pocket Kipling.) Leather. $1.50 n.<br />
FICTION.<br />
LOVE's PRIVILEGE. By MRs.<br />
375 pp. Lippincott. $1.50.<br />
TESS OF THE D'URBERVILLES. By THoMAS HARDy.<br />
(Thin paper edition.) 457 pp. Harper. $1.25 n.<br />
º, By F. E. MILLS YOUNG. 31.1 pp. John Lane.<br />
MARRIAGE A LA MODE. By MRS, HUMPHRY WARD.<br />
324 pp. Doubleday, Page & Co. $1.20.<br />
- TITERARY.<br />
DANTE IN ENGLISH LITERATURE : from Chaucer to Cary.<br />
STELLA. M. DURING.<br />
By PAGET TOYNBEE. Two Vols. 683 × 757 pp.<br />
Macmillan. $5 m.<br />
PHILOSOPHY.<br />
IS IMMORTALITY DESTRABLE 2 By G. Low ES DICKEN-<br />
SON. 63 pp. Houghton Mifflin. 75c. n.<br />
SCIENCE.<br />
THE ETHER OF SPACE. By SIR OLIVER LODGE.<br />
New York: Harper, 75c. n.<br />
A FALSE POSITION. By MRS. L. BAILLIE REYNOLDS.<br />
168 pp.<br />
348 pp. Brentano. $1.50.<br />
TECHNICAL.<br />
CASSELL’s CYCLOPAEDIA OF MECHANICs. Edited by<br />
PAUL HASLUCK. Cassell. $2.50 m.<br />
—e—sº-0–<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—º-º-º-<br />
E must congratulate Mr. A. W. Pinero<br />
and Mr. J. H. Yoxall, two distinguished<br />
members of the Society, on the receipt<br />
of knighthoods in the last list of birthday honours.<br />
It seems extraordinary that dramatists should have<br />
been so long neglected when the interpreters of<br />
their works have received recognition. The genius<br />
who originates the work is surely of more conse-<br />
quence than the mimetic interpreter; but this, no<br />
doubt, is only further evidence that genius is, as a<br />
rule, neglected.<br />
THEOLOGY.<br />
The Fortnightly Review for June contains Mr.<br />
Edward Clodd's paper, “Pre-animistic Stages in<br />
Religion,” which was read at the third Inter-<br />
national Congress for the History of Religions<br />
at Oxford in September of last year.<br />
<br />
<br />
## p. 268 (#332) ############################################<br />
<br />
268<br />
TFIE A DfTFIOR.<br />
“The Message of the Son of Man,” by the Rev.<br />
Edwin A. Abbott, is an attempt to answer the<br />
question, “Why did Christ call Himself ‘the Son<br />
of Man’?” The answer arrived at is that the<br />
title was adopted by Him, not from apocryphal,<br />
but solely from Biblical sources, so as to indicate<br />
the man made in the image of God and destined<br />
to have dominion over the beast. Dr. Abbott<br />
points out that Ezekiel and Daniel, the only<br />
prophets called “son of man,” are shown to have<br />
had visions pointing to such a dominion of the<br />
Man or Son of Man. Messrs. A. and C. Black are<br />
the publishers.<br />
MUSIC.<br />
Mr. Joseph Holbrooke's orchestral and choral<br />
concert of his new works was held at Queen's Hall<br />
on Friday, June 25. The programme included<br />
choral songs, a dramatic choral Symphony, “Anna-<br />
bel Lee’” (a ballad with orchestra). Mr. Holbrooke<br />
had the assistance of Mr. Victor Benham (the<br />
American pianist), the Alexandra Palace choir of<br />
four hundred picked voices, and the Beecham<br />
orchestra of ninety performers. Mr. Allen Gill and<br />
Mr. Thomas Beecham acted as conductors.<br />
Messrs. Crewsher & Co.'s latest additions to their<br />
school series include “Gems of a Day,” by L.<br />
Budgen and R. Goldbeck. The songs are published<br />
at the price of 2d.<br />
FICTION.<br />
Dr. Riccardo Stephens has just finished a series<br />
of stories with the general title of “The Signet<br />
Ring,” commissioned for Chambers’ Journal.<br />
“A Fair Suffragette” is the title of a novel by<br />
Adrienne Mollwo, which Mr. Henry Drane has just<br />
published.<br />
“Downhill: the Story of a Faithful Servant,”<br />
by Eva Richmond, is a narrative told, in simple<br />
language, which concerns the life of a horse. She<br />
describes the sufferings it has to endure at the<br />
hands of masters, thoughtless when not cruel, and<br />
untouched by any feelings of affection when, worn<br />
out by harsh treatment, it is no longer profitable to<br />
them. Copies of the story, which are on sale at 3s. per<br />
100, are obtainable at the offices of the Royal<br />
Society for the Prevention of Cruelty to Animals,<br />
105, Jermyn Street, S.W.<br />
“Beyond the Skyline,” by Robert Aitken, is a<br />
volume of short stories recently published by Mr.<br />
John Murray. The scenes of most of them are laid<br />
beyond the horizon of the average reader—in lands<br />
where a man is measured by a standard that<br />
demands justice here and now, and on seas whose<br />
open expanse permits no littleness to lurk in the<br />
souls of those who travel over them. In America<br />
Mr. B. W. Huebsch is the publisher.<br />
Mrs. During's new novel, “Love's Privilege,”<br />
which won a £200 prize in the recent serial<br />
competition organised by the Chicago Daily News<br />
Company, has just been brought out in volume<br />
form by Messrs. Lippincott, of Philadelphia, and is<br />
being extensively advertised in America. The<br />
British and Australian serial rights in the story<br />
have been purchased by Messrs. Tillotson, of Bolton.<br />
Miss Sheila Kaye-Smith, whose first novel, “The<br />
Tramping Methodist,” was published by Messrs.<br />
Geo. Bell & Son, has just issued, through the same<br />
house, a second novel, which she calls “Starbrace.”<br />
In this book Miss Kaye-Smith deals with life in<br />
Kent and Sussex during the first half of the<br />
eighteenth century, partly “on the roads” and<br />
partly in the hunting field. The author depicts<br />
the struggle between two utterly dissimilar natures<br />
brought together by mutual love, and gives a study<br />
of human cross-strains as exemplified in the hero's<br />
character.<br />
We regret that in our notice of Miss R. N.<br />
Carey's new book last month we gave it an incorrect<br />
title. Miss Carey's book is called “The Key of<br />
the Unknown,” not “The King of the Unknown "<br />
as stated. We tender our apologies to the author<br />
for the slip.<br />
Mrs. M. E. Stevenson, who has latterly only<br />
been writing descriptive articles, has just completed<br />
a novel, the scene of which is laid in Yorkshire.<br />
The interest of this novel centres in two literary<br />
sisters, who are launched into a domestic removal<br />
and the care of two children by their brother and<br />
his wife, who meanwhile go abroad, and subse-<br />
quently start for a voyage round the world. In<br />
this, however, they are arrested by an unexpected<br />
development of events at home, which lead to a<br />
climax. The title will probably be “The Maiden<br />
Aunts,” or “Tommy's Aunts.” The story is laid<br />
in a well-known and historical locality.<br />
“The Enterprise of Ella : a Stock Exchange<br />
Romance,” by Jay Jelf, is a love story of an English<br />
girl who in her early days is thrown upon her own<br />
resources, and eventually finds a haven in unex-<br />
pected waters. Blended with the story is a picture<br />
of the manners and methods of the Stock Exchange.<br />
Mr. John Long is the publisher.<br />
Mrs. de Crespigny’s new novel, “The Coming of<br />
Aurora,” will be published by Mr. Eveleigh Nash<br />
on July 7. It is a story of modern times, and<br />
the first part takes place on the borders of France<br />
and Switzerland, the second in North Wales.<br />
There is a cover design by Miss Marjorie Murray.<br />
Stories from the same writer have appeared in the<br />
May issue of the Red Magazine, last month's<br />
Storyteller, and the Car of June 9th.<br />
Mr. Michael Barrington's first book, “The<br />
Reminiscences of Sir Barrington Beaumont,”<br />
dealt with social and political conditions ; his<br />
second, “The King's Fool,” was a story of<br />
romance. His latest work, “The Knight of the<br />
<br />
<br />
## p. 269 (#333) ############################################<br />
<br />
TISIE A CITISIOR,<br />
269<br />
Golden Sword,” which is to be published in the<br />
early autumn by Messrs. Chatto & Windus, while<br />
giving a cynical picture of the England of the later<br />
Stuarts and of the intrigues which brought about<br />
the revolution of 1688, shows John Graham, the<br />
last great champion of the fallen cause.<br />
“The Shadow of the Ragged Stone" is the title<br />
of a story by Charles F. Grindrod, published recently<br />
by Mr. Elkin Mathews, which tells of the days of<br />
Henry II., and presents the great struggle of that<br />
reign between Church and State, between King and<br />
prelate, between secular law and ecclesiastical rule.<br />
DRAMATIC.<br />
“A Merry Devil,” Mr. J. B. Fagan's new play,<br />
was produced at the Playhouse on June 3. The<br />
cast included Mr. Cyril Maude, Miss Winifred<br />
Emery, and Miss Jessie Bateman.<br />
The Irish Players' season at the Court Theatre<br />
last month witnessed the production of two one-<br />
act plays, by Lady Gregory and Mr. Norreys<br />
Connell respectively. “Hyacinth Halvey,” Lady<br />
Gregory's piece, portrayed Irish life and customs ;<br />
while Mr. Connell's work, “An Imaginary Conver-<br />
sation,” was a character study, which contrasted<br />
the cold cynicism of Tom Moore with the passionate<br />
enthusiasm of the revolutionist Robert Emmet.<br />
Sir Arthur Conan Doyle's new play, “The Fires<br />
of Fate,” was produced at the Lyric Theatre on<br />
June 15. The chief character in the piece is<br />
a young colonel, who, informed by his doctor that<br />
he has probably only a year to live, abandons his<br />
first thought of putting an immediate end to his<br />
existence, in deference to the appeals of his brother (a<br />
Nonconformist minister), who advances the orthodox<br />
Christian objections, and the hope expressed by<br />
the doctor of a possible recovery in the event of<br />
the administration of a shock. The nature of the<br />
shock which the colonel experienced, and the<br />
result it produced, are told in the play, which is<br />
interpreted by a cast including Mr. Lewis Waller,<br />
Mr. A. E. George, Mr. Fisher White, and Miss<br />
Auriol Lee.<br />
Among the plays included by Miss Horniman,<br />
in her recent repertory performances at the Coronet<br />
Theatre, Notting Hill, were Mr. G. Bernard Shaw's<br />
“Widowers' Houses” and Mr. John Galsworthy's<br />
“The Silver Box.”<br />
Mr. Arthur Dillon’s “Leto Suppliant,” shortly to<br />
be published by Mr. Elkin Mathews, is modelled in<br />
the form of Greek drama.<br />
Mr. St. John Hankin's new play, “The Last of<br />
the De Mullins,” which the Stage Society produced<br />
at the Haymarket at the end of last year, has now<br />
been published by Mr. A. C. Fifield at 1s. 6d. net.<br />
POETRY.<br />
“Elijah : An Ascent,” by F. Pritchard (Kegan<br />
Paul & Co.), is a poem dealing with the last phase<br />
in the life of the prophet Elijah, from an imaginative<br />
and ethical standpoint. It is interspersed with<br />
four songs. -<br />
Mr. J. M. Stuart-Young, author of “Merely a<br />
Negress,” etc., has ready for the press a volume of<br />
tropical poems upon West Africa. The title chosen<br />
is “The Seductive Coast,” and the book will be<br />
published in the autumn by Mr. John Ouseley.<br />
The first edition has already been subscribed for by<br />
COasters.<br />
Mr. Charles F. Grindrod has published, through<br />
Mr. Elkin Mathews, a volume which contains, and<br />
is entitled “Three Poems.” The first, is “An<br />
Elegy,” in which the author plumbs the depths of<br />
Sorrow and longing. Following this is a poem<br />
called “The Two Spirits,” the spirits being Joy<br />
and Sorrow, and the argument of the poem being<br />
that each is indispensable to the other, and both<br />
to God's purpose. The last poem, “The Lost<br />
Soul,” is a soliloquy pregnant with religious<br />
feeling.<br />
BIOGRAPHY.<br />
A series of historical articles, entitled, “Four<br />
Forgotten Great Irishwomen,” by L. M. McCraith,<br />
author of “A Green Tree,” will appear in the<br />
Englishwoman's Review, commencing with the<br />
current number. The articles deal with St. Brigit,<br />
Queen Gorringlaith, Margaret O'Carroll (the<br />
Bountiful), and Grainne O'Malley, the pirate.<br />
MISCELLANEOUS.<br />
Messrs. Siegle, Hill & Co. have published a<br />
German translation of Mr. George Meredith’s<br />
“Tragic Comedians,” which has been prepared by<br />
Miss Ida Benecke, who has kindly promised the<br />
proceeds of the sale to the Society's pension<br />
fund.<br />
“Clough's South African Parliamentary Manual”<br />
is a work by Mr. O. Clough, containining a large<br />
amount of information respecting the constitution<br />
and governance of South Africa. The first part<br />
of the book deals with the “non-parliamentary<br />
colonies” of British South Africa, and gives par-<br />
ticulars of the population and constitutional<br />
information in respect of each territory. Parts 2,<br />
3, 4, and 5 of the book are devoted respectively to<br />
the South African self-governing colonies, viz., the<br />
Cape of Good Hope, Natal, the Transvaal, and<br />
Orange River Colony. A greater portion of the<br />
volume, however, is set apart to South African<br />
parliamentary procedure, both for public business<br />
and private bills. The book is prefixed by a map<br />
of British South Africa, showing all railway, tele-<br />
graph, and telephone communication throughout<br />
South Africa. The work is published by the<br />
Central News Ageney of Cape Town, Pietermaritz-<br />
burg, Bloemfontein, Pretoria, &c, &c.<br />
<br />
<br />
## p. 270 (#334) ############################################<br />
<br />
270<br />
THE AUTHOR.<br />
PARIS NOTES.<br />
—º-º-º-<br />
REAT satisfaction is felt by French authors<br />
with regard to the new Act in the American<br />
Copyright Law, which comes into effect<br />
from July 1, 1909. From henceforth it will, of<br />
course, be much more easy for foreign authors to<br />
secure copyright for their books, either in the<br />
original language or in translations, throughout the<br />
United States of America.<br />
“Le Miroir aux Alouettes,” by J. de Mestral<br />
Combremont, is another problem novel. The<br />
characters are so well drawn and so living that it<br />
might very well be a story from life transplanted<br />
into a volume. It is the old, old story of the man<br />
who marries believing himself to be in love, and<br />
finds out afterwards that he is bound for life to<br />
a woman who is not, and never can be, a companion<br />
to him. He discovers too late that the woman of<br />
kindred taste, whom he had always treated as a<br />
friend, is the woman he should have married.<br />
When the discovery comes to them both, she<br />
decides to put the ocean between them. The<br />
problem is therefore left for the future. Mere<br />
absence cannot solve such a problem, the author<br />
does not attempt to look into the future, and we<br />
are left with a situation which demands a sequel.<br />
There is a distinct tendency in the French literature<br />
of to-day to leave questions open. Instead of<br />
attempting to give us the final word, the author<br />
frequently leaves us with a problem unsolved. In<br />
Edouard Rod's recent books, and in those by<br />
several other authors, this is the case. In the<br />
book of which we have just spoken a sequel is<br />
absolutely necessary.<br />
“Pierre et Thérèse’’<br />
Prevost’s new novel.<br />
Anatole France has just published a volume<br />
entitled “Les Sept Femmes de la Barbe-Bleue et<br />
autres Contes Merveilleux.”<br />
“Le Droit à la Force,” by Daniel Lesueur, is<br />
both a roman feuilleton and a psychological study.<br />
It is only in a few rare cases that an author<br />
succeeds in writing a novel which is extremely<br />
dramatic and at the same time an excellent study<br />
of character. “Nietzschéene,” the last novel by<br />
this same author, is now in its twenty-eighth<br />
edition.<br />
“Lettres de Barbey d'Aurevilly & Trebutien” is<br />
a publication in two large-sized volumes, containing<br />
the correspondence of D'Aurevilly with his friend<br />
Trebutien from 1832 to 1856. Trebutien was<br />
the publisher at Caen who helped D’Aurevilly to<br />
bring out his first books. He published the<br />
famous review entitled Revue de Caen, on which<br />
D’Aurevilly founded all his hopes. The first<br />
number of this review was the last one. The<br />
is the title of Marcel<br />
opening letter of this collection was written when<br />
D'Aurevilly was only twenty-four years of age. It is<br />
full of enthusiasm. The last one is dated twenty-four<br />
years later, and is still more enthusiastic. During<br />
the whole period of this correspondence Barbey<br />
d'Aurevilly wrote letters to his friend, many of<br />
which are masterpieces of description and wit.<br />
There are no dull letters in the book. They are<br />
all natural, full of life and interest, and are perhaps<br />
even more curious and interesting to read to-day<br />
than they were at the time they were penned.<br />
The persons of whom D’Aurevilly speaks, Victor<br />
Hugo, George Sand, Mme. Récamier, Maurice, and<br />
Eugénie de Guérin, have now become historical<br />
personages. It is interesting to read the opinion<br />
of a contemporary like D'Aurevilly. The inaugura-<br />
tion of the monument erected in honour of his<br />
centenary is shortly to take place. The bust has<br />
been executed by Rodin, and subscriptions are<br />
still being received by the Société des Gens de<br />
Lettres. Books, pamphlets, articles, and lectures<br />
on Barbey d’Aurevilly have been the order of the<br />
day for the last few years. It seems as though<br />
there is a general wish to expiate the injustice with<br />
which he was treated during his lifetime by this<br />
posthumous glory in honour of his centenary.<br />
Mademoiselle Read, the faithful friend who for the<br />
last twenty years has been editing the thirty<br />
volumes of his works, which she has brought out<br />
since his death, is now reaping the reward of her<br />
unselfishness and devotion.<br />
The sixth volume of “Histoire de l’Art ’’ has<br />
just appeared under the title of “Les Débuts de la<br />
Renaissance.”<br />
“La Legende de Jean Jacques Rousseau,” by<br />
Frederika Macdonald, has been translated into<br />
French by Georges Roth. This curious book shows<br />
us, with the help of historical documents discovered<br />
among the French archives by the author, that an<br />
entirely false idea of Jean Jacques Rousseau's<br />
character has come down to us, thanks to a plot<br />
carried out by two literary men who were his con-<br />
temporaries. The proofs of this plot are given by<br />
the author. The subject is of the keenest interest,<br />
and the discovery throws new light on much which<br />
has hitherto seemed vague.<br />
Another interesting book is the “Correspondance<br />
entre Victor Hugo et Paul Meurice.”<br />
“Le Congo français,” by F. Challaye, is a book<br />
on the international question of the Congo by an<br />
extremely able writer who has lived in the country<br />
of which he writes. The subject of the French<br />
colonies is being seriously considered now. Several<br />
authors have consented to give lectures. A league<br />
has been formed with a view to improving both the<br />
moral and material situation of France throughout<br />
the world. Pierre Mille, of whose remarkable<br />
stories on life in the Congo we spoke recently, is<br />
<br />
<br />
## p. 271 (#335) ############################################<br />
<br />
TISIES A UITISIOR.<br />
271<br />
also taking the matter up, and it is hoped that by<br />
means of lectures and publications things may be<br />
improved in some of the French colonies. With<br />
such names as are on the committee of the league,<br />
it seems probable that great schemes may be carried<br />
through satisfactorily.<br />
“Amor Vincit” is the title of the new novel by<br />
Hélène Vacaresco. w<br />
An English edition of Pierre de Couvelain's<br />
“Sur la Branche” will appear shortly in England<br />
and America under the title of “On the Branch.”<br />
A committee has been formed to publish the<br />
poems of the extraordinary man who signs his<br />
works “ Humilis.” The Comte de Larmandie dis-<br />
covered this poet and spoke of him to M. Saint-<br />
Chamarand, director of La Poétique. Thanks to<br />
their combined efforts, a committee was formed, and<br />
the first volume is announced for this month. A<br />
matinée was given by M. Saint-Chamarand recently,<br />
when Madeleine Roch, of the Comédie Française,<br />
and M. de Max recited some of the masterpieces<br />
contained in this volume. -<br />
A dinner was given recently by the Société des<br />
Gens de Lettres in honour of Madame Juliette<br />
Adam, who has now been a member of that society<br />
for fifty years and who was presented by George<br />
Sand. Speeches were made at this dinner by M.<br />
Georges Lecomte, M. Michel Pelletier, and by<br />
Madame Daniel Lesueur. Madame Juliette Adam<br />
responded, and in a very touching speech thanked<br />
all her friends for their good wishes. It will be<br />
remembered that Madame Adam founded the<br />
Nouvelle Revue, and that in its pages many of<br />
the well-known French writers of to-day found<br />
hospitality for the first time.<br />
In the Revue de Paris for June 1, there are two<br />
articles on the Duc d'Enghien: “L’Affaire du Duc<br />
d'Enghien,” by Prince Murat, and “Murat et le<br />
Duc d'Enghien,” by Comte de Mosbourg. There<br />
is also a curious and interesting article on “L’Art<br />
Japonais et la Figure Humaine,” by Louis Aubert,<br />
and the continuation of Myriam Harry's novel,<br />
“Madame Petit-Jardin.” -<br />
In the Revue Hebdomadaire the Wicomte de<br />
Reiset writes on “La Legende de Maria Stella,”<br />
Philippe Henriot on “George Meredith,” and<br />
Edward Rod on “Le Mouvement des Idées.”<br />
ALYS HALLARD.<br />
—º<br />
“Le Miroir aux Alouettes” (Plon).<br />
“Lettres de Barbey d'Aurevilly a Trebutien” (A. Blaizot).<br />
“La Legende de Jean Jacques Rousseau " (Hachette).<br />
“Correspondance entre Victor Hugo et Paul Meurice.”<br />
(Fasquelle).<br />
“Le Congo français" (Alcan).<br />
àra-<br />
v-w---w<br />
UNITED STATES NOTES.<br />
—º-º-º-<br />
HE Spring which slew Swinburne, Meredith,<br />
and Madame Modjeska, did not spare<br />
- American authors. Marion Crawford, who<br />
died at Sorrento on April 9, had a wide range of<br />
interests, great versatility, and, above all, the<br />
ability to tell a story. He wrote too much and too<br />
quickly, and had passed his zenith when he died ;<br />
but he remained readable to the last. It is gene-<br />
rally admitted, that good as were “Mr. Isaacs” and<br />
One or two of its successors, this author was at his<br />
best in his Italian romances, of which the recently<br />
issued “White Sister” was the last. Crawford had<br />
intended to add to his large output a history of<br />
Rome in the Middle Ages.<br />
Mrs. Elinor Macartney Lane, who died at<br />
Lynchburg, Virginia, on March 15, attracted<br />
attention by her first novel, “The Mills of God,”<br />
which appeared in 1901. This study of heredity<br />
was followed by the historical romance, “Nancy<br />
Stair.” Her posthumous story, “Katrine,” will<br />
probably hardly quite rank with its popular<br />
predecessors.<br />
Others who have recently fallen out of the ranks<br />
of American literature are Charles Warren Stoddard,<br />
author of “South Sea Idylls,” and other books of<br />
verse and travel (April 24); Samuel June Barrows,<br />
the well-known penologist (April 21) ; Peter<br />
Fenelon Collier, the enterprising publisher and<br />
proprietor of Collier's Weekly (April 24); Ham-<br />
mond Lamont, editor of the Nation and New York<br />
Evening Post (May 6); Mrs. Wilson (née Augusta<br />
Evans), author of the once vastly popular stories,<br />
“St. Elmo " and “Vashti,” amongst others<br />
(May 9); George Rice Carpenter, educationist<br />
and biographer (April 8).<br />
Mr. Paul Elmer More, the essayist, has become<br />
fourth editor of the Nation. He had been<br />
associate-editor for the last three years.<br />
Prof. Bliss Perry, of Harvard, is to lecture<br />
at the University of Paris and other French<br />
universities during 1909–10.<br />
Appleton's Magazine is to be discontinued after<br />
the June number.<br />
Prof. Eugen Kühnemann, of Breslau, who has<br />
been German exchange professor at Harvard, has<br />
written a study of President Eliot's career.<br />
James Huncker's new volume of critical studies,<br />
entitled “Egoists,” has been described as “like a<br />
rapid series of electric sparks.” Its “supermen’’<br />
include such diverse personalities as Nietzsche,<br />
Stendhal, Bandelaire, and Pater.<br />
Dr. Elroy McKendree Avery has been delivered<br />
of the fifth volume of his “History of the United<br />
States,” which deals with the revolutionary period.<br />
It is said to show an advance upon previous<br />
<br />
<br />
## p. 272 (#336) ############################################<br />
<br />
272<br />
TISIES A [CITISIOR.<br />
volumes in literary restraint and to excel<br />
some more pretentious works in accuracy and<br />
balance. - -<br />
Mr. Rockefeller’s “Random Reminiscences” will<br />
probably have been read almost as widely in Europe<br />
as here. Whatever may be thought of the Standard<br />
Oil magnate, it cannot be denied that as an author<br />
he has the virtues of simplicity and directness.<br />
Thompson Seton’s “Biography of a Silver Fox”<br />
is as good as its “Grizzly’’ predecessor. Curiously<br />
enough it has incidents which closely resemble<br />
some of those in Mr. Roberts's “Red Fox”<br />
story.<br />
Two books of American history which the Mac-<br />
millan Company are issuing this season are likely<br />
to be of permanent value. The one, Prof. Edmond<br />
S. Meany’s “History of the State of Washington,”<br />
tells the story of the great north-west. . The other,<br />
Mrs. Schuyler Van Reusselaer's “History of the<br />
City of New York in the Seventeenth Century,” is<br />
an original study of the old Dutch settlement.<br />
One of Messrs. Houghton, Mifflin & Co.'s recent<br />
publications, “Some Acrostic Signatures of Francis<br />
Bacon,” is described as “an array of facts of the<br />
plainest sort.” That the ciphers in it are not<br />
accidental “can be determined,” we are told, “by<br />
a simple mathematical calculation.” A few of the<br />
“inferences” that may be drawn from Mr. Stone<br />
Booth’s book are that Bacon not only wrote the<br />
works of Shakespeare, but occasionally also used<br />
the names of Marlowe and Spenser. Here indeed<br />
is pasture for Baconians !<br />
The “Life and Times of Laurence Sterne,” by<br />
Prof. Wilbur L. Cross, of Yale, will doubtless be<br />
read with interest on both sides of the Atlantic.<br />
Americans have been divided in their reception<br />
of Mark Twain’s “Is Shakespeare Dead 2 ” Is<br />
Mr. Clemens to be numbered among good Baconians,<br />
or is it only some of his fun ?<br />
The publication of Ticknor's “Life and Letters”<br />
has been put off until the autumn.<br />
Mr. Frank B. Sauborn has much to say of the<br />
Concord circle in his “Recollections of Seventy<br />
Years.” He also relates his dealings with John<br />
Brown, who will soon, he thinks, arrive at the<br />
mythical stage. But he knew him as a very real<br />
person, and as “the indispensable” man of the<br />
Free Soil fight. Had it not been for his exploits,<br />
emancipation would, in Sauborn's opinion, have<br />
been delayed sixty years.<br />
The event of the summer from a literary view-<br />
point will be the appearance of James Lane Allen's<br />
book, “The Bride of the Mistletoe.” The talented<br />
author of “The Choir Invisible" has now been<br />
silent for six years.<br />
Probably by far the best work of fiction that<br />
has appeared in the United States this year is<br />
Judge Grant's Bostonian study, “The Chippen-<br />
dales.” . The hero typifies successfully, if not<br />
sympathetically, the Puritan conscience, which is<br />
now becoming a rarity; the real force of the thing<br />
is made to stand out triumphantly in its effect<br />
upon the recalcitrant heroine, a fine creation.<br />
A third character of note is Hugh Blaisdell, who<br />
represents the man who is good because he finds it<br />
ayS.<br />
Another good piece of work from a novelist is<br />
Alice Brown's “The Story of Myrza,” a powerful<br />
presentment of a woman's self-imposed atonement.<br />
A story which has been appearing anonymously<br />
in Harper's has excited much curiosity. The<br />
author appears to be a woman. She is strong in<br />
plot and dialogue, but rather uneven in her<br />
character delineation. The title of the book is<br />
“The Inner Shrine.”<br />
A publication of some note is Prof. Francis<br />
Newton Thorpe's “The Statesmanship of Andrew<br />
Jackson.” Seven letters which old Hickory wrote<br />
on “Nullification ” are printed for the first<br />
time. Occasionally, in the editor's opinion, the<br />
writer approaches the eloquence of Lincoln.<br />
Another encyclopædia It emanates from<br />
Philadelphia and is to bear the name of the<br />
Winston Company. Eight volumes of 500 pages<br />
each represent its content, Dr. Annandale being<br />
among the contributors.<br />
“The Woman in Question,” by John Reed Scott ;<br />
“Red Horse Hill,” by Sidney McCall; and Ellen<br />
Glasgow’s “The Romance of a Plain Man,” are<br />
three stories of modern life which are out of the<br />
CODOIſlOIl.<br />
Robert W. Chambers, in “Special Messenger,”<br />
has added another to his vivacious tales; and<br />
Alice Hegan Rice has presented another Sop to her<br />
admirers. “In a Mysterious Way” is the title of<br />
Anne Walmer's latest story.<br />
Irving Bacheller’s “The Hand-made Gentle-<br />
man” is a characteristic piece of work which will<br />
be certain to appeal to many readers.<br />
Mrs. Wharton’s metrical volume, “Artemis to<br />
Actaeon,” Scarcely reaches the level of true poetry,<br />
though it may be allowed to be accomplished<br />
WeTSé.<br />
Dr. Harry Thurston Peck’s “Studies in Several<br />
Literatures” covers a wide range, and shows some<br />
critical acuteness without being ever quite<br />
illuminating. It is given to few mortals to be a<br />
competent authority on Horner, Milton, Zola,<br />
Emerson, the Detective Story, and “The Psychology<br />
of the Printed Page.”<br />
Advertising, according to Mr. George French, is<br />
soon to be formulated into a science. Art and<br />
science are to work together in the advertising<br />
field. This is Utopia for auctioneers and<br />
publishers, whatever it may be to the rest of<br />
mankind.<br />
<br />
<br />
## p. 273 (#337) ############################################<br />
<br />
THE AUTHOR.<br />
273<br />
Mr. Filson Young has been following in the<br />
steps of Mrs. Wapel and Elinor Glyn. In an inter-<br />
view arranged by the New York Saturday Review,<br />
he was not unduly flattering to American litera-<br />
ture. Our novels he refused to admit as equal to<br />
those of England, whilst as to American drama he<br />
preferred to observe a discreet silence.<br />
CHEAP EDITIONS.<br />
—º-º-º-<br />
S stated in the last number of The Author, We<br />
publish below the names of those novelists<br />
who have sent in their cards since the first<br />
list was issued, and who do not object to the<br />
publication of their names.<br />
Those who wrºdertake not to publish an edition of any<br />
novel first issued at the price of 68. in a cheap form at<br />
any time within two years from the date of its first<br />
publication —<br />
Alma-Tadema, Laurence.<br />
Armstrong, Miss Frances.<br />
Fursdon, Mrs.<br />
Haggard, H. Rider.<br />
James, Miss Winifred.<br />
Osgood, Miss Irene.<br />
Stockley, Mrs. Joan.<br />
Those who do not wrºdertake :—<br />
There are no fresh names to add to this list.<br />
COPYRIGHT LEGISLATION.<br />
—º-º-º-<br />
THE REPORT OF THE COMMITTEE.<br />
TY HE members of Council of the Society of<br />
Authors will no doubt call to mind the<br />
statement in last year's report of the work<br />
done by the Committee of Management to forward<br />
the cause of copyright legislation. It might, how-<br />
ever, be as well to repeat a few facts. In January,<br />
1908, by the courtesy of the Board of Trade, the<br />
proposals sent in by the Bureau at Berne, bearing<br />
on the international meeting which was to take<br />
place at Berlin in October, were laid before the<br />
committee. Sir Henry Bergne kindly undertook<br />
the arduous duty of going through the proposals<br />
and reporting. His report was subsequently laid<br />
before the Copyright Sub-Committee, and very<br />
carefully considered. . It was finally, with a few<br />
slight corrections and additions, referred to the<br />
Committee of Management, and adopted. It was<br />
then forwarded to the Board of Trade.<br />
In June, the president of the Société des Gens de<br />
Lettres came over to England, with the desire to<br />
obtain the support of the English Society of<br />
Authors at the Berlin Conference to certain pro-<br />
posals which were being put forward by the French<br />
authors, the chief point being the duration of<br />
copyright. Monsieur Lecomte, the president, had<br />
interviews with Sir Henry Bergne, the chairman<br />
(Mr. Douglas Freshfield), Mr. Hawkins, and the<br />
Secretary; and Mr. Freshfield was enabled to<br />
introduce Monsieur Lecomte to the President of<br />
the Board of Trade, who discussed the position<br />
With him.<br />
The committee were bound to keep these reports<br />
confidential. But the mere fact that Sir Henry<br />
Bergne was working so enthusiastically for the<br />
Authors’ Society would be sufficient to carry con-<br />
Viction that the reform of copyright legislation was<br />
being dealt with along the right lines. The com-<br />
mittee take this opportunity of again expressing<br />
their deep sorrow at the sudden death of Sir<br />
Henry Bergne at the Berlin Conference.<br />
The result of the Berlin Conference has been<br />
fully set out in the columns of The Author, in<br />
the daily press, and in a Government Blue Book.<br />
Immediately after the return of the delegates to<br />
England, the secretary of the Society had a long<br />
confidential interview with one of the officials of<br />
the Board of Trade, discussing what had taken<br />
place at the Berlin Convention, and what steps it<br />
might be necessary to take to arouse public interest<br />
in copyright reform. The result of this interview<br />
was reported to the committee. The committee<br />
then decided not to discuss their course of action<br />
until the Blue Book had been issued, but proceeded<br />
to make arrangements to call together a joint com-<br />
mittee, consisting of representatives of the Authors'<br />
Society, the Musical Publishers' Association, the<br />
Publishers' Association, and the Copyright Associa-<br />
tion. Sir Alfred Bateman and Mr. E. J. Macgillivray<br />
represented the Society of Authors. The object of<br />
calling together the committee was that all repre-<br />
sentative copyright holders might be able to discuss<br />
the position; that the differences of opinion, if there<br />
were any, might be openly dealt with and settled ;<br />
and that, if possible, a common line of action might<br />
be adopted. The committee were successful in<br />
their efforts. -<br />
As soon as the Government Blue Book was<br />
issued, the joint committee met together, and it<br />
was decided that the delegates from the different<br />
bodies represented should confer with their<br />
members, should consider carefully the Blue Book<br />
which had just been issued, and come together again<br />
at a later date and report the result of their delibera-<br />
tions. In the meantime, a Departmental Committee<br />
<br />
<br />
## p. 274 (#338) ############################################<br />
<br />
274<br />
TISIES AUTISIOR.<br />
had been appointed by the Government to consider<br />
the Berlin Convention and the statement set out<br />
in the Blue Book. The joint committee met again<br />
on March 31, at the offices of the society, and<br />
the delegates from the different bodies put forward<br />
the view of the situation taken by the several<br />
associations which they represented. It was very<br />
satisfactory to learn that the terms of the Berlin<br />
Convention would receive the support of all the<br />
bodies, though it was possible that on one or two<br />
minor points the musical publishers might disagree.<br />
The musical delegates, however, thought it more<br />
than probable that for the sake of uniformity this<br />
disagreement would be withdrawn.<br />
The Committee of Management had thus obtained<br />
the views of other representative copyright-holding<br />
bodies. -<br />
It became necessary for them at the same time<br />
to gather evidence from the various bodies of<br />
authors represented by the Society in order to be<br />
ready to meet any demand that the Departmental<br />
Committee might make.<br />
In consequence, at the first meeting of the<br />
Dramatic Sub-Committee in 1909, the secretary<br />
made a statement of the present position, and the<br />
members of the committee decided to study the<br />
Blue Book and bring forward their suggestions at<br />
the next meeting. Accordingly, at the meeting<br />
held on March 30, Mr. Pinero set out an<br />
exhaustive statement of the points on which it<br />
would be necessary for the present law to be altered<br />
in order to conform with the Berlin Convention, as<br />
it was the unanimous opinion of the Dramatic Sub-<br />
Committee that the domestic law of Great Britain<br />
should be brought into uniformity with the<br />
Convention as early as possible. Mr. Pinero's<br />
points were discussed and approved with very slight<br />
alterations. After Some negotiations, finally Mr.<br />
Comyns Carr and Mr. G. Bernard Shaw consented<br />
to act as representatives of the dramatic section of<br />
the society, should the Departmental Committee<br />
require to call their evidence. -<br />
A meeting of the Copyright Committee was also<br />
held, when Mr. MacGillivray, who had consented<br />
to give evidence, laid before the committee a proof<br />
of the evidence that would be necessary. This was<br />
carefully considered by the Copyright Committee<br />
and approved. Finally, the Copyright Committee<br />
endeavoured to arrange for Sir Alexander Mackenzie<br />
to give evidence on behalf of composers.” tº<br />
It is unnecessary to discuss the many technical<br />
alterations to which it may be necessary to call the<br />
attention of the Departmental Committee, but the<br />
* Since writing this report Sir Alexander Mackenzie<br />
has consented to give evidence ; his proof has been prepared<br />
and forwarded to the secretary of the Departmental<br />
Committee.<br />
great issues which the Committee of Management<br />
have approved of are as follows:–<br />
That the existence of Copyright should be for<br />
life and fifty years.<br />
That as soon as possible the domestic law of<br />
Great Britain should be altered to bring it<br />
into uniformity with the Berlin Convention.<br />
That the committee consider it of great<br />
importance for His Majesty's Government<br />
to secure, if possible, the consent of the<br />
Colonies to imperial legislation, but they<br />
Consider that domestic legislation should<br />
not be delayed, if it is impossible to secure<br />
the consent of the Colonies within a<br />
reasonable time.<br />
The . Dramatic Sub-Committee approve the<br />
principle, existing in practice in countries<br />
other than Great Britain, and approved of<br />
by the Berlin Convention, that public per-<br />
formance of a dramatic piece should not be<br />
publication, and dramatists, composers, and<br />
authors alike are opposed to allowing<br />
gramophone and cinematograph records to<br />
be made without the sanction of the author<br />
of the original. The committee trust the<br />
members of the Council will approve the<br />
action they have taken.<br />
The committee would like to state at the same<br />
time that their energies are not relaxed in any<br />
Way. If, by public appeal in the papers, or by<br />
other means, it is necessary to stir up interest in<br />
the question, they will do so, and will continue to<br />
use their best endeavours for the benefit of the<br />
large number of authors, dramatic authors, and<br />
composers whom they represent.<br />
a —º- a<br />
w—v-w<br />
SCHOLZ v. AMASIS, LTD., AND FENN.<br />
—º-º-º-<br />
A SUCCESSFUL APPEAL.<br />
HE Court of Appeal has reversed the decision<br />
T of Mr. Justice Jelf, who had awarded the<br />
plaintiff £200 damages for the infringement<br />
of the plaintiff’s rights in his play, entitled “The<br />
Son of the Sun.”<br />
The plaintiff, Mr. W. Hermann Scholz, pro-<br />
fessionally known as Mr. W. Gunn Gwennet, alleged<br />
that Mr. Frederic Fenn, the author of the comic<br />
opera, “Amasis,” which had been represented by<br />
the defendant company, had appropriated a sub-<br />
stantial and material part of his play, and he gave<br />
certain particulars showing similarities in the plots,<br />
characters, ideas and words, and scenic arrange-<br />
ments of the two pieces. From the accumulated<br />
evidence of such similarities, which in many<br />
instances were of a trivial character, Mr. Justice<br />
<br />
<br />
## p. 275 (#339) ############################################<br />
<br />
TISIE AUTISIOR,<br />
275<br />
Jelf, after reading and comparing both plays, came<br />
to the conclusion that there had been copying, and<br />
that he was unable to accept the statement of<br />
Mr. Fenn that he had not seen the plaintiff's play<br />
before he had written his own.<br />
In the Court of Appeal the “similarities in ideas<br />
and Words” were the main consideration ; but it<br />
Was pointed out that similarities in plot and scenic<br />
arrangements might have an important bearing<br />
upon the question of conscious copying.<br />
exhaustive examination of the alleged similarities,<br />
however, the Court unanimously came to the con-<br />
clusion that no one of the allegations, nor the<br />
Combined effect of the whole of them taken<br />
together, could fairly be said to establish a case<br />
of infringement.<br />
Dealing with the similarities cited by Mr. Justice<br />
Jelf in his judgment, the Lord Chief Justice said:<br />
“Those instances are put forward by the learned<br />
judge as being the main similarities which force<br />
him to disbelieve Mr. Fenn on oath. I cannot<br />
possibly come to that conclusion. I think in<br />
themselves they are far short of copying at all, and<br />
they are still further short, in my opinion, of such<br />
evidence upon which anyone is justified in drawing<br />
the conclusion that the gentleman committed<br />
deliberate perjury in the box, and is saying what<br />
is untrue when he says that before the matter was<br />
mentioned to him, he had never seen the plaintiff's<br />
play or the book.”<br />
Mr. Fenn had also stated in his evidence at the<br />
trial that he got the idea of his play from a well-<br />
known work by Dr. Ebers, entitled “The Egyptian<br />
Princess,” published many years ago, and a novel<br />
by Mr. Henty, called “The Cat of Bubastes”; and<br />
from the former book he had in fact taken seven-<br />
teen names of the characters, including that of<br />
“Amasis.” In both of these books the killing of<br />
a cat in Egypt is referred to as a crime punishable<br />
by death, and the situation arising from this cir-<br />
cumstance formed a prominent incident in both<br />
lavs.<br />
p º: Justice Jelf, referring to Mr. Fenn's<br />
evidence, observed that “Mr. Fenn was not above<br />
taking what he wanted, to some extent at least,<br />
from other books.”<br />
Commenting upon this part of the judgment,<br />
the Lord Chief Justice said, “If that means any-<br />
thing, it means that Mr. Fenn was guilty of<br />
something unworthy ; and, looking at it from the<br />
point of view of a dramatic author, I must protest<br />
against such an inference being drawn. . . . .<br />
I believe the history of dramatic writing in this<br />
world will show that what the great dramatic<br />
authors have done is to go to old books and<br />
history, and to take the facts from that history,<br />
and then to build up their incidents, some real<br />
and some imaginary. I believe the greatest play-<br />
After an<br />
Writers in the world, from Shakespeare downwards,<br />
have done it. Therefore to suggest that a man is<br />
to be discredited, because he is supposed to be not<br />
above taking what he wanted from other books,<br />
º: to me to be applying an entirely wrong<br />
€SU.<br />
Upon this point Mr. Justice Farwell said : “I<br />
Was always under the impression that it was<br />
desirable to learn what one could from former<br />
publications, and so long as you do not copy you<br />
are entitled to use all the information you can get;<br />
and to my mind you ought to do so before you<br />
attempt to instruct the world, even by a comic<br />
opera.”<br />
The appeal was allowed, and judgment entered<br />
for the defendant, with costs of the trial and of<br />
the appeal.<br />
HAROLD HARDY.<br />
y<br />
MAGAZINE CONTENTS.<br />
—º-º-º-<br />
BLACKWOODS.<br />
Musings without Method: The Profits of Literature.<br />
BOOK MONTHLY.<br />
The Novel Crisis : Opinions of H. G. Wells, Anthony<br />
Hope, Madame Albanesi, Sir Gilbert Parker, Baroness<br />
Orczy, W. J. Locke, Miss Marjorie Bowen, and J. A.<br />
Steuart.<br />
Character and the Handling of Literature. By Frank<br />
Schloesser.<br />
BOOKMAN.<br />
Algernon Charles Swinburne. By Prof. Saintsbury.<br />
Swinburne and his Circle. By James Douglas.<br />
Swinburne and Eton. By Blanche Warre Cornish.<br />
The Genius and Influence of Swinburne. By Edmund<br />
Gosse, W. M. Rossetti, I. Zangwill, Walter Crane, Dr. Abraham<br />
Skok, G. Bernard Shaw, Dr. John Todhunter, and George<br />
Brandes.<br />
The Down Grade in Literature.<br />
Nietzsche. By Edward Thomas.<br />
History in Romance. By Walter Jerrold.<br />
By Dr. William Barry.<br />
CONTEMPORARY.<br />
The Ethics of Greek Art. By L. March Phillipps.<br />
Shakespeare and the Modern German Stage. By<br />
Eulenspiegel.<br />
A Prophet Malgré Lui. By Hugh E. P. Platt.<br />
FORTNIGHTLY.<br />
Swinburne : Personal Recollections. By Edmund Gosse.<br />
A Novelist's Allegory. By John Galsworthy.<br />
French Culture and Tudor England. By Sidney Lee.<br />
NATIONAL.<br />
By Charles Whibley.<br />
NINETEENTH CENTURY.<br />
A Tribute to Swinburne. By Ernest Rhys.<br />
The Windicators of Shakespeare. By George G.<br />
Greenwood.<br />
Copyright at Home and Abroad.<br />
Copyright.<br />
By W. Morris Colles,<br />
<br />
<br />
## p. 276 (#340) ############################################<br />
<br />
276<br />
TriB A UTHOR.<br />
HOW TO USE THE SOCIETY.<br />
—o-º-º- -<br />
1. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. . The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where, counsel's<br />
opinion is favourable, and the sanction ºf the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
3. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3). To enforce<br />
payments due according to agreements. Fuller particu-<br />
ians of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society,<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
The<br />
7. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
Å<br />
—º-<br />
—wº-w<br />
A<br />
vºy<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
—e—º-0–<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
| Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are:—<br />
(1.) That both sides shall know what an agreement<br />
Iſlea,I\S.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
* * ~~ - a<br />
w-v- y<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
—e-º-e—<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
<br />
## p. 277 (#341) ############################################<br />
<br />
TISIES A UITPSIOR.<br />
277<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract,<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
II. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society. -<br />
—e—º-e—<br />
REGISTRATION OF SCENARIOs.<br />
—º-º-º-<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
S forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
WARNINGS TO MUSICAL COMPOSERS,<br />
—º-º-º-<br />
L*. can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. . It must, however, be pointed out that, as<br />
* rule, the musical publisher demands from the musical<br />
99mposer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
Prºperty. , The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
ºn agreement, and should take into particular consideration<br />
the warnings stated above.<br />
—t-Q–0–<br />
STAMPING MUSIC.<br />
—º-º-º-<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Sociéty's<br />
Safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble,<br />
*—a- -<br />
v--—w-<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic Works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
• —A- a<br />
v-u-w<br />
“THE AUTHOR.”<br />
-—º-º-º-<br />
HE Editor of The Author begs to remind members of<br />
T the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year. -<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the stand-<br />
point of art or business, but on no other subjects whatever.<br />
Every effort will be made to return articles which cannot<br />
be accepted.<br />
—e—º-e—<br />
REMITTANCES.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All Temittances should be crossed Union of London and<br />
Smith's Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 278 (#342) ############################################<br />
<br />
278<br />
TISIES A UſTISIOR.<br />
GENERAL NOTES.<br />
—º-º-e—<br />
LORD TENNYSON.<br />
THE centenary of the birth of the first president<br />
of the society falls on the 5th day of August.<br />
Such an event should not be passed over without<br />
expressing a pious “In Memoriam.” As The<br />
Author is not published in August and September,<br />
this expression must fall in this number.<br />
Many may say that any criticism or appreciation<br />
of Tennyson is now out of date, and that nothing<br />
new can be said. This is no doubt to some extent<br />
true, but this is not our object. Our object is<br />
first to recall to all members that Tennyson was<br />
a great poet, and secondly that the Society was<br />
honoured by having him as its first president<br />
from the year of its foundation to the day of his<br />
death.<br />
Such a thought may arouse in the minds of some<br />
the desire for a still closer cohesion of the highest<br />
and lowest in the great art of literature, and may<br />
induce others, if not because of the benefit they may<br />
receive directly, still for the good of their humbler<br />
brethren, to join the society. The spirit of fellow-<br />
ship animated the late Poet Laureate. The same<br />
spirit animated George Meredith.<br />
CANADIAN COPYRIGHT.<br />
THERE has been some slight movement in<br />
matters copyright in Canada. A Bill came before<br />
the Canadian House, which was practically the<br />
same as 6 Edw. VII. c. 36. It was introduced by<br />
the Minister of Justice, at the request of Mr. J. F.<br />
Edgar, barrister, of Toronto, who represented a<br />
number of musical publishers. It related to<br />
musical piracy only, and was introduced as an<br />
amendment to the criminal code. It passed<br />
the House of Commons, but was rejected by the<br />
Senate.<br />
The only other measure affecting copyright was<br />
the amendment abbreviating the form of copyright<br />
notice required to be printed on all Canadian<br />
copyrights.<br />
All that is now necessary is to print the words,<br />
“Copyright, Canada, 190—, by A. B.”<br />
COPYRIGHT AND THE BERLIN CONVENTION.<br />
IN the June reviews there appeared two articles<br />
on copyright—in the Wational Review under the<br />
signature of Charles Whibley; in the Wineteenth<br />
Century under the signature of W. Morris Colles.<br />
The first dealt with copyright as a property. The<br />
writer gave a short history of the struggle to obtain<br />
recognition of copyright as a property, and drew<br />
attention to the potent advocacy of Serjeant<br />
Talfourd and to the unaccountable and irrational<br />
opposition of Lord Macaulay. One quotation,<br />
embracing as it does an extraordinary topsy-turvy-<br />
dom of ideas, we cannot help repeating. “The<br />
principle of copyright,” Lord Macaulay said, “is<br />
this, it is a tax on readers for the purpose of giving<br />
a bounty to writers.” - S<br />
It is clear, however, from the later statements<br />
contained in the article that the writer is not a<br />
member of the society, for he confesses he does not<br />
know what has been done by those who are interested<br />
in copyright reform and boldly states that no effort<br />
has been made to improve the law. It is needless<br />
to repeat what has been done by the society in past<br />
years ; the report in this month's Author will show<br />
the action that has been taken recently. Some<br />
effort should have been made to gather accurate<br />
knowledge from accredited sources.<br />
The line of argument adopted by Mr. Whibley is<br />
not new, and the deductions he shows have been<br />
stated frequently in these pages. When copyright<br />
ceases, the profits arising from the property do not<br />
accrue for the public benefit, but for the benefit of<br />
the publishers.<br />
If it is necessary to secure these for the public,<br />
either the publishers should pay a royalty, or the<br />
Government should publish and pay the profits into<br />
the public purse.<br />
Mr. Whibley proposes by these means to establish<br />
a literary fund that asks no alms. The idea is<br />
eminently sane,<br />
II.<br />
The second article is written in quite a different<br />
spirit. It is written as a criticism of the action of<br />
the delegates at the Berlin Convention as a note of<br />
warning to those who desire uniformity. It is<br />
impossible in the space at our disposal, though it<br />
would not be difficult, to write an answer to the<br />
arguments put forward. These are some of the<br />
catch phrases :—“Instead of preserving and<br />
strengthening it [the Berlin Convention] throws<br />
the whole unionist system into the melting pot, and<br />
complicates it by introducing new and dangerous<br />
issues.” “There is every danger that as a result<br />
they will retard instead of advancing the realisation<br />
of these aims, and complicate instead of simplifying<br />
the international system.”<br />
And then what does the writer propose? “It is a<br />
thousand pities that for the nonce, a short additional<br />
Act of Berlin was not framed providing in the first<br />
place for obviously innocuous addenda and corri-<br />
genda.”<br />
Could any suggestion be more fatal P The<br />
result would have been that very complication he<br />
so much fears. Some nations would adhere to the<br />
<br />
<br />
## p. 279 (#343) ############################################<br />
<br />
THE AUTHOR.<br />
279<br />
Berne Convention only, some to the Berne Con-<br />
vention and the Act of Paris only, and some to the<br />
Berne Convention, the Act of Paris, and what<br />
would have been the Act of Berlin. -<br />
There is no doubt that the course the delegates<br />
adopted was the best. They saw the awful compli-<br />
cation of short additional Acts. In a bold spirit<br />
they grappled with a difficult issue and adopted the<br />
only Sane course, an entirely new Convention.<br />
It is true that all countries may not at once be<br />
able to adopt its tenets. For these the lesser Berne<br />
Convention is left. But all Governments have<br />
before them an ideal at which to aim, and we must<br />
offer to the delegates our hearty congratulations on<br />
the broad and statesmanlike manner in which they<br />
have dealt with the question.<br />
Again this bogey of uniformity seems to stir up<br />
weird alarms in the writer in another direction :<br />
“Literary property itself is not homogeneous and<br />
could, as regards the duration of copyright, usefully<br />
be classified and differentiated. To claim protection<br />
for life and fifty years for copyright property indis-<br />
criminately is an insult to the public common sense.<br />
Uniformity, whether international or domestic, can<br />
be attempted at a cost which is wholly dispropor-<br />
tionate to any practical advantages likely to result.”<br />
The whole turn of the article is one of alarm and<br />
fear, but it leaves us unmoved. If the present<br />
Government, or any Government, pass a bad copy-<br />
right law, that may be their fault or the fault of the<br />
contending parties in Great Britain.<br />
But the full result of the work of the delegates<br />
is satisfactory and praiseworthy. It certainly<br />
would be an irreparable calamity, to quote the<br />
alarmist again, if, “in the effort to facilitate<br />
international uniformity, we shattered the Anglo-<br />
American Agreement, and split up British copy-<br />
right into fractions.”<br />
But where is the need 2<br />
INTERNATIONAL AGREEMENT.<br />
PROFESSOR ROTHLISBERGER, in an article deal-<br />
ing with the United States law and United States<br />
piracy that appeared in Le Droit d'Auteur, refers<br />
to English authors in the following terms:—<br />
“Let the English authors come out of their ‘splendid<br />
isolation,” and attend the congresses where the moral and<br />
material interests of the producers of intellectual works<br />
are discussed ; let them organise, in accord with the<br />
publishers, an opposition to the normal treatment of<br />
which they are the victims; let them appeal to the<br />
international solidarity which is very vital in the unionist<br />
centres guided by the International Literary and Artistic<br />
Association—and they will soon both obtain Satisfaction,<br />
and render a greater service to the cause of copyright than<br />
they can render by taking any extreme measures.”<br />
We do not quite understand to what Professor<br />
Rothlisberger refers. If he refers to the yearly<br />
Congresses held by the International Literary and<br />
Artistic Association, we can only say that the<br />
matter has been before the committee of the<br />
Society of Authors on several occasions. The<br />
Society cannot afford to pay a representative to<br />
attend these Congresses. The result of the Con-<br />
gresses appears to be more theoretical than practical.<br />
The committee have found it impossible on various<br />
former occasions to obtain volunteers to attend<br />
each Congress, on account of the expense involved.<br />
Authors are not a wealthy class.<br />
If, however, Professor Rothlisberger refers to the<br />
Berne, Paris and Berlin Congresses, we can only<br />
reply that the matter rests with the Government.<br />
It is true that the French Government (always<br />
kind to literary and artistic productions) appointed<br />
delegates from some of their most famous authors<br />
to attend the Berlin Congress, but this was not<br />
done by the British Government, though we are<br />
pleased to know that Sir Henry Bergne, who did<br />
represent Great Britain, was a valued member of<br />
the committee of the society, and knew, from<br />
holding this position, the views of authors and<br />
of the society on the matter of legislation.<br />
TENNYSON.<br />
—º-º-º-<br />
HE first president of the Society of Authors<br />
was a shy man and one who could not suffer<br />
fools gladly. These two facts having been<br />
made public property, there is no indiscretion or<br />
bad taste in referring to them. There is, how-<br />
ever, some danger that a reputation thus earned<br />
may prove misleading. It may cause posterity,<br />
who personally will be as interested, as we are, in<br />
the personalities of great men, to be blind to one<br />
important point. This point is one of which the<br />
Society of Authors has every reason to be aware and<br />
to be thankful for—his sense of good comradeship.<br />
Tennyson, however reserved he might have been in<br />
his intercourse with the world—“ the World, the<br />
world, all ear and eye, and with such a foolish heart<br />
to interpret eye and ear”—however cordially he may<br />
have hated fools and prigs, was, nevertheless,<br />
essentially like his own Lancelot, “a kindly man<br />
moving among his kind.” The loss which the<br />
society has suffered from the death of George<br />
Meredith calls this fact to mind. Nothing could<br />
have shown Tennyson's sense of good comradeship,<br />
his loyalty to his craft, more forcibly than his<br />
acceptance of the first presidency of the Society.<br />
Now that the society is established as a recognised<br />
force, now that its name is a household word with<br />
all men and women who have to do with letters, we<br />
are apt to forget that the early fostering of it was<br />
<br />
<br />
## p. 280 (#344) ############################################<br />
<br />
280<br />
TISIE AUTISIOIR,<br />
a period of doubt and dread to its parents. The<br />
society in its early days was surrounded by enemies,<br />
and, worse still, by indifferent and scoffing onlookers.<br />
The enemies are not dead, but they have been<br />
rendered powerless for evil. The indifference and<br />
the scoffing still continue, but wax fainter. In<br />
those days it was quite on the cards that the<br />
Society would not live. It was therefore no small<br />
thing for the greatest and most popular man of<br />
letters of his day to lend the weight of his name to<br />
support the Society in its first struggles for existence.<br />
Had the Society of Authors perished, as its enemies<br />
devoutly hoped it would, in a sea of ridicule, the<br />
name and reputation of its first president must<br />
have been involved in the fiasco and have suffered<br />
loss accordingly. Tennyson knew this quite well<br />
when his faith and courage and loyalty prompted<br />
him to step forward at all risks to himself and to<br />
cover the infant society with the shield of his great<br />
influence. It was a splendid act of unselfishness,<br />
a noble proof of the sense of good comradeship in<br />
the heart of the man. That the infant has proved<br />
itself an infant Hercules is largely due to the fact<br />
that in its hour of need Lord Tennyson came<br />
forward as its champion.<br />
This sense of good fellowship we find reflected in<br />
his work. His friendships were warm friendships<br />
and loyal. “Fitz” and “Brooks,” above all Arthur<br />
Hallam, have gained a posthumous fame, which<br />
might otherwise have been denied to them, even to<br />
Fitzgerald, had it not been for the association of their<br />
names with that of Tennyson. Whether or no the<br />
splendid monument which he raised to Arthur<br />
Hallam will endure through the ages no one can<br />
Say ; it has touched the hearts of millions of<br />
sorrowful men and women in our times as nothing<br />
else has touched them. But we are still too near<br />
to Tennyson to be able to judge with any degree<br />
of certainty of his work. While the touch of a<br />
Vanished hand still lingers upon our hands, while<br />
we feel the warmth of it and can even count the<br />
Weakening pulse-beats, our judgment must perforce<br />
be held in suspense. It is not for us—it will be<br />
for Our children's children—to say what is great,<br />
What is permanent, for in this matter greatness and<br />
permanency are the same, in his work. The judg-<br />
ment of the future is the ordeal by fire through<br />
which the work of every man must pass. Perhaps<br />
very little, perhaps much more than we think of<br />
Tennyson's work will come out of this fire un-<br />
Scathed. And yet we all find an irresistible<br />
fascination, utterly idle as we know it to be, in<br />
attempting to anticipate the judgment of futurity.<br />
Whenever two or three men and women interested<br />
in literature are gathered together, and fall into<br />
talk of the work of Tennyson, they invariably come<br />
to arguing among themselves, sometimes with con-<br />
siderable bitterness, as to what will and what will<br />
not endure. On one point all are agreed, and that<br />
is with regard to some of the lyrics.” “A handful,<br />
a Gargantuan handful,” as a writer in the Tºmas<br />
recently put it, will live. This is common ground<br />
of agreement. Exactly which lyrics they are upon<br />
which this anticipated immortality is to be conferred<br />
is a matter of dispute. Generally it is felt that<br />
this “handful” will be drawn mainly from his<br />
earlier lyrical work, with, of course, “Sunset and<br />
Evening. Star,” and that wonderful piece of bird<br />
music “The Thrush.” But here must all guess-<br />
work stop. Will “Maud’ live 2–4 Maud,” which<br />
is commonly regarded as the greatest of his more<br />
ambitious efforts—or “The Idylls,” which have<br />
appealed so strongly to the imaginations of two<br />
generations P or “In Memoriam,” in which the<br />
men and women of his day found their cloudy hopes<br />
and fears, their dim aspirations and doubtings,<br />
minted into “current coin”? Who can say? Mean:<br />
While, of this we can bear witness, that loyalty—a<br />
loyalty to his friends which never failed, a loyalty<br />
shown in innumerable passages in his poetry, a<br />
loyalty to the best and highest traditions of his<br />
Country, a loyalty to his fellow men of letters—was<br />
the characteristic mark of the first president of the<br />
Society of Authors.<br />
E. P. L.<br />
* *º-<br />
AUTHORS’ AGENTS.<br />
—º-º-º-<br />
WAS much interested in an article on the<br />
literary agent, by “X. Y. Z.,” which was<br />
printed in a recent issue of The Author. The<br />
Writer takes as his text Mr. H. G. Wells's remark<br />
that the agent is an “indispensable middleman,”<br />
and in two columns bristling with arguments, he<br />
endeavours to show that to the majority of authors<br />
an agent is a serious handicap. Now, the question<br />
of the employment or non-employment of the agent<br />
is one of great importance to all classes of writers,<br />
and therefore it is well worth while to examine<br />
the arguments brought forward by “X. Y. Z.” in<br />
his attempt to prove the uselessness of the agent.<br />
“X. Y. Z.” naturally draws on his own experience,<br />
which is limited to dealings during fifteen months<br />
with one agent, who is, he says, “one of the best<br />
known men in his profession.” This agent may<br />
be well known, but, according to “X. Y. Z.,” he<br />
is not conscientious, for after selling the serial<br />
rights of a novel, he “made no attempt to place<br />
the story as a volume.” Of the five long stories<br />
entrusted to this man, all that he could do was to<br />
place the serial rights of one for £30; the author,<br />
however, withdrawing the remaining manuscripts,<br />
placed the serial and book rights of one, the serial<br />
rights of another, and cannot dispose of any rights<br />
<br />
<br />
## p. 281 (#345) ############################################<br />
<br />
TFIES A CITISIOR.<br />
281<br />
in the other two. Of sixteen short stories the<br />
agent sold the British serial rights of three for,<br />
respectively, £10 10s, £412s. 6d., and £7 18. 9d. ;<br />
and the author subsequently sold the British serial<br />
rights of one for £8 5s., all serial rights of another<br />
for £15 15s., and the copyrights of others for<br />
£3. 3s., £1 10s., £1 1s., £2 2s., and £3 38.<br />
“X. Y. Z.” does not see that the agent had made<br />
the author's task easier by sending him lists of the<br />
papers where the stories had been offered and<br />
rejected ; nor does he comment upon the fact that<br />
the agent had offered six stories he could not<br />
dispose of to no less than fifty-one editors.<br />
I have given these statistics because they are<br />
essential to the forming of a conclusion as to the<br />
position, from the financial point of view, of<br />
“X. Y. Z.,” though this would have been made still<br />
more clear if “ K. Y. Z.” had mentioned the length<br />
of the stories, for short stories may be anything<br />
from 1,200 to, say, 7,000 words. My contention<br />
is that an author who has to submit, through his<br />
agent and himself, one short story nine times<br />
before selling the copyright for £1 10s., and<br />
another twenty-nine times before obtaining an<br />
offer for the copyright of £1 1s., which he is “very<br />
glad to get,” is wrong to employ an agent. What-<br />
ever his literary merits may be, he has, practically<br />
speaking, no commercial value ; and, until there<br />
is a demand for his work, he can do as well for<br />
himself as any agent can do for him. I must<br />
confess I cannot understand how an agent, “one of<br />
the best known men in his profession,” who does<br />
not ask for an advance fee, can have thought it<br />
worth while to have accepted such a client, a client<br />
for whom he has to submit, without result, four<br />
short stories in thirty-two quarters, the copyrights<br />
of which are afterwards disposed of by the author for<br />
the total sum of £716s. I go further, and say that,<br />
unless he had great faith in the literary qualities of<br />
“X. Y. Z.” to work, he had no right, either in<br />
justice to himself or the author, to accept such a<br />
client. In support of this, let me quote from an<br />
article in the Fortnightly Review for August, 1906,<br />
on “The Commercialisation of Literature and the<br />
Literary Agent,” by Mr. Curtis Brown, who writes<br />
with a thorough knowledge of the subject :—<br />
“Much that has been written about the literary<br />
agent has been futile, because the writers have not<br />
understood that authors can be divided into two<br />
classes: first, those whose work the publisher<br />
doesn’t particularly want ; and second, those whose<br />
work the publisher does want, or would want if he<br />
knew of it; and that it is only with the second<br />
class that a sound literary agent has, or should<br />
have, to do. Unless an author's work gives decided<br />
promise, he is of little interest to the publisher, or<br />
to the first-class agent. No agent, except one who<br />
takes ‘retainers,’ can afford to spend much time<br />
over him. He can generally find a market for his<br />
Work as well as a good agent, and better than a<br />
bad agent ; and he can afford a more thorough<br />
canvass than either. . . . The only agent who<br />
really counts, either for the author, or with the<br />
publisher, or with his own banker, is the one who<br />
sells the kind of work for which publishers are in<br />
competition, and who takes advantage of that<br />
competition to get the best market price for the<br />
author.”<br />
Here we have the case in a nutshell, and put so<br />
clearly and forcibly that it is unnecessary to com-<br />
ment on it; it is quoted here as an effective<br />
rejoinder to “ X. Y. Z.” It is worth no first-class<br />
agent's while to offer short stories the copyright of<br />
which the author disposes of for a guinea, which<br />
he is “glad to get.” We are all of us glad to get<br />
guineas, but to obtain a guinea by selling the copy-<br />
right of a short story, however welcome the guinea<br />
may be, would leave most writers anything but<br />
gay.<br />
All sorts of stories are told to the discredit of<br />
agents. A publisher told me of one who offered<br />
him a novel at a high price, and told him that five<br />
thousand copies of the author's last book had been<br />
Sold. The publisher, being suspicious, made<br />
inquiries, and learnt that the sales amounted to<br />
about six hundred copies. Now, by such a lie, an<br />
agent might get a big royalty, with a considerable<br />
sum on account—he might get this once from a<br />
publisher too trusting to doubt his statement, or<br />
too careless to require such corroboration as could<br />
be afforded by a sight of the statement of sales of<br />
the last book of the author in question. This<br />
particular publisher was too shrewd to be caught<br />
napping ; but suppose he had been, if the agent<br />
had put his statement in writing, or uttered it<br />
before a third person, would not an action lie for<br />
the recovery of money obtained by fraudulent mis-<br />
representation ? Anyhow, the most wily agent<br />
could never in this way trick even the most confiding<br />
publisher twice. I hear, too, of agents who are<br />
careless in their contracts, and when the author, in<br />
consequence, gets into difficulty, try to keep him<br />
from consulting the Society, so that their faults<br />
shall not be exposed; of dishonest agents, who mis-<br />
represent the sums they receive; and of others who<br />
are really publishers' agents in disguise, and try at<br />
the expense of their clients to favour the firm with<br />
which either directly or indirectly their interests<br />
are allied.<br />
It would be impertinent for me to warn other<br />
authors against these classes of agents, and, indeed,<br />
such a warning could only be effective if names<br />
were given. There is yet another class of agent<br />
dangerous to the author, and that is the good man<br />
of business, absolutely honest, yet a trifle careless<br />
and somewhat dilatory. The man is probably too<br />
<br />
<br />
## p. 282 (#346) ############################################<br />
<br />
282<br />
THE AUTEIOR*.<br />
valuable to be abandoned, for the really first-class<br />
agents with a connection in England and America<br />
can be counted on the fingers of one hand ; and,<br />
with a trifle of that tact for which authors are so<br />
distinguished, he can usually be induced to do his<br />
best.<br />
Disraeli said that every country has the Jews it<br />
deserves, and perhaps I may venture to say that<br />
every author has the agent he deserves. The<br />
truth of the matter is that an author selects an<br />
agent with far less discrimination than he selects<br />
his tailor, usually because he does not recognise<br />
that once his work is a marketable commodity of<br />
some importance the agent is a most valuable<br />
instrument. He would not dream of appointing<br />
as an executor a man of whom he knows little or<br />
nothing ; but, with a minimum of inquiry, or even<br />
the chance word of an acquaintance, he will make<br />
over to some agent the disposal of his literary<br />
work ; whereas, if I may so put it, it is really<br />
so much more important to choose with care one's<br />
doctor than one's undertaker.<br />
TIEWIS MELVILLE.<br />
jº -*- ſº-<br />
—sº-w-<br />
ON READING ALOUD.<br />
—º-º-º-<br />
S I listened a little while since to a literary<br />
man of eminence whose foible it is to<br />
play the garrulous autobiographer in mixed<br />
company, he grumbled to me that one of his<br />
recent hosts in the country had the detestable<br />
habit of reading aloud in the evening, to the<br />
ruin of good talk. I can conceive of Dr. Johnson<br />
uttering a similar complaint, with a blunter dogma-<br />
tism, and that naturally causes one to examine the<br />
situation more closely, since one has the suspicion<br />
at the back of one's mind that the Doctor was<br />
never wrong ; and yet none the less my own feeling<br />
is that it is in such a house that I should like to stay.<br />
For some of the pleasantest memories I shall ever<br />
have are connected with reading aloud, and so<br />
little do I think the habit detestable that I once<br />
meditated bringing together in one book a collec-<br />
tion of extracts suitable for reading aloud at odd<br />
times, for the use of those derelicts (like myself)<br />
who like to be lulled by the human voice. As a<br />
child I heard much of Dickens in this way, all<br />
Jacob Abbott (whom I adored), Ruskin’s “King<br />
of the Golden River,” together with a host of<br />
other stories which I have since discovered had<br />
little charm of their own, but which read in those<br />
gentle tones—in that sweet monotony—were more<br />
fascinating than any of the music to which one's<br />
adult ears have listened.<br />
I hope that reading aloud will continue to be<br />
encouraged in schools, against the revival of<br />
interest in it that the swing of the pendulum<br />
should ensure. My own schooldays in several<br />
establishments were sweetened by it, although<br />
the example of the master who was most addicted<br />
to this pleasant art may be held to have been<br />
a little dangerous. He was a handsome and (I<br />
now conjecture) profligate Scotchman, with a<br />
world's record for some athletic feat—I think for<br />
throwing the hammer—and a tendency to be on<br />
sponging terms with the older boys and frankly<br />
piratical terms with the younger, for he still<br />
possesses (or at least I do not) a silver pencil of<br />
mine to which he took a fancy. What branch of<br />
learning he had under his control I forget<br />
completely, but what I can remember, with<br />
minute fidelity, is the entertainment that he<br />
substituted for it ; for it was his genial and<br />
popular habit to place beneath the text-book<br />
from which he should have instructed us—and<br />
indeed did affect to instruct us when any authority<br />
or a messenger from another class-room entered<br />
— either a play of Shakespeare or a novel of<br />
Ouida (his two authors), from one of which he<br />
read to us with fine feeling so long as the coast<br />
was clear. He was a born reader, his only fault<br />
being that he felt too much, and I can still see<br />
the tears streaming down his face over “A Leaf<br />
in the Storm’’ and “A Dog of Flanders,” and other<br />
pathetic histories by that generous romantic crea-<br />
ture, now cold, who in the seventies was read<br />
from the Thames to Tokio, wherever Englishmen<br />
assembled.<br />
I wonder where you are now, sir? You may<br />
Reep my pencil. -<br />
Later, it was my fortune—reading aloud being<br />
still a cultivated art—to hear both the brave and<br />
spirited Brandram and the wistful Clifford Harrison.<br />
Brandram I most esteemed, and I look round<br />
among the entertainers to-day for any who com-<br />
pensate us for his loss or give anything as good.<br />
Samuel Brandram alone at his desk reading Shake-<br />
speare or Dickens could be as arresting as an actor<br />
with all the accessories of stage illusion. I was<br />
born too late to hear Dickens in person, but I once<br />
heard his son, who, however, came far behind<br />
Brandram. Will authors ever again read their<br />
works in public 2 Will there ever again be penny<br />
readings 2 I had the idea a few years ago of<br />
trying to induce a comedian to read “Mr. Dooley”<br />
in a music hall, just as an experiment, but no one<br />
thought anything of the project.<br />
It is perhaps a little alarming for me to be<br />
Saying so much of the professionals—the readers<br />
who are not ashamed either of displaying emotion<br />
or of rising to the innocent falsetto in which<br />
Brandram used to pitch the remarks of Master<br />
Harry Walmers, junior, in the story of “Boots at<br />
<br />
<br />
## p. 283 (#347) ############################################<br />
<br />
TISIES A CITISIOR,<br />
283<br />
the Holly Tree Inn.” For the reading aloud that<br />
really counts is such reading as so exasperated my<br />
friend the autobiographer when he was staying in<br />
the country and wanted to talk: reading by readers<br />
who have no dramatic gift whatever, intelligent<br />
humorous persons of kindly nature (this of course<br />
goes with the art) without vocal modulation or<br />
mimicry. For such the ironical authors are the<br />
best—Arnold, for example, in “Friendship's Gar-<br />
land,” which reads aloud wonderfully, or that essay<br />
by him on America that appeared in the Nineteenth<br />
Century in the month in which he died, and has, I<br />
believe, never been republished, possibly out of con-<br />
sideration (surely an over - sensitiveness) for the<br />
feelings of the nation under the switch. If any<br />
one wants an agreeable half-hour let him procure<br />
that number of the Wineteenth Century and turn to<br />
an article entitled “Civilization in the United<br />
States,” and having mastered it let him then read<br />
it aloud to a congenial company. Bagehot is<br />
almost everywhere good to read aloud, but for<br />
a trial trip begin with his diverting account of<br />
Crabb Robinson. Leslie Stephen in places could<br />
not be better, but too much did he control his<br />
mischief. Gibbon goes admirably for a while, but<br />
monotony is soon inevitable from the see-saw<br />
symmetry of his sentences. Goldsmith is always<br />
good. Heine's prose in Leland's translation is<br />
easy to the unemotional reader and of course<br />
immensely diverting and awakening. Hazlitt<br />
reads aloud almost as well as any man ; but to<br />
read Lamb aloud is a mistake—you want your eye<br />
on the words and the stops: an intermediary breaks<br />
the chain. Cowper's letters are perfect.<br />
Other good books for the undramatic reader<br />
occur to me—and there is little point in suggest-<br />
ing material for the others, since their gifts<br />
can re-create anything, and is not all Dickens<br />
to hand, never to be exhausted, and Thackeray,<br />
and Mr. Hardy (but not Mr. Meredith : let no one<br />
think to obtain him vicariously l), and the adorable<br />
W. W. Jacobs and the Misses Somerville and Ross P<br />
But, as I say, there is no need to name the writers<br />
that require from the reader something of the<br />
actor's treatment. Among other good books for<br />
the reader with but one voice and one manner, and<br />
no desire for creation, I would name Stevenson's<br />
“Fables” and Dr. Garnett's stories in “The<br />
Twilight of the Gods,” particularly that little<br />
masterpiece, beyond (I think) even Anatole France,<br />
entitled “Abdallah the Adite,” and Mr. Whiteing's<br />
early satire “The Island,” and a book of genuine<br />
stealthy fun that was published some ten years ago<br />
under the title “The Wallet of Kai Lung,” in<br />
which irresistible use is made of the mechanism of<br />
Chinese courtesy by an author possessed of true<br />
humour.<br />
And what of the reader P Ah, there, I think,<br />
we touch upon great virtue. If I were the Record-<br />
ing Angel I would be very gentle with readers<br />
aloud, whatever they had done at other times: not<br />
Only from a general admiration of their kindness,<br />
but from my own particular private horror of the<br />
suffering which my own reading aloud costs me.<br />
It makes me hoarse, it makes me sleepy beyond<br />
drugs, and it twists my tongue, after a little, more<br />
than anything ever sung by Mr. Wilkie Bard. And,<br />
lacking the needful power of seeing two lines ahead<br />
(as John Roberts used to see two cannons ahead), I<br />
am continually falling into wrong stresses and mis-<br />
understandings, which annoy me like little stings.<br />
But the intense physical weariness which reading<br />
aloud produces—the yawns and the irritations—<br />
this is often so bad that I never reach the late<br />
stages at all. Hence a veneration of the patient<br />
untiring reader aloud which I am unable fittingly<br />
to express.<br />
E. W. LUCAS.<br />
THE NOVEL OF THE FUTURE.<br />
—º-º-º-<br />
NE of the oldest similes in the world compares<br />
human life to a tree, with its roots planted<br />
deep in the organic life of the past, its<br />
highest leaves quivering in the winds that herald<br />
the future, its branches lightning-struck in parts<br />
by war and revolution, but its firm trunk still acting<br />
as a channel to convey the sap of life from the roots<br />
of instinct. And, like the tell-tale grove of King<br />
Midas, it is the leaves that reveal the story of the<br />
tree's inner life, by them we judge of the activity<br />
or sloth of the force that works at the heart of each<br />
cell. The tree of life, too, has its whispering leaves.<br />
We find them in the arts, which are always the<br />
clearest index of the power of the life-force at every<br />
period of human history. The Middle Ages, seeing<br />
existence as a conflict of spirit and matter, give us,<br />
for art, the Lives of the Saints and the Gothic<br />
Cathedral, with its frozen vision of forces arrested<br />
in infinite forms of conflict ; the Renaissance, rioting<br />
in the pride of life, throws down the gauntlet in<br />
challenge to all the passions. So it is with every<br />
period whose arts have come down to us, for the<br />
tree of life is always in foliage somewhere.<br />
Intellectually we are now closing one age and<br />
rapidly entering upon another. . We have come to<br />
the end of a great age of analysis; we are starting<br />
on a time when linking, synthesis, will be the main<br />
preoccupation of all thinkers and practical men.<br />
The scientist, having carried the analysis of matter,<br />
as we know it, to the confines where it impinges on<br />
matter that to our senses is half spiritual, finds<br />
himself at the jumping-off place, where he must<br />
<br />
<br />
## p. 284 (#348) ############################################<br />
<br />
284<br />
THE A DITISIOR.<br />
either stop or penetrate into the unknown fastnesses<br />
of the unseen. By a reverse process, the religious<br />
thinker finds himself brought up sharp by problems<br />
of physical science whenever he deals with the<br />
question of personal responsibility. In politics<br />
and economics, beneath the forces that make for<br />
war, there moves the ever-stronger spirit that<br />
draws nation to nation and race to race.<br />
As always, this special feature of our time is<br />
beginning to be reflected in our arts, and particularly<br />
in that most vivid art of all—literature : the most<br />
vivid and therefore the most indiscreet, for it is<br />
still in the spoken, or in its offspring, the written<br />
word, that the most intimate Secrets are told. For,<br />
although music seems to be able to tell us the way<br />
we came, literature can tell us that much more<br />
interesting thing, the way we are going, by showing<br />
us the birth of our ideals, the vague ideals, as yet<br />
unrealised, that will be the every-day principles of<br />
our descendants.<br />
And with the dawn of democracy and the conse-<br />
quent vast increase in the number of the articulate<br />
classes, it is the novel that has become the chief<br />
mouthpiece of letters, for in an age when literature<br />
has left the study for the street, the workshop, the<br />
villa and the factory, it can no longer move in the<br />
strict bonds of academic rule, but will adopt as its<br />
mode of expression the widest form of art that is<br />
consonant with definite expression at all. This<br />
form of art is the story.<br />
Looking backward over the literary history of<br />
Europe since the fall of the Roman Empire, we find<br />
four great outstanding cycles of story, each express-<br />
ing the ideal of the age that evolved it : first, the<br />
Lives of the Saints, developing for fourteen centuries<br />
the ideal of bodily purity; second, the tales of the<br />
trouvères with their vision of chivalry; third, the<br />
romances and dramas of the sixteenth century with<br />
their incarnation of the love of life; and finally, the<br />
novel of the last two centuries, which, linked with<br />
that of our time, is probably destined to become<br />
the most vital of the whole series.<br />
At first sight there would seem to be one feature<br />
in which the fiction of this last cycle is notably<br />
lacking, namely, in a central point round which its<br />
works can centre. For the task of the three former<br />
cycles was to incarnate in a typical figure the ideals<br />
of the time, to personify the thought-form its love<br />
had created ; in the romances of the trouvères it<br />
was the knight ; in the Renaissance tale, the lover ;<br />
in the Lives of the Saints, those lonely figures who<br />
haunt desert shrines or crouch on pillars of pain.<br />
But where is the ideal figure who emerges from<br />
the groaning shelves on which are stacked the<br />
novels that start with Defoe, and continue with<br />
Tolstoy, with George Meredith, with Thomas<br />
Hardy, with Björnson and Anatole France and<br />
with the younger descendants of these ?<br />
It is neither saint nor sinner, weakling nor<br />
Hercules, the figure that steps down from these<br />
shelves, but a compound of all these, the compound<br />
called man. For the age that begins in 1776 with<br />
a discussion of the common basis of the physical<br />
life of man in the “Wealth of Nations,” that<br />
blazes into a lava flood in the liberty, equality and<br />
fraternity of 1789, the ideal task is to clothe in<br />
flesh and blood the essential qualities of the human.<br />
Hence it is neither knight, nor lover, nor saint,<br />
but man per se, that is the type figure of this age's<br />
fiction. In other words, the task of the novelist<br />
to-day is synthetic : he has to link knight and lover<br />
and Saint into one conception, for man is all these,<br />
and many more things than these.<br />
And to carry out his work he must strive in the<br />
most secret places of the heart of man. In that<br />
fact lies the key to the whole future of the novel<br />
as a work of art. The school that began with a<br />
life-like chronicle of the most commonplace happen-<br />
ings, that was a matter of tool-boxes, umbrellas<br />
and wheat-grains in Defoe, that became with<br />
Richardson an analysis of sentiment and a bluff<br />
picture of lusty happenings in Fielding, is destined<br />
to follow in the paths of science and deal with the<br />
very atom of the soul of man. But in saying that<br />
what may be called “the master-novel” will become<br />
more and more psychological, we by no means<br />
exclude the social novels of manners: these<br />
“abstract and brief chronicles” will still continue<br />
to perform the service they have always performed<br />
—the widening of the bonds of sympathy and<br />
comprehension between class and class, between<br />
type and type—but they will take the psychological<br />
conclusions, the laws of character, given them by the<br />
deeper novels, much as the compiler of a text-book<br />
uses the conclusions of a great scientist. The<br />
social and political novels will be the manuals of<br />
human biology, but the masters will devote their<br />
energies to other work—to the great spiritual<br />
pictures that stand out in the sphere of human<br />
investigation, like “The Origin of Species,” or<br />
“The Data of Ethics” in other fields.<br />
But if the goal be one for all these teachers<br />
through story, the methods of approaching it are<br />
as varied as their personalities. Meredith takes<br />
the keen blade of wit to pierce the mind of man.<br />
Hardy shows his soul winnowed by the flails of<br />
fate, Björnson reveals it as woven in the looms of<br />
heredity, while Anatole France steeps it in the<br />
testing solution of his irony, and Tolstoy lays<br />
violent hands on the chords of his heart. For the<br />
story is of all forms of art the widest in its appeal.<br />
It can plunge us in fathomless seas of evil, or lift<br />
us on the wings of holiness, and for this reason<br />
story-telling in the past has always been the key<br />
wherewith the wayfaring man has unlocked his<br />
heart.<br />
<br />
<br />
## p. 285 (#349) ############################################<br />
<br />
TISIES A DITFIOR,<br />
285<br />
In some southern cities it is usual before a bull-<br />
fight for the band to go through the streets playing<br />
a peculiar tune over and over again. After a short<br />
time strangers who have no inherited associations<br />
with its message yet come under its spell. They,<br />
like the citizens, are seized with the thirst for<br />
blood, they long to see death and suffering. Many<br />
stories have that power, the power of a Savage<br />
tune. -<br />
Take a second instance: a picture of a grey Sea,<br />
of waves heaving under a cloud-cap that allows no<br />
ray of sunlight to pierce it. It is a monochrome<br />
by Claud Monet, and as one looks, one knows why,<br />
in writing of Eternity, it was expressly said that<br />
there shall be no sea there, for this is a visual<br />
representation of the sorrow of the sea. A few<br />
stories produce the effect of this monochrome, and<br />
between the noble wonder at the awe of desert<br />
places and the base kinship of Savagery lies the<br />
whole gamut of human emotion—the novelist's<br />
province. It is a goodly heritage.<br />
M. P. WILLCOCKS.<br />
—e—º-e——<br />
MANUSCRIPT 2 OR WASTE PAPER 2<br />
—º-º-º-<br />
THINK I have shown, in a former paper, the<br />
desirability of compelling reviewers to sign<br />
their articles. The value of a literary notice<br />
depends entirely on the name of the writer; and<br />
author and public have a right to this guarantee to<br />
the worth of a review. -<br />
I now call attention to several other points on<br />
which professional writers are placed in a very<br />
different position from that of the members of any<br />
other learned vocation. -<br />
In the first place, the intrinsic value of a MS. is<br />
scarcely admitted by English law. If “a common<br />
carrier" (e.g., a railway company) loses a MS., the<br />
sender has no claim unless he declares the value to<br />
be over £10 and pays carriage accordingly at the<br />
time of handing the MS. to the carrier. There is<br />
no great hardship in this, as the law is the same for<br />
all classes of goods; but suppose a publisher loses<br />
a MS., is he responsible 2. There is very consider-<br />
able doubt about it ; but there is none about your<br />
claim against a tailor who loses the coat you have<br />
entrusted to him. Is this fair P and ought not<br />
writers to insist on an alteration of the law P<br />
Surely the work of a man's brains is entitled to as<br />
much respect as the production of his hands.<br />
Opinions differ, even among lawyers, concerning<br />
an author's right of recovery for a lost MS. I have<br />
known the price of a MS. to be recovered in a<br />
county court, and, on the other hand, have seen<br />
a plaintiff fail in his claim against a publisher in a<br />
higher court. A publisher returned a MS. to the<br />
Writer of this article minus half the chapters.<br />
Two Solicitors of reputation (one of them registrar<br />
to a county court) expressed the opinion that he<br />
had no cause of action against the publisher,<br />
although there was manifest carelessness. Here it<br />
is obvious that a MS. is treated as if it were of less<br />
importance than a loaf of bread ; but the popular<br />
idea is that authors are case-hardened against<br />
starvation—as they have need to be What is<br />
Wanted is that a man should have the same legal<br />
rights in his writings that he has in his chairs and<br />
tables—or a woman in her husband 1<br />
From the law courts I drop to free libraries.<br />
The books in these institutions should be<br />
“standard” works—not the productions of modern<br />
writers, unless they are paid for. No society,<br />
corporate or private, Ought to be allowed to pur-<br />
chase a copy of a book and make it the common<br />
property of many hundreds of readers. Clearly the<br />
author is robbed by such a proceeding. The<br />
writer of a modern book ought to be paid a<br />
royalty every time a copy of it is lent out of a<br />
library—at any rate a public library. In many<br />
places it is the rich and not the poor who make the<br />
greatest use of these institutions; and I protest<br />
against the meanness which pays a penny for that<br />
which ought to cost 6s. or 10s. The committee<br />
of a library buy two or three copies of a book<br />
with a name ; and those two or three copies<br />
go through the hands of, perhaps, two or three<br />
thousand persons, many of whom would buy copies<br />
if it were not for the blessed (blessed is not exactly<br />
what I mean) free library. The readers pay a<br />
penny “towards the expenses.” Why should not<br />
each borrower pay the author another penny ? Or<br />
those Carnegie chaps, who are so anxious to stock<br />
the brains of Mr. Hodges with other men's<br />
thoughts, might pay it for them ; and, of course,<br />
pay it with a handsome margin. “Thou shalt not<br />
muzzle the ox,” you know.<br />
To meet possible objections (for alas ! the great<br />
Darwin does not always agree with me), I may say<br />
that I have not been able to find evidence that the<br />
fear that authors would suffer if their books were<br />
barred free libraries is well founded. On the<br />
contrary, my position is that if well-to-do people<br />
could not induce the ratepayers to buy a book for<br />
them they would buy it themselves; and I have<br />
some evidence that corporations obtain copies of<br />
current works at reduced rates, which is doubly<br />
unfair to authors. Free libraries, also, might be<br />
compelled to buy so many copies at net ; and, say,<br />
500 pennies per copy, royalty in advance. , Sauce<br />
for the goose is sauce for the gander ; and if the<br />
production of a book costs a penny, 500 pennies or<br />
£500 per copy, there are still several universities,<br />
etc., which demand their free copies, especially if<br />
<br />
<br />
## p. 286 (#350) ############################################<br />
<br />
286<br />
THE AUTHOR.<br />
the book is an expensive one. I wonder what the<br />
tailors would say if they demanded free suits every<br />
time the fashion changed But there is a differ-<br />
ence between brains and money, as I remember<br />
that enterprising gentleman, the Claimant, once<br />
explained. -<br />
However, not to ask too much to begin with, I<br />
desire to see an author’s “copy" made property—<br />
real, tangible, undisputable property: so that a poor,<br />
threadbare, half-starved writer (the righteous are<br />
always oppressed) may be able to enter a court<br />
and, if a judge tells him he ought to have kept a<br />
copy, answer, “Gammon and now I want the<br />
spinach "; and I hope to see him get it, too.<br />
PAUL FOUNTAIN.<br />
SOME NEW LITERARY WIALUATIONS.*<br />
—º-º-º-<br />
NANIMITY of opinion, or even a wide<br />
agreement regarding the conclusions pre-<br />
sented in a critical work, is neither to be<br />
expected, nor possible. The very nature of the<br />
work forbids it. The critic has, it is true, for one<br />
part of his public a number of people who either<br />
dare not or cannot form for themselves definite<br />
estimates of the value of what they read. These<br />
good folk come to him to provide them with ready-<br />
made opinions, and are generally a tractable flock,<br />
prepared jurare in verba magistri. But the rest,<br />
the more intelligent readers, who already possess<br />
views of their own, of necessity criticise the critic's<br />
observations ; and his work has thus to take its<br />
chance before a number of tribunals where the last<br />
appeal is practically to personal tastes of an incon-<br />
ceivable variety. But whilst the critic's work is<br />
thus more than any others exposed to criticism, the<br />
critic himself holds an unassailable position so long<br />
as he is scrupulously accurate. And this is the<br />
position of Mr. Wilkinson. Differences of opinion<br />
will no doubt exist concerning some of his con-<br />
clusions. To his punctilious accuracy it is possible<br />
only to bow. And saying this amounts to saying<br />
that “some literary valuations” represent a<br />
contribution to critical literature deserving of<br />
attention.<br />
The range is wide : Howells as a man of letters;<br />
Matthew Arnold as critic and poet ; Tennyson as<br />
an artist in lyric verse ; Edmund Clarence Stead-<br />
man as a man of letters; John Morley as a critic<br />
of Diderot and Voltaire ; and Tolstoi. The<br />
* William Cleaver Wilkinson.<br />
Wagnall's Company. 1909.<br />
London : Funk and<br />
estimate of Howells is likely to be read with more<br />
enjoyment than anything else in the book. It is<br />
an admirable appreciation without exaggeration,<br />
and an excellent example of criticism of the most<br />
delicate kind.<br />
The most valuable portion of the work, however,<br />
is certainly that dedicated to a searching analysis<br />
of the actual value of the writings, whether critical<br />
or poetical, of Matthew Arnold. To discover the<br />
small merits of most of Matthew Arnold's poetical<br />
efforts is, indeed, a task that hardly requires the<br />
abilities of a critic of Mr. Wilkinson's calibre.<br />
But these poems do sorely need to be relegated<br />
to the position which they deserve. The long<br />
tyranny of Matthew Arnold's criticism has won for<br />
them, from a public too long accustomed to take<br />
their author au Sérieua, an appreciation very much<br />
above their actual merit. And they are only too<br />
likely to enjoy this undeserved vogue so long as the<br />
delusion that some boundless wisdom is embodied<br />
in all that Matthew Arnold has written continues<br />
to prevail. That delusion ought never to have<br />
existed. Unhappily it has existed for a long time,<br />
and, unhappily, is still to be encountered ; so that<br />
any one who takes up arms against it is doing good<br />
work. Mr. Wilkinson makes the assault scientifi-<br />
cally. He sets down, side by side, the oracles<br />
delivered by Matthew Arnold and the actual<br />
unadorned facts. Out of this ordeal Matthew<br />
Arnold comes very badly; in fact, Mr. Wilkinson<br />
accuses him of being a “loose thinker,” and proves<br />
his indictment up to the hilt.<br />
The great need that this should be done, and<br />
done drastically, makes the two articles on Matthew<br />
Arnold as critic and poet by far the most important<br />
part of the work, and one that should recommend<br />
it to a wide circle of readers. But other portions<br />
of the book will be also found well worth reading.<br />
The very graceful appreciation of the American<br />
poet Steadman may be particularly mentioned. In<br />
his criticism of Tennyson as an artist in lyric<br />
verse, Mr. Wilkinson, whilst insisting upon much<br />
that is undoubtedly true, seems here and there to<br />
make rather too little allowance for the privileges of<br />
poetry. In his estimate of Tolstoi he confesses<br />
that his sense of the Russian novelist’s greatness<br />
has its limitations, inasmuch as he finds Tolstoi<br />
wanting in “final soundness and justness of judg-<br />
ment.” To disagree with that is impossible. But<br />
the question naturally suggests itself, Is any great-<br />
ness in an author possible without those two<br />
qualities 2 te<br />
Mention has been already made of Mr. Wilkin-<br />
son's accuracy. The temperate character of all<br />
that he writes also deserves to be noticed. Many<br />
of the questions which are discussed are of great<br />
delicacy, and the skill with which they are handled<br />
should secure the book a wide appreciation.<br />
<br />
<br />
## p. 287 (#351) ############################################<br />
<br />
TISIES A CITISIORs<br />
287<br />
CORRESPONDENCE.<br />
—e-º-e—<br />
LITERARY AGENTs.<br />
SIR,--Mr. H. G. Wells seems to express a<br />
reasonable enough view of the financial questions<br />
that arise between author and agent, and of the<br />
reforms necessary, on the supposition that these<br />
agencies are indispensable.<br />
But in my opinion the literary agent too often<br />
adds a new terror to an already struggling pro-<br />
fession. He will not accept a MS. on a percentage<br />
commission alone, however high. He demands a<br />
fee of a guinea, not returnable if he fails, like a<br />
doctor who takes no fee if you live, but one if you<br />
die. If the agent fails you lose a guinea; and as<br />
many young authors have hundreds of MSS.<br />
returned, and have few guineas to waste, the<br />
increasing prevalence of the literary agent is a<br />
great misfortune. Whereas, in the old days, you<br />
risked 2d. in stamps, very soon, when everything<br />
will need to be submitted through an agent, you<br />
will risk a guinea.<br />
In the theatrical profession young actors are met<br />
at every turn by similar agents, and it becomes a<br />
Question of pay, pay, pay, to get even an introduction,<br />
to a manager.<br />
And the very fact that literary agents claim that<br />
they can get things accepted which, coming from<br />
the author, were refused by the same editor, is a<br />
bad sign. It shows that many editors are more<br />
and more unwilling to consider MSS. except<br />
through agents. -<br />
(a.) If the agent is becoming indispensable,<br />
then he is gaining a monopoly, and this should<br />
not be allowed.<br />
(b.) If the agent is not indispensable, then let<br />
us dispense with him.<br />
Yours, etc.,<br />
ASHMORE WINGATE.<br />
—º-º-º-<br />
REVIEWERS AND REVIEWED.<br />
DEAR SIR,--I enclose a notice of my novel,<br />
“The Ways of Men,” received this morning, which<br />
seems to me a very good specimen of the sort of<br />
notice which inflicts an unfair, but probably<br />
unintentional, injury on the novelist. My first<br />
impulse on receiving it was to write to the editor<br />
of the Notts Daily Guardian, pointing out<br />
that by telling the whole story down to the bitter<br />
end, his reviewer has robbed his readers of any<br />
incentive to read the book itself, especially as he<br />
does not remotely suggest that there are any<br />
interesting side issues, or anything in the novel to<br />
make it enjoyable, apart from the main motive.<br />
Two considerations make me conquer the impulse.<br />
The first : that one cannot complain of a review<br />
on any grounds without danger of being classed<br />
With a certain class of thin-skinned writers,<br />
generally novices, who object to every review of<br />
their work unless it is altogether laudatory. The<br />
Second consideration is that the thing is done, and,<br />
So far as my book is concerned, I have nothing to<br />
gain by crying over spilt milk.<br />
It has occurred to me that the society might do<br />
Something to mitigate the evil—if I am right in<br />
thinking it is one—either by preparing a circular,<br />
and sending it to all the reviewing papers, to point<br />
out the unfairness of “giving away ” the end of a<br />
story, or, indeed, of telling more than is necessary<br />
to show probable readers the character of the book<br />
and theme, or by preparing a printed form of com-<br />
plaint, to be filled up with details, and sent out<br />
to the editor of any paper who permits one of<br />
these unfair notices to appear. I think that the<br />
members of the society would be pleased to send<br />
on to you all the notices they receive to which<br />
they think that objection can be taken on this<br />
Score, and that a remonstrance made in the name<br />
of the society would carry more weight than<br />
Occasional remonstrances made by individual<br />
sufferers.<br />
Yours faithfully,<br />
HERBERT FLOWERDEW.<br />
THE PRICE OF NEW NOVELS.<br />
DEAR SIR,-The interesting report on the 7d.<br />
novel which appeared in the April Author contains<br />
much with which everyone will agree, but there<br />
is a sentence near the end which I think is<br />
open to question. The distinguished writers who<br />
sign the report say—“Whatever policy authors<br />
may adopt as to reprints, they must maintain the<br />
6s. standard for first editions. . . .” But they do<br />
not tell us why. -<br />
If there is one thing absolutely beyond dispute,<br />
I should say it is that new novels are too dear.<br />
Does any one with an income of less than £500<br />
a year ever buy a new novel ? And yet there is<br />
an immense reading public eager to read the latest<br />
fiction, if it had the chance. Why cannot this<br />
public be tapped<br />
The modern tendency is to lower prices in every<br />
direction. Food is cheaper, travelling is cheaper,<br />
amusements are cheaper, but the new novel remains<br />
at 4s. 6d. This fact excludes nine-tenths of the<br />
population from ever seeing a new novel.<br />
During the last two or three months I have read<br />
various reviews, notices, and comments, on new<br />
books, and the effect on my mind has been to make<br />
me desire to read some half-dozen new novels.<br />
<br />
<br />
## p. 288 (#352) ############################################<br />
<br />
288<br />
TISIE AUTISIOR.<br />
At the moment I call to mind the following:<br />
“Araminta,” “Septimus,” “Tono Bungay,” “The<br />
Gifted Family.” I may say that the desire is not<br />
a passionate one. It is not strong enough to induce<br />
me to go without a new hat or curtail my modest<br />
lunch in order to satisfy it. Nevertheless, if<br />
those books had been easily available at a reason-<br />
able price, I should have bought them. There<br />
must be tens of thousands of people in a like case.<br />
This brings me to my point. I gather from the<br />
opening of the report published by you that rival<br />
publishers can be got together in one room to<br />
discuss a matter affecting their common interest.<br />
Let Mr. Longman, Mr. Macmillan, Mr. R. Smith,<br />
Mr. Methuen, and Mr. Hutchinson have another<br />
meeting and agree to arrange with their authors<br />
for the publication of all new novels in paper covers<br />
at 1s. 6d. -<br />
The thing would have to be done dramatically,<br />
as it were, so as to impress on the public that they<br />
were really getting for 1s. 6d. a .68. novel,<br />
minus the cloth binding. There would have to be<br />
some preliminary big space advertising, which,<br />
however, would be supplemented by many articles,<br />
interviews, and paragraphs, which such a revolution<br />
in the book trade would naturally elicit.<br />
Imagine the first effect of such a reform. All<br />
the cheap magazines would be swept off the front<br />
of the bookstalls, and in their place would be piles<br />
of new novels. This, too, just at the time when<br />
these very books were being discussed in the daily<br />
and weekly papers.<br />
The books would sell as readily as magazines.<br />
Moreover, being paper-covered, they would dis-<br />
appear in the same mysterious manner that<br />
magazines disappear, whereas a cloth-bound book<br />
is passed from hand to hand for years.<br />
Authors and book publishers do not yet seem to<br />
see that the whole problem is one of price. “There<br />
are millions of potential readers in the country who<br />
cannot get books for want of book-shops,” says the<br />
report. I don’t deny the “millions,” but if the<br />
books were produced at the right price, the question<br />
of distribution would solve itself. -<br />
Yours faithfully<br />
H. J. A.<br />
—º-º-º-<br />
THE SOCIETY'S ADVICE.<br />
DEAR SIR,--There has been a good deal lately<br />
in The Author about members signing agreements<br />
without the society's advice. There is one point<br />
which I think has not been mooted—about the<br />
most serious that I know in connection with this<br />
subject. -<br />
I give my own experience as probably typical :-<br />
When my first book was published, I asked the<br />
society's advice, and succeeded in having one or<br />
two clauses in the agreement altered in consequence,<br />
but my publisher flatly refused to accept the most<br />
important alteration. As I could not afford a<br />
rupture with him, I was obliged to withdraw that<br />
item, bind myself to allow him the first refusal of<br />
my second novel, and sell the entire copyright to<br />
him at a price the society warned me was<br />
insufficient.<br />
Exactly the same history occurred with my<br />
second novel (which my first publisher had refused,<br />
perhaps fortunately for me).<br />
With my third, by the society's advice, I asked<br />
for a rising royalty, and received in consequence a<br />
letter of indignation from a third publisher, who<br />
informed me that if his terms were not acceptable,<br />
he would return the MS. As I was utterly unable<br />
to afford a rupture with that firm, I withdrew the<br />
request, and accepted a royalty of 3d. on each copy<br />
sold—for all time !<br />
Since then I have placed two more books<br />
successfully—but without advice, and probably at<br />
much lower terms than an author ought to accept.<br />
But what is to be done 2 Authors who depend<br />
upon their pen for a living are not free to quarrel<br />
with their publishers—they cannot afford to do so,<br />
and I have three times at least very nearly come to<br />
loggerheads through having followed the society's<br />
advice /<br />
Success with two or three books by no means<br />
Secures a novelist's position, and whatever the<br />
ethics of the case may be, authors who have to<br />
make a living cannot possibly afford to haggle over<br />
their agreements. It has occurred to me to<br />
wonder whether the society’s advice is ranged too<br />
high, and whether it fails to take into consideration<br />
the defenceless position of the beginner<br />
A. M. I.<br />
THE GRAFTON GALLERIES.<br />
SIR,--The Honorary Committee of the Exhibi-<br />
tion of “Chosen Pictures" at these Galleries<br />
request the honour of the company of the Incor-<br />
porated Society of Authors at a special view of<br />
the exhibition on Wednesday July, 7, from three<br />
to six o'clock.<br />
Will you kindly convey this invitation to your<br />
members through your next publication on<br />
July 1, with an intimation that cards of admis-<br />
sion will be supplied to those of your members<br />
desiring to attend, on application to the Secretary<br />
of the Grafton Galleries, 8, Grafton Street, W.<br />
I am, dear Sir,<br />
Yours faithfully,<br />
FRANCIS HOWARD.<br />
<br />
<br />
## p. (#353) ################################################<br />
<br />
ADVERTISEMENTS. iii<br />
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“These verses are melodious and full of fine thoughts in<br />
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Commended to all lovers of fresh and stimulating verse.<br />
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“A very curious novel.”—Publishers’ Circular. -<br />
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Authors should forward MSS. of any description<br />
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## p. (#354) ################################################<br />
<br />
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(The Organ of the Incorporated Society of Authors. Monthly.)<br />
Vol. XIX.—No. 9. JUNE 1, 1909. [PRICE SIxPENCE.<br />
C O N T E N T S.<br />
PAGE PAG F<br />
Notices ... * † ºn * & e tº tº e tº sº a * ºf G * † 6 tº e & ... 229 Registration of Scenarios * * * * * * & & & e º * * * ... 247<br />
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## p. 228 (#288) ############################################<br />
<br />
ii<br />
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<br />
## p. 229 (#289) ############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
Vol. XIX—No. 9.<br />
JUNE 1ST, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
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NOTICES.<br />
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THE Editor begs to inform members of the<br />
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—e—º-e—<br />
THE SOCIETY'S FUNDS.<br />
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ROM time to time members of the Society<br />
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WOL. XIX.<br />
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LIST OF MEMBERS.<br />
—º-º-º- -<br />
HE List of Members of the Society of Authors,<br />
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—e—sº-0—<br />
PENSION FUND.<br />
—º-º-º-<br />
N the 5th of February, 1909, the Trustees of<br />
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the secretary had placed before them the<br />
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The amount purchased is £438 2s. 4d., and is<br />
added to the list printed below.<br />
The Trustees are glad to report that owing to<br />
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Consols 23%.............................. #1,000 0 0<br />
Local Loans .............................. 500 0 ()<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 29] 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 (0.<br />
<br />
<br />
## p. 230 (#290) ############################################<br />
<br />
230<br />
TFIES A DITFIOR.<br />
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1927—57<br />
* * * * * * * * * e º e º e s tº t → * * * * * * * * * * * *<br />
Subscriptions.<br />
1909.<br />
1, Twycross, Miss M. .<br />
2, Macquarie, Arthur .<br />
4, Sproston, Mrs. Stanley<br />
4, Phipson, Miss Emma<br />
4, Middlemass, Miss Jean<br />
4, Pott, J. A.<br />
4, Miller, Mrs. e<br />
7, Marchmont, A. W..<br />
7, Sharwood, T. S.<br />
12, Durand, Ralph<br />
12, Laing, Mrs. . º<br />
14, Banks, Mrs. M. M.<br />
14, Steel, Richard<br />
16, Garnett, Edward .<br />
16, Fenn, Frederick<br />
18, Hering, Henry A.<br />
18, Fox, Archibald D.<br />
31, Anon. . e &<br />
31, Kelly, W. P. º<br />
31, Cotes worth, Miss .<br />
1, Phillipps-Wolley, Clive .<br />
1, Dawson, Warrington<br />
4, Willard, Mrs. E. S.<br />
Feb. 19, Paget, Mrs. Gerald<br />
Feb. 20, Andrews, C. C.<br />
March 5, Speed, Lancelot<br />
March 8, Calderon, George &<br />
March 8, Jackson, C. S. . * e<br />
March 9, Young, Col. George F., C.B.<br />
March 10, Sullivan, Herbert ©<br />
March 11, Merritt, Mrs. Anna Lea<br />
March 22, Dale, T. F. º e<br />
April 13, Gask, Miss Lilian<br />
May 17, Rorison, Miss Edith<br />
Donations.<br />
1909.<br />
Jan. 1, Zangwill, Israel<br />
Jan. 1, Hamilton, John A. .<br />
Jan. 4, Stopford, Francis<br />
Jan. 4, Falmouth, The Wiscountess<br />
Jan. 4, Carrel, Frederick<br />
Jan. 4, Laws, T. C. . º<br />
Jan. 4, Abercrombie, Lascelles<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
I-<br />
.O()<br />
2<br />
1<br />
1<br />
i<br />
i<br />
5, Bradgate, Mrs.<br />
6, Leach, Henry<br />
6, Cullen, H. N. º º º<br />
6, Lyall, The Right Hon. Sir<br />
Alfred, P.C., etc.<br />
7, Underdown, Miss Emily<br />
8, Omond, T. S. e e<br />
8, Paternoster, G. Sidney<br />
9, Stockley, Mrs.<br />
9, Tanner, James T. .<br />
12, Tighe, Henry<br />
12, Aitken, Robert<br />
12, Bolton, Miss Anna<br />
14, Williamson, W. H.<br />
16, Furze, Miss Bessie<br />
16, Shirley, Arthur<br />
18, “Austin Clare’” .<br />
22, Williamson, Mrs. C. N.<br />
22, Williamson, C. N.<br />
23, Brown, R. Grant ,<br />
28, Raphael, Mrs. M. . º e<br />
4, Wilson, Miss Theodore Wilson<br />
4, Cousland, W. M. . © º<br />
4, Hardy, Thomas<br />
5, Bremner, Robert L.<br />
6, Todhunter, John<br />
6, Pettigrew, W. F.<br />
8, Russell, G. H. e<br />
8, Walker, Capt. J. H.<br />
8, Dutton, Miss Annie<br />
8, Baldwin, Mrs. Alfred<br />
11, Ainslie, Miss 4.<br />
11, Steward, Miss E. M.<br />
11, Rumble, Mrs.<br />
15, Beveridge, A. S.<br />
16, Toplis, Miss Grace<br />
19, Wilkinson, D.<br />
Feb. 24, Landa, Mrs. º<br />
Feb. 26, Fitz Gerald, Mrs. . e<br />
March 2, Tadema, Miss Laurence Alma<br />
March 2, Reynolds, Mrs. Baillie.<br />
March 4, Henry, Miss Alice<br />
March 4, Wilson, Edwin .<br />
March 5, Hardy, Harold .<br />
March 9, Crozier, Dr. Beattie<br />
March 9, Ross, Mrs. Janet<br />
March 15, Gregory, Lady . º<br />
March 31, Wizzari, Leopold de S.<br />
April 5, Burchell, Sidney H.<br />
April 15, Linton, C. Stuart<br />
April 19, Loraine, Lady . & -<br />
April 19, Durand, Sir Henry Mortimer<br />
April 20, Stephens, Riccardo<br />
May 24, Lefroy, Mrs. C. P.<br />
Jam.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
º<br />
S<br />
º<br />
1<br />
i<br />
I1.<br />
;<br />
I<br />
I<br />
1<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above are<br />
unavoidably held over to the July issue.<br />
<br />
<br />
## p. 231 (#291) ############################################<br />
<br />
THE AUTHOR.<br />
231<br />
COMMITTEE NOTES.<br />
—o-º-º-<br />
HE May meeting of the committee was held<br />
at the offices of the society on the 10th.<br />
As Mr. Maurice Hewlett, the chairman for<br />
the year, was abroad, Sir Alfred Bateman was<br />
elected to the chair.<br />
After the minutes of the previous meeting had<br />
been signed, the chairman proposed a vote of<br />
thanks to the retiring chairman, Mr. Douglas<br />
Freshfield, for the work he had done for the<br />
Society during the period of his chairmanship. He<br />
reminded the members present that Mr. Freshfield,<br />
prior to the reconstitution of the society, had been<br />
chairman for two years, and had again taken that<br />
position when the reconstitution came into force<br />
last year. He stated how indebted the society had<br />
been to Mr. Freshfield for the labour he had so<br />
generously given to its affairs, and laid especial<br />
stress on its obligations to him for undertaking<br />
the duties after the critical period of the society’s<br />
reconstitution. The vote was passed unanimously.<br />
Seventeen members and associates were elected,<br />
bringing the total elections for the year up to 114.<br />
The list of names appears on another page. Six<br />
resignations brought the total of resignations up<br />
to 62.<br />
Mr. H. G. Wells was elected to the society's<br />
council.<br />
The next matter before the committee—one of<br />
great importance to novelists——was a statement of<br />
the result of the circular issued by the society in<br />
regard to cheap books. The committee decided to<br />
print the statement, which appears in another<br />
column. The list of those who have no objection<br />
to the publication of their names is also set out. In<br />
close connection with the subject of cheap editions,<br />
the committee discussed the question of new copy-<br />
right novels which it was proposed to issue at the<br />
price of 2s. They had received various letters<br />
from members of the society bearing on this point.<br />
After some slight discussion the whole question<br />
was referred to the sub-committee which had been<br />
appointed to deal with the cheap 7d. novel. As<br />
members may recollect, that sub-committee consists<br />
of Mr. Maurice Hewlett, Mr. Anthony Hope<br />
Hawkins, and Mr. Bernard Shaw. It is hoped<br />
that their report will be ready for the next meeting<br />
of the committee.<br />
The committee next discussed the question<br />
contained in Mr. H. G. Wells' letter in the April<br />
issue of The Author, referring to authors’<br />
agents and insurance, and the secretary was<br />
instructed to make enquiries in the matter and<br />
report to the next meeting of the committee.<br />
Owing to one or two objections having been<br />
raised to the publication of the names of the<br />
Society's pensioners, and the amounts which they<br />
received, the committee went into the matter very<br />
fully, but came to the conclusion that it was only<br />
fair to the subscribers to the fund, as well as to<br />
members of the society who might in the future<br />
become subscribers, that this information should<br />
appear in The Author. -<br />
The secretary reported the action of the copy-<br />
right sub-committee which had met during the past<br />
month, and the desire expressed by that committee<br />
that the chairman of the Committee of Management,<br />
Mr. Maurice Hewlett, should, if necessary, give<br />
evidence before the departmental committee. He<br />
also reported the receipt of a letter from the<br />
Secretary of the departmental committee as to the<br />
points on which they desired evidence to be given.<br />
It was decided that the proofs which had been<br />
prepared by the copyright and dramatic sub-com-<br />
mittees should be sent in together with the names<br />
of those whom the society would suggest as wit-<br />
IłęSSéS.<br />
The committee decided, also, that the report<br />
of the action taken by the committee during the<br />
past year to assist the cause of copyright, which<br />
was to be laid before the Council in June, should be<br />
drafted by the Secretary subject to the approval of<br />
the chairman.<br />
The secretary reported that he had heard from<br />
the solicitors of Miss Alice Sargant, who had, for<br />
many years, been a member of the Society, that<br />
she had left a legacy to the Pension Fund of the<br />
society of all her copyrights and interests in her<br />
published books. The committee requested the<br />
secretary to make further inquiries and to report<br />
to the next meeting.<br />
Members of the society may remember that the<br />
question of Colonial sales was raised at the last<br />
meeting, and the Publishers' Association was com-<br />
municated with. From the answer of the Associa-<br />
tion, laid before the committee, it appeared that<br />
the publishers had appointed a small sub-committee<br />
to meet the Authors’ Society in order to discuss<br />
the situation. The matter was referred to the sub-<br />
committee which had already been appointed for<br />
the consideration of the question of cheap books.<br />
The secretary reported the action taken by the<br />
Dramatic Sub-Committee at their last meeting, and<br />
it was decided to send a notice to the papers of<br />
their approval of Mr. R. Vernon Harcourt's Music<br />
Halls and Theatres Bill.<br />
The secretary then asked for an authority to<br />
require the payment on dinner tickets from those<br />
who did not return them within a reasonable time.<br />
The committee decided that all dinner tickets<br />
returned to the secretary within four days of the<br />
date of the dinner should be paid for, and authorised<br />
the secretary to demand payment for those tickets<br />
which had only been returned on the day of the<br />
<br />
<br />
## p. 232 (#292) ############################################<br />
<br />
232<br />
THE AUTHOR.<br />
dinner in the present year. It would obviously be<br />
impossible to organise satisfactorily a big dinner<br />
such as the society's annual function, if every<br />
member who had asked for a ticket claimed the<br />
right to return it without payment, one, two, or<br />
three days before the dinner. The committee have<br />
fixed four days as a reasonable limit.<br />
The committee then turned their attention to<br />
the legal cases which they were asked to support.<br />
Of the four cases considered, the first—a question<br />
of the infringement of an author's rights in Den-<br />
mark—the committee decided to take up and<br />
carry through the Danish courts if necessary.<br />
The second the committee felt bound to refuse as<br />
there appeared to be no legal cause of action.<br />
This view was supported by the solicitors of the<br />
society. The third case, the secretary reported,<br />
had been withdrawn that morning, as the matter<br />
had been settled in favour of the author. The<br />
fourth case, against the editor of a magazine, the<br />
committee decided to take up.<br />
The committee instructed the secretary to re-<br />
draft the prospectus of the Society and to submit<br />
it to the next meeting.<br />
Sundry letters from members were placed before<br />
the committee and considered.<br />
The committee decided to send an official letter,<br />
signed by the chairman of the society, to Mr.<br />
Thorvald Solberg, Registrar of Copyrights at<br />
Washington, to express their appreciation of his<br />
efforts towards the promotion of better American<br />
copyright legislation.<br />
—e—º-e—<br />
DRAMATIC COMMITTEE.<br />
I.<br />
A MEETING of the Dramatic Sub-Committee of<br />
the Society of Authors was held at the offices<br />
of the society on Tuesday, May 4. The first<br />
business of the meeting was to elect a chairman<br />
for the current year. On the proposal of Mr. Cecil<br />
Raleigh, seconded by Mr. Henry Arthur Jones,<br />
Mr. A. W. Pinero was elected chairman, and on<br />
the proposal of Mr. Alfred Sutro, seconded by Mr.<br />
R. C. Carton, Mr. Henry Arthur Jones was elected<br />
to the post of vice-chairman.<br />
After the minutes had been read and signed, the<br />
secretary laid before the meeting a formal proof of<br />
the notes which had been passed at the last meet-<br />
ing. This proof embodied those points dealing<br />
with the alteration of the law as it affected dramatic<br />
authorship, which the committee desired should<br />
be laid before the Departmental Committee now<br />
sitting on the Berlin Convention. The proof was<br />
formally approved by the committee. The secre-<br />
tary then reported that Mr. Grundy had been<br />
their consideration.<br />
unable to undertake the duty of giving evidence<br />
before that committee, and that from Mr. Comyns<br />
Carr he had not, as yet, received a final answer.<br />
As the chairman represented that owing to urgent<br />
private reasons he would be unable to give evidence,<br />
at the request of the committee Mr. Bernard Shaw<br />
stated that he would undertake the duty if required<br />
to do so.<br />
The next matter before the committee was the<br />
consideration of the Theatres and Music Halls<br />
Bill, Mr. Cecil Raleigh, who had taken great<br />
interest in and had made a close study of the<br />
Bill, explained at length to the committee all the<br />
points which it covered and their bearing on<br />
dramatic authorship. Considerable discussion<br />
ensued. As a result two points presented them-<br />
selves for the final approval of the committee.<br />
The first, whether the committee was in favour of<br />
free trade in amusements. The second, whether<br />
the office of Censor of Plays should be abolished,<br />
and the power of licensing theatres and music<br />
halls be left entirely to the county authorities,<br />
subject to the clauses of the Bill set forth.<br />
The committee unanimously agreed to the first<br />
point. Proposed by Mr. Cecil Raleigh and seconded<br />
by Mr. R. C. Carton, the second point was carried<br />
776/77. C07?). r<br />
As the discussion of these important matters<br />
had taken a considerable time, it was decided that<br />
the other questions before the committee—the<br />
Managers' Treaty and the Dramatic Pamphlet–<br />
should be adjourned to the next meeting.<br />
II.<br />
A MEETING of the Dramatic Sub-Committee<br />
was held on Thursday, May 20, at the Society's<br />
office, to consider the various questions ad-<br />
journed from the former meeting. After the<br />
minutes had been read and signed the Secretary<br />
reported that the appeal lodged by the society<br />
on behalf of Mr. Frederick Fenn in the case<br />
of Scholz v. Amasis, Ltd., had been successful,<br />
the judgment of the three judges of the Appeal<br />
Court being unanimous. The Dramatic Com-<br />
mittee congratulated the society on the result of<br />
its efforts in this case.<br />
The Managers' Treaty and the Dramatic<br />
Pamphlet then came before the committee for<br />
Mr. Shaw made a long<br />
statement explaining the difference between the<br />
two documents and the work the former Committee<br />
during the past years had expended upon them.<br />
It was decided, after some discussion, that the<br />
Dramatic Pamphlet should be taken first and<br />
finally settled before the Managers' Treaty, Was<br />
discussed. Accordingly Mr. Pinero, as chair-<br />
man, began the reading through of the Dramatic<br />
<br />
<br />
## p. 233 (#293) ############################################<br />
<br />
THE AUTHOR.<br />
Pamphlet, and the clauses in the first agreement<br />
which it contained were discussed one by one.<br />
The substance of the treatise was fully con-<br />
sidered. The secretary described the basis on<br />
which it had been drafted, and the reasons for<br />
its being put forward in the present shape. The<br />
committee were only able in the time at their<br />
disposal to get through a few of the clauses of<br />
the first agreement, and the matter was further<br />
adjourned to the next meeting, which will be held<br />
this month.<br />
The committee trust to be able to settle the<br />
final form of the Pamphlet and to put it before the<br />
dramatic members of the Society in the autumn.<br />
—e-C-6–<br />
COPYRIGHT COMMITTEE.<br />
A MEETING of the Copyright Committee was held<br />
at the offices of the society on Tuesday, May 18.<br />
After the minutes of the previous meeting had<br />
been read and signed, the final proof of Mr. Mac-<br />
Gillivray's evidence was laid before the committee<br />
and, after some discussion, was accepted. The<br />
secretary then read to the committee letters received<br />
from the Departmental Committee, and was in-<br />
structed to write to those members of the society who<br />
had promised to give evidence, informing them of the<br />
contents of the letters, of the dates when they<br />
might be called, and the evidence they would be<br />
required to give. r f<br />
The secretary reported that he had already<br />
despatched the proofs to the Departmental Com-<br />
mittee. - -<br />
The next question before the committee was a<br />
small Bill drafted by Mr. E. J. MacGillivray, at the<br />
suggestion of Sir Charles Williers Stanford, for the<br />
protection of musical composers. After considera-<br />
tion, the committee thought it would be best that<br />
the matter should be referred to the Committee of<br />
Management to inquire whether the committee<br />
would be ready to support the principles contained<br />
in the Bill. -<br />
: - - - —t-sº-º-<br />
Cases.<br />
SINCE the last issue of The Author nine cases<br />
have been in the hands of the secretary. The first<br />
was a claim against a publisher for the infringe-<br />
ment of an author's rights. This has been<br />
settled. The position has been explained and the<br />
author advised as to the course which he should<br />
take. There have been four cases for the recovery<br />
of money. In three of these the money has come<br />
to hand and been forwarded to the author. The<br />
last has only just come into the office for settle-<br />
ment. There were four cases for the recovery of<br />
MSS. One has been successful, and the three<br />
remaining are still in course of negotiation.<br />
Only two cases remain open from former months.<br />
One is a case of infringement of copyright in New<br />
Zealand. In this case a reply has been received<br />
from the infringer, who is asking for a settlement<br />
on lower terms than those asked for by the society.<br />
The other is a difficult case in connection with<br />
a press-cutting agency. It may be worth while to<br />
mention here that authors should be very careful of<br />
their dealings with press-cutting agents. No press-<br />
cutting agent is absolutely perfect, or will supply<br />
the author with everything that he desires, but<br />
Some agents take the fee, supply a few cuttings and<br />
nothing more, and the author, who may have know-<br />
ledge that his book has been reviewed in many<br />
quarters, finds that the fee has been paid in vain.<br />
Authors should be warned to be extremely careful<br />
to what press-cutting agency they contribute, and<br />
should never subscribe without obtaining advice in<br />
the first instance as to the position and reliability<br />
of the agent.<br />
The secretary has to report the settlement of one<br />
case of infringement where the full amount asked for<br />
has been paid through the society's solicitors in<br />
Spain, and one case of infringement in New Zealand,<br />
where the sum asked has also been received. - -<br />
Three other matters in the hands of the society's<br />
solicitors have been settled satisfactorily.<br />
—t-º-º-<br />
May Elections. s<br />
Wade-<br />
Argyll-Saxby, A., M.A., “Brooklyn,”<br />
F.R.G.S., etc. (Argyll- bridge, Cornwall.<br />
Sawby). - .<br />
Baines, Lady * Kidlington, Oxon.<br />
Barnard, Edmund 50, Erpingham Road,<br />
George, M.A. Putney, S.W.<br />
Cook, Mrs. Thornton 45, Finsbury Square,<br />
(Maorilanda). E.C. -<br />
Ferguson, J. C. M. G. .<br />
Fleurot, George G.<br />
Gerrard, Mrs. Edith C.<br />
Lambert,<br />
(Mrs.).<br />
Lubbock, Mrs. Monta-<br />
gue.<br />
McEwen, John B.<br />
O’Brien, The<br />
Georgima.<br />
Agnes H.<br />
Hon.<br />
Rorison, Edith S. . •<br />
Schwarz, Prof. Ernest,<br />
H.L.<br />
Southfield House, Wat-<br />
ford, Herts.<br />
17, Avenue Montaigne,<br />
Paris.<br />
Glenburnie,<br />
N. Devon.<br />
Fairlawn House, Wood-<br />
manstern, Surrey.<br />
127, Mount Street,<br />
Berkeley Square, W.<br />
The Doon, Pinner.<br />
Bideford,<br />
The Deanery, Perth,<br />
N.B.<br />
Box 116, Grahamstown,<br />
S. Africa. -<br />
<br />
<br />
## p. 234 (#294) ############################################<br />
<br />
234<br />
THE Arra HoR.<br />
Sheeby-Skeffington, 11, Grosvenor Place,<br />
Francis. Rathmines, Dublin.<br />
30, Philbeach Gardens,<br />
Earl's Court, S.W.<br />
Williams, Mrs. Leonora 4, Whitehall Court,<br />
Bruce. S.W.<br />
(One member does not desire publication of his<br />
name or address.)<br />
Shillingford, Osmond .<br />
—e—º-e—<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—º-º-e—<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and as exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers.<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
ASTRONOMICAI).<br />
FARTHEST SouTH. By E. E. MIDDLETON, Tower House,<br />
St. Matthew's Gardens, St. Leonards-on-Sea. 1d.<br />
It is hoped, however, that members will<br />
THE WAR OF THE SPANISH SUCCESSION, 94 pp.<br />
DEFOE : CAPTAIN SINGLETON's EARLY ADVENTURES.<br />
126 pp. (Blackie's English Texts.) Edited by W. H. D.<br />
ROUSE. 63 × 23. Blackie. 6d. each.<br />
AN ENGLISH CHURGH HISTORY FOR CHILDREN. By MARY”<br />
E. SHIPLEY, With Preface by THE BISHOP OF<br />
GIBRALTAR. 339 pp. Methuen & Co.<br />
ENGINEERING,<br />
ENGINEERING WONDERS OF THE WoRLD. Edited by<br />
A: WILLIAMS. Part I, 11 × 8%. 64 pp. Nelson.<br />
7d. m.<br />
FICTION.<br />
ROSE OF THE WILDERNESs. By S. R. CRoCKETT. 8 × 54.<br />
336 pp. Hodder & Stoughton, 6s.<br />
AN IMPENDING SWORD : An Adventure by the Sea. By<br />
HORACE ANNESLEY WACHELL. 74 × 5, 186 pp.<br />
Murray. 2s. 6d. n.<br />
THE SHOW GIRL. By MAX PEMBERTON. 8 × 5. 343 pp.<br />
Cassell. 6s.<br />
THE GIRL IN THE BLUE DRESS. By RICHARD MARSH.<br />
7; X 5. 318 pp. John Long, 6s.<br />
GERVASE. By MABEL DEARMER.<br />
Macmillan. 6s.<br />
JEANNE OF THE MARSHIES. By B. PHILLIPS OPPENHEIM.<br />
7# × 5. 320 pp. Ward Lock. 6s.<br />
SET IN. SILVER, By C. N. WILLIAMSON and A. M.<br />
WILLIAMSON. 73 × 5. 445 pp. Methuen. 6s.<br />
SAMSON UNSHORN. By REGINALD TURNER. 73 × 5.<br />
371 pp. Chapman & Hall. 68. .<br />
THE RED SAINT. By WARWICK DEEPING, 8 x 5. 376 pp.<br />
Cassell. 6s. -<br />
THE WREATHED DAGGER. By MARGARET YouNG. 8 ×<br />
5. 340 pp. Cassell. 6s.<br />
THE STRANGE DISAPPEARANCE OF JOHN HAVERSBAM.<br />
7# × 53.<br />
443 pp.<br />
By IZA DUFFUS HARDY. 74 × 5. 320 pp. Digby<br />
Long. 6s.<br />
“MEG OF THE SALT-PANs.” By MAY ALDINGTON. 8 × 5.<br />
320 pp. Everett. 63.<br />
THE TEARS OF DESIRE. By Cora LIE STANTON and<br />
HEATH HOSKEN. 73, x 5. 324 pp. Werner Laurie.<br />
68.<br />
TOM GENUFLEX. By JANE Rowl,AND (“Aunt Cherry.”)<br />
7; X 5. 288 pp. Ouseley. 6s. .<br />
EMMA HAMILTON : THE TARIFF REFORMER. By<br />
WINIFRED GRAHAM. 84 × 5%. 128 pp. Digby<br />
Long. 6d.<br />
BARBARY SHEEP. By ROBERT HICHENs. 73 × 53.<br />
236 pp. Methuen. 3s. 6d.<br />
PRISCILLA OF THE GooD INTENT. By HALLIWELL<br />
SUTCLIFFE. 73 × 5. 332 pp. Smith Elder. 68.<br />
THE SHUTTLES OF THE LOOM. By K. M. EDGE. (MRs.<br />
C. T. CAULEEILD). 7% x 5. 343 pp. Murray. 6s.<br />
BIOGRAPHY.<br />
FAIR WOMEN AT FONTAINEBLEAU.<br />
Eveleigh Nash. 15s. n.<br />
THE LIFE OF MAJOR-GENERAL SIR JOHN ARDAG.H. By<br />
his WIFE, SUSAN COUNTESS OF MALMESBURY (Lady<br />
Ardagh). With portraits and illustrations from drawings<br />
by Sir John Ardagh. 9 × 53. 479 pp. Murray.<br />
158. In.<br />
By FRANK HAMEL.<br />
BOOKS FOR THE YOUNG.<br />
THE BIOGRAPHY OF A SILVER-FOX, OR DOMINO REYNARD<br />
OF GoLDEN Town. By E. T. SETON. 8 × 6. 209 pp.<br />
Constable. 5s. n.<br />
BOOKS OF REFERENCE.<br />
DICTIONARY or NATIONAL Biography. Edited by<br />
SIDNEY LEE. New Edition. Vol. 15. Oatens—Pockrich.<br />
93 × 64. 1,352 pp. Smith Elder. 153.<br />
DRAMA.<br />
THE FEUD : A Play in Three Acts. By EDWARD GARNETT.<br />
7+ x 4%. 67 pp. A. H. Bullen. 18. n.<br />
ECONOMICS.<br />
THE INDUSTRIAL SYSTEM. AN INQUIRY INTO EARNED<br />
AND UNEARNED INCOME. By J. A. Hobson.<br />
328 pp. Longmans. 7s. 6d. n.<br />
MAKERS OF OUR CLOTHES : A Case for Trade Boards.<br />
By MRs. CARL MEYER and CLEMENTINA BLACK. 94.<br />
× 53. 304 pp. Duckworth. 58. n.<br />
EDUCATION.<br />
PRINCIPLES AND METHODS OF UNIVERSITY REFORM :<br />
Being a Letter Addressed to the University of Oxford.<br />
By LoRD CURZON OF KEDLESTON, Chancellor of the<br />
University. 9 × 53. 220 pp. Oxford : Clarendon Press.<br />
London : Frowde. 2s. 6d. n.<br />
LORD MACAULAY : ESSAY ON JOHN HAMPDEN, 94 pp.<br />
ESSAY ON SIR WILLIAM TEMPLE, 125 pp. ESSAY ON<br />
93 × 6.<br />
PETER HOMUNCULUs, T8y GILBERT CANNAN. 73 × 53.<br />
327 pp. Heinemann. 6s.<br />
BEYOND. By F. T. BULLEN. 73 × 5. 310 pp. Chapman<br />
& Hall. 6s.<br />
FHEALTH.<br />
120 YEARS OF LIFE, AND How To ATTAIN THEM. By<br />
CHARLES REINHARDT, M.D. 50 pp. London Publicity<br />
Co., 379, Strand, W.C. 1s.<br />
LITERARY,<br />
DANTE IN ENGLISH LITERATURE. FROM CHAUCER TO.<br />
CARY (c. 1880-1844). By PAGET TOYNBEE. Two.<br />
volumes. 9 × 53. 638 + 757 pp. Methuen. 218. m.<br />
IENGLISH LITERATURE IN THE NINETEENTH CENTURY.<br />
By LAURIE MAGNUs. 409 pp. Andrew Melrose,<br />
7s. 6d. n.<br />
<br />
<br />
## p. 235 (#295) ############################################<br />
<br />
TRIE AUTISIOR,<br />
235<br />
LONDON'S LURE : An Anthology in Prose and Verse. By<br />
HELEN and LEWIS MELVILLE. 64 × 4}. 328 pp.<br />
Bell. 3s.6d. n.<br />
MILITARY.<br />
BRITISH MILITARY PRINTs. By RALPH NEVILL.<br />
11 × 8%. 72 pp. The Connoisseur Publishing Co.<br />
MISCELLANEOUS,<br />
SELECT READINGS AND RECITATIONs: Adapted and<br />
arranged for the Class-room, the Drawing-room and the<br />
Platform. By J. Forsyth. 74 × 5. 200 pp. Paisley:<br />
Gardner.<br />
MUSIC.<br />
MUSICAL MONSTROSITIES. By C. I. GRAVES. Illustrated<br />
by GEORGE MoRRow. 7 × 43. 217 pp, Sir Isaac<br />
Pitman. 13. n.<br />
ORIENTAL.<br />
THE INDIAN CRAFTSMAN. By A. K. CoomfARASWAMY'<br />
D.Sc. 73 × 5%. 130 pp. Probsthain. 3s.6d. m.<br />
PHILOSOPHY.<br />
BEYOND GOOD AND EVIL: Prelude to a Philosophy of the<br />
JFuture. By NIETZSCHE. Translated by HELEN<br />
ZIMMERN. 8 × 5+. 268 pp. Foulis. 3s.6d. n.<br />
SCIENCE.<br />
£ARENTHOOD AND RACE CULTURE : An Outline in<br />
Eugenics. By C. W. SALEEBY, M.D. 9} x 6. 331 pp.<br />
Cassell. 7s. 6d. m.<br />
THE ETHER OF SPACE. By SIR OLIVER LODGE, F.R.S.<br />
73 × 4%. 156 pp. Harper. 2s. 6d.<br />
THEOLOGY.<br />
ORIGIN AND FAITH. AN ESSAY OF RECONCILIATION. By<br />
J. COMPTON-RICKETT. 83 × 5%. 272 pp. Hodder &<br />
Stoughton. 6s. -<br />
TOPOGRAPHY.<br />
THE HEART OF SCOTLAND. Painted by SUTTON PALMER.<br />
Described by A. R. HoPE MONCRIEFF. 104 × 7#.<br />
206 pp. Black. 7s.6d. n.<br />
ESSEX. Painted by L. BURLEIGH BRUHL, A.R.C.A.<br />
Described by A. R. HoPE MonCRIEFF. 9 × 64. 262 pp.<br />
Black. 20s. n.<br />
MEMORIALS OF OED LANCASHIRE. Edited by LIEUT.-COL.<br />
FISHWICK and the REV. P. H. DITCHFIELD. Two<br />
Wols. 9 × 6. 286 -– 314 pp. (MEMORIALS OF<br />
THE COUNTIES OF ENGLAND. General Editor, REV.<br />
P. H. DITCHFIELD, F.S.A., &c.). Bemrose. 25s. n.<br />
TRAVEL.<br />
THE BRETONS AT HOME. By FRANCES M. GOSTLING.<br />
With an Introduction by ANATOLE LE BRAY.<br />
304 pp. Methuen. 10s. 6d. n.<br />
QUAINT SUBJECTS OF THE KING. By JOHN FOSTER<br />
FRASER. 73 x 5. 304 pp. Cassell. 68.<br />
9 x 5%.<br />
—e—º-e—<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—e-e–<br />
BIOGRAPHY.<br />
- R. C. R. HAINES has published, through<br />
Messrs. Barnicott & Pearce, a little volume<br />
on “Joan of Arc.” The object of the book<br />
is ethical rather than purely historical, though the<br />
Writer has endeavoured at the same time to be<br />
perfectly accurate and impartial.<br />
HEALTH.<br />
“120 Years of Life and How to Attain Them,”<br />
by Dr. Charles Reinhardt, is a treatise upon the<br />
use of lactic ferments for the prevention and cure<br />
of disease and the prolongation of life. The book<br />
is published by the London Publicity Company of<br />
379, Strand, W.C.<br />
EDUCATIONAL.<br />
Miss Mary E. Shipley’s “English Church His-<br />
tory for Children, A.D. 1066–1500,” published by<br />
Messrs. Methuen & Co., contains a preface by the<br />
Bishop of Gibraltar, William Edward Collins, D.D.<br />
The present work is a companion volume to Miss<br />
Shipley's first volume on “English Church History<br />
for Children,” and the reader is carried from the<br />
Norman Conquest to the eve of the Reformation.<br />
Twelve illustrations and one map have been<br />
included in the work, which contains also an index.<br />
Mr. Andrew Melrose has recently issued Mr.<br />
Taurie Magnus' book dealing with “English Litera-<br />
ture in the Nineteenth Century.” The author states,<br />
in a preface to the work, that he has attempted to<br />
present rather a survey of English literature as a<br />
whole than a history of that literature between<br />
1784 and the present day. There is an index to<br />
the book. -<br />
A new edition of “The Children's Study’”<br />
History of France, of which Miss Mary C. Rowsell is<br />
the author, has just been issued by Mr. Fisher<br />
Unwin. The edition is published at 1s. 6d.<br />
Mr. Ferrar Fenton has in the printers' hands an<br />
eighth edition of his modern English version of the<br />
New Testament. This edition, in paper covers, is<br />
published at 1s. Over 74,000 copies of Mr.<br />
Fenton’s “Complete Bible in Modern English ’’<br />
have left the press.<br />
FICTION.<br />
“The Tears of Desire” is the title of a new<br />
novel by Coralie Stanton and Heath Hosken, which<br />
Mr. Werner Laurie issued last month.<br />
K. M. Edge, the author of “Ahana,” has just<br />
published, through Mr. John Murray, “The<br />
Shuttles of the Loom,” a novel which deals with<br />
the life and work of a forest officer in Southern<br />
India. It is concerned with the claim made upon<br />
India by those who serve her faithfully. The life<br />
of the hero contains elements of tragedy, but the<br />
author shows the place which these elements have<br />
in the scheme of things evolved by the “Fixed<br />
Power for Good" that moves towards ultimate<br />
perfection.<br />
Robert Aitken's new volume of short stories,<br />
<br />
<br />
## p. 236 (#296) ############################################<br />
<br />
236<br />
TISIES A UTEIOR.<br />
which Mr. John Murray recently issued here, has<br />
been published in America by Mr. B. W. Huebsch.<br />
Mr. Harold Wintle's new novel, “The Waking<br />
Hour,” will shortly be published by Mr. Fisher<br />
Unwin. -<br />
Mrs. Fred Reynolds' new book, which Messrs.<br />
Hurst & Blackett are publishing, is entitled<br />
“The Lady in Grey,” and, like her previous novel,<br />
“S. David of the Dust,” has its setting in the<br />
heart of Wales amongst the Welsh people.<br />
Messrs. Alston Rivers' announcements include<br />
new novels from the following members of our<br />
society : Marjorie Bowen, E. Nesbit, Eva Lath-<br />
bury, and Mrs. Havelock Ellis.<br />
Miss Bowen's tale, “Black Magic,” is described<br />
as mediaeval and picaresque, and has to do with<br />
the rise and fall of antichrist. The opening<br />
scenes are laid in Flanders, whence a journey<br />
is made to Frankfort and on to Rome, Many<br />
strange adventures, from which the distinctive<br />
violence of the period is rarely absent, befall the<br />
wanderers with whom the story is concerned.<br />
“Salome and the Head”—the story by which<br />
E. Nesbit is represented — has for its heroine<br />
a famous dancer who attracts a young officer on<br />
the point of leaving England for foreign service.<br />
On his return, after some years' absence, he finds<br />
her firmly established in London as a dancer.<br />
The complications on which the story turns are<br />
consequent upon a rather eccentric education<br />
which has left her involved in relations with<br />
another man, and the story culminates in a strange<br />
crime with a no less strange dénouement.<br />
Miss Lathbury's novel is called “The Desert<br />
Island.” We have received no information from<br />
the publishers respecting this book, but Miss<br />
Lathbury will be remembered as the author of<br />
two others published, we believe, by the same<br />
firm, “Mr. Meyer's People” and “The People<br />
Downstairs.”<br />
“Attainment,” Mrs. Havelock Ellis' first attempt<br />
at a long novel, is a story founded on experi-<br />
ments Socialistic, philanthropic, and realistic, and<br />
points to the value of a natural life in every<br />
respect.<br />
“Lords of the Sea,” which Messrs. Methuen &<br />
Co. will publish at six shillings on August 12, is<br />
a new novel by Mr. Edward Noble, written round<br />
the life of a shipowner who has climbed from small<br />
beginnings to greatness through the operation of a<br />
transaction which is now known as P.P.I. in the<br />
shipping world and elsewhere ; of the stress he<br />
endures in consequence, and the manner in which<br />
he faces it, together with an incident which grows<br />
from other actions committed in early youth. The<br />
first and last Sections of the book are laid on board<br />
the Atlantic “flyer,” the Mauretania.<br />
“The Lady Calphurnia Royal” is the title of a<br />
book which Messrs. Mills & Boon are to publish in<br />
June. Mr. Albert Dorrington, who wrote it in<br />
collaboration with A. G. Stephens, late of the<br />
S/dney Bulletºn, journeyed from Rockhampton in<br />
a three-quarter deck yacht, in 1906, to the French<br />
penal settlement of Ile Nou, in order to obtain local<br />
colour and impressions. A big half of the book<br />
deals with convict life in and around Noumea.<br />
The rest contains a very close study of Australian<br />
life and conditions on a big cattle station “outback.”<br />
In spite of her long and severe illness last year,<br />
Miss R. N. Carey has completed a novel entitled<br />
“The King of the Unknown,” which will be issued<br />
as usual in September by Messrs. Macmillan &<br />
Co., and simultaneously in America by Messrs.<br />
Lippincott.<br />
Mr. John Long will publish early this month a<br />
new novel by Mr. Henry Tighe, entitled “The<br />
Four Candles.” The story opens, and for three-<br />
quarters of the book remains, in a prospector's<br />
Valley in Australia, and the circumstances of such<br />
isolation creates the theme of the book, in which<br />
four candles play, an important part in deciding<br />
who shall take the heroine to wife—since her<br />
husband and child have both died in the pro-<br />
Spector's camp. The result of this act to the hero.<br />
and to the Woman is told in detail. -<br />
“Peggy Gainsborough,” Miss Emily Baker's<br />
new book, published this month by Mr. Francis<br />
Griffiths, is a story of the great painter's daughter<br />
and the times in which she lived. The illustra-<br />
tions are from portraits and pictures by Thomas<br />
Gainsborough, R.A.<br />
Messrs. Milner & Co., of 15A, Paternoster Row,<br />
are the publishers of two plays for children by<br />
Miss L. Budgen. The plays are “Hay Time,” a<br />
cantata with action, and “Winter,” a little action<br />
play for children. Both plays are published at<br />
threepence.<br />
MISCELLANEOUS.<br />
Sir Isaac Pitman & Sons, Ltd., are the publishers<br />
of “Musical Monstrosities,” being the collected<br />
articles which Mr. C. L. Graves has contributed<br />
at intervals, dealing with the atrocities committed<br />
in the musical world. Mr. George Morrow has<br />
illustrated the work.<br />
“Glimpses of Hidden India’’ is a new book by<br />
John Law, published by Messrs. Thacker & Co.<br />
Among the aspects of Indian life which are dealt<br />
with may be mentioned Hindu lawyers, modern<br />
Calcutta, the Hindu student, marriage and women,<br />
Indian progress on western lines, and editors and<br />
newspapers. s<br />
Messrs. Black in their series of colour books,<br />
which already includes several on gardens, have<br />
found room for another on “Dutch Bulbs and<br />
Gardens,” in which three ladies collaborate, Miss<br />
<br />
<br />
## p. 237 (#297) ############################################<br />
<br />
TISIES A UTFIOR.<br />
237<br />
Mima Nixon as artist, and the Misses Una<br />
Silberrad and Sophie Lyall as authors. -<br />
NAVAL. -<br />
The 1909 edition of Jane’s “Fighting Ships” is<br />
announced to appear early this month. Mr. Jane has<br />
succeeded in securing plans of the German Dread-<br />
noughts, including those of which the Government<br />
has just confessed complete ignorance. There are<br />
altogether three distinct types of German Dread-<br />
noughts building. The latest designs for German<br />
Dreadnought cruisers are also given, including the<br />
famous “Von der Taun.” The new edition con-<br />
tains a variety of other improvements and additions.<br />
A point of interest in connection with Part 2 is<br />
that Commander Hovgaard, the famous Danish-<br />
American expert on ship design, has joined the staff<br />
of “Fighting Ships,” and contributes for the 1909<br />
edition an article on underwater protection against<br />
torpedoes. Mr. Charles de Grave Sells, M.Inst.C.E.,<br />
deals with the progress of warship engineering.<br />
THEOLOGICAL.<br />
We have received a copy of the second edition of<br />
“A Commentary on the Holy Bible,” which has<br />
been produced by Messrs. Macmillan & Co. under<br />
the editorship of the Rev. J. R. Dummelow. The<br />
object of the originators of the work has been to<br />
make clear to the reader many of the circumstances<br />
under which the various books of the Bible were<br />
composed, to present a clear statement of the<br />
mental habits of the people to whom they were<br />
addressed, and to indicate the actual needs which<br />
they were designed to meet. Introductions and<br />
notes have been supplied to the various books with<br />
a view to explaining the principal difficulties,<br />
textual, moral or doctrinal, which may arise in con-<br />
nection with them.<br />
Messrs. Mowbray announce an edition of 50,000<br />
copies of the Rev. Percy Dearmer's work, “Every-<br />
man’s History of the English Church.” Mr.<br />
Dearmer is also publishing this month, through<br />
Messrs. Pitmans, a volume entitled “Body and<br />
Soul,” which traces the practice of faith healing<br />
from the early Church downwards through the<br />
works of the saints, and healings at famous shrines<br />
down to the new developments in our scientific age.<br />
POETRY.<br />
“The Red King's Dream,” and other poems, by<br />
E. M. Rutherford, is a collection of pieces, many of<br />
which have been published already in various<br />
magazines. Mr. Henry Drane is the publisher.<br />
DRAMATIC.<br />
A statutory performance on April 30, at<br />
the Bijou Theatre, was given of Mr. Melchior<br />
MacBride's mystery play, “The Story of Glaston-<br />
bury and the Grail.” The work deals with the<br />
arrival in England of Joseph of Arimathea and his<br />
party, bearing the Grail and other emblems of<br />
Christianity; with their reception by the Druids;<br />
with the adoption of Christianity in Britain. The<br />
reading was directed by Mr. Geoffrey Besant, who<br />
was assisted by Miss Gertrude Bibby; Mrs. Edward<br />
Stirling, as Gladys (the chief Druidess), and the<br />
Arch-Druid Cymnitin, Mr. A. F. Jones, Miss<br />
Margaret Hardy, and others.<br />
Mr. A. E. W. Mason's comedy “Colonel Smith ”<br />
was produced at the St. James’ on April 23. The<br />
play is based on the action of a young lady who<br />
invents a lover as the speediest means of obtaining<br />
one, and shows the measure of success which<br />
attended her deception. The cast included Miss<br />
Irene Wamburgh, Mr. George Alexander, and Mr.<br />
William Farren.<br />
Mr. W. Somerset Maugham's play “The Ex-<br />
plorer '' was revived at the Lyric Theatre last<br />
month. Mr. Lewis Waller, Miss Fanny Brough,<br />
and Mr. A. E. George are in the cast.<br />
“At a Junction,” the new one-act play in which<br />
Miss Ellen Terry is appearing this season, is<br />
written by Miss Margaret Young, whose first<br />
novel, “The Wreathed Dagger,” came out last<br />
month.<br />
A new one-act play by Mr. W. W. Jacobs and<br />
Mr. Horace Mills was produced in front of “The<br />
Arm of the Law,” at the Garrick Theatre, on<br />
May 25. It is an episode between two simple-<br />
hearted sailors and a widow, to whom one of them<br />
is paying attentions. The cast includes Mr. Leon<br />
Quartermaine, Miss Mary Weigall, and Mr. Arthur<br />
Whitby.<br />
——º-e——<br />
PARIS NOTES.<br />
—e-Q-0–<br />
HE death of George Meredith is universally<br />
regretted here by all lovers of English litera-<br />
ture. Unfortunately very few of his books<br />
have been translated into French, and one of them,<br />
“The Egoist,” has appeared in a poor translation.<br />
Those French readers who know Meredith’s works in<br />
the original greatly appreciate the psychology to be<br />
found in them. Strangely enough, the last portrait<br />
for which George Meredith posed, the medallion by<br />
Spicer-Simson, is now being exhibited in the Salon.<br />
This is naturally of great interest now, and attracts<br />
a great deal of attention. Spicer-Simson also did<br />
an excellent medallion of Watts shortly before his<br />
death. This, too, was the last portrait for which<br />
the great artist posed, and just after George<br />
Gissing's death an admirable portrait of him by<br />
this same sculptor was to be seen in the Paris Salom.<br />
<br />
<br />
## p. 238 (#298) ############################################<br />
<br />
238<br />
TISIE A DITISIGDR.<br />
René Doumic's book on George Sand is perhaps<br />
the most interesting of the recently published<br />
volumes. He goes back to the genealogy of the<br />
family on the maternal and paternal side and, by<br />
this study in atavism, much that may have hitherto<br />
seemed incomprehensible in this celebrated woman's<br />
character is, more or less, accounted for. René<br />
Doumic has studied his subject thoroughly. He<br />
gives us, in the first chapter, an excellent Summing<br />
up of the psychology of this “child of Rousseau,”<br />
as he calls her. He shows us the various influences<br />
with which she, as a girl, had to contend. In the<br />
next chapter she is married to Baron Dudevant,<br />
and in the third chapter the author considers her<br />
“a feminist of 1832.” After this we have the<br />
series of her various romances with Alfred de<br />
Musset, Chopin, and her other lovers. Later on<br />
there is a chapter on the humanitarian dream and<br />
her acquaintance with Pierre Leroux. In 1848<br />
she is deeply interested in politics, and in the<br />
closing chapters, we find her in her country home<br />
at Nohant. Her friendship with Flaubert, her<br />
letters to him, and a study of her later writings are<br />
the last subjects on which M. Doumic touches.<br />
The whole book is intensely interesting. The<br />
subject is a very big one, but the author of this<br />
volume has that rare quality, the Science of selec-<br />
tion, in a marked degree. There is never a word<br />
too much, and yet all sides are considered before<br />
the critic draws his conclusions. In these days of<br />
literary, or rather unliterary, rush and Scramble,<br />
it is refreshing to find a book that one feels<br />
has been carefully and studiously thought out,<br />
a book which brings new light on a subject<br />
which has tempted and will ever tempt so many<br />
Writers. -<br />
“Les Unis,” by Edouard Rod, is another roman<br />
à thèse. In this author's last book, “Aloyse<br />
Valérien,” it seemed as though the writer of it<br />
had left himself with a problem to solve. In this<br />
new work he appears to have solved it. The<br />
subject of the novel is the question of free love.<br />
A certain astronomer and philosopher, who has<br />
himself been fortunate in his love affairs, considers<br />
an unfettered union infinitely more ideal and<br />
elevated than an official marriage. He educates<br />
his children according to his theories, and the<br />
consequence is that, out of the four free unions in<br />
his family, three prove disastrous, and the fourth<br />
couple decide that it will be preferable to legalise<br />
their marriage. The conclusion of the book seems<br />
to be an attempt to prove that, in the present<br />
state of Society, free unions cannot be substituted<br />
for legalised marriages. This does not perhaps<br />
prevent the author from sympathising with the<br />
idealist in his theories. The conclusion is rather<br />
that such an ideal is too premature for the Sordid<br />
times in which we live.<br />
5<br />
The questions of marriage, divorce, and free<br />
unions have furnished subjects for numbers of<br />
novels within the last few years. “Le Couple<br />
invincible,” by M. Louis Lefebvre, is another novel<br />
on the same theme. In 1629, a band of French<br />
emigrants set out with their families, hoping to<br />
find peace and tranquillity in other lands. They<br />
are shipwrecked, and only a boat laden with<br />
children, the eldest of whom is five years old,<br />
reaches a little island inhabited by fishermen. It<br />
is the first time that the natives of the island have<br />
ever seen any Europeans, and as their habits and<br />
customs are Very simple, they adopt the newcomers.<br />
The children, of course, have a language of their<br />
own. They live on very friendly terms with the<br />
inhabitants of the island, but as a colony quite<br />
apart. Time passes by, and as these children grow<br />
up they gradually educate themselves and make<br />
their own rules, and later on laws. Three hundred<br />
years later this little colony has developed into a<br />
community of twenty thousand people. One of<br />
the most curious of their laws is the one concerning<br />
marriage. A register is kept of marriages and of<br />
démariages. As soon as a husband wishes to<br />
change his wife he gives notice to the Governor,<br />
and the dissolution of his marriage is at once<br />
pronounced. At the time when the story opens<br />
there is great excitement in the island. A certain<br />
Professor and his wife have promised each other to:<br />
be faithful for life, and not to contract a marriage<br />
With another person. This is considered criminal<br />
and illegal, and the would-be reformer is thrown<br />
into prison. He pleads his cause most eloquently,<br />
but this idea of absolute fidelity to one wife is con-<br />
sidered rank heresy, and he is condemned to.<br />
imprisonment for life. Gradually, though, the<br />
idea is discussed in the island and, as time goes<br />
on, the advantages of such a custom are seen by<br />
Some of the more important members of the com-<br />
munity. Finally, there is a reaction in favour of<br />
the Professor, and it is decided that he shall be set<br />
free, and that his principle shall be adopted.<br />
When the Governor goes to the prison with these<br />
good tidings it is too late, as the prisoner has just<br />
died. Great sympathy is felt for his widow, but,<br />
she tells the Governor that she will never be alone,<br />
as she is sure of her husband’s love even after<br />
death. Some little time after this a French boat<br />
touches at the island and, on comparing notes, it<br />
is discovered that this little colony belongs to<br />
France. The Governor, in his pride, tells of the<br />
new law that has just been passed, and is delighted<br />
that the colony will be worthy of the mother<br />
country. The officer replies in an evasive manner.<br />
It is 1915, and in France the law has just decreed<br />
that all marriages shall be dissolved at will.<br />
“Le Mariage de Mlle. Gimei, dactylographe,” is<br />
the title of René Bazin's latest book. -<br />
<br />
<br />
## p. 239 (#299) ############################################<br />
<br />
THE AUTHOR.<br />
239<br />
“Une Tragédie d’Amour” is a work by Ernest<br />
Seillière, giving the details of the suicide of<br />
Charlotte Stieglitz. The whole story is very<br />
curious, and several volumes have already been<br />
written on the subject. Henri Stieglitz was a poet<br />
of an extremely melancholy and nervous disposition.<br />
His wife finally committed suicide, hoping that a<br />
real trouble might arouse her husband from his<br />
imaginary sorrows, and enable him to produce the<br />
masterpieces of literature of which they both<br />
appear to think he was capable. The whole book<br />
is a study of psychology and of German mentality<br />
during the 1830 period.<br />
Among other recent books are:—“Sur les deux<br />
Rives,” by Leon de Timseau; “Le soldat Bernard,”<br />
by Paul Acker; “Simone la Romanesque,”, by<br />
Lucien Trotignon; “La Course à l’Abime,” by<br />
Ernest Daudet.<br />
“Un Concert chez les Fous” is the title of the<br />
volume of short stories which Charles Foley, the<br />
author of “Heard at the Telephone,” has just<br />
brought out. The first story, which gives its name<br />
to the volume, is the one from which the play that<br />
has had such success in Paris this winter was taken.<br />
The translation of this story has already appeared<br />
in an English magazine, and several of the others<br />
will be published shortly in English.<br />
The lectures given at the Sorbonne by the<br />
American professor, Henry Van Dyke, have been<br />
translated by E. Sainte Marie Perrin, and are<br />
now published in book form as “Le Génie de<br />
l’Amérique,” with a preface by A. Ribot, of the<br />
French Academy. A translation of a book by<br />
Benson has just appeared, entitled “Par quelle<br />
Autorité P.”<br />
“Douze Histoires et un Réve" is the title of a<br />
translation recently published of a book by Wells.<br />
In the Revue de Paris of the 15th of May, there<br />
is an article by Jacques Blanche on the “Hundred<br />
English and French Portraits.” In the last three<br />
numbers of La Revue hebdomadaire there has<br />
been a series of articles on “Le Dépeuplement de<br />
la France.” Mademoiselle Chaptal, who has done<br />
such fine work in the war that is being waged<br />
against tuberculosis, writes an extremely interesting<br />
article entitled “Histoire d'un Faubourg.” Through<br />
her efforts great changes have taken place in one<br />
of the most populous districts of Paris. She has<br />
built a model lodging-house for the working man,<br />
and she is now engaged in the founding of a very<br />
modern hospital, which she will supply with<br />
trained nurses. In the same review M. De<br />
:Quirielle gives a study of “The Evolution of<br />
Maurice Barres.”<br />
In Paul Hervieu's play at the Théâtre Français,<br />
entitled “Connais-toi,” we have one of the finest<br />
feminine characters which this author has given<br />
sus. In Clarisse, the wife of the Général de Sibéran,<br />
We have an extremely feminine, charming woman,<br />
a distinct relief from the ultra-modern woman<br />
now in vogue. All the other characters are living<br />
and real; there is nothing of the marionette about<br />
them. They have not been invented merely to<br />
figure in a play written to instruct us. It is quite<br />
refreshing to have either a play or a novel at<br />
present in which we have no long tirades on the<br />
rights and requirements of women. “Le Scan-<br />
dale,” by Henri Bataille, is being played at the<br />
Renaissance. At the Porte Saint-Martin the play<br />
by MM. Gustave Guiches and François de Nion,<br />
entitled “Lauzun,” is having success.<br />
ALYS HALLARD.<br />
“George Sand” (Perrin).<br />
“Les Unis” (Fasquelle).<br />
“Le Couple invincible " (Perrin).<br />
º # Mariage de Mlle. Gimel, dactylographe " (Calmann-<br />
evy).<br />
“Une Tragédie d'Amour” (Plon).<br />
“Sur les deux Rives” (Calmann Lévy).<br />
“Le Soldat Bernard” (Fayard).<br />
“Simone la Romanesque " (Perrin).<br />
“Un Concert chez les Fous” (Ollendorf).<br />
a – A – a<br />
v-º-w<br />
AMERICAN COPYRIGHT AGAIN.<br />
—º-O-0–<br />
A COINCIDENCE.<br />
TT is surely a singular coincidence that the<br />
April number of The Author, which contains<br />
my suggestion that Great Britain and the<br />
United States should give their respective authors<br />
the protection granted willingly to patentees,<br />
should also publish a brief digest of a new United<br />
States Copyright Bill which actually takes a step in<br />
the direction I indicated. But it is only a step—a<br />
weak effort to break away from earlier trammels.<br />
I proposed a protected period of six months after<br />
publication, and a further period of one year on<br />
payment of a small fee. The new American Act<br />
gives one month for filing the copy of a British<br />
book and one month for applying the type-setting<br />
clause. Now, with all deference to The Author's<br />
adverse opinion, I hail this as a real benefit, but<br />
the absurdly inadequate time limits prove clearly,<br />
to my thinking, that the Act was drawn up by<br />
someone who had very little practical experience<br />
of the difficulty he was trying to solve. Will you<br />
permit me to point out some phases of this<br />
difficulty 2<br />
I am not concerned about the leading authors of<br />
either country. The very drawbacks imposed by<br />
this copyright muddle are good for them. Their<br />
books are accepted eagerly, and publishers are<br />
naturally prepared to fulfil the provisions of the<br />
<br />
<br />
## p. 240 (#300) ############################################<br />
<br />
240<br />
TISIE AUTISIOR.<br />
law, whether simultaneous publication is insisted<br />
on or not. It is the beginner, the unknown writer<br />
—the man or woman with a story to tell that shall<br />
hold spellbound the multitude when once its atten-<br />
tion is caught—who suffers most grievously under<br />
existing conditions. To such a one this slight<br />
relaxation of the “simultaneous publication ”<br />
clause is nearly, though not quite, useless. Take,<br />
for instance, a novel that is published serially ;<br />
before it appears in book form it may have been<br />
running six months: what becomes then of the<br />
two months' grace allowed by the United States ?<br />
Again, let a non-serialised book by a new writer<br />
be head and shoulders over its contemporaries of a<br />
season, it cannot leap into prominence SO Suddenly<br />
that all the reading public shall know of it, and an<br />
American house be ready to adopt the needed safe-<br />
guards almost before the circulating libraries have<br />
made up their minds to order a second supply.<br />
It seems to be only too clear that the two<br />
months period was determined by legislators who<br />
meant to act fairly, but lacked knowledge of print-<br />
ing and publishing exigences. The concession is<br />
a real boon to publishers and authors whose<br />
arrangements are already made. It saves anxiety<br />
and doubt on such a vitally important matter as to<br />
what does actually constitute “simultaneous”<br />
publication. But it does not give proper protec-<br />
tion to the author who is unable to Secure a pub-<br />
lisher on both sides of the Atlantic. It helps, I<br />
admit. There may be some few cases where the<br />
transcending merits of a book (probably overlooked.<br />
by a round dozen of wideawake publishers when<br />
in MS.) will demand such prompt attention that<br />
an American edition can be rushed into print.<br />
within the time.<br />
far between.<br />
I hope, therefore, that The Author will withdraw<br />
its ban, and advocate the extended period I described<br />
a month ago. By payment of 4s. the owner of<br />
the copyright should be able to secure protection<br />
for eighteen months. If, in that time, he has not<br />
persuaded an American publisher to take up his<br />
book—well, he must write another and a better<br />
one—or, at any rate, one more suited to the<br />
American market. -<br />
LOUIS TRACY.<br />
—e—º-e—<br />
CHEAP EDITIONS.<br />
—º-º-º-<br />
RESULT OF THE SOCIETY's CIRCULAR.<br />
HE committee desire to put before the<br />
members of the society the result of the<br />
postcard circular which was sent round<br />
to all the members in April.<br />
But such cases will be few and<br />
As members will call to mind, this circular ran<br />
as follows:– -<br />
“The committee desire to call your attention to the<br />
report of the sub-committee on bookselling in the April<br />
issue of The Author, and will be glad—should the matter<br />
under discussion affect you as a writer of fiction—if you<br />
would be kind enough to fill up, sign, and return the<br />
accompanying postcard. It is most important for the<br />
booksellers to know the names of those authors who<br />
approve of the time limit and are willing to assist in<br />
enforcing it.”<br />
and that the following was the form of card for<br />
reply :— -<br />
“* (1) I am (OT am not) a writer of novels.<br />
“” (2) I undertake (do not undertake) not to publish<br />
either myself, or through my agents or assigns, an edition<br />
of any novel first issued at the price of 6s. or over in a<br />
cheaper form at any time within two years from date of<br />
its first publication,<br />
“” (3) I have no objection (I object) to the publication<br />
of my name in The Author or otherwise.<br />
“* Please delete these portions not applicable.”<br />
The list of those who are willing, and those who<br />
are unwilling, to give the undertaking will be of<br />
interest, not only to all writers of fiction, but to<br />
all the booksellers when purchasing their stock of<br />
68. novels, and also to the publishers.<br />
It should be borne in mind that this under-<br />
taking could not possibly bind members in the<br />
matter of those contracts which have already been<br />
entered into either by themselves or their agents,<br />
and it should be stated that some of the signatories<br />
who gave this undertaking made an exception in<br />
favour of 38. 6d. editions, or, conversely, limited the<br />
undertaking to non-production at 1s. or under.<br />
From many of the novelist members of the<br />
Society, as a careful perusal of the list will at<br />
once show, no answers have been received—this<br />
point should be kept in mind by any statistician<br />
who desires to make logical deductions—but if<br />
any other names come in to the offices of the<br />
Society of Authors after this list has gone to<br />
press, they will, with the consent of the authors,<br />
be inserted in the July number.<br />
About six hundred answers have so far been<br />
received. Of these 290 were from those members<br />
of the Society who did not claim to be novelists,<br />
and 310 were from novelists. -<br />
We only propose to deal with a classification of<br />
the latter. Of these the majority gave the under-<br />
taking suggested by the sub-committee and<br />
approved by the committee of management, the<br />
exact proportions being as follows: 203 in favour<br />
of the undertaking and 28 against. In fourteen<br />
cases the writers expressed their views in general<br />
terms, neither binding nor refusing to bind them-<br />
selves. Twelve cards were returned unsigned, and<br />
in consequence cannot be identified.<br />
The lists produced below naturally only include<br />
those who have allowed their names to be published.<br />
<br />
<br />
## p. 241 (#301) ############################################<br />
<br />
TFIES A CITISIOR,<br />
241<br />
Authors who undertake not to Publish an Edition<br />
of any Novel first issued at the price of 68, in a<br />
cheap form at any time within Two Years from<br />
date of its first Publication.<br />
Ansell, Evelyn<br />
Armstrong, Miss Julien<br />
Askew, Claude<br />
Atherton, Mrs. Gertrude<br />
Baker, Miss Emily<br />
Baker, James<br />
Bancroft, Francis<br />
Banerjea, S. B.<br />
Barclay, Armiger<br />
Barrington, Michael<br />
Battersby, H. F.<br />
Prevost<br />
Begbie, Harold,<br />
Bell, R. S. Warren<br />
Benson, E. F.<br />
Black, Miss Clementina<br />
Booth, Edward C.<br />
Bloundelle-Burton,<br />
John<br />
Boggs, Miss Winifred<br />
Boore, Miss E.<br />
Bourke, Lady Florence<br />
Brighouse, J. H.<br />
Briggs, Miss Ada E.<br />
Brooke, Miss Emma<br />
Burgess, J. J. Haldane<br />
Calderon, George<br />
Cameron, Mrs. Charlotte<br />
Capes, Bernard<br />
Carey, Miss<br />
Nouchette<br />
Carroder, Conrad H.<br />
Castle, Egerton<br />
Canman, Gilbert<br />
Chorley, Herbert<br />
Clarke, Allen<br />
Cobbett, Miss Alice<br />
Coleridge, The Hon.<br />
Gilbert<br />
Coleridge, Mrs. Marion<br />
Connell, Norreys<br />
Corelli, Miss Marie<br />
Cowley, Miss J. M. R.<br />
Craig, Lieut.-Col. R.<br />
Manifold<br />
Crommelin, Miss May<br />
Dawe, Carlton<br />
De Crespigny, Mrs.<br />
Delaire, Mrs. Jean<br />
De la Pasture,<br />
Henry<br />
Deeping, Warwick<br />
Dickson, F. Thorold<br />
Rosa<br />
Mrs.<br />
Digges, The Rev. J.<br />
C<br />
Dixon, William Scarth<br />
Dorrington, Albert<br />
Doyle, Sir A. Conan<br />
Drummond, Mrs. Annie<br />
Drummond, Hamilton<br />
Düring, Mrs. Stella M.<br />
Dutton, Miss Annie<br />
V<br />
Eccles, Miss O'Conor<br />
Ellis, Mrs. Havelock<br />
Fetherstonhaugh, W.<br />
FitzRoy, Isobel (Mrs.<br />
Arthur Hecht)<br />
Forbes, Lady Helen<br />
Forrest, R. E.<br />
Forster, E. M.<br />
Fountain, Paul<br />
Fowler, Ellen Thorney-<br />
croft (The Hon. Mrs.<br />
Alfred Felkin)<br />
Fox, S. M.<br />
Free, The Rev. Richard<br />
Freeman, R. Austin<br />
Fuller, Captain J. F.<br />
C<br />
Garvice, Charles<br />
Gaunt, Miss Mary<br />
Gay, Mrs. Florence<br />
Gibson, L. S.<br />
Gilliat, The Rev. E.<br />
Gilson, Captain Charles<br />
Godfrey, Miss Elizabeth<br />
Goldring, Miss Maude<br />
Grace, Stephen<br />
Grand, Madame Sarah<br />
Granville, C. .<br />
Graves, Frederick<br />
Grey, Rowland<br />
Gribble, Francis<br />
Grier, Sydney C.<br />
Guthrie, Anstey (F.<br />
Anstey)<br />
Hachblock, Miss Emily<br />
M. -<br />
Hamel, Frank<br />
Hamilton, Anthony<br />
Hamilton, The Rev.<br />
John A.<br />
Harding, Commander<br />
Claud<br />
Harker, Mrs. L. Allen<br />
Harraden, Miss Beatrice<br />
Harrison, Mrs. Darent<br />
Harte, Mrs. Bagot<br />
Heath, Miss Helena<br />
Henderson, Miss<br />
Florence L.<br />
Henoch, Mrs. Emily I.<br />
Hewlett, Maurice<br />
Hill, J. Arthur<br />
Hinkson, Mrs. Katha-<br />
rine Tynan<br />
Hodgson, Randolph Ll.<br />
Holland, Clive<br />
Holmes, Arthur H.<br />
Holmes, Miss Eleanor<br />
Home, Miss M. C.<br />
Hope, Anthony<br />
Hope, Graham<br />
Horniman, Roy<br />
Hughes-Gibb, Mrs.<br />
Humphreys, Mrs. Des-<br />
mond (Rita)<br />
Hunt, Miss Violet<br />
Hussey, Eyre<br />
Jacobs, W. W.<br />
James, Miss S. Boucher<br />
Jepson, Edgar<br />
Jones, W. Braunston<br />
Reary, C. F.<br />
Keating, Joseph<br />
Kenealy, Miss Arabella<br />
Rinross, Albert<br />
Ripling, Rudyard<br />
Koch, Mrs. Mary<br />
Rnowles, R. B. S.<br />
Landa, Mrs. Gertrude<br />
Lathbury, Miss Eva<br />
Layard, G. S.<br />
Le Blond, Mrs. Aubrey<br />
Lechmere, Mrs. (Cecil<br />
Haselwood)<br />
Lee, The Rev. Albert<br />
Lees, Robert James<br />
Lennox, Lady William<br />
Locke, W. J.<br />
Lodge, Juliane de<br />
Lowndes, Mrs. Belloc<br />
Louth, Alys<br />
Lynn, Miss Eve<br />
Machray, Robert<br />
Mackellar, C. D.<br />
MacLeod, G. Hamilton<br />
Mann, Mrs. Mary E.<br />
Marchmont, A. W.<br />
Marks, Mrs. Mary A. M.<br />
Marriott, Charles<br />
Marsh, Charles Fielding<br />
Marshall, Archibald<br />
McChesney, Miss Dora<br />
Greenwell<br />
McCraith, L. M.<br />
Methley, Miss Alice A.<br />
Miller, Miss E. T.<br />
Miniken, Miss Bertha<br />
M. M.<br />
Moberley, Miss L. G.<br />
Moore, Miss Leslie<br />
Morrah, Herbert A.<br />
Morrison, Arthur<br />
Munro, Neil<br />
Needham, Raymond<br />
Nesbit, E.<br />
Noble, E.<br />
Norris, W. E.<br />
O'Donnell, Elliott<br />
Oliphant, P. L.<br />
Ollivant, Alfred<br />
Ormsby-Johnson, Major<br />
Frederick C.<br />
Panting, J. Harwood<br />
Parks, H. C.<br />
Parr, Miss Olive Kath-<br />
arine<br />
Paternoster, G. Sidney<br />
Paull, H. M.<br />
Pemberton, Max<br />
Penn, Rachel<br />
Penny, Mrs. Frank<br />
Phillimore, Mrs. C. E.<br />
Phillipps-Wolley, Clive<br />
Pickering, Sidney<br />
Pollitt, Milton<br />
Porritt, Norman<br />
Prichard, Mrs. Hesketh<br />
Prichard, H. Hesketh<br />
Prowse, R. O. -<br />
Ralli, Constantine<br />
Ramsden, Lady Gwen-<br />
dolen<br />
Randall, F. J.<br />
Reid-Matheson, E.<br />
Reynolds, Mrs. Fred.<br />
Rhys, Ernest<br />
Richardson, Frank<br />
Roberts, R. Ellis<br />
Rose, Algernon<br />
Rowland, Mrs. Jane<br />
Rowsell, Miss Mary C.<br />
Russell, Fox<br />
Russell, G. Hansby<br />
Sanford, Miss Mary<br />
Bouchier<br />
Schwartz, Herr van der<br />
Poorten<br />
Sedgwick, Anne Douglas<br />
Shaw, G. Bernard<br />
<br />
<br />
## p. 242 (#302) ############################################<br />
<br />
242<br />
THE AUTISIOR.<br />
Shepheard - Walwyn,<br />
EI. W.<br />
Sieveking, J. Giberne<br />
Silberrad, Miss Una L.<br />
Sinclair, Miss May<br />
Smedley, Constance<br />
(Mrs. Maxwell Arm-<br />
field)<br />
Smith, Miss Edith A.<br />
Smith, W. H. Byron<br />
Snaith, J. C.<br />
Soan, The Rev. R. Y.<br />
Spencer, Alfred<br />
Stacpoole, Miss Flor-<br />
€0Cé<br />
Stayton, Frank<br />
Stephens, Riccardo<br />
Stevenson, Mrs. M. E.<br />
Strae, S.<br />
Stuart, Esmé<br />
Sutcliffe, Halliwell<br />
Swallow, The Rev. Henry<br />
J<br />
Swan, Miss Myra<br />
Todd, Miss Margaret,<br />
M.D.<br />
Tomlinson, Miss Ella<br />
Tracy, Louis<br />
Trelawny, Paul<br />
Troubetzkoy,<br />
(Amelie Rives)<br />
Tuite, Hugh<br />
Wachell, Horace An-<br />
nesley<br />
Warty - Smith,<br />
Augusta A.<br />
Walker, William S.<br />
Watson, E. H. Lacon<br />
Way, Miss Beatrice<br />
Weekes, Miss R. K.<br />
Westrup, Miss Mar-<br />
garet<br />
Weyman, Stanley J.<br />
White, Miss Hester<br />
White, Percy<br />
Whiteing, Richard<br />
Willcocks, Miss M. P.<br />
Williamson, C. N.<br />
Williamson, Mrs. C. N.<br />
Williamson, W. H.<br />
Willis-Swan, Miss W. M.<br />
Wilson - Wilson, Miss<br />
Theodora<br />
Wood, Frances Harriett<br />
Yolland, Miss E.<br />
Zangwill, Israel<br />
Miss<br />
Members who do not undertake to refrain from<br />
publishing an edition of any novel first issued at the<br />
yrice of 6s. in a cheap form at any time within two<br />
ſyears from the date of its first publication —<br />
Aitken, Robert<br />
Cobb, Thomas<br />
Cornford, L. Cope<br />
Crouch, A. P.<br />
Drake, Maurice<br />
Gray, Maxwell<br />
Greener, W. O.<br />
Haes, Hubert<br />
Hornung, E. W.<br />
Hyland, Miss M. E.<br />
F.<br />
Hyne, C. J. Cutliffe<br />
Relly, W. P.<br />
Little, Mrs. Archibald<br />
Lucas, E. W.<br />
March, Miss A. Mollwo<br />
Marshall, Mrs. Agnes<br />
Marchbank<br />
Montgomery, Miss K. L.<br />
Montresor, Miss F. F.<br />
Portman, Lionel<br />
Punshom, E. R.<br />
Ridge, W. Pett<br />
Smythe, Alfred<br />
Thomas, Annie (Mrs.<br />
Pender Cudlip)<br />
Tweedale, Wiolet<br />
Vance, Louis Joseph<br />
Weaver, Mrs. Baillie<br />
Willmore, Edward<br />
v-v-w<br />
THE ANNUAL DINNER.<br />
–0-6-0–<br />
YTY HE Annual Dinner of the<br />
Society of Authors, commemorating the<br />
25th anniversary of its foundation, was<br />
held on Thursday, April 29, at the Criterion<br />
Princess<br />
Incorporated<br />
Restaurant, about two hundred members and<br />
guests being present. The chair was taken b<br />
Mr. EDMUND GOSSE, who, at the conclusion of the<br />
dinner, proposed the usual loyal toasts.<br />
After the healths of the King and of the Queen<br />
and the Royal Family had been drunk with<br />
enthusiasm, the chairman rose again in order to<br />
propose “The Society.”<br />
After referring to the occasion, the “first jubilee<br />
anniversary in the history of the society,” Mr.<br />
Gosse declared himself, although not like Queen<br />
Constance a creature “naturally born to fear,”<br />
seriously alarmed at the task of addressing a<br />
body of professional people on a subject intimately<br />
connected with their profession—a large and dis-<br />
tinguished body of authors, on authorship. He<br />
was able, however, as a very old member of the<br />
Society, as One of the very first, to share in the<br />
pleasure and comfort felt by all in the favourable<br />
situation in which they found themselves. He<br />
recalled the first meeting of the society in Mr.<br />
Scoones's room, when they listened to the ardent<br />
eloquence of Walter Besant, and little imagined<br />
that his grain of mustard-seed would bourgeon<br />
and push forth branches into all parts of the<br />
habitable globe. Among those before him who<br />
had taken part in the foundation of the society he<br />
referred to Dr. Squire Sprigge (who presided at one<br />
of the tables). Of the rise and growth of the<br />
society Mr. Gosse proceeded to say: “The thrilling,<br />
the tremendous point is the fact itself, namely,<br />
that after a laborious ascent of no fewer than<br />
twenty-five years, the members of the society have<br />
reached a turn in the hill road. I daresay you<br />
remember, in “Pilgrim's Progress,” that when<br />
Christian had been a long while clambering up<br />
the hill Difficulty, he came to a turn in the hill,<br />
where was a pleasant arbour, when he pulled his<br />
roll out of his bosom and fell to reading therein to<br />
his comfort. It is only right that we should pause,<br />
after our climb of a quarter of a century, and fall<br />
to reading our roll. When we look out from our<br />
arbour half way up the hill Difficulty, we may see<br />
ourselves, in the fashion of old Italian pictures, as<br />
we were in the year of our incorporation. What<br />
we see is a little group of twelve or fifteen<br />
men, full of zeal for the protection of literature,<br />
and we see them set forth to fight against all<br />
manner of gryphons and dragons, under the generous<br />
leadership of our dear old friend and comrade<br />
Walter Besant.” Mr. Gosse went on to refer to the<br />
ridicule and opposition which the Society had<br />
lived down, to its growth from sixty-eight members<br />
at the close of its first year to an army of two<br />
thousand in the present day; to its prosperity, to<br />
its power for helping others and protecting itself;<br />
and mentioned in this connection its indebtedness<br />
to the energy of its secretary, Mr. Herbert Thring.<br />
<br />
<br />
## p. 243 (#303) ############################################<br />
<br />
THE AUTHOR,<br />
243<br />
It was not a charitable society, nor a mere debt-<br />
collecting institution, but a corporation of the<br />
owners of literary copyright in the kingdom,<br />
strengthening and defending their rights through-<br />
out the world. The pirate waved his raw-head and<br />
bloody bones, but the society ran him down upon<br />
the high seas in true British style. At that<br />
moment, he informed his hearers, in response to<br />
an invitation from the Board of Trade Mr. Thring<br />
was collecting evidence to be laid before the<br />
Departmental Committee on the results of the Berlin<br />
International Copyright Convention, over which<br />
Lord Gorell will preside. The society took<br />
cases through the Courts and, as in one instance,<br />
to the House of Lords, not concerning itself. So<br />
much with the amount as with the principle of<br />
law involved, with the result that every case<br />
fought successfully, every modification obtained in<br />
a publisher's agreement, enabled all British authors<br />
to make better terms for themselves. The society,<br />
once sneered at by its enemies as a coterie of<br />
amateurs, included in its membership of two<br />
thousand the vast majority of the professional<br />
authors in this country, and in a quarter of a<br />
century had had but two presidents: Tennyson<br />
and George Meredith. He asked them in con-<br />
clusion to drink to the health of the Society, a<br />
toast which by custom needed no reply.<br />
The next toast, that of “Iliterature and The<br />
Drama,” was proposed by “Maarten Maartens’’<br />
(Mr. J. M. W. Van der Poorten-Schwartz), who<br />
in expressing his distrust of his own powers as an<br />
orator, said: “Some men are born to speech-<br />
making ; some men achieve it ; and some men<br />
have it kindly and firmly thrust upon them. It<br />
was Talleyrand—was it not ?—who said that “a<br />
speech was allotted to a man so that he might not<br />
be able to say what he meant.' Talleyrand was<br />
one of the half-a-dozen fortunate persons in the<br />
last century who are credited with all the clever<br />
things they forgot to say. He is the favoured<br />
French personage of that time, as Sidney Smith<br />
was the English one, and Saphir the German one.<br />
Lucky indeed are the wits and authors whose<br />
plagiarism is done for them by the rest of man-<br />
kind.” Referring to the old American jest as to<br />
the relief of Daniel in the lion's den at the reflec-<br />
tion that he would have to make no after-dinner<br />
speech, Mr. Maartens observed that on that<br />
occasion there was in fact no dinner but only<br />
speeches, Daniel himself proposing the King's ever-<br />
lasting health. He himself was thus to propose the<br />
health of the lions, some of whom had to roar in<br />
their own wilderness, with none to say, “Well roared,<br />
lion l’” After all, however, it was better to do<br />
your roaring in the wilderness than in any popular<br />
shilling zoo. The speaker paid a personal tribute<br />
to English literature as it reached him in Holland<br />
in the shape of books forwarded by English literary<br />
friends, referring to it as “a link in love of letters<br />
across the sea,” and describing “down in the<br />
Village, the workboys, after a day's often weari-<br />
Some and unhealthy labour—the village boys,<br />
Strange of costume and uncouth of language,<br />
bending with sparkling eyes over the latest magic<br />
possibility, the latest world-wonder—by Wells.”<br />
He hesitated to continue with a list of English<br />
Writers widely read in Holland, after the chairman's<br />
reference to foreign piracy. Turning again to the<br />
Village already mentioned and to the topic of<br />
The Drama, he spoke of its delight in its theatrical<br />
Society, saying, “You must come and see how<br />
through the endless winter evenings in the quiet,<br />
frost-bound, frost-bitten country these dull peasants,<br />
Who are beyond the reach of a theatre, find exist-<br />
ence brightened and gladdened by their slow<br />
learning and simple costuming, their little sacri-<br />
fices, their triumphant results.” He had spoken<br />
of literature brought to him by the post; he<br />
would also recall the sad tidings it might bear.<br />
Recently it had brought him news of the death of<br />
Swinburne ; paying an eloquent tribute to the<br />
poet's memory, he observed that it should not be<br />
said that “Swinburne was no more.” “In the<br />
literary firmament, at any rate, the fixed star shines<br />
on.” Coupling the toast with the name of Mr.<br />
H. G. Wells, he proposed the toast of “Literature<br />
and The Drama.” He had hoped to join the name<br />
of Mr. Henry Arthur Jones, but he regretted that<br />
information had been received that Mr. Jones<br />
was prevented by indisposition from being<br />
present.<br />
Replying to the toast of “Literature,” Mr.<br />
H. G. Wells said that perhaps for the first time<br />
in his life he had heard that toast proposed without<br />
the accompaniment of a lament that literature was<br />
at present in a bad way—that the books that were<br />
written to-day were not comparable in merit with<br />
the books that were written in the past. This<br />
was an almost invariable statement on such<br />
Occasions, but it was an unkindly statement—it<br />
wounded the living, and quite possibly never<br />
reached the ears of the dead. But it was true,<br />
nevertheless. Literature always had been in a<br />
bad way. The books that were written at any<br />
time were never equal in depth and richness of<br />
association, and a certain indefinable quality that<br />
everyone understood and no one could explain, to<br />
the books of the past. They never would be until<br />
new wine and new cheese, new furniture and new<br />
history, were as good as the old. But Mr. Maarten<br />
Maartens, with a juster appreciation of the case<br />
had taken it for granted that in the achievements<br />
of literature at the present time there was as good<br />
promise of a noble vintage for the future as had<br />
been made by any previous age.<br />
<br />
<br />
## p. 244 (#304) ############################################<br />
<br />
244<br />
TFIE A Dr’TFIOR.<br />
Mr. Wells went on to say that when it was<br />
conveyed to him that he was to speak upon the<br />
subject of literature, his mind began at once to<br />
run upon the question : “What is literature ?”<br />
Was it art, for instance 2 It might perhaps be<br />
called so, if one were willing to talk of uncon-<br />
scious art—which was absurd ; but arts swam in<br />
literature like waves and eddies in a flood, and<br />
there was literary art that was not literature.<br />
Was it philosophy All literature, Mr. Wells<br />
contended, was formally or informally philosophy,<br />
inasmuch as it had reference to the broad and<br />
fundamental things of life. But it was true that<br />
some philosophy was not literature. Was it<br />
science 2 Literature was informed with knowledge,<br />
but there was indeed knowledge which had no claim<br />
to be considered literature. Literature consisted<br />
of the whole written expression of a people that<br />
was not simply either the reiteration of things<br />
already said, or bare records, or shallow insincerity.<br />
It was the conscious thought of the community,<br />
and nothing less, said Mr. Wells, that he found<br />
himself sustaining in that toast—just as a page-<br />
boy might carry a crown and the symbol of the<br />
empire of the world. For his own part, he took<br />
literature very seriously indeed. It was the<br />
greatest thing in life to him. He would rather<br />
leave a living book behind him than die rich or<br />
honoured, and rather add a new vein of thought<br />
to the nation's thinking than add a province to<br />
her empire. He claimed for literature, before all<br />
things, freedom ; it was the fundamental duty of<br />
literature to express thought with the completest<br />
freedom and frankness; the idea, that one heard<br />
of sometimes, of a censorship of literature, was the<br />
most foolish and mischievous imaginable. It was<br />
not for those who had not thought and dared not<br />
think to control the thought of those who did. It<br />
was doubtful if anyone had ever been really injured<br />
by a bad book, unless the mischief was already<br />
done by suppressions and timidities and secrecies<br />
that made the victim morbidly susceptible to<br />
strange suggestions. The way to counteract bad<br />
books was to print good Ones.<br />
Mr. Wells said he would also like to claim for<br />
literature something else : a living wage. It was<br />
extremely puzzling to see how this could be pro-<br />
vided, and for his own part he had no scheme to<br />
offer. It seemed possible that hard times were<br />
coming for writers, perhaps as a consequence of the<br />
great production of cheap literature, but they would<br />
have to show their faith in their calling by going<br />
on writing in spite of that, by adapting themselves<br />
to the new conditions and by making any alterations<br />
in their scale of living that might be necessary.<br />
Authors were a peculiar class, creatures at once<br />
favoured and doomed. No writer could tell with<br />
certainty whether he was producing literature—or<br />
piffle. For his own part, he knew—and he believed<br />
that here he spoke for the majority present—that<br />
whatever happened to their fortunes in the future,<br />
he was going on writing, and very largely he was<br />
going on Writing what he wanted to write, if<br />
necessary on a pound a week, or in hiding or in<br />
jail for debt, or in whatever circumstances might<br />
be in store for him, so long as paper and pens were<br />
provided. The only way to stop a writer who had<br />
Once really tasted ink and the sense of authentic<br />
creation was to shoot him. That was the peculiar<br />
weakness of the author's economic position, a<br />
position that Mr. Thring and the society had,<br />
nevertheless, done so much to improve.<br />
Mr. Anthony Hope Hawkins, in proposing “The<br />
Guests,” said that he had been in a certain amount<br />
of difficulty in ascertaining who were the guests of<br />
the Society on that evening and who were its<br />
members, and that if he should praise anyone who<br />
should not be praised and leave out anybody who<br />
should be mentioned, he must ask to be forgiven.<br />
In his peculiar position he must hold out a high<br />
diplomatic welcome to the representative of the<br />
Publishers' Association, and being quite unaccus-<br />
tomed to high diplomatic functions, he felt rather<br />
like a Sovereign addressing a brother potentate and<br />
saying, “I am very glad to see you. Now come<br />
and see my army and fleet.” This, however, at the<br />
present time of day was a rather hard way of<br />
putting it. It was one of the fervent hopes of the<br />
founder of the society that relations of friendship<br />
would reign in the future between authors and<br />
publishers. They were now getting nearer to that<br />
ideal. They had found many points as to which<br />
they could act together; such points were<br />
increasing, and the cordiality of co-operation was<br />
heightened through there being on both sides a well<br />
Organised body. There were men and women<br />
familiar with the issues and able to discuss them<br />
in a business-like way. The extremists on both<br />
sides had become of less account, and the business<br />
was the more likely to be carried on upon lines of<br />
justice and of harmony. For these reasons, not less<br />
than for what he had done for literature, he bade<br />
Mr. Heinemann a hearty welcome. As regards a<br />
great many of the other guests, his pleasure in<br />
welcoming them would only be greater if he could<br />
greet them as members, distinguished as so many<br />
of them were in the fields of literature. The society<br />
was honoured by the presence of Lady Dorothy<br />
Nevill, who, secure herself in immortal youth,<br />
linked the present with the great men of the past.<br />
Mr. Henry Newbolt needed no introduction to<br />
members—a gifted craftsman in prose and poetry.<br />
With real pleasure he greeted Kate Douglas Wiggin,<br />
a member as well as, on that night, the guest of<br />
the chairman. In claiming for her, as such, the<br />
full token of the society's respect, Mr. Hope dis-<br />
<br />
<br />
## p. 245 (#305) ############################################<br />
<br />
TFIE A CITISIOR.<br />
245<br />
claimed any reflection upon Lord Collins. He<br />
could well understand that if Lord Collins were a<br />
member of the society he might, as occupant of a<br />
high judicial office, soon find himself sitting in<br />
judgment on himself. The society were incorri-<br />
gible litigants, and as they always had an unanswer-<br />
able case he would feel himself obliged to give<br />
judgment in his own favour. As Master of the<br />
Rolls, Lord Collins might well be claimed as an<br />
author, but he had more definite qualifications.<br />
In his earlier days, he (Mr. Hope Hawkins)<br />
became acquainted with two ponderous tomes”<br />
bearing Lord Collins' name on their title pages,<br />
and from his recollection of their contents, he<br />
wentured to say that Lord Collins was as glad to<br />
have finished with them as he himself.<br />
Replying first for the guests, Kate Douglas<br />
Wiggin (Mrs. George Riggs, Litt.D.) made a speech<br />
in verse, referring in a humorous vein to literary<br />
incidents and personalities of the day, and con-<br />
taining the following passages:—<br />
>k >k × >k >k<br />
“Do you know what I see as I stand here the guest<br />
Of the flower of London, its cleverest, best,<br />
Its poets, its editors, novelists, sages —<br />
I see you as you are, then as heirs of the ages<br />
Your laurels are green, I see others unfaded<br />
Tho' centuries cold are the brows they once shaded,<br />
See ghosts of immortals whose eloquent words<br />
Made England a forest of rare singing birds ;<br />
Magicians whose tales are still fresh to the ear,<br />
They spoke, they still speak, and the world bends to hear.<br />
I own the same tongue, so I share in the glory<br />
That makes Britain famous in Song and in story.<br />
(We imperilled our heritage slightly, you’ll say,<br />
When we ventured from out your dominion to stray,<br />
But not one Pilgrim sailed for his bleak Plymouth Rock<br />
Till Shakespeare was born, so we're stock of his stock I)”<br />
× × × × >k<br />
“Poor John Davidson's gone ; he was hopeless and sad :<br />
If now he's at peace we can only be glad<br />
That the ‘weariest river,' when once it flows free,<br />
Finds somehow and somewhere its path ‘to the sea.”<br />
Now from sorrow to gratitude—blessings are many,<br />
Tho' up to this moment I’ve not mentioned any<br />
There's one splendid voice that is still ringing true,<br />
One worthy to rank with the immortal few,<br />
Old or young, he's as full as a reed is of pith,<br />
. Your president, God bless him George Meredith !”<br />
× Sk - X sk >:<br />
‘These then, fellow scribes, are the thoughts of a guest<br />
Who tacitly in her first sentence confessed<br />
She hadn't a notion of speeches at dinners,<br />
For on these occasions the men are chief sinners<br />
I thank dear Edmund Gosse for the honour conferred<br />
In letting me speak for the guests this brief word.<br />
Lord Collins I thank for dividing the toast,<br />
Especially when in himself he's a host.<br />
And last, friends and authors, I'm glad to be here,<br />
Not alone for the wit and the mirth and good cheer,<br />
But because we are sounding the praises to-night<br />
Of an art in whose service lies keenest delight.<br />
{<br />
* Smith's Leading Cases,<br />
Talk of angels Poor angels, they play and they sing,<br />
But never a quill do they pluck from a wing !<br />
They’ve only their harps; no paper, no ink,<br />
I’d rather be author than angel, I think<br />
I’m nearly submerged in a crowd of my betters,<br />
But proud to be known as a woman of letters ''<br />
Lord Collins, following Kate Douglas Wiggin,<br />
declared his enjoyment of the advantage, shared<br />
that evening by no previous respondents, of being<br />
a “junior.” It was well known that the province of<br />
a “leader’ in the law courts was to say all that<br />
needed no research, and to leave his junior to fill<br />
in the details. His leader had, however, adopted<br />
a different course, taking the whole burden<br />
of the case, and he was grateful that at least<br />
it was not obligatory upon him to say ditto<br />
in an extempore poem. Most men, especially<br />
professional men, ended by obliterating from<br />
their constitutions all that belonged to the<br />
domain of imagination, and by reducing to<br />
complete inertness the most brilliant faculty<br />
bestowed by Providence upon mankind. There<br />
authors came in and preserved that which other-<br />
wise would become extinct in a generation or two.<br />
Among authors, he observed, a new disease had<br />
recently sprung up ; it was called “ telepathy,” a<br />
different name from the old days when it was<br />
known by the simpler title of “plagiarism.” There<br />
seemed now to be an epidemic of this telepathy, so<br />
that people who otherwise would incur penalties<br />
for appropriating the work of others, had only to<br />
get their nerves into a condition to be permeated<br />
with the ideas of others in order to evade all<br />
consequences. This appeared to him to be a new<br />
and formidable difficulty with which authors had<br />
now to contend, and he hoped that they would be<br />
able to find some means of meeting it.<br />
In conclusion, Sir Alfred Bateman proposed the<br />
health of the chairman, referring to his first acquaint-<br />
ance with Mr. Edmund Gosse in the office of the<br />
Board of Trade, and to this commencement of<br />
their friendship of many years' standing. In those<br />
early days, he reminded the society, there were<br />
working for the Board of Trade Mr. Gosse, Mr.<br />
Cosmo Monkhouse, and Mr. Austin Dobson, all<br />
distinguished since in literature, with the result<br />
that the Board had become a most perfect depart-<br />
ment. Mr. Gosse had now left the Board of Trade<br />
for the House of Lords, and as the result of his<br />
translation had given the Upper House a catalogue.<br />
He concluded by paying a warm tribute to the<br />
qualities of Mr. Edmund Gosse, and by asking all<br />
present to join in drinking his health with<br />
enthusiasm.<br />
The company responded warmly to Sir Alfred<br />
Bateman’s invitation, and after Mr. Gosse had<br />
made a brief reply, adjourned to an adjoining<br />
room, where the proceedings closed with coffee and<br />
conversation.<br />
<br />
<br />
## p. 246 (#306) ############################################<br />
<br />
246<br />
TISIES A UITISIOR.<br />
HOW TO USE THE SOCIETY.<br />
—e—º-0–<br />
1. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society,<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
5. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society's Work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
7. Many agents neglect to stamp agreements.<br />
The<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s.<br />
per<br />
annum, or £10 10s. for life membership. -<br />
—º-<br />
w-v-w<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS,<br />
—e-O-0–<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property:—<br />
I. Selling it Outright. -<br />
This is sometimes Satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continenta}<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This, is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General. -<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society. -<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are:—<br />
(1.) That both sides shall know what an agreement<br />
In ea.InS.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
*—º-—a<br />
w—v-w<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
—º-º-º-<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager. - .<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
<br />
## p. 247 (#307) ############################################<br />
<br />
THE A LITHOR,<br />
247<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed. - -<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
~~<br />
REGISTRATION OF SCENARIOS.<br />
—º-º-º-<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario, thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
WARNINGS TO MUSICAL COMPOSERS,<br />
–0–42-e—<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
& rule, the musical publisher demands from the musical<br />
C9mposer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
Property. , The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
STAMPING MUSIC.<br />
—º-º-º-<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic Works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
* *<br />
—º-<br />
w-r-w<br />
“THE AUTHOR.”<br />
—º-º-º-<br />
HE Editor of The Author begs to remind members of<br />
T the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the stand-<br />
point of art or business, but on no other subjects whatever.<br />
Every effort will be made to return articles which cannot<br />
be accepted.<br />
—e—º-e—<br />
REMITTANCES,<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smith's Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 248 (#308) ############################################<br />
<br />
ºf the “Daily Mail.”<br />
1881.071, O<br />
d permi<br />
cin<br />
By 1<br />
GEORGE MEREDITH, O.M.<br />
1828–1909.<br />
<br />
<br />
<br />
## p. 249 (#309) ############################################<br />
<br />
TISIES A UTISM OR.<br />
249<br />
GEORGE MEREDITH, O.M.<br />
LL those who love the glory of English<br />
literature must have heard with the deepest<br />
regret of the death of Mr. George Mere-<br />
dith, O.M., but to members of the society the<br />
knowledge must have come with special force,<br />
because they have looked upon Mr. Meredith not<br />
only as a writer of the grandest English fiction,<br />
but as the father of their profession.<br />
As soon as it was ascertained at the offices of<br />
the society that the family of Mr. Meredith had<br />
no opposition to raise to the interment of their<br />
father in Westminster Abbey, Mr. Maurice Hew-<br />
lett (the chairman of the society) gave authority<br />
that no stone should be left unturned to obtain<br />
this object, both as an honour to the late president<br />
and as an honour to English literature. Application<br />
was at once made to the Dean, and when it became<br />
evident that the formal application by a body of<br />
2,000 authors might be insufficient to bring about<br />
the desired result, support was asked from other<br />
Quarters. The formal application of the society<br />
and the personal application of a large number of<br />
the Society's most important members and the<br />
weight of the public Press was only sufficient to<br />
obtain the sanction of the Dean to a memorial<br />
service in the Abbey. It is impossible, and it<br />
would be unseemly, to discuss the reasons that<br />
may have prompted this decision, for we feel that<br />
our late president, through his works and by his<br />
life, needs no further honour to add to the glory<br />
of his position. Mr. Meredith’s connection with<br />
the Society is, to some extent, distincte from<br />
his position as the greatest writer of fiction of<br />
the late Victorian period. Though he was not<br />
one of the original members of the society, which<br />
was founded in 1884, he joined the union of his<br />
brother authors in 1885, and was immediately<br />
elected on the council. On the death of Lord<br />
Tennyson he was nominated president.<br />
great honour to the society to have had two such<br />
presidents as Lord Tennyson and Mr. George<br />
Meredith, both of whom showed their sincere<br />
sympathy with its work. Ever since Mr. Meredith<br />
held the position he has been most active in<br />
supporting, both publicly and privately, the<br />
various efforts which the Committee of Manage-<br />
ment have taken for the body of members. He<br />
was one of the first contributors to the pension<br />
fund. On the many points put before him by the<br />
Committee of Management his interest and co-<br />
operation was of the greatest value. The Society<br />
must deeply regret that Mr. Meredith's health in<br />
these later years prevented him from being present at<br />
many of those meetings which he would gladly have<br />
attended, and with which he was in full sympathy.<br />
It is a<br />
During the present year the society has lost a<br />
good many of its oldest members and warmest<br />
supporters, but in none has it lost a more sym-<br />
pathetic friend than its president. When the<br />
Qrder of Merit was established by the King,<br />
Mr. Meredith was chosen as one of the first<br />
members.<br />
We desire on behalf of all the members to<br />
express to the family the deepest sympathy with<br />
them, in the loss that they and the country have<br />
sistained by the death of our president, George<br />
Meredith, O.M.<br />
Miss May Sinclair has been kind enough to<br />
Write an appreciation of his work, which we print<br />
below.<br />
THE FUNERAL.<br />
On Friday, May 21, the remains of Mr. George<br />
Meredith were taken from Dorking to Woking and<br />
Cremated. The members of the family alone were<br />
present at the sad ceremony. The urn containing<br />
the ashes was then re-conveyed to Dorking, and<br />
on the day following was interred in Dorking<br />
Cemetery. *<br />
The funeral was attended by Mr. Meredith's<br />
intimate friends, including several members of the<br />
Society of Authors, among whom we may mention<br />
J. M. Barrie, A. Hope Hawkins, A. E. W. Mason,<br />
Hall Caine, Charles Garvice, Mrs. W. K. Clifford,<br />
and Miss May Sinclair.<br />
A memorial service was held at 12 noon on<br />
Saturday, the 22nd, in Westminster Abbey. The<br />
north transept, allotted to members of the Society<br />
of Authors, was very nearly full.<br />
Amongst those present were the following :-<br />
Maurice Hewlett (chairman of the society),<br />
William Archer, Alfred Austin, Mackenzie Bell,<br />
Lewis Benjamin, A. C. Benson, Hall Caine, J. W.<br />
Comyns Carr, Egerton Castle, Mrs. W. K. Clifford,<br />
Edward Clodd, James Douglas, Sir Arthur Conan<br />
Doyle, Walter Emanuel, H. W. Esmond, Mrs.<br />
Frankau, Edmund Gosse, A. P. Graves, Francis<br />
Gribble, Lady Grove, Anstev Guthrie, H. Rider<br />
Haggard, Thomas Hardy, E.W. Hornung, Laurence<br />
Housman, Miss Violet Hunt, Henry James, Rud-<br />
yard Kipling, Robb Lawson, W. J. Locke, Mrs.<br />
Belloc Lowndes, Lady Lugard, Sir Alfred Lyall,<br />
J. A. Fuller Maitland, Edward Morton, A. W.<br />
Pinero, Richard Pryce, Ernest Rhys, Frank<br />
Richardson, Mrs. George Christopher Riggs, Owen<br />
Seaman, Miss May Sinclair, Keighley Snowden,<br />
Alfred Sutro, Mrs. Thurston, John Todhunter,<br />
Mrs. Alec. Tweedie, Humphry Ward (representing<br />
Mrs. Humphry Ward), Percy White, Richard<br />
Whiteing, J. H. Yoxall, M.P., Israel Zangwill.<br />
Many other distinguished ladies and gentlemen<br />
were also present ready to pay the last honour to<br />
the great author. We may mention the Prime<br />
<br />
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250<br />
TISIES A CITES OF.<br />
-Eºº-º-º-m<br />
Minister, Sir Philip Burne-Jones, Miss Ellen Terry,<br />
Beerbohm Tree, Sir Squire Bancroft, Forbes<br />
Robertson, and Holman Hunt. -<br />
The service was most impressive. It opened<br />
with Beethoven's Funeral March from the Sonata<br />
in A flat, followed by the 51st Psalm.<br />
Then followed other psalms and prayers chosen<br />
for the occasion. The service closed with Watts'<br />
beautiful hymn, “O God, our Help in ages past,”<br />
which was sung by the whole congregation, and<br />
after the Benediction Chopin's Funeral March<br />
in B flat minor was played—all the congregation<br />
standing till the last notes of the organ had died<br />
away.<br />
GEORGE MEREDITH.*<br />
BY MAY SINCLAIR.<br />
EORGE MEREDITH was born before his<br />
time, and he has died before it, as a young<br />
man dies. For fifty-five years he laboured,<br />
bringing forth the long and splendid procession of<br />
his masterpieces, from “The Ordeal of Richard<br />
Feverel,” a novel of absolute and incomparable<br />
greatness, to “The Amazing Marriage,” which<br />
would alone have proved greatness in a lesser man.<br />
And he has not yet come into his own. He is<br />
king to the kings and the great lords of literature,<br />
but he can in no way be said to reign by the voice<br />
of the Sovran people. After a long period of<br />
obscurity he has passed into the eternal possession<br />
of the few. But, although by a dreadful fate he<br />
became for a time the prey of the cultured who are<br />
fairly numerous, the great heavy mass of people<br />
who read, or think they read, cannot stand Meredith.<br />
And to-day, among the cultured and the critical<br />
who do read him, there is a reaction against him.<br />
Nobody doubts his greatness, nor the divinity of<br />
it. Nobody dares suggest that he did not produce<br />
great literature: the tendency is to complain that<br />
it was literature that he insisted on reproducing<br />
and not life. Some of us deny that he was either<br />
a great novelist or a great poet.<br />
The younger generation of novelists are all for a<br />
conscientious realism, and we have a few young<br />
critics who are conscientious too. And Meredith<br />
is peculiarly baffling to these. He eludes all their<br />
attempts to catch and label him. He seems to<br />
them now a realist of considerable piety and now a<br />
romantic of the kind they most abhor. Already,<br />
before his death, they were trying to place him.<br />
They are painfully anxious, elaborately careful<br />
not to place him wrong. And he refuses to be<br />
placed.<br />
sº-<br />
* Copyright in the United States.<br />
He did away with their preposterous labels once<br />
for all twenty-three years ago when, in the first<br />
chapter of “Diana of the Crossways,” he proclaimed<br />
himself a prophet of “the real,” and at the same<br />
time told us that our realists were our “castigators<br />
for not having yet embraced philosophy.”<br />
He defined fiction as “the summary of actual<br />
life, the within and the without of us.” It was as a<br />
novelist, a Writer of fiction, that he came forward<br />
for judgment, and it is as a novelist that they<br />
arraign him to-day, allowing him to be a philosopher<br />
and, perhaps, as it were by the skin of his teeth,<br />
a poet. -<br />
Now, to measure his greatness, not as a philoso-<br />
pher, nor yet as a poet, but as a novelist, we must<br />
remember the position of the novelist in the<br />
Victorian age. He found himself between the<br />
devil of realism and the deep sea of sentiment : a<br />
horrible position. It distorted his whole attitude<br />
to life and his view of the real. Meredith was the<br />
first to deliver the English novel from that degrada-<br />
tion. He was the first to see that it is sentiment<br />
and not conscience that makes novelists cowards.<br />
He recognised sentimentalism for what it is : the<br />
“fine flower of sensualism,” and through its very<br />
fineness the subtlest source of spiritual corruption.<br />
He knew that sentiment—early Victorian senti-<br />
ment—piled to its height, topples over into the<br />
mire. He saw it as the mother of all shams and all<br />
hypocrisies, the nurse of monstrous illusions.<br />
Thackeray, the greatest novelist of his time, who<br />
stood nearest to Meredith in sincerity and fear-<br />
lessness, and hatred of shams—Thackeray was<br />
afraid, and put it on record that he was afraid, to<br />
tell the truth about a man. He said it in his<br />
preface to “Pendennis,” and he laid his cowardice<br />
to the account of the society who had brought<br />
fiction to this pass.<br />
Meredith knew nothing of that fear. “Imagine,”<br />
he said, “the celestial refreshment of having a<br />
pure decency in the place of sham, real flesh, a<br />
Soul born active, wind-beaten, but ascending.<br />
Honourable will fiction then appear; honourable, a<br />
fount of life, an aid to live, quick with our blood.<br />
Why, when you behold it you love it—and you<br />
will not encourage it—or only when presented by<br />
dead hands 2"<br />
His message to his generation was, “ Follow the<br />
real. To not be led by the tainted sentimental<br />
lure. Trust yourselves to Nature, though she<br />
make havoc of your sentiment.” For, at the<br />
heart of Nature he discerned the fiery spiritual<br />
pulse, through and beyond Nature the purifying<br />
liberated flame. Thus he escapes his captors who<br />
Would hold him to pure paganism.<br />
The unity of Nature and spirit, and the return<br />
to spirit through Nature, is Meredith’s philosophy<br />
He found his generation sickly, and for the cure of<br />
<br />
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A UTISIOR.<br />
251<br />
its sickliness he prescribedſº By passages express his own emotions, and not the<br />
philosophy he did not mean/anything abstract, emotions of his characters, and this is why he fails<br />
anything in the least metapºsical, anything really<br />
incomprehensible to Quraíbiter of letters, the man<br />
in the street. Mgredith’s philosophy is brain-<br />
stuff, thought tha; makes up half of the fabric of<br />
the world. “Idéa,” he said, “is vital.” He was<br />
an idealist only to that extent. Brains, to be any<br />
good, mºtist have blood in them, and that is where<br />
the heart comes in. No man, no writer, had a<br />
greater and a fierier heart at the service of his<br />
brain. And so again he escapes the grasp of those<br />
who would place him among the unhumanised,<br />
inaccessible exponents of the cold idea, who say<br />
that his appeal, was not to the universal human<br />
heart but to the by no means universal human<br />
intellect.<br />
Now our conscientious young critics have no<br />
quarrel with Meredith's philosophy as a philosophy.<br />
Their contention is that, as a novelist, he had no<br />
right to have any philosophy at all. They resent<br />
it as an unwarrantable interference with his drama,<br />
an irritating interruption to his story. They<br />
attack it on artistic grounds, and because of it<br />
they persuade themselves that Meredith was not a<br />
great novelist. Which only proves that they have<br />
forgotten their Meredith. ...Nobody who reads his<br />
novels with any care will find his philosophy<br />
intruding where it can do harm. You will not<br />
come across it at any of the intenser psychological<br />
moments, in any of the great dramatic scenes, or<br />
in any of his inspired passages. It is at its height<br />
in “Diana” and “The Egoist,” but even there it<br />
is confined to the prologue and the interludes.<br />
Except by way of comment, it is almost entirely<br />
absent from “Richard Feverel,” “Rhoda Fleming,”<br />
“Evan Harrington,” “Harry Richmond,” and<br />
“Beauchamp's Career.”<br />
For Meredith was before all things a great<br />
dramatist and a great psychologist, if he was not<br />
always a straightforward teller of his tale. And to<br />
be those two things is, I take it, to be a great<br />
novelist, even if a man happens to have at the<br />
same time an irritating philosophy.<br />
Other and more serious charges have been<br />
brought against him by our cautious and yet<br />
irritable young men. We are all tired of hearing<br />
that Meredith is obscure, that he sins by excess,<br />
by a vice of temperament, by all sorts of exuberance<br />
and eccentricity. It tires us, and it annoys us,<br />
too; for we feel that there is a certain truth in it.<br />
But we are also told that he is not a great novelist,<br />
not a novelist at all, for the simple reason that he<br />
is a poet. And that is interesting. To be a poet,<br />
it would seem, is even more disastrous than to be a<br />
philosopher. For, after all, Meredith's philosophy<br />
embraced the real. But his poetry, they tell us,<br />
spoils all that. Because, you see, his lyrical<br />
though he knows it not.<br />
to produce the “illusion of reality.”<br />
It sounds plausible ; it looks as if there might<br />
be a certain amount of truth in it. But that is<br />
only at first sight. Meredith's lyric passages are<br />
there precisely because they do express as nothing<br />
else could the emotion of his characters. For<br />
emotion, at its climax, is powerless to express<br />
itself or anything. Lucy in love, Richard in love,<br />
are dumb, but all heaven is sounding through<br />
them, and it is that sound of all heaven which<br />
Meredith’s prose gives us. True, his method<br />
destroys the spectacular illusion for a moment, but<br />
it does so that it may preserve the illusion of<br />
emotion, of passion, of reality at its highest<br />
intensity. Compare him with Dickens in this<br />
matter of emotion. Dickens, working himself up<br />
into blank verse over the death of little Nell, is<br />
Dickens feeling something about little Nell and<br />
trying to express his feeling. But Meredith in his<br />
“Diversion Played on a Penny Whistle” is<br />
rendering the song of the souls of Richard and<br />
Lucy. They, poor dears, can only say:<br />
“Lucy, my beloved l’’<br />
“Oh, Richard ’’<br />
It is all part of his art, his very perfect art.<br />
And it is the same with the “Comic Spirit.”<br />
The Comic Spirit is not Meredith. It is the Spirit<br />
immanent in the world, and akin to Mr. Hardy's<br />
immortal Ironies. It is part-creative. Even in<br />
“The Egoist,” where it is rampant, its play is not<br />
the play of the author intoxicated by his own wit,<br />
13.aking merry over the behaviour of Sir Willoughby<br />
Patterne. It is not doing anything over or about<br />
or around Sir Willoughby. It is really in him,<br />
The Comic Spirit is an<br />
aspect of the cosmic reality in which Sir Willoughby<br />
has his being. For the essence of Sir Willoughby<br />
is to be absurd, and the Comic Spirit, exposing his<br />
absurdity, is the revealer of the eternal verity<br />
in him.<br />
Meredith never destroys the “illusion of<br />
reality.” It is the illusion of actuality that he<br />
tampers with. It may be conceded at once that he<br />
had not a very keen sense of the actual or of local<br />
atmosphereandsurroundings. His characters appear<br />
to be surrounded only by the cosmic spaces. He<br />
does not present them circumscribed by any<br />
parochial or urban or suburban boundary. He<br />
seldom if ever paints an interior. His scenic<br />
effects we remember best are always of the open<br />
air. At the same time he has a profound sense of<br />
the bonds, restrictions, distinctions of society and<br />
race and class. For these things work in the flesh<br />
and blood of a man : they are part of the drama of<br />
his soul. That is what Meredith shows us in<br />
<br />
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252<br />
TRIES A [ſ'ſ<br />
“Rhoda Fleming,” in “Beauchamp's Career,” in<br />
“Harry Richmond,” and in “Evan Harrington,”<br />
all masterly reproductions of English social and<br />
provincial life in the Victorian age.<br />
But they tell us that it is not Meredith’s method<br />
only that is all wrong. Art, they sav, is concerned<br />
only with the average, the normal (let it pass),<br />
and Meredith wrote of extraordinary people in an<br />
extraordinary way. This, we are to believe, applies<br />
especially to his women. They are all goddesses,<br />
or if not goddesses, all women six feet high. In<br />
this, they tell us, his art is inferior to that of Mr.<br />
Hardy. If he desired immortality he should have<br />
written about simple people in a simple way. He<br />
should have chosen for his tragedies the elemental<br />
passions, and treated them elementally. He should<br />
have written, in short, like Mr. Hardy.<br />
On the other hand we also hear that, setting out<br />
as he does to be subtle, he is not half subtle<br />
enough. He should, to produce the perfect illusion<br />
of reality, have written more like Mr. Henry James.<br />
As it is, he is a victim to the fallacy of the master-<br />
passion, the dominant note in character, and thus<br />
he gives us bare types, instead of the rich, intricate<br />
web of inconsistencies, the splendid irrelevancies<br />
and surprises which make up individuality in real<br />
life. Sir Willoughby Patterne, for instance, is an<br />
egoist and nothing but an egoist ; and no man ever<br />
was nothing but one thing.<br />
This is strange criticism of a man who knew<br />
more than any other how to reproduce the very<br />
accent and gesture of the soul. What justice<br />
there is in it applies only to “The Egoist.” There<br />
Meredith comes perilously near to the artificial<br />
comedy of Molière where the misanthrope is always<br />
a misanthrope, and Tartuffe for ever Tartuffe. In<br />
real life, that is to say, in the eyes of the omniscient or<br />
of Mr. Henry James, Sir Willoughby Patterne would<br />
not perhaps appear so manifestly and invariably the<br />
egoist he is. It is equally true that in real fife if a<br />
man is an egoist he will believe and he will<br />
feel remarkably like Sir Willoughby Patterne.<br />
And our critics have forgotten Clara Middleton,<br />
Cecilia, and all the irrelevancies and inconsistencies<br />
of the divine Diana. Mr. Henry James would be<br />
the first to take off his hat to them.<br />
As for the everlasting comparison with Mr. Hardy,<br />
it is futile, as any comparison must be between two<br />
masters equally supreme in their separate territories.<br />
But it raises interesting questions: Are their<br />
territories, after all, so separate 2 Is it true that<br />
Meredith did not understand elemental men and<br />
women It is certainly true that he wrote mostly<br />
about people in whom either breeding, or education,<br />
or the possession of a restless intellect obscures the<br />
working of the large tragic passions. The modern<br />
world is full of such—full, above all, of such women.<br />
And Meredith claimed to have discovered the<br />
modern woman, “animated . . . with the fires of<br />
positive brain-stuff.' He was the first to see that<br />
the sentimentalism \{again ) of his time was<br />
degradation to its women, s.<br />
Even Thackeray, with his exceeding tenderness<br />
and chivalry, Thackeray who owned himself afraid<br />
to tell the truth about a man, did not know as<br />
Meredith knew the truth about a woman. Or<br />
perhaps he knew it, and was still more afraid.<br />
Meredith knew the truth and the whole truth, and<br />
dared to tell it, dared to give the leading role to<br />
those large-brained, large-hearted women of his— .<br />
Diana and Clara, and Ottila and Cecilie Halkett,<br />
and Rose Jocelyn, Aminta and Carinthia Jane.<br />
Charlotte Brontë's Shirley, and the great women of<br />
George Eliot–Maggie Tulliver, Dorothea Brooke<br />
and Dinah Morris—are small beside them. They<br />
are modern women, and we cannot complain of<br />
their stature as abnormal, for modern women are<br />
often six feet high.<br />
These are his extraordinary women. But when he<br />
chose he could draw very ordinary women, and men<br />
too, and drew them as the masters draw. Look at<br />
Ripton Thompson, Algernon Blancous, Mrs. Lovell,<br />
“Emmy" and Sir Lukin, Jenny Denham ; even<br />
Nevil Beauchamp is not extraordinary in our critics’<br />
sense ; and the list could be extended indefinitely.<br />
As for the elemental and the simple people, Tess<br />
is not more elemental in her tragedy than Clare<br />
Doria Forey or Dahlia Fleming or even poor Juley<br />
in “Evan Harrington.” And Thomas in “Yeo-<br />
bright” is not more divinely simple than Lucy<br />
Feverel, nor is Rhoda Fleming less captivating in<br />
her moral beauty than Marty South. For the rest,<br />
Hardy's women and Meredith's women are “sisters<br />
under their skin.”<br />
Still, it is inevitable to place Hardy and Meredith<br />
side by side, for they are the last of our great<br />
novelists, and in many ways they are akin. Both<br />
are philosophers, both poets, and in both philosophy<br />
is, like their poetry, the result of temperament.<br />
Mr. Hardy's genius is bound to make for the<br />
simpler and the larger tragedy, seeing that he<br />
regards the lives of men and women as so many<br />
sacrifices to the eternal, insatiable lust of Nature,<br />
and they themselves as the playthings of an<br />
implacably ironic Destiny.<br />
But to Meredith, Nature, for all her darkness and<br />
austerity, is the mother of all joy, of all the sanities<br />
and sanctities. The natural love of men and<br />
women was to him of all things the sanest and most<br />
sacred. Their tragedy is not their subservience to<br />
Nature, but their falling from her, their sins against<br />
her immanent deity.<br />
His poems sprang from this joy of his genius in<br />
Nature, its adoration of all the robust and splendid<br />
energies of life. Our young critics, more con-<br />
Scientious than ever as they approach this divinest<br />
l—<br />
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THE AUTHOR. 253<br />
side of him, have suggested that his philosophy<br />
spoils his poems as it spoils his novels. They cite<br />
“The Reading of Earth” and “The Woods of<br />
Westermain.” To be sure in all his great Nature<br />
poems there are aisles and dells of darkness, inter-<br />
minable secret mazes, lost ways of “The Questions”<br />
traversing the Enchanted Woods. Yet every way<br />
faithfully followed leads us into almost intolerable<br />
light. Something happens, and we find the<br />
Meredithian philosophy (which was, after all, more<br />
an instinct than a philosophy) transmuted into the<br />
Meredithian mysticism as by fire. His message sings<br />
clear :<br />
“Then your spirit will perceive<br />
Fleshly seed of fleshly sins,<br />
Where the passions interweave<br />
How the serpent tangle spins<br />
Of the sense of Earth misprised<br />
Brainlessly unrecognised<br />
She being Spirit in her clods<br />
Footway to the God of Gods.”<br />
But besides “The Woods of Westermain '' and<br />
“The Reading of Earth,” Meredith wrote “The<br />
Lark Ascending,” that continuous, lucid, liquid<br />
song of rapture:—<br />
“Shrill, irreflective, unrestrained,<br />
Rapt, ringing, on the jet sustained<br />
Without a break, without a fall,<br />
Sweet-silvery, sheer lyrical.”<br />
He wrote “Love in the Walley,” and that pro-<br />
foundest, subtlest, most concentrated of human<br />
tragedies, “ Modern Love.” There are lines there<br />
that gleam and cut like steel, dividing the intricate<br />
web of soul and body. It is the dissection of heart-<br />
nerves and brain-cells, a lacerating psychology<br />
masquerading in a procession of linked quatrains.<br />
Yet the same genius, so delicately analytic,<br />
brought forth with a stupendous and Titanic<br />
energy the “Ballads and Poems of Tragic Life.”<br />
Among these is “The Nuptials of Attila,” where<br />
the verse rushes downwards in tumult and in<br />
torrent like the hosts of the armoured Huns, a<br />
poem barbaric, superb, resonant with the clamour<br />
of battle. There is “IXing Harald's Trance,” a<br />
masterpiece of grim and terrible simplicity. And<br />
there is “The Song of Theodolinda,” that supreme<br />
hymn of the passion of martyrdom, of divine<br />
ecstasy in torture, of torture perishing in ecstasy.<br />
The most perfervid passages of Crashaw's<br />
Hymn to Saint Teresa are cold beside Meredith's<br />
fire. And the art of it is transcendent. Every<br />
line glows with furnace heat, and beats in its<br />
terrible assonances, with the strokes of the<br />
hammer :<br />
“This that killed Thee, kissed Thee, Lord<br />
Touched Thee, and we touch it : dear,<br />
Dark it is ; adored, abhorred,<br />
Wilest, yet most sainted here.<br />
Red of heat, 0 white of heat,<br />
In it hell and heaven meet,<br />
× × :: :::<br />
Brand me, bite me, bitter thing !<br />
Thus He felt, and thus I am<br />
One with Him in suffering<br />
One with Him in bliss, the Lamb.<br />
Red of heat, O white of heat,<br />
This is bitterness made sweet.<br />
Now am I who bear that stamp<br />
Scorched in me, the living sign<br />
Sole on earth—the lighted lamp<br />
Of the dreadful day divine.<br />
White of heat, beat on it fast<br />
Red of heat, its shape has passed.<br />
>{< >}. >k *:<br />
Rindle me to constant fire,<br />
Lest the nail be but a nail<br />
Give me wings of great desire,<br />
Lest I look within and fail<br />
Red of heat, the furnace light,<br />
White of heat, fix on my sight.<br />
Never for the chosen peace<br />
Know, by me tormented know,<br />
Never shall the wrestling cease<br />
Till with our outlasting Foe<br />
Red of heat to white of heat<br />
Roll we to the Godhead's feet !<br />
Beat, beat White of heat,<br />
Red of heat, beat, beat l”<br />
w<br />
If he had written nothing else, that one poem<br />
would be enough to ensure his immortality.<br />
And some of the younger generation, which is<br />
so conscientious and so cautious, are wondering<br />
whether Meredith will live. Posterity, they think,<br />
is hardly likely to tolerate what his contemporaries<br />
cannot endure. There is much in him, they say,<br />
which is intolerable.<br />
Well, there is much in Fielding, in Scott, in<br />
Thackeray which is intolerable. And yet they<br />
live. We still read Fielding, in spite of his per-<br />
petual digressions and the essays with which he<br />
dislocates his chapters. We read Scott in spite<br />
of his interminable descriptive passages; and<br />
Thackeray in spite of his digressions, and of his<br />
mortal tendency to moralise in all places of his<br />
narrative. It is only reasonable to suppose that<br />
Meredith will be read in spite of everything, even<br />
of his obscurity. For nothing can kill the novelist<br />
if the novelist is there ; and in all Meredith’s<br />
novels the novelist is supreme. Who when he<br />
thinks of “The Egoist" really remembers anything<br />
but the sublime performances of Sir Willoughby<br />
Patterne or the ways of Clara Middleton 2 Who<br />
would dream of judging the terrible and poignant<br />
tragedy of Richard Feverel by fragments from the<br />
pilgrim's scrip Who as he sees Diana keeping<br />
her watch by her dead friend, or kneeling by the<br />
hearth of Crossways House, will be unchivalrous<br />
enough to remember her as a woman who attempted<br />
<br />
<br />
<br />
<br />
## p. 254 (#314) ############################################<br />
<br />
254<br />
TriB A UTHOR.<br />
more epigrams than she ever brought to perfection ?<br />
And there is Emmy under the surgeon's knife and<br />
Sir Lukin raving in his remorse. There is Emilia<br />
forsaken and Dahlia betrayed, and they are flesh<br />
and blood that no “idea,” no philosophy can<br />
destroy. And flesh and blood they had need be to<br />
stand in the presence of their creator. Meredith’s<br />
personality is so overpowering that at times it<br />
comes between us and his creations. He has not,<br />
as lesser men have had, the habit of detachment.<br />
No novelist has it completely, nor can have it.<br />
He betrays his own nature more subtly or more<br />
inevitably than any other artist, for he handles<br />
directly the stuff of life, and we know him by the<br />
manner of his handling. It is impossible to read<br />
Meredith without seeing him to be before all things<br />
clean-souled and courageous and passionately<br />
sincere. We divine that there is no greatness and<br />
no splendour in his work that had not its match in<br />
him. His powers were finely mingled.<br />
intellect was blood-warm and had a heart in it,<br />
beating like a pulse of flame, and emotion in him<br />
was a spiritual thing, as if the courses of his blood<br />
flashed light. To feel with him was to see more<br />
and not less clearly.<br />
It is not conceivable that he will not live, he<br />
who had more life, more virile, fertilising energy<br />
than any Writer of the two generations that he<br />
saw rise round him and pass away before him. Our<br />
own generation will return to him, wearied of the<br />
lucid excellencies of the lesser men, their finished<br />
perfection within the limits of the little. He was<br />
too great for us. If some of us have lost sight of<br />
him it is not because they have left him behind<br />
them with the Victorian era ; it is because they<br />
have not yet “caught up.” He was too swift for<br />
us. He has passed us by, and only thus can we<br />
conceive of him as passing. He has not yielded<br />
up his fire to any one of us. He is on far<br />
ahead with his torch, holding high for us the<br />
inextinguishable flame.<br />
MAY SINCLAIR.<br />
—e—º-e—<br />
GENERAL NOTES.<br />
—0-0-0–<br />
THE Editor of The Author would be much<br />
obliged if any member who happens to possess a<br />
copy of the November (1907) issue would forward<br />
the same to the office for the benefit of the society's<br />
file, which is short of this issue.<br />
*- -<br />
SCHOLZ v. AMASIS.<br />
WE are pleased to chronicle that the appeal in<br />
the Scholz v. Amasis case, supported by the Society<br />
His .<br />
of Authors, has been successfully upheld. The<br />
judges of the Court of Appeal were unanimous<br />
that Mr. Fenn's version was not an infringe-<br />
ment of Mr. Scholz's rights. Members of the<br />
Society may call to mind that when Mr. Fenn<br />
put the matter into the society’s hands the com-<br />
mittee took the opinion of counsel, Mr. Eldon<br />
Bankes, before deciding what course should be<br />
taken. The members of the committee themselves<br />
were of the opinion that no infringement had<br />
occurred, but they considered it necessary that their<br />
opinion should be supported. The opinion of the<br />
society’s counsel has been amply justified by the<br />
result of the case.<br />
All infringements of copyright or performing<br />
right must depend upon the facts of each individual<br />
case, and are matters of evidence rather than of<br />
law. It is too late to report the case fully in this<br />
month's Author, but we hope to be able to publish<br />
any points of special interest in the July number.<br />
*-<br />
THE CENSOR.<br />
MEMBERS of the Society may call to mind that<br />
Mr. Harcourt's Theatre and Music Hall Bill was<br />
carefully studied by the Dramatic Sub-Committee<br />
and approved by them. It appears that a question<br />
was raised in Parliament on May 27 owing to the<br />
recent action of the Censor. Mr. Asquith, in reply,<br />
said that he thought the position of Dramatic<br />
Censorship was a most important matter, and that<br />
it was receiving careful consideration. He stated<br />
further that he thought the time had come for<br />
establishing a Select Committee to consider the<br />
position.<br />
INJUSTICE TO CANADIAN BOOKSELLERS.<br />
IN The Bookseller and Stationer, published in<br />
Toronto, there is an article headed “Injustice to<br />
the Canadian Bookseller.” On reading the article,<br />
we see the writer complains that there are certain<br />
books copyrighted in Canada which are now out of<br />
print, that the copyright owners refuse, or, for<br />
reasons of their own, do not desire to publish<br />
further editions. The booksellers think that there<br />
are still sales for the books, but they are unable to<br />
import cheap United States reprints, because by<br />
so doing they would be infringing the copyright of<br />
the Canadian holder.<br />
Two points suggest themselves. The first is,<br />
why should the Canadian bookseller think he has<br />
any right in the property of another person It is<br />
the old, old story. For so many years authors'<br />
rights were not recognised at all that the public<br />
began to consider the property was not the<br />
author's, but belonged to them. To this day the<br />
limitation of the term of copyright makes it clear<br />
<br />
<br />
<br />
<br />
## p. 255 (#315) ############################################<br />
<br />
THE AUTHOR.<br />
255.<br />
that the same feeling still exists. According to<br />
the Canadian bookseller's argument, supposing<br />
Jones purchases a book, reads it and puts it on the<br />
shelf of his library, and does not use it, and has no<br />
intention of using it again, he is sinning against<br />
the public, for he ought, of course, either to give it<br />
away or to sell it to Some other person. Or, again,<br />
Supposing Jones bought a nice bit of freehold in<br />
the country, and found, for certain reasons, that<br />
he was unable to utilise it in any way, the book-<br />
seller would argue, other people might come and<br />
demand that they had a right to use it whether he<br />
liked it or not. So long as there are any private<br />
rights in property the argument cannot stand. If<br />
it does not apply to property in land or to personal<br />
property, it applies still less to that property which,<br />
of all others, is the outcome of a man's personal<br />
effort. . If, therefore, the Canadian copyright<br />
owner doesn't want to publish a cheap edition of a<br />
book, there ought to be no power which could force<br />
him to do so, and the Canadian bookseller has no<br />
more right to complain than he would have in the<br />
instances quoted. This is the first point.<br />
The Second point refers to the Canadian<br />
trade. Most of the Canadian copyrights are, we<br />
believe, held by the Canadian publishers. If,<br />
therefore, the Canadian tradesman who is living<br />
by the exploitation of his property, chooses to lose<br />
a considerable income by the non-exploitation of<br />
this property, it only tends to prove that he is a<br />
bad tradesman. If American publishers and<br />
Canadian booksellers can make profits by selling<br />
cheap editions, Canadian publishers should be able<br />
equally to make profits by exploiting their pro-<br />
perty in the same way. That they do not do so<br />
shows a lack of enterprise which we should have<br />
hardly expected in that advancing colony, but we<br />
have on former occasions suspected something of<br />
the same kind when the question of Canadian<br />
Sales of the works of English authors has arisen.<br />
An enterprising Canadian publisher, with some<br />
capital behind him, could make better terms and<br />
find a better market by contracting with the<br />
English author direct than he could by purchasing<br />
plates or by purchasing the right for the Canadian<br />
edition, using the American publisher as middle-<br />
man. It might be worth while for the Canadian<br />
publisher to consider the position seriously.<br />
MISS RACHEL CHALLICE.<br />
WE regret to record the death of Miss Rachel<br />
Challice, who has for some time past contributed<br />
the Spanish Notes to the columns of The Author.<br />
Although a busy journalist, as well as a writer of<br />
books, she found time month by month, without<br />
any hope of reward beyond the appreciation of her<br />
fellow members, to assist with her work the aim<br />
and objects of the society. She was an enthusiastic<br />
Supporter of the best interests of the members of<br />
her profession, and was well known in the literary<br />
circles of Spain about which she wrote. She<br />
represented the Society of Authors on the occasion<br />
of the Cervantes celebration in Spain, and placed<br />
a Wreath from the society on the author's<br />
monument. Her last work, “The Secret History<br />
of the Court of Spain,” will appear shortly. It is<br />
taken entirely from Spanish sources.<br />
—º-—-<br />
~-sº-w<br />
IS HE 2<br />
–0-º-e-<br />
WO or three months ago Mr. H. G. Wells<br />
referred in the columns of this paper to<br />
the literary agent as “that indispensable<br />
middleman.” Ever since reading that expression,<br />
I have been wondering if the literary agent really<br />
is “indispensable,” and lately I have looked<br />
through my books to remind myself of my own<br />
past experiences. I found them interesting, for I<br />
had never before viewed them “in bulk,” so to<br />
speak, and under the impression that they may be<br />
of interest to others, they are here set down.<br />
Let me begin by saying that while for obvious<br />
reasons I do not give names, every detail is taken<br />
exactly from my books, for of course I keep a<br />
record of every manuscript, of the 700 word articles<br />
as of the 100,000 word novel. Let me also say<br />
that I have no complaint against my agent, whom<br />
I found invariably courteous and business-like, and<br />
who is also one of the best known men in his pro-<br />
fession. Of course I paid him, and he asked for,<br />
nothing except what he earned by commission on<br />
stories placed, for I hold the agent who demands.<br />
an advance fee to be nothing more than an open<br />
freebooter, living on the Vanity or ignorance of the<br />
struggling aspirant.<br />
During my connection, then, with my agent, I<br />
placed in his hands five long stories. He succeeded<br />
in selling the serial rights in one, obtaining for<br />
them the sum of £30. He made no attempt to<br />
place the story as a volume, and, the serial publica-<br />
tion having been completed, I am now offering it<br />
myself to a publisher. The other four stories,<br />
when I severed connection with him, the agent<br />
returned to me.<br />
The first of these he had offered in fourteen<br />
quarters without success. I offered it myself to<br />
one firm, who refused it. I then offered it to.<br />
another firm, who bought the serial rights for £45.<br />
I then disposed of the volume rights, and it has<br />
recently been published in volume form on a 15 per<br />
cent. royalty, and a promise of 20 per cent. should<br />
it reach a sale of 2,000 copies, which I am afraid.<br />
it shows no signs of doing.<br />
<br />
<br />
## p. 256 (#316) ############################################<br />
<br />
256<br />
THE AUTISIOR.<br />
The second of these long stories my agent<br />
had offered in nine quarters. The first firm<br />
to whom I offered it after its return to me gave<br />
me £80 for the serial rights. I have not yet<br />
offered it for volume publication.<br />
The third story my agent had offered ten times<br />
without success. I have offered it to three editors,<br />
but have not yet effected a sale, but it is going out<br />
again next month.<br />
The fourth story the agent offered twelve times,<br />
and I have offered it four times. This I am<br />
inclined to withdraw permanently, but may offer it<br />
again if a suitable opening occurs.<br />
So much for long stories. In addition I sent<br />
the agent a number of short stories. I will take<br />
them one by one. - -<br />
No. 1. Agent sold it for £10 10s. for British<br />
serial rights.<br />
No. 2. The agent offered it to nine editors.<br />
The first editor to whom I offered it gave me<br />
f1 10s. for the copyright.<br />
No. 3. The agent sold this for £4 12s. 6d. for<br />
British serial rights. -<br />
No. 4. This was offered by my agent ten times<br />
in vain. I offered it sixteen times equally in vain,<br />
and then sold it to a leading magazine for £8 5s.<br />
for British serial rights, and have since received a<br />
fee of 10s. 6d. for translation into Danish.<br />
No. 5. Offered nine times in vain by the agent,<br />
then returned to me. I offered it twenty times<br />
more, and then sold it for a guinea, which I was<br />
very glad to get.<br />
No. 6. My agent offered this to six editors, and<br />
then returned it to me. The first editor to whom<br />
I sent it gave me £2 2s. for it.<br />
No. 7. Neither the agent nor I succeeded in<br />
disposing of this. -<br />
No. 8. The agent offered this to nine editors,<br />
and then returned it to me. I sold it to perhaps<br />
the best known popular magazine in the world,<br />
receiving £15 15s. for all serial rights. ;<br />
No. 9. This, too, neither the agent nor I<br />
succeeded with.<br />
No. 10. My agent had this declined eight times.<br />
I sold it for three guineas at the fourth attempt.<br />
No. 11. My agent informed me that this had<br />
been lost by an editor to whom he had submitted<br />
it. I re-typed the story, and submitted it direct<br />
to the same editor, who gave me £3 3s? for the<br />
copyright.<br />
No. 12. The agent disposed of this for £7 18. 94.<br />
for British serial rights.<br />
No. 13. Both the agent and I failed with this.<br />
One editor told me it was too funny. -<br />
No. 14. Both the agent and I failed with this.<br />
One editor told me it was too gruesome.<br />
No. 15. Another failure for us both.<br />
No. 16. Also a failure for both of us.<br />
Therefore with regard to my long stories, the<br />
agent disposed of one MS. out of five ; that is, he<br />
sold 20 per cent. of my work. Of the four MSS.<br />
he returned, I have so far sold two, or 50 per cent.<br />
He obtained £30, I obtained £125, with more to<br />
come for royalties. •<br />
Of the sixteen short stories I placed in his hands<br />
he sold three, for a total of £22 4s. 3d. Of the<br />
thirteen short stories he failed with and returned<br />
to me, I have sold seven for a total of £35 9s. 6d.<br />
These figures are slightly more complicated than<br />
those for the long stories, so I will leave the<br />
comparative percentages to be worked out by<br />
Somebody more mathematically gifted than I am.<br />
I perceive, however, that I secured £13 5s. 3d.<br />
more than did my agent.<br />
The agent could claim, though, that he secured<br />
on the average, not invariably, a higher rate per<br />
thousand than I got for myself. Also I had<br />
generally to sell copyright or all serial rights. My<br />
agent never sold anything but British serial rights,<br />
all minor rights thus being retained by me. They<br />
have never been any good to me, but it is comforting<br />
to possess them.<br />
Then, too, the agent's dealings with my MSS.<br />
were confined to fifteen months—one year's agree-<br />
ment, and three months’ motice to terminate it.<br />
My own operations with the MSS. he returned me<br />
have extended over a longer time, from then to<br />
now, in fact, while some of the MSS. still left me I<br />
yet hope to dispose of ultimately. So that I have<br />
had the advantage of more time ; but I suppose I<br />
can say that it was the cream of my work that he<br />
disposed of, so that he had a great advantage there.<br />
I am left wondering if the agent be really<br />
indispensable. That he is indispensable to himself<br />
I can well believe. That when an author has<br />
achieved fame and fortune an agent is indispens-<br />
able, may also be the case. No doubt motor-cars<br />
become indispensable then. I do not know, but<br />
shall be happy to give a personal opinion at the<br />
earliest possible moment. It is different, however,<br />
from the point of view of the mere average rear<br />
rank and filer—the man to whom his cheques are<br />
not as the accustomed tribute of the triumphant<br />
conqueror, but are rather each one the record of a<br />
doubtful and hardly won success.<br />
From my own small experience I am inclined to<br />
say that perseverance is indispensable ; that the<br />
Postmaster-General is certainly indispensable ;<br />
but as for the agent being indispensable—Well,<br />
is he<br />
X Y. Z.<br />
<br />
<br />
## p. 257 (#317) ############################################<br />
<br />
\ .<br />
}<br />
.." /<br />
A PLUTOGRAT OF THE PREss; OR, THE<br />
- CYNIC'S SUCCESS.<br />
—º-º-e—<br />
(Continued.)<br />
D before a handsome writing-table, piled<br />
ith papers, documents, and copies of the<br />
rous publications his will controlled,<br />
was th § man. Great in one sense only, be it<br />
unders bysically he cut rather a poor figure,<br />
with hy Nagne-bottle shoulders, pale com-<br />
Male eyes, and hay-coloured hair. His<br />
demeanour, however, was self-assured, as every<br />
prosperous man's must be.<br />
We exchanged rather searching glances.<br />
Something in the famous publisher's manner<br />
recalled a once familiar personage; but I could not<br />
“place " him right away.<br />
Then he spoke. His was a thin voice, yet it<br />
served to give me the cue I wanted.<br />
“Why,” I exclaimed half involuntarily, “you are<br />
Wynyard Graves.”<br />
“The same !”<br />
His tone was quick and short.<br />
I stared at him in speechless surprise for a moment.<br />
He returned my scrutiny. w -<br />
Presently a sickly sort of smile played round his<br />
mouth. “We meet again under rather changed<br />
circumstances,” he said.<br />
Recalling that night when he had made an end<br />
of the manuscripts that were to have brought him<br />
name, fame and fortune, I could but assent.<br />
Wynyard Graves, the erstwhile hard-up free-lance,<br />
and Gregory Grub the publisher, who paid twenty-<br />
five per cent. to his shareholders, sweated his<br />
authors, and owned the largest and most expen-<br />
sively fitted-up place of business of its kind in<br />
England, one and the same individual I couldn't<br />
realise it. -<br />
“Did you happen upon Aladdin's lamp any-<br />
where P’’<br />
I ventured to ask after taking stock of his<br />
sumptuously furnished sanctum.<br />
Graves favoured me with one of his dreamy smiles.<br />
“Not exactly.”<br />
“Then how on earth did you do it 2"<br />
“Do it 2 ” he repeated, leaning back in his arm-<br />
chair, beating his desk with a paper-knife, “Do it 2<br />
Oh It was not so very difficult. Nothing near so<br />
'hard as trying to place outside contributions.”<br />
“But the start—how did you begin P”<br />
Wynyard Graves paused a moment.<br />
“Well,” he said slowly, “I’ll be candid with you.<br />
I began by picking the brains of a man who had<br />
made a hit with rather a novel idea. After rather<br />
a wobbling start the thing went. I had struck the<br />
public taste while the iron was hot.<br />
“Before, I had been engaged in furnishing ide<br />
TFIOR. 257<br />
for others without recompense. By annexing some-<br />
body else's schemes, I beheld myself feathering my<br />
Own nest.”<br />
“And then P”<br />
“Then I determined to tap an unbroached section<br />
of the reading public. Somebody had circulated a<br />
rag made up of stale jokes, idiotic drawings, and<br />
morbid sensationalism. I went one worse in the<br />
Same line ; as I expected, that also struck oil.<br />
“So in order to make cash breed faster, I<br />
launched out with another paper—to catch flies of<br />
a different kind this time. I concocted a penny<br />
jumble of fashion diagrams, millinery notes, love<br />
stories, in which lords woo servant girls, villains are<br />
Wanquished and virtue triumphs, bits of advice on<br />
love, marriage, the household, and so forth.<br />
“With this net I enmeshed half the shop-girls,<br />
housemaids, and other young women of the class<br />
known at present as “ladies’ in the kingdom. The<br />
fashion plates were evolved out of the brain of a<br />
clever, but lowly born, artist, who couldn't speak<br />
the King's English. I myself instructed the readers<br />
of this precious hotch-potch on connubial problems,<br />
doing so with the greater assurance because I have<br />
never married.<br />
“I had now catered to please the ignorant, the<br />
Vulgar and the silly. , My next venture supplied<br />
youthful hooligans with a long-felt want. I brought<br />
out a half-penny Weekly mass of blood and thunder<br />
—Jack the Ripper—Charles Peace literature. It<br />
Went—and still goes—like hot rolls. More than<br />
once juvenile offenders have thrown blame upon<br />
the tone of this wonder when questioned before<br />
the magistrate. A few weak-minded ragamuffins<br />
have gone so far as to commit suicide, urged thereto,<br />
So ran the evidence, by devouring pernicious litera-<br />
ture, in which my property played a leading<br />
part.” - - -<br />
“Are you in no dread of incurring a penalty for<br />
circulating a periodical of such a character P’” I<br />
interposed. -<br />
Graves laughed.<br />
“Penalty The law confines its labours to<br />
running-in second-hand booksellers for exposing<br />
authors like Aristotle, Byron, Zola. It never by<br />
any chance interfered with a journal that incites<br />
lads to crime—or men either, for the matter of<br />
that.”<br />
The speaker laughed cynically. -<br />
“Though tinged with bitterness, there is some<br />
truth in what you say,” I replied.<br />
“My dear fellow,” responded Graves, looking at<br />
me steadily, “you found by experience—as I did<br />
—What encouragement there is for writers of high<br />
* ſou know as well as I what demand there<br />
§ of scholarly type who use elegant<br />
quote Occasionally from the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
## p. 258 (#318) ############################################<br />
<br />
258<br />
“Not much, to be sure, I regret to say.”<br />
“Well When a lad is thrashed for telling the<br />
truth he often turns liar. When a writer begins<br />
to understand that conscientious matter is a drug<br />
in the market, he either renounces his ideals with<br />
a view to scooping in the coin, or abandons the<br />
game in disgust.”<br />
“As you did.”<br />
“As I did, when I informed you on a memorable<br />
evening some ten years ago that I should go into<br />
trade. Now I am a linited liability company with<br />
a capital ; but I will spare you details. Nearly all<br />
my ventures have prospered.”<br />
“You will pardon what I am going to say,” I<br />
began. “Why, with the wealth your firm can<br />
command, have you never undertaken the issue of<br />
some standard work P. So far as I am aware, nothing<br />
but the veriest rags emanate from your house.”<br />
Graves opened his eyes in real or feigned<br />
Surprise.<br />
“You ask me such a question—you who know<br />
how generously the public patronises any man who<br />
tries to improve it, mentally or morally. Have I<br />
not already declared that when I abandoned writing<br />
I entered business 2 Business If I could raise<br />
the standard of public taste to-morrow by merely<br />
lifting my little finger, I wouldn’t do so. If I<br />
could instruct every street-arab, clerk or shop-girl<br />
in the world up to the level of a University gra-<br />
duate, by the expenditure of a halfpenny, I would<br />
keep the copper in my pocket. No, sir, I am not<br />
a schoolmaster or parson—most assuredly not a<br />
philanthropist. Indeed, I have even gone so far<br />
as to engender a delight for reading matter of a<br />
kind never before supplied.”<br />
“You do not allude to—to indecency.”<br />
“No. My policy is to stultify, not to shock.”<br />
4 & Ah ! 22<br />
We both maintained silence for a few seconds ;<br />
I broke it by asking him if he still adhered to his<br />
former expressed views on democracy.<br />
A sardonic grin contorted Graves' mouth as he<br />
replied.<br />
“The nation has for political purposes found it<br />
expedient to worship a little mud image which it<br />
calls Demos. Anything breathed against this<br />
image is rank heresy. Times gone by saw practical<br />
inventors, engineers and scientists springing from<br />
the class it stands for—poor men who thought out<br />
discoveries in their cottages and taught themselves<br />
the rudiments of education. We have changed all<br />
that. The class Demos represents to-day, consists<br />
chiefly of men whose aim is to work as little for as<br />
much pay as possible. Their leisure is passed mainly<br />
in public-houses. Their ambition is to oºº Yº<br />
latest ‘tips’ for a race meeting. They ay<br />
part loud, self-assertive, impudent,<br />
ape all the worse qualities of the<br />
majority.”<br />
t<br />
If they haven't reached the pitch of playing<br />
on Sunday, they are fast converting the s<br />
into a day of rowdy excursions or senseles<br />
thus are neither so industrious or de<br />
their grandfathers, yet their liberty i<br />
greater, their chances in life incompa<br />
numerous. Yet if you were to se<br />
opinion to me as proprietor of the Sp<br />
should do what every editor in Lond<br />
and stick it on the coals.”<br />
& 4 Why 2 ” •.<br />
“Because this class is in a prep<br />
golf<br />
bath<br />
“Its strikes dislocate trade. Its centralisation<br />
generates slums. Physical deterioration bids fair<br />
to make us a nation of cripples and paralytics.<br />
Idleness swells our rates. Rash and immature<br />
unions fill our hospitals, asylums, refuges and<br />
reformatories. We know it, but it would not pay<br />
us to express a candid opinion. So with our<br />
tongue in Our cheeks we allude to this little mud<br />
image as the “backbone of the country.”<br />
Graves paused a moment for breath.<br />
It was all I could do to keep from looking aghast<br />
at his utterances.<br />
“The democracy is never tired of throwing stones<br />
at the profligacy of the rich,” he burst out afresh,<br />
“but where do you find immorality so atrocious as<br />
among the denizens of mean streets 2<br />
“Another clause in my indictment, and I have<br />
done.<br />
“The son of a gentleman goes to a public<br />
school. He is cheeky to a master, misses his<br />
lessons or sins in some other way incident to boy-<br />
hood. He is flogged. Many a duke's son has<br />
been flogged at Eton, and will be again, I hope and<br />
believe.<br />
“The son of a labourer goes to a board School.<br />
He uses foul language in his teacher's hearing, or<br />
refuses to learn his task, and if he is chastised there<br />
is the whole country in an uproar. His parents<br />
assault and batter the poor pedagogue, and when<br />
they’ve done with him, the law prosecutes him.<br />
“Did any man ever know such absurdity ?<br />
Yet we are called an enlightened and progressive<br />
people !” e<br />
It was amazing to hear the editor and proprietor<br />
of one of the most democratic organs published<br />
thus expressing himself.<br />
“Open confession is good for the soul, I find, so<br />
I will continue to make you my father confessor<br />
for a few moments longer in order that you may<br />
take a close view of the machinery which has made<br />
me a success. I pander to society as well as Demos.<br />
There is no bit of scandal too Outrageous, no per-<br />
sonal interview too fulsome, no tittle-tattle too<br />
paltry for the columns of one or another of my<br />
ublications. Nobodies believe themselves some-<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
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## p. 259 (#319) ############################################<br />
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259<br />
THE AUTHOR.<br />
bodies because it suits my purposes to print their<br />
photographs and biographies occasionally, at a price.”<br />
“Let us pass on to the next point,” I suggested.<br />
“Ah, yes! Let me see—the next point. Oh<br />
cruel and ghastly posters. And what my posters<br />
do for my budgets of fiction my contents bills do<br />
for my sheets of fact.”<br />
“I have seen them,” I said, “and I think it an<br />
infernal shame that while a poor newspaper lad<br />
may be run in for crying false news, editors may<br />
print misleading, grossly exaggerated bills in order<br />
to dispose of large editions with impunity.”<br />
“I agree with you,” assented Graves. “Blame<br />
that ridiculous old ass, the law—not us who profit<br />
by its stupidity. Business is business.”<br />
“Do you take up any position with regard to<br />
religion ?” I asked. -<br />
“Religion ? No! It is played out in England.”<br />
He regarded me with an inscrutable cast of<br />
visage as he finished the last sentence. His utter-<br />
ances had been, here and there, so startling that I<br />
found myself beginning to wonder whether he was<br />
speaking in jest or earnest. He belonged to a set<br />
of men whom it is difficult or impossible to<br />
“weigh up.”<br />
“How in the world do you manage to procure .<br />
ideas for new papers, for articles, for novel com-<br />
petitions P One brain, no matter how fecund,<br />
could never breed them all, I am sure,” I began<br />
after a pause. -<br />
Graves gazed at the ceiling absently for a<br />
moment. Then his sickly smile played about his<br />
mouth. “You would like to know P’’<br />
“I WOuld.”<br />
“Well, then, you shall. First the law of copy-<br />
right. Here we have a muddle so confusing that<br />
any smart man may avail himself of its absurdities<br />
to annex ideas from authors, from rivals, from a<br />
hundred sources, without let or hindrance.”<br />
“Dishonest ” I exclaimed.<br />
“Certainly,” agreed Graves readily. “But<br />
business. What is to prevent me from advertising<br />
for an assistant in my literary department—whether<br />
I want one or not ? Mr. Pen—shall we call him 2<br />
—answers my advertisement together with some<br />
scores of others. He, and the most likely among<br />
them, are accorded interviews.<br />
“‘Mr. Pen,' I say, ‘what suggestions would you<br />
make to improve my journal should you be<br />
appointed to the post applied for P’<br />
“Mr. Pen, poor guileless creature, unbosoms him-<br />
self. Some of his notions are good and feasible.<br />
My shorthand clerk in attendance takes notes of<br />
them, as of the others emanating from the<br />
applicants I review.<br />
“I close each successive interview with a gracious<br />
promise that the departing penman shall hear<br />
from me.<br />
“So he does. To the effect that the appointment<br />
has been filled up.<br />
“Shameful ' " I shouted as I grasped his<br />
meaning.<br />
Graves slowly stroked his chin.<br />
“The law allows it. What more is to be said.”<br />
“You are an unscrupulous fellow,” I answered.<br />
Graves laughed, a harsh, cackling, disagreeable<br />
laugh.<br />
“I have gone into trade.”<br />
I put on my hat and prepared to quit the place,<br />
sº moral atmosphere I began to find growing<br />
etid.<br />
“Before I go,” I said, “will you be good<br />
enough to inform me for what purpose you have<br />
bought manuscripts of an ethnographical nature<br />
from me? I should like to know this particularly,<br />
Seeing that no publication of a character available<br />
for their insertion appears to figure on your rather<br />
extensive list.”<br />
Graves stood up behind his writing-table, and<br />
Once again repeated his detestable grin.<br />
“You have a right to ask what purposes your<br />
manuscripts serve in our business. I’ll tell you.<br />
They are of use in supplying local colour to some<br />
of the tales of adventure our boy subscribers love<br />
so dearly. We can offer you even better terms to<br />
continue your papers on the same subject.”<br />
I was too disgusted to make any rejoinder.<br />
Turning on my heel, I left Wynyard Graves or<br />
Gregory Grubb—as the reader prefers—to his<br />
papers, his schemes, his success, his huge fortune.<br />
The last I heard of him was his return to<br />
Parliament as the “Champion of the Working<br />
Classes.”<br />
CORRESPONDENCE.<br />
—e—sº-e—<br />
UNITED STATES COPYRIGHT.<br />
DEAR MR. THRING, I have been reading the<br />
United States Copyright Act and your interesting<br />
article upon it. It seems a curious innovation to<br />
give such preference to foreign countries and<br />
exempt all from the burden of the manufacturing<br />
clauses, with the exception of England.<br />
May I call your attention to your paragraph<br />
about dramatic and musical compositions, wherein<br />
you say that they must be printed from type set<br />
in the United States if they are produced for sale<br />
in book form. This would be a serious alteration<br />
in the law, which does not appear to me to have<br />
been intended or enacted. It is only “books” and<br />
“periodicals” which are mentioned in (a) and (b)<br />
of section 5, to which the manufacturing clauses<br />
apply. A dramatic composition, even if it is pub-<br />
lished in book form, should be described as a<br />
“dramatic composition ” under (d) and not as<br />
<br />
<br />
## p. 260 (#320) ############################################<br />
<br />
260<br />
THE AUTHOR.<br />
a “book,” and if it is so described the manufac-<br />
turing clauses would not be applicable. I hope<br />
you do not mind my comment upon this point,<br />
because it seems to me that the statement “then<br />
the type-setting clause takes effect ’’ is inaccurate,<br />
and may give rise to misunderstanding.<br />
Yours very truly, HAROLD HARDY.<br />
—º-º-º-<br />
MAGAZINE WRITERS AND THE INCOME TAx.<br />
SIR,--I have only to-day, March 28th, seen the<br />
article on this subject signed by Alfred Smythe ;<br />
and although it contains much with which one<br />
cannot fail to sympathise, yet being fully aware, to<br />
my cost, of the hard struggle which magazine and<br />
newspaper writers often have, I totally fail to see<br />
why we should be freed from the payment of<br />
income tax any more than any other class of<br />
professional men or women are.<br />
not rather be thankful that they make sufficient by<br />
their pen to be taxed at all !<br />
barrister or doctor has quite as many difficulties to<br />
contend with for some years, and often for ever, as<br />
the writer of magazine articles | A long Univer-<br />
sity education usually is essential in his case, while<br />
it is by no means so in the case of Writers.<br />
Compared with many other professional men,<br />
e.g., Solicitors, architects,l and agents, accountants,<br />
writers of magazine articles need not have had to<br />
pay a heavy premium to learn their profession,<br />
nor when in practice is there the same professional<br />
—apart from personal –expense, nor is there any<br />
capital expenditure required as is frequently the<br />
case in business, unless, indeed, some writers are<br />
disposed to look upon a few “postage stamps" as<br />
capital expenditure.<br />
H. STUART THOMPSON.<br />
IS THE 6s. NOVEL DOOMED 2<br />
SIR,-My temperament is neither gloomy nor<br />
pessimistic, but, on the contrary, it is of the most<br />
optimistic character ; yet I cannot help saying that<br />
in my humble opinion the outlook of the profession<br />
of novelist is very grave. I have spent a few days<br />
interviewing booksellers, and to sum up briefly<br />
what passed between us, I was informed by more<br />
than one prominent bookseller that the clamour on<br />
the part of the public for cheap reprints is daily<br />
growing more intensified, and that the 6s. novel<br />
of even prominent writers is becoming less and<br />
less in demand.<br />
One bookseller exclaimed, “Oh, as for the new<br />
writer, he has, poor devil no chance at all.” The<br />
position is not only serious for the latter, but it is<br />
even more serious for the former class of writer,<br />
and there is internal evidence to show that the<br />
cheap reprints have come to stay.<br />
Whom is the author to blame 2 Is it the public,<br />
Should writers<br />
Surely the struggling<br />
2<br />
who apparently find it more entertaining to read<br />
cheap reprints than new fiction ; or is the blame to<br />
be fixed upon the trade 2 It would be a difficult<br />
thing to trace the evolution of the cheap reprint,<br />
but it is obvious to the author, and also to the<br />
trade, that in spite of the evidence that the<br />
“enemy’’ has come to stay, the present is a diffi-<br />
culty which must somehow be overcome both for<br />
the sake of the publishing trade and also for the<br />
profession of novelist. Publishers' travellers will<br />
tell you that they are quite unable to excite the<br />
curiosity of booksellers with regard to new 63.<br />
novels, and that the trade will not look at them.<br />
On the other hand, these same gentlemen have<br />
their order books crammed with orders running<br />
into three and four figures for “mixed” reprints,<br />
at 7S. per dozen, less 10 per cent.<br />
It would be really very interesting to know<br />
whether the person to put in the pillory is the<br />
bookseller or our old friend the publisher. Or<br />
perhaps it is the taste of the public which has<br />
become so depraved, eh?<br />
Yours faithfully, A NovKLIST.<br />
—º-º-o-<br />
MAGAZINE PROPRIETORS.<br />
SIR,--I should like to bring to the notice of the<br />
Authors’ Society the responsibilities of the pro-<br />
prietors of certain second-class periodicals and<br />
papers, and should like to inquire whether there is<br />
a satisfactory solution for the following difficulty.<br />
A magazine engages a contributor and offers to<br />
pay him a fixed rate for articles. After a short<br />
period, the contributor experiences a difficulty in<br />
obtaining payment, and finally, on threatening to<br />
bring an action, is informed that the magazine<br />
has changed hands and that the proprietors are not<br />
liable for the work published before the date they<br />
took over the responsibilities. The contributor is<br />
in the following position : he has to find out what<br />
has become of the former proprietors and where he<br />
can apply for payment. In many cases this is<br />
exceedingly difficult, and in many cases impossible.<br />
Should he discover the whereabouts of the former<br />
owners he is very often unable to obtain payment.<br />
owing to the fact that they have no money and no<br />
assets. Two points seem to be very hard upon the<br />
author. First, that the original owner, who has<br />
most probably obtained something for the sale of<br />
his magazine, should not meet the just demands of<br />
his creditors. Secondly, that the magazine should<br />
be allowed to go on under the same title without<br />
notifying the creditors of the change in the<br />
responsibilities.<br />
I should be glad if the members of the Authors’<br />
Society could give any information as to , the<br />
course which it is advisable to adopt in these<br />
Circumstances.<br />
Yours truly, A SUFFERER.<br />
<br />
<br />
## p. 260 (#321) ############################################<br />
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Full lists on application, post free.<br />
Authors should forward MSS. of any description<br />
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MRS. GILL, Typetoriting Office,<br />
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Authors' MSS. carefully copied from 1s, per 1,000<br />
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lations supplied. References kindly permitted to Messrs.<br />
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The Literary Agency of London has pleasure<br />
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Particulars may be had by sending Starmped Addressed<br />
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## p. 260 (#322) ############################################<br />
<br />
iV ADVERTISEMENTS.<br />
T0 AUTHORS AND JOURNALISTS.<br />
* The writer, whether he aspires to write novels,<br />
short stories, or articles, often spends years in<br />
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the only return for the time and labour spent.<br />
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* The College also undertakes Literary Agency<br />
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For full particulars write at once for pamphlet<br />
D.M. to the LITERARY CORRESPONDENCE CollBGE,<br />
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| FIRST LEssons INSTORY WRITING.<br />
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*|| Of this work the Westminste?' Gazette writes: “The<br />
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393 | https://historysoa.com/items/show/393 | The Author, Vol. 19 Issue 08 (May 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+08+%28May+1909%29"><em>The Author</em>, Vol. 19 Issue 08 (May 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-05-01-The-Author-19-8 | | | | | 197–228 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-05-01">1909-05-01</a> | | | | | | | 8 | | | 19090501 | C be Elut bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.<br />
Wol. XIX. —No. 8. MAY 1, 1909. [PRICE SIXPENCE.<br />
C O N T E N T S.<br />
- PAGE PAGE<br />
Notices ... * - c. - * * tº q c tº a tº t e ∈ s is tº tº gº to ... 197 Warnings to Musical Composers ... * - - * * 0. • & e ... 214<br />
Committee Notes * * * * * * e - - ... ** g e * G - ... I'99 Stanlping Music... - - - - - - - - e. * * * - - - - - - ... 214<br />
Books published by Members of the Society e tº º & º º ... 201 The Reading Branch. ... - - - e e - * - - a tº a - * * ... 214<br />
Books published in America by Members ... - s e e - - ... 203 “The Author" ... ... • * * tº a tº - - - - - - * * * ... 214<br />
Literary, Dramatic and Musical Notes ... e = * * - - ... 203 Remittances s tº . . * * * * - - - * - e - - - - - • s & ... 214<br />
Paris Notes - - - - * * s sº e * - a - - - & e º * * * ... 206 General Notes ... * - - • * * tº e ∈ * - - * * * • * * ... 215.<br />
The United States Copyright Act ... - - - * * * * * * ... 207 Algernon Charles Swinburne ..., * * * * - - - - - - * * , , , 217<br />
Playright and Public Performance ... * * * tº s e * * * ... 209 Creation and Criticism ... * * * - * = * - - - - - • * e ... 21S<br />
Printed Plays and Manufacturing Clause ... s tº s e tº tº ... 211 Memoir on the Protection of the Right of Translation ... ... 220'<br />
Magazine Contents & e º * * * * - - - a º * * * * & - ... 212 A Plutocrat of the Press ; or, The Cynic's Success • * * ..., 223.<br />
How to Use the Society * * * * - e. - - - • -- * - - ... 213 The Utility of Reviews... - - - e s - tº º - - - - - * * .., 225.<br />
Warnings to the Producers of Books - * * a º º tº a tº ... 213 Books at Auction - - - - * * - a - * - - - - - - - - ... 226.<br />
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Registration of Scenarios e s "e - - - - - - tº a * - - ... 214<br />
P-<br />
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Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br />
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8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
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LUNGE, J.U.D. 2s. 6d. -<br />
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[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S. W.]<br />
<br />
<br />
## p. 196 (#252) ############################################<br />
<br />
AD VHRTISEMENTS.<br />
(ſlie Šuriefly of Autburg (incorporates).<br />
PRESIDENT.<br />
COUNCIL.<br />
A UST IN DOBSON.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESHFIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT FOWLER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD,<br />
THOMAS HARDY.<br />
MRS. HARRIson (“I,UCAS MALET").<br />
ANTHONY HOPE HAWKINS.<br />
E. W. HORN UNG.<br />
MAURICE HEWLETT.<br />
JEROME K. J EROM F.<br />
HENRY ARTHUR JONES.<br />
J. SCOTT KELTIE, LI. D.<br />
RUDYARD RIPLING.<br />
SIR EDWIN RAY LAN KESTER, F.R.S.<br />
THE REV. W. J. LOFTIE, F.S.A.<br />
THE RIGHT HON. SIR ALFRED<br />
LYALL, P.C.<br />
LADY LUGARD (MISS FLORA. L.<br />
SHAw).<br />
SIDNEY LEE.<br />
MRS. MAXWELL (M. E. BRADDON).<br />
JUSTIN MCCARTHY.<br />
THE REV. C. H. MIDDLETON-WAKE,<br />
SIR HENRY NORMAN, M.P.<br />
SIR GILBERT PARKER, M.P.<br />
A. W. PIN ERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKHAM.<br />
OWEN SEAMAN.<br />
G. BERNAIRD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE,<br />
FRANCIS STORR.<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS,<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD-MARSHAL THE RIGHT HON.<br />
.THE WISCOUNT WolsFLEY, K.P.,<br />
P.C., &c.<br />
SIDNEY WEBB.<br />
Chairman—DOUGLAS FRESHFIELD.<br />
| MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEBB.<br />
A. W. PINERO.<br />
CECIL RALEIGH.<br />
G. BERNA RD SHAW.<br />
ALFRED SUTRO.<br />
JEROME K. JEROME.<br />
HENRY ARTHUR JONES.<br />
W. J. LOCKE.<br />
CAPT. ROBERT MARSHALL.<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MORLEY ROBERTS.<br />
M. H. SPIELMANN.<br />
MRS. ALEC TWEEDIE.<br />
MRS. HUMPHRY WARD.<br />
E. J. MACGILLIVRAY.<br />
SIR GILBERT PARKER, M.P.<br />
ART<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
} Solicitors.<br />
SIR CHARLES WILLIERS STANFORD,<br />
Mus. Doc.<br />
J. H. YoxALL, M.P.<br />
ARTHUR RACKHAM.<br />
M. H. SPIELMANN.<br />
Secretary—G. H ERBERT THRING,<br />
Solicitor inv England to<br />
La Société des Gens de Lettres,<br />
OFFICES.<br />
Telegraphic Address : “A UTORIDAD, LONDON.”<br />
Telephone No. : 374 Victoria.<br />
G-EOIERG-E IMIEERIET) ITIEH, C - IMI-<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIR WM. REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD A V E-<br />
J. M. BARRIE. | BURY, P.C.<br />
SIR ALFRHD BATEMAN, K.C.M.G.<br />
ROBERT BATEMAN.<br />
T. E. BEDDARD, F.R.S.<br />
THE RIGHT HON. AUGUSTINE BIR-<br />
RELL, P.C.<br />
MRS. E. NESBIT BLAND.<br />
THE REV. PROF. BONNEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYCE, P.C.<br />
THE RIGHT HON. THE LORD BURGH-<br />
CLERE, P.C.<br />
HALL CAIN E.<br />
J. W. COMYINS CARR.<br />
EGERTON CASTLE, F.S.A.<br />
S. L. CLEMENs (“MARK TWAIN ?).<br />
EDWARD CLODD.<br />
W. MORRIS COLLES.<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
F. MARION CRAW FORD.<br />
THE RIGHT HON. THE LORD CURZON<br />
OF KEDLESTON, P.C.<br />
COMMITTEE OF MANAGEMENT.<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
MRS. E. NESBIT BLAND.<br />
J. W. COMYINS CARR.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fow LER).<br />
DRAIMIATIC SUB-COIMIMITTEE.<br />
H. GRAN VILLE BARKER.<br />
J. M. BARRIE.<br />
R. C. CARTON.<br />
MISS CICELY HAMILTON.<br />
PENSION FUND COMMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS,<br />
COPYRIGHT SUB-COMMITTEE.<br />
HAROLD HARDY.<br />
ANTHONY HOPE HAWKINS.<br />
'THE HON. JOHN COLLIER,<br />
SIR. W. MARTIN CONWAY.<br />
FIELD, Rosco E & Co., 36, Lincoln's Inn Fields, W.C.<br />
G, HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W.<br />
LAwRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
39, OLD QUEEN STREET, STOREY'S GATE, S.W.<br />
<br />
<br />
## p. 197 (#253) ############################################<br />
<br />
C be El ut bor.<br />
(The organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
Vol. |XTX.—No. 8.<br />
IMAY 1st, 1909.<br />
[PRICE SIxPENCE.<br />
TELEPHONE NUMBER :<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDREss:<br />
AUTORIDAD, LONDON.<br />
: . |<br />
NOTICES.<br />
—º-º-e—<br />
NOR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case. - -<br />
THE Editor begs to inform members of the<br />
Authors' Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application. -<br />
THE SOCIETY'S FUNDS.<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
WOL. XIX.<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
—2–0–<br />
LIST OF MEMBERS.<br />
—º-º-e—<br />
HE List of Members of the Society of Authors<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
& —º- &<br />
w--U-w<br />
PENSION FUND.<br />
—e-º-e—<br />
N the 5th of February, 1909, the Trustees of<br />
the Pension Fund of the Society, after<br />
the secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
£350 in the purchase of Corporation of London<br />
2} per cent. Stock (1927–57).<br />
The amount purchased is £438 2s. 4d., and is<br />
added to the list printed below.<br />
The Trustees are glad to report that owing to<br />
the generous answer to the circular sent round at<br />
the end of 1908, they have been able to invest<br />
more than £100 over the amount invested last<br />
year.<br />
Consols 23%.............................. 31,000 0 0<br />
Local Loans .............................. 500 () ()<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291. 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 ()<br />
<br />
<br />
## p. 198 (#254) ############################################<br />
<br />
198 THES A UTISIOH&.<br />
Egyptian Government Irrigation - £ S.<br />
Trust 4% Certificates ............... 3200 () Jan. 4, Abercrombie, Lascelles O 5<br />
Cape of Good Hope 33% Inscribed Jan. 5, Bradgate, Mrs. 1 1<br />
Stock .................................... 200 Jan. 6, Leach, Henry () 10<br />
Glasgow and South-Western Railway Jan. 6, Cullen, H. N. () 5<br />
()<br />
4% Preference Stock.................. 228 ()<br />
New Zealand 34% Stock. . . . . . . . ... 247 9 Alfred, P.C., etc. .<br />
O Jan. 7, Underdown, Miss Emily<br />
2 tº e<br />
Irish Land Act 23% Guaranteed Stock 258<br />
Jan. 8, Omond, T. S.<br />
O<br />
0<br />
0 Jan. 6, Lyall, The Right Hon. Sir<br />
§<br />
Corporation of London 24% Stock, 4<br />
1927–57 .............................. 4.38 Jan. 8, Paternoster, G. Sidney .<br />
- — Jan. 9, Stockley, Mrs. e<br />
Total ............... £3,815 1 0 Jan. 9, Tanner, James T. .<br />
= Jan. 12, Tighe, Henry<br />
Subscriptions. Jan. 12, Aitken, Robert<br />
1909. S. Jan. 12, Bolton, Miss Anna<br />
º Jan. 14, Williamson, W. H.<br />
Jan. 1, Twycross, Miss M. . 5 Jan. 16, Furze, Miss Bessie<br />
Jan. 2, Macquarie, Arthur . 10 jan. 16, Shirley, Arthur<br />
Jan. 4, Sproston, Mrs. Stanley<br />
Jan. 4, Phipson, Miss Emma<br />
Jan. 4, Middlemass, Miss Jean .<br />
Jan. 4, Pott, J. A. . . .<br />
Jan. 4, Miller, Mrs. . tº<br />
Jan. 7, Marchmont, A. W..<br />
Jan. 7, Sharwood, T. S.<br />
Jan. 12, Durand, Ralph<br />
Jan. 12, Laing, Mrs. . ©<br />
Jan. 14, Banks, Mrs. M. M.<br />
Jan. 14, Steel, Richard<br />
Jan. 16, Garnett, Edward .<br />
Jan. 16, Fenn, Frederick<br />
Jan. 18, Hering, Henry A.<br />
Jan. 18, Fox, Archibald D.<br />
Jan. 31, Anon. . º o<br />
Jan. 31, Kelly, W. P. º<br />
Jan. 31, Cotesworth, Miss . ©<br />
Feb. 1, Phillipps-Wolley, Clive .<br />
Feb. 1, Dawson, Warrington<br />
Jan. 18, “Austin Clare” . e<br />
Jan. 22, Williamson, Mrs. C. N.<br />
Jan. 22, Williamson, C. N.<br />
Jan. 23, Brown, R. Grant , º ſº<br />
Jan. 28, Raphael, Mrs. M. . e e<br />
Feb. 4, Wilson, Miss Theodore Wilson<br />
Feb. 4, Cousland, W. M. . o<br />
Feb. 4, Hardy, Thomas<br />
Feb. 5, Bremner, Robert L.<br />
Feb. 6, Todhunter, John<br />
Feb. 6, Pettigrew, W. F.<br />
Feb. 8, Russell, G. H. e<br />
Feb. 8, Walker, Capt. J. H.<br />
Feb. 8, Dutton, Miss Annie<br />
Feb. 8, Baldwin, Mrs. Alfred<br />
Feb. 11, Ainslie, Miss e<br />
Feb. 11, Steward, Miss E. M.<br />
Feb. 11, Rumble, Mrs.<br />
Feb. 15, Beveridge, A. S.<br />
Feb. 16, Toplis, Miss Grace<br />
-I<br />
I1<br />
£<br />
Feb. 4, Willard, Mrs. E. S. 1 tº * * ><br />
Feb. 19, Paget, Mrs. Gerald ; : Wºº. o 1.<br />
Feb. 20, Andrews, C. G. Feb.26, FitzGerald, Mrs. . . . 1<br />
* 5, §: Lancelot 1 March 2, Tadema, Miss Laurence Alma 10<br />
i. º ºº - 1 March 2, Reynolds, Mrs. Baillie. 5<br />
: y 2 * tº º e e H * } w -<br />
March 9, Young, Col. George F., C.B. *. º W. ** 1.<br />
March 10, Sullivan, Herbert º March 3. Hardy, 'Hanoid 10<br />
March !!! Merritt, Mrs. Anna Lea March 9, Crozier, Dr. Beattie 5<br />
Margh 32. Dale, T. F. . . * March 9, Ross, Mrs. Janet º ()<br />
April 13, Gask, Miss Lilian |March 15, Gregory, Lady . e O<br />
Donati March 31, Wizzari, Leopold de S. 5<br />
07tations. - April 5, Burchell, Sidney H. 5<br />
1909. April 15, Linton, C. Stuart 5<br />
. 1, Zangwill, Isra April 19, Loraine, Lady . e & 10<br />
Jan. 1, Zangwill, Israel 1 I () April 19, Durand, Sir Henry Mortimer O<br />
Jan. 1, Hamilton, John A. . () 5 0 º e<br />
Jan. 4, Stopford, Francis 6 April 20, Stephens, Riccardo . 1 1<br />
Jan. 4, Falmouth, The Wiscountess 5 () () The names of those subscribers and donors which<br />
Jan. 4, Carrel, Frederick 0 10 0 are not included in the lists printed above are<br />
Jan. 4, Laws, T. C. . . O 5 0 unavoidably held over to the June issue.<br />
<br />
<br />
## p. 199 (#255) ############################################<br />
<br />
THE AUTHOR.<br />
199<br />
The total amount of annual subscriptions<br />
received and promised since the issue of the<br />
circular in November amounts to about £75, the<br />
total amount of donations to £126. .<br />
——<br />
comMITTEE NOTEs.<br />
—º-º-e—<br />
HE April meeting of the committee was held<br />
on Monday, the 5th day of that month, at<br />
the offices of the society, 39, Old Queen<br />
Street, Storey's Gate, S.W.<br />
Their first action was to elect a new chairman.<br />
Mr. Maurice Hewlett was appointed for the current<br />
year. The sub-committees were then re-elected to<br />
serve for 1909. No alterations were made in the<br />
old sub-committees. The alterations in the dra-<br />
matic sub-committee have already been chronicled<br />
in The Author.<br />
After this business the committee proceeded<br />
with the election of members. Thirty-one members<br />
and associates were elected, bringing the number<br />
for the current year up to ninety-seven. The com-<br />
mittee have to chronicle eleven resignations, bring-<br />
ing the number for the current year up to fifty-six,<br />
which is rather above the average of former years.<br />
The next point discussed was the date of the<br />
second statutory meeting of the council. The<br />
first meeting, which was held just before the<br />
general meeting, proved very unsatisfactory, for<br />
although a three-line notice had been despatched,<br />
it was found impossible to obtain an attendance<br />
sufficient to form a quorum. The committee would<br />
like to call attention to the fact that under the new<br />
constitution of the society two meetings of the<br />
council in each year are obligatory. It was decided<br />
to hold the next council meeting on June 7, when<br />
a report will be submitted of the action taken by<br />
the committee in respect to copyright legislation.<br />
Due notice of this meeting will be sent out.<br />
The committee next settled the form of the<br />
questions which they desired to put to the Chan-<br />
cellor of the Exchequer in regard to authors and<br />
income tax. The secretary was instructed to<br />
forward the questions to Mr. A. E. W. Mason, who<br />
has kindly consented to put them forward.<br />
In bringing before the committee the question of<br />
colonial sales, the secretary explained that during<br />
the past year or so he had been investigating this<br />
matter ; that the result of his investigations had<br />
convinced him that colonial sales were inadequate,<br />
and from the view of people acquainted with the<br />
colonies, that the American publishers and book<br />
agents were gradually pushing English authors and<br />
their books out of the colonial markets. It was<br />
decided, finally, that the chairman should write a<br />
letter to the Publishers' Association calling their<br />
attention to this state of things, and inquiring as<br />
to the steps which they thought might be taken<br />
with a view to mitigating the evil.<br />
The question of the chairman and guests for the<br />
annual dinner was then discussed.<br />
A letter from the Society of Friends of Russian<br />
Literature, inquiring whether the Society of<br />
Authors desired to take part in the Gogol Celebra-<br />
tion, was next considered, and the committee<br />
decided that a formal letter should be written,<br />
signed by the chairman of the society, expressing<br />
their wish to associate themselves with the ceremony<br />
which was to take place in honour of one of the<br />
greatest Russian authors, Nicolas Wassilićvitch<br />
Gogol. -<br />
The report of the Sub-committee on Cheap Books<br />
was then discussed, and letters from Mr. H. Rider<br />
Haggard, Mr. C. J. Longman, and Mr. Arthur<br />
Morrison, dealing with questions rising out of the<br />
report, were read and considered. The committee<br />
Settled the form of post-card which should be<br />
sent to all members of the Society of Authors to be<br />
signed and returned to the office by those who, as<br />
Writers of fiction, were interested in the discussion<br />
and in the report.<br />
The secretary reported the action taken by<br />
the joint copyright committee and the dramatic<br />
Sub-Committee, and placed on the table a letter he<br />
had received from the secretary of the departmental<br />
Committee in regard to evidence. He explained<br />
that the dramatic sub-committee had settled the<br />
evidence which it desired to put before the com-<br />
mittee, and that they had also settled on the<br />
delegates whom they would select to give such<br />
evidence. The committee of management con-<br />
firmed the action of the dramatic sub-committee.<br />
The secretary then reported that the joint com-<br />
mittee had unanimously decided in favour of<br />
immediate alteration in the domestic law of Great<br />
Britain in order to bring it into harmony with the<br />
Berlin Convention. The committee desired to<br />
Support this view, and unanimously approved a<br />
motion to the effect that the domestic law of Great<br />
Britain should be altered at the earliest opportunity.<br />
to bring it into accord with the Berlin Convention,<br />
and that the legislature of Great Britain should<br />
give the lead to colonial legislatures, and should<br />
not wait till it was possible to obtain the favour-<br />
able support of the colonies. It was decided, also,<br />
to call a meeting of the copyright sub-committee<br />
to consider what further questions should be laid<br />
before the departmental committee, and to ask<br />
Mr. E. J. MacGillivray and Mr. A. Hope Hawkins<br />
whether they would undertake the duty of giving<br />
evidence on behalf of the society before that<br />
committee. .<br />
An important question respecting the business<br />
<br />
<br />
## p. 200 (#256) ############################################<br />
<br />
200<br />
THE AUTHOR.<br />
relations between authors and agents was con-<br />
sidered, but owing to the lateness of the hour, it<br />
had to be adjourned to the next meeting.<br />
Of three cases laid before the committee, it was<br />
decided to take up two. One was a breach of<br />
agreement and inadequate rendering of accounts,<br />
the other was a claim for infringement of copy-<br />
right against a publisher who had re-issued a book<br />
after the expiration of the original agreement<br />
between the author and himself.<br />
—e—º-e—<br />
JOINT COPYRIGHT SUB-COMMITTEE.<br />
THE Joint Sub-committee called together by<br />
the Society of Authors met at the society's offices<br />
On March 31.<br />
Sir Alfred Bateman occupied the chair.<br />
After the reading of the minutes, the secretary<br />
read a letter he had received from the secretary of<br />
the departmental committee on the question of<br />
the evidence it might be necessary to place before<br />
that committee.<br />
The joint committee were unanimous that<br />
legislation should at once be called for to alter<br />
the domestic law of Great Britain in order to bring<br />
it into harmony with the Berlin Convention. If it<br />
was impossible to obtain the favourable support of<br />
the Colonies, then that an amending Act and not<br />
a codifying Act should be passed, and that Great<br />
Britain should lead the way in the hope that the<br />
self-governing Colonies would declare for uniformity<br />
at a later date.<br />
The members of the different bodies represented<br />
were unanimous in support of all the main issues<br />
comprised in the clauses of the Convention, though<br />
the representatives of the Music Publishers’<br />
Association stated that there were some minor<br />
points on which, from their point of view, there<br />
might be discussion. Among other points they<br />
stated that the opinion of the music publishers<br />
was divided on the question of the advisability of<br />
the abolition of what is known as “The Wall Act,”<br />
but, on the whole, for the sake of uniformity with<br />
Other nations, they thought that the music<br />
publishers would vote for its abolition. -<br />
The unanimity which prevailed on the many<br />
points in the Convention showed how satisfactory<br />
was the result obtained by calling the joint<br />
committee together.<br />
—º-º-o-<br />
DRAMATIC SUB-COMMITTEE.<br />
THE Dramatic Sub-committee met at the<br />
society's offices on March 30, when Mr. Henry<br />
Arthur Jones was in the chair.<br />
After reading the minutes, the secretary reported<br />
that he had heard from Sir W. S. Gilbert, who<br />
expressed his regret that he was unable to under-<br />
take the duties of delegate to put forward the<br />
views of dramatists before the departmental com-<br />
mittee. He read a letter from Mr. J. W. Comyns<br />
Carr in which that gentleman expressed his<br />
willingness to act. The sub-committee decided<br />
to ask Mr. Sydney Grundy whether he would be<br />
willing to undertake the duties if his views were in<br />
accord with the views of the sub-committee on the<br />
subject. * r<br />
The next question before the meeting related to<br />
the nature of the evidence to be given before the<br />
departmental committee on behalf of dramatic<br />
authors. Mr. Pinero expressed the view that it<br />
was of the utmost importance that the committee<br />
should, if possible, be unanimous, and added that<br />
the English law should be brought into uniformity<br />
with the Berlin Convention. He proceeded, with<br />
the sanction of the chairman, from notes which he<br />
had prepared, to put forward the most important<br />
points which he thought should be supported by<br />
dramatic authors. These points, after some dis-<br />
cussion, were accepted. They proved of so<br />
exhaustive a character that there was no further<br />
need, after discussion, for any other member of the<br />
committee to add additional details. -<br />
The secretary was instructed to draft into proper<br />
form the points that had been accepted from<br />
Mr. Pinero's notes, and at the next meeting of the<br />
committee it was decided finally to approve the<br />
document. - ..<br />
The lengthy discussion incidental to these<br />
matters rendered it necessary that the other ques-<br />
tions on the agenda should be postponed, and on<br />
Mr. Pinero's suggestion this course was adopted.<br />
—º-º-º-<br />
COPYRIGHT SUB-COMMITTEE.<br />
A MEETING of the Copyright Sub-committee was<br />
held on Monday, April 19, at 39, Old Queen Street,<br />
when Sir Charles Williers Stanford occupied the<br />
chair.<br />
The committee expressed approval of the points<br />
which had been settled by the dramatic sub-com-<br />
mittee and the committee of management of the<br />
society, and decided to support the policy of<br />
immediate domestic legislation in order to bring<br />
Great Britain into uniformity with the Berlin<br />
Convention, if it should prove impossible to obtain<br />
the prior consent of the Colonies. They considered<br />
that the most important point of all was that<br />
the law of Great Britain should be altered. To<br />
obtain this point any small differences should be<br />
sunk. The committee suggested the following<br />
names to give evidence on behalf of the Society :-<br />
The chairman of the Society, in support of<br />
<br />
<br />
## p. 201 (#257) ############################################<br />
<br />
TRIE A DITISIOR-<br />
201<br />
the broad views which the society desired to put<br />
forward;<br />
Mr. E. J. MacGillivray, on the technical questions<br />
involved in the process of bringing the present law<br />
into conformity with the Berlin Convention ;<br />
Mr. J. W. Comyns Carr, whose name had<br />
'been proposed by the dramatic sub-committee,<br />
£0 give the evidence settled by that committee;<br />
&Il<br />
Sir A. C. Mackenzie, to speak on behalf of<br />
musical composers.<br />
Mr. MacGillivray then submitted to the com-<br />
mittee the points in detail which he desired to<br />
make in his evidence, and asked for the committee's<br />
approval. The committee went through the notes<br />
one by one and passed the points after discus-<br />
sion and consideration. The committee thanked<br />
Mr. MacGillivray for the labour he had bestowed<br />
On the matter.<br />
—e—sº-o-<br />
Cases.<br />
DURING the past month nine cases have come to<br />
the Office. Three were claims for the return of<br />
1MSS. In one of these the MS. has been returned ;<br />
in the second, negotiations are being satisfactorily<br />
carried on and the MS. will be returned shortly ;<br />
the third has only recently come into the office.<br />
Of two cases for accounts: one has been settled by<br />
the receipt of the accounts which have been for-<br />
warded to the author ; the second only came into<br />
the office just before the magazine went to press.<br />
There were three claims for money. We regret<br />
that none of these has, as yet, been settled ; but,<br />
no doubt, the intervention of the Easter holidays<br />
has thrown out business to some extent. There is<br />
one claim for money and accounts. This has<br />
only recently come into the secretary's hands.<br />
Of the claims still open, the majority refer to<br />
matters abroad, either in the colonies or on the<br />
Continent, and there is naturally some delay.<br />
All those in England have been satisfactorily<br />
dealt with. -<br />
—e—º-e—<br />
April Elections.<br />
Bage, The Rev. John Chester.<br />
Baker, Mrs. Jessie C. M. . Robindene, Kemp-<br />
town, Brighton.<br />
Fettis College, Edin-<br />
burgh.<br />
Empire Theatre, W.C.<br />
Tivoli Crescent,<br />
Brighton.<br />
Dyson, Miss Charlotte C. Panchgani,<br />
Pres.<br />
Figgis, W. E.<br />
Beith, John Hay .<br />
Clarke, Cuthbert . ©<br />
Dorrington, Albert . &<br />
Bombay<br />
Forsyth David, M.D. Sc. .<br />
Gask, Miss Lilian<br />
Greenwood, William,<br />
F.S.A.<br />
Housman, Laurence.<br />
Rershaw, John B. C.<br />
Larken, Edmund Paul<br />
Legard, E. B.<br />
Lloyd, Mrs. Ernest .<br />
Pridham, Harvey<br />
Price, Florence Cecilia<br />
(“Eff Kaye.")<br />
Pritchard, Mrs. F.<br />
Russell, G. W. M.<br />
Smith, Sophie Shillets<br />
Stopes, Marie C., D.Sc.<br />
Ph.D., F.L.S.<br />
Sykes, Arnold W. .<br />
Thornton, Charles E. C.<br />
Townshend, Arthur F.<br />
Vaun, Russell .<br />
Wagner, Hugh K.<br />
Whall, W. B. .<br />
&<br />
vºy<br />
43, Queen Anne's<br />
Street, Cavendish<br />
Square.<br />
33, Lithos Road,<br />
Hampstead, N.W.<br />
Croylands, Spring<br />
Grove, Isleworth.<br />
c/o J. B. Pinker,<br />
Talbot House,<br />
Arundel Street,<br />
Strand, W.C.<br />
West Lancashire La-<br />
boratory, Waterloo,<br />
Liverpool.<br />
19, Victoria Grove,<br />
Kensington.<br />
16, Auriol Road, West<br />
Kensington, W.<br />
Montrose Cottage,<br />
Cly de Road,<br />
I nowle, Bristol.<br />
Marks Hall, Cogges-<br />
hall, Essex.<br />
St. John's Road, Sid-<br />
Cup.<br />
17, Rathgar Avenue,<br />
Rathgar, Dublin.<br />
18, Southmoor Road,<br />
Oxford.<br />
The University, Man-<br />
chester.<br />
Netherleigh, Hudders-<br />
field.<br />
17, Montpelier Square,<br />
S.W.<br />
Sea Field, Castle<br />
Townshend, Skib-<br />
bereen, Ireland.<br />
1 11, Finborough<br />
Road, Earl's Court,<br />
S.W.<br />
Suite 503, Fullerton<br />
Building, St. Louis,<br />
Mo., U.S.A.<br />
Thurning,<br />
Glam.<br />
Barry,<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—º-º-º-<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and as exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
<br />
<br />
## p. 202 (#258) ############################################<br />
<br />
202<br />
TISIES A UITISIOR.<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
aCCurate. & r-<br />
ANTHROPOLOGY.<br />
PRIMITIVE MAN. By EDWARD CLODD. 6; × 4}.<br />
Newnes. 18. m.<br />
206 pp.<br />
BIOGRAPHY.<br />
THE LOVE LETTERS OF THOMAS CARLYLE AND JANE<br />
WELSH. Edited by ALEXANDER CARLYLE. Two vols.<br />
9 x 6. 400 + 448 pp. Lane. 25s. m.<br />
BOOKS OF REFERENCE.<br />
DICTIONARY OF NATIONAL BIOGRAPHY. New Edition.<br />
Edited by SIDNEY LEE. Vol. XIV. Myllar—Owen.<br />
94 × 63. 1,367 pp. Smith Elder. 158. n. • .<br />
BOOKS FOR TELE YOUNG.<br />
STORIES FROM THE GREEK LEGENDS. By C. GASQUOINE<br />
HARTLEY. 7} x 5. 170 pp. Werner Laurie. 3s. 6d. n.<br />
A MOUNTAIN PATH, AND FORTY-THREE OTHER TALKS To<br />
YoUNG PEOPLE. By J. A. HAMILTON. 7} x 5. 190 pp.<br />
Allenson. 2s. 6d. In. 2<br />
DRAMA.<br />
VOTES FOR WOMEN : A Play in Three Acts.<br />
BETH ROBINS. 74 × 4%. 115 pp. . Mills & Boon. 1s.<br />
LANCELOT AND ELAINE : A Play in Five Acts. By<br />
MoRLEY STEYNOR. 73 × 5}. 88 pp. Bell.<br />
THE STORY OF GLASTONBURY AND THE GRAIL ; OR, THE<br />
LIGHT OF AVALON. By MELCHIOR MACBRIDE. 7# × 5.<br />
106 pp. Hunter & Longhunt. , 48.6d. n. - :<br />
FICTION.<br />
OUR ADVERSARY. By M. E. BRADDON. 73 x 5. 427 pp.<br />
Hutchinson. 68.<br />
THE THRESHOLD. By WINEFRIDE TRAFFORD-TAUNTON.<br />
73 × 5. 318 pp. J. Long. 68. ... w<br />
MORE BUNKUM. By FRANK RICHARDSON. 7} x 5.<br />
324 pp. Nash. 68.<br />
CHIP. By F. E. MILLS YOUNG, 7} x 5. 314 pp.<br />
Lane. 68. -<br />
SALOME AND THE HEAD. By E. NESBIT. 74 × 5.<br />
309 pp. Alston Rivers. 68.<br />
THE CITY of BEAUTIFUL NoNSENSE. By E. TEMPLE<br />
THURSTON, 73 × 5. 360 pp. Chapman & Hall. 68.<br />
A KING's TREACHERY. By ALBERT LEE. 8 × 53.<br />
296 pp. The Pilgrim Press. 3s. 6d. .<br />
THE TREASURE OF THE TEMPLE. By J. LYONs and<br />
CECIL RALEIGH. 8% x 5%. (Lyons' Library, No 2.) 6d.<br />
THE KEY OF LIFE. By A. A. METHLEY. 7: x 5. 318 pp.<br />
Fisher Unwin. 68. J.<br />
1'HE DAFT DAYS. By NEIL MUNRO. 73 × 5.<br />
(Cheap edition.) Blackwood. 18.<br />
THE SOCIAL KALEIDOSCOPE. By GEORGE R. SIMs.<br />
8% x 5%. 132 pp. (Cheap re-issue.) Greening. 6d.<br />
Follow UP I A Story of Harrow School. By A. D. Fox.<br />
Second edition. 320 pp. Brown Langham. 63.<br />
AN INCOMPLEAT ETONIAN. By FRANK DANBY.<br />
366 pp. Heinemann. 63.<br />
A YOUNG MAN MARRIED. By SYDNEY C. GRIER. 73 × 43.<br />
341 pp. Hutchinson. 68.<br />
THE ROAD OF NO RETURN. By A. C. INCHBOLD. 74 × 5.<br />
390 pp. Chatto & Windus. 63.<br />
281 pp.<br />
7; x 5.<br />
QUEEN KATE. By CHARLES GARVICE. 7; x 5. 456 pp.<br />
, Hodder & Stoughton. 6s.<br />
WAX. By GEORGE SOMES LAYARD. 73 × 5. 338 pp.<br />
Allen. 63.<br />
MAYFAIR. By WINIFRED GRAHAM. 73 x 5. 320 pp.<br />
Greening. 18. m.<br />
By ELIZA- .<br />
THE STAIRWAY OF HONOUR. By MAUD STEPNEY<br />
RAWSON. 7# x 5. 317 pp. Mills & Boon. 6s.<br />
THE BARGAIN. By THEODORA WILSON WILSON. 74 × 5.<br />
340 pp. Hutchinson. 6s. - p -<br />
THESE LITTLE ONES. By E. NESBIT. 73 × 53. 210 pp.<br />
Allen. 3s. 6d. n.<br />
GARDENING.<br />
THE BOOK OF THE COTTAGE GARDEN. By c. THONGER.<br />
73 × 5. 91 pp. (Handbooks of Practical Gardening.)<br />
Lane. 2s. 6d. n.<br />
LITERARY.<br />
MILTON MEMORIAL LECTURES, 1908: Read before the<br />
Royal Society of Literature. Edited with an Introduc-<br />
tion by W. PERCY AMES. 83 × 53. 222 pp. Frowde.<br />
6S. n.<br />
THE MEANING OF HAPPINESS : A DISCOURSE. By<br />
LAURENCE ALMA TADEMA. 7 x 5. 80 pp. Elkin<br />
Mathews. 2s. 6d. n. -<br />
MISCELLANEOUS.<br />
S. CLEMENT'S CHURCH, FULHAM, ANNUAL REPORT FOR<br />
1908. By RICHARD TREE, 1s. *<br />
THE DOG WORLD AND ANTI-CAT REVIEW, Written and<br />
illustrated by Dogs for Dogs, assisted by WALTER<br />
EMMANUEL. 93 × 74. 44 pp. Lawrence & Jellicoe.<br />
18. In. - -<br />
MUSIC.<br />
THE THRUSH ; THE ROSE ; THE Rooks; HoPE ON. By<br />
L. BUDGEN and ROBERT GOLDBECK. School Series.<br />
Bradford : Crewsher & Co. 2d. each.<br />
NATURAL ELISTORY.<br />
THE HEDGE I KNow. Edited by W. P. WESTELL, F.L.S.,<br />
and H. E. TURNER. 73 x 5. 77 pp. Dent. 8d.<br />
ORIENTAL.<br />
CATALOGUE OF THE HEBREW AND SAMARITAN<br />
MANUSCRIPTS IN THE BRITISH MUSEUM. By G.<br />
MARGOLIOUTH. Part III., Section I. Kabbalah. 12%<br />
x 10%. 155 pp. British Museum. 24s.<br />
PEIILOSOPHY.<br />
LIFE AND MATTER. By SIR OLIVER LODGE. Second<br />
edition, with an Appendix of Definitions and Explana-<br />
tions. 84 × 53. 106 pp. Williams & Norgate. 6d. n.<br />
POETRY.<br />
WöI,USPA. Done into English out of the Icelandic of the<br />
Elder Edda. By ANADA. K. CooMARASWAMY. 7# × 5%.<br />
29 pp. Nutt. 2s. 6d. m. - -<br />
ARTEMISION : IDYLLS AND SONGS. By MAURICE<br />
HEwlFTT. 64 × 5. 124 pp. Elkin Mathews. 3s.6d. n.<br />
A FEW LYRICs. By LAURENCE ALMA TADEMA, 7 × 5.<br />
56 pp. Elkin Mathews. 2s. 6d. n.<br />
PoEMs. By DOROTHEA. HoDLINS. 72 pp.<br />
Masters. 2s. 6d. n. .<br />
THE SONG OF THE STEWARTS. Prelude by DOUGLAS<br />
AINSLIE. 9 × 53. 202 pp. Constable. 78. 6d. n.<br />
73 x 5}.<br />
REPRINTS.<br />
AUTHORS AND PRINTERs' DICTIONARY : A guide for<br />
authors, editors, printers, correctors of the Press, com-<br />
positors and typists. By F. HowARD COLLINs. 408 pp.<br />
Henry Frowde. Is. n. *<br />
THEOLOGY.<br />
STUDIES IN THE TEACHING OF RELIGION. By WILLIAM<br />
SCOTT PALMER. 73 × 5. 89 pp. Longmans. 18, n."<br />
<br />
<br />
## p. 203 (#259) ############################################<br />
<br />
TFIE A DITFIOR.<br />
203<br />
TOPOGRAPHY. -<br />
A HOLIDAY IN CONNEMARA. By STEPHEN Gwyn N.<br />
9 × 6. 320 pp. Methuen. 10s. 6d. n.<br />
MOTOR TOURS IN YORKSHIRE. By MRS. Rodol, PH<br />
STAWELL, 8% × 53. 230 pp. Hodder & Stoughton.<br />
6s. n. r *<br />
TRAVEL.<br />
ROYAL PALACES OF SPAIN. An Historical and Descriptive<br />
Account of the Seven Principal Palaces of the Spanish<br />
Kings. With 164 Illustrations. By ALBERT F. CALVERT.<br />
7# x 5. 107 pp. Lane. 3s.6d. n. t<br />
LAUSANNE. Painted by J. HARDWICKE LEWIS and MAY<br />
HARDWICKE LEWIS. Described by FRANCIS GRIBBLE.<br />
9 x 6%. 110 pp. Black. 7s.6d. n.<br />
THE ENGLISHwomAN IN INDIA. By MAUD DIVER,<br />
7} x 5. 259 pp. Blackwood. 5s. n.<br />
Books PUBLISHED IN AMERICA By<br />
MEMBERS.<br />
—e—º-e—<br />
ART.<br />
INDIAN SCULPTURE AND PAINTING. By E. B. HAVELL.<br />
Illustrated by Typical Masterpieces, with an Explanation<br />
of their Motives and Ideals. 278 pp. Scribner. $25 m.<br />
EL GRECO. An Account of his Life and Works ; with<br />
136 reproductions from his most celebrated pictures.<br />
By ALBERT F. CALVERT and C. GASQUOINE HARTLEY.<br />
New York: John Lane Co. $1.50.<br />
BIOGRAPEHY.<br />
THE LIFE OF JAMES McNEIL WHISTLER. By E. R. and<br />
J. PENNELL, 2 vols. Lippincott. $10 m.<br />
THE MAKING OF CARLYLE. By R. S. CRAIG. New York:<br />
John Lane Co. $4 n.<br />
+ BOOKS FOR BOYS.<br />
KING OF THE AIR ; OR, TO MOROCCO ON AN AIRSHIP.<br />
Indianapolis : Bobbs-Merrill Co. $1.50.<br />
- CLASSICAL.<br />
THE INTERPRETATION OF ANCIENT GREEK LITERATURE.<br />
An inaugural Lecture delivered before the University of<br />
Oxford, January 27, 1909. By Prof. GILBERT MURRAY.<br />
New York: Oxford University Press. 35 cents.<br />
ECONOMICS.<br />
THE MINORITY REPORT OF THE POOR LAW COMMISSION.<br />
Edited by SIDNEY and BEATRICE WEBB. 2 Vols. 601<br />
and 345 pp. $2.50 m. and $1.75 m.<br />
FABIAN ESSAYS IN SOCIALISM. Edited with New Preface<br />
by G. BERNARD SHAW. Boston : Ball Pub. Co. 50 cents n.<br />
FICTION.<br />
JOHN SILENCE. By ALGERNON BLACKWOOD.<br />
Boston ; John W. Luce & Co. $1.50.<br />
FRATERNITY. By JoHN GALSWORTHY. 386 pp. Putnam.<br />
$1.35 m.<br />
POLLY WINFORD. BY EYBE HUSSEY.<br />
mans, Green & Co. $1.50.<br />
A. DAUGHTER OF FRANCE. By CONSTANCE ELIZABETH<br />
MAUD. 345 pp. John Lane Co., $1.50.<br />
THE BRONZE BELL. Illustrated by HARRISON FISHER.<br />
361 pp. Dodd, Mead & Co. $1.50.<br />
THE NOVELS AND TALES OF HENRY JAMES, Vol. XV.<br />
The Lesson of the Master, The Death of the Lion, The<br />
390 pp.<br />
355 pp. Long-<br />
Next Time, The Figure in the Carpet, The Coxton Fund.<br />
Vol. XVI., The Author of Beltraffio, The Middle Ages,<br />
Greville Fane, Broken Wings, The Tree of Knowledge,<br />
The Abasement of the Northmores, The Great Good<br />
Place, Four Meetings, Paste, Europe, Miss Gunton of<br />
Poughkeepsie. New York : Scribner. Cloth $2; half<br />
levant $4.<br />
THE WHIPS OF TIME. By ARABELLA KENEALY. Boston :<br />
Little, Brown & Co. $1.50. -<br />
THE HAND ON THE LATCH. By MAY CHOLMONDELEY.<br />
New York: Dodd, Mead & Co. $1.25.<br />
THE MEASURE OF OUR YOUTH. By ALICE HERBERT.<br />
New York: John Lane Co. $1.50.<br />
WITH THE NIGHT MAIL. A story of 2000 A.D. (together<br />
with extracts from the Contemporary Magazine in which<br />
it appeared). Illustrated in colour. By FRANK X.<br />
LEYENDECHER and H. REUTERDAHL. New York :<br />
... Doubleday, Page & Co. $1. -<br />
SERVITUDE. By IRENE OsgooD. Boston : Dana Estes &<br />
Co. $1.50. -<br />
TO A NUN CONFESS’D : LETTERS FROM Yol, ANDE TO<br />
SISTER MARY. Boston : Dana Estes & Co. $1.50.<br />
NATURAL HISTORY.<br />
THE BIOGRAPHY OF A SILVER Fox ; OR, Dom(INO REY-<br />
NARD OF GOLDEN TOWN. By ERNEST THOMPson<br />
SETON. With over 100 Drawings by the Author. New<br />
York : Century Co. $1.50.<br />
POETRY.<br />
TowARDS THE LIGHT: A MYSTIC PoEM. By THE PRIN-<br />
CESS KARADJA. New York: Dodd, Mead & Co. 50 cents n.<br />
TRAVEL.<br />
MADRID. An Historical Description and Handbook of the<br />
Spanish Capital. By A. F. CALVERT. With 453 Illus-<br />
trations. New York : John Lane Co. $1.50 m.<br />
MOTOR TOURS IN WALES AND THE BORDER COUNTIES.<br />
By MRs. RUDOLPH STAWELL. With photographs<br />
by R. de S. Stawell. Boston : L. C. Page & Co.<br />
$2.50. -<br />
—e—sº-0—<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
& 4 HE Country Home” for April contains a<br />
specially authorised article on Miss Marie<br />
Corelli's home at Stratford-on-Avon, with<br />
its many interesting features fully described and<br />
illustrated.<br />
Mr. E. F. Benson has a story called “The<br />
Osbornes,” which will run serially in the Cornhill.<br />
The first instalment will appear in the July issue of<br />
that magazine. A second “ Book of Months,” by<br />
Mr. Benson, will appear in June.<br />
Frank Danby, whose new novel, “An Incom-<br />
pleat Etonian,” was published last month, has,<br />
in hand another novel of about the same length,<br />
“The Blackmailers,” and, in addition, is drama-<br />
tising her book, “The Heart of a Child,” in<br />
collaboration with Mr. Seymour Hicks.<br />
<br />
<br />
## p. 204 (#260) ############################################<br />
<br />
204<br />
TISIES A DITFIOR.<br />
Mr. W. J. Locke is busy finishing a novel<br />
which will run serially during the autumn prior<br />
to its appearance in book form in the spring of<br />
191 ().<br />
Mrs. Inchbold’s new novel, “The Road of No<br />
Return,” opens with some dramatic incidents of<br />
the Russian revolution, woven round a young couple<br />
united in a “nihilistic marriage.” The heroine<br />
is soon forced to escape to the Holy Land,<br />
and on her arrival at Jerusalem is drawn into<br />
a largely religious and partly political revolu-<br />
tionary movement, the secret headquarters of<br />
which are in that city. The husband, who has<br />
been reprieved on condition of becoming a monk,<br />
is seized with the ambition to effect a revolu-<br />
tion in the Church, and for a period of proba-<br />
tion he is sent to a Russian monastery in<br />
Palestine. The climax is reached when the<br />
divided characters meet unexpectedly in the<br />
Holy Land. Messrs. Chatto & Windus are the<br />
publishers. -<br />
Mr. W. H. Dawson’s “Evolution of Modern<br />
Germany,” of which Mr. Fisher Unwin is the<br />
publisher, traces the economic and industrial<br />
transition through which Germany has been<br />
passing during the last thirty or forty years. The<br />
author's aim has been to present a picture of the<br />
Germany which England has to reckon with to-day<br />
—to show what Germany has done in commerce,<br />
industry, and colonisation, and to estimate the<br />
more important movements and forces which are<br />
at work, influencing its life, prosperity, and policy.<br />
A volume dealing with the Temple, Lincoln's<br />
Inn, Gray’s Inn, and the lesser homes of the law<br />
in London, also the architecture in which they are<br />
enshrined, will be published immediately by<br />
Messrs. A. & C. Black under the title of “The<br />
Inns of Court.” Mr. Cecil Headlam is the author<br />
of the book, and Mr. Gordon Home illustrates it<br />
with a series of twenty water-colour drawings<br />
which are reproduced in colour fac-simile.<br />
Mr. Francis Griffiths, of 34, Maiden Lane,<br />
Strand, W.C., will issue early this month a novel<br />
by “Marcus Servian,” the title of which will be<br />
“Anne Inescourt.”<br />
Mr. G. K. Chesterton's monograph on Mr.<br />
Bernard Shaw will appear very shortly through<br />
Mr. John Lane. Mr. Chesterton is also writing a<br />
book called “What is Wrong ” (to be published by<br />
Messrs. Cassell & Co.), which is in the nature of an<br />
attack on the peculiar evils of modern civilisation.<br />
A little book on Blake, from the same pen, Will<br />
appear later on.<br />
A new novel by Miss Emma Brooke was pub-<br />
lished by Messrs. Smith, Elder & Co., on March 26.<br />
It is a story of Westmorland folk and of life and<br />
character on a farm near Morecambe Bay.<br />
“Tom Genuflex” is the title of a new novel by<br />
Mrs. Jane Rowland, who has written many books<br />
under the pseudonym of “Aunt Cherry.” Mr.<br />
John Ousely will publish the present volume.<br />
Miss Esmé Stuart is publishing, through Messrs.<br />
Jarrold, a novel entitled “Toney's Treasure,”<br />
which is a sequel to the same writer’s “Harum<br />
Scarum.” -<br />
The Hon. Mrs. Alfred Lyttelton is at present<br />
engaged on a series of small one-act plays as well<br />
as a mystery play on the subject of St. Ursula.<br />
She has also finished two three-act plays, one of<br />
which will probably be published.<br />
“The Spirit of the Downs,” written by Arthur<br />
Beckett and illustrated in colour by Stanley Inch-<br />
bold, is a Volume of impressions and reminiscences<br />
of the Sussex Downs. The earlier chapters of the<br />
work comprise a rapid survey of the history of the<br />
famous range, and are followed by a narration of<br />
the experiences of the author and the artist during<br />
an autumn tour through the Downs, from the<br />
Hampshire border to Beachy Head. This section<br />
is interspersed with many anecdotes concerning the<br />
people met with and the places visited. Messrs.<br />
Methuen & Co. are the publishers. -<br />
Mary L. Pendered (author of “Musk of Roses,”<br />
“An Englishman,” “Dust and Lands,” etc.) has<br />
just finished a novel, upon which she has been at<br />
work, intermittently, for over three years. It is<br />
called “The Secret of the Dragon,” and has an<br />
atmosphere of mystery, romance and magic. Its<br />
scenes are chiefly laid in an old garden.<br />
“A Little Garland for Remembrance” (occa-<br />
sional verse), by the same writer, is on sale at<br />
Sachs & Co., Victoria Street ; while her last two<br />
compilations, in the form of memorandum books<br />
for mothers and Nature-lovers, entitled “My<br />
Baby" and “My Garden,” are published by<br />
Sisley & Co.<br />
The Woman Writers' Suffrage League (presi-<br />
dent : Miss Elizabeth Robins) is taking a stall at<br />
the forthcoming exhibition and bazaar to be held<br />
at Prince's Skating Rink from May 13 to 23,<br />
under the auspices of the N.W.S.P.U. The<br />
stall is to be furnished entirely by books and<br />
signed photographs of authors, and as it will be<br />
presided over by a number of celebrated women<br />
writers, is sure to prove attractive. Promises of<br />
contributions will be gladly received by Miss<br />
Bessie Hatton, hon. Sec. to the League, 15,<br />
Sandringham Court, Maida Wale; and by Miss<br />
Pendered, The Fold, Beltinge, Herne Bay.<br />
Autographical copies of books are especially<br />
desired.<br />
Messrs. J. M. Dent & Co. have included in their<br />
“Everyman's Library” Capt. L. J. Trotter's<br />
“Lives of Hodson and Outram.”<br />
The same writer's “Nicholson " has sold widely<br />
in Messrs. Nelson's hands since last autumn ; while<br />
<br />
<br />
## p. 205 (#261) ############################################<br />
<br />
THE A UTHOR,<br />
205<br />
Messrs. Kegan Paul & Co. are in treaty with him<br />
for a cheap edition of his “History of India under<br />
Victoria.”<br />
Madame Sarah Grand has two novels partly<br />
written, one of which she hopes to finish during<br />
the present year.<br />
M. E. Francis, whose new novel, “Galatea of<br />
the Wheatfield,” will be issued by Messrs. Methuen<br />
& Co. this summer, is at present engaged on a<br />
rustic romance called “The Wild Heart.” A short<br />
story by the same writer will appear in Nash's<br />
Magazine, and will bear the title, “Farmer Symes'<br />
Best Counsellor.” A dramatic version of Miss<br />
Francis' book, “The Manor Farm,” which has<br />
been prepared by Mr. George Arless and Mrs.<br />
Oscar Beringer, will shortly be produced in the<br />
United States.<br />
“The Intruding Angel” is the title of a new<br />
novel by Mr. Charles Marriott, which will be ready<br />
for publication in the autumn.<br />
A book dealing with the recreative and sporting<br />
side of the French and Italian Rivieras, with the<br />
title, “Sport on the Rivieras,” will be published<br />
next November by the Reynolds-Ball's Guides<br />
Syndicate, 27, Chancery Lane. It will deal with<br />
golf, tennis, motoring, cycling, yachting, fishing,<br />
and other sports, and will be edited by Eustace<br />
Reynolds-Ball and C. A. Payton, M.V.O.<br />
(“Sarcello” of the Field). The chapter on motor-<br />
ing will be written by Mr. C. N. Williamson. An<br />
important feature of the book will be chapters on<br />
sea and river fishing on the two Rivieras, the<br />
Pyrenees, South Italy, Corsica, Sardinia, etc., by<br />
Mr. C. A. Payton, a leading authority on angling.<br />
The price will be 2s. 6d. net., and there will be<br />
numerous illustrations from Original photographs.<br />
“Rita " has a story in Wash's Magazine, entitled<br />
“The Second Edition,” as well as a story in the<br />
current number of the Story Teller, dealing with<br />
aeroplanes. -<br />
Mr. Justin McCarthy is at present engaged upon,<br />
but is not likely to finish till the autumn, a volume<br />
on “Early Memories of Ireland,” the title of which<br />
indicates the nature of the work. Mr. McCarthy<br />
has also in project an addition to his list of novels.<br />
“Omnium Gatherum ” is a booklet, which<br />
Mrs. Alec Tweedie is editing for the benefit of<br />
University College. Walter Crane has designed<br />
the cover, and amongst the generous contributors<br />
are : Madame Albanesi, Sir F. Carruthers Gould,<br />
Marie Corelli, George Grossmith, Bernard Shaw,<br />
Silas Hocking, Frankfort Moore, G. Marconi,<br />
John Hassall, Mrs. Heron Maxwell, Lady Bancroft,<br />
E. W. Lucas, G. K. Chesterton, “Rita,” Frank<br />
Richardson, Harry Furniss, Chevalier Taylor,<br />
Halliwell Sutcliffe, Adolph Mann, Fredk. C.<br />
Britton, L. F. Thompson, Mrs. Alec. Tweedie.<br />
This booklet will be on sale everywhere early this<br />
º for the benefit of University College, price<br />
1S. 6d. -<br />
Mr. Heinemann is publishing, about the middle<br />
of May, a volume by Mrs. Belloe Lowndes, entitled<br />
“Studies in Wives.” Each story deals with a<br />
phase of married life, and among those included<br />
in the volume are four which appeared in the<br />
Fortnightly Review, one of which, entitled “The<br />
Decree Made Absolute,” is being dramatised by<br />
George Paston.<br />
We regret two errors in our note on Mr. Carlton<br />
DaWe’s new book, “The New Andromeda,” which<br />
appeared in the last issue of The Author. The<br />
London publisher is Mr. J. Eveleigh Nash, and not<br />
Messrs. Stanley Paul & Co., as we inadvertently<br />
stated, and the title given to the story in America<br />
is “ The Woman, the Man, and the Monster.”<br />
Miss Gladys Davidson has just published a new<br />
musical pastoral play, entitled “In the Days of<br />
Good Queen Bess.” The play is in two acts, and<br />
has an original plot, in which Queen Elizabeth and<br />
Sir Walter Raleigh are introduced. The operetta<br />
is a suitable piece for performance by choral and<br />
amateur operatic societies. The music is by J.<br />
Duffell, Mus. Bac. The publishers are J. Curwen<br />
& Sons, Ltd., London.<br />
Miss Davidson has also published recently a new<br />
musical fairy play for children. The subject is<br />
“Puss-in-Boots,” and this favourite story is here<br />
presented in quite an original dress, and many<br />
pretty Songs and familiar nursery characters are<br />
introduced. The music is by Stephen R. Philpot,<br />
and the publishers are Egerton & Co., London.<br />
“The Wreathed Dagger,” announced by Messrs.<br />
Cassell & Co., is the first novel of Margaret Young,<br />
writer of plays produced by Miss Ellen Terry and<br />
Mr. Forbes Robertson. It is a story of Cromwell's<br />
time, and deals with the breaking up of sham codes<br />
of honour under the pressure of fact.<br />
Messrs. Crewsher & Co., of Bradford, have added<br />
to their series of songs for the school four more<br />
pieces by Miss L. Budgen and Mr. Robert Gold-<br />
beck. They are entitled respectively “Hope On,”<br />
“The Rook,” “The Thrush,” and “The Rose.”<br />
Mr. Henry Frowde has just issued a shilling .<br />
edition of Mr. F. Howard Collins’ “Authors’ and<br />
Printers’ Dictionary,” which codifies the best<br />
typographical practices of the present day. First<br />
published in 1905, the volume is now in its tenth<br />
thousand, and the edition under notice is published<br />
at a price which should be within the means of<br />
all who are interested.<br />
Following Mr. Melrose's Prize Novel Competition<br />
last year comes a new competition from the same<br />
house with the same award of two hundred and<br />
fifty guineas, but with different judges. Acting<br />
on the assumption that women form the bulk of<br />
novel readers, Mr. Melrose has secured Mrs. Flora<br />
<br />
<br />
## p. 206 (#262) ############################################<br />
<br />
206 TISIES<br />
A CITYSIOR.<br />
Annie Steel, Mrs. Henry de la Pasture, and Miss<br />
Mary Cholmondeley as adjudicators in the new<br />
competition. The only difference between this<br />
and the former competition will be that, instead of<br />
being confined to first novelists, the award will be<br />
given to the writer of the best story submitted,<br />
without regard to the author's previous record.<br />
As before, particulars may be obtained by sending<br />
a stamped envelope to the Literary Agency of<br />
London, 5, Henrietta Street, Covent Garden,<br />
London, W.C.<br />
Mr. W. M. Rossetti wrote some little while ago<br />
a study of moderate length on Dante's famous book,<br />
“Il Convito,” aiming to show, in a clear parallel<br />
form, the relation between the literal and the<br />
allegorical meanings, as expounded by Dante him-<br />
self, of the poems included in that book. The<br />
essay treats also of various other poems by Dante,<br />
and some further relevant matters. Some steps<br />
are being taken towards the publication of this<br />
essay at an early date.<br />
The “Diary of Dr. John William Palidori"<br />
(Mr. Rossetti's maternal uncle), written in 1816<br />
about the time when he had accompanied Lord<br />
Byron to the Continent as his travelling physician,<br />
and edited by Mr. Rossetti, has for some while<br />
past been ready to be published by Messrs. Brown,<br />
Langham & Co. -<br />
The correspondence between Dante Gabriel<br />
Rossetti and Ford Madox Brown, from the year 1870<br />
onwards, edited by Mr. W. M. Rossetti, has been<br />
bespoken by the editor of the English Review for that<br />
periodical, and may be expected to appear pretty soon.<br />
There is also some further correspondence<br />
between D. G. Rossetti and his friends, and<br />
between Christina Rossetti and members of her<br />
family, which, under Mr. W.M. Rossetti's editorship,<br />
is offered for publication if an opportunity occurs.<br />
Messrs. Methuen & Co. are publishing this<br />
month Part II. of “An English Church History<br />
for Children’’ (A.D. 1066–1500), by Mary E.<br />
Shipley, with a preface by the Bishop of Gibraltar.<br />
We regret that in our recent paragraph relating<br />
to “Ezra Solomon,” by Pam and Major Arthur<br />
Layard, we referred to one of the characters as<br />
“The High Chancellor of Music,” instead of “The<br />
High Chancellor of Moscow.”<br />
Mr. R. C. Carton's new play, “Mr. Preedy<br />
and the Countess” was staged at the Criterion on<br />
April 13. The piece turns on the position of a<br />
young tradesman launched into a sea of farcical<br />
difficulties. Included in the cast are Mr. Weedon<br />
Grossmith, Miss Compton, and Mr. Fred Lewis.<br />
Among the features of the fair given under the<br />
auspices of the Women's Freedom League last<br />
month was a play with the title “How the Vote<br />
was Won,” by Miss Cicely Hamilton and Christopher<br />
St. John.<br />
Mr. James B. Fagan's new play “The Earth,”<br />
was produced at the Kingsway Theatre on April 14.<br />
The theme of the dramatist is found in the in-<br />
fluence wielded by a newspaper magnate, and the<br />
play treats of a conflict between him and a Cabinet<br />
minister with democratic tendencies ; the centre of<br />
the quarrel being a certain Wages Bill which the<br />
minister has introduced. The cast includes Miss<br />
Lena Ashwell, Mr. Norman McKinnel, Mr. Allan<br />
Aynesworth, and Mr. Dennis Eadie.<br />
PARIS NOTES.<br />
—º-º-º-<br />
6 ( ES Deux Routes,” by Paul Tany, is a novel<br />
by a new Writer. It is an extremely inte-<br />
resting psychological study. Each of the<br />
characters is well drawn. All the personages are<br />
more or less connected with the artistic world of<br />
Paris, either as workers or amateurs. The chief<br />
interest centres in the personality of Henry Maillard,<br />
a dilettante of the kind so well known in Paris, a<br />
man who frequents all the salons, who is well up<br />
on every subject and considered an authority on all<br />
artistic questions. He has the reputation of being<br />
a remarkable artist, poet and author himself, but<br />
in reality he can only criticise the work of others.<br />
Side by side with him the author studies the<br />
psychology of a group of painters, sculptors, society<br />
men and women in such a way that the whole book<br />
is rather a page of life than a novel. “Les Deux<br />
Routes” is Paul Tany's second volume, and his<br />
next book will be awaited with interest.<br />
“Bon an, Malan,” by Henri Lavedan, is probably<br />
the author's diary. The volume commences in<br />
January, 1908, and most of the chief events of the<br />
year are touched on, or rather the events that have<br />
interested M. Lavedan. The Université des<br />
Annales, the Salon des Poètes, the Diabolo of the<br />
children, a visit to François Coppée, the crime of<br />
the Passage Ronsin, the publication of Daniel<br />
Lesueur’s novel, “Nietzschéene,” Wilbur Wright<br />
and his aerial flights, and some scores of other<br />
subjects, are all touched on lightly in this second<br />
series of impressions with all the wit and charm of<br />
the well-known dramatic author. -<br />
“De la Vallière à Montespan * is the title of<br />
a volume by J. Lemoine and A. Lichtenberger.<br />
The authors have wished to explain how it came<br />
about that Louis XIV. should have transferred his<br />
affections from Louise de la Wallière to Françoise<br />
de Rochechouart, Marquise de Montespan. They<br />
have studied a considerable number of documents<br />
hitherto unpublished, from which they give us<br />
curious details about the intrigues against<br />
Mademoiselle de la Vallière, about her brother the<br />
Marquis de la Vallière, about the family of M. de<br />
<br />
<br />
## p. 207 (#263) ############################################<br />
<br />
TISIES A UTEIOR.<br />
207<br />
Montespan, and about the competition between<br />
the two rivals for the king's favour. The whole<br />
book is interesting and throws much new light on<br />
this romantic episode in the life of Louis XIV.<br />
“Mlle. Sallé’” (“Une danseuse de l'Opéra sous<br />
Louis XV.”), by Emile Dacier, is a curious book,<br />
taking us back to 1707, when the celebrated dancer<br />
was born. At the age of four the child was quite<br />
à noted little dancer, and when she was eleven she<br />
made her débùt in the “Princesse de Carisme,” a<br />
comic opera by Lesage. At the age of eighteen<br />
Mlle. Sallé and her brother were engaged by John<br />
Rich for his theatre in Lincoln's Inn Fields. At<br />
the end of the season they had their benefit night.<br />
In 1727 Mlle. Sallé was engaged at the Paris<br />
Opera, but for some unknown reason she suddenly<br />
gave up her engagement there and started once<br />
more for England. It is supposed that she had<br />
some difficulties with her manager. Voltaire writes<br />
at this time :<br />
“O toi, jeune Sallé, fille de Terpsichore<br />
Qu'on insulte à Paris, mais que tout Londre honore,<br />
Dans tes nouveaux succès, reçois avec mes Voeux<br />
Les applaudissements d'un peuple respectable. . .<br />
Later on she had letters of introduction for Locke<br />
and for Montesquieu, who was then in England.<br />
The book is extremely interesting, showing as it<br />
does something of the life of London at that epoch.<br />
Handel was producing his operas, and Mlle. Sallé<br />
danced in “Ariadne " and in “Ariodante.” She<br />
introduced many reforms, particularly with regard<br />
to the costumes of dancers. She was one of the<br />
rare ballet dancers whose private life was blameless.<br />
“Pages Choisies de Taine” is a volume of frag-<br />
ments selected by M. Giraud from the works of<br />
the great French critic. For those who have not<br />
time to read the complete works of Taine, this<br />
volume gives an excellent idea of his writings.<br />
Among new books are the following: “L’Ame<br />
Bretonne,” by Ch. Le Goffic. “La Route du<br />
Bonheur,” by Yvonne Sarcey, “L’Amour Masqué,”<br />
by Jean-Louis Vaudoyer. “Les Accapareurs,” par<br />
Hugues Lapaire, the author of “Le Fardean’’ and<br />
“L'Epervier.”<br />
“Reflets de Rome,” by Gaspard Vallette, is a<br />
volume giving the impressions of various writers<br />
on visiting Rome for the first time. A chapter is<br />
given up to Montaigne and his journey to Rome.<br />
Balzac's impressions are also given, and chapters<br />
are devoted to Goethe, Chateaubriand, Cherbuliez,<br />
Stendhal, Ampère, Goncourt, Taine, Renan, Bourget,<br />
Zola, and Anatole France, and their ideas and<br />
impressions with regard to the Eternal City.<br />
In La Revue de Paris Judith Gautier continues<br />
“Le Collier des jours,” M. Louis Battifol writes<br />
an interesting article on “L’Origine du Château<br />
de Versailles,” Louis Houllevigue publishes an<br />
article on “Le Telégraphie sans fil,” and Captain W.<br />
Writes on “Le Japon après la Guerre.”<br />
} }<br />
e<br />
. In the Revue hebdomadaire René Doumic con<br />
tinues, his series of articles on “George Sand,”<br />
and Paul Bourget gives an excellent article on<br />
“Barbey d’Aurévilly”; Paul Adam writes on<br />
“L'Opinion et l'Argent.”<br />
At the Français “Modestie" and “Connais-<br />
toi,” by Paul Hervieu, are both on the bill<br />
together. At the Odéon “Beethoven’’ is a great<br />
Success. The production of “L’Impératrice,” now<br />
being given at the Théâtre Réjane, is one of the<br />
theatrical events of the season. At the Porte<br />
Saint-Martin “Lauzun ~ is attracting the public,<br />
and at the Théâtre Antoine “Master Bob.”<br />
ALYS HALLARD.<br />
“Les Deux Routes” (Perrin).<br />
“Pages choisies de Taine" (Hachette).<br />
“L’Ame bretonne” (Champion).<br />
La Route du Bonheur” (Libraire des Annales).<br />
“L'Amour masqué” (Calmann Levy).<br />
“Les Accapareurs” (Calmann Levy).<br />
“Reflets de Rome” (Plon).<br />
*- - -<br />
THE UNITED STATES COPYRIGHT ACT.<br />
Th; new American Copyright Act is now<br />
before us. It is difficult to know exactly<br />
what comment to make. On some points<br />
it would appear that the United States have<br />
advanced towards the standard of other civilised<br />
countries: on some others they are sadly retro-<br />
gressive. On the whole, perhaps, our comment is<br />
favourable; for although works in the English<br />
language are treated very badly, more liberal<br />
conditions are given to foreigners.<br />
We have read the Act very carefully, and have<br />
nothing but praise for the draftsmanship, which<br />
seems to be exceedingly accurate and clear. This<br />
is all the more important in a law which will have<br />
to be interpreted internationally.<br />
The Act includes the following as copyright-<br />
able —<br />
(a) Books, including composite and cyclopaedic<br />
works, directories, gazetteers, and other compila-<br />
tions.<br />
(b) Periodicals, including newspapers.<br />
(c) Letters, sermons, addresses, prepared for<br />
oral delivery.<br />
(d) Dramatic or dramatico-musical compositions.<br />
(e) Musical compositions.<br />
(f) Maps. -<br />
(g) Works of art ; models or designs for works<br />
of art.<br />
(h) Reproductions of a work of art.<br />
(i) Drawings or plastic works of a scientific<br />
or technical character.<br />
(j) Photographs.<br />
(k) Prints and pictorial illustrations.<br />
The author has the right over the translation of<br />
<br />
<br />
## p. 208 (#264) ############################################<br />
<br />
208<br />
THE A DITFSHOR,<br />
his work, and if it is a non-dramatic work to drama-<br />
tise it ; if it is a dramatic work he has the right of<br />
turning it into a novel, and all rights of abridg-<br />
ment, adaptations, and arrangements are also<br />
inherent in the author's property.<br />
Copyright is secured by publication, with the<br />
copyright notice demanded by the Act printed on<br />
every copy. There is a distinction made between<br />
copies of copyright works not for sale, as dramatic<br />
works and musical works, and copies that are for<br />
sale, as books and musical works when they are<br />
published in saleable form. Any work for publica-<br />
tion must be “promptly registered " : but it does<br />
not appear from the Act that there is any loss of<br />
copyright if the work is not promptly registered,<br />
but no action or proceeding can be maintained for<br />
infringement of copyright until the provisions of<br />
the Act, with respect to deposit of copies and<br />
registration, have been complied with. If the<br />
work is not promptly registered, the Registrar can<br />
demand its registration, and if after such a demand<br />
the work is not registered within a fixed time the<br />
copyright shall become void. This point is a<br />
distinct advance.<br />
Section 15 runs as follows:–<br />
“That of the printed book or periodical specified in<br />
section 5, sub-sections “a” and “bº” (quoted above), except<br />
the original text of a book of foreign origin in language or<br />
languages other than English, the text of all copies<br />
accorded protection under this Act shall be printed from<br />
type set within the limits of the United States or from<br />
plates made within the limits of the United States from<br />
type set therein,” etc.<br />
Books of foreign origin in a foreign language<br />
would seem, therefore, to be exempt from the<br />
type-setting clause, and English books—that is,<br />
books in the English language published abroad—<br />
can obtain an interim protection by filing one<br />
complete copy of the foreign edition not later than<br />
thirty days after its publication abroad, which<br />
shall secure to the author or proprietor an ad<br />
*nterim copyright until the expiration of thirty<br />
days after such deposit. Certain formalities have<br />
to be observed in connection with this registration ;<br />
but if it is carried out in accordance with the Act,<br />
and within this interim protection, the book is<br />
published from type set in the United States, as is<br />
essential under the former section, then the United<br />
States copyright can be obtained. This gives a<br />
slight advantage to English books, but the advan-<br />
tage is so slight that in the majority of cases—in<br />
the case of those books of sound literary value<br />
which do not attain popularity till some years<br />
after their publication—this short allowance is<br />
useless. Moreover, there is an additional hard-<br />
ship which will not only affect English but also<br />
United States authors—namely, that every regis-<br />
tration for copyright must be accompanied by an<br />
affidavit duly made by the person claiming the<br />
copyright, or his duly authorised agent or repre-<br />
sentative in the United States, or by the printer<br />
who has printed the book, which must set out<br />
certain details as to the printing or process of<br />
reproduction in the United States. It is also<br />
essential that an assignment of copyright executed<br />
in a foreign country must be acknowledged before<br />
a consular officer or a secretary of legation of the<br />
United States. This latter provision is another<br />
handicap ; but ought to make it clear that no<br />
English author who desires his book to be pro-<br />
duced in the United States should assign his<br />
copyright.<br />
Dramatic and musical compositions must be<br />
registered in order that they may obtain the<br />
statutory performing rights, but it is not necessary<br />
that the copies registered should be from type set<br />
in the United States, unless subsequently the<br />
dramatic and musical compositions are produced<br />
for sale as books or otherwise. Then the type-<br />
setting clause takes effect.<br />
There have been in all the countries of the worl<br />
considerable difference and discussion in the<br />
Courts respecting the reproduction of dramatic<br />
and musical property by mechanical instruments.<br />
In regard to musical reproduction the Act runs<br />
as follows :- |<br />
“Whenever the owner of musical copyright has used or per-<br />
mitted or knowingly acquiesced in the use of the copyright<br />
work upon the parts of instruments serving to reproduce<br />
mechanical musical work,” i<br />
Any other person can make a similar use of it upon<br />
payment to the copyright owner of a fixed royalty.<br />
There are certain safeguards by which the author<br />
of the copyright work is supposed to be able to<br />
obtain knowledge of the reproducer and payment<br />
of the royalties, but these seem to be hardly<br />
adequate, and the United States citizen will suffer<br />
from the same difficulty as that from which the<br />
English composer suffered until the recent Musical<br />
Copyright Act. -<br />
The Act contains the usual protection against<br />
importation. In the case of an omission by acci-<br />
dent or mistake of the notice of copyright, which<br />
has to be published on every copy, provision is<br />
made that such omission shall not invalidate the<br />
copyright. This, again, marks a considerable<br />
advance. Provision has been made to protect the<br />
innocent infringer. f<br />
There are also certain clauses relating to the<br />
penalties and remedies in cases of infringement.<br />
These are, no doubt, very strong, and it is a good<br />
thing that they should be so, for in a large country<br />
like the United States it is sometimes very difficult<br />
to get hold of those who break the law, especially<br />
in the case of infringement of dramatic rights.<br />
Lastly, attention should be drawn to the question<br />
of the duration of copyright. Under the new law<br />
!<br />
H<br />
f<br />
<br />
<br />
## p. 209 (#265) ############################################<br />
<br />
THE AUTHOR.<br />
209<br />
copyright is secured for twenty-eight years from<br />
the date of first publication, with a further term<br />
of twenty-eight years upon application, which has<br />
to be made in the manner prescribed by the Act.<br />
This is an important increase on the present law<br />
of the United States ; but it is very unsatisfactory<br />
and very short-sighted for the United States in<br />
this matter, as in other matters, to omit to come<br />
into uniformity with the Berlin Convention and<br />
the methods of European countries. In nearly all<br />
European countries the term is for life and a<br />
certain period. The Berlin Convention has set<br />
down life and fifty years, and it was understood<br />
that the United States in their alteration of the<br />
Copyright law would also strive for a similar<br />
period. That they have made an extension of the<br />
copyright term is satisfactory, but we must deplore<br />
their methods.<br />
These appear to be the main points in this<br />
mportant Act, but we would refer members of<br />
the society to the Act itself, which is circulated<br />
as a supplement with this issue of The Author.<br />
—e—º-e—<br />
PLAYRIGHT AND PUBLIC PERFORMANCE.<br />
—e—º-0–<br />
FROHMAN v. FERRIS.<br />
HE decision of the Supreme Court in the<br />
United States, reversing the judgment of<br />
the Appellate Court of Illinois in this case,<br />
is not ºnly a matter of interest and significance to<br />
dramatc authors and managers generally, but it is<br />
One of special importance to the Authors' Society<br />
at the present time.<br />
The pidgment deals with the question of the<br />
effect of public performance of a play and as to<br />
what contitutes publication, a subject upon which<br />
the law (f England differs from the law of the<br />
United States and of all the countries of the Union<br />
constituted by the Berne Convention. This latter<br />
discrepancy forms one of the most important altera-<br />
tions suggested by the Berlin Conference which<br />
will come under the consideration of the committee<br />
recently appinted by the Board of Trade.<br />
The judgment also contains a definite pronounce-<br />
ment upon the futility of purporting to copyright<br />
a manuscriptolay in the United States by registra-<br />
tion and deposit of copies, unless the work is<br />
printed and published.<br />
The facts in the case were not disputed. Mr.<br />
Charles Frohman, the plaintiff, brought an action<br />
in the United States in respect of the infringement<br />
of his performng right in a play entitled “The<br />
Fatal Card,” which was first produced at the<br />
Adelphi Theatri, London, in 1894. The performing<br />
rights in the United States and Canada were<br />
claiming the statutory performing right.<br />
assigned to the plaintiff, who produced the play in<br />
many cities of those countries with considerable<br />
success. The defendant produced a play, sub-<br />
stantially identical with “The Fatal Carl,” and<br />
bearing the same name, which he formally copy-<br />
righted in the United States, and he continued to<br />
perform the piece, until the plaintiff instituted<br />
proceedings for infringement in the Circuit Court<br />
and obtained an injunction.<br />
The play was not printed, and as there had been<br />
no simultaneous publication, enabling the plaintiff<br />
to copyright the work under the provisions of the<br />
American statutes, the plaintiff was precluded from<br />
It was<br />
Contended, therefore, on behalf of the defendant,<br />
that as the public performance of a play, according<br />
to English law, amounts to publication, the<br />
common law right, which precedes publication,<br />
had ceased, and that the only protection available<br />
to the plaintiff would be such as is provided by<br />
the copyright statutes.<br />
On the other hand, it was submitted on behalf<br />
of the plaintiff, that as the public performance of<br />
a play is not publication according to the law of<br />
the United States, and the play had not been pub-<br />
lished in printed form, the provisions of the<br />
American copyright statutes were inapplicable to<br />
the case, and the plaintiff was entitled to rely on<br />
the proprietary right which belongs at common<br />
law to every author or his assignee in respect of an<br />
unpublished work.<br />
At the trial before the Appellate Court of<br />
Illinois, the judge decided in favour of the<br />
defendant, upon the ground that the common law<br />
right was lost by the public performance of the<br />
play in England ; and that as no statutory right<br />
had been acquired by simultaneous publication<br />
and registration in America, neither the author<br />
nor the plaintiff had any right in the play in the<br />
United States subsequent to the publication of the<br />
work in London.<br />
Against this decision the plaintiff appealed.<br />
The judgment of the Supreme Court, delivered<br />
by Mr. Justice Farmer, contains such an exact<br />
statement of the English and American law with<br />
regard to playright that it may be useful to quote<br />
certain passages in eatenso. After referring to an<br />
author's proprietary right at common law in all<br />
unpublished works, which is recognised in the<br />
United States and in England, the judgment<br />
refers to the copyright statutes of both countries,<br />
the formalities for copyrighting printed works in<br />
America, and the Chace Act in 1891, followed by<br />
the President's proclamation, giving to British<br />
subjects the benefits of statutory copyright in<br />
America upon the same basis as citizens of the<br />
United States. The judgment proceeds as follows:—<br />
“Even after the taking effect of the Act of 1891,<br />
<br />
<br />
## p. 210 (#266) ############################################<br />
<br />
210<br />
TRIES A DITISIOR.<br />
an English author could not, after publication of<br />
his production in England, Secure a copyright, in<br />
this country, but in order to avail himself of that<br />
privilege it became necessary that, simultaneously<br />
with its publication and securing a copyright in<br />
England, he should also comply with the copyright<br />
statutes in this country. A publication of his<br />
production, without such compliance with our<br />
statutes, prevented him from afterwards securing<br />
the benefits of our copyright statutes, and rendered<br />
the publication public property in this country.<br />
There is no provision in our statute for securing<br />
to the author of a drama the exclusive right to<br />
perform it, except where the drama is printed in a<br />
book, but the common law rights apply in such<br />
cases, and the author does not lose his rights in<br />
the production by public representation.”<br />
Reference is then made to the provisions of the<br />
English copyright statutes in detail, with the<br />
following comments:—“The effect of these statutes<br />
was to substitute, after the first publication, for<br />
the common law right of the author the statutory<br />
right to represent or perform his production for<br />
the period limited by the statute. The public<br />
performance of the play in England had the effect<br />
of divesting the authors of their common law rights<br />
and investing them with the right conferred by<br />
the statutes. The Act of 5 & 6 Wict. c. 45, pro-<br />
vides “that the first public representation or<br />
performance of any dramatic piece or musical<br />
composition shall be deemed equivalent, in the<br />
construction of this Act, to the first publication<br />
of any book.” Before the adoption of the said<br />
Act the public performance of a dramatic piece<br />
was not equivalent to the publication of a book,<br />
and as we have said, the common law rights of<br />
the author were unaffected thereby. When the<br />
statutory conditions were complied with, the rights<br />
conferred thereby attached, and the common law<br />
rights ceased. . . .” “It is not disputed that a per-<br />
formance of ‘The Fatal Card’ in England was by<br />
the English statute a publication, and that in that<br />
country the author's common law rights thereupon<br />
ceased. The defendant contends that when the<br />
authors of this drama surrender their common law<br />
rights in England for the rights conferred by the<br />
statutes they ceased to have any common law<br />
rights in the production, in England or elsewhere.<br />
The plaintiff contends that, as under our laws the<br />
performance of the manuscript drama is not a pub:<br />
iication of it, and does not deprive the author of<br />
his common law rights, and as our statute provides<br />
no means for copyrighting a drama unless it is<br />
printed and published in a book, our Courts, in<br />
deciding what is such a publication as to divest<br />
the author of his common law rights, are not to be<br />
governed by what the English statute declares shall<br />
constitute a publication thereof. . . .” “In the<br />
absence of the provision of the English Act referred<br />
to, that the first public representation or perform-<br />
ance of a dramatic piece shall be deemed equivalent,<br />
in the construction of that Act, to the first publica-<br />
tion of a book, it could not be claimed that the<br />
performance of ‘The Fatal Card” in England was<br />
a publication, any more than would its performance<br />
in this country, while it remained unprinted, be<br />
deemed a publication. The object of copyright<br />
statutes is to protect the authors’ rights to their<br />
own productions. There is no international copy-<br />
right law or agreement between this country and<br />
England providing for the copyrighting of manu-<br />
script dramas, and as we have seen, ‘The Fatal<br />
Card' could not have been copyrighted in this country<br />
without printing.”<br />
The use of the word “playright” is explained<br />
and recommended in the judgment.<br />
“The property in a dramatic composition is of º<br />
called ‘dramatic copyright.' But this expressio<br />
is faulty and inaccurate. If it refers to the<br />
exclusive right of printing a drama it would je<br />
equivalent to the name poetic copyright, prºse<br />
copyright, or historical copyright, as applied to<br />
works in poetry, prose, or history. If its use is<br />
restricted to the right of representing a dram; it<br />
is not accurate, because this is not a right to<br />
multiply copies in the proper meaning of º<br />
expression, and cannot, therefore, strictly be gilled<br />
copyright. If it is intended as a name for both<br />
rights together, it can serve only to increaſe the<br />
confusion which should be wholly removed! The<br />
sole liberty of publicly performing a dāmatic<br />
composition might more properly be | called<br />
‘dramatic right' or ‘acting right.” The exſpession<br />
‘stageright,’ coined by Charles Reade, is not<br />
uncommon, but there are objections to this word<br />
with respect both to its formation and thſ purpose<br />
which it is required to serve. I have adopted<br />
‘playright’ as being, in my judgment, the best<br />
name for the purpose. It is a º<br />
word, and its formation is analogous ſo that of<br />
copyright. As the latter word literally means the<br />
right to copy a work or the right to he copy, so<br />
playright means the right to play a dama or the<br />
right to the play ; and it may properly be used to<br />
mean not only the right of # a play, but<br />
also the right of performing a musical mposition.”<br />
The American cases, in which º perform-<br />
ance of a play is not regarded as pſblication, are<br />
cited: Crowe v. Aiken (1870), 2 Biss, 108; Tompkins<br />
v. Halleck (1882), 133 Mass, 32; Kºney. Kimball<br />
(1860), 16 Gray, 549 ; Palmer v. Ile Witt (1872),<br />
47 N. Y. 532 ; and the English cºses, Boucicault<br />
v. Delafield (1863), 1 H. and M. 57; and Bouci-<br />
cault v. Chatterton (1876), 5 Ch. D.267, where the<br />
English Courts held that public prformance was<br />
publication. k<br />
<br />
<br />
<br />
## p. 211 (#267) ############################################<br />
<br />
THE A. UTISIO Pv.<br />
211<br />
After the citation of the English cases the<br />
judgment continues:–“These cases were decided<br />
subsequent to 5 & 6 Wict. c. 45, and 7 & 8<br />
Vict. c. 12. Section 19 of the latter Act pro-<br />
vided that the author of a dramatic piece which<br />
should be first published out of Her Majesty’s<br />
dominions should have no copyright therein, nor<br />
any exclusive right to the public representation<br />
or performance thereof. In both the cases re-<br />
ferred to Boucicault was the author of dramas<br />
that had been first performed in this country,<br />
and sought to prevent their production in England<br />
by persons acting them without his consent or<br />
authority. He was denied the relief asked, on<br />
the ground that the public representation of the<br />
drama in this country was a publication of them,<br />
and by section 19 of 7 & 8 Vict. c. 12, he was not<br />
entitled to the protection of the British statutes,<br />
and it was said that this was true whether the<br />
author of the play was a British subject or an alien.<br />
It would follow, therefore, that if ‘The Fatal<br />
Card” had been first performed in this country,<br />
the English Courts would have treated it as a<br />
dedication to the public, and as having the effect<br />
of divesting the author of any rights whatever<br />
under the laws of England to its exclusive<br />
production.”<br />
“As the English decisions appear to be based<br />
upon provisions of the statute referred to, and<br />
there is no such statute in this country, we are of<br />
opinion that they are not decisive of the question<br />
here involved, and this view is sustained, we think,<br />
by the American cases above cited. The view of<br />
the Appellate Court was that in Crowe v. Aiken the<br />
learned Chancellor did not have in mind the con-<br />
struction of the English statute adopted by the<br />
Courts in the action we have cited. Crowe v. Aiken<br />
was decided in 1870, and Boucicault v. Chatterton<br />
was not decided until 1876; but Boucicault v.<br />
Delafield was decided in 1863, and Judge Drummond<br />
said in Crowe v. Aiken : " I understand that it has<br />
been decided in England that the public perform-<br />
ance, even in a foreign country, of the play of<br />
which an English subject is the author, defeats his<br />
claim to the copyright under the British statutes.”<br />
From this expression it would seem clear that the<br />
author of the opinion was familiar with the<br />
doctrine announced in the Delafield case, so that<br />
the opinion in that respect could not have been<br />
based upon any misapprehension. To our minds<br />
it is squarely in point, and its reasoning is sound.<br />
Besides, it is in harmony with sound principles of<br />
justice, and we are disposed to follow it rather than<br />
adopt the rule that we are bound by the decisions<br />
of the English Courts made under their statute.”<br />
“The judgment of the Appellate Court will<br />
therefore be reversed, and the decree of the Circuit<br />
Court affirmed.”<br />
It is necessary to point out that the plaintiff in<br />
this case is a citizen of the United States, and is<br />
therefore entitled to the rights conferred at common<br />
law upon American subjects. But it does not.<br />
follow from the judgment that the common law<br />
rights in the United States are available for British<br />
authors, in the absence of assignment to a citizen<br />
Or subject of the United States. The President's<br />
proclamation of 1891 confers upon British subjects<br />
the benefit of copyright on substantially the same<br />
basis as the American statutes allow the same to<br />
citizens of the United States, but the “benefit of<br />
Copyright" referred to must be distinguished from<br />
the common law proprietary right in unpublished<br />
Works. The judgment points out that a play<br />
Cannot be copyrighted in the United States without<br />
printing, and therefore a British author may well<br />
Consider the advisability of either assigning his<br />
American playright to a citizen of the United<br />
States in order to secure the common law right in:<br />
an unpublished work, or printing and publishing.<br />
and duly copyrighting the work in that country,<br />
in order to secure the statutory protection.<br />
The decision of the Supreme Court has come at<br />
an Opportune moment. Mr. Frohman’s commend-<br />
able persistency, and the successful issue of his<br />
appeal, have enabled the Authors' Society to put<br />
forward the claim of a member, which, according<br />
to the opinion of an American lawyer whose advice<br />
Was taken by the society, was regarded as hopeless<br />
in consequence of the judgment of the Appellate<br />
Court. .<br />
HAROLD HARDY.<br />
* * —º- à<br />
w—v-w<br />
PRINTED PLAYS AND MANUFACTURING<br />
CLAUSE.<br />
—º-º-º-<br />
HERVIEU v. THE J. S. OGILVIE PUBLISHING CO.<br />
N this case the judge of the Circuit Court of<br />
the United States has held that the proviso<br />
in the American Act—commonly known as<br />
the “manufacturing clause,”—which requires<br />
that the two copies of a book deposited with the<br />
Librarian of Congress for copyright registration<br />
shall be printed from type set up in the United<br />
States, does not apply to plays even when they<br />
are published in printed form.<br />
The decision is important in connection with<br />
the above reported judgment in Frohman v.<br />
Ferris, where the Court pointed out that according<br />
to American law the author of a play cannot<br />
obtain statutory copyright protection in the United<br />
States unless the work is printed and published.<br />
The facts of the case may be briefly stated.<br />
In 1903 M. Paul Hervieu, the French dramatist,<br />
<br />
<br />
## p. 212 (#268) ############################################<br />
<br />
212<br />
TFIE A DITFIOR.<br />
published his play, entitled “Le Dedale,” in a<br />
Parisian periodical, and deposited two copies of<br />
the work, printed in France, with the Librarian<br />
of Congress for copyright registration.<br />
years afterwards a play was registered in England<br />
at Stationers' Hall by the defendant company,<br />
under the title of “The Labyrinth ; or, a Case<br />
for Divorce,” which the plaintiff alleged to be<br />
based upon his drama, and he brought an action<br />
for infringement of his statutory copyright.<br />
The defendant company contended that the<br />
plaintiff had no statutory copyright in the United<br />
States because he had published the play in book<br />
form and had not complied with the statutory<br />
proviso in respect of books.<br />
It was urged on behalf of the plaintiff that the<br />
proviso relating to “books’ contains no mention<br />
of “dramatic compositions,” which are, however,<br />
specifically mentioned in conjunction with books in<br />
other parts of the Act ; and that the Omission was<br />
clearly intended to exclude musical and dramatic<br />
compositions even when published in printed form,<br />
from the requirements of the “manufacturing<br />
clause.”<br />
The judge referred to the section of the Act<br />
which prescribes the conditions for obtaining<br />
copyright protection in the United States, and he<br />
pointed out that express mention is made of a<br />
“book, map, chart, dramatic or musical composition,<br />
engraving, cut, print, photograph or chromo,<br />
painting, drawing, statue, and statuary *; whereas<br />
the proviso is as follows:—<br />
“Provided that in the case of a book, photo-<br />
graph, chromo or lithograph, the two copies of<br />
the same to be deposited shall be printed from<br />
type set within the limits of the United<br />
States, or from plates made therefrom, or from<br />
negatives or drawings on stone made within<br />
the limits of the United States, or made from<br />
transfers therefrom.”<br />
The judgment then proceeds—“From the fore-<br />
going language, it is apparent to me that Congress<br />
did not intend to include ‘dramatic or musical<br />
compositions’ as a “book.’ The proviso leaves out<br />
map, chart, dramatic or musical compositions,<br />
engraving, cut, print, painting, drawing, statue,<br />
statuary or model design for a work of fine art.<br />
All these seem to have been purposely onlitted<br />
from the list of those articles for which the type<br />
must be set or plates and drawings made in the<br />
United States. . . . The question here presented<br />
is not whether a dramatic composition can ever be<br />
regarded as a “book,” but whether Congress<br />
intended, by the Act, to include dramatic com-<br />
positions within the terms of the proviso.”<br />
The judge held that the plaintiff’s claim was<br />
valid and that he was entitled to full copyright<br />
protection.<br />
2<br />
Some two<br />
In an earlier case, Littleton v. Oliver Diison Co.,<br />
which related to a musical composition, the Court<br />
took the same view, and incidentally dramatic<br />
compositions were referred to as being outside the<br />
requirements of the proviso relating to books.<br />
It is now clearly established, therefore, that, in<br />
order to secure statutory copyright protection in<br />
the United States in respect of a play or musical<br />
composition, the work must be published in printed<br />
form, because performance in public is not publica-<br />
tion ; but it is not necessary that the work should<br />
be printed from type set, or plates made, in the<br />
United States.<br />
HAROLD HARDY.<br />
* ~~ *<br />
~~ vºy<br />
w<br />
MAGAZINE CONTENTS.<br />
—e-º-e—<br />
BLACKWOOD’S.<br />
The Literary Side of the Law Reports.<br />
The Seaman. By David Hannay.<br />
Lady Louisa Stuart. By Florence MacCunn.<br />
BOOKMAN.<br />
The Bookman Gallery : Mr. John Masefield.<br />
Samuel Pepys. By Henry B. Wheatley.<br />
The Carlyle Love Letters. By W. Robertson Nicoll,<br />
LL.D.<br />
BOOK MONTHLY.<br />
Hugo's Guernsey. By Edythe R. Paen.<br />
Epistles of Ruskin.<br />
CONTEMPORARY.<br />
An Early Christian Hymn Book.<br />
Harris.<br />
Milton's God and Milton's Satan. By Dr. Forsyth, D.D.<br />
Wind : A Poem. By Geoffrey Winthrop Young.<br />
By Dr. J. Rendel<br />
CORNHILL .<br />
Edward Fitzgerald at Woodbridge.<br />
Benson.<br />
Did Browning Whistle or Sing? By F. M. Padelford,<br />
A Martyr for Style. By W. P. James.<br />
FORTNIGHTLY.<br />
The History and Legend of Antony and Cleopatra. By<br />
Guglielmo Ferrero. g<br />
Edward Fitzgerald. By Francis Gribble.<br />
The History of a Day. By Herbert Trench.<br />
Are Journalism and Literature Incompatible 7 By J. St.<br />
Loe Strachey.<br />
The Irish Dialect of English. By Mary Hayden and<br />
Professor Marcus Hartog.<br />
MONTH.<br />
The Dream of Gerontius and the Philosophy of St. Thomas.<br />
By the Rev. F. A. Newsome.<br />
NATIONAL.<br />
Percy and Goldsmith. By Austin Dobson.<br />
By Arthur C.<br />
NINETEENTH CENTURY.<br />
The Defamers of Shakespeare. By Sir Edward Sullivan,<br />
Bart.<br />
<br />
<br />
## p. 213 (#269) ############################################<br />
<br />
TFIE A DITFIOR.<br />
213<br />
How To USE THE SOCIETY.<br />
—º-º-º- -<br />
1. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society. -<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
5. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society. -<br />
This<br />
The<br />
7. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
—e—º-e—<br />
WARNINGS To THE PRODUCERs<br />
OF BOOKS.<br />
—e-º-º-<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property:-<br />
I. Selling it Outright. -<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement). -<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
§ Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
i. well bind yourself for the future to any one solicitor or<br />
Octor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
(1.) That both sides shall know what an agreement<br />
II]{22,I\S.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
—º-<br />
WIARNINGS TO DRAMATIC AUTHORS.<br />
—º-º-º-<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manageT.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
<br />
## p. 214 (#270) ############################################<br />
<br />
214.<br />
TISIES A UITISIOR.<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
grOSS receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
REGISTRATION OF SCENARIOS.<br />
—6-º-º-<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
-º-º-e—<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. . It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
Composer a transfer of fuller rights and less liberal finan.<br />
cial terms than those obtained for literary and dramatic<br />
property. , The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into :<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
—º-º-º-<br />
STAMPING MUSIC.<br />
—º-º-º-<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Sociéty's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
* à<br />
w w<br />
—A-<br />
~-<br />
THE READING BRANCH,<br />
–0-º-º-<br />
EMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic Works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
* —º- *<br />
w—w-w<br />
“THE AUTHOR.”<br />
—º-º-º-<br />
HE Editor of The Author begs to remind members of<br />
the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
58. 6d. Subscription for the year. -<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the stand-<br />
point of art or business, but on no other subjects whatever.<br />
Every effort will be made to return articles which cannot<br />
be accepted.<br />
—e—Q–e—<br />
REMITTANCES.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smith's Bank, Chancery Lane, or be sent by registered<br />
letter only. -<br />
<br />
<br />
## p. 215 (#271) ############################################<br />
<br />
THE A CITFIOR.<br />
215<br />
GENERAL NOTES.<br />
—º-º-º-<br />
PUBLISHERS’ AND AUTHORS' LETTERS.<br />
WHAT right has a publisher over letters addressed<br />
to his office for an author for whom he publishes 2<br />
The question has come to the front again. Some<br />
years ago we wrote to the leading publishers,<br />
obtained their opinions, and printed a statement<br />
in The Author. Naturally, as one would expect<br />
from business men and gentlemen, the publishers<br />
answered that they forwarded the letters unopened.<br />
This would appear to be the self-evident course to<br />
pursue. It is conceivable that some publishers,<br />
objecting to being forwarding agents, might return<br />
the letters to the postman, but it is inconceivable<br />
that any publishers should claim a right to open<br />
and read the letters. Yet this is what one publisher<br />
does and claims the right to do.<br />
It is difficult to know how to stop this, for often<br />
the author is unaware of what takes place, but it is<br />
as well to call authors' attention to the fact in case<br />
they suspect that any letter has gone astray.<br />
wºmma=sº º-sº-sº<br />
THE INTERNATIONAL LITERARY AND ARTISTIC<br />
- ASSOCIATION.<br />
THE International Literary and Artistic Associ-<br />
ation will hold their next Congress at Copenhagen,<br />
from the 21st to the 26th of June, 1909. The<br />
programme will consist of :-<br />
1. An explanation of the results of the Berlin<br />
Conference.<br />
2. Annual review of copyright legislation.<br />
3. The universal assimilation of the duration of<br />
authors’ rights. -<br />
4. Copyright in respect of phonographs and<br />
cinematographs.<br />
5. Protection of works of architecture.<br />
6. Industrial application of artistic works, and<br />
their national and international protection.<br />
7. The author's moral rights.<br />
The meetings will take place at the Copenhagen<br />
University,<br />
Persons wishing to attend the Congress, or to<br />
join the Association, should address themselves to<br />
M. A. Taillefer, 215 bis, Boulevard Saint Germain,<br />
Paris. -<br />
*= ºmºms<br />
A PUBLISHER's CONTRACT.<br />
THE following clause is not an uncommon clause<br />
in a publisher's agreement.<br />
“The author will not write or publish, or be concerned<br />
either directly or indirectly in writing or publishing, any<br />
other book on the same subject of such a kind, or published<br />
the market.<br />
*...Such a price, as may reasonably be regarded as likely to<br />
affect injuriously the sale of the said work.”<br />
Once or twice comment has been made in these<br />
columns on the unfairness of the clause. It is<br />
unequitable that the author should bind himself to<br />
these terms without obtaining from the publisher<br />
a similar undertaking. Cases have occurred,—and<br />
Will occur—where the publisher, desiring to get<br />
Control of the market, and hearing of a work to be<br />
produced by another author on the same subject as<br />
the one which he (the publisher) has already in hand,<br />
has offered to publish both. What is the result á<br />
One of the two books is killed, and the other<br />
perhaps has a prosperous career. In other words,<br />
the Work of one of the two authors is precluded<br />
from having a fair chance. But the one that is<br />
killed is not killed so absolutely that the exclusive<br />
right to print and publish granted to the publisher<br />
is destroyed, and the author recovers possession of<br />
his property.<br />
If these two books had been in the hands of<br />
different publishers there would, no doubt, have<br />
been keen competition, and the best book would<br />
have won in the end; but both would have<br />
had an increased sale, owing to the desire<br />
of each publisher to secure the command of<br />
This latter position is the position<br />
in which the author should be placed. His book<br />
should have a free market, and should not be<br />
arbitrarily withheld from the public. He should<br />
meet With fair treatment. An author will be well<br />
advised to refuse to sign any agreement containing<br />
this clause unless the publisher is willing to be<br />
bound reciprocally, or unless the book is such a<br />
One that no other of the same kind can enter into<br />
competition with it. Difficulties have arisen, and<br />
are likely to arise, in the case of educational books,<br />
of topographical books, of medical books, of his-<br />
torical books dealing with certain periods or certain<br />
biographies. The field is a large one, so writers<br />
should keep their eyes open, and take warning.<br />
PERFORMING RIGHTS IN THE UNITED STATES.<br />
A CORRESPONDENT has been kind enough to<br />
forward us a cutting from an American paper,<br />
containing a judgment in a case which has just<br />
been tried bearing on dramatic property. This<br />
judgment confirms the view of the law which we<br />
have for some time upheld—that to secure the per-<br />
forming-rights of a dramatic piece in the United<br />
States it is not essential that the copies filed at<br />
Washington should be printed from type set up in<br />
the United States. But by the law of the United<br />
States as it stands under the Act that has just<br />
been passed, sec. 11 does not demand apparently<br />
<br />
<br />
## p. 216 (#272) ############################################<br />
<br />
216<br />
TISIE A CITFIOR.<br />
that the copy to be filed in order to secure the<br />
performing rights should even be printed.<br />
We call the especial attention of dramatic<br />
authors to the two cases Frohman v. Ferris and<br />
Herview v. The J. S. Ogilvie Publishing Company,<br />
printed in this issue, and to the New United States<br />
Copyright Act, under which future registration will<br />
be made. Our correspondent assures us that many<br />
dramatic authors were ignorant of the position.<br />
There may have been some doubt as to the inter-<br />
pretation of the former Act until this case was<br />
decided, but there is no doubt whatever under the<br />
clause of the present Act. This Act comes into<br />
operation in July, 1909. -<br />
AMERICAN METHODS.<br />
WE have, in these columns and elsewhere,<br />
frequently warned authors of the difficulties arising<br />
from the lack of finality in their contracts with<br />
editors, publishers and others commercially inter-<br />
ested in the profession of letters. Fully half of the<br />
cases which are chronicled in The Author and<br />
in the Society's Reports, would have been<br />
avoided had the authors seen that their con-<br />
tracts were, at least, as clear and firm as those<br />
which obtain in other commercial circles. The<br />
necessity for this business prudence is no more<br />
evident than in the relations between editor and<br />
contributor.<br />
It is, therefore, with the greater pleasure that we<br />
draw the attention of magazine writers to a label<br />
which accompanied a M.S. submitted to us recently<br />
by an American correspondent, and was attached<br />
to the end of his MS., but could easily be<br />
removed.<br />
(If available mail this tag.)<br />
The editor of accepts for publication the MS.<br />
entitled “ ” at his regular rates.<br />
- (An article of sale of MS. is that one copy be mailed on<br />
publication, cost to be deducted from payment made.<br />
Unless specifically provided the right to reproduce<br />
photograhs is retained by the author.)<br />
It is the idea to which we would particularly<br />
draw attention as the wording of the label is not<br />
all that could be desired.<br />
So long as the writer is acquainted with the<br />
regular rates of the paper to which he submits his<br />
work the first paragraph of this will stand, but in<br />
view of the fact that with many magazines there is<br />
no regular rate of payment, it would be much<br />
simpler for the author to mention a fixed sum per<br />
thousand words for which he is willing to allow<br />
the editor the use of his work. He should also<br />
limit that use to one issue of the paper with which<br />
he is dealing, and should not leave the matter<br />
hopelessly indefinite—the rights he really intends<br />
to sell. It is sometimes possible to sell second<br />
serial rights in articles or stories, and though the<br />
remuneration for these rights is not extravagant,<br />
they are generally more valuable to the author<br />
than to the editor, and should, therefore, be<br />
retained.<br />
*T*-* -<br />
COPYRIGHT CASEs, 1909.<br />
ANNUALLY, the Publishers’ Association com-<br />
missions Mr. E. J. MacGillivray to collect the<br />
copyright cases for the past year, and annually we<br />
are indebted to the Publishers’ Association for a<br />
copy of this exceedingly useful pamphlet. Indeed,<br />
from the point of view of authors, dramatists,<br />
composers, artists, and owners of copyright<br />
property, it is difficult to imagine that anything<br />
more serviceable could be published.<br />
During the past year many important cases have<br />
been settled : among them Humphreys v. Thomson,<br />
which was conducted on behalf of the plaintiff by<br />
the Society of Authors. But perhaps the cause<br />
célèbre of the year was Murray v. Walter. Although<br />
the case had little to do with the question of copy-<br />
right, many interesting questions respecting the<br />
cost of production of books and publishers' contracts<br />
were involved.<br />
There have been one or two cases touching<br />
phonographic and cinematograph reproduction.<br />
It is possible that, were the question of phono-<br />
graphic reproduction taken to the House of Lords,<br />
the present position of affairs would be reversed.<br />
In regard to cinematograph reproduction the<br />
Judge in one case stated that it was his opinion<br />
that reproduction on a cinematograph was unlawful<br />
representation, but rightly concluded that the<br />
people who made the representation, not the<br />
manufacturers, were liable. Perhaps the most<br />
interesting case of all is the case of Nichols v.<br />
Amalgamated Press—a report of which those<br />
interested in copyright have had the oppor-<br />
tunity of reading in the columns of The Author.<br />
There was also a particularly interesting case<br />
under the title of Re Clinical Obstetrics. It was<br />
decided that when an author had granted to a<br />
publisher the sole and exclusive right of publica-<br />
tion, it did not necessarily follow that he had<br />
transferred the copyright.<br />
Mr. MacGillivray has dealt with the cases with<br />
great care and judgment. His work is lucid,<br />
without being too long drawn out. He seizes the<br />
salient points and interprets them graphically.<br />
The book is no doubt a work for lawyers, but<br />
it may well be read by those who desire to have<br />
Some knowledge of the value of the property they<br />
produce. -<br />
<br />
<br />
## p. 217 (#273) ############################################<br />
<br />
TFIE AUTISIOR.<br />
217<br />
MARION CRAWFORD.<br />
MARION CRAWFORD, who died at Sorrento, his<br />
home in Italy, on April 9, was one of the first<br />
members of the Society of Authors, as he joined<br />
in 1884, the year of the society's incorporation.<br />
It is with feelings of sadness that we have to<br />
chronicle, as time goes on, the passing of those who<br />
supported, with nowavering, our founder, Sir Walter<br />
Besant, in his early struggles for the cause of his<br />
brother authors.<br />
Marion Crawford was elected a member of the<br />
council. Though, owing to the fact that he lived<br />
abroad, he was not an active worker in the affairs<br />
of the society, yet he gave the society that assist-<br />
ance and sympathy which means so much in the<br />
beginning. -<br />
There is no need to give a list of the many<br />
novels that came from his pen. He sprung into<br />
fame with his first work, “Mr. Isaacs,” which was<br />
published in 1882, and he gained in reputation<br />
with “Dr. Claudius” and “A Roman Singer,”<br />
published in 1883 and 1884, respectively. His<br />
work was always up to a high literary standard.<br />
Nothing that came from his pen was slovenly in<br />
execution. He was a sound craftsman. Though<br />
he produced many historical works as well as a<br />
long list of novels he maintained a level of excel-<br />
lence which, though it may not have carried him<br />
among the immortals, yet assured him the respect<br />
of a large circle of readers.<br />
—e—º-e—<br />
ALGERNON CHARLES SWINBURNE.<br />
APRIL, 1837, TO APRIL, 1909.<br />
—º-º-º-<br />
N most of the “notices” and “appreciations”<br />
I of Swinburne which have appeared since his<br />
death, reference, naturally enough, has been<br />
made to “The Garden of Proserpine.” But, what<br />
appears to me to be a little absurd, the majority<br />
of the writers have quoted the last verse but one<br />
of that exquisite poem as expressing what they<br />
have called the poet’s “life philosophy.” Apart<br />
from the fact that conclusions arrived at by the<br />
immature mind of thirty undergo radical modifica-<br />
tions in the course of forty years, there is another<br />
objection to this view of the matter.<br />
Swinburne, of all the great Victorian poets, was<br />
the last man to wear his heart upon his sleeve in<br />
his poems. It is possible to fix upon certain lines<br />
of Tennyson and to say that these express his life<br />
philosophy. Tennyson was a preacher as well<br />
as a poet, perhaps we may say that he was a<br />
preacher first and then a poet, and the preacher<br />
is of course bound to admit the world into his<br />
innermost secrets; if he does not do so he is a<br />
humbug and ought to be unfrocked. Browning,<br />
too, was a philosopher first and a poet afterwards.<br />
His first duty was to give his philosophy to the<br />
world; his second duty was to sing for the world's<br />
delight. But Swinburne was primarily neither<br />
preacher nor philosopher. He was an artist. He<br />
Worked with words as a painter works with his<br />
canvas and his colours, as a sculptor works with<br />
his clay. His material lay outside him waiting to<br />
be brought into form by the magic of his art.<br />
This does not mean, of course, that his art did not<br />
reveal his soul, such a thing is impossible in a great<br />
artist, but that it is in his art, not in the revealing<br />
of his soul that we are to look for his life's work.<br />
He has no message to give the world, as we under-<br />
stand a message when we speak of religion or<br />
philosophy. Incidentally a message came, as come<br />
it must, but it came clothed in such beautiful gar-<br />
ments that the world was forced to regard the<br />
clothing rather than the wearer of them. And<br />
this is what Swinburne intended.<br />
But the poet, if he did not trouble to reveal his<br />
soul deliberately, told us with sufficient clearness of<br />
his loves and his hatreds. Little children he loved<br />
passionately all his lifelong : not ideal little children<br />
such as come to a poet in his dream as they came<br />
to Charles Lamb, but real everyday little children<br />
of the town streets and country lanes. His poetry<br />
again and again raises the Veil upon this strong<br />
love of his. He professed baby worship—which is a<br />
rare thing in a man. No man or woman of our<br />
time has written cradle songs to equal those of<br />
Swinburne. These cradle songs and this praise of<br />
childhood were for the most part the fruits of his<br />
later work. But even in the first series of “Songs<br />
and Ballads” we may find traces of this tenderness<br />
towards childhood which later on blossomed into so<br />
fair a flower. There are two lines in “Itylus.”<br />
which could only have been written by a genuine<br />
child-lover. The feeling which dictates—<br />
“The small slain body, the flowerlike face”<br />
and still more—<br />
“The hands that cling and the feet that follow ’’<br />
can have owed its inspiration to nothing but a<br />
patient loving observance of the beauty and the<br />
ways of childhood.<br />
He loved the sea, too, in all its moods. He loved<br />
the terror of it. He loved the unwearying beauty<br />
of it. The sea was at once his mother and his lover<br />
in whose bosom he fain would rest. All beautiful<br />
things come from her and all terrible things too.<br />
She bears life and death in her bosom. The joys<br />
of life are there, and the failures of life are the sea-<br />
wrack cast upon the shore.<br />
<br />
<br />
## p. 218 (#274) ############################################<br />
<br />
218<br />
THE A DTHOR.<br />
“The loves and hours of the life of a man,<br />
They are swift and sad being born of the sea.<br />
Hours that rejoice and regret for a span,<br />
Born with a man’s breath, mortal as he.”<br />
>< :k XK ×<br />
“It is not much that a man can save<br />
On the sands of life, in the straits of time,<br />
Who swims in sight of the great third wave<br />
That never a swimmer may cross or climb.”<br />
Browning calls a seagull “a fair sea lover.” This<br />
term might well be applied to Swinburne. Nay,<br />
does not he himself claim close affinity to the sea-<br />
gull in virtue of some past existence 2<br />
“When I had wings, my brother,<br />
Such wings were mine as thine.”<br />
The mutableness of the sea lies not only in change<br />
of form, but in change of colour. Many are the eyes<br />
which Swinburne has opened to—<br />
“The grey sea's notes of green,<br />
The green sea's fervent flakes of blue : ”<br />
eyes which may have gazed a thousand times upon<br />
the sea without seeing these things. So deep was his<br />
love of the sea and the winds and “the Viewless ways”<br />
that one feels that had there come upon him, that<br />
day at Etretät, the fate which came upon his<br />
brother lyrist, it would have been but fitting.<br />
What a fascinating story that is which “G. M.”<br />
tells of the birth of “Laus veneris '' and of the<br />
relationship in form of that great poem to Fitz-<br />
gerald’s “Omar” . But the relationship is close only<br />
in form, and not wholly in that. Inwardly the two<br />
poems have nothing in common. While the<br />
philosopher poet drives home his philosophy, the<br />
artist poet carries us away into a dreamland of<br />
beautiful things.<br />
A sense of humour is a gift rarely bestowed upon<br />
a poet. Swinburne had it. His parodies are<br />
among the best in the English language —<br />
especially the parody of himself. Who could<br />
imagine, say, Tennyson parodying “Locksley Hall”<br />
as Swinburne parodies “ Dolores” 2. A man must<br />
be a very great man to be able to smile at his own<br />
great work. One shrinks from using the term<br />
“genius” in speaking of Swinburne. The term<br />
has become discredited, applied as it is to every<br />
little writer of the hour. What we may say is that<br />
Swinburne has won for himself a place in that Small<br />
group of stars, that band of immortals whose work<br />
transcends the work of mortal men—even of the<br />
ablest of them. Could mere ability, even at its<br />
highest, have produced “Atalanta in Calydon,”<br />
so perfect as it is, or so nearly perfect as anything<br />
in another language could be, in AEschylean form<br />
and feeling 2 And what shall we say of these<br />
Wonderful choruses:–<br />
“When the hounds of spring are on winter's traces,<br />
The mother of months in meadow or plain<br />
Fills the shadows and windy places<br />
With lisp of leaves and ripple of rain ; ”<br />
and— *<br />
“Before the beginning of years<br />
Then came to the making of man<br />
Time, with a gift of tears;<br />
Grief, with a glass that ran " ?<br />
These things are not the handiwork of a skilled<br />
Workman. They are the products of an inspired<br />
artist, and as an inspired lyrical artist Swinburne<br />
will live While the world lasts and while the<br />
English language holds. His words were the<br />
material with which he wrought, will haunt the<br />
ears of our children’s children, as they haunt our<br />
ears when we stand upon the brown uplands and<br />
look out upon the sea, or when we lie in the shade<br />
of summer Woods and recall the days when gods<br />
and godesses, gracious and terrible, beautiful and<br />
foul moved among men and talked to them as a man<br />
talks to a man face to face. Never will the judg-<br />
ment of his great contemporary be reversed, “Song<br />
was his natural voice. He was the greatest of our<br />
lyrical poets—of the world's, indeed, considering<br />
what language he wielded.”<br />
- E. P. L.<br />
—OP-e—sqQ–<br />
CREATION AND CRITICISM.<br />
—t—Q-4–<br />
(Reprinted by kind permission of the Editor of the<br />
Chicago Dial, March, 1909.) . -<br />
I AM far from believing that literature is only<br />
a criticism of life. Creation and criticism<br />
are as much opposed as synthesis and analy-<br />
sis—the putting together and the taking apart.<br />
Indeed, they are further removed ; for the putting<br />
together implies a conscious act, whereas the<br />
greatest effects in literature are given to the artist.<br />
After his work in assembling his materials and<br />
placing them in a mould is done, it requires the<br />
fusing fire of inspiration to weld them together<br />
and make them into a new whole. - -<br />
But it is doubtful whether anything is given to<br />
the artist who does not strive—whether the light-<br />
ning flash will descend upon any altar which is not<br />
heaped with combustibles. Observation, study,<br />
conscious judgments, the acceptance or rejection of<br />
this or that quality or material, all these operations<br />
are necessary to the construction of a work of art,<br />
and they are all critical operations. It follows that<br />
a good literary artist must be a good critic. -<br />
The part which the naïve, the unconscious, the<br />
untrained faculties of man play in the production<br />
of literature was over-insisted upon in the criticism<br />
of the last century. It was held then that litera-<br />
ture was the spontaneous speech of man ; that the<br />
folklores, mythologies, ballad poetry, and early<br />
epics were the work of natural geniuses. The<br />
great existing epics of the world were divided into<br />
two classes, the naïve and the artificial. As far as<br />
<br />
<br />
## p. 219 (#275) ############################################<br />
<br />
TRIES A UITISIOR.<br />
219<br />
they are concerned, this position is abandoned<br />
to-day. It is seen that as much thought and Con-<br />
scious art must have gone to the making of the<br />
“Iliad' as of “Paradise Lost.” But still, as<br />
regards the slighter form of literature, the old idea<br />
of spontaneous creation lingers. “These books<br />
were not made by fools, or for the use of fools,”<br />
said Thomas Moore of the early Irish legends and<br />
poems. The beginnings of most literatures are<br />
lost in mist, so that we cannot tell how they arose<br />
or what manner of men produced them. But the<br />
Irish and Welsh bardic systems are revealed to us<br />
in something more than glimpses, and we can See<br />
that they were keenly critical and entirely con-<br />
scious attemps to produce literature. Nothing in<br />
our modern world is like the consecration, the<br />
training, the control which these systems suggest<br />
—unless it may be De Maupassant's apprenticeship<br />
to Flaubert. The Celtic bards believed that in-<br />
spiration was a result, not a cause ; and their<br />
works prove that they were largely right. From<br />
the example of their schools it may fairly be argued<br />
that something of the same sort existed in the<br />
early life of most nations. For it is another mis-<br />
take to suppose that the first poets of any race are<br />
the best. On the contrary, it takes a long time for<br />
the language, the ideals, the very life of a people,<br />
to be got into shape fit for literature.<br />
Leaving races and coming down to individuals,<br />
there are two main ways in which a writer begins<br />
artistic creation. One is the way of imitation :<br />
something in the literature of the past pleases him,<br />
stimulates him, and he tries to copy it. The other<br />
is the way of revolt: the work that is being done<br />
around him disgusts him—he says, “That is not<br />
true, that is not life or beauty as I see them,” and<br />
he strikes out a method of his own. The imitative<br />
incentive accounts for the long reigns of certain<br />
types or forms or styles in literature. The rebellious<br />
motive explains the sudden changes, reversions, or<br />
originations which every now and then sweep over<br />
literature. Some writer, or group of writers, revolts<br />
against the rule that seemed good to their fathers,<br />
and, drawing a third part of the kingdom of litera-<br />
ture after them, set up a new government, which in<br />
turn becomes conventional or despotic. It is obvious<br />
that the literature of appreciation and the literature<br />
of rebellion alike have their beginning in a critical<br />
attitude.<br />
The reason that the critical movements in the<br />
past—the ebb and flow of opinion—are not so<br />
apparent as they are in modern times, is that there<br />
was then little market for criticism as such.<br />
Authors published their main works, but all their<br />
preparatory studies and sketches were destroyed.<br />
Their private opinions about life and art, their<br />
shop-talk among themselves, their letters, were all<br />
criticism, and all aided in making their Works<br />
What they are ; but whereas now all this is largely<br />
Caught and preserved and published, in olden<br />
times it only lived as the rain and sunlight of the<br />
past live in the corn and wine they mature,<br />
Imagine a Boswell or an Eckermann for Shake-<br />
Speare Two-thirds of modern criticism would<br />
have been superfluous.<br />
Shakespeare began with the imitative mood—if,<br />
as I believe is probable, “Titus Andronicus" and<br />
“The Two Gentlemen of Verona’’ are his earliest<br />
Works; but in “Love's Labour's Lost" he sets up<br />
the banner of critical revolt. Throughout this<br />
piece he is making fun of the existing styles in<br />
dramatic poetry ; and Marlowe, Greene, Lyly, the<br />
objects of his previous admiration, come in for<br />
unsparing satire. After this he became so various<br />
and universal in the excellences he aimed at and<br />
reached, that it is difficult to follow the critical<br />
trend of his mind—to decide whether he is idealist or<br />
realist, conscious stylist or naïve producer of poetry.<br />
Ben Jonson was a determined critic, and his<br />
plays are built up with rigid regard to rule and<br />
authority ; but criticism as a trade was hardly born<br />
in English literature until Dryden's time. His<br />
prefaces, which Swift declared were “writ to fill<br />
in, and raise the volume's price a shilling,” are<br />
admirable in the quality they profess, and they<br />
show that he “learned by teaching.”<br />
The eighteenth century in England has been<br />
called a critical age ; but I think it is just the<br />
reverse. Dominated by two great writers, Dryden<br />
and Pope, yet not quite satisfied with them, it was<br />
afraid to trust itself to new or original forms of<br />
thought in literature, and it vacillated between<br />
Servile copying of its master's work and feeble<br />
attempts at something different. It was a choppy<br />
Sea with no great ground-swell on. Not until the<br />
Romantic revival came in sight, with its fore-<br />
runners in Collins, Gray, Chatterton, and Blake, and<br />
its culminating kings, in Wordsworth, Coleridge,<br />
and Byron, was there a real critical movement.<br />
There can be no question that this movement<br />
was a conscious one. Wordsworth and Coleridge<br />
did not do their work out of impulse and feeling ;<br />
they were intellectually alive to the change they<br />
desired to bring about : Wordsworth's first poems<br />
are Popeian in form, and Coleridge's early pieces<br />
are mainly mild imitations of Gray and Collins.<br />
But they came together, and the flint and steel<br />
were struck to light a blaze of revolution. As is<br />
the case of most reformers, they were partly uncer-<br />
tain in their principles and partly demonstrably<br />
wrong. Late in life, Wordsworth declared that he<br />
never thought very much of his famous preface to<br />
the “Lyrical Ballads,” and that he only wrote it<br />
to please Coleridge ; but at the time it was doubt-<br />
less real and earnest enough to him.<br />
It is not worth while to go through the histories<br />
<br />
<br />
## p. 220 (#276) ############################################<br />
<br />
220<br />
TISIES A UITISIOR.<br />
of the other great movements in modern literature<br />
—the German revolt against French models cap-<br />
tained by Lessing and Herder and Goethe, the<br />
revolt of the French themselves under Hugo and<br />
Dumas against their own classical literature, the<br />
advent of the realists, and so on. My point simply<br />
is that creation in the main is born of criticism—<br />
that artists generally know what they are doing,<br />
be their deeds ever so mistaken ; and also that<br />
practically all writers, even though not swept away<br />
in any great movement, begin and continue their<br />
work in a critical attitude ; that each one has his<br />
compass and chronometer, and takes his bearings<br />
from day to day instead of drifting idly about on<br />
the ocean of art.<br />
It is an old jest that the critic is the man who<br />
has failed in creation. Well, then, three-fourths of<br />
our greatest moderns must have failed, for at least<br />
that proportion have left vast outpourings of criti-<br />
cism, either in the form of recorded conversations,<br />
letters, or formal treatises. Lessing is equally great<br />
in critical and creative work, and one might almost<br />
dare to say the same of Goethe. Wagner's critical<br />
works are a huge reservoir of good, bad, and in-<br />
different opinions. Hugo's deliverances are com-<br />
paratively few in number, but they make up<br />
in intensity what they lack in extent. Coleridge<br />
and Arnold, the two greatest English critics, are<br />
unsetting stars in our poetic field. The letters of<br />
Byron and Keats are full of glittering nuggets of<br />
criticism, and there are a good many in those of<br />
Tennyson. In America, Emerson, Lowel), Poe,<br />
and a score of others are Janus-faced and have<br />
their outlook equally on the peace of poetry and<br />
the war of criticism. Among the best of modern<br />
men I can recall only one, Dickens, who seems to<br />
have written no criticism ; and only one abso-<br />
lutely great critic, Hazlitt, who did nothing that<br />
can be called creative work.<br />
Criticism would therefore seem to be almost a<br />
necessity to the creative artist. The Greeks sur-<br />
rounded their pregnant women with beautiful<br />
statues and pictures ; and the preoccupation with<br />
the divine, noble, or terrible forms and thoughts of<br />
past literature should and undoubtedly does aid in<br />
the shaping of new works. But when all that<br />
criticism can do for an artist is wrought, there yet<br />
remains something that he must hope and pray<br />
for-the daemoniac, the inspirational element in<br />
art, from which comes its intoxicating, its enchant-<br />
ing spell. By this the man is lifted to converse<br />
with the gods, and he comes back with his face<br />
aglow, and their language upon his lips. No<br />
amount of critical study or preparation can guaran-<br />
tee to him this translation of soul. But he can<br />
keep himself ready for it, and that is the chief<br />
object of criticism.<br />
CHARLES LEONARD MOORE.<br />
MEMOIR ON THE PROTECTION OF THE<br />
RIGHT OF TRANSLATION.<br />
Publicly read at the Berlin Conference by Professor<br />
A. OSTERRIETH, German Delegate.<br />
(From Le Droit d'Auteur.)<br />
HE Convention of 1886 established the reten-<br />
tion by the author of the right of translation<br />
for ten years. The Conference of Paris<br />
extended this right, making it equivalent to the<br />
general duration of the copyright, on the condition<br />
that the author should, within the first period of<br />
ten years, publish in a country belonging to the<br />
Union a translation in the language of the country<br />
for which he claimed the right.<br />
Norway and Sweden not having accepted the<br />
additional Act of Paris, the Berne Union practically<br />
contains two Unions, the general Union and the<br />
more restricted Union to which Norway and Sweden<br />
do not belong. The result of this is that Norwegian<br />
and Swedish works enjoy in other countries only a<br />
restricted protection from translation, limited to<br />
ten years.<br />
In consequence of the special conventions which<br />
Germany has recently made with Belgium, France,<br />
and Italy, translation has been simply and com-<br />
pletely assimilated to other modes of reproduction.<br />
This last system is that which the Imperial<br />
Government proposes to adopt as a rule for the<br />
whole Union.<br />
In the very lucid report which was presented in<br />
the name of the Commission at the Conference of<br />
Paris, M. Renault remarked that translation is the<br />
international question par eacellence. It is, in fact,<br />
in so far as literary works are concerned, certainly<br />
the most interesting of all the questions decided<br />
by the Convention. For, from the date of the<br />
Tower of Babel, translation has been the only means<br />
of making known to a people the works of a<br />
country of another language. Practically the<br />
number of persons who are sufficiently masters of<br />
a foreign tongue to be able to understand all the<br />
refinements and shades of meaning which the<br />
author of a work is able to use in it, is very<br />
restricted.<br />
These are precisely the considerations which<br />
have made certain countries hesitate to accord<br />
foreign authors an exclusive right of translation ;<br />
and from the same considerations have arisen the<br />
restrictions which the Berne Convention of 1886<br />
and the Paris Conference have placed upon the<br />
protection of translation by the Convention. On<br />
the other hand, if it is true that, internationally,<br />
translation constitutes the principal means of<br />
reproducing a literary work, the refusal of protec-<br />
tion, or its limitation, is a crime against the funda-<br />
<br />
<br />
## p. 221 (#277) ############################################<br />
<br />
TFIES A CITFIOR.<br />
22].<br />
mental principle of the author's rights—that is to<br />
say, against the principle that every author ought<br />
to possess the exclusive right to reproduce his<br />
work.<br />
Hence we here perceive this anomaly, that the<br />
same arguments which go to support the general<br />
extension of the right of translation are put forward<br />
also to contest the right, or to restrict it.<br />
Translation is the principal means of making a<br />
nation acquainted with foreign literature. In<br />
consequence of this it is an essential element in<br />
the development of the intellectual cultivation of a<br />
nation. All the world is agreed on that point.<br />
On the other hand, divergencies of opinion exist<br />
regarding the consequences which result.<br />
The adversaries of the protection of translation<br />
—you must kindly pardon my using this rather<br />
strong expression, which, however, is precise and<br />
clear—are particularly concerned to facilitate trans-<br />
lation in every possible way. And they consider<br />
that liberty to translate is the most perfect way of<br />
encouraging translation ; and that the consequence<br />
of protecting the author would be to place the<br />
translations out of the reach of the general public.<br />
The partisans of the right of translation, on the<br />
contrary, are of opinion that an exclusive right to<br />
translate presents the advantage of assuring the<br />
production of correct versions which present the<br />
original in its complete integrity.<br />
You will at once perceive the difference between<br />
the points of view of these two groups. To explain<br />
it with absolute precision I shall say that the<br />
adversaries insist most of all upon the maximum<br />
possible quantity of translations, whilst the partisans<br />
of protection of the right of translation lay stress<br />
upon the quality.<br />
To which of these two points of view is the<br />
preference to be given P General considerations,<br />
as well as some experiences of which we have been<br />
able to gather evidence, can leave us no doubt<br />
respecting the answer which ought to be given.<br />
Let us first examine the hypothesis of liberty of<br />
translation—whether it be complete liberty, or<br />
liberty accorded after the lapse of a certain<br />
period. -<br />
In the former case any one may translate a<br />
foreign work, and any publisher may publish the<br />
translation. On the part of a publisher the pro-<br />
duction of any book, whether it be a translation or<br />
not, is a commercial transaction. Hence an<br />
essential consideration, from the point of view of<br />
the publisher who is making his calculations, is<br />
the extent of the sale which the book may be able<br />
to secure. And herein is involved the importance<br />
of competition on the part of other publishers to<br />
which he may be exposed. When the liberty to<br />
compete is absolute, the chances of selling the<br />
Whole edition of the work is diminished. The<br />
publisher, exposed to the risk of having to meet on<br />
the market the same work brought out by another<br />
publisher, is obliged to reduce his expenses to a<br />
minimum, in order to avoid the danger of never<br />
Covering his cost of production. He will not be<br />
looking for the best translator, but for the one who<br />
Will make the translation on the lowest terms.<br />
He will, therefore, not concern himself to procure<br />
a good translation, to respect the integrity of the<br />
original, and to offer a faithful rendering, but will<br />
be desirous of publishing a cheap translation in<br />
order that he may be able to face the immediate<br />
competition of the other publishers, who will also<br />
publish translations of the same work, very likely<br />
ones equally bad, and often mutilated, but such as<br />
will be likewise sold at a low price. On the other<br />
hand, if the publisher risks the expenses of a careful<br />
edition, he will be obliged to ask a high price to<br />
recoup his expenses, it being evident that the sale<br />
Will be very limited in consequence of the competi-<br />
tion of the other translations published at a lower<br />
price.<br />
Well, gentlemen, what I have been explaining<br />
to you is not a theoretical speculation, but is<br />
founded upon a reality. I can quote to you, in<br />
Support of what I have just advanced, the fact<br />
that there exist at present in Germany very few—<br />
if any exist at all—good translations of the great<br />
authors who are the present glory of contemporary<br />
Russian literature.<br />
The situation in Russia appears to be analogous.<br />
I have learned that there have been published in<br />
Russia fourteen translations of Zola’s “La Débâcle.”<br />
I am not in a position to say whether there may<br />
be among these fourteen one good one. But I<br />
believe that I may say that the majority are bad.<br />
Nevertheless the liberty of translation is considered<br />
to be of service in the development of national<br />
culture.<br />
I have just cited an example of a work that has<br />
world-wide reputation. But I must beg you also<br />
to observe that in countries where the liberty of<br />
translation is complete, the activity of translators<br />
is usually devoted to making translations of the<br />
great mass of futile works which have no value, the<br />
publishers and translators not being able to make<br />
any such selection as is made in other countries, a<br />
selection generally in accordance with the value of<br />
the works. This mass of worthless literature also<br />
competes seriously with the works of the national<br />
authors. Their demand for remuneration, howsoever<br />
modest it may be, is invalidated by the number of<br />
foreign works which can be had for nothing.<br />
Let us now examine the hypothesis of a rule of<br />
protection of the rights of translation.<br />
I can do this the more easily as we have had in<br />
Germany up to 1897 only the very restricted pro-<br />
tection resulting from the Convention of 1886.<br />
<br />
<br />
## p. 222 (#278) ############################################<br />
<br />
222<br />
TISIES A Pſ"TRIOR.<br />
Since the additional Act of Paris has come into<br />
force, we have been under the provisions of that<br />
Act. With respect to France, we have been since<br />
1903 under the provision of a complete assimila-<br />
tion. Thus, in so far as the literature of France<br />
is concerned, we have passed since 1897 from a<br />
very restricted protection to a complete one.<br />
What have the consequences been P A diminu-<br />
tion in the number of works translated 2 A<br />
diminution of translations in general accompanied<br />
by an increase in the price of foreign works 2<br />
That is what should have been expected if the<br />
persuasions of the adversaries of protection had<br />
been based upon solid grounds.<br />
Now, we are able to prove that what has<br />
happened is the exact contrary. It is true<br />
that the number of translations may have<br />
diminished. But that has certainly been to the<br />
advantage of the reputation of French literature.<br />
For previously one found journals and reviews of<br />
a certain kind filled with translations—for the<br />
most part ill-executed—of romances, novels, short<br />
stories, and tales more or less light, which do not<br />
occupy a high place in French literature, and are<br />
repudiated by French men of letters. Or else one<br />
met with translations of novels of incontestable<br />
value, but mutilated translations, or in some form—<br />
if I may borrow an expression from the epoch of<br />
the humanists—emendation et correction. The last<br />
twelve years have witnessed a complete turning of<br />
the tables. I am not able to present to you a<br />
statistical statement of the translations made<br />
during that period, but I can affirm that it is<br />
astonishing to see how many translations of French<br />
works have appeared in recent years, translations<br />
of Works of all kinds—poetry, romance, tales,<br />
biographies, historical works, scientific works, and<br />
Works on photography, asthetics, sociology, etc.<br />
I am able personally to assert that at present there<br />
are many French works which cannot be so easily<br />
found in the booksellers' shops in Paris as the<br />
translations of them can be found in the booksellers'<br />
shops of Berlin.<br />
The majority of these translations, which are<br />
complete, and present the original in its entirety,<br />
are very well executed, and are published at very<br />
reasonable prices. Among translators of French<br />
works are to be found many distinguished German<br />
authors, such as Omteda, Hartleben, Oppeln-<br />
Bronikowski. We have a group of publishers who<br />
pay particular attention to the publication of<br />
Series of translations which are an honour to<br />
German booksellers. The price of these trans-<br />
lations is not generally very high, particularly if<br />
compared with the price of German works of the<br />
same kind. :<br />
Gentlemen, I am fully persuaded that this<br />
change, on which we have every reason to con-<br />
gratulate ourselves, is, to a great extent, due to<br />
our copyright legislation and to the Convention.<br />
This can be easily explained. Book commerce,<br />
like all other commerce, is ruled by the law of<br />
Supply and demand. When a publisher meets with<br />
a foreign work which may offer some interest to<br />
the German public, and for which he may reckon<br />
upon a demand of some certain extent, he can<br />
calculate his expenses (sums to be paid to the<br />
original author, and to the translator, cost of<br />
printing, paper, binding, etc.), and the sale-price<br />
of the work that shall be based upon the welcome<br />
that the book is likely to find at the hands of the<br />
German public. He is able to make this calcu-<br />
lation because the authorisation which he has<br />
obtained from the original author puts him in a<br />
privileged position, from which competition is<br />
excluded.<br />
The right of translation consequently produces<br />
the result of favouring good translations, and of<br />
permitting the publisher who has secured the<br />
exclusive right to sell at a reasonable price,<br />
calculated upon definite probabilities of public<br />
demand. -<br />
With respect to the question of the price of<br />
translations a general observation is necessary.<br />
The absolute liberty to translate has the result of<br />
the production of multiple translations. Now<br />
these inevitably augment the sum total paid for<br />
the whole number of translations made from the<br />
original. There are so many translators to be<br />
paid (howsoever modest their remuneration may<br />
be), and so many payments to be made correspond-<br />
ingly for printing, paper, stitching, etc. The<br />
general expenses of each edition have also to be<br />
calculated an equal number of times, until the<br />
whole amounts to—if you will allow me the<br />
expression—squandering money. And all that<br />
We avoid by protection.<br />
People are sometimes alarmed by the idea that<br />
the original author will exact Some extravagant<br />
sum for his authorisation of the right to translate.<br />
This preconception has not proved correct.<br />
Experience has shown that the sums which pub-<br />
lishers pay authors are small. For a novel of<br />
middling length they come to about two hundred<br />
francs. In the case of scientific Works (which<br />
particularly occupy attention in Russia) the authors<br />
or publishers of the originals usually limit them-<br />
selves to asking simply for the right of authorisation.<br />
It is also well known that the remunerations which<br />
the authors of scientific works receive are very<br />
small. In savants the mercantile sense is not<br />
highly developed.<br />
An interesting proof that the protection of the<br />
right of translation has not the effect of raising<br />
the price of foreign works has been furnished in<br />
Sweden, by a memoir presented in 1894 by the<br />
<br />
<br />
## p. 223 (#279) ############################################<br />
<br />
TFIE AUTHOR.<br />
223<br />
Society of Swedish Authors to the King of Sweden.<br />
To show the effects which the treaties concluded<br />
with France and with Italy had had upon the<br />
price of books, the authors of this petition drew up<br />
a statistical table of the price of certain French<br />
and Italian books (by de Amicis, Bourget, Daudet,<br />
Feuillet, Greville, Loti, Maupassant, and Zola),<br />
ºned before and after the treaties came into<br />
OTCé.<br />
At the close of this statistical table the memoir<br />
contains the following words:— -<br />
“It results from these statistics, which have been<br />
carefully prepared, that the works of de Amicis<br />
and Bourget have become cheaper since the literary<br />
treaties have come into force : that the prices of<br />
those of Feuillet and Maupassant have remained<br />
unaltered, and that the works of Daudet and Zola<br />
alone have become dearer, 25 and 75 centimes<br />
respectively for the story of 200 pages. But these<br />
are authors of so wide a reputation that this small<br />
increase of the price can occasion no serious<br />
diminution of their sale.” -<br />
By these explanations I have desired to prove<br />
the utility of the protection of the right of trans-<br />
lation. The arguments which I have unfolded are<br />
equally in favour of the general principle of the<br />
recognition of the right of translation, and in<br />
favour of the adoption of the widest system of pro-<br />
tection—that is to say, the assimilation of the right<br />
of translation to the right of reproduction.<br />
In reality the period of ten years does not, in<br />
the case of the great majority of books, suffice for<br />
the creation of a situation favourable to the publica-<br />
tion of a translation. It is true that writers who<br />
have made themselves very popular find the ground<br />
prepared, even for their most recent creations.<br />
But the great majority of works published at any<br />
epoch in many cases require a space of time equal<br />
to several years before their real value is perceived,<br />
even in the countries in which they were first<br />
produced. Add the difficulty of estimating the<br />
value of a work published in a foreign country ;<br />
add that of finding the best translator, who (in the<br />
case of a scientific or technical work) must possess<br />
knowledge of special kinds; add the time necessary<br />
to make the translation, and to print it, etc., and<br />
you must admit that the fact of not having pub-<br />
lished a translation of a work within the ten years<br />
that follow next after its first appearance cannot<br />
constitute, either on the part of the author or of<br />
the publisher, an omission which should entail the<br />
loss of rights. -<br />
Such, gentlemen, are the considerations by<br />
which the Imperial Government was inspired in<br />
proposing to the Conference that it should<br />
assimilate the right of translation to the original<br />
right of reproduction. -<br />
Allow me yet to add a few words on the proposal<br />
put forward by the Government of Japan, which<br />
asks to have translations made in the Japanese<br />
language exempted from the protection of the<br />
Convention. If I have been able to show that<br />
protection has not the effect of either excluding or<br />
fettering the translation of foreign works, but<br />
rather favours it, assuring to every country<br />
advantages both in regard to the choice of books<br />
to be translated, and in regard to the quality of<br />
the translations, I have, by showing this, answered<br />
the arguments, very interesting in themselves,<br />
which have been put forward by the Government<br />
of Japan.<br />
But I am anxious to add yet one word more to<br />
explain the prejudicial consequences which the<br />
adoption of the Japanese proposal would entail.<br />
Much stress is laid upon the fact that the Japanese<br />
language is little known in the countries of the<br />
Union, and that a Japanese translation could never<br />
be prejudicial to the interests of the author and<br />
publisher of the original work. I am willing to<br />
admit that this may be true. But is Japanese the<br />
only language in favour of which this plea might<br />
be urged 2 In many of the countries of the<br />
Union languages and dialects are to be found, the<br />
knowledge of which is restricted to a proportionately<br />
Small part of the population. I would cite Breton,<br />
the dialect of Picardy, Romansch in the Grisons,<br />
Basque, and Welsh. If we were to accept the<br />
Japanese proposal, we should be led on logically<br />
to accord these particular languages similar<br />
privileges, and so at once destroy the very system<br />
of the Berne Convention. -<br />
—e—º-e—<br />
A PLUTOGRAT OF THE PRESS; OR, THE<br />
CYNIC'S SUCCESS. -<br />
NEVER cared very much for Wynyard Graves.<br />
He was an obscure and impecunious Scribbler<br />
like myself, in those far-off days, when half a<br />
guinea for an article or a story meant rejoicing,<br />
while a guinea for a thousand words was pay<br />
indeed. -<br />
To begin with, we were not scions of the aristo-<br />
cracy, and our middle-class patronymics served no<br />
purposes of “tone” on a list of contributors. In<br />
fact we enjoyed none of those meretricious claims<br />
to literary recognition, which some few editors and<br />
publishers are believed to take into account when<br />
perusing manuscripts sent in to them by uninvited<br />
outsiders. - ''<br />
However, after five years spent in genuine hard<br />
work, we decided to “chuck” a labour that had<br />
proved itself a labour of love in more senses than<br />
OIl62, -<br />
<br />
<br />
## p. 224 (#280) ############################################<br />
<br />
224<br />
TISIES A CITISIOR,<br />
As Graves said, somewhat vulgarly it is true,<br />
“Literature is a bad egg, old boy. There's no tin<br />
in it.”<br />
He had thought that he needed only to<br />
circulate his lucubrations to be received with open<br />
arms, and that “coin " would splash over him as<br />
copiously as rain in September.<br />
Now after five years he looked upon £100 as a<br />
noble reward for a year’s toil.<br />
Had we depended on our pens the workhouse<br />
would have been our only refuge. Luckily, we had<br />
small, very small, private means, which enabled us,<br />
living frugally, to maintain body and soul under<br />
one tenement. Still, it was a grind which nothing<br />
but the self-confidence and enthusiasm of youth<br />
could have made endurable.<br />
One evening as we sat by a miserable fire in our<br />
dingy little sitting-room, cach with a long envelope<br />
in his hand containing a rejected MS., Graves<br />
suddenly broke my rather rueful meditations by<br />
! »<br />
exclaiming, “That's the last<br />
“Last what P’’<br />
“Last rejected manuscript I mean to receive.”<br />
“ HOW’s that, 2 ”<br />
“Because I shall never send another out.”<br />
His explanation seemed to be conclusive. I pro-<br />
duced my briar, filled, and lighted it. After a few<br />
composing whiffs, I asked him what he meant<br />
to do.<br />
“Do l’ he echoed, his eyes glittered angrily.<br />
He flung the document into the centre of the fire,<br />
and broke into violent invective.<br />
“Do Why chuck the rotten game and try<br />
for something that will at all events afford me a<br />
docker’s wage. Good Heavens ! man, here have we<br />
been wasting the best years of our lives chasing a<br />
will-o'-the-wisp, a boneless phantom an intangible<br />
shadow !”<br />
“But you forget, Graves, that a successful<br />
journalist or novelist commands big pay,” I<br />
interposed.<br />
“And a successful money-grabber commands a<br />
sight bigger pay,” he returned hotly. “What's<br />
your plutocrat but a fellow who passed his youth<br />
watching how and where he could “best ' his<br />
neighbours We’ve been a couple of silly fools.<br />
Had we worked as steadily and conscientiously as<br />
mechanics, we should have been trusted overseers<br />
in receipt of good wages, or better still, have turned<br />
small employers.”<br />
He kicked the smouldering paper on the small<br />
fire savagely. * -<br />
“But you forget that poets, authors, painters and<br />
composers have always suffered hardship, neglect,<br />
and poverty for years before coming into their<br />
kingdom. Wordsworth was an old man before<br />
people read him. Keats was never read at all<br />
during his lifetime 22 -<br />
“Oh shut up, for Heaven’s sake | I believe<br />
in labour earning its reward. If there's no reward,<br />
I'll turn to something more healthy.”<br />
His monologue abated something of its fury<br />
after he had delivered himself of this declaration.<br />
To say that I sympathised with him is only to .<br />
be expected, considering that we had both been<br />
rowing in the same boat.<br />
Hard as it was to do so, we were forced to admit<br />
the plain unvarnished truth that as free-lance<br />
journalists we were simply egregious failures.<br />
Men no better equipped in the matter of brains<br />
than ourselves had passed us altogether in the race.<br />
One or two had pocketed their pride and turned<br />
reporters, Here a would-be poet was doing dry<br />
statistical work on a trade journal. There a<br />
reformer, from one of the Universities, was con-<br />
cocting servile interviews for a sensation-mongering<br />
halfpenny daily.<br />
Some day they would make quite a decent living<br />
Out of newspapers, but they would have sacrificed<br />
every hope, every faith, every virtue that had once<br />
been theirs.<br />
Cogitating on these experiences, I held my tongue,<br />
and puffed at my pipe. -<br />
Graves turned on me abruptly.<br />
“To-morrow, I go into trade,” he said.<br />
“Yes.” -<br />
“And you ?” he continued.<br />
“I shall try to obtain an appointment of some<br />
congenial kind. Failing that, I shall qualify for a<br />
profession—the Bar for choice.”<br />
“GOOd ” :<br />
Without further comment, he turned to his<br />
desk.<br />
All his MSS., over which he had taken infinite<br />
pains, he heaped and thrust upon the fire. With<br />
a set jaw, he handled the poker in an endeavour<br />
to coax a better draught. A burst of flame—a<br />
roar—the mass of paper had taken light and was<br />
rapidly transmitted to black flakes.<br />
Graves's face bore evidence to conflicting<br />
emotions beneath the surface ; but he uttered no<br />
word, and made no sign.<br />
I watched him intently.<br />
Ashes, sombre in colour, testified to the crema-<br />
tion of what had once been part of a human<br />
Soul.<br />
“Your turn next,” he said after a while, leaning<br />
over the smothered coal, and gazing upon the last<br />
remains of his mental offspring.<br />
“My turn ? No! I cannot bring myself to<br />
imitate your example—at least, not now.”<br />
Graves laughed mirthlessly.<br />
“You’d better. Burn your boats, old chap, and<br />
start on a new campaign. Ghosts”—he kicked the<br />
black flakes—“ghosts that will haunt and torment<br />
you.” -<br />
<br />
<br />
## p. 225 (#281) ############################################<br />
<br />
THE A CITISIOR,<br />
225<br />
But I would not be persuaded to copy his act of<br />
renunciation. .<br />
A week after that memorable scene, our ways<br />
parted. We gave up our “diggings.” I left the<br />
metropolis. Graves disappeared out of my life,<br />
and I made no efforts to trace his whereabouts.<br />
PART II.<br />
S0 years ran on, ten of them. These I had spent<br />
on the Gold Coast mostly, for there I possessed<br />
some status as an official of His Britannic Majesty's<br />
Colonial Service. Living cost me next to nothing,<br />
so that I saved nearly the whole of my salary.<br />
Blessed with a tough constitution I resisted<br />
climatic dangers which proved fatal to many more<br />
robust looking specimens. So that taking every-<br />
thing into consideration I was not dissatisfied with<br />
my lot.<br />
Now that I had no need to put pen to paper in<br />
the way of literary compositions, I became aware<br />
that I could always “Place” descriptive articles<br />
relative to my experiences abroad. Certain periodi-<br />
cals with a leaning towards ethnography actually<br />
found me out, and made proposals for occasional<br />
contributions which, at one time, would have<br />
driven me frantic with joy. It was my turn to<br />
reject now. And I did reject most of them.<br />
Literary work had grown most confoundedly<br />
abiguing, while pay that would have appeared<br />
princely to me once, now seemed absurdly small.<br />
Here and there I broke the rule, and by so doing<br />
came to know the marvellous publishing firm of<br />
Gregory Grub & Co.<br />
Being home on my annual leave, I was strolling<br />
along Fleet Street aimlessly glancing at the news-<br />
paper offices to right and left of me, when an idea<br />
struck me. .<br />
“I’ll call on Grub and see for myself what kind<br />
of chap he is. I’ve cashed a cheque or two of his,<br />
and found them correct, but I don’t even know him<br />
by sight.”<br />
So I wandered on, until I stopped in amazement.<br />
Instead of the shabby hole-and-corner affair in<br />
which most solvent publishers modestly transact<br />
their business, here was a palatial structure, brand<br />
new, resplendent, fitted up with the latest improve-<br />
ments.<br />
“By George ' " I exclaimed, “does publishing<br />
ay ! 7 5 tº.<br />
Nothing daunted, however, I entered and made<br />
my way to a spot marked “Inquiry Office.” A list<br />
of editorial rooms, as overawing as that of the<br />
departmental officials’ sanctums in a Government<br />
Building, attracted my eye. I could not discern<br />
the title of any periodical, however, which bore a<br />
geographical significance upon it.<br />
“Best to send up my card,” I thought.<br />
A minion in livery handed the pasteboard into a<br />
pipe arrangement, and requested me politely to take<br />
a seat.<br />
I waited some short while on the great man's<br />
pleasure before word came down a speaking-tube<br />
that he would see me.<br />
I was then taken in tow by another envoy.<br />
We negotiated corridors carpeted with thick firm<br />
material, passing doors innumerable. Here and<br />
there a statuette placed on a pedestal ornamented<br />
these passages. Occasionally a map, picture, or<br />
photograph of unusual dimensions adorned the<br />
Walls.<br />
I wondered whether Gregory Grub's authors<br />
shared in these riches; and found this same specula-<br />
tion crossing my mind again and again, as we<br />
encountered fresh evidence of the firm's opulence<br />
and splendour.<br />
Our tramp ceased before a door hidden behind<br />
a portiere.<br />
My guide tapped upon this, and, receiving an<br />
answer from within, opened it.<br />
I was in the presence of Gregory Grub.<br />
(To be continued.)<br />
THE UTILITY OF REVIEWS.<br />
--<br />
TVHOUGH I am a young author, I am not, I am<br />
sorry to record, a young man, and though<br />
it is only some seven years since my first<br />
volume appeared, it is more than forty since my first<br />
“fugitive piece ’’ passed through the fingers of<br />
devil, printer, editor, and critic. (“Reviewers”<br />
were called “critics” in those days.) I ought to<br />
have been a writer a third of a century ago, but I<br />
have been so busy that I have often scarcely had<br />
time to pull my boots off and say my prayers; and,<br />
I may as well confess, I have often been too tired<br />
to perform the latter duty. But I have had my eye<br />
on the literary reviewer all my life; chiefly because<br />
I came very early to a conclusion that reviewing a<br />
book is not one of the best ways of advertising it,<br />
or ensuring its success.<br />
I admit at once that the modern reviewer is a<br />
far better and fairer workman than the old critic,<br />
who was often a literary failure, and, therefore, a<br />
crabbed and jealous exponent of the work of more<br />
successful men.<br />
Personally I have no quarrel with reviewers;<br />
indeed, I think they have, with few exceptions,<br />
treated my work most favourably, yet I think that<br />
authors are entitled to have this class of literary<br />
men placed under much greater restriction than<br />
they are at present.<br />
In the first place, every reviewer should be com-<br />
pelled by law to affix his signature to his criticism.<br />
<br />
<br />
## p. 226 (#282) ############################################<br />
<br />
226.<br />
TISIES A UITISIOR-<br />
An author is entitled to that guarantee of good<br />
faith, and such a course would probably put a stop<br />
to the present most improper practice of one man<br />
writing reviews for three or four different papers.<br />
A review is, after all, simply the opinion of one<br />
man ; and newspaper editors are not always good<br />
judges of the most fit person to perform the serious<br />
task of praising, or of cutting up a book. The<br />
reputation of a young author is easily blasted, and<br />
though an editor may be responsible for the work<br />
of his reviewer, law-angling is very expensive, and<br />
quite as uncertain as other forms of the “gentle<br />
art.” For this, and other important reasons, it is<br />
desirable to make the reviewer himself directly<br />
answerable for his work. A reviewer is far more<br />
likely to avoid an offensive attack if he knows he<br />
may be made to pay for it, than a rich newspaper<br />
proprietor who, on his part, in some cases may not<br />
be averse to a legal squabble, especially if he knows<br />
that his opponent is too poor to fight him.<br />
I am inclined to believe that it would be to the<br />
advantage of authors if reviewers were abolished.<br />
It is the writers of scientific works and books of<br />
travels that are most affected by them. A very<br />
few bad notices of a book of this class will render<br />
its sale unprofitable, while a long series of excel-<br />
lent reviews will not increase the sale beyond<br />
1,000 to 1,500 copies. A great many persons are<br />
astonished at hearing that the Sale of a book of<br />
travels rarely exceeds 1,500 copies. This, however,<br />
is a lamentable fact. The work of a single<br />
reviewer, therefore, especially if he has the Com-<br />
mand of three or four papers, is capable of doing<br />
an unknown writer very great mischief—a mischief<br />
that may be malicious and quite undeserved ; for<br />
reviewers, like other people, have fads, and there<br />
are persons who allow their fads to get the better<br />
of their powers of honest discrimination.<br />
Writers of fiction suffer little or nothing from<br />
reviewers. A novelist once established is far above<br />
criticism, indeed, I do not think the weakest<br />
scribbler in this branch of literature has anything<br />
to fear from the critic. People who read novels<br />
rarely look at literary notices, and when they do,<br />
being highly crotchety and sentimental people, a<br />
good “cutting up’’ is more likely to recommend a<br />
book to them than otherwise.<br />
It is, therefore, a question whether publishers<br />
could not find a better means of advertising their.<br />
publications than submitting them to reviewers.<br />
This is really what reviewing is—a form of gratui-<br />
tous advertising, a practice to which there are<br />
many grave objections. e<br />
I hope this little paper is only the first of a series<br />
of attempts to improve the position of authors, who<br />
are at this moment the worst remunerated and<br />
most oppressed of all professional men. Quixotic<br />
as the attempt may seem, I am determined to<br />
endeavour to get an alteration in the laws which<br />
affect literary men. I shall be thankful for support<br />
in this work, but even if I lack help and sympathy<br />
I will carry it on singlehanded. The state of the<br />
laws concerning literary men is disgraceful, as I<br />
hope to show presently. A tailor, with an old<br />
coat, has often a better case and more attention in<br />
the Courts than an author with a valuable MS.<br />
PAUL FOUNTAIN.<br />
sºº-º-º-º-º-º-mºm.<br />
BOOKS AT AUCTION.<br />
—e—º-e—<br />
HE chief event in the book world since the<br />
last part of “Book Prices Current, 1908,”*<br />
was published, has been, of course, the sale<br />
of the library of the Right Hon. Lord Amherst of<br />
Hackney. Some fifty pages of the first part of the<br />
new volume are devoted to a portion of this<br />
famous library—450 lots, to be exact, which<br />
realised £18,072 19s. The cream of the collec-<br />
tion, however, the Caxtons, were sold privately to<br />
Mr. Pierpont Morgan for a sum that, if it any-<br />
where approaches the rumoured figures, was a<br />
record even for the prized productions of the great<br />
printer. Among them was the renowned “Dictes<br />
or Sayings” (1477), and “The Morale Proverbes”<br />
(emprintede by Caxton in Feverer the Colde Season),<br />
in one calf-bound, small folio volume. . The “Dictes<br />
or Sayings ’’ is the first book ever printed in,<br />
England, of which only twelve copies—six of them.<br />
imperfect—are known to exist. Of the “Morale<br />
Proverbes’’ (1478) only three copies are extant.<br />
Among many other books of the utmost rarity.<br />
and value may be noted a copy of the first classic<br />
ever printed, Cicero’s “Officiorum Librii iii.,<br />
Paradoxa, et Versus xii. Sapiertum &c.” (Moquntial,<br />
Fust & Schoiffer, 1465), which went for £700, and<br />
a first edition “Robinson Crusoe’” (W. Taylor,<br />
1719), which seems inexpensive at £100.<br />
An illuminating example of how books increase<br />
in value was afforded by the sale for £315 of<br />
Martin Frobisher’s “True Discourse of the late.<br />
Voyages of Discoverie for the finding of a Passage<br />
to Catinaya.” In 1808 this same copy was bought,<br />
for a shilling, and in 1887 for £100.<br />
A copy of the (supposed) fourth edition of “The<br />
Institution of a Christian Man '' (1543), with<br />
Ring Henry VII.'s preface, was sold for £4. This<br />
book is specially worthy of mention as it has,<br />
printed above the colophon at the end, the Words,<br />
“This Boke bounde in paper boardes or in clasps<br />
* “Book Prices Current : A Bi-Monthly Record of the<br />
Prices at which Books have been sold at Auction.” London :<br />
Elliot Stock. £1 5s. 6d. per annum. ..<br />
<br />
<br />
## p. 227 (#283) ############################################<br />
<br />
TISIES A UTHOR.<br />
227<br />
not to be solde above XVI. d.”—a curious example<br />
of early net prices.<br />
Among modern authors, Meredith seems to<br />
maintain the lead : an autographed first edition of<br />
the “Poems” brought £22 last October; while<br />
the rare “Departmental Ditties” of Kipling,<br />
published in Lahore, in 1886, dropped to £2 7s.<br />
The most rapidly rising values in books at<br />
present are early aeronautical works, all of which<br />
are rare and eagerly sought after. It appears<br />
that, very shortly, the prices will be prohibitive.<br />
In the last few months the average increase in<br />
value has been 400 per cent.<br />
CoRRESPONDENCE,<br />
—º-º-e—<br />
UNITED STATES COPYRIGHT.<br />
SIR,-May it not be that the singular neglect on<br />
the part of the author to make any active protest<br />
against the present illogical system of our English<br />
copyright, which has been mentioned in The Author,<br />
may arise from the conviction, based on experience,<br />
of the utter futility of the author to appeal to that<br />
Sense of justice which is said to be the characteristic<br />
of the English nation. Failing the appeal to<br />
justice, that of agitation naturally arises in the<br />
mind, but from this method of forcing the pace the<br />
poor author is likewise debarred, by his want of a<br />
‘skin of ebony, or the leisure to manufacture bombs,<br />
to bolt buns in the Zoological Gardens, or appear<br />
in any of those characters which would give him<br />
the suffrage of a warm-hearted and intelligent<br />
public. There appears, therefore, to be left no<br />
appeal but that advanced, with so much vigour by<br />
“G. H. T.” in his stimulating paper in the April<br />
number, the appeal to common sense. Given that<br />
the object of English copyright is to protect the<br />
English author, the argument would be irrefutable,<br />
but that is the point which is in doubt, witness the<br />
present state of our copyright with America.<br />
Surely, there is a measure of humbug in our hold-<br />
ing up our hands at the action of America in<br />
annexing the brains of our authors and the wages<br />
of our printers which are gratuitously offered to<br />
him by England As an American said a year or<br />
two ago, “You English have the question entirely<br />
in your own hands, treat American authors as we<br />
treat English, and the result will be Free Trade in<br />
literature in a very short time.” On one point we<br />
‘may rest assured: authors have to fight this battle<br />
without outside aid; the public do not care if the<br />
author makes a living wage; all the public want<br />
care our books, neatly bound in cloth, price seven-<br />
pence, which they will have shortly unless the<br />
two years standard is rigorously enforced. Having<br />
regard to the array of great literary names in the<br />
House at present, this surely is the moment for the<br />
Cause of the poor author to be forced on the con-<br />
sideration of authority. Above all it should be<br />
remembered that the author has one asset, and one<br />
only—the printer whom American copyright has<br />
ruined. The printer should be run for all he is<br />
Worth ; that it is through the printer that justice<br />
Will eventually be meted out to the poor author, is<br />
the conviction of<br />
- Yours obediently,<br />
JULIEN ARMSTRONG.<br />
—º-º-º-<br />
TWO SMALL ITEMS AND A BIG ONE.<br />
SIR,-As an embryo author, perhaps I may be<br />
permitted to present some items, which are likely<br />
to dominate the minds of such, and which seem to<br />
require some treatment.<br />
(1) Would it not be possible to establish the<br />
Copyright of noms de plume, and also of the titles<br />
of literary art 2. Were this accomplished, every<br />
publisher and editor would doubtless take the pre-<br />
Caution, before putting a work in print, to ascertain<br />
if he were lawfully permitted to use some title or<br />
nom de plume. . At Stationers' Hall could be kept a<br />
title and nom de plume register, extracts therefrom<br />
being published from time to time for the perusal<br />
of authors and publishers.<br />
It would also seem necessary to make provision<br />
for safeguarding the reputation of the successful<br />
author—say John Smith, against the subtleties of<br />
such literary parasites who strive to publish similar<br />
Work under similar titles and the name of<br />
J. Smith.<br />
(2) I recently produced a work, and ordered fifty<br />
review copies to be sent, not specifying the papers.<br />
The publisher sent out a hundred. Error, but on<br />
the right side. The following, however, is some-<br />
What more serious to the impecunious author. In<br />
three months' time barely twenty notices of the<br />
Work had come to hand, and worse—personal<br />
letters to the editors elicited a few replies—(90 per<br />
cent. Of them didn't reply)—that the work in<br />
question could not be traced. Advertisement is<br />
evidently a great stumbling block to art, but that<br />
cannot at present be remedied. An editor will not<br />
review a book for love if he receives another book<br />
for review and a large cheque between its pages.<br />
I wonder if this is a great evil, and if there is a<br />
remedy ?<br />
(3) Authors' Publishing Company, Limited.—<br />
“If I could only print, bind, and sell my works<br />
myself ” thinks many a young author, and,<br />
maybe, some old ones.<br />
Would it be feasible 2 Would it tend to the<br />
general good to form Some gigantic publishing<br />
<br />
<br />
## p. 228 (#284) ############################################<br />
<br />
22S<br />
THE AUTHOR.<br />
concern with which all authors would be amalga-<br />
mated—would be the shareholders ?<br />
It smacks somewhat of the Social State, when<br />
doubtless there will be but one State publishing<br />
department ; and all authors, having passed their<br />
examination as State artists, will be paid salaries,<br />
and be given their special line of work<br />
At present it would mean the boycott of existing<br />
publishers, and throwing out of work a lot of men,<br />
unless such men were taken over by the Authors’<br />
Publishing Company, Limited. But since all printing<br />
and binding work is much the same, the scheme<br />
lacks not feasibility.<br />
It is likely that, with such a concern, authors<br />
would receive an almost perfect monetary recompense<br />
for their works (in fact a reasonable income in pro-<br />
portion to their amount of labour), and that books<br />
could thus be sold at cheaper and more uniform<br />
prices, and thus circulate far wider, and benefit all<br />
the public.<br />
But doubtless this has been considered by<br />
intellects greater and more experienced than I may<br />
boast of.<br />
Yours, etc.,<br />
EMIBRYO.<br />
—4—sº-0–<br />
PRIZES FOR AUTHORS.<br />
SIR,--Two letters in the last issue of The Author<br />
and a note on the reading branch in the com-<br />
mittee's annual report suggest that more could,<br />
and should, be done to encourage and assist the<br />
struggling beginner whose failure to obtain a hearing<br />
for his work is due to its unpopular character and<br />
not to any intrinsic demerit.<br />
La Société des Gens de Leſtres awards several<br />
prizes yearly. Would not the many financially<br />
successful members of our own society be willing .<br />
to contribute to a fund for a similar purpose, and<br />
thus prove that their devotion to literature extends<br />
somewhat further than the protection of their own<br />
interests 2<br />
It is from no desire to parade my misfortunes<br />
that I venture to detail my own position : the case<br />
for assistance cannot otherwise be sustained than<br />
by such illustrations.<br />
For having at the age of twenty-six issued<br />
privately, at my own expense, a slim booklet of<br />
poems, I may be forgiven.<br />
Few of the publications to which it was sent for<br />
review condescended to notice it at all ; several did<br />
not even include it in the list of books received.<br />
This was certainly not accidental on the part of<br />
one very popular weekly whose chief is never tired<br />
of posing as the guide, philosopher, and friend of<br />
the literary aspirant. I sent him three copies on<br />
separate occasions, but the book never appeared in<br />
the weekly lists. Why?<br />
Another weekly, however, widely known for its<br />
exacting literary standard, accorded me a generous<br />
notice concluding that “if the writer is a young<br />
man now publishing his first book, he should do<br />
something” Generous encouragement was also<br />
received by private letter from men whose verdict<br />
(in print) is everywhere received with the respect-<br />
ful attention commanded by acknowledged experts.<br />
Now, what is the net result of all this 2 A few<br />
appearances in the reviews and a total gross receipt<br />
of £12 1s. 6d. '<br />
I pay my guinea gladly (when I have it) and am<br />
willing to continue to do so, though I have, as yet,<br />
no connections with publishers and little or no<br />
published work that is likely to need protection.<br />
But if I were suddenly incapacitated (a prospect<br />
always more or less imminent, on account of a<br />
chronic disorder), how could the society help ?<br />
What have I produced to deserve its assistance 2<br />
Would the unceasingly rejected MSS. which fill<br />
my drawers be counted to me for righteousness 2<br />
Finally, to make a practical suggestion, why not<br />
arrange to crown annually the one, two, or three<br />
best works (according to subject—poetry, fiction,<br />
or belles-lettres) submitted to the reading branch,<br />
and pay for their publication with the guineas<br />
received P<br />
The painter's picture, though unsold, is not<br />
unseen ; its acceptance in a gallery is based on its<br />
artistic and not on its selling qualities. But it is<br />
unspeakably hard for the unrecognised writer to<br />
forego indefinitely all opportunity of recognition,<br />
as compelled by the present condition of public<br />
taste, aided and abetted by the timidity or cupidity<br />
of the publishers. .<br />
Yours faithfully,<br />
A WAYFARER.<br />
[If the prizes were paid for out of the guineas<br />
which are now received and paid to the readers,<br />
who or what would pay the readers and judges 2<br />
To secure a judge of such literary standing that<br />
his opinion would carry finality, would demand<br />
a heavy fee.—ED.] -<br />
—º-º-º-<br />
SHALL WE PUBLISH FOR OURSELVES :<br />
SIR,--In reply to “L. M. B.’s ” question, I<br />
offered my second novel as a matter of course<br />
to the firm who had published my first. I have<br />
always attributed their final adverse decision to<br />
public events which were disastrous to the publish-<br />
ing trade, since at first they seemed inclined to<br />
accept ; but I may be wrong.<br />
Yours, etc.,<br />
C. A. M.<br />
<br />
<br />
## p. 228 (#285) ############################################<br />
<br />
ADVERTISEMENTS.<br />
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H.SMITH... Capital stories; well told, and will be read<br />
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GERMAN THE WIKING : A Story of Ancient England.<br />
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MONICA OF ESSEBURN: A Novel. By MARGARET<br />
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Bound with attractive design in best cloth. 2/= met.<br />
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The story of a girl who fell in love with her sister's lover . . . Includes<br />
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IN THE LONG RUN : A Novel. By ROBERT B.<br />
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MRS. GILL, Typetoriting Cffice,<br />
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Authors' MSS. carefully copied from 1s, per 1,000<br />
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TYPEWRITING<br />
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## p. 228 (#286) ############################################<br />
<br />
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the only return for the time and labour spent.<br />
• THE COURSE OF LITERARY TRAINING<br />
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* The College also undertakes Literary Agency<br />
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IFor full particulars write at Once for pamphlet<br />
T).M. to the DITERARY CORRESPONDENCE COLLEGE,<br />
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FIRST LESSONS IN STORY WRITING.<br />
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at 10, Bouverie Street, London, E.C. | https://historysoa.com/files/original/5/393/1909-05-01-The-Author-19-8.pdf | publications, The Author |
392 | https://historysoa.com/items/show/392 | The Author, Vol. 19 Issue 07 (April 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+07+%28April+1909%29"><em>The Author</em>, Vol. 19 Issue 07 (April 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-04-01-The-Author-19-7 | | | | | 165–196 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-04-01">1909-04-01</a> | | | | | | | 7 | | | 19090401 | C be Elut bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.<br />
Vol. XIX. —No. 7. APRIL 1, 1909. [PRICE SIXPENCE.<br />
C O N T E N T S.<br />
PAGE PAGE<br />
Notices ... * c & tº º º tº º 0 * tº e tº º º tº gº tº tº us & ... 155 Warnings to Musical Composers ... * * * tº dº º * Gº tº ... 184<br />
Committee Notes e tº gº * * * • . . . . . . * * * tº º a ... 167 Stamping Music..., & º • * * * * * * * * * * * * & º e ... 184<br />
Report on the Sevenpenny Cloth-bound Copyright Novel ... 169 The Reading Branch ... * * * * * * & © e. tº gº º * * * ... 184<br />
Books published by Members of the Society ... ... ... 172 “The Author" ... ... ... ... ... ... ... ... 184<br />
Books published in America by Members ... * = * & © tº ... 174 Remittances * * * tº e e tº gº º tº gº º * * e & e e tº º º ... 184<br />
Literary, Dramatic and Musical Notes ... tº º gº º ºg & ... 175 General Notes ... tº e º tº º º tº e tº tº ſº º tº º q * * * ... 185<br />
Paris Notes * & © gº tº º tº º ſº * * * e º sº tº º & * & e ... 178 Committee Elections ... * * * a s g * * * * * * * is º ... 186<br />
United States Notes ... * * * & gº & * * * tº e º & e e ... 170 The Annual General Meeting ... * * * tº $ tº * * * * * g. ... 187<br />
British Authors and American Copyright... tº gº º * * * ... 181 Fragments of Centenary Ode on Edgar Allan Poe & sº º ... 189<br />
The Berlin International Copyright Conference ... tº sº º ... 181 Colonial Sales ... gº º e * * * © tº e e tº ge tº º º tº $ tº ... 190<br />
How to Use the Society & sº a tº is ſº tº º º & © º tº e e ... 183 An Optimist's View of our Decadent Drama * * * tº a ge ... 191<br />
Warnings to the Producers of Books tº gº & tº e º º, º e ... 183 The Letterpress Merchants ... tº º te tº $ tº * * * tº º ... 193<br />
Warnings to Dramatic Authors * * * * * * tº gº º tº º q ... 183 Correspondence ... tº ºn 8 * * * * * * * * * e tº º tº 9 tº ... 194<br />
Registration of Scenarios * * * tº º is * * * * * * * * ... 184<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report for the current year. 1s.<br />
2. The Author. Published ten months in the year (August and September omitted), devoted especially<br />
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br />
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back<br />
numbers from 1892, at 10s. 6d. per vol. -<br />
3. Literature and the Pension List. By W. MoRRIS COLLES, Barrister-at-Law. 3s.<br />
4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 1s.<br />
5. The Cost of Production. (Out of print.)<br />
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br />
papers in the Society's offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the<br />
various kinds of fraud which have been made possible by the different clauses therein. 3s.<br />
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br />
º office of the Society since the publication of the “Methods.” With comments and<br />
advice. 2s. -<br />
7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With<br />
Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
American Copyright Bill. By J. M. LELY. 1s. 6d. .<br />
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
(Chairman of Committee, 1888–1892). 18.<br />
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br />
LUNGE, J.U.D. 2s. 6d.<br />
10. Forms of Agreement issued by the Publishers' Association ; with Comments. By<br />
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.<br />
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br />
and Periodicals deal with MSS. and Contributions. 6d.<br />
12. Society of Authors. List of Members. Published October, 1907, price 6d.<br />
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S.W.]<br />
<br />
<br />
## p. 164 (#216) ############################################<br />
<br />
AD VERTISEMENTS.<br />
(Ilje Šariety of Autburg (ſmrurpurated).<br />
SIDNEY LEE.<br />
MBS. MAXWELL (M. E. BRADDON).<br />
JUSTIN MCCARTHY. -<br />
THE REV. C. H. MIDDLETON-WAKE.<br />
SIR HENRY Norm AN, M.P.<br />
SIR GILBERT PARKER, M.P.<br />
A. W. PINERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKHAM.<br />
OWEN SEAMAN.<br />
G. BERNARD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE,<br />
FRANCIS STORR.<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD-MARSHAL THE RIGHT HON.<br />
THE WISCOUNT WolsFLEY, K.P.,<br />
P.C., &c."<br />
SIDNEY WEBB.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEBB.<br />
JEROME K. JEROME.<br />
HENRY ARTHUR JONES.<br />
W. J. LOCKE.<br />
CAPT. ROBERT MARSHALL.<br />
MRS. ALEC TWEEDIE.<br />
MRS, HUMPHRY WARD.<br />
SIR CHARLES WILLIERS STANFORD,<br />
Mus. Doc.<br />
J. H. YOXALL, M.P.<br />
ARTHUR RACKHAM.<br />
M. H. SPIELMANN.<br />
Secretary—G. HERBERT THRING,<br />
Solicitor in England to<br />
La Société des Gems de Lettres.<br />
Telegraphic Address : “A UTORIDAD, LONDON.”<br />
Telephone No. : 374 Victoria.<br />
G-TEROIEv, G-IET:<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIRWM.REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
ROBERT BATEMAN.<br />
F. E. BEDDARD, F.R.S.<br />
THE RIGHT HON. AUGUSTINE BIR-<br />
RELL, P.C.<br />
MRS. E. NESBIT BLAND.<br />
THE REV. PROF. BONNEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYCE, P.C.<br />
THE RIGHT HON. THE LORD BURGH-<br />
CLERE, P.C.<br />
HALL CAINE.<br />
J. W. COMYINS CARR.<br />
EGERTON CASTLE, F.S.A.<br />
S. L. CLEMENs (“MARK TWAIN’).<br />
EDWARD CLODD.<br />
W. MORRIS COLLES.<br />
THE HON. JOHN COLLIER,<br />
SIR. W. MARTIN CONWAY.<br />
F. MARION CRAW FORD.<br />
THE RIGHT HON. THE LORD CURZON<br />
OF KEDLESTON, P.C.<br />
PRESIDENT.<br />
COUNCIL.<br />
AUSTIN DOBSON.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESHEIELD.<br />
THE HON. M.R.S. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl.ER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD.<br />
THOMAS HARDY.<br />
MRS. HARRISON (“LUCAS MALET").<br />
ANTHONY HOPE HAWKINS,<br />
E. W. HORNUNG.<br />
MAURICE HEWLETT.<br />
JEROME K. JEROME.<br />
HENRY ARTHUR JONES.<br />
J. SCOTT KELTIE, LL.D.<br />
RUDYARD KIPLING.<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REv. W. J. LOFTIE, F.S.A.<br />
THE RIGHT EION. SIR ALFRED<br />
LYALL, P.C.<br />
LADY LUGARD (MISS FLORA. L.<br />
SHA wy.<br />
IMCIEERIET)ITH, C - IMC-<br />
COMMITTEE OF MANAGEMENT.<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
MRS. E. NESBIT BLAND.<br />
J. W. COMYINS CARR.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT FowlER).<br />
Chairman—DOUGLAS FRESHFIELD.<br />
| MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTEIUR RACKHAM.<br />
G. BERNARD SHAW.<br />
IDRAIVIATIC SUB-COIVIMITTEE.<br />
H. GRAN VILLE BARKER.<br />
J. M. BARRIE.<br />
R. C. CARTON.<br />
MISS CICELY EIAMILTON.<br />
A. W. PINERO.<br />
| CECIL RALEIGH.<br />
G. BERNARD SHAW.<br />
ALFRED SUTRO.<br />
PENSION FUND COMMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY PHOPE HAWKINS,<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MORLEY ROBERTS.<br />
M. H. SPIELMANN.<br />
COPYRIGHT SUB-COMMITTEE.<br />
HAROLD HARDY.<br />
ANTHONY HOPE HAWKINS.<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
E. J. MACGILLIVRAY.<br />
SIR. GILBERT PARKER, M.P.<br />
ART.<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
FIELD, Rosco E & Co., 36, Ilincoln's Inn Fields, W.C. - & 9<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. Solicitors.<br />
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
OFFICES.<br />
39, OLD QUEEN STREET, S, or EY's GATE, S.W.<br />
<br />
<br />
## p. 165 (#217) ############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
WOL. XIX. —No. 7.<br />
APRIL 1ST, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
—e—º-e—<br />
NOTICES.<br />
+ OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application.<br />
* —º- -- a<br />
THE SOCIETY'S FUNDS.<br />
—º-º-o-<br />
– ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
Vol. XIX.<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
—e—6–e—<br />
LIST OF MEMBERS.<br />
HE List of Members of the Society of Authors<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
—e—º-e—<br />
PENSION FUND,<br />
—e—º-e—<br />
N the 5th of February, 1909, the Trustees of<br />
() the Pension Fund of the Society, after<br />
- the secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
3350 in the purchase of Corporation of London<br />
24 per cent. Stock (1927–57).<br />
The amount purchased is £438 2s. 4d., and is<br />
added to the list printed below.<br />
The Trustees are glad to report that owing to<br />
the generous answer to the circular sent round at<br />
the end of 1908, they have been able to invest<br />
more than £100 over the amount invested last<br />
year.<br />
Consols 24%.............................. #1,000 0 ()<br />
Local Loans .............................. 500 () ()<br />
Victorian Government 3%. Consoli- *<br />
dated Inscribed Stock ............... 291. 19 11.<br />
War Loan ................. • * - - - - - - - - - - - - - - 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 (0<br />
<br />
<br />
## p. 166 (#218) ############################################<br />
<br />
166 TISIES A UITSIOR,<br />
Egyptian Government Irrigation<br />
Trust 4%. Certificates ............... £200 0 0 Jan. 18, Fox, Archibald D.<br />
Cape of Good Hope 33% Inscribed Jan. 31, Anon. . - te<br />
Stock .................................... 200 0 0 Jan. 31, Kelly, W. P.<br />
Glasgow and South-Western Railway Jan. 31, Cotesworth, Miss . -<br />
4% Preference Stock.................. 228 0 0 Feb. 1, Phillipps-Wolley, Clive .<br />
New Zealand 34%. Stock. . . . . . . . ... 247 9 6 Feb. 1, Dawson, Warrington<br />
Irish Land Act 23% Guaranteed Stock 258 0 0 Feb. 4, Willard, Mrs. E. S.<br />
Corporation of Ilondon 24% Stock, Feb. 19, Paget, Mrs. Gerald<br />
1927–57 .................... . . . . . . . . . . 438 2 4 Feb. 20, Andrews, C. C.<br />
— March 5, Speed, Lancelot<br />
Total ............... £3,815 1 0 March 8, Calderon, George<br />
= March 8, Jackson, C. S. . • *<br />
March 9, Young, Col. George F., C.B.<br />
March 10, Sullivan, Herbert .<br />
March 11, Merritt, Mrs. Anna Lea<br />
March 22, Dale, T. F. tº •<br />
Subscriptions.<br />
1908.<br />
Tec. 1, Sachs, E. T. e<br />
Dec. 1, Truman, Miss Olivia<br />
1)ec. 3, Yolland, Miss E. © g<br />
J)ec. 4, Bagnall, Miss L. T. . º *<br />
Dec. 4, Humphreys, Mrs. Desmond (Rita)<br />
Dec. 4, Anon. . . º º e<br />
Dec. 7, Westrup, Miss Margaret<br />
Dec. 7, Lynch, H. T. B., M.P.<br />
Dec. 8, Caillard, Miss E. M.<br />
f)ec. 8, Askew, Claude<br />
Dec. 8, Felkin, A. L. .<br />
I)ec. 9, Rosetti, W. M. º<br />
IDec. 9, Miller, Miss Esther .<br />
Dec. 11, Woodward, Miss Ida ©<br />
I)ec. 12, Mann, Mrs. Mary E. Dec. 9, Lefroy, Mrs. . ſº<br />
T}ec. 12, Lack, H. Lambert . © Dec. 9, Bourdillon, Miss Rose<br />
Dec. 14, Winchilsea and Nottingham, Dec. 9, White, Mrs. Woollaston<br />
The Countess of g Dec. 10, Gilliatt, The Rev. E.<br />
Dec. 14, Sinclair, Miss May Dec. 13, Evans, Miss C. M. º -<br />
Dec. 14, Weyman, Stanley . Dec. 14, Pennell, Mrs. Elizabeth Robins<br />
Dec. 17, Macpherson, John F. Dec. 14, Oppenheim, E. C.<br />
Dec. 17, Hills, Mrs. Martha Dec. 16, Blake, J. P. .<br />
Dec. 18, Hands, Mrs. Morris Dec. 17, Medlicott, Cecil<br />
Dec. 18, Geddes, Mrs. . Dec. 18, Tansley, A. G. . º e<br />
Dec. 22, Miles, Bertram © Dec. 19, Thurston, Mrs. Katherine Cecil<br />
Dec. 23, Mackenzie, Miss Helen . Dec. 19, Todd, John L. . e ©<br />
I 909. Dec. 21, White, Percy<br />
Donations.<br />
1908.<br />
Dec. 7, Hood, Francis e<br />
Dec. 7, Maunsell, A. E. Lloyd<br />
Dec. 7, Carolin, Mrs. . e<br />
Dec. 7, Drake, Lady Eliott<br />
Dec. 7, Parker, Mrs. Nella.<br />
Dec. 7, Montrésor, Miss F. F.<br />
Dec. 7, Shepherd, George H.<br />
Dec. 9, Maartens, Maarten.<br />
Dec. 9, Y. F. S.<br />
:-<br />
-II<br />
Jan. 1, Twycross, Miss M. 0 5 0 Dec. 23, Vance, Louis J.<br />
Jan. 2, Macquarie, Arthur . 0 10 6 Dec. 28, Guthrie, Anstey .<br />
Jan. 4, Sproston, Mrs. Stanley O 5 0 Dec. 29, Robarts, Miss Edith<br />
Jan. 4, Phipson, Miss Emma 0 5 0 Dec. 30, Coke, Desmond<br />
Jan. 4, Middlemass, Miss Jean () 5 0 Dec. 30, Mackenzie, Miss J.<br />
Jan. 4, Pott, J. A. 1 0 0 Dec. 30, Lathbury, Miss Eva<br />
Jan. 4, Miller, Mrs. º O 5 0 Dec. 31, Egbert, Henry<br />
Jan. 7, Marchmont, A. W. . O 5 () 1909.<br />
Jan. 7, Sharwood, T. S. 0 5 0 Jan. 1, Zangwill, Israel<br />
Jan. 12, Durand, Ralph 0 1 0 Jan. 1, Hamilton, John A. .<br />
Jan. 12, Laing, Mrs. . º 1 1 0 Jan. 4, Stopford, Francis ©<br />
Jan. 14, Banks, Mrs. M. M. 0 7 6 Jan. 4, Falmouth, The Wiscountess<br />
Jan. 14, Steel, Richard O 5 0 Jan. 4, Carrel, Frederick<br />
Jan. 16, Garnett, Edward . 1 1 0 Jan. 4, Laws, T. C. e<br />
Jan. 16, Fenn, Frederick 1 1 0 Jan. 4, Abercrombie, Lascelles<br />
Jan. 18, Hering, Henry A. 0 10 6 Jan. 5, Bradgate, Mrs.<br />
I<br />
1<br />
l<br />
:<br />
I<br />
1.<br />
<br />
<br />
## p. 167 (#219) ############################################<br />
<br />
TRIE AUTHOR,<br />
167<br />
S.<br />
Jan.<br />
Jan.<br />
Jan.<br />
6, Leach, Henry<br />
6, Cullen, H. N. e g &<br />
6, Lyall, The Right Hon. Sir<br />
Alfred, P.C., etc.<br />
7, Underdown, Miss Emily<br />
8, Omond, T. S. g<br />
8, Paternoster, G. Sidney .<br />
9, Stockley, Mrs. -<br />
9, Tanner, James T. .<br />
12, Tighe, Henry<br />
12, Aitken, Robert<br />
12, Bolton, Miss Anna<br />
14, Williamson, W. H.<br />
16, Furze, Miss Bessie<br />
16, Shirley, Arthur<br />
18, “Austin Clare’” . &<br />
22, Williamson, Mrs. C. N.<br />
22, Williamson, C. N.<br />
23, Brown, R. Grant , &<br />
28, Raphael, Mrs. M. . & g<br />
4, Wilson, Miss Theodore Wilson<br />
4, Cousland, W. M. g<br />
4, Hardy, Thomas<br />
5, Bremner, Robert I,<br />
6, Todhunter, John<br />
6, Pettigrew, W. F.<br />
8, Russell, G. H. º<br />
8, Walker, Capt. J. H.<br />
8, Dutton, Miss Annie<br />
8, Baldwin, Mrs. Alfred<br />
11, Ainslie, Miss<br />
11, Steward, Miss E. M.<br />
11, Rumble, Mrs. .<br />
15, Beveridge, A. S. .<br />
16, Toplis, Miss Grace<br />
19, Wilkinson, D.<br />
Feb. 24, Landa, Mrs. tº º º<br />
Feb. 26, Fitz Gerald, Mrs. . tº &<br />
March 2, Tadema, Miss Laurence Alma<br />
March 2, Reynolds, Mrs. Baillie.<br />
March 4, Henry, Miss Alice<br />
March 4, Wilson, Edwin<br />
March 5, Hardy, Harold<br />
March 9, Crozier, Dr. Beattie<br />
March 9, Ross, Miss Janet<br />
March 15, Gregory, Lady .<br />
º<br />
I<br />
º<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
J a ſl.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb,<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
1<br />
l<br />
l<br />
:<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above are<br />
unavoidably held over to the May issue.<br />
The total amount of annual subscriptions<br />
received and promised since the issue of the<br />
circular in November amounts to about £75, the<br />
total amount of donations to £126. .<br />
We regret that we omitted Mrs. Miller's annual<br />
subscription of 5s. from the list of new subscribers<br />
during the month of January.<br />
comMITTEE NOTEs.<br />
—º-º-º-<br />
A T the meeting of the committee of the society<br />
held on March 1, nineteen members and<br />
three associates were elected, bringing the<br />
total elections for the current year up to sixty-six.<br />
Seventeen members resigned, bringing the resigna-<br />
tions for the current year to forty-five. This total,<br />
though large, is not unusual in the first quarter of<br />
the year, when the applications for subscriptions are<br />
sent out. We would remind our readers that in<br />
the February issue of The Aufhor the committee<br />
made a statement with regard to the re-election of<br />
members, and pointed out the practice which<br />
they feel bound to adopt in these cases. At<br />
, this meeting they settled the form of a circular to<br />
be sent to those members who intimate their inten-<br />
tion to resign ; but they desire to impress upon all<br />
members that where the society’s aid is called<br />
for, prior consideration will be given to the claims<br />
of those who are constant and steady supporters<br />
of the Society. The larger the society grows the<br />
greater is the obligation which the counmittee<br />
feel to protect the interests of those who have<br />
supported the society continuously without waiting<br />
until its help was essential to them in respect of<br />
the maintenance of their copyright property.<br />
It will be remembered that the sub-committee<br />
appointed to consider the question of the sale of<br />
cheap books postponed sending in their report<br />
until the March meeting. The report was laid<br />
before the committee and discussed. It was<br />
ordered to be printed, and appears in full in<br />
another column of the present issue.<br />
The sub-committee which had been formed,<br />
consisting of delegates from the various bodies<br />
interested in copyright property, held its first<br />
meeting at the society's office on the 23rd day<br />
of February. Sir Alfred Bateman and Mr. E. J.<br />
Macgillivray represented the Society of Authors.<br />
Sir Alfred Bateman was elected chairman. After<br />
some discussion of the contents of the Blue Book<br />
dealing with the Berlin Conference which had just<br />
been issued, it was decided that the committee<br />
should adjourn till the 31st of March in order to<br />
give the delegates time to study the contents of<br />
the Blue Book and receive instructions from the<br />
managing committees of the various bodies they<br />
represented. Sir Alfred Bateman reported to the<br />
committee of management what had taken place. He<br />
stated that there appeared to be three most important<br />
points in regard to the Berlin Conference. The<br />
first was the duration of copyright, the second, the<br />
inclusion of mechanical reproductions in copyright<br />
property, and the third, which referred particularly<br />
to the position of Great Britain, the possibility of<br />
obtaining Colomial support to a Uniform Copyright<br />
<br />
<br />
## p. 168 (#220) ############################################<br />
<br />
168<br />
TISIE AUTISIOR.<br />
Law. He explained that a Departmental Com-<br />
mittee had been called by the Government to<br />
consider the Berlin Convention and the Blue<br />
Book ; that it would be necessary for the Society<br />
of Authors and the joint sub-committee to collect<br />
and put before the Departmental Committee evi-<br />
dence on the main points that might arise, and<br />
he desired especially to have the support of the<br />
committee of management on the three points he<br />
mentioned. The committee agreed that uni-<br />
formity in copyright law was of the greatest<br />
importance if it were to be of international value,<br />
and approved the term of life and fifty years;<br />
they approved the proposal to bring mechanical<br />
reproductions under the copyright law ; and<br />
trusted the sub-committee would use its best<br />
endeavours to obtain the support of the Colonies<br />
towards uniform legislation. With these instruc-<br />
tions the delegates will again meet the other<br />
members of the joint sub-committee and will<br />
proceed to take what action the sub-committee<br />
may think fit towards copyright legislation.<br />
The Secretary next reported the action taken<br />
with regard to the reconstitution of the dramatic<br />
sub-committee. In regard to the nominees for the<br />
dramatic sub-committee the candidates chosen at<br />
the last meeting had been approved by the com-<br />
mittee presided over by Mr. Pinero. These names<br />
were submitted to the committee of management<br />
and were approved.<br />
Counsel's opinion on the important case of<br />
dramatic copyright mentioned in the last issue of<br />
The Author was then laid before the committee,<br />
and as this opinion was favourable the committee<br />
decided to support the appeal on behalf of the<br />
member concerned.<br />
The next point before the committee was the<br />
form in which certain questions relating to authors’<br />
property and income tax should be put in the<br />
House of Commons. The secretary was instructed<br />
to draft the questions for the committee's considera-<br />
tion. A letter on the subject from Mr. A. E. W.<br />
Mason, M.P., was read. The committee decided to<br />
forward him the questions as soon as they had<br />
been drafted. -<br />
During the month the secretary had drafted a<br />
formal agreement for musical composers, and had<br />
discussed the same with Sir Charles Williers<br />
Stanford. Sir Charles had expressed certain<br />
Views as to the position of composers at the<br />
present time in the matter of publication. These<br />
views the secretary laid before the committee,<br />
and it was decided to obtain counsel's opinion<br />
on the drafting of certain clauses which would<br />
protect the composer under the present conditions<br />
of the trade. The chairman stated that he had<br />
been in correspondence with Sir C. Stanford<br />
and Mr. MacEwen, the secretary of the Society of<br />
British Composers, with a view to the stronger<br />
representation of musical composers on the musical<br />
sub-committee, and an arrangement on the same<br />
lines as that concluded with the dramatists was<br />
under discussion. g<br />
Various cases came before the committee.<br />
The first case, the secretary was pleased to state,<br />
had been withdrawn by the member concerned,<br />
owing to the fact that the publishers were pro.<br />
ceeding to carry out the contract which they had<br />
entered into. The member thanked the society<br />
for the pressure which had been brought to bear in<br />
the matter.<br />
In the second case, counsel's opinion was read to<br />
the committee, advising that it was impossible in<br />
the present circumstances to take action on behalf<br />
of the member whose books were involved. The<br />
committee decided, therefore, to act on counsel’s<br />
advice, and abandon the matter for the present.<br />
The next was a curious case of infringement of<br />
a member's rights in Denmark. The opinion of<br />
the Danish lawyer, unfavourable to the member's<br />
claim, was laid before the committee, but he<br />
stated that he would be in London in March,<br />
When he would discuss the legal position further<br />
With the Society’s representative. Accordingly,<br />
the committee instructed the secretary to meet the<br />
lawyer, and to report to them at their next meeting.<br />
At the request of the Earl of Wemyss certain<br />
resolutions for the better representation of the<br />
interests of public bodies in the House of Lords<br />
that he proposed to place before that House were<br />
laid before the committee of management. The<br />
secretary was instructed to convey to his Lordship<br />
the committee's approval of his proposals.<br />
A further sum was sanctioned to be spent on<br />
office furniture.<br />
—º-º-º-<br />
PENSION Fu ND COMMITTEE.<br />
I.<br />
At the meeting of the pension fund committee,<br />
held at the society's offices on Monday, March I,<br />
the secretary reported the action the trustees had<br />
taken at the beginning of the year after considering<br />
the financial position of the fund. He stated that<br />
a sum of £350 had been invested in the Corporation<br />
of London 2% per Cent. Stock 1927—1957, and<br />
that there was a further sum of £100 per annum<br />
at the disposal of the pension fund committee<br />
should any suitable application come before them.<br />
The committee then proceeded to consider the<br />
application of Dr. J. Beattie Crozier, and allotted<br />
him a pension of £50 a year, commencing from<br />
the March quarter. He mentioned also the satis-<br />
factory response which had been received to the<br />
circular which was sent out at the end of 1908.<br />
<br />
<br />
## p. 169 (#221) ############################################<br />
<br />
TISIES A DITISIORs<br />
169<br />
II.<br />
The committee met again on March 19 to<br />
consider an application received since their last<br />
meeting from Mr. Richard Whiteing, and allotted<br />
him a pension of £50 per annum, commencing<br />
from the March quarter.<br />
––––<br />
DRAMATIC SUB-COMMITTEE.<br />
THE newly formed dramatic sub-committee<br />
held its first meeting at the offices of the society,<br />
39, Old Queen Street, Storey's Gate, S.W., on<br />
Thursday, March 11, at four o'clock. It was<br />
decided to adjourn the election of the chairman<br />
for the current year until the next meeting.<br />
The first matter for consideration was the Berlin<br />
Convention and the Government Blue Book relating<br />
thereto. The secretary explained that a Depart-<br />
mental Committee had been formed in order to<br />
consider the details of the Convention with a view<br />
to the alteration of the present copyright law, and<br />
that evidence would be taken by that committee<br />
from the various bodies and individuals interested<br />
in copyright property. He added that it would be<br />
necessary, in order that the interests of dramatists<br />
should be satisfactorily represented, that the sub-<br />
committee should consider the Blue Book, and<br />
should, if possible, come to some unanimous<br />
decision as to the points which it was desirable to<br />
lay before the Departmental Committee; he further<br />
stated that delegates should be appointed to put<br />
forward the committee's wiews. After some dis-<br />
cussion, the members of the committee decided to<br />
ask Sir W. S. Gilbert and Mr. J. W. Comyns Carr<br />
to undertake the duty. The secretary was<br />
instructed in the meantime to forward copies of<br />
the Blue Book to all the members of the dramatic<br />
sub-committee for consideration, in order that<br />
they might be in a position, at their next meeting,<br />
to discuss the points which should be emphasised<br />
in the interests of dramatic authors.<br />
The dramatic pamphlet which had been settled<br />
by the former sub-committee was laid on the table,<br />
and the secretary explained what work had already<br />
been done, and what remained to be done upon it.<br />
It was decided that the members should be supplied<br />
with copies with a view to enable them, at the<br />
next meeting, to go through the publication in<br />
detail. -<br />
The secretary reported on an important case<br />
which had been causing the committee of manage-<br />
ment and the dramatic sub-committee no small<br />
anxiety during the past three or four months, and<br />
on which two opinions had been taken from pro-<br />
minent American lawyers. He stated that, in all<br />
probability, the case would now be terminated<br />
satisfactorily on behalf of the member whose<br />
property was involved, owing to a recent decision<br />
in the United States Courts. An article on this<br />
decision will be printed in The Author.<br />
A proposal of one of the members for the<br />
registration of plays was also considered. The<br />
Committee expressed their thanks to the member<br />
for bringing the matter to their notice, but con-<br />
sidered that his proposal was covered by the existing<br />
arrangements for the registration of scenarios.<br />
— — —4----tº- e.<br />
REPORT ON THE SEVENPENNY CLOTH-<br />
BOUND COPYRIGHT NOVEL.<br />
—º-º-º-<br />
ON December 21, 1908, we attended a meet-<br />
ing at 39, Paternoster Row, on the invitation<br />
of Mr. Longman, and were met there by Mr.<br />
Longman, Mr. Macmillan, Mr. Reginald Smith,<br />
Mr. Methuen and Mr. Hutchinson.<br />
These gentlemen called our attention to the effect<br />
of the issue by the firm of Nelson of Edinburgh of<br />
copyright novels bound in cloth at 7d. net, and<br />
urged us, on the following grounds, to use our<br />
influence to dissuade authors from adopting this<br />
form of publication :-<br />
1. That the present customary price of 6s. could<br />
not be maintained in competition with a new<br />
customary price of 7d., as bookbuyers would<br />
not only prefer to wait for the sevenpenny<br />
edition, but would receive an impression that 6s.<br />
is an excessive price for a novel ;<br />
2. That as novels at 7d. could make a profit<br />
only on condition of attaining a very large circula-<br />
tion, the substitution of that price for 6s. would<br />
make it impossible to publish many novels which<br />
at present readily find a publisher, and in particular<br />
would make it much more difficult for novices to<br />
get their first books brought out at the publisher's<br />
risk ; -<br />
3. That the soundness of these views is proved<br />
by the fact that during the past year booksellers<br />
have found great difficulty in disposing of 6s.<br />
novels;<br />
4. That any author allowing a novel to be sold<br />
at 7d. will find the sales of his next book at 6s.<br />
suffering a considerable decrease.<br />
In the course of the discussion which ensued, it<br />
was agreed by the publishers present that flimsy<br />
sixpenny editions in paper covers do not injure the<br />
sale of 6s. books. Later on we shall see that this<br />
view is not shared by the booksellers. But no<br />
objection was made by the publishers to 1s. books<br />
or to any of the intermediate prices. It was the<br />
clothbound book of good appearance at 7d. that<br />
was alleged to be mischievous.<br />
Later on we took an opportunity of informing<br />
ourselves of the position from the point of view of<br />
<br />
<br />
## p. 170 (#222) ############################################<br />
<br />
170<br />
TISIES A UITISIOR.<br />
the advocates of the sevenpenny books. We were<br />
informed that the manufacture of these books has<br />
been organised on the most elaborate modern<br />
methods by costly machinery which dispenses with<br />
hand labour, and which involves at the outset a<br />
command of capital on a scale which places it<br />
beyond the competition of ordinary book-manu-<br />
facturing businesses. There is, therefore, no<br />
likelihood of the system being discontinued, as<br />
the machinery already in existence is too costly to<br />
be abandoned, and its output is so large that the<br />
lowest possible prices are necessary to enable a<br />
sufficient quantity to be sold to keep the plant<br />
fully employed. Besides, there are already many<br />
copyright novels in the market at 7d., under con-<br />
tracts with the publisher which presumably secure<br />
him against the author's withdrawal. All that<br />
can be done, therefore, is for authors to refuse to<br />
enter into such contracts in future.<br />
Is this advisable 2 It is admitted that the<br />
majority of novels published are dead, for business<br />
purposes, before the end of two years, as far as the<br />
ordinary 6s. edition is concerned. They can, how-<br />
ever, if they are good stories, be revived by a cheap<br />
edition, and yield to the author a further harvest<br />
and a valuable advertisement. So far both the 6s.<br />
publishers and the sevenpenny ones are agreed. The<br />
difference of opinion is that the 6s. publishers con-<br />
tend that the cheap reprint must be a sixpenny one,<br />
bound in paper and unfit for the library shelf,<br />
whereas the sevenpenny publishers believe in the<br />
cloth-bound, permanent, and presentable volume<br />
retailed at 7d. Thus the dispute is not as to<br />
whether there should be cheap reprints or not,<br />
but only as to whether the reprints should be<br />
“cheap and nasty” or cheap and nice.<br />
Obviously it would need very strong evidence to<br />
persuade authors to sacrifice their artistic instincts<br />
so far as to choose the former alternative. They<br />
would choose it only under the pressure of a con-<br />
clusive proof of serious pecuniary loss; and it is<br />
practically impossible fo convince any author that<br />
the revival of a dead book, accompanied by a<br />
substantial advance on account of royalties, will<br />
damage him financially. But the issue of a cheap<br />
edition whilst the 6s. edition is still alive is quite<br />
another matter. The next step in our investigation<br />
convinced us that though an attempt to suppress<br />
cheap editions altogether would be neither successful<br />
nor commendable, they should certainly be withheld<br />
during the lifetime of the 6s. edition.<br />
This next step was a conference with representa-<br />
tives of The Associated Booksellers of Great Britain<br />
and Ireland. The president, Mr. Henry W. Keay,<br />
with Mr. Hanson and Mr. B. H. Blackwell, were<br />
good enough to meet us and place before us<br />
communications from twenty-six booksellers<br />
throughout the kingdom, besides discussing the<br />
matter with<br />
experience.<br />
In the main the evidence of the booksellers<br />
bears out the argument of the publishers. The<br />
sevenpenny cloth-bound novel has the effect of<br />
making the public complain of the 4s. 6d. (6s.)<br />
novel as too dear. Customers wait for the cheap<br />
edition ; and Several provincial booksellers have<br />
given up stocking 68. books altogether. Practically<br />
the only dissentients are the large firms with many<br />
bookstalls and shops throughout the country, such<br />
as Messrs. Smith & Son and Messrs. Wyman.<br />
They do not find that the sevenpenny has inter-<br />
fered with the 6s. novel. They declare that each<br />
appeals to a different public.<br />
The booksellers do not distinguish the sixpenny<br />
paper reprint from the sevenpenny cloth-bound one<br />
as confidently as the publishers. They are generally<br />
of opinion that all cheap reprints make it more<br />
difficult to sell at 4s. 6d., and they applaud the<br />
practice of Miss Marie Corelli in abstaining alto-<br />
gether from cheap editions. They also differ from<br />
the publishers in having no hope of stopping the<br />
sevenpenny reprint. Too many of their members<br />
have already ceased to stock 6s. books and thus<br />
become dependent on the lower prices to make any<br />
such step acceptable to them. What they desire is<br />
a time limit within which they can assure their<br />
customers that there is no possibility of a cheap<br />
edition appearing. Without any prompting from<br />
us they suggested two years as a suitable period.<br />
Our conclusions are as follows:–<br />
1. Making all allowances for such concurrent<br />
causes of the slump in 6s. books as reckless over-<br />
production by publishers at certain seasons, and<br />
retrenchment of expenditure by purchasers owing<br />
to bad trade, and for doubts cast on the reality of<br />
the slump by one London bookseller in a large way<br />
of business who reports a revival of demand for 68.<br />
books, as well as for the opinion quoted above of<br />
the firms of Smith and Wyman, we are convinced<br />
that the standard price of 6s. has been shaken by<br />
the sevenpenny novel in the case of booksellers<br />
keeping a single shop and depending on the custom<br />
of people of moderate or slender incomes ; and as<br />
this is still the typical means of distributing books<br />
in the kingdom, we recommend the establishment<br />
of a time limit on which the booksellers and the<br />
public can rely as fixing the period within which it<br />
will be impossible to obtain a cheap edition of a<br />
new book published at 6s.<br />
2. We suggest that this limit should be at least<br />
two years. This period may wisely be extended at<br />
the author's discretion in cases where the 68. edition<br />
is still enjoying a substantial sale ; indeed, it must<br />
be understood that the bookseller's assurance to the<br />
purchaser that there will be no cheap edition for<br />
two years does not imply that there will necessarily<br />
us in the light of their own<br />
<br />
<br />
## p. 171 (#223) ############################################<br />
<br />
TISIES A CITISIOR,<br />
171<br />
be one even then, as it is not clear that the policy<br />
of maintaining a standard 6s. price for all books by<br />
certain authors is not in their case a sound one.<br />
The two years is therefore a minimum. In fixing<br />
that term we have been guided by the evidence as<br />
to the lifetime of an average 6s. book.<br />
taken it as being, roughly, about eighteen months.<br />
In view of the terms offered to authors for seven-<br />
penny reprints, we doubt whether a longer time<br />
limit than two years would be faithfully observed ;<br />
and without such observance the usage could not<br />
be created ; for the assurances of booksellers as to<br />
the impossibility of cheap editions being obtainable<br />
in less than two years would soon be contradicted<br />
by the evidence of their own shelves.<br />
3. We suggest that steps should be taken by the<br />
Committee of Management of the Society of Authors<br />
to ascertain how far the members are prepared to<br />
pledge themselves to observe the suggested time<br />
limit. A similar inquiry by the Publishers’<br />
Association would complete the evidence as to<br />
the possibility of establishing a firm usage in the<br />
book market.<br />
We add the following general comments for the<br />
information of authors.<br />
The 6s, edition is very largely a circulating<br />
library edition. The advocates of the sevenpenny<br />
book estimate the proportion at 80 per cent. to the<br />
libraries and 20 per cent. to the public. Among the<br />
publishers hostile to the sevenpenny book, one went<br />
so far in the opposite direction as to put the pro-<br />
portion at half and half. These are probably the<br />
limits. Obviously the proportion varies from book<br />
to book according to the impatience of the public<br />
to read the book or its desire to keep it when read.<br />
But all the estimates left the average 6s. book<br />
practically dependent on the circulating library for<br />
its feasibility as a commercial enterprise. As the<br />
library subscriber does not care what a book costs,<br />
and has therefore no inducement to wait for the<br />
cheap edition, novelty is much more important to<br />
the libraries than cheapness. To the bookseller<br />
cheapness is more important than novelty. Many<br />
booksellers report that they have given up stocking<br />
68. books; but all libraries have to stock them.<br />
Therefore it may be said that the average 6s, book<br />
depends for its existence on the libraries. Now if<br />
a new book can be obtained for 7d. in a form and<br />
binding actually more convenient and attractive<br />
than the 6s. form, and not less permanent, many<br />
library subscribers will buy it, and thus reduce the<br />
quantity ordered by the libraries. A point may be<br />
reached in this process at which the 6s, edition is<br />
not worth producing ; and this means that many<br />
books which are now only produced because of the<br />
high rate of profit at 6s, and the demand of the<br />
libraries, would not be produced at all unless the<br />
publisher were guaranteed against the appearance<br />
We have<br />
of a cheap edition for as long as he has any expecta-<br />
tion of selling at 68. Such expectation in the case<br />
of an average book is negligible after the lapse of<br />
eighteen months or so.<br />
The buyers of sevenpenny novels arean increasing<br />
public, who buy to read, and to keep, and to read<br />
again. We have evidence before us, which we have no<br />
reason to doubt, that a novel re-issued at 7d. keeps<br />
its place, and does not die—at all events, not so<br />
SOon as its 6s. forerunner.<br />
The public which is able and willing to pay 7d.,<br />
but not more, for a good novel, is said to be an<br />
increasing and intelligent public, discriminating<br />
keenly between books, but comparatively indifferent<br />
to the names and reputations of the authors.<br />
It is not contended by the sevenpenny publishers<br />
that authors could get a living at present by writing<br />
Sevenpenny books. The sevenpenny book, so far, is<br />
always a reprint ; and it is assumed that the author<br />
has already been remunerated, wholly or in part,<br />
for the work of writing it by the sale of the first<br />
edition at 68. or some such comparatively high<br />
price.<br />
There is, therefore, no question as yet of publish<br />
ing in the first instance at 7d.<br />
The difficulty at present in the way of such<br />
a publication is that the improvement in the<br />
machinery of production has not been accom-<br />
panied by any corresponding development of the<br />
means of distribution. The business of book-<br />
Selling remains much as it was when the mass of<br />
the population could not read. There are millions<br />
of potential readers in the country who cannot get<br />
books for want of bookshops. The readers are<br />
there, and the machinery capable of supplying the<br />
books is there ; but the means of bringing the two<br />
together is still to seek ; and for this reason, what-<br />
ever policy authors may adopt as to reprints, they<br />
must maintain the 6s. standard for first editions,<br />
for at least two years, until a great development in<br />
the business of book distribution creates circulations<br />
of a magnitude at present out of the question.<br />
(Signed) ANTHONY HoPE HAWKINS.<br />
MAURICE FIEWLETT.<br />
G. BERNARD SHAW.<br />
—6—Q-e—<br />
Cases.<br />
SINCE the last issue of The Author thirteen cases<br />
have come before the secretary. Four of these<br />
related to the recovery of money. In two the<br />
secretary has been successful ; the cheques have<br />
been obtained and forwarded to the members. In<br />
one of the two remaining cases the secretary<br />
has received an answer, and negotiations for a<br />
settlement are pending. The other dispute is<br />
<br />
<br />
## p. 172 (#224) ############################################<br />
<br />
172<br />
THE AUTHOR.<br />
against a New Zealand paper, and must necessarily<br />
take some time. Three members desired the<br />
assistance of the society to recover their MSS.<br />
The secretary has settled two, and the MSS. have<br />
been forwarded to the members. The remaining<br />
one has only just come into the office. Out of<br />
four claims for accounts two have been disposed<br />
of, the other two have only recently come to hand ;<br />
but in one of these the publisher has promised to<br />
forward the accounts in the course of a few days.<br />
Of two claims for infringement of copyright, one<br />
has only just come into the office; but, as it relates<br />
to a matter in France, it will take some little time<br />
to negotiate, as the papers must go through the<br />
hands sf the society’s French lawyer. The other is<br />
a curious case. An agent in England sold an article<br />
to an American magazine of high standing, without<br />
the sanction of the author, and has received money<br />
in payment from the magazine. It is possible<br />
that some question may arise as to whether<br />
the author had copyright in the article in the<br />
United States. Even assuming that such copy-<br />
right did not exist, although the agent is within<br />
his legal rights, the course he has thought fit to<br />
adopt is hardly fair either to the author or to the<br />
magazine to which he sold the article, as the<br />
magazine had no knowledge of the peculiar situa-<br />
tion. At present the agent is the only one who<br />
has benefited, which he has done to the extent of<br />
ten dollars.<br />
The only cases left open from the former month<br />
are two in the United States. In one of these<br />
there is very little prospect of a satisfactory con-<br />
clusion, as it has come to the knowledge of the<br />
secretary, through a correspondent in New York,<br />
that the delinquent—an author's agent—has left<br />
his address, and cannot be found. The other case<br />
deals with the return of MSS.<br />
The chairman has sanctioned one case in the<br />
county court. It had been impossible for the<br />
secretary to obtain the money due by application<br />
to the editor of the magazine. The matter will be<br />
carried through in due course.<br />
—º-º-º-<br />
March Elections.<br />
Calderon, George . Heathland Lodge,<br />
Hampstead Heath,<br />
N.W.<br />
Calvert, Albert F. Royston, E to n<br />
Avenue, N.W.<br />
Carton, R. C. . e . The Red Lodge,<br />
Springfield Park,<br />
Acton.<br />
Compton - Rickett, Sir 100, Lancaster Gate,<br />
Joseph, D.L., M.P. . W.<br />
Cooper, Charles S.<br />
Deery, Hugh . º e<br />
Fountain, Paul<br />
Gallatly, James M.<br />
Gell, Miss Edith M. (Edna<br />
Wallace) . e<br />
Hamel, Herbert G. de<br />
Hedgeock, Frank A.<br />
Jackson, C. S. . e<br />
Longgarde, Madame Lon-<br />
gard de (Dorothea<br />
Gerard) e o e<br />
Pool, The Rev. John J.,<br />
F.R.G.S. e e e<br />
Raleigh, Cecil . e º<br />
“Dewhurst,” Ches-<br />
hunt, Herts.<br />
Ballintra, co.Donegal,<br />
Ireland.<br />
8, Raby Road, New<br />
Malden, Surrey.<br />
37, Torring to n<br />
Square, W.C.<br />
6, St. Stephen's<br />
Square, Bayswater.<br />
43, Argyll Road, Ken-<br />
sington, W.<br />
44, Boulevard de Port<br />
Royal, Paris,<br />
France.<br />
25, Nightingale Place,<br />
Woolwich.<br />
3, Finsbury Square,<br />
E.C. -<br />
2, Brunswick Place,<br />
Regent's Park.<br />
Sullivan, Herbert T. . Manor House, Bright-<br />
lingsea.<br />
Thompson, Harold Stuart. Forest View, Wale<br />
Road, Upper Park-<br />
Stone.<br />
Wigram, Miss Eirene Broomfield, Wey-<br />
bridge.<br />
Wilson, Edwin (Paul Hin-<br />
derwell)<br />
Young, Colonel G. F., C.B.<br />
Ivyleigh, Batley.<br />
51, Via de' Serragli,<br />
Florence.<br />
(Two members do not desire their names or<br />
addresses published.)<br />
OP-e—sº<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—t-Q-0–<br />
WHILE every effort is made by the compilers, to keep<br />
this list as accurate and as exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the Office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
aCCurate.<br />
ART<br />
A PopUIAR HANDBOOK To THE NATIONAL GALLERY, in-<br />
cluding, by special permission, Notes collected from the<br />
Works of JoHN RUSKIN. Compiled by E. T. COOK.<br />
Vol. I. Foreign Schools. Seventh Edition. 73 × 5.<br />
775 pp. Macmillan. 108. n.<br />
<br />
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TISIE AUTHOR.<br />
173<br />
EL GRECO. An Account of his Life and Works. By A. F.<br />
CALVERT and C. GASQUOINE HARTLEY. With 136<br />
Reproductions from his most celebrated Pictures. 73 ×<br />
5. (The Spanish Series.) Lane. 3s. 6d. n.<br />
BIOGRAPHY.<br />
THE LIVES OF THE BRITISH SAINTS. The Saints of<br />
Wales and Cornwall, and such Irish Saints as have<br />
Dedications in Britain. By S. BARING GOULD and<br />
J. FISHER. In Four Vols. Vol. II. C. E. 104 × 6}.<br />
477 pp. C. J. Clark, 65, Chancery Lane, W.C. 10s. 6d. n.<br />
PESTALOZZI : HIS LIFE AND WORK. By H. HOLMAN.<br />
7% × 5. vii. -- 318 pp. Longmans. 38. In.<br />
ELIZA BRIGHTwièN. The Life and Thoughts of a<br />
Naturalist. Edited by W. H. CHESSON. With Intro-<br />
duction and Epilogue by EDMUND GOSSE. 8% × 5%.<br />
215 pp. Unwin. 58. n.<br />
A BISHOP IN THE ROUGH. Edited by the Rev. D.<br />
WALLACE DUTHIE. With a Preface by the Right Rev.<br />
the Lord Bishop of Norwich. 83 × 53. 386 pp. Smith,<br />
Elder. 7s. 6d. n.<br />
VINCENZO For PA OF BRESCIA, FounDER OF THE<br />
LOMBARD SCHOOL. HIS LIFE AND WORK. By CON-<br />
STANCE JOCELYN FFOULKES and MONSIGNOR RODOLFO<br />
MAIOCCHI, D.D., Rector of the Collegio Borromeo, Pavia.<br />
Based on Research in the Archives of Milan, Pavia,<br />
Brescia, and Genoa, and on the Study of all his known<br />
works, with 15 Photogravures, over 70 Illustrations in<br />
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GLIMPSES OF THE TWENTIES.<br />
9 × 53. 372 pp. Constable.<br />
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DRAMATIC.<br />
LANCELOT AND ELAINE : A PLAY IN FIVE ACTS. By<br />
MORLEY STEYNOR. London : George Bell & Sons.<br />
LANCELOT AND GUENEVERE : A PLAY IN A PROLOGUE<br />
AND FOUR ACTs. By MORLEY STEYNOR. London :<br />
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PLAYS : THE SILVER BOX ;<br />
JOY ;<br />
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STRIFE. By JoHN<br />
294 pp.<br />
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FRATERNITY. By JOHN GALSWORTHY, 7} x 5.<br />
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THE ROYAL END. By HENRY HARLAND.<br />
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ARAMINTA. By J. C. SNAITH.<br />
Elder. 6s. -<br />
THE WORLD, THE FLESH, AND THE CASINo. By<br />
GERTRUDE WARDEN. 73 x 5. 318 pp. John Long.<br />
68.<br />
SNow-Bound : The Record of a Theatrical Touring Party.<br />
By BRAM STOKER, 7} × 5. 256 pp. Collier.<br />
18., n.<br />
SANDFORD OF MERTON<br />
BELINDA BLINDERS.<br />
7# x 5.<br />
346 pp.<br />
73 × 5.<br />
73 × 5.<br />
371 pp. Smith,<br />
AND THE SMART SET. By<br />
Edited by DESMOND CokE.<br />
122 pp. Chapman & Hall. 28. m.<br />
THE YELLOW GOD. By H. RIDER HAGGARD, 73 × 5.<br />
352 pp. Cassell. 6s.<br />
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7# × 5. 318 pp. John Long. 6s.<br />
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DAPHNE IN FITZROY STREET.<br />
417 pp. George Allen. 6s.<br />
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X O.<br />
#<br />
WITHIN FOUR WALLS.<br />
73 x 5. 359 pp. John Milne. 6s.<br />
THE DUKE IN THE SUBURBs. By EDGAR WALLACE.<br />
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THE DISAPPEARANCE OF LADY DIANA. By RoPERT<br />
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NIGHTSHADE. By ROY HORNIMAN. 73 × 5. 266 pp.<br />
Sisleys. 6s.<br />
SEEKERS : A Romance of the Balkans. By FRANK SAVILE.<br />
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Milne. 68. -<br />
TOMMY AND A TOWER. By FERGUS GRAHAMI.<br />
Nutt. 2s.<br />
THE LOVE STORY OF ST. BEL. By BERNARD CAPEs.<br />
7# x 5. 313 pp. Methuen. 6s.<br />
MONEY. By MARIE CONNOR LEIGHTON.<br />
pp. Ward, Lock. 6s.<br />
300 pp.<br />
* ~ 4× KY a<br />
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FORESTRY.<br />
TREES AND SHRUBS OF THE BRITISH ISLEs, Native and<br />
Acclimatized. By C. S. CoopFR, F.R.H.S., and W. P.<br />
WESTELL, F.L.S. Part I. 12 x 9. 12 pp. Dent. 1s. m.<br />
I/ITERARY.<br />
THE WANDER YEARS. Being some account of Journeys<br />
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MISCELLANEOUS.<br />
&<br />
HINTS ON House FURNISHING. By W. SHAw SPARROW.<br />
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CHANSON D’AMOUR, for Violim and Pianoforte. By<br />
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<br />
<br />
## p. 174 (#226) ############################################<br />
<br />
174<br />
THE AUTHOR.<br />
* NAVAL.<br />
THE STORY OF THE SUBMARINE FROM THE EARLIEST<br />
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THE GERMAN STATE INSURANCE SYSTEM. By E. GRANT<br />
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THE LIFE OF FRANCIS PLACE, 1771–1854. By GRAHAM<br />
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405 pp. Dodd, Mead & Co.<br />
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PRIESTs of PROGRESS. By G. ColMoRE. 384 pp.<br />
THE MINORITY REPORT OF THE POOR LAW COMMISSION.<br />
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The Day Book of a Country Parson. By<br />
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THE NEW TESTAMENT IN MODERN ENGLISH. Seventh<br />
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BRIGHTON : ITS HISTORY, ITS FOLLIES, AND ITS FASHIONS.<br />
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TRAVEL.<br />
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$1.50 m.<br />
MISCELLAN EOUS.<br />
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POEMs of J. CLARE. Edited, with an Introduction, by<br />
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$2.50 m.<br />
<br />
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<br />
TFIES A UTISIOR.<br />
175<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES<br />
—º-º-º-<br />
R. JOHN LONG announces a new novel by<br />
Dorothea Gerard, entitled “Pomp and<br />
Circumstance,” which exemplifies the<br />
disaster that follows in the train of a marriage<br />
where there is no communion of mind or purpose.<br />
Messrs. Crewsher & Co. have added to their<br />
School series songs by L. Budgen and R. Goldbeck,<br />
entitled respectively, “The Sunbeams,” “Rub-a-<br />
dub, dub,” “Freddie's Garden,” and “Morn and<br />
Eve.”<br />
Mrs. Alfred Sidgwick's new novel, “The<br />
Severins,” will appear serially in the weekly<br />
edition of The Times, and will be published in<br />
volume form in the autumn by Messrs. Methuen<br />
& Co. Mrs. Sidgwick has also written a little<br />
account of “German Life,” which will be included<br />
in Messrs. A. and C. Black's Series, “Peeps at<br />
Many Lands.”<br />
Another book for children, written in collabora-<br />
tion with Mrs. Paynter, will not be out until the<br />
autumn.<br />
Mrs. Sidgwick's novel, “Cynthia's Way,” which<br />
reached a fifth impression, is just about to appear<br />
in Nelson's Sevenpenny Reprints. A later novel,<br />
“The Professor's Legacy,” has been bought by the<br />
Amalgamated Press, and will appear in a cheap<br />
form during the year.<br />
Messrs. Crosby, Lockwood & Son have just<br />
published a handbook for engineers on Com-<br />
pressed Air Work and Diving, by Mr. G. W. M.<br />
Boycott. The work comprises deep-water diving<br />
and the use of compressed air for sinking caissons<br />
and cylinders, and for driving subaqueous tunnels.<br />
Perspective drawings and photographs, diagrams,<br />
working drawings, and tables illustrate the volume,<br />
which is published at 10s. 6d. net.<br />
Mr. Carlton Dawe's new novel is published in<br />
England by Messrs. Stanley Paul & Co., under the<br />
title of “The New Andromeda "; and in America<br />
by the Stuvesant Press, with the title of “The<br />
Woman, the Nun, and the Monastery.”<br />
Mr. G. S. Layard's new novel, “Wax,” will be<br />
published this month by George Allen & Sons.<br />
The adventures of the heroine include a night<br />
spent in the weird surroundings of Madame<br />
Tussaud's famous exhibition. Hence the title.<br />
Mr. Werner Laurie is about to issue a shilling<br />
edition of “The Complete Fisherman,” by W. M.<br />
Gallich in.<br />
A new book, by Mr. William Toynbee, entitled<br />
“Glimpses of the Twenties,” was published last<br />
month by Messrs. Archibald Constable & Co. The<br />
volume, which is kindred in character to the author's<br />
“Wignettes of the Regency,” deals with the principal<br />
personages and events of the decade preceding the<br />
reform period, and comprises studies of George IV.,<br />
his courtiers and principal ministers—particular<br />
prominence being given to Castlereagh and<br />
Canning. --<br />
“The Stairway of Honour" is the title of a<br />
Volume of short stories by Mrs. Stepney Rawson,<br />
which Messrs. Mills & Boon are publishing imme-<br />
diately. A long novel from the same writer will<br />
be published in the summer by Messrs. Methuen.<br />
“The Story of the Submarine,” by Colonel C.<br />
Field, is a history of submarine navigation from<br />
the Middle Ages to the present year. The actual<br />
construction and work of submarines is explained,<br />
With over one hundred sketches and diagrams,<br />
which, however, are in no way technical.<br />
Messrs. Schott & Co. are the publishers of<br />
Mr. Theodore Holland's composition, “Chanson<br />
d'Amour,” for violin and pianoforte.<br />
The annual general meeting of the Royal<br />
Literary Fund was held at Denison House, Vaux-<br />
hall Bridge Road, on March 10. In the absence<br />
of Lord Tennyson, the president of the fund, the<br />
chair was taken by Sir Alfred Bateman. In<br />
moving the adoption of the report, which disclosed<br />
an actual expenditure in grants of £2,880, or<br />
£800 more than in the previous year, the chair-<br />
man stated that the demands made upon the fund<br />
showed no signs of falling off, but pointed out<br />
that whereas they used to give smaller grants to a<br />
larger number of people, they now distributed<br />
larger grants to a smaller number of people.<br />
Their aim, he stated, was to relieve only those of<br />
real literary merit, and they were now more<br />
particular with regard to those to whom grants<br />
were made.<br />
The report was adopted, and Lord Tennyson<br />
re-elected president, the proceedings being brought<br />
to a conclusion with a vote of thanks to the<br />
chairman. -<br />
Following her recent lecture on Kryloff at the<br />
Lyceum Club, Miss A. E. Keeton gave a few more<br />
of her translations of his fables at the musical meet-<br />
ing of the Slavonic Circle, Thursday, March 11,<br />
at 4.30. The readings included “The Ant,”<br />
“The Lonely Man and the Bear,” and “Trishka's<br />
Coat.” Madame Anna Kipman also sang several<br />
of Rubinstein's settings of Kryloff for soprano<br />
voice and pianoforte, and other Russian songs.<br />
Mr. Wladémir Féocritov sang bass arias from<br />
Russian operas.<br />
Mr. Henry Holman has written, and Messrs.<br />
Longmans have published, a volume on Pestalozzi,<br />
The author's aim has been to provide students with<br />
an easy introduction to the study of educational<br />
biography by means of appeals to original sources.<br />
To this end full and frequent quotations are given<br />
from Pestalozzi's own writings and from the writings<br />
<br />
<br />
## p. 176 (#228) ############################################<br />
<br />
176<br />
TISIES A [ſº]HOR,<br />
of those who knew him and worked with him.<br />
Analyses of his theories and methods are also given<br />
on the same lines. Combined with the above is a<br />
connected account of his life, and an appreciation<br />
and criticism of the man and his work.<br />
“Sangimiguano,” by Jean Carlyle Graham and<br />
Elizabeth M. Derbishire, is to be published at once<br />
by Ermauno Loescher & Co., Rome, the firm which<br />
published Mrs. Jean Carlyle Graham's former<br />
illustrated art-history work, “The Problem of<br />
Fiorenzo di Lorenzo of Perugia,” in 1903.<br />
A People's Edition of Mr. Ferrar Fenton's<br />
“Complete Bible in Modern English ’ has been<br />
published by Messrs. S. W. Partridge & Co., at<br />
the price of 10s. net. The same writer’s “New<br />
Testament in Modern English ’’ is also obtainable<br />
from the same firm, the price being 18. net.<br />
The latest additions to Messrs. J. M. Dent & Co.'s<br />
“Everyman's Library” are the selection of Cicero's<br />
Letters and Essays, prefaced by the sketch written<br />
by De Quincey ; and a selection of the series of<br />
literary portraits by George Gilfillan typifying the<br />
school of criticism of which he was almost the last<br />
leader. This selection has been edited and con-<br />
tains an introduction by Dr. Robertson Nicoll.<br />
Mr. Lewis Melville's new book, “Brighton : its<br />
History, its Follies and its Fashions" has recently<br />
been published by Messrs. Chapman & Hall. The<br />
same writer, in conjunction with his wife, has com-<br />
piled an anthology of prose and verse passages<br />
bearing on London. Messrs. Bell are the publishers<br />
of the latter volume which bears the title of<br />
“London’s Lure.”<br />
On February 25 Mr. Cecil J. Sharp delivered<br />
the first of three concert-lectures on the subject<br />
of English folk-songs. At this lecture Mr.<br />
Sharp touched upon the origin of folk-songs, and<br />
pointed out that they belonged to the people, that<br />
they were created as a communal effort at a time<br />
when society was homogeneous and not individual<br />
as now. He traced the development of the song<br />
from the stage at which it was used to accompany<br />
the dance, through the “acted '' songs to the<br />
songs used to accompany an occupation, and<br />
through the cumulative song to its restricted form<br />
in the “situation ” ballad to the narrative song.<br />
In treating of the antiquity of the songs the<br />
lecturer pointed out that though in some cases the<br />
process of their being banded down from mouth to<br />
mouth may suggest certain comparatively modern<br />
qualities, yet for the most part the basis of the<br />
tune is clear, no less than the remoteness of the<br />
period to which it belongs.<br />
Interpretations of the songs were rendered by<br />
children from the Elementary School of St. Mary,<br />
Paddington, while single examples of folk-song<br />
were given by Miss Mattie Kay, accompanied by<br />
Mr. Sharp.<br />
Mr. Heinemann has published a new novel, by<br />
John Galsworthy, entitled “Fraternity.” This<br />
book is described as a study of modern men and<br />
Women, with the same character-drawing as dis-<br />
tinguished “The Country House” and “A Man of<br />
Property.”<br />
“A Bishop in the Rough,” which Messrs. Smith,<br />
Elder & Co. will shortly publish, is the record of<br />
eight adventurous years in the early life of Dr.<br />
Sheepshanks, the present Bishop of Norwich.<br />
Pioneer priest in British Columbia, missioner to<br />
gold-miners and aboriginal Indians, he was also a<br />
notable traveller, crossing two continents with such<br />
unusual experiences as preaching to Brigham Young<br />
and his people in Salt Lake City, and witnessing,<br />
as no other Englishman has done, the adoration of<br />
the Grand Lama in the heart of Mongolia. The<br />
book is edited and supplemented by the Rev. D.<br />
Wallace Duthie, and has a preface by the Bishop,<br />
and several illustrations.<br />
“So Very Human” is, the title of Miss Victoria<br />
Maitland's new story, published by the Century<br />
Press, publishers of the same writer’s “Hub of<br />
Life.” The present story is that of a girl admir-<br />
ably gifted by Nature, but weighed down by birth<br />
and environment, and heavily handicapped by an<br />
unsuspicious temperament.<br />
Cullen Gouldsbury has for some time past been<br />
engaged upon a long novel for Mr. Eveleigh Nash,<br />
dealing with the colour question. The scene is<br />
laid in Europe and in Central Africa, and the<br />
book will probably be published in the autumn.<br />
The latest addition to the World’s Classics is<br />
George Eliot’s “Scenes of Clerical Life.” The<br />
volume contains an introduction by Miss Annie<br />
Matheson, and, like its predecessors, is published<br />
by the Oxford University Press. -<br />
Mr. G. Sidney Paternoster's new novel, “The<br />
Hand of the Spoiler,” has for its central figure one<br />
Lynton Hora, who, because of some fancied wrong,<br />
declares war upon society, which he plunders<br />
remorselessly. He has also a private hate to<br />
gratify, and to this end he kidnaps the son of the<br />
man whom he views as his enemy, and educates<br />
him according to a criminal philosophy, which com-<br />
bines Nietzschean theories with Fagan practices.<br />
Messrs. Hodder & Stoughton are the publishers.<br />
We have received a publication called Broad-<br />
side, which is published monthly by E. C. Yeats,<br />
at the Cuala Press, Churchtown, Dundrum, County<br />
Dublin, and illustrated by Jack B. Yeats. The<br />
issue under notice contains a street ballad called<br />
“World.” The subscription is 128. a year, and<br />
the monthly issue is limited to 300 copies.<br />
“French and English Parallels,” by F. R.<br />
Fursdon (Messrs. Methuen & Co.), is an advanced<br />
class book for the study of languages. It consists<br />
of a selection in three parts of French and English,<br />
<br />
<br />
## p. 177 (#229) ############################################<br />
<br />
TFIES A CITISIOR.<br />
177<br />
idiomatical phrases, idioms, and metaphors, and a<br />
consecutive chain of maxims and proverbs expressing<br />
the varied circumstances of life.<br />
Mr. Werner Laurie is just publishing an illus-<br />
trated volume, “Stories from the Greek Legends,”<br />
by C. Gasquoine Hartley. In this book a selec-<br />
tion of the Greek Legends that have been world<br />
favourites are told simply as stories to interest all<br />
young people, and an undue use of difficult names<br />
is avoided. These Legends appeal strongly to the<br />
young mind. They have become an inseparable<br />
part of the literature and art of every nation ; and<br />
it is of the utmost importance that they should be<br />
known to children while their imagination is<br />
young, so that for them the old myths may live.<br />
At first they will recall them as fairy stories, but<br />
afterwards the delight gained will lead them to a<br />
love of the purest and finest literature in the<br />
world.<br />
We regret that we made an erroneous statement<br />
of the price of “Britain's Great Authors” in the<br />
notice of this work which appeared in our last<br />
issue. The price is one guinea, and not half a<br />
guinea, as we stated, and we tender our apologies<br />
to the Fine Art Publishing Company for the slip.<br />
Messrs. George Bell & Sons have published<br />
Mr. Morley Steynor's two historical plays,<br />
“Lancelot and Elaine,” and “Lancelot and<br />
Guenevere,” both of which were performed for<br />
copyright purposes at the Bijou Theatre, on<br />
April 8, 1905.<br />
On the last day of February, two one-act plays,<br />
adapted by Ella Erskine from the German, were<br />
produced at the Rehearsal Theatre, Maiden Lane.<br />
One was entitled “Fifi ' and the other “The<br />
Friends.” The name-part in the former play was<br />
taken by the adapter. Included in the cast<br />
was Mr. C. Leveson Lane, while Miss Victoria<br />
Addison acted in “The Friends.”<br />
“The Spare Room,” a one-act play by E. M.<br />
Bryant, was produced on February 27 in front of<br />
“A Real Woman.” Miss Alice Beet as Kesiah<br />
Crawford, Miss Amy Lamborn as Jane Crawford,<br />
Mr. Lytton Grey as Henry (her brother), and Miss<br />
Gwendolen Wren as Dulcie, formed the cast.<br />
A one-act play called “Ezra Solomon,” by Major<br />
Arthur Layard and Leopold Pam, was first per-<br />
formed at the Palace Theatre on March 1. The<br />
piece, which it was found , necessary owing to<br />
the exigencies of the music-hall stage, to cut to<br />
nearly half its length, deals with the efforts of a<br />
rich old Jew (who has the welfare of his persecuted.<br />
race at heart) to secure an interview with an<br />
influential High Chancellor of Music, in order to<br />
enlist his sympathy at a conference upon Jewish<br />
emancipation which is imminent.<br />
In order to attain his object he offers a thousand<br />
roubles for “one word” with the prince, and the<br />
latter, who is cold-blooded and cruel, insists on<br />
interpreting the phrase quite literally. The rest<br />
of the play is concerned with the dilemma of the<br />
Jew to concentrate all his eloquence on behalf of<br />
his people into one word, and shows the means by<br />
which he attained success.<br />
The cast includes Mr. Louis Calvert as the Jew,<br />
Mr. William Haviland as Prince Saratoff, Mr.<br />
Sebastian Smith, and Miss Lucie Caine.<br />
Mrs. Mabel Dearmer's play, “Nan Pilgrim,”<br />
produced by the Dramatic Production Club, at<br />
the Court Theatre, on the afternoon of March 8,<br />
relates to an estrangement between an overworked<br />
parish priest and his wife, due to the action of the<br />
latter who, in order to purchase the necessities for<br />
her husband's cure, poses as a model for an artist<br />
friend without disclosing the fact to her husband.<br />
Mr. Arthur Holmes-Gore, as the Rev. John<br />
Pilgrim, and Miss Lilian Braithwaite were respon-<br />
sible for the two leading parts; while others<br />
included in the cast were Mr. Ben Webster, Miss<br />
Evelyn Weeden, and Mr. William Haviland.<br />
Mr. John Galsworthy's drama, “Strife,” was pro-<br />
duced at the Duke of York's Theatre, on the<br />
afternoon of March 9. The strife with which<br />
the play deals is consequent on a strike, which is<br />
prolonged by the obstimacy of the chairman of the<br />
company on the one hand, and the over-zealous<br />
altruism of one of the workmen on the other.<br />
When, eventually, the strike is brought to an end,<br />
the terms of settlement are identical with those<br />
which might have been accepted before the fighting<br />
had begun. *<br />
Included in the cast are Miss Lillah Macarthy,<br />
Mr. Dennis Eadie, Mr. Norman McKinnel, and<br />
Mr. J. Fisher White.<br />
“The Song of Liberty,” a romantic drama in<br />
three acts, by Mary C. Rowsell and H. A. Saints-<br />
bury, is in course of preparation for a trial per-<br />
formance during April at a West End theatre.<br />
The rights of this piece in translation were acquired<br />
some time since for the Swedish stage. The<br />
drama is based on Lamartine's account of the<br />
composition of the “Marseillaise” by Rouget de<br />
l'Isle, and the recurrent choruses throughout of<br />
“The Song” enhance the effect of the romantic<br />
and stirring details which take place during the<br />
height of the Terror. These choruses, and a<br />
violin solo on the same theme, will probably be<br />
undertaken by “The Edward Mason Choir.”<br />
Mr. A. E. W. Mason's new play, “Colonel Smith,”<br />
will be Mr. George Alexander's next production at<br />
the St. James's Theatre. The action of the play<br />
has for its background the excitement of a Parlia-<br />
mentary election, but the political element is only<br />
a secondary thread of the story. In the cast, with<br />
Mr. Geo. Alexander, will be Miss Irene Wambrugh.<br />
Mr. R. C. Carton's new play, which is being<br />
<br />
<br />
## p. 178 (#230) ############################################<br />
<br />
178<br />
TISIE AUTHOR,<br />
rehearsed for production at the Criterion, will be<br />
interpreted by a cast which will include Miss<br />
Compton, Mr. Weedon Grossmith, and Mr. Lytton<br />
Grey.<br />
ºthe Noble Spaniard,” adapted from the French<br />
by Mr. W. Somerset Maugham, was produced at<br />
the Royalty on March 20. Mr. Charles Hawtrey<br />
in the title rôle, and Miss Kate Cutler and Miss<br />
Fanny Brough helped to form a cast, which<br />
included also Miss Annie Cleaver and Mr. Athol<br />
Stewart. .<br />
A dramatised version of Mr. Stanley Weyman's<br />
novel, “Count Hannibal,” the joint work of<br />
Mr. Norreys Connell and Mr. Oscar Asche, was<br />
produced by the latter at the Prince of Wales's<br />
Theatre, Bristol, towards the end of March.<br />
The play closely follows the book, and opens, as<br />
in the book, with a scene in the ante-chamber in<br />
the Louvre ; and one of the chief scenes is in the<br />
act in which Miss Brayton figures with the mob<br />
and Hannibal, concluding with the escape of her<br />
lover, Tignonville.<br />
* ~~ a<br />
v-v- w<br />
PARIS NOTES.<br />
—º-º-º-<br />
IN “Colette Baudoche” M. Maurice Barrès<br />
gives us a simple story of a young girl of<br />
Metz. It is very much the same theme as<br />
his other book, “Au Service de l’Allemagne.”<br />
Frédéric Asmus, a German professor, is in love<br />
with Colette, and wishes to marry her. After some<br />
hesitation, the young girl refuses, feeling that she<br />
must remain faithful to her country. The story<br />
is simple, but exquisitely pathetic, for this young<br />
girl represents Lorraine, and the professor the ever<br />
encroaching Germany.<br />
“La Vie Intérieure,” by Mme. René Waltz, is a<br />
remarkable psychological study, in the form of a<br />
novel, of a certain type of Frenchwoman of to-day.<br />
The author has studied her subject carefully, and<br />
given us a true picture of life as it is in many<br />
hundreds of French families.<br />
story, with very little plot and no stirring episodes.<br />
The events are described just as they might happen<br />
in so many French homes. Each character is<br />
carefully drawn, and has a strong individuality.<br />
It is distinctly a roman à thèt, but unlike so many<br />
of such novels, the personages are not treated as<br />
marionettes merely to prove the truth of the<br />
author's theory.<br />
M. Claude Farrère, to whom the Goncourt<br />
Academy prize was awarded for a former book,<br />
gives us a remarkable novel, entitled “La Bataille.”<br />
He shows us Japan as it really is, with its passionate<br />
love for its old traditions, and its dislike of<br />
European civilisation, which it nevertheless adopts.<br />
It is a very simple<br />
In Georges Ohnet’s “Un Mariage américain’”<br />
(Ollendorff) the love story is most romantic. A<br />
millionaire, in love with a young girl, does not<br />
hesitate to ruin her father, thus constituting himself<br />
her benefactor. There is a second story of a very<br />
different note in the same volume.<br />
M. Léon Berthaut continues his series of Sea<br />
Stories with a volume of short ones, entitled “Le<br />
Peuple de la Mer.” To all who have read “Le<br />
Pilote No. 10,” and “L’Absente,” this new<br />
addition will be very welcome. The author gives<br />
Some very thrilling stories of heroism by seafaring<br />
folk of Normandy, Brittany, and Newfoundland.<br />
He has taken as an epitaph those words of Michelet:<br />
“I have lived a long time on the sea-coast, and<br />
heroic deeds, which would be remarked on inland<br />
as rare events, are episodes of every-day life near<br />
the Sea.” M. Léon Berthaut's name is among<br />
those on the list of promotions this year. He has<br />
received the Order of Knight of the Legion of<br />
Honour.<br />
Guy Chantepleure, the author of “Fiancée<br />
d'Avril,” a novel which won an Academy prize,<br />
has now published another volume, entitled “La<br />
Folle Histoire de Fridoline.”<br />
“Secrets d'Etat” is the title of an amusing<br />
book by Tristan Bernard. The State about which<br />
we learn the Secrets is said to be situated in<br />
Central Europe, and to be called Schoenburg.<br />
Rarely has such sustained interest been felt in<br />
connection with an author's centenary as that<br />
which was evident throughout France on the<br />
occasion of Barbey d'Aurevilly's hundredth anni-<br />
versary. His portrait, accompanied by long<br />
articles, was in all the papers. Lectures were<br />
given on him and on his work, and this series of<br />
lectures still continues. Paul Bourget's is awaited<br />
with great interest. Books and pamphlets have<br />
also appeared. One of the most curious of the<br />
former is the collection of letters from Barbey<br />
d’Aurevilly himself to Trebutien, his publisher at<br />
Caen. The letters are charming. Many of them<br />
are masterpieces of style and originality. It seems<br />
almost incredible that, besides the enormous amount<br />
of literary work done by Barbey d’Aurevilly, he<br />
should have found time to write volumes of such<br />
letters.<br />
“Wingt jours parmi les Sinistrés,” by Dr.<br />
Bouloumié, is an account of the experiences of<br />
the French Croix-Rouge on its recent expedition<br />
to Naples, Calabria, and Sicily.<br />
“Cent Pastels du XVIII* siècle '' is the title of<br />
a volume containing a hundred reproductions of<br />
some of the most famous pastels of Boucher,<br />
Chardin, Perroneau, Rosalba Carriera, Greuze, and<br />
other celebrated artists. The preface is by Albert<br />
Besnard, and all those who had the good fortune<br />
to hear the CauSerie given last year by the great<br />
<br />
<br />
## p. 179 (#231) ############################################<br />
<br />
TISIES A UTISIOR,<br />
179<br />
French artist in the Georges Petit Gallery on this<br />
subject, will be glad of an opportunity of reading<br />
this study of Pastels from the pen of so competent<br />
a judge.<br />
M. Georges Duval has just brought out his<br />
eighth and last volume of the translation of Shake-<br />
speare's dramatic works.<br />
“La Pensée de Ruskin,” by André Chevrillon,<br />
is a study of the development of the principal ideas<br />
of Ruskin and the influence these have had in<br />
England. The author writes with his usual clear-<br />
ness and charm, and it is very evident that the<br />
subject is one which he has studied carefully and<br />
thoughtfully.<br />
In the recent numbers of the Revue de Paris<br />
Anatole France continues the publication of “La<br />
Chemise,” and Mathilde Serao of “Wive la Vie.”<br />
There is also an article by Henri van Dyke on<br />
Edgar Allan Poe, and another by Victor Bérard on<br />
“La Serbie et l'Europe.”<br />
In the last numbers of La Revue hebdomadaire<br />
there is an article on Mme. Récamier, by Jules<br />
Lemaitre, and one by René Doumie on George<br />
Sand. Mme. Juliette Adam publishes a short story<br />
entitled “L’Esquiros,” and Edouard Rod an article<br />
on Benjamin Constant.<br />
Madame Dumont-Lindemann, the well-known<br />
directress of the Düsseldorf theatre, has been giving<br />
a series of plays at the Théâtre Marigny. With<br />
her husband as stage manager, taking also one of<br />
the chief rôles in the various pieces, she has been<br />
able to give an excellent idea of her theories with<br />
regard to the interpretation of modern dramatic art.<br />
It is her intention to return to Paris and to give<br />
a series of representations of Goethe's “Faust.”<br />
“Les Grands,” a play in four acts by MM. Pierre<br />
Weber and Serge Basset, has been given with success<br />
at the Odéon. “Beethoven’’ is now being pro-<br />
duced. At the Renaissance “L’Oiseau blessé,” a<br />
play in four acts by M. Alfred Capus, has been<br />
running for some time, and at the Vaudeville<br />
“Le Lys,” by MM. Pierre Wolff and Gaston<br />
Leroux.<br />
The Grand Guignol has just produced another<br />
play by Charles Foley, the author of “Heard at<br />
the Telephone.” The new piece is entitled “Un<br />
Concert chez les Fous.” It is a remarkable<br />
mixture of tragedy and comedy, and is having<br />
€I\OTlſl OUIS SllCCéSS.<br />
ALYS HALLARD.<br />
“La Vie Intérieure" (Perrin).<br />
“Le Peuple de la Mer” (Flammarion).<br />
“Fiancée d'Avril’’ (Calmann Lévy).<br />
“Secrets d'Etat” (Monde Illustré).<br />
“Vingt jours parmi les Sinistrés” (Calmann Lévy).<br />
“Cent Pastels du XVIII'me siècle” (Société Georges Petit).<br />
“La Pensée de Ruskin " (Hachette).<br />
“Un Mariage Américian " (Ollendorff).<br />
“La Folle Historie de Fridoline " (Calmann Lévy).<br />
UNITED STATES NOTES.<br />
L* year was not very far behind the<br />
“record" year, 1907, in the quantity of<br />
books produced. In the department of<br />
fiction there was, indeed, an appreciable increase<br />
in 1908; and in books of all kinds by American<br />
authors, as distinguished from importations and<br />
reprints, there was also a perceptible surplus.<br />
Theology retains the second place in bulk of<br />
Output, showing but a slight falling off. Political<br />
and social Science and history alone are able<br />
to show slight increases over the preceding year,<br />
the most notable decrease being in fine art and<br />
illustrated works.<br />
The thematic novel was largely in the ascendant<br />
during 1908, and there was much novelising of<br />
plays. A good level of merit was maintained, but<br />
there was no indication of startling originality. It<br />
was a good year for readers of history, more especially<br />
in the purely American field ; and there were<br />
notable contributions to political and social science.<br />
Education and physical science were also well<br />
represented; and there was a slight recovery in<br />
poetry. A less gratifying symptom was the con-<br />
siderable accretion of works devoted to mental<br />
healing, or “psycho-therapeutics,” as the initiated<br />
love to call their craze.<br />
America, had to mourn the loss last year of<br />
Charles Eliot Norton, Edmund Clarence Stedman,<br />
Joel Chandler Harris, not to mention “Ik Marvel,”<br />
Bronson Howard, Mrs. Moulton, and many a<br />
lesser name.<br />
1909 in America, as in Europe, seems likely to<br />
be remembered as a year of centenaries. Edgar<br />
Allan Poe was, perhaps one of those who have more<br />
honour abroad than in their own country; yet<br />
January 19 was not suffered to pass without<br />
recognition, even there. Nothing upon a national<br />
Scale was attempted ; but local celebrations were<br />
duly held in New York, at Richmond, Providence,<br />
and Baltimore. There was also a memorial dinner<br />
at Boston, under the auspices of John W. Luce<br />
and H. H. Schaff. A bronze statue was dedicated<br />
in Poe Park, and a memorial has been proposed<br />
at West Point. Professor Trent gave an address<br />
on January 28, before the Authors’ Club. A<br />
“Centenary Life,” issued later, came from the pen<br />
of Mr. George E. Woodberry.<br />
The Lincoln Centenary, February 12, made a<br />
wider appeal, and the great President's memory<br />
received honour from Mr. Bryce and M. Jusserand,<br />
as well as from the tributes of his own countrymen.<br />
The public celebrations do not especially concern<br />
our readers, but a word may be said here as to the<br />
books evoked by the occasion. It has amounted<br />
to a veritable flood.<br />
Messrs. Houghton, Mifflin and Co. print a special<br />
<br />
<br />
## p. 180 (#232) ############################################<br />
<br />
180<br />
TISIE A DITISIOR.<br />
edition of the standard biography by the late Carl<br />
Schurz and Truman H. Bartlett, and an anniversary<br />
edition of Alonzo Rothschild’s work and the two-<br />
volume study by John T. Morse, jun., besides<br />
reprints of the Gettysburg Speech, and the<br />
Emancipation Proclamation ; whilst among new<br />
works they issue one by J. Henry Lea and<br />
J. R. Hutchinson, specially devoted to Lincoln's<br />
ancestry—his English descent is claimed to have<br />
been traced four generations further back than<br />
it has been before—and a “Life of Lincoln for<br />
Boys and Girls,” by Charles W. Moores. From<br />
the Macmillan Company comes James Morgan’s<br />
“Abraham Lincoln : the Boy and the Man,” as<br />
well as David Millet De Witt's “The Assassination<br />
and its Expiation,” and a Centenary Ode, by Percy<br />
|MacKaye; whilst from the Crowell Company we<br />
get Dr. W. Hayes Ward's Lincoln “Tributes,”<br />
Mr. Choate's Address, and another “Life for<br />
Boys.” Messrs. McClurg issue a “Lincoln Year-<br />
Book,” and several publications by Charles E.<br />
Carr, as well as “The Children's Life,” by Louise<br />
Putnam ; and Francis Grierson’s “The Valley of<br />
the Shadow,” containing descriptions of the Lincoln<br />
country from a former resident, and impressions of<br />
the Civil War should not pass unnoticed. Some<br />
unpublished Lincoln letters appeared in the<br />
February Century. -<br />
Oliver Wendell Holmes was born on August 29,<br />
1809. One hopes that his genial and essentially<br />
healthy personality will be recalled with due honour<br />
When the time comes—that is, if we have not all<br />
become centenary-sick by that time.<br />
Some eight thousand letters of Millard Fillmore,<br />
while Vice-President and President of the United<br />
States, have been discovered at Buffalo, and a<br />
Selection will be published shortly by the Buffalo<br />
Historical Society. A request by Mr. Pierpont<br />
Morgan for an autograph (anno 1851) is among<br />
the collection.<br />
The Boston Bibliophile Society has recently<br />
come into possession of the manuscript of Thoreau’s<br />
“Walden,” and will publish it ere long This find<br />
reveals the fact that Thoreau's publishers cut out<br />
in the printed book matter amounting to some<br />
twelve thousand words.<br />
Professor Abbott Lawrence Lowell, author of<br />
“The Government of England,” succeeds President<br />
Eliot at Harvard. He has won great success as<br />
lecturer and educationalist.<br />
We hear that Messrs. Duffield are making the<br />
experiment of issuing paper books in the French<br />
manner, and beginning appropriately with a volume<br />
of “picturesque" stories of Paris, by Mrs.<br />
Archibald K. Mackay. This method of pub-<br />
lication has its obvious advantages; but there<br />
is another side to the question.<br />
A spring book, which will be looked forward to<br />
with some interest, is F. B. Sauborn’s “Recollec-<br />
tions of Seventy Years.” The two volumes of the<br />
work are devoted to the Concord philosopher's<br />
political and literary life respectively.<br />
Among the spring novels are books by Robert<br />
W. Chambers, F. Marion Crawford, Mrs. Atherton,<br />
and Alice Brown.<br />
Among the earliest important books of the<br />
New Year was Miss Agnes Laut's “The Conquest<br />
of the Great North-West,” which tells the story<br />
of the Hudson Bay Company. A good deal of<br />
hitherto undiscovered material has been utilised<br />
by the writer of this interesting, if somewhat<br />
voluminous, book. w<br />
President Woodrow Wilson’s “Constitutional<br />
Government in the United States’’ is an important<br />
contribution to the subject. A special feature of<br />
it is his defence of the Senate. On the other<br />
hand, he concedes to critics of the judicial system<br />
the serious charges made by them against our<br />
courts, of want of simplicity and directness, and an<br />
expensiveness which is almost prohibitive to suitors<br />
not of the richer classes.<br />
Mr. Eugene Tompkins's “History of the Boston<br />
Theatre,” contains an annual history of some fifty<br />
Seasons, and has been deservedly described as some-<br />
thing like a Wade-mecum of the drama in America<br />
for half a century. Mr. Quincy Kilby has given<br />
the author valuable assistance.<br />
Lafcadio Hearn's version of Théophile Gautier<br />
has been reprinted by E. P. Dutton & Co. in their<br />
series “The World's Story-Tellers.”<br />
There are likely to be further “remains” of Carl<br />
Schurz, probably in the form of correspondence.<br />
Certain comments of a leading English literary<br />
weekly in connection with the “Shelburne Essays”<br />
of Paul Elmer More, have given much umbrage to<br />
the critics on this side. The Dial, for instance,<br />
remarks that “if there are traits of readers that<br />
date back to 1820 or thereabouts” (this was the<br />
dictum of the offending British journal), “there is<br />
also a certain manner of book-reviewing that can<br />
claim a like antiquity l’”<br />
Two useful compilations that have recently<br />
appeared are Burton Stevenson’s “Poems of<br />
American History,” and “Modern Constitutions,”<br />
by Walter Farleigh Dodd.<br />
A great loss to the United States, and particularly<br />
to New York city, has been suffered in the death of<br />
Russell Sturgis, the architect and art critic, on<br />
February 11. His great “History of Architec-<br />
ture” had been completed, but one volume is still<br />
in manuscript, and another was in proof at his death.<br />
Will Lillibridge, best known as the author of<br />
“Ben Blair,” died suddenly at Sioux Falls, Dakota,<br />
quite recently ; and there passed away on Valen-<br />
tine's day, at Boston, in his ninety-first year, the<br />
veteran author and educator, William Matthews.<br />
<br />
<br />
## p. 181 (#233) ############################################<br />
<br />
TISIE A DITFIOR.<br />
181<br />
BRITISH AUTHORS AND AMERICAN<br />
COPYRIGHT.<br />
A SUGGESTION.<br />
ARLIAMENTS and Congresses come and go,<br />
but the American copyright question we have<br />
with us for ever. I admit that it bristles<br />
with difficulties, but that is, I think, because the<br />
legal-cum-literary minds which have endeavoured<br />
to solve it in the past have aimed at a perfect<br />
scheme which shall apply to all classes of writers<br />
and cover an indefinitely prolonged period of time.<br />
Candidly, I regard any such legal protection as<br />
Quite impracticable, and, possibly, exceedingly<br />
unfair. Let it be borne in mind that the<br />
authorities of the United States have laid down<br />
two principles:—Firstly, that the people shall not<br />
be debarred from the use of all that is best in<br />
literature ; secondly, that the interests of the<br />
printing and allied industries shall not be injured<br />
by the free importation of foreign books. It seems<br />
to me that Congress is fully justified in insisting<br />
on these essential conditions. Instead of growling<br />
at them and doing nothing, why should we not<br />
accept them and give a real impetus to the exchange<br />
of all that is good and noteworthy in the literary<br />
products of Britain and America<br />
There is but one real obstacle to surmount—the<br />
proviso that there shall be simultaneous publica-<br />
tion. In nine hundred and ninety-nine cases out<br />
of a thousand (where good work by unknown<br />
authors is concerned) that stipulation is fatal. The<br />
unknown genius is almost certainly poor; it is<br />
probable that his work has been refused by many<br />
publishers; when accepted, in the long run, it will<br />
be a speculative matter for the publisher, and, if<br />
sold as a serial, a leap in the dark for the magazine<br />
or newspaper. It is simply out of the question for<br />
the author to pay for simultaneous publication, and<br />
almost as prohibitive to secure a user in the States<br />
who will or can conform to British dates. The<br />
British user, whether publisher or editor of a<br />
periodical, cannot be asked in reason to undertake<br />
the expense of protection. It could not be made<br />
a commercial success. Out of a hundred serials<br />
used by a big house annually, perhaps one might<br />
sell in the States, and even then fall far short of<br />
the cost of protecting the other ninety-nine. I<br />
assume, of course, that the man is not living who<br />
can tell beforehand whether or not the whimsical<br />
public will take to any given book by my hypothe-<br />
tical “unknown.” -<br />
Well, then, how conquer this dragon of expense?<br />
Apply to all books and literary products in both<br />
countries the provisions of the Patents Laws.<br />
Give absolute protection, gratis, for six months<br />
after date of publication, and give a period of<br />
twelve months' additional protection on payment<br />
of a fee of 48, or a dollar. Keep the local com-<br />
position, binding, etc., stipulations intact, and<br />
throw open to the people (to be exact, to the<br />
Stealers of unpaid-for copy) the right to use, free<br />
of penalty, after the lapse of one or both of these<br />
periods. The eighteen months’ fee, obviously,<br />
Would be payable in the country where protection<br />
was sought.<br />
How would this proposal operate in practice 2<br />
Admirably, I believe. The book or serial, the<br />
copyright of which is really valuable, which does<br />
not create sufficient stir within six months of<br />
publication to justify a protecting fee of 4s., must<br />
be rare, indeed, in these days. It may exist.<br />
Another Fitzgerald may translate another “Omar,”<br />
and wait a good many years for fame. Well, this<br />
fine fish would escape my net, and swim into im-<br />
mortality lightened of certain royalties. But, for<br />
all practical purposes, the needs of honest pub-<br />
lishers and hard-working authors would be met,<br />
and a grievous disability removed from those<br />
upon whom, though most worthy, fortune has failed<br />
to smile.<br />
I could say a good deal more on this topic, but<br />
I leave it for the moment with the explanation that<br />
my plea for fair dealing is altruistic, since every<br />
line I write is fully protected by an enterprising<br />
publisher in the United States.<br />
LOUIS TRACY.<br />
THE BERLIN INTERNATIONAL COPY-<br />
RIGHT CONFERENCE.<br />
—t—º-e—<br />
HE correspondence respecting the Revised<br />
Convention of Berne has now been published<br />
in the form of a Blue Book.<br />
It is full of interesting reading for those whose<br />
object is the technical study of copyright evolution ;<br />
but there is little to add for the interest of the<br />
members beyond the Revised Convention itself<br />
which was printed as a supplement to the January<br />
number of The Author.<br />
What it is possible for Great Britain and her<br />
Colonies to accept, what points of the present law<br />
must be altered to bring about the necessary<br />
changes, and how those changes are going to be<br />
effected is a matter for the Government to consider.<br />
It is the duty of all those bodies who represent<br />
the holders of copyright property to be active and<br />
on the alert.<br />
<br />
<br />
## p. 182 (#234) ############################################<br />
<br />
182<br />
TISIES A UITISIOR,<br />
Sir Edward Grey stated to the British delegates<br />
“ that if the results of this conference should<br />
assume a shape which is considered to be satisfac-<br />
tory for Great Britain, His Majesty's Government<br />
will not delay to make a serious effort to come to<br />
an understanding with the British Colonies on the<br />
subject.”<br />
The Convention has now been settled as altered<br />
by the conference, and, we understand, has assumed<br />
a shape which is considered satisfactory.<br />
It is now that the critical danger begins.<br />
The Berne Convention was originally accepted<br />
in order to obtain some order out of the chaos<br />
of multiplied treaties existing between the many<br />
European countries. The terms of these treaties,<br />
in many cases dissimilar and divergent, made it<br />
impossible to obtain any certainty as to the rights<br />
of those concerned. Uncertainty brings weakness.<br />
In the end it was almost impossible to say what<br />
was the law or how it was to be enforced.<br />
The Berne Convention did its work admirably as<br />
far as it went, but it was the first attempt at Inter-<br />
national Copyright Legislation and did not go far<br />
enough. Then followed the Act of Paris going a<br />
little further, but creating a divergence, for some<br />
of the nations that sent in their adhesion to the<br />
Berne Convention could not subscribe to the Act<br />
of Paris. Now lastly comes the Berlin Convention,<br />
a great step in advance in many ways ; but again<br />
there is bound to follow a falling off, only some<br />
nations agreeing to the terms. So that it would<br />
appear that International Copyright Protection<br />
will be almost as complicated and confused in 1910,<br />
the date when the acceptance of the terms may be<br />
notified, as it was when each country had its<br />
varying treaties. We state, therefore, with some<br />
assurance that the real danger begins now.<br />
It is to be hoped there will be little difficulty in<br />
getting the self-governing Colonies to fall into line.<br />
They will easily grasp the fact that no native litera-<br />
ture can exist if you curtail its market, and that to<br />
cut themselves adrift from International Copyright<br />
is to kill the native industry and to destroy the<br />
growth of that literature which even now is a<br />
cherished growth. It is needless to mention the<br />
names of the authors of Australia, New Zealand,<br />
South Africa, or Canada. .<br />
But there is a greater danger ahead than even<br />
the disruption of the Colonies, and that is the lack<br />
of uniformity which may arise when any Bill is<br />
massing throngh the House of Commons and the<br />
House of Lords.<br />
In the oft quoted phrase there are three things<br />
to be aimed at : the first is Uniformity, the second<br />
is Uniformity, and the third is Uniformity. By<br />
this we mean that certain clauses passed by the<br />
conference at Berlin must be adopted wholesale<br />
ald not in bits. If our law at pres(nt gives<br />
greater rights than those conveyed in the Berlin<br />
Convention, let us keep them ; if lesser rights, then<br />
let the new Act bring uniformity.<br />
Here are a few points of the many which want.<br />
altering to bring our law into uniformity with the<br />
law of the Convention—what is hoped will be the<br />
law of all civilised countries.<br />
1. The length of the term “Life and fifty years.”<br />
We understand that the term is satisfactory to the<br />
present Government, that the United States + will<br />
struggle for this limit in any new Copyright legis-<br />
lation, and that the German Empire is willing to<br />
bring in a small amending Act extending its present<br />
term, life and thirty, to life and fifty years. Let<br />
us endeavour then, with all the forces at our dis-<br />
posal, to carry the thing through for the sake of<br />
uniformity; a Wretched compromise of life and<br />
thirty or life and forty would do more than show<br />
weakness, it would show a crass stupidity.<br />
2. Translation rights; these are to be protected<br />
for a term commensurate with copyright. Surely<br />
this is common sense. It is curious that this<br />
decision should have been so long in coming.<br />
3. Then there is the difference under the<br />
English law and the law of most other countries as<br />
to the publication of performing rights. The<br />
point is very technical, there is no need to explain<br />
the issues. But here again it would simplify the<br />
establishment of an author's and dramatist's rights.<br />
and strengthen him in the possession of his own<br />
property if we could legislate for uniformity with<br />
the Convention and with the law as at present<br />
existing in other civilised countries.<br />
4. Then comes the question of mechanical<br />
reproduction. Musical composers and dramatists,<br />
are suffering severely, and will suffer still more<br />
unless mechanical reproductions obtain copyright<br />
protection. It would be foolish, and indeed is<br />
foolish, for the law to say you have right in the<br />
property of your own brain, and then to say you,<br />
only have the right when the copies are made in a<br />
certain way. It would be just as sensible to say<br />
that the dramatist has only performing rights at a<br />
certain theatre, or an author protection when his<br />
books are sold at a certain price.<br />
We have quoted four points out of many that<br />
arise ; they are perhaps the most important, but<br />
there should be only one aim, and that is, to carry<br />
through a law which will bring the law of Great.<br />
Britain into international uniformity.<br />
Is it possible that common sense will prevail<br />
G. H. T.<br />
* This has unfortunately not been achieved in the Act<br />
just passed by the United States, in spite of the efforts of<br />
the wise.—FD.<br />
<br />
<br />
## p. 183 (#235) ############################################<br />
<br />
TRIES ACTFIOR,<br />
183<br />
HOW TO USE THE SOCIETY.<br />
—º-º-º-<br />
1. WERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
\member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society. -<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
5. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
Hars of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
The<br />
7. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
—º-º-º-<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property:-<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
Competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
p º Not to give up American, Colonial, or Continental<br />
Tights.<br />
@.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
º . bind yourself for the future to any one'sólicitor or<br />
OCUOI’<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
What the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1) Be careful to obtain a fair cost of production.<br />
(2) Keep control of the advertisements.<br />
(3) Keep control of the sale price of the book.<br />
General. -<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without Competent advice from<br />
the Secretary of the Society. -<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
(1.) That both sides shall know what an agreement<br />
II].68, IlS.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld. -<br />
(3) Always avoid a transfer of copyright.<br />
A --dº- Aſ a<br />
w ~- w<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
–0-0-0–<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
mallage.T.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
<br />
## p. 184 (#236) ############################################<br />
<br />
184<br />
TISIES A UITISIOR.<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case,<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
©<br />
—4-<br />
REGISTRATION OF SCENARIOS.<br />
—º-º-º-<br />
N CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
-º-º-º-<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. . It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan.<br />
cial terms than those obtained for literary and dramatic<br />
property. . The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
STAMPING MUSIC.<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
Safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
—s—e-e—<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only Works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
“THE AUTHOR,”<br />
—º-º-º-<br />
Tº: Editor of The Author begs to remind members of<br />
* —º- a<br />
~~ w<br />
the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the stand-<br />
point of art or business, but on no other subjects whatever.<br />
Every effort will be made to return articles which cannot<br />
be accepted.<br />
* —º- a<br />
-º- w<br />
REMITTANCES.<br />
—º-Q-4–<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smith's Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 185 (#237) ############################################<br />
<br />
THE AUTHOR.<br />
185<br />
GENERAL NOTES.<br />
—º-º-º-<br />
THE ANNUAL DINNER.<br />
THE annual dinner of the Society will be<br />
held at the Criterion Restaurant, on Thursday,<br />
April 29, at 7 o'clock for 7.30. The usual<br />
notice will be circularised to all members and<br />
associates. The price of the ticket will be 7s.6d.,<br />
exclusive of wine. Those ladies who desire to<br />
attend may bring one guest, for whom an addi-<br />
tional ticket will be required.<br />
PENSION FUND.<br />
ON the first day of March the Pension Fund<br />
Committee awarded a pension of £50 a year to<br />
Dr. J. Beattie Crozier, the eminent philosopher<br />
and historian. Dr. Crozier has been a member of<br />
the society for ten years, having joined in 1899.<br />
He was born in Canada, and was educated at Galt<br />
Grammar School and Toronto University.<br />
All those who are interested in modern philosophi-<br />
cal works and writings will know Dr. Crozier as<br />
the author of “The Religion of the Future,” which<br />
was published in 1880; “Civilisation and Progress,”<br />
published in 1885; and “The History of Intel-<br />
lectual Development,” part of a series of important<br />
works from his pen, much read and appreciated in<br />
Germany.<br />
In addition to these publications he has written<br />
other works and has contributed many articles<br />
to the reviews, more especially the Fortnightly,<br />
dealing with political, economic, and philosophical<br />
subjects.<br />
On the 19th of March the Pension Fund Com-<br />
mittee met again, and awarded a pension of £50<br />
a year to Mr. Richard Whiteing, the journalist and<br />
novelist. Mr. Richard Whiteing is now in his<br />
sixty-ninth year, having been born in 1840. He<br />
made his first essay in journalism with a series of<br />
satirical papers, political and social, in the Evening<br />
Star. He then contributed to many different<br />
papers, and finally became Paris correspondent of<br />
the Manchester Guardian, The World (London),<br />
and The World (New York). On his return to<br />
London he joined the staff of the Daily News,<br />
where he worked for a period of fourteen years,<br />
resigning his position in 1899. In that year he<br />
published his successful work, “No. 5 John Street.”<br />
Since then he has published a series of novels,<br />
including “The Yellow Van,” “Ring in the New,”<br />
and “All Moonshine.”<br />
About ten years ago Mr. Whiteing had a serious<br />
illness, which has permanently impaired his health<br />
and his powers.<br />
| Such pensions are given by the society as offer-<br />
ings of appreciation by fellow members.<br />
BERLIN CONVENTION DEPARTMENTAL COMMITTEE.<br />
WE are informed that the President of the<br />
Board of Trade has appointed the Right Hon.<br />
Lord Gorell (chairman), Sir Lawrence Alma-<br />
Tadema, O.M., Mr. George Ranken Askwith, K.C.,<br />
Mr. H. Granville Barker, Mr. William Boosey,<br />
Mr. Charles W. Bowerman, M.P., Mr. Henry<br />
R. Clayton, Mr. Henry J. C. Cust, Mr. Edward<br />
Cutler, K.C., Mr. Anthony Hope Hawkins,<br />
Mr. William Joynson Hicks, M.P., Mr. William<br />
Algernon Law, C.B., Mr. Frederick Macmillan,<br />
Mr. Thomas Power O’Connor, M.P., Professor.<br />
Walter Raleigh, Mr. Thomas Edward Scrutton,<br />
K.C., and Mr. Edmund Trevor L. Williams,<br />
to be a committee to examine the various<br />
points in which the revised International Copy-<br />
right Convention, signed at Berlin on the 13th<br />
November, 1908, is not in accordance with the<br />
law of the United Kingdom, and to consider.<br />
whether the law should be altered so as to enable<br />
His Majesty's Government to give effect to the<br />
revised Convention. The President has also.<br />
appointed Mr. T. W. Phillips to be secretary to.<br />
the committee.<br />
THE POE CENTENARY DINNER.<br />
THE centenary of the birth of Edgar Allan Pee.<br />
was celebrated by the Authors' Club, at the White-<br />
hall Rooms, on March 1. Nearly three hundred sat<br />
down to dinner. Many members of the American<br />
colony in London were present ; his Excellency<br />
the American Ambassador, Mr. Whitelaw Reid,<br />
being the chief guest.<br />
Sir Arthur Conan Doyle was chairman, and<br />
after the usual Royal toasts, in a feeling speech.<br />
asked those present to drink to the great author's<br />
memory. -<br />
He spoke with full sympathy, both of the<br />
sorrows Poe had gone through during his life,<br />
and his struggles to overcome them ; he dwelt<br />
with appreciative criticism on his work. He spoke<br />
of his powers as strange and haunting, musical to<br />
a degree, original and masterful. He confessed to.<br />
feeling their limitations.<br />
The American Ambassador spoke in response ;<br />
his speech was eloquent, but judicial; sympathetic,<br />
but critical. Yet he stated with all abatements.<br />
Poe's place was surely in the front rank.<br />
<br />
<br />
## p. 186 (#238) ############################################<br />
<br />
§ 86<br />
TISIES A UTFIOR-<br />
Mr. Herbert Trench, author of “ Deidre<br />
Wedded,” recited an original poem in honour of<br />
the occasion.<br />
Mr. Garvice, chairman of the club, occupied<br />
the vice-chair, and proposed the health of the<br />
wisitors. Many well-known authors were present.<br />
“THE SOCIETY OF UNAOTED AUTHORS.”<br />
THE first meeting of the recently formed Society<br />
of Unacted Authors was held on March 3, at<br />
217, Piccadilly, and was largely attended.<br />
Mr. N. Thorpe Mayne, the originator of the<br />
movement, after indicating the circumstances<br />
which seemed to him to call for such an organiza-<br />
tion, proceeded to lay before the meeting certain<br />
Working proposals. The most important of these<br />
proposals were as follows:—<br />
(a.) The appointment of some competent reader<br />
to read and give a candid criticism of the plays of<br />
the society's members, after such plays had been<br />
passed by the committee of the society as good.<br />
(b.) To approach managers for the use of their<br />
theatres for the production of members' plays, to<br />
which well-known actors and actresses should be<br />
admitted on presentation of their cards.<br />
(c.) To arrange for such productions to be<br />
public.<br />
(d.) To seek the co-operation of the members of<br />
the theatrical profession, which, in the case of provin-<br />
'cial artistes, should at first be given gratuitously in<br />
return for their introduction by this means to<br />
London managers.<br />
It was decided to appoint two committees. (1.) A<br />
Committee of management to manage the affairs of<br />
the society ; and (2.) A committee to read plays<br />
and judge which should be submitted to the<br />
Society’s critic.<br />
It was agreed also that the acceptance of two<br />
plays through the agency of the society should<br />
qualify the dramatist for honorary membership, in<br />
which capacity he should undertake to do what he<br />
could to promote the efforts of the society from the<br />
outside.<br />
** -<br />
AMERICAN COPYRIGHT.<br />
A NEW United States Copyright Bill has<br />
Suddenly been passed through both Houses. The<br />
text came to hand too late for insertion in the<br />
current number, but we hope to print it in one<br />
of the coming issues of The Author. From a<br />
cursory glance it would appear that the American<br />
legislators have advanced but little towards the<br />
level of other civilised nations in connection<br />
with copyright matters. They have given pro-<br />
tection to mechanical reproductions, etc., but<br />
only in a half-hearted way; they have allowed<br />
anyone to reproduce music mechanically, subject<br />
to the payment of a fixed royalty to the copyright<br />
owner. Again, they ignore the rights of the<br />
owner of the property. This method of protec-<br />
tion is, but a weak compromise, and wrong in<br />
principle. It appears also that they allow an<br />
English author from the date of publication a<br />
month in which to file his book produced in<br />
England ; that another month is then allowed<br />
him in order to obtain United States copyright<br />
under the type-setting clause. This means that<br />
the English author has two months after the date<br />
of publication in England in which to obtain copy.<br />
right in the States, instead of being bound, as<br />
hitherto, to publish simultaneously. The Pub-<br />
lishers' Cºrcular congratulates Mr. Hunemann<br />
on the value of the concessions which it is alleged<br />
he has obtained : we cannot do so. This, again,<br />
is another weak and unpractical compromise, and<br />
Compromise has already ruined the American law.<br />
If in 1891 England and the other nations had<br />
refused to accept any compromise whatever,<br />
America would have been bound, rather than<br />
allow their authors to be robbed of their returns,<br />
to adopt the principle adopted by all civilised<br />
nations in respect to copyright property.<br />
We regret that this law should have been passed,<br />
as it is possible, had the American legislators<br />
Waited a little longer, that American opinion would<br />
have altered considerably.<br />
A<br />
w vºy<br />
—º- a<br />
~-<br />
COMMITTEE ELECTIONS.<br />
1909.<br />
–º-º-º-<br />
HE following is the signed statement of the<br />
Scrutineers recording the votes in the<br />
election to the committee of management<br />
for 1909.<br />
In the following order:-<br />
S. Squire Sprigge 235<br />
Sidney Webb ... 227<br />
Arthur Rackham - e - ... 221<br />
The Hon. Mrs. A. L. Felkin ... 202<br />
Mackenzie Bell 134<br />
Signed,<br />
Henry Cresswell.<br />
Francis Gribble.<br />
Philip W. Sergeant.<br />
E. H. Lacon Watson.<br />
The members of the society may remember that<br />
one-third of the committee have to be elected<br />
every year. The first four in the above list,<br />
therefore, are those who will rejoin the committee.<br />
<br />
<br />
## p. 187 (#239) ############################################<br />
<br />
THE AUTHOR.<br />
187.<br />
THE ANNUAL GENERAL MEETING.<br />
—º-º-º-<br />
HE Annual General Meeting of the Incorporated<br />
Society of Authors was held at 20, Hanover<br />
Square, on March 22, Mr. Douglas Fresh-<br />
field, chairman of the Committee of Management,<br />
presiding over a rather scanty gathering.<br />
The chairman announced that Mr. Morley<br />
Roberts had resigned from the Pension Fund Com-<br />
mittee, in accordance with the regulations, but<br />
offered himself for re-election. There being no<br />
other candidates, Mr. Roberts was declared re-<br />
elected.<br />
The meeting was invited to appoint, if it wished,<br />
scrutineers in case of a contested election for the<br />
committee next year under the new constitution,<br />
but preferred to leave the appointment to the<br />
committee.<br />
The result of the recent poll for places on the<br />
committee of management for 1909 having been<br />
read out, the chairman then passed to the accounts<br />
and report of the society. He began with a feeling<br />
reference to the loss sustained by the society in<br />
the death of one of his recent predecessors in the<br />
chair, Sir Henry Bergne. Sir Henry had died in<br />
harness, while attending the International Con-<br />
ference on copyright, a victim to the brutal climate<br />
of Berlin. After apologising for his own re-<br />
appearance in the chair, which was the fault of the<br />
Society, he said, in putting him second on the poll<br />
to Sir Henry Bergne last spring, Mr. Freshfield<br />
condemned the pernicious notion that places on<br />
the committee were a reward of merit for literary<br />
eminence. The council was their honorary body,<br />
the committee essentially a working body, whose<br />
duties were often difficult and very technical, per-<br />
haps two-thirds of them legal. It had, therefore,<br />
been the practice to nominate to the committee<br />
those who had the technical knowledge, business<br />
experience, ability, and leisure called for in such a<br />
task. He made, for what it was worth, a suggestion<br />
for their consideration with regard to the working<br />
of the new constitution. He proposed nothing to<br />
modify the power now vested in the whole society<br />
to elect its committee, a power which was very<br />
valuable ; but it did not follow that because a<br />
power existed it need always be exercised, involving<br />
as it did some cost and trouble. He recommended<br />
therefore that members anxious to nominate one or<br />
two candidates should send the suggested name or<br />
names to the secretary some time beforehand, and<br />
so give the committee a chance of including in<br />
their own list such names, and thus avoiding a<br />
contested election. Going on to another topic in<br />
the report, that of resignations from the Society, he<br />
protested against the treatment of the Society by<br />
certain people as if it were a sort of warren which<br />
they could run in and out of like rabbits, at their<br />
Convenience. It was obvious that the author who<br />
Only joined the Society when he had a dispute on<br />
hand and left it when the danger was over was at<br />
Once injuring the society's stability and inflicting<br />
a hardship on the steady subscribers, which could<br />
Only be met by firm action on the part of the com-<br />
mittee in postponing the claims of these casuals to<br />
those of more loyal members.<br />
Not long ago the question of the censorship,<br />
caused no small stir in the dramatic world, and led<br />
to the suggestion of an independent Dramatic.<br />
Authors’ Society. The negotiations which ensued<br />
were fully set out in the report, which showed how<br />
the dramatists (many of them already members of<br />
the Society of Authors) had seen that they would<br />
do better by reinforcing the already existing<br />
Dramatic Sub-Committee of the society, which had<br />
now been reconstructed to meet the requirements.<br />
of the situation, and had already some important<br />
work in hand. Overtures had also recently been<br />
made on behalf of the Society of British Composers,<br />
with a view to strengthening the musical element<br />
in the Society of Authors, but so far without<br />
definite result.<br />
Of more general matters, the most important<br />
within the last twelve months had been in connec-<br />
tion with copyright. M. Lecompte, president of<br />
the French Société des Gens de Lettres, had visited<br />
London, and had been placed by Sir Henry Bergne<br />
and himself in communication with Mr. Winston,<br />
Churchill. At the Berlin Conference the French<br />
delegates had urged the prolongation of the period.<br />
of copyright from its present term to life and fifty<br />
years. Many would regret that the British,<br />
delegates had not been authorised to support<br />
that proposal. In the trade of authorship, as<br />
Mr. Rudyard Kipling put it, every deceased author<br />
before long became a blackleg to posterity, and<br />
each new series of sixpenny or shilling editions<br />
made him a more formidable blackleg. It was to<br />
be hoped that Labour members would not forget<br />
that authors were also labouring men, and that it<br />
was inconsistent, as it was unjust to grudge them<br />
the chance of a reasonable reward in a very pre-<br />
carious form of employment. The whole ques-<br />
tion of copyright was under consideration by<br />
a Departmental Committee appointed by the<br />
Government to lay evidence before which a joint-<br />
committee of the Authors’ Society and of other<br />
representatives of copyright property had been<br />
formed. The visit of delegates from the Colonies<br />
during this year should give opportunity for<br />
ascertaining their views on the subject, and<br />
endeavouring to bring them into line with those<br />
of the producers of literature in this country. In<br />
the past divergences in detail between the Colonies<br />
and Great Britain had put Serious obstacles for the<br />
<br />
<br />
## p. 188 (#240) ############################################<br />
<br />
188<br />
THE AUTHOR.<br />
way of the Imperial Government with regard to<br />
international legislation. There was, he feared, no<br />
sign in the recent legislation at Washington of any<br />
substantial or satisfactory alteration of the American<br />
law, which required that for a book to secure copy-<br />
right in the United States it must be printed there.<br />
Taht was a requirement which inflicted great hard-<br />
ship on English printers, and which was not excused<br />
by any similar law in this country or elsewhere.<br />
Should reasonable argument fail to induce the<br />
United States to assimilate their law to that of other<br />
civilised nations retaliation might be fully justified.<br />
That, however, was a complicated question, and<br />
touched too nearly on current politics for him to<br />
do more than allude to it.<br />
Another important matter was the effect of the<br />
sevenpenny novel on the six-shilling (or four-and-<br />
six net) novel. A Committee of Investigation had<br />
been formed at the invitation of several leading<br />
publishers, on which Messrs. Hope Hawkins,<br />
Bernard Shaw, and Maurice Hewlett represented<br />
the society. The conclusions arrived at would be<br />
published in full in The Author, and he need only<br />
say that, while they were of opinion that any<br />
wholesale attempt to suppress sevenpenny editions<br />
would be undesirable, they were convinced that in<br />
order to protect the six-shilling novel it was essential<br />
that a time limit on which both publisher and<br />
public could rely should be fixed, before which it<br />
should be impossible to get a cheap edition of a<br />
six-shilling book. The minimum limit should be<br />
two years. It appeared to have been agreed on all<br />
hands that authors could not at present hope for a<br />
living from the sale of a book first published at<br />
7d., and that there was no question as yet of pub-<br />
lishing at that price in the first instance. It was<br />
further suggested that steps should be taken to<br />
ascertain how far the society's members were pre-<br />
pared to maintain the proposed time limit by<br />
insisting on a clause Securing it in their agree-<br />
ments with publishers.<br />
In conclusion, he tendered his thanks to his<br />
colleagues for the help which they had given him,<br />
and particularly to Mr. Bernard Shaw, who had<br />
taken a leading part in the reconstitution of the<br />
Dramatic Committee. He must also pay a tribute<br />
to their indefatigable secretary, Mr. Thring,<br />
whose enthusiasm was only equalled by his<br />
assiduity in the work of the society. His own<br />
breakfast-table without a letter from Mr. Thring<br />
would be unrecognisable.<br />
Discussion on the subject of the report and<br />
accounts having been invited,<br />
Mr. H. C. MacIlwaine expressed his disappoint-<br />
ment that the chairman had not spoken more<br />
strongly on the subject of American copyright,<br />
and was sure that many of his fellow-authors<br />
looked for more than a mere allusion such as had<br />
been made. As a writer who had himself had<br />
work stolen in America under the iniquitous<br />
Industrial Act, he demanded that we should fight<br />
the Americans on this point. Either we must have<br />
equal laws or we must put a tariff on imports. A<br />
member of a great firm of publishers had said to<br />
him personally, “We lost one-third of our work<br />
when that Act was passed in America.” Was<br />
this the only reply which the Authors' Society<br />
could make, that we must leave the topic alone for<br />
fear of touching on current politics 2 -<br />
Mr. Howard Swan supported the last speaker.<br />
He had found, in travelling round the world, that<br />
British authors had gained a reputation for taking<br />
things very easy. In America, Japan, and China,<br />
British copyrights were being stolen. It was<br />
necessary to take action in order to put a whole-<br />
Some fear into the wrong-doers. There was,<br />
indeed, a necessity for a literary code of ethics in<br />
general, for he had experienced a case where<br />
30 per cent. of the material of one of his books<br />
had been taken by another writer. Could not<br />
such a thing be stopped ? He went on to speak<br />
of the society’s debt to the committee, and to Mr.<br />
Thring in particular, for the way in which they<br />
kept so difficult a team as the authors in hand,<br />
and concluded with an appeal to all members of<br />
the society to support The Author by literary<br />
contributions, to do something toward providing<br />
more beautiful offices as headquarters, and to gain<br />
as many recruits as possible for their ranks.<br />
The chairman, replying to Mr. MacIlwaine,<br />
Said that he feared that his jesting allusion to<br />
“touching on current politics" had been taken<br />
too seriously. He had merely hinted that there<br />
might be Free Traders present to whom Retaliation<br />
might be a word of fear. It would shortly be their<br />
duty to consider whether Retaliation was the best<br />
policy, and if so in what form ; and also to<br />
remember that they were tied by the Berne Con-<br />
vention. The whole question of copyright was<br />
coming up this year before the Departmental Com-<br />
mittee appointed by Government. Experts who<br />
had been consulted warned them that it would be<br />
unwise to take too sudden steps with regard to<br />
America, and that if they were precipitate they<br />
might not find authors unanimous behind them.<br />
As for Mr. Swan's remarks on the crime of con-<br />
veying material from a fellow-writer, the difficulty<br />
of course was that one required a very strong case<br />
in order to be able to punish the evil-doer, and a<br />
failure to bring the charge home only encouraged<br />
him and like criminals. With reference to the<br />
improvement of the society's offices, it must be<br />
remembered that this was a matter of finance, and<br />
that their money must be spent for the benefit of<br />
the society's members. The lawyers' bills must be<br />
paid. After that they might improve their offices.<br />
<br />
<br />
## p. 189 (#241) ############################################<br />
<br />
THE AUTHOR,<br />
189<br />
Mr. Rider Haggard moved a hearty vote of<br />
thanks to the chairman for his continuous, arduous,<br />
and disinterested labours. As a very old member<br />
of the society, who had himself been chairman<br />
twice, he knew how onerous the post was, even in<br />
his time. In Mr. Freshfield's it was far harder,<br />
and it had been to the very great benefit of the<br />
society that Mr. Freshfield had consented to act.<br />
The society was now prosperous as it had never<br />
been before, and it was a pleasure to him to think<br />
how his dear old friend, Sir Walter Besant, would<br />
have been delighted at the progress made. They<br />
numbered now mearly two thousand members, and<br />
had every reason for congratulating themselves.<br />
Turning to the subject of sevenpenny books, he<br />
said that he had talked with many publishers<br />
about them, and he believed that if the seven-<br />
penny did not cease the six-shilling novel would<br />
be killed. Authors should, as Mr. Freshfield<br />
suggested, insist on there being no premature<br />
publication of their works as sevenpennies—which,<br />
unlike the sixpenny paper-covered editions, were<br />
bought by people to be put on their shelves and<br />
kept.<br />
ºf. Swan seconded the vote of thanks, which<br />
was thoroughly deserved by Mr. Freshfield, he said;<br />
for he had made great sacrifices for the society, and<br />
was the type of man whom they wanted at their<br />
head.<br />
The chairman, in acknowledging the vote, pro-<br />
tested that he could have done nothing without<br />
the aid which he had received from the committee<br />
and secretary.<br />
The meeting then closed.<br />
—e—º-e—<br />
FRAGMENTS OF CENTENARY ODE ON<br />
EDGAR ALLAN POE.”<br />
—º-º-º-<br />
I.<br />
HEN Death's embrace uncloaketh<br />
The false and true it yoketh,<br />
When slow libation smoketh<br />
And all the host<br />
That wronged him most<br />
The singer's urn convoketh,<br />
How utterly remouldeth<br />
The flame that all enfoldeth<br />
No more the scolder scoldeth,<br />
One would have said<br />
Some God were dead :<br />
He worships who beholdeth.<br />
For all men's fames, O sternest<br />
Deific priest, thou burnest<br />
On altars deeply furnaced,<br />
Aloft the peak<br />
All climbers seek<br />
Thou winnowest, thou discernest<br />
* The complete text of this poem is published in the<br />
Saturday Review for March 13, 1909.<br />
Night sinks unto the verges,<br />
Fierce hate no longer urges,<br />
Foe beside foe emerges<br />
The wild beasts slake<br />
At one fell lake<br />
The desert in their gurges.<br />
How soon the crowd bemoaneth<br />
As though such grief atoneth<br />
The beauty it dethroneth ;<br />
It shrines the pen<br />
The mantle then,<br />
The man himself it stoneth !<br />
Now by the brain they blunted,<br />
Now by the heart they hunted,<br />
Now by the soul they stunted,<br />
Even here to-night,<br />
In the banquet-light,<br />
The cowards are confronted<br />
And at last the song confuted<br />
Of this vagabond sweet-luted,<br />
Celestial, persecuted,<br />
Poor mystagogue<br />
Or drunken rogue,<br />
Is by the world saluted.<br />
III.<br />
Therefore we hail him, winged poet undated,<br />
Backward-gazer, seer Chaldean belated,<br />
Hymning Terror and Chaos, as Earth in her vagrance<br />
Leaves long behind her in space wild tresses of fragrance,—<br />
Hymning all wonder, as momently grey Earth breaketh<br />
Still into spaces new, and mew-eyed awaketh<br />
He floats in the ivory boat he hath carven for pleasure,<br />
On, down a faery gorge, as one treads a measure,<br />
Bound for the paladise still where his heart hath treasure.<br />
Deep-Wombed valleys delight him, ambrosial, clouded—<br />
Clear streams wan with lilies and forest-shrouded,<br />
Walled by autumnal mountains, all sunset-lustred,<br />
Streams that mirror the cypress, dark, cedar-clustered.<br />
Down the mid-flood he bears through a vaporous Rhineland<br />
Borne in his plume i shallop by pool and vineland<br />
(Strange and phantasmal country () by towers enchanted<br />
Ablaze With his enemies' souls or by demons haunted.<br />
Broideries droop no longer from keep or casement<br />
Ruins honeycombed with horror, and foul abasement.<br />
Rats Swim off in he water—dead shoulders welter—<br />
Cold on the bulwark, lo a dead hand craves shelter.<br />
No, he must hasten past, this poet unfriended,<br />
He too is shelterless, cold, till this voyage be ended.<br />
Melodies dark he sings, low-toned, melancholy,<br />
He too has wrestled with Gods in his radiant folly,<br />
He, too, has felt the breath of passion too near him,<br />
Still the lost ecstasy clings, and lost arms ensphere him.<br />
O high houses crumbling down to the water,<br />
He seeks one lost and gone, the heaven's wise daughter<br />
Named under many names, although none recals her—<br />
Ligeia or Berenice, all ! what befalls her ?<br />
Valleys and forests and cities that Time enchanteth,<br />
Have they not marked her passing for whom he panteth 2<br />
“None hath gone by, O Genius Serene and sombre<br />
Whom dost thou still pursue, through waking and slumber 2"<br />
“I seek one face alone on my Soul’s arrival<br />
At Hades' glimmering wharves, one divine survival "<br />
“Lo she thy lost one it is, who in airs above thee<br />
Urges thy faery sail with the lips that love thee I<br />
She took thy Sore heart hence, and shall heal its bruises<br />
Far in the deathless country, the land of Muses. . . .”<br />
<br />
<br />
## p. 190 (#242) ############################################<br />
<br />
190<br />
TISIES A UTEIOR,<br />
IV.<br />
Glory unto thee, high Beauty, light in the drearness,<br />
Poised fragility, pure w th the spirit's clearness<br />
Strengths umgauged, unguessed, in thy petals shining<br />
Blown from the deeps of God through the heart divining.<br />
Again and again for ever to Beauty returning<br />
3ack must the eyes revert, and the lips be yearning.<br />
l'anting we pause, for a sibylline whisper reigneth ;<br />
By its perfection only the song enchaineth.<br />
Here at the tempest's core is that windless zone<br />
‘Of poise, . . . Here the wave of Beauty, spreading its tone<br />
Bell-like, the light Uranian, ringing unknown<br />
Wider than the wave aethereal, murmurs alone.<br />
HERBERT TRENCH.<br />
à -*— A<br />
w--—w<br />
COLONIAL SALES.<br />
—º-º-º-<br />
BRITISH AUTHORS v. AMERICAN SALESMEN.<br />
§ HE business of selling and distributing English<br />
books in Australia demands a certain amount<br />
of foresight and energy. Immense distances<br />
have to be bridged, postal delays which often count<br />
for success or failure, where fashions in novels are<br />
concerned, have to be reckoned with. As a market<br />
for English books Australia offers a splendid field,<br />
once that elusive quality known as the personal<br />
equation has been finally overcome. There<br />
are other minor difficulties which I shall refer<br />
to later on.<br />
Now, it is all very well for an English author to<br />
spend his life in the making of books only to dis-<br />
cover that his work is being systematically “dropped<br />
under the counter.” Of course I am speaking<br />
strictly of the Australian book depôts as I have<br />
known them for the last ten years.<br />
The Australian publisher is not a hustler ; on the<br />
contrary he is slack and easy going to a painful<br />
degree, a fact which has long since dawned on the<br />
astute American publishers to the detriment of<br />
English authors and book exporters.<br />
To begin with, there is a large class of buyers and<br />
readers at the Antipodes whose trend in fiction is<br />
distinctly American. This fact added to Jonathan's<br />
business methods gives him a decided pull over<br />
British competitors. In a Melbourne book store<br />
once I observed an American agent assisting the<br />
shopman to dress the window. Passing the shop<br />
an hour later I was not surprised to see that the<br />
whole front was occupied by a small regiment of<br />
American books. Now, how many British commer-<br />
cial men would have ventured to advise that store<br />
proprietor regarding the disposition of his own<br />
Wares 2<br />
Another factor in the American's present success<br />
is the tremendous amount of business sympathy he<br />
has to spare. It is not enough to consign a dead<br />
weight of books, per steamer, to a far distant<br />
group of customers and patiently await results.<br />
Something more is needed to lift that dead weigh<br />
of books into the front window, something more<br />
than a mere stereotyped letter of advice or batch of<br />
laudatory Press notices culled from the British<br />
reviews. The American knows this and promptly<br />
sends along a cultured business man of the world,<br />
a man interested in his customer's affairs, his<br />
losses, his prospects for the coming year. This<br />
highly trained representative is capable of advising<br />
even the experienced bookseller in certain matters<br />
connected with the trade. Here and there he may<br />
meet with a cool reception, but in the majority of<br />
cases his visits are welcomed until by degrees he<br />
assumes the position of a business adviser, and<br />
Sooner or later assists in dressing the window.<br />
These are the initial tactics of the American man<br />
of business; the ice of reserve and indifference are<br />
Cut every time he applies the knife. This keen-<br />
edged competition leaves the English author a bad<br />
Second in a field where there are untried chances in<br />
his favour.<br />
One is compelled to ask whether it would pay<br />
Colonial publishers and British writers to unite<br />
and dispense with the services of the London book<br />
exporters. From an extensive experience gathered<br />
“down under,” I am positive that very few<br />
Australian publishers would be sufficiently enter-<br />
prising to take anything in the way of risks except<br />
from a few well-tried names.<br />
On the other hand, if the books were published<br />
at the author's expense, or at the expense of his<br />
Society in England, and exported to Australia, he<br />
would still have to face the unenthusiastic Mel-<br />
bourne agent and the American man of business.<br />
Assuming also that the British author permitted<br />
the Melbourne publishers to produce his books<br />
locally, I can assure him that the increased cost of<br />
production would swamp all profits likely to accrue<br />
from an edition of 2,000 copies at least. And how<br />
many British authors are there whose sales exceed<br />
that number 2<br />
At present the situation is one that almost defies<br />
the literary skill and labour thrown away on so<br />
many Colonial editions. Even the good English<br />
novel does not sell itself readily in Australia.<br />
Like merchandise and other goods, it requires<br />
Scientific handling and distribution. And to-day<br />
the Americans are supplying the trade with the<br />
proper amount of science that goes with the selling<br />
of each book.<br />
The visit of the American fleet to Australia<br />
during 1908 has had a distinctly favourable effect<br />
on all things American in that country. Scores of<br />
unknown transatlantic authors have been pushed<br />
to the front; the booming they received in several<br />
prominent Australian newspapers was only equalled<br />
by the thunder of Uncle Sam's guns when his fleet<br />
entered Sydney harbour.<br />
<br />
<br />
## p. 191 (#243) ############################################<br />
<br />
TISIES A UITISIOR,<br />
191<br />
Still, one is not inclined to pessimism in litera-<br />
ture even where a little gun-firing is concerned.<br />
The Australian people are keen judges of book<br />
values, and are not likely to be permanently led<br />
astray by the astute methods of a few American<br />
salesmen. Matters, I feel sure, would be more<br />
than equalised if the English authors or publishers<br />
would unite in claiming efficient representation<br />
throughout the Australian book world.<br />
ALBERT DORRINGTON.<br />
—e—º-e—<br />
AN OPTIMIST'S VIEW OF OUR DECADENT<br />
DRAMA.<br />
AM about to make a demand for an endowment,<br />
not for a play-house, not for the player, but<br />
for the playwright. I think it is fully con-<br />
ceded, outside of certain high professional quarters<br />
where there is an interest in asserting the contrary,<br />
that Drama in England has fallen into a decadence.<br />
It, therefore, may be worth while to analyse exactly<br />
what constitutes decadence; for decadence is not a<br />
vague, uncertain disease ; it can be accurately<br />
diagnosed.<br />
Decadence in art consists of an enslaving of<br />
design to handicraft, of creative thought to execu-<br />
tive ability.<br />
This, in the particular domain of drama, resolves<br />
itself into the subjection of the dramatist's aim<br />
to the actor's; as has been hinted, rather than<br />
expressed, in recent controversy.<br />
The dramatist who knows nothing of stage-craft<br />
has often been held up to us as a terrible warning.<br />
Such a man may exist, but is he a dramatist at<br />
all 2 Many dramatists have graduated as actors,<br />
and the knowledge which comes of watching plays<br />
in front, and noting what effects really tell on an<br />
audience, is at least as open to an author's attain-<br />
ment as to an actor's.<br />
The actor's assumption that he knows how a<br />
play ought to be written, and that an author does<br />
not, is both a symptom and an aggravation of the<br />
disease of decadence.<br />
Let us consider the right relation of author to<br />
actor. It is precisely that of composer to musician,<br />
of architect to builder. In every case, ignorance<br />
of manipulation may lead to impossible design: the<br />
designer must have a fair knowledge of the capa-<br />
bilities of material and workmanship; but we know<br />
how architecture fails, when decoration is con-<br />
structed, instead of construction decorated ; and<br />
music writter, to show off the capacity of instru-<br />
ment or vocalist is hardly of the highest.<br />
It follows from this, that the founding of schools<br />
for actors, however useful in other ways, is not the<br />
medicine for drama.<br />
It may be useful to give an illustration from the<br />
history of opera of what is meant. The leading<br />
case on the point is that of Wagner. Let us sup-<br />
pose that King Ludwig, instead of standing patron<br />
to Wagner, had endowed a number of opera houses.<br />
No doubt certain German towns would have heard<br />
good music ; but would that have led to this<br />
revolution of musical thought, and this vital move-<br />
ment which has resulted from the composer's<br />
unfettered utterance 2 Wagner's work was heresy<br />
to the canons, and was not adapted to the require-<br />
ments of the human voice. Perhaps even Wagner<br />
had better have been more open than he was to<br />
advice from the stage, but the point is that he had<br />
ideas which he could articulate in his own way and<br />
in no other, and which, so articulated, have<br />
meant a movement in theory and practice, healthy<br />
if only because it is movement, not stationary<br />
perfection on old models.<br />
Another case in point is also from the Tyric<br />
stage, in this instance an unendowed financial<br />
venture under our own London conditions. What<br />
could have been more perfect, from their own<br />
artistic standpoint, than the series of Gilbert and<br />
Sullivan operas 2 And what was the secret of this f<br />
It is well known that the authority of the author<br />
was resolutely upheld as against even the leading<br />
actor. A piece of business might bring down the<br />
house every night, but was stopped at the instance<br />
of the author if it in any way clashed with his<br />
idea of the part, or with the general intention of<br />
the play. This is a very different thing from<br />
parrot-like drill by the actor-manager. The<br />
author's province is to say what business is<br />
pertinent, not to know how it can be done; he is<br />
not to teach the actor acting, but to decide how<br />
proficiency in acting shall be used.<br />
I am not alluding here to the oft-repeated<br />
charge that the actor-manager will selfishly use his<br />
power, to fatten his own part at the expense of<br />
other actor's parts. If this is ever done it is “most<br />
tolerable and not to be endured.” But I am<br />
speaking of the question as between actor and<br />
author. The actor's right standpoint is to regard<br />
a play as opportunity for the actor. The author's<br />
right standpoint is to regard the actors as Soldier's<br />
to carry out his general idea.<br />
And now let us see how all this works out<br />
toward an author who has a play to be produced.<br />
If the play is an entirely fresh and original hand-<br />
ling of theatrical opportunities—as plays by men<br />
worth anything usually are—it probably contra-<br />
dicts the established canons of structure, etc. The<br />
actor concludes it is lawless; and is artist enough<br />
to know that lawlessness is not art. But this is<br />
the very mistake with which every departure in art<br />
<br />
<br />
## p. 192 (#244) ############################################<br />
<br />
I92<br />
TISIES A CITISIOR.<br />
is met. The laws of art are eternal ; the canons<br />
of criticism are only working hypotheses approxi-<br />
mating to those laws.<br />
The eternal laws of art are deducible from the<br />
practice of the masters, but can never be exhaus-<br />
tively deduced from the practice of the past only ;<br />
whereas the canons of criticism are deduced almost<br />
wholly from the practice of the past or present, and<br />
never will admit those re-statements of law which<br />
should constantly modify accepted canons.<br />
This is true of all art movements. But the<br />
dramatist cannot, as the P.R.B. did, finish his<br />
masterpiece, and bide his time. He can print and<br />
publish his play, but a printed play is not a<br />
fininshed work of art; it is, at best, but the score<br />
of a piece of music not yet played. If, before he<br />
can get a hearing for the finished work, he must<br />
wait to convince the players, wedded to their<br />
experience--who, of course, have never seen the<br />
work in question performed—what chance is there<br />
for anything but the conventional<br />
Furthermore, experience shows that, when actors<br />
make up their mind to cut the Gordian knot, and<br />
produce something unconventional, they do not<br />
know in the least which way to look ; hence they<br />
produce mere eccentricity, because they lack<br />
knowledge of dramaturgy, more of which can be<br />
learned by writing one play with an idea in it, than<br />
by acting hundreds, however fine. Thus, managerial<br />
experiments are much more likely to be wrong than<br />
right.<br />
I need hardly say this is nowise written to decry<br />
the value of the actor's art ; the ultimate success<br />
of a play must depend on the quality of the acting.<br />
Neither does it mean that the author, unless he<br />
direct his rehearsals in person, should “fuss"<br />
about on these occasions. What the author has to<br />
say would be better discussed in conference with<br />
the director of the performances, before and after<br />
rehearsal. No doubt, this is usual already, when<br />
the play is once chosen ; but it is in the choice of<br />
plays in the first instance, by whoever finds the<br />
necessary funds, that the actor should not be con-<br />
sidered as more than an assessor in the department<br />
of his own craft, while in the mounting, casting,<br />
and blue-pencilling, the author, once chosen, should<br />
be paramount.<br />
No one can tell, until a play is tried, whether it<br />
will prove good or bad—the author is the only<br />
person who knows in advance what he is aiming<br />
at, and he can only express his aim by presenting<br />
the play—for the meaning of a work of art can<br />
only be expressed by that work of art itself.<br />
To choose a play with stuff of some sort in it,<br />
and then let the author blunder through with it,<br />
is the best training for him.<br />
But who is to pay for it 2<br />
Experienced actors must be put at the service of<br />
the untried author ; the borrowing of novices from<br />
the conservatoires of acting has the disadvantage<br />
that a new play, to do it justice, requires tried<br />
exponents, while new actors do better to try them-<br />
selves on acknowledged models. I now come to<br />
the suggestion with which I began and to which<br />
this leads: why should not scholarships or exhibi-<br />
tions be granted to likely authors for the presenting<br />
of their plays * This would involve, of course, a<br />
reading committee, and an endowment.<br />
Something of the sort was tried when the Play-<br />
goers' Club chose one out of certain plays submitted,<br />
while certain of our leading actors pledged them-<br />
selves to produce and appear in the play selected.<br />
And if this process had been repeated often enough,<br />
I have little doubt it would have proved a real<br />
school of drama. But it had the disadvantage that<br />
every actor is not at his best in every play, while<br />
an offer so graciously made could only be accepted.<br />
The cast should be filled up after the choice of the<br />
play, and the actors should receive fees out of the<br />
endowment, if the author is to be unfettered in<br />
casting the parts. A theatre also would need to<br />
be hired or borrowed ; better the former, as much<br />
depends on the size of the theatre suiting the Scale<br />
of the play, and the proverb that beggars cannot<br />
be choosers holds good in this likewise.<br />
Several performances should be given, as a<br />
solitary matinée seldom runs smoothly ; and,<br />
besides, the result should repay the labour of<br />
rehearsal if heart and spirit are to be put into it.<br />
It would be exceedingly difficult to say how<br />
large a sum would be required for such a founda-<br />
tion, as the cost of mounting plays varies so much.<br />
One would be inclined to say that the sort of<br />
plays which would be selected might not require<br />
extravagant mounting; but it would be a great<br />
mistake to tie a dramatist down, in advance, to<br />
any fixed maximum of mounting; as the purpose of<br />
the scheme is to leave to him unfettered develop-<br />
ment. But perhaps a prize-winner might be<br />
allowed the choice of one expensive, or several<br />
inexpensive, experiments.<br />
By the time the prize-man had spent this money,<br />
he would presumably have “arrived,” or at least<br />
learnt how to “arrive.” But this would provide<br />
us with a theatre not pledged to prose or Verse,<br />
scenery or non-scenery, realism or idealism,<br />
limitations which have done much to set a bound<br />
to the usefulness of the various free theatre societies<br />
which have so far existed.<br />
To sum up, let us have a foundation granting<br />
xhibitions to the playwright. If we are to<br />
regenerate our drama, someone must finance<br />
author, not player.<br />
ARTHUR DILLON.<br />
<br />
<br />
## p. 193 (#245) ############################################<br />
<br />
TFIES A CITISIOR.<br />
193<br />
THE LETTERPRESS MERCHANTS.<br />
—º-º-º-<br />
OME years ago the late Sir Walter Besant<br />
remarked that only two sorts of men ever<br />
make a name in literature. They were “the<br />
men who make their readers cry, and the men who<br />
make them laugh.”<br />
He said nothing about those authors who in<br />
endeavouring to make their readers weep succeed<br />
only in awakening their sense of the ridiculous;<br />
or of those others who, in striving to make their<br />
readers laugh, stir up animosity instead.<br />
That humour of the sort known as “unconscious.”<br />
should go unrewarded is regrettable, for it is the<br />
truest kind of humour that we have. Some books<br />
of reference that have lately come into the writer's<br />
hands contain well-nourished specimens of uncon-<br />
scious humour. These manuals of practical hints<br />
are for the guidance of littérateurs properly so<br />
called, as well as of free-lance journalists. They<br />
give lists of all the periodical publications—<br />
newspapers, magazines and reviews—that are<br />
issued in this country and in some other countries;<br />
the kinds of stories, articles, news paragraphs,<br />
miscellaneous contributions, and illustrations that<br />
each publication requires ; the lengths such<br />
contributions should be ; the respective rates of<br />
payment ; and the political views and the general<br />
atmosphere of every journal named.<br />
Open one of these books at haphazard, and you<br />
will come upon the following :—<br />
“The . . . . is emphatically a review of literature and<br />
science. . . . The articles are not popular Science, but they<br />
discuss scientific topics as far as possible in an unintellectual<br />
manner.”<br />
It is, at any rate, refreshing to find a journal<br />
with the courage to admit that it deals with topics<br />
“in an unintellectual manner.” Of course we all<br />
know that plenty of journals do deal with quite<br />
serious topics in that way—especially where their<br />
views differ from one's own—but the majority<br />
are too modest to advertise the fact.<br />
Then, in a list of newspapers soliciting con-<br />
tributions is one with the pleasing title, The<br />
World of Gas. Judging by the utterances of a<br />
proportion of the gentlemen who figure in the lime-<br />
light of publicity in these days there should be<br />
little enough difficulty in filling the columns of<br />
The World of Gas over and over again.<br />
We come next to journals of quite a different<br />
class—those that deal mainly with automobilism<br />
and all that thereunto appertains. Here are some<br />
of the requirements of one of them :—<br />
“The . . . . is a medium for all interested in self-<br />
propelled traffic. Roadside experiences, descriptions of<br />
accidents and mishaps, especially when of a humorous<br />
nature . . . . also points likely to promote controversy<br />
... are all wanted. So are good motor jokes, which are<br />
paid for at from 2s. 6d. to 10s. apiece, according to their<br />
merit, while as much as a guinea is paid for an undoubtedly<br />
Comic motor anecdote.”<br />
With regard to “motor accidents . . . . of a<br />
humorous nature,” the question at once arises,<br />
Must such accidents have been humorous from<br />
the standpoint of the driver, or from that of the<br />
Victim P<br />
Somebody said once that the difference between<br />
the quick and the dead—from a chauffeur's stand-<br />
point—is that the quick are the people who get<br />
Out of the way, the dead are those who don't.<br />
But surely a motor accident sufficiently humorous<br />
to make the victim laugh before being slaughtered<br />
should be paid for at a higher rate than one that<br />
causes only the chauffeur to grin 2<br />
Then as to “motor jokes.” What is a “motor<br />
joke,” precisely Would “Why did the cotter<br />
pin Because it saw the sparking plug,” be called<br />
a motor joke and as such valued at half-a-sovereign 2<br />
Again, who fixes the degree of “merit" of a motor<br />
joke 2 Is a board meeting held once a week in the<br />
editorial chamber to pronounce judgment and<br />
divide the motor jokes into half-crown, five-shilling,<br />
Seven-and-sixpenny and ten-shilling jokes 2 And<br />
then that “undoubtedly comic motor anecdote ’’<br />
for which “as much as a guinea' is paid, who<br />
delivers sentence about that ? Must the “motor<br />
anecdote ’’ cause the faces of the entire board of<br />
directors to expand before it can be declared to be<br />
“undoubtedly comic,” or will it do if it crumples<br />
up the rédacteur-en-chef ?<br />
One would like to know these things before<br />
setting to work to compete. -<br />
A journal called Our Animal Brothers—ought<br />
not this to be “Our Brother Animals” 2—requires<br />
“ photos from life of animals not in captivity . . . .<br />
head-pieces, tail-pieces,” etc.<br />
Of course it is easy for the editor to write like<br />
that in the security of his den, with half-a-dozen<br />
sinewy compositors and a couple of foundrymen<br />
probably within hail ; but who is going to bell the<br />
cat, so to speak, by photographing the head-piece<br />
of, let us say, a Tasmanian devil not in captivity ?<br />
One might risk a snap-shot at the tail-piece of<br />
some docile creature—a giraffe, for instance—not<br />
in captivity, but the writer considers that that<br />
should be about the limit.<br />
Then we come to the fiction department, and<br />
here we find that the requirements of the various<br />
editors fluctuate considerably.<br />
One editor, for instance, “draws the line at all<br />
to do with any matter of erotic tendency'” and<br />
“debars tales of divorce, infidelity, fast life, loose women<br />
. and Tequires a clean, healthy tone, and throughout<br />
a strong domestic interest.”<br />
<br />
<br />
## p. 194 (#246) ############################################<br />
<br />
194<br />
TISIES A UITISIOIR,<br />
Run on somewhat similar lines is the journal in<br />
need of<br />
“good, healthy, moral stories of human interest, but<br />
nothing namby-pamby or goody-goody. Yet the narratives<br />
must be full of human sweetness and incident, and . . . .<br />
a strong love element should pervade each.”<br />
Another gentleman asks for<br />
“short, sparkling stories of achievement in the world ;<br />
of home life : of childhood and old age ; of delicate senti-<br />
ment and appreciation of the beautiful. Stories with a<br />
purpose, conveying wholesome truths influencing life and<br />
conduct, are desired. No tragedy, wickedness, or scandal.<br />
Characteristics : earnestness, brightness, and purposeful<br />
truths presented in growth of plot, not in Sermonizing.<br />
Also uses feature articles for the home and betterment of<br />
human existence, and verse which appeals to the higher<br />
and more noble sentiments.”<br />
Clearly an Ideal Editor, beautiful in a world where<br />
not even man is Vile.<br />
How different the requirements of an American<br />
editor on the next page, who clamours for<br />
“Love, passion, humour, ‘Frenchy' or suggestive tales<br />
inside the line of decency . . . . also fantastic fiction<br />
taken. Amy Setting ; any nationality ; and sometimes<br />
short, praiseworthy translations of French authors.”<br />
And of this one, who<br />
“Solicits bright, risqué, spicy stories, likewise ‘salacious’<br />
dramas.”<br />
It is a pity the editors who want clean, whole-<br />
some fiction, and the editors in need of stories<br />
mainly erotic, should be mixed uphiggledy-piggledy,<br />
as they are in the pages of these manuals. The<br />
editors of these otherwise excellent books of refer-<br />
ence should have remembered the aphorism to do<br />
with evil communications, good manners, and cor-<br />
ruption. Next we have an American monthly,<br />
People's Maſſazine, which<br />
“wants . . . . novels . . . . inspired with the beauty,<br />
sweetness, and truth of life . . . . of a healthy tone, and<br />
appealing to the masses . . . . also love stories when they<br />
are not inane or too frothy . . . . stories not fantastic<br />
. . . . but not the cheap, trite tales written in near Bowery<br />
dialect.”<br />
One journal earnestly assures us that “reputa-<br />
tion of author is no catch towards acceptance of<br />
MSS. . . . but good U.S. setting much desired ”;<br />
another, Mothers' Magazine, that its contents<br />
“appeal exclusively to mothers and would-be<br />
mothers, not necessarily U.S.A. ”; a third, Modern<br />
Priscilla, that stories are more acceptable “when<br />
embroidery and fancy work is worked into the<br />
fiction.” 3.<br />
Indeed, nearly every imaginable kind of journal<br />
has its requirements here set forth—the require-<br />
ments of some of them almost bring a blush—from<br />
the Helenic Herald and the Homiletic Review down<br />
to The Hockey Field and Golf Green and the<br />
Halfpenny Surprise.<br />
The wants even of The Zoophilist and Animals’<br />
Defender are duly catalogued.<br />
BASIL TOZER.<br />
CORRESPONDENCE,<br />
-º-º-º-<br />
LITERARY AGENTs.<br />
SIR,-With the development of the business of<br />
the literary agent there is arising a considerable<br />
difficulty about the collection of money from pub-<br />
lishers. It is becoming customary for the agents<br />
to insert a clause in any agreement drawn up, declar-<br />
ing their signatures a good and valid receipt for<br />
money due to authors—a very dangerous and undesir-<br />
able custom, in view of the financial standing of<br />
many of these enterprising and necessary middle-<br />
men. Not a few of them are quite unsubstantial men,<br />
and if they refuse to hand over monies received, it<br />
may surprise many authors to learn that they can<br />
only recover the sum due to them as an ordinary<br />
debt. On the other hand, I am told there is only<br />
too much justification for the agent's desire to<br />
handle the money in transit from publisher to<br />
author. I would like to suggest to you that the<br />
treatment of this question by our society is becoming<br />
urgently necessary. For my own part, I am not<br />
averse to the agency clause if the agent's solvency<br />
is properly guaranteed. It seems to me that the<br />
best plan might be for the Society to make a register<br />
of English and American agents of standing and<br />
repute, and oblige them, as it could very easily do, to<br />
find sureties for the prompt payment of sums that<br />
may become due to our members under the agency<br />
clause. A mere register of unguaranteed respect-<br />
abilities would, of course, be worse than useless.<br />
The society could publish the list month by month,<br />
and its members would then have only them-<br />
selves to blame if they suffer through an agent's<br />
default. And, on the other hand, the struggling<br />
author—who is most disposed for many reasons to<br />
resort to the struggling but promising agent—<br />
will get a regularly reiterated warning against<br />
acquiescence in the agency clause when dealing with<br />
unsubstantial men. The honest small agent who is<br />
not a capitalist should be quite willing to waive the<br />
dangerous delight of collecting money that may<br />
become fatally involved in—let us say—his unpre-<br />
meditated bankruptcy.<br />
Very sincerely yours,<br />
H. G. WELLS.<br />
P.S.–It seems to me that it would addenormously<br />
to the usefulness of the Society of Authors if it could<br />
undertake the whole business of collecting monies<br />
due to authors—if, for instance, one could file one's<br />
agreements with it, and have the society receive and<br />
transmit accounts and cash. Quite a small per-<br />
centage upon the amounts handled should make this<br />
a profitable as well as valuable branch, and we<br />
should then incidentally solve the little difficulty<br />
between the agent who manifestly does not trust,<br />
<br />
<br />
## p. 195 (#247) ############################################<br />
<br />
TISIES A UTFIOR.<br />
195<br />
the author, and the author who is only too ready to<br />
trust any agent.<br />
P.P.S.—Since writing the above I have dis-<br />
covered the following beautiful development of the<br />
“agency clause ’’:— -<br />
“And any sums due to the Author shall be paid<br />
to the Author's representative, Mr. Allworthy,<br />
whose receipt alone shall be a full and sufficient<br />
discharge of the obligation and this authority shall<br />
not be revocable by the Author without the previous<br />
20ritten consent of the said representalive.”<br />
—e—sº-0—<br />
AMERICAN COPYRIGHT.<br />
SIR,-Having read with great interest Mr.<br />
McIlwaine's article in the February number of<br />
The Author on copyright in America for British<br />
authors, I wish to express my hearty agreement<br />
with all he says, especially on behalf of the semi-<br />
successful. My own experiences might interest<br />
some comrades, but I fear to take up space with<br />
personal grievances.<br />
Yours truly, -<br />
MAY CROMMELIN.<br />
—0–º-0–<br />
“SHALL WE PUBLISH FOR OURSELVES 2 ”<br />
SIR,--The letter of C. A. M. in The Aufhor for<br />
March is so full of interest to many novel-writers<br />
that it is to be hoped we shall see some authoritative<br />
answers to his questions.<br />
His experiences are practically identical with my<br />
own, and I feel sure that they must be similar to<br />
those of a very large number of novelists. I should<br />
like to inquire from him if he submitted his second<br />
novel to the publisher who accepted his first novel,<br />
and if not, why not ?<br />
The answer to his two last questions as to<br />
reviewing and advertising, I feel sure must be No.<br />
The average author cannot manage either advan-<br />
tageously for himself. At the same time, is there<br />
nothing else for it but to adopt the miserable<br />
present-day standard of “nothing but what pays”<br />
in literature as in all else ? It there no way in<br />
which “the novel which involves the heart and,<br />
Soul of the author who cares for his work" can<br />
Teach the reader ?<br />
Yours, etc., L. M. B.<br />
- e-Q-e— -<br />
THE LITERARY PICKEERER.<br />
SIR,-For some time I have edited a monthly<br />
periodical which once had prospects of becoming a<br />
property of some pecuniary value. Each month<br />
its chances of success decrease, because all that is<br />
novel, distinctive and attractive in its contents is<br />
appropriated by an imitative publication. During<br />
the last fifteen months this rival has adopted<br />
eighteen features I introduced into my magazine,<br />
and now I never open a copy of this competing<br />
periodical without realising that imitation is the<br />
meanest form of flattery.<br />
The practice is common and widespread. This<br />
Week's mail brings me a letter from a journalist in<br />
Hongkong, who writes: “the . . . here are doing<br />
their utmost to kill us, while copying ideas from<br />
us wholesale. No matter what new features we<br />
introduce, one or more of the local papers are sure<br />
to imitate, but studiously avoid giving us credit<br />
for what they crib.’<br />
His trouble is my trouble, and the trouble of all<br />
British editors who endeavour to originate novel<br />
features, treat old subjects in new ways, present<br />
facts in a more attractive manner, and strive to<br />
progress in the art of expression. Apparently<br />
copyright protects phrases, lines, pictures, and<br />
Combinations of these, but does not protect ideas,<br />
or that which is vital and essential to the property<br />
it is supposed to protect.<br />
What is the remedy ?<br />
The matter is of importance to authors because,<br />
in the first place they, or at least some of them,<br />
are originators; in the second place, because no<br />
periodical can afford to pay them for ideas which<br />
competing publications obtain gratis by copying<br />
only the essentials. It is not the editor alone who<br />
is to blame ; my publisher complains that his<br />
Schemes are exploited by the publisher of the<br />
imitating competitor, and the advertisement<br />
manager reports that the novel methods he initiates<br />
to attract business are used by his competitor.<br />
Some may suppose that the public reward the<br />
originator and decline to support the imitator.<br />
The public takes the cheapest thing offered. The<br />
paper which borrows ideas, instead of paying for<br />
them, is produced more cheaply; it can cut rates<br />
for advertising space; advertisers and readers sup-<br />
port it, regarding any plaints we utter as only the<br />
Outcome of jealousy or envy we have for a successful<br />
competitor. It may be urged that at least the<br />
originator finds pleasure in being first ; but the<br />
mind of the imitator is so constituted that he<br />
experiences equal, if not greater, satisfaction in<br />
copying successfully.<br />
In my experience, enterprise shown in originat-<br />
ing schemes does not pay. The literary pioneer<br />
clears the ground, ploughs the soil, sows the seed,<br />
weeds the fields, destroys the locusts, and then the<br />
literary pickeerer reaps the harvest and fattens his<br />
manubial cattle on the crop.<br />
I do not know how to protect the originator.<br />
If authors cannot help me to a remedy, in justice<br />
to the proprietors I must adopt the policy of the<br />
pickeerer ; or, what amounts to the same thing as<br />
far as authors are concerned, resign, and allow<br />
someone who will follow and not lead, the privilege<br />
<br />
<br />
## p. 196 (#248) ############################################<br />
<br />
196<br />
TISIES A CITISIOR-<br />
of conducting the periodical with fewer and smaller<br />
payments to its contributors.<br />
Yours faithfully, PARAPH.<br />
—º-º-º-<br />
MR. ARCHER AND THE “ ACADEMY.”<br />
SIR,-As certain comments in the Academy<br />
regarding our advertisement in The Author of our<br />
arrangement with Mr. Archer for reading and<br />
criticism of plays are made to reflect upon The<br />
Author, through a misunderstanding on the part of<br />
the editor of the Academy, may we observe that Mr.<br />
Archer's arrangement with us is exactly that which<br />
the Academy desires. His services to the literary<br />
aspirant are “limited to instruction,” and have no<br />
connection with the work of placing the plays with<br />
managers except that if Mr. Archer's suggestions<br />
help to improve a play they improve its chances of<br />
being placed.<br />
As the Academy rightly points out : “Only an<br />
infinitesimal percentage of the plays written by<br />
amateurs can in the nature of things be produced<br />
at theatres.” We are obliged to decline the<br />
honour of offering to managers nine out of ten of<br />
the plays submitted to us. If an agent gains the<br />
reputation with managers of submitting to them<br />
only such plays as are worthy of their immediate<br />
attention, that agent is entitled to say that he has<br />
some “influence" with managers. If bundles of<br />
plays, good, bad, and indifferent, were sent around<br />
indiscriminately to managers on payment of some<br />
kind of preliminary agency fee from the author,<br />
the business would be little less than a swindle, for<br />
no experienced manager would be likely to waste<br />
his time on these heterogeneous bundles, and the<br />
agency fees paid by the author would be worse<br />
than wasted. The mistake that the Academy<br />
makes is in founding its comments on the supposi-<br />
tion that this is the way we do business.<br />
As to the use of Mr. Archer's criticisms with<br />
managers, if Mr. Archer were to say about any play<br />
sent to him by us that it was a thoroughly good<br />
play, Worthy of acceptance as it stood, we should<br />
undoubtedly wish to quote that comment to any<br />
manager likely to be interested in it; but I do not<br />
think Mr. Archer has ever said this of any play we<br />
have sent to him. Judging by the painstaking<br />
criticisms received from him so far, we do not<br />
believe that one in twenty of them would help to<br />
place the play with any manager, except in the<br />
only legitimate way, and the only way Mr. Archer<br />
or ourselves ever had in view, viz., by helping the<br />
author to improve that play.<br />
I think it is due to The Author that this frank<br />
statement should be made, and that its publication<br />
will clear away any misconception that may have<br />
arisen in the minds of the Academy readers.<br />
Yours faithfully, CURTIS BROWN AND MASSIE.<br />
SCHOLZ v. AMASIs, LTD.<br />
SIR,-The writer of the paragraph joins issue<br />
with my criticisms on two points. He says I am<br />
wrong (a) in my reading of the documents in the<br />
case ; (b) in my view of the law.<br />
On the first point, I have now, through the<br />
courtesy of the Authors' Society, had an oppor-<br />
tunity of seeing the documents ; and, as a<br />
matter of fact, the pleadings literally bear out<br />
the statement in my letter that no claim of copy-<br />
right was made by the plaintiff. The expression<br />
all through is “right of performance.” Where the<br />
writer of the paragraph finds authority for his<br />
statement that the plaintiff’s claim was for infringe-<br />
ment of copyright, I cannot discover. It is true<br />
that, in his judgment, Mr. Justice Jelf once or<br />
twice casually uses the term “copyright”; but<br />
generally with explanatory words, which show that<br />
he is not employing the term in its technical<br />
sense. In any case, my statement was correct.<br />
The fact that the plaintiff’s solicitors happened to<br />
endorse the writ “infringement of copyright" is,<br />
of course, quite immaterial, regard being had to<br />
the framing of the pleadings.<br />
On the second point, it is well known that the<br />
“Act to Amend the Laws relating to Literary<br />
Property" (1833) does not contain the word<br />
“copyright,” in preamble, text, or marginal notes,<br />
and that sect. 20 of the Copyright Act, 1842, which<br />
adopts and strengthens the provisions of 1833,<br />
pointedly distinguishes, all through, between the<br />
“liberty of representing or performing ” a dramatic<br />
piece, and the “copyright in books,” merely men-<br />
tioning the latter by way of contrast. If your<br />
contributor chooses to apply to the acting right a<br />
term which the Acts carefully refrain from giving<br />
to it, he can, of course, do so. But he ought to<br />
warn his readers that he is adopting an unusual,<br />
and, as I venture to submit, a misleading course.<br />
Apart from language, the plaintiff in Scholz v.<br />
Amasis, Ltd., could only succeed by proving piracy.<br />
Without proof of that, the defendant had as much<br />
right to present his play as the plaintiff to present<br />
his. Certainly there is nothing inconsistent with<br />
that view in Reichardt v. Sapfe, rather the other<br />
way. And, if secret piracy is not fraud, I have yet<br />
to learn what is. gº<br />
With regard to the question of publication not<br />
being necessary to bring a play under the copyright<br />
statute, would your contributor kindly inform us,<br />
in that event, from what date the period of what<br />
he calls “copyright " would begin to run ?<br />
Yours faithfully,<br />
EDWARD JENKS.<br />
<br />
<br />
## p. 196 (#249) ############################################<br />
<br />
AD VERTISEMENTS. iii<br />
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Authors’ MSS. copied from 9d. per 1,000<br />
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does her work.-FRANK SAVILLE.”<br />
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ESKDALE, WEST DRAYTON, MIDDLESEX,<br />
MRS. GILL, Typetoriting Office,<br />
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Authors’ MSS. very carefully and promptly typed at<br />
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## p. 196 (#250) ############################################<br />
<br />
IV AD VERTISEMENTS.<br />
T0 AUTHORS AND JOURNALISTS.<br />
* The writer, whether he aspires to write novels,<br />
short stories, or articles, often spends years in<br />
uncongenial work, rebuffs and drudgery being<br />
the only return for the time and labour spent.<br />
T THE COURSE OF LITERARY TRAINING<br />
promoted by the Literary Correspondence College<br />
teaches the aspirant to serve his apprenticeship<br />
to Literature in the briefest time possible.<br />
* The College also undertakes Literary Agency<br />
business of all kinds.<br />
For full particulars write at once for pamphlet<br />
I).L. to the LITERARY CORRESPONDENCE COLLEGE,<br />
9, Arundel Street, Strand, W.C.<br />
FIRST LESSONS N STORY WRITING.<br />
By BARRY I’AIN.<br />
2s. 6d. in et; 2s. 8d. post free.<br />
‘ſſ Of this work the Westminster Gazette writes: “The<br />
beginner who takes these lessons to heart may be<br />
quite assured of an advantage over his competitors.”<br />
HOW TO BECOME AN AUTHOR.<br />
By ARNOLD BENNETT. A Practical Guide; full of<br />
useful hints. 5s, net; 5s. 4d. post free. -<br />
THE LITERARY CORRESPONDENCE COLLEGE,<br />
9, Arundel Street, Strand, W.C.<br />
A WELL-PRINTED BOOK<br />
AUTHOR and READER alike love to<br />
see clear type, perfect setting, good<br />
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Moreover, local conditions at Tonbridge<br />
(where we have extensive printing<br />
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best possible work at most reasonable<br />
prices.<br />
Authors' MSS. typed by<br />
specially selected operators.<br />
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• P R N T i N G -<br />
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Orders by post receive prompt attention.<br />
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- at 10, Bouverie Street, London, E.C. | https://historysoa.com/files/original/5/392/1909-04-01-The-Author-19-7.pdf | publications, The Author |
391 | https://historysoa.com/items/show/391 | The Author, Vol. 19 Issue 06 (March 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+06+%28March+1909%29"><em>The Author</em>, Vol. 19 Issue 06 (March 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-03-01-The-Author-19-6 | | | | | 137–164 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-03-01">1909-03-01</a> | | | | | | | 6 | | | 19090301 | C be Elut bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.<br />
<br />
–r.<br />
Wol. XIX. —No. 6. MARCH 1, 1909. [PRICE SIXPENCE.<br />
C O N T E N T S.<br />
T - 4-3 PAGE PAGE<br />
. Notices, ... . ... a s - e º s e o a c e s s e a ... ... 137 Warnings to Musical Composers ... ... ... ... ... 152<br />
Committee Notes * - - • * * - - - tº s - - - - - - - ... 140 Stamping Music... * * * - - - - - - - - - - * * - - - ... 152<br />
Books published by Members of the Society * - e. - - - ... 142 The Reading Branch ... * & e - - - tº ºr º tº º 'º - - - ... 152<br />
Books published in America by Members ... * * * - - - ... 144 “The Author '' ... * * * • . . . . . . e tº º - tº e - - - ... 152<br />
Literary, Dramatic and Musical Notes ... - e & ... ... 144 Remittances ... * * * * - © - - - • * * * * * - - - ... 152<br />
Paris Notes ... ... ... ... ... ... ... 146 General Notes ... ... ... ... ... ... ... ... 153<br />
Spanish Notes ... tº tº e - tº g tº a º tº e - - e. g. - - - ... 147 United States Jottings... * * * - - - * - - - - - - - - ... 154<br />
Performing Rights in a Sketch • * * * tº a * gº º - - - ... 148 Magazine Writers and the Income Tax ... * * * * - - ... 156<br />
Representation of Sketch by Cinematograph ... - - - ... 149 Reviving a Language ... - * * - - - * - - - * * - - - ... 158<br />
Scholz v. Amasis, Ltd.... e s e - - - * - - * * * - - - ... 149 The Degeneration of Twentieth Century Humour - - - ... 159<br />
Magazine Contents ... * * * • - e. e s - - * * --- ... 150 The Art of Fiction * - - * g e - - * - - - e. g. - - - ... 160<br />
How to Use the Society * * * - - - • - - tº e ºs - - - ... 151 The Literary Year Book, 1909 - - - & & tº - G - - - - ... 160<br />
Warnings to Producers of Books ... tº dº tº tº e & - - - ... 151 “Pippa Passes”... * * * * = & - - - * * * • * * - - - ... 161<br />
Warnings to Dramatic Authors - - - e e - - * * - - - ... 151 Britain's Great Authors - - - * - - - - - - - - ... 162<br />
Registration of Scenarios - - - - - - e - - - - - - - ... 152 Correspondence ... tº e - * * * - - - e e v - a s - - - ... 162<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report for the current year. 18.<br />
2. The Author. Published ten months in the year (August and September omitted), devoted especially<br />
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5. The Cost of Production. (Out of print.)<br />
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Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
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<br />
<br />
## p. 136 (#184) ############################################<br />
<br />
ADVERTISEMENTS.<br />
(Ilje Šarietn of Authors (ſmrurpurated).<br />
Telegraphic Address : “A UTORIDAD, LONDON.”<br />
Telephone No. : 374 Victoria.<br />
PRESIDENT.<br />
G-TECIERG-E IMCIEERIET).ITIEH, C - IMI-<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIR WM. REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
ROBERT BATEMAN. -<br />
F. E. BEDDARD, F.R.S.<br />
THE RIGHT HON. AUGUSTINE BIR-<br />
RELL, P.C.<br />
MRS. E. NESBIT BLAND.<br />
THE REv. PROF. Bon NEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYCE, P.C.<br />
THE RIGHT HON. THE LORD BURGH-<br />
CLERE, P.C.<br />
HALL CAINE.<br />
J. W. COMYINS CARR.<br />
EGERTON CASTLE, F.S.A.<br />
S. L. CLEMENs (“MARK TWAIN’).<br />
EDWARD CLODD.<br />
W. MORRIS COLLES.<br />
THE HON. JOHN COLLIER,<br />
SIR. W. MARTIN CONWAY.<br />
T. MARION CRAW FORD.<br />
THE RIGHT HON. THE LORD CURZON<br />
OF KEDLESTON.<br />
AUSTIN DOBSON.<br />
COUNCIL.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESHEIELD. -<br />
THE HON. MRs. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT FOWLER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD.<br />
THOMAS HARDY.<br />
MRS. HARRISON (“LUCAS MALET").<br />
ANTHONY HOPE HAWKINS,<br />
E. W. HORNUNG.<br />
MAURICE HEWLETT.<br />
JEROME K. J.EROMF,<br />
HENRY ARTHUR JONES.<br />
J. SCOTT KELTIE, LL.D.<br />
RUDYARD RIPLING.<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REV. W. J. LOETIE, F.S.A.<br />
THE RIGHT HON. SIR ALFRED<br />
LYALL, P.C.<br />
LADY LUGARD (MISS FLORA. L.<br />
SHAw).<br />
SIDNEY LEE.<br />
MRS. MAxw ELL (M. E. BRADDoN).<br />
JUSTIN MCCA RTHY. -<br />
THE REV. C. H. MIDDLETON-WAKE.<br />
SIR HENRY NORMAN, M.P.<br />
SIR GILBERT PARKER, M. P.<br />
A. W. PIN ERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKEIAM.<br />
OWEN SEAMAN.<br />
G. BERNARD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE. ".<br />
FIELD MARSHAL THE RIGHT HON.<br />
THE WISCOUNT Wolseley, K.P.,<br />
P.C., &c.<br />
SIDNEY WEBB.<br />
COIMIMITTEE OF MANAGEMENT.<br />
SIR ALFRED BATEMAN, K.C.M.G.<br />
MRS. E. NESBIT BLAND.<br />
J. W. COMYINS CARR.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl.ER).<br />
Chairmam—DOUGLAS FRESHFIELD.<br />
MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEB.B.<br />
DRAMATIC SUB-COMMITTEE.<br />
Chaºzºman—HENRY ARTHUR JONES.<br />
J. W. COMYNS CARR.<br />
JEROME K. J.EROME.<br />
W. J. LOCKE.<br />
W. SOMERSET MAUGHAM.<br />
CAPT. ROBERT MARSHALL.<br />
PAUL RUEENS.<br />
G. BERNARD SHAW.<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MORLEY ROBERTS.<br />
|M. H. SPIELMANN.<br />
MRS. ALEC TWEEDIE.<br />
MRS. HUMPHRY WARD.<br />
E. J. M. ACGILLIVRAY.<br />
SIR. GILBERT PARKER, M.P.<br />
ART.<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
OFFICIES.<br />
SIR CHARLES WILLIERS STANFORD,<br />
Mus. Doc.<br />
J. H. YOXALL, M.P.<br />
ARTHUR RACKHAM.<br />
M. H. SPIELMANN.<br />
Secretary—G. H IGRBERT THRING,<br />
Solicitor in England to<br />
La Société des Gems de Lettres,<br />
WILLIAM ARCHER.<br />
MRS, E. NESBIT BLAND.<br />
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PENSION FUND COMIMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY PHOPE HAWKINS.<br />
COPYRIGHT SUB-COMMITTEE.<br />
HAROLD HARDY.<br />
ANTHONY HOPE HAWKINS.<br />
THE EION. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
FIELD, Rosco E & Co., 36, Lincoln's Inn Fields, W.C. tº gº<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. Solicitors.<br />
LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
39, O LD QUEEN STREET, STOI&EY'S GATE, S.W.<br />
<br />
<br />
## p. 137 (#185) ############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
WOL. XIX—No. 6.<br />
MARCH 1sT, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
—º- a<br />
-w<br />
NOTICES.<br />
—t—sº-º–<br />
OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application. -<br />
—e—º-e—<br />
THE SOCIETY'S FUNDS.<br />
—º-º-e—<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid. •<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
WOL. XIX.<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
—e—º-e—<br />
LIST OF MEMBERS.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only. -<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
—e—Q-0–<br />
PENSION FUND.<br />
—e—º-e—<br />
N the 5th of February, 1909, the Trustees of<br />
the Pension Fund of the Society, after<br />
the secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
#350 in the purchase of Corporation of London<br />
2} per cent. Stock (1927–57).<br />
The amount purchased is £438 2s. 4d., and is<br />
added to the list printed below.<br />
The Trustees are glad to report that owing to<br />
the generous answer to the circular sent round at<br />
the end of 1908, they have been able to invest<br />
more than £100 over the amount invested last<br />
year.<br />
Consols 23%.............................. £1,000 0 0<br />
Local Loans .............................. 500 0 0<br />
Wictorian Government 3% Consoli- * * *<br />
dated lnscribed Stock ............... 291 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben- -<br />
ture Stock .............................. 250 0 0<br />
<br />
<br />
## p. 138 (#186) ############################################<br />
<br />
138 TISIE A DITISIOR.<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ............... 3200<br />
Cape of Good Hope 34% Inscribed<br />
Stock .................................... 200<br />
Glasgow and South-Western Railway<br />
4% Preference Stock.................. 228<br />
New Zealand 3% Stock. . . . . . . . ... 247<br />
Irish Land Act 23% Guaranteed Stock 258<br />
Corporation of London 2;% Stock,<br />
1927–57 .............................. 4.38<br />
Total ............... 393,815<br />
Subscriptions.<br />
1908.<br />
Oct. 10, Macnaughton-Jones, – .<br />
Oct. 20, Garvice, Charles .<br />
Nov. 12, Woods, Miss Mary A.<br />
Nov. 20, Boycott, G. W. M..<br />
Nov. 20, Budgeon, Miss<br />
Nov. 21, Benjamin, Lewis J.<br />
Nov. 21, Coulton, G. G. e *<br />
Nov. 21, Dixon, Miss H. Margaret<br />
Nov. 21, Colquhoun, A. tº * ><br />
Nov. 23, Holmes, Miss Eleanor<br />
Nov. 23, Hussey, Eyre g e<br />
Nov. 23, Capes, Bernard<br />
Nov. 23, Hecht, Mrs. Arthur te<br />
Nov. 23, Festing, Miss Gabrielle .<br />
Nov. 23, Carolin, Mrs. . e ©<br />
Nov. 23, Bland, Mrs. E. Nesbit<br />
Nov. 23, Hichens, Robert<br />
Nov. 23, Grogan, W. E. .<br />
Nov. 23, Stowell, Mrs. Rodolph<br />
Nov. 23, Gay, Mrs. . ©<br />
Nov. 23, Summers, J. . &<br />
Nov. 23, Bloundelle-Burton, J.<br />
Nov. 23, Freshfield, Douglas<br />
Nov. 24, Rowsell, Miss Mary<br />
Nov. 24, Bell, Lady . . e ©<br />
Nov. 24, Sanders, Miss E. K.<br />
Nov. 25, Count Plunkett<br />
Nov. 25, Victoria Cross º<br />
Nov. 25, Cromartie, the Countess of<br />
Nov. 25, Sutro, Alfred.<br />
Nov. 25, Kipling, Rudyard .<br />
Nov. 25, Pope, Miss Jessie .<br />
Nov. 25, Scott, G. Forrester<br />
Nov. 25, Carr, Miss Mildred E. .<br />
Nov. 25, O'Brien, The Rev. G. E.<br />
Nov. 25, Wills, The Rev. Freeman<br />
Nov. 25, Lewis, T. C. e<br />
Nov. 25, Fenwick, Miss S. F. * :<br />
Nov. 26, Montgomery, Miss K. L.<br />
Nov. 26, Dummelow, The Rev. J. R.<br />
Nov. 26, Jopp, Miss E. A. .<br />
Nov. 26, Wintle, Harold R..<br />
1.<br />
S.<br />
I<br />
l<br />
;<br />
:()()<br />
4OO<br />
immºmmemº<br />
()<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
NOV.<br />
Nov.<br />
Nov.<br />
NOV.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Now.<br />
NOV.<br />
Nov.<br />
Now.<br />
Now.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
26, Malcolm, Mrs. Ian. tº<br />
26, Felkin, The Hon. Mrs. .<br />
26, Ward, Wilfrid tº e<br />
26, Marks, Mrs. Mary A. M.<br />
26, “E.” . º * ſe<br />
27, Prideaux, Miss S. T.<br />
27, Saies, Mrs. F. H. .<br />
27, Heath, Miss Ella<br />
27, Thomas, Edward<br />
27, Shaw, Mrs. Bernard<br />
27, Smith, Bertram<br />
27, Niven, Frederick . *<br />
27, Nembhard, Miss Isabel .<br />
27, Smith, Miss M. E. tº<br />
28, Brandon, Miss Dorothy.<br />
28, de la Pasture, Mrs. Henry<br />
28, Scott, Mrs. C. e te<br />
28, Harrison, Mrs. Darent .<br />
28, Logan, The Rev. Robert<br />
28, Chesterton, G. K.<br />
30, Sherwood, Miss A. *<br />
30, Hutchinson, The Rev. H. N.<br />
1, Sachs, E. T. . & tº<br />
1, Truman, Miss Olivia<br />
3, Yolland, Miss E.<br />
4, Bagnall, Miss L. T. .<br />
4, Humphreys, Mrs. Desmond (Rita)<br />
4, Anon. . * *<br />
7, Westrup, Miss Margaret<br />
7, Lynch, H. T. B., M.P.<br />
8, Caillard, Miss E. M.<br />
8, Askew, Claude<br />
8, Felkin, A. L. .<br />
9, Rosetti, W. M. &<br />
9, Miller, Miss Esther .<br />
11, Woodward, Miss Ida<br />
12, Mann, Mrs. Mary E.<br />
12, Lack, H. Lambert . *<br />
14, Winchilsea and Nottingham<br />
The Countess of<br />
14, Sinclair, Miss May<br />
14, Weyman, Stanley .<br />
17, Macpherson, John F.<br />
17, Hills, Mrs. Martha<br />
18, Hands, Mrs. Morris<br />
18, Geddes, Mrs. .<br />
22, Miles, Bertram tº<br />
23, Mackenzie, Miss Helen .<br />
1909.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
1, Twycross, Miss M.<br />
2, Macquarie, Arthur<br />
4, Sproston, Mrs. Stanley<br />
4, Phipson, Miss Emma<br />
4, Middlemas, Miss Jean<br />
4, Pott, J. A. ©<br />
7, Marchmont, A. W. .<br />
7, Sharwood, T. S.<br />
:<br />
I<br />
1<br />
i<br />
|<br />
11<br />
<br />
<br />
## p. 139 (#187) ############################################<br />
<br />
TFIES A CITISIOR.<br />
139<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
12, Durand, Ralph .<br />
12, Laing, Mrs. . wº<br />
14, Banks, Mrs. M. M.<br />
14, Steel, Richard<br />
16, Garnett, Edward .<br />
16, Fenn, Frederick<br />
18, Hering, Henry A.<br />
18, Fox, Archibald, D.<br />
31, Anon. . gº &<br />
31, Kelly, W. P. c<br />
31, Cotesworth, Miss .<br />
1, Phillipps-Wolley, Clive .<br />
1, Dawson, Warrington<br />
4, Willard, Mrs. E. S.<br />
Donations, 1908.<br />
July 16, Carolin, Mrs. & ſº<br />
July 28, Atherton, Mrs. Gertrude<br />
Aug. 21, Beckett, Arthur W. .<br />
Sept. 28, “Whitworth Wynne" .<br />
Oct. 23, Woolf, Miss Bella Sidney<br />
Oct. 31, Robinson, J. R. . e<br />
Nov. 6, Wroughton, Miss Cicely.<br />
Nov. 7, Sherard, R. H. . tº<br />
Nov. 7, Cameron, Miss Charlotte<br />
Nov. 12, Tweedie, Mrs. Alec. .<br />
Nov. 17, Tench, Miss Mary F. A.<br />
Nov. 17, Anon. . tº<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
NOV.<br />
Now.<br />
Now.<br />
Nov.<br />
NOV.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
21, Cordeaux, Miss K. M. .<br />
21, Delaire, Madame Jean .<br />
21, Hecht, Mrs. Arthur .<br />
21, Collier, The Hon. John<br />
21, Keltie, G. Scott . te<br />
21, Church, Prof. A. H.<br />
21, James, Miss S. Boucher<br />
dolen ſº * tº<br />
21, Spielmann, M. H.<br />
21, Saville, Frank<br />
24, Kennedy, E. B. .<br />
24, Bennett, Prof. W. H. .<br />
24, Batty, Mrs. Braithwaite<br />
24, Crouch, A. P. . . . . .<br />
24, Hawtrey, Miss Valentine<br />
24, Anon. . e e e<br />
25, Page, Herbert W.<br />
Nov. 25, Brereton, Capt. F. S. .<br />
Nov. 25, Knight, Mrs. Maude C.<br />
Nov. 25, Bowen, Miss Marjorie .<br />
Nov. 25, Turner, Reginald<br />
Nov. 25, Nash, T. A.<br />
Nov. 25, Trevor, John<br />
2i, Anson, Sir William, Bart.<br />
21, Drewitt, F. Dawtrey, M.D.<br />
21, Shepeard-Walwyn, H. W.<br />
21, Ramsden, The Lady Gwen.<br />
24, Sedgwick, Miss Anna Douglas<br />
1<br />
II*<br />
I<br />
I<br />
1<br />
l<br />
I<br />
{<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now,<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
1)ec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
DeC.<br />
25, Wacher, Francis .<br />
25, Hughes-Gibb, Mrs. tº<br />
25, Farmer, Miss A. A. * à<br />
25, Hunt, Holman tº<br />
25, Tuckett, F. F.<br />
25, Allen, Mrs. Grant<br />
26, Hole, W. G. ſº<br />
27, Granville, Charles &<br />
27, Henoch, Miss Emily T.<br />
27, Simes, Miss O. Kathleen<br />
27, Penny, The Rev. Frank<br />
27, Westell, W. P. . & e<br />
28, Coolidge, The Rev. W. A. B. .<br />
28, Tennant, Lady Pamela<br />
28, Wingfield, H. . &<br />
30, Northcote, The Rev. H.<br />
30, Dexter, Walter<br />
30, Oliver, Miss Selwyn .<br />
30, Kaye-Smith, Miss Sheila<br />
30, Bent, Mrs. Theodore<br />
30, Atkins, Miss Margaret A.<br />
7, Hood, Francis º e<br />
7, Maunsell, A. E. Lloyd<br />
7, Carolin, Mrs. .<br />
7, Drake, Lady Eliott<br />
7, Parker, Mrs. Nella.<br />
7, Montrésor, Miss F. F.<br />
7, Shepherd, George H.<br />
9, Maartens, Maarten.<br />
9, Y. F. S.<br />
9, Lefroy, Mrs. .<br />
9, Bourdillon, Miss Rose<br />
9, White, Mrs. Woollaston<br />
10, Gilliatt, The Rev. E.<br />
13, Evans, Miss C. M. e &<br />
14, Pennell, Mrs. Elizabeth Robins<br />
14, Oppenheim, E. C.<br />
16, Blake, J. P. .<br />
17, Medlicott, Cecil<br />
18, Tansley, A. G. . e g<br />
19, Thurston, Mrs. Katherine Cecil<br />
19, Todd, John L. g<br />
21, White, Percy<br />
23, Vance, Louis J.<br />
28, Guthrie, Anstey<br />
29, Roberts, Miss Edith<br />
30, Coke, Desmond<br />
30, Mackenzie, Miss J.<br />
30, Lathbury, Miss Eva<br />
31, Egbert, Henry<br />
1909.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jam.<br />
Jan.<br />
1, Zangwill, Israel<br />
1, Hamilton, John A. .<br />
4, Stopford, Francis<br />
4, Falmouth, The Wiscountess<br />
4, Carrel, Frederick<br />
4, Laws, T. C. . e<br />
i<br />
*<br />
S<br />
l<br />
I<br />
I<br />
I<br />
l<br />
:<br />
<br />
<br />
## p. 140 (#188) ############################################<br />
<br />
140<br />
TISIES A UTISIOR.<br />
S<br />
l<br />
i<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
4, Abercrombie, Lascelles<br />
5, Bradgate, Mrs.<br />
6, Leach, Henry<br />
6, Cullen, H. N. & º e<br />
6, Lyall, The Right Hon. Sir<br />
Alfred, P.C., etc. .<br />
7, Underdown, Miss Emily<br />
8, Omond, T. S. © º<br />
8, Paternoster, G. Sidney<br />
9, Stockley, Mrs.<br />
9, Tanner, James T. .<br />
12, Tighe, Henry<br />
12, Aitken, Robert<br />
12, Bolton, Miss Anna<br />
14, Williamson, W. H.<br />
16, Furze, Miss Bessie<br />
16, Shirley, Arthur º<br />
18, “Austin Clare " . &<br />
22, Williamson, Mrs. C. N.<br />
22, Williamson, C. N.<br />
23, Brown, R. Grant .<br />
28, Raphael, Mrs. M. . & º<br />
4, Wilson, Miss Theodore Wilson<br />
4, Cousland, W. M. º<br />
4, Hardy, Thomas<br />
5, Bremner, Robert L.<br />
6, Todhunter, John<br />
6, Pettigrew, W. F.<br />
8, Russell, G. H. s<br />
8, Walker, Capt. J. H.<br />
8, Dutton, Miss Annie<br />
8, Baldwin, Mrs. Alfred<br />
11, Ainslie, Miss e<br />
11, Steward, Miss E. M.<br />
11, Rumble, Mrs. tº<br />
Feb. 15, Beveridge, A. S. .<br />
Feb. 16, Toplis, Miss Grace º<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above are<br />
unavoidably held over to the April issue.<br />
The total amount of annual subscriptions<br />
received and promised since the issue of the<br />
circular amounts to £71. The total amount of<br />
donations to £105.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
1<br />
*<br />
<& -*—<br />
w-v-w<br />
COMMITTEE NOTES.<br />
—º-º-º-<br />
HE February meeting of the committee of<br />
management was held at the offices of the<br />
Society on the 1st of last month. Twelve<br />
members and associates were elected. Their names<br />
Will be found on another page. This brings the<br />
total election for the current year to forty-five.<br />
The committee decided that in case there were<br />
more than the eligible number of candidates<br />
for the committee, the date for the return of the<br />
voting papers should be March 15, and they also<br />
took steps to appoint scrutineers to count the<br />
Votes. ‘.<br />
Various cases which it might be necessary to<br />
place in the hands of the solicitors of the Society,<br />
or which already in the hands of the solicitors<br />
needed reconsideration, were dealt with. The first<br />
was an important case of dramatic copyright.<br />
The committee decided to place all the papers<br />
before a leading copyright lawyer and, if counsel<br />
considered there was a reasonable chance of<br />
success, to take the matter up on behalf of the<br />
member concerned. A case relating to premature<br />
publication of the plots of forthcoming plays, which<br />
was laid before the society at the meeting in<br />
January, and which the committee had decided to<br />
take up, was reconsidered owing to the fact that<br />
the author declined to take legal action, while<br />
suggesting another course for the committee's con-<br />
sideration. The committee resolved to forward a<br />
letter dealing with the matter to the editors of the<br />
London Press. Another case respecting an author's<br />
rights was considered ; but as, although the author<br />
had good ground of complaint, he held no legal<br />
status, the committee decided to publish a letter in<br />
The Author setting forth the facts, subject to the<br />
approval of the society's solicitors, should the<br />
member aggrieved desire to adopt the suggestion.<br />
In a curious case of infringement of the rights<br />
of an author in Sweden, it was decided to obtain<br />
the opinion of a Swedish lawyer as to the author's<br />
rights under the laws of that country. The com-<br />
mittee then considered whether or not they should<br />
support an artist in an appeal from a county<br />
court judgment which had been given against<br />
him in the matter of a picture postcard. After<br />
full consideration of all the circumstances the<br />
committee came to the conclusion that they could<br />
not do so, but would furnish him with the advice<br />
of the society’s solicitors. The secretary laid<br />
before the committee the costs of the Indian<br />
lawyer in the case which the society had been forced<br />
to abandon at the beginning of last year, and the<br />
committee ordered that the balance due should be<br />
paid forthwith. - -<br />
The sub-committee appointed to discuss the<br />
question of cheap books stated that they were<br />
unable, as yet, to draft a final report, as the matter<br />
was one of serious interest, and they desired to<br />
have the views of the booksellers on the subject.<br />
The matter was adjourned to the next meeting.<br />
The joint sub-committee mentioned in the<br />
February issue of The Author has now been formed.<br />
Sir Alfred Bateman and Mr. E. J. Macgillivray will<br />
represent the Society of Authors; Mr. Henry R.<br />
Clayton and Mr. Reginald Smith will act for the<br />
<br />
<br />
## p. 141 (#189) ############################################<br />
<br />
TISIES A UſTEIOR.<br />
141<br />
Copyright Association; and Mr. W. A. Elkin and<br />
Mr. William Boosey will represent the Music Pub-<br />
lishers' Association; while the Publishers' Associa-<br />
tion will be represented by Mr. John Murray and<br />
IMr. Edward Bell. A meeting will be held imme-<br />
diately to consider the action which should be<br />
adopted in order to bring forward copyright legis-<br />
lation.<br />
The date of the Annual Dinner has been fixed<br />
for Thursday, April 29, at the Criterion Restaurant.<br />
Full particulars will be sent to the members in due<br />
COUITSé.<br />
The consideration of the music publishers' agree-<br />
ments, owing to the pressure of business, was<br />
adjourned till the next meeting ; it will then be<br />
proposed to form a small sub-committee. The<br />
committee sanctioned the expenditure of a further<br />
sum of money towards the furnishing of the office,<br />
in order that the secretary might be able to deal<br />
more expeditiously with the increased business<br />
under his charge.<br />
Lastly, the committee passed a vote of sympathy<br />
and condolence with Mrs. A. W. A. Beckett on the<br />
death of her husband, who had been for so long a<br />
member of the committee and vice-chairman of the<br />
Society. The secretary was instructed to com-<br />
municate the vote to Mrs. ā, Beckett.<br />
DRAMATIC SUB-COMMITTEE NOTES.<br />
I.<br />
THE first meeting of the Dramatic Sub-Com-<br />
mittee held in 1909 took place on January 25, at<br />
the offices of the society. It was impossible to<br />
hold the meeting earlier owing to the absence of<br />
Mr. Henry Arthur Jones, the chairman.<br />
The substance of the Dramatic Pamphlet was<br />
again considered, and adjourned to the next<br />
meeting. Owing to the regretted absence<br />
through illness of Mr. Bernard Shaw, it was<br />
impossible to lay before the committee the final<br />
draft.<br />
The question of the new Dramatic Sub-Com-<br />
mittee was adjourned to the next meeting, when the<br />
names of the nominees will be finally settled. The<br />
discussion of the Censorship Bill was also adjourned.<br />
The secretary reported the action taken by the<br />
Committee of Management in the dramatic cases<br />
which had been taken up by the Society. He read<br />
the opinion of the American lawyers, and reported<br />
that owing to the importance which the Com-<br />
mittee of Management attached to the case they<br />
had concluded to take a further opinion. To<br />
obtain this it had been decided to communicate<br />
the facts of the case to the Right Hon. James<br />
Bryce, and to ask him whether he could in<br />
any way advise the Society as to its best course.<br />
This step was fully reported in the Committee<br />
Notes in the February issue of The Author. The<br />
Dramatic Committee expressed approval of what<br />
had been done, and hoped that the Committee<br />
of Management would not allow the case to pass<br />
unchallenged. The secretary reported that he had<br />
communicated with the member concerned as to<br />
the step the Committee had taken, and had asked<br />
him to keep the society informed of the course of<br />
the case.<br />
Another case which owing to its urgent nature the<br />
Committee of Management had been bound to take<br />
up at once without consulting the Dramatic Sub-<br />
Committee, was reported by the secretary, who<br />
read the draft of a letter which it was proposed to<br />
circulate to the papers. The letter was passed<br />
with a few corrections and will be laid before the<br />
Committee of Management in due course.<br />
Another important dramatic case was con-<br />
sidered, and after discussion the committee recom-<br />
mended the Committee of Management to take up<br />
the matter on behalf of the member concerned, as<br />
it was one of great importance. The matter will<br />
accordingly be put forward.<br />
REGISTRATION OF SCENARIOS.<br />
The committee decided the details for the regis-<br />
tration of scenarios at the office. Any dramatic<br />
author, member of the society, who desires to<br />
have his scenario registered must send in to the<br />
secretary of the society two typewritten copies on<br />
foolscap with a registration fee of 2s. 6d. The<br />
scenarios will be checked at the offices of the<br />
society. One will be retained and locked up in<br />
the registration box of the society, the other<br />
stamped with the society's stamp, dated, and<br />
returned to the author. The original copy that<br />
is registered will not pass out of the society's<br />
keeping, but copies will be made at the request<br />
of the author who files the scenario, at the usual<br />
typewriting rates of 18. a thousand Words.<br />
II.<br />
The second meeting of the Dramatic Sub-Com-<br />
mittee was held on Tuesday, February 2.<br />
After the minutes of the last meeting had been<br />
read and signed the question of the new Dramatic<br />
Sub-Committee, adjourned from the former meeting,<br />
was discussed, and a committee of twelve mem-<br />
bers were chosen from the nominees put forward<br />
by Mr. Pinero on behalf of the new Dramatic<br />
Authors’ Society. It was decided to ask Mr.<br />
Bernard Shaw to write to Mr. Pinero about the<br />
matter and to report to the next meeting the<br />
arrangements which had been made.<br />
<br />
<br />
## p. 142 (#190) ############################################<br />
<br />
142<br />
THE AUTISIOR.<br />
The discussion of the Censorship Bill, adjourned<br />
from the former meeting, was again raised, and the<br />
Bill was placed before the committee. After<br />
consideration of its terms, the committee expressed<br />
their approval of its objects.<br />
The secretary reported the action the Committee<br />
of Management had taken in respect to two cases<br />
involving the dramatic rights of members of the<br />
society. Owing to some fresh information which<br />
had been obtained a strong discussion arose over<br />
one case. The Committee of Management had<br />
decided that all the papers were to go before<br />
King's Counsel and a conference was to be held in<br />
order that the society might have satisfactory<br />
independent advice. It was arranged that one of<br />
the members of the committee should be present at<br />
the conference so that the society’s advisers might<br />
be fully informed and have the benefit of the new<br />
facts connected with the case. The consideration<br />
of the Dramatic Pamphlet was adjourned till the<br />
next meeting.<br />
—º-º-º-<br />
Cases.<br />
THE month of February brought in thirteen new<br />
cases to the offices of the society. Six of these<br />
referred to the recovery of MSS. It is satisfactory<br />
to announce that three of them have been settled<br />
already, the MSS. having been returned and sent to<br />
the authors. In one case the editor seems to have<br />
mislaid the MSS., but the legal position of the case<br />
has made it practically impossible to take action<br />
for recovery. Of the two remaining cases, one is<br />
in America and will take some time to settle, and<br />
the other has only just come to hand. There have<br />
been two claims for accounts. The accounts have<br />
been rendered by the publisher and forwarded to<br />
the author. Lastly there have been five claims for<br />
the recovery of money. One of these has been<br />
settled, one in the United States must necessarily<br />
take time, two are only just to hand, and the<br />
remaining case will most probably have to be<br />
transferred to the Society's solicitors, as no answer<br />
has been received to the secretary’s letters.<br />
Of the cases left over from the former month<br />
only one is still outstanding. The matter is a<br />
difficult one and the author has no actual legal<br />
claim, and so long as the publisher refuses to<br />
answer the letters nothing can be done. It is<br />
hoped, however, that it will be possible to close<br />
the matter shortly.<br />
Three cases have been placed in the hands of the<br />
society’s solicitors with instructions to take action<br />
in court if necessary. The remaining work in the<br />
solicitors’ hands has been mentioned in the Com-<br />
mittee Notes.<br />
—0-sº-0–<br />
February Elections.<br />
Brown, Miss E. Mackie c/o Miss Bain, 26, .<br />
Pitt Street, Edin-<br />
º burgh.<br />
Cannan, Gilbert 1, Temple Gardens,<br />
E.C. .<br />
The White House,<br />
Hampton Court,<br />
S.W.<br />
H or swell House,<br />
King s bridge,<br />
Devon. -<br />
11, Cathcart Studios,<br />
33, Redcliffe Road,<br />
S.W.<br />
Cory, Mrs. Theodore<br />
(Winifred Graham).<br />
Green, Miss<br />
Conyngham.<br />
Kathleen<br />
Irvine, J. Harry .<br />
Quin, Henfield,<br />
Sussex.<br />
Mack, Miss Margaret<br />
M. E. R.<br />
Möller, Fräulein Clara Llandreiter str,<br />
Schwerin, i.M.<br />
Pollock, John<br />
Titterton, W. R. . 50, Willoughby Road,<br />
Hampstead, N.W.<br />
88, The Drive Man-<br />
sions, Fulham, S.W.<br />
... Littlehampton.<br />
Trotēre, H. . * ><br />
Willson, W. Llewis .<br />
We regret that, in recording the elections in the<br />
last issue of Z'he Author, Mr. James B. Fagan's<br />
name was misspelt. We apologize for the mistake,<br />
and desire to make this correction.<br />
a—º- fº.<br />
w-v-w<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—º-º-º-<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and as exhaustive as possible, they have<br />
Some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
CO-Operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
aCCUllrate.<br />
- ART.<br />
MR. PUNCH's PAGEANT, 1841—1909. Introduction by<br />
E. W. LUCAS. 84 × 7. The Leicester Galleries. 10s. n.<br />
BIOGRAPHY.<br />
A SISTER OF PRINCE RUPERT : ELIZABETH, PRINCESS<br />
PALATINE AND ABBESS OF HEREFORD. By ELIZABETH<br />
GODFREY. 83 × 5%. 362 pp. Lane. 12s. 6d. n.<br />
RICHARD JEFFERIES. His Life and Work. By EDWARD<br />
THOMAS. 83 × 5%. 340 pp. Hutchinson. 10s. 6d. n.<br />
THE PROMINENT FAMILIES OF THE UNITED STATES OF<br />
AMERICA. Edited by A. M. BURKE. Vol. I. 11; x<br />
8}, 509 pp. The Sackville Press. ©2 2s. n.<br />
<br />
<br />
## p. 143 (#191) ############################################<br />
<br />
TISIE AUTISIOR.<br />
143<br />
BOOKS OF REFERENCE.<br />
DICTIONARY or NATIONAL BIOGRAPHY. Edited by<br />
SIDNEY LEE. (New Edition.) Vol. XII. LLWYD-<br />
MASON. 9% × 6%. 1,343 pp. Smith, Elder. 15s. n.<br />
CLASSICAL.<br />
THE RHETORIC of ARISTOTLE, A Translation by SIR<br />
RICHARD CLAVERHOUSE JEBB, Litt.D. Edited, with<br />
an Introduction and Supplementary Notes, by J. E.<br />
SANDYS, Litt.D. 83 × 53. 207 pp. Cambridge Uni-<br />
versity Press. 6s. n.<br />
THE CHARACTERS OF THEOPHRASTUs. An English trans-<br />
lation from a revised text, with introduction and notes<br />
by R. C. J.E.B.B. New Edition. Edited by J. E. SANDYs,<br />
Litt.D. 9 × 5%. 229 pp. Macmillan. 7s. 6d. n.<br />
DRAMA.<br />
An Episode in the History of a<br />
In Four Acts. By A. W. PINERO.<br />
Heinemann. 1s. 6d.<br />
ECONOMICS.<br />
RAILWAY RATES, The Method of Calculating Equitable<br />
Rates and Charges for Merchandise carried on Railways.<br />
THE THUNDERBOLT.<br />
Provincial Family.<br />
73 × 5. 270 pp.<br />
By the late JoSEPH HORROCKS. 9; x 53. 485 pp.<br />
Sonnenschein. 21S. n.<br />
EDUCATIONAL.<br />
BEDE’s HISTORY OF THE CHURCH OF ENGLAND. 124 pp.<br />
THE CRowN OF WILD OLIVE. By JoBN RUSKIN.<br />
(Blackie's English Texts.) Edited by W. H. D. Rous E.<br />
Blackie. 6d. each.<br />
THE PUBLIC SCHOOLS AND PREPARATORY SCHOOLS YEAR<br />
| BOOK. 717 pp. Swan Sonnenschein & Co. 3s.6d. n.<br />
FICTION. -<br />
JoBN BROOME's WIFE. By E. B. MoRFAT. 73 × 5<br />
319 pp. Unwin. 6s.<br />
THE QUENCHLESS FLAME. By VIOLET TWEEDALE. 8 × 5.<br />
318 pp. John Long. 68.<br />
THE HAND OF THE SPOILER. By G. SIDNEY PATER-<br />
NOSTER. 8 × 5. 358 pp. Hodder and Stoughton. 6s.<br />
TONO-BUNGAY. By H. G. WELLS. 73 × 53. 493 pp.<br />
Macmillan. 68.<br />
GREEN GINGER. By ARTHUR MORRISON, 7} x 5. 328 pp.<br />
Hutchinson. 6s.<br />
IDOLATRY. By ALICE PERRIN. 73 × 5. 396 pp. Chatto<br />
and Windus. 6s.<br />
THE GIFTED FAMILY.<br />
311 pp. Methuen. 68.<br />
THE DEVIL AND THE CRUSADER. By ALICE and CLAUDE<br />
ASKEW. 73 × 4%. 156 pp. White. 18.<br />
KATHERINE THE ARROGANT. By B. M. CROKER. 73 × 5.<br />
348 pp. Methuen. 68.<br />
THE MYSTERY OF THE MYRTLEs. By EDGAR JEPSON,<br />
73 × 5. 343 pp. Hutchinson. 6s. ... "<br />
HILARY THORNTON. By HUBERT WALES. 73 × 5. 318 pp.<br />
John Long. 68.<br />
AN ACTRESS's HUSBAND. By GERTRUDE WARDEN.<br />
73 x 5. 316 pp. C. H. White. 6s.<br />
THE SILENT ONEs. By MARY GAUNT and J. R. ESSEx.<br />
7; x 5. 344 pp. Werner Laurie. 6s.<br />
JULIAN REVELSTONE. By JUSTIN MCCARTHY. 7} x 5.<br />
316 pp. Chatto and Windus. 6s.<br />
BEYOND THE SKYLINE. By R. AITKEN. 7% × 5. 309<br />
pp. Murray. 6s.<br />
BROTHERS ALL, More Stories of Dutch Peasant<br />
By MAARTEN MAARTENS. 73 x 5.<br />
6s.<br />
By BARRY PAIN. 7# × 53.<br />
Life.<br />
324 pp. Methuen.<br />
THE NEW ANDROM EDA. By CARLTON DAWE. 73 × 5.<br />
315 pp. Eveleigh Nash. 6x.<br />
THE SIN OF ALISON DERING. By L. G. MoPERLY.<br />
5. 320 pp. Ward, Lock. 6s,<br />
WE OF THE NEVER NEVER. By MRS. AENEAS GUNN.<br />
340 pp. Hutchinson & Co.<br />
THE LOVE THAT KILLs.<br />
HEATH HOSKEN. 7, X 5.<br />
TRAITOR AND TRUE. By J. BioUNDELLE BURTON.<br />
Šá X 5%. 122 pp. (Cheap Reprint.) J. Long. 6d.<br />
LYSBETH. A Tale of the Dutch. 496 pp. PEARL M AIDEN.<br />
A Tale of the Fall of Jerusalem. 463 pp. By H. RIDER<br />
HAGGARD, 73 × 5. (The Silver Library.) Longmans.<br />
3s. 6d. each.<br />
A WHIRL ASUNDER. By GERTRUDE ATHERTON. (New<br />
and Cheaper Edition.) 7} x 5. 184 pp. Lane, is. m.<br />
73 N,<br />
i i X<br />
By CORALIE STANTON and<br />
320 pp. Milne. 6s.<br />
|FORESTRY.<br />
OUR FORESTS AND WooDLANDs. By John NISBET.<br />
(Haddon Hall Series.) New and Revised. Cheap<br />
Edition. 74 × 5. 243 pp. J. M. Dent & Co. 8s. 6d. n.<br />
HISTORY.<br />
THE STORY OF PISA. By JANET Ross and NELLY<br />
ERICHSEN. 7 × 4}. 407 pp. Dent. 4s. 6d. m.<br />
LITERARY.<br />
NIGHTS WITH THE GODs. By EMIL REICEI.<br />
225 pp. Werner Laurie. 6s,<br />
PEACE AND HAPPINESS. By THE RIGHT HON. THE<br />
LORD AVEBURY. 73 × 5. 386 pp. Macmillan. 6s.<br />
THE TEACHING OF JESUS. By LEO ToISTOY. Translated<br />
by L. and A. MAUDE. 120 pp. Harper. 2s. 6d. m.<br />
PERSONAL RELIGION IN EGYPT BEFORE CHRISTIANITY.<br />
By W. M. FLINDERS PETRIE. 174 pp. Harper.<br />
2s. 6d. Im.<br />
73 × 5.<br />
MILITARY.<br />
IS INVASION IMPOSSIBLE 2 By LIEUT. ALFRED C. DEWAR<br />
R.N. 73 × 4%. 57 pp. Griffin. 1s. n.<br />
MISCELLANIEOUS.<br />
THIEVES AND SWINDLERS. By S. B. BANERJEA. Indian<br />
Publishing House, Calcutta. 18, 5d. post free.<br />
MIUSIC.<br />
THE VIKING. Poem No. 2 for Grand Orchestra. By<br />
JOSEPH HOLBROOK.E. Joseph Larway. 5s. m.<br />
THE GIRL I LEFT BEHIND ME. Variations for<br />
Orchestra. By JOSEPH HOLBROOKE.<br />
oS. Il.<br />
THREE BLIND MICE. Variations for Full Orchestra. By<br />
JOSEPH HOLBROOK.E. J. B. Cramer & Co. 5s. n.<br />
THE SONG OF Gwyn AP NUDD. Poem by T. E. ELLIS.<br />
Music for Pianoforte and Orchestra by JOSEPH HOL-<br />
BROOK.E. J. B. Cramer & Co. 68. m. -<br />
DYLAN, SON OF THE WAVE. By T. E. ELLIS. Music by<br />
Jose PH HOLBROOK.E. J. Davy & Sons, Dryden Press,<br />
S and 9 Frith Street, Soho, W.<br />
ANALYSIS OF THE EVOLUTION OF MUSICAL FORMI. By<br />
MARGARET H. GLYN. 9} x 6%. 331 pp. Longmans.<br />
10s. 6d. m.<br />
Full<br />
Joseph Larway.<br />
ORIENTAL,<br />
LINGUISTIC SURVEY OF INDIA. Vol. IX, Indo-Aryam<br />
Family Central Group, Part II. Specimens of the<br />
Rājasthani and Gujaráti. Collected and edited by G. A.<br />
GRIERSON, C.F.E., Ph.D., D.Litt. 14 × 10%. 495 pp.<br />
Calcutta : Government Printing Office. 9s. 9d.<br />
<br />
<br />
## p. 144 (#192) ############################################<br />
<br />
144<br />
TRIE AUTISIOR,<br />
POETRY.<br />
THE POEMs OF MACKENZIE BELL. 141 pp. James<br />
Clarke & Co., 13 and 14, Fleet Street, E.C., and The<br />
Ringsgate Press, 4, Southampton Row, W.C.<br />
LIGHT AND SHADE, AND OTHER POEMS.<br />
LEHMANN. 73 × 5}. 141 pp. Blackwood.<br />
SCIENCE.<br />
THIRD REPORT OF THE WELLCOME RESEARCH LABORA-<br />
TORIES AT THE GORDON MEMORIAL COLLEGE, KHAR-<br />
ToUM. By ANDREW BALFOUR, M.D., Director.<br />
11 × 7#. 477 pp. 21s.<br />
REVIEW OF SOME OF THE RECENT ADVANCES IN TROPICAL<br />
MEDICINE. Being a supplement to the above. 11 × 7#.<br />
251 pp. Ballière, Tindall and Cox. 10s. 6d.<br />
A TREATISE ON ZOOLOGY. Part I. Introduction and<br />
Protozoa. First Fascicle. Edited by SIR. E. RAY<br />
By R. C.<br />
5s. In.<br />
LANKESTER, K.C.B. 93 × 6. 293 pp. Black. 15s. n.<br />
SPORT.<br />
SKATING CALLs. By E. F. BENSON. Six Cards in Case.<br />
Reprinted from “English Figure Skating.” Bell, 1s. n.<br />
TEIEOLOGY.<br />
THE CONQUERING CHRIST. By J. R. MILLER, D.D. With<br />
Illustrations by Modern Painters from the Life of Christ.<br />
Edited by WALTER SHAw SPARROW. 133 × 10. Hodder<br />
and Stoughton. 2s. m.<br />
—e—º-0–<br />
BOOKS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
BIOGRAPHY.<br />
VINCENZO FORPA OF BRESCIA. His life and his work. By<br />
CONSTANCE JOCELYN FFOULKEs and MAIOCCHI<br />
RODOLFO. 90 Illustrations. John Lane & Co. $25 m.<br />
RICTION.<br />
TONo-BUNGAY. By H. G. WELLs. Duffield & Co. $1.50.<br />
THE MISSIONER. By E. P. OPPENHEIM. Little Brown<br />
& Co. $1.50.<br />
CATHERINE'S CHILD. By E. DE LA PASTURE. Dutton.<br />
$1.20 m.<br />
THE THREE MISS GRAEMES, By S. MACNAUGHTAN.<br />
Dutton. $1.50.<br />
THE CASE OF LADY BROADSTONE. By A. W. MARCHMONT.<br />
Empire Book Co. $1.50.<br />
THE NovELS AND TALES OF HENRY JAMEs. (With<br />
special prefaces by the author.) Vol. XIII. LADY<br />
BARBARINA, THE SIEGE OF LONDON, etc. Vol. XIV.<br />
THE REVERBERATOR, MADAME DE MAUVES, etc.<br />
Scribner. $2.<br />
THE MAGICIAN. By W. SOMERSET MAUGHAM. Duffield<br />
& Co. $1.50.<br />
º BRAN. By MORLEY ROBERTS. L. C. Page & Co.<br />
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LITERARY.<br />
MILTON As A HISTORIAN. From the Proceedings of the<br />
British Academy. Vol. III. Oxford University Press.<br />
31 pp. 40 c. -<br />
* POEMS.<br />
THE POEMS OF A. C. BENSON. John Lane & Co. $1.50.<br />
TRAVEL.<br />
DAN TO BEERSHEBA. By ARCHIBALD R. COLQUHOUN,<br />
Premier Press.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
- NOTES.<br />
E are glad to see that the Publishers’<br />
V W Circular has been exposing the methods<br />
of Thomas B. Mosher, bookseller, of<br />
Portland, Maine. Mr. Mosher has for many years<br />
been engaged in systematic piracy. His business is<br />
to appropriate any work of literary merit, reprint<br />
it and sell it, not only without scruple, but, as his<br />
catalogues bear witness, with impudent effrontery.<br />
Many members of the Society of Authors have<br />
suffered from his depredations, Mr. George Mere-<br />
dith and Mr. Maurice Hewlett among the numbers<br />
Mr. Swinburne has also suffered greatly at the<br />
hands of Mr. Mosher, who also publishes works<br />
by Walter Pater, Stevenson, William Morris, J. A.<br />
Symonds, Oscar Wilde, Francis Thompson, and<br />
many others. As the Publishers’ Circular remarks,<br />
“Booksellers and private book-buyers should note<br />
that this Portland pirate is offering and selling<br />
scores of editions which it is illegal to buy, sell, or<br />
advertise for sale in any part of the British<br />
Empire.”<br />
We hope the Publishers’ Association will do all<br />
in their power to prevent the circulation of the<br />
wares of Mr. Mosher in this country.<br />
We have received “The Annals of Psychical<br />
Science,” January–March, 1909, vol. viii., No. 49.<br />
This quarterly is edited by Mrs. Laura E. Finch,<br />
assisted by Mr. Dudley Wright. The present issue<br />
contains, among other articles, one on “The<br />
Tendencies of Metapsychism' by the editor.<br />
“Thieves and Swindlers,” by S. B. Banerjea, is<br />
being published this month by The Indian Pub-<br />
lishing House, 73/1, Sukea's Street, Calcutta. As<br />
the name implies, it is an attempt to put the<br />
public on their guard against the thieving and the<br />
Swindling fraternities. Their methods are exposed,<br />
and the public are advised how to protect<br />
themselves.<br />
Messrs. Dent are publishing almost immediately<br />
a new volume in their Mediaeval Towns Series, viz.,<br />
“Pisa,” by Janet Ross and Nelly Erichsen. It is<br />
believed that this is the first historical guide to<br />
this city ever written. The volume will be uniform<br />
with its predecessors in the series.<br />
“Voluspa,” done into English from the Icelandic<br />
by A. K. Coomara Swamy, has been issued in a<br />
limited edition by the Essex House Press.<br />
“The Silent Ones,” a tale of adventure in<br />
Central Africa, has been brought out by Mr.<br />
Werner Laurie. The authors are Mary Gaunt and<br />
J. Ridgwell Essex, who will be remembered as the<br />
collaborators in “Fools Rush In.”<br />
We have received from Mr. John Ouseley “My<br />
Service Days: India, Afghanistan, Suakim '85,<br />
<br />
<br />
## p. 145 (#193) ############################################<br />
<br />
THE AUTEIOR.<br />
145<br />
and China,” by Major-General Sir Norman Stewart,<br />
Bart., C.B., and volume ii. of the Irish Library,<br />
“The Fenian Movement : The Story of the<br />
Manchester Martyrs,” by F. L. Crilly.<br />
Miss Theodora Wilson-Wilson's story “By Black<br />
Tarn Edge,” which has been running serially in the<br />
Mid-Cumberland Herald, will be published in the<br />
spring by Messrs. Hutchinson & Co. The same<br />
writer is represented by a story in the March issue<br />
of Chambers's Journal, under the title “A Yarlside<br />
Romance.”<br />
Messrs. James Clarke & Co. and the Kingsgate<br />
Press have published the poems of Mr. Mackenzie<br />
Bell. The volume contains a Dedication to Mr.<br />
Theodore Watts Dunton, and an Introductory<br />
Essay.<br />
“We of the Never Never,” by Mrs. Aeneas<br />
Gunn, author of “The Little Black Princess,” is a<br />
presentation of life on one of the great cattle runs<br />
three hundred miles from a town; and records the<br />
experiences of the “Little Missus,” who joins her<br />
husband, and, unwelcomed at first by the stockmen,<br />
finally wins their respect. Messrs. Hutchinson &<br />
Co. are the publishers.<br />
A new club for women has recently been estab-<br />
lished at 40, Sackville Street, Piccadilly. It is<br />
called the Salon, and has for its main object the<br />
education of women who wish to keep themselves<br />
abreast of the current events and movements of the<br />
times. This it proposes to achieve by means of<br />
instruction in English literature, conversation,<br />
elocution, and oratory, lecturing, etc. Monthly<br />
conversaziones are also to be held and will be<br />
presided over by some of the leading women of the<br />
day. Particulars of fees may be had on application<br />
to the Secretary.<br />
“Health, Morals and Longevity,” by George<br />
Gresswell, M.A., L.R.C.P., and Albert Gresswell,<br />
M.A., M.D., is a short résumé of the more<br />
important conditions necessary for a healthy life.<br />
The question is considered from the two-fold<br />
aspect, (a) that of individuals, and (b) that of<br />
communities. The book is put forth as a sketch<br />
of an important subject, and the writers have<br />
endeavoured to throw some additional light on the<br />
very difficult questions intimately related to it.<br />
Messrs. Simpkin, Marshall, & Co. are the London<br />
publishers, while Messrs. John Wright & Sons, Ltd.,<br />
are the publishers in Bristol. .<br />
Mr. Joseph Holbrooke gave a vocal and piano-<br />
forte recital at Steinway Hall on January 29.<br />
The programme included Four Rhapsodie Etudes by<br />
Miss Lydia Stage, variations on “Three Blind<br />
Mice,” by Henry R. Bird and Joseph Holbrooke,<br />
and songs by Miss Grainger Kerr, Mr. Reginald<br />
Davidson, and Miss Perceval Allen.<br />
Miss A. E. Keeton gave a lecture on the<br />
Russian fabulist Kryloff, at the Lyceum Club, on<br />
February 11. To Russians young and old Kryloff<br />
is a household word and a proverb. Miss Keeton<br />
read a number of her own translations of the most<br />
popular of his fables, amongst them : “The Pig,”<br />
“The Cat and the Cork,” and “The Trigamist.”<br />
A large percentage of the audience present was<br />
Russian.<br />
Miss Keeton will give a few more translations at the<br />
next Havonic Circle on March 11, when Madame<br />
Kipman will also sing “The Quartet,” and several<br />
others of Rubinstein's settings of Kryloff for soprano<br />
voice and pianoforte.<br />
We have received from the Oxford University<br />
Press a reprint of “The Heroine” by Eaton<br />
Stannard Barrett, with an introduction by Prof.<br />
Walter Raleigh.<br />
“The Public Schools Year Book” for 1909 con-<br />
tains tabulated lists of Preparatory Schools, new<br />
articles on the Universities, giving full details of<br />
Universities other than Oxford and Cambridge.<br />
The aim of the editor has been to give accurate<br />
businesslike information, to avoid theory, and to:<br />
deal in sound facts, and he invites the co-operation<br />
and support of his readers to this end.<br />
Messrs. Cassell and Company, Limited, are issuing<br />
a new novel by Walter Wood, entitled “The Secret<br />
Paper.” This is the third of four novels which<br />
Mr. Wood has written for Messrs. Cassell for serial<br />
and volume publication. Mr. Wood recently<br />
returned from another visit to America, where he<br />
was engaged, largely in the Middle West, in<br />
collecting material for stories to be included in<br />
“Survivors' Tales of Great Events,” a series<br />
which has now entered upon the fifth year of<br />
publication in the Royal Magazine. . More than<br />
fifty of these articles have been published, a<br />
number which is said to be without a record for<br />
such a series.<br />
Count Lutzow has now completed his extensive<br />
work entitled “The Life and Times of Master John<br />
Hus.” It will be published in April by Messrs.<br />
Dent & Co. .<br />
Mr. John Bloundelle-Burton’s new romance<br />
“Within Four Walls,” to be published immediately<br />
by Mr. John Milne, derives its source from a little<br />
known act of injustice perpetrated on an innocent<br />
woman shortly after the assassination of Henri IV.<br />
She had discovered a plot to kill the King, which<br />
was fixed for the identical day when he was slain by<br />
Ravaillac, and was anticipated by him. Her<br />
valiant denunciation of the authors of this plot, who<br />
were of the highest rank, led to her incarceration<br />
in a distant fortress, and round this Mr. Bloundelle-<br />
Burton's story is built. Writers of a somewhat later<br />
period than her own have hinted that her ad-<br />
ventures only began after the sentence was passed<br />
on her, and those adventures furnish the motif of<br />
the novel.<br />
<br />
<br />
## p. 146 (#194) ############################################<br />
<br />
146<br />
TISIES A [CITISIOR.<br />
We have received from Messrs. J. M. Dent & Co.<br />
a list of their recent publications, which includes<br />
“New Things and Old in Saint Thomas Aquinas,”<br />
edited by Mr. H. C. O’Neill; and “The History<br />
of Modern Painting,” by Richard Muther.<br />
Mr. G. P. R. James's historical novel “Richelieu’’<br />
will be published by Messrs. Dent in “Everyman's<br />
Library '' early this month, with an introduction<br />
by Mr. Rudolf Dircks.<br />
“Railway Rates : The Method of Calculating<br />
Equitable Rates and Charges for Merchandise<br />
carried on Railways,” by the late Joseph<br />
Horrocks, has been published by Messrs. Swan<br />
Sonnenschein & Co., Ltd. The work is divided<br />
into three parts :<br />
I. Definitions<br />
Obligations.<br />
II. The Method Described.<br />
III. The Method Illustrated by Examples.<br />
Mr. Henry Arthur Jones's play, “The Dancing<br />
Girl,” was revived at His Majesty's Theatre on<br />
February 16, with a new last act. The caste<br />
included Miss Alice Crawford, Mr. Louis Calvert,<br />
and Mr. Vane Tempest.<br />
Among Messrs. Archibald Constable & Co.'s<br />
announcements we notice Mr. Douglas Ainslie’s<br />
Prelude to his Cycle of Poems entitled “The Song<br />
of the Stewarts.” The Prelude consists of a series<br />
of brief poems in various metres, dealing with the<br />
days before the Lord High Stewart of Scotland<br />
mounted the throne, in the person of Robert II.,<br />
grandson of Robert Bruce. The Battles of<br />
Falkirk and Bannockburn, the strange wooing of<br />
the father of Robert Buis, and many other events<br />
are described.<br />
The present work will be followed by other<br />
poems dealing with the House of Stewart and the<br />
Vicissitudes through which it has passed.<br />
Messrs. Constable & Co. have also on sale, in one<br />
Volume, Mr. G. Bernard Shaw's two plays, “The<br />
Doctor's Dilemma" and “Getting Married,”<br />
together with two Prefaces from Mr. Shaw's<br />
pen. -<br />
Mr. E. Grant Hooper has written, and Mr.<br />
Effingham Wilson has published, a pamphlet<br />
explaining the German State Insurance System for<br />
providing invalid and old age pensions and assist-<br />
ance in case of temporary illness and of accidents<br />
Occurring in the course of employment.<br />
“Motor Tours in Yorkshire,” by Mrs. Rodolph<br />
Stawell, is a companion volume to the same writer's<br />
“Motor Tours in Wales.” Messrs. Hodder and<br />
Stoughton are the publishers of the volume, which<br />
is intended for the passenger rather than the driver.<br />
It is written for those who wish to know before-<br />
hand where they will find the most beautiful places,<br />
and contains photographs, a map of the route, and<br />
an index.<br />
of Services, Liabilities, and<br />
PARIS NOTES.<br />
–0-º-º-<br />
7 ITHIN, a comparatively short time the<br />
W French Academy has lost nine of its<br />
most prominent members. Hérédia was<br />
the first of this list, and was followed by Berthelot,<br />
Ludovic Halévy, André Theuriet, Ferdinand Brune-<br />
tière, Sully-Prudhomme, François Coppée, and<br />
Victorien Sardou. The death of the Marquis Costa<br />
de Beauregard leaves another fauteuil vacant.<br />
The late Academician was born in Savoy in 1835.<br />
It was during the Franco-German War, and whilst<br />
in captivity, that M. Costa de Beauregard was<br />
elected by Savoy as its representative in the<br />
National Assembly.<br />
Later on, tempted by his own family archives,<br />
he commenced that series of historical works for<br />
which he was elected to the French Academy.<br />
“Un homme d'autrefois” is the book with which<br />
he won his laurels. It is the biography of his<br />
famous ancestor, the Marquis Joseph-Henri Costa<br />
de Beauregard.<br />
Within three weeks, too, France has lost Ernest<br />
Reyer, the two Coquelins, and Catulle Mendès.<br />
Coquelin ainé was born in 1841 at Boulogne-<br />
sur-Mer. After hearing Rachel in “Adrienne<br />
Lecouvreur,” he came to Paris to study at the<br />
Conservatoire. He was eighteen years of age at<br />
that time, and in 1860, at the age of nineteen,<br />
he was playing at the Comédie-Française. For<br />
twenty-six years he remained at the Français, and<br />
his fame from the very first, as a comedian, has<br />
been world-wide.<br />
He had founded a Maison des Comédiens for<br />
artistes in their old age and, while studying his<br />
ºróle in Rostand’s new play, “Chantecler,” he had<br />
gone to this house to rest. It was here that he<br />
died suddenly, to the grief and dismay, not only of<br />
his compatriots but of the world at large. -<br />
Coquelin cadet was suffering from a nervous<br />
disease, and was being attended at a private<br />
hospital. His devotion to his brother was such<br />
that he only lived three days after being in-<br />
formed of the latter's death. He had followed<br />
his brother to Paris, and they had been devoted to<br />
each other. Coquelin cadet had also had enormous<br />
success, and his rendering of monologues was<br />
inimitable.<br />
Another sudden death was that of Catulle<br />
Mendès, who it is believed fell from the railway<br />
carriage in getting out of the train before it had<br />
stopped. Catulle Mendès was born in 1843 at<br />
Bordeaux He came to Paris in 1860, and pub-<br />
lished his first poetry in 1862. About the same<br />
time he was condemned to a month's imprison-<br />
ment and a fine of twenty pounds for the publica-<br />
tion of an article in a review. In 1866 he married<br />
<br />
<br />
## p. 147 (#195) ############################################<br />
<br />
TRIE A CITFIOR.<br />
147<br />
Judith Gautier, from whom he was later on<br />
divorced. From this time forth until his death<br />
he wrote a quantity of short stories, novels, poems<br />
and plays. For the last twelve years Catulle<br />
Mendès was also theatrical critic to Le Journal.<br />
Many were the duels which he fought, among<br />
others with Lugné-Poé and George Wanor.<br />
“L’Affaire Nell,” by Louis Estang, is an<br />
interesting psychological study of characters which<br />
are very true to life. Each person is well studied<br />
and the story itself well told. A wealthy young<br />
widow arrives in Paris almost unknown and, through<br />
no fault of her own, finds herself involved in a law-<br />
suit. She is very soon surrounded by a little crowd<br />
of parasites who are attracted by her wealth. The<br />
chief interest of the book is the study of this young<br />
provincial woman, her development and evolution.<br />
The other characters are also developed in a<br />
masterly way, and the habits and customs of a<br />
certain set of society are admirably depicted.<br />
Among other new novels are the following:—<br />
“Une Mariage américain,” by Georges Ohmet ;<br />
“Sur les Deux Rives,” by Léon de Tinseau, a<br />
story of a young French nobleman who finds a<br />
second home in Canada ; “ Notre Compagne,” by<br />
Marcel Prévost, a new illustrated edition of this<br />
author's novel.<br />
Among books of memoir and historical works<br />
are the following :-‘‘Lettres de Jeunesse,” by<br />
Eugene Fromentin, with bibliography and notes<br />
by Pierre Blanchon ; “Le Maréchal Canrobert ’’<br />
(“Souvenirs d’un Siècle”), by Germain Bapst.<br />
“Italica,” by Joseph l'Hôpital, is a work of<br />
impressions and souvenirs in which the author<br />
gives us some excellent pictures of Milan, Venice,<br />
Bologna, and Florence.<br />
A revised and corrected edition of Anatole<br />
France's “Jeanne d’Arc ’’ is announced.<br />
“Le Fruit Défendu,” by Henry Wignemal, takes<br />
us away from France, as the scene is placed in<br />
Italy. The author appears to know this country<br />
and its people well. He introduces a family<br />
belonging to the old nobility and describes the<br />
difference between the people of former days and<br />
of to-day. He describes the death of Leo XIII.<br />
and the election of Pius X. A passionate love-<br />
story runs through the volume. Altogether it is<br />
a strong novel, with powerful interest from the first<br />
page to the last.<br />
Madame Juliette Adam's sixth volume of<br />
“Mémoires” has appeared. It takes in the<br />
period between May, 1873, and May, 1877,<br />
and is entitled “Nos Amitiés politiques avant<br />
l'abandon de la revanche.” There are many<br />
letters from Gambetta in this volume.<br />
Comte Robert de Montesquiou has published<br />
another volume of his prose essays, entitled<br />
“Assemblée de Notables.”<br />
most beautiful is certainly the<br />
It is with great pleasure that we see the volume<br />
of poetry entitled “Giboulées,” signed by Alice<br />
Lardin de Musset. It would indeed be a pity for<br />
the name to die out in France. Alfred de Musset's<br />
sister died rather more than three years ago. Her<br />
granddaughter, the great-niece of the poet, has just<br />
published her first book of verse. There are some<br />
exquisite poems in the volume, and one of the<br />
One entitled<br />
“Deuil,” composed after the death of her beloved<br />
grandmother. There are several others, too, full<br />
of promise. Their great charm is their absolute<br />
simplicity and sincerity.<br />
Among translations: “ Carrière d'Artiste,” by<br />
Mrs. Humphry Ward. This is an exceptionally<br />
good translation, signed by Th. Bentzon and A.<br />
Fliche.<br />
In the Revue de Paris, Judith Gautier continues<br />
the “Troisièmerang” of her “Le Collier des jours,”<br />
and there are serials by Mathilde Serao and Claude<br />
Farrère.<br />
In the Revue hebdomadaire Frederic Masson<br />
Writes an interesting article on “Le Pape et<br />
l'Empereur.” There is also an article by Gabriel<br />
Hanotaux on “La Diplomatie de l'avenir,” and<br />
another one by C. M. Savarit on “Le Dépeuplement<br />
de la France.”<br />
“L’Oiseau blessé” is the new play by Alfred<br />
Capus now being given at the Renaissance. “Le<br />
Lis,” by MM. P. Wolff and Gaston Leroux, is<br />
being played at the Vaudeville, and “La Tragédie<br />
royale,” by M. Saint Georges de Bouhelier, at the<br />
Odéon.<br />
ALYS HALLARD.<br />
“Lettres de Jeunesse’’ (Plon).<br />
“Italica" (Perrin).<br />
“Jeanne d'Arc" (Calmann Lévy).<br />
“Le Fruit Défendu ’’ (Calmann Lévy).<br />
“L’Affaire Nell” (Calmann Lévy).<br />
“Un Mariage américain" (Ollendorff).<br />
“Sur les Deux Rives '' (Calmann Lévy).<br />
“Notre Compagne " (Lemerre).<br />
“Giboulées” (G. Arrault).<br />
“Carriére d’Artiste” (Hachette),<br />
*—-ºn-<br />
w-<br />
SPANISH NOTES.<br />
HAVE just received from Madrid a striking<br />
I little book called “La Solidaridad Social,”<br />
by Victoriano Garcia Marti, whose addresses<br />
in The Athenæum have been listened to with atten-<br />
tion by the members. The author shows his<br />
zeal for suffering humanity when he says: “To<br />
the poor, to the disabled, and to all those who<br />
<br />
<br />
## p. 148 (#196) ############################################<br />
<br />
148<br />
TISIE AUTISIOR.<br />
thirst for justice, I dedicate this work and my<br />
whole life.” The chapter on the connection of<br />
Solidarity with Positivism is practical, showing<br />
that when contemplation was shared by science<br />
humanity became more practical in its philanthropy.<br />
Moreover, the perpetual struggle between the Real<br />
and the Ideal is touched upon philosophically in<br />
its connection with the Solidarity of Humanity.<br />
The author pays a generous tribute to Doña<br />
Concepción Arenal, the clever poetess of Galicia,<br />
who devoted her poetic talent to the laudation of<br />
the real Brotherhood of Humanity, and whom<br />
Azcarate, the great littérateur, termed “not only<br />
the glory of Galicia or Spain, but of the entire<br />
World.”<br />
In her “Letters to a Gentleman,” the late<br />
authoress says: “Nineteen centuries ago the<br />
Divine Master taught that all men were brothers,<br />
but we have either not learnt the doctrine or<br />
forgotten it.”<br />
Señor García Marti aptly remarks that the<br />
Table of the Rights of Man which figured in the<br />
French Revolution should now be accompanied by<br />
that of the duties relating to liberty and fraternity.<br />
The book is, in fact, one of those daily proofs of<br />
the awakening of Spain to the duties of altruism.<br />
El Teatro Español has staged with great success<br />
the new play by Señor Linares Rivas in which,<br />
through the extravagances of a conception in<br />
which the characters are represented by animals,<br />
he shows the redeeming influence of love, so that<br />
“Master Wolf” (the title of the play) is able to<br />
live in peaceful proximity with the lamb by his<br />
conquest of old prejudices. The play forms an<br />
admirable opportunity for the author to attack<br />
many of the conventionalities of life which lead to<br />
callous neglect of the weak and helpless.<br />
The Academy of History has just celebrated the<br />
centenary of the War of Independence by a<br />
brilliant function honoured by the presence of<br />
King Alfonso XIII. The third anniversary of the<br />
death of General Gómez de Arteche was also cele-<br />
brated on the Occasion, and his monumental<br />
work entitled “Historia de la Guerra de la Inde-<br />
pendencia.” General Suarez Inclán read an elo-<br />
quent address on the subject. He explained it<br />
was not only a simple relation : it was much more,<br />
as every fact was accompanied by a judgment of<br />
the authors which threw fresh light on the sub-<br />
jects. Thus, the rising of the people on May 2,<br />
the defence of the Artillery Park, the organisation<br />
of the Spanish troops against Napoleon, etc., were<br />
all vividly and logically brought forward, and the<br />
aid of the English was given a fair tribute.<br />
The Academy of Medicine has recently in-<br />
augurated its work for 1909, and Don Baldomero<br />
Gonzalez Alvarez gave a clever discourse on<br />
“Heredity.” After some scientific remarks on the<br />
origin of life, the doctor explained that biological<br />
heredity is the transmission of character, original<br />
and acquired by adaptation, selection, or infirmity.<br />
Heredity of disease was fully entered into, includ-<br />
ing that of alcoholism. Doctor Legrain's inte-<br />
resting statistics on the various infirmities accruing<br />
to children of alcoholic parents were quoted, and<br />
the lecturer terminated his discourse by repeat-<br />
ing the words of Lacassaque, “Society has its<br />
criminals,” and he recommended to his audience<br />
the adoption of the method in vogue in Ohio, that<br />
a certificate of health should be legally necessary<br />
before marriage.<br />
In Corunna a stone has just been unveiled on<br />
the house where Sir John Moore died from his<br />
Wounds at the battle of Elvira on January 16,<br />
1809.<br />
Señor Prat de la Riva, the Catalonian historian,<br />
has just received the Grand Cross of Isabella the<br />
Catholic for his work on the period of Ferdinand W.<br />
and Isabella the Catholic. The view given of many<br />
of the incidents of the period has aroused the ire<br />
of many Castilians.<br />
The confusion reigning on the subject of Soli-<br />
darity and Separatism produces great disorder in<br />
the Congress. The liberal leader Moret had<br />
hardly commenced an eloquent speech, in which he<br />
showed himself opposed to a debated administra-<br />
tive reform, when a Solidarist of Barcelona inter-<br />
rupted the orator, and passion rose so high on both<br />
sides of opinion that the ex-Prime Minister had to<br />
forego the rest of his speech from emotion.<br />
Señor Pi y Margall has just published a<br />
powerful article paper called “Las Manifesta-<br />
ciones Regionalistas,” and another one on “El<br />
Separatismo.”<br />
RACHEL CHALLICE.<br />
—º- a<br />
--w<br />
º<br />
~<br />
PERFORMING RIGHT IN A SKETCH.<br />
—e-Q-e-<br />
BISHOP v. WIVIANA & Co.<br />
HE plaintiff in this case claimed to be the<br />
author of a dancing scena or sketch entitled<br />
“My Gollywog,” and sued Miss Florence<br />
Coles, who carries on business as Viviana & Co.,<br />
for damages on account of alleged infringements<br />
of his performing right. The plaintiff also claimed<br />
damages for “passing off,” alleging that the<br />
defendant represented the sketch performed by her,<br />
entitled “The Toy Shop,” as being the plaintiff’s<br />
sketch.<br />
The plaintiff stated that he had originated the<br />
idea of the gollywog dance, and of having a rod<br />
with a hook upon it from which he was suspended<br />
by the middle. The sketch opened with children<br />
... ºr<br />
<br />
<br />
## p. 149 (#197) ############################################<br />
<br />
TFIE A DITISIOR-<br />
149<br />
singing a song, and then one of the children hung<br />
him upon the hook. There were seven performers<br />
who assisted in the dance, and a page boy who had<br />
gags The plaintiff said that he was the author of<br />
the apparatus and the gags.<br />
As to the “passing off,” it appeared that on one<br />
occasion when the plaintiff was advertised on the<br />
programme at the Olympia Music Hall, Shoreditch,<br />
the defendant was engaged to deputise there, and<br />
gave a performance of “The Toy Shop,” but with-<br />
out any knowledge that the plaintiff’s sketch had<br />
been advertised. .<br />
Mr. Justice Channell, following the decision of<br />
the Court of Appeal in Tate v. Fullbrook, held that<br />
the plaintiff had no performing right in the dance.<br />
As to the “passing off,” he said that if anyone<br />
was to blame, it was the manager and not the<br />
defendant. If the latter had been a party to her<br />
performance being represented as the plaintiff’s<br />
performance, she would have made herself liable ;<br />
but upon her evidence he was of opinion that she<br />
was no party to it. He accordingly gave judgment<br />
for the defendant.<br />
HAROLD HARDY.<br />
—e—º-e—<br />
REPRESENTATION OF SKETCH BY<br />
CINEMATOGRAPH.<br />
—e—º-e—<br />
RARNo v. PATHá FREREs.<br />
f | WHE plaintiff in this action, Mr. Fred Karno,<br />
was the owner of the performing right in a<br />
pantomimic sketch entitled “The Mumming<br />
Birds,” and sued the defendant company for<br />
damages in respect of the infringement of his<br />
right. The defendant company manufactured and<br />
sold cinematograph films to proprietors and per-<br />
formers at music halls, and amongst other films in<br />
their catalogue was one entitled “At the Music<br />
Hall,” which the plaintiff alleged to be a representa-<br />
tion of his sketch, or the instrument from which<br />
the representation was made.<br />
On behalf of the defendant company it was<br />
contended that the sketch was not a dramatic<br />
piece in which there was any performing right,<br />
and that the defendant company had not caused<br />
the sketch to be represented by reason of the<br />
sale of the cinematograph film, even though they<br />
knew that it was intended to be used for the<br />
purpose of the representation. -<br />
Mr. Justice Jelf held that, upon the grounds<br />
stated by the Court of Appeal in Tate v. Fullbrook,<br />
a pantomimic sketch, performed for the most part in<br />
dumb show but with a certain amount of “gag,” of<br />
which there was no book of words or stage direc-<br />
tions, which was not capable of being printed and<br />
published as a literary composition, was not a<br />
dramatic piece. In the case of a dramatic piece,<br />
however, he was of opinion that a representation<br />
by cinematograph might constitute an infringement<br />
of the performing right; moreover, the defendant<br />
company were not liable upon another ground,<br />
because by merely manufacturing and selling the<br />
cinematograph film, even though they knew the<br />
film was bought for the purpose of representation<br />
at places of public entertainment, they had not<br />
caused the sketch to be represented so as to con-<br />
stitute an infringement of the performing right, if<br />
any existed.<br />
The Court of Appeal upheld the decision of<br />
Mr. Justice Jelf upon this latter ground, and it<br />
was therefore unnecessary to go into the question<br />
as to whether the sketch was a “dramatic piece.”<br />
If there was any performing right in the sketch,<br />
the action should have been brought against the<br />
persons who represented it or caused the representa-<br />
tion to be made. -<br />
The appeal was accordingly dismissed.<br />
HAROLD HARDY.<br />
—e—sº-e—<br />
SCHOLZ v. AMASIS, LTD.<br />
—º-º-º-<br />
NIR,--The “General Note ’’ which appears on<br />
this subject in the February number of your<br />
journal is so misleading and, in fact, posi-<br />
tively incorrect, as to lead to the suspicion that an<br />
amateur has been dabbling in law ; and even the<br />
writer's excuse of want of time will not prevent<br />
the lay reader of your journal from falling into<br />
grave error if he relies upon the note.<br />
Your contributor says that “the first point to<br />
be considered is the date . . . when each com-<br />
pleted piece first came within the baneful influence<br />
of the Copyright Statutes.” As a matter of fact,<br />
no question of copyright was involved in the case ;<br />
the plaintiff's play having been neither published<br />
nor acted, and being, therefore, unprotected by<br />
copyright law.<br />
The action was based upon common law fraud,<br />
q.e., an accusation of deliberate theft of the plain-<br />
tiff's material by the defendant. For reasons which<br />
may or may not commend themselves to the Court<br />
of Appeal, the judge found, on circumstantial<br />
evidence, that in fact fraud or theft had been<br />
committed, and therefore awarded the plaintiff<br />
damages, not for breach of copyright, but for the<br />
common law offence of stealing his material.<br />
There can be no award on such a ground unless<br />
the court believes that in fact the defendant copied<br />
from the plaintiff. .<br />
<br />
<br />
## p. 150 (#198) ############################################<br />
<br />
150<br />
TISIES ALITISIOR,<br />
Your contributor is, of course, quite entitled to<br />
say that the law on this point is ridiculous, but, so<br />
long as it exists, it must be observed by authors.<br />
Moreover, it does not seem to me at all unjust to<br />
say that, if a second writer accidentally hits upon the<br />
ideas and phrases of a first author, who has not<br />
communicated them to the public, the second<br />
author is not to blame. As everyone knows, such<br />
instances have occurred in the scientific world, and<br />
I do not know why they should not occur in<br />
literature. It may be doubted whether it would<br />
be for the benefit either of authors or the public<br />
that a writer should be able, as it were, to annex a<br />
certain number of ideas and phrases by putting<br />
them on paper and locking them up in his drawer.<br />
In that way a fertile but unskilled playwright<br />
might practically stop the production of all plays<br />
but his own, without himself being able to get a<br />
single play acted. The common law in this case<br />
seems to me to be also common Sense.<br />
I may add, in conclusion, that my information<br />
about the case is first-hand, but it agrees with the<br />
reports in the papers.<br />
Yours faithfully,<br />
EDWARD JENKS.<br />
From “Who’s Who’’ it appears that Mr. Jenks<br />
is Principal and Director of Legal Studies of the<br />
Law Society. &<br />
I must thank Mr. Jenks for his condescension<br />
in writing from his tutorial chair and for his<br />
endeavour to set me right in a matter con-<br />
nected with copyright. The question whether<br />
an innocent infringer is always liable may be<br />
a question of opinion, and may, perhaps, receive<br />
some further elucidation when the case of Scholz<br />
v. Amasis, Ltd., is discussed in the Court of<br />
Appeal: but the grounds both of law and of fact<br />
on which Mr. Jenks bases his letter are wrong, as<br />
I will endeavour to show even at the risk of being<br />
termed an amateur.<br />
Mr. Jenks' first point is contained in the follow-<br />
ing sentence : “As a matter of fact, no question of<br />
copyright was involved in the case, the plaintiff's<br />
play having been neither published nor acted, and<br />
being, therefore, unprotected by copyright law.”<br />
Mr. Jenks must study his copyright law more<br />
carefully. A general practitioner is not always<br />
a good specialist. He should study 3 & 4<br />
William IV., the judgment of Mr. Justice Hawkins<br />
in Reichardt v. Sapie, the comments on the Act in<br />
Copinger's Law of Copyright, 4th edition, by J. M.<br />
Easton, and Macgillivray's Law of Copyright. He<br />
will then see that his statement is not justified.<br />
It is not requisite for a play to be published or<br />
acted to bring it under the Copyright Statute.<br />
It may still be a matter of opinion, but I am<br />
content with my authorities.<br />
.*.<br />
24.<br />
The second point in Mr. Jenks' letter is not one<br />
of opinion, but one of fact. He says: “The<br />
action was based upon a common law fraud and<br />
damages were awarded not for breach of copyright<br />
but for the common law offence of stealing the<br />
material.” -<br />
The plaintiff’s claim in his pleadings was for<br />
infringement of copyright and not for common law<br />
fraud. In giving judgment, the judge stated that<br />
“the action was brought by the plaintiff to recover<br />
damages for the alleged infringement of the<br />
plaintiff’s copyright.” Further, he said : “All<br />
the proper steps had been taken under the Statutes<br />
to protect his (the plaintiff’s) copyright,” and,<br />
finally, “I have come to the conclusion and find,<br />
as a fact, that the defendants have infringed a<br />
material and substantial part of the plaintiff’s<br />
copyright.”—THE WRITER OF THE PARAGRAPH.<br />
—e—º-e—<br />
MAGAZINE CONTENTS.<br />
—e—º-e—<br />
BIBLIOPHILE.<br />
On Certain Bronte MSS. By Harold F. B. Wheeler.<br />
English Book Illustration in the Eighteenth Century.<br />
By Katharine Esdaile.<br />
BIACKWOOD’S.<br />
Oxford, Past and Present. By P. A. Wright Henderson.<br />
Boswell.<br />
BOOKMAN.<br />
Charles Darwin. By Edward Clodd.<br />
Richard Jefferies and London. By Edward Thomas.<br />
The Penalties of Failure. By Edwin Pugh.<br />
CONTEMPORARY.<br />
Mendelssohn in 1909. By Ernest Newman.<br />
The Love of Wild Nature. By Havelock Ellis.<br />
English Literature and the Indian Student. By Tau.<br />
The Centenary of Edgar Allan Poe. By Edmund Gosse.<br />
CORNHILL.<br />
Robert Browning in Edinburgh. By Rosaline Masson.<br />
FORTNIGHTLY.<br />
The Beaten Track. By W. Garrott Brown.<br />
Americans as Actors. By Bram Stoker.<br />
The Writings of Mr. W. B. Yeats. By E. M. D.<br />
Poetry and the Stage. By Stephen Gwynn.<br />
The Fatigue of Anatole France. By I. M. Kettle, M.P.<br />
Sir Edward Elgar’s Symphony. By E. A. Baughan,<br />
NATIONAL.<br />
Modern Antiques. By Helen Zimmern.<br />
The Shakespearean Problem. By Geo. Hookham<br />
NINETEENTH CENTURY AND AFTER.<br />
The Real Lafcadio Hearn. By Mrs. Arthur Kennard.<br />
Felix Mendelssohn-Bartholdy. By A. E. Keeton.<br />
<br />
<br />
## p. 151 (#199) ############################################<br />
<br />
TFIE AUTISIOR.<br />
151<br />
HOW TO USE THE SOCIETY.<br />
—e—4-0–<br />
1, VERY member has a right to ask for and to receive<br />
E advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
5. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
7. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
§ecretary will undertake it on behalf of members.<br />
This<br />
The<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
—e—Q-e—<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS,<br />
—º-º-º-<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
(1.) That both sides shall know what an agreement<br />
Iſle2, D.S.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
——e—Q–e—<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
—º-º-º-<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority. -<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manageT.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:— -<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain dat<br />
and for proper publication of his name on i.<br />
play-bills.<br />
<br />
<br />
## p. 152 (#200) ############################################<br />
<br />
152<br />
THE AUTHOR.<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur Tights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
—º- a<br />
—w-w<br />
A<br />
w<br />
REGISTRATION OF SCENARIOS.<br />
—º-Q-0–<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
- forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
-º-º-e-<br />
L*. can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. . It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
Composer a transfer of fuller rights and less liberal finan.<br />
cial terms than those obtained for literary and dramatic<br />
prºperty. , The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
–0-6-0–<br />
STAMPING MUSIC.<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Sociéty's<br />
Safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
a —º-<br />
w---<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
—e—º-e—<br />
“THE AUTHOR,”<br />
—e-º-º-<br />
HE Editor of The Author begs to remind members of<br />
T the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the stand-<br />
point of art or business, but on no other subjects whatever.<br />
Every effort will be made to return articles which cannot<br />
be accepted.<br />
* -*— *.<br />
- w<br />
w<br />
REMITTANCES.<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smith's Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 153 (#201) ############################################<br />
<br />
TFIE A CITFIOR.<br />
153<br />
GENERAL NOTES.<br />
–t-º-º-<br />
On the ballot paper which accompanies<br />
this month’s “Author’ subscribing members<br />
have full details as to the manner in which<br />
their yotes should be recorded. Any members<br />
who have not received ballot papers with<br />
their “Authors” are requested to write to<br />
the Secretary at once.<br />
THE BOOK TRADE.<br />
THE February number of the Book Monthly con-<br />
tains an article from the editor on “The Ill State<br />
of the Book Trade,” and various letters from<br />
publishers dealing with the same subject.<br />
Judging from these, there seems to be good<br />
reason to suppose that “Queen Victoria's Letters,”<br />
“Morley's Gladstone,” published in cheap form,<br />
and Queen Alexandra's volume of photographs, may<br />
have had something to do with the slack business<br />
at Christmas. The general reason of depression<br />
if it exists—we cannot doubt this if we read<br />
the statements contained in these letters—is<br />
over-production, not merely over-production by<br />
cheap reprints, but by new copyright matter. Mr.<br />
Reginald Smith, of Messrs. Smith, Elder & Co.,<br />
limits his statement, and thinks second-rate books,<br />
and still more third-rate books, alone have suffered<br />
from over-production.<br />
Surely this is in a great part the fault of the<br />
publishers, not of the best firms, but of those who<br />
write “Our reader has reported favourably on<br />
your work, and if you will pay £150 towards<br />
the cost of production, and give us the refusal of<br />
your next six novels,” etc., etc.<br />
It would be interesting to know how often the<br />
secretary of the society has stopped authors from<br />
accepting this offer. But unfortunately, there are<br />
many authors, with first books, who do not come to<br />
the society till they have been caught in the trap.<br />
SETTLEMENT OF AGREEMENTS.<br />
OWING to the bankruptcy of a certain publisher,<br />
many agreements have been handed to the Secretary<br />
in order that the society might take up the claims<br />
of those members involved. In going through<br />
these agreements, it has again been brought strongly<br />
to our notice that the ordinary publisher's agree-<br />
ment signed without advice is in most cases an<br />
unsatisfactory document.<br />
In the standing matter of The Author from<br />
month to month under the heading of “Warnings<br />
to producers of books” is printed this statement:<br />
“Never, sign any agreement without competent<br />
advice from the secretary of the society,” but<br />
like all standing matter it is not unfrequently<br />
overlooked by readers. Again, therefore, we must<br />
ask all our members to use the society before they<br />
Sign their agreements. Sometimes it happens<br />
that when the secretary has placed before a member<br />
the pros and cons of the case, the terms which<br />
should be asked, the clauses which should be<br />
avoided, the member weighing these matters<br />
decides to sign in spite of the advice tendered.<br />
Then the author takes the responsibility on his<br />
er her own shoulders, and cannot complain. But<br />
it is of the utmost importance to all authors to<br />
know exactly what dangers surround their con-<br />
tragt;. To belong to the society and not to use it,<br />
and then, as in some cases, complain that it does<br />
nothing, is not “playing the game.” -<br />
MAGAZINE WRITERS AND INCOME TAX.<br />
IN another column we print an article under the<br />
title placed above.<br />
While we think it advisable to bring the matter<br />
forward, as it is possible that ventilation of the<br />
subject may lead to some practical solution of the<br />
difficulty, yet we hardly think it likely that any<br />
Government will legislate for a small section of a<br />
small section of society. If once the Government<br />
began to differentiate among classes of tax-payers<br />
the matter would assume enormous proportions.<br />
Though it is clear that magazine writers have<br />
good cause for complaint, it is easier to complain<br />
than to find a remedy.<br />
We quote the following case as an example:–<br />
Some years ago, owing to the unsatisfactory<br />
life history of certain magazines, and the recur-<br />
ring difficulty of obtaining justice for the con-<br />
tributors, the Society took up their cause and<br />
endeavoured to secure a change in the Bankruptcy<br />
Law by which contributors to magazines and<br />
periodicals who had claims against these publications<br />
should receive preferential treatment with those—<br />
clerks and officials—who already obtained this<br />
advantage under the Act ; but the Government's<br />
answer was an expression of regret at their inability<br />
to move in the matter.<br />
We should like, however, to draw the attention<br />
of members to the fact that in reckoning income<br />
tax returns, they are entitled to charge all out of<br />
pocket expenses, such as books and any special<br />
premises used exclusively for literary work, and even<br />
the rent of a study—part of the rent of a house—<br />
if the deduction can be justified to the satisfaction<br />
of the income tax authorities.<br />
<br />
<br />
## p. 154 (#202) ############################################<br />
<br />
154<br />
TISIES A UITISIOR.<br />
METICULOUS.<br />
THE Chicago Dial has lately contained some<br />
comment and correspondence on the use and abuse<br />
of the word “meticulous,” which it declares should<br />
never be used, as it is commonly used to-day, in<br />
the sense of “over-careful.” The result of our<br />
own researches is in accord with this view. The<br />
word is of quite respectable age and with the<br />
established meaning of timid or fearful (Lat.<br />
ºneticulosus from metus. Cf. French méticuleuw).<br />
It was used by Sir Thomas Browne, and occurs<br />
also in Topsell’s “Historie of Serpents, * 1608,<br />
p. 116. Johnson does not include it in his<br />
dictionary. In 1827 it was not in use, though<br />
“meticulously" was—according to Dr. Todd, who<br />
quotes from Brown, Chr. Mor. i. 33, “Move<br />
circumspectly, not meticulously.” In 1883,<br />
Ogilvie declared it obsolete, and at the beginning<br />
of this century it was included in Halliwell's<br />
Dictionary of Archaic and Provincial Words.<br />
On the other hand Webster does not so regard it,<br />
berein having the support of modern journalism.<br />
Somebody rediscovered it a few years back and<br />
used it, unfortunately in the perverted sense<br />
referred to above. The word was a distinct<br />
acquisition to journalism, and has been very<br />
popular ever since. As, however, its true value<br />
should be appreciated, we venture to recommend<br />
it to the consideration of our readers.<br />
EDGAR ALLAN POE.<br />
THE centenary of the American writer and poet,<br />
Edgar Allan Poe, will be celebrated on the 1st of<br />
March, the date of this issue, by the Authors’<br />
Club. The members are giving a dinner at the<br />
Whitehall Rooms in honour of his memory.<br />
Sir Arthur Conan Doyle will be the chairman of<br />
the dinner, and His Excellency the Hon. Whitelaw<br />
Reid, the American Ambassador, has promised to<br />
be present and speak.<br />
There will be recitations of some of Poe's poems,<br />
and we understand that some of his lyrics which<br />
have been set to music will be sung on that<br />
occasion.<br />
Mr. Herbert Trench, the author of “Deirdre<br />
Wedded ” will write an ode to commemorate the<br />
event.<br />
There is a long list before us of the patrons of<br />
the dinner, including many names of well-known<br />
Americans resident in England; we wish the<br />
Authors’ Club every success in carrying out their<br />
programme.<br />
*-*-a-ma-se<br />
OSWALD CRAWFURD, C.M.G.<br />
WE regret to record the death of Mr. Oswald<br />
Crawfurd, C.M.G., on January 30 last. From<br />
1867 to 1891 Mr. Crawfurd was H.M.'s Consul<br />
at Oporto, during which time he wrote several<br />
works dealing with Portugal, including “Travels<br />
in Portugal,” under the pseudonym of John<br />
Latouche. On his return to London he interested<br />
himself in literary work, founding Black and<br />
While and becoming its first editor. Later on<br />
he joined the firm of Messrs. Chapman and Hall<br />
as a director.<br />
Mr. Crawfurd was for many years a member of<br />
the Society of Authors, and though he resigned<br />
while connected with Messrs. Chapman and Hall,<br />
as he did not consider it suitable in these circum-<br />
stances for him to remain a member, he was<br />
re-elected in 1898 and continued a member until<br />
his death.<br />
Among his numerous publications are eight<br />
novels, including “Sylvia Arden " and “ In Green<br />
Fields,” and two volumes of poetry entitled “Two<br />
Masques” and “The Sire of Prince Eladane.”<br />
—e—º-e—<br />
UNITED STATES JOTTINGS.<br />
—º-º-º-<br />
UNITED STATES COPYRIGHT.<br />
THE Chicago Dial in one of its recent issues<br />
has a healthy editorial article on Copyright in the<br />
United States.<br />
It is started from the fact that “the Celebrated<br />
Jumping Frog” will be removed from Copyright<br />
Protection during 1909 and will “become the<br />
prey of the irresponsible publisher.” The editor<br />
drives home two points that he considers need<br />
special revision, the first the term of copyright<br />
protection, the second the type-setting clause.<br />
It is hard on the United States author who lives<br />
to a vigorous old age to see his brain children<br />
ceasing to support him during his advancing years.<br />
To remedy this difficulty the editor states, “We<br />
consider the principle of perpetual copyright,<br />
although logically sound, to be of academic interest<br />
only ; for we believe that substantial justice would<br />
be done by protecting literary property during the<br />
author's lifetime and for one or two generations<br />
beyond.”<br />
Life and fifty years was the length approved by<br />
the Berlin Conference. Let the Americans join<br />
the band of civilised nations and accept the same<br />
limitation.<br />
On the second point he remarks, as follows:—<br />
“To say that an Englishman shall have no rights<br />
mnder our law to the product of his brain until<br />
that product shall be put into marketable form by<br />
American labour is precisely like Saying that the<br />
same Englishman, landing in New York, shall have<br />
<br />
<br />
## p. 155 (#203) ############################################<br />
<br />
THE AUTFIOR.<br />
155<br />
no right to personal protection against violence<br />
until he has purchased American-made garments<br />
and clothed himself therein.”<br />
He has no immediate hope of the clause being<br />
removed, but he says that the acceptance of the<br />
clause in 1891 was a compromise essentially revolt-<br />
ing to the sense of international justice.<br />
This we believe to be the view of all educated<br />
Americans, who appear therefore to be governed, in<br />
this respect at any rate, by the uneducated masses. .<br />
It will be a happy day when the intellectual<br />
minority can persuade Congress to join the Berne<br />
Convention.<br />
*-m-m-m-e ºs--msmº,<br />
WE print below a paragraph taken from the<br />
New York Nation, which shows also the opinion<br />
of that paper on the question of the position of the<br />
United States with regard to International Copy-<br />
right. It is, indeed, a pity that those who have<br />
no claim whatever on the property of authors<br />
should be able to control the methods by which<br />
these authors should market their productions.<br />
As truth will come out even in an affidavit, according<br />
to the Saying of an English judge, so it sometimes comes<br />
Out in a public document. House Document No. 1,208,<br />
of the present session of Congress, contains the correspon-<br />
dence leading up to the appointment of an American<br />
delegate to the recent International Copyright Congress<br />
at Berlin. In pointing out to the Secretary of State the<br />
fact that the United States had no right to be represented,<br />
because we have not adopted the Berne Convention rela-<br />
tive to literary property, the Librarian of Congress<br />
Suggested that this Government regard itself as a “non-<br />
union participant.” The phrase falls pat with current<br />
terminology. It seems to make us a “scab '' among the<br />
nations in the matter of copyright. Unfortunately, that<br />
is very much what we are. The leading civilised nations<br />
have formed a union to protect literary and artistic pro-<br />
perty, but we have refused to join it. Under labour-<br />
union practice they are entitled to attack and outlaw us ;<br />
but instead of that, they are courteous enough to receive<br />
us at their Congresses as a “non-union participant.”<br />
Their hope undoubtedly is to kill us with kindness, or<br />
lead us to see the error of our ways and adhere to the<br />
Berne Convention with the rest.<br />
IN reference to this same United States Copy-<br />
right law a letter appeared in the Times, signed<br />
T. T. Hodgson, suggesting that England should<br />
pass into law a type-setting clause as against the<br />
United States, quoting the Berne Convention<br />
article 2, and objecting to Mr. Winston Churchill's<br />
assertion in the House of Commons that such a<br />
clause would involve the retirement of this country<br />
from the International Copyright Union.<br />
We think Mr. Churchill is right, and that such a<br />
clause would not only prejudice the position of this<br />
Country under the Berne Convention, but might<br />
also cause the withdrawal of the President's pro-<br />
clamation under the Act of Congress of 1891.<br />
Mr. T. T. Hodgson has made his deductions<br />
(We are unable to quote the full statement) from an<br />
insufficient knowledge of the Berne Convention<br />
and the subsequent Act of Paris. In the latter<br />
article 8 of the original convention has been altered<br />
to read as follows:–<br />
“Authors not belonging to one of the countries of the<br />
Union, who shall have published or caused to be published<br />
for the first time their literary or artistic works in a<br />
Cºunty which is party to the Union shall enjoy in respect<br />
of such Works the protection accorded by the Berne Conven-<br />
tion and by the present additional Act.”<br />
If, therefore, an American author wanted a test<br />
case he would merely copyright his work in France<br />
or Germany and then produce in England without<br />
type-setting. If, then, we refused to grant him<br />
Copyright the signatories to the Berne Convention<br />
would have every right to object.<br />
That the type-setting clause might cause the<br />
Withdrawal of the Presidential proclamation is self-<br />
evident, even if England could establish her posi-<br />
tion as against article 3 quoted above.<br />
We fear the type-setting law, if it were passed,<br />
Would be most dangerous; but apart from this we<br />
should regret to see a retrogressive step in the<br />
evolution of copyright ideals. We should rather<br />
ask the United States to advance their intellectual<br />
development than that England should recede.<br />
EDUCATIONAL WORKS IN THE UNITED STATES.<br />
IN the New York Nation is printed a letter from<br />
a correspondent who wants for educational purposes<br />
the tariff removed from imported books. There is<br />
a subtle irony throughout this letter, as the writer<br />
does not at any point appear to realise that a book<br />
is the author's property and originated from his<br />
brain.<br />
“By the copyright law both printers and<br />
publishers in this country are well protected.<br />
No book may be copyrighted here which has<br />
not been manufactured in the United States.”<br />
But what about the authors, the United States<br />
authors. Surely if this copyrighting and type-<br />
setting business is worth anything it should be<br />
for the protection of the author. If this high<br />
tariff on imported books is to work any good it is<br />
to teach the United States authors to write educa-<br />
tional books for themselves; if they cannot pro-<br />
duce the necessary scholars to write the critical<br />
educational works, then surely there is still a<br />
chance left for the pirate.<br />
High tariff and type-setting clauses if they<br />
cannot help the United States author ought at<br />
least to foster the brood of piratical printers and<br />
publishers. But evidently, according to the Nation's<br />
correspondent, the latter have missed an oppor-<br />
<br />
<br />
## p. 156 (#204) ############################################<br />
<br />
156<br />
THE AUTHOR.<br />
tunity. It is not too late ; the new American<br />
Copyright Law has not as yet been passed, and<br />
the States have not yet found it possible to join<br />
the Berne Convention.<br />
-** *-ms<br />
THE UNITED STATES DRAMATIC AUTHORS’ CLUB.<br />
WE have received a cutting from an American<br />
newspaper referring to an American Dramatists’<br />
Club. It would appear from this cutting that the<br />
club is going to alter its constitution, and that the<br />
members have decided to accomplish “feats of more<br />
enduring consequence than assembling at a table<br />
and telling each other how downtrodden they are.”<br />
They are going to attempt to form a Society of<br />
Dramatic Authors and Composers of the United<br />
States, and hope to work on similar lines to<br />
those of the Société des Auteurs Dramatique.<br />
This is certainly a sensible step. It is the first<br />
combination of authors which has taken place in<br />
America, if we except the Society of Authors which<br />
started some years ago. This latter society, begun<br />
under good auspices, failed miserably through its<br />
incapacity to grapple satisfactorily with the<br />
practical wants of authors. We hope that the<br />
Society of Dramatic Authors will not experience a<br />
similar fate, but we are afraid. By the statement<br />
before us it proposes to affiliate with the National<br />
Association of Theatrical Producing Managers.<br />
Surely this is a disastrous step if the dramatists<br />
desire to establish themselves on an independent<br />
basis. How can they discuss agreements How<br />
can they take action in the courts How can they<br />
criticise freely when possibly their committee may<br />
be controlled by the managers ? If we remember<br />
rightly the old American Authors’ Society had<br />
a publisher on its board of management. This<br />
may, quite possibly, have caused its disruption.<br />
THE UNITED STATES LITERARY AGENT.<br />
Do you advocate the literary sales agent 7<br />
“We do not. We fail to see his advantages, we know<br />
editors in general are prejudiced against the average, and<br />
we have yet to become acquainted with one we could trust.<br />
Perhaps our experience has been unfortunate ; but those<br />
we know have not only been careless in business methods,<br />
but absolutely dishonest. For example, a letter was<br />
recently shown us from a Chicago editor, calling attention<br />
to the fact that a New York agent had sold an article of<br />
his, been paid, and had never remitted ; further, he had<br />
paid the agent for an article sold to his magazine, and<br />
the latter had never remitted to the author. An article<br />
sold to Recreation in 1907 benefited only the agent and<br />
not the author ; the money was paid to the former.<br />
A series of articles in the Delineator was paid for on<br />
acceptance and the author secuted the money in small<br />
Šums, months afterward, through the agency of the law.<br />
We cite these facts because they have come to our<br />
knowledge. The agent charges to examine a manu-<br />
Script as much or more than the (Editor) Literary<br />
Bureau , charges for a full criticism. He charges<br />
& Commission on each sale. The author has no way of<br />
knowing the amount received, the time the money was<br />
paid, nor where nor how his work is hawked about.<br />
Editors are always ready to examine any manuscript an<br />
author may submit, and the fool who in the face of dis.<br />
claimers, by every writer of note persists in hoping for<br />
º through some friend at court remains always the<br />
OOl.<br />
We have taken the cutting printed above from<br />
a little paper produced in the United States called<br />
the Ediſor. . The paper is written with the pur-<br />
pose of assisting authors in the disposal of their<br />
Wares and contains many useful hints : but we<br />
think that the writer is a little hard on agents.<br />
We know of some agents guilty of actual fraud,<br />
some dishonest, and we know of those indifferent<br />
honest, who are in the pocket of the publishers.<br />
With the best intentions they do not give the<br />
author a fair market.<br />
But We also know, this side of the Channel, those<br />
who are indispensable to the author, against whom<br />
editors have no prejudice and with whom publishers<br />
have no disagreement. It is true that we have had<br />
difficulty in discovering a sample of these last in<br />
America. Perhaps it may be that the commercial<br />
integrity of the United States does not admit of<br />
the position as confidential as that which must<br />
exist between the author and his agent, or it may<br />
be that the United States author is himself too<br />
good a business man. But it seems absurd to say<br />
that “the author has no way of knowing the<br />
amount received, etc.”<br />
In fact, the Editor seems, as he himself suggests,<br />
to have been unfortunate.<br />
*—º- *<br />
v-v-w<br />
MAGAZINE WRITERS AND THE INCOME<br />
TAX. -<br />
——º-º-º-<br />
S the time approaches to fill up again the<br />
A income tax returns, the question arises—<br />
could not something be done for small<br />
authors and contributors to magazine literature to<br />
alleviate the importunate demand made upon<br />
“earned incomes " derived from such a precarious<br />
and unreliable source 2 Nowadays the competition<br />
is so keen and the opportunities of the pen thereby<br />
for earning have fallen so far short of former years<br />
the matter is worthy of attention, especially as the<br />
tax is still at almost a war figure<br />
To the writer of magazine contributions parti-<br />
cularly, the money received in return for his work<br />
is generally inadequate to the labour bestowed upon<br />
it, and is earned at high pressure. I would, there-<br />
fore, advocate the entire exemption from taxation<br />
for incomes or portions of incomes derivable by<br />
<br />
<br />
## p. 157 (#205) ############################################<br />
<br />
THE AUTHOR,<br />
157<br />
authors of magazine contributions, whenever the<br />
incomes acquired from such sources are fluctuating<br />
and not permanent.<br />
If we keep in view the following points connected<br />
with the magazine contributor it seems more than<br />
hard that should he prove sufficiently successful to<br />
come within the scope of taxation he should be<br />
taxed as other earners in the more certain and pro-<br />
ductive professions. To a magazine writer the<br />
following have to be contended with before he can<br />
earn sufficient to entitle himself to be called success-<br />
ful and come within the power of the income tax<br />
collector.<br />
(1) The inadequacy of the emolument he<br />
receives, compared with the time and thought<br />
bestowed upon his writings.<br />
(2) The uncertainty of the acceptance of his<br />
MSS. and consequent loss of time and labour.<br />
(3) The tardiness of payment in a large number<br />
of the cases.<br />
(4) The time which elapses before his con-<br />
tributions, if accepted, appear in print.<br />
(5) The time and postage which he must expend,<br />
should an article have to be sent to a number of<br />
magazines before it is accepted.<br />
(6) The long period which generally elapses before<br />
an author’s writings win a permanent or secured<br />
position in the literary market, with the necessary<br />
sacrifices dependent thereon.<br />
Therefore, on this class of earnings, so hardly<br />
worked for and so uncertain in its nature, it seems<br />
to me that complete exemption of tax should be<br />
made possible. To tax a man in full, according to<br />
the “earned income * scale on the emoluments<br />
received for accepted contributions, is not only an<br />
unjust charge but an extortionate one.<br />
In addition to the foregoing let me quote the<br />
following instance. Take the so-called “success-<br />
ful” author whose income comes between £150 and<br />
4500 per annum. His earnings are chargeable<br />
with the full “earned income '’ demand on any-<br />
thing realised over the £150, less the rebate return-<br />
able under the somewhat unsatisfactory recent<br />
arrangement. Then let me quote two typical,<br />
though (as here stated) unique, cases which may<br />
not at once seem deserving of the same sympathy—<br />
I give these in all seriousness, however amusing at<br />
a first glance is the reading. Take for instance a<br />
magazine writer whose wife is possessed of an<br />
independent income with which she contributes to<br />
the household expenses. He has to depend on his<br />
literary efforts or successes for personal funds, and<br />
has to pay income tax to scale on his own uncertain<br />
earnings. Again, an official incapacitated by ill<br />
health from official duty, but the recipient of a<br />
small pension, who augments same by contributions<br />
to magazines, the monetary return for which<br />
fluctuates from year to year, and is in some years<br />
almost nil; he is charged, nevertheless, to the full,<br />
whenever by diligence and hard work he is lucky<br />
enough to turn in sufficient to render himself liable<br />
to duty.<br />
In case No. 1 it may be said the author is<br />
very fortunate to be able to earn anything<br />
between £150 and £500 by his pen. In case<br />
No. 2, that the author is equally fortunate to be<br />
married to a woman who has an income of her<br />
own ; though, according to the Married Women's<br />
Property Act not necessarily at his disposal; and<br />
in case No. 3, that the writer is no less fortunate<br />
to be possessed of a pension. These facts I do not<br />
dispute. The point at issue, however, is that the<br />
nature of such literary earnings is so precarious, and<br />
often embodies labour so unproductive and there-<br />
fore untaxable, that it is little short of injustice to<br />
levy tax on incomes so tardily derived if they<br />
happen to top the exemption limit.<br />
That a considerable amount of sympathy exists<br />
for the indigent author is evidenced by the support<br />
which has been given to the Pension Fund of this<br />
Society by our fellow authors. The old adage that<br />
“Charity begins at home” is fittingly exemplified<br />
by the response of the members to this deserving<br />
object, but there is also this to be said—if possible<br />
don't let your author become indigent, and even in a<br />
Small matter like income tax don’t suffer the earn-<br />
ings of so precarious a profession to be curtailed by<br />
allowing it to be subject to diminution by taxa-<br />
tion. Give your author a chance to put by for a<br />
day when the brain ceases to be active and the pen<br />
is no longer powerful. It is a regrettable thing that<br />
men who earn their incomes at such a disadvan-<br />
tage should be placed alongside the fortunate<br />
possessor of a permanent Civil Service appointment,<br />
the remuneration for which never varies and is<br />
assured. This, surely, is a matter deserving of<br />
attention, and I am certain it has only to be<br />
properly represented to receive the support and<br />
consideration of those who have the power and, I<br />
trust, would also have the inclination to rectify it.<br />
I would also suggest that the remedy should<br />
recovery—say for three years—of tax<br />
already overpaid by writers, in addition to the<br />
abatement of all tax in the future, as in the case<br />
of benevolent funds and charitable institutions<br />
whose incomes are entirely exempt, and I have no<br />
doubt the return of an accumulated three years of<br />
income tax would prove to most magazine Writers<br />
a very welcome and acceptable little douceur at the<br />
hands of H.M.'s Customs.<br />
include<br />
ALFRED SMYTHE.<br />
<br />
<br />
## p. 158 (#206) ############################################<br />
<br />
158<br />
TRIES A UTISIOR.<br />
REVIVING A LANGUAGE.<br />
—t-sº-0–<br />
OME Latin and French, and probably rather<br />
less German or Greek, have usually formed a<br />
part of the school work of any man who has<br />
received anything more than a primary education.<br />
The curriculum provided for young women embraces<br />
rather more French, about the same amount of<br />
German, and occasionally a Smattering of Latin.<br />
How some men can rant—the “weaker’ sex are<br />
not prone to the same infirmity—concerning the<br />
time that they were made to waste at School over<br />
languages “that could not possibly ever be of any<br />
use to them ’’ every one knows. Men and women<br />
of letters, on the other hand—though the former<br />
may be occasionally heard declaiming on the<br />
stereotyped lines—are disposed, particularly if their<br />
work is of any serious kind, to regret that they<br />
were not taught rather more than less. To be<br />
unable to consult some French or German author<br />
is at times an embarrassment. Even if a transla-<br />
tion exists it is not always safe to place absolute<br />
confidence in translators. There is no certainty<br />
that an amanuensis will have the discrimination to<br />
hit exactly upon what is wanted. And if any long<br />
trail of references has to be pursued, who does not<br />
know by experience how easily that may lead out<br />
of one language into another ? Then the author<br />
begins to envy the individual whose range is not<br />
restricted within the limits of a single language.<br />
Once upon a time the author did learn some French,<br />
German, Latin—though hardly enough to render<br />
the language serviceable. Now, all that was<br />
learned is either forgotten or, at any rate, hope-<br />
lessly inadequate for any practical purpose.<br />
That is the question. For the contention of the<br />
present article is this—that the difference between<br />
what a man once knew of a language and what he<br />
knows of it to-day is usually very small.<br />
Is there any one, who has not heard some story<br />
such as that of the lady whose girlhood was spent<br />
in Florence, who, after quitting Italy, for more<br />
than five-and-twenty years, never opened an Italian<br />
book, never spoke a word of Italian, and believed<br />
herself to have entirely forgotten that language,<br />
but on returning to Italy no sooner found herself<br />
in the Italian Customs House than she began<br />
speaking Italian on the spot ? In society such<br />
stories are listened to with polite attention,<br />
accompanied by a conviction that the speaker is<br />
lying. Only the latter need not be the case.<br />
Linguistic attainments are of a strangely indelible<br />
nature.<br />
Here there is no wish to exaggerate, nor any<br />
Occasion for exaggeration. It may be freely ad-<br />
mitted that individuals exist to whom any language<br />
saving the one to which they have been accustomed<br />
from infancy is a bewildering mystification. There<br />
are individuals also to whom their own language,<br />
excepting in its crudest colloquial forms is equally<br />
unmanageable. The people who habitually make<br />
such assertions as, “He took me in ; and when I<br />
ran down to look him up, I found him out,” are<br />
generally as incapable of expressing what they<br />
mean in more cultivated English, or less ambiguous,<br />
as they are of translating their statements into<br />
Etruscan.<br />
But after due allowance has been made for the<br />
exceptional people who cannot adapt themselves to<br />
any tongue but their own, attention is really the<br />
only thing necessary to learn a language. No<br />
great demand is made even upon the memory.<br />
Words are more easily remembered than anything<br />
else, and will store themselves in the brain by a<br />
process of perfectly unconscious cerebration. It is<br />
true that the proficiency of the linguist, particularly<br />
if he is familiar with several modern languages, is<br />
often much admired. But his accomplishments<br />
are all of the most elementary kind. To speak and<br />
to think in any language, no matter how complex,<br />
is within the capacity of every child that habitually<br />
hears it. Writing correctly is quite another thing.<br />
The child finds speaking and thinking easier than<br />
reading. For use alone in language is everything,<br />
and the only difficulty unfamiliarity. To be able<br />
to read is often all that the author needs; and of<br />
all the uses that can be made of a foreign language<br />
reading is the easiest.<br />
But how is it to be compassed ? How is the<br />
language that has become so “rusty " to be revived P<br />
If reading alone is the object the recipe is “re-read.”<br />
Take up again the easiest old school reading book;<br />
if possible, if it has not gone to the book-stall or<br />
lit the kitchen fire, the identical volume, the<br />
appearance of whose thumbed pages was once so<br />
familiar to the eyes. A very curious psychological<br />
phenomenon will almost certainly ensue. At first<br />
hardly anything is remembered. Then one by one,<br />
and then a few at a time, the words and phrases<br />
begin to emerge, as it were, from some distant<br />
recess at the back of the brain, and to resume their<br />
places in the foreground of memory. A very little<br />
at a time suffices, about half an hour. Only every<br />
day the half-hour's reading covers more and more<br />
ground. But “re-read” is still the recipe, patient<br />
reperusal of the same matter until it has become<br />
familiar. That will be accomplished in less time<br />
than was anticipated, and with results other than<br />
those of the school lessons. Those lessons had to<br />
be learned—if they could not be avoided. Desire<br />
of knowledge was little or none. Now the will is<br />
co-operating. If there is need, and before long<br />
there will be need, to consult a grammar, let that<br />
be the old grammar. Is it out of date 2 It can<br />
be replaced by a better one by-and-by ; but at first<br />
<br />
<br />
## p. 159 (#207) ############################################<br />
<br />
THE AUTHOR.<br />
159<br />
it will assist the revival more than any other. And<br />
it will be found a much simpler book than it<br />
formerly seemed. All the rest is simply to persevere.<br />
Objections will be raised, and probably this one<br />
first : in childhood and youth the memory is quick<br />
to absorb impressions, but afterwards less receptive.<br />
That is true. But the smaller receptivity plus<br />
attention (in childhood volatile), plus will (in child-<br />
hood often completely absent) are together little<br />
less effective, if at all less effective, than the younger<br />
keener memory alone. More serious than any<br />
dulling of the memory may be found the distractions<br />
resulting from those cares of life, from which<br />
childhood is exempt. But that distractions have<br />
to be reckoned with is a fact of which few writers<br />
can be ignorant.<br />
Another objection will most certainly be, “Who<br />
can resume the toil of searching for words in a<br />
lexicon P’’ That, however, is only an aspect of a<br />
much wider misgiving, probably best stated thus—<br />
“Were the whole that was ever known recovered,<br />
it would still be insufficient for any practical use.”<br />
That is very likely, in consequence of an<br />
insufficient familiarity with the vocabulary. In<br />
the case of the adult the remedy for that is a trans-<br />
lation. The best sort of translation, if it can be<br />
had, is one that presents the original and the<br />
version in parallel columns. With this it is easy<br />
to study phrase by phrase ; and when a page has<br />
been mastered to cover the translation with a card,<br />
and to test the results. If a schoolboy can secure<br />
a “crib” he scamps his work as a matter of<br />
course. His aim is not knowledge, but to escape<br />
from “fag,” and from the cane, and other personal<br />
inconveniences. But when the aim is knowledge,<br />
a text may be studied with a translation to very<br />
good purpose, and with the result of picking up<br />
the meaning of words with great rapidity. Only<br />
now and then will the lexicon be needful. And a<br />
felt need of it will indicate a marked advance.<br />
Meanwhile the reader will probably become<br />
acquainted with some of the gentle ways of<br />
translators; and should he feel moved to use bad<br />
language when the translator omits every passage<br />
that presents any real difficulty, that will be<br />
natural, but not right. It is easier, and leads to<br />
more rapid advance, to read first a good deal of<br />
some one author. That secures his vocabulary; and<br />
the vocabulary of another may come afterwards.<br />
The new words found in the works of various<br />
writers, that is to say the new crop of difficulties,<br />
is necessarily a perpetually diminishing quantity.<br />
A chrestomathy, presenting selections from many<br />
writers, is more difficult to read than any author's<br />
work, and never contains enough of each writer to<br />
make his vocabulary familiar. And, as has been<br />
already said, use is everything. A man accustomed<br />
to read a language will read it with facility howso-<br />
ever irregular and erratic his study of it may have<br />
been. And a man not used to reading a language<br />
may possess a philologist's knowledge of all its<br />
phenomena, and yet be puzzled by an ordinary<br />
paragraph in a newspaper. Reading and re-reading<br />
of course cost time, and attention must be given.<br />
It is not asserted that any magical “course of six<br />
lessons” will enable the person who believes in it<br />
to read German at sight, or to acquire any other<br />
similarly useful accomplishment. But this is<br />
asserted, that people have seldom forgotten a<br />
language, or such elements of it as they once<br />
learned, so completely as they suppose; and that<br />
by mere reading and re-reading, with occasional aid<br />
from the grammar and lexicon, a useful familiarity<br />
may be acquired more easily than is generally<br />
imagined.<br />
a -º- a<br />
w—w-w<br />
THE DEGENERATION OF TWENTIETH<br />
CENTURY HUMOUR.<br />
(Being an extract from a History of Literature of 2008.)<br />
. . . The degeneration of humour, be it said,<br />
began with the law-compelled increase of partial<br />
education amongst the masses—a little knowledge<br />
is fatal to the most flourishing native wit—and the<br />
subsequent rise of democracy foreshadowed the<br />
end. Humour preserved in clarity among the<br />
cultured struggled feebly against the rising tide<br />
and finally capitulated ; while professional<br />
humorists, constrained by necessity to cater for<br />
the majority, deserted Thersites to follow Caliban.<br />
Popular humour, hitherto confined to a few<br />
obscure papers with a slum circulation, broke all<br />
bounds, leering brazenly in England's stateliest<br />
homes. Knock-about foolery, the naked pun, the<br />
more or less unveiled innuendo flaunted in tinsel<br />
through Literature and Journalism alike ; the<br />
Comic Muse grew pale and died before the stare of<br />
Vulgarity, and so it came about that Journalism<br />
invented a peculiar humour.<br />
Perhaps journalists imagined that this humour<br />
was of a high order, but it is safer to suppose that<br />
they merely looked upon it as the only alternative<br />
to its poor relation in the gutter. Gone was light<br />
and delicate persiflage, gone subtle exaggeration,<br />
the deft turn of fancy, the keen satire that healed<br />
with laughter even as it struck : but it did what it<br />
could with the non-sequitur, the double entenſe,<br />
and the parody, and fought with its poor relation<br />
over the obvious.<br />
But by far the most important side of its cha-<br />
racter was the exclusive joke—the joke, gaped at<br />
by of tróAAoi, which Journalism took to its heart<br />
and crooned over. It was felt that to create a<br />
<br />
<br />
## p. 160 (#208) ############################################<br />
<br />
160<br />
TISIE AUTISIOR,<br />
species of humour incomprehensible and caviare to<br />
the general was at least to establish an islet, where<br />
brethren of the pen might foregather and chortle<br />
convivially without the raucous cachinnation of<br />
respectable householders offending their tympani.<br />
Besides, a competitory factor in the field was held<br />
to be politic. But this good influence was not for<br />
long.<br />
Gradually all classes entered journalism in some<br />
capacity or other ; sans-Culottism rushed the bar-<br />
riers; the sphinx's riddles were answered by cam-<br />
paigning phonographs, and the finer spirits, falling<br />
back on the dead languages, found their retreat<br />
cut off by parents disguised as help-meets of their<br />
offspring's studies. Journalistic humour, doomed<br />
beyond recall, took the only course open to it—<br />
unconditional surrender. And this was the be-<br />
ginning of what is now known as Humorous<br />
Socialism. . . .<br />
It was not until after the final capitulation of<br />
Journalism that Literature, hitherto the mainstay<br />
of the defeated party, seriously considered the<br />
gravity of its position. It found its ranks riddled<br />
with pretentious charlatans and transfigured rodo-<br />
monts, adherents in turn of Demos and the<br />
Olympians, strutting now with grocer's incense and<br />
second-hand halos on the Sacred Mount, and again<br />
grinning through horse-collars in the kennel. It<br />
found “Art for Art's sake ’’ pierced by the<br />
snicker-snees of rampant Comstockians, and<br />
“God and Mammon ’’ inscribed as the new canon<br />
and motto upon the wall. In a word, it awoke to<br />
find itself a dead body, impotent and immobile,<br />
amid a choir of worms long past their prime. . .<br />
T. O’B. H.<br />
--—e—sº-,--—<br />
THE ART OF FICTION.-k<br />
—º-º-º-<br />
ERHAPS there is a Faculty of Fiction at one<br />
of the American Universities. Perhaps Mr.<br />
Clayton Hamilton has lectured there ; and<br />
perhaps this book is a reprint of his lectures. We<br />
do not know ; but there is something in the tone<br />
of the book which somehow suggests such an origin.<br />
An actual craftsman, we imagine, would be a little<br />
less didactic, a little more prone to button-hole his<br />
reader, and lead him behind the scenes; whereas<br />
Mr. Clayton addresses his public as if he were on<br />
a rostrum, with a glass of water by his side, and a<br />
class of intelligent pupils in front of him diligently<br />
taking notes. Many of his precepts—let us even<br />
say most of them—are sound; but a pupil who<br />
observed them all and yet wrote as his teacher<br />
Writes would be a dull dog and therefore a bad<br />
novelist. If we had to summarise the contents of<br />
the work, we should say that it consisted of an<br />
analysis of the tricks by which the great authors<br />
get their effects coupled with an injunction to the<br />
students to go and do likewise. There is little to<br />
be said against the analysis except that it is long-<br />
winded and wearisome ; but there is one writer<br />
among those held up to imitation whose secret Mr.<br />
Hamilton does not seem to us quite to have<br />
grasped. He commends Guy de Maupassant for<br />
his skill in working up to a climax; but surely<br />
Maupassant is most characteristic when he delibé-<br />
rately avoids climax and works up to anti-climax<br />
instead, as in, for instance, his version of the story<br />
of Enoch Arden. His returning husband, lost for<br />
so many years, finding his place taken, does nothing<br />
desperate or heroic whether in the way of self-<br />
sacrifice or otherwise. On the contrary, the strange<br />
emotional situation dazes him. He goes off with<br />
the husband-in-possession to the public house, to<br />
have a drink and talk the matter over with the<br />
landlord ; and the reader feels that, after all, life is<br />
like that, and drops to the banal more often than<br />
it rises to the sublime. Similarly with the story<br />
of the childless Norman farmer and his wife. The<br />
wife, reproached for her barrenness, boasts that,<br />
before her marriage, she has borne a child to one<br />
of the farm labourers. One expects a scene of<br />
violence and brutality, but nothing of the kind<br />
follows. The farmer says that he is very glad, and<br />
that, if his wife will keep the secret, he will adopt<br />
the child. There is a realism there which seems<br />
to have escaped Mr. Hamilton’s observation. On<br />
the whole, however, his analysis is perspicuous if<br />
not entertaining ; and the introductory essay con-<br />
tributed by Professor Brander Matthews is worthy<br />
of the Volume in which it is incorporated, and<br />
derives no inconsiderable distinction from its<br />
measured and ponderous sagacity.<br />
OP-e—46—<br />
THE LITERARY YEAR BOOK, 1909.4<br />
—º-º-º-<br />
GENERAL REVIEW.<br />
HIS is a book which is keenly appreciated<br />
by a great many authors whose income is<br />
derived from their labours with the pen.<br />
Undoubtedly the Literary Year Book is becoming<br />
more indispensable year by year. The credit must<br />
* “Materials and Methods of Fiction.” By Clayton<br />
Hamilton. With an introduction by Brander Matthews.<br />
(Grant Richards.) .<br />
* Thirteenth Annual Volume. (George Routledge & Sons,<br />
Ltd<br />
<br />
<br />
## p. 161 (#209) ############################################<br />
<br />
TRIES A CITISIOR.<br />
161<br />
be given to Messrs. Routledge & Sons for being<br />
the only publishers who have made a serious<br />
endeavour to furnish the large body of writers<br />
with a handbook of reference which may bring<br />
them in touch with publishers, editors, librarians,<br />
agents, literary societies, retailers of books, and<br />
others who may be of practical service to them.<br />
Year by year it has devolved upon us to criticise<br />
the growth of successive editions. Sometimes We<br />
have done so adversely, but in all good faith, regard-<br />
ing it as our duty to draw attention to short-<br />
comings. It is satisfactory to note that such<br />
friendly comments have been taken in good part.<br />
In this volume a noteworthy departure is a<br />
separate Obituary List of authors and others con-<br />
nected with literature, whose deaths have occurred<br />
during the time since the twelfth edition was<br />
issued.<br />
It is satisfactory to note that care has been<br />
taken to revise the list of periodical publications.<br />
Printing in a separate form an index to the<br />
periodicals is a welcome innovation. It is as<br />
useful as the index of authors in the earlier part<br />
of the book.<br />
In Part II. of the Year Book we are glad to<br />
find that the contents are now arranged alpha-<br />
betically. This is a step in the right direction,<br />
and we are sure that we are voicing the feelings of<br />
the majority of the purchasers of this new edition<br />
when we venture to suggest that the alphabetical<br />
arrangement might be extended throughout the<br />
entire volume, abolishing the red and green divi-<br />
sions which the uninitiated fail to appreciate, and<br />
printing at the top right-hand corner of each page<br />
in heavy type a fly title as a guide for rapid refer-<br />
ence. If for editorial reasons this is not possible<br />
in all sections, a supplement might contain the<br />
matter which has to be held over until the last<br />
moment.<br />
We note with pleasure that the section dealing<br />
with Public Libraries has as far as possible been<br />
brought up to date, and the information given<br />
regarding the Nobel Prizes is always useful. In<br />
a future year perhaps the interesting calendar may<br />
be amplified. We do not, for instance, see in<br />
January the birthday noted of Edgar Allan Poe,<br />
concerning whom so much ado is being made this<br />
year. It is in the list of Authors that we suggest<br />
there is most room for amplification. Sir Walter<br />
Besant long ago remarked that the literary pro-<br />
fession was not confined to men who lived by<br />
authorship. Noteworthy books have been and<br />
continue to be written by members of all the<br />
learned professions. To live entirely by the pen<br />
means usually a small income and a great struggle.<br />
If we take the most successful writers of the day<br />
we find that not a few of them have made some<br />
other profession their mainstay or they have been<br />
the fortunate possessors of a private income.<br />
Consequently if we turn to the names of authors<br />
in circulating libraries and take the trouble to<br />
look them up in “Who’s Who,” we find in many<br />
Cases that there are soldiers, sailors, clergymen,<br />
physicians, or many engaged in commerce. In<br />
the face of that fact, surely what is here called a<br />
“Full Directory of Authors” should be at least as<br />
ample as are the separate directories of members<br />
of the aforenamed callings. Yet, the list of<br />
authors bears no numerical comparison with the<br />
names in the Army List, the Navy List, the<br />
Clergy List, the Medical Directory, or the Musical<br />
Directory. To compile an authoritatively “full”<br />
list of authors residing in the British Isles no<br />
doubt would be a big task, but we feel convinced<br />
that Messrs. Routledge & Sons have the necessary<br />
machinery for the purpose. If the pages of<br />
“Who’s Who” and Churchill’s “Medical Directory”<br />
were gone through systematically we feel sure that<br />
from those two sources alone considerable additions<br />
to the present list of authors would result. Another<br />
year the names of such worthies as Lafcadio<br />
Hearn, Alfred Stead, Thomas Perkins, Henry<br />
Paten Gurney, Henry Barton Baker, Henry Grey<br />
Graham, James Hay, Herbert Compton, Rudolf<br />
Lehman (of Bushey), Joseph John Nesbitt,<br />
etc., might be deleted from living authors,<br />
since we believe they passed away some time ago.<br />
In every work of reference done on a large scale<br />
casual slips are inevitable, and on the whole the<br />
Literary Year Book for 1909 is a great improve-<br />
ment on previous editions. -<br />
A. R.<br />
a —sº- a<br />
v-u-w<br />
“PIPPA PASSES.”<br />
—º-º-º-<br />
ESSRS. CHATTO & WINDUS have put on<br />
1. the market a beautiful volume containing<br />
Robert Browning’s “Pippa Passes and<br />
Men and Women,” with ten illustrations, at the<br />
rice of 6s.<br />
In these days there is very little to be said which<br />
has not already been said about Robert Browning's<br />
poetry; whether the criticism is true or false, a<br />
mere statement of self-evident facts or a budget of<br />
paradoxes. It is much better to leave the student<br />
to read the book without comment. No person<br />
who is really interested in English poetry can fail<br />
to take out that which is beautiful from Browning's<br />
works and reject that which is uninteresting. Each<br />
reader will follow his own taste. It is no longer a<br />
question of whether Browning is to be included in,<br />
or omitted from, the list of poets.<br />
With ten<br />
* “Pippa Passes and Men , and Women.”<br />
(Chatto<br />
illustrations in colour after Helena F. Brickdale.<br />
& Windus, 6s. Inet.)<br />
<br />
<br />
## p. 162 (#210) ############################################<br />
<br />
162<br />
TISIES A UTRIOR*.e.<br />
The selection before us is certainly a very good<br />
selection for those who love the poet and his works.<br />
It begins with “Pippa Passes.” It contains such<br />
poems as “Evelyn Hope,” “Fra Lippo Lippi,”<br />
“A Light Woman,” “The Patriot,” and many<br />
others of his best known works.<br />
The real appeal, however, in a book of this<br />
character must lie in the illustrations and the<br />
artistic get up. These could not have been better.<br />
Miss Brickdale’s illustrations are excellent and have<br />
been most carefully reproduced, the print is large<br />
and clear, the paper good, and the binding artistic.<br />
Perhaps if we were asked to choose any one picture,<br />
we should select the picture illustrating “A Light<br />
Woman,” page 122, as the best, as i J<br />
have caught artistically the fancy of the poem.<br />
We must express a regret that “Pippa Passes ''<br />
has not been more fully and more sympa-<br />
thetically illustrated. The two illustrations<br />
devoted to this poem are good as works of illustra-<br />
tive art, but hardly characteristic of the feeling<br />
expressed in the words. The little drama is so full<br />
of artistic possibilities that it is a pity the artist has<br />
not devoted more of her undoubted skill to its<br />
explanation in colours. Perhaps some day she may<br />
turn her attention to this poem alone and absorb<br />
its Italian colouring and sentiment. It is wholly<br />
out of place to endeavour to explain its Italian<br />
Sentiment by an illustration of a girl sitting in an<br />
English cottage garden. The illustrated editions<br />
of Browning's works are not numerous ; we gladly<br />
welcome this edition. The book is exceedingly<br />
cheap at the price of 6s.<br />
BRITAIN'S GREAT AUTHORS.*<br />
—e—sº-0–<br />
E have received from the Fine Arts<br />
Publishing Company an interesting port-<br />
folio which they have produced at the very<br />
reasonable price of half-a-guinea. It contains<br />
twelve reproductions of English authors, the<br />
first William Shakespeare, 1564, and the last<br />
Alfred Tennyson, 1892. The reproductions,<br />
carefully done, are in most cases from well-<br />
known pictures, and the portfolio is accompanied<br />
with an introduction by Arthur Waugh. Mr.<br />
Waugh's paragraphs dealing with each picture<br />
are necessarily short, but his position as a critic<br />
and true lover of literature ensures that they<br />
are sympathetic and scholarly. Indeed they are<br />
* “Britain's Great Authors.” With introduction and<br />
descriptive text by Arthur Waugh. Published by the<br />
Fine Arts Publishing Co., Ltd., 10s. 6d.<br />
admirable: in a few words, with the skilful touch of<br />
a practised hand he conveys much of the character<br />
of the writers. It would be impossible to find a<br />
more satisfactory present to give to a friend, and<br />
the photogravures (we believe this is the process<br />
of reproduction) would form a proper decoration<br />
for any library.<br />
We give a list of the pictures, as those who<br />
desire to purchase would no doubt like a record of<br />
the names of the authors the portfolio contains.<br />
It would be difficult to say that one or the other<br />
should be omitted from the list, though no doubt<br />
Some would-be purchaser with particular favourites<br />
may say that others should have been added.<br />
William Shakespeare 1564–1616<br />
John Milton * * * 1608–1674.<br />
Oliver Goldsmith ... 1728–1774<br />
Robert Burns 1759–1796<br />
Sir Walter Scott ...<br />
William Wordsworth<br />
John Keats tº e s tº tº tº<br />
W. Makepeace Thackeray<br />
Charles Dickens tº tº e<br />
Thomas Carlyle<br />
Robert Browning ...<br />
1771–1832<br />
1770–1856<br />
1795–1821<br />
1811–1863<br />
1812–1870<br />
1795–1881<br />
1812–1889<br />
Alfred Tennyson .. I 809–1892<br />
CORRESPONDENCE.<br />
—º-º-º-<br />
THE LITERARY YEAR BOOK.<br />
SIR, In “ G. H. T.’s” very kind review of the<br />
“Law and Letters” section of this Annual in the<br />
February Author, he writes: “The successors and<br />
assignees of the publishers are included without<br />
any remark. Some comment on this form was<br />
absolutely necessary.”<br />
You will allow me to direct attention to the<br />
remark and comment on page 512, being the third<br />
of “the points worthy of notice,” the second of<br />
which your reviewer discusses. It runs as follows:<br />
“3. ‘Their successors and assignees.' We leave<br />
these words as they stand in ordinary agreements.<br />
Their expediency must be determined by the status<br />
of the firm with which the author is negotiating.<br />
See above, about bankruptcy. This is a difficult<br />
and, to some extent, a delicate question, on which<br />
guidance should be sought in cases of doubt and<br />
ignorance.”<br />
Yours obediently,<br />
BASIL STEWART,<br />
Editor.<br />
<br />
<br />
## p. 163 (#211) ############################################<br />
<br />
TRIES A [CITISIOR.<br />
163<br />
AMERICAN COPYRIGHT.<br />
SIR,--In response to the appeal by your con-<br />
tributor, Mr. Herbert MacIlwaine, permit me to<br />
say that in 1903 I was bringing out the second<br />
edition of my “Judicial Dictionary,” for which it<br />
was thought expedient to secure the American<br />
copyright. To get this we had to observe, and<br />
bow to, the manufacturing clause in the American<br />
Copyright Act, to which Mr. MacIlwaine so rightly<br />
objects, with this result, the book cost a little<br />
over £2,000 to produce, all of which went to<br />
America, and was lost to the British workmen.<br />
Yours truly,<br />
F. STROUD.<br />
—º-º-º-<br />
SHALL WE PUBLISH FOR OURSELVES 2<br />
SIR,--The gloomy reflections which have lately<br />
appeared in your columns and in those of the<br />
Athenæum on the future of the novel are the<br />
occasion, if you will allow them to be so, of the<br />
following remarks.<br />
There seems to be a consensus of opinion that<br />
good work stands very little chance with the pub-<br />
lisher and the public of the present day. I should<br />
not like to incur the odium of calling my own work<br />
good ; but if I may give my experience, as briefly<br />
as possible, it may lead to suggestions from others.<br />
For whether we succeed in doing good work, or<br />
only try to do it, or only want to read it, we must<br />
feel such a state of things to be deplorable.<br />
The first novel I ever wrote was accepted,<br />
twelve years ago, by the first publisher to whom I<br />
submitted it. I still receive a few shillings<br />
annually from the Colonial sales.<br />
I have never been able to dispose of the second,<br />
which was, in the opinion of all my friends, the<br />
better book of the two. Here are some of the<br />
remarks which publishers of high standing, or<br />
their readers, have made to me upon it :<br />
“It has plenty of excitement, and the characters,<br />
or some of them, are very good indeed.” (This<br />
firm refused it on the ground that they “did not<br />
like to anticipate only a succès d'estime for it.”)<br />
“It is beautifully written from a literary point<br />
of view, but it is not sufficiently exciting for the<br />
class of readers which publishers, unfortunately, have<br />
to cater for at present.””<br />
“Two thoroughly competent readers . . . find<br />
in it literary qualities of a high order, but both<br />
hesitate to recommend it for publication when the<br />
commercial question arises, Will it pay ? . . . The<br />
duty of declining a work that manifests such<br />
description and analytic power and such wit and<br />
grace in dialogue is not congenial.”<br />
“While fully appreciating the excellence of −<br />
* The italics are mine.<br />
as a character, do not feel sanguine of the<br />
Success . . . of the book as a whole.”<br />
Two of the four firms added that they had<br />
hesitated long before coming to a decision.<br />
All this is maddening, but this is not my point.<br />
I believe and hope there are still many who care<br />
for the novel which involves the heart and soul of<br />
the author, and demands some thought, or at least<br />
attention, from the reader. But it is not worth<br />
the publisher's while to aim at them. I am not<br />
blaming the publisher—he must do what is worth<br />
his (pecuniary) while or cease to exist. But he<br />
has to aim at a crowd—a fagged, half-educated<br />
crowd who are in a hurry.<br />
It seems to me that what is not worth the pub-<br />
lisher's while might very well be worth the author's.<br />
Publication is often everything to him, if the book<br />
Will only pay expenses. He need not demand the<br />
profit which the publisher, from his different point<br />
of view, must have.<br />
Is there no way in which the author who cares<br />
for his work can reach the reader—who does exist<br />
-who might also care for it Must the fagged<br />
half-educated crowd of the publisher's ambition<br />
always stand between them 2<br />
Advertising one's book and getting it reviewed<br />
|present the greatest difficulties to the amateur<br />
mind. If one printed one's own book, would the<br />
reviewers treat it as they would the protégé of a<br />
publisher ? Would one make a happy use of the<br />
limited sum at one's disposal for advertisement 2<br />
Yours, etc.,<br />
C. A. M.<br />
—º-º-º-<br />
AN AUTHORS' INSURANCE FUND.<br />
SIR,--The Pension Fund of our society is a great<br />
idea and deserves fuller support than it obtains.<br />
But can We not go a step further and make of it,<br />
or combine with it, a kind of insurance, or provident<br />
fund from which members could draw small sums<br />
in times of need It is possible that if we writers<br />
could sometimes tide over pressing difficulties of<br />
the moment, we might not have to ask a pension<br />
at last, after a life of hard work.<br />
To every brain-worker there come periods of<br />
exhaustion and mental lassitude when the mind<br />
seems to strike, the nerves go wrong, insomnia<br />
maddens, and the only thing to prevent a complete<br />
physical breakdown is rest or change. But how<br />
many writers can afford to take a rest or change 2<br />
To stop work, even for a few weeks, often means<br />
the cessation of income and the accumulation of<br />
small debts which sit on one's head for months<br />
afterwards—sometimes for ever afterwards. If,<br />
then, by paying some definite sum—say Is. a week<br />
or £1 a year—we could be occasionally relieved<br />
from strain, what a boon it would be The big<br />
<br />
<br />
## p. 164 (#212) ############################################<br />
<br />
164<br />
TISIES A UITISIOR,<br />
insurance companies, I believe, charge rather high<br />
premiums and require a compulsory medical<br />
examination ; but the plan I suggest would be<br />
more in the form of a mutual benefit society or<br />
club, and it ought not to be beyond our power to<br />
organise.<br />
There would, of course, have to be a fixed limit<br />
to the sum available on demand ; it would not be a<br />
large sum, and it might be necessary to require a<br />
doctor's certificate of ill-health, although I cannot<br />
conceive any writer would ever try to take an<br />
unfair advantage.<br />
The chief points I see in favour of such an<br />
insurance scheme are :—<br />
1. That it would afford immense relief to the<br />
terribly harassing strain of feeling impotent when<br />
necessity drives against time and power, a strain<br />
that oppresses as cruelly as the brain grows sluggish,<br />
vitality fails, and sleep refuses even the wooing<br />
sedative.<br />
2. It would have no stigma of charity. We<br />
should feel we had a right to draw a few pounds on<br />
emergency. In fact, it would smack less of charity<br />
than a pension does.<br />
3. It might become a means of enlarging the<br />
membership of the Authors’ Society and creating a<br />
wider esprit de corps. -<br />
I submit this idea to my fellow-members trust-<br />
ing that someone more capable than myself will<br />
take it up and lick it into shape. On the principle<br />
of the “stitch in time ’’ even a ten-pound note, at<br />
the psychological moment, might often save a de;<br />
vitalized writer from the gradual slide into serious<br />
illness and consequent poverty. The time always<br />
comes, sooner or later, when that slide goes too far,<br />
and a pension of twenty or thirty pounds does not<br />
adequately meet the trouble. But it might be<br />
prevented if arrested at the start.<br />
Faithfully yours,<br />
M. L. P.<br />
—º-º-º-<br />
THE LITERARY YEAR BOOK.<br />
SIR,-My attention has been called to “Z.'s "<br />
strictures on the U.S.A. list in the “Writers’ and<br />
Artists’ Year Book,” 1909 issue.<br />
I think to all intents and purposes “M.” has<br />
sufficiently replied for me, but I desire to draw<br />
attention to the fact that the list was compiled for<br />
U.S.A. contributors as well as British, and that<br />
the aim is to give those monthlies, etc., that are<br />
known for their straightforward dealing and fair<br />
treatment of contributors. As to “Z.'s "knowledge<br />
of the magazines he complains were not inserted,<br />
it may be safely judged by his inclusion of the<br />
Living Age, a monthly to whose propensities Mr.<br />
Lucy did well to draw attention in his recent<br />
letter to the Daily Telegraph.<br />
May I point out the Strand is so entirely similar<br />
in its U.S.A. make-up to the London publication<br />
of that name that it is never included in the lists<br />
of American magazines. Pearson's is, on the<br />
other hand, wholly and peculiarly American.<br />
Had “Z.” carefully gone over the “Year Book"<br />
he would have gathered evidence that its circulation<br />
is not confined to the British Isles -<br />
Yours faithfully,<br />
THE COMPILER OF THE U.S.A. LIST.<br />
–º-º-º-<br />
RESIGNATIONS.<br />
SIR,--I read in the Committee Notes last month<br />
the views the committee have taken in the matter<br />
of resignation and re-election. I quite see their<br />
point of view, and as a constant subscriber entirely<br />
agree with it. There are a certain class of men<br />
and women who will always get what they want at<br />
the lowest price, for nothing if possible. It is only<br />
just that the committee should protect those who<br />
have paid the annual insurance fee, for so I look<br />
upon the guinea, with regularity and cheerfulness.<br />
There is, however, no doubt considerable danger<br />
that the Society may lose guineas by being too<br />
stringent. -<br />
The copyright of a friend of mine who had<br />
belonged to the society and had ceased to sub-<br />
scribe was infringed. He mentioned the facts to<br />
me ; I recommended him to rejoin and asked him<br />
why he had left. He made the usual excuses,<br />
that it did not benefit him personally, to which I<br />
made reply that the society's action must benefit<br />
all authors, and had done so indirectly if not<br />
directly, whether they were members or not.<br />
His answer came pat—“If it benefits non-mem-<br />
bers as well as members, then I shall get what I<br />
can for nothing.” This, no doubt, is the attitude<br />
of those—I trust there are but few—who remain<br />
outside. - -<br />
When I questioned my friend further about the<br />
infringement of his copyright and suggested his<br />
rejoining, he said that he understood he might be<br />
liable for back subscriptions. I remonstrated with<br />
him, and pointed out that perhaps the damages he<br />
might obtain would cover those, but it was no<br />
good.<br />
He would not take action himself, thus weaken-<br />
ing his own position and that of his fellows by<br />
allowing the pirate to go unpunished, and he<br />
would not rejoin for fear of having to pay a few<br />
guineas, which would probably come back to him<br />
tenfold. }<br />
I left him with feelings of sadness. We are still<br />
friends, but do not discuss the Society when we meet.<br />
What is the good<br />
A CONSTANT SUBSCRIBER.<br />
<br />
<br />
## p. 164 (#213) ############################################<br />
<br />
AD VERTISEMENTS.<br />
III<br />
& º e<br />
z<br />
TYPEWRITING.<br />
Authors’ MSS. copied from 9d. per 1,000<br />
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ESKDALE, WEST DRAYTON, MIDDLESEX.<br />
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WHO'S WHO, 1909.<br />
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Price 1|- net<br />
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ENGLISHWOMAN'S WEAR B00K.<br />
Twenty-eighth year of issue.<br />
Price 2/6 net<br />
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WRITER's & ARTIST'S YEAR BOOK.<br />
With 600 addresses to which MSS. may be sent.<br />
Price 1|- net<br />
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A.&c.BLACK, Soho Sq., London, W.<br />
* . ;<br />
* -<br />
WE have pleasure in announcing that we have made an arrange-<br />
.' ment with Mr. William Archer by which, upon request of<br />
the author, he undertakes to read, criticise, and advise upon any<br />
plays entrusted to us, and he will read no manuscript plays which do<br />
not reach him through us.<br />
The reading fees are fixed as follows:— & S. d.<br />
Fou scenarios of not Over 2,000 words 1 10 0<br />
For plays of one or two acts 1 10 0<br />
For plays of three or more acts 2 10 0<br />
The payment of these fees entitles the author to a written opinion<br />
from 300 to 800 words in length, dealing with the theme, con-<br />
struction, characterisation, and diction of his play, suggesting altera-<br />
tions where they seem called for, and (so far as possible) conveying<br />
both theoretical criticism and practical advice.<br />
The fact that a play has been submitted to Mr. Archer will be<br />
treated by him, and by us, as confidential. On the other hand, the<br />
author is at liberty to show Mr. Archer's opinion to managers, actors,<br />
etc., if he so desires. It would manifestly be misleading, however,<br />
to quote detached phrases or make garbled extracts from a detailed<br />
Criticism. Mr. Archer therefore leaves it to the author's sense of fair-<br />
mess to show to managers, etc., the whole opinion if he shows any<br />
part of it. -<br />
If, in addition to the opinion, the author should desire a personal<br />
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Plays re-submitted after alteration are subject to the same fees as<br />
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Manuscripts should be addressed to :—<br />
Messrs. Curtis Brown & Massie, 5, Henrietta, St., Covent Garden, W.C.,<br />
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Messrs. Curtis Brown & Mlassie. If, as may sometimes happen, a<br />
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adequately dealt with in three or ſour lines, half the reading fee will<br />
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Plays should in all cases be type-written (or printed), and a copy<br />
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Mr. Archer will endeavour to give his opinion of any play within two<br />
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It is not necessary that plays entrusted to us for placing with<br />
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* * * * ~ * *<br />
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<br />
## p. 164 (#214) ############################################<br />
<br />
iv. - AD VERTISEMENTS.<br />
T0 AUTHORS AND JOURNALISTs.<br />
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For full particulars write at once for pamphlet<br />
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* .2g→ s | https://historysoa.com/files/original/5/391/1909-03-01-The-Author-19-6.pdf | publications, The Author |
390 | https://historysoa.com/items/show/390 | The Author, Vol. 19 Issue 05 (February 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+05+%28February+1909%29"><em>The Author</em>, Vol. 19 Issue 05 (February 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-02-01-The-Author-19-5 | | | | | 109–136 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-02-01">1909-02-01</a> | | | | | | | 5 | | | 19090201 | C be El u t b or .<br />
(The organ of the Incorporated Society of Authors. Monthly.<br />
Vol. XIX.-No. 5. EEBRUARY 1, 1909. [PRICE SINPENCE.<br />
C O N T E N T S.<br />
|<br />
- . PAGE PAGE<br />
Notices, ... * - G * - tº tº e is - - - - - - • . . - - - 109, 124 Warnings to Dramatic Authors - - - * - - s º e - - - ... 123<br />
'Qommittee Notes - - - tº º º - - - • * * * * * - - - ... 112 Warnings to Musical Composers ... * * * * e º - - - ... 123<br />
Books published by Members of the Society * g º - - - ... 114 How to Use the Society tº tº a - - - e - - * * * - - - ... 124<br />
Books published in America by Members ... tº º ºs - * * ... 115 To Musical Composers e tº e - - - 6 º' - * = & - - - ... 134<br />
Literary, Dramatic and Musical Notes ... e e e - - - ... 115 The Reading Branch ... * * * - - - tº - - * c & - - - ... 124<br />
Paris, Notes - - - - - - tº e e * * * - - - • * s - - - ... 117 Legal and General Life Assurance Society... e 6 - - - - ... 124<br />
Spanish Notes ... . ... º, a & - - - e - - e & © - - - ... 118 General Notes ... * * * tº tº e - * * - - - * * * - - - ... 125<br />
“Copyright in Musical Compositions... - - - & ſº tº - - - ... I.19 Arthur William A. Beckett ... - - - - - - & e - - - - ... 126<br />
The Dramatisation of Novels ... . ... * - - as s & - * * ... 120 British Authors and American Copyright ... s = & - * * ... 127<br />
Performing Rights in Sketch... - - - - - - * * * - tº - ... 121 On Rendering Accounts * * * - - - - - - * e a - - - , , , 129<br />
...A Bill to Abolish the Powers of the Lord Chamberlain in To Be Ol' Not To JBe ... c. * * - - - - - - - e - - - - ... 129<br />
Respect of Stage Plays, &c. e - - - tº º - - - ... 121 The Decadence Of the Novel ... - - - - - - * * * - - - ... 131<br />
Magazine Contents e - - tº e tº - - - tº - - * * * - - - ... 122 The Literary Year look sº º º * * * - - - * * * - - - ... 133<br />
Warnings to Producers of Books ... • * - * * * - - - ... 123 Correspondence ... • * * tº tº º - - - * * * * * * * * * ... 135<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report for the current year. 18.<br />
2. The Author. Published ten months in the year (August and September omitted), devoted especially<br />
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br />
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back<br />
numbers from 1892, at 10s. 6d. per Vol. - -<br />
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.<br />
4. The History of the Société des Gems de Lettres. By S. SQUIRE SPRIGGE. 18.<br />
5. The Cost of Production. (Out of print.)<br />
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br />
papers in the Society's offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the<br />
various kinds of fraud which have been made possible by the different clauses therein. 3s.<br />
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br />
the office of the Society since the publication of the “Methods.” With comments and<br />
advice. 28.<br />
T. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With<br />
Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
American Copyright Bill. By J. M. LELY. 18. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
(Chairman of Committee, 1888–1892). 18.<br />
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br />
LUNGE, J.U.D. 2s. 6d.<br />
10. Forms of Agreement issued by the Publishers' Association ; with Comments. By<br />
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br />
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br />
and Periodicals deal with MSS. and Contributions. 6d.<br />
12. Society of Authors. List of Members. Published October, 1907, price 6d.<br />
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S.W.]<br />
<br />
<br />
## p. 108 (#152) ############################################<br />
<br />
AD VERTISEMENTS.<br />
(Ilje Šuriefn of Autburg (ſmrurpurated).<br />
PRESIDENT,<br />
COUNCIL.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESHFIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT FOWLER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD.<br />
THOMAS HARDY.<br />
MRS. HARRISON (“LUCAS MALET").<br />
ANTHONY HOPE HAWKINS,<br />
E. W. HORNUNG.<br />
MAURICE HEWLETT.<br />
JEROME K. JEROME.<br />
HENRY ARTHUR JONES.<br />
J. SCOTT KELTIE, LL.D.<br />
RUDYARD KIPLING.<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REv. W. J. LOFTIE, F.S.A.<br />
THE RIGHT HON. SIR ALFRED<br />
LYALL, P.C.<br />
LADY LUGARD (MISS FLORA. L.<br />
SHAw).<br />
SIDNEY LEE.<br />
MRS. MAxwell (M. E. BRADDON).<br />
JUSTIN MCCARTHY.<br />
THE REV. C. H. MIDDLETON-WAKE,<br />
SIR HENRY NORMAN, M.P.<br />
SIR GILBERT PARKER, M.P.<br />
A. W. PINERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKHAM.<br />
OWEN SEAMAN.<br />
G. BERNARD SHAW,<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE,<br />
FRANCIS STORR. -<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD MARSHAL THE RIGHT HON.<br />
THE WISCOUNT WolsFLEY, K.P.,<br />
P.C., &c.<br />
SIDNEY WEB.B.<br />
MAURICE HEWIETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEBB,<br />
Chairman—HENRY ARTHUR JONES.<br />
J. W. COMYNS CARR.<br />
JEROME K. J.EROME.<br />
W. J. LOCKE.<br />
W. SOMERSET MAUGHAM.<br />
CAPT. ROBERT MARSHALL.<br />
PAUL RUBENS.<br />
G. BERNARD SHAW.<br />
Chairman—DOUGLAS FRESHFIELD.<br />
NIORLEY ROBERTS.<br />
|M. H. SPIELMANN.<br />
MRS. ALEC TWEEDIE.<br />
MRS. HUMPHRY WARD.<br />
E. J. MACGILLIVRAY.<br />
SIR. GILBERT PARKER, M.P.<br />
ART sub-COMMITTEE.<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
} Solicitors,<br />
SIR CHARLES WILLIERS STANFORD,<br />
Mus. Doc.<br />
J.H. H. Yox ALL, M.P.<br />
ARTHUR RACKEIAM.<br />
M. H. SPIELMANN.<br />
Secretary—G. HERBERT THRING,<br />
Solicitor in England to<br />
La Société des Gems de L8ttres,<br />
OFFICES.<br />
Telegraphic Address : “AUTORIDAD, LONDON.”<br />
Telephone No. : 374 Victoria.<br />
G-EBOIERG-EB TMIETRIET).ITIET, O. MI-<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIRWM.REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
A. W. A BECKETT.<br />
ROBERT BATEMAN.<br />
F. E. BEDDARD, F.R.S.<br />
THE RIGHT HON. AUGUSTINE BIR-<br />
RELL, P.C. -<br />
MRS. E. NESBIT BLAND.<br />
THE REV. PROF. BONNEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYCE, P.C.<br />
THE RIGHT HON. THE LORD BURGB-<br />
CLERE, P.C.<br />
HALL CAINE.<br />
J. W. COMYINS CARR.<br />
EGERTON CASTLE, F.S.A.<br />
EDWARD CLODD.<br />
W. MORRIS COLLES.<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
F. MARION CRAW FORD.<br />
THE RIGHT HON. THE LORD CURZON<br />
OF KEDLESTON.<br />
AUSTIN DOBSON.<br />
COIMIMITTEE OF MANAGEMENT,<br />
MRS. E. NESBIT BLAND,<br />
J. W. COMYINS CARR.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl ER).<br />
Chairman—DOUGLAS FRESHFIELD.<br />
IDRAIMIATIC SUB-COMMITTEE,<br />
WILLIAM ARCHER.<br />
MRS, E. NESBIT BLAND.<br />
H. GRANVILLE BARKER.<br />
PENSION FUND COIMIMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS,<br />
COPYRIGHT SUB-COMMITTEE.<br />
HAROLD HARDY.<br />
ANTHONY HOPE HAWKINS.<br />
THE HON. JOHN COLLIER.<br />
SIR. W. MARTIN CONWAY.<br />
FIELD, Roscoe & Co., 36, Lincoln's Inn Fields, W.C. -<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W.<br />
LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
39, OLD QUEEN STREET, STOREY's GATE, S.W.<br />
<br />
<br />
## p. 109 (#153) ############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FoundED BY SIR<br />
WALTER BESANT.<br />
Vol. XIX.-No. 5.<br />
FEBRUARY 1st, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
—s—e-e—<br />
NOTICES.<br />
—º-º-º-<br />
OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author.<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application.<br />
a —º- a<br />
v-u-v<br />
THE SOCIETY'S FUNDS.<br />
—º-º-º-<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
WOL, XIX,<br />
or in dealing with any other matter closely<br />
connected with the work of the Society. +<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
— — — —<br />
LIST OF MEMBERs.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
*—º-— a<br />
w--~-w<br />
PEN SION FUND,<br />
—e-º-e—<br />
T the beginning of 1908, the Trustees of<br />
the Pension Fund of the Society, after<br />
the secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
£230 in the purchase of Irish Land Act 2; per<br />
cent. Guaranteed Stock.<br />
The amount purchased is £258, and is added to<br />
the list printed below.<br />
The investments are steadily increasing from<br />
year to year, the amount varying between £200<br />
and £250.<br />
Consols 23%.............................. 31,000 0 0<br />
Local Loans .............................. 500 0 0<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291. 19 11<br />
War Loan .............. • * * * * * * * * * * * * * * * e a e 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ............... 200 () ()<br />
<br />
<br />
## p. 110 (#154) ############################################<br />
<br />
110<br />
THE AUTHOR.<br />
Cape of Good Hope 33% Inscribed<br />
tock .......................... ... e º 'º e º sº e º e tº 3200<br />
Glasgow and South-Western Railway<br />
4% Preference Stock.................. 228<br />
New Zealand 34% Stock........... 247<br />
Irish Land Act 23% Guaranteed Stock 258<br />
Total … #3,376<br />
Subscriptions.<br />
1908.<br />
Oct. 10, Macnaughton-Jones,<br />
Oct. 20, Garvice, Charles<br />
Nov. 12, Woods, Miss Mary A.<br />
Nov. 20, Boycott, G. W. M..<br />
Nov. 20, Budgeon, Miss<br />
Nov. 21, Benjamin, Lewis J.<br />
Nov. 21, Coulton, G. G. º *<br />
Nov. 21, Dixon, Miss H. Margaret<br />
Nov. 21, Colquhoun, A. tº<br />
Nov. 23, Holmes, Miss Eleanor<br />
Nov. 23, Hussey, Eyre<br />
Nov. 23, Capes, Bernard<br />
Nov. 23, Hecht, Mrs. Arthur &<br />
Nov. 23, Festing, Miss Gabrielle .<br />
Nov. 23, Carolin, Mrs. . e §<br />
Nov. 23, Bland, Mrs. E. Nesbit<br />
Nov. 23, Hichens, Robert<br />
Nov. 23, Grogan, W. E. e<br />
Nov. 23, Stowell, Mrs. Rodolph<br />
Nov. 23, Gay, Mrs. g<br />
23, Summers, J. . sº<br />
23, Bloundelle-Burton, J.<br />
23, Freshfield, Douglas<br />
24, Rowsell, Miss Mary<br />
24, Bell, Lady tº<br />
24, Sanders, Miss E. K.<br />
25, Count Plunkett<br />
25, Victoria Cross &<br />
25, Cromartie, the Countess of<br />
25, Sutro, Alfred. o<br />
25, Kipling, Rudyard .<br />
25, Pope, Miss Jessie .<br />
25, Scott, G. Forrester<br />
25, Carr, Miss Mildred E. .<br />
25, O’Brien, The Rev. G. E.<br />
25, Wills, The Rev. Freeman<br />
25, Lewis, T. C. * &<br />
25, Fenwick, Miss S. F.<br />
26, Montgomery, Miss K. L.<br />
26, Dummelow, The Rev. J. R.<br />
26, Jopp, Miss E. A. .<br />
26, Wintle, Harold R..<br />
26, Malcolm, Mrs. Ian. e<br />
26, Felkin, The Hon. Mrs. .<br />
26, Ward, Wilfrid iº º ge<br />
26, Marks, Mrs. Mary A. M. º<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Noy.<br />
Nov.<br />
Mov.<br />
Now.<br />
Nov.<br />
Noy.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
i<br />
.0<br />
18<br />
1<br />
l<br />
l<br />
:1<br />
1<br />
1<br />
1<br />
8.O<br />
Dec.<br />
tº #.<br />
Nov. 26, “E.” . ſe e . ()<br />
Nov. 27, Prideaux, Miss S. T. ()<br />
Nov. 27, Saies, Mrs. F. H. . ()<br />
Nov. 27, Heath, Miss Ella ()<br />
Nov. 27, Thomas, Edward 1<br />
Nov. 27, Shaw, Mrs. Bernard 3<br />
Nov. 27, Smith, Bertram 1<br />
Nov. 27, Niven, Frederick . g ()<br />
Nov. 27, Nembhard, Miss Isabel . ()<br />
Nov. 27, Smith, Miss M. E. . ()<br />
Nov. 28, Brandon, Miss Dorothy. ()<br />
Nov. 28, de la Pasture, Mrs. Henry I<br />
Nov. 28, Scott, Mrs. C. ()<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
28, Harrison, Mrs. Darent .<br />
28, Logan, The Rev. Robert<br />
28, Chesterton, G. K. º<br />
30, Sherwood, Miss A. wº ge<br />
30, Hutchinson, The Rev. H. N. .<br />
1, Sachs, E. T. . © tº &<br />
1, Truman, Miss Olivia<br />
3, Yolland, Miss E.<br />
4, Bagnall, Miss L. T. . & *<br />
4, Humphreys, Mrs. Desmond (Rita)<br />
4, Anon. . g & &<br />
7, Westrup, Miss Margaret<br />
7, Lynch, H. T. B., M.P.<br />
8, Caillard, Miss E. M.<br />
8, Askew, Claude<br />
8, Felkin, A. L. .<br />
9, Rosetti, W. M. e<br />
9, Miller, Miss Esther .<br />
11, Woodward, Miss Ida<br />
12, Mann, Mrs. Mary E. . ©<br />
12, Lack, H. Lambert . tº e<br />
14, Winchilsea and Nottingham<br />
The Countess of ſº<br />
14, Sinclair, Miss May<br />
14, Weyman, Stanley .<br />
17, Macpherson, John F. .<br />
17, Hills, Mrs. Martha .<br />
Dec. 18, Hands, Mrs. Morris<br />
Dec. 18, Geddes, Mrs. .<br />
Dec. 22, Miles, Bertram<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
T)ec.<br />
Dec. 23, Mackenzie, Miss Helen .<br />
1909.<br />
Jan. 1, Twycross, Miss M . &<br />
Jan. 2, Macquarie, Arthur tº<br />
Jan. 4, Sproston, Mrs. Stanley<br />
Jan. 4, Phipson, Miss Emma *<br />
Jan. 4, Middlemas, Miss Jean .<br />
Jan. 4, Pott, J. A. . gº º<br />
Jan. 7, Marchmont, A. W. .<br />
Jan. 7, Sharwood, T. S. º<br />
Jan. 12, Durand, Ralph<br />
Jan. 12, Laing, Mrs. . º<br />
Jan. 14, Banks, Mrs. M. M. .<br />
Jan. 14, Steel, Richard tº<br />
(<br />
)<br />
lI<br />
()<br />
10<br />
i<br />
1<br />
<br />
<br />
## p. 111 (#155) ############################################<br />
<br />
TISIES A UITISIOR.<br />
111<br />
- . 3 s. d. - :# 8.<br />
Jan. 16, Garnett, Edward . 1 1 0 Nov. 27, Simes, Miss O. Kathleen O 5<br />
Jan. 16, Fenn, Frederick 1 1 0 Nov. 27, Penny, The Rev. Frank I 1<br />
Jan. 18, Hering, Henry A. 0 10 6 Nov. 27, Westell, W. P. . e O 1 ()<br />
Jan. 18, Fox, Archibald, D. 0 5 0 Nov. 28, Coolidge, The Rev. W. A. B. 2 2<br />
Jan. 31, Anon . © • 0 5 0 Nov. 28, Tennant, Lady Pamela 2 2<br />
Nº. 28, Nº. H. . . & 1 1<br />
• Wov. 30, Northcote, The Rev. H. O 5<br />
Domations, 1908. Nov. 30, Dexter, Walter . 2 2<br />
July 16, Carolin, Mrs. & * 0 5 0 Nov. 30, Oliver, Miss Selwyn . O 5<br />
July 28, Atherton, Mrs. Gertrude 21 0 0 Nov. 30, Kaye-Smith, Miss Sheila O 5<br />
Aug. 21, Beckett, Arthur W. . 1 1 0 Nov. 30, Bent, Mrs. Theodore 1 0<br />
Sept. 28, “Whitworth Wynne " . 1 1 0 Nov. 30, Atkins, Miss Margaret A. () 5<br />
Oct. 23, Woolf, Miss Bella Sidney 0 5 0 Dec. 7, Hood, Francis te gº O 5<br />
Oct. 31, Robinson, J. R. . gº 0 6 0 Dec. 7, Maunsell, A. E. Lloyd () 10<br />
Nov. 6, Wroughton, Miss Cicely . 1 0 0 Dec. 7, Carolin, Mrs. . () 10<br />
Nov. 7, Sherard, R. H. . g 1 1 0 Dec. 7, Drake, Lady Eliott 1 1<br />
Nov. 7, Cameron, Miss Charlotte 0 10 0 Dec. 7, Parker, Mrs. Nella. 1 I<br />
Nov. 12, Tweedie, Mrs. Alec. . 1 1 0 Dec. 7, Montrésor, Miss F. F. 3 ()<br />
Nov. 17, Tench, Miss Mary F. A. 0 10 0 Dec. 7, Shepherd, George H. 1 I<br />
Nov. 17, Anon. . e © º 1 1 0 Dec. 9, Maartens, Maarten. 5 ()<br />
Nov. 21, Anson, Sir William, Bart. 10 0 0 Dec. 9, Y. F. S. O 5<br />
Nov. 21, Cordeaux, Miss K. M. . . 0 10 6 Dec. 9, Lefroy, Mrs. . & 1 1<br />
Nov. 21, Drewitt, F. Dawtrey, M.D. . 1 1 0 Dec. 9, Bourdillon, Miss Rose () 5<br />
Nov. 21, Delaire, Madame Jean . 1 0 0 Dec. 9, White, Mrs. Woollaston () 5<br />
Nov. 21, Hecht, Mrs. Arthur . 0 10 0 Dec. 10, Gilliatt, The Rev. E. 1 ()<br />
Nov. 21, Collier, The Hon. John 1 1 0 Dec. 13, Evans, Miss C. M. g ... O 5<br />
Nov. 21, Keltie, G. Scott . tº 1 1 0 Dec. 14, Pennell, Mrs. Elizabeth Robins l I<br />
Nov. 21, Shepeard-Walwyn, H. W. 1 0 0 Dec. 14, Oppenheim, E. C. 2 ()<br />
Nov. 21, Church, Prof. A. H. 5 5 0 Dec. 16, Blake, J. P. . I 1<br />
Nov. 21, James, Miss S. Boucher 0 10 6 Dec. 17, Medlicott, Cecil () J ()<br />
Nov. 21, Ramsden, The Lady Gwen- Dec. 18, Tansley, A. G. . tº . 2 2<br />
dolen { } sº . 1 1 0 Dec. 19, Thurston, Mrs. Ratherine Cecil 1 1<br />
Nov. 21, Spielmann, M. H. 1 1 0 Dec. 19, Todd, John L. 1 l<br />
Nov. 21, Saville, Frank 5 0 0 Dec. 21, White, Percy 1 1<br />
Nov. 24, Kennedy, E. B. . 0 5 0 Dec. 23, Vance, Louis J. 0 10<br />
Nov. 24, Bennett, Prof. W. H. 0 5 0 Dec. 28, Guthrie, Anstey . 2 2<br />
Nov. 24, Batty, Mrs. Braithwaite 0 5 0 Dec. 29, Roberts, Miss Edith () 5<br />
Nov. 24, Crouch, A. P. . & 0 5 0 Dec. 30, Coke, Desmond () 1()<br />
Nov. 24, Hawtrey, Miss Walentin 0 5 0 Dec. 30, Mackenzie, Miss J. () 5<br />
Nov. 24, Sedgwick, Miss Anna Douglas 0 5 0 Dec. 30, Lathbury, Miss Eva () 5<br />
Nov. 24, Anon. . © © tº . 1 1 0 Dec. 31, Egbert, Henry () 5<br />
Nov. 25, Page, Herbert W. 2 2 0 1909.<br />
Nov. 25, Brereton, Capt. F. S. . 1 1 0 Jan. 1, Zangwill, Israel 1 I<br />
Nov. 25, Knight, Mrs. Maude C. 0 5 0 Jan. 1, Hamilton, John A. . 0 5<br />
Nov. 25, Bowen, Miss Marjorie . 1 1 0 Jan. 4, Stopford, Francis I 1<br />
Nov. 25, Turner, Reginald 1 1 0 Jan. 4, Falmouth, The Wiscountess 5 ()<br />
Nov. 25, Nash, T. A. 1 1 0 Jan. 4, Carrel, Frederick () 1()<br />
Nov. 25, Trevor, John 0 5 0 Jan. 4, Laws, T. C. . $ O 5<br />
Nov. 25, Wacher, Francis . 0 10 0 Jan. 4, Abercrombie, Lascelles () 5<br />
Nov. 25, Hughes-Gibb, Mrs. 0 5 0 Jan. 5, Bradgate, Mrs. I I<br />
INov. 25, Farmer, Miss A. A. 0 5 0 Jan. 6, Leach, Henry () 10<br />
Nov. 25, Hunt, Holman 1 1 0 Jan. 6, Cullen, H. N. tº * . () 5<br />
Nov. 25, Tuckett, F. F. 1 0 0 Jan. 6, Lyall, The Right Hon. Sir<br />
Nov. 25, Allen, Mrs. Grant 0 1 0 6 Alfred, P.C., etc. I 1.<br />
Nov. 26, Hole, W. G. G 1 1 0 Jan. 7, Underdown, Miss Emily () )<br />
Nov. 27, Granville, Charles 0 10 0 Jan. 8, Omond, T. S. * & 1 1<br />
Nov. 27, Henoch, Miss Emily T. 1 1 0 Jan. 8, Paternoster, G. Sidney 1 1<br />
<br />
<br />
## p. 112 (#156) ############################################<br />
<br />
112<br />
DITSIOR,<br />
T<br />
ISIES<br />
2A<br />
Jan.<br />
Jan,<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
9, Stockley, Mrs.<br />
9, Tanner, James T. .<br />
12, Tighe, Henry<br />
12, Aitken, Robert<br />
12, Bolton, Miss Anna<br />
14, Williamson, W. H.<br />
16, Furze, Miss Bessie<br />
16, Shirley, Arthur tº<br />
18, “Austin Clare " . e<br />
Jan. 22, Williamson, Mrs. C. N.<br />
Jan. 22, Williamson, C. N. © o<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above, are<br />
unavoidably held over to the March issue.<br />
We regret the omission in the January number<br />
among the new subscribers of the names of the<br />
Hon. Mrs. Felkin (£1) and Wilfrid Ward (10s.).<br />
The total amount of annual subscriptions<br />
received and promised since the issue of the<br />
circular amounts to £71. The total amount of<br />
donations to £105.<br />
COMMITTEE NOTES.<br />
—e—º-0–<br />
rTYHE first meeting of the committee in the<br />
year 1909 was held at the offices of the<br />
society on January 11. The New Year<br />
has opened well with the election of thirty-four<br />
members and associates. There were, however,<br />
twenty-three resignations. At the commencement<br />
of the year an increase in the number of resigna-<br />
tions is to be expected. At the same time the<br />
committee would like to call attention to the fact<br />
that when, as is often the case, members who have<br />
resigned for one reason or another desire to return<br />
to the society, they are liable to be called on for a<br />
statement of the reasons for their resignation, and<br />
also for their seeking re-election ; and that the<br />
committee will further consider the amount of<br />
work which the society undertook for the applicant<br />
during his former membership. These matters<br />
will be taken into account by the committee in<br />
determining the payment in respect of arrears to<br />
be called for in each case. It is obviously unfair<br />
that authors who only support the Society when<br />
and while in direct need of its assistance should<br />
reap the benefit of the society's machinery, which<br />
has been built up mainly through the funds contri-<br />
buted by constant subscribers who, very often<br />
without need of its direct help, have nevertheless<br />
felt it their duty to support the trades union of their<br />
profession. This is not the first time that attention<br />
has been drawn in these notes to this subject ; but<br />
at this period of the year the committee deem it<br />
unable to take up the duties.<br />
desirable to put clearly before our members their<br />
view and the action by which they propose to<br />
enforce it.<br />
The question of the Berlin Conference was<br />
mentioned by the secretary, who reported the<br />
action he had taken since the last meeting of<br />
the committee, and it was decided to write to<br />
the Music Publishers’ Association, the Publishers'<br />
Association, and the Copyright Association with a<br />
view to the formation of a joint sub-committee to<br />
consider the question of copyright legislation, and<br />
to take action, should it be necessary, to bring the<br />
matter before the Government. The committee<br />
appointed two delegates from the copyright sub-<br />
committee (Mr. Anthony Hope Hawkins and Mr.<br />
E. J. MacGillivray) to represent the society. Mr.<br />
MacGillivray has consented to serve, but Mr.<br />
Hawkins has, to the committee's regret, been<br />
Another delegate<br />
will be selected in his place. The secretary was<br />
instructed to get the matter in train as early as<br />
possible.<br />
A case of infringement of copyright in China<br />
was brought to the notice of the committee. The<br />
Secretary was instructed to make the fullest<br />
inquiries and to ascertain whether it was possible<br />
to stop such infringement by action in the Consular<br />
Courts. It is hoped to place a full report in The<br />
Author at a later date.<br />
Mr. Anstey Guthrie, one of the committee’s<br />
nominees on the pension fund committee, retired<br />
at the beginning of the year under the rules of the<br />
Scheme, and was unanimously re-elected.<br />
The sub-committee appointed, as stated in the<br />
January issue of The Author, on the invitation of<br />
Mr. C. J. Longman, on behalf of his firm and other<br />
publishers, to discuss certain questions relating to<br />
the book trade, have not, as yet, settled their report,<br />
and accordingly, the matter was adjourned to the<br />
next meeting.<br />
The report of the committee on office manage-<br />
ment was considered, and it was decided that, in<br />
View of the increase of work at the office, another<br />
clerk should be engaged and that other steps should<br />
be taken to relieve the present pressure. The<br />
committee have taken an extra room for the storage<br />
of papers at the rent of £10 per annum.<br />
The opinion of the society's counsel in the<br />
United States on the dramatic case mentioned in<br />
previous committee notes, was read, and it was<br />
decided, as the matter is of great importance to<br />
dramatists, to obtain another opinion. The Chair-<br />
man proposed also to communicate the facts of the<br />
case to the Right Hon. James Bryce, the British<br />
Ambassador at Washington, a member of the<br />
Society's council, and to ask him whether he<br />
could in any way advise the Society as to its<br />
best course. .<br />
<br />
<br />
## p. 113 (#157) ############################################<br />
<br />
TFIES A UTISIOR.<br />
113<br />
The opinion of the society’s solicitors in a case<br />
of alleged infringement of copyright was then read<br />
to the committee who, after full consideration of<br />
the facts, regretted their inability to take the<br />
matter up, -<br />
During the past year the committee authorised<br />
the inspection of a publisher's books by their<br />
accountant. The accountant appeared before the<br />
committee, and in his report expressed his inability<br />
to satisfy himself on a good many items in the<br />
accounts owing to the publisher's reluctance to<br />
produce his books. It was decided to take the<br />
matter up on behalf of the member and to proceed<br />
with an action at law as soon as possible.<br />
One of the dramatic members of the society<br />
brought forward a case which appeared to the<br />
committee to be of great importance to all<br />
dramatic authors. They accordingly decided to<br />
place the matter at once in the solicitors’ hands<br />
and instructed the secretary to report to the<br />
dramatic sub-committee what they had done. It<br />
was impossible to refer the matter to the dramatic<br />
sub-committee in the first instance as immediate<br />
action was essential. -<br />
Mrs. E. Nesbit Bland's resolution which was<br />
adjourned from last month has now been with-<br />
drawn at her request.<br />
The date of the General Meeting of the society<br />
has been definitely fixed for Monday, the 22nd day<br />
of March. Formal notice, together with the report<br />
for the past year, will be sent round to members in<br />
due course.<br />
The committee have to thank Mrs. Gunn, a<br />
member of the Society, for a donation to the<br />
society’s funds for work which had been carried<br />
through on her behalf.<br />
Mr. S. L. Clemens (“Mark Twain’’) has accepted<br />
his nomination as a member of the council of the<br />
society.<br />
A vote of condolence was passed to the firm of<br />
Messrs. Field, Roscoe & Co. on the loss they sus-<br />
tained by the death of Mr. Basil Field, the senior<br />
partner in that firm. Mr. Field's connection with<br />
the society was fully set forth in the January issue<br />
of The Author.<br />
—e-º-º-<br />
Cases.<br />
SINCE the last issue of The Author there have<br />
been ten cases in the hands of the Secretary.<br />
Five of this number were claims for money; three<br />
for the return of MSS.; and two for accounts.<br />
Two of the claims for money were against a firm<br />
which is now in liquidation — Messrs. Sisleys.<br />
Other members of the society are involved in this<br />
case. The liquidator is Mr. H. Wingfield, of<br />
64, Cannon Street, E.C. The secretary will be<br />
obliged if those members who have books published<br />
by this firm will place their papers in his hands<br />
that he may conduct the negotiations for them<br />
through the society's solicitors. Of the other<br />
three demands for money, one has been settled ; one<br />
has been placed in the solicitors’ hands, and action<br />
will be commenced in the County Court if neces-<br />
Sary. Part of the claim in the last one has been<br />
Settled, but there is still an amount due. One<br />
of the MSS. cases has been settled, and the others<br />
are in the course of negotiation. The cases of<br />
accounts have only recently come into the secre-<br />
tary's hands and at the time of going to press no<br />
answer has been received to his letters. -<br />
There are five cases still outstanding from the<br />
previous month. One of these has been placed in the<br />
Solicitors’ hands with instructions, to commence<br />
County Court proceedings; one is in the course of<br />
settlement, and the three others being respectively<br />
in Madras, New Zealand and the United States of<br />
America require some time before they can be<br />
brought to a successful issue.<br />
January Elections.<br />
Baring, The Hon. Francis 34, Great Cumberland<br />
Place, W.<br />
Bateman, Sir Alfred, Woodhouse,<br />
R.C.M.G. Wimbledon Park,<br />
S.W.<br />
Biss, Gerald . * . 1, Melina Place,<br />
St. John's Wood,<br />
N.W.<br />
Carlyle, The Rev. A. J. . St. Edmund's Hall<br />
House, Oxford.<br />
Clifford, Mrs. W. K. 7, Chilworth Street,<br />
W<br />
Farringdon, Herbert M. . . 18, Queensborough<br />
Terrace, Hyde<br />
Park, W.<br />
Fegan, J. B. 22, Great Marl-<br />
borough Street, W.<br />
Seaforth, Malvern.<br />
4, Portman Mansions,<br />
W.<br />
28, Glebe Place,<br />
Chelsea, S.W.<br />
88, Twyford Avenue,<br />
Fox, Archibald D. ©<br />
Grossmith, George, Junr. .<br />
Hamilton, Miss Cicely<br />
Hamilton, Mrs. C. J.<br />
Acton, W.<br />
Ring, Mrs. Paul H. . Customs House,<br />
Canton.<br />
Lagden, Sir Godfrey, The Croft,<br />
R.C.M.G.<br />
Morton, Michael<br />
Mulliken, Mrs. E. G.<br />
Walton-on-Thames.<br />
Lyceum Club, 128,<br />
Piccadilly, W.<br />
<br />
<br />
## p. 114 (#158) ############################################<br />
<br />
114<br />
TRIES A Pſ"TRIOR.<br />
Pigott, J. W. . -<br />
Potter, Frank E. Fairfield, 48,<br />
Broomhouse Road,<br />
Hurlingham, S.W.;<br />
“Branksome,” Bishop-<br />
stoke, Hants.<br />
Newport House, Great<br />
Newport Street,<br />
W.C.<br />
2, Whitehall Court,<br />
S.W.<br />
34, Brooke Street,<br />
Holborn, E.C.<br />
Hartford Bridge,<br />
Winchfield, Hants.<br />
Zig Zag Hall, Liscard,<br />
Cheshire.<br />
Acacia House, 10,<br />
A c acia Ro a d,<br />
Regent's Park.<br />
Shirley, Arthur<br />
Stanley, Lady .<br />
St. Aubyn, F. .<br />
Stayton, Frank<br />
Steel, Richard .<br />
Sutcliffe, Constance .<br />
Tadema, Miss Laurance . The Fair Haven,<br />
Alma Wittersham, Kent.<br />
Taylor, 23, Tottenhall Road,<br />
Miss Elizabeth<br />
Annie . tº tº tº<br />
Unwin, Raymond<br />
Wolverhampton.<br />
“Wyldes,” North End,<br />
Hampstead, N.W.<br />
“Whatrang,” Annan,<br />
French Indo-China.<br />
Vaux, Patrick . . Thundersley, Essex.<br />
Winter, Miss E. Saxon . 3, Lansdone Road,<br />
Holl a n d Park<br />
- Avenue, W.<br />
Four members desire neither their names, their<br />
pseudonyms, nor their addresses published.<br />
Wassal, Mrs.<br />
*—º-—a<br />
w-v-w<br />
Books PUBLISHED BY MEMBERs of<br />
THE SOCIETY.<br />
•-º-º-º-<br />
ART.<br />
THE MEDICI AT FLORENCE. Being Part III. of the<br />
Benaissance in Italian Art and containing a separate<br />
analysis of Artists and their Works in Sculpture and<br />
Painting. By SELwyN BRINTON. 7# × 5%. 149 pp.<br />
Fairbairns. 2s. 6d. n.<br />
MEDIAEVAL SINBALESE ART. By ANANDA IK. COOMAR-<br />
ASWAMY. Fellow of University College, London.<br />
133 × 10%. 339 pp. The Essex House Press. 43 38. m.<br />
BIOGRAPHY.<br />
THE LIFE STORY OF SIR CHARLES TILSTON BRIGHT,<br />
Civil Engineer. Revised and Abridged Edition. By<br />
C. BRIGHT, F.R.S.E. 8; x 5}. xx + 478 pp. Con-<br />
stable. 12s. 6d. n.<br />
BOOKS FOR THE YOUNG.<br />
MINNIE AND TEDDIE. A true story. By MRs. E. Row-<br />
LAND. Published by the Author, Llwyn-y-Brain,<br />
Whitland, South Wales. 18.<br />
CHILDREN FOR EVER.<br />
6%. 352 pp.<br />
6s, n.<br />
By JOHN F. MACPHERSON. 83 ×<br />
Illustrated by TONY SARG. J. Long.<br />
BOOKS OF REFERENCE.<br />
THE CATHOLIC WHO's WHO AND YEAR-Book, 1909.<br />
Edited by SIR. F. C. BURNAND. 7+ x 43. 555 pp.<br />
Burns and Oates. 3s. 6d. n.<br />
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br />
SIDNEY LEE. Vol. XI.<br />
1,335 pp. Smith, Elder.<br />
Kennett-Lluelyn.<br />
15s, m.<br />
9; x 6+.<br />
CLASSICAL.<br />
THE YEAR’s WORK IN CLASSICAL STUDIES, 1908. Edited<br />
for the Council of the Classical Association by W. H. D.<br />
ROUSE, M.A., Litt.D. (3rd Year of Issue). 83, X 53.<br />
176 pp. Murray. 2s. 6d. n.<br />
DRAMA.<br />
HYMENAEUs. A Comedy. Now first printed with an<br />
Introduction and Notes by G. C. MooRE SMITH, Litt.D.<br />
6# X 5. xvi + 84 pp. Cambridge University Press.<br />
2s. 6d. m.<br />
ECONOMICS.<br />
LANDHOLDING IN ENGLAND, CONSIDERED IN RELATION<br />
TO POVERTY. By MRS. ALFRED MARKs. 74 × 5.<br />
193 pp. Fifield. 1s. n.<br />
THE EVIL OF THE MILLIONAIRE. By REV. FRANCIS<br />
MINTON, M.A. X. —H 208 pp. Swan Sonnenschein.<br />
3s. 6d. n.<br />
FICTION.<br />
MARAMA. By MRS. WOOLLASTON WHITE. 73 × 5.<br />
196 pp. Washbourne.<br />
LEILA : AND HER RING COPHETUA.. By MRs. E. Row-<br />
LAND. Published by the Author, Llwyn-y-Brain, Whit-<br />
land, South Wales. 2s. 6d.<br />
HARRY OF ATHOL. By R. H. FOSTER.<br />
Long. 68. .<br />
THE WHIPS OF TIME. By ARABELLA KENEALY. 73 × 5.<br />
384 pp. J. Long. 68.<br />
SARAH VALLIANT'S PROBLEM.<br />
Ouseley. 1s.<br />
LOVE AND A WOMAN. By CHARLOTTE MANSFIELD.<br />
7} x 5. 330 pp. Werner Laurie. 6s. -<br />
LITTLE MISS MUFFET. By ROSA NOCCHETTE CAREY.<br />
8} x 5%. 160 pp. The Leisure Hour Library Office. 6d.<br />
GOD's ABYSS AND A WOMAN. By CHARLES GRAN VILLE.<br />
7 × 4%. 156 pp. (Cheap Reprint). The Open Road<br />
Publishing Co. 1s. n.<br />
THE GIRL FROM GATFORD. By OLIVIA RAMSEY. 73 × 43.<br />
307 pp. John Long. 6s.<br />
THE MARRIAGE OF LIONEL GLYDE. By OLIVIA RAMSEY.<br />
74 × 4%. 316 pp. John Long. 6s. r<br />
THE WAYS OF MEN. By H. F.Low ERDEw.<br />
344 pp. Unwin. 6s.<br />
THE HOUSE CALLED HURRISH.<br />
372 pp. Hutchinson. 6s.<br />
THE TESTAMENT OF JUDAS.<br />
318 pp. J. Long. 68.<br />
THE LONG ARM. By E. PHILLIPs OPPENHEIM. 7# × 53.<br />
318 pp. Ward, Lock. 6s.<br />
SEPTIMUS. By W. J. LoCKE. 73 × 5. 360 pp. Murray. 6s.<br />
THE GOLDEN KEY: A CoMEDY of TEMPERAMENTs. By<br />
DESMOND COKE. 7# × 5: 312 pp. Chapman and<br />
Hall. 6s.<br />
THE INTERRUPTED KISS.<br />
328 pp. Cassell. 68.<br />
MERELY MAN. By GERTRUDE WARDEN. 73 x 5. 311 pp.<br />
White, 68.<br />
315 pp. J.<br />
By H. B. BLAIR. 129 pp.<br />
7% x 5.<br />
By RITA. 73 × 5.<br />
7<br />
By H. BYALT.<br />
By RICHARD MARSH. 73 × 5.<br />
<br />
<br />
## p. 115 (#159) ############################################<br />
<br />
TISIE AUTISIOR.<br />
115<br />
LITERARY.<br />
THE CHARACTERS OF PARADISE LOST.<br />
73 × 5. 149 pp. Ouseley. 28.<br />
THE COLLECTED WORKS IN VERSE AND PROSE OF<br />
WILLIAM BUTLER YEATS. Wols. VII. and VIII.<br />
(Bibliography 111 pp.) 9 × 53. 299 + 287 pp. Strat-<br />
ford-on-Avon. The Shakespeare Head Press.<br />
By M. A. WooDs.<br />
HERMES AND PLATO. By FDOUARD SCHURf. Trans-<br />
lated by F. RotRWELL. 73 × 5. 117 pp. W. Rider.<br />
1s. 6d.<br />
MEDICAL.<br />
THE FOOD INSPECTOR'S HANDBOOK. By FRANCIS WACHER.<br />
73 × 5. xxiv. -- 268 pp. Fifth Edition. The Sanitary<br />
Publishing Co. 7s.6d. n.<br />
DOCTORS. An Address [9 pp.] delivered to the Students<br />
of the Medical School of the Middlesex Hospital.<br />
1st October, 1908. Sold for the benefit of the Middlesex<br />
Hospital. By RUDYARD KIPLING. With preface [12<br />
pp.] 7} x 4%. 21 pp. Macmillan. 1S. m.<br />
MISCELLANEOUS. -<br />
LITTLE GAMES FOR LONDON DRAWING-ROOMS. By LADY<br />
BELL. 6 x 43. 30 pp. Humphreys. 6d.<br />
THE CORN LAW's : A POPULAR HISTORY. By MRS.<br />
ALFRED MARKS. 74 × 5. 166 pp. Fifield. 18. n.<br />
POETRY.<br />
, BEADS FROM A LovER's ROSARY. By GEORGE F.<br />
WILSON. George Allen. 2s. 6d. n.<br />
THE DAWN OF LIFE, AND OTHER PoEMs. By H. MAC-<br />
NAUGHTON-Jon ES. 83 × 6%. 31 pp. Kegan Paul.<br />
2s. 6d. In.<br />
REPRINTS.<br />
THE COVENTRY LEET Book, PART I. Edited by MARY<br />
DORMER HARRIS. (Early English Text Society.)<br />
SOCIOLOGY. -<br />
FABIAN ESSAYS IN SOCIALISM. By BERNARD SHAW AND<br />
OTHERs. 8 x 5%. xxi + 233 pp. Walter Scott Pub-<br />
lishing Co. 6d. n.<br />
UTOPIAN PAPERs. Edited by DOROTHEA Holl,INs.<br />
73 × 5. 208 pp. Masters. 3s.6d. n.<br />
* ~ * TEIEOLOGY.<br />
THE ONE VOLUME BIBLE COMMENTARY. Edited by J.<br />
R. DUMMELOW., M.A. 9 × 6. 1,092 pp. Macmillan.<br />
7s.6d. n. - ',<br />
FATHER TYRRELL's MoDERNISM. An Expository<br />
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PAUL THE MISSIONARY, AND OTHER STUDIES. By THE<br />
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TRAVEL.<br />
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THE MONARCHS OF MERRY ENGLAND. (William I. to<br />
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A MYSTERY PLAY IN HONOUR OF THE NATIVITY OF OUR<br />
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A TREATISE ON SPHERICAL ASTRONOMY. By SIR ROBERT<br />
STAWELL BALL. Putnam. $3.75 m.<br />
SOCIOI, OGY.<br />
THE MISERY OF BOOTS. By HERBERT G. WELLs.<br />
Publishing Co. 506. n.<br />
SocIALISM AND THE FAMILY. By HERBERT G. WELLs.<br />
Ball Publishing Co. 500. n.<br />
Ball<br />
—e—º-e—<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—º-º-º-<br />
N our December number “The Adventures of<br />
Cock Robin and His Mates,” by R. Kear-<br />
ton, F.Z.S., was erroneously announced as<br />
published by Messrs. Macmillan. The actual pub-<br />
lishers are Messrs. Cassell, to whom We beg to<br />
express our regrets for the error.<br />
At the last meeting of the Académie Royale<br />
d’Archéologie de Belgique, Count Plunkett (author<br />
of “Sandro Botticelli”) was nominated a foreign<br />
corresponding member of the Academy.<br />
Messrs. Hodder and Stoughton announce for<br />
early in the Spring a volume of humorous sketches<br />
<br />
<br />
## p. 116 (#160) ############################################<br />
<br />
116<br />
TISIES A UITISIOR.<br />
by Mr. Charles Garvice, entitled “The Scribblers’<br />
Club.” Some of these have appeared from time to<br />
time in the Westminster Gazette, and other journals<br />
and magazines. It will be remembered that, by<br />
the courtesy of the proprietors of the Westminster<br />
Gazette, we printed one of these sketches, “The<br />
Transformation of a Great Novelist,” in an issue<br />
of The Author. Mr. Garvice desires to state that<br />
the Scribblers' Club does not exist, excepting in his<br />
imagination. Judging by those sketches we have<br />
read, this fact is rather to be deplored.<br />
E. Nesbit (Mrs. Hubert Bland) has just finished<br />
a novel of a sensational and original kind. It will<br />
be published early this year by Alston Rivers. It<br />
is called “Salome and the Head,” and the heroine<br />
is a famous dancer whose popularity involves her<br />
in intrigue, mystery, and crime.<br />
George Allen and Sons are publishing this month<br />
a collection of E. Nesbit's stories that have been<br />
written about children, not for them ; and the<br />
author hopes that they may enable some readers to<br />
understand children better. This book is called<br />
“These Little Ones.”<br />
“Daphne in Fitzroy Street” is the story of a<br />
girl’s life among the art students of London, and<br />
has engaged E. Nesbit intermittently during the<br />
past two years. It is being published by G. Allen<br />
and Sons.<br />
E. Nesbit is also contributing a serial story for<br />
children to the Strand Magazine, and has written<br />
the first chapters of a novel to be called “Heron<br />
Hall.”<br />
We have received from Mr. Henry Froude,<br />
“Joseph and his Brethren,” a dramatic poem by<br />
Charles Wells, with an introduction by A. C. Swin-<br />
burne, and a note on Rossetti and Charles Wells,<br />
by Theodore Watts-Dunton. The volume is<br />
No. 143 of “The World’s Classics” series.<br />
Miss Arabella Kenealy's new novel, “The Whips<br />
of Time ’’ (Mr. John Long), is a study in heredity.<br />
A professor of science, believing that persons are<br />
the resultant of their environment and upbringing,<br />
and that heredity plays no part in the formation<br />
of character, exchanges the child of a notorious<br />
murderess for that of a cultured, highly-bred<br />
mother. The American publishers of the book are<br />
Messrs. Little, Brown, of Boston.<br />
The “Treatise on Zoology,” edited by Sir E.<br />
Ray Lankester and published by Messrs. A. and C.<br />
Black, in now nearing completion. Five volumes<br />
have already been issued, and two more will appear<br />
immediately, viz., Part I. Introduction and Pro-<br />
tozoa by Prof. F. J. Hickson and others, and<br />
Part VII., Crustacea, by W. T. Calman, D.Sc.<br />
Mr. Werner Iaurie is publishing shortly “Nights<br />
with the Gods,” by Dr. Emil Reich. It is a study<br />
of present day social, religious, literary and political<br />
features, clothed in form of humorous criticism of<br />
things and persons. The gods of ancient Greece<br />
are depicted discussing modern England from the<br />
standpoint of Hellenic and Roman civilisation with<br />
Plato, Aristotle, Julius Cæsar, and other great<br />
Greeks and Romans of the past.<br />
“The Burglars' Club,” by Henry A. Hering,<br />
which first came out in Cassell's Magazine, is now<br />
appearing in a Paris Weekly. It has been trans-<br />
lated into German, Italian, Spanish, Swedish and<br />
Dutch.<br />
In “Trees and Shrubs of the British Isles,<br />
Native and Acclimatised,” the authors, Messrs.<br />
C. S. Cooper, F.R.H.S., and W. Percival Westell,<br />
F.L.S., have produced a work which deals popularly<br />
and authoritatively with over 550 species. The<br />
book includes a glossary, a lengthy introduction,<br />
and eighty-six illustrations, of which sixteen are in<br />
colour. Messrs. Dent are issuing it in sixteen<br />
parts at a shilling each part.<br />
In connection with the recent award of the<br />
Nobel Prize for Literature, it may be noted that<br />
“Rudolf Eucken's Philosophy of Life,” by Prof.<br />
W. R. Boyce Gibson, is already in a second<br />
edition. Professor and Mrs. Gibson have almost<br />
ready for publication in the Spring Eucken's<br />
“The Meaning and Value of Life.” The<br />
publishers are Messrs. A. and C. Black.<br />
“Love and a Woman,” a new novel by Charlotte<br />
Mansfield, has just been brought out by Mr.<br />
Werner Laurie.<br />
Mrs. Irene Harborough-Sherard (Irene Osgood)<br />
has gone to Jamaica to obtain materials for a new<br />
novel.<br />
We have received the following books from Mr.<br />
John Ouseley : —“The Characters of Paradise<br />
Lost,” by M. A. Woods; “Girl-life in the Harem,”<br />
by Annie Reichardt ; “Little Dorothy,” by T. H.<br />
Chetwynd ; “Sarah Walliant's Problem,” by H. B.<br />
Blair ; “Paul Richards, Detective,” by Duncan<br />
Dallas.<br />
Mrs. E. Rowland has just brought out “Leila :<br />
and her King Cophetua.” and “Minnie and Teddie :<br />
a True Story.” They may be obtained of the<br />
author, Llwn-y-Brain, Whitland, South Wales.<br />
Messrs. Crewsher's latest issues in their School<br />
Series of Songs by L. Budgen are “King Frost,”<br />
“Early June,” “Spring Weather,” and “The<br />
Scent of the May.”<br />
The Kingsgate Press are publishing a definitive<br />
edition of “Poems” by Mackenzie Bell. Mr. Bell<br />
dedicates the book to Mr. Theodore Watts-Dunton.<br />
Mrs. Florence Gay is at present engaged on a<br />
new romance, entitled “ Brude the Pict,” which<br />
will be published by Mr. John Ouseley. Sir<br />
Gilbert Parker will contribute an introduction to<br />
the book, which deals with the same early period<br />
of British history as Mrs. Gay's recent publication,<br />
“The Druidess.”<br />
<br />
<br />
## p. 117 (#161) ############################################<br />
<br />
TRIE AUTISIOIR,<br />
117<br />
Miss Emily Baker has contributed to the Occult<br />
Review for January a biographical article on<br />
“Two Famous Astrologers of the 17th and 18th<br />
Centuries—Vincent and Tycho Wing.”<br />
Mr. John Lane will issue shortly a new colour<br />
book by Miss Agnes Herbert, with illustrations by<br />
Mr. Donald Maxwell. Miss Herbert is the author<br />
of “Two Dianas in Somaliland,” and “Two Dianas<br />
in Alaska.”<br />
Mr. Robert Machray, who is busy this winter on<br />
the biography of his uncle, the late Archbishop of<br />
Rupert's Land, the first Primate of Canada, will<br />
publish in mid-February his new novel, “The<br />
Disappearance of Lady Diana,” which has been<br />
running for the past six months in the Novel<br />
Magazine.<br />
On January 9, at the Comedy Theatre, a<br />
comedy in three acts by W. Somerset Maugham<br />
was produced. It is entitled “Penelope,” and<br />
concerns the efforts—finally crowned with success—<br />
of a young wife to reclaim her erring husband.<br />
The cast included Miss Marie Tempest, Miss Kate<br />
Bishop, Miss Norma Whalley, Mrs. Calvert, Mr.<br />
Eric Lewis, and Mr. Graham Browne.<br />
The Afternoon Theatre Company are producing<br />
in a series of matinées at His Majesty's Theatre,<br />
“The Admiral Bashville,” by Bernard Shaw, and<br />
“Tilda’s New Hat,” by George Paston. The latter<br />
is a revival, while the former has previously only<br />
been privately staged. The first performances were<br />
given on January 26.<br />
“Diana of Dobson's,” by Cicely Hamilton, was<br />
revived at the Kingsway Theatre by Miss Lena<br />
Ashwell last month.<br />
“The Hypocrites” has been produced with<br />
success at the Teatro Principal at Barcelona.<br />
There were seven curtains after Act III. “The<br />
Liars ” will be produced at the same theatre in<br />
April.<br />
January 23 was the first night of “Our Miss<br />
Gibbs,” by J. T. Tanner and “Cryptos” at the<br />
Gaiety Theatre. The plot concerns the adventures<br />
of an assistant at Garrod's Stores, who is engaged<br />
to an earl disguised as a bank clerk. Miss Gertie<br />
Millar in the name part was supported, among<br />
others, by Miss Jean Aylwin, Miss Denise Orme,<br />
Mr. O. B. Clarence, Mr. George Grossmith, and<br />
|Mr. Edmund Payne. The music is by Ivan Caryll<br />
and Lionel Monckton. -<br />
*—º- a<br />
w-v-w<br />
PARIS NOTES.<br />
—e—sº-º-<br />
& 6. A Mort de Philae,” by Pierre Loti, is a<br />
book on Egypt, dedicated to his friend<br />
“Moustafa Kamel Pacha, who died in<br />
February, 1908, in the midst of his admirable<br />
attempt to uphold the dignity of his country and<br />
of Islam.” The volume contains twenty chapters,<br />
each one describing in Loti’s exquisite language<br />
and poetical style the various places and scenes<br />
which made the most impression on him. Among<br />
these chapters are the following :-‘Minuit d'hiver<br />
en face du grand sphinx,” “La mort du Caire,”<br />
“Un centre d’Islam,” “La Race de bronze,” “La<br />
déchéance du Nil,” “A Thébes, la nuit,” “Thebes<br />
au Soleil,” and “La mort, de Philae.” In these short<br />
chapters the author succeeds in giving the atmo-<br />
sphere of Egypt, with all its poetry, its mystery,<br />
and its antiquity. From the first line to the last,<br />
though, it is very evident that he resents the in-<br />
vasion of the “modernists,” and perhaps more than<br />
all the sans géne of the English, in Egypt. He<br />
tells us that behind the Chéops pyramid a huge<br />
hotel has been built which is “full of snobs and<br />
elegant women, befeathered like so many Red<br />
Indians for their scalp dance.” Later on he<br />
describes a mosque and the evening prayer dis-<br />
turbed by a band of tourists laughing and talking.<br />
Pierre Loti asks, in what European church, when<br />
people were at prayer, would Mussulman tourists<br />
be allowed to disport themselves “like these<br />
Savages " ? At Abydos everything is spoilt once<br />
more for Loti by the arrival of another band of<br />
English tourists. “Oh, poor temple !” he ex-<br />
claims, “to be profaned by anything so grotesque<br />
is a greater insult than to be pillaged by bar-<br />
barians.” A table for about thirty men and<br />
Women is arranged for luncheon, and these guests<br />
belong to “that special race of humanity which<br />
frequents Thos. Cook & Son.” He goes on to<br />
describe the meal of whisky-and-soda and sand-<br />
wiches, and the pieces of greasy paper strewed<br />
about the marble flags afterwards. “And the ladies<br />
of the party,” he says, “ oh, the ladies, what scare-<br />
crows for the birds !” After this scene Abydos<br />
and the desert no longer exist for Loti. He is<br />
haunted by the faces of these women and by their<br />
hats. He says that he has heard an explanation<br />
given for the peculiar ugliness of the women who<br />
travel with Cook's tickets. It appears that all<br />
English women who are not considered pretty<br />
enough to marry receive an unlimited amount of<br />
money to be spent in Cook's tickets. They are<br />
doomed, therefore, to travel for the rest of their<br />
lives, so that they may not have time to think of<br />
other things. This arrangement is made in order<br />
that the English race of women may not deteriorate.<br />
“Cette explication m'await séduit d'abord,” says<br />
Loti : “mais un examen plus attentif des bandes<br />
qui infestent du Nil m'a permis de constater que<br />
toutes ces Anglaises y Sont d'un age notoirement<br />
canonique ; done la catastrophe de la procréation,<br />
si tant est qu’elle ait pu se produire chez elles<br />
doit remonter a des époques bien antérieures à leur<br />
enrôlement. Et je demeure perplexe . . . .” It<br />
<br />
<br />
## p. 118 (#162) ############################################<br />
<br />
118<br />
THE AUTHOR.<br />
is very evident, from nearly every chapter of the<br />
book, that the beauty and harmony of all that is<br />
sacred in Egypt was completely destroyed for Loti<br />
by the horde of tourists he met at every turn.<br />
“Mémoires de la Cour de Louis XIV., by<br />
Primi Visconti,” is an extremely entertaining<br />
volume in which the author gives an account of<br />
the every-day events which took place at the Court<br />
of the “Great Monarch.”<br />
Primi Visconti was born in 1648 in Italy. At<br />
the age of nineteen he published a novel, and in<br />
1672 he went to France. He was very much<br />
interested in the occult sciences, and before very<br />
long became quite famous as a graphologist and<br />
a diviner of future events. Very soon after his<br />
arrival in France the Court ladies were most eager<br />
to have the lines of their hands told by him.<br />
In 1682 Primi published the first volume of his<br />
“History of the Dutch War.” As he gave details<br />
about the visit of Madame to Dover for the pur-<br />
pose of negotiating an alliance between England<br />
and France against Holland, the English ambas-<br />
sador Preston took offence, and the consequence was<br />
that Louis XIV. wrote to La Reynie requesting that<br />
the book should be withdrawn from circulation.<br />
The King's orders were obeyed, and Primi was<br />
imprisoned in the Bastille for six months. At<br />
the end of that time, though, we are told that the<br />
King took him back into favour, so that the im-<br />
prisonment was evidently merely diplomatic policy.<br />
In 1687 Comte Primi Visconti married Mar-<br />
guerite, the daughter of Frédéric Leonard, one of<br />
the first publishers in Paris. Marguerite had<br />
translated, from the Italian, a work on the state of<br />
the Republic of Naples—rather a remarkable feat<br />
for a woman in those days.<br />
Marguerite was first married to a M. Herbin,<br />
and on consulting Wisconti about her future lot<br />
in life, the latter prophesied her husband's death<br />
and her second marriage. When M. Herbin died<br />
she was accused of poisoning him, and was not<br />
acquitted for several months. She was shortly<br />
after engaged to Wisconti, but her father would<br />
not hear of the marriage, and although she was at<br />
that time thirty-two years old he obtained a decree<br />
of Parliament to prevent it and to send his daughter<br />
to a convent. Leonard published various pamphlets<br />
endeavouring to prove that Wisconti was an<br />
impostor, and the accused man on his side did all<br />
he could to influence his protectors at Court, and<br />
in the end he won his cause. The marriage was<br />
celebrated in 1688.<br />
Comte Primi Visconti seems to have been a<br />
privileged person at Court and to have come into<br />
contact with a great number of the historical<br />
personages of his times. He tells anecdotes about<br />
Mademoiselle de la Vallière, Madame de Montespan,<br />
the Chevalier de Rohan, Mademoiselle de Fontanges,<br />
Madame de Maintenon, and very many other<br />
members of Louis XIV.'s Court. -<br />
The “Mémoires du Géneral Griois” cover the<br />
period from 1792 to 1822. He tells of his edu-<br />
cation at Châlons, of his family, of the early days<br />
of the Revolution, the emigration of the aristocrats,<br />
the September massacres. He then describes his<br />
military career, his departure for Elba and life<br />
there. He gives details about the Italian campaign.<br />
The charm of the book is its extreme simplicity.<br />
It is just a soldier's account of his life and its<br />
everyday events, told without any seeking-after<br />
effect but in the most natural manner possible.<br />
The description of Calabria is particularly<br />
interesting just now. The author speaks of the<br />
terrible earthquake which had devastated it in<br />
1788. He tells that the shocks continued for<br />
Several months, and he relates some of the stories<br />
told by the survivors.<br />
The Académie Goncourt prize for 1908 has<br />
been awarded to Francis de Miomandre for his<br />
novel “Ecrit sur de l'Eau.” Among other new books<br />
are the following:—“L’Idylle de Marie Biré,”<br />
by Gustave Geffroy ; “La Montée,” by Pierre<br />
Willetard ; “Un grand homme,” by Gaston Rageot.<br />
“Cyrène,” by Ossit, is a novel which, in reality,<br />
is the love story of a somewhat enigmatic man and<br />
woman. Cyréne from her childhood has a strange<br />
passionate nature. She is married at an early age<br />
to a man whom she afterwards despises and detests.<br />
After her husband's death she meets again a man<br />
who has always interested her, and this time her<br />
love ends in tragedy. The minor characters of<br />
the book are well drawn, the interest sustained,<br />
and the whole story very real and living.<br />
“La Jolie Princesse,” by Marie Anne de Bovet,<br />
is a volume of short stories told in the vivacious<br />
style peculiar to this author. “Le Sabre et la<br />
Plume” is a very clever psychological study told<br />
with distinct dramatic effect. “Saint Cyriens,”<br />
“La Proie et l'Ombre,” and “Le Tabernacle,” are<br />
the other stories in the book.<br />
In the latest numbers of La Revue hebdomadaire<br />
M. Henry Van Dyke writes on “L'esprit d'inde-<br />
pendance et la République des Etats-Unis’’;<br />
M. André Beaunier publishes some of Gounod's<br />
letters, and André Chaumeix writes an article on<br />
the new Academician, M. Francis Charmes, who<br />
succeeded Brunetière as editor of the Revue des<br />
Deua Mondes. Frédéric Masson gives an interest-<br />
ing account of Sir Hudson Lowe and his earlier<br />
life before he was made Governor of St. Helena ;<br />
Jean Izoulet writes on “J. J. Rousseau, aristo-<br />
crate ’’; Guglielmo Ferrero writes a curious article<br />
on “Le Vin dans l'histoire de Rome,” and finishes<br />
by applying what he has said of Rome to the Paris<br />
of to-day. “Paris,” he says, “is the modern<br />
Rome, the metropolis of the Latin world.”<br />
/<br />
<br />
<br />
## p. 119 (#163) ############################################<br />
<br />
TFIES A DITFIOR.<br />
119<br />
In the recent numbers of La Revue de Paris<br />
Richard Wagner's letters to Otto Wesendonk are<br />
published. There are articles by Victor Bérard on<br />
“Autriche et Servie,” and by Louis Houllevigne on<br />
Da Synthèse de la Lumière. Ernest Lavisse Con-<br />
tinues his account of his visit to Berlin, and Clara<br />
Wiebig her novel, “Pécheresse.” There are also<br />
articles on “L’Accord Américain-japonais,” by<br />
Louis Aubert ; and on “Discipline et Silence,” by<br />
Comte Leonce Abeille. g<br />
At the Théâtre Français “Le Foyer” is still<br />
being played. - *<br />
“Le Poussin,” by M. Edmond Guirand, is being<br />
given at the Odéon. M. Guirand is well known to<br />
the public by his clever adaptation of “Anna<br />
Rarenina,” which was also given a short time ago<br />
by M. Antoine.<br />
The opening of a new theatre, the Théâtre<br />
Michel, was quite a Parisian event. A comedy by<br />
M. Tristan Bernard was given, entitled “Le<br />
Poulailler.” -<br />
ALYS HALLARD.<br />
“La Mort de Philae'' (Calmann Lévy).<br />
“Mémoires de la Cour de Louis XIV.” (Calmann Lévy).<br />
“Mémoires du Général Griois’’ (Plon).<br />
“Cyrène,” by Ossit (Lemerre).<br />
“L'Idylle de Marie Biré” (Fasquelle).<br />
“La Montée’” (Fasquelle).<br />
“Un grand homme " (Calmann Lévy).<br />
“La Jolie Princesse,” by Marie Anne de Boret (Lemerre).<br />
—e—º-e—<br />
SPANISH NOTES.<br />
< 4 A Ciudad de la Niebla’’ (The City of Fog),<br />
L by Pio Baroja, shows that this Spanish<br />
author is a keen observer, and his descrip-<br />
tions of London, to which he gives the above title,<br />
are interesting as the impressions our Capital<br />
make on a Southern character. The policeman's<br />
power in the order of the traffic, the dreary fogs,<br />
the aspects of a boarding-house in Bloomsbury, are<br />
all well noted. The father and daughter, the chief<br />
characters in the book, seem to have escaped from<br />
Spain as they were suspected of being concerned<br />
in the Bomb outrage. The girl is stimulated to<br />
make her own living by the sight of the industry<br />
of her English acquaintances. But energy at last<br />
dies down in the Southerner, especially as her father<br />
forsook her on his marriage with a flighty French-<br />
woman in the boarding-house. A Spaniard Sets<br />
before the heroine the hard conditions of a life of<br />
independence in a foreign country compared to<br />
the ease of a marriage in her own Sunny Spain.<br />
The advocate for “submission ” prevails, and the<br />
girl returns to Madrid, where she becomes the wife<br />
of her cousin, and occasionally dreams of the<br />
experiences she so<br />
England.<br />
Bernardo Morales Sam Martin has just published<br />
a dramatic novelette called “Alma de Artista”<br />
(The Soul of an Artist). The hero, Michael de la<br />
Huerta, justifies the hopes and sacrifices of his<br />
peasant parents by taking a very high place in the<br />
world of art. A marriage with a lady of high<br />
degree seems to complete the artist's happiness.<br />
But the lady wearies of her husband and starts a<br />
flirtation with Michael’s best pupil, and, as he<br />
thought, his staunchest friend. Finding a letter<br />
from this man making an appointment with his<br />
wife, Michael, after the storm of indignation and<br />
sorrow had swept his soul clean of love, determines<br />
that he himself will make the way free to the<br />
intriguing pair. So the dénouement comes in a<br />
most original way. The wife is bidden to take a<br />
drive with her husband. Fear fills the shallow<br />
lady's heart when she finds herself at the spot<br />
where the tryst had been arranged. But Michael,<br />
Seeing his traitor friend, quietly walks up to him<br />
and, after putting the hand of his wife in his,<br />
turns his back on them both ; his delicate soul<br />
could brook no tampering with loyalty, and with<br />
his own hand he set the seal on his wife's course<br />
which proved her to be no longer worthy to be<br />
queen of his soul.<br />
Morales San Martin has written another story, to<br />
which I will refer next month, showing the effect<br />
of the same sort of treachery on a mind uncultured<br />
and undisciplined; for the author is essentially a<br />
psychologist.<br />
Doctor Garcia Harta has just published an<br />
“Essay on Social Pathology,” and its pages, which<br />
throw much light on how the poor live, draw<br />
attention to the necessary prevention of pauperism<br />
by education,<br />
Señor Luca de Tena, the energetic proprietor of<br />
A. B. C., is Organising a special number of his<br />
paper with contributions from those ranking high<br />
in politics, art, and science, in aid of those suffer-<br />
ing from the disaster in Messina. Señor Luca de<br />
Tena has just been appointed a life Senator<br />
(Senador Vitalico) by the King's order, and the<br />
palatial hall of the paper was the scene the other<br />
day of an enthusiastic ovation of congratulation to<br />
the chief by his immense staff of employees.<br />
The death of Don Cayo Lopez leaves a blank in<br />
the company of those who worked loyally for the<br />
Restoration, and who was an enthusiastic follower<br />
of the great Sagasta, and as Civil Governor of<br />
Barcelona he did much useful work.<br />
La Avellaneda, the renowned Spanish poetess, was<br />
compared by Juan Valera to Victoria Colonna, so<br />
the publication of her letters and autobiography<br />
has excited much interest. In the letters of 1840<br />
to Cepeda there is a falling off of the primal fervour,<br />
graphically describes in<br />
<br />
<br />
## p. 120 (#164) ############################################<br />
<br />
120<br />
TISIE AICſ’’INFIOR.<br />
and it is noteworthy that the public now owe this<br />
collection of letters to the widow of this great friend<br />
of the poetess.<br />
The cession of the Island of Cortegada, off the<br />
coast of Galicia, to H.M. King Alfonso of Spain<br />
has now finally been completed, says El Mundo<br />
(The World). The Galicians are delighted, for the<br />
visit of their Majesties of Spain to this beautiful<br />
neighbourhood is announced for the Spring, and it<br />
is hoped that Mondariz will be included in the<br />
royal tour of the Region. Her Majesty Queen<br />
Victoria of Spain has just united a large number of<br />
illustrious ladies into a working party for the poor<br />
under the appellation of Society of Saint Victoria.<br />
Much sympathy is expressed in Madrid with<br />
Señor Moret, the leader of the Liberal party, on<br />
the death of his wife at Biarritz after a short illness.<br />
The centenary of the death of Sir John Moore<br />
was celebrated last month with enthusiasm. The<br />
army and navy both took part in the ceremonies,<br />
and after General Arpe had delivered an eloquent<br />
oration he placed on the tomb of the hero a magnifi-<br />
cent wreath of flowers tied with the colours of<br />
France and Spain ; and all Corunna was en fête.<br />
A book entitled “Anthropologia Criminal” has<br />
just been published by Don Fructuoso Carpena.<br />
The author gives the histories of many criminals,<br />
and scientifically shows that their deficient morality<br />
is for the most part due to physiological reasons.<br />
When visiting the chief prison of Madrid I was<br />
much struck with the attention given to this side of<br />
criminality. Policemen attend regularly lectures<br />
on physiology, and in another department the eyes,<br />
ears, hands, heads, etc. of criminals are put under<br />
the examination of a clever scientist.<br />
RACHEL CHALLICE.<br />
—e—º-e—<br />
COPYRIGHT IN MUSICAL COMPOSITIONS.<br />
MABE v. CONNOR.<br />
HE question in this case, which came before<br />
the Divisional Court, was whether a per-<br />
forated music roll, adapted for use on an<br />
instrument called a Cecilian piano player, so as to<br />
produce the music of a copyright song entitled<br />
“Bandolero,” was a pirated copy of a musical<br />
work, in respect of which remedies are provided<br />
by the Musical (Summary Proceedings) Copyright<br />
Act, 1902. The perforated music roll had been<br />
offered for sale in the street, and on behalf of the<br />
owner of the copyright the roll was seized by a<br />
constable, and the vendor was summoned before the<br />
magistrate to show cause why the roll should not<br />
be forfeited or destroyed, in accordance with the<br />
provisions of the statute. The magistrate, follow-<br />
ing the decision in Boosey v. Whight, decided that<br />
the perforated music roll was not a copy of the<br />
musical composition, and dismissed the summons,<br />
but he stated a case for the opinion of the High<br />
Court. -<br />
In the more recent Act relating to summary<br />
remedies for infringement of copyright in musical<br />
compositions—the Musical Copyright Act, 1906–<br />
it is expressly provided that “pirated copies”<br />
referred to therein do not include perforated music<br />
rolls used for playing mechanical instruments, or<br />
records used for the reproduction of sound waves,<br />
or the matrices or other appliances by which such<br />
rolls or records are made. It was contended, how-<br />
ever, that as there was no such clause in the Act<br />
of 1902, the Legislature must have intended such<br />
rolls to be considered as pirated copies. There is<br />
no definition of “pirated copies” in the Act of<br />
1902. A “pirated musical work" is mentioned in<br />
the interpretation clause, but not elsewhere in the<br />
Act, and is declared to mean any musical work<br />
written, printed, or otherwise reproduced, without<br />
the consent of the copyright owner. It was urged<br />
that any reproduction, whether a copy or not,<br />
àmounted to a piracy, and that the roll in question<br />
was a reproduction to which the provisions of the<br />
Act of 1902 applied.<br />
The Lord Chief Justice, in delivering judgment,<br />
pointed out that the Act of 1902 was passed two<br />
years after the decision in Boosey v. Whight, and<br />
it must be taken that Parliament knew that for an<br />
action for infringement of copyright perforated<br />
music rolls were not copies of a musical work. It<br />
had been argued that the Act of 1906 had altered the<br />
position by saying that “pirated copies” for the<br />
purposes of that Act should not include perforated<br />
music rolls, and so implying that for the purposes<br />
of other Acts they should be included. He knew<br />
of no rule by which he would be justified in<br />
drawing that inference.<br />
The Court held that they were bound by the<br />
decision in Boosey v. Whight, and the appeal was<br />
dismissed.<br />
Leave to appeal was given.<br />
THE DRAMATISATION OF NOVELS.<br />
AMERICAN CASE.<br />
RECENT case in the United States brings<br />
into prominence the peculiarity of English<br />
law relating to the dramatisation of novels,<br />
and the more generous treatment accorded to<br />
authors in other countries.<br />
The widow of the late Henry J. W. Dam<br />
brought an action against the Kirke La Shelle<br />
Company in respect of the infringement of the<br />
<br />
<br />
## p. 121 (#165) ############################################<br />
<br />
THE AUTHOR.<br />
121<br />
dramatic rights in a story entitled “The Trans-<br />
mogrification of Dan,” of which her husband was<br />
the author, and which was published in the Smart<br />
Set in 1901. The defendant company, some four<br />
years afterwards, produced in New York a play<br />
called “The Heir to the Hoorah,” by Paul<br />
Armstrong, and it was alleged that the play had<br />
been taken from the story. No part of the<br />
dialogue in the play had been copied from the<br />
magazine ; but the judge found that there was a<br />
substantial similarity between the literary com-<br />
position, which was duly copyrighted, and the<br />
play. He held, therefore, that the author's<br />
exclusive right, according to American law, to<br />
dramatise his work had been infringed, and that<br />
the plaintiff was entitled to an injunction and an<br />
account of the profits arising out of the per-<br />
formances of the play produced by the defendant<br />
company.<br />
The following passages in the judgment may be<br />
quoted:—“The theme or subject of the story is<br />
substantially imitated in the play. . . . It is true<br />
the dialogue of the drama is not in the words of<br />
the story, but its exact phraseology is not neces-<br />
sary to the adaptation of the plot or subject, or<br />
the portrayal of the different characters of the<br />
play. The actors imitate or portray the characters<br />
in the story, and make use of the incidents and<br />
situations, which apparently give expression to the<br />
central theme or purpose of the author. . . .<br />
The story is not strictly a dramatic composition,<br />
although its special features, its incidents, per-<br />
sonages, and episodes, plainly indicate that it is<br />
not without dramatic interest, and can, by appro-<br />
priate dialogue, scenes, and stage business, be<br />
transformed into a drama. . . . It is enough that<br />
the essence of the play has been taken from the<br />
story.”<br />
Now, it may be observed that if this action had<br />
been brought in England the plaintiff must have<br />
failed, because according to English law the author<br />
of a novel or story is not entitled, as in other<br />
countries, to the exclusive right of dramatising<br />
his work. This right is given to authors not only<br />
by the law of the United States, but it is recognised<br />
by all the countries of the Union constituted by the<br />
Berne Convention, with the exception of Great<br />
Britain. It is also given to authors in Australia<br />
by the Copyright Act, 1905 (Commonwealth of<br />
Australia).<br />
With regard to the dramatisation of novels, the<br />
position of Great Britain is unique among the<br />
sixteen countries comprising the Copyright Union<br />
under the Berne Convention. One of the aims of<br />
the recent Berlin Conference was to bring Great<br />
Britain into line with the other countries in this<br />
respect. In order to achieve this end, however, it<br />
will be necessary to amend the domestic law of Eng-<br />
land by an Act of Parliament. This was one of the<br />
difficulties which led to the refusal of Great Britain<br />
to assent to the Declaration of Paris in 1896 ; but<br />
now that the British delegates have accepted the<br />
principle under the Berlin Convention,” there is<br />
reason to hope that the law will be amended, and<br />
that this country will no longer deny to authors<br />
the exclusive right of dramatising their works,<br />
which is recognised by all the other countries<br />
within, and even by countries outside, the Copy-<br />
right Union.<br />
HAROLD HARDY.<br />
* See Article 12 of the Revised Convention, made at<br />
Berlin, November 13, 1908, of which a translation<br />
appeared as a supplement to the January issue of the<br />
Author.<br />
—e—º-e—<br />
A BILL TO ABOLISH THE POWERS OF<br />
THE LORD CHAMBERLAIN IN RESPECT<br />
OF STAGE PLAYS AND TO TRANSFER<br />
TO THE LOCAL AUTHORITY THE<br />
POWERS OF THE LORD CHAMBERLAIN<br />
IN RESPECT OF THE LICENSING OF<br />
THEATRES IN LONDON. -<br />
MEMORANDUM.<br />
HE object of this Bill is to abolish the censor-<br />
ship of plays exercised in Great Britain<br />
under the authority of the Lord Chamber-<br />
lain and to transfer to the London County Council<br />
as the local authority the power of licensing<br />
and controlling theatres exercised by the Lord<br />
Chamberlain in the central parts of the metropolis.<br />
As to the censorship of plays it is proposed to<br />
make theatrical performances subject to the same<br />
control as performances in music halls. In the<br />
case of music halls no censorship exists, but any<br />
impropriety can be dealt with by the police or by a<br />
refusal of the licence by the licensing authority,<br />
which in London is the London County Council.<br />
The censorship of plays does not exist in Ireland.<br />
As to the licensing of theatres this power is now<br />
exercised by or under the control of the local<br />
authority in practically the whole of Great Britain<br />
where theatres are found, except the central<br />
district of London, the University cities of Oxford<br />
and Cambridge, and places where His Majesty<br />
resides. Further, even in the central district of<br />
London, the London County Council as the local<br />
authority has already extensive powers over the<br />
structure of theatres under the Metropolis Manage-<br />
ment Act, 1878.<br />
Arrangement of Clauses.<br />
1. Abolition of censorship of Lord Chamberlain.<br />
2. Transfer to local authority of power of Lord<br />
<br />
<br />
## p. 122 (#166) ############################################<br />
<br />
122<br />
TISIES A UITISIOR,<br />
Chamberlain to license theatres in parts of<br />
the county of London.<br />
. Saving of Lord Chamberlain’s jurisdiction in<br />
places of royal residence outside London.<br />
Repeals.<br />
. Definitions.<br />
Short title.<br />
Schedule.<br />
3<br />
;<br />
Be it enacted by the King's most Excellent<br />
Majesty, by and with the advice and consent of<br />
the Lords Spiritual and Temporal, and Commons,<br />
in this present Parliament assembled, and by the<br />
authority of the same, as follows:—<br />
1. Abolition of Censorship of Lord Chamberlain.<br />
—It shall not be necessary to submit any stage<br />
play to the Lord Chamberlain before the first<br />
acting or presenting thereof, whether for hire or<br />
otherwise, and it shall not be lawful for the Lord<br />
Chamberlain to forbid the acting or presenting in<br />
Great Britain of any stage play.<br />
2. Transfer fo Local Authority of Power to Lord<br />
Chamberlain to License Theatres in Parts of the<br />
County of London.—(1.) The powers of the Lord<br />
Chamberlain under the Theatres Act, 1843 (6 & 7<br />
Vict. c. 68), in respect of the licensing and closing<br />
of theatres within the ancient parliamentary<br />
boundaries of the cities of London and West-<br />
minster and of the boroughs of Finsbury and<br />
Marylebone, the Tower Hamlets, Lambeth, and<br />
Southwark, shall be transferred to the London<br />
County Council. -<br />
(2) The licence of the Ilondon County Council<br />
shall be required in respect of a theatre within the<br />
said ancient parliamentary boundaries authorised<br />
by virtue of letters patent from His Majesty or his<br />
predecessors (in this Act called a patent theatre) in<br />
the same manner as if no letters patent had been<br />
granted in respect thereof.<br />
(3) The licence of the London County Council<br />
shall be for such period not exceeding one year as<br />
the Council may think proper. -<br />
(4) The London County Council may delegate<br />
its powers under this Act with or without any<br />
restrictions or conditions as may be thought fit to<br />
a committee (or to the justices of the county of<br />
Ilondon in the same manner as if these powers had<br />
been transferred to the Council by virtue of the<br />
Local Government Act, 1888 (51 & 52 Wict. c.41).<br />
(5) The fees payable to the Lord Chamberlain<br />
under section four of the Theatres Act, 1843<br />
(6 & 7 Vict. c. 68), shall be payable to the London<br />
County Council and shall apply to patent theatres.<br />
3. Savinſ of Lord Chamberlain's Jurisdiction in<br />
Places of Royal Residence outside London.—Nothing<br />
in this Act shall affect the powers of the Lord<br />
Chamberlain under the Theatres Act, 1843 (6 & 7<br />
Vict. c. 68), in respect of the licensing and closing<br />
of theatres in those places outside the adminis-<br />
trative county of London in which His Majesty,<br />
his heirs and successors, shall in their royal persons<br />
Occasionally reside.<br />
4. Repeals.-The enactment mentioned in the<br />
schedule to this Act is hereby repealed to the<br />
extent specified in the third column of that<br />
schedule.<br />
3. Definitions. – In this Act the expression<br />
“theatre’ means any house or other place of<br />
º resort for the public performance of stage<br />
playS.<br />
The expression “stage play” has the same<br />
º as in the Theatres Act, 1843 (6 & 7 Vict.<br />
C. 68). -<br />
6. Short Title.—This Act may be cited as the<br />
Theatres Act, 1908.<br />
SCHEDULE.<br />
Jºnactment Repealed.<br />
s<br />
Session and<br />
Chapter. Short Title.<br />
Extent of Repeal.<br />
The Theatres Act, Sections twelve, thirteen,<br />
1843. fourteen, and fifteen.<br />
6 & 7 Vict.<br />
c. 68.<br />
-º-º:<br />
—e—º-e—<br />
MAGAZINE CONTENTS.<br />
—º-º-º-<br />
BIBLIOPHILE.<br />
Edgar Allen Poe, 1809-1849. By F. C. Owlett.<br />
The Poetry of James Thomson. By Bertram Dobell.<br />
BLACKWOOD.<br />
By Oliver Elton.<br />
CONTEMPORARY.<br />
By Professor Richard M. Meyer.<br />
Crabbe.<br />
German Literature.<br />
CORNHILL.<br />
By Frederic Harrison.<br />
By Jane H. Findlater.<br />
Charles Eliot Norton.<br />
The Novels of Fogazzaro.<br />
FORTNIGHTLY.<br />
Daniel Defoe. By John Masefield.<br />
The New Poetry. By Filson Young.<br />
The Writing of Books of Sport. By F. G. Aflalo.<br />
MONTH.<br />
John Milton. By the Rev. Herbert Thurston.<br />
NATIONAL.<br />
The Oxford Thackeray. By Austin Dobson.<br />
The Shakespearean Problem. By George Hookham.<br />
PUTNAM'S.<br />
Edgar Allen Poe : From an English Point of View. By<br />
Norman Douglas.<br />
Poe as a Critic. By Sherwin Cody.<br />
3alsac in Brittany. By W. H. Helm.<br />
Israel Zangwill. By Clarence Rook.<br />
<br />
<br />
## p. 123 (#167) ############################################<br />
<br />
THE AUTHOR.<br />
123;<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
——e——<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement). • -<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. "It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1) Be careful to obtain a fair cost of production.<br />
(2) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the OutSet are :–<br />
(1.) That both sides shall know what an agreement<br />
In 622. IlS. º<br />
(2) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld. tº<br />
(3.) Always avoid a transfer of copyright.<br />
e—º-0<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
—e-Q-0--<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority. -<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager, -<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date.<br />
and for proper publication of his name on the<br />
play-bills.<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
grOSS receipts. Percentages vary between 5.<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts,<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be.<br />
performed.<br />
(c.) Sale of performing right or of a licence to.<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always.<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and,<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is.<br />
of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager.<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English.<br />
agreements without the author obtaining a substantiał<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of .<br />
delay and a breakdown in the fulfilment of his contract,<br />
He should therefore guard himself all the more carefully in ,<br />
the beginning.<br />
11. An author must remember that the dramatic market,<br />
is exceedingly limited, and that for a novice the first object .<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
—e—Q–e—<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
—e—sº-0–<br />
ITTLE can be added to the warnings given for the<br />
L assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as .<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
## p. 124 (#168) ############################################<br />
<br />
124.<br />
TFIE A CITISIOR.<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
HOW TO USE THE SOCIETY.<br />
—e-S-0–<br />
1. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have now arranged for the reception<br />
of members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
8. Many agents neglect to stamp agreements. Th<br />
€<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
TO MUSICAL COMPOSERS.<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members' stamps are kept in the<br />
Society's Safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
a—º- a<br />
wº - w<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in the<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic Works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
—e—º-e—<br />
NOTICES.<br />
—e—º-0–<br />
HE Editor of The Author begs to remind members of<br />
| the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
—e—º-e—<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
—e-O-0–<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
## p. 125 (#169) ############################################<br />
<br />
TFIES A [Cſ’INFIOR.<br />
125<br />
GENERAL NOTES.<br />
—º-º-º-<br />
AUTHORS’ AGENTS.<br />
ONCE again it is necessary to call the attention<br />
of the members of the society to the position of<br />
authors’ agents. Authors' agents are no doubt<br />
absolutely essential to many authors, if they are<br />
to obtain the best price for their work, the best<br />
contracts, and numerous markets, but an author's<br />
agent, in order to do his best for the author, must<br />
be in a position of great trust.<br />
It is, therefore, much more important that the<br />
author should supervise with the greatest care and<br />
stringency a contract with an agent than a contract<br />
with a publisher.<br />
No agent should be allowed such a hold over<br />
the author's property that he can destroy his<br />
market. No agent should be allowed to insert<br />
a clause in an agreement between author and<br />
publisher:<br />
1. That the agent alone can collect the monies<br />
due to the author under that agreement :<br />
2. That the agent alone is entitled to settle<br />
disputes arising under that agreement.<br />
An author should be very careful when an<br />
agent, who is not his regular agent, approaches<br />
him with an offer from a publisher, for in that<br />
case the agent may be acting merely as the<br />
publisher's tout.<br />
The agent in many cases, it must be said with<br />
regret, acts for the benefit of the publisher, and<br />
prefers the easier solution of a difficulty by placing<br />
a contract with a publisher with whom he is on<br />
friendly terms, than trying if he can obtain a<br />
better market elsewhere.<br />
No agent should be allowed to bind the author<br />
for a settled period to take the author's work or<br />
should be allowed to obtain his fees on any contract<br />
beyond the one he actually fixes on an author's<br />
behalf.<br />
If in a contract there is a clause binding the<br />
author to offer other books to the same publisher,<br />
the agent should not be allowed to draw his fees<br />
on the other books unless the further transaction,<br />
with the author's consent, passes through his<br />
hands.<br />
The mere fact that he has allowed the author to<br />
sign such a clause tends to show he is a bad<br />
agent. The period over which, under any agree:<br />
ment, an agent draws his fees, and the amount of<br />
his fées, should, if possible, be limited.<br />
If on a contract the author allows the publisher<br />
the exclusive right to deal with his foreign rights,<br />
his dramatic rights, and his serial rights, an agent<br />
should not be allowed his agency fees under such<br />
a clause, especially when, as in some cases, the<br />
publisher takes 50 per cent. of the returns.<br />
The mere fact that an agent has allowed the<br />
author to assign this exclusive right tends to show<br />
he is a bad agent, that he has allowed the pub-<br />
lisher to do his work and the unfortunate author<br />
to pay a double fee, first to the publisher, and,<br />
Secondly, to himself.<br />
. An agent, too, who, when brought to book, fails to<br />
give full information or return MSS. and then<br />
Writes : “We assume no responsibility beyond<br />
that of accounting to the author in the event of<br />
sales,” is like Lady Clara Were de Vere, “not one<br />
to be desired.”<br />
These are some of the reasons, shortly stated,<br />
why an author must be most careful about his<br />
dealings and contracts with an agent. We make<br />
these statements as certain matters in their usual<br />
cycle have again become prominent.<br />
It is at the same time almost unnecessary to<br />
state that a good agent is often essential, may<br />
double an author's income, and leave him time<br />
and rest for the more important, the artistic, side<br />
of his work.<br />
SCHOLZ v. AMASIS, LD.<br />
A CASE of interest to all dramatic authors was<br />
decided by Mr. Justice Jelf last month—Scholz v.<br />
Amasis, Ld. It was a case of infringement of<br />
dramatic copyright.<br />
As the matter is going to the Court of Appeal<br />
we refrain from making a detailed comment. One<br />
or two remarks, however, may not be out of place.<br />
The first point to be determined is the date of<br />
the first production of each piece, or the date when<br />
each completed piece first came within the baneful<br />
influence of the Copyright Statutes. When this<br />
has been settled, it then remains a question of<br />
fact whether piece No. 2 is an infringement of piece<br />
No. 1.<br />
The Judge remarked, when going through the<br />
evidence, “that there was ample opportunity for<br />
leakage ’’; in other words, that it was possible<br />
that author No. 2 might have seen the play of<br />
author No. 1. But there appears to have been no<br />
direct evidence on this point.<br />
Now direct evidence of or ample opportunity for<br />
leakage might, in a case where the infringement<br />
of copyright was doubtful, be a strong factor in<br />
determining the issue ; but if there is a clear<br />
infringement we submit that there is no need of<br />
evidence of leakage at all; in other Words, that<br />
an innocent infringer is always liable. The real<br />
difficulty that arises in a case of this kind is<br />
whether book No. 2, or drama No. 2, or poem<br />
No. 2, is a copy or colourable imitation of book<br />
No. 1, drama No. 1, or poem No. 1. This can<br />
only be decided by those who have read both and<br />
<br />
<br />
## p. 126 (#170) ############################################<br />
<br />
126<br />
TISIE A CITISIOR.<br />
have sufficient literary and legal acumen to weigh<br />
the facts.<br />
We cannot discuss the evidence, not only for the<br />
reason stated, that the case is going to the Appeal<br />
*Courts, but also for the better reason that as yet<br />
we have not had an opportunity of carefully<br />
digesting it. All dramatic members of the society<br />
will await the result of the appeal with anxiety.<br />
WE publish in another column of The Author<br />
the Bill for the Abolition of the Censorship, which<br />
was introduced by Mr. R. Vernon Harcourt, and<br />
is backed by the following names —Mr. A. E. W.<br />
Mason, Sir Gilbert Parker, Mr. Ponsonby, Mr.<br />
T. P. O'Connor, and Mr. Ramsay Macdonald, and<br />
was ordered to be printed on the 17th December,<br />
1908.<br />
It would be interesting to know whether the<br />
JBill, before it was drafted, was submitted to any<br />
representative gathering or committee of dramatic<br />
authors.<br />
The dramatic committee of the Society of Authors<br />
sees it now for the first time.<br />
COLONIAL SALES.<br />
WE print the following cutting from the Australian<br />
paper, Z'he Book Lover :-<br />
The American publishers have taken the matter of push-<br />
ing their goods into the Australian markets very seriously<br />
of late. Besides the selling of large editions of special<br />
books, a number of firms have appointed Messrs. Nott and<br />
Ramsay as their agents, and Mr. E. A. Woodd is represent-<br />
ing them in Melbourne. Among those firms who have so<br />
acted may be mentioned the Century Co.; Dodd, Mead and<br />
Co.; Harper and Bros. ; Little, Brown and Co.; Chas.<br />
Scribner's Sons, etc. This looks like a team which might<br />
-do a great deal that is very much needed—from the reader's<br />
point of view.<br />
New books will shortly be coming in, and at last the<br />
libraries will be able to have specimens of the best<br />
American literature. It has been thought that we were<br />
amply supplied ; but in reality our choice has been con-<br />
trolled by the edicts of one or two men, and the freedom of<br />
choice has been abolished altogether. It is the way of<br />
trade ; and we hasten to say that it is not the fault of<br />
individuals, but the perfectly normal working of the absurd<br />
system which judges for us all as if we were so many sheep.<br />
While that lasts, our only chance is to see that no single<br />
man has power to flood our markets with rubbish and to<br />
“exclude the smallest specimens of high-class work.<br />
The question of colonial sales is one of growing<br />
importance to English authors. If the English<br />
publishers, through lack of energy and enterprise,<br />
are being ousted from the colonial markets by the<br />
American publishers, it is time that the English<br />
author made some alteration in his business<br />
methods.<br />
What have the publishers to say ? Have they<br />
any proposals to make Will they—to use a<br />
colloquial phrase—take it sitting 2<br />
It appears that their organisation in the colonies<br />
must be very defective, to judge from the accounts<br />
that come to the office.<br />
It would be a good thing for authors to try and<br />
get into touch with some enterprising houses in<br />
Canada, South Africa, Australia, New Zealand,<br />
and see if by obtaining a contract direct they<br />
cannot obtain higher royalties and larger sales.<br />
MRS. MYALL.<br />
MEMBERS of the society may remember that in<br />
November the Pension Fund Committee awarded<br />
a pension at the rate of £25 per annum to Mrs.<br />
Myall (Laura Hain Friswell) under clause 16 of<br />
the Pension Fund Scheme. By this clause the<br />
committee may grant a pension if and while a<br />
member is totally incapacitated for work, even<br />
though he or she has not attained the age limit.<br />
We regret to state that in the last few days of<br />
1908 Mrs. Myall succumbed to that illness which<br />
had stopped her from pursuing her literary labours.<br />
Mrs. Myall—she wrote under her maiden name of<br />
Laura Hain Friswell—was the daughter of the<br />
well-known author of “The Gentle Life.” In<br />
1898 she published a record of his life. One of<br />
her last Works was a book of Reminiscences, pub-<br />
lished in 1905, under the title of “In the Sixties<br />
and the Seventies.” -<br />
OP-e—4<br />
ARTHUR WILLIAM A BECKETT.<br />
—t—sº-º–<br />
E have to regret the loss of an old and<br />
prominent member of the Society of<br />
Authors in the person of Mr. A. W. a<br />
Beckett, whose death occurred on Thursday,<br />
January 14, in the Home attached to St. Thomas's<br />
Hospital. The news came as a great shock to<br />
Mr. a. Beckett's friends and acquaintances, few of<br />
whom had heard of the distressing circumstances<br />
under which an operation had become necessary,<br />
while an additional note of sadness was caused by<br />
the fact that his death nearly synchronized with<br />
the marriage in India of his elder son.<br />
Arthur William a Beckett was the member of a<br />
Wiltshire family claiming descent on good grounds<br />
from the father of St. Thomas à Beckett. He was<br />
the third son of Gilbert Abbott à Beckett, the<br />
well-known metropolitan magistrate and humorist,<br />
who wrote, among other things, the “Comic<br />
History of England,” and the “Quizziology of the<br />
British Drama,” and was one of the original staff<br />
of Punch. He was born sixty-four years ago and<br />
educated in that excellent old Eastern County<br />
School, Felstead, whence at the age of eighteen he<br />
<br />
<br />
## p. 127 (#171) ############################################<br />
<br />
TISIES AICTEIOR,<br />
127<br />
obtained a clerkship in the War Office. After<br />
three years' service in the War Office he was trans-<br />
ferred to the Post Office, and even in these early<br />
days the hereditary instinct towards literature began<br />
to tell. He proceeded to dabble in journalism, wrote<br />
a comic guide to the Royal Academy in collabora-<br />
tion with his brother Gilbert, edited a small paper<br />
called the Glowworm, started and edited another<br />
small paper called the Britannia-—these were the<br />
days when small individual efforts in journalism<br />
had a chance—-wrote a novel, and at least one<br />
play. In 1870 he was sent to the seat of the<br />
Franco-German war as special correspondent to<br />
the Standard and Globe, his knowledge of war<br />
being derived from keen work both in the militia<br />
and the volunteers. On his return he became<br />
private secretary to the then Duke of Norfolk, and<br />
in 1874 joined the staff of Punch, of which he<br />
remained a member for no less than twenty-eight<br />
years, acting as assistant editor to Sir Francis<br />
Burnand. Among his most successful contribu-<br />
tions to Punch was a series called “Papers from<br />
Pump-handle Court,” the topical knowledge being<br />
due to the fact that he was now called to the bar.<br />
During these years he wrote four or five novels<br />
and several plays, which duly made their appear-<br />
ance in West End theatres, while for five years<br />
(1891–1895) he found time to edit the Sunday<br />
Times, in which he also wrote copiously. His<br />
early connection with the War Office gave him<br />
particular interest in military affairs, and he was<br />
for a short time editor of the Naval and Military<br />
Aſagazine. -<br />
Mr. a Beckett's connection with the Society of<br />
Authors was a long one. Joining the Society in<br />
1890, he was elected almost immediately, upon the<br />
motion of his friend, the late Mr. J. M. Lely, a<br />
member of the managing committee, upon which<br />
he sat without intermission for seventeen years,<br />
serving for a time as vice-chairman—a post since<br />
abolished as unnecessary. He was a member for<br />
varying periods of the copyright sub-committee,<br />
the pension fund committee, and the dramatic sub-<br />
committee, and ungrudgingly responded to the<br />
calls upon his time which all this entailed. His<br />
associates of the society throughout his long official<br />
tale of work found in him a colleague who was<br />
alike industrious, adaptable and tactful, and we<br />
take this opportunity of recording our sense of the<br />
value of his services. It is an open Secret that<br />
during recent discussions which arose among those<br />
then responsible for the government of the society.<br />
Mr. A. Beckett considered eventually that Wrong<br />
counsels prevailed. He attended, however, meetings<br />
both of the committee and council after the differ-<br />
ence of opinion had been made public, and showed<br />
in all possible ways his desire to remain at one<br />
with the main objects of the Society, even while<br />
differing, in company with other members, from the<br />
Course pursued in certain instances. He welcomed<br />
cordially the reconstitution of the society which<br />
took place recently, and in the bringing about of<br />
which he had no small share.<br />
Mr. a. Beckett was also at different times<br />
president and chairman of the council of the<br />
Institute of Journalists and president of the News-<br />
paper Society.<br />
In his many capacities as journalist, author,<br />
dramatist, littérateur, and man of affairs, he<br />
showed great activity and versatility, and possessed<br />
bright and varied qualities which served him well<br />
throughout a long and hard-working life. In<br />
private he was a well-known club man, with much<br />
that was amusing and piquant to say of the very<br />
many interesting people he had been intimate<br />
with during his career.<br />
—e—º-e—-<br />
BRITISH AUTHORS AND AMERICAN<br />
COPYRIGHT.<br />
—º-º-º-<br />
HE business of book production in Great<br />
Britain and the Empire is being more and<br />
more seriously affected by the working of<br />
American copyright law, as at present constituted.<br />
It is therefore imperatively necessary that all those<br />
concerned with the business should study the<br />
question and, being convinced of its urgency,<br />
should take such action as may appear to them<br />
the likeliest to safeguard their various interests.<br />
Emphatically I am convinced that it is high time<br />
the attitude and probable action of the authors, as<br />
primal factors in this business, were known.<br />
Investigation has convinced me that, of the three<br />
main bodies of men concerned in British book pro-<br />
duction—authors, publishers, printers and men of<br />
allied trades—certain amongst the two latter bodies<br />
will shortly propose definite and drastic action.<br />
Of the probable course of this action I shall speak<br />
later : meantime I shall give, broadly, my reasons<br />
for thinking that it is the duty, and very much to<br />
the interest, of authors, to make haste and join<br />
the leaders of the other two bodies of men.<br />
Copyright, as a measure for the safeguarding of<br />
an author's interests, is precisely on all fours with<br />
Patent, as a measure of protection for the inventor;<br />
in this connexion, certain recent legislation suggests<br />
reflection, too obvious to call for more than<br />
suggestion. In U.S.A., pre-copyright days were<br />
the days of let us be moderate, and say—whole-<br />
sale annexation. But even in those primitive<br />
times, certain American publishers recognised that<br />
<br />
<br />
## p. 128 (#172) ############################################<br />
<br />
128<br />
TRIES A. LITISIOR.<br />
prevailing conditions savoured somewhat of free-<br />
booting : these, to their lasting honour, extended to<br />
British authors certain courtesy rights, the fruits<br />
of which appeared in, occasional, considerable<br />
returns. Ultimately, after some fifty odd years of<br />
agitation, in 1891 the American Copyright Law,<br />
substantially as it exists to-day, was passed.<br />
This law, the best—say, the only thing—we<br />
could get, embodies the notorious industrial clause,<br />
which provides that before a British author can<br />
get copyright in U.S.A. his book must be set up<br />
in type by American workmen. There are, of<br />
course, other restrictions upon British authors.<br />
At the outset, however, I want to emphasise the<br />
mischief wrought upon us by this industrial clause.<br />
Firstly, it is the worst we have to bear ; and<br />
secondly, any author who cannot or will not<br />
recognise the mischief, and do his part in curing<br />
it is, in my opinion, past praying for. Now, the<br />
direct consequences of this American Copyright<br />
Act, with its industrial clause, were mainly<br />
these :—<br />
1. It became possible, as it was not before, for<br />
a British author to obtain copyright in America.<br />
2. A substantial proportion of the production of<br />
books commanding a sale on both sides of the<br />
Atlantic has been done in America, and is being<br />
so done to a greater and greater extent.<br />
3. It has given the American author copyright<br />
throughout the British Empire, irrespective of the<br />
country wherein his copyright is manufactured.<br />
4. It has, of course, materially improved the<br />
position of the American author in his own country,<br />
by greatly checking, if not altogether putting an end<br />
to, the issue of unauthorised reprints of popular<br />
British books.<br />
(Referring to 4, of course, even now, popular<br />
authors who command big royalties do very well<br />
in both countries. Incidentally, the popular author<br />
does very well in any case by commanding his<br />
home market—even as, in pre-copyright days, such<br />
as Dickens, Thackeray, Scott, Byron, George<br />
Eliot, and the rest did very well. But )<br />
5. Where the present law bears—once again, to<br />
put it mildly—with gross injustice, and while it<br />
prevails will continue to bear, is upon the rank<br />
and file of British authors. These have not fame,<br />
or notoriety ; yet amongst them are to be found, it<br />
is likely, the most faithful and painstaking workers:<br />
maybe the coming giants of imaginative literature;<br />
also workers in the technical branches, and in<br />
science; the infinitely patient, who devote their<br />
lives to research work, mayhap invaluable of its<br />
kind—in short, all the meritorious obscure. Upon<br />
these, who most deserve and need protection and<br />
encouragement, this law presses with the most<br />
relentless severity.<br />
It presses upon these, because of the expense,<br />
delay and infinite complexity involved in getting<br />
their work set up in America, according to this<br />
utterly inequitable law.<br />
Here, the position bristles with technicalities;<br />
broadly speaking, however, the practical results<br />
of these complex obstructions are perfectly clear.<br />
They are, chiefly —<br />
1. The author, not being able to afford American<br />
copyright, leaves his book unprotected ; if it turns<br />
out to be worth reprinting, it is promptly issued<br />
in America, giving him no return. It would be<br />
an extensive and a striking list—that of British<br />
books annexed in this manner: no doubt the<br />
Authors’ Society could easily furnish the same. On<br />
the other hand, the American author gains pro-<br />
tection, not only in his own country, but through-<br />
out the British Empire, by the simple and quite<br />
inexpensive business of registering at Stationers’<br />
Hall, and fulfilling other simple conditions.<br />
(This state of things, of course, gives a healthy<br />
impetus to American book-production, and accounts,<br />
amongst many other things, for their successful<br />
raiding of our colonial markets.)<br />
2. On the commercial and industrial side, these<br />
complications necessarily and inevitably drive the<br />
British author and publisher, in many instances,<br />
simply to hand over a large proportion of British<br />
books to America. Here, the Publishers’ Associa-<br />
tion would, I believe, be ready to draw up a list of<br />
British books, by British authors, wholly or in part<br />
produced beyond the Atlantic. Certain master-<br />
printers also, to my certain knowledge, can unfold<br />
a tale of steady and growing loss of British work.<br />
So, the work of producing British books is being<br />
given more and more to American workmen. If<br />
Our own men and our rivals worked on level terms,<br />
Sportsman or business-man would say, “Let the<br />
best man win "; as it is, the Americans are<br />
entrenched and armed ; our men are in the open<br />
and, under present conditions, defenceless.<br />
Our transatlantic rivals have wit enough to<br />
make the most of these conditions aforesaid ; more<br />
and more they study English taste in type, paper<br />
and the rest of it ; and so the loss of British<br />
book-production to British workmen goes on with<br />
ever-increasing momentum.<br />
Here, then, is the central problem. Unless past<br />
and present damage is to eventuate in ultimate<br />
disaster, there can be but one solution, we must<br />
have open competition—the “square deal " of<br />
President Roosevelt—or equal laws.<br />
Certain publishers recognise these as the only<br />
possible alternatives. Certain printers, and others<br />
concerned in the business of book-production,<br />
recognise them also. The trade unions, rank and<br />
file, are becoming aware of this steady and growing<br />
loss of work and wages; and the present trouble,<br />
together with its only possible remedy, is shortly<br />
<br />
<br />
## p. 129 (#173) ############################################<br />
<br />
TISIES A UTISIOR,<br />
129<br />
to be definitively stated to certain associations of<br />
workmen.<br />
Granted permission, I shall have more to say of<br />
this. So far as I am aware, authors as a body, or<br />
even singly, have not as yet testified in this, their<br />
recognised organ, where they stand as regards this<br />
vital and urgent affair. As I said in the beginning,<br />
they are the primal factors in the business of book-<br />
production ; and it is high time they were heard<br />
from. I trust I have said enough to induce at<br />
least some expression of opinion on their part, an<br />
expression to my mind distinctly overdue.<br />
HERBERT C. MACILWAINE.<br />
—e—º-0–<br />
ON RENDERING ACCOUNTS.<br />
—º-º-º-<br />
T used to be the custom of all publishers to pay<br />
royalties on every copy of a book sold, the<br />
wording of the clause running, “undertake<br />
to pay per cent. on every copy sold.”<br />
This custom has been broken through by some<br />
of the younger publishers, who desired to make an<br />
extra percentage ; and some of the older houses<br />
have followed their example. The new method is<br />
to pay a percentage on every copy sold, with a<br />
proviso ; the wording of the clause running some-<br />
what as follows: “In estimating the royalty on<br />
copies sold thirteen copies shall be reckoned as<br />
twelve.”<br />
It is manifest from these two arrangements that<br />
publishers clearly understood the difference<br />
between paying the royalty on every copy sold, in<br />
whatever quantities they were sold and at what-<br />
ever price, and paying the royalties on thirteen<br />
copies as twelve. This would be apparent to the<br />
meanest capacity, but particular attention has been<br />
drawn to the point and to the different form of<br />
the agreement in order to elucidate the position in<br />
the following instance.<br />
A publisher entered into a contract with an<br />
author and agreed to pay a royalty on every copy<br />
sold, but in rendering the royalty accounts he took<br />
the whole number sold, deducted the thirteenth<br />
copies, and paid the royalties on the lower figure.<br />
The author naturally objected to this method,<br />
and when he remonstrated by letter the publisher<br />
replied as follows:—<br />
“With regard to the difference between . . . copies and<br />
... on which your royalty is computed, we beg to say the<br />
odd copies are not sold but given away to the booksellers,<br />
in order to induce them to buy 12 copies, and we give to<br />
the booksellers 7 as 6% and 13 as 12.”<br />
There is no excuse for a statement of this kind.<br />
It is quite clear from the wording in the clauses<br />
referred to above that publishers are well aware of<br />
the difference in the results, and that they do not<br />
reckon the thirteenth copy as being given away, or<br />
7 as 6% when they undertake to pay on every copy<br />
Sold. . A customer, buying oranges, when he is<br />
offered 7 for 2d., supposing the price is 3 for 1d.,<br />
does not reckon that he is given the extra orange,<br />
but that the Oranges are sold to him at that price<br />
because he is taking a quantity. The publisher's<br />
answer is a mere quibble in order to avoid pay-<br />
ment of the royalty.<br />
It is to be hoped that it will be possible to bring<br />
this point into Court. The opinion of the judge<br />
and jury would be interesting.<br />
We should like to add a further remark about<br />
this method of cutting down the author's royalty.<br />
The only way to counteract the loss is by asking<br />
for a higher royalty. If the author would usually<br />
get 10 per cent. On every copy sold he should get<br />
11 per cent. On 13 copies being reckoned as 12, or<br />
refuse to sign the agreement. (Full details as to<br />
the different percentages were printed in the<br />
December Author, 1907.) If the author chooses to<br />
sign, then he alone is responsible for the consequent<br />
depreciation of his income. He must, however, in<br />
no circumstances, having signed the agreement<br />
that he is to receive a royalty on every copy sold,<br />
be content to receive it on 12 copies out of 13. If<br />
the accounts are rendered on this basis he had<br />
better place all the papers before the society.<br />
——e—Q–0—<br />
TO BE OR NOT TO BE.<br />
—º-º-º-<br />
7 E happened to be glancing through the<br />
V V pages of Wol. I. of The Author, and came<br />
across the following paragraph from the<br />
pen of our founder —<br />
“‘I have never yet had any disagreement with my pub-<br />
lisher,’ said a well-known man of letters the other day,<br />
‘therefore, I have not joined the society.’ The remark and<br />
the inference alike illustrate a common disposition to look<br />
on the Society as one which exists for the purpose of patch-<br />
ing up or even of creating quarrels and grievances with<br />
publishers. That is not the case, of course, only one is well<br />
nigh tired of repeating the fact. It suits certain persons<br />
who regard us with natural hostility to keep this delusion<br />
alive. The Society has no quarrel with publishers as such,<br />
and never has had any. It maintains continually that the<br />
services which publishers render to literature are solid, and<br />
must be substantially paid for. The Society exists, however,<br />
mainly for the purpose of maintaining the rights, the<br />
sacredness and the reality of literary property. Therefore<br />
it fights the battle of all authors, and should be supported<br />
by all who approve of its principles.”<br />
We print it for various reasons. It recalls to<br />
our mind a little verse that was printed in a later<br />
number, which ran somewhat as follows:—<br />
Author : The agreement's signed the profits we divide,<br />
A half to each applaud a just decision.<br />
Publisher : Peace and goodwill to all at Christmastide,<br />
Surely 'twixt you and me there's no<br />
division.<br />
<br />
<br />
## p. 130 (#174) ############################################<br />
<br />
130<br />
THE AUTHOR,<br />
That was no doubt merely meant as a jest, but<br />
there is a more serious side to the author's original<br />
remark, “I have never yet had any disagreement<br />
with my publisher, therefore I have not joined the<br />
society.” This remark is still made, and will pro-<br />
bably continue to be made so long as human<br />
nature remains the same.<br />
There are two kinds of authors:–<br />
1. Authors that know the value of their property<br />
and the nature and variety of the rights they<br />
possess.<br />
2. Those authors who don’t.<br />
If the first do not join the society they ought to<br />
for the following reasons: Firstly, the altruistic and<br />
unselfish reason that they ought, by their support,<br />
to strengthen the position of their less fortunate<br />
fellow craftsmen. By their less fortunate is not<br />
meant, those who flood the market with their<br />
illiterate effusions, but those who turn out good<br />
work with but poor return. Bacon put this point<br />
in a more practical way when he said, “Every man<br />
is a debtor to his own profession.”<br />
Secondly, the practical reason that though they<br />
have no dispute with their own pet publisher, yet<br />
their property may be attacked by thieves and<br />
pirates, of whom they have but little knowledge.<br />
sé1 1s. a year insurance Inay save them from £100<br />
law costs when the crisis comes. This fact becomes<br />
more self-evident year by year.<br />
A dramatist has his work pirated on the<br />
Continent. He thinks twice before he enters into<br />
a long and costly lawsuit. While he is thinking<br />
his property has gone. A writer of books, or<br />
contributor to magazines, cannot get his money<br />
from an American publisher or editor. It is<br />
a cheap investment if he gets the amount for<br />
£1 1s. a year. With a composer the matter is even<br />
of greater importance, for music is a universal<br />
language. Piracy and infringement is therefore<br />
so much easier.<br />
For selfish, as well as altruistic reasons, therefore,<br />
the author who knows ought to become a member.<br />
For the author who does not know the reasons<br />
are of greater importance. There are many<br />
authors making a pretty income by their work,<br />
who are in absolute ignorance of the true value of<br />
literary property. This sometimes occurs even<br />
with writers of fiction.<br />
The following case came to the notice of the<br />
Secretary:—A novelist who had been a member for<br />
Some years was at length persuaded by a friend to<br />
place his contracts for review. The terms he was<br />
receiving were quite absurd. This was pointed<br />
out to him.<br />
publisher. As he was able to bring some pressure<br />
to bear by a threat to remove his books, he was in<br />
rather a strong position. The publisher doubled<br />
his royalties.<br />
He in turn pointed it out to the<br />
In this case no charge was brought against the<br />
publisher. He had made no false assertions—as.<br />
unfortunately sometimes occurs when publishers<br />
write, “My reader reports favourably on your MS.,<br />
and I am ready to publish it on the payment of<br />
3.150.” He had merely made a good bargain.<br />
This author then had no dispute with his<br />
publisher, but was merely ignorant of cost of<br />
production, publishers' profits, and literary values.<br />
The ignorant author is, however, much more.<br />
frequently found in the ranks of technical writers,<br />
and among those who write more solid books.<br />
These books are generally published at a larger.<br />
price compared with the cost of production than<br />
works of fiction, and are almost always published net.<br />
Many think that they are dealt with liberally if<br />
they get #50, on a 10 per cent. royalty on a £1 1s.<br />
net book, and would be astonished if, on looking<br />
through the returns, they were told that the book<br />
could have easily paid 20 per cent. They are<br />
ignorant, too, as to the many rights that exist<br />
outside the mere publication in the British Empire,<br />
and consequently give all their rights or an<br />
exclusive licence to publish when asked to do so,<br />
and the publisher takes what he can get with an<br />
easy conscience. -<br />
In the case of dramatists this gift of an exclusive.<br />
licence to perform is more disastrous still. When<br />
once a manager gets holds of it he does not let it.<br />
go, and the piece may practically be killed all over<br />
the world save in the one West End theatre where<br />
the actor-manager exhibits himself. The ignorance<br />
of the dramatist is fatal to his success.<br />
The musical publisher takes from the composer—<br />
such is his business capacity, or rather rapacity—<br />
both his copyright and performing right, for in<br />
much music the double right is profitable. In a<br />
book the primary right is of course copyright. In<br />
a theatrical piece the primary right is of course<br />
performing right, but in a musical composition the<br />
two often exist side by side, and might bring in<br />
large sums to the composer if practically marketed.<br />
To the ignorant author, whether of a book, of a<br />
drama, of a piece of music, it should be essential<br />
to join the ranks of his fellow members. Every<br />
author with a little understanding can gauge his<br />
own ignorance or knowledge. The buyer of a<br />
horse does not purchase without the certificate of<br />
a veterinary surgeon, nor the purchaser of a motor<br />
car without the opinion of an expert. y<br />
When we first made the quotation from Vol. I. of<br />
The Author it was not our intention to write more<br />
than a few words, but the subject started by Sir<br />
Walter Besant and his lucid remarks, not all of<br />
which are contained in the paragraph, brought a<br />
fresh train of thought on what unfortunately is not<br />
to every author, dramatist, or composer, a self-<br />
evident proposition. %<br />
<br />
<br />
## p. 131 (#175) ############################################<br />
<br />
THE AUTHOR.<br />
131<br />
THE DECADENCE OF THE NOVEL.<br />
-—º-º-º-<br />
TS it permitted to have doubts regarding the<br />
decadence of the novel ? -<br />
“Where are your Dickens, your Thackerays,<br />
and your Scotts P” immediately retorts the<br />
impugner of contemporary fiction.<br />
To which the best reply is,<br />
“And Fieldings P’’ .<br />
Because, sad to say, it is ten to one that the<br />
detractor has not read Fielding. In consequence<br />
of which he will at once proceed to entangle him-<br />
self in efforts either, to conceal his ignorance, which<br />
will be impossible, or to justify his neglect, which<br />
will put him out of court.<br />
If “Tom Jones” is to be the standard, the<br />
English novel has been certainly on the down<br />
grade since February 28, 1749. But this is not<br />
a reasonable way of regarding any phenomenon of<br />
literary production. For some reason, not yet<br />
explained, the superlatively best in every literary<br />
form makes its appearance very soon. Greece<br />
never produced anything to rival the Iliad; nor,<br />
indeed, has it been approached by any work in any<br />
one of the Western literatures, all of which are<br />
essentially offshoots of the supreme Homeric torrent<br />
spreading itself in the divergent winding streams<br />
and backwaters of a delta. No Greek dramatist<br />
rose to the height of the Orestea. No Roman lyric<br />
‘Successor of Horace,<br />
“Princeps Aeoleum carmen ad Italos.<br />
Deduxisse modos,”<br />
wever equalled him. Quintilian opined “Lyricorum<br />
Horatius fere solus legi dignus.” Had time, and<br />
the Byzantine monks, spared us the works of<br />
Terpander and of the other early Greek lyric poets,<br />
should we have found in them things not surpassed<br />
by Pindar 2 It is certain that the poetess who can<br />
rival Sappho has still to make her appearance ; and<br />
seems very unlikely to appear. No Englishman<br />
has written such blank verse as Milton. And so<br />
on. Indeed, that the best is soon reached<br />
appears to be a phenomenon dominant in all pro-<br />
vinces connected with letters. No document is so<br />
indestructible as a Babylonian tablet. The Script<br />
of the oldest inscriptions and manuscripts is the<br />
handsomest. The Mazarine Bible still remains<br />
an unrivalled example of letterpress ; and no<br />
printer has ever produced pages and type of more<br />
beautiful proportions than those presented by the<br />
“Hypnerotomachia Pamphili.”<br />
Possibly a partial explanation of this dominant<br />
phenomenon is to be found in the fact that for those<br />
who came first<br />
“The world was all before them where to choose :”<br />
and they chose the best. Afterwards their less<br />
fortunate successors had either to tell the same<br />
story, to use the same form, or to take what the<br />
first comers had prudently eschewed. But seeing<br />
how far-reaching is this phenomenon of the best<br />
being very soon reached, it is evidently always an<br />
easy thing for anyone who wishes to insist upon<br />
literary decadence to prove his point.<br />
At the same time it is open to question whether<br />
the works of authors whose writings are adduced to<br />
shame the labours of their successors are in all<br />
cases so perfect as they are represented to be. This<br />
does not apply to the very greatest, to such novelists<br />
as Fielding and Cervantes. But Sir Walter Scott<br />
has certain longueurs. It would be difficult entirely<br />
to exonerate Dickens of exaggeration and “playing<br />
to the gallery.” And will any one defend “her eyes<br />
were full of almost tears,” “different to,” “many<br />
opprobrious epithets in the English and French<br />
language,” all which flowers of speech are to be<br />
found in “Pendennis” Is it possible to find the<br />
parallels of these in the pages of any novelist of<br />
1908 who is careful about his style 2<br />
“But many are disgracefully careless. You<br />
must judge by an average.”<br />
Oh, but there were novelists who were not<br />
Scotts nor Thackerays even when Scott and<br />
Thackeray were living ! And it is instructive to<br />
peruse on the fly-leaves of fiction of fifty years ago<br />
the press notices of the novels of the day. They<br />
are generous, those press notices; exactly as are<br />
many press notices now. And if what they said<br />
was to be taken “au pied de la lettre” those stories<br />
ought still to be favourites. They are not. Their<br />
titles are forgotten ; and it is often difficult to find<br />
any one who can say who the authors were. But<br />
these writers were the contemporaries of Dickens<br />
and Thackeray and ought to count. In effect, the<br />
comparison of all that is being written to-day with<br />
the exceptional work of fifty and more years ago<br />
which has been found worthy to survive is essentially<br />
unjust.<br />
A smaller number of novels than might be sup-<br />
posed survives a decade : only a fraction survives<br />
a century. It is not entirely the fault of the work.<br />
Sir Walter Scott remarked very justly that after<br />
fifty years a novel to be rightly understood requires<br />
notes. Or if it does not require notes, it demands<br />
of the reader some such knowledge of a state of<br />
society that has passed away as only Well-informed<br />
people possess. In consequence to obtain anything<br />
resembling a lucid view of the actual situation it is<br />
not only requisite first of all to distinguish novels<br />
of very various merit published at the same date, but<br />
also no less necessary to distinguish the various<br />
classes to which these novels appeal.<br />
Are the “serials” at present running in half-<br />
penny prints, and (whatsoever may be their merits<br />
<br />
<br />
## p. 132 (#176) ############################################<br />
<br />
132<br />
TISIES A UITISIOR.<br />
or demerits) devoured with avidity by a certain<br />
class of readers, inferior to the tales in the “Penny<br />
Readers” of fifty years ago 2 Those “Penny<br />
Readers” had a public. Had they not had one<br />
they would not have been published. It seems not<br />
at all improbable that their publishers reaped a<br />
larger profit than is at present reaped by the pub-<br />
lishers of the penny fiction at the present day offered<br />
to a public of about the same intellectual level.<br />
There were then by far fewer publications of this<br />
kind ; and it is now many years since a news-<br />
vendor observed to the present writer “If there<br />
were only one or two of these weekly penny fiction<br />
periodicals they would be a gold mine. But there<br />
are so many that they are of no value to any one.”<br />
And since then the competition for the penny of<br />
the reader of cheap weekly fiction has certainly not<br />
diminished.<br />
Here we probably touch the secret of the<br />
“decadence,” if there is a decadence. Undeniably<br />
the conditions favour decadence. And the condi-<br />
tions are not to be justly charged against either<br />
authors or publishers. They are in no small degree<br />
results of human nature. -<br />
Now, it is useless to quarrel with human nature.<br />
Human nature is a phenomenon of the same kind.<br />
as gravitation and magnetism, and, whether it is<br />
What any one would wish it to be or not, it has to<br />
be accepted as it is. Neither does it help to say,<br />
“It is, but hadn’t ought to be.”<br />
In “Don Quixote’ Marcela justly excuses her-<br />
self for having turned the head of Grisostomo by<br />
remarking, “As the viper deserves no blame for its<br />
sting, although it be mortal, because it is the gift<br />
of nature, neither ought I to be reviled for being<br />
beautiful.” And it is one of the gifts of nature to<br />
humanity to scramble for halfpence ; or, if the coin<br />
be of any larger worth, to scramble with propor-<br />
tionately keener ardour. That has to be accepted<br />
as the viper's “sting ” has to be accepted, howsoever<br />
much it “hadn’t ought to be.”<br />
A publisher is a man who hopes to make an<br />
income by bringing out books. To do that he has<br />
first to get the copy, and afterwards to purchase<br />
paper, to pay the printer and binder, and—this last<br />
is the rub—to sell the books. It is said that there<br />
are people who will give away copy; and it is cer-<br />
tain that mechanical inventions have reduced the<br />
Cost of paper, printing, and binding, to prices that<br />
Would once have been considered impossible,<br />
though these prices may still not be so small as a<br />
publisher could wish. In fact, none of the pre-<br />
liminary expenses are very serious. But to sell the<br />
book demands genius. Books do not sell them-<br />
selves; publishers wish they would. Nor will the<br />
public part with their money for any book that is<br />
offered them. If the public would do that, the<br />
situation would become too sunny. Every author<br />
would bring out his own works, and there would be<br />
no publishers. But the public will purchase, by<br />
no means generously, if their expectations have<br />
been properly tickled, if they can be persuaded (no<br />
matter how) that they are going to have a little<br />
more than their money's worth for their money,<br />
and, this is the chief thing, if the humour takes<br />
them. What they ought to purchase is a problem<br />
for the critic, not for the publisher. What they<br />
will purchase the publisher desires to supply in the<br />
largest quantity saleable at a profit. If the public<br />
wanted the “Rig-Veda” in the original, the pub-<br />
lishers would be delighted to sell them the “Rig-<br />
Veda” up to any number of hundreds of thousands;<br />
and some publisher would no doubt offer the com-<br />
plete Sanscrit text, edited by a first-class scholar,<br />
for fourpence-halfpenny—to “cut out" the other<br />
publishers.<br />
Well, the public do not want the “Rig-Veda.”<br />
And they do want a certain number of novels.<br />
How many they want no one knows. But they<br />
Would like them at cheaper rates. This also is<br />
of a piece with the viper's “sting” and Marcela's<br />
beauty, a gift of nature. But no matter how<br />
ingeniously the cost of production may be manipu-<br />
lated, as the selling-price is ruthlessly diminished<br />
at the bidding of a furious competition, the actual<br />
profits tend towards a vanishing point. Many<br />
Small profits now become the remedy for shrinking<br />
returns; and the publisher plays for a profit<br />
Q?<br />
Of 3<br />
One. That multiplies the output of novels; not<br />
necessarily of volumes, 500 of A, and 500 of B,<br />
and 500 of C, taking the place of 1,500 of A.<br />
Next the author does the same ; and, be it<br />
noted, with by far less excuse. Publishing three<br />
books instead of one, as above, means only spend-<br />
ing rather more on composition. It is true that<br />
the modification is one that leads to sinister effects<br />
upon percentages of gain, more capital being in-<br />
Wested to earn the same return. But if a man<br />
has the capital, and particularly when he can<br />
invest the same capital thrice successively in three<br />
small ventures, the result may be merely a con-<br />
siderably increased production of books with no<br />
very great corresponding extra expenditure. But,<br />
the author who, because he finds the value of copy<br />
*/ *<br />
2’<br />
two novels in place of one is committing literary<br />
suicide. The time necessary to write a novel,<br />
and still more the all-important period of incuba-<br />
tion that must precede the invention of any story,<br />
will be very different in the case of different indi-<br />
viduals; just as the final result will differ in con-<br />
Sequence of their different abilities. But no writer<br />
on three novels instead of a profit of a upon<br />
reduced from y to #, coolly sets to work to write<br />
<br />
<br />
## p. 133 (#177) ############################################<br />
<br />
TFIES A UITISIOR.<br />
133<br />
can “put on steam ” and run out two novels in<br />
the time that he would normally spend upon one,<br />
without incurring an enormous risk of drifting into<br />
mere journeyman work. No man can in such<br />
circumstances do his best. And the novelist who<br />
is not writing his best would be by far better<br />
advised in not writing at all. It is, however, no<br />
secret that some men have been trying to remedy<br />
a reduction in prices by an increased output.<br />
Such tactics would certainly make for decadence.<br />
But the mischief does not end with the probable<br />
deterioration of the work of the individual. When<br />
publisher and author deliberately combine to play<br />
a double game of forced production at low profits,<br />
the output must be inevitably exaggerated. Pro-<br />
bably it is already grossly exaggerated ; and the<br />
books exceeding the demand stand in one another's<br />
way. So much is this avowedly the case that it<br />
will not be indiscreet to hazard a conjecture that a<br />
certain proportion of the much wider popularity of<br />
some of the novels of the past was due to the fact<br />
that the tales got a wider reading in consequence<br />
of there not being others that could be taken up<br />
instead. At present of ten novels that are pub-<br />
lished, seven never have a fair chance. The<br />
numerous others that succeed them week by Week<br />
rob them immediately of their claim to be new<br />
novels. And the new novel is the biggest of all<br />
the fetiches of the novel-reading public. Swept<br />
headlong by the combined forces of feverish pro-<br />
duction and demand for nothing but what is “new,”<br />
“newest,” and “only just out,” fiction is threaten-<br />
ing to become purely ephemeral. If that should<br />
arrive, if the novelist is to know that as the jour-<br />
ºnalist's work has a life of a day only, his is to exist<br />
but for a month, is it possible, is it in human<br />
nature, that he should put into his book the quali-<br />
ties that a man might labour to compass in a work<br />
that might hope to be a favourite with a genera-<br />
tion, that had a chance of being remembered when<br />
its writer had passed away ? If there is a deca-<br />
dence, if less and less of the work at present done<br />
has permanent value, to what extent is that due to<br />
the novelist's labouring for the moment only<br />
because he has lost hope of a future ?<br />
It is possible enough that when time shall have<br />
sifted the work, and shall have brought a date from<br />
which the literature of to-day can be viewed in<br />
due perspective, the fiction of the present genera-<br />
tion may be found quite worthy to reckon with<br />
that of the generations that have preceded it. If<br />
in all but the very best a distinct decadence) is<br />
visible that will have been in no small degree the<br />
result of idiotic competition.<br />
-º-e<br />
©<br />
THE LITERARY YEAR BOOK.<br />
–0-º-º-<br />
LAW AND LETTERS.<br />
HE article devoted to Law and Letters in 1909<br />
differs but slightly from the article dealing<br />
with the same subject in 1908.<br />
The fresh cases that have been tried in the past<br />
year which are of any importance have been<br />
epitomised ; among the number, the case of<br />
Humphreys v. Thomson. The writer of the<br />
article remarks at the end —“An interesting<br />
feature in the case was the opinion expressed by<br />
certain authors, editors and others connected with<br />
literature, that in the absence of any specific<br />
agreement to the contrary the editor or other<br />
purchaser of a story for serial use may alter it to<br />
almost any extent, while the author can do nothing<br />
to prevent it. The jury thought otherwise, and<br />
took a common-sense view of the matter.”<br />
It is impossible to understand the mental attitude<br />
of an author who would allow his work to be ruth-<br />
lessly altered. He cannot care for his art, he<br />
cannot value his own work ; he must live without<br />
ideals. But still, looking at the issue from the<br />
Sordid point of view, it is dangerous to risk your<br />
reputation as a writer by allowing others to alter<br />
your work. Such alteration may damage the<br />
financial returns in the future.<br />
Of the editors and others who gave testimony<br />
there is but little to be said. If they appreciated<br />
their own style and the value of their own pen<br />
they ought to have recognised those points in<br />
others; if they did not, then their little minds<br />
could not rise above the level of cash value. This<br />
is by the way, and has nothing to do with the<br />
Literary Year Book.<br />
The epitome of the Copyright Laws has been<br />
carefully and accurately done, and as far as it is<br />
possible within twenty-three pages to deal with so<br />
vast a subject, so far has it been dealt with satis-<br />
factorily. The very contentious Section XVIII.<br />
is fairly explained, but will this explanation convey<br />
much to the minds of the uninitiated P<br />
The paragraph on “The Assignment of Right"<br />
should be studied. Is it possible that the perusal<br />
of it will carry any information to the unstudied<br />
reader ? We should like to assert strongly that the<br />
grant of an exclusive licence to print and publish<br />
is totally distinct at law from an assignment of the<br />
copyright.<br />
It would have been as well also to point out<br />
clearly in the article dealing with the Fine Art<br />
Copyright the danger of the artist's rights falling<br />
into the public domain, though this may be deduced<br />
it is nowhere positively declared, and the positive<br />
declaration is much more likely to carry con-<br />
viction with those who do not know.<br />
<br />
<br />
## p. 134 (#178) ############################################<br />
<br />
134<br />
TISIES ALTISIOR.<br />
We cannot, however, unreservedly cengratulate<br />
the author on the second section of his article,<br />
“Author, Publisher, and Agent.”<br />
By far the best part is that which deals with the<br />
relation between author and agent.<br />
In the pages of The Aufhor it has been stated<br />
Over and over again, that the position between<br />
author and agent is in many cases most dangerous.<br />
An author will naturally, until the agreement is<br />
signed, keep the publisher more or less at arms’<br />
length ; but with an agent, if he is to be of any<br />
use, the author must be on the most intimate and<br />
confidential footing from the first ; agents are<br />
inclined to take advantage of this position and<br />
protect their own interests at the expense of the<br />
author. It is therefore with the utmost care that<br />
the latter must bind himself to the former. He<br />
must make no contract which will prejudice the<br />
proper marketing of his literary efforts, nor agree<br />
to any terms that hamper his action if the work<br />
with his agent is irksome or intolerable. The Year<br />
Book says: — “The author should be warned<br />
against a clause which requires him to pay the<br />
agent a commission, not merely on the book under<br />
discussion but on future books which the author<br />
may write during a stated number of years.” Let<br />
the author take this to heart : the agent may claim<br />
On all books under one contract. To save himself<br />
trouble he may bind the author under that most<br />
iniquitous form of contract, for one, two, or three<br />
books to one publisher. The author will, unless he is<br />
careful, be bound to pay the agent on each of those<br />
books as they are delivered to the publisher. An<br />
agent has even been known to claim commission on<br />
any books placed with that publisher under any<br />
contract during the author's life. If he becomes<br />
displeased with the agent's work and wishes to with-<br />
draw his business he may find in the agreement an<br />
agency clause which entitles the agent to collect<br />
and receive all monies due under the terms of the<br />
agreement. The danger of this is explained on<br />
page 501. But the clause often goes further than<br />
the mere collection and receipt of monies, and<br />
empowers the agent to settle all disputes that may<br />
arise under the contract. “Such clause,” the<br />
writer of the article says, “should be signed only<br />
with the utmost caution.” It is necessary to<br />
state in the strongest terms that such clause<br />
should never be signed at all.<br />
If the author desires to put his business into the<br />
hands of another agent, he may have to pay twice<br />
OVer On One COntract.<br />
The reasons for this advice have been set forth<br />
In the columns of The Author over and over again.<br />
But still, it is difficult to get to all authors who<br />
employ agents, and oftentimes an agent impresses<br />
upon the author that it is not to his advantage to<br />
join the Society.<br />
If the agent is not financially sound, he has been<br />
known to retain the money due to his client, and<br />
in some cases play for the interests of the publisher<br />
rather than the author.<br />
The advice given in the pages of the Year Book<br />
is sound and most important, and the editor is quite<br />
right when he states that the protection of the<br />
Authors' Society is almost as frequently sought<br />
against agents as against publishers.<br />
We have emphasised the article on Agents; for in<br />
some cases the agent is useful, in others he is<br />
absolutely essential. But if they intend to hold so<br />
large a control of the author's property, they<br />
must be bound by contract to act only for the<br />
benefit of that property. Their control must not<br />
be such as to hamper the author's action or damage<br />
him financially.<br />
But little space is left to criticise the forms of<br />
agreement. . This part of the article is, perhaps,<br />
the least satisfactory, and shows less experience and<br />
knowledge than is contained in the first section.<br />
For example, under the commission agreement,<br />
why should the books be accounted for to the<br />
author at the lowest prices charged to wholesale<br />
booksellers and exporters ? To account for every<br />
book at the actual price received might complicate<br />
the accounts and be irksome to the publisher. It<br />
would be easy to arrive at an average. -<br />
Again, the book should never be sold at reduced<br />
prices without the author's sanction ; for as he has<br />
paid for the book he has a right to control the<br />
price lest it is sold at a figure which could not<br />
possibly bring him any profit.<br />
In the Sale of Copyright one most important<br />
point has been omitted : the date of publication.<br />
If the book is not published by a certain date the<br />
publisher should be penalised. Publication is as<br />
important to an author as public performance to<br />
a dramatist ; that either should allow his property<br />
to be buried for ever would be a gross error of<br />
judgment. .<br />
Further, for a sale outright no author should<br />
take less than £1 per thousand words; to encourage<br />
lower prices is to encourage sweating.<br />
On the Profit-sharing Agreement the advice is<br />
given, “Authors should only enter upon it with<br />
the utmost caution.” We would go further, and<br />
advise that authors should never accept these<br />
terms. Constant experience shows that the result<br />
is eminently unsatisfactory to the author.<br />
On the Royalty Agreement and the remarks<br />
passed upon this system of publication we should<br />
have liked to write an entire article, but space will<br />
not permit. This is the most important of all<br />
agreements. It is a pity that the comments upon<br />
it and the clauses included in it should be the<br />
least satisfactory part of the whole review. The<br />
writer seems to have had the publisher's influence<br />
<br />
<br />
## p. 135 (#179) ############################################<br />
<br />
TISIES A UTISIOR,<br />
135°<br />
strongly upon him ; but his review ought to be<br />
for the author. The publisher, if he knows his<br />
business, ought to know all details of the legal<br />
aspect, and to need no coaching. But the author<br />
holds a different position, and as other parts of<br />
the book are written generally for the author, this<br />
portion should be particularly so.<br />
It is curious that in the parties to the agreement<br />
the publisher is mentioned as the party of the first<br />
part, and not the author. This may be a sign of<br />
the influence to which we have referred. -<br />
The successors and assignees of the publishers are<br />
included, without any remark. Some comment on<br />
this form was absolutely necessary; a contract for<br />
publication should, if possible, be a personal con-<br />
tract. The writer then states:—“A royalty agree-<br />
ment proceeds thus, or to this effect : “That in<br />
consideration that the copyright and plant, includ-<br />
ing therein such foreign and colonial rights of<br />
translation and reproduction as the author may<br />
arrange to part with,' shall forthwith belong<br />
to and become the property of the publisher,<br />
etc.” -<br />
He then proceeds, by way of comment: “He<br />
(the publisher) will commonly be willing to con-<br />
sent to accept ‘the exclusive right of printing ' in<br />
lieu of the copyright. Should he demur to this<br />
variation, and should the author genuinely prefer<br />
it—in practice it has no real significance—the advice<br />
of an intermediary should be sought.”<br />
The italics are ours. In practice the difference<br />
is very real, and the result to an author of the<br />
conveyance of copyright to a publisher is disas-<br />
trous. One case is quoted, that of Mr. Warwick<br />
Deeping. This case alone ought to have made<br />
some further advice to the author essential.<br />
Another case was tried last year bearing on the<br />
same issue.<br />
In plain words, an author should never con-<br />
vey his copyright to a publisher even if it is<br />
limited to England, her colonies and depen-<br />
dencies, or to the English language. An author,<br />
if forced to . convey an exclusive licence to<br />
publish, should still safeguard himself by other<br />
clauses and limitations, and should never go<br />
beyond the licence to publish in book form in the<br />
English language. Enough has been said to<br />
show the danger in this most common form of<br />
agreement as propounded by the Literary Year<br />
Book.<br />
We do not propose—nor is this the place—to<br />
draft a model agreement on the royalty basis, but<br />
it is our duty to warn authors to avoid the present<br />
example.<br />
We regret that, in an otherwise good review of<br />
“Law and Letters,” this form should have been<br />
included unless it was done so purposely to assist<br />
the publisher rather than the author. In that<br />
by Messrs. Harper.<br />
Case a note, should have been appended for the<br />
author's guidance.<br />
G. H. T.<br />
Note:-We regret that the review of the other<br />
Rººts of the Year Book has been unavoidably<br />
delayed. We hope to print it in the March.<br />
number.—EDITOR.<br />
à. -º-<br />
w -º-<br />
CORRESPONDENCE.<br />
–0-0-0–<br />
PROPERTY IN TITLES.<br />
SIR,-My novel, “The Inner Shrine,” appeared<br />
Serially in the weekly edition of the Times. In<br />
1900 it was published in volume form in London.<br />
Accounts relating to its sales<br />
have passed between us ever since, and I think the<br />
last copy was sold about a year ago. I am<br />
informed that Messrs. Harper are now publishing<br />
a novel called “The Inner Shrine,” by a new<br />
author, in their magazine, and I understand, not<br />
only that I have no redress, but that if my novel,<br />
“The Inner Shrine,” comes out in a cheap reprint.<br />
I shall have to find a new title. I admit that for<br />
my novel “The Inner Shrine " was a poor title,<br />
but I had always supposed it to be my own.<br />
Yours truly,<br />
CECILY SIDGWICK.<br />
—t—cº-e—<br />
METHODS OF CRITICISMI.<br />
SIR,--I enclose herewith, not for publication, a<br />
“review,” clipped from Truth, of a recent novel of<br />
mine—a “review º' which, except for a single.<br />
critical adjective, consists of an inaccurate synopsis<br />
of my story.<br />
Had Truth any right to supply its readers with<br />
any synopsis at all ? On the title-page of the book<br />
is the printed caution: “All rights reserved.” If<br />
Truth had that right, was it dealing fairly with<br />
either author or publishers in treating thus a novel<br />
entrusted to it in all good faith and dependent on<br />
its plot for a possible sale 2<br />
As to the latter point, may I quote the Dundee.<br />
Courier :—“. events culminate in a most<br />
exciting climax, which of course it would be most<br />
wnfair to give away here.”<br />
The italics within the quotation are mine. And,<br />
I am), sir,<br />
Your obedient servant,<br />
ROBERT AITREN.<br />
—t-sº-0–<br />
“THE WRITERS’ YEARBOOK.”<br />
SIR,-As a U.S.A. contributor may I be per-<br />
mitted to make a few observations on the review<br />
of the “Writers' and Artists' Yearbook” in last.<br />
<br />
<br />
## p. 136 (#180) ############################################<br />
<br />
136<br />
TISIES A UTISIOR,<br />
month's Author. Some of “Z.'s " statements are<br />
erroneous, and a few calculated to mislead the<br />
Britisher essaying sales to certain U.S.A. monthlies<br />
and weeklies. The periodicals published through-<br />
out the United States are not “over 20,000 °–<br />
but 25,000. His short list of “ leading periodi-<br />
cals” is just what I reckon the “Writers' and<br />
Artists’Yearbook” editors have wisely eschewed, for,<br />
as I personally know, the majority of them do not<br />
desire English contributions except in so far as<br />
they deal directly with American subjects. . An<br />
American might as well send contributions in to<br />
Punch as a Britisher into Life, Scrip, Theater, and<br />
others. I have yet to learn that there is a U.S.A.<br />
Strand which is not the same as the English one !<br />
Technical World uses material based only on some<br />
phase of engineering or invention. ... Living Age is<br />
a compilation of quoted matter. Spare Moments,<br />
a species of American London Journal, is a<br />
particularly American production, and uses only one<br />
short story every month. Its material is especially<br />
indigenous. People Popular Monthly is a 5 cent.<br />
magazine, and no more a leading production than<br />
Home Notes, London, is Sunset Magazine pays<br />
for matter in transportation over its proprietary’s<br />
railways, except in a few instances, and accepts<br />
work and fiction dealing only with the Californian<br />
Slope and Further America on the Pacific.<br />
For the English contributor, who knows not the<br />
States in an intimate manner, it is a waste of<br />
stamps and time to send in MSS. to Holland's<br />
Magazine, another indigenous monthly, that<br />
occasionally uses British matter from fictionalists<br />
of the highest rank. Youth, Philadelphia, has<br />
been dead a considerable time, and the American<br />
Boy and Practical Young America cry for American<br />
matter written in an American manner. As for<br />
the religious papers given by “Z.,” if he had wasted<br />
as many stamps as I have on our religious Weeklies<br />
—$1—$2 at 1,000 words — that crib most<br />
courageously, and pay abominably low rates as<br />
a whole for original matter, he would not have<br />
quoted them<br />
Regarding the list of U.S.A. publishers, what is<br />
wanted is not a complete one, but one that<br />
represents the most creditable firms in the States,<br />
those known for probity and right dealing.<br />
I the more espouse the cause of the “Year-<br />
book " because it is such a help to one. If the<br />
English list was in its details as full as the<br />
American one, i.e., as to length of stories wanted,<br />
character, setting, etc., it would be an ideal pro-<br />
duction ; plus, of course, a dependable list of<br />
U.S.A. publishers—not all the sharks and<br />
crocodiles of the trade. “Z.,” I think, must have<br />
done his review with Sell’s World’s Press, U.S.A.<br />
section, lying to his eye. Yours, etc.,<br />
M.<br />
SIR,-In reply to “M.'s" extraordinarily minute<br />
criticism of my review of “The Writers' Year<br />
Book,” which you have kindly permitted me to see,<br />
I would in turn remark that some of his statements<br />
are erroneous and a few calculated to mislead.<br />
With regard to the number of periodicals pub-<br />
lished in the States, my expression was “well over<br />
20,000.” How far this differs from 25,000 in<br />
general terms perhaps “M.” will explain.<br />
The list of periodicals I gave (which, by the<br />
way, did not come from the source he suggests)<br />
was inspired by the desire to make the list<br />
thoroughly representative, as it ought to be. On<br />
the other hand, does “M.” seriously mean to say<br />
that all the American journals and magazines<br />
given in “The Writers' Year Book” are “leading”<br />
—for one instance, “5 cent productions * such<br />
as the Family Story Paper, Housekeeper, People's<br />
Home Journal, Vick's Magazine, and the Wasp 2<br />
Can he affirm that a quarter of the American<br />
magazines given in the “Year Book” are likely to<br />
accept English MSS. 2 The Sunset Magazine used<br />
to pay good cash in pre-earthquake days, to my<br />
own knowledge, and even now is quite a “leading ”<br />
magazine out West. - -<br />
As to U.S.A. publishers, if “M.” will be<br />
personally responsible for the probity and right<br />
dealing of the “Year Book" list, I will undertake<br />
responsibility for mine.<br />
Finally, if “M.” has not yet discovered the<br />
difference between the Strand published in America<br />
and that published on this side, he should put<br />
himself wise at once. Yours, etc.,<br />
THE AUTHORS' CLUB AND WORKS OF MEMBERS<br />
OF THE SOCIETY OF AUTHORS.<br />
SIR,-No doubt there are many members of the<br />
latter who belong to the former. As I understand<br />
there is a small circulating or permanent library<br />
in the Club, the following suggestion is respect-<br />
fully made for the favourable consideration of the<br />
committee : That authors of the society might<br />
loan or present works which have been well<br />
reviewed, with, of course, approbation of the Com-<br />
mittee, to above library. A young author's Works<br />
might receive a glance during a spare half-hour's<br />
lounge in the library, might take the interest of a<br />
member, and perhaps lead to his work becoming<br />
known over the head of a capricious public library<br />
or bookseller, who acquire works simply by the<br />
writer's name, irrespective of contents.<br />
Why should leaflets, which cost the editors<br />
nothing, be tabooed from the pages of The Author?<br />
A MEMBER OF THE SOCIETY.<br />
<br />
<br />
## p. 136 (#181) ############################################<br />
<br />
AD VERTISEMENTS. iii<br />
TYPEWRITING.<br />
Authors’ MSS. copied from 9d. per 1,000<br />
words; in duplicate, 1/-. Plays and General<br />
Copying. List and specimen of work on appli-<br />
cation. -<br />
ONE OF NUMEROUS TESTIMONIALS.<br />
SIRES and SIPKES,<br />
The West Kensington Typewriting 0ffices,<br />
(Established 1893)<br />
223a, Hammersmith Road, LONDON, W.<br />
Authors' MSS. ; Translations; Duplicating; Plays and Actors' Parts ;<br />
Legal, General and Commercial Documents. Private Rooms for<br />
Dictation. Usual Terms. References.<br />
TYPEVVRITING<br />
OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDs.<br />
Two COPIEs, 1s. PER 1,000 WORDS.<br />
Authors’ MSS., Legal Documents, Reports, &c., carefully and<br />
accurately copied. Orders by Post promptly attended to.<br />
Mrs. SOUTHEE, 273, Francis Rd., LEWION, LONDON, E.<br />
TYPEWRITING.<br />
AUTHORS’ MSS. FROM 10d. PER 1,000 WORDS<br />
WORKMANSHIP AND NMATERIALS OF THE BEST.<br />
Accurate and Prompt. —<br />
Jºccellent Testimonials,<br />
ERNEST PEARCE, 30, College Road, READING.<br />
“Miss M. R. HORNE has typed for me literary matter to the<br />
extent of some hundreds of thousands of words. I have nothing<br />
but praise for the accuracy, speed, and neatness with which she<br />
does her Work,-FRANIK SAVILLE.” - .<br />
MISS M. R. HORNE,<br />
ESKDALE, WEST DRAYTON, MIDDLESEX.<br />
MRS. GILL, Typewriting Office,<br />
(Established 1883.) 35, LUDGATE HILL, E.C.<br />
Authors' MSS. carefully copied from 1s, per 1,000<br />
words. Duplicate copies third price. French and German<br />
MSS. accurately copied ; or typewritten English trans-<br />
lations supplied. References kindly permitted to Messrs.<br />
A. P. Watt & Son, Literary Agents, Hastings House,<br />
Norfolk Street, Strand, W.C. Telephone 84.64 Central.<br />
WE have pleasure in announcing that we have made an arrange-<br />
ment with Mr. William Archer by which, upon request of<br />
the author, he undertakes to read, criticise, and advise upon any<br />
plays entrusted to us, and he will read no manuscript plays which do<br />
not reach him through us.<br />
The reading fees are fixed as follows:– # S. d.<br />
For scenarios of not over 2,000 words 1 10 0<br />
For plays of one or two acts ... l 10 0<br />
For plays of three or more acts ... ... 2 10 0<br />
The payment of these fees entitles the author to a written opinion<br />
from 300 to 800 words in length, dealing with the theme, con-<br />
Struction, characterisation, and diction of his play, suggesting altera-<br />
tions where they seem called for, and (so far as possible) conveying<br />
both theoretical criticism and practical advice.<br />
The fact that a play has been submitted to Mr. Archer will be<br />
treated by him, and by us, as confidential. On the other hand, the<br />
author is at liberty to show Mr. Archer's opinion to managers, actors,<br />
etc., if he so desires. It would manifestly be misleading, however,<br />
to quote detached phrases or make garbled extracts from a detailed<br />
criticism. Mr. Archer therefore leaves it to the author's sense of fair-<br />
mess to show to managers, etc., the whole opinion if he shows any<br />
part of it.<br />
If, in addition to the opinion, the author should desire a personal<br />
interview with Mr. Archer, a further fee of two guineas would be<br />
charged.<br />
Plays re-submitted after alteration are subject to the same fees as<br />
plays submitted for the first time.<br />
Manuscripts should be addressed to :-<br />
Messrs. Curtis Brown & Massie, 5, Henrietta, St., Covent Garden, W.C.,<br />
and, if Mr. Archer's opinion is required, they should be accompanied<br />
by the reading fee in advance. Cheques should be made payable to<br />
Messrs. Curtis Brown & Massie. If, as may sometimes happen, a<br />
play does not seem to call for serious consideration, but can be<br />
adequately dealt with in three or four lines, half the reading fee will<br />
be returned.<br />
Plays should in all cases be type-written (or printed), and a copy<br />
should be retained by the author. While all reasonable care will be<br />
taken of manuscripts, we cannot be responsible for their loss in the<br />
post, or otherwise.<br />
Mr. Archer will endeavour to give his opinion of any play within two<br />
weeks of receiving the manuscript.<br />
It is not necessary that plays entrusted to us for placing with<br />
managers should be submitted to Mr. Archer, and, on the other hand,<br />
it is not necessary that plays sent to us for Mr. Archer's inspection<br />
should be entrusted to us for placing, although we have many open-<br />
ings for good plays. Our agency for playWrights, and our arrange-<br />
ments with Mr. Archer are not interdependent.<br />
Especial attention is called to the advantage of expert criticism on<br />
scenarios. On the other hand, we find it practically, impossible to<br />
interest managers in plays not complete in every detail. It is our<br />
practice to send to actors and managers only plays of which it can be<br />
said they are worth the manager's personal and immediate attention.<br />
Plays placed by us are subject to a commission of ten per cent of the<br />
receipts. We can undertake arrangements for only such plays as are<br />
left exclusively in our hands.<br />
CURTIS BROWN & MASSIE.<br />
BRADBURYAGNEW.& Cº.L.<br />
The Whitefriars Press,<br />
LONDON and TONBRIDGE,<br />
IBIAVING LARGELY INCREASED THEIR<br />
Printing and B00kbinding Plant<br />
(which is now one of the most complete in<br />
the British Isles), are prepared to undertake,<br />
— at short notice, the production of —<br />
Works of Fiction,<br />
Legal and Medical Text Books,<br />
{<br />
High-class Magazines,<br />
Newspapers, etc.<br />
ESTIMATES FREE.<br />
An Illustrated Booklet descriptive of the Country<br />
Branch of the Firm sent on receipt of a Post Card,<br />
Telegrams: Chariwari, London; Chariwari, Tonbridge,<br />
Telephones: 28 Holborn ; 19 Tonbridge ; 9108 Central,<br />
<br />
<br />
## p. 136 (#182) ############################################<br />
<br />
fiv AD VERTISEMENTS.<br />
BREEly Wºlſ|NG PMS.<br />
44'IO J S AU 1. HORS, anxious to diverge from the<br />
beaten track, should read the following new guides :—<br />
| n ;I.:<br />
tº a ſ tº-<br />
shall I Write about?<br />
, , ess. Plots, and How to Find Them.<br />
By R. A. H. GOODYEAR.<br />
2. Tale-Writing for Money.<br />
Bright Stories: How to Write and Where<br />
to Sell Them at Best Prices. -<br />
By R. A. H. GOODYEAR.<br />
3. 101 Money-making<br />
Recipes for Authors.<br />
From the Private Papers of Eminent<br />
Writers.<br />
SEVENPENCE EACH,<br />
Two for Is. I d., or three for Is. 6d., post free,<br />
of THE MAGAZINE SYNDICATE, Publishing<br />
Office, Southport, Lancs.<br />
THE TIDE MILL SEC2' Tºr.<br />
By PERCY YoUNG. Handsomely<br />
paper, with Frontispiece. 320 pps. r<br />
A novel of exceptional originality al.g.,,,,…. . . *I'yºf , ;<br />
*The book has a fascination all its own." The Aiii}r. "'t it. ...<br />
\. -<br />
ºted on antique<br />
5: ºº ºr tº:<br />
WHEN THE WOMEN REIGN : 193O.<br />
(With Queen Alexandra as Front'spiece.) 2s. net. Hand-<br />
somely bound in cloth, with bevelled boards d gold lettering.<br />
“A lively tale of the future by a writer who holds strong<br />
views. The ladies come into power . . .”—The Times.<br />
OWEN GLYN DWR - and other Poerms.<br />
By CHAs. II. PRITCHARD. Dound attractively in cloth, with<br />
bevelled boards, 2s. 6d. Inet.<br />
“Mr. Pritchard’s ode is inspiriting and will appeal to lovers<br />
of the heroic muse. There is much good work in his volume.”<br />
Dundee Advertiser.<br />
*TIS WE MUSICANS KNOW.<br />
By Jocer,WN IRENE RAINEY. A capital story, well and<br />
attractively produced. With Frontispiece on art paper, 2s. met.<br />
“A story of love and music.”—The Globe.<br />
“The lives of the four principal people in this story become<br />
interwoven in a network of love, tragedy and music.”—Literary<br />
JJ’orld. -<br />
SINNER AND JUDGE, and other Stories.<br />
JBy Rosſ. PERKINs. Bound in cloth covers, with pretty<br />
design, black and gold lettering, Is... net.<br />
“These stories have pathos and beauty and literary skill.<br />
Will be remembered after they are read.”—Baptist.<br />
Authors should forward MSS. of any description<br />
(Novels, Stories, Poems, Essays, &c.) direct to Mr.<br />
STOCIXWELL, who will immediately advise, free<br />
of charge, as to publication.<br />
LONDON :<br />
AERTHUR. H. STO CRVVELL,<br />
29, LUDGATE HILL, IE.C.<br />
Full lists on application, post free.<br />
Al UTE [O] RS ><br />
AIVI [ RI[G] HIT 2<br />
I TAKE it that you require your MSS. to be neatly and ‘accurately typed on a good paper and by a competent Operator;<br />
for which Service you are prepared to pay a reasonable price.<br />
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389 | https://historysoa.com/items/show/389 | Convention de Berne Revisée pour la Protection des Œuvres Littéraires et Artistiques (1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&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"><em>Convention de Berne Revisée pour la Protection des Œuvres Littéraires et Artistiques</em> (1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | <a href="https://historysoa.com/The-Author-Issues/1909-01-01-The-Author-19-4">Supplement to <em>The Author</em>, Vol. 19 Issue 04</a> | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-01-01-Supplement-19-4-Convention-de-Berne-Revisee | | | | | | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-01-01">1909-01-01</a> | | | | | | | 4 | | | 19090101 | | https://historysoa.com/files/original/4/389/1909-01-01-Supplement-19-4-Convention-de-Berne-Revisee.pdf | copyright, publications, The Author |
388 | https://historysoa.com/items/show/388 | The Author, Vol. 19 Issue 04 (January 1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+04+%28January+1909%29"><em>The Author</em>, Vol. 19 Issue 04 (January 1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1909-01-01-The-Author-19-4 | | | | | 85–108 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-01-01">1909-01-01</a> | | | | | | | 4 | | | 19090101 | C be El u t b or .<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
Vol. XIX. —No. 4. - JANUARY 1, 1909. [PRICE SIxPENCE.<br />
C O N T E N T S.<br />
PAGE<br />
Notices ... ... ... ... ... ... ... ... ... 85 To Musical Composers * * * * * * * * * * * * * * * * * * *:<br />
Committee Notes • e e • * * tº gº tº & tº a - - - e º 'º - a s S7 The Reading Branch ... - ſº o • * - * @ e * - e. tº a tº tº tº g 9S<br />
Cases * tº tº * * * > tº tº e * - * tº e - * * * - - - • * * - * * S9 Notices ... * * * * * * - a tº * - - tº e e - * * tº e - * - sº 9S<br />
December Elections ... - - - * - - tº t e e - - e e - * - - S9 Legal and General Life Assurance Society... ^ - - • e a e. e. e. 98<br />
Books published by Members of the Society - - - tº $ tº • * * S9 General Notes e a ge tº e e tº a tº tº e & * - - tº a º, º e 99<br />
Books published in America by Members ... * * * * * * tº º ſº. 91 Basil Field... * * * gº tº tº • * * * - º tº 4 e tº º e - tº & ... 101<br />
Literary, Dramatic and Musical Notes ... ... tº e s - - - 92 Committee Election ... ^ tº º * - - * * * © tº e e - tº ... 101<br />
Paris Notes tº º - * - e. • * * tº e - e & e. e º 'º' * * * - - - 93 The Pension Fund Committee tº e º - G - e - e. * - - ... 102<br />
Spanish Notes ... ... - - - • * * e e º - - - * = • - - - 94 |United States Notes ... - - - * * * * * * - - - - - - • * * 102<br />
Contracts in Writing and the Stamp Act ... ... ... ... 95 The Milton Tercentenary Celebration ... ... ... ... 104<br />
Magazine Contents • * * & © º & © tº - - - * tº º e - e. 96 The Writers' and Artists' Year Book, 1909... tº a tº * - - ... 105<br />
Warnings to Producers of Books ... tº tº e. - - - * - - - - - 97 Hardy Annuals ... tº e tº - - - * * tº e tº e • * * e e - ... 106<br />
Warnings to Dramatic Authors - - - - B - - - - & © - - - - 97 Musical Critics and Publishers * D - * * * • * * * - - ... 106<br />
Warnings to Musical Composers ... & e - - - - tº e - - - - 97 ** De Libris '' * - - & & © tº e e s tº e • e e • * * * * * ... 107<br />
How to Use the Society ... ... tº ge •º e -> gº º º tº ºr ºn 9S Correspondence ... & e & 8 & tº º & * tº e & 6 º' & º 'º ... 107<br />
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<br />
<br />
## p. 84 (#108) #############################################<br />
<br />
AD VERTISEMENTS.<br />
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G-TECIERG-E IMITEREDITIEI, C - IMI-<br />
SIR ROBERT ANDERSON, K.C.B.<br />
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THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
A. W. A BECKETT.<br />
ROBERT BATEMAN.<br />
‘F. E. BEDDARD, F.R.S. - - -<br />
THE RIGHT Hon. AUGUSTINE BIR-<br />
RELL. P.C. . . * =<br />
MRS. E. NESBIT BLAND.<br />
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CLERE, P.C. ' . * * * * *<br />
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EGERTON CASTLE, F.S.A.<br />
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SIR. W. MARTIN CONWAY.<br />
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OF KEDLESTON.<br />
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DOUGLAS FRESHFIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl ER).<br />
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J. Scott KELTIE, LI.D.<br />
RUDYARD RIPLING.<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REv. W. J. LOFTIE, F.S.A.<br />
THE RIGHT EION. SIR ALFRED<br />
LYALL, P.C.<br />
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SIDNEY LEE.<br />
MRS. MAXWELL (M. E. BRADDON).<br />
JUSTIN McCARTHY. . . .<br />
THE REv. C. H. MIDDLETON-WAKE,<br />
SIR HENRY NorMAN, M.P. . .<br />
SIR. GILBERT PARKER, M.P.<br />
A. W. PINERO.<br />
THE RIGHT HON. SIR HORACE<br />
PLUNKETT, K.P.<br />
ARTHUR RACKHAM.<br />
Owen SEAMAN.<br />
G. BERNARD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR. - -<br />
SIR CHARLES VILLIERS STANFORD,<br />
Mus. Doc.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD MARSHAL THE RIGHT HoN.<br />
THE WISCOUNT WolsFLEY, K.P.,<br />
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SIDNEY WEBB. -<br />
COIMIMITTEE OF MANAGEMENT.<br />
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THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl ER).<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR,<br />
SIDNEY WEBB.<br />
DRAMATIC SUB-COMMITTEE.<br />
WILLIAM ARCHER.<br />
MRS. E. NESBIT BLAND.<br />
H. GRANVILLE BARKER.<br />
Chairman—HENRY ARTHUR JONES.<br />
J. W. COMYNS CARR.<br />
JEROME K. J.EROME.<br />
W. J. LOCKE.<br />
W. SOMERSET MAUGHAM.<br />
CAPT. ROBERT MARSHALL.<br />
PAUL RUBENs.<br />
G. BERNARD SHAW.<br />
PENSION FUND COMMITTEE.<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MORLEY ROBERTS.<br />
|M. H. SPIELMANN.<br />
MRS. ALEC TWEEDIE. • ,<br />
MRS. HUMPHRY WARD. i<br />
E. J. MACGILLIVRAY.<br />
SIR. GILBERT PARKER, M.P.<br />
ART SUB-COIMIMITTEE.<br />
JOHN HASSALL, R.I.<br />
J. G. MILLAIS.<br />
OFFICEs.<br />
SIR CHARLES WILLIERS STANFORD,<br />
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Secretary—G. HERBERT THRING,<br />
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THE HON. JOHN COLLIER.<br />
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FIELD, ROSCOE & Co., 36, Lincoln's Inn Fields, W.C. : a**~as<br />
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39, OLD QUEEN STREET, STOREY’s GATE, S.W.<br />
<br />
<br />
## p. 85 (#109) #############################################<br />
<br />
C be El u t bor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
tº. FOUNDED BY SIR WALTER BESANT.<br />
WOL. XIX.—No. 4.<br />
JANUARY 1s'ſ, 1909.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
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—e—º-e—<br />
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OR the opinions expressed in papers that are<br />
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THE Editor begs to inform members of the<br />
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knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
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———-<br />
THE SOCIETY'S FUNDS.<br />
—e—º-e—<br />
ROM time to time members of the Society<br />
F desire to make donations to its funds in<br />
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The funds suitable for this purpose are : (1) The<br />
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case it is necessary for the Society to incur heavy<br />
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ciple, or in assisting to obtain copyright reform,<br />
WOL. XIX,<br />
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—e—º-e—<br />
LIST OF MEMBERS.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
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A dozen blank pages have been added at the<br />
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—e—º-e—<br />
PENSION FUND.<br />
—º-º-º-<br />
T the beginning of 1908, the Trustees of<br />
A. the Pension Fund of the Society, after<br />
the Secretary had placed before them the<br />
financial position of the Fund, decided to invest<br />
#230 in the purchase of Irish Land Act 2; per<br />
cent. Guaranteed Stock.<br />
The amount purchased is £258, and is added to<br />
the list printed below. -<br />
The investments are steadily increasing from<br />
year to year, the amount varying between £200<br />
and £250.<br />
Consols 24%................ . . . . . . . . . . . . . . 31,000 0 0<br />
Local Loans .............................. 500 0 0<br />
Victorian Government 3%. Consoli-<br />
dated Inscribed Stock ............... 291. 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ............... 200 0 0<br />
<br />
<br />
## p. 86 (#110) #############################################<br />
<br />
86 THE ADITISIOR.<br />
Cape of Good Hope 34%. Inscribed<br />
Stock .................................... 3200<br />
Glasgow and South-Western Railway<br />
4% Preference Stock.................. 228<br />
New Zealand 3;% Stock. . . . . . . . ... 247<br />
Irish Land Act 23% Guaranteed Stock 258<br />
Total ............... #3,376 18<br />
Subscriptions.<br />
1908. S.<br />
Oct. 10, Macnaughton-Jones,<br />
Oct. 20, Garvice, Charles<br />
Nov. 12, Woods, Miss Mary A.<br />
Nov. 20, Boycott, G. W. M..<br />
Nov. 20, Budgeon, Miss . .<br />
Nov. 21, Benjamin, Lewis J.<br />
Nov. 21, Coulton, G. G. e g<br />
Nov. 21, Dixon, Miss H. Margaret<br />
Nov. 21, Colquhoun, A. ©<br />
Nov. 23, Holmes, Miss Eleanor<br />
Nov. 23, Hussey, Eyre<br />
Nov. 23, Capes, Bernard .<br />
Nov. 23, Hecht, Mrs. Arthur<br />
Nov. 23, Festing, Miss Gabrielle .<br />
Nov. 23, Carolin, Mrs. . o<br />
Mov. 23, Bland, Mrs. E. Nesbit<br />
Nov. 23, Hichens, Robert<br />
Nov. 23, Grogan, W. E. .<br />
Nov. 23, Stowell, Mrs. Rodolph<br />
Nov. 23, Gay, Mrs. . •<br />
Nov. 23, Summers, J. . tº<br />
Nov. 23, Bloundelle-Burton, J.<br />
Nov. 23, Freshfield, Douglas<br />
Nov. 24, Rowsell, Miss Mary<br />
Nov. 24, Bell, Lady . e<br />
Nov. 24, Sanders, Miss E. K.<br />
Nov. 25, Count Plunkett<br />
Nov. 25, Victoria Cross e<br />
Nov. 25, Cromartie, the Countess of<br />
Nov. 25, Sutro, Allred.<br />
Nov. 25, Kipling, Rudyard .<br />
Nov. 25, Pope, Miss Jessie .<br />
Nov. 25, Scott, G. Forrester<br />
N v. 25, Carr, Miss Mildred E.<br />
Nov. 25, O’Brien, The Rev. G. E.<br />
Nov. 25, Wills, The Rev. Freeman<br />
Nov. 25, Lewis, T. C. e<br />
Nov. 25, Fenwick, Miss S. F. .<br />
Nov. 26, Montgomery, Miss K. L.<br />
Nov. 26, Dummelow, The Rev. J. R.<br />
Nov. 26, Jopp, Miss E. A. .<br />
Nov. 26, Wintle, Harold R..<br />
Nov. 26, Malcolm, Mrs. Ian. g<br />
Nov. 26, Marks, Mrs. Mary A. M.<br />
Nov. 26, “E.” . º º e º<br />
Nov. 27, Prideaux, Miss S. T. . Q .<br />
:O<br />
1<br />
l<br />
i<br />
1<br />
1<br />
1.<br />
NOV.<br />
Nov.<br />
Now.<br />
NOV.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
NOV.<br />
Nov.<br />
Nov.<br />
NOV.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
T)ec.<br />
Dec.<br />
Dec.<br />
July 16, Carolin, Mrs. e º<br />
July<br />
Aug.<br />
Sept. 28, “Whitworth Wynne" .<br />
Oct. 23, Woolf, Miss Bella Sidney<br />
31, Robinson, J. R. . º<br />
Oct.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
27, Saies, Mrs. F. H.<br />
27, Heath, Miss Ella<br />
27, Thomas, Edward<br />
27, Shaw, Mrs. Bernard<br />
27, Smith, Bertram<br />
27, Niven, Frederick . e<br />
27, Nembhard, Miss Isabel .<br />
27, Smith, Miss M. E. º<br />
28, Brandon, Miss Dorothy.<br />
28, de la Pasture, Mrs. Henry<br />
28, Scott, Mrs. C. s -<br />
28, Harrison, Mrs. Darent .<br />
28, Logan, The Rev. Robert<br />
28, Chesterton, G. K.<br />
30, Sherwood, Miss A. tº g<br />
30, Hutchinson, The Rev. H. N. .<br />
1, Sachs, E. T. . e e e<br />
1, Truman, Miss Olivia<br />
3, Yolland, Miss E.<br />
4, Bagnall, Miss L. T. . o º<br />
4, Humphreys, Mrs. Desmond (Rita)<br />
4, Anon. . e e & e<br />
7, Westrup, Miss Margaret<br />
7, Lynch, H. T. B., M.P.<br />
8, Caillard, Miss E. M.<br />
8, Askew, Claude<br />
8, Felkin, A. L. .<br />
9, Rosetti, W. M. e<br />
9, Miller, Miss Esther .<br />
11, Woodward, Miss Ida<br />
12, Mann, Mrs. Mary E. . g<br />
12, Lack, H. Lambert . e º<br />
14, Winchilsea and Nottingham<br />
The Countess of e º<br />
14, Sinclair, Miss May<br />
14, Weyman, Stanley .<br />
17, Macpherson, John F.<br />
17, Hills, Mrs. Martha<br />
18, Hands, Mrs. Morris<br />
18, Geddes, Mrs. .<br />
Donations, 1908.<br />
28, Atherton, Mrs. Gertrude<br />
21, Beckett, Arthur W.<br />
2<br />
6, Wroughton, Miss Cicely<br />
7, Sherard, R. H. . º<br />
7, Cameron, Miss Charlotte<br />
12, Tweedie, Mrs. Alec.<br />
17, Tench, Miss Mary F. A.<br />
17, Anon. . º © ©<br />
21, Anson, Sir William, Bart.<br />
21, Cordeaux, Miss K. M. .<br />
1<br />
1<br />
:<br />
i<br />
.<br />
11<br />
1<br />
I<br />
<br />
<br />
## p. 87 (#111) #############################################<br />
<br />
TRIE ALTTRIOR.<br />
8.<br />
7<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Now.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Nov.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
1)ec.<br />
21, Drewitt, F. Dawtrey, M.D. .<br />
21, Delaire, Madame Jean .<br />
21, Hecht, Mrs. Arthur .<br />
21, Collier, The Honble. John<br />
21, Keltie, G. Scott .<br />
21, Shepeard-Walwyn, H.<br />
21, Church, Prof. A. H.<br />
21, James, Miss S. Boucher<br />
21, Ramsden, The Lady Gwen-<br />
dolen tº ſº g ſº<br />
21, Spielmann, M. H.<br />
21, Saville, Frank<br />
24, Kennedy, E. B. . &<br />
24, Bennett, Prof. W. H. .<br />
24, Batty, Mrs. Braithwaite<br />
24, Crouch, A. P. . e<br />
24, Hawtrey, Miss Walentine<br />
24, Sedgwick, Miss Anna Douglas<br />
24, Anon. . º e<br />
25, Page, Herbert W.<br />
25, Brereton, Capt. F. S. .<br />
25, Knight, Mrs. Maude C.<br />
25, Bowen, Miss Marjorie .<br />
25, Turner, Reginald<br />
25, Nash, T. A.<br />
25, Trevor, John<br />
25, Wacher, Francis .<br />
25, Hughes-Gibb, Mrs.<br />
25, Farmer, Miss A. A.<br />
25, Hunt, Holman<br />
25, Tuckett, F. F.<br />
25, Allen, Mrs. Grant<br />
26, Hole, W. G. e<br />
27, Granville, Charles e<br />
27, Henoch, Miss Emily T.<br />
27, Simes, Miss O. Kathleen<br />
27, Penny, The Rev. Frank<br />
27, Westell, W. P. . e<br />
28, Coolidge, The Rev. W. A. B.<br />
28, Tennant, Lady Pamela<br />
28, Wingfield, H. . e<br />
30, Northcote, The Rev. H.<br />
30, Dexter, Walter<br />
30, Oliver, Miss Selwyn<br />
30, Kaye-Smith, Miss Sheila<br />
30, Bent, Mrs. Theodore<br />
30, Atkins, Miss Margaret A.<br />
7, Hood, Francis g e<br />
7, Maunsell, A. E. Lloyd<br />
7, Carolin, Mrs. . g<br />
7, Drake, Lady Eliott<br />
7, Parker, Mrs. Nella.<br />
7, Montresor, Miss F. F.<br />
7, Shepherd, George H.<br />
9, Maartens, Maarten.<br />
9. Y. F. S.<br />
9, Lefroy, Mrs. .<br />
w.<br />
1<br />
s<br />
I<br />
1<br />
i1-<br />
d.<br />
:É s. d.<br />
Dec. 9, Bourdillon, Miss Rose . () 5 0<br />
Dec. 9, White, Mrs. Woollaston () 5 ()<br />
Dec. 10, Gilliatt, The Rev. E. . . I () ()<br />
Dec. 13, Evans, Miss C. M. & . () 5 0<br />
Dec. 14, Pennell, Mrs. Elizabeth Robins 1 1 0<br />
Dec. 14, Oppenheim, E. C. - . 2 () ()<br />
Dec. 16, Blake, J. P. . . I I 0<br />
Dec. 17, Medlicott, Cecil º O 10 6<br />
Dec. 18, Tansley, A. G. . º . 2 2 0<br />
Dec. 19, Thurston, Mrs. Katherine Cecil 1 1 0<br />
Dec. 19, Todd, John L. . 1 1 0<br />
Dec. 21, White, Percy e º . 1 1 0<br />
The names of those subscribers and donors which<br />
are not included in the lists printed above, are<br />
unavoidably held over to the February issue.<br />
The total amount of annual subscriptions<br />
received and promised since the issue of the<br />
circular amounts to £61 12s. The total amount<br />
of donations to £82 6s.<br />
COMMITTEE NOTES.<br />
—º-º-º-<br />
ſ TYHE last meeting of the committee for 1908<br />
was held on Tuesday, December 8, at the<br />
society's office, at four o'clock.<br />
Thirteen members and two associates were<br />
elected, bringing the number of elections for the<br />
current year up to 243—within three of the total<br />
election of the previous year. This is the second<br />
largest election the society has had since its<br />
foundation. The committee regret to report the<br />
resignation of ten members, bringing the total<br />
resignations for the current year up to seventy-two.<br />
This number is larger than last year. The total<br />
loss to the society, which includes, in addition to<br />
resignations, erasions for non-payment and deaths,<br />
is not, however, so heavy.<br />
The secretary reported the acceptances to the<br />
council and to the art sub-committee. These<br />
were chronicled in the last number of The Author.<br />
The committee then considered the following<br />
CàSéS :—<br />
The first related to a dispute between one of the<br />
members and an agent. The former had found it<br />
impossible to obtain any information respecting<br />
the MSS. he had entrusted to the agent. The<br />
committee instructed the secretary to Write<br />
demanding the return of the MSS., and stating<br />
that if this were not done by a certain date the<br />
papers would be placed in the hands of the<br />
society's solicitors, who would commence pro-<br />
ceedings.<br />
The next matter for consideration was a difficult<br />
question concerning the bankrupt estate of a<br />
<br />
<br />
## p. 88 (#112) #############################################<br />
<br />
THE AUTHOR.<br />
publisher. A papermaker claimed the assignment<br />
of the publishing contract and the right to publish.<br />
The solicitors’ opinion, which was opposed to the<br />
claims of the papermaker, was read to the com-<br />
mittee. They instructed the secretary to write,<br />
setting out the legal position, and to state that the<br />
society would maintain this position by action if<br />
necessary, but to suggest that it would be possible<br />
to arrange an amicable settlement by purchase of<br />
the stock which the papermaker held.<br />
The next question referred to a false entry of<br />
copyright by a publisher in the United States.<br />
The secretary read the opinion of the society's<br />
American lawyers. It appeared from that opinion<br />
that it was impossible to take action for the penalty<br />
recoverable under the American law owing to the<br />
lapse of time from the date of the offence.<br />
Another question—a very complicated one touch-<br />
ing the construction of an agreement between an<br />
author and a publisher—was discussed, and<br />
counsel's opinion and the report of the society's<br />
solicitors were read. The committee decided to<br />
follow the solicitors' advice, and suggested that a<br />
letter should be written to the publisher, and his<br />
answer thereto be referred to them at their next<br />
meeting.<br />
The committee then considered the question of<br />
office management, and a small committee, con-<br />
sisting of the chairman (Mr. Douglas Freshfield),<br />
Mr. Francis Storr, and Mr. S. Squire Sprigge, was<br />
appointed to consider this, and also the question<br />
of advertisements in The Author, and to report to<br />
the next meeting.<br />
An invitation, sent by Mr. C. J. Longman on<br />
behalf of his firm and other publishers, to appoint<br />
delegates to discuss certain matters relating to<br />
book publication, was read, and Mr. Maurice<br />
Hewlett, Mr. A. Hope Hawkins, and Mr. G.<br />
Bernard Shaw were requested to represent the<br />
committee in the matter.<br />
The secretary made a confidential report in<br />
respect to the Berlin Conference, and the action<br />
which it might be desirable to take in regard to the<br />
revised convention of Berne. The mutter was<br />
adjourned to the next meeting of the committee,<br />
when it is hoped that the Government report and<br />
Blue Book will be obtainable.<br />
Next followed a discussion on an important point<br />
respecting the payment of income tax on authors'<br />
earnings, and it was decided to ask one of the<br />
members of the society, who was also a member of<br />
the House of Commons, to put a question to the<br />
Chancellor of the Exchequer on the subject.<br />
The secretary made a full report of the work<br />
accomplished by the Dramatic Sub-committee<br />
during the past months, details of which have<br />
appeared in past issues under the Dramatic Sub-<br />
Committee Notes. The committee sanctioned the<br />
registration scheme there set out, but left the<br />
details to the sub-committee. When the scheme<br />
is ready, and in Working order, a statement will<br />
be published in The Author.<br />
A sub-committee, consisting of the chairman<br />
and Mr. Sidney Lee, was chosen to settle the report<br />
of the committee's work during the year. -<br />
The proposal submitted by Mrs. E. Nesbit<br />
Bland was again adjourned owing to her absence,<br />
and the secretary was instructed to inform her it<br />
would be dealt with at the first meeting next year,<br />
and invite her if possible to attend.<br />
Finally, the committee decided, as far as<br />
possible, to obtain particulars of the titles of<br />
stories, and their authors, running in some<br />
of the colonial papers during a given period, in<br />
order to ascertain the extent, if any, of the piracy<br />
of British authors' works in the colonies. When<br />
the details are to hand, the secretary will write to<br />
the authors whose stories are running, and inquire<br />
whether their publication is or is not authorised.<br />
If the publication is unauthorised the com-<br />
mittee will consider the matter, and, if necessary,<br />
take action for infringement of copyright.<br />
—º-º-º-<br />
DRAMATIC COMMITTEE NOTES.<br />
THE last meeting of the Dramatic Sub-Committee<br />
for the year 1908 was held at the offices of the<br />
society on Monday, December 7, at 3 o'clock.<br />
It had been decided to postpone publication of<br />
the dramatic pamphlet in The Author, as the com-<br />
mittee now sees its way to some valuable additions<br />
which will, it is hoped, make the pamphlet cover<br />
every department of business between authors and<br />
the theatre. Also, as the pending settlement of the<br />
questions between the Society of Authors and the<br />
proposed Dramatic Authors’ Society seems likely<br />
to reinforce the society by the accession of some<br />
experienced dramatists, it was decided to adjourn<br />
publication so as to obtain the benefit of their<br />
criticism for the final revision of the pamphlet.<br />
A translation of the constitution and treaty of<br />
the new German Dramatic Authors’ Society was<br />
considered. Ilater on we hope to publish in The<br />
Author a series of articles on foreign authors'<br />
societies, in which this new body will be dealt with.<br />
Meanwhile we need only say that it applied wholly<br />
to the relations of authors in Germany with the<br />
agents whose services are indispensable in Germany<br />
at present because of the prevalence of the repertory<br />
system. It throws no new light on British<br />
theatrical business. Mr. Shaw made a report<br />
respecting the working of the French Société<br />
des Auteurs Dramatiques. The consideration of<br />
the managerial treaty was continued and<br />
adjourned.<br />
<br />
<br />
## p. 89 (#113) #############################################<br />
<br />
TISIE AUTISIOR,<br />
89.<br />
IMPORTANT INNOVATION.<br />
A suggestion made by one of the dramatic<br />
members of the society that the society should<br />
Open a register of all scenarios for its members<br />
Was fully approved, and it was decided to refer<br />
the matter to the Committee of Management<br />
(which subsequently concurred : see Report).<br />
The proposal was to strengthen the hands of the<br />
dramatist in the event of his plot being pirated, or<br />
in the event of a charge of piracy being brought<br />
against him, by enabling him to produce an<br />
authoritative record dating from its invention.<br />
Cases recently tried in the courts indicate that<br />
disputes often arise, and that judges and juries,<br />
and even inexperienced authors, accept evidence<br />
of quite common coincidences as evidence of<br />
plagiarism.<br />
The final arrangements have not been settled.<br />
They will probably be on the following lines :<br />
—Any member of the society will henceforth have<br />
the right, on payment of half-a-crown, to send to<br />
the society's office two copies of a scenario, or any<br />
similar statement of the subject of an original<br />
literary, or dramatic work, or of any original<br />
matter in a translation or adaptation. The society,<br />
having compared the two copies, will file one and<br />
return the other to the author stamped with a<br />
certificate that a duplicate has been registered with<br />
the Society. Members availing themselves of the<br />
registry must bear in mind that under no circum-<br />
stances can they be allowed access to the registered<br />
Copy, as any possibility of tampering with it would<br />
destroy its value. Copies, however, can be obtained<br />
at any time for a trifling fee to cover the cost of<br />
typing. Should the author have to take proceed-<br />
ings for infringement or defend himself against an<br />
accusation of infringement, the registered copy<br />
Would strengthen his position considerably, whether<br />
he were plaintiff or defendant.<br />
—6–º-e<br />
Cases.<br />
DURING the past month only ten cases have<br />
been placed in the secretary's hands. Six of these<br />
referred to claims for money, and we have to<br />
report with regret that only one of them has been<br />
settled so far. There was one claim for accounts,<br />
and these have been rendered by the publisher;<br />
one claim for the return of MSS., which is still in<br />
the course of negotiation; and two disputes on<br />
agreements which have only recently come into<br />
the office.<br />
Eight cases remain open from former months.<br />
Three of these deal with matters in the United<br />
States, and the negotiations in these are necessarily<br />
slow ; one case is in New Zealand. The same<br />
remark applies to this as to the other three cases<br />
just mentioned. The rest are claims for money<br />
or money and accounts. Failing a satisfactory<br />
settlement these will be transferred to the society's<br />
Solicitors. -<br />
- –0-$º-e—<br />
December Elections.<br />
Armfield, Maxwell 2A, Holland Road,<br />
W.<br />
15/2, Raghu Nath,<br />
Chatterjee St.<br />
Simla, Calcutta.<br />
Royal Station Hotel,<br />
Hull.<br />
5, Crescent Terrace,<br />
C he l t e n h, a m ;<br />
Loughloher, Cahir,<br />
Baner ea, Satya Bhusan<br />
Bentley, Arthur<br />
Blakeney, L. M. McCraith<br />
(L. M. McCraith).<br />
- Ireland.<br />
Bosanquet, N. E. T. . Cowley, Uxbridge.<br />
Bremner, James 14B, Poissonnière,<br />
Paris.<br />
Drummond, Mrs. S. Annie 38, Pevensey Road,<br />
Eastbourne.<br />
Durran, W. . 30, Wereker Road,<br />
West Kensington,<br />
15, Vicarage Gate,<br />
Kensington, W.<br />
Lack, H. Lambert . 48, Harley Street, W.<br />
MacLeod, G. Hamilton . 2, Buccleugh Place,<br />
Hugel, Baron won<br />
- Edinburgh.<br />
Protheroe, Hope tº . 25, Welbeck Street,<br />
W.<br />
Risque, W. H. . 10, Glyn Mansions,<br />
Addison Bridge,<br />
W.<br />
Samuels, Major John, W.D.<br />
(Lumen) {e º . Llanfairfechan.<br />
Snowden, Keighley 24, Auriol Road,<br />
West Kensington,<br />
W.<br />
—e—º-e—<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—t—Q–4–<br />
ARCEIITECTURE.<br />
FONTS AND FONT COVERS.<br />
By FRANCIS BOND. 9 × 53.<br />
xv. -- 347 pp. Frowde.<br />
12.S. m.<br />
ART.<br />
INDIAN SCULPTURE AND PAINTING. Illustrated by<br />
typical masterpieces. By E. B. HAVELL. 10 × 73.<br />
xx. + 278 pp. Murray. £33s. n.<br />
BRITAIN'S GREAT AUTHORS. With introduction and<br />
descriptive text. By ARTHUR WAUGH. 17 × 13.<br />
(Folio.) The Fine Arts Publishing Co.<br />
<br />
<br />
## p. 90 (#114) #############################################<br />
<br />
90.<br />
TISIES AUTHOR.<br />
BIOGRAPHY,<br />
TEN PERSONAL STUDIES.<br />
300 pp. Longmans. 10s. 6d. n.<br />
WISCOUNT CASTLEREAGH. By A. HASSALL. xviii. --<br />
248 pp. ARCHBISHOP PARKER. By W. M. KENNEDY.<br />
306 pp. (Makers of Natural History. Edited by W. H.<br />
HUTTON). 7% x 5. Pitman. 3s.6d. n. each.<br />
AUBREY BEARDSLEY. By ROBERT Ross. With sixteen<br />
full-page illustrations, and a revised iconography by<br />
AYMER WALLANCE. 73 × 5}. 112 pp. Lane. 3s. 6d. n.<br />
THE LIFE OF JOHN MILTON, ENGLISHMAN. Partly in<br />
his own words. By JOHN A. HAMILTON. 7} x 43.<br />
72 pp. Congregational Union of England and Wales.<br />
6d. In.<br />
DANTE GABRIEL RossETTI. . By FRANK RUTTER.<br />
6} x 4}. 157 pp. Grant Richards. 2s. n.<br />
“SAINT * GILBERT. The Story of Gilbert White and<br />
Selborne By J. C. WRIGHT. 73 × 5, 90 pp. Stock.<br />
2s. 6d. **<br />
BOOKS FOR THE YOUNG.<br />
GOLDEN-SQUARE HIGH SCHOOL. By MAY BALDWIN,<br />
P- 311 pp. Chambers. .3s. 6d.<br />
7% x 5}.<br />
A HARD BIT OF ROAD. By RAYMOND JACBERNs.<br />
83 × 5%. 341 pp. Wells Gardner. 5s.<br />
THE HAPPY LEAGUE. By LESLIE MOORE. 74 × 5.<br />
130 pp. Wells Gardner. 1s.<br />
LORD OF THE SEAs. A Story of a Submarine. By<br />
HERBERT STRANG. 73 × 4%. , 238 pp. Frowde and<br />
Hodder and Stoughton. 2s. 6d.<br />
THE GREAT WICTORIAN AGE FOR CHILDREN. By M. B.<br />
SYNGE, F.R. Hist. S. 73 x 5. 307 pp. Hodder and<br />
Stoughton. 2s. 6d. ><br />
THE LOVE FAMILY. By MRS. M. H. SPIELMANN.<br />
7; x 6. 63 pp. Allen. 3s. 6d.<br />
FAIRY TALES FOR OLD AND YOUNG. By LADY<br />
MARGARET SACKVILLE and DR. RONALD CAMPBELL<br />
MACFIE. Illustrated by B. L. TENNANT. 83 × 6%.<br />
212 pp. Sherratt and Hughes. .6s.<br />
THE STORY OF IVANHoF. Re-told by EDITH ROBARTS.<br />
94 pp. THE BASKET of FLOWERs. Re-told by EDITH<br />
RoBARTS. 96 pp. 6 × 4%. (Stories for Children. The<br />
Pixie Books.) Sisley. 6d. each.<br />
THE ANNUAL SCHOOL-TREAT. By CLIFTON BINGHAM.<br />
Pictures by CECIL. ALDIN. 11; x 9. Dean. 6s.<br />
BOOKS OF REFERENCE.<br />
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br />
SIDNEY LEE. New Edition. Vol. X. EIOWARD-<br />
RENNETH. 93 × 64. 1,343 pp. Smith, Elder. 15s.<br />
CLASSICAL.<br />
CAESAR'S COMMENTARIES ON THE GALLIC WAR. Trans-<br />
lated into English by T. RICE HOLMES. 73 x 5. xx.<br />
+ 297 pp. Macmillan. 4s. 6d. m.<br />
DRAMA,<br />
MARY OF ENGLAND. A Tragedy in Four Acts. By N.<br />
THORPE MAYNE. 7# × 5%. 156 pp. Griffiths. 3s.6d. n.<br />
A MYSTERY PLAY IN HONOUR OF THE NATIVITY OF<br />
OUR LORD. By R. H. BENSON. 73 x 5. 101 pp.<br />
Longmans. 2s. 6d. n. - -<br />
A CHRISTMAS MORALITY PLAY. By EDITH LYTTLETON.<br />
6 × 5. 29 pp. (Vigo Cabinet Series.) Elkin Mathews,<br />
18. In.<br />
ECONOMICS.<br />
INCOME TAX SIMPLIFIED. A Guide to the Preparation<br />
of the Return for Assessment and Exposition of the<br />
Finance Act, 1907.<br />
By A. FIELDHOUSE. Simpkin,<br />
Marshall, 1s. -<br />
By WILFRID WARD. 9 × 53.<br />
FICTION.<br />
A SINGER's TRILOGY: SOPRANo. 388 pp. THE PRIMA.<br />
DONNA. 408 pp. THE DIVA's RUBY. 439 pp. By<br />
i; * CRAWFORD. In a case, 7} x 4}. Macmillan.<br />
S. • Il.<br />
THE WOUNDS OF A FRIEND. By DORA GREEN well,<br />
MCCHESNEY. 7# × 5. 306 pp. Smith, Elder. 68.<br />
THE APOSTATE. By A. LLOYD, MAUNSELL. 73 x 5.<br />
358 pp. George Allen. 6s.<br />
PATRICIA BARING. By WINIFRED JAMES, 7# x 5.<br />
368 pp. Constable. 6s.<br />
A MAID OF HONOUR. By R. AITKEN. 74 × 5. 311 pp.<br />
Greening. 6s.<br />
MARAMA. A Tale of Life in Fiji.<br />
WHITE. , 7} x 5. 196 pp. R. and T. Washbourne,<br />
Paternoster Row. 2s. 6d. n.<br />
FIRDLER MATT. By ADAM LILBURN. 74 × 5. 192 pp.<br />
Brown, Langham. 3s.6d.<br />
THE RED FLAG. A Tale of the People's Woe. . By<br />
ALLEN CLARKE. 7 × 43. The Twentieth Century<br />
Press. 6d. n.<br />
By C. L. WoOLLASTON<br />
GARDENING.<br />
AN ARTIST's GARDEN. Tended, Painted, and Described<br />
§ ANNA LEA MERRITT. 113 x 9. 194 pp. Allen.<br />
S. D.<br />
ROSES AND ROSE GROWING. By RosB G. KINGSLEy.<br />
93 × 53. 163 pp. Whittaker. 6s. n.<br />
HISTORY.<br />
THE MAKING OF CANADA. By A. G. BRADLEY. 9 × 53.<br />
396 pp. Constable. 12s. 6d. n.<br />
SCOTLAND : FROM THE TREATY of UNION WITH ENGLAND.<br />
To THE PRESENT TIME (1707–1907). By the Rev.<br />
ALEXANDER MACRAE. 74 × 4%. 272 pp. Dent.<br />
2s. 6d. n.<br />
LAW.<br />
SUPPLEMENT TO THE JUDICIAL DICTIONARY. By F.<br />
STROUD. Vol. IV. 10 × 64. lv. -- 641 pp. Sweet.<br />
& Maxwell and Stevens & Sons.<br />
LITERARY.<br />
JOHN MILTON, 1608–1674. Facsimiles of Autographs and<br />
Documents in the British Museum (with explanatory<br />
notes). Published by order of the Trustees of the British<br />
Museum on the occasion of the Milton Tercentenary.<br />
British Museum. 1s. n.<br />
THE COLLECTED WORKS OF W. B. YEATS. Wols. W. and<br />
VI. 9 × 5%. 261 + 266 pp. Stratford-on-Avon: The<br />
Shakespeare Head Press.<br />
MISCELLANEOUS.<br />
IF. By the Authors of “Wisdom. While You Wait.”<br />
Hºrated by G. MORROW. 7 x 43. 100 pp. Pitman.<br />
8. D.<br />
THE MODERN CHILD. Compiled by HERVEY ELWEs.<br />
With a foreword by L. ALLEN HARKER. 7 x 4}.<br />
246 pp. Foulis. 2s. 6d. n.<br />
MUSIC.<br />
STUDIES AND MEMORIES. By C. V. STANFORD. 9 × 53.<br />
212 pp. Constable. 7s. 6d. n.<br />
POETRY.<br />
THE POEMs of A. C. BENSON. 73 × 5. xvi. -- 320 pp.<br />
Lane. 5s. n. .<br />
CLIFTON COLLEGE, AND OTHER SCHOOL POEMs. By<br />
HENRY NEWBOLT. 73 x 4+. 39 pp. Murray. 1s. 6d. n.<br />
rºcks. By KATHERINE TYNAN. 7} x 4%. 61 pp.<br />
llllCI1,<br />
<br />
<br />
## p. 91 (#115) #############################################<br />
<br />
TISIES A UTISIOR. 91<br />
POLITICAL,<br />
HUMAN NATURE IN POLITICS. By GRAHAM WALLAS.<br />
84 × 6}. xvi. -- 302 pp. Constable. 6s,<br />
REPRINTS.<br />
LETTERS OF JAS. BOSWELL TO THE REV. W. J. TEMPLE.<br />
Introduction by T. SECCOMBE. 9 x 5%. xxx + 348 pp.<br />
Sidgwick and Jackson. 7s. 6d. n.<br />
SELECT PoEMs of WILLIAM BARNES. Chosen and Edited<br />
with a Preface and Glossarial Notes by THOMAS HARDY.<br />
6} + 4%. Xvi. -- 196 pp. Frowde, 2s. 6d. n.<br />
THE ESSAYES OF MICHAEL, LORD OF MONTAIGN.E.<br />
Done into English by JoHN FLORIO. Introduction by<br />
THOMAS SECCOMBE. The First Booke. 9 × 6. lx, -H<br />
453 pp. Grant Richards. 3 vols. 31.s. 6d.<br />
UTOPÍA. By SIR THOMAS MORE. Translated by RALPH<br />
ROBINSON. Introduction by H. G. WELLS. 220 pp.<br />
A Book of Parodies. Edited by ARTHUR SYMONS.<br />
344 pp. (The Red Letter Library.) 6 × 4}. Blackie,<br />
1s. 6d. n. ; 2s. 6d. m. ; 38. 6d. n. each.<br />
THE ART OF HUNTING. By WILLIAM TWICI, Hunts-<br />
man to King Edward II. First issued in 1844 by the<br />
late SIR HENRY DRYDEN, BART. Edited by ALICE<br />
DRYDEN. 83 × 7. xxi. -- 163 pp. Simpkins. 158. n.<br />
TUDOR AND STUART LOVE-SONGS. Edited by J. POTTER<br />
BRISCOE, F.R.S.L. (New Edition.) 7 × 4+. xx. + 138 pp.<br />
Gay and Hancock. 2s. 6d. n.<br />
SELECTED PoEMs of PIERRE DE RONS ARD. Chosen by<br />
ST. JoBN LUCAS. 6; x 4%. 216 pp. Frowde. 58, n.<br />
SPORT.<br />
ENGLISH FIGURE SKATING. A Guide to the Theory and<br />
Practice of Skating in the English Style. By E. F.<br />
BENSON. 7} x 5. 261 pp. Bell. 7s.6d. n.<br />
SCIENCE.<br />
SCIENTIFIC PAPERS. By SIR GEORGE HOWARD DARWIN,<br />
R.C.B. Wol. II. Tidal Friction and Cosmogony. 10%<br />
× 64, xvi. -- 516 pp. Cambridge University Press.<br />
158. In.<br />
A TREATISE ON SPHERICAL ASTRONOMY. By SIR. R.<br />
BALL, F.R.S. 83 × 5}, xii. -- 506 pp. Cambridge<br />
University Press. 12s. n.<br />
MEASURES OF DOUBLE STARS MADE WITH THE NORTH-<br />
UMBERLAND EQUATORIAL OF THE CAMBRIDGE OB-<br />
SERVATORY, UNDER THE DIRECTION OF PROFESSOR<br />
CHALLIS, IN THE YEARS 1839-1844. Preface by SIR<br />
ROBERT BALL. 12; x 10. 39 pp. Cambridge Univer-<br />
sity Press. 58. m.<br />
THEOLOGY.<br />
ANGLO-SAXONS FROM PALESTINE ; OR, THE IMPERIAL<br />
MYSTERY OF THE LOST TRIBES, By MRS. THEODORE<br />
BENT. 7 x 4%. 70 pp. Sherratt & Hughes. 1s. n.<br />
CHURCH TEACHING FOR CHURCH CHILDREN. Instruc-<br />
tions on the Church Catechism for Catechists, Parents,<br />
and Sunday School Teachers. By the REv. J. N.<br />
NEWLAND-SMITH. With a preface by the REV. PERCY<br />
DEARMER. 7% x 5. 480 pp. Mowbray.<br />
MAN IMMORTAL : THE DEATH-LINKS IN HIS LIFE-<br />
CHAIN. By the Author of “Theophania.” 7 x 4;.<br />
125 pp. 1s. 6d. n.<br />
A BISHOP's LETTERs. Edited by T. A. LACEY. 7 x 5.<br />
131 pp. Mowbray. 1s. n.<br />
THE ORNAMENTS OF THE MINISTERs. By the REv.<br />
PERCY DEARMER. 6 × 4+. xvii. -- 194 pp. (The Arts<br />
of the Church.) Mowbray. 1s. 6d. n.<br />
THE MYSTICAL ELEMENT OF RELIGION AS STUDIED IN<br />
SAINT CATHERINE OF GENOA AND HER FRIENDs. By<br />
BARON F. VON HUGEL. 2 vols. 9 × 53, xxiii. -- 466<br />
+ 422 pp. Dent. 21s. n. -<br />
BUDDHIST AND CHRISTIAN GOSPELs. By A. J. EDMUNDs<br />
M.A. . (Fourth Edition.) Vol. I. 94 × 64. 146 pp.<br />
Philadelphia : Innes. London : Luzac. 9s n.<br />
TOPOGRAPHY.<br />
HIGHWAYS AND BY WAYS IN SURREY.<br />
Illustrated by HUGH THOMPSON.<br />
Macmillan. 6s,<br />
By ERIC PARKER.<br />
8 × 5. 452 pp.<br />
TRAVEL.<br />
CAIRO. THE CITY OF THE CALIPHs. A Popular Study<br />
of Cairo and its Environs, and the Nile and its Antiquities.<br />
By E. A. REYNOLDS-BALL. 8 × 53. 348 pp. Unwin.<br />
58. n.<br />
SOME AFRICAN HIGHWAYS : A JOURNEY OF Two<br />
AMERICAN WOMEN TO UGANDA AND THE TRANSWAAL.<br />
By CAROLINE KIRKLAND. With an introduction by<br />
LIEUTENANT-GENERAL BADEN-Powel L. 8 × 53.<br />
345 pp. Duckworth. 63. n.<br />
THE LEVANTINE RIVIERA. A Practical Guide to all the<br />
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M.D., and EUSTACE REYNOLDS-BALL. 63 x 4%. 212 pp.<br />
Reynolds-Ball's Guides, 27 Chancery Lane, W.C.<br />
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BIOGRAPHY,<br />
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THE WAR IN THE AIR. By HERBERT G. WELLs.<br />
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<br />
<br />
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<br />
92.<br />
TISIES A UTISIOR-<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—º-º-º-<br />
E are asked by Mrs. Henry de la Pasture,<br />
for the information of her many literary<br />
friends, to announce the recent death of<br />
her husband from heart failure after a few days'<br />
illness.<br />
In “Anglo-Saxons from Palestine ; or, The<br />
Imperial Mystery of the Lost Tribes,” Mrs.<br />
Theodore Bent, author of “Southern Arabia,<br />
Soudan, and Sucotra,” shows how the British<br />
nation can be traced to the lost tribes of Israel<br />
and how no other nation can, the United States<br />
representing Manasseh. The book is published<br />
by Messrs. Sherratt and Hughes at one shilling.<br />
“The Apostate ’’ is a novel by A. E. Lloyd<br />
Maunsell, which Messrs. Allen have brought out.<br />
Mr. Selwyn Brinton's series, “The Renaissance<br />
in Italian Art,” has now been completed by the<br />
publication of Part III., “The Mediciat Florence.”<br />
This volume contains a full account of Florentine<br />
painting from Paolo Uccello to Ghirlandajo. There<br />
are twenty-six illustrations and an analysis of<br />
Florentine painting from Paolo Doni (1397-1475)<br />
to Wincenzo Dandini (1607-1675).<br />
“Seekers,” by Frank Savile, which has been<br />
running serially in T. P.'s Weekly, will be brought<br />
out in book form by Mr. Arnold early next month.<br />
Mr. Savile is at present engaged on a new novel,<br />
the scene of which is laid principally in Morocco,<br />
to complete which he has lately revisited Tangier,<br />
Melilla, and various other North African towns.<br />
The second and third concert in Mr. St. John<br />
Lacy's sixth series of chamber-music concerts will<br />
be given in the Clarence Hall, Cork, on January 30<br />
and March 10. Those taking part will include<br />
Nſadame and Signor Grossi, Miss Eileen Price, Mr.<br />
W. Brady, and Mr. F. St. John Lacy.<br />
Mr. Hubert Wales is engaged on a new novel<br />
entitled “Hilary Thornton,” which will be pub-<br />
lished by Mr. John Long in the early spring.<br />
The incidents woven into “Marama"—C. L.<br />
Woollaston White's new novel (Messrs. R. and T.<br />
Washbourne)—are taken from eye-witnesses and<br />
actors in some of the scenes occurring in Fiji<br />
before (and, after) the country was annexed by<br />
Great Britain. Conditions being now totally<br />
changed, it recalls much that can never be seen<br />
again and—but for this book—would be swept<br />
away unrecorded. *<br />
Miss Beatrice Moffat's novel, “John Broome's<br />
Wife,” is being brought out by Mr. T. Fisher<br />
Unwin. It deals with modern life, and is a study<br />
of strongly contrasted temperaments. The scenes<br />
are laid on the west coast of Scotland and in<br />
Hampshire.<br />
Three numbers of Messrs. Crewsher & Co.'s<br />
New School Series of Songs have just been pub-<br />
lished. They are all by Miss L. Budgen, and are<br />
entitled: No. 1. “The Hurricane” and “The<br />
Snowdrop"; No. 2. “True Charm”; No. 3.<br />
“There's Beauty in the Air.”<br />
We have received from Mr. Henry Frowde<br />
“Select Poems of William Barnes,” chosen and<br />
edited, with a preface and glossarial notes, by<br />
Thomas Hardy.<br />
We have received from Mr. John Ouseley<br />
“Shelley : a Poem,” by Captain Claude E. Foster;<br />
“Mark Talbot,” by Crofton Spencer; “The Silver<br />
Cross,” by Jenkins Stenning; “The Flitting of<br />
Angelina,” by Jessica Solomon. Also “The Life<br />
and Times of Robert Emmett,” the first volume of<br />
The Irish Library Series, which is a commendable<br />
undertaking. It is a pity the cheapness of this<br />
series—sixpence—necessitates disfiguring the text<br />
with advertisements. -<br />
Mr. Francis Griffiths has published “Mary of<br />
England,” a tragedy in four acts, by N. Thorpe<br />
Mayne.<br />
In “Philanthropy and the State ; or, Social Poli-<br />
tics,” by B. Kirkman Gray, edited by Eleanor<br />
Kirkman Gray and B. L. Hutchins, the author<br />
maintains the thesis that “private philanthropy<br />
cannot provide a remedy for widespread want which<br />
results from broad and general social causes; that<br />
it ought not to be expected to do so; that the pro-<br />
vision of such remedies is the proper responsibility<br />
of the State, and should be accepted as such.” The<br />
publishers are Messrs. P. S. King and Son.<br />
Mr. Richard Davey has just published a second<br />
edition of “The Sultan and his Subjects” (Messrs.<br />
Chatto and Windus), and is preparing a second<br />
edition of his “Pageant of London’’ (Messrs.<br />
Methuen). The former has been considerably<br />
revised and enlarged.<br />
“A Woman's Pride,” a play of modern society<br />
life, by Hippolyte Buffenoir (author of the forth-<br />
coming “Portraits of Robespierre * in English) is<br />
in course of translation and adaptation for the<br />
English stage by Mary C. Rowsell.<br />
Mr. Wynford Dewhurst gave an address in the<br />
Manchester City Art Gallery on December 9. His<br />
subject was “Paris as an Art Mother.” Some<br />
thirty of his pictures have been recently on exhibi-<br />
tion at the Midland Hotel, Manchester.<br />
Mr. Fifield has just published two volumes by<br />
Mrs. Alfred Marks: “Landholding in England,<br />
considered in Relation to Poverty,” and “The<br />
Corn Laws.” Though issued separately, the<br />
Volumes may be considered as forming one work.<br />
On November 28, at Wyndham's Theatre, “Sir<br />
Anthony,” a comedy in three acts, by C. Haddon<br />
Chambers, was produced. It may be described as<br />
a satire on Suburbia. The cast included Mr.<br />
<br />
<br />
## p. 93 (#117) #############################################<br />
<br />
THE AUTHOR.<br />
93<br />
Weedon Grossmith, Mr. Edmund Maurice, Mr.<br />
Evelyn Beerbohm, Miss Suzanne Sheldon, Miss<br />
Mary Leslie, and Miss Nina Boucicault.<br />
December 9 was the first night of “The Last of<br />
the De Mullins,” by St. John Hankin, produced<br />
by the Stage Society at the Haymarket Theatre.<br />
The play concerns a girl with unconventional ideas<br />
on the subject of marriage. In the last act her<br />
father becomes almost reconciled to her through a<br />
liking for her fatherless boy, but Janet de Mullin<br />
refuses to return permanently to her home. The<br />
boy, the last of the De Mullins, must earn by his<br />
own efforts name and reputation. The players<br />
included Miss Lillah McCarthy and Mr. Nigel<br />
Playfair.<br />
A new comedy sketch, by Paul Rubens, entitled<br />
“Fly by Night,” was given at the Palace Theatre<br />
on December 14. It is the first play in English<br />
that introduces an aviator and his aeroplane. Mr.<br />
Seymour Hicks and Miss Ellaline Terriss sustained<br />
the principal parts.<br />
Mr. Charles W. France and Miss Evelyn D’Alroy<br />
appeared on December 17 in a little one-act play,<br />
by W. J. Locke, at the Empire Theatre. It is<br />
called “A Blank Cheque,” and concerns Mr.<br />
Mahoney, an innocent convict, who upon his<br />
release asks his wife to draw a blank cheque in his<br />
favour and fills in the amount as “My wife's love.”<br />
“Peter Pan,” by J. M. Barrie, was again revived<br />
at the Duke of York's Theatre on December 23<br />
with Miss Pauline Chase in the name part.<br />
—e—º-e—<br />
PARIS NOTES.<br />
–0—sº-º-<br />
LITERARY prize of £200 has just been<br />
awarded to Edouard Estaunié, the author<br />
of “La Wie secrète,” mentioned in last<br />
month's article. -<br />
It will be interesting to all admirers of Renan to<br />
know that his grandson, Ernest Psichari, has just<br />
published his first book, “Terres de Soleil et de<br />
Sommeil.” It is a delightful description of Africa<br />
written by a soldier who is a poet in spite of him-<br />
self. The first chapter is entitled “Le Sourire de<br />
l'Afrique.” As well as the author's first im-<br />
pressions of Africa, we have a study of the effect<br />
that the great silence and peace of Africa has on<br />
his own soul. The next article is entitled “Sama,”<br />
and is a study of the Bayas, and more especially of<br />
the boy Sama in whom he is greatly interested,<br />
who dies while they are at Yalé. The account of<br />
his death and funeral is both dramatic and pathetic,<br />
and the whole chapter is full of deep feeling and<br />
poetry. The epilogue and the last chapters of<br />
notes are full of promise, and it is with the greatest<br />
as no one else does in France. I<br />
château and knows its history and all that has<br />
pleasure that we recognize in this book the simpli-<br />
city of language and the sincerity which we had<br />
every right to expect from the grandson of Ernest<br />
Renan.<br />
“Le Tribunal Révolutionnaire” (1793–1795)<br />
is another of Lenotre's volumes on “La Révolution<br />
et l'Empire,” the result of his historical studies<br />
and discoveries among the archives of his country.<br />
The chapters of this book are entitled “La<br />
Maison de Justice,” “Fouquier-Tinville,” “L’Accu-<br />
sateur public,” “Fouquier s'élève,” “Les Grands<br />
Jours,” “Messes Rouges,” “L’Ecroulement,” “Le<br />
Procès du Tribunal.” There are several interest-<br />
ing illustrations in the volume. The account of<br />
Fouquier-Tinville's early life is given with many<br />
picturesque details. His letter to his mother is<br />
Curious when, as a young man, he was in such<br />
poverty in spite of his father's wealth. His trial is<br />
described later on in detail, and his execution.<br />
Anatole France's new book, “Les Contes de<br />
Jacques Tournebroche,” is published with coloured<br />
illustrations by Ilêon Lebègue.<br />
By way of fêting the centenary of Barbey<br />
d’Aurevilly, Mlle. Louise Read has published a<br />
Centenary edition of his volume entitled<br />
“Voyageurs et Romanciers.” This is a collec-<br />
tion of articles on about twenty-six French<br />
writers, among whom are Ampère, Frédéric Soulié,<br />
George Sand, Octave Feuillet, Victor Hugo and<br />
the Comte de Gobineau. Like all Barbey<br />
d’Aurevilly's books, there is nothing that seems<br />
Out of date. These articles and criticisms are just<br />
as interesting and seem just as fresh as when they<br />
Were penned so many years ago. The curious<br />
part of nearly all this author's articles is that the<br />
writer seems to have been gifted with prophecy,<br />
for so frequently in his writings he appears to be<br />
referring to many of the burning questions of<br />
to-day.<br />
M. Pierre de Nolhac, the Conservateur of the<br />
Versailles Palace, has just brought out a volume<br />
entitled “Versailles et Trianon,” with illustrations<br />
by René Binet. M. de Nolhac knows Versailles<br />
He lives in the<br />
happened there. The present edition is published<br />
at sixty francs.<br />
“Jean-Luc Persécuté,” by C. F. Ramuz, is a<br />
curious story of peasant life in the mountains. It<br />
is told in a graphic style and every detail given.<br />
The end is tragic, as it is the story of a husband<br />
who deals out what he considers justice with his<br />
own hands, and avenges himself on the wife who<br />
has betrayed him. There are two other curious<br />
and very original stories in the same volume—<br />
stories of simple primitive life, very human and<br />
with a touch of poetry in them.<br />
In “L’Ame libre,” by Brada, we have a very<br />
<br />
<br />
## p. 94 (#118) #############################################<br />
<br />
94<br />
TISIES A UTHOR.<br />
true study of French life in a certain circle of<br />
society. There are no doubt hundreds of girls<br />
at present in precisely the circumstances described<br />
by the observant novelist who tells the story.<br />
Every character in the book lives and is well<br />
drawn — the somewhat selfish aristocrat, the<br />
husband and wife who live, and bring up their<br />
children, on their expectations, the young girl who<br />
has more modern ideas than her parents, but who<br />
is nevertheless bound, as it were, by the old<br />
traditions. There is, too, a typical “arrivist” in<br />
the young doctor. The whole book is extremely<br />
interesting as a study of a certain phase of French<br />
life.<br />
To all those who are interested in the study of<br />
all phases of German life “Mes Prisons en<br />
Prusse,” by Paul Chorenne, will be an attractive<br />
book. It is the account given by a Frenchman of<br />
his arrest in Germany as a spy, his trial, and<br />
imprisonment. The prison etiquette and prison<br />
life during seven years are described in a graphic<br />
and amusing way.<br />
The seventh volume of Georges Duval’s trans-<br />
lation of Shakespeare is now ready, and contains<br />
four plays.<br />
In the December numbers of La Revue Hebdoma-<br />
daire there is an article on Victorien Sardou by<br />
G. A. de Caillavet, and one on “Le Marché de<br />
l'Automobile et le Salon de 1908,” by J. Bordeaux.<br />
M. Jacques Bardoux also contributes an article on<br />
Sir Henry Campbell-Bannerman. The novel by<br />
Maurice Barrés, “Colette Baudoche,” which has<br />
been published as a serial in this review, is now<br />
finished, and M. Jean-Louis Wandoyer commences<br />
“La Bien-Aimée.”<br />
In the Revue de Paris of December Barbey<br />
d’Aurevilley’s Letters to Trébutien are published.<br />
Judith Gautier gives an article on “L’Empereur<br />
de Chine '' and Ernest Lavisse on “Un Séjour à<br />
Berlin.” -<br />
The theatrical event of the month has been the<br />
reception of the play “Le Foyer’’ at the Théâtre<br />
Français. It was quite impossible for the piece to<br />
continue until a number of persons had been ejected.<br />
The general opinion seems to be that it is regret-<br />
table that a play of this kind should be given in<br />
a State theatre. At the Vaudeville “Le Lys" is<br />
being given, and at the Renaissance “L’Oiseau<br />
Blessé.”<br />
ALYS HALLARD.<br />
“La Vie secrète ’’ (Perrin).<br />
“Terres de Soleil et de Sommeil” (Calmann Lévy).<br />
“Le Tribunal Revolutionnaire (1798–1795)" (Perrin).<br />
“Les Contes de Jacques Tournebroche’’ (Calmann Lévy).<br />
“Voyageurs et Romanciers” (Lemerre).<br />
“Jean-Luc Persécuté” (Perrin).<br />
“L’Ame libre '' (Plon).<br />
“Mes Prisons en Prusse” (Juven).<br />
with which it was sometimes confounded.<br />
SPANISH NOTES.<br />
—º-º-º-<br />
EWS comes from Valencia that Bernardo<br />
T Morales has recently published a novel<br />
entitled “La Tribuna Roja” (The Scarlet<br />
Tribune). The work may be said to be a<br />
psychological study of Woman, and feminism<br />
seen from a Spaniard's point of view has a<br />
particular interest to English readers. This<br />
author was already well known in Spain by his<br />
romance called “La Rulla.” In Rulla readers<br />
See a character which is arresting, inasmuch as<br />
it is painted with sincerity and wide sympathy.<br />
“Rebelión” by “Joyzelle” is a realistic novel<br />
which will interest those who like to plumb the<br />
evils evolved from marriage as a matter of<br />
arrangement instead of inclination in the “high<br />
Society" of Spain. There is a touch of genius<br />
in the fire with which the author describes the<br />
heroine's awakening to love when the inevitable<br />
“kindred spirit” appears. Like a mighty stream<br />
it sweeps away all laws of convention ; and as the<br />
book is evidently written by “one who knows,” we<br />
see that the reverse of the medal of contented<br />
serfdom to the demands of social life, supposed to<br />
prevail among women of high degree in Spain, is a<br />
rebellion so keen that the high tide of feeling<br />
breaks on the quicksand of tragedy.<br />
From rebellion we turn to “El Niño de Guzman º'<br />
(“Guzman's Child.”) By Guzman the authoress<br />
Emilia Pardo Bazan means a Spaniard imbued<br />
with all the poetic chivalry and honour of past<br />
ages. The encounter of this young man, who had<br />
been brought up abroad, with his relatives at San<br />
Sebastian, is tragic in its disillusion and dénouement,<br />
but it is only the pen of a writer like Pardo Bazan,<br />
who has recently been made a countess by<br />
Alfonso XIII. in consideration of her literary<br />
talent, that could give such striking pictures of the<br />
feelings and the home life of a Spanish nobleman<br />
ruined by the heartless conduct of the son’s wife.<br />
“Le frère ainé,” by Daudet, has just been<br />
translated into beautiful Spanish verse by Martinez<br />
Sierra ; it was rendered the other night in<br />
public by Señorita Roderiguez and Señor Porredon.<br />
Madrid has just suffered a great loss in the death<br />
of the Reverend P. D. Salvador Font.<br />
It was his<br />
articles published in the “A.B.C.” which poured<br />
oil on the stormy waters of controversy during the<br />
elections of 1907, when the Solidarity of Catalonia<br />
proved to be a power too strong to be set aside.<br />
This Solidarity for the suffrage the priest zealously<br />
declared was quite distinct from the Separatism<br />
The<br />
clever ecclesiastic was called “the father of the poor,”<br />
for it was due to his initiation that the Society of<br />
Santa Rita is such a source of practical benefit to<br />
the poor; and many of the illustrious ladies who<br />
<br />
<br />
## p. 95 (#119) #############################################<br />
<br />
TFIE AUTHOR,<br />
95<br />
devote so much time to cutting out and making<br />
garments for their less fortunate sisters took their<br />
farewell of the priest as he lay in the solemnity of<br />
death in his cell in the Convent of Saint Orozco.<br />
Among these ladies one noted the Marchionesses of<br />
Perijaa Montehermoso, the Señoras Dato and Luca de<br />
Tena, etc. The funeral was attended by the Minister<br />
of War, General Weyler, and other celebrities.<br />
The Exhibition, which is still open at the<br />
palatial editorial house of “A.B.C.,” has been the<br />
Scene of many successful entertainments. Señorita<br />
Carmen Roderiguez Trelles, the girl musician, gave<br />
a most brilliant pianoforte recital one afternoon, in<br />
which she interpreted with great facility many<br />
difficult works of great masters.<br />
The Royal Academy of Spain saw the reception<br />
the other day of the new academician, D. Melchor<br />
de Palau. .<br />
Count Casa Valencia, Menendez Pidal, Count<br />
Reparaz, Carracido the Marquis of Wadillo, were<br />
among those who assisted at the ceremony. The<br />
discourse of the new academician was very well<br />
written and replete with interest, the theme being<br />
“Science as the Spring of Poetic Inspiration.”<br />
The Libro Amarillo (Blue Book) on Morocco,<br />
gives a full account of the policy of France with<br />
reference to Abd-el-Aziz and Muley Hafid, the<br />
mission of Monsieur Regnault to Rabat, the<br />
intervention of France in Casablanca, etc. During<br />
the long time of his service at Tangier as Secretary<br />
of the Foreign Office, Don Manuel de Figuerola has<br />
more than justified the high opinion formed of him<br />
when in Madrid.<br />
The great speech of Moret, the leader of the<br />
Liberal party in Saragossa, was listened to by a<br />
large assembly at the Town Hall. In his call to<br />
his followers the orator said, “Union is strength,<br />
union is health, union is the sacrifice of the small<br />
for the great, union is to have a conscience.”<br />
Cambo, the great statesman of Catalonia, has<br />
just held an impressive meeting in Barcelona.<br />
The Solidarist leader declared that the policy of<br />
Catalonia in its victory for the suffrage will finally<br />
extend all over Spain. In speaking eloquently for<br />
this union of interests, the orator declared he had<br />
never conceived the idea of Separatism for Catalonia,<br />
for Separatism came under the same category of evils<br />
for Regions as suicide for individuals.<br />
RACHEL CHALLICE.<br />
a –A–a<br />
v-u-w<br />
CONTRACTS IN WRITING AND THE<br />
- 'STAMP ACT.<br />
—s—e-s—<br />
QUESTION which is continually arising<br />
when there are disputes between authors<br />
- and publishers is whether the agreement<br />
entered into between them should be in writing,<br />
having regard to the provisions of the Sale of<br />
Goods Act, 1893, and the Statute of Frauds.<br />
And closely allied to the above question is<br />
another, viz., assuming the contract to be in writ-<br />
ing, whether it requires to be stamped.<br />
Having regard to the words used in the two<br />
statutes, many cases which have been decided on the<br />
Statute of Frauds are also authorities on the Stamp<br />
Act. The sections of the several Acts which bear on<br />
the subject and which it will be necessary to consider<br />
are as follows:–Sec. 4 of the Sale of Goods Act,<br />
1893, which practically reproduces sec. 17 of the<br />
Statute of Frauds, provides that “A contract for the<br />
sale of any goods of the value of ten pounds or<br />
upwards shall not be enforceable by action unless<br />
the buyer shall accept part of the goods so sold,<br />
and actually receive the same, or give something<br />
in earnest to bind the contract, or in part-payment,<br />
or unless some note or memorandum in writing of<br />
the contract be made and signed by the party to<br />
be charged or his agent on that behalf.”<br />
The Stamp Act of 1891 provides that any agree-<br />
ment or any memorandum of an agreement shall<br />
be stamped with a sixpenny stamp.<br />
But the following exemptions are made : agree-<br />
ment or memorandum the matter whereof is not of<br />
the value of £5; and agreement, letter, or memor-<br />
andum made for or relating to the sale of any<br />
goods.<br />
The 4th section of the Statute of Frauds renders<br />
void any agreement that is not to be performed<br />
within a year from the making thereof, unless the<br />
agreement upon which the action is brought or<br />
some memorandum or note thereof, shall be in<br />
writing and signed by the party to be charged<br />
there with or by some other person thereunto by him<br />
lawfully authorised.<br />
The subject may be roughly divided into (1)<br />
agreements for the sale of literary work to be done,<br />
and (2) agreements for the sale of Work already<br />
done.<br />
With regard to the first class, one of the leadin<br />
cases on the subject is that of Clay v. Yates (2<br />
L. J. N. S. 236).<br />
The facts were, so far as they are material to<br />
the present subject, that the plaintiff, a printer,<br />
having agreed to print for the defendant a work<br />
which was to contain a dedication to be thereafter<br />
sent to him, printed the work and also the dedication,<br />
but on the latter being returned to him revised,<br />
discovered for the first time that it contained<br />
libellous matter, whereupon he refused to continue<br />
the printing of it, and on the defendant refusing<br />
to accept or pay for the work without the dedica-<br />
tion, brought an action against him for the price<br />
of the work without the dedication. It was con-<br />
tended by the defendant at the trial that the plain-<br />
tiff could not recover because the provisions of the<br />
Or<br />
Sº,<br />
J<br />
<br />
<br />
## p. 96 (#120) #############################################<br />
<br />
96<br />
THE AUTHOR.<br />
17th section of the Statute of Frauds had not<br />
been complied with.<br />
The Court, however, held that the section did<br />
not apply, the contract being one of work and<br />
labour and not of goods sold. Chief Baron Pollock<br />
in the course of his judgment said, “It seems to<br />
me the true rule is this, whether the work and<br />
labour is of the essence of the contract, or whether<br />
it is the materials which are found. My impression<br />
is, that in the case of a work of art, whether it be<br />
silver or gold, or marble, or common plaster, that<br />
is a case of the application of labour of the highest<br />
description, and the material is of no sort of<br />
importance as compared with the labour ; and<br />
therefore that all this would be recoverable as<br />
work and labour and materials found.<br />
“I do not mean to say the price might not be<br />
recovered as goods sold and delivered if the work<br />
were completed and sent home. -<br />
“No doubt it is a chattel that was bargained for<br />
and delivered, and it might be recovered as goods<br />
sold and delivered, but still it would not prevent<br />
the price from being recovered as work and labour<br />
and materials found. -<br />
“It appears to me, therefore, this was properly<br />
sued for as work and labour and materials found,<br />
and that the Statute of Frauds does not apply.”<br />
It follows from the above case that where the<br />
contract is one for work to be done the contract<br />
need not be in writing. On the other hand, in such<br />
a case if the contract should have been reduced<br />
into writing and the matter thereof exceeded £5<br />
in value it should be stamped, because it does not<br />
come within the exemptions of the Stamp Act<br />
relating to the sale of goods.<br />
It would also seem to follow that if the contract<br />
were one for the sale of work already done, that it<br />
would be a sale of goods and require to be in<br />
writing if the value of the contract was £10 or<br />
upwards. Whether such contract would require to<br />
be stamped is a very difficult question, and each<br />
case must depend upon its own particular facts.<br />
If the contract was simply the sale of the manu-<br />
script for a lump sum it would not require to be<br />
stamped. On the other hand, if any additional<br />
terms were embodied in the contract it might very<br />
possibly be held that it must be stamped.<br />
In the recent case of In re Grant Richards<br />
(reported in The Author, May, 1907), an author<br />
sold the copyright of his book to a publisher upon<br />
the terms that the publisher should print and<br />
publish it, and should pay him certain royalties<br />
upon the sales of the book. -<br />
The contract was in writing, and had not been<br />
stamped ; the Judge who heard the case held that<br />
the contract did not come within the exemptions<br />
of the Stamp Act relating to the sale of goods, and<br />
therefore required to be stamped. - -<br />
The 4th Section of the Statute of Frauds, as<br />
already stated, renders void any agreement that is<br />
not to be performed within a year unless the same<br />
be in writing. -<br />
Therefore, wherever it appears, either by express<br />
stipulation or by inference from the surrounding<br />
circumstances to have been contemplated, that the<br />
contract could not be completed on either side<br />
within the year, written evidence of the contract<br />
is necessary. ' -<br />
Speaking generally, the doctrine of part per-<br />
formance does not take the case out of the purview<br />
of this section, and in that respect it differs from<br />
the 4th Section of the Sale of Goods Act.<br />
It will be seen from the above how difficult it is<br />
to lay down any hard-and-fast rule as to whether<br />
it is absolutely necessary that a contract should be<br />
in writing and stamped.<br />
The principle is clear enough, but the trouble<br />
lies in the application of it, and each case must<br />
be considered separately. It follows that it is<br />
highly desirable that authors should see that their<br />
contracts are reduced into writing, and when they<br />
are so reduced to have them properly stamped.<br />
Aſ a —A- *<br />
w ~~ w<br />
MAGAZINE CONTENTs.<br />
—º-º-º-<br />
ATLANTIC MONTHLY.<br />
On Learning to Write. By Havelock Ellis. -<br />
Some Moral Aspects of the Problem Play. By Louis<br />
W. Flaccus.<br />
Another Source of “Paradise Lost.” By N. Douglas.<br />
BIBLIOPHILE.<br />
Milton. By Professor Edward Dowden, LL.D.<br />
James Thomson. By Bertram Dobell.<br />
The Napoleonic Literature of 1908. By Harold F. B.<br />
Wheeler.<br />
BOOKMAN. -<br />
The Latest Foreign Criticism of Milton. By Jane T.<br />
Stoddart. -<br />
Henley the Critic and other Matters. By Y. Y.<br />
CORNHILL.<br />
The Book on the Table: “The Holland House Circle.”<br />
By Virginia Stephen.<br />
Lewis Campbell. By Leonard Huxley.<br />
CONTEMPORARY.<br />
Porson. By H. E. P. P.<br />
Milton and Modern Men. By J. E. G. de Montmorency.<br />
ForTNIGHTLY.<br />
The Tercentenary of John Milton. By Alice Law.<br />
Chateaubriand’s Second Love. By Francis Gribble.<br />
The New Life of Whistler. By Walter Sickert.<br />
The Need for an Endowed Theatre in London. By St.<br />
John Hankin. :<br />
<br />
<br />
## p. 96 (#121) #############################################<br />
<br />
Convention de Berne Revisée<br />
POUR LA<br />
Protection des OEuvres Littéraires et Artistiques.<br />
<br />
<br />
## p. 96 (#122) #############################################<br />
<br />
<br />
<br />
## p. 96 (#123) #############################################<br />
<br />
Convention de Berne Revisée<br />
POUR LA<br />
Protection des CEuvres Littéraires et Artistiques.<br />
SA MAJESTÉ L'EMPEREUR D'ALLEMAGNE, ROI DE PRUSSE :<br />
r p $ 4 41<br />
(Enumération des Etats),<br />
E, $ F f a # a \ º # $<br />
Egalement animés du désir de protéger d'une manière aussi efficace et aussi uniforme que<br />
possible les droits des auteurs sur leurs œuvres littéraires et artistiques,<br />
Ont résolu de conclure une Convention à l'effet de reviser la Convention de Berne du<br />
9 Septembre, 1886, l'Article additionnel et le Protocole de clôture joints à la même Convention,<br />
ainsi que l'Acte additionnel et la Déclaration interprétative de Paris, du 4 Mai, 1896.<br />
Ils ont, en conséquence, nommé pour leurs Plénipotentiaires, savoir :<br />
Lesquels, après s'être communiqué leurs pleins pouvoirs respectifs, trouvés en bonne et due<br />
forme, sont convenus des articles suivants :<br />
ARTICLE 1º.<br />
Les pays contractants sont constitués à l'état d'Union pour la protection des droits des<br />
auteurs sur leurs œuvres littéraires et artistiques.<br />
ARTICLE 2.<br />
L'expression * œuvres littéraires et artistiques " comprend toute production du domaine<br />
littéraire, scientifique ou artistique, quel qu'en soit le mode ou la forme de reproduction, telle<br />
que : les livres, brochures, et autres écrits ; les œuvres dramatiques ou dramatico-musicales, les<br />
œuvres chorégraphiques et les pantomimes, dont la mise en scène est fixée par écrit ou autre-<br />
ment ; les compositions musicales avec ou sans paroles ; les œuvres de dessin, de peinture,<br />
d'architecture, de sculpture, de gravure et de lithographie ; les illustrations, les cartes<br />
géographiques ; les plans, croquis et ouvrages plastiques, relatifs à la géographie, à la<br />
topographie, à l'architecture ou aux sciences.<br />
Sont protégés comme des ouvrages originaux, sans préjudice des droits de l'auteur de<br />
l'œuvre originale, les traductions, adaptations, arrangements de musique et autres reproductions<br />
transformées d'une œuvre littéraire ou artistique, ainsi que les recueils de différentes œuvres.<br />
Les pays contractants sont tenus d'assurer la protection des œuvres mentionnées<br />
ci-dessus. -<br />
Les œuvres d'art appliqué à l'industrie sont protégées autant que permet de le faire la<br />
législation intérieure de chaque pays.<br />
ARTICLE 3.<br />
La présente Convention s'applique aux œuvres photographiques et aux œuvres obtenues<br />
par un procédé analogue à la photographie. Les pays contractants sont tenus d'en assurer la<br />
protection.<br />
<br />
<br />
## p. 96 (#124) #############################################<br />
<br />
( 4 )<br />
ARTICLE 4.<br />
Les auteurs ressortissant à l'un des pays de l'Union jouissent, dans les pays autres que le<br />
pays d'origine de l'œuvre, pour leurs œuvres, soit non publiées, soit publiées pour la première<br />
fois dans un pays de l'Union, des droits que les lois respectives accordent actuellement ou<br />
accorderont par la suite aux nationaux, ainsi que des droits spécialement accordés par la<br />
présente Convention.<br />
La jouissance et l'exercice de ces droits ne sont subordonnés à aucune formalité ; cette<br />
jouissance et cet exercice sont indépendants de l'existence de la protection dans le pays<br />
d'origine de l'œuvre. Par suite, en dehors des stipulations de la présente Convention, l'étendue<br />
de la protection ainsi que les moyens de recours garantis à l'auteur pour sauvegarder ses droits<br />
se règlent exclusivement d'après la législation du pays où la protection est réclamée.<br />
Est considéré comme pays d'origine de l'œuvre : pour les œuvres non publiées, celui auquel<br />
appartient l'auteur ; pour les œuvres publiées, celui de la première publication ; et pour les<br />
oeuvres publiées simultanément dans plusieurs pays de l'Union, celui d'entre eux dont la<br />
législation accorde la durée de protection la plus courte. Pour les œuvres publiées simultané-<br />
ment dans un pays étranger à l'Union et dans un pays de l'Union, c'est ce dernier pays qui est<br />
exclusivement considéré comme pays d'origine.<br />
Par œuvres publiées, il faut, dans le sens de la présente Convention, entendre les œuvres<br />
éditées. La représentation d'une œuvre dramatique ou dramatico-musicale, l'exécution d'une<br />
oeuvre musicale, l'exposition d'une œuvre d'art et la construction d'une œuvre d'architecture<br />
ne constituent pas une publication.<br />
ARTICLE 5.<br />
Les ressortissants de l'un des pays de l'Union, qui publient pour la première fois leurs<br />
oeuvres dans un autre pays de l'Union, ont, dans ce dernier pays, les mêmes droits que les<br />
auteurs nationaux.<br />
ARTICLE 6.<br />
Les auteurs ne ressortissant pas à l'un des pays de l'Union, qui publient pour la première<br />
fois leurs œuvres dans l'un de ces pays, jouissent, dans ce pays, des mêmes droits que les auteurs<br />
mationaux, et dans les autres pays de l'Union des droits accordés par la présente Convention.<br />
ARTICLE 7.<br />
La durée de la protection accordée par la présente Convention comprend la vie de l'auteur<br />
et cinquante ans après sa mort.<br />
Toutefois, dans le cas où cette durée ne serait pas uniformément adoptée par tous les pays<br />
de i'Union, la durée sera réglée par la loi du pays où la protection sera réclamée et elle ne<br />
pourra excéder la durée fixée dans le pays d'origine de l'œuvre. Les pays contractants me seront,<br />
en conséquence, tenus d'appliquer la disposition de l'alinéa précédent que dans la mesure où elle<br />
se concilie avec leur droit interne.<br />
Pour les œuvres photographiques et les œuvres obtenues par un procédé analogue à la<br />
photographie, pour les œuvres posthumes, pour les œuvres anonymes ou pseudonymes, la durée<br />
de la protection est réglée par la loi du pays où la protection est réclamée, sans que cette durée<br />
puisse excéder la durée fixée dans le pays d'origine de l'œuvre.<br />
ARTICLE 8.<br />
Les auteurs d'œuvres non publiées, ressortissant à l'un des pays de l'Union, et les auteurs<br />
d'œuvres publiées pour la première fois dans un de ces pays jouissent, dans les autres pays de<br />
l'Union, pendant toute la durée du droit sur l'œuvre originale, du droit exclusif de faire ou<br />
d'autoriser la traduction de leurs œuvres.<br />
ARTICLE 9.<br />
Les romans-feuilletons, les nouvelles et toutes autres œuvres, soit littéraires, soit scientifiques,<br />
soit artistiques, quel qu'en soit l'objet, publiés dans les journaux ou recueils périodiques d'un<br />
<br />
<br />
## p. 96 (#125) #############################################<br />
<br />
( 5 )<br />
des pays de l'Union, ne peuvent être reproduits dans les autres pays sans le consentement des<br />
auteurS. J.-<br />
À l'exclusion des romans-feuilletons et des nouvelles, tout article de journal peut être<br />
reproduit par un autre journal, si la reproduction n'en est pas expressément interdite.<br />
Toutefois, la source doit être indiquée ; la sanction de cette obligation est déterminée par la<br />
législation du pays où la protection est réclamée.<br />
La protection de la présente Convention ne s'applique pas aux nouvelles du jour ou aux<br />
faits divers qui ont le caractère de simples informations de presse.<br />
ARTICLE 10.<br />
En ce qui concerne la faculté de faire licitement des emprunts à des œuvres littéraires ou<br />
artistiques pour des publications destinées à l'enseignement ou ayant un caractère scientifique,<br />
ou pour des chrestomathies, est réservé l'effet de la législation des pays de l'Union et des<br />
arrangements particuliers existants ou à conclure entre eux.<br />
ARTICLE ll.<br />
Les stipulations de la présente Convention s'appliquent à la représentation publique des<br />
œuvres dramatiques ou dramatico-musicales, et à l'exécution publique des œuvres musicales,<br />
que ces œuvres soient publiées ou non.<br />
Les auteurs d'œuvres dramatiques ou dramatico-musicales sont, pendant la durée de leur<br />
droit sur l'œuvre originale, protégés contre la représentation publique non autorisée de la<br />
traduction de leurs ouvrages.<br />
Pour jouir de la protection du présent article, les auteurs, en publiant leurs œuvres, ne<br />
sont pas tenus d'en interdire la représentation ou l'exécution publique.<br />
ARTICLE 12.<br />
Sont spécialement comprises parmi les reproductions illicites auxquelles s'applique la<br />
présente Convention, les appropriations indirectes non autorisées d'un ouvrage littéraire ou<br />
artistique, telles que : adaptations, arrangements de musique, transformations d'un roman,<br />
d'une nouvelle ou d'une poésie en pièce de théâtre et réciproquement, &c., lorsqu'elles ne sont<br />
que la reproduction de cet ouvrage, dans la même forme ou sous une autre forme, avec des<br />
changements, additions ou retranchements, non essentiels, et sans présenter le caractère d'une<br />
nouvelle œuvre originale.<br />
ARTICLE 13.<br />
Les auteurs d'œuvres musicales ont le droit exclusif d'autoriser : (1) l'adaptation de ces<br />
œuvres à des instruments servant à les reproduire mécaniquement ; (2) l'éxécution publique des<br />
mêmes œuvres au moyen de ces instruments.<br />
Des réserves et conditions relatives à l'application de cet article pourront être déter-<br />
minées par la législation intérieure de chaque pays, en ce qui le concerne , mais toutes<br />
réserves et conditions de cette nature n'auront qu'un effet strictement limité au pays qui les<br />
aurait établies.<br />
La disposition de l'alinéa 1º n'a pas d'effet rétroactif et, par suite, n'est pas applicable,<br />
dans un pays de l'Union, aux œuvres qui, dans ce pays, auront été adaptées licitement aux<br />
instruments mécaniques avant la mise en vigueur de la présente Convention.<br />
Les adaptations faites en vertu des alinéas 2 et 3 du présent article et importées, sans<br />
autorisation des parties intéressées, dans un pays où elles ne seraient pas licites, pourront y<br />
être saisies.<br />
ARTICLE 14,<br />
Les auteurs d'œuvres littéraires, scientifiques ou artistiques ont le droit exclusif d'autoriser<br />
- •---, Q e #<br />
la reproduction et la représentation publique de leurs œuvres par la cinématographie.<br />
<br />
<br />
## p. 96 (#126) #############################################<br />
<br />
( 6 )<br />
Sont protégées comme œuvres littéraires ou artistiques les productions cinématographiques<br />
lorsque, par les dispositifs de la mise en scène ou les combinaisons des incidents représentés,<br />
l'auteur aura donné à l'œuvre un caractère personnel et original.<br />
Sans préjudice des droits de l'auteur de l'œuvre originale, la reproduction par la cinémato-<br />
graphie d'une œuvre littéraire, scientifique ou artistique est protégée comme une œuvre<br />
originale.<br />
Les dispositions qui précèdent s'appliquent à la reproduction ou production obtenue par<br />
tout autre procédé analogue à la cinématographie.<br />
ARTICLE 15.<br />
Pour que les auteurs des ouvrages protégés par la présente Convention soient, jusqu'à<br />
preuve contraire, considérés comme tels et admis, en conséquence, devant les tribunaux des<br />
divers pays de l'Union, à exercer des poursuites contre les contrefacteurs, il suffit que leur nom<br />
soit indiqué sur l'ouvrage en la manière usitée.<br />
Pour les œuvres anonymes ou pseudonymes, l'éditeur dont le nom est indiqué sur<br />
l'ouvrage est fondé à sauvegarder les droits appartenant à l'auteur. Il est, sans autres preuves,<br />
réputé ayant cause de l'auteur anonyme ou pseudonyme.<br />
ARTICLE 16.<br />
Toute œuvre contrefaite peut être saisie par les autorités compétentes des pays de l'Union<br />
où l'œuvre originale a droit à la protection légale.<br />
Dans ces pays, la saisie peut aussi s'appliquer aux reproductions provenant d'un pays où<br />
l'œuvre n'est pas protégée ou a cessé de l'être.<br />
La saisie a lieu conformément à la législation intérieure de chaque pays.<br />
ARTICLE 17.<br />
Les dispositions de la présente Convention ne peuvent porter préjudice, en quoi que ce<br />
soit, au droit qui appartient au Gouvernement de chacun des pays de l'Union de permettre, de<br />
surveiller, d'interdire, par des mesures de législation ou de police intérieure, la circulation, la<br />
représentation, l'exposition de tout ouvrage ou production à l'égard desquels l'autorité com-<br />
pétente aurait à exercer ce droit.<br />
ARTICLE 18.<br />
La présente Convention s'applique à toutes les œuvres qui, au moment de son entrée en<br />
vigueur, ne sont pas encore tombées dans le domaine public de leur pays d'origine par l'expira-<br />
tion de la durée de la protection. -<br />
Cependant, si une œuvre, par l'expiration de la durée de protection qui lui était<br />
antérieurement reconnue, est tombée dans le domaine public du pays où la protection est<br />
réclamée, cette œuvre n'y sera pas protégée à nouveau.<br />
L'application de ce principe aura lieu suivant les stipulations contenues dans les conventions<br />
spéciales existantes ou à conclure à cet effet entre pays de l'Union. A défaut de semblables<br />
stipulations, les pays respectifs régleront, chacun pour ce qui le concerne, les modalités relatives<br />
à cette application. 3-<br />
Les dispositions qui précêdent s'appliquent également en cas de nouvelles accessions à<br />
l'Union et dans le cas où la durée de la protection serait étendue par application de l'article 7.<br />
ARTICLE 19.<br />
Les dispositions de la présente Convention n'empêchent pas de revendiquer l'application de<br />
dispositions plus larges qui seraient édictées par la législation d'un pays de l'Union en faveur de<br />
étrangers en général. r 1<br />
<br />
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ARTICLE 20.<br />
Les Gouvernements des pays de l'Union se réservent le droit de prendre entre eux des<br />
arrangements particuliers, en tant que ces arrangements conféreraient aux auteurs des droits<br />
plus étendus que ceux accordés par l'Union, ou qu'ils renfermeraient d'autres stipulations non<br />
contraires à la présente Convention. Les dispositions des arrangements existants qui répondent<br />
aux conditions précitées restent applicables.<br />
ARTICLE 21.<br />
Est maintenu l'office international institué sous le nom de ** Bureau de l'Union imter-<br />
nationale pour la protection des œuvres littéraires et artistiques."<br />
Ce Bureau est placé sous la haute autorité du Gouvernement de la Confédération Suisse,<br />
qui en règle l'organisation et en surveille le fonctionnement.<br />
La langue officielle du Bureau est la langue française.<br />
ARTICLE 22.<br />
Le Bureau international centralise les renseignements de toute nature relatifs à la<br />
protection des droits des auteurs sur leurs œuvres littéraires et artistiques. Il les coordonne<br />
et les publie. Il procède aux études d'utilité commune intéressant l'Union et rédige, à l'aide<br />
des documents qui sont mis à sa disposition par les diverses Administrations, une feuille<br />
périodique, en langue française, sur les questions concernant l'objet de l'Union. Les Gouverne-<br />
ments des pays de l'Union se réservent d'autoriser, d'un commun accord, le Bureau à publier<br />
une édition dans une ou plusieurs autres langues, pour le cas où l'expérience en aurait démontré<br />
le besoin.<br />
Le Bureau international doit se tenir en tout temps à la disposition des membres de<br />
l'Union pour leur fournir, sur les questions relatives à la protection des œuvres littéraires et<br />
artistiques, les renseignements spéciaux dont ils pourraient avoir besoin.<br />
Le Directeur du Bureau international fait sur sa gestion un rapport amnuel qui est<br />
communiqué à tous les membres de l'Union.<br />
ARTICLE 23.<br />
Les dépenses du Bureau de l'Union internationale sont supportées en commum par les pays<br />
contractants. Jusqu'à nouvelle décision, elles ne pourront pas dépasser la somme de soixante<br />
mille francs par année. Cette somme pourra être augmentée au besoin par simple décision<br />
d'une des Conférences prévues à l'article 24.<br />
Pour déterminer la part contributive de chacun des pays dans cette somme totale des<br />
frais, les pays contractants et ceux qui adhéreront ultérieurement à l'Union sont divisés en six<br />
classes contribuant chacune dans la proportion d'un certain nombre d'unités, savoir :-<br />
lº classe ... • a • e , a g @ e • • @ 25 unités.<br />
2me , « • e º • • - © * 4 $ - - ©t 20 5 )<br />
3me , - - - - - - a º • e º ... lö ,<br />
4ºº ,, • • • © º º • © - s e $ ... 10 ,,<br />
5ºº , - º - «e • • s s © s $ $ # © - º 5 ,,<br />
6me , e • © é º º º $ $ • • © 3 ,,<br />
Ces coefficients sont multipliés par le nombre des pays de chaque classe, et la somme des<br />
produits ainsi obtenus fournit le nombre d'unités par lequel la dépense totale doit être divisée.<br />
Le quotient donne le montant de l'unité de dépense.<br />
Chaque pays déclarera, au moment de son accession, dans laquelle des susdites classes il<br />
demande à être rangé.<br />
L'Administration suisse prépare le budget du Bureau et en surveille les dépenses, fait<br />
les avances nécessaires et établit le compte annuel qui sera communiqué à toutes les autres<br />
Administrations.<br />
<br />
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ARTICLE 24.<br />
La présente Convention peut être soumise à des revisions en vue d'y introduire les<br />
améliorations de nature à perfectionner le système de l'Union.<br />
Les questions de cette nature, ainsi que celles qui intéressent à d'autres points de vue le<br />
développement de l'Union, sont traitées dans des Conférences qui auront lieu successivement<br />
dans les pays de l'Union entre les délégués desdits pays. L'Administration du pays où doit<br />
siéger une Conférence prépare, avec le concours du Bureau international, les travaux de celle-ci.<br />
Le Directeur du Bureau assiste aux séances des Conférences et prend part aux discussions sans<br />
voix délibérative. -<br />
Aucun changement à la présente Convention n'est valable pour l'Union que moyennant<br />
l'assentiment unanime des pays qui la composent.<br />
ARTICLE 25.<br />
Les États étrangers à l'Union et qui assurent la protection légale des droits faisant l'objet<br />
de la présente Convention, peuvent y accéder sur leur demande.<br />
Cette accession sera notifiée par écrit au Gouvernement de la Confédération Suisse, et par<br />
celui-ci à tous les autres.<br />
Elle emportera, de plein droit, adhésion à toutes les clauses et admission à tous les<br />
avantages stipulés dans la présente Convention. Toutefois, elle pourra contenir l'indication des<br />
dispositions de la Convention du 9 Septembre 1886 ou de l'Acte additionnel du 4 Mai 1896<br />
qu'ils jugeraient nécessaire de substituer, provisoirement au moins, aux dispositions correspon-<br />
dantes de la présente Convention.<br />
ARTICLE 26.<br />
Les pays contractants ont le droit d'accéder en tout temps à la présente Convention pour<br />
leurs colonies ou possessions étrangères.<br />
Ils peuvent, à cet effet, soit faire une déclaration générale par laquelle toutes leurs<br />
colonies ou possessions sont comprises dans l'accession, soit nommer expressément celles qui y<br />
sont comprises, soit se borner à indiquer celles qui en sont exclues.<br />
Cette déclaration sera notifiée par écrit au Gouvernement de la Confédération Suisse, et par<br />
celui-ci à tous les autres.<br />
ARTICLE 27.<br />
La présente Convention remplacera, dans les rapports entre les Etats contractants, la<br />
Convention de Berne du 9 Septembre 1886, y compris l'Article additionnel et le Protocole de<br />
clôture du même jour, ainsi que l'Acte additionnel et la Déclaration interprétative du 4 Mai<br />
1896. Les actes conventionnels précités resteront en vigueur dans les rapports avec les Etats<br />
qui ne ratifieraient pas la présente Convention.<br />
Les Etats signataires de la présente Convention pourront, lors de l'échange des<br />
ratifications, déclarer qu'ils entendent, sur tel ou tel point, rester encore liés par les<br />
dispositions des Conventions auxquelles ils ont souscrit antérieurement.<br />
ARTICLE 28.<br />
La présente Convention sera ratifiée, et les ratifications en seront échangées à Berlin au plus<br />
tard le 1º Juillet 1910.<br />
Chaque Partie contractante remettra, pour l'échange des ratifications, un seul instrument,<br />
qui sera déposé, avec ceux des autres pays, aux archives du Gouvernement de la Confédération<br />
Suisse. Chaque Partie recevra en retour un exemplaire du procès-verbal d'échange des<br />
ratifications, signé par les Plénipotentiaires qui y auront pris part.<br />
ARTICLE 29.<br />
La présente Convention sera mise à exécution trois mois après l'échange des ratifications et<br />
demeurera en vigueur pendant un temps indéterminé, jusqu'à l'expiration d'une année à partir<br />
du jour où la dénonciation en aura été faite. - -<br />
<br />
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Cette démonciation sera adressée au Gouvernement de la Confédération Suisse. Elle me<br />
produira son effet qu'à l'égard du pays qui l'aura faite, la Convention restant exécutoire pour<br />
les autres pays de l’Union.<br />
ARTICLE 30.<br />
Les Etats qui introduiront dans leur législation la durée de protection de cinquante ans<br />
prévue par l'article 7, alinéa 1*, de la présente Convention, le feront connaitre au Gouverne-<br />
ment de la Confédération Suisse par une notification écrite qui sera communiquée aussitót par<br />
ce Gouvermement à tous les autres Éfats de l’Union.<br />
Il en sera de méme pour les Etats qui remonceront aux réserves faites par eux en vertu<br />
des articles 25, 26, et 27.<br />
En foi de quoi, les Plénipotentiaires respectifs ont signé la présente Convention et y ont<br />
apposé leurs cachets.<br />
Fait à Berlin, le 13 Novembre mil neuf cent huit, en un seul exemplaire, qui sera déposé<br />
dans les archives du Gouvernement de la Confédération Suisse et dont des copies, certifiées<br />
conformes, Seront remises par la voie diplomatique aux pays contractants.<br />
Revised Text, 1908, of the Convention creating the International<br />
Copyright Union.<br />
|Reprinted from the United States Publishers' Weekly.]<br />
ARTICLE 1.<br />
Union to protect literary and artistic works.-The contracting countries are constituted into<br />
a union for the protection of the rights of authors in their literary and artistic works.<br />
ARTICLE 2.<br />
Definition of “literary and artistic works.”—The expression “literary and artistic works”<br />
includes all productions in the literary, scientific, or artistic domain, whatever the mode or form<br />
of reproduction, such as books, pamphlets, and other writings; dramatic or dramatico-musical<br />
works; choreographic works and pantomimes, the stage directions (mise-en-scène) of which<br />
are fixed in writing or otherwise ; musical compositions with or without words; drawings,<br />
paintings; works of architecture and sculpture; engravings and lithographs ; illustrations;<br />
geographical charts; plans, sketches, and plastic works relating to geography, topography,<br />
architecture, or the sciences,<br />
Translations, arrangements, and adaptations protected.—Translations, adaptations, arrange-<br />
ments of music, and other reproductions transformed from a literary or artistic work, as well as<br />
compilations from different works, are protected as original works without prejudice to the<br />
rights of the author of the original work.<br />
The contracting countries are pledged to secure protection in the case of the works<br />
mentioned above. .<br />
- Works of art applied to industry.—Works of art applied to industry are protected so far as<br />
the domestic legislation of each country allows.<br />
ARTICLE 3.<br />
Photographic works to be protected.—The present Convention applies to photographic works<br />
and to works obtained by any process analogous to photography. The contracting countries<br />
are pledged to guarantee protection to such works.<br />
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ARTICLE 4.<br />
Authors to enjoy in countries of the Union the rights granted to ºvatives.—Authors within the<br />
jurisdiction of one of the countries of the Union enjoy for their works, whether unpublished or<br />
published for the first time in one of the countries of the Union, such rights, in the countries<br />
other than the country of origin of the work, as the respective laws now accord or shall here-<br />
after accord to natives, as well as the rights specially accorded by the present Convention.<br />
No formalities required.— The enjoyment and the exercise of such rights are not subject to<br />
any formality; such enjoyment and such exercise are independent of the existence of protection<br />
in the country of origin of the work. Consequently, apart from the stipulations of the present<br />
Convention, the extent of the protection, as well as the means of redress guaranteed to the<br />
author to safeguard his rights, are regulated exclusively according to the legislation of the<br />
country where the protection is claimed.<br />
Definition of country of origin.-The following is considered as the country of origin of<br />
the work: for unpublished works, the country to which the author belongs; for published<br />
works, the country of first publication, and for works published simultaneously in several<br />
countries of the Union, the country among them whose legislation grants the shortest term of<br />
protection. For works published simultaneously in a country outside of the Union and in a<br />
country within the Union, it is the latter country which is exclusively considered as the country<br />
of origin.<br />
Published works.-By published works (oeuvres publiées) must be understood, according<br />
to the present Convention, works which have been issued (oeuvres éditées). The representation<br />
of a dramatic or dramatico-musical work, the performance of a musical work, the exhibition of<br />
a work of art, and the construction of a work of architecture do not constitute publication.<br />
ARTICLE 5.<br />
Authors of countries of the Union have same rights as natives of other countries.—Authors<br />
within the jurisdiction of one of the countries of the Union who publish their works for the<br />
first time in another country of the Union have in this latter country the same rights as<br />
mational authors. .<br />
ARTICLE 6.<br />
Authors not belonging to countries of the Union also protected if they first publish in a Union<br />
country.—Authors not within the jurisdiction of any one of the countries of the Union, who<br />
publish for the first time their works in one of these countries, enjoy in that country the<br />
same rights as national authors, and in the other countries of the Union the rights accorded by<br />
the present Convention.<br />
ARTICLE 7.<br />
Term of protection : life and fifty years.-The term of protection granted by the present<br />
Convention comprises the life of the author and fifty years after his death.<br />
If not adopted, laws of country to govern term.–In case this term, however, should not be<br />
adopted uniformly by all the countries of the Union, the duration of the protection shall<br />
be regulated by the law of the country where protection is claimed, and cannot exceed the<br />
term granted in the country of origin of the work. The contracting countries will consequently<br />
only be required to apply the provision of the preceding paragraph to the extent to which it<br />
agrees with their domestic law.<br />
Term for photographic, posthumous, amonymous, or pseudonymous works,—For photographic<br />
works and works obtained by a process analogous to photography, for posthumous works, for<br />
anonymous or pseudonymous works, the term of protection is regulated by the law of the<br />
country where protection is claimed, but this term may not exceed the term fixed in the country<br />
of origin of the work.<br />
ARTICLE 8.<br />
Eacclusive right of translation for entire term.—Authors of unpublished works within the<br />
jurisdiction of one of the countries of the Union, and authors of works published for the first<br />
time in one of these countries, enjoy in the other countries of the Union during the whole<br />
term of the right in the original work the exclusive right to make or to authorise the translation<br />
of their works.<br />
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ARTICLE 9.<br />
Serial novels protected when published in newspapers or periodicals.-Serial stories (romans<br />
feuilletons), novels, and all other works, whether literary, scientific, or artistic, whatever may<br />
be their subject, published in newspapers or periodicals of one of the countries of the Union,<br />
may not be reproduced in the other countries without the consent of the authors.<br />
Reproduction of newspaper articles. – With the exception of serial stories (romans-<br />
feuilletons) and of novels, any newspaper article may be reproduced by another newspaper if<br />
reproduction has not been expressly forbidden. The source, however, must be indicated. The<br />
confirmation of this obligation shall be determined by the legislation of the country where<br />
protection is claimed.<br />
Mews items not protected.—The protection of the present Convention does not apply to news<br />
of the day or to miscellaneous news having the character merely of press information.<br />
ARTICLE 10.<br />
Extracts from literary or artistic works for educational publications.—As concerns the right<br />
of borrowing lawfully from literary or artistic works for use in publications intended for<br />
instruction or having a scientific character, or for chrestomathies, the provisions of the legislation<br />
of the countries of the Union and of the special treaties existing or to be concluded between<br />
them shall govern.<br />
ARTICLE ll.<br />
Representation of dramatic or dramatico-musical works.-The stipulations of the present<br />
Convention apply to the public representation of dramatic or dramatico-musical works and to<br />
the public performance of musical works, whether these works are published or not.<br />
Representation of translations of dramatic works. –Authors of dramatic or dramatico-musical<br />
works are protected, during the term of their copyright in the original work, against the<br />
unauthorised public representation of a translation of their works.<br />
Notice of reservation of performance not required.—In order to enjoy the protection of this<br />
article, authors, in publishing their works, are not obliged to prohibit the public representation<br />
or public performance of them.<br />
ARTICLE 12.<br />
Adaptations, etc., considered as infringements.-Among the unlawful reproductions to which<br />
the present Convention applies are specially included indirect, unauthorised appropriations of a<br />
literary or artistic work, such as adaptations, arrangements of music, transformations of<br />
a romance or novel or of a poem into a theatrical piece, and vice versá, etc., when they are only<br />
the reproduction of such work in the same form or in another form with non-essential changes,<br />
additions, or abridgments, and without presenting the character of a new, original work.<br />
ARTICLE 13.<br />
Adaptation of musical works to mechanical instruments.-Authors of musical works have<br />
the exclusive right to authorise—(1) the adaptation of these works to instruments serving to<br />
reproduce them mechanically; (2) the public performance of the same works by means of these<br />
instruments.<br />
Each country to regulate for itself the mamme, in which Convention shall apply.—The<br />
limitations and conditions relative to the application of this article shall be determined by the<br />
domestic legislation of each country in its own case ; but all limitations and conditions of this<br />
nature shall have an effect strictly limited to the country which shall have adopted them.<br />
Not retroactive.—The provisions of paragraph 1 have no retroactive effect, and therefore<br />
are not applicable in a country of the Union to works which in that country shall have been<br />
lawfully adapted to mechanical instruments before the going into force of the present<br />
Convention.<br />
Importation of mechanical musical appliances prohibited.—The adaptations made by virtue<br />
of paragraphs 2 and 3 of this article and imported without the authorisation of the parties<br />
interested into a country where they are not lawful may be seized there.<br />
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ARTICLE 14.<br />
Reproduction by cinematograph.-Authors of literary, scientific, or artistic works have the<br />
exclusive right to authorise the reproduction and the public representation of their works by<br />
means of the cinematograph.<br />
Cinematographic productions protected.—Cinematographic productions are protected as<br />
literary or artistic works when by the arrangement of the stage effects, or by the combination<br />
of incidents represented, the author shall have given to the work a personal and original<br />
character.<br />
Cinematographs copyrightable.—Without prejudice to the rights of the author in the<br />
Original work, the reproduction by the cinematograph of a literary, scientific, or artistic work is<br />
protected as an original work.<br />
Also any analogous production.—The preceding provisions apply to the reproduction or<br />
production obtained by any other process analogous to that of the cinematograph.<br />
ARTICLE 15.<br />
Author's name indicated on work sufficient proof of authorship.–In order that the authors<br />
of the works protected by the present Convention may be considered as such until proof to the<br />
contrary, and admitted in consequence before the courts of the various countries of the Union<br />
to proceed against infringers, it is sufficient that the author's name be indicated upon the work<br />
in the usual manner.<br />
Publisher of anonymous or pseudonymous works considered as representative of author.—For<br />
anonymous or pseudonymous works, the publisher whose name is indicated upon the work is<br />
entitled to protect the rights of the author. He is without other proofs considered, the legal<br />
representative of the anonymous or pseudonymous author.<br />
ARTICLE 16.<br />
Seizure of pirated copies.—All infringing works may be seized by the competent authorities<br />
of the countries of the Union where the original work has a right to legal protection.<br />
Seizure may also be made in these countries of reproductions which come from a country<br />
where the copyright in the work has terminated, or where the work has not been protected.<br />
Seizure to be made according to the laws of each country.—The seizure takes place in<br />
conformity with the domestic legislation of each country.<br />
ARTICLE 17.<br />
Jach Government to evercise supervision as to circulation, representation, or exhibition of<br />
worſes.—The provisions of the present Convention may not prejudice in any way the right<br />
which belongs to the Government of each of the countries of the Union to permit, to supervise,<br />
or to forbid, by means of legislation or of domestic police, the circulation, the representation, or<br />
the exhibition of every work or production in regard to which competent authority may have to<br />
exercise this right. .<br />
ARTICLE 18.<br />
Convention to apply to all works mot in public domain at the time of its going into force.—<br />
The present Convention applies to all works which, at the time it goes into effect, have not<br />
fallen into the public domain of their country of origin because of the expiration of the term Of<br />
protection. - - -<br />
But if a work by reason of the expiration of the term of protection which was previously<br />
secured for it has fallen into the public domain of the country where protection is claimed, such<br />
work will not be protected anew. ~ * ~ *<br />
Special conventions and domestic legislation may govern.-This principle will be applied in<br />
accordance with the stipulations to that effect contained in the special conventions either<br />
<br />
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existing or to be concluded between countries of the Union, and in default of such stipulations,<br />
its application will be regulated by each country in its own case.<br />
Provisions of Convention to apply to new accessions.—The preceding provisions apply equally<br />
in the case of new accessions to the Union and where the term of protection would be extended<br />
by the application of article 7.<br />
ARTICLE 19.<br />
More extensive rights may be granted by domestic legislation.—The provisions of the present<br />
Convention do not prevent a claim for the application of more favourable provisions which may<br />
be enacted by the legislation of a country of the Union in favour of foreigners in general.<br />
ARTICLE 20.<br />
More extensive right may be secured by special treaties.—The Governments of the countries of<br />
the Union reserve the right to make between themselves special treaties, when these treaties<br />
would confer upon authors more extended rights than those accorded by the Union, or when<br />
they contain other stipulations not conflicting with the present Convention. The provisions of<br />
existing treaties which answer the aforesaid conditions remain in force.<br />
ARTICLE 21.<br />
Bureau of the International Union.—The international office instituted under the name of<br />
“Bureau of the International Union for the Protection of Literary and Artistic Works”<br />
(“Bureau de l’Union Internationale pour la protection des CEuvres Littéraires et Artistiques”)<br />
is maintained.<br />
Under control of Switzerland.—This Bureau is placed under the high authority of the<br />
Government of the Swiss Confederation, which controls its organisation and supervises its<br />
working.<br />
Language of Bureau to be French.-The official language of the Bureau is the French<br />
language.<br />
ARTICLE 22.<br />
Duties of International Bureau.-The International Bureau brings together, arranges, and<br />
publishes information of every kind relating to the protection of the rights of authors in their<br />
literary and artistic works. It studies questions of mutual utility interesting to the Union,<br />
and edits, with the aid of documents placed at its disposal by the various administrations, a<br />
periodical in the French language, treating questions concerning the purpose of the Union.<br />
The Governments of the countries of the Uuion reserve the right to authorise the Bureau by<br />
common accord to publish an edition in one or more other languages, in case experience<br />
demonstrates the need.<br />
Will furnish information as to copyright.—The International Bureau must hold itself at<br />
all times at the disposal of members of the Union to furnish them, in relation to questions<br />
concerning the protection of literary and artistic works, the special information of which they<br />
have need.<br />
Director of the International Bureau.-The Director of the International Bureau makes an<br />
annual report on his administration, which is communicated to all the members of the Union.<br />
ARTICLE 23.<br />
Ea'penses of the International Bureau to be shared by contracting States.—The expenses of the<br />
Bureau of the International Union are shared in common by the contracting countries. Until<br />
a new decision, they may not exceed sixty thousand francs per year. This sum may be<br />
increased when needful by the simple decision of one of the conferences provided for in<br />
article 24. -<br />
Method of sharing expenses.—To determine the part of this sum total of expenses to be paid<br />
by each of the countries, the contracting countries and those which later adhere to the Union<br />
<br />
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are divided into six classes each contributing in proportion to a certain number of units,<br />
to wit — -<br />
1st class tº ſº tº $ tº tº $ tº gº tº sº. ... 25 units.<br />
2nd class * * * tº ſº e tº º º tº e & ... 20 ,<br />
3rd class e tº º * * * tº º º tº s tº ... 15 ,<br />
4th class © tº º e & º tº e º tº º ge ... 10 ,<br />
5th class e ‘º e & Cº º tº gº º * = & ... 5 ,<br />
6th class * * @ & & º * * * tº e º ... 3 s,<br />
These coefficients are multiplied by the number of countries of each class, and the sum of<br />
the products thus obtained furnishes the number of units by which the total expense is to be<br />
divided. The quotient gives the amount of the unit of expense.<br />
Each country shall declare, at the time of its accession, in which of the above-mentioned<br />
classes it desires to be placed.<br />
Swiss Administration to prepare the budget of the International Bureau, etc.—The Swiss<br />
Administration prepares the budget of the Bureau and superintends its expenditures, makes<br />
necessary advances, and draws up the annual account, which shall be communicated to all other<br />
administrations.<br />
ARTICLE 24.<br />
Revision of Convention.—The present Convention may be subjected to revision with a view<br />
to the introduction of amendments calculated to perfect the system of the Union.<br />
To take place successively in the countries of the Union.—Questions of this nature, as well as<br />
those which from other points of view pertain to the development of the Union, are considered<br />
in the conferences which will take place successively in the countries of the Union between the<br />
delegates of the said countries. The administration of the country where a conference is to be<br />
held will, with the co-operation of the International Bureau, prepare the business of the same.<br />
The Director of the Bureau will attend the meetings of the conferences and take part in the<br />
discussions without a deliberate voice.<br />
Changes require unanimous consent.—No change in the present Convention is valid for the<br />
Union except on condition of the unanimous consent of the countries which compose it.<br />
ARTICLE 25.<br />
Accession of other countries.—The States outside of the Union which assure legal protection<br />
of the rights which are the object of the present Convention may accede to it upon their<br />
request.<br />
To be made known by Switzerland.—This accession shall be made known in writing to the<br />
Government of the Swiss Confederation and by the latter to all the others.<br />
May 8wbstitute provisions of previous conventions.—Such accession shall imply full adhesion<br />
to all the clauses and admission to all the advantages stipulated in the present Convention. It<br />
may, however, indicate such provisions of the Convention of September 9, 1886, or of the<br />
Additional Act of May 4, 1896, as it may be judged necessary to substitute provisionally, at<br />
least, for the corresponding provisions of the present Convention.<br />
ARTICLE 26.<br />
Accession for colonies or foreign possessions.—The contracting countries have the right to<br />
accede at any time to the present Convention for their colonies or foreign possessions.<br />
They may, for that purpose, either make a general declaration by which all their colonies<br />
or possessions are included in the accession, or name expressly those which are included therein,<br />
or confine themselves to indicating those which are excluded from it.<br />
This declaration shall be made known in writing to the Government of the Swiss Con-<br />
federation, and by the latter to all the others.<br />
ARTICLE 27.<br />
Present Convention to replace Berne Convention and Additional Articles. But Berne<br />
Convention remains in force between countries not signatory to present Convention.—The present<br />
<br />
<br />
## p. 96 (#135) #############################################<br />
<br />
( 15 )<br />
Convention shall replace, in the relations between the contracting States, the Convention of<br />
Berne of September 9, 1886, including the Additional Article and the Final Protocol of the<br />
same day, as well as the Additional Act and the Interpretative Declaration of May 4, 1896.<br />
The Convention Acts above mentioned shall remain in force in the relations with the States<br />
which do not ratify the present Convention.<br />
Sigmatory States may declare themselves bound by former conventions upon certain points.-<br />
The States signatory to the present Convention may, at the time of the exchange of ratifications,<br />
declare that they intend, upon such or such point, still to remain bound by the provisions of<br />
the conventions to which they have previously subscribed.<br />
ARTICLE 28.<br />
Convention to be ratified not laler than July 1, 1910.-The present Convention shall be<br />
ratified, and the ratifications shall be exchanged at Berlin, not later than the first of July, 1910.<br />
Instrument to be filed with Swiss Government.—Each contracting party shall send, for the<br />
exchange of ratifications, a single instrument, which shall be deposited, with those of the other<br />
countries, in the archives of the Government of the Swiss Confederation. Each party shall<br />
receive in return a copy of the procès-verbal of the exchange of ratifications, signed by the<br />
plenipotentiaries who shall have taken part therein.<br />
ARTICLE 29.<br />
Convention to take effect three months after exchange of ratifications.—The present Convention<br />
shall be put into execution three months after the exchange of the ratifications, and shall<br />
remain in force for an indefinite time, until the expiration of one year from the day when<br />
denunciation of it shall have been made.<br />
Withdrawal from the Convention.—This denunciation shall be addressed to the Government<br />
of the Swiss Confederation. It shall only be effective as regards the country which shall have<br />
made it, the Convention remaining in force for the other countries of the Union.<br />
ARTICLE 30.<br />
Adoption of term of life and fifty years to be motified.—The States which introduce into their<br />
legislation the term of protection of fifty years” provided for by article 7, paragraph 1, of the<br />
present Convention, shall make it known to the Government of the Swiss Confederation by a<br />
written notification, which shall be communicated at Once by that Government to all the other<br />
countries of the Union.<br />
Notice shall be given of renouncement of any reservations.—It shall be the same for such<br />
States as shall renounce any reservations made by them in virtue of articles 25, 26, and 27.<br />
Signatures.—In testimony of which the respective Plenipotentiaries have signed the<br />
present Convention and have attached thereto their seals.<br />
Date of signing, Wovember 13, 1908.-Dome at Berlin the thirteenth of November, one<br />
thousand nine hundred and eight, in a single copy, which shall be deposited in the archives of<br />
the Government of the Swiss Confederation, and of which copies, properly certified, shall be<br />
sent through diplomatic channels to the contracting countries.<br />
* Article 7 provides for a general term of protection for life and fifty years.<br />
<br />
<br />
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<br />
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<br />
THE AUTISIOR.<br />
97<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
- ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright,<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society. -<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement). -<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor | -<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author,<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
(1.) That both sides shall know what an agreement<br />
In e2, DS.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
(3.) Always avoid a transfer of copyright.<br />
——e—º-e—<br />
WARNINGs To DRAMATIC AUTHORS,<br />
—º-º-º-<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
tmanager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
(b) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
' performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case,<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantiał<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
—e—º-e—<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
| authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
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## p. 98 (#138) #############################################<br />
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98<br />
TFIES A UTFIOR,<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
HOW TO USE THE SOCIETY.<br />
-º-º-o-<br />
1. WERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have now arranged for the reception<br />
of members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
a greements. Fuller particulars of the Society's work<br />
can be obtained in the Prospectus.<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society. -<br />
This<br />
The<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
TO MUSICAL COMPOSERS.<br />
—º-º-º-<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
Society’s safe. The musical publishers communicate direct<br />
With the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH,<br />
—º-º-º-<br />
EMBERS will greatly assist the Society in the<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
—e—Q-e—<br />
NOTICES.<br />
—º-º-e—<br />
HE Editor of The Author begs to remind members of<br />
| the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month. -<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
—e—º-e—<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
—e—º-0–<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
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Trips A Drt Hor.<br />
99<br />
GENERAL, NOTES.<br />
—º-º-º- -<br />
THE BERLIN CONFERENCE.<br />
THE Government Report of the Berlin Conference<br />
was not published on going to press, but we publish,<br />
by the courtesy of Mr. Askwith of the Board of<br />
Trade, the revised convention in French, and<br />
a translation of the same from the U.S.A.<br />
Publishers’ Weekly. Le Droit d'Auteur, the<br />
official organ of the Bureau Internationale, has<br />
not as yet published a report of the conference,<br />
although the revised convention was published in<br />
the November issue. The secretary, however, pro-<br />
poses to prepare a full statement of the proceedings,<br />
which will be published at the end of this month,<br />
and a series of critical articles, which will appear in<br />
Le Droit d'Auteur in the early months of this year.<br />
MUSIC PUBLISHING.<br />
IN one of the current issues of Musical Opinion,<br />
there is an article entitled “Advice to Young<br />
Composers,” by “An Old Hand.” In this article<br />
the author has done the society the honour of<br />
mentioning its name.<br />
He is kind enough to state that the advice given<br />
by this society is cheap at a guinea, and is invalu-<br />
able to the young composer. This, however, is<br />
not the point to which we would draw attention.<br />
The article is really not half strong enough when<br />
it discusses the relations between music publishers<br />
and composers. For years the Society has been<br />
trying to get the musical composers to combine,<br />
but unsuccessfully, owing mainly to the fact that<br />
there has been no leadership from those whose<br />
names carry weight in the musical world ; indeed,<br />
some who should be leaders have scoffed at the<br />
utility of such a combination, we trust not because<br />
they do not need it themselves. If ever there was<br />
a profession that needed a strong combination it<br />
is the musical profession. The publishers, with<br />
grasping avidity, take the copyrights and perform-<br />
ing rights, not in England only but everywhere.<br />
The remuneration they offer is in many cases<br />
grotesquely small ; and the composer is not infre-<br />
quently merely the paid hack of the publisher,<br />
bound to produce so much work every year.<br />
The position is an outrage on the dignity of the<br />
profession. If one of the younger generation<br />
kicks, his compositions are either rejected or, if he<br />
publishes at his own expense, they are left to rot on the<br />
publisher's shelves. He is gradually flogged into<br />
obedience. There is only one remedy—combination.<br />
If publishers found that composer after com-<br />
poser would not accept terms, they would gradually<br />
by slow pressure yield, and look at the matter from<br />
a more rational standpoint. But the fight must<br />
be a long and stubborn one, for the composers<br />
have left the matter so long. In consequence, the<br />
publishers feel that they have established their<br />
position. If the movement will not come from<br />
those who ought to be leaders, then let it come<br />
from the men of the younger generation. Let<br />
them show that indebtedness to their profession<br />
which Bacon says every man should owe. The<br />
good result is sure to come though it may be only<br />
in the fulness of years.<br />
*m-ºsm<br />
THE NUMBERS OF THE SOCIETY.<br />
THIS is the commencement of the twenty-fifth<br />
year of the society's existence. The last year<br />
closed with an election of 243 members, and the<br />
last circular issued—that sent out on behalf of the<br />
Pension Fund—showed a total membership of<br />
considerably over 1,900. It should be stated that<br />
the numbers at the end of the year are generally<br />
higher than they are about March or April, for at<br />
that time certain non-payers have been taken off<br />
the books, and the resignations consequent on<br />
the call for the annual subscription are more<br />
frequent. It is possible, however, even then to<br />
put down the numbers roughly at 1,900.<br />
The question arises, is this result satisfactory<br />
A statistician whose figures may be relied upon<br />
as fairly accurate reckoned the writers of books<br />
and dramatists in England at a total of 11,000.<br />
There are not a few writers in the colonies who<br />
belong to the society, and sundry in the United<br />
States of America have found the society exceed-<br />
ingly useful when their works are published both<br />
sides of the water. It is to be hoped, therefore,<br />
that the yearly increase will be maintained,<br />
so that at no very distant date the society may<br />
reckon on an annual income from subscriptions of<br />
somewhere about £3,000. As the income increases,<br />
the expenditure increases also, for the applications<br />
for legal assistance grow more numerous. The<br />
legal expenditure is a heavy item in the Society's<br />
accounts. But when its yearly income from sub-<br />
scriptious amounts to £3,000, unless any serious<br />
misfortune should descend, it ought to have an<br />
invested capital as well of at least the same<br />
amount. May the New Year show that these<br />
hopes will in part, at any rate, be fulfilled.<br />
THE NOBEL PRIZE.<br />
THE Nobel Prize for Literature has been awarded<br />
to Professor Rudolph Eucken, of Jena University,<br />
to whom we beg to offer our sincere congratula-<br />
tions. Professor Eucken is responsible for that<br />
development of philosophy known as the New<br />
Idealism, and we understand that a translation of<br />
one of his most recent works, entitled “The Life<br />
of the Spirit,” is about to be issued by Messrs.<br />
Williams and Norgate.<br />
<br />
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## p. 100 (#140) ############################################<br />
<br />
100<br />
TRIE A UſTHOR.<br />
With reference to the rumours that have appeared<br />
in the daily Press of the assignment of the prize<br />
to Mr. Swinburne, we have high authority for<br />
saying that the decision of the Committee was<br />
very nearly given in his favour. At the same<br />
time, it could hardly be expected, after Mr. Rud-<br />
yard Kipling's success of last year, that the prize<br />
would again be given to an Englishman. The<br />
Nobel Prize Committee, with the whole world to<br />
consider, have a very difficult duty to perform in<br />
adjudicating the claims of the numerous nominees,<br />
and in this especial subject of literature their<br />
intentions and efforts have been to distribute the<br />
prize among as many countries as possible.<br />
**-ms “sº-<br />
EDITORIAL FAILINGs.<br />
THE correspondence on this subject which has<br />
appeared recently in our columns has brought us<br />
many further communications. Information both<br />
for and against Messrs. C. Arthur Pearson's treat-<br />
ment of MSS. has been received, though it is only<br />
fair to suppose in the latter case the bad treatment<br />
did not come under the notice of our correspondent<br />
“The Editor.” Other complaints have been re-<br />
ceived against publishers, and there seems a very<br />
widespread feeling among authors that their<br />
tentative MSS. do not as a rule receive the tender<br />
handling that is their due.<br />
We would state with regard to publishers that,<br />
generally speaking, MSS. confided to their care<br />
are treated with the greatest consideration. We<br />
desire, however, to warn the few exceptions to take<br />
heed of their conduct in this matter.<br />
In the magazine and periodical market the<br />
outlook is more serious, and the slaughter of the<br />
innocents more general. It is bad enough for the<br />
author to have his MS. returned—though no one<br />
is to blame for this—but to receive it in a con-<br />
dition that renders re-copying imperative is, as<br />
one of our correspondents remarks, “needlessly<br />
cruel.” -<br />
Editors may be allowed a certain measure of<br />
human failings, but not this especial short-<br />
Coming.<br />
THE AUTHORS’ CLUB.<br />
WE are pleased to hear that Mr. George Mere-<br />
dith, our president, has signified his acceptance, in<br />
an autograph letter, of the invitation of the Execu-<br />
tive Committee of the Authors' Club to occupy the<br />
office of president of their General Council for the<br />
ensuing year. The club held its first dinner in the<br />
new premises on Thursday, the 17th of December.<br />
There was a most enthusiastic gathering. Members<br />
and guests to the number of seventy-five were<br />
present. Mr. Charles Garvice, the chairman of the<br />
club, presided. After the toast of “The King,”<br />
“The Prosperity of the Authors’ Club '' was the<br />
first toast. It was proposed by the chairman and<br />
most enthusiastically received. Mr. Francis<br />
Gribble then proposed the health of the guest,<br />
Sir Francis Carruthers Gould. After dinner there.<br />
Was an excellent programme of music. The<br />
Authors’ Club may be congratulated on the success<br />
of its revival. -<br />
*E****<br />
•ºmºmºmºmº-<br />
THE LITERARY YEAR BOOK.<br />
“THE Literary Year Book” for 1909 is just out,<br />
but has arrived at the office of the society too late.<br />
for review in this issue. In view of the importance<br />
of this publication to members of the society it is<br />
particularly necessary that it should be carefully<br />
read and considered before any criticism is passed.<br />
The number of authors in England, given in<br />
another paragraph, is computed at 11,000. “The<br />
Literary Year Book” contains a list of just over<br />
3,000. We do not know on what principle this list<br />
is compiled, nor do we know whether the list is<br />
submitted as exhaustive, but if “The Literary Year<br />
Book’s” figures are correct, then the society's mem-<br />
bership of 2,000 is a cause for congratulation, but<br />
we fear that the 11,000 is much nearer the truth.<br />
Although we have not had time to look through<br />
the volume with care, we have glanced through the<br />
part referring to law and letters, and consider that,<br />
in the space allotted for this complicated and<br />
difficult subject, the question has been dealt with,<br />
on the whole, satisfactorily. We cannot, however,<br />
compliment the writer on his form of royalty<br />
agreement.<br />
º-º-º-º-º-º-º-º-ºm-º Amºsºm-m-m-tº-mº<br />
SIR HENRY BERGNE, K.C.M.G., K.C.B.<br />
WE print the following letter from the President.<br />
of La Société des Gens de Lettres with the kind<br />
permission of Lady Bergne. It shows the warm.<br />
appreciation that was felt for Sir Henry and his<br />
work in France, and affords further evidence of<br />
the value of that work for the cause of international<br />
copyright.<br />
MADAME,-La Société des Gens de Lettres de France a<br />
été très attristée en apprenant que Sir Henry Bergne,<br />
ancien président de la Société des Auteurs Anglais, est<br />
mort à Berlin oti il était venu représenter la Grande-<br />
Bretagne à la Conférence pour la propriété littéraire et.<br />
artistique.<br />
Je me suis fait un devoir de dire au Comité quelle perte<br />
font les écrivains detous les pays par la disparition Vraiment<br />
cruelle et trop prompte, d'un homme si digne, si courtois, si<br />
aimable, qui fut, toute sa vie, un défenseur convaincu du<br />
droit des auteurs sur leur Oeuvre et qui, avec la grande:<br />
autorité morale dont il jouissait en Angleterre, aurait cer-<br />
tainement contribué a obtenir poureux une reconnaissance:<br />
plus compléte de leurs droits légitimes. - - -<br />
<br />
<br />
## p. 101 (#141) ############################################<br />
<br />
TFIES A UITISIOR.<br />
101<br />
Aussi le Comité de la Société des Gens de Lettres de<br />
France a-t-il manifesté par un vote unanime ses regrets<br />
bien sinceres, et m'a-t-il confié le soin de vous les exprimer<br />
16Il SOI), Il OIOl.<br />
Je le fais avec d'autant plus d’émotion que, ayant eu<br />
l'honneur de travailler a Londres et à Berlin avec sir Henry<br />
Bergne, a la défense des justes intérêts littéraires, j’ai pu<br />
apprécier ses qualités d'esprit et de caractère, l'ardeur si<br />
prudente et si avisée qu'il apportait, avec tant de désin-<br />
téressement personnel, à cette cause chère à son coeur.<br />
Au nom de la Société des Gens de Lettres de France et<br />
en mon nom personnel j’ai l’honneur de vous dire la part<br />
bien Sincère que nous premons à votre douleur.<br />
Et je vous prie de vouloir bien agréer, Madame, l’hom-<br />
mage de messentiments de sympathie respectueuse et bien<br />
attristée.<br />
Le Président de la Société des Gens de Lettres.<br />
Signé : GEORGES LECOMTE.<br />
The December number of Le Droit d'Auteur also<br />
contains a long article, which illustrates the feeling<br />
of his colleagues, the delegates of other nations. It<br />
commends in the warmest language his special and<br />
personal efforts toward the ends of international<br />
agreement.<br />
©-----<br />
BASIL FIELD.<br />
—º-º-º-<br />
N the last few months we have had to chronicle<br />
the deaths of J. C. Parkinson, one of the<br />
oldest members of the society and of the<br />
council, of the Rev. Prof. Ilewis Campbell, and of<br />
Sir Henry Bergne. Now we have to regret the<br />
death of Mr. Basil Field, the head of the firm of<br />
Messrs. Field, Roscoe & Co., the society's solicitors.<br />
In the early days of the society, when friends were<br />
not so numerous as they are now, it was of great<br />
importance to the society to have the support of<br />
Mr. Field and his firm. He laboured with the<br />
promoters with energy and sympathy, and his<br />
mature judgment and sound practical advice often<br />
guided the course of the society's ship in the early<br />
days of its voyage. He assisted in the society’s<br />
efforts to deal with copyright reform, and to<br />
him they used to refer with confidence doubtful<br />
legal issues. In the last few years he has not<br />
given so much personal attention to our work as<br />
previously, but his goodwill was always with the<br />
society's endeavours and the society's aims. It<br />
will be impossible for those who still remember<br />
the early days to forget his labours during those<br />
anxious struggles, and it is well that these facts<br />
should be brought to the ken of those who never<br />
knew. To Mr. Basil Field the society and all<br />
members owe a deep debt of gratitude.<br />
Mr. Field was born in 1835, and educated at<br />
the London University, where he took his degree.<br />
At the age of twenty-five he was admitted to prac-<br />
tice, joining the firm of his father, Mr. Edwin<br />
Field, the eminent solicitor. On the 12th of<br />
December, while at the Law Society's hall, he<br />
suffered a paralytic stroke and was removed to his<br />
home, where he died the following morning.<br />
—º- A<br />
-—w<br />
COMMITTEE ELECTION.<br />
–0—sº-0–<br />
NOTICE TO ALL SUBSCRIBING MEMBERs.<br />
N pursuance of Article 19 of the Articles of<br />
Association of the society, the committee<br />
give notice that the election of members to<br />
the committee of management will be proceeded<br />
with in the following manner — -<br />
(1) One-third of the members of the present<br />
committee of management retire from office in<br />
accordance with Article 17.<br />
(2) The members desiring to offer themselves<br />
for re-election who have been nominated by the<br />
retiring committee are the Hon. Mrs. A. L. Felkin,<br />
Mr. Arthur Rackham, Mr. S. S. Sprigge, Mr.<br />
Sidney Webb.<br />
(3) The date fixed by the committee up to<br />
which nominations by the subscribing members<br />
of candidates for election to the new committee<br />
may be made is the 15th day of February.<br />
(4) The committee nominate the following<br />
candidates, being subscribing members of the<br />
Society, to fill the vacancies caused by the retire-<br />
ment of one-third of the committee, according to<br />
the new constitution :-<br />
Mrs. A. L. Felkin (Ellen Thorneycroft Fowler).<br />
Mr. Arthur Rackham.<br />
Mr. S. S. Sprigge.<br />
Mr. Sidney Webb.<br />
The committee remind the members that under<br />
Article 19 of the amended articles of association,<br />
“any two subscribing members of the society may<br />
nominate one or more subscribing members, other<br />
than themselves, not exceeding the number of<br />
vacancies to be filled up, by notice in writing sent<br />
to the secretary, accompanied by a letter signed by<br />
the candidate or candidates expressing willingness<br />
to accept the duties of the post.”<br />
Members desiring to exercise their powers under<br />
this rule must send in the name of the candidate<br />
or candidates they nominate, not exceeding four in<br />
all, on or before the 15th day of February, together<br />
with an accompanying letter written by the candi-<br />
date or candidates expressing readiness to accept<br />
nomination. The complete list of candidates will<br />
be printed in the March issue of The Author.<br />
Having regard to the fact that the present com-<br />
mittee has not been in office for a full year, the<br />
committee consider it in the interest of the society<br />
not to suggest any change in the constitution.<br />
They have therefore re-nominated the four retiring<br />
members.<br />
à.<br />
w<br />
<br />
<br />
## p. 102 (#142) ############################################<br />
<br />
102.<br />
TI ILS A UTI IO PR.<br />
THE PENSION FUND COMMITTEE.<br />
*—e—sº-0–<br />
N accordance with annual custom, and in order<br />
to give members of the society, should they<br />
desire to appoint a fresh member to the<br />
Pension Fund Committee, full time to act, it has<br />
been thought advisable to place in The Author a<br />
complete statement of the method of election under<br />
the scheme for administration of the Pension Fund.<br />
Under that scheme the committee is composed of<br />
three members elected by the committee of the<br />
society, three members elected by the society at the<br />
general meeting, and the chairman of the Society<br />
for the time being, ea officio. The three members<br />
elected at the general meeting when the fund was<br />
started were Mr. Morley Roberts, Mr. M. H. Spiel-<br />
mann, and Mrs. Alec Tweedie. These have in turn<br />
during the past years resigned, and, submitting<br />
their names for re-election, have been unanimously<br />
re-elected. Mr. Spielmann resigned and was re-<br />
elected in 1907. This year Mr. Morley Roberts,<br />
under the rules of the scheme, tenders his resigna-<br />
tion, and submits his name for re-election. The<br />
members have power to put forward other names<br />
under clause 9, which runs as follows:—<br />
Any candidate for election to the Pension Fund Com-<br />
mittee by the members of the society (not being a retiring<br />
member of such committee) shall be nominated in writing<br />
to the secretary at least three weeks prior to the general<br />
meeting at which such candidate is to be proposed, and the<br />
nomination of each such candidate shall be subscribed by<br />
at least three members of the society. A list of the names<br />
of the candidates so nominated shall be sent to the members<br />
of the society, with the annual report of the Managing<br />
Committee, and those candidates obtaining the most votes<br />
at the general meeting shall be elected. to serve on the<br />
Pension Fund Committee.<br />
In case any member should desire to refer to the<br />
list of members, the new list, taking the elections<br />
up to the end of July, was published in October,<br />
1907. This list is complete, with the exception of<br />
the thirty-eight members referred to in the short<br />
preface. All further elections have been duly<br />
notified in The Author. They can easily be referred<br />
to, as members receive a copy every month.<br />
It will be as well, therefore, should any of the<br />
members desire to put forward a candidate, to take<br />
the matter within their immediate consideration.<br />
The general meeting of the Society has usually<br />
been held towards the end of February or the<br />
beginning of March. It is essential that all<br />
nominations should be in the hands of the<br />
secretary before January 31, 1908.<br />
—6- —rº--------—-<br />
UNITED STATES NOTES.<br />
—º-º-º-<br />
Sº far as can be judged at present, the year 1908.<br />
has been by no means an unprosperous one<br />
for the American book trade. Practically<br />
the only effect of the Presidential elections has been<br />
to stimulate the production of political literature.<br />
Other influences that have had perceptible results<br />
upon the output are last year's commercial depres-<br />
sion and the prevailing ferment in the religious<br />
World. For the rest, novels are said to be numeri-<br />
cally on the decline, but “gift books” more in<br />
demand than ever ; whilst we have it on the<br />
authority of the Publishers’ Weekly that “the<br />
public taste improves and the publishers realise<br />
it.”<br />
The Milton tercentenary has been worthily<br />
celebrated by the Grolier Club of New York. Some<br />
three hundred portraits, with forty engravings done<br />
in America, have been on exhibition, besides many<br />
first editions of the poet's works, and books and<br />
manuscripts with his autograph. Mr. Beverley<br />
Chew and his colleagues are to be congratulated on<br />
the success of their efforts.<br />
Perhaps the greatest achievement of American<br />
scholarship during the year has been the editing of<br />
the “Tragedy of King Richard the Third,” in the<br />
Shakespearean Wariorum, by Howard Furness,<br />
junior. It must have been not only a most<br />
laborious but also a very difficult task.<br />
We most heartily congratulate Dr. Frederick<br />
Morrow Fling, of the University of Nebraska,<br />
upon the great promise shown in “The Youth of<br />
Mirabeau,” the first of three projected volumes on<br />
the life of the great French statesman. In our<br />
judgment it seems likely, when completed, to<br />
equal, if not surpass, any historical work yet<br />
Written in America, though its literary qualities<br />
are scarcely on a level with its very considerable<br />
Value as a monument of extensive research and<br />
Critical acumen.<br />
The Pennell Life of Whistler will be too familiar<br />
to readers of The Author to need comment here ;<br />
but there are other outstanding books of American<br />
biography that must be noticed. William H.<br />
Low's “A Chronicle of Friendships,” containing<br />
reminiscences of French and American artists and<br />
Some recollections of the British Stevensons (R. L.<br />
and R. A. M.), will be widely read ; whilst the<br />
musical and dramatic worlds will be greatly inte-<br />
rested in the veteran William Winter’s “Other<br />
Days” and Paul Wilstach’s “Richard Mansfield.”<br />
“An Alabama Student and Other Biographical<br />
Essays * comes from Professor Osler as a pleasant<br />
reminder that the tradition of Sir Thomas Browne,<br />
Oliver Wendell Holmes and Dr. John Brown is<br />
being handed on<br />
<br />
<br />
## p. 103 (#143) ############################################<br />
<br />
THE AUTISIOR.<br />
103.<br />
Then there is that remarkable record of a<br />
wanderer's existence, “My Life,” by Josiah Flynt,<br />
with its recollections of Tolstoi, Mommsen, and the<br />
nameless vagrant, more especially the last. Josiah<br />
Flynt Willard is said by those who knew him to have<br />
talked better than he wrote ; but as someone re-<br />
marked, “It must be remembered that Flynt was the<br />
tramp writing not the literary man tramping.”<br />
Of a more purely literary interest are Ferris<br />
Greenslet's book on Thomas Bailey Aldrich and<br />
the “Letters and Memorials of Wendell Phillips<br />
Garrison,” who edited the Nation for more than<br />
forty years.<br />
The third volume of Carl Schurz's Reminiscences<br />
are of at least equal interest to the preceding<br />
instalments. Other notable additions to biographi-<br />
cal literature are Henry L. Nelson's Life of George<br />
William Curtis, to which we may return later ;<br />
and Thomas Nelson Page's study of Robert E. Lee.<br />
F. M. Sanborn's new Hawthorne book should also<br />
not be omitted in this connection.<br />
In the domain of history two Boston books<br />
arrest attention, M. C. Crawford’s “St. Botolph's<br />
Town,” and James De Wolff Lovett's “Old Boston<br />
Boys and the Games they Played ”; whilst we<br />
have also Charles W. Colby’s “Canadian Types of<br />
the Old Régime,” Galusha Anderson’s “A Border<br />
City during the Civil War,” and Agnes C. Laut's<br />
“Conquest of the Great North-West.”<br />
Abraham Lincoln has inspired an epic, Francis<br />
Howard Williams’s “The Burden Bearer,” and the<br />
dead preserver of the Union has received a “tribute,”<br />
from George Bancroft. Sydney G. Fisher's<br />
“Struggle for American Independence” should have<br />
appeared last year : it is a distinct addition to the<br />
historical literature of America.<br />
President Eliot's retirement from the headship<br />
of Harvard has been followed by his “University<br />
Administration,” an important educational apologia<br />
which has been and will be much read and dis-<br />
cussed.<br />
Another American University President, Nicholas<br />
|M. Butler of Columbia, has published under the<br />
title “The American as He Is,” his recent lectures<br />
at Copenhagen. They have appeared in Danish,<br />
French, and German, as well as in English.<br />
“Alaska, the Great Country,” by Mrs. Ella<br />
Higginson, issued by the Macmillan Company, is<br />
a very good type of this kind of book, which to-day<br />
attracts so many readers.<br />
When we come to fiction our heart always fails<br />
us. Selection is difficult and often invidious. It<br />
has happened that we have passed over altogether<br />
works of the first importance, notably, as we have<br />
been reminded, those of Mrs. Atherton, whose<br />
position as a novelist is incontestably in the front<br />
rank.<br />
An interesting experiment in this department<br />
of literature has been made under the auspices of<br />
the Harper Brothers. “The Whole Family " is<br />
a novel which is the joint composition of twelve<br />
authors, among whom were Mr. James, W. D.<br />
Howells, M. E. Wilkins, Elizabeth Stuart Phelps,<br />
and John Kendrick Bangs.<br />
In “Lewis Rand,” Mary Johnston seems to<br />
have attained her high water-mark; and John<br />
Fox, junior, in “The Trail of the Lonesome Pine,” a<br />
romance of the South, would also appear to have<br />
surpassed his previous efforts. George W. Cable's<br />
“Kincaid's Battery’ is a thrilling romance of<br />
the South, the furthest south of New Orleans.<br />
Dr. S. Weir Mitchell has given us two works of<br />
fiction this fall, “A Venture in 1777 ° and “The<br />
Red City.” The former is a story of Valley<br />
Forge, and recounts in stirring fashion the capture<br />
of a map from the British and the conveyance of<br />
it to Washington's camp.<br />
In “The Diva's Ruby’’ Mr. Marion Crawford<br />
has related an exciting episode in the life of his<br />
former heroine.<br />
Robert W. Chambers has added to his laurels<br />
by “The Firing Line”; and Stewart White and<br />
F. Hopkinson Smith have provided good stories<br />
for their respective publics in the “The River-<br />
man" and “Peter.”<br />
George C. Eggleston<br />
Virginian stories.<br />
The new Oppenheim story is called “The Long<br />
Arm of Mannister.”<br />
Amongst lady novelists' triumphs this season<br />
are Alice MacGowan’s “Judith of the Cumber-<br />
lands” and Elizabeth Stuart Phelps’ “Through<br />
Life in the Past.”<br />
George P. Upton’s “Musical Memories,” ex-<br />
tending over half a century, should be added to<br />
the tale of biographical books.<br />
Booth Tarkington, in “The Quest of Quesnay,”<br />
adds to the list begun by “Monsieur Beaucaire.”<br />
William Farquhar Payson’s “Barry Gordon" is<br />
a romance in somewhat the same vein by a less-<br />
known story-teller.<br />
Andrew Carnegie’s “Problems of To-day” and<br />
James Brown-Scott’s “Texts of the Peace Con-<br />
ferences at the Hague” are two publications which<br />
should be of use in their several ways.<br />
The publication of a concordance to Gray's<br />
poems, edited by Albert S. Cook, shows that the<br />
eighteenth century is still of interest to Ameri-<br />
cans, apart from Washington, Franklin, and the<br />
Revolution.<br />
The greatest loss to the American literary<br />
world during the latter part of the year has been<br />
that of Charles Eliot Norton, who died on<br />
October 21. After a short experience of business<br />
life, he returned to Harvard as a French lecturer,<br />
but soon had to go to Europe for reasons of health,<br />
has published two<br />
<br />
<br />
## p. 104 (#144) ############################################<br />
<br />
104.<br />
TISIES A UſTFSIOR.<br />
having meanwhile published his first book,<br />
“Considerations on some Recent Social Theories”<br />
(1853). He went to Italy and formed a friendship<br />
with Ruskin. On his return he published a trans-<br />
lation of Dante’s “Vita Nuova " and “Notes of<br />
Travel and Study in Italy,” and joined the cele-<br />
brated Cambridge circle. He helped Lowell to<br />
edit the North American Review, 1862—8, and aided<br />
in the foundation of the Nation in '65. Having<br />
spent five years in Europe, he returned to take up<br />
art teaching under President Eliot, holding his<br />
chair at Harvard from 1875 to 1898.<br />
the friendships of Carlyle and Leslie Stephen, as well<br />
as those of Emerson and Lowell, and he edited<br />
several volumes of their Letters as well as those of<br />
G. W. Curtis. Ruskin called Eliot “my first real<br />
tutor.” Daniel Coit Gilman, who died earlier in<br />
the same month, was successively a Professor at<br />
Yale, and President of the University of California<br />
and Johns Hopkins. He was also head of the<br />
Carnegie Institute and of the National Civil<br />
Service Reform League, and published several<br />
biographies and educational works. Harvard lost<br />
its Professor of Greek and Dean of the Graduate<br />
School, John Henry Wright, on November 25, and<br />
earlier in the same month another alumnus and<br />
benefactor, John Harvey Treat. Esther Chamber-<br />
lain, who died at Mount Clemens, Michigan, was<br />
author of “The Court of Chance,” and other<br />
popular stories. Frank Parsons (died September 26)<br />
lectured on law at the Boston University, and on<br />
other subjects in Ruskin University, Missouri and<br />
Kansas College, and was a prolific author. “The<br />
Railways, the Trusts, and the People '' (1906) was<br />
his last work.<br />
—e—º-e—<br />
TERCENTENARY CELE-<br />
BRATIONS.<br />
—º-º-º-<br />
f HE Tercentenary of Milton's birth was<br />
celebrated on the 8th, 9th, and 10th of<br />
December by the British Academy, sup-<br />
ported by all the leading representatives of<br />
Literature, Music, Drama, and Science, and also<br />
by many services, lectures, meetings, and exhibi-<br />
tions held in the metropolis and the provinces.<br />
The ceremonies of the British Academy on the<br />
first day were opened with an address by Dr.<br />
A. W. Ward, the Master of Peterhouse, which was<br />
followed by the recitation by Professor I. Gollancz<br />
of some lines on Milton contributed by Mr. George<br />
Meredith, whose advanced age prevented him from<br />
being present. The lines, which Mr. Meredith<br />
has kindly given us permission to reprint, were as<br />
follows:—<br />
THE MILTON<br />
He enjoyed<br />
MILTON.<br />
December 9, 1608 : December 9, 1908.<br />
What splendour of imperial station man,<br />
The Tree of Life, may reach when, rooted fast,<br />
His branching stem points way to upper air<br />
And skyward still aspires, we see in him<br />
Who Sang for us the Archangelical host<br />
Made Morning by old Darkness urged to the abyss<br />
A voice that down three centuries onward rolls;<br />
Onward will roll while lives our English tongue,<br />
In the devout of music unsurpassed -<br />
Since Piety won Heaven's ear on Israel’s harp.<br />
The face of Earth, the soul of Earth, her charm,<br />
Her dread austerity ; the quavering fate<br />
Of mortals with blind hope by passion swayed,<br />
His mind embraced, the while on trodden soil,<br />
Defender of the Commonwealth, he joined<br />
Our temporal fray, whereof is vital fruit,<br />
And choosing armoury of the Scholar, stood<br />
Beside his peers to raise the voice for Freedom :<br />
Nor has fair Liberty a champion armed<br />
To meet on heights or plains the Sophister<br />
Throughout the ages, equal to this man,<br />
Whose spirit breathed high Heaven, and drew thenc<br />
The ethereal sword to Smite. .<br />
Were England sunk<br />
Beneath the shifting tides, her heart, her brain,<br />
The Smile she wears, the faith she holds, her best,<br />
Would live full-toned in the grand delivery<br />
Of his cathedral speech : an utterance<br />
Almost divine, and such as Hellespont,<br />
Crashing its breakers under Ida's frown,<br />
Inspired : yet worthier he, whose instrument<br />
Was by comparison the coarse reed-pipe ;<br />
Whereof have come the marvellous harmonies,<br />
Which, with his lofty theme, of infinite range,<br />
Abash, entrance, exalt,<br />
We need him now,<br />
This latest Age in repetition cries :<br />
For Belial, the adroit, is in our midst ;<br />
Mammon, more swoln to squeeze the slavish sweat<br />
From hopeless toil : and overshadowingly<br />
(Aggrandized, monstrous in his grinning mask<br />
Of hypocritical Peace), inveterate Moloch<br />
Remains the great example.<br />
Homage to him<br />
His debtor band, innumerable as waves<br />
Running all golden from an eastern Sun,<br />
Joyfully render, in deep reverence<br />
Subscribe, and as they speak their Milton's name,<br />
Rays of his glory on their foreheads bear.<br />
GEORGE MEREDITH.<br />
“After the applause ’’—said the Times report—<br />
“which followed the reciting of the lines had<br />
ceased, Dr. Ward expressed the sincere and cordial<br />
thanks of the Academy to Mr. Meredith for his<br />
message. No greater grace, he said, could have<br />
been added to their tribute than the Words which<br />
Mr. Meredith had sent them. (Cheers.)”<br />
The meeting closed with an address by Sir<br />
Frederick Bridge on “Milton and Music,” during<br />
the course of which members of the Westminster<br />
Abbey Choir, accompanied by the Grimson Quartet,<br />
rendered compositions from the incidental music<br />
written for the first performance of “Comus.”<br />
<br />
<br />
## p. 105 (#145) ############################################<br />
<br />
TRIES ACTRIOR.<br />
105<br />
On the 9th–the poet's birthday—a commemo-<br />
ration service was held at Bow Church, the sermon<br />
being delivered by the Bishop of Ripon on the<br />
text of verses 4 and 5 of the second chapter of<br />
Zechariah. In the evening a banquet was given<br />
at the Mansion House by the Lord Mayor, Sir<br />
George Wyatt Truscott. The speakers were the<br />
Lord Mayor (“The King”); Canon Beeching<br />
(“The Immortal Memory of John Milton ’’); the<br />
Italian Ambassador (“Poetry”), in reply, Mr.<br />
Alfred Austin, P.L. ; Mr. Justice Darling<br />
(“Music and Drama”), in reply, Sir Hubert<br />
Parry (“Music”) and Mr. Pinero (“Drama"); the<br />
American Ambassador (“The Lord Mayor’’), sup-<br />
ported by Dr. A. W. Ward.<br />
On the 10th, at an ordinary general meeting of<br />
the British Academy, Dr. A. W. Ward announced<br />
that the Council had passed votes of special thanks<br />
to the Lord Mayor, Sir Frederick Bridge, Mr.<br />
George Meredith, the Rev. A. W. Hutton (incum-<br />
bent of Bow Church), Professor I. Gollancz, and<br />
the Press generally, for the great assistance they<br />
had rendered to the Academy in the celebrations.<br />
The following papers were then read : “Samson<br />
Agonistes and the Hellenic Drama,” by the late<br />
Sir Henry Jebb : “Milton in the Eighteenth<br />
Century (1701—1750),” by Professor Edward<br />
Dowden ; “Milton's Fame on the Continent,” by<br />
Professor J. G. Robertson ; “Milton as Schoolboy<br />
and Schoolmaster,” by Mr. Arthur F. Leach ; and<br />
“A Consideration of Macaulay's Comparison of<br />
Dante and Milton,” by Mr. W. J. Courthope.<br />
A seemly close to the celebrations was provided<br />
by the performance in the Theatre, Burlington<br />
Gardens, of “Samson Agonistes” before a brilliant<br />
audience, including the Princess Louise and the<br />
Duke and Duchess of Argyll, on December 16.<br />
This, it is worth noting, was the first public repre-<br />
sentation of the play. The cast was made up as<br />
follows :--<br />
Samson Mr. Ian Maclaren.<br />
‘Manoa Mr. Chas. A. Doran.<br />
T)alila 1Miss Evelyn Weeden.<br />
Harapha . Mr. Lionel Braham.<br />
Public Officer Mr. Clive Currie.<br />
NLessenger º . Mr. Percy Anstey.<br />
“Dalila,” according to the Times report, “wore<br />
an Elizabethan dress of great splendour, while<br />
Harapha's attendants and the soldiers were<br />
dressed as Romans, Samson's attendant as a Greek,<br />
and the Danites in a dress we did not recognise.”<br />
The action passed before a background of<br />
purple hangings—a fit setting for “grave-browed<br />
Milton's solemn harmonies.”<br />
* fº<br />
w w<br />
—a-<br />
—w-<br />
THE WRITERS’ AND ARTISTS' YE<br />
BOOK, 1909.”<br />
—º-º-º-<br />
N always welcome publication is “The<br />
A. Writers' Year Book.” It is handy, well<br />
arranged, and never wastes space with<br />
useless information. In fact it is quite indis-<br />
pensable, and, if it were adequate, would be quite<br />
invaluable. It is, however, some way from per-<br />
fection yet, although in every succeeding issue<br />
something is added towards that desirable con<br />
summation.<br />
In the present—the fourth annual—issue, the<br />
list of English periodicals and the information<br />
about each could hardly be bettered ; the English<br />
publishers' list, too, is good, and so are the lists of<br />
colour printers, literary agents, photographers<br />
and so on. Other lists included are also good —<br />
quite good, as far as they go ; but here it becomes<br />
necessary to drop generalisation for detail.<br />
The two new features of the 1909 Year Book<br />
are the addition of particulars and information to<br />
the list of American journals and magazines, and<br />
a list of English syndicates that purchase MSS.<br />
In the latter we miss the National Press Agency<br />
of Whitefriars, and notice that the Northern<br />
Newspaper Syndicate appears as the Northern<br />
Syndicate. In the former are quite a number of<br />
omissions. We are well aware that the periodicals<br />
published in the States total well over 20,000,<br />
and therefore it would be impossible to include all<br />
of them ; at the same time it is stated in the<br />
preface that “all the leading American magazines<br />
and journals.” are included. We are therefore<br />
constrained to give a short list of some of the<br />
leading periodicals that are not, as follows:–<br />
Aeronáutics, Designer, International Studio, Life,<br />
Live Wire, Scrap Book, Scrip, Strand, Theater,<br />
Town and Country, World's Work and Yachting,<br />
all o New York ; Technical World, Chicago, Ill. ;<br />
Jiving Age, Boston, Mass. ; Spare Moments,<br />
Rochester, N.Y.; People's Popular Monthly, Des<br />
Moines, Ia. : Sunset Maſſazine, San Francisco, Cal. ;<br />
Holland's Magazine, Dallas, Texas; South Atlantic<br />
Quarterly, Durham, N.C. ; and among juvenile<br />
periodicals we fail to find Children's Magazine,<br />
N.Y.C.; Youth, Philadelphia, Pa.; American Boy,<br />
Detroit, Mich. ; and Practical Young America,<br />
Des Moines, Ia. Among the leading religious<br />
papers omitted are:–Catholic AWews (R.C.);<br />
Benziger's Magazine (R.C.), Church Economist,<br />
Churchman (Epis.), Epaminer (Baptist), Christian<br />
Advocate (Presb.), all of New York; Expositor,<br />
Cleveland, Ohio ; Ram's Horn, Chicago, Ill. ;<br />
Westminster, Philadelphia, Pa.<br />
* The Writers’ and Artists' Year Book, 1909. Messrs.<br />
A. and C, Black, 1s. m.<br />
<br />
<br />
## p. 106 (#146) ############################################<br />
<br />
106<br />
TISIE A DfTISIOR.<br />
The list of American publishers is still far from<br />
complete. No indication is given of what their<br />
special lines are, and only general addresses are<br />
given. The following are not included:—Ames<br />
Publishing Co., Clyde, Ohio : T. S. Denison,<br />
Chicago, Ill. ; The Ball Publishing Co., Boston ;<br />
Dramatic Publishing Co., Chicago, Ill. : Saalfield<br />
Publishing Co., New York ; E. A. Fink, New<br />
York ; Samuel French, New York ; Penn Publish-<br />
ing Co., Philadelphia, Pa. It is only fair to add<br />
that Samuel French's American address is given in<br />
the English publishers’ list. On the other hand,<br />
Frederick Warne appears rightly in both lists.<br />
Before passing on we beg the editor to correct<br />
the well-known name of Moffatt (of Moffatt, Yard<br />
& Co.) It has appeared as “Moffett " these two<br />
years. -<br />
In the classified index that concludes the<br />
book there are some glaring inconsistencies.<br />
We only propose to mention a few instances,<br />
merely sufficient to justify our assertion.<br />
Aeronautics appears as an American magazine.<br />
This as far as it goes is correct. But Aeronautics<br />
does not appear among the list of American pub-<br />
lications, whereas the English Aeronautics is<br />
included in its own list, but not in the index.<br />
Publishers’ Weekly is in the American list, but not<br />
in the index. The two religious American<br />
periodicals in the list are not in the index. The<br />
New Democrat in the English list is not in the<br />
index—and so on.<br />
Furthermore, Pearson's Magazine appears<br />
rightly in both English and American lists, Strand<br />
Magazine is only in the English list and Smart Set<br />
only in the American.<br />
Finally, if the Year Book is sufficiently up-to-<br />
date to include Victor Grayson as a co-editor of<br />
the New Age, why are the Englishman and the<br />
Scout omitted in the English list and Travel and<br />
£pploration, the new monthly, whose advent this<br />
month has been announced for some time past 2<br />
We object to pulling a book to pieces, and where<br />
we cannot commend, we generally refrain from<br />
all comment. In the case of “The Writers' Year<br />
Book,” bowever, the case is different, for it is a<br />
book which is essential to many members of the<br />
Authors’ Society. Though, as we have stated, it<br />
grows better year by year, there is considerable room<br />
for improvement.<br />
The idea of the book is excellent, but the contents<br />
should be accurate and adequate. These points<br />
might be easily attained by a little more care and<br />
attention to details.<br />
We recommend the book, as it is the only one of<br />
its kind before the public, yet consider that its use-<br />
fulness, and in consequence its circulation, might<br />
very well be increased. -<br />
- : Z.<br />
HARDY ANNUALS.*<br />
—e-º-o-<br />
Chºi would hardly be recognisable<br />
J without the crop of reference books which<br />
blaze in red covers on the reviewer's table at<br />
this season. Not least among them are “Who’s<br />
Who " and “Who’s Who Year Book,” from<br />
Messrs. A. & C. Black, and the “Daily Mail<br />
Year Book.”<br />
The first of these old friends is as interesting as<br />
ever. Seventy-two pages have been added to the<br />
biographies since last year, making a total of<br />
2,112 pages; but whether this is because there<br />
are more people of importance or because there is<br />
less mortality among the famous, the reviewer is<br />
unable to determine. If we were to suggest any-<br />
thing for its improvement it would be that<br />
biographies that are purely autobiographies should<br />
be starred, so that the future historian of these<br />
times referring to its pages may be able to marshal<br />
his facts with some degree of accuracy.<br />
“Who’s Who Year-Book” (should it not be<br />
“Who’s Who's Year Book” 2) is made up of the<br />
tables, which, says the editor, “were formerly such<br />
a popular feature in “Who’s Who.’” The new tables<br />
in the present issue include those of Newdigate<br />
Prizemen and Nobel Prize winners. Among other<br />
information of special interest to authors are lists<br />
of the London offices of the leading Indian and<br />
colonial newspapers, of pseudonyms and pen-<br />
names, and of peculiarly-pronounced proper<br />
Ila,I\leS.<br />
The last volume before us worthily maintains<br />
the standard of its eight predecessors. The brains<br />
of the year 1908 are skilfully picked and displayed<br />
in a bold and comprehensive way. In the list of<br />
this year's centenaries we notice Edgar Allan<br />
Poe (January 19), Edward Fitzgerald (March 31),<br />
Richard Monckton Milnes (June 19), A. W.<br />
Kingslake (August 5), Lord Tennyson (August 6),<br />
and Oliver Wendell Holmes (August 29).<br />
-*— a<br />
MUSICAL CRITICS AND PUBLISHERS:<br />
—º-º-º-<br />
NIR CHARLES WILLIERS STANFORD’S<br />
“Studies and Memories '' is well worth<br />
reading for the light it throws on some<br />
phases of English music, and for the notes that he<br />
has put together of his own personal experience of<br />
men and matters; but it is not these so much that<br />
* “Who's Who, 1909" (A. & C. Black), 10s. n. ; “Who's<br />
Who Year Book, 1909" (A. & C. Black), 18. n. ; “Daily<br />
Mail Year Book” (edited by Percy L. Parker, Associated<br />
Newspapers, Ltd.), 6d. n. -<br />
f “Studies and Memories,” by Sir Charles Williers<br />
Stanford. Constable and Co., 7s. 6d. net.<br />
<br />
<br />
## p. 107 (#147) ############################################<br />
<br />
TISIE AUTISIOR,<br />
107<br />
appeal to us as his two chapters, one on “Criticism<br />
in England,” the other on “Music Publishing in<br />
England.” His complaint in each case seems due<br />
to the same cause, modern superficiality and lack<br />
of serious study.<br />
These two seem to be a natural sequence of the<br />
modern desire for rapidity and change.<br />
He brings two charges against the critics : first,<br />
that they are bound to fill their paper the day after<br />
any important performance ; in other words, have<br />
to leave the theatre or the concert at about 11.30,<br />
and produce some sort of article to satisfy the<br />
public in time to go to press for the next day's<br />
paper. The second, that one man should write<br />
five or six different notices, in different papers,<br />
leading the public to think that they come from as<br />
many different critics.<br />
Both these charges are serious, but it is difficult<br />
—almost impossible—to remedy them. The first<br />
might be altered as the author himself suggests, but<br />
the second seems past cure. Did not Sir Arthur<br />
Conan Doyle lay his lance in rest against this second<br />
windmill, and unsuccessfully, some years ago<br />
In chapter number two he complains that serious<br />
music is not given a chance by the English pub-<br />
lisher. This no doubt springs from the same two<br />
causes—superficiality and rapidity. Superficiality,<br />
for the public who pay will not waste their time<br />
on serious study unless it is forced upon them ; and<br />
rapidity, for the publishers, being men of business,<br />
like to gamble in quick and substantial returns,<br />
rather than laboriously to sow the seed and fertilise<br />
a slow-growing though luxuriant crop.<br />
But there is no doubt another reason. The<br />
terms offered by musical publishers to the writers<br />
of serious music are enough to strangle any industry.<br />
The authors of literature have much to complain<br />
of, but the terms they are able to get are not unsatis-<br />
factory. The unfortunate composers have never<br />
had any combination ; in spite of various attempts<br />
made on their behalf; have never tried to take<br />
their neck from under the yoke. In consequence<br />
of this long and passive endurance the publishers<br />
in their contracts make the most fanciful demands,<br />
and get them. 1 *<br />
They ask for all copyrights; the composers<br />
yield without a struggle. They ask for all per-<br />
forming rights; the composers bow their heads<br />
in acquiescence. #31&Q 2. Bºö0. Klead<br />
If they asked for more still, no doubt they would<br />
get it. For these rights they pay varying sums,<br />
according to their business instinct and to the<br />
composer's ignorance, and the rights are marketed<br />
or not according to the publisher's fancy or lack of<br />
enterprise. If by any chance in years to come the<br />
composer becomes famous, then it is not the<br />
º of the work but the publisher who becomes<br />
TIC[]. * . .<br />
“DE LIBRIS." -<br />
—º-º-º-<br />
HE first thought of the reviewer in reading a<br />
book of prose and verse by Mr. Austen<br />
Dobson is, like Little Jack Horner, to put<br />
in his thumb and pull out the plums.<br />
In other words, though we admire the author as<br />
a writer of essays, we love him as a writer of verse.<br />
It could hardly be expected in a book De Libris<br />
to come across poems of such beauty of subject<br />
and delicacy of treatment as “Before Sedan,”<br />
“The Dying of Tanneguy de Bois,” or “The For-<br />
gotten Grave,” though perhaps “A Revolutionary<br />
Relic” might have been included. Mr. Dobson in<br />
this volume is in the lighter vein. In “The<br />
Passionate Printer to his Love" he deals with the<br />
printer's jargon dexterously — -<br />
Your cheek seems “ Ready for the Press’’;<br />
Your laugh as Clarendon is clear ;<br />
There's more distinction in your dress<br />
Than in the oldest Elzevil'.<br />
And in “An Epistle to an Editor” there is some<br />
Sound advice which many a modern critic might<br />
take to heart.<br />
All his essays show the devout student. It<br />
would be astonishing to find a misquotation, a<br />
false date, in the writings of one so careful to verify<br />
his facts. “Books and their Associations” is indeed<br />
a masterpiece of Mr. Dobson’s art. He leads you<br />
forward from One treasured volume to another,<br />
till the reader feels the fascination of the book<br />
collector creeping over him, and straightway goes<br />
out to search the second-hand book shops.<br />
Here too is an example of his accuracy.<br />
Speaking of the “Works” of mock-heroic John<br />
Phillips, 1720, he remarks: “This copy bears also<br />
on the title page the autograph of James Thomson,<br />
not yet the author of ‘The Seasons.’”<br />
Two essays on “Modern Illustrators” (Kate<br />
Greenaway and Hugh Thomson), with sundry<br />
examples of their art, further help to waken the<br />
reader's interest.<br />
To the book lover's library, “De Libris" will<br />
certainly be a pleasant addition.<br />
—e—º-<br />
CORRESPONDENCE.<br />
—º-O-0–<br />
THE PENSION FUND.<br />
SIR,--I hope, as a humble individual and mem-<br />
ber of the Society, that there are many who will<br />
respond to Mr. Douglas Freshfield's recent appeal<br />
on behalf of the Pension Fund.<br />
* “De Libris,” Prose and Verse, by Austen Dobson.<br />
Published by Macmillan & Co.<br />
<br />
<br />
## p. 108 (#148) ############################################<br />
<br />
108<br />
THE AUTHOR,<br />
May I make the suggestion that all those who<br />
use the Society in any way, or utilise the services<br />
of our secretary, council, or others connected with<br />
the Society, should make a point of sending a<br />
donation towards the Pension Fund 2<br />
Some publishers and editors appear to possess a<br />
keen desire to give authors and writers as much<br />
trouble and inconvenience (to put it mildly) as<br />
possible, and I have found in several instances that<br />
only as a result of intervention by the society has<br />
any good been done.<br />
Personally, I am under great obligation to<br />
Mr. Thring for much valuable assistance. As a<br />
result of this, and in response to Mr. Freshfield's<br />
appeal, it has afforded me pleasure to contribute a<br />
Small donation towards the Pension Fund, and I<br />
suggest that those fellow members who feel under<br />
the same obligation to the society should do<br />
likewise.<br />
The guinea per annum that we contribute is<br />
a mere bagatelle, and we should all show our<br />
willingness to support the council in their efforts<br />
to put the finances of the Pension Fund in a<br />
thoroughly sound condition, if for no other reason<br />
because in supporting our less fortunate craftsmen<br />
and women we shall, indirectly, be preparing for<br />
ourselves against a rainy day.<br />
I am, Sir,<br />
Your Obedient Servant,<br />
W. PERCIVAL WESTELL, F.L.S.<br />
—º-º-e—<br />
HEROES AND HEROINES-CHIEFLY HEROINEs.<br />
SIR,--In taking up the challenge of S. to deal<br />
with men's heroines, I wish to begin by saying that I<br />
fully agree with him regarding John and Jack. I<br />
feel that I have myself invented several Johns and<br />
Jacks, though I do not think many English<br />
authoresses are quite so bad as E. Werner in Ger-<br />
many, who invariably brings out two types of hero<br />
in each book, which I suppose represent John and<br />
Jack to the German mind—one proud, dark,<br />
melancholy and Byronic, the other fair, frivolous,<br />
and good-tempered.<br />
Most of us agree with the lady S. quotes in<br />
approving of George Meredith’s women, but not on<br />
her grounds. We feel that George Meredith and<br />
Shakespeare, unlike most men authors, realise that<br />
women have a relation to women and not only to<br />
men. One might almost say that until George<br />
Meredith wrote, Shakespeare was the only man who<br />
grasped this fact, and were it not for him we<br />
might almost have imagined that love and loyalty<br />
did not exist between women until our own period.<br />
But Beatrice, Sylvia, Celia, and many others are<br />
capable of faithful and honest friendship; and so<br />
are George Meredith's women, and we welcome<br />
their advent into literature.<br />
This is not a small matter in the portraiture of<br />
Women, for it shows that the author distinguishes<br />
between the “female’’ and the woman. This is<br />
exactly what Thackeray does not do. One of the<br />
characteristics of the “female” is jealousy, and<br />
therefore Thackeray makes his good women in<br />
“Pendennis” behave atrociously about poor little<br />
Fanny, and Amelia, even when happily married,<br />
jealous of her own little daughter. It does not<br />
seem to have struck him that a woman who had<br />
risen to the spiritual elevation of Mrs. Pendennis<br />
might have learnt to suppress her animal instinct,<br />
and would not have been so cruel to poor Laura.<br />
B.<br />
—4-0-0–—<br />
METHODS OF CRITICISM.<br />
SIR,-Will you permit me to use the columns of<br />
The Author for issuing an invitation to all the<br />
members of the Incorporated Society to whom the<br />
subject may appeal to write their views on “Some<br />
Modern Methods of Criticism " ?<br />
The editor of the Worth Mail, a paper circu-<br />
lating extensively between the Tyne and the<br />
Humber, has most generously offered to open his<br />
columns to such a discussion, which it is sincerely<br />
hoped may serve a useful purpose.<br />
There are, no doubt, hundreds of authors who<br />
feel strongly on the subject, but who have hitherto<br />
not cared to tackle it in case they should by so<br />
doing raise a storm of enmity against themselves.<br />
It is surely high time that the more courageous<br />
among us should fling away this pusillanimity<br />
and enter the lists with the object of slaying<br />
the dragon of unfairness and inconsistency in<br />
Criticism.<br />
I shall be very glad to hear from any of my<br />
fellow-members, men or women, who are willing<br />
to take up the cudgels, particularly with regard to<br />
the aspect of opposition in criticism.<br />
I have personally had some rather remarkable<br />
experiences in this direction, and should be very<br />
pleased to hear from others who can give personal<br />
details on these lines.<br />
The discussion starts in the Worth Mail by an<br />
article contributed by myself, at the request of the<br />
editor, and I shall be glad to post on a copy of the<br />
issue of the paper containing it to any member<br />
interested.<br />
Nothing of the nature of an advertisement, it is<br />
perhaps needless to say, will be admitted into the<br />
correspondence.<br />
Yours faithfully,<br />
Orchard House, JAMES CASSIDY.<br />
Whitton Road,<br />
Twickenham, S.W.<br />
<br />
<br />
## p. 108 (#149) ############################################<br />
<br />
AD VERTISEMENTS. iii<br />
TYPEWRITING.<br />
Authors' MSS. copied from 9d. per 1,000<br />
words; in duplicate, 1/-, Plays and General<br />
Copying. List and specimen of work on appli-<br />
cation.<br />
ONE OF NUMEROUS TESTIMONIALS.<br />
“Miss M. R. HoRNE has typed for me literary matter to the<br />
extent of some hundreds of thousands of words, I have nothing<br />
, but praise for the accuracy, speed, and meatness with which She<br />
does her work.-FRANK SAVILLE.”<br />
MISS M. R. HORNE,<br />
ESKIDALE, WEST DRAYTON, MIDDLESEX.<br />
SIKES and SIKES,<br />
The West Kensington Typewriting 0ffices,<br />
(Established 1893) -<br />
223a, Hammersmith Road, LONDON, W.<br />
Authors' MSS. ; Translations; Duplicating ; Plays and Actors' Parts ;<br />
Legal, General and Commercial Documents. Private Rooms for<br />
Dictation. Usual Terms. Iteferences.<br />
TYPEWRITING<br />
OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDs.<br />
Two COPIEs, 1s. PER 1,000 WoRDs.<br />
Authors’ MSS., Legal Documents, Reports, &c., carefully and<br />
accurately copied. Orders by Post promptly attended to.<br />
Mrs. SOUTHEE, 273, Francis Rd., LEYTON, LONDON, E.<br />
TYPEWRITING.<br />
AUTHORS’ MSS. FROM 10d. PER 1, ooo WORDS.<br />
WORKMANSHIP AND MATERIALS OF THE BEST.<br />
Accºrate and Prompt. —<br />
Jºccellent Testimonials.<br />
ERNEST PEARCE, 30, College Road, READING.<br />
MRS. GILL, Typetoriting Office,<br />
(Established 1883.) 35, LUDGATE HILL, E.C.<br />
Authors' MSS. carefully copied from 1s, per 1,000<br />
words. Duplicate copies third price. French and German<br />
MSS. accurately copied ; or typewritten English trans-<br />
lations supplied. References kindly permitted to Messrs.<br />
A. P. Watt & Son, Literary Agents, Hastings House,<br />
Norfolk Street, Strand, W.C. Telephone 8464 Central.<br />
WE have pleasure in announcing that we have made an arrange-<br />
ment with Mr. William Archer by which, upon request of<br />
the author, he undertakes to read, criticise, and advise upon any<br />
plays entrusted to us, and he will read no manuscript plays which do<br />
not reach him through us.<br />
The reading fees are fixed as follows:— £ S. d.<br />
For scenarios of not over 2,000 words 1 10 0<br />
For plays of one or two acts 1 10 0<br />
For plays of three or more acts 2 10 0<br />
The payment of these fees entitles the author to a written opinion<br />
from 300 to 800 words in length, dealing with the theme, con-<br />
struction, characterisation, and diction of his play, suggesting altera-<br />
tions where they seem called for, and (so far as possible) conveying<br />
both theoretical criticism and practical advice.<br />
The fact that a play has been submitted to Mr. Archer will be<br />
treated by him, and by us, as confidential. On the other hand, the<br />
author is at liberty to show Mr. Archer's opinion to managers, actors,<br />
etc., if he so desires. It would manifestly be misleading, however,<br />
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<br />
C be El u t b or.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
WOL. XIX. —No. 3.<br />
DECEMBER 1st, 1908.<br />
[PRICE SIXPENCE.<br />
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Nov. 21, Benjamin, Lewis J. 1 1 0<br />
Nov. 21, Coulton, G. G. & © () 5 0.<br />
Nov. 21, Dixon, Miss H. Margaret 2 2 ()<br />
Nov. 21, Colquhoun, A. © iº () 10 0<br />
Nov. 23, Holmes, Miss Eleanor () 5 ()<br />
Nov. 23, Hussey, Eyre 0 1 0 ().<br />
Nov. 23, Capes, Bernard O 1 () ()<br />
Nov. 23, Hecht, Mrs. Arthur 0 5 ()<br />
Nov. 23, Festing, Miss Gabrielle . () 10 0<br />
Nov. 23, Carolin, Mrs. . e 0 1 0 ()<br />
Nov. 23, Bland, Mrs. E. Nesbit 0 1 0 6<br />
Nov. 23, Hichens, Robert 3 3 ()<br />
<br />
<br />
## p. 58 (#78) ##############################################<br />
<br />
58 TISIE AUTHOR,<br />
§<br />
S<br />
(7<br />
l<br />
()<br />
S.<br />
10<br />
10<br />
Nov. 17, Anon. . & e o<br />
Nov. 21, Anson, Sir William, Bart.<br />
Nov. 21, Cordeaux, Miss K. M. .<br />
Nov. 21, Drewitt, F. Dawtrey, M.D. .<br />
Nov. 21, Delaire, Madame Jean .<br />
Nov. 21, Hecht, Mrs. Arthur .<br />
Nov. 21, Collier, The Honble. John<br />
Nov. 21, Keltie, G. Scott . te<br />
Nov. 21, Shepeard-Walwyn, H. W.<br />
Nov. 21, Church, Prof. A. H. .<br />
Nov. 21, James, Miss S. Boucher<br />
Nov. 21, Ramsden, The Lady Gwen-<br />
Nov. 23, Grogan, W. E. .<br />
Nov. 23, Stowell, Mrs. Rodolph<br />
Nov. 23, Gay, Mrs. . e<br />
Nov. 23, Summers, J. . ©<br />
Nov. 23, Bloundelle-Burton, J.<br />
Nov. 23, Freshfield, Douglas<br />
Nov. 24, Rowsell, Miss Mary<br />
Nov. 24, Bell, Lady g<br />
Nov. 24, Sanders, Miss E. K.<br />
Nov. 25, Count Plunkett<br />
Nov. 25, Victoria Cross te<br />
Nov. 25, Cromartie, the Countess of<br />
Nov. 25, Sutro, Alfred.<br />
Nov. 25, Kipling, Rudyard .<br />
Nov. 25, Pope, Miss Jessie .<br />
Nov. 25, Scott, G. Forrester<br />
Nov. 25, Carr, Miss Mildred E.<br />
Nov. 25, O’Brien, The Rev. G. E.<br />
Nov. 25, Wells, The Rev. Freeman<br />
Nov. 25, Lewis, T. C. g º<br />
Nov. 25, Fenwick, Miss S. F. º<br />
Nov. 26, Montgomery, Miss K. L.<br />
Nov. 26, Dummelow, The Rev. J. R.<br />
Nov. 26, Jopp, Miss E. A. . e<br />
Nov. 26, Wintle, Harold R..<br />
Nov. 26, Malcolm, Mrs. Ian. tº<br />
Nov. 26, Marks, Mrs. Mary A. M.<br />
Nov. 26, “E.” . g . .<br />
Nov. 27, Prideaux, Miss S. T.<br />
Nov. 27, Saies, Mrs. F. H. .<br />
Nov. 27, Heath, Miss Ella<br />
Nov. 27, Thomas, Edward<br />
Nov. 27, Shaw, Mrs. Bernard<br />
Nov. 27, Smith, Bertram<br />
Nov. 27, Niven, Frederick . º<br />
Nov. 27, Nembhard, Miss Isabel .<br />
Nov. 27, Smith, Miss M. E. * ><br />
Nov. 28, Brandon, Miss Dorothy.<br />
Nov. 28, de la Pasture, Mrs. Henry<br />
Nov. 28, Scott, Mrs. C. ge wº<br />
Nov. 28, Harrison, Mrs. Darent .<br />
1.<br />
1<br />
1<br />
i<br />
I<br />
dolen tº tº<br />
Nov. 21, Spielmann, M. H.<br />
Nov. 21, Saville, Frank<br />
Nov. 24, Kennedy, E. B. .<br />
Nov. 24, Bennett, Prof. W. H. .<br />
Nov. 24, Batty, Mrs. Braithwaite<br />
Nov. 24, Crouch, A. P. . º<br />
Nov. 24, Hawtrey, Miss Valentine<br />
Nov. 24, Sedgwick, Miss Anna Douglas<br />
Nov. 24, Anon. . ſº gº gº<br />
Nov. 25, Page, Herbert W.<br />
Nov. 25, Brereton, Capt. F. S. .<br />
Nov. 25, Knight, Mrs. Maude C.<br />
Nov. 25, Bowen, Miss Marjorie .<br />
Nov. 25, Turner, Reginald<br />
Nov. 25, Nash, T. A.<br />
Nov. 25, Trevor, John<br />
Nov. 25, Wacher, Francis .<br />
Nov. 25, Hughes-Gibb, Mrs. o<br />
Nov. 25, Farmer, Miss A. A. e ©<br />
Nov. 25, Hunt, Holman &<br />
Nov. 25, Tuckett, F. F.<br />
Nov. 25, Allen, Mrs. Grant<br />
Nov. 26, Hole, W. G. ©<br />
Nov. 27, Granville, Charles<br />
Nov. 27, Henoch, Miss Emily T.<br />
Nov. 27, Simes, Miss O. Kathleen<br />
Nov. 27, Penny, The Rev. Frank<br />
Nov. 27, Westell, W. P. . Q<br />
i<br />
)<br />
1<br />
1<br />
1.<br />
1<br />
I<br />
()<br />
1.<br />
1<br />
1<br />
Nov. 28, Logan, The Rev. Robert Nov. 28, Coolidge, The Rev. W. A. B. ()<br />
Nov. 28, Chesterton, G. K. * 1 Nov. 28, Lady Pamela Tennant ()<br />
Nov. 28, Wingfield, H. . tº I 1 ()<br />
Donations, 1908. The names of those subscribers and donors which<br />
077ations. 1908 are not included in the lists printed above, are<br />
July 16, Carolin, Mrs. & * 0 5 0 unavoidably held over to the January issue.<br />
July 28, Atherton, Mrs. Gertrude 21 () ()<br />
Aug. 21, Beckett, Arthur W. 1 1 0 e—sº-e<br />
Sept. 28, “Whitworth Wynne" . 1 1 0<br />
Oct. 23, Woolf, Miss Bella Sidney O 5 () COMMITTEE NOTES.<br />
Oct. 31, Robinson, J. K. . ſº () 6 () -<br />
Nov. 6, Wroughton, Miss Cicely. 1 0 () —º-º-º-<br />
Nov. 7, Sherard, R. H. . ſº 1 I () HE November meeting of the Committee of<br />
Nov. 7, Cameron, Miss Charlotte () 10 0 Management of the Society of Authors was<br />
Nov. 12, Tweedie, Mrs. Alec. . 1 1 0 held at the society's offices on the 2nd of that<br />
Nov. 17, Tench, Miss Mary F. A. 0 10 0 month.<br />
<br />
<br />
## p. 59 (#79) ##############################################<br />
<br />
TISIES A UTFIOR.<br />
59<br />
The chairman, Mr. Douglas Freshfield, reported<br />
that he had received a letter from Mr. George<br />
Meredith, thanking the committee for the copy of<br />
the medallion portrait of himself executed by Mr.<br />
Spicer Simson, which they had forwarded for his<br />
acceptance. Mr. Meredith wrote as follows:—<br />
“The medallion touches me as a further instance<br />
of the good will of your committee showed so<br />
genially when a deputation came here on my last<br />
birthday. Testimony enough Pray let it be<br />
known that I am moved to grateful affection.”<br />
Twenty-five new members and associates were<br />
elected, bringing the total for the year up to date<br />
to 228.<br />
The committee proceeded to the nomination of<br />
new members to fill the vacancies on the council.<br />
They have pleasure in announcing the following<br />
gentlemen have consented to their names being added<br />
to that body –Sir Charles Williers Stanford, The<br />
Right Hon. Sir Horace Plunkett, The Right Hon.<br />
Sir Alfred Lyall. The members of the art sub-<br />
Committee were next nominated. The committee<br />
of management are pleased to report acceptances<br />
from The Hon. John Collier, Sir W. Martin Conway,<br />
Walter Crane, Arthur Hassall, J. G. Millais, Arthur<br />
Rackham and M. H. Spielmann.<br />
The copyright sub-committee has been con-<br />
stituted according to the list printed in the last issue<br />
of The Author, and will be found in future at the<br />
head of the society’s letter-paper and inside the<br />
front cover of The Author.<br />
A pamphlet containing a model agreement and<br />
a valuable treatise on dramatic contracts which was<br />
settled by the dramatic sub-committee was laid<br />
before the committee of management, who desired<br />
it to be printed as a supplement in one of the<br />
Coming issues of The Author.<br />
The following cases were then dealt with :—<br />
The first related to the infringement by a New<br />
Zealand newspaper of the copyright in a story by<br />
one of the society’s members. It has been referred<br />
to in previous issues of The Author. Since the<br />
October meeting of the committee the delin-<br />
quents forwarded a money order in payment for<br />
the infringement. The committee considered the<br />
matter very carefully, and decided in the circum-<br />
stances to accept the sum offered subject to the<br />
approval of the member concerned. Accordingly,<br />
the secretary has written to the paper, accepting<br />
the amount in settlement, but notifying the editor<br />
of the committee's determination to stamp out<br />
piracy of its members’ property in whatever part of<br />
the globe it may occur. With this object in view,<br />
the secretary has been instructed to ascertain if it<br />
were practicable to collect information as to the<br />
titles of any stories written by members of the society<br />
which are running in the Colonial, American and<br />
Continental papers. Then whenever a case of<br />
piracy is discovered, it would be possible, with the<br />
consent of the member whose work is pirated, to<br />
take immediate action.<br />
The next case before the committee had reference<br />
to a most important issue dealing with dramatic<br />
rights generally. While referring the question to<br />
the dramatic sub-committee in order that that body<br />
might make any suggestions which occurred to<br />
them, the committee of management, in order to<br />
avoid any unnecessary delay, instructed the secretary<br />
to forward a statement of the case to the society’s<br />
Solicitors in the United States to obtain their<br />
advice as to the steps it might be desirable for the<br />
Committee of management to take. It is probable, as<br />
the case bears on the important question of dramatic<br />
rights in the United States, that the opinion, when<br />
it comes to hand, will be printed in The Author.<br />
There were two cases against publishers dealing<br />
with disputes on agreements, non-rendering of<br />
accounts, and non-payment of moneys. In both<br />
cases the committee decided to prosecute and<br />
instructed the Secretary to place them in the hands<br />
of the society’s solicitors.<br />
The last case related to an appeal made by a<br />
member of the society for its assistance. Having<br />
regard to the fact that the mature of the aid which<br />
the member required did not come within the<br />
Scope of the Society’s work, the committee felt bound<br />
to refuse the member's request, and instructed the<br />
Secretary to write accordingly.<br />
The question of advertisements in The Author<br />
next engaged the attention of the committee.<br />
Some of our members appear to have thought that<br />
the insertion of an advertisement amounts to some<br />
sort of recommendation on the part of the society of<br />
the firm advertised. This is no more the case in<br />
The Author than in any other periodical. The com-<br />
mittee desire to state that while they do their best<br />
to exclude any advertisement they are advised is mis-<br />
leading, they can take no further responsibility in the<br />
matter. The subject is dealt with in a General Note.<br />
A resolution proposed by Mrs. E. Nesbit Bland,<br />
involving an important extension in the society's<br />
action, was adjourned to the next meeting owing<br />
to Mrs. Bland's inability to attend.<br />
The committee have to thank Miss Nellie Dale<br />
and Mr. W. S. Walker for their contributions to<br />
the capital account of the Society, as tokens of<br />
their thanks for the services which the society<br />
has been able to render them. Miss Dale has made<br />
a seventh donation of £5 and Mr. Walker a<br />
donation of £1 1s. to the Society.<br />
The secretary reported that the chairman had<br />
sanctioned three county court cases which had been<br />
taken up during the past month, and, at the desire<br />
of the dramatic sub-committee, had sanctioned<br />
counsel's opinion being taken in respect to a point<br />
of law affecting the interests of dramatic authors.<br />
<br />
<br />
## p. 60 (#80) ##############################################<br />
<br />
60<br />
TISIES A UTISIOR.<br />
PENSION FUND COMMITTEE.<br />
A MEETING of the Pension Fund Committee was<br />
held on Monday, November 2, at the offices of<br />
the society.<br />
Mrs. Myall (Laura Hain Friswell), owing to<br />
incapacity from illness to continue her literary<br />
work at present, was awarded a pension for One<br />
year under Clause 16, of the Pension Fund Scheme,<br />
which runs as follows:<br />
“No pension shall be granted to any person<br />
under the age of sixty years, so long as suitable<br />
candidates of the age of sixty years or upwards<br />
shall present themselves. Provided, that a pension<br />
may be granted to a person of less age if and while<br />
he shall in the opinion of the Pension Fund Com-<br />
mittee be totally incapacitated for work by reason<br />
of illness or accident.” -<br />
The pension awarded is at the rate of £25 per<br />
annum, and the committee will be prepared to con-<br />
sider a further application at the end of the year.<br />
Mrs. Myall has been a member of the society since<br />
its foundation. Her last published work was entitled<br />
“In the Sixties and Seventies.” It was a record<br />
of literary reminiscences.<br />
The committee decided to issue an appeal to the<br />
members for further support to the Pension Fund.<br />
This appeal, which will be in the hands of mem-<br />
bers before the present number of this journal, will<br />
they trust meet with a general and substantial<br />
response.<br />
—º-º-º-<br />
DRAMATIC SUB-COMMITTEE.<br />
I.<br />
THE Dramatic Sub-Committee of the Society of<br />
Authors met at 39, Old Queen Street, S.W., on<br />
Thursday, November 5. -<br />
After the minutes of the previous meeting had<br />
been approved and signed, the Dramatic Pamphlet<br />
was finally approved, and the committee passed a<br />
resolution to the effect that it should be printed as<br />
a supplement in one of the coming issues of The<br />
Author. The final proofs were looked over, at the<br />
request of the other members of the committee, by<br />
the chairman, Mr. Henry Arthur Jones, and by<br />
Mr. G. Bernard Shaw.<br />
An exceedingly important dramatic case was<br />
then discussed. The secretary reported that, in<br />
order to save time, the committee of management<br />
had already sanctioned the taking of an opinion<br />
from the American lawyers of the Society, and had<br />
requested the Dramatic Sub-Committee to advise<br />
them if any further steps were necessary. The<br />
Dramatic Sub-Committee instructed the secretary<br />
to call a meeting as soon as the opinion of the<br />
American lawyers was to hand.<br />
The secretary laid before the sub-committee a<br />
translation of the statutes and the general treaty<br />
with managers and agents of the German Society of<br />
Dramatic Authors. He was instructed to have<br />
copies made and circulated to the members of that<br />
committee. A letter from Mr. A. W. Pinero, who<br />
is at present acting as chairman of the proposed<br />
new Dramatic Authors’ Society, was placed before<br />
the committee, who acceded to the request con-<br />
tained therein to meet the delegates of that body.<br />
The secretary was instructed to write to Mr.<br />
Pinero, and arrange a date for the conference.<br />
The next point for discussion was the general<br />
treaty between dramatic authors and managers.<br />
This was carefully considered, and several altera-<br />
tions were made. The treaty was finally settled<br />
and made ready for negotiation, the secretary being<br />
instructed to obtain clean proofs in its final form.<br />
II.<br />
The Dramatic Sub-Committee met again on<br />
Thursday, November 19, at 39, Old Queen Street,<br />
Storey's Gate, S.W., to meet a deputation composed<br />
of Mr. A. W. Pinero, Mr. J. M. Barrie, and Mr.<br />
Cecil Raleigh, from the proposed new Society of<br />
Dramatic Authors. Mr. Pinero, as spokesman of<br />
the deputation, submitted the two following<br />
points:— -<br />
(1) Will the Society of Authors support the<br />
dramatic authors in their efforts to carry through<br />
a reform of the censorship on the terms proposed<br />
at the recent deputation to the Premier 2<br />
(2) What measure of autonomy will the Dramatic<br />
Sub-Committee be prepared to recommend to the<br />
committee of management to give to dramatic<br />
authors 2 -<br />
Considerable discussion followed upon these two<br />
points, but in respect to the first the dramatic<br />
Sub-committee pledged themselves to use every<br />
endeavour to obtain the support of the committee<br />
of management and of the general body of mem-<br />
bers of the Society to carry out this object.<br />
In answer to the second question, the Dramatic<br />
Sub-Committee stated, in the first instance, that<br />
they could pledge themselves to nothing outside<br />
the present constitution of the society, but finally,<br />
the individual members present stated that if all<br />
the members of the proposed Dramatic Authors’<br />
Society came into the Society of Authors in a body,<br />
they individually would resign their positions on the<br />
Dramatic Sub-Committee in order to recommend<br />
to the committee of management the formation of<br />
a fresh Dramatic Sub-Committee to be composed of<br />
members put forward by all the dramatists in the<br />
Society thus collected.<br />
—º-º-º-<br />
<br />
<br />
## p. 61 (#81) ##############################################<br />
<br />
TISIES A UITISIOR. 61<br />
Cases.<br />
DURING the past month thirteen new cases have<br />
come before the secretary ; four of these involved<br />
the return of MSS., and in three the MSS. were<br />
returned and despatched to the authors concerned.<br />
The fourth came into the office just before The<br />
Author went to press. Five cases were claims for<br />
money due, and in three of these cheques have been<br />
obtained and forwarded. The remaining two are<br />
still outstanding. Two claims were for money and<br />
accounts. These are in the course of negotiation.<br />
It is probable that settlements will be arrived<br />
at very shortly. There were two claims against<br />
agents. The agents in question have replied, and<br />
there is every prospect of the disputes being<br />
settled, but they have only recently come into<br />
the office. -<br />
There are three or four cases open from former<br />
months besides those which have been handed to<br />
the Society’s Solicitors, and are mentioned in the<br />
committee notes. Negotiations are proceeding in<br />
all the cases as answers have been received from<br />
the publishers concerned, but occasionally pub-<br />
lishers send answers in order to postpone the<br />
settlement of cases. When they adopt this method<br />
the matter is referred to the committee or chairman,<br />
and finally transferred to the hands of the society's<br />
solicitors. -<br />
—º-º-º-<br />
November Elections.<br />
Savile Club, W.<br />
Box 2913, Johannes-<br />
burg, S. Africa.<br />
17, Ormonde Man-<br />
sions, Southamp-<br />
ton Row, W.C.<br />
Hill Lodge, Enfield.<br />
Irish Literary<br />
Society, 20, Han-<br />
over Square, W.<br />
Authors' Club, 2,<br />
Whitehall Court,<br />
S.W. -<br />
Blackwood, Algernon<br />
Bruce, Miss Margaret<br />
Campbell, Miss Gabrielle<br />
Were (“Marjorie<br />
Bowen’’) . º tº<br />
Campbell, The Rev. R. J. .<br />
Degidon, Miss Nora F.<br />
Duthie, The Rev. D.<br />
Wallace e o Q<br />
The Knoll, Round-<br />
- - hay, Leeds.<br />
Gerard, Louise. O . 35, High Street,<br />
. . . . . Battersea, S.W.<br />
Ballycastle, Co. An-<br />
trim.<br />
Gardiner, Alfonzo<br />
Harvey, J. . º w<br />
Herbert, Agnes & e<br />
Lewis, Frank C. © . Grosvenor Club, W.<br />
Lyons, A. Neil. º . Moore's Cottage,<br />
Wivelsfield Green,<br />
- Sussex.<br />
MacPherson, John Fethers- Winfield House,<br />
tonhaugh . «» o Boro' Green, Kent,<br />
Maynard, Constance L. . Westfield College,<br />
- - - University of<br />
London.<br />
Mudaliar, P. Ramanatha . Chintadripet, Madras,<br />
t w S.C., India.<br />
Nicholls, Edward . . 2, Rutland Willas,<br />
Uxbridge.<br />
O'Higgins, Harvey . . Martinsville, New<br />
Jersey, U.S.A.<br />
Cheltenham.<br />
Peake, G. A., M.R.C.S.,<br />
L.R.C.P., L.D.S. . te<br />
Phillips, Miss Florence .<br />
Rubens, Paul . Q . 6, Lyric Chambers,<br />
Whitcomb Street,<br />
W.C.<br />
Tickell, The Rev S. Claude The Ramps, Lew<br />
Down, R.S.O., N.<br />
Devon.<br />
Wills, The Rev Freeman,<br />
M.A.<br />
e º e . 42, Sun Street, E.C.<br />
Wright, Capt. C. H. B. .<br />
c/o Cox & Co., 16,<br />
Charing Cross, S.W.<br />
Two members desire neither their names,<br />
pseudonyms, nor addresses printed.<br />
A.<br />
-w<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—e—Q–4—<br />
BOOKS FOR THE YOUNG,<br />
MADGE MAKE-THE-BEST-OF-IT. By M. E. ERANCIS.<br />
63 × 4%. 175 pp. (The St. Nicholas Series.) Macdonald<br />
and Evans. 28. In.<br />
THE NATIONAL GALLERY. By ALICE CORKRAN, 7} x 5.<br />
234 pp. (The Treasure-House Series.) Wells Gardner.<br />
—A-- a<br />
--<br />
2s. 6d. n.<br />
A Boy AND A SECRET. By RAYMOND JACBERNS. 74 × 5}.<br />
304 pp. Chambers. 3s. 6d.<br />
ANIMALS AT HOME. By W. PERCIVAL WESTELL, F.L.S.<br />
With Preface by MARIE CORELLI. 8 × 5%. 240 pp.<br />
Dent. 3s. 6d.<br />
THE SEVEN GOSLINGs. By LAURENCE HOUSMAN.<br />
Illustrated by MABEL DEARM ER. 10 × 8. Blackie.<br />
1s. 6d. - *<br />
LITTLE PETER. A. Christmas Morality for Children of<br />
any Age. By LUCAS MALET. New Edition. 83 × 63.<br />
175 pp. Frowde and Hodder and Stoughton. 68.<br />
HERBERT STRANG'S ANNUAL. 133 × 7%. 192 pp.<br />
Frowde and Hodder and Stoughton. 5s. h.<br />
THE LITTLE CITY OF HOPE. By MARION CRAWFORD.<br />
8, x 5%. 129 pp. Macmillán. 58, n.<br />
How CANADA WAS WON. By Captain F. S. BRERETON.<br />
73 × 53. 391 pp. Blackie. 68.<br />
ROUGHRIDERS OF THE PAMPAS. By Captain F. S.<br />
BRERETON. 7# × 5. 366 pp. Blackie. 58. -<br />
THE BENDING OF A TWIG. By DESMOND COKE, 7# × 5}.<br />
Frowde and Hodder and Stoughton. 5s.<br />
THE LOST COLUMN. By Captain C. GILSON. 73 ×<br />
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THE FIVE MACLEODS. By CHRISTINA GOWANs WHYTE,<br />
8 × 5%. 363 pp. Frowde and Hodder and Stoughton<br />
6s.<br />
BRIDGET OF ALL WORK. By WINIFRED M. I.ETTS,<br />
73 × 5}. 352 pp. Frowde and Hodder and Stoughton, 5s,<br />
*<br />
5<br />
e<br />
<br />
<br />
## p. 62 (#82) ##############################################<br />
<br />
62<br />
TISIES A [CITYSIOR,<br />
THE ADVENTURES OF COCK ROBIN AND HIS MATE.<br />
By R. KEARTON, F. Z.S. 73 × 5}. 240 pp. Macmillam.<br />
3s. 6d.<br />
BUBBLES IN BIRDLAND. By H. SIMPSON LADELL. With<br />
Illustrations. By G. E. SHEPHEARD. Greening. 2s. n.<br />
RUNAWAYS AND CASTAways. Edited by E. W. LUCAs.<br />
S} x 6. 310 pp. Wells Gardner. 6s.<br />
THE DWINDLEBERRY Zoo. . By G. E. FARRow.<br />
208 pp. Blackie. 5s.<br />
THE HOUSE OF ARDEN.<br />
Unwin. 6s.<br />
WIOLET's DoDL’s-House. By FLORENCE STACPOOLE.<br />
6} x 43. 160 pp. Religious Tract Society. 18.<br />
THE THREE Jovi.AL PUPPIES, . By J. A. SHEPHERD.<br />
Rhymes by E. D. CUMMING. 15% x 11. Blackie. 68. m.<br />
ROBINSON CRUSOE. Re-told for Little Folk by EDITH<br />
ROBARTS. 103 × 73. Blackie. 1s. "<br />
BOOIKS OF REFERENCE.<br />
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br />
LESLIE STEPHEN and SIDNEY LEE. (New edition.)<br />
Vol. IX. Harris-Hovenden. 93 x 6%. 1,338 pp. Smith,<br />
Elder. 15s. n.<br />
7; x 5}.<br />
By E. NESBIT. 8 x 5. 349 pp.<br />
ISIOGRAPHY.<br />
THE LETTERs of QUEEN VICTORIA. 3 Wols. Edited by<br />
A. C. BENSON and WISCOUNT ESHER, G.C.V.O., K.C.B.<br />
~ 1. 512 + 472 + 520 pp.<br />
Cheap edition. 73 × 5.<br />
Murray. 6s. n.<br />
IAN MACLAREN. Life of the Rev. John Watson. D.D.<br />
By W. ROBERTSON NICOLL. 84 × 53. 400 pp. Hodder<br />
and Stoughton. 6s.<br />
BALDASSARE CASTIGLIONE : The Perfect Courtier. His<br />
Life and Letters. 1478—1529. By JULIA CARTWRIGHT<br />
(Mrs. Ady.) Two vols, 9 × 6. xxviii. -- 460 + 507 pp.<br />
Murray. 30s. n.<br />
PERCY : PRELATE AND POET. By ALICE C. C. GAUSSEN.<br />
8} x 5%. 324 pp. Smith, Elder. 10s. 6d. m.<br />
SOME EMINENT WICTORIANS. Personal Recollections in<br />
the World of Art and Letters. By J. COMYINS CARR.<br />
9 × 53. xiv. x 299 pp. Duckworth. 12s. 6d. m.<br />
CORNISH CHARACTERS AND STRANGE EVENTS. By<br />
S. BARING GOULD. 8; x 5%. xviii. -- 774 pp. Lane.<br />
21s. m.<br />
MEMORIES OF HALF A CENTURY. A Record of Friend-<br />
ships. Compiled and Edited by R. C. LEHMANN, M.P.<br />
8% × 53. 362 pp. Smith, Elder. 10s. 6d. n.<br />
SIMON FRASER, LoRD LOVAT. His Life and Times. By<br />
W. C. MACKENZIE, F.S.A. 9 × 5%. 361 pp. Chapman<br />
and Hall. 10s. 6d. n.<br />
CHARLOTTE MARY YONGE : AN<br />
ETHEL ROMANES. 73 × 5}.<br />
38. 6d. n.<br />
APPRECIATION. By<br />
200 pp. Mowbray.<br />
DRAMA.<br />
THE DOWAGER OF JERUSALEM.<br />
Acts. By R. FARRER. 73 × 5}.<br />
3s. 6d. n.<br />
MY LADY's FAVOUR. A. One-Act Comedy in Black and<br />
White. By MARY C. ROWSELL and E. G. HOWELL.<br />
7 × 5%. 30 pp. French. 6d.<br />
DRAMAS AND DIVERSIONS. By W. L. COURTNEY. 7} x 5.<br />
A Romance in Four<br />
159 pp. Arnold.<br />
383 pp. Chapman and Hall. 5s. n.<br />
UNDINE. A Tragedy in Four Acts. By WHITwo RTH<br />
WYNN.E. 8 × 5%. 105 pp. Kegan Paul. 4s. 6d. n.<br />
- EDUCATIONAL.<br />
THE STUDENT'S COMPLETE COMMERCIAL BOOK-KEEPING.<br />
By ARTHUR FIELDHouse, F.I.P.S. Twelfth Edition.<br />
7} x 4%. 572 pp. Leeds : J. W. Bean. London :<br />
Simpkin, Marshall. 4s.<br />
EICTION.<br />
THE MONEY-CHANGERS.<br />
318 pp. J. Long. 58.<br />
By UPTON SINCLAIR.<br />
7<br />
#<br />
X<br />
5<br />
THE SUPREME TEST. By MRS. BAILLIE REYNOLDs.<br />
7# × 5. 340 pp. Hutchinson. 63.<br />
LADY NOGGS INTERVENES. By EDGAR JEPsoN.<br />
351 pp. Hutchinson. 6s.<br />
SIR RICHARD ESCOMBE. By MAx PEMBERTON. 73 × 5.<br />
340 pp. Cassell. 6s,<br />
THE LUCK OF NORMAN DALE. By BARRY PAIN and<br />
JAMES BLYTH. 7# x 5. 310 pp. Eveleigh Nash. 6s.<br />
THE QUEEN’s GATE MYSTERY. By CAPTAIN H. CURTIES.<br />
7# × 5.<br />
7% × 5. 306 pp. Alston Rivers. 6s.<br />
IN WOLF's CLOTHING. By CHARLES GARVICE. 73 × 5.<br />
344 pp. Hodder and Stoughton. 6s.<br />
FENNELL's ToweR. By Louis TRACY. 75 x 5. 320 pp.<br />
Ward, Lock. 6s.<br />
NADIR SHAH. By SIR MoRTIMER DURAND. 9 × 53.<br />
352 pp. Constable. 10s. 6d. m.<br />
THE LOWEST RUNG, ETC. By MARY CHOLMONDELEY.<br />
7} X 5. 182 pp. Murray. 2s. 6d. n.<br />
THE EYE-WITNESS. By H. BELLOC. 73 × 5. 311 pp.<br />
Nash. 5s. n.<br />
THE GORGEOUS ISLE. By GERTRUDE ATHERTON. 74 × 5.<br />
190 pp. Murray. 2s. 6d. m.<br />
THE RESCUER. By PERCY WHITE.<br />
Chapman and Hall. 6s.<br />
THE BLINDNESS OF VIRTUE.<br />
7; X 5. 322 pp.<br />
By COSMO HAMILTON.<br />
7# × 5. 345 pp. Hutchinson. 6s.<br />
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123 pp. Murray. 2s. 6d. m.<br />
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John Long. 6s.<br />
THE TRAVELLING COMPANIONS: A STORY IN SCENES.<br />
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DODO. By E. F. BENSON. 320 pp. THE PRIDE OF<br />
JENNICO. By AGNES and EGERTON CASTLE, 254 pp.<br />
7 x 43. New Editions. Newnes. 18. m. each.<br />
MRS, PENROSE's PHILOSOPHER. By H. SIMPSON LADELL.<br />
Greening. 68. ~~.-- -. -<br />
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310 pp. Heinemann. 6s.<br />
THE JUDGMENT OF ILLINGBOROUGH. By R. E. VERNEDE.<br />
# × 5%. 359 pp. Hodder and Stoughton. 63.<br />
ALL IN A MONTH, AND OTHER STORIES. By ALLEN.<br />
RAINE. 7# × 5. 278 pp. Hutchinson. 3s. 6d.<br />
JOAN OF GARIOCH. By A, KINRoss,<br />
Macmillan. 6s.<br />
A ROYAL BLUEJACKET. By FRED T. JANE. 73 × 5.<br />
398 pp. Sampson, Low. 6s.<br />
THE DOOMSWOMAN. By GERTRUDE ATHERTON. 7} x<br />
311 pp. Lane. 68. .<br />
PRINCESS PENNILESS. By S. R. CRoCKETT. 8 × 5}.<br />
386 pp. Hodder and Stoughton. 6s.<br />
FATHER PAUL. By J. CASSIDY. 74 × 5.<br />
Kegan Paul. 6s.<br />
ROSEMARY : FOR REMEMBRANCE. A. Collection of Stories.<br />
and Poems by various hands. Edited by MAY BATE-<br />
MAN. 7} x 5. 139 pp. Sold for the benefit of the<br />
United Kingdom Beneficent Association. Elson.<br />
MY COUSIN CYNTHIA, AND OTHERS. By MRS. PHILIP<br />
CHAMPION DE CRESPIGNY. 73 × 5. 322 pp. Nash.<br />
6s. en -<br />
THE DEVIL IN LONDON. By GEORGE R. SIMS. 73 × 5.<br />
158 pp. S. Paul. Is. n.<br />
LUCIUS SCARFIELD. A Philosophical Romance of the<br />
Twentieth Century. By J. A. REVERMORT. 73 × 5.<br />
574 pp. Constable. 6s. , gº<br />
RED POTTAGE. By MARY CHOLMONDELEY. 7 × 4}.<br />
306 pp. Cheap Edition. Newnes. 1s. n.<br />
THROUGH SORRow’s GATE. By HALLIWELL SUTCLIFFE.<br />
73 × 5%. 350 pp.<br />
5<br />
#<br />
326 pp.<br />
73 x 5. 370 pp. (First published 1903 at 68.) (The<br />
Adelphi Library : No. 1.) Unwin. 3s. 6d.<br />
HULLABALOOs. By W. A. CLARK, 7} x 5. 320 pp.<br />
Digby Long. 6s,<br />
<br />
<br />
## p. 63 (#83) ##############################################<br />
<br />
THE AUTHOR,<br />
63<br />
REPRINTS.<br />
THE ROSE-VINGED HOURs. ENGLISH LOVE LYRICs.<br />
Chosen by ST. JoHN LUCAS, 7 × 4%. 312 pp. Arnold.<br />
oS.<br />
PQEMIS BY JOHN CLARE. Edited, with an introduction,<br />
by ARTHUR SYMONS. 64 × 43. 208 pp. Frowde.<br />
2s. 6d. n.<br />
A TREASURY OF ENGISH LITERATURE. Weller to Addi-<br />
$on ; Johnson to Burns. Selected and arranged by<br />
KATE M. WARREN. With general introductions by<br />
STOPFORD A. BROOK.E. 8 × 53. Constable. 1s. n. each.<br />
A MIIDSUMMER NIGHT's DREAM. Illustrated by ARTHUR<br />
* R.W.S. 10 × 7%. 134 pp. Heinemann.<br />
9.S. Ol.<br />
SCIENCE.<br />
THE NATURE OF ENZYME ACTION. By W. M. BAYLIss,<br />
D.Sc., F.R.S. 9% by 6. 90 pp. Longmans. 3s. n.<br />
THEOLOGY.<br />
A LITTLE CHILD SHALL LEAD THEM. A Christmas<br />
Book. By A. ALLAN BROCKINGTON, 63 x 4. 96 pp.<br />
BAGSTER, 1s. 6d. n.<br />
- TRAVEL.<br />
IN OLD CEYLON. By REGINALD FARRER. 9 × 53.<br />
351 pp. Arnold. 12s. 6d. m.<br />
EGYPT AND THE ENGLISH. By Doug LAs SLADEN.<br />
93 × 6%. XXViii. -- 568 pp. Hurst and Blackett. 21s. n.<br />
A WANDERING STUDENT IN THE FAR EAST. By the<br />
EARL OF RONALDSHAY, M.P. 2 vols. 84 × 5}. 317<br />
+ 359 pp. Blackwood. 21s. n.<br />
—e—º-e—<br />
BOOKS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
—e-º-º-<br />
HISTORY.<br />
THE GREATNESS AND DECLINE OF ROME. Vol. IV.<br />
Rome and Egypt. By GUGLIELMO FERRERO. Trans-<br />
lated by the Rev. H. J. CHAYTOR. 9 × 53. 291 pp.<br />
Heinemann. 63. n.<br />
A SHORT HISTORY OF SOCIAL LIFE IN ENGLAND. By<br />
M. B. SYNGE, F.R.Hist.S. (Popular edition.) 74 × 5.<br />
407 pp. Hodder and Stoughton. 3s.6d. m.<br />
LAW.<br />
THE LAW AND CUSTOM OF THE CONSTITUTION. By<br />
SIR WILLIAM ANSON. Vol. II. The Crown, Part II.<br />
7 × 5%. 347 pp. Frowde. 8s. 6d. n.<br />
LITERARY.<br />
LITTLE PEOPLE. By R. WHITEING. 8 × 5}.<br />
Cassell. 6s. n.<br />
HAUNTS OF ANCIENT PEACE. By ALFRED AUSTIN.<br />
9 × 6%. 169 pp. Black. 7s.6d. n.<br />
|FIRST AND LAST THINGS. A Confession of Faith and<br />
295 pp.<br />
Rule of Life. By H. G. WELLS. 73 × 5}. 246 pp.<br />
Constable, 48. 6d. n.<br />
MEDICAL.<br />
HEALTH, STRENGTH, AND HAPPINESS. A Book of<br />
Practical Advice. By C. W. SALEEBY, M.D. 7; X 5.<br />
448 pp. Grant Richards. 6s. n.<br />
MISCELLANEOUS.<br />
(SOME HAUNTED HOUSES OF ENGLAND AND WALES.<br />
By ELLIOTT O’DoNNELL. 7# x 5. 192 pp. Nash.<br />
4s. 6d. n. - - -<br />
JN MY LADY'S GARDEN. By Mrs. RICHMOND.<br />
464 pp. Unwin. 12s. 6d. n.<br />
PAMIPHLETS.<br />
THE NECESSARY BASIS OF SOCIETY. By SIDNEY WEB.B.<br />
The Social and Political Education League. 3d.<br />
9 × 6.<br />
PHILOSOPHY. &<br />
THE GRAMMAR OF LIFE. By G. T. WRENCH. 73 × 5.<br />
237 pp, Heinemann. 68. m.<br />
POETRY.<br />
1841–1884. With Introduction by<br />
7% x 5%. 229 pp. Harrap.<br />
BOEMS FROM Punch.<br />
Sir FRANCIS C. BURNAND.<br />
58, n.<br />
THE TESTAMENT OF JOHN DAVIDSON. 7#X 5}. 147 pp.<br />
Grant Richards.<br />
SALVAGE. By OWEN SEAMAN. 7 × 4}.<br />
Constable. 3s. 6d. n. -<br />
TowARDS THE LIGHT: A MYSTIC POEM. By PRINCESS<br />
KARADJA, (Second thousand.) 73 × 5%. 57 pp. Kegan<br />
Paul.<br />
FROM THE EAST AND FROM THE WEST. By T. C. LEWIS.<br />
8} x 5%. 255 pp. Unwin.<br />
POLITICAL.<br />
THE HUMAN WOMAN. By LADY GROVE, 9 × 53. 220 pp.<br />
Smith, Elder. 5s. n.<br />
A POLITICAL DIALOGUE. By G. LOWES DICKINSON,<br />
229 pp. Dent. 4s. 6d. n.<br />
SOCIOLOGY.<br />
WomAN THROUGH THE AGES. By EMIL REICH. (Two<br />
vols.) 9 × 5%. 272 + 294 pp. Methuen, 21s. n.<br />
SExUAL ETHICS. By Professor A. FOREL, M.D. With<br />
introduction by Dr. C. W. Saleeby, F.R.S. 83 × 53.<br />
62 pp. The New Age Press. 18. In. -<br />
151 pp.<br />
BIOGRAPHY.<br />
THE LIFE OF JAMES MCNEILL WHISTLER. By MRs.<br />
ELIZABETH ROBINS and JOSEPH PENNELL, 2 vols.<br />
Lippincott, $10 m.<br />
HOOKS FOR THE YOUNG.<br />
THE SPRING CLEANING : AS TOLD BY QUEEN CROSS-<br />
PATCH. By MRS, FRANCES HODGSON BURNETT. Cen-<br />
tury Co. 60 c.<br />
THE WIND IN THE WILLOWs. By KENNETH GRAHAME.<br />
Scribner, $1.50.<br />
HOLLY HOUSE AND RIDGES ROW : A TALE OF LONDON<br />
OLD AND NEW. By MAY BALDWIN, $1.50.<br />
How CANADA WAS WON. By CAPTAIN F. SADLIER<br />
BRERETON. Caldwell Co. $1.25.<br />
THE SEED OF THE RIGHTEOUS. By FRANK T. BULLEN.<br />
Eaton and Mains. $1.25.<br />
THE GOOD Wol, E. By MRs. FRANCES HODGSON BURNETT.<br />
Moffat, Yard. $1 m.<br />
THE STORY OF A SCOUT. By J. FINNEMORE. Macmillan,<br />
$1.50.<br />
Two Boys IN WAR-TIME. By J. FINNEMORE. Macmillan.<br />
$1.50. &<br />
A TALE OF THE B.-P. BOY SCOUTS,<br />
Macmillan. $1.50,<br />
FICTION.<br />
THE DIVA's RUBY. By F. MARION CRAWFORD, Mac-<br />
millan. $1.50.<br />
OVER BEMERTON'S By E. W. LUCAS, Macmillan, $1,50.<br />
WOLE PATROL :<br />
By J. FINNEMORE,<br />
<br />
<br />
## p. 64 (#84) ##############################################<br />
<br />
64<br />
TFIPS A UITISIOR.<br />
THE GENTLEMAN: A Rom ANCE OF THE SEA. By<br />
ALFRED OLLIVANT. Macmillan. $1.50 m.<br />
THE LONG ARM OF MANNISTER. By E. P. OPPENHEIM.<br />
Little, Brown. $1.50.<br />
Round 'THE FIRE, STORIES. By SIR ARTHUR CONAN<br />
DOYLE. McClure Co. $1.50.<br />
SANDY CARMICHAEL. By C. J. CUTCLIFFE WRIGHT<br />
HYNE. Lippincott. $2. -<br />
THE TRAMPING METHODIST. By SHEILA. KAYE-SMITH.<br />
Macmillan. $1.50.<br />
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WILDERNEss. By HUBERT WALES, Stuyvesant Press.<br />
$1.50 each. -><br />
THE OLD ALLEGIANCE. By HUBERT WALES. Mitchell,<br />
Rennerley. $1.50.<br />
EIISTORY.<br />
THE GREATNESS AND DECLINE OF ROME. By GUGLIELIMO<br />
FERRERO. Translated by REV. H. J. CHAYTOR. Put-<br />
nam. $2.50 n.<br />
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LODGE Moffat, Yard. $2 n.<br />
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PoEMs FROM Punch. Edited by SIR FRANCIS CowLEY<br />
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EURIPIDEs. Translated into English rhyming verse by G.<br />
GILBERT AIMé MURRAY. Longmans, Green. $2.<br />
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LATED FROM THE PERSIAN OF ABDU’L-BAHA. By<br />
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Cloth, 75 c. n. ; leather, $1 n.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—-º-º-º-<br />
E hear that the present publishing season<br />
- - in the United States is a splendid one,<br />
and that the happy result of the Presi-<br />
dential election has stimulated business in the<br />
bookselling trade as in all other quarters. On the<br />
other hand, the dramatic season has been more or<br />
less of a failure ; play after play has failed, and<br />
those that remain show to half-empty or paper-<br />
dressed houses. - -<br />
Anna Lea Merritt, well-known to many people<br />
by her picture “Love Locked Out,” has a book<br />
with Messrs. George Allen, called “An Artist's<br />
Garden.” It is, of course, her own garden which<br />
she paints and describes. There are sixteen full-<br />
page drawings in colour, and eleven chapters, in-<br />
cluding those on “Making a Garden,” “Blight,”<br />
“My Rock Garden,” and “Characters in Flowers.”<br />
Mr. Upton Sinclair has published a new novel,<br />
entitled, “The Money Changers,” the English<br />
rights of which have been acquired by Mr. John<br />
Long. Mr. Sinclair describes from the inside<br />
the causes of the recent financial panics in<br />
America. -<br />
A new novel, “Hilary Thornton,” by Hubert<br />
Wales, will be published in the spring by Mr. John<br />
Long in England and Messrs. Dana Estes & Co.<br />
in America. A French translation of “The<br />
Yoke,” by the same author, will shortly appear.<br />
A new addition to Messrs. Wells Gardner's<br />
shilling series of copyright Reward Books is “The<br />
Happy League,” by Leslie Moore, with illustra-<br />
tions by Paul Hardy. It is a story of a family of<br />
children, their scrapes and their pleasures.<br />
Mr. John Heywood, of Manchester, has brought,<br />
out “Weaving Mill Management,” by A. R.<br />
Foster, with many illustrations and drawings.<br />
We have received from the Clarendon Press a<br />
new and cheap edition of “The King's English,”<br />
abridged for school use. The present volume<br />
creates in us a very favourable impression, as did<br />
the second edition which we reviewed last year. It<br />
is admirably adapted for its purpose.<br />
Mrs. Philip Champion de Crespigny has had her<br />
new book of short stories, “My Cousin Cynthia<br />
and Others,” brought out by Mr. Eveleigh Nash.<br />
Her novel, “The Mischief of a Glove,” has been<br />
translated into French by Mr. Robu.'t Godet and,<br />
published in Switzerland under the title of “Pour<br />
un Gant.”<br />
“From the East and from the West,” by T. C.<br />
Lewis (Mr. T. Fisher Unwin), is a volume of verse<br />
containing presentations of poetic thought from .<br />
Persia, India, and Arabia, and from Germany and<br />
France. To the rendering from German and<br />
<br />
<br />
## p. 65 (#85) ##############################################<br />
<br />
THE AUTEIOR.<br />
65<br />
French lyrical and ballad poetry are added two<br />
translations from the Greek, with a collection of<br />
sonnets and other verses.<br />
|Mr. Francis Griffiths has lately published “The<br />
Church of England,” by R. Ellis Roberts. Mr.<br />
Roberts writes from the liberal Catholic stand-<br />
point, and endeavours to give a sketch of the<br />
outstanding men and events in English Church<br />
history rather than a narrative of dates and facts.<br />
The book is the new volume of “The Library of<br />
First Principles.”<br />
President Fallières has accepted a presentation<br />
copy of Irene Osgood's novel “Servitude,” which<br />
is being translated into French by Madame Henri<br />
Heau.<br />
Mr. W. Percival Westell’s new Nature book,<br />
“Animal's at Home” (Messrs. Dent), which was<br />
announced in these columns last month, has an<br />
introduction by Miss Marie Corelli. -<br />
Messrs. Swan Sonnenschein & Co., London,<br />
have sent out a little book of “Essays on Theo-<br />
sophy,” from the pen of Mrs. I. E. Taylor. Its<br />
four papers give a general outline of theosophic<br />
doctrine and a particular account of the doctrine<br />
of Karma and reincarnation, and discuss the<br />
relations between theosophy and science on the one<br />
hand, and popular beliefs on the other.<br />
“Fiddler Matt" is a story of a musical genius<br />
in humble life by “Adam Lilburn” (Lilias Wasser-<br />
mann). It has many illustrations by Mr. Arthur<br />
Marsh, A.R.W.S., and will be published at once<br />
by Messrs. Brown, Langham & Co.<br />
A new complete short novel, entitled “The<br />
Master Key,” by Cosmo Hamilton, will be brought<br />
out by Messrs. Hutchinson & Co. as a supple-<br />
ment to the Christmas number of The Lady's<br />
JRealm. -<br />
Messrs. T. C. and E. C. Jack have just published<br />
a series of “Literary Readers,” in prose and verse<br />
(12 volumes), by Miss Gladys Davidson. These<br />
little books deal chiefly with classical and natural<br />
history subjects; and they are arranged on an<br />
original plan, the stories being told partly in verse<br />
and partly in prose, and are quite devoid of the<br />
usual “school-book” atmosphere. Miss Davidson<br />
is now engaged upon a children's Bible story-book<br />
on modern rational lines for Mr. David Nutt, which<br />
will be issued early next year. -<br />
“Siam,” by Ernest Young, B.Sc., has just<br />
appeared with Messrs. A. and C. Black in their<br />
“Peeps in Many Lands” series. It contains<br />
twelve full-page illustrations in colour.<br />
“A Little Child shall Lead Them: A Christmas<br />
Book,” by A. Allen Brockington (Messrs. Samuel<br />
Bagster), is another of the author's little spiritual<br />
works with a slim, unobtrusive backbone of fiction.<br />
|Mr. William Archer has now made an arrange-<br />
ment with Messrs. Curtis, Brown & Massie by<br />
which he will, if desired by the authors, prepare<br />
a detailed criticism and comment on all plays<br />
Submitted to him. A feature of the arrangement<br />
is that Mr. Archer will report, not only on com-<br />
pleted plays, but also on scenarios, and may thus<br />
be able to help save many a good idea from going<br />
Wrong, and may also be able to nip in the bud<br />
Some of the hopeless plays on which authors might<br />
otherwise waste their time.<br />
“As They Are,” by “Bartholomew,” has been<br />
brought out by Messrs. Drane. It consists of<br />
military, sporting, and social dialogues. #<br />
“Literary and Biographical Studies,” by Jame<br />
Baker (Messrs. Chapman and Hall), deals, among<br />
other matters, with the home-life of the Royal<br />
Family at Osborne and the value of that property<br />
presented by His Majesty to the nation.<br />
Messrs. Graves and Lucas have just published<br />
through Sir Issac Pitman a new humorous volume<br />
called “If,” with many illustrations by George<br />
Monow. •<br />
Mr. St. John Lucas has just published, with<br />
Mr. Edward Arnold, a collection of English love<br />
lyrics, called “The Rose-Winged Hours.” His<br />
edition of “Ronsard” has recently been issued by<br />
the Oxford University Press. &<br />
Miss M. A. Woods has in the press, in connection<br />
with Milton's Tercentenary, a book entitled “The<br />
Characters of Paradise Lost.” The publisher is<br />
Mr. John Ouseley. -<br />
“The Love Family,” by Mrs. M. H. Spielmann,<br />
illustrated by Mr. Carton Moore-Park, is issued<br />
by Messrs. George Allen. It is a tale of a family,<br />
with Cupid as the central member, showing how<br />
he interfered in the loves of the chief characters<br />
and what befel.<br />
Mr. Louis Joseph Vance has recently disposed<br />
of the French and Belgian rights of his one-act<br />
play, “At the Eleventh Hour.”<br />
On October 27 a one-act comedy by Mr. St. John<br />
Hankin was produced at the Criterion. Its title<br />
is “The Burglar who Failed.” The burglar under<br />
the bed was played by Mr. Ferdinand Gottschalk,<br />
the athletic girl with a hockey-stick by Miss<br />
Elfrida Clement, and the fearful mother by Miss<br />
Kate Wingfield.<br />
November 3 was the first night of Mr. Henry<br />
Arthur Jones's new and original comedy in four acts,<br />
“Dolly Reforming Herself.” It is impossible<br />
to give the plot in the space at our disposal, but<br />
it may at least be said that if Dolly does not<br />
succeed in reforming herself she is more fortunate<br />
in the case of her husband. The cast was as<br />
follows:—Mrs. Harry Telfer, Miss Ethel Irving ;<br />
Harry Telfer, Mr. Robert Loraine ; Matthew<br />
Barron, Mr. C. M. Lowme ; Capt. Lucas Wentworth,<br />
Mr. Charles R. Maude; The Rev. James Pilcher,<br />
Mr. Herbert Bunston; Professor Sturgess, Mr.<br />
<br />
<br />
## p. 66 (#86) ##############################################<br />
<br />
66<br />
TISIES A UTISIOR.<br />
E. Lyall Swete ; Mrs. Sturgess, Miss Margaret<br />
Halstan.<br />
Professor Gilbert Murray's translation of the<br />
“Bacchae’’ of Euripides was presented at the<br />
Court Theatre on the afternoon of November 10.<br />
Miss Lillah McCarthy took the part of Dionysus,<br />
Mr. R. A. Beaton that of Cadmus, and Miss<br />
Winifred Mayo and Mr. Esmé Percy appeared<br />
respectively as Agâve and Pentheus.<br />
“The Builder of Bridges,” by Alfred Sutro, was<br />
staged at the St. James's Theatre on November<br />
II. The heroine juggles with two lovers in an<br />
attempt to save her brother from imprisonment for<br />
robbery. Her duplicity is discovered, but a happy<br />
ending is finally reached. The principal characters<br />
were sustained by Mr. Harcourt Williams, Mr.<br />
T)awson Milward, Mr. George Alexander, Miss<br />
Florence Haydon, and Miss Irene Vanbrugh.<br />
Mr. G. S. Layard and Mr. Walter Frith produced<br />
their new play “The New Governess” at Malvern<br />
on November 19, 20, and 21. The title rôle was in<br />
the hands of Miss Ina Pelly, who, it will be remem-<br />
bered, took the part of the lady's-maid in the<br />
London production of “Lady Frederick.” The<br />
plot is founded on Mr. Layard's novel “Dolly's<br />
Governess.”<br />
On November 27, at the New Theatre, Mrs.<br />
Patrick Campbell appeared in afternoon perfor-<br />
mances of “T)eirdre,” a legendary verse play in one<br />
act by W. B. Yeats, and “Electra,” a one-act<br />
original tragedy founded on the old Greek story by<br />
Hugo von Hofmannsthal, translated by Arthur<br />
Symons. -<br />
“The Antelope,” a new musical play by Adrian<br />
Ross and Hugo Felix was presented at the Waldorf<br />
Theatre on November 28.<br />
The Stage Society is to perform a new play,<br />
“The Last of the De Mullins,” by St. John<br />
Hankin, at the Haymarket Theatre on December 6<br />
and 7.<br />
PARIS NOTES.<br />
—º-º-º-<br />
HE French Academy has now six of its<br />
fºuleuils vacant, and there is certainly no<br />
dramatic author who can fill the place of<br />
Victorien Sardou. His death is universally<br />
regretted. He was seventy-seven years of age,<br />
and ever since he presented his first play at the<br />
Odéon, in 1854, he had been steadily working for<br />
the theatre. This first piece was a lamentable<br />
failure, but some years after his “Premières armes<br />
de Figaro" was played by Virginie Dejazet. From<br />
that time forth Sardou's talent was acknowledged.<br />
For fifty-four years he has been working as a dramatic<br />
author, and So thorough and conscientious was he<br />
that there were no secrets for him in his profession.<br />
After writing his play he thoroughly understood<br />
the technical side of it. At the rehearsals Sardou.<br />
was a veritable Napoleon. He went into every<br />
detail, knew the rôle of the actors, the mysteries of<br />
the stage effects, and was a general favourite with<br />
everyone, from the directors down to the very<br />
humblest employé at the theatre. Sardou was<br />
essentially a man of the theatre. He was a keen<br />
observer, saw dramatic effects in the prosaic episodes<br />
of everyday life. His plays are life and his per-<br />
Sonages human beings and not marionettes.<br />
“Patrie,” which was given in 1869, was the play<br />
through which Sardou really won fame. Later on<br />
came the Series of pieces written for Sarah<br />
Bernhardt. “ Fédora " in 1882, “Théodora’ in<br />
1884, “Cléopatra,” “Gismonda,” “La Tosca” and<br />
“La Sorcière.” “Thermidor” caused a great sen-<br />
sation in 1891, and in 1893 Madame Réjane won<br />
her laurels in Sardou's “Madame Sans-Gêne.” Last.<br />
year “L’Affaire des Poisons” was put on, and only<br />
a fortnight before his death he had planned a new<br />
piece which had been haunting him. In all, there are<br />
about sixty of Sardou's plays which have been pro-<br />
duced, and his study is full of manuscripts, notes,<br />
Scenarios, etc.<br />
Madame Arxéde Barine's death is a great loss to<br />
French literature. Her work reached a large circle<br />
of readers throughout the world. Madame Barine<br />
was not a novelist. She was a great reader and an<br />
indefatigable Worker. She also took a keen interest<br />
in foreign literature and ideas. Her later works,<br />
were historical : “La Jeunesse de la Grande<br />
Mademoiselle,” “Louis XIV. et la Grande Made-<br />
moiselle,” are among these, and in them she gives<br />
us the more private history, as it were, of a great<br />
part of the seventeenth century. Among her other<br />
works are : “Bernardin de Saint-Pierre,” “Saint.<br />
François d’Assise et les trois Compagnons,” etc.<br />
The centenary of Barbey d'Aurevilly, the great.<br />
French novelist and critic, was commemorated<br />
throughout France by articles in nearly all the<br />
important French papers. The day was to have<br />
been celebrated by the inauguration of a monu-<br />
ment to his memory, but on account of the death<br />
of François Coppée, who was president of the com-<br />
mittee, this fête was postponed until May, 1909.<br />
For a whole month Mlle. Louise Read (the faithful<br />
friend and executrix of Barbey d’Aurevilly), who<br />
since his death has edited and published some thirty<br />
volumes of his works, was literally besieged by<br />
journalists and lecturers in search of biographical<br />
notes, photographs, etc. of the great writer, whose<br />
real fame commenced after his death. His life was<br />
an extremely hard one, but his real value is now<br />
seen in the posthumous celebrity and in the absolute.<br />
<br />
<br />
## p. 67 (#87) ##############################################<br />
<br />
THE AUTISIOR. 67<br />
fidelity of the friends, who, so many years after<br />
his death, keep his memory ever fresh. The<br />
inauguration of his monument will take place at<br />
his birthplace in Normandy.<br />
“Etudes sur la Littérature française ’’ is the<br />
sixth volume of this series by René Doumic. It is<br />
interesting, as several of the subjects treated are<br />
very topical. Among other chapters, there is one<br />
on Jules Lemaître’s “Racine,” another on Anatole<br />
France’s “Jeanne d'Arc.” It is curious to read<br />
René Doumic's criticism of this work. All those<br />
who know the philosophy or religion of the two<br />
writers can readily imagine the attitude which<br />
René Doumic would naturally take up when judg-<br />
ing Anatole France's treatment of this subject.<br />
He sums up in the following lines : “His book is<br />
a singular one, which, I fear, is not as important a<br />
contribution as might have been desired to the<br />
biography of Jeanne d'Arc ; but the book is interest-<br />
ing in itself, and as the history of M. Anatole<br />
France's curious mind.” Among other literary<br />
subjects discussed in this book is that of “Women's<br />
Novels.” In summing up his chapter on this<br />
subject René Doumic says, after analysing the<br />
recent novels of three French women novelists very<br />
much in vogue a short time back, “Feminine novels<br />
have created a new form of immorality.” He also<br />
maintains that novels written by men at any rate<br />
serve to prevent a certain element disappearing<br />
from the literature of to-day, and this element is<br />
“respect for women.”<br />
“Saint Domingue’” (1629–1789) is a book by<br />
Pierre de Vaissière, devoted to the history of the life<br />
of the French in the colonies under the old régime.<br />
The subjects studied are: The origin of the coloniza-<br />
tion of Saint Domingo; the French nobility there ;<br />
the Blacks; life and manners and customs of the<br />
colonizers. All this is extremely interesting to<br />
anyone taking up the subject of colonization, or<br />
of the history of French emigrants—political or<br />
otherwise.<br />
Edouard Estaunié has written another novel.<br />
He won fame with his powerful work, “L’Em-<br />
preinte” some years ago, and “La Vie Secréte”<br />
will be appreciated by all who enjoy psychological<br />
studies rather than sensational novels. The idea<br />
of the whole book is that each man and woman is<br />
living his or her own secret life, and living it in the<br />
midst of a crowd of people who have no idea of<br />
this. The author initiates us into the secret life of<br />
his personages, and shows us the dual life that each<br />
one is leading. The whole book is one that remains<br />
in the reader's mind, and the various personages<br />
are as living as those in real life.<br />
“Le Livre d’Or de L'Entente Cordiale” is<br />
published in France in an edition with illustra-<br />
tions. It is divided into three parts. 1. The<br />
History of the Entente Cordiale. 2. Its Mani-<br />
festations. 3. Its Economic and Commercial<br />
Consequences.<br />
“En margé du Temps,” by Henry Roujon, is<br />
the title of a volume of articles formerly published<br />
in the Temps.<br />
“I.'Ile de France Contemporaine,” by Hervé<br />
de Rauville, is a study of the resistance of the<br />
French race under English domination.<br />
“La Hongrie au XXe siècle,” by René Gonnard.<br />
“L'Afrique du Nord,” by Henri Lorin.<br />
“France et Angleterre (cent années de Rivalité<br />
Coloniale),” by Jean d'Arcy.<br />
“Piter Pan,” by J. M. Barrie, with illustrations<br />
by Arthur Rackham, is published in an edition at<br />
twenty-five francs.<br />
In the Revue de Paris Frederic Masson<br />
continues his articles on the Napoleonic epoch.<br />
The Revue Hebdomadaire commences in its<br />
first November number a novel entitled “Colette<br />
Baudoche” by Maurice Barrès; it is the story of<br />
a young girl belonging to a Metz family. Comte<br />
Albert de Mun continues his memoirs, entitled<br />
“Ma Wocation sociale”; M. Gaston Bonnier<br />
Writes on the intellectual movement in Spain :<br />
Pierre de Nolhac on “Madame Vigée-Lebrun's<br />
salon" and Judith Cladel on “Rodin et l'art<br />
gothique.” In the other November numbers<br />
H. Céard et J. de Coldain give an article on<br />
Huysmans as an artist and a Christian, Edouard<br />
Rod writes on the “Le Mouvement des idées,” and<br />
Henry Bordeaux on the dramatic news of the<br />
month.<br />
At a meeting recently held in Paris by the<br />
Syndicate for the Protection of Intellectual Property,<br />
attention was called to the fact that Turkey is one<br />
of the countries where French literature has a<br />
large circle of readers. It is therefore decided<br />
that Turkey shall be invited to join the Berne<br />
Convention. It seems probable that America will<br />
soon be the last of the “uncivilized '' nations with<br />
no respect for intellectual property. It will be<br />
curious if the Turks prove themselves so far<br />
ahead in intellectual matters.<br />
At the Odéon “Parmiles Pierres,” by Suderman,<br />
is still on the bill ; at the Sarah Bernhardt Theatre<br />
the new piece is “Les Révoltés”; at the<br />
Renaissance, Paul Bourget’s “L’Emigré’’ is still<br />
running. Madame Réjane is still playing “Israël.”<br />
by Bernstein ; and at the Porte Saint Martin<br />
“L'Affaire des Poisons” continues to interest the<br />
public.<br />
ALYS HALLARD.<br />
“Etudes sur la Litterature Française ’’ (Perrin).<br />
“Saint Domingue” (Perrin).<br />
“La Vie Secréte ” (Perrin).<br />
“Le Livre d'Or de L’Entente Cordiale” Gounouilhon).<br />
“Piter Pan’” (Hachette).<br />
<br />
<br />
## p. 68 (#88) ##############################################<br />
<br />
68<br />
TRIES A UITISIOR.<br />
SPANISH NOTES.<br />
—e—º-e—<br />
HAVE often had occasion to speak of the<br />
admirable daily Spanish paper A.B.C., and<br />
We now hear that the journal has thrown<br />
Open its palatial premises to an exhibition in aid<br />
of the poor. This exhibition, opened on Novem-<br />
ber 17, has proved a great success. Such artists<br />
as Sorolla, Moreno Carbonero, and Iborra exhibit<br />
very fine works, and the first-class character of the<br />
other arts represented was much appreciated by<br />
their Majesties King Alfonso XIII. and Queen<br />
Victoria, who honoured the opening day with their<br />
presence, and also visited the printing works, under<br />
the escort of the enterprising and clever director,<br />
Don Torcuato Luca de Tena, who gives such<br />
practical form to the Association of the Press.<br />
Spain has certainly been active in practical work<br />
these last few weeks. The “immortal” Saragossa,<br />
as it is now called, has been the scene of a splendid<br />
exhibition, which was also honoured by the presence<br />
of the King and Queen of Spain. The Mondariz<br />
Waters took the first prize in that section. The cele-<br />
brated house for silk wares at Seville belonging to<br />
the sons of Luca de Tena gained a gold medal.<br />
Their Majesties King Alfonso XIII. and Queen<br />
Victoria's visit to Barcelona proved a record one in<br />
point of enthusiasm. All false reports of Separatism<br />
were washed away in the great wave of welcome<br />
which swept over the city at the first sight of the<br />
English Queen and the young King, whose sym-<br />
pathies have always stretched all over his kingdom.<br />
When Colonel Figuerola Ferretti was a chamber-<br />
lain at the royal palace the youthful monarch<br />
Swiftly responded to the courtier's suggestion that<br />
a royal visit to Catalonia would quickly check all<br />
discontent. “Yes,” returned the young King,<br />
“a king should visit all his kingdom, even as a<br />
bishop does his diocese.” *<br />
The continued monthly appearance of La Revista<br />
Critica (The Critical Review) shows the energy and<br />
power of its editress, Señora Doña Carmen de<br />
Burgos. Such well-known writers as Boada, Olme-<br />
della, Ramerez Angel, Edmundo Gonzalez Blanco,<br />
Dr. Angel Pulido, Pascoli, etc., all take their places<br />
under her banner in the causes of poetry, art,<br />
literature, internationalism, philanthropy, and all<br />
subjects which tend to the elevation of humanity,<br />
and when I add that this review contains forty<br />
pages (quarto) it is seen that London would do well<br />
to follow the example of Paris and admit it into its<br />
literary world.<br />
Señora Contreras de Rodriguez has just pub-<br />
lished a book of poems called “Entre mis Muros’<br />
(“Within my Walls”), and the simple poetic insight<br />
she gives to the joys of her hearth and home shows<br />
she is a sweet-Souled Spanish mother, who makes<br />
harmony in all her environment. It is not astonish-<br />
ing that such a character is well known in Spain<br />
as a musician and composer as well as poet.<br />
Dr. Angel Pulido, a senator of Spain, and cele-<br />
brated for his knowledge of medical science, gave<br />
a striking speech at the recent Medical Congress<br />
at Madrid, showing pharmaceutists the powerful<br />
part they have to play in the campaign of medical<br />
Science. This stimulating call may lead to such a<br />
knowledge of the pharmacopoeia in Spain, that pre-<br />
Scriptions in the usual Latin can be made up from<br />
other countries without difficulty.<br />
A congress of Sacred music has just terminated<br />
in Seville, and perhaps it will remove the onus<br />
sometimes cast on Spanish church music. The<br />
beautiful Masses by a priest at the church of San<br />
Francisco el Grande in Madrid have been a revela-<br />
tion to many. The second lecture on the subject<br />
of Spanish music recently given in London at the<br />
Musical Association by the Rev. Cart de la Fon-<br />
taine opens a Vista of interesting information, and<br />
shows the study spent on the subject in the country<br />
itself by the clever lecturer.<br />
The telegram from the King of Spain to Manuel<br />
of Portugal and that of the Prime Minister of<br />
Spain to the Portuguese political chief expressed in-<br />
terest in the royal visit to the north of the kingdom.<br />
The elections in January will, it is hoped by many,<br />
lead to Alberto de Campos Henriques being Prime<br />
Minister of Portugal, for it is seen that the pallia-<br />
tive courses of the present leader, Ferreira do<br />
Amoral, have failed, and that the executive of such<br />
a man as Campos Henriques, who has been so<br />
successful in his office as Minister of Public Works,<br />
and his successful reforms in the banking laws,<br />
and in the Societies of Mutual Aid as well as the<br />
prisons, etc., shew he is fitted for the post.<br />
Speaking of reforms takes me back to Spain,<br />
where the recent article by Señor Salaverria on<br />
Benluirre's admirable Sculpture of a dying bull<br />
shows his countrymen the baneful effect of the bull-<br />
ring on the moral sentiment of pity for suffering.<br />
. There has just been some discussion in the<br />
Senate as to whether the military Estado Mayor<br />
(the Royal Chamber) should be done away with.<br />
General Lopez Dominguez, the Liberal leader,<br />
advocated this course, but General Luque spoke<br />
eloquently on behalf of this military body retaining<br />
its place. The voice of General Luque has weight,<br />
for his Zeal in the service is great, and this zeal has<br />
emboldened the presentation to his notice of a<br />
Scheme for the construction of a “Hotel for invalid<br />
officers” which would rival any in Europe. The<br />
works of such a building would of course be under<br />
the Spanish Corps of Engineers. Queen Maria<br />
Christina presented the ground to the nation for<br />
this object at the time of the tercentenary fêtes<br />
of Cervantes, the notable military invalid of Spain,<br />
whose affliction led to his activity in literature.<br />
<br />
<br />
## p. 69 (#89) ##############################################<br />
<br />
TISIES A UITISIOR.<br />
69<br />
“El Libro de la Esposa” (“The Book on the<br />
Wife”) and “El Libro del mistress de la Casa”)“The<br />
Book on the Soul of the House”), translations from<br />
the Catalonian authoress Maria de Echarri, are the<br />
two first works of a series of seven in which the<br />
author expounds “the great rules for the organi-<br />
sation of the domestic hearth, not only from a<br />
material point of view, but also from a moral, intel-<br />
lectual, and aesthetic standpoint ’’; so the moral and<br />
the material management of the home are both set<br />
forth very sensibly.<br />
“Redencion Agraria” (“Agrarian Redemption’’),<br />
by Romero Quinones, is a striking work, inasmuch<br />
as, beyond being a scientific book on agrarianism,<br />
it is a critical sociological study of Spanish society.<br />
RACHEL CHALLICE.<br />
—e—º-e—<br />
INTERNATIONAL COPYRIGHT<br />
CONFERENCE.<br />
—e—º-e—<br />
FULL report of the International Copyright<br />
Conference will be published in The<br />
Author as soon as possible.<br />
Although the official report is not yet to hand,<br />
we desire in the present number to draw our<br />
readers’ attention to the main points under<br />
discussion. First among these was the principle<br />
by which the author's title to his work could,<br />
among all the countries of the Union, be most<br />
easily established, and the author most readily<br />
confirmed in his ownership.<br />
The question of the gramophone and cinemato-<br />
graph reproductions was fully dealt with. To<br />
musicians and dramatists these are matters of<br />
vital importance. As mechanical reproduction<br />
grows nearer perfection, its popularity increases,<br />
and, in consequence, the dramatist and musical<br />
composer run greater risks of being robbed of the<br />
rewards of their labour. It was decided that<br />
(these methods of reproduction should not be<br />
allowed without reference to the owner of the<br />
copyright. There were naturally some complicated<br />
questions involved dealing with the position of the<br />
owners of records already produced. Translation<br />
rights were also considered, and the decision come<br />
to in this matter—that they should run concur-<br />
rently with copyright——was eminently satisfactory.<br />
In respect to newspaper copyright several import-<br />
ant points were decided. The matter comprised<br />
in a newspaper was divided into three distinct<br />
classes. The first class included all that could be<br />
called literary matter as distinct from news and to<br />
this absolute protection was given. The next<br />
matter before the Congress was the duration of<br />
copyright. We regret to find that although the<br />
years was approved.<br />
proposal of the life of the author and fifty years<br />
was supported by the delegates of most of the<br />
Powers represented (judging from the statement<br />
that appeared in The Times), it was rejected on the<br />
ground that it had not been inserted in the<br />
Document Préliminaire, as H.M. Government had<br />
not had time to consult those interested in the<br />
matter. It may be as well to point out, as far as<br />
the Society of Authors is concerned, that the<br />
Board of Trade placed before our committee the<br />
papers received subsequent to the Document<br />
Préliminaire, and requested the committee's<br />
opinion as to whether the term of life and fifty<br />
The committee of the<br />
Society were in full accord with this proposal, and<br />
their opinion was communicated to the Board of<br />
Trade. The Chairman, in addition, had the<br />
pleasure of personally introducing the President of<br />
the Société des Gens de Lettres, M. G. Lecompte,<br />
to the President of the Board of Trade when the<br />
point in question was discussed between them.<br />
Sir Henry Bergne, the leading delegate of Great<br />
Britain at the Berlin Conference—whose death we<br />
so greatly deplore—was himself in full support of<br />
this extension of copyright. It would be a great<br />
advance if all the nations subscribing to the<br />
Convention came to a common understanding as<br />
to the exact length of copyright, and we must<br />
trust that this is only postponed. -<br />
There is no doubt that the late Conference<br />
has made considerable progress, settling many<br />
important points for the benefit and development<br />
of literary property. It may be impossible for<br />
this country to ratify some of these improvements<br />
without the introduction and passing of fresh<br />
legislation, but we trust that the Government<br />
may seriously and without undue delay turn its<br />
attention to a subject which so vitally concerns all<br />
authors and literary workers, a class surely not<br />
unworthy of the consideration of statesmen.<br />
It was decided that the next meeting of the<br />
Conference should be held in Rome.<br />
—e—º-e—<br />
CANADIAN COPYRIGHT.<br />
—º-O-0–<br />
[Reprinted from the Report of the Canadian Society of<br />
Authors.]<br />
WEN before the British North America Act,<br />
E the Provinces of Canada had the power to,<br />
and did, as a matter of fact, legislate<br />
independently in regard to the protection within<br />
their own boundaries of works produced there.<br />
Under the British North America Act, which is an<br />
Imperial Act, express power was given to the<br />
Dominion of Canada to legislate in copyright<br />
matters.<br />
<br />
<br />
## p. 70 (#90) ##############################################<br />
<br />
70<br />
TRIES AUTISIOR,<br />
It was then contended, in the case of Smiles V.<br />
Belford (1876) 1 Tupp. App. Rep. 436, that in<br />
giving this authority to the Parliament of Canada<br />
the Imperial Parliament excluded Canada from the<br />
operation of the Imperial Copyright Acts. This<br />
contention was disposed of by the Courts, and the<br />
following is an extract from the judgment of<br />
Burton J. A. in the Court of Appeal –<br />
“It is clear, I think, that all the Imperial Act<br />
intended to effect was to place the right of dealing<br />
with colonial copyright within the Dominion under<br />
the exclusive control of the Parliament of Canada,<br />
as distinguished from the Provincial legislatures.<br />
. . . I entirely concur with the learned Vice-<br />
Chancellor in the opinion that he has expressed<br />
that under that Act no greater powers were con-<br />
ferred upon the Parliament of the Dominion to<br />
deal with this subject than had previously been<br />
enjoyed by the local legislatures.”<br />
The benefit of the Canadian Copyright Act may<br />
be obtained by an author provided he is domiciled<br />
in Canada, or in any part of the British possessions,<br />
or is a citizen of any country which has an Inter-<br />
national Copyright Treaty with the United King-<br />
dom. If he is not able to comply with these<br />
conditions he may still obtain Canadian copyright<br />
if a copyright has been granted and is subsisting<br />
in the United Kingdom.<br />
One condition which is found in the Canadian<br />
Act but not in the British Act is that the work<br />
“shall be printed in Canada.”<br />
While it is necessary, in order to secure Canadian<br />
copyright, to print the work in Canada, it is not<br />
necessary to continue to print it in Canada. The<br />
terms of the Act will be complied with if an<br />
edition, however small, is printed here on which to<br />
base the application for copyright. After that the<br />
proprietor of the copyright may bring in his books<br />
from any other country. Neither is it necessary<br />
that the type from which the book is printed should<br />
be set up in Canada, but the printing may be done<br />
from plates imported from abroad, or transfers may<br />
be imported for use on lithographic stones.<br />
Under the Canadian Copyright Act, until the<br />
present Session of Parliament, a cumbersome<br />
formula was required to be inserted on every copy-<br />
right work, namely, “Entered according to Act of<br />
the Parliament of Canada in the year by A. B.<br />
at the Department of Agriculture.” This has now<br />
been cut down to “Copyright, Canada, 19 , by<br />
A. B.” The insertion of this notice is a condition<br />
precedent to obtaining the protection of the<br />
Canadian Act.<br />
A nice point arises in reference to the importa-<br />
tion into Canada of British copyright works.<br />
Chancellor Boyd pointed out in the case of Anglo-<br />
Canadian Music Publishers v. Suckling, 17 O. R.<br />
(1889) p. 241, that “if there is prior, British<br />
copyright, and thereafter Canadian copyright is<br />
obtained, then that local copyright is subject to be<br />
invaded by the importation of lawful British<br />
copies. But if the Canadian copyright is first,<br />
then the monopoly is secured from all outside<br />
importation.”<br />
The Fisher Act, which was passed in the year<br />
1900 and is now incorporated in the Copyright<br />
Act R. S. C. Chap. 70, secs. 28, 29, 30, and 31,<br />
provides that if a book has been lawfully published<br />
in any part of His Majesty's Dominions other than<br />
Canada, and there is also a copyright under the<br />
Canadian Act, a licence from the holder of the<br />
British copyright may be obtained, in which case<br />
the Minister of Agriculture may prohibit the<br />
importation into Canada, except with the written<br />
consent of the licensee, of any copies of such book<br />
printed elsewhere.<br />
J. F. EDGAR.<br />
—e—3–e-<br />
MAGAZINE CONTENTS.<br />
6—sº-0–<br />
BIBLIOPHILE.<br />
Why Books become Popular. By G. K. Chesterton.<br />
James Thomson. By Bertram Dobell.<br />
|BLACKWOOD'S.<br />
Some Letters of Sir Walter Scott.<br />
Walden. By Edmund Candler.<br />
BOOKMAN.<br />
Henry Irving and Ellen Terry.<br />
Authors at Work : A Symposium.<br />
CONTEMPORARY.<br />
. The Genius of Dickens. By George Barlow.<br />
Dante's Intuition of the Infinite. By S. Udny.<br />
CORNHILL.<br />
The Book on the Table: “Dorothea Beale.” By Lady<br />
Robert Cecil. -<br />
EDINBURGH.<br />
Goethe's Novels.<br />
New England Nature Studies : Thoreau, Burroughs,<br />
Whitman.<br />
The Paston Letters.<br />
Two French Memoirs.<br />
FORTNIGHTLY.<br />
Chateaubriand’s First Love. By Francis Gribble.<br />
Literature in Drama. By E. A. Baughan.<br />
Ferdinand Brunetière. By Eugène Tavernier,<br />
MONTH.<br />
Faith Found in Fleet Street. Mr. Chesterton’s “Ortho-<br />
doxy.” By the Rev. Joseph Keating. -<br />
NATIONAL.<br />
Ballads and the Border. By Miss Eveline Godley.<br />
NINETEENTH CENTURY.<br />
An Unknown Poet. By Frederic Harrison.<br />
<br />
<br />
## p. 71 (#91) ##############################################<br />
<br />
TRIES A UTFIOR.<br />
71<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
—t-º-º-<br />
- ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society. . "<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :-<br />
(1.) That both sides shall know what an agreement<br />
In 162a, D.S.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
—e—Q-0–<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
—º-º-º-<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(4.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for, production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
(b) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
grOSS receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(6.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, Country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
7. Authors should remember that performing rights in a<br />
play, are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
*—A-- a<br />
w-v-w<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
——º-º-e—<br />
ITTLE can be added to the warnings given for the<br />
L assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
## p. 72 (#92) ##############################################<br />
<br />
72 TFI FS A Tr"T fºr OR.<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
HOW TO USE THE SOCIETY.<br />
—e—sº-0–<br />
1. VERY member has a right to ask for and to receive<br />
E advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have now arranged for the reception<br />
of members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
The<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
TO MUSICAL COMPOSERS.<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
Society's safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
à —º- à<br />
~~<br />
wº w<br />
THE READING BRANCH.<br />
–0-0-0–<br />
EMBERS will greatly assist the Society in the<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
xy w<br />
NOTICES.<br />
–0—sº-º-<br />
HE Editor of The Author begs to remind members of<br />
| the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
Communications for “The Author’” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
^ –4 h.<br />
w—w-w<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
—e—º-e<br />
ENSIONS to commence at any selected age,<br />
P either with or without Life Assurance, can<br />
be obtained from this Society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
## p. 73 (#93) ##############################################<br />
<br />
TRIES A CITISIOR,<br />
73<br />
GENERAL, NOTES.<br />
—º-º-e—<br />
ADVERTISEMENTS IN THE AUTHOR.<br />
THERE seems to be an impression among readers<br />
of The Author that the committee are personally<br />
responsible for the bona fides of advertisers in these<br />
pages. This is not so, and never was so. And we<br />
do not think it reasonable of members to accept<br />
this conclusion. We are not aware that any<br />
proprietor or editor of any paper, technical or other-<br />
wise, has ever given such a guarantee, or in any<br />
way made himself answerable for shortcomings in<br />
his advertisers’ business transactions. At the<br />
same time, care is exercised to see that no undesir-<br />
able advertisements are accepted. Beyond this,<br />
the committee of the Society can assume no<br />
liability.<br />
In consequence of some correspondence that has<br />
been passing at the office, the committee have<br />
thought it necessary to give instructions that<br />
this short paragraph should be inserted. If any<br />
member desires special information he can always<br />
obtain it by applying to the Secretary.<br />
THE AUTHORS’ CLUB.<br />
WE are very pleased to hear that the Authors’<br />
Club has sprung up with renewed vigour from its<br />
ashes. Many members were anxious to keep alive<br />
what had been so auspiciously founded by Sir<br />
Walter Besant. They regretted to part from the<br />
old associations and the old friendships of the past<br />
fifteen years to find a new playground and new<br />
companions. Under, the chairmanship of Mr.<br />
Charles Garvice—one of the Original members—a<br />
committee has been formed and an agreement<br />
entered into with the manager of Whitehall Court.<br />
From the new premises overlooking the Embank-<br />
ment Gardens and the river, the members have a<br />
fine view of that life, the river life of London,<br />
which has been so vividly described by their good<br />
founder,<br />
Already the old members are coming back with<br />
eagerness, and the following have consented to join<br />
the general council:—The Lord Monkswell, Sir<br />
Edward Brabrook, Sir Arthur Conan Doyle, S. R.<br />
Crockett, Francis Gribble, H. Rider Haggard,<br />
Anthony Hope Hawkins, C. J. Cutcliffe Hyne, The<br />
Archdeacon of London, Morley Roberts, Horace<br />
Annesley Vachell, Percy White.<br />
As some slight confusion has arisen in the past,<br />
it may be as well to state that although both the<br />
Authors’ Club and the Society owe their inception<br />
to the energy of Sir Walter Besant, and that<br />
although nearly all the members of the former are<br />
also members of the latter, their constitutions and<br />
management are in entirely different hands.<br />
We wish the New Authors’ Club every success.<br />
THE MILTON TERCENTENARY.<br />
THE Milton Tercentenary is upon us, and the<br />
arrangements for the celebration of the event will<br />
be carried out in a manner worthy of the occasion.<br />
But we must not look on Milton merely as a<br />
great poet, as the author of “Paradise Lost,”<br />
“Comus,” “Lycidas,” “Il Penseroso,” and<br />
“L’Allegro.” He is much more than this to the<br />
author and the journalist. Those who have<br />
benefited by his championship should not fail to<br />
read with interest and gratitude his “Areopagitica.”<br />
He says himself—is it in one of his letters or<br />
his introduction ?—“Lastly, I wrote my Areo-<br />
pagitica in true Attic style in order to deliver the<br />
press from some of the restraints with which it<br />
was encumbered.”<br />
“In the true Attic style '' is a quaint and neat<br />
recommendation of his work. How many among<br />
the writers of the present day could boast that they<br />
wrote in the true Attic style.<br />
Milton's Star Chamber indictment was a strong<br />
piece of work, and not without its risks. He con-<br />
tinues, if we remember rightly : “That the power<br />
of determining what was true and what was false,<br />
what should be printed and what suppressed,<br />
should not be in the hands of a few illiterate and<br />
illiberal men.” Now the freedom of the Press has<br />
been with us for some years we might well desire<br />
to reverse the Miltonian problem.<br />
He dealt with the suppression of the wise, the<br />
literate, the liberal, by the narrow, illiterate,<br />
illiberal. It is almost time that the narrow,<br />
illiterate and illiberal should be restrained by the<br />
wise and literate.<br />
THE CANADIAN SOCIETY OF AUTHORS.<br />
WE are pleased to note from the Report for<br />
1906-7 of the Canadian Society of Authors<br />
recently received that this Society is prosperous<br />
and increasing in numbers. We trust it will so<br />
continue, both for its own sake and for ours,<br />
since the stronger it becomes the better the<br />
position of English authors whose books circulate<br />
in the Dominion. At the annual meeting for the<br />
year 1908, held in January last, we read that the<br />
secretary “rehearsed the advantages which the<br />
members of the Canadian Society of Authors<br />
already possessed through our close affiliation with<br />
the Incorporated Society of Authors of Great<br />
Britain.” We may add for the information of<br />
members that the advantages are mutual, as the<br />
Canadian Society has very kindly undertaken to<br />
render all the assistance in its power in connection<br />
with cases we find necessary to take up in Canada,<br />
and other matters relating to book production,<br />
publishing and copyright.<br />
<br />
<br />
## p. 74 (#94) ##############################################<br />
<br />
74<br />
TISIES A UTISIOR,<br />
The Canadian Society of Authors has been in<br />
existence for some eleven years. The Hon. Presi-<br />
dent is Professor Goldwin Smith ; the President,<br />
B. E. Walker, L.I.D. ; and the Secretary, Pelham<br />
Edgar, of 21, Elgin Avenue, Toronto. Its primary<br />
objects, as stated in its constitution, are to promote<br />
the production of literature in Canada; to protect<br />
the interests of Canadian authors; and to obtain.<br />
and distribute information as to channels of<br />
publication open to Canadian authors.<br />
In another column we reprint an interesting<br />
article on Canadian copyright from the Report.<br />
*-*.<br />
COPYRIGHT AND THE PATENTS ACT.<br />
THE passing of the Patents Act has stimulated<br />
the Dublin Printers' Employment Committee to<br />
adopt the following resolution which is to be<br />
forwarded to the Prime Minister :-<br />
“That as the recently enacted Patents Act provides that<br />
all manufactured articles protected by a British patent<br />
must now be produced in Great Britain or Ireland, result-<br />
ing in securing increased employment at home on work<br />
hitherto abroad, the Parliamentary Committee of the Irish<br />
Trades Union Congress, in view of the dearth of employ-<br />
ment in all branches of the printing trade, calls upon the<br />
Government to amend the Copyright Act so that similar<br />
provisions shall apply to all printed matter copyrighted in<br />
the United Kingdom.”<br />
It is, of course, quite clear to those who have<br />
been studying the evolution of copyright in the<br />
United States, that British authors do not obtain<br />
reciprocal advantage from the present United States<br />
Copyright Law, and in consequence, in Canada and<br />
the Colonies, not to mention Great Britain and<br />
Ireland, the sale of American books increases beyond<br />
the proportion of the sale of the works of British<br />
authors in the United States. Since, however,<br />
literature is not saleable in the same way as ordinary<br />
goods, for so much depends upon the individual<br />
effort, the authorities, no doubt, considered in the<br />
first instance that half a loaf was better than no<br />
bread, and that it was better to have some sort of<br />
copyright arrangement with the United States than<br />
none at all.<br />
The committee of the Authors’ Society have had<br />
the matter constantly before their eyes, but it is<br />
impossible for those who have not made an intimate<br />
study of the Copyright Acts to realise the enormous<br />
difficulty which lies before those who desire<br />
alteration in the existing law.<br />
sº-s-s-s-s<br />
MANGLED MANUSCRIPTS.<br />
OWING, no doubt, to the recent case of Humphreys<br />
W Thomson many editors are endeavouring to get<br />
authors to agree to contracts under which their MSS.<br />
are accepted on condition that the editors are<br />
allowed a free hand to cut or alter them. While<br />
We do not think that any writer who has respect<br />
for his writings should allow editors this power, yet<br />
if editors inform their contributors beforehand and<br />
contributors are Willing to submit their work on<br />
this understanding, we have nothing further to Say.<br />
Unfortunately, however, there are still some editors<br />
who continue to pursue this practice without<br />
ascertaining the views of the writers beforehand.<br />
Their method is to cut accepted matter, and to pay<br />
only for the mangled remains that are actually<br />
printed. When the aggrieved author ventures to<br />
remonstrate, they fall back upon editorial preroga-<br />
tive, and invite him or her, as the case may be,<br />
either to accept the slender remuneration offered<br />
Without further argument, or to cease contributing<br />
to publications under their control.<br />
It is time such methods were stamped out.<br />
The Society of Authors will continue to pursue an<br />
aggressive policy with regard to them. Editors as<br />
autocrats is quite an exploded idea ; and editorial<br />
prerogative—like the divine right of kings—is<br />
sufferable only when temperately and courteously<br />
exercised.<br />
LITERARY SNOBBISHNESS.<br />
MR. A. HoPE HAWKINS, at the opening of the<br />
Liverpool Courier Book Show, referred to what he<br />
termed literary snobbishness. He said, “I know<br />
it needs a little courage to own you have not read<br />
all ‘Paradise Lost'’’; and again “there are com-<br />
panies in which, to own that some of Jane Austen's<br />
books entertain you less than others is worse than<br />
to draw invidious comparisons between different<br />
portions of Holy Writ.”<br />
He might have gone further than this. In many<br />
Social gatherings where the works of authors of the<br />
present day are under discussion, he will find out<br />
Where an answer is courteously demanded, that<br />
many of those who argue most emphatically, have<br />
read none of the works under discussion, and many<br />
Only a few. -<br />
It is all a dreadful instance of the superficial<br />
priggishness, the worthless cock-Sureness, of the<br />
present day. Pushfulness may be a great asset<br />
when used properly, but pushfulness backed with<br />
ignorance is bound some day to fall. There is a<br />
further point for consideration. A really great work<br />
of fiction, just as a really great work in any branch<br />
of the arts cannot be absorbed at the first glance.<br />
It is only by Jong and detailed study that any idea<br />
of its proper value can be ascertained. How many<br />
of these glib debaters have made such a study of<br />
<br />
<br />
## p. 75 (#95) ##############################################<br />
<br />
TISIES A UITISIOR.<br />
75<br />
any of the ancient masterpieces; how many have<br />
made a study of the writers of the day !<br />
Mr. is not worth reading. Perhaps not ;<br />
but have you made the attempt 3<br />
THE CHURTON COLLINS MEMORIAL FUND.<br />
A FUND is being raised to establish a memorial<br />
to the late Professor J. Churton Collins. The<br />
intention is to offer a tribute of affection and<br />
respect from those who loved his character and<br />
personality, who admired him for his great and<br />
many-sided gifts, or who are grateful for help and<br />
pleasure derived from his scholarly lectures and<br />
books. - -<br />
The memorial will, according to the amount<br />
subscribed, take the form of a scholarship or prize<br />
for English Literature or Greek. The details will<br />
be settled by a committee of donors. The com-<br />
mittee at the time of writing includes, among<br />
others, the Right Hon. Herbert H. Asquith, the<br />
Right Hon. Lord Morley, the Vice-Chancellors of<br />
Oxford and Leeds Universities, the Bishop of<br />
Hereford, Canon Skrine, Anthony Hope Hawkins,<br />
Sir Arthur Conan Doyle, Sidney Lee, Walter<br />
Crane, Hakluyt Egerton, Dr. Donkin, E. T. Cook,<br />
and Canon H. D. Rawnsley.<br />
Donations may be sent to Mrs. Arthur Bout-<br />
wood, Bledlow, Bucks, who will acknowledge them<br />
at once, and will, after the close of the fund on<br />
January 1, 1909, send a complete subscription list<br />
to each donor.<br />
PROFESSOR LEWIS CAMIPBELL.<br />
THE Reverend Lewis Campbell, M.A., Hon.<br />
LL.D., Hon. D. Litt., Emeritus Professor of Greek<br />
in the University of St. Andrews, died at his<br />
residence, Brissago, Lago Maggiore, on October 25.<br />
Professor Campbell was born in Edinburgh in<br />
1830, and was related to Thomas Campbell, the<br />
poet. He took a 1st class Classics in 1853, became<br />
a fellow of Queen's two years later, and was<br />
appointed to the Greek Professorship of St. Andrews<br />
in 1863 which he held until 1892. He was the<br />
author of many translations from the Greek, includ-<br />
ing Plato's Theaetetus, Sophistes and Republic, and<br />
a complete edition of Sophocles. In 1882 he pub-<br />
lished a “Life of James Clerk-Maxwell ?” with Dr.<br />
W. Garnett, and in 1897 a “Life of Benjamin<br />
Jowett, '' with Mr. E. Abbott. In 1892 he became<br />
a member of the Society of Authors.<br />
Profound scholar and patient student, a faithful<br />
teacher of his generation, Professor Campbell in<br />
his life and work did honour to the best traditions<br />
of British Scholarship.<br />
SIR HENRY BERGNE, K.C.B., K.C.M.G.<br />
-º-º-º-<br />
IT is with feelings of the deepest regret—a<br />
regret that will be shared by all his colleagues<br />
in the Authors’ Society—that I write these<br />
lines in tribute to the memory of our former<br />
chairman and fellow-worker, Sir Henry Bergne.<br />
He had gone to Berlin to attend the Copyright Con-<br />
ference as the senior delegate from Great Britain.<br />
His death took place there on November 15, from<br />
pneumonia, after a week's illness.<br />
Sir H. Bergne's career as a public servant has<br />
been sufficiently set out in the daily press, and there.<br />
is no need for me to do more here than mention<br />
its leading features. Born in 1842, he was.<br />
educated successively at Brighton, Enfield and<br />
London University. In 1861 he was appointed to<br />
a clerkship at the Foreign Office in which his<br />
father had served before him. From this position<br />
he rose, by his sterling qualities, to the post of<br />
Superintendent of the Treaty Department. He<br />
acted with judgment and success as British repre-<br />
sentative in such difficult and diverse matters as<br />
the Fisheries Commission, the Industrial Property<br />
Convention, and the International Sugar Conven-<br />
tion. Finally, he acted as H.B.M. Plenipotentiary<br />
at the International Copyright Conferences at Berne<br />
in 1886, at Paris in 1896, and at Berlin this<br />
autumn. His public rewards were K.C.M.G. (1888),<br />
C.B. (1902), and K.C.B. (1903).<br />
Though a man who had filled successfully many<br />
positions of trust and high responsibility under the<br />
Government of his country, Sir H. Bergne was<br />
singularly modest and unassuming both in<br />
disposition and manner. He would put his own<br />
opinion forward—he generally had a decided one—<br />
with equal clearness and suavity. He had an old-<br />
fashioned courtesy, which was almost deferential,<br />
in dealing with the opinions of others. He was,<br />
in short, a shining example of the qualities which<br />
have distinguished so many of the permanent<br />
officials in our Civil Service—men who come little<br />
before the public eye, but by their faithful and<br />
unostentatious labours do much to enable the<br />
State to encounter without disaster the chances and<br />
changes of parliamentary institutions and party<br />
government.<br />
But it is with the work of Sir H. Bergne for the<br />
Authors’ Society that we are called on to deal here.<br />
He first joined it as a member in 1800. In 1903,<br />
on his retirement from his official duties at the<br />
Foreign Office, he became a member of the committee<br />
of management as well as of the copyright sub-<br />
committee, on both of which he served up to the<br />
day of his death. He was chairman of the com-<br />
mittee of management during 1906 and 1907.<br />
Sir Henry Bergne was not an author in the sense.<br />
<br />
<br />
## p. 76 (#96) ##############################################<br />
<br />
76.<br />
TISIES A [CITISIOR.<br />
of a bookwriter. His literary productions were<br />
State papers. But for the practical purposes of our<br />
Society and its committee of management his<br />
knowledge was far more valuable than that of<br />
many eminent authors. For he was an expert, and<br />
the first of experts, in all matters relating to the<br />
international treaties or conventions affecting<br />
Copyright, that is, to the agreements which<br />
affirm and regulate the rights of property of<br />
English authors in their literary output outside<br />
Great Britain.<br />
Our secretary, Mr. Thring, has shown me from<br />
time to time letters which prove that there are<br />
authors outside the society, and others, members<br />
who have joined it with a view to obtaining<br />
assistance in some of the minor business details<br />
incidental to the craft, who have the most inadequate<br />
conception of the nature and scope of the duties<br />
of the committee of management and its sub-com-<br />
mittees. The work that comes before these bodies<br />
is necessarily varied ; to some extent it is advisory,<br />
but a large portion of it involves the consideration<br />
of technical and often difficult points of law. It<br />
is, therefore, essential to the proper conduct of<br />
the society’s affairs and to the interest of its<br />
members that a fair proportion of those serving on<br />
the committees should have other besides literary<br />
qualifications, that they should be men of affairs,<br />
with more or less of legal training and the habit of<br />
looking at things from their legal aspect, and yet<br />
with sufficient leisure and opportunity to be able<br />
to attend regularly at frequent meetings. This is a<br />
fact familiar to all who have worked for the society,<br />
but it may not be amiss to emphasise it now that<br />
the election to the committee of management is in<br />
the hands of its members. It would be a bad day<br />
for the society if appointment to the committee of<br />
management came to be sought for as an honorary<br />
distinction or bestowed as a tribute to literary<br />
eminence. It has hitherto always been regarded<br />
as simply an opportunity of service to our com-<br />
rades—service voluntarily and freely rendered, if<br />
—like most good advice—not always thankfully<br />
received.<br />
No part of the work of our committees is more<br />
complicated, more difficult, and more harassing<br />
than the questions relating to copyright, on which<br />
Sir Henry Bergne was an expert. Involving as<br />
they often do confidential discussions, they do not<br />
occupy in our reports a space at all commensurate<br />
with their importance. Technical knowledge and<br />
tact are both needed to handle with any chance of<br />
success the delicate negotiations which centre<br />
round the more important issues. In all such<br />
matters Sir H. Bergne's knowledge and experience<br />
were invaluable. His close connection with the<br />
Government enabled him to advise the committee,<br />
to guide them in the right path, and to indicate to<br />
them the limits of the expedient and the attain<br />
able. It is no common form of words to say that<br />
his loss to us is, for the time, an irreparable one ; it<br />
must be long before it is possible adequately to fill<br />
his place in our counsels.<br />
I subjoin a few details, kindly supplied me by<br />
Mr. Thring, of particular occasions on which our<br />
late chairman assisted or represented the society<br />
in questions of copyright.<br />
Sir H. Bergne worked for the society in many<br />
questions connected with Canadian and Colonial<br />
Copyright, he represented and spoke for it at the<br />
interview its delegates held with the Canadian<br />
Premier. He gave his careful. attention and<br />
Criticism to the Bill that was put forward in Parlia-<br />
ment in 1900:—work of an onerous character that<br />
needed more than any other his special knowledge.<br />
He advised the committee with relation to the<br />
Manx Copyright Act. As a member of the copy-<br />
right Sub-Committee he dealt with the more recent<br />
United States Bills, and drafted the comment on<br />
them that was forwarded to America. He assisted<br />
in considering the “document préliminaire * for<br />
the Berlin Conference of this year, laid before the<br />
Society by the Board of Trade last summer. He<br />
was always ready to put his great experience at<br />
the disposal of the advisers of the society on every<br />
question of International and Colonial Copyright.<br />
In these large issues the committee have for many<br />
years relied mainly on him and on his judgment;<br />
and I may safely say that he was the most impor-<br />
tant and most responsible British authority in<br />
these matters. t.<br />
It was not, however, only as a 'specialist in<br />
copyright that Sir Henry Bergne was a valuable<br />
adviser and leader in our committee. He was<br />
chairman at the time of the commencement of the<br />
now happily ended Book War. Having made up his<br />
mind, not without hesitation, that the Authors’<br />
Society might intervene with advantage, he did<br />
his best, as far as he was himself concerned, to<br />
make that intervention take the character of a<br />
mediation. As a joint delegate with him from our<br />
Committee, I had frequent opportunities, in our<br />
interviews with publishers and others, of admiring:<br />
his conciliatory and reasonable suggestions —<br />
Suggestions which in the end have been prac-<br />
tically accepted. Whatever differences of opinion.<br />
there may have been at the time with regard to<br />
the matters at issue, the Society, as a whole,<br />
Sufficiently showed its appreciation of the part<br />
played by Sir Henry Bergne by putting him at<br />
the head of the poll in the election of the present<br />
committee. Had he found himself able to accede<br />
to the unanimous wish of his colleagues he would<br />
have returned to the chair on Mr. Hope Hawkins'<br />
retirement. No one regretted his decision more than<br />
the present writer. t • * - f<br />
<br />
<br />
## p. 77 (#97) ##############################################<br />
<br />
THE AUTHOR,<br />
77<br />
I may be allowed to add that my acquaintance<br />
with Sir Henry Bergne did not originate in the<br />
Authors’ Society. He and I had a common pur-<br />
suit—a pursuit which makes many friends. We<br />
were both devoted to the Alps, and had been for<br />
nearly forty years fellow-members of the Alpine<br />
Club. That body has secured the services of<br />
many good men on its committee, and it was not<br />
likely to dispense with those of Sir Henry Bergne.<br />
His kindly and social nature was thoroughly and<br />
widely appreciated in the club, and it was with<br />
Something like dismay that its members learnt<br />
that his eldest son, a brilliant climber, had been<br />
killed on the mountains by a chance slip on<br />
January 1 of this year. It added to the admira-<br />
tion of some of us for Sir Henry Bergne that he<br />
did not allow this heavy sorrow to take him away<br />
from his duties or to interfere with any of his<br />
services to the Authors’ Society during the past<br />
year. To me as chairman, he was still the friend in<br />
need, always ready to give his assistance. It was<br />
mainly through his freely offered and effective<br />
help that the society was able to bring M.<br />
Lecompte, the President of the Société des Gens de<br />
Lettres, and the President of the Board of Trade<br />
into personal and friendly communication in July<br />
last.<br />
D. W. F.<br />
I should like to add a few personal words of<br />
sorrow, as a slight token to the memory of Sir<br />
Henry Bergne, to the article which our chairman<br />
has written.<br />
I have worked under Sir Henry Bergne on the<br />
committee and with him as chairman of the society.<br />
On all occasions I have found him open to the<br />
suggestions and proposals of others. Although<br />
himself one of the greatest authorities on copy-<br />
right, he was most modest of his powers and great<br />
attainments. In his work for the Society, he was<br />
almost over-conscientious in the consideration<br />
of the questions submitted to him. During<br />
his chairmanship he had many difficult disputes<br />
to deal with outside copyright matters. I had<br />
to make many heavy demands on his time, for<br />
even after his retirement from the Foreign Office<br />
he was always engaged with public business and<br />
public enterprise. Incidentally, he has mentioned<br />
to me that my letters—often relating to important<br />
and complicated matters, and accompanied by<br />
voluminous documents—would come to him by<br />
the last post, and on his return from some public<br />
function ; yet he has read them through carefully,<br />
and answered them the same night, in order that<br />
a reply might come to hand by the following<br />
morning, and the society's work might not be<br />
delayed.<br />
At times, no doubt, he differed as to the methods<br />
by which I was anxious to deal with matters under<br />
consideration, but his dealings with me have always<br />
been characterised by kindliness, courtesy, and<br />
sympathy. One felt confidence in following his<br />
guidance that the course mapped out by his mature<br />
judgment would produce a satisfactory result.<br />
I can but repeat, what our chairman has stated,<br />
that it will be impossible adequately to fill the<br />
place on the committee which his death leaves<br />
Vacant. -<br />
I should like to conclude these few words of<br />
testimony to Sir Henry Bergne's work for the<br />
Society by an expression of my deep sympathy<br />
With Lady Bergne and his near relations, on the<br />
loss which they have sustained by his death whilst<br />
engaged in that work which he had made supremely<br />
his own.<br />
G. HERBERT THRING.<br />
Sir Henry Bergne's funeral took place on<br />
Saturday, November 21, at Brookwood Cemetery.<br />
In the unavoidable absence of the Chairman, Mr.<br />
Douglas Freshfield, the society was represented by<br />
Mr. A. Hope Hawkins and Mr. G. Herbert Thring,<br />
Secretary.<br />
A Wreath was placed on the grave, from the<br />
Incorporated Society of Authors in token of their<br />
deep regret.<br />
The Society has also received the following<br />
Resolution passed by the Council of the Publishers’<br />
Association :<br />
“The Council of the Publishers’ Association desire to<br />
convey to the Committee of the Society of Authors the<br />
assurance of their deep sympathy with them in the loss.<br />
which they have sustained by the death of Sir Henry<br />
Bergne.<br />
For many years past Sir Henry, both at the Foreign<br />
Office and after his retirement, laboured incessantly to<br />
promote the interests of all holders of copyright and the<br />
welfare of literature ; and the services which he thus<br />
rendered will always be remembered with gratitude by all<br />
Who are engaged in the writing and production of books.”<br />
a -º- _*.<br />
º --~~<br />
HEROES AND HEROHNES-CHIEFLY<br />
HEROES.<br />
—º-º-º--<br />
F the author of the distorted maxim, “The<br />
I proper study of mankind is woman,” had<br />
added the words, “and of womankind is<br />
man,” he would have been able to bring forward a<br />
considerable body of evidence from modern fiction.<br />
It has apparently an irresistible attraction for the<br />
man or woman novelist to make his or her work a<br />
medium for analysis of the opposite sex, and it<br />
would be an easy task to gather from the pages of<br />
that literature for the dissemination of which the<br />
circulating libraries seem chiefly to exist a large.<br />
<br />
<br />
## p. 78 (#98) ##############################################<br />
<br />
78<br />
TFIES A UTFIOR.<br />
collection of male writers’ heroines and female<br />
writers' heroes. In order to judge of the success<br />
of these character-studies, the only fair way would<br />
be to empanel juries of women to sit upon the<br />
heroines, and of men to sit upon the heroes ; for<br />
women alone can decide whether the man novelist<br />
has managed to portray them accurately and vice<br />
wersá. I have generally found that, if one asks a<br />
well-read woman who among male novelists now<br />
living presents, to her mind, the most life-like and<br />
satisfactory heroines, she will answer : George<br />
Meredith. Why so I questioned the other day;<br />
and my victim, a lady in whose good judgment I<br />
have the utmost reliance, replied : “Because he,<br />
most of all male writers, is able to convey the<br />
‘essential variability and instability of woman.”<br />
(To any ladies who may read with indignation<br />
what I have just written, I may point out that I<br />
am not sheltering myself behind Virgil's varium<br />
let mutabile semper, but behind a remark by one of<br />
their own sex.) Meredith, I take it, succeeds best<br />
of all in making his women human. The majority<br />
of his rivals have only the skill to paint their<br />
version of the ideal “She.” And their ideals are<br />
often very different indeed from those of anyone<br />
else. A certain eminent historical novelist, for<br />
instance, invariably gives us a heroine for whom<br />
the best treatment would certainly be—may I Say<br />
it —a good spanking.<br />
However, I did not set out to write this article<br />
with the intention of discussing the Works of<br />
published so much as of unpublished novelists. It<br />
has been my fortune, or misfortune, to read, for<br />
financial rather than artistic gain, vast quantities<br />
of novels, many of which I trust will never see<br />
the light of day, at least until they have been<br />
strictly revised. In pursuance of my task, I have<br />
been constantly impressed by the weakness in the<br />
drawing of the central male or female character,<br />
even where considerable power of observation has<br />
been shown in the sketching of the minor charac-<br />
ters of the same sex. When the man writer<br />
comes to his heroine, or the woman to her hero,<br />
failure is manifest. Now it is my fate to be a<br />
man, and therefore I am not eligible for the jury<br />
to sit upon the man's heroine. Perhaps, however,<br />
I am ordinarily competent to express an opinion<br />
on the treatment of my own sex by Women<br />
novelists. As I am not, I repeat, discussing the<br />
published, but the yet unpublished, I shall have<br />
to avoid giving specific instances. It must also<br />
be remembered that I am not dealing with master-<br />
works, unless the publishers and the public shall<br />
prove to think quite differently from me.<br />
Generally speaking, we seem to find that a<br />
woman, “commencing” novelist, when she draws<br />
a man either takes her male relatives or acquain-<br />
stances as copies, or else calls on her imagination<br />
for the picture of what a man should be, putting<br />
into the composition some characteristics from<br />
men whom she admires—if she admires any. As<br />
a rule she does not make heroes of members of<br />
her own family. If she puts in her husband, for<br />
instance, she is more likely to make him the<br />
villain than the hero of the book. Do we not<br />
know of certain published ladies who do this with<br />
rather monotonous frequency P. The recurrence of<br />
the same brutal type would be somewhat puzzling<br />
if we did not know (as, of course, we always do<br />
know nowadays) that the talented lady and her<br />
husband did not get on very well together, and<br />
that she was taking revenge in ink. Possibly the<br />
desire for domestic peace may cause married<br />
Women to refrain from making their husbands the<br />
heroes of their novels, since it may often be even<br />
more unpleasant to figure as a certain kind of hero<br />
than as a downright villain. Assuredly some<br />
Women's heroes are far more calculated to irritate<br />
the male reader than to delight him. This matters<br />
little otherwise, for the mass of novels written by<br />
Women are read by women, and the hero therefore<br />
will not be judged by a competent standard. He<br />
may not be all women readers' ideal man, but he<br />
will at least have some of the traits which endear<br />
him to the sex.<br />
It would involve great labour to classify<br />
thoroughly women's heroes, but superficially they<br />
may be divided into two classes, whom we may<br />
call John and Jack, since these names help to<br />
indicate their difference in character. John is<br />
the strong man who suffers in silence, although<br />
he may occasionally “bow his head in grief.”<br />
Usually he has a plain, honest face, and is care-<br />
lessly dressed. If he smokes anything, it is a<br />
pipe. He is rather stupid, and his wits in any case<br />
are not as quick as the heroine's, in consonance<br />
with the agreeable fiction about woman's livelier<br />
intelligence. He is always a prig, according to<br />
male ideas. Jack is not so strong as John. He<br />
may even have had a past, though not very black.<br />
He probably smokes cigarettes. He differs greatly<br />
from John in having a clear-cut face and wearing<br />
“immaculate” clothes, possibly paid for out of the<br />
results of his success in his profession—which<br />
may even be literature, reminding us of the lines,<br />
“We knew his books were selling well<br />
By his patent leather boots.”<br />
Jack is not so faithful nor so quixotic as John, but<br />
he turns out right in the end. On the way to it,<br />
he is quite as much of a prig.<br />
Priggishness, indeed, seems a necessary trait of<br />
the woman’s hero. The thought may strike us:<br />
Is this really a mark of our sex 2 Are We men,<br />
so eager to condemn the taint in others, really all<br />
infected with it ourselves 2 Rather than admit<br />
<br />
<br />
## p. 79 (#99) ##############################################<br />
<br />
TFIES A UTISIOR*, 79<br />
this, let me take refuge once more in the sugges-<br />
tion that the woman novelist under discussion<br />
breaks down when she comes to the drawing of<br />
her central male character, and that then her<br />
powers of observation desert her.<br />
In order not to stultify myself, I must leave it<br />
to women to say in what respects our heroines fail.<br />
I will admit that other men's ideals are very tame<br />
beside my own. But I have not yet written a<br />
novel.<br />
I make this confession at the risk of betraying<br />
my identity.<br />
S.<br />
P-e—“[e<br />
LORD SOUTHAMPTON AND TITCHFIELD<br />
PLACE.<br />
—º-º-º-<br />
HE chequered career of a true-hearted though<br />
passionate nobleman, Henry Wriothesley,<br />
third Earl of Southampton, is worthy of note.<br />
He is connected with Titchfield Place, near<br />
Southampton ; Drury House, Strand; and the State<br />
of Virginia, North America.<br />
To begin with Titchfield. This town belongs to<br />
the charmed ring which lies about our coast, neither<br />
wholly marine nor rural. Out of sight of the grey<br />
main, but not out of touch with it oceanwards lie<br />
marshy creeks and wind-swept boscage ; inland<br />
nestle hamlets framed in pasture, corn, and wooded<br />
heights.<br />
As one enters the portal of the wooden-steepled<br />
church one is struck by the wideness of the aisles,<br />
the slender shafts of the pillars, and the dignity<br />
and beauty of the monument to the Earls of South-<br />
ampton in the south chapel. High on a triply-<br />
arched marble altar-tomb lies the effigy of a Tudor<br />
dame. Very rich the carving and gilding of the<br />
armorial bearings, while four tall and polished<br />
obelisks like giant tapers guard the corners of the<br />
tomb.<br />
Much might be said about the learned Lord<br />
Chancellor, first earl, and the Lady Jane who lies<br />
above him, also of Henry the second earl in courtly<br />
armour lying on the north side ; and one can<br />
imagine the eight-year-old boy already fatherless<br />
coming with his mother Mary Browne, daughter of<br />
Sir Anthony Browne of Cowdray, to watch the<br />
building up of this magnificent sepulchre for which<br />
31,000 had been left by testament.<br />
The widowed countess and her son must often<br />
have stayed at the princely mansion of Cowdray,<br />
for it is not till eleven years after her husband's<br />
death that she loses her father, and two years later<br />
she seeks the Society and protection of Sir Heneage<br />
Finch in marriage. Her son is violently disturbed,<br />
and to this year belongs “Lucrece” by Shake-<br />
speare, dedicated to his patron the young Earl.<br />
Perhaps an appeal to the conscience of the lady.<br />
Ileft to himself wild spirits gather about Titch-<br />
field Place and the young heir. Sir Henry Danvers,<br />
formerly page to Sir Philip Sidney, rides up one<br />
day. He and his elder brother Sir Charles have<br />
served in foreign wars, but on the death of their<br />
father are now in Wiltshire at feud with their<br />
neighbours, the Longs of Corsham. After a secret<br />
interview Sir Henry returns to Dauntsey. He has<br />
probably obtained permission to secrete certain<br />
papers stolen by the Longs at Titchfield. That is<br />
to say if they can be recovered.<br />
A day or two after Sir Charles and Sir Henry,<br />
with a faithful follower John, gallop up to Titch-<br />
field. There has been bloodshed, Sir Henry Long<br />
has been shot by one of them, the hue and cry is<br />
out. The Earl of Southampton hurries them up to<br />
a lonely farm on the hill-side, and prepares to ship<br />
them abroad. But the Sheriff of Southampton is<br />
on the alert and the culprits have to double and<br />
make for London, and thence to France, closely<br />
helped by the young earl.<br />
Signor Florio, the translator of Montaigne, is in<br />
the thick of it all and is “wanted.”<br />
On reaching London he must have poured out<br />
all his adventures to Shakespeare.<br />
The Danvers brothers do featly abroad but are<br />
in disgrace and dare not return.<br />
Finally a play is produced of which the prologue<br />
runs thus:<br />
Two households both alike in dignity,<br />
In fair Verona where we lay our scene,<br />
From ancient grudge break to new mutiny,<br />
Where civil blood makes civil hands unclean.<br />
The story is closely followed from Lord Brook's<br />
translation of an Italian novel, but its application<br />
lay in the restoration of peace to two rival houses.<br />
In 1598 the Danvers are pardoned and return.<br />
Shakespeare receives £1,000 from his patron. No<br />
virtue in Elizabethan times is more fashionable<br />
than knightly brotherhood. Faithful friendship is<br />
glorified. Of such nature was the devotion of Lord<br />
Southampton to Lord Essex. He marries his<br />
cousin Elizabeth Vernon, and justifies all action by<br />
ties of kinship. He lends Drury House for political<br />
meetings to circumvent the ambition of Raleigh<br />
and the wiles of Robert Cecil. Finally Lord<br />
Southampton stands by Essex at his trial and is<br />
condemned to death.<br />
Shortly before this crisis we have it on record<br />
that he attends the play with Lord Rutland every<br />
day, and that his countess is with Lady Rich at<br />
Essex House. That the playhouse was Shake-<br />
speare's we know by the play ordered the night<br />
before the catastrophe.<br />
Lord Southampton is released by James I. His<br />
<br />
<br />
## p. 80 (#100) #############################################<br />
<br />
80<br />
THE AUTHOR.<br />
face has lost the petulant brilliancy of his early<br />
portrait and assumes the sober cast of his fore-<br />
fathers. He lives constantly at Titchfield, under-<br />
taking voyages to America, subsidising explorations,<br />
fighting chivalrous causes. News of the death of<br />
Lady Rich must have reached them in 1606. They<br />
lose a four-year-old daughter, the Ladye Mary, in<br />
1614. In 1616 they hear of the death of Shake-<br />
Speare. -<br />
A great white stone wall still encircles the ruins<br />
of Titchfield Place. Magnificent and ghostly<br />
towers of the gatehouse still mark the place where<br />
the first earl drove his entrance through the nave<br />
of the priory church of Titchfield. Within the<br />
grounds the leafless trunk of a mighty oak lies<br />
white and ghastly on the sward. It must have<br />
been centuries old in Shakespeare's time. The<br />
walls of the palace are tapestried with ashen ivy<br />
boughs, dead and colourless as the stone. It might<br />
fitly represent the tragic end of the countess after<br />
1624, for in that year the Earl is brought home<br />
dead from Bergen-ap-Zoom, and with him the body<br />
of the heir, his son of twenty-six. Again a widowed<br />
countess reigns at Titchfield, her heir a lad of<br />
fifteen. But yet another tragedy awaits her, twenty<br />
years later. King Charles I. in his flight from<br />
Hampton Court takes refuge at Titchfield, hoping<br />
thence to escape to France. Clarendon says: “The<br />
king thought it best for avoiding all highways to<br />
go to Titchfield, a noble seat of the Earl of South-<br />
ampton (who was not there) but inhabited by the<br />
old lady, his mother, with a small family, which<br />
made the retreat more convenient.<br />
“There his majesty alighted and would speak with<br />
the lady, to whom he made no scruple of com-<br />
municating himself, knowing her to be a lady of<br />
that honour and spirit that she was superior to all<br />
kind of temptation. There he slept, and was<br />
betrayed next day into the hands of Colonel<br />
Hammond, Governor of the Isle of Wight.”<br />
Could it be that the folio Shakespeare, studied by<br />
King Charles at Carisbrooke, was the gift of the<br />
aged countess to her guest ?<br />
On that last evening converse must have fallen<br />
upon past days, and on the mighty poet Elizabeth<br />
Vernon had known so long and so well in her<br />
youth.<br />
FICTION AS A MENACE TO THE BOOK<br />
TRADE.<br />
(Reprinted by kind permission of the Editor of the<br />
United States Publishers' Weekly)<br />
Y WE took Occasion a short time ago to point<br />
out the desirability of stemming the tide<br />
of what the London Nation calls “pedes-<br />
trian Work,” that is, books of a vulgar or common<br />
grade, whether it be fiction or other printed<br />
matter—all of which does so much to interfere<br />
with the distribution of books of real merit.<br />
Undoubtedly, the sale of momentarily popular<br />
books sometimes adds considerably to the income<br />
of the bookseller ; but, on the other hand, far-<br />
Seeing booksellers are coming to realise more and<br />
more that the concentration of their efforts upon<br />
merchandise of that sort has reacted disadvantage-<br />
Ously upon the sale of better books.<br />
We have reached a period in the history of the<br />
book trade, it seems to us, when it is imperative<br />
that the book trade and the public are disabused of<br />
the delusion that bookselling is merely the hand-<br />
ling of fiction. That way of thinking has caused<br />
more confusion, brought more bad feeling into the<br />
trade, and has actually caused more harm to both<br />
publisher and bookseller than all the other per-<br />
plexities that beset the book trade put together.<br />
It is just because so little knowledge is required to<br />
handle fiction, and because the equivocal price of<br />
novels is so generally known to the public that the<br />
department stores, that usually have larger means<br />
at their command than most any half-dozen book-<br />
sellers in their vicinity combined, seize upon it as<br />
a bait to bamboozle the public into believing that<br />
everything they offer is sold at the same rate at<br />
which they sell books—that is, fiction. These<br />
stores rarely venture further into the book busi-<br />
ness than to exploit the novel of the hour, the<br />
competitive reprints or remainders of cheaply-<br />
made books offered at one time or another by<br />
“fly-by-night º' publishing concerns as premiums<br />
or bait for other ventures, thus leaving the field<br />
of the more substantial books to the regular book-<br />
Seller ; and those department stores that do venture<br />
to maintain a well-equipped book department<br />
realise very quickly that they cannot afford to cut<br />
the prices on the better class of books so deeply—<br />
if at all—as they can on the books on which there<br />
is less risk, and which require only the service of<br />
the average shop-girl, who to-day is in the tin-<br />
ware department, the next day at the ribbon<br />
counter, and on another day, when needed to help<br />
out, acts as a bookseller.<br />
The more wide-awake publisher, also, is begin-<br />
ning to realise that in cultivating fiction in the<br />
hopes of keeping his plant employed and adding to .<br />
his income he is engaged in chasing an ignis<br />
fatuºus. The further he ventures in this direction<br />
the deeper he finds himself in the mire, and the<br />
less he is in a position to develop the more solid<br />
and profitable feature of his profession. Indeed,<br />
there is already noticeable a tendency on the part<br />
of some of the older publishing houses to make<br />
fewer ventures into the realm of fiction, restricting<br />
themselves to the products of the authors already<br />
on their lists or the really meritorious work of a<br />
<br />
<br />
## p. 81 (#101) #############################################<br />
<br />
TFIES A UITYFIOR, 81<br />
new writer, and devoting most of their energy,<br />
instead, to the publishing of serious books from<br />
which only moderate sales can be expected, but<br />
from which larger and more certain profits are<br />
bound to accrue.<br />
The bookseller, we claim, has an ever-widening<br />
and growing field as his own, because there are<br />
very large classes of books constantly published<br />
which are always in demand, on which the<br />
undersellers never cut the price and which are<br />
never included in their advertising campaign.<br />
Readers in this country are not exclusively readers<br />
of fiction, good or bad ; and if, unfortunately, in<br />
the near future, some publishers should be so blind<br />
to their own best interests as to enable the under-<br />
sellers to discredit the book trade by beating the<br />
life out of the “best sellers,” we trust the book-<br />
sellers of the country will have backbone enough<br />
to assist them by “sticking to their last,” and by<br />
buying only enough of their output of fiction to<br />
supply the actual demands of their customers, and<br />
to devote the better part of their time and atten-<br />
tion to the dissemination of books that are books,<br />
the books of all time and for all seasons, the books<br />
that count and are more rapidly coming into their<br />
OWI). -<br />
We therefore hope that, if fiction ever becomes<br />
an incubus, and threatens to sap the life of the<br />
book trade, the bookseller may be forearmed to<br />
meet the danger before it is too late, because in<br />
that event even a revolution might prove futile.<br />
——e—º-e—<br />
TRAGEDY.”<br />
—º-º-º-<br />
* HIS is the first of a series dealing with the<br />
- various types of literature, and if the rest<br />
- in any Way attain to the excellence of the<br />
Volume before us, the publishers will have good<br />
cause to be proud of their venture.<br />
The design of the book is to trace the course of<br />
English tragedy up to the middle of the last cen-<br />
tury, and to show its place and influence in the<br />
history of the theatre and of literature. This is a<br />
great task. To perform it adequately in the space<br />
of 377 pages of large type is still more difficult,<br />
but Professor Thorndike has accomplished it. Of<br />
course, no exhaustive treatment is attempted,<br />
though it may be remarked that all tragedies of<br />
the sixteenth century are mentioned. The book is<br />
really a critical essay ; a guide-book, but not a<br />
text-book; a compact “Form at a Glance” of<br />
tragedy, yet essentially scholarly and dignified.<br />
* “Tragedy,”<br />
English in Columbia University. London : Constable &<br />
Co. 1908.<br />
by Ashley H. Thorndike, Professor of .<br />
At the close of every chapter are Notes on Biblio-<br />
graphy, which are quite invaluable.<br />
We find, however, on page 81, an opportunity<br />
for quibbling, or making a strong protest—the<br />
reader may decide. Among stage costumes is<br />
mentioned the “gown to go invisible in,” graced<br />
as here with inverted commas. To the best of our<br />
knowledge it should be “for to goo invisibell,” and<br />
as such we can readily credit it. On the other<br />
hand, the gown that Professor Thorndike quotes<br />
is obviously an impostor. We will have none of it.<br />
The conclusion is so excellent, and so pregnant<br />
at the present time when efforts are being made to<br />
raise the theatre into its early significance, that we<br />
should like to reprint the whole of it here. Lack<br />
of space, besides other considerations, prevents such<br />
desideratum, but at least we are able to give two<br />
short extracts.<br />
“The theatre, while crying for novelty, holds tenaciously<br />
to its traditions. Literature, while enforcing rules, prece-<br />
dents, prejudices, while clinging to its models and demand-<br />
ing imitation, yet incites to rivalry and originality, to new<br />
endeavour, variation and excellence. These two main<br />
classes of influence have rarely, if ever, run parallel. At<br />
times the theatre has attracted literature, as in the<br />
Elizabethan era ; at times it has repelled literature, as in<br />
the early nineteenth century. Usually what the stage of<br />
the day desires and what the literature of the past encourages<br />
have been quite different and quite irreconcilable. . . .<br />
It is the purpose of dramatic art to bring about their<br />
reconciliation to harmonise the technic of the theatre,<br />
the necessities of the drama, and the standards of literary<br />
excellence.”<br />
“Tragedy takes an abiding place among the great courses<br />
of continuous human activity dedicated to an inquiry into<br />
the meanings of life. Its imaginative and intellectual<br />
study of suffering and ruin must continue, however its<br />
form may alter, if the theatre is to be a social force of im-<br />
portance, if literature is to offer an intelligent, serious and<br />
Comprehensive view of life, if the two are to unite in some-<br />
thing better than a trivial and selfish entertainment.”<br />
Z.<br />
CONTEMPORARY CRITICISMS. x.<br />
—º-º-º-<br />
“THE HAUNTED MAN AND THE GHOST's BARGAIN :<br />
A FANCY FOR CHRISTMAS TIME.” BY CHARLES<br />
DICKENS. LONDON : BRADBURY AND EVANS,<br />
11, BOUVERIE STREET. 1848.<br />
. . . Foremost in the ranks of Christmas<br />
chroniclers stands pre-eminent Charles Dickens,<br />
author of THE Christmas Carol, par ercellence . . . .<br />
that little book, all-powerful in the magic of its<br />
eloquent simplicity. . . . The Carol, appealing as<br />
it did to all the best parts of our nature, and by<br />
the force of love winning men to virtue, became<br />
deservedly popular; in the language of the “Row ’’<br />
it was a decided hit—a speculation equally satis-<br />
factory to those who sold and those who bought.<br />
Accordingly the following Christmas gave to the<br />
<br />
<br />
## p. 82 (#102) #############################################<br />
<br />
82<br />
TISIES A CITISIOR.<br />
world “The Chimes,” a goblin story. This, like<br />
most attempts to repeat a good thing, was in some<br />
degrees a falling-off; still, it had many of its<br />
predecessor's beauties, and certain quaint and<br />
loveable originalities all its own ; witness that<br />
most fantastic but delectable creation, Trotty Weck.<br />
“The Chimes” was succeeded by “The Cricket on<br />
the Hearth "; and the charm of the story, the<br />
fascinations of Dot, and the vis comica of Tilly<br />
Slowboy and her pluralities, caused the general<br />
reader to overlook, and the friendly critic to deal<br />
gently with, a certain want of originality in the<br />
plot and character, and a light comedy arrange-<br />
ment of scenes and situations, which detracted<br />
from its merits as a work of art. But its very<br />
faults rendered it peculiarly adapted for dramatic<br />
representation. A Punch writer (with the author's<br />
sanction) chopped it up into the necessary longs<br />
and shorts . . . and the “Cricket on the Hearth''<br />
became to all intents and purposes a comedietta.<br />
Whether this palpable realisation of the ideal—<br />
this clothing the graceful, air-born fancies of<br />
Mr. Dickens' poetic mind, in the inimitable flesh<br />
and blood of the Keeleys—was a wise experiment,<br />
we have grave doubts. . . . However this might<br />
be, the consequences were fatal to the next Christ-<br />
mas book by this writer. Confused between pub-<br />
lishers and players, Mr. Dickens produced a hybrid<br />
anomaly—a thing with an unmeaning name—<br />
neither Tyrian nor Trojan, neither tale nor farce,<br />
where a phrase of high flown sentiment ended with<br />
a cue for Mrs. Keeley’s funny maid-servant, and<br />
her little husband’s buffooneries served to enliven<br />
the more serious business of transferring a lover,<br />
or breaking a father's heart. Such a mistake<br />
could lead but to one result ; and, accordingly,<br />
the “Battle of Life” was condemned by the critics,<br />
pooh-poohed by the public, hissed at the Lyceum,<br />
and finally (to use Tilly Slowboy’s expressive com-<br />
pound verb) “dead-and-buried" by the Times<br />
reviewer. That the author was himself aware that,<br />
for Once, his arrow had missed the bull's-eye may<br />
be deduced from the fact that last year he left the<br />
field to other competitors; and Thackeray, and the<br />
beadles, the comic almanacs and the dustnen, had it<br />
all their own way. It was, then, with no uncommon<br />
degree of interest that we saw the announcement,<br />
Some months ago, of a new Christmas Tale by<br />
Charles Dickens; and it is with unmixed satisfac-<br />
tion that we now rise from a perusal of the work,<br />
convinced that its author has profited by his<br />
experience. *<br />
“The Haunted Man, and the Ghost's Bargain"<br />
(about as awkward a name, by the way, as ever<br />
was hit upon) is appropriately termed “A Fancy<br />
for Christmas Time,” for such and such alone it<br />
is ; but a more poetic and beautiful conception we<br />
have seldom, if ever, met with. Though we are<br />
constantly gliding into the regions of the ideal—<br />
though the ghost is a very thorough ghost, indeed,<br />
cold, vague, shadowy, impressive and horrible, as<br />
a ghost ought to be—though the heroine herself,<br />
the calm-eyed, loving, loveable, and particularly<br />
impossible Milly, is more a good spirit than a<br />
woman—yet the Supernatural machinery all works<br />
in a very natural way ; and though slow imagina-<br />
tions may be somewhat put to it to keep pace with<br />
the author's flights of fancy, there is nothing con-<br />
trary to good sense or right feeling throughout.<br />
The story, moreover, has a clear, plain, easily dis-<br />
cerned, and most excellent moral; wherein, of its<br />
predecessors, it most closely resembles “The<br />
Carol,” and most widely differs from the “Battle<br />
of Life.” . . . . The tale begins with ten pages of<br />
intensely Dickenish description of rain, wind,<br />
clouds, gable-ends, “lights in old halls and cottage<br />
windows” and shadows. . . . Having disposed of<br />
the elements and the other picturesque “pro-<br />
perties” to his satisfaction Mr. Dickens introduces<br />
us to his haunted man, a certain professor of<br />
chemistry, by name Redlaw, residing in an incom-<br />
prehensible old edifice containing a lecture room. . .<br />
This gentleman has his dinner brought by a certain<br />
William Swidger, son of the superannuated<br />
custodian of the institution, and husband—hear<br />
it all ye romantic damsels, and shudder—of the<br />
Guardian Angel, Milly ; they are joined by Milly<br />
and her father-in-law, who is constantly congratu-<br />
lating himself upon the greenness of his memory—<br />
which colour by the way, is more or less discernible<br />
in the generality of his remarks. . . .<br />
. . . A worthy family, rejoicing in the euphonious<br />
name of Tetterby, possess a most undeniable claim<br />
on Our gratitude, by affording a vehicle for the dis-<br />
play of our author's own peculiar inimitable vein of<br />
humour. Some of his touches are most happy. . . .<br />
The description of a baby—a new, wonderfully<br />
imagined, and triumphantly executed baby, pos-<br />
Sessing a strong, clearly defined, and most alarming<br />
individuality, and yet, withal, perfectly true (to<br />
the best of our knowledge) to baby-nature—is<br />
irresistible. . . . The character of Milly must be<br />
dealt with gently and lovingly. Regarded as the<br />
personification of tenderness and charity, as the<br />
good genius of a Christmas Fancy, with just enough<br />
of the material woman about her to enable ordinary<br />
mortals to realise and adore: she is a most rare<br />
and beautiful creation. For ourselves, convinced<br />
that in this spirit was the character conceived, and<br />
in this alone should it be treated of, we care nothing<br />
for the objections which we foresee will be urged<br />
against it, regarding all cavils as to its unreality<br />
as just so much false criticism. The design of the<br />
work is excellent ; no mind but that of a good and<br />
clever man could have originated it ; none but a<br />
master's hand could have executed it.<br />
<br />
<br />
## p. 83 (#103) #############################################<br />
<br />
TFIES A CITFIOR. 8<br />
3<br />
And it is well that it should be so. There is a<br />
fearful responsibility attached to the possession of<br />
such talent as that of Mr. Dickens; the amount<br />
of influence he may exercise for good or evil is<br />
incalculable. In the present instance we have no<br />
doubt as to the result. The readers of the “Ghost's<br />
Bargain" may be counted by tens of thousands ;<br />
but we should be sorry to call him our friend who<br />
does not rise from its perusal a wiser and a better<br />
D] &Il.<br />
(Sharpe's London Magazine, 1848.)<br />
CORRESPONDENCE,<br />
—º-º-º-<br />
EDITORIAL FAILINGS.<br />
I.<br />
SIR,--I think your correspondent “C.B.” in<br />
your November issue is rather sweeping in his<br />
condemnation of editors. He complains that they<br />
(or their office boys) are in the habit of scoring<br />
MSS. and thus spoiling their virgin beauty. May<br />
I point out that from among thousands of MSS.<br />
which have passed through my hands and the<br />
hands of my assistants (who by the way are not<br />
office boys) during many years of editorial work, I<br />
have never had a single complaint that any MS.<br />
has been returned in a less cleanly condition than<br />
when it was received. MSS. are not numbered in<br />
this office, nor marked in any way.<br />
I should be very grateful if you will permit me<br />
to use this opportunity for correcting another<br />
wide-spread error among aspiring authors. These<br />
gentlemen are never tired of asserting that editors<br />
do not read the majority of MSS. submitted to<br />
them. Let me assure all aspiring authors that<br />
not one of those many thousand MSS. alluded to<br />
above has been returned without having been<br />
previously considered either by myself, my assis-<br />
tants, or a special staff of readers. Most journals<br />
could not exist but for the contributions of out-<br />
siders, and as editors are rational human beings,<br />
in spite of all that is said to the contrary, they do<br />
not wantonly play ducks and drakes with their<br />
chief means of livelihood.<br />
Yours faithfully,<br />
THE EDITOR,<br />
C. Arthur Pearson, Ltd.<br />
—º-º-º-<br />
II.<br />
SIR,--I should like to inform “C. B.” that I<br />
never allow MSS. to be marked in my office. If<br />
he likes to send me something, I can assure him<br />
that he will get it back almost as good as new. But<br />
editors are not the only people with this failing.<br />
I have remonstrated with a literary agent, who<br />
makes strange marks on the MSS. he sends round,<br />
pointing out to him that some of the contributions<br />
emanating from him bear the look of collars that<br />
have been clerically attended to by several<br />
laundries.<br />
Disfiguring a manuscript is, to my mind, a<br />
distinct discourtesy on the part of an editor, and<br />
“C.B.'s" protest is well justified.<br />
Yours faithfully,<br />
R. S. WARREN BELL,<br />
Editor of The Captain.<br />
—t-G-4–<br />
PENSION FUND.<br />
SIR,--I cannot think H. A.’s letter is repre-<br />
sentative even of himself, and can only agree with<br />
his last words, and then only by transposing them<br />
to read, “It is not a question of principle, but of<br />
the amount demanded.” Literature is surely the<br />
most liberal of professions, and it could not exist<br />
without original thought, which means that no two<br />
people think precisely alike. Also, however<br />
valuable opinions, thoughtful persons are privileged<br />
to change them, and sometimes do go “full speed<br />
astern.” Yet H. A. wishes us to believe that his<br />
only motive for not contributing is the fear that<br />
Some small portion of his generosity, however<br />
great, might, at some future time, go to relieve the<br />
sufferings of some imaginary poor devil who might<br />
have the temerity to differ from him. This is not<br />
quite liberal, not quite tolerant ; and the evil one<br />
may never need the pension. No compulsion, of<br />
course, but let those subscribe who can, and leave<br />
the rest to the pension committee.<br />
ANOTHER A.<br />
—t—sº-º-<br />
MILTON TERCENTENARY.<br />
SIR,--I have the honour, on behalf of the<br />
Milton Tercentenary Committee, appointed by<br />
the Council of the British Academy, in view<br />
of a memorial addressed to them early in the<br />
year by the Lord Mayor, the Chairman of the<br />
London County Council, the Vice-Chancellors of<br />
the Universities of Oxford, Cambridge, and Lon-<br />
don, and others, to announce the following details<br />
of the programme of the celebration –<br />
On the evening of December 8, the eve of the<br />
300th anniversary of the birth of Milton, the British<br />
Academy will hold a special meeting at the Theatre<br />
of Burlington House, Burlington-gardens, at which<br />
<br />
<br />
## p. 84 (#104) #############################################<br />
<br />
84<br />
TISIES A UITISIOR.<br />
Dr. A. W. Ward, Master of Peterhouse, Fellow of<br />
the Academy, will deliver a brief oration on<br />
“Milton's Life and Work,” to be followed by a<br />
discourse on “Milton's Comus and its Incidental<br />
Music,” by Sir Frederick Bridge, illustrated by the<br />
choristers of Westminster Abbey.<br />
In response to a request addressed to him by the<br />
Tercentenary Committee, Mr. George Meredith,<br />
O.M., has graciously written some lines on<br />
“Milton,” in honour of the occasion, and the<br />
celebration will fittingly open with the reading of<br />
these lines.<br />
On December 9, the day of the tercentenary, a<br />
special commemoration service will be held in the<br />
afternoon, at the church of St. Mary-le-Bow,<br />
Cheapside, at which the sermon will be given by<br />
the Bishop of Ripon. The Right Hon. the Lord<br />
Mayor (Sir George Wyatt Truscott) and the<br />
Sheriffs, in State, leading citizens (especially of<br />
Milton's ward of Bread-street), the officers and<br />
Fellows of the British Academy, with other invited<br />
guests, will attend the service.<br />
In the evening the Lord Mayor will entertain a<br />
representative company at the Mansion House at a<br />
banquet in celebration of the tercentenary.<br />
On Thursday, December 10, in the afternoon, a<br />
general meeting of the British Academy will be<br />
held, at which will be communicated for publica-<br />
tion the following papers on various aspects of<br />
Milton's life and work :—<br />
“Milton and Dante, with reference to Macaulay's<br />
Essay,” by Mr. W. J. Courthope, C.B.<br />
“Milton in the Eighteenth Century,” by Professor<br />
E. Dowden.<br />
“Milton's Fame on the Continent,” by Professor<br />
J. G. Robertson.<br />
“Milton as Schoolboy and Schoolmaster,” by<br />
Mr. A. F. Leach.<br />
“Samson Agonistes and the Hellenic Drama,”<br />
by the late Sir Richard Jebb.<br />
Further, Professor C. H. Firth will contribute a<br />
paper on “Milton as an Historian.” This will be<br />
read at the ordinary meeting of the Academy on<br />
November 25. -<br />
These papers, together with other contributions,<br />
will be published in extenso in “The Proceedings<br />
of the British Academy,” and also separately.<br />
On the evening of Tuesday, December 15, a per-<br />
formance of “Samson Agonistes” will be given at<br />
the theatre, Burlington-gardens, under the direc-<br />
tion of Mr. William Poel, for the guests of the<br />
British Academy. Public performances are being<br />
arranged for in London and elsewhere.<br />
At the British Museum there will be an exhibi-<br />
tion of “Miltoniana,” and a portfolio containing<br />
facsimiles of the Milton autographs and documents<br />
in the museum will be “published by order of the<br />
trustees, on the occasion of the Milton Tercen-<br />
tenary.” The price of the portfolio will be 1s. ;<br />
Single plates 3d. each.<br />
I am, Sir, your obedient servant,<br />
I. GOLLANCZ,<br />
Secretary of the British Academy.<br />
—e—º-e—<br />
THE AUTHORS’ CLUB.<br />
SIR,-As it is not possible to answer as fully as<br />
one would wish the many letters of inquiry received<br />
daily regarding the now successfully reconstructed<br />
Authors’ Club (founded in 1891 by Sir Walter<br />
Besant), I am requested by my committee to ask if<br />
you will courteously permit the most frequent<br />
questions to be replied to in your columns, as<br />
follows:— * -- . . . . .<br />
1. The reconstruction of the Authors’ Club has<br />
been accomplished with the cordial co-operation of<br />
the majority of the former members.<br />
2. Amongst those who have joined the general<br />
council are the Lord Monkswell, D.L., Sir Edward<br />
Brabrook, C.B., Sir Arthur Conan Doyle, Wen.<br />
Archdeacon Sinclair, D.D., Messrs. S. R. Crockett,<br />
C. B. Fry, Francis Gribble, H. Rider Haggard,<br />
Anthony Hope Hawkins, C. J. Cutcliffe Hyne,<br />
Morley Roberts, William Senior, Horace Annesley<br />
Wachell, Percy White, with Mr. Charles Garvice as<br />
chairman of the Executive Committee, and Mr. T.<br />
Cato Worsfold, hon. solicitor.<br />
3. The new club rooms overlook the Embank-<br />
ment Gardens and the river, and, until the<br />
refurnishing is completed, members of the Authors’<br />
are guests of the Municipal Club in the same<br />
building.<br />
4. The social affairs of the club are managed by<br />
the executive committee who were elected at the<br />
general meeting of members on the 5th ult.,<br />
namely : in addition to the chairman aforemen-<br />
tioned, Messrs. C. H. Cautley, E. J. Harper,<br />
Franklin Lieber, Robert Machray, G. Herbert<br />
Thring, E. H. Lacon Watson, Horace Wyndham<br />
(hon. librarian) and myself.<br />
5. To ensure a continual infusion of fresh<br />
interest in the club's affairs, one third of the com-<br />
mittee will retire in February, 1911, and every<br />
Subsequent February, in favour of new officers, no<br />
past committee-man being eligible for re-election<br />
until the lapse of one year after resigning office.<br />
6. No financial liability in the management<br />
attaches to any individual member.<br />
On behalf of the Executive Committee,<br />
I am, Sir, --<br />
Your obedient servant,<br />
ALGERNON ROSE,<br />
Hon. Sec.<br />
2, Whitehall Court,<br />
London, S.W.<br />
<br />
<br />
## p. 84 (#105) #############################################<br />
<br />
AD VERTISEMENTS. iii<br />
TYPEWRITING.<br />
Authors’ MSS. copied from 9d. per 1,000<br />
words; in duplicate, 1/-, Plays and General<br />
Copying. List and specimen of work on appli-<br />
cation.<br />
ONE OF NUMEROUS TESTIMONIALS.<br />
“Miss M. R. HoRNE has typed for me literary matter to the<br />
©xtent of some hundreds of thousands of words, I have nothing<br />
but praise for the accuracy, speed, and neatness with which she<br />
does her work.—FRANK SAVILLE.”<br />
MISS M. R. HORNE,<br />
ESKDALE, WEST DRAYTON, MIDDLESEX.<br />
MRS. GILL, Typewriting Office,<br />
(Established 1883.) 35, LUDGATE HILL, E.C.<br />
Authors' MSS. carefully copied from 1s, per 1,000<br />
words. Duplicate copies third price. French and German<br />
MSS. accurately copied ; or typewritten English trans-<br />
lations supplied. References kindly permitted to Messrs.<br />
A. P. Watt & Son, Literary Agents, Hastings House,<br />
Norfolk Street, Strand, W.C. Telephone 84.64 Central.<br />
SIPKES and SIKES,<br />
The West Kensington Typewriting 0ffices,<br />
(Established 1893)<br />
223a, Hammersmith Road, LONDON, W.<br />
Authors' MSS. ; Translations; Duplicating ; Plays and Actors' Parts ;<br />
Legal, General and Commercial Documents. Private Rooms for<br />
Dictation. Usual Terms. References.<br />
ANNOUNCEMENT.<br />
We have pleasure in announcing that<br />
we have made an arrangement with<br />
Mr. WILLIAM ARCHER by which<br />
he undertakes, should the author desire<br />
it, to read, criticise, and advise upon<br />
any Dramatic Manuscript (whether a<br />
Scenario or a finished play) which we<br />
may submit to him, and to read no<br />
dramatic manuscript which does not<br />
reach him through us. It is not, how-<br />
ever, to be understood that all Plays<br />
entrusted to us must be submitted to<br />
Mr. Archer, nor that all Plays sub-<br />
mitted to Mr. Archer must be further<br />
handled by us.<br />
CURTIS, BROWN & THORNE.<br />
5, HENRIETTA ST.,<br />
COVENT GARDEN, W.C.<br />
THE INDISS01/BLE (NOT.<br />
By chARLES GRANVILLE.<br />
Price 2/6 nett.<br />
Crowlyn 8vo.<br />
SOIV'ſ E. EPIRFE, SS GOES"]...[INTF (CSIRſ Se<br />
Westminster Review.—“‘The Indissoluble Knot ' is a story<br />
of thrilling interest. . . . Mr. Granville possesses a trenchant<br />
style, and no little knowledge of the seamy side of City life.”<br />
Nottingham Guardian Literary Supplement. —“It is not<br />
often that a novel written avowedly for the purpose of showing<br />
the evils of drink can be treated as a serious work of art. But<br />
“The Indissoluble Rnot is an exception. It has style, the<br />
characterisation is good, and the story is interesting from start<br />
to finish.”<br />
Birmingham Post.—“A powerful story. Mr. Granville wins<br />
|bis success by a direct and powerful appeal to elementary<br />
£motions.”<br />
The Scotsman.—“The author . . . cleverly portrays the<br />
breakdown of a good woman under the baneful influence of a<br />
dissolute husband. . . . The story is one in which the characters<br />
are cleverly drawn, speaking and acting with a naturalness<br />
which will please even a fastidious reader, while a seamy side of<br />
London commercial life is graphically delineated.”<br />
Dundee Courier.—“Mr. Granville undoubtedly gives Lady<br />
|Haversley a very strong case. . . . As a picture of life in the City<br />
the story has considerable interest.”<br />
d The Lady.—“A tragic little story . . . the characters are well<br />
d?"O,700l.” *<br />
Western Mai I.-‘‘The subject is well treated and the author<br />
makes out a powerful case.”<br />
Dundee Advertiser.—“The ruination caused by drunkenness,<br />
and the obstacles the Church throws in the way of divorce by<br />
insisting on the sanctity of marriage, are exhibited in this arrest-<br />
ing story with a strength which cannot favl to appeal to readers<br />
who desire the means of procuring a better Social environment.<br />
A boole that deserves to be studied.” -<br />
Bookseller.—“Mr. Granville is a vigorous Writer. We do not<br />
think he has ever done anything better than this “veiled tragedy<br />
Of the Conventions.’’<br />
LONDON : OPEN ROAD PUBLISHING CO.<br />
NG PAWS<br />
AMBITIOUS AUTHORS, anxious to diverge<br />
from the beaten track, should read the following<br />
new guides:<br />
1. WHAT SHALL : WRITE ABOUT fº<br />
New Plots, and How to Fínd Them.<br />
By R. A. H. GOODYEAR.<br />
2. TALE WRITING FOR M0MEW.<br />
Bright Stories: How to Write and Where<br />
to Lell Them at Best Prices.<br />
By R. A. H. GOODYEAR.<br />
3. 101 MONEY-MAKHNG REGIPES FOR<br />
AUTHORS.<br />
From the Private Papers of Eminent<br />
Writers.<br />
SEVENPENCE EACH,<br />
- Two for 1s. 1d., or three for 1s. 6d. post free, of<br />
THE MAGAZINE SYNDICATE,<br />
Publishing Office, SOUTHPORT, LANCS.<br />
<br />
<br />
<br />
<br />
<br />
<br />
## p. 84 (#106) #############################################<br />
<br />
iv. AD VERTISEMENTS.<br />
The Whitefriars Press,<br />
LONDON & TONBRIDGE,<br />
Having largely increased their PRINTING and BOOKBINDING PLANT<br />
(which is now one of the most complete in the British Isles), are prepared<br />
to undertake, at short notice, the production of<br />
Works of Fiction, Legal and Medical Text Books,<br />
High-class Magazines, Newspapers, etc.<br />
ESTIVIATES FREE.<br />
An IIIustrated Booklet descriptive of the Country Branch of the<br />
- Firm sent on receipt of a Post Card.<br />
Telegrams: Charivari, London ; Charivari, Tonbridge.<br />
Telephones: 2S Holborn ; 19 Tonbridge; 9108 Central<br />
ESTABLISHED]<br />
The Wessex Press,<br />
[XV111. CENT.<br />
Taztºzáozz,<br />
BARNICOTT & PEARC E<br />
INVITE ENQUIRIES RESPECTING PRINTING.<br />
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br />
AUTHORS’ TYPEWRITING.<br />
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-<br />
General Copying - & ... 1 - 33 33 33 1/3<br />
Plays, ruled (a Speciality) ... 1j- 3y jº 33 1/4<br />
Specimens and Price List on application.<br />
MISS A. B. STEVENSON, Yew Tree Cottage,<br />
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386 | https://historysoa.com/items/show/386 | The Author, Vol. 19 Issue 02 (November 1908) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+02+%28November+1908%29"><em>The Author</em>, Vol. 19 Issue 02 (November 1908)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1908-11-02-The-Author-19-2 | | | | | 29–56 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1908-11-02">1908-11-02</a> | | | | | | | 2 | | | 19081102 | C be El u t b or.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
Vol. XIX.-No. 2. NOVEMBER. 2, 1908. [PRICE SIXPENCE.<br />
C O N T E N T S.<br />
PAGE PAGE<br />
Notices ... ... ... . ... ... ... . ... ... ... 29 How to Use the Society “. ... ... ... ... ... 46<br />
Committee Notes - - - e tº e e e Q - a 4 & Cº - tº e º & e - 30 To Musical Composers e tº e tº tº e * - - * & Cº. tº tº e • *- - 46<br />
Cases º ºg ſº • * * tº e - e tº tº * * g. tº w tº tº tº ſº. tº º c * * * 32 The Reading Branch ... * @ Kº tº º º - - - -> tº e tº º º ę & © 46<br />
October Elections - * - tº gº º • * > - - - tº º ºs tº e G ... 32 Notices ... * * * - - - • * * * * * - - - * * * tº º - - - - 46<br />
Books published by Members of the Society gº tº º tº # e. • * * 33 Legal and General Life Assurance Society... is ºn ºf * - - - - - 46<br />
Books published in America by Members ..., e e tº tº a 4 * - e. 36 General Notes ... - - - tº º º • * * - - - tº s a e e - - - - 47<br />
Literary, Dramatic and Musical Notes ..., e e º e tº a - - - 37 The Publishers' Circle and Book Trade Dinner ... © tº e - - - 48<br />
Paris Notes * * * - - - tº º q tº e - • * - e º ºs e e - ... 39 The Twelfth International Congress of the Press - - - ... 49<br />
The Pan-American Copyright Convention... e is tº e se - - - 42 Report of Select Committee on Lotteries and Indecent<br />
Serial and Minor Rights e • * * - - - e e g tº e e ... 43 Advertisements ... * @ s e - e. - - - * * * w e e * * * I<br />
Magazine Contents - - - • * > * * * - e - • * * tº 9 º' - 4 - 44 Books at the Franco-British Exhibition ... * e - º e º 'º a tº 53<br />
Warnings to Producers of Books ... * - º tº º º tº º º e - © 45 Contemporary Criticisms.-IX. * * * - - - tº gº tº * * * W e Q 55<br />
Warnings to Dramatic Authors tº º º * * * tº e tº tº º º tº - - 45 Correspondéñde ... - © tº * * * tº & tº - - - tº tº e * * * © º º 56<br />
Warnings to Musical Composers ... © tº º e is tº tº e - - a º 45<br />
PUBLICATIONS OF THE SOCIETY.<br />
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numbers from 1892, at 10s. 6d. per vol. - -<br />
Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 38.<br />
The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.<br />
. The Cost of Production. (Out of print.)<br />
. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br />
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[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S.W.]<br />
:<br />
9.<br />
<br />
<br />
## p. 28 (#44) ##############################################<br />
<br />
ii<br />
AD VERTISEMENTS.<br />
(ſhe Šuriety uf Autburg (ſmrurpurated).<br />
Telegraphic Address : “A UTORIDAD, LONDON. ”<br />
Telephone No. : 374 Victoria.<br />
PRESIDENT.<br />
G-EOIERG-E IMIEERIETSITE, O. M.<br />
SIR ROBERT ANDERSON, K.C.B.<br />
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THE RIGHT HON. THE I/ORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
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ROBERT BATEMAN. . .<br />
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SIR HENRY BERGNE, K.C.B., K.C.M.G.<br />
THE RIGHT EION. AUGUSTINE BIR-<br />
RELL, P.C.<br />
MRS. E. NESBIT BLAND.<br />
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OF KEDLESTON.<br />
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LADY LUGARD (MISS FLORA. L.<br />
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JUSTIN MCCARTHY.<br />
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FRANCIS STORR.<br />
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MRS. HUMPHRY WARD,<br />
PERCY WHITE.<br />
FIELD MARSHAL THE RIGHT HON.<br />
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Chairman—DOUGLAS FRESHEIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fowl.ER).<br />
MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
SIDNEY WEB.B.<br />
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WILLIAM ARCHER.<br />
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H. GRAN VILLE BARKER.<br />
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LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br />
39, OLD QUEEN STREET, STOREY’s GATE, S.W.<br />
<br />
<br />
## p. 29 (#45) ##############################################<br />
<br />
C be El ut bor.<br />
( The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR<br />
WALTER BESANT.<br />
WOL. XIX.-No. 2.<br />
NOVEMBER 2ND, 1908.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER:<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
—e—º-e—<br />
NOTICES.<br />
—º-º-º-<br />
OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case. -<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application.<br />
a —4*— a<br />
v-u- ~<br />
THE SOCIETY'S FUNDS.<br />
—e—º-e—<br />
WROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
VOL. XIX.<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform-<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society. A state-<br />
ment of the capital of this fund is inserted in The<br />
Author every month and can be seen below.<br />
—e—º-e—<br />
LIST OF MEMBERS.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
PENSION FUND,<br />
—º-º-º-<br />
HE Trustees of the Pension Fund of the<br />
Society, after the secretary had placed before<br />
them the present financial position of the<br />
Fund, decided to invest £230 in the purchase of<br />
Irish Land Act 2; per cent. Guaranteed Stock.<br />
The amount purchased is £258, and is added to<br />
the list printed below.<br />
The investments are steadily increasing from<br />
year to year, the amount varying between £200<br />
and £250. -<br />
The Trustees also recommended to the com-<br />
mittee the possibility of granting another pension.<br />
The committee of the Pension Fund have not<br />
as yet held their meeting for 1908, but their work<br />
will be chronicled in due course.<br />
The following is a statement of the actual Stock.<br />
<br />
<br />
## p. 30 (#46) ##############################################<br />
<br />
30<br />
TRIES A UTISIOR,<br />
The money value can be easily worked out at the<br />
current price of the market :-<br />
Consols 23%.............................. 391,000 0 0<br />
Local Loans .............................. 500 0 ()<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291. 19 11<br />
War Loan ................................. 201 9 3<br />
London and North-Western 3% Deben-<br />
ture Stock .............................. 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ............... 200 0 ()<br />
Cape of Good Hope 34% Inscribed<br />
Stock .................................... 200 () ()<br />
Glasgow and South-Western Railway<br />
4% Preference Stock.................. 228 () ()<br />
New Zealand 34% Stock. . . . . . . . ... 247 9 6<br />
Irish Land Act 23% Guaranteed Stock 258 0 0<br />
Total ............... 23,376 18 8<br />
Subscriptions.<br />
1908. # S. d.<br />
Jan. 7, Richardson, Mrs. Aubrey . 0 5 ()<br />
Jan. 13, McPherson, Miss M. M. . . 0 1 0<br />
Jan. 16, Douglas, Lieut.-Col. Hugh A. . 0 5 0<br />
Feb. 1, Shera, Miss B. M. O 5 ()<br />
Feb. 29, Brown, R. Grant O 5 0<br />
April 10, Fieldhouse, Arthur 0 1 0 6<br />
May 22, Darbishire, Otto W. () 10 6<br />
Oct. 10, Macnaughton-Jones, H. . O 5 ()<br />
Oct. 20, Garvice, Charles 1 1 0<br />
Donations, 1908.<br />
Jan. 1, Egbert, Henry tº © . 1 1 0<br />
Jan. 6, Skeat, The Rev. Prof. W. W. . 1 1 0<br />
Jan. 7, Wood, Lawson ſº . () 5 ()<br />
Jan. 8, Bolton, Miss Anna . O 5 0<br />
Jan. 8, Hyamson, Albert M. . 1 1 0<br />
Jan. 13, Le Riche, P. J. . e 1 1 0<br />
Jan. 13, Williamson, Mrs. C. N. 1 1 0<br />
Jan. 13, Williamson, C. N. tº . 1 1 0<br />
Jan. 20, Colquhoun, A. (amount re-<br />
covered by the Society) . 2 17 10<br />
Jan. 21, Saies, Mrs. . e e () 5 0<br />
Jan. 24, Westrup, Miss Margaret () 5 ()<br />
Feb. 10, Benett. W. . {- º 1 1 0<br />
Feb. 10, Wilson, G. F. g 0 1 0 6<br />
Feb. 26, Travers, Miss R. C. 0 10 0<br />
March 5, Dutton, Miss Annie () 5 ()<br />
March 5, Drummond, Hamilton. 5 () ()<br />
March 11, Ackermann, A. S. 2 () ()<br />
March 20, Loraine, Lady ſº 0 10 0<br />
April 6, Plunkett, G. N., Count. () 5 ()<br />
April 9, Crellin, H. N. . tº () 5 ()<br />
May 20, Scoon, W. G. tº e . () 10 0<br />
May 26, Cromartie, The Countess of . 1 1 0<br />
June 3, Hardy, Harold 0 10 ()<br />
£ S. d.<br />
June 16, Roberts, Morley . e () 10 6<br />
July 16, Carolin, Mrs. e o ... O 5 ()<br />
July 28, Atherton, Mrs. Gertrude . 21 () ()<br />
Aug. 21, Beckett, Arthur W. . 1 1 0<br />
Sept. 28, “Whitworth Wynne " . 1 1 0<br />
Oct. 23, Woolf, Miss Bella Sidney () 5 0<br />
The committee would be glad to receive infor-<br />
mation unofficially from any member of the society<br />
of any author whose need is within the member's<br />
personal knowledge. Information, which should<br />
be as full as possible, should be sent to the<br />
secretary, 39, Old Queen Street, Storey's Gate, S.W.,<br />
and will receive the prompt and careful attention of<br />
the committee.<br />
à —º- fº.<br />
v---sº-w<br />
COMMITTEE NOTES.<br />
—o-º-e—<br />
HE first meeting of the committee after the<br />
Vacation was held at the society's offices on<br />
Monday, October 5. -<br />
Forty-nine members and associates were elected.<br />
The list will be found on another page. This<br />
brings the total number of elections for the current<br />
year up to 203, which is about twenty-four above<br />
the number elected up to the corresponding period<br />
in 1906, and seven behind the elections for the<br />
corresponding period of 1907, which was the largest<br />
since the society's foundation. The committee<br />
trust that members will continue to make every<br />
effort to enlarge the society, and make it thoroughly<br />
representative of all sides of literature and the<br />
drama. Its membership, approximately 2,000,<br />
might well be doubled.<br />
Three resignations were received, bringing the<br />
resignations for the current year up to fifty-nine.<br />
The question of elections to the council and to<br />
the art sub-committee was adjourned till the<br />
November meeting. Several gentlemen were<br />
nominated for the copyright sub-committee, and<br />
up to the date of issue the following have con-<br />
sented to serve : — Sir Henry Bergne, E. J.<br />
MacGillivray, Harold Hardy, A. Hope Hawkins,<br />
Sir Gilbert Parker, Sir Williers Stanford, and<br />
J. H. Yoxall.<br />
The committee decided not to hold any dinner of<br />
the society this year. The annual dinner will be<br />
held as usual in the spring of 1909.<br />
Two cases of infringement of copyright by papers<br />
in New Zealand were then considered, and in both<br />
cases the committee decided to support the members'<br />
claims. The committee regret to state that it is<br />
no uncommon practice for papers in America and<br />
the Colonies to pirate English productions, and<br />
they have determined to do their best to stop this<br />
robbery. The secretary reported the receipt during<br />
<br />
<br />
## p. 31 (#47) ##############################################<br />
<br />
TRIES A UITISIOIR,<br />
31<br />
the vacation of further papers from the Board of<br />
Trade referring to the International Copyright Con-<br />
ference at Berlin. The papers had been forwarded<br />
to the chairman, who had been in communication<br />
with Sir Henry Bergne, and a letter had been<br />
despatched to the Board of Trade giving the views<br />
of the chairman and Sir Henry Bergne, but<br />
explaining that it was impossible to obtain a<br />
meeting of the copyright committee during the<br />
Vacation. Sir Henry Bergne then proceeded to<br />
explain to the committee what the proposals were,<br />
and the answer that had been given. The com-<br />
mittee approved the course that was taken. A<br />
bronze medallion of the President was laid before<br />
the committee by its producer, Mr. Spicer Simson,<br />
and they agreed to present a copy to Mr. Meredith<br />
in the name of the society. -<br />
A complaint of a member relating to delay in<br />
the publication of his work was brought before<br />
the committee, and the committee, after considering<br />
the solicitors' opinion thereon, instructed the<br />
Secretary to communicate it to the member. -<br />
Two cases of non-payment of royalties by a<br />
Canadian publisher were then considered. The<br />
Secretary stated that the publisher had now made<br />
an offer for settlement. This offer had been placed<br />
before the members concerned and they had<br />
expressed their willingness to accept the terms<br />
proposed. The secretary was instructed to write<br />
to the Canadian lawyers stating what had been<br />
done. A curious case of alleged literary stealing<br />
was laid before the committee, and the solicitors'<br />
Opinion on the evidence was read. The committee<br />
regretted they were unable to take any action in<br />
the matter as there was no legal evidence in support<br />
of the charges made. Another case relating to a<br />
false entry of copyright in the register at Washing-<br />
ton by an American publisher was considered by<br />
the committee, who decided to take counsel’s<br />
Opinion as to what action could be taken. The<br />
Committee drew attention to the fact that if false<br />
entries were made by pirates in America, they<br />
would be able to thrust out of the market the non-<br />
copyright editions of books approved by the authors,<br />
by the false “copyright" edition.<br />
The secretary laid before the committee a letter<br />
from the Publishers’ Association, giving formal<br />
notice of the termination of the dispute between<br />
the Times and the publishers.<br />
—e—º-0–<br />
PENSION FUND COMMITTEE.<br />
The Pension Fund Committee met at the offices<br />
of the society on Monday, October 5, at<br />
3 o'clock. Three applications for pensions were<br />
before the committee. Two of the applicants were<br />
ineligible under the present constitution of the<br />
Scheme and had to be refused, the secretary being<br />
instructed to write to them accordingly. Con-<br />
sideration of the claim of the third applicant was<br />
adjourned pending the receipt of fuller details.<br />
The committee decided to meet again in<br />
November, for the consideration of other matters<br />
dealing with the Pension Fund.<br />
—º-º-º-<br />
DRAMATIC SUB-COMMITTEE.<br />
I.<br />
THE Dramatic Sub-Committee, which had been<br />
meeting during the vacation, met again at the<br />
offices of the society on Tuesday, October 6, at<br />
4 o'clock.<br />
After the minutes of the previous meeting had<br />
been signed, the secretary reported that he had<br />
received forty-one answers to the circular that had<br />
been issued. Of these, thirty-four were in favour<br />
of the dramatists remaining with the society; six<br />
were not opposed to this course though one or two<br />
other suggestions were put forward, and one<br />
member expressed no opinion either way. The<br />
Committee instructed the secretary to write again<br />
to those who had not answered in order that the<br />
fullest expression of opinion might be obtained.<br />
It was suggested by one of the members that it<br />
would be as well to have a music composer on the<br />
Dramatic Sub-Committee, and accordingly, on the<br />
motion of Capt. Robert Marshall, seconded by<br />
Mr. Bernard Shaw, the name of Mr. Paul Rubens<br />
was put forward, and the secretary was instructed<br />
to write to him to invite him to serve on the<br />
sub-committee. Mr. Rubens has now consented<br />
to undertake the duties.<br />
The committee then undertook the considera-<br />
tion of the dramatic pamphlet, and went, clause<br />
by clause, through the model agreement with<br />
which it commences. A few alterations were<br />
made and some notes added. The secretary was<br />
instructed to re-draft the agreement in accordance<br />
with these suggestions, and, if possible, to have<br />
the contract ready and printed in time for the next<br />
meeting to be held on October 15, at 3 o'clock.<br />
—e-º-º-<br />
II.<br />
A second meeting of the Dramatic Sub-committee<br />
of the Society of Authors was held on Thursday,<br />
October 15, at 3 o'clock.<br />
The secretary reported the receipt of further<br />
answers to the circular which had been issued,<br />
and that out of a total of 60 replies to hand, 48<br />
were in favour of remaining with the society, 2<br />
expressed unwillingness to give an opinion, and 10,<br />
though not opposed to the society or to remaining<br />
<br />
<br />
## p. 32 (#48) ##############################################<br />
<br />
32 TISIES A UTHOR.<br />
with it, set forth various suggestions. The Com-<br />
mittee were pleased to receive this warm support of<br />
the society’s work.<br />
The next agendum before the committee was the<br />
dramatic agreement and the dramatic pamphlet.<br />
Subject to some slight alterations and to obtaining<br />
a settlement of one important point by counsel,<br />
this was finally approved. It is proposed to place<br />
the whole matter before the committee of manage-<br />
ment at their next meeting, that they may sanction<br />
its circulation as a supplement to The Author.<br />
The next matter before the committee was the<br />
settlement of the general treaty with the managers,<br />
and several clauses of this were passed.<br />
The long discussion on, and careful consideration<br />
of the various points in the dramatic pamphlet<br />
and the general treaty kept the committee sitting<br />
till a late hour.<br />
They decided to meet again in the beginning of<br />
November to finally discuss the general treaty<br />
and other matters of importance to the dramatic<br />
profession.<br />
—º-Q-4–<br />
Cases.<br />
SINCE the last issue of The Author thirteen cases<br />
have been placed in the secretary's hands for settle-<br />
ment. Four of these referred to the detention of<br />
|MSS. ; four were claims for money ; three for<br />
accounts ; and two disputes on agreements. Six<br />
of these cases have been satisfactorily settled—two<br />
referring to MSS.; two for the payment of overdue<br />
moneys; one for undelivered accounts; and one<br />
touching the settlement of an agreement. Negotia-<br />
tions are still going forward in the other cases. If<br />
the claims are not satisfactorily settled in due<br />
course they will be referred to the society’s<br />
solicitors.<br />
There was a large number of cases left open<br />
from the former month, ten in all. Two of these<br />
have been settled ; four relate to cases abroad (two<br />
dealing with infringements in New Zealand and<br />
two respecting claims in America). In consequence,<br />
some delay is inevitable in their settlement. Of<br />
the remaining cases still open the secretary is<br />
engaged in negotiations for their settlement, and<br />
there is every prospect that an agreement will not<br />
be long delayed. -<br />
There are still a good many cases in the hands<br />
of the solicitors of the society—three in the High<br />
Court and two in the county court which, no<br />
doubt, will be settled this autumn.<br />
One county court case has been settled during<br />
the past month and judgment has been delivered in<br />
favour of the member whose claim the society<br />
supported. The chairman has sanctioned two<br />
other county court cases.<br />
October Elections.<br />
Adlam, Mrs. A. L. (“Alys<br />
Lowth”)<br />
Aitchison, Rev. James .<br />
Belloc, Hilaire, M.P.<br />
Boore, E.<br />
Boycott, G. W. M.<br />
Bright, Charles, F.R.S.E.<br />
Caillard, Emma Marie<br />
Campbell, Mrs. Dalgety<br />
Clark, Rev. Henry W.<br />
Caesar, Kathleen<br />
Craig, Edward Gordon .<br />
Croal, Frances A. .<br />
Deslandes, Baroness M.<br />
(“Ossit”)<br />
Dewar, Alfred C.<br />
Drury, William Price,<br />
Major, Royal Marines<br />
(Reserve of Officers).<br />
Ducat, Ethel M.<br />
Evan, Jane .<br />
Everest, Kitty<br />
Ferdun, D. Ferdun<br />
Greaves, Lady<br />
Greville, Capt. George G.<br />
Headlam, Cecil<br />
Hone, Margaret<br />
Laffan, Mrs. de Courcy .<br />
Lees, Dorothy Nevile<br />
Lindsay, A. D.<br />
Macnaughton - Jones,<br />
Henry<br />
Miles, Bertram, B.A.<br />
Reade, Gertrude Compton<br />
(“Emma Agar ’’)<br />
Lyceum Club, 128, Pic-<br />
cadilly, W.<br />
Erskine Manse, N.B.<br />
Kingsland, Shiplake,<br />
Horsham.<br />
15, Kent House Road,<br />
Beckenham, S.E.<br />
25, Lee Terrace,<br />
Blackheath, S.E.<br />
26, Devonshire Terrace,<br />
Hyde Park, W.<br />
45, Cathcart Road, S.W.<br />
Maitland Carlton Street,<br />
Manly, Sydney, New<br />
South Wales.<br />
Charisma, Westfield,<br />
Harpenden.<br />
Bearsted, Kent.<br />
Garlants Hotel, Suffolk<br />
Street, S.W.<br />
14, Eyre<br />
Edinburgh.<br />
177 bis, rue de Cour-<br />
celles, Paris.<br />
Crescent,<br />
The Lane, Graffham,<br />
Petworth, Sussex.<br />
14, St. Stephen's Road,<br />
W.<br />
68, Drayton Gardens,<br />
South Kensington,<br />
S.W.<br />
563, Girgaon Road,<br />
Bombay.<br />
Netherwood, Saunders-<br />
foot, S. Wales.<br />
Staplegrove Road,<br />
Taunton.<br />
|Fsthwaite Mount,<br />
Hawkshead.<br />
16, Heaton Road,<br />
Withington, Man-<br />
chester.<br />
119, St. George's Road,<br />
Eccleston Square,<br />
S.W.<br />
7, Via Sto, Spirito,<br />
Florence.<br />
Balliol College, Oxford.<br />
131, Harley Street, W.<br />
Townsend House, Mine-<br />
head, Somerset.<br />
Renchester Rectory,<br />
Hereford. -<br />
<br />
<br />
## p. 33 (#49) ##############################################<br />
<br />
TFIES A DITISIOR,<br />
33.<br />
Lindon Villa, Mary's<br />
Road, Stechford, near<br />
Birmingham.<br />
Rockhampton Rectory,<br />
Falfield, Gloucester.<br />
Roxeth Mead, Harrow-<br />
on-the-Hill.<br />
Waunarlwydd, Swansea.<br />
Redfern, Elizabeth ©<br />
Richmond, Eva. . . .<br />
Rose-Troup, Mrs. Frances<br />
Rowlands, John, F.R.S.L.<br />
Scheltema, J. F., M.A. , 12, Nelson Street,<br />
Edinburgh.<br />
Simes, O. Kathleen . 94, Elgin Mansions,<br />
- Elgin Avenue, W.<br />
Smith, Edith A. . . The Elms, Great Ris-<br />
- sington.<br />
Spencer, Alfred . . 88, Cleveland Road,<br />
Sunderland.<br />
Royal Automobile Club,<br />
119, Piccadilly, W.<br />
115, Gaisford Street,<br />
Rentish Town, N.W.<br />
Stuart - Linton, Charles<br />
E. T.<br />
Taylor, John . e tº<br />
Terry, Leonard (Lion Dramatic Mirror, 121,<br />
Margrave) W. 42nd Street, N.Y.<br />
City. * .<br />
Townsend, Laura P. The Laurels, Acock's<br />
(Peter Townsend) Green.<br />
Walker, F. H. e . Govakhpur, U.P.,<br />
India. - -<br />
Watson, William . ©<br />
Way, Beatrice g Q<br />
G 1, The Albany, W.<br />
GOsberton, near Spald-<br />
ing, Lincolnshire.<br />
Whitfield, Emily B. B. 3, King Street, Covent<br />
(“Eileen Gordon") Garden, W.C.<br />
Wright, Dudley . . Annals of Psychical<br />
Science, 110, St.<br />
Martin’s Lane, W.C.<br />
c/o London and County<br />
Bank, Sussex Place,<br />
S.W.<br />
Young, Margaret E. M. .<br />
One member desires that her name and address<br />
should not appear in this list.<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—º-O-0–<br />
ARCH AEOLOGY.<br />
HERCULANEUM ; PAST, PRESENT, and FUTURE. By<br />
CHARLES WALDSTEIN and LEONARD SHOOBRIDGE, M.A.,<br />
11 × 7%. 324 pp. Macmillan. 21s. n.<br />
BURIED HERCULANEUM. By ETHEL ROSS BARKER,<br />
83 x 5%. Xvi. -- 253 pp. Black. 7s. 6d. n.<br />
ARCHITECTURE.<br />
THE ENGLISH HousB : How To JUDGE ITS PERIODS<br />
AND STYLEs. By W. SHAw SPARROW. 9 × 5}, xiv. --<br />
348 pp. Nash, 10s. 6d. n.<br />
&<br />
ART.<br />
THE UFFIZIA.B.C. By ARTHUR MAQUARIE. Drawn by<br />
LINDSAY SYMINGTON, 9} x 74. Florence : The Olive<br />
Press. London : Simpkin. Is. n.<br />
PAINTING THE FAR EAST. An Introduction to the His-<br />
tory of Pictorial Art in Asia, especially China and Japan.<br />
By LAURENCE BINYON. 104 × 8. xvi. H- 279 pp.<br />
Arnold. 21s, n.<br />
BIOGRAPHY,<br />
DAN TO BEERSHEBA. Work and Travel in Four Conti-<br />
ments. By ARCHIBALD R. COLOUHOUN. 9 × 6. xviii.<br />
+ 348 pp. Heinemann. 8s. 6d. m.<br />
THE FIRST GEORGE IN HANOVER AND ENGLAND. By<br />
LEWIS MELVILLE. 2 vols. 9 × 53. Nii, + 257 ––<br />
252 pp. Pitman. 24s. n.<br />
RUTLAND BARRINGTON. A Record of Thirty-five Years'<br />
Experience on the English Stage. By HIMSELF. With<br />
a preface by SIR. W. S. GILBERT. 7; x 5}. 269 pp.<br />
Grant Richards. 7s. 6d. n.<br />
THE FAMILY LETTERS OF CHRISTINA GEORGINA<br />
ROSSETTI. Edited by W. M. RossETTI. 83 × 53.<br />
XXii. 4- 242 pp. Brown, Langham. 15s. n.<br />
A LIFE OF WILLIAM SHAKESPEARE. By SIDNEY LEE.<br />
6th Edition. 8 × 53. xv. -- 495 pp. Smith, Elder. 7s. 6d.<br />
RICHARD STRAUSS. By ERNEST NEWMAN. 7 x 5. 144 pp.<br />
Lane. 2s. 6d. m.<br />
THE REMINISCENCES OF LADY RANDOLPH CHURCHILL.<br />
By MRS. GEORGE CORNWALLIS-WEST. 9 × 53. 372 pp.<br />
Arnold. 15s. n.<br />
MY STORY. By HALL CAINE.<br />
mann for Collier. 6s.<br />
A ROYAL QUARTETTE. By MRS, BEARNE. 8 × 5]. Xxii.<br />
+ 520 pp. Unwin. 10s. 6d. m.<br />
WOMEN OF THE CHURCH OF ENGLAND. By MRs.<br />
AUBREY RICHARDSON. (New and Cheaper Edition.)<br />
7} x 5.<br />
398 pp. Heine-<br />
8 × 5. 352 pp. Chapman and Hall. 6s,<br />
MY INNER LIFE. By JoHN BEATTIE CROZIER. Re-issue<br />
in 2 vols. 9 × 6. xiv. 4- 562 pp. Longmans. 7s. n.<br />
DICTIONARY OF NATIONAL Biography. Edited by<br />
LESLIE STEPHEN and SIDNEY LEE. Glover–Harriott.<br />
New Edition. 93 x 6%. 1,339 pp. Smith, Elder. 15s. m.<br />
BOOKS FOR THE YOUNG.<br />
HEROES OF MODERN CRUSADES. By E. GILLIAT. 8 × 5}<br />
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THE TESTING OF DIANA MALLORY. By MRs. HUMPHREY<br />
WARD. Harper. $1.50.<br />
W ; By AGNES and EGERTON CASTLE,<br />
1.50.<br />
THE LOST ANGEL.<br />
Lippincott. $1.50.<br />
A MILLION A MINUTE. . By HUDSON Douglas (ROBERT<br />
AITKEN). Watt. $1.50.<br />
THE EXPF 3IVE MISS DU CANE. By S. MACNAUGHTEN.<br />
Duttoº. $1.50.<br />
THE MMORTAL MoMENT: THE STORY, of KITTY<br />
ºve By MAY SINCLAIR. Doubleday, Page.<br />
$1.50.<br />
Macmillan.<br />
By KATHERINE TYNAN HINKSON.<br />
By L. TRACY. E. J. Clode.<br />
$1.50.<br />
THE SUSPICIONS OF MRs. ALLONBY. By MAXWELL GRAY.<br />
Appleton. $1.50.<br />
HISTORY.<br />
CANADA. By BECKLES WILLSON. Fred. A. Stokes Co.<br />
$2 m.<br />
LITERARY.<br />
A CoMMENTARY, By J. GALSWORTHY. Putnam. $1.50.<br />
AT LARGE. By A. C. BENSON. Putnam. $1.50 n.<br />
TOPOGRAPHY.<br />
THE HOLY LAND. By J. FINNEMORE.<br />
colour. Macmillan. 756. In.<br />
SWITZERLAND. By J. FINNEMORE.<br />
Macmillan. 756. In.<br />
Illustrated in<br />
Illustrated in colour.<br />
THE WORLD. (With 37 illustrations in colour.) By ASCOTT<br />
ROB. HoPE. Macmillan. $1.50 n.<br />
<br />
<br />
## p. 37 (#53) ##############################################<br />
<br />
TISIES A UITISIOR. 37<br />
OLD ENGLAND. (With 80 Illustrations in colour and half-<br />
tone.) By WALTER SHAw SPARROW. James Pott.<br />
Cloth, $6 m. ; ; levant, $10 m.<br />
HYDE PARK : Its HISTORY AND ROMANCE. By MRS.<br />
ALEC TwPEDIE. James Pott. # levant. $7.50 m.<br />
- - fº<br />
v-u- w<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—º-º-º-<br />
E desire to draw the attention of our readers<br />
to the notice respecting the Society's<br />
annual dinner, which appears among the<br />
Committee Notes.<br />
Messrs. J. M. Dent & Co. have brought out a new<br />
Naturebook, by W. Percival Westell, called “Animals<br />
at Home.” Well-known animals, birds and insects<br />
tell their own life histories for the instruction and<br />
amusement of children. The book has over fifty<br />
photographs from life and a coloured frontispiece.<br />
The same author has recently had his “Story of<br />
the Sea and Seashore ” issued by the R.T.S., who<br />
are about to bring out a second edition of his<br />
“Boy's Own Nature Book.”<br />
Mr. Elliot Stock will shortly publish “‘Saint'<br />
Gilbert ; the story of Gilbert White and Selborne,”<br />
by J. C. Wright. The author has endeavoured to<br />
present the pioneer naturalist and his environment<br />
in a form that will appeal to all lovers of White,<br />
who has done so much to bring about the Nature<br />
cult in our English-speaking race. The book will<br />
be illustrated.<br />
“Father Paul,” by James Cassidy (Messrs. Kegan<br />
Paul), is the story of a strong man battling against<br />
difficulties, and watching over the fortunes of a<br />
boy on whom he has lavished the great love of<br />
disinterested fatherhood. The scenes are laid in<br />
England and on the Isle of Sandune.<br />
“Father Tyrrell's Modernism,” by Hakluyt<br />
Egerton, which has just been issued by Messrs.<br />
ICegan Paul, is an expository criticism of “Through<br />
Scylla and Charybdis” in an open letter to Mr.<br />
Athelstan Riley.<br />
|Messrs. Leonard & Co. have just published a<br />
new Irish song, entitled “Shamrock (The Emblem<br />
of Erin)”; words by Alfred Smythe ; music by<br />
Wilton King.<br />
Concerning “The Tragedy of St. Elizabeth of<br />
Hungary,” a play in five acts, by Arthur Dillon,<br />
recently published by Mr. Elkin Mathews, the<br />
author writes: “On choosing the story of St.<br />
Elizabeth of Hungary, it became necessary either<br />
elaborately to avoid the scene-sequence of Kingsley<br />
—which would mean mis-shaping the plot—or to<br />
adopt the general scheme of the ‘Saint's Tragedy,’<br />
I resolved to do the latter, and to utilise as much<br />
as, rather than as little as, I could. Much of<br />
interest I found in the notes, which I have<br />
endeavoured to work into the text.”<br />
Miss Alice Dryden has edited a new edition of<br />
Sir Henry Dryden’s “Art of Hunting ” (North-<br />
ampton, printed by William Mark). The book<br />
also includes “The Craft of Venery,” and a<br />
translation of “La Chasse du Cerf.” Eleven<br />
illustrations from Dryden's drawings are repro-<br />
duced together with three plates.<br />
“Diana's Decision,” by Mrs. Wilson Fox, is a<br />
story for girls between twelve and sixteen. A<br />
passionate desire for universal justice leads the<br />
little heroine into many scrapes, but eventually<br />
results in happiness. It is published by the<br />
S.P.C.K.<br />
Messrs. Joseph Williams have issued a new play<br />
in one act by Edith Wheeler, entitled “The<br />
Sentence.”<br />
On October 8 Mr. Bernard Shaw lectured in<br />
the City Temple on “Literature and Art.”<br />
There will be published shortly “A History of<br />
Sarawak under its Two White Rajahs, 1839—1908,”<br />
which has been written by the Rev. S. Baring-Gould,<br />
author of “The Tragedy of the Caesars” and a<br />
“Life of Napoleon,” and by Mr. C. Bampfylde,<br />
F.R.G.S., formerly resident of Sarawak. The book,<br />
which will contain numerous and original illustra-<br />
tions, will present for the first time in a complete<br />
form a story of this district of Borneo.<br />
“Wood Folk Stories,” a series of stories about<br />
birds and animals for children, by Mr. Alfred<br />
Spencer, which have been appearing in the People's<br />
º have been published by this paper in book<br />
Ol'Iſl.<br />
“The Silver Queen,” by William Sylvester<br />
Walker (“Coo-ee"), is a book of Australian life<br />
and adventure. As the probability of several of its<br />
incidents have been questioned, we state, on the<br />
authority of the author, that they are all strictly<br />
true. There is a very light-coloured race in the<br />
northern interior of Australia ; there are buffaloes<br />
and alligators and limestone caves there. “Aus-<br />
tralia,” writes Mr. Walker, “is so vast and unknown<br />
that not long ago the Government through an<br />
explorer discovered tens of thousands of Chinese<br />
growing opium in an unknown part and had to<br />
remove them.” The publisher is Mr. John<br />
Ouseley.<br />
Sir Isaac Pitman & Sons have brought out a<br />
new work by Mr. Lewis Melville, entitled “The<br />
First George,” wherein George I. is portrayed in a<br />
new light, the author being at pains to show that<br />
his subject was not the cold selfish libertime as his<br />
earlier biographers stated. * A great part of the<br />
work is devoted to an account of the fifty-four<br />
years of his life that were spent in Hanover. There<br />
are eighteen full-page illustrations.<br />
A new (7th) edition of “The Truth of<br />
<br />
<br />
## p. 38 (#54) ##############################################<br />
<br />
38<br />
TISIES AUTISIOR,<br />
Christianity,” by Lieut-Colonel W. H. Turton,<br />
D.S.O., is announced by Messrs. Wells, Gardner.<br />
This edition has been carefully revised throughout,<br />
and many fresh arguments noticed.<br />
Robert Aitken's new novel, “A Maid of Honour,”<br />
which has been appearing serially in an American<br />
magazine, has now been issued in book form on<br />
both sides of the Atlantic. The London publishers<br />
are Messrs. Greening & Co. Mr. John Murray will<br />
publish early next year a volume of short stories by<br />
the same author.<br />
“Margery Redford and her Friends”—a book<br />
“for children from ten to twenty "-by Mrs. M. H.<br />
Spielmann, has been published by Messrs. Chatto<br />
and Windus. It is the story of a young lady, always<br />
charming and graceful, whose career is developed<br />
up to the time when she becomes a wife and<br />
mother, and who is endowed with the talent of<br />
Sherlock Holmes, employed by her to elucidate the<br />
little mysteries that beset her and her friends.<br />
Mr. T. N. Foulis is bringing out a small volume<br />
of selections from the “Unspoken Sermons’’ of<br />
Dr. George Macdonald. The selections have been<br />
made by Miss Frances M. Nicholson, and there is<br />
evidence that time and care have been devoted to<br />
the work.<br />
|Messrs. Black are adding two volumes to their<br />
smaller series of “Colour Books.”<br />
painted by J. Hardwicke Lewis and May Hardwicke<br />
Lewis, and described by Francis H. Gribble ; also<br />
a new edition of the Poet Laureate’s “Haunts of<br />
Ancient Peace,” in which the illustrations are by<br />
Miss Agnes Locke.<br />
“Religious Liberty in England * is the title of<br />
a shilling volume which Sir Isaac Pitman & Sons,<br />
Itd., have published. In it the Rev. J. Fovargue<br />
Bradley, a dissenting minister, advocates the entire<br />
emancipation of English religion from State<br />
control, while he secures to each religious body its<br />
own property, which shall be administered, on<br />
sound business lines, by a central board. A draft<br />
Religious Liberty Bill of a very thorough character<br />
is found in the book. The novel feature of the<br />
scheme is the plan of disestablishment without<br />
disendowment.<br />
We have received from Messrs. Maunsel & Co.,<br />
of Dublin, two volumes of the Irish poems of Alfred<br />
Perceval Graves, “Songs of the Gael and a Gael<br />
Story-telling ” and “Countryside Songs, and Songs<br />
and Ballads.” The English publisher is Mr. T.<br />
Fisher Unwin.<br />
Mondariz, the famous health resort in the north-<br />
west of Spain, has been made the subject of a<br />
monograph by Miss Rachel Challice, which Messrs.<br />
Bradbury, Agnew publish. The book is profusely<br />
illustrated.<br />
A second edition of “The Life of Tolstoy: First<br />
Fifty Years,” by Aylmer Maude, was issued last<br />
“Geneva,”<br />
publish it under the title “Dark Corners.”<br />
month by Messrs. Constable. This book aims at<br />
giving a readable and intelligible account of<br />
Tolstoy's life up to his marriage in 1862; in deal-<br />
ing With which period previous historians have not<br />
had marked success. It also gives a consecutive<br />
account of his life from 1862 to 1878; including<br />
his participation in a court-martial and other<br />
matters quite new to English readers.<br />
We have received from Messrs. Routledge<br />
“Roman Life and Manners under the Early<br />
Empire,” by Ludwig Friedländer, translated by<br />
L. A. Magnus. A second volume of this valuable<br />
work, translated by J. H. Freese, will be published<br />
early next year. The same publishers send us a<br />
new volume in their Universal Library, “The<br />
Journal of Eugènie de Guérin,” and “Poems” by<br />
Evelyn Moore.<br />
Lance Thackeray's new book, which Messrs.<br />
A. and C. Black publish, is perhaps the first to<br />
depict the humorous side of the land of the Nile.<br />
The title is “The Light Side of Egypt,” and there<br />
are many drawings in colour. -<br />
Messrs. Hodder and Stoughton issued last<br />
month a new edition of Desmond Coke's public<br />
school story, “The Bending of a Twig.” This<br />
book, which has already passed through six<br />
editions, has now been re-written and enlarged.<br />
In his book, just published by Messrs. Constable,<br />
“First and Last Things,” Mr. H. G. Wells gives a<br />
clear statement of his own religious faith. He<br />
calls it a confession of faith and rule of life.<br />
The Volume is made up of four sections —<br />
Metaphysics ; Of Beliefs; Of General Conduct ;<br />
and Some Personal Things. -<br />
“Ossit ’’ (Madame la Baronne Deslandes), the<br />
author of “Ilse,” published in July last, through<br />
M. A. Lemerre, Paris, a new novel, “Cyrène,”<br />
which has already gone into several editions. It<br />
is a story of love and of death—a tragedy of<br />
infatuation.<br />
Mr. William Patrick Kelly's romance of ancient<br />
Egypt, “The Stonecutter of Memphis” (Routledge),<br />
is being translated into Arabic by Mr. Ahmad Said,<br />
of Cairo, and will be published, in book form, with<br />
the original illustrations, in October, 1909.<br />
Mr. Theodore Holland has recently published<br />
with Messrs. Rouart & Co., Paris, two songs,<br />
words by Shelley (translated into French and<br />
German by M. D. Calvocaressi) entitled “A<br />
Lament,” and “A Dirge ’’; and with Messrs.<br />
Schott & Co., “Gavotte Pastorale’’ for pianoforte<br />
Solo. An arrangement of this latter piece for<br />
Orchestras is in the press.<br />
Mrs. . F. E. Penny has brought out two new<br />
books. One is a novel connected with the dark<br />
corners of spiritualism and hypnotism, with scenes<br />
in England and India. Messrs. Chatto and Windus<br />
The<br />
<br />
<br />
## p. 39 (#55) ##############################################<br />
<br />
TFIES AUTISIOR.<br />
39<br />
other is a book of reminiscences, historical and<br />
social gossip, and South Indian folklore, called<br />
“On the Coromandel Coast ’’ (Messrs. Smith,<br />
Elder). e<br />
By the wish of M. Buffenoir, who is contributing<br />
a series of articles on the portraits of Robespierre<br />
to the “Annales de la Révolution,” Miss Mary C.<br />
Rowsell, author of “The Friend of the People,” is<br />
translating these articles for publication in this<br />
country. They are illustrated by numerous por-<br />
traits of Robespierre, among them being the picture-<br />
portrait of him in his room in the rue St. Honoré,<br />
and his death mask made by Madame Tussaud.<br />
The copyright of the latter photograph was pre-<br />
sented to Miss Rowsell by Mr. John Tussaud.<br />
On October 16 a new serial by F. Marion<br />
Crawford, entitled “Stradella,” commenced in the<br />
Graphic.<br />
On October 6 “Bellamy the Magnificent,” a<br />
play in five acts by Roy Horniman, was produced<br />
at the New Theatre. Lord Bellamy unwittingly<br />
makes love to his valet's wife. The Valet's revenge<br />
is to make his master appear to cheat at cards, with<br />
the result that Bellamy dies by his own hand. Sir<br />
Charles Wyndham, in the name-part, was supported<br />
by Miss Kate Cutler, Miss Fortescue, Miss Sarah<br />
Brooke, Mr. Robert Loraine, and Mr.<br />
Arthur.<br />
“Fanny and the Servant Problem,” by Jerome<br />
R. Jerome, was staged at the Aldwych Theatre on<br />
October 14. Lord Bantock brings home his<br />
wife, Fannie (late of “the halls”), who finds to<br />
her horror that the butler, housekeeper, maid,<br />
second footman and so on down to the turnspit, are<br />
all uncles, aunts, cousins, nephews, or otherwise<br />
relations or connections. Among those appearing<br />
in this comedy were Mr. Leslie Faber, Mr. Charles<br />
Cartwright, Mr. Sugden, Miss Esmé Beringer, Miss<br />
Kate Phillips and Miss Fannie Ward.<br />
—e—Q-e—<br />
PARIS NOTES.<br />
—º-º-º-<br />
& 4 'ILE des Pingouins,” by Anatole France, is<br />
another study of modern life treated<br />
allegorically. It is the history of Pin-<br />
gouinie from the time when the Pingouins were<br />
baptised by mistake. They were originally huge<br />
birds belonging “either to the Arctic or Antarctic<br />
regions.” The author explains this slight vague-<br />
ness of definition by the fact that when a state-<br />
ment is made by one witness it can be admitted<br />
without hesitation, but when there are several<br />
witnesses and an abundance of documents it is<br />
always difficult to arrive at the truth. The con-<br />
clusion of this is that when the historian has a new<br />
Paul<br />
light to throw on any subject he surprises the<br />
reader, and the reader does not like to be surprised.<br />
If the historian endeavours to instruct his reader,<br />
he only humiliates and angers him. An original<br />
historian is the object of universal distrust and<br />
contempt. For a book to be well received the<br />
author should always extol the virtues upon which<br />
Society is now based : devotion to wealth, pious<br />
sentiments, and more particularly the resignation<br />
of the poor, which is, in reality, the very foundation<br />
of all order.<br />
St. Mael discovered the race of Pingouins, and,<br />
believing them to be human, baptised them.<br />
When the news of this event reached Paradise the<br />
Seigneur himself was perplexed, and a council was<br />
held to discuss what was to be done.<br />
St. Augustine advised that an immortal soul<br />
should now be given to the race of Pingouins, and<br />
he went on to explain to the Seigneur : “In virtue<br />
of your adorable decrees, they will then burn<br />
eternally in hell, and order will once more be<br />
established.”<br />
The Seigneur admits that this would perhaps be<br />
the best solution, but as he is now more clement<br />
than he formerly was, it is decided that the Pin-<br />
gouins shall, on account of their baptism, simply<br />
be transformed into men. This is done, and their<br />
isle, whether in the Arctic or Antarctic regions, was<br />
at once removed to Brittany.<br />
From this time forth their history commences,<br />
and it is interesting to watch their evolution.<br />
St. Mael is grieved to see them constantly<br />
fighting with each other, but a certain monk<br />
explains to him that this is really only their way of<br />
providing for their future : they are trying to<br />
annex each other's lands. They are creating the<br />
right of ownership, establishing the principles<br />
of civilisation and the basis of society. Just at<br />
that moment a strong-looking Pingouin approaches<br />
a weaker One, exclaims, “Your field is mine,” and<br />
strikes the weaker one dead on the piece of land he<br />
has just been cultivating.<br />
St. Mael is horrified, but the monk explains to<br />
him that what he considers robbery and murder is<br />
simply warfare and conquest, the very foundation<br />
of empires, and the source of all virtues and of all<br />
human greatness. The author, continuing his his-<br />
tory, gives an account of Pingouinie through<br />
many years. He tells of the putting to death<br />
of her kings and of the establishing of a republic.<br />
He gives the story of Trinco, the greatest<br />
warrior that Pingouinie ever produced, a man who,<br />
after thirty years of war, had conquered half the<br />
world, but who afterwards gave back all he had<br />
conquered, leaving to his country nothing but<br />
glory.<br />
The Pingouins are neighbours of the Marsouins.<br />
Consequently they are never friendly with the<br />
<br />
<br />
## p. 40 (#56) ##############################################<br />
<br />
40<br />
TRIES A UTISIOR,<br />
Marsouins, as neighbours are naturally enemies.<br />
The Pingouins have the finest army in the world ;<br />
the Marsouins also have the finest army in the<br />
world, as, indeed, every nation has.<br />
In the army of the Pingouins was a certain Jew<br />
named Pyrot. The Minister of War, Greatauk,<br />
disliked him, and whenever anything went wrong<br />
was always convinced that Pyrot was to blame.<br />
Eighty thousand bundles of hay had disappeared,<br />
and Greatauk feels sure that Pyrot has stolen<br />
them to give as a present to the Marsouins.<br />
“That is very evident,” said General Panther.<br />
“The only thing is, we must prove it.”<br />
After some time he returns to Greatauk, telling<br />
him that no proofs can be found against Pyrot.<br />
“We must discover proofs,” replies Greatauk.<br />
“Justice demands it. Arrest him at once.”<br />
The affaire Pyrot is described in detail. Colom-<br />
ban, a writer, uses his pen in defence of the victim.<br />
In spite of everything Pyrot is condemned to<br />
imprisonment in a cage. After great efforts on<br />
the part of his defenders there is a revision<br />
of the trial, and he is pronounced innocent and<br />
set free.<br />
The historian continues his account of Pingouinie<br />
and its inhabitants up to the times when a new<br />
type of human being is evolved : the millionaire,<br />
a man who becomes bald at the age of eighteen. At<br />
this time houses are built of thirty or forty storeys.<br />
Every day there are terrible accidents and explo-<br />
sions, when houses are blown up, and the débris<br />
descends on the heads of the passers-by. In the<br />
quarters formerly frequented by students, young<br />
couples now assemble to discuss scientific subjects.<br />
The whole country is undermined with cellars<br />
and tunnels, and fifteen million men live in the<br />
capital.<br />
The book is one long satire, told in the inimit-<br />
able style and with the delicate irony peculiar to<br />
Anatole France.<br />
“Les Détours du Coeur '' is the title of Paul<br />
Bourget's new book. It is a collection of short<br />
stories, written in this author's best style. After<br />
his recent romans à thèse most readers of Paul<br />
Bourget are glad to go back to his writings which<br />
do not attempt to point out any moral, stories which<br />
show him at his best as one of the cleverest psycho-<br />
logists of modern times. There are twelve stories<br />
in the volume, and the reader who is apt to weary<br />
of the “eternal theme'' will find at any rate two or<br />
three founded on other subjects: “Le Piège” is one<br />
of these. Each one of the characters studied lives.<br />
The first story in the book, “Le Brutus,” is one of<br />
the finest. It is told with extreme delicacy and<br />
dramatic effect. Each one is in itself a master-<br />
piece, so that on closing the volume the reader<br />
feels that regret which one always has on coming<br />
to the end of a perfectly written book.<br />
“Au Coeur de la Vie” is the title of Pierre de<br />
Coulevain's new book. This time the author,<br />
after seeking in vain in Italy the path leading to<br />
the casur de la vie, finds it in Switzerland. The<br />
book is a novel in the style of “Sur la Branche.”<br />
There is a romance running through it, but inter-<br />
woven with the novel are the writer's thoughts<br />
and ideas about many of the great problems of life.<br />
The fine optimism peculiar to this author is to be<br />
read in every page of the book. She deals in her<br />
own way with many of the questions of the<br />
hour. Religion, literature, divorce, vivisection,<br />
modern theology, are among the subjects discussed.<br />
Absolute faith in Providence is the key-note of the<br />
whole volume. This new book has been eagerly<br />
awaited, and, although it is only just in print,<br />
sixty editions are already in circulation. Some<br />
Wrongly-informed English reviewers of this author's<br />
works have stated that Pierre de Coulevain is little<br />
read by the French. The fact that the French<br />
edition of “Sur la Branche ’’ is in its 115th<br />
edition and “L'Ile Inconnue" in its 101st edition<br />
Speaks more eloquently than any other statement<br />
could do. Pierre de Coulevain's remarkable success<br />
is no doubt largely due first to her gift of keen<br />
observation, and after this to her absolute sincerity,<br />
her ready sympathy, and her strict sense of justice.<br />
In any case she is one of those authors who need no<br />
advertisement, who seek no popularity, and who<br />
have won the heart of their public. “Sur la<br />
Branche ’’ is to appear very shortly in English.<br />
“Le Jardin Fermé’” (“Scènes de la Vie féminine<br />
en Turquie”), by Marc Hélys, comes at just the<br />
right time. The book is composed of a series of<br />
episodes, taken from the lives of Turkish women,<br />
by a Parisian who was an intimate friend of the<br />
two Désenchantées of Pierre Loti’s book. Nearly<br />
all the stories are taken from life. Marc Hélys<br />
has travelled in many countries, and she is a keen<br />
observer. Her book is now being translated, but<br />
no translation can do justice to the original. It<br />
is one of those that should be read in French, as<br />
the language is too delicate for translation.<br />
“Jean des Brumes” is another of the delightful<br />
Wendean stories by Charles Foley, who has made<br />
that epoch of French history his special study.<br />
He always succeeds in putting the atmosphere of<br />
the times into his historical novels. This book<br />
makes the thirtieth volume of his works. In<br />
England Charles Foley's name is chiefly known<br />
as the author of the play “Heard at the Tele-<br />
phone,” and of short stories which have appeared<br />
in the Strand, Pearson's, the Idler, and other<br />
English and American magazines.<br />
“L’Espoir,” by Georges Lecomte, may be con-<br />
sidered rather as an historical novel. The author<br />
has taken the period immediately following the<br />
terrible winter of 1870 and 1871, and shows the<br />
<br />
<br />
## p. 41 (#57) ##############################################<br />
<br />
TRIE AUTISIOR,<br />
41<br />
almost superhuman efforts and energy of the<br />
French nation in those troubled times. It is a<br />
book that is well worth reading.<br />
The “Lettres du Prince de Metternich a la<br />
Comtesse de Lieven” (1818–1819) are published<br />
with an introduction, a conclusion and notes by Jean<br />
Hanoteau, and a preface, by M. Arthur Chuquet,<br />
Member of the Institute.<br />
The sixth volume of Madame Juliette Adam’s<br />
“Memoirs” has just appeared. It is entitled “Nos<br />
Amitiés Politiques jusqu’à l’Abandon de la<br />
Revanche.” This volume contains many un-<br />
published letters by Gambetta, Rochefort, and<br />
Spuller.<br />
“Loie Fuller (Quinze Ans de ma Wie)'' is an<br />
interesting account of the last fifteen years of the<br />
celebrated dancer's life, with an account of her<br />
various tours and of the people she has met. The<br />
preface has been written for her by Anatole<br />
France.<br />
“L’Evolution du Protestantisme français au<br />
Dix-neuvième Siècle,” by C. Coigmet, is another<br />
book published at the right moment. The<br />
subject is treated by a philosopher who has<br />
endeavoured to show how small a matter dogma<br />
really is. This history of Protestantism from the<br />
thirteenth and fourteenth centuries down to our own<br />
times shows up the virtues, the faults and failings<br />
of its leaders, and concludes with the following<br />
question : “Why do we not come nearer to each<br />
other in this life, respecting, in the diversity<br />
of our symbols, the diversity of our religious<br />
needs P’’<br />
For all readers interested in the Turkish question<br />
the various French publishers are issuing lists of<br />
the books they have in reference to the subject.<br />
Among some of these are the following:—“Ile<br />
Sultan, l’Islam, et les Puissances,” by Victor<br />
Bérard ; “Les Affaires de Crète ’’; “La Bosnie<br />
et l'Herzégovine,” by L. Olivier; “Le Balkan<br />
Slave et la Crise Autrichienne,” by Charles<br />
Loiseau ; “Histoire de la Turquie,” by Youssouf<br />
Fehmi, with a preface by M. Antoine Baumann.<br />
Among other new books are : “Le Coeur Humain<br />
et les Lois de la Psychologie Positive,” by Antoine<br />
Baumann; “L’Aéroplane des Frères Wright:<br />
Historique, Expériences, Description,” a little<br />
pamphlet published at 1 franc, containing also<br />
some original sketches. “L’Evolution de la<br />
Marine anglaise : Réformes du Personnel,” by De<br />
Roquefeuil.<br />
A translation of the works of Shakespeare is<br />
being made by Georges Duval. “Othello,”<br />
“Measure for Measure,” “Cymbeline,” and<br />
“Love's Labour's Lost" are published together<br />
in one volume.<br />
Among translations from the English are<br />
“L'Oncle Bernac,” by Conan Doyle ; “Le Chat<br />
Maltais,” by Rudyard Kipling, translated by Louis<br />
Fabulet and Arthur Austin Jackson ; “Les Contes<br />
de Canterbury,” by Chaucer, revised by M. Legonis,<br />
one of the professors of the Sorbonne ; “Le Para-<br />
site,” by Conan Doyle, translated by Albert Savine<br />
and Georges Michel; “Mystères et Aventures,” by<br />
Conan Doyle, translated by Albert Savine.<br />
A translation of one of Thomas Hardy's works<br />
by Iouis Labay is now being published in serial<br />
form under the title of “ Deux Ambitions.”<br />
Edith Wharton's novel is translated, under<br />
the title of “ Chez les Heureux du Monde,” by<br />
M. Charles du Bos. The title given for “The<br />
House of Mirth '' does not appear to be an<br />
equivalent.<br />
In recent numbers of the Revue de Paris are the<br />
following articles: “La Foire aux Images,” by<br />
Paul Stapfer: “La Réforme de l'Indo-Chine,” by<br />
Lieutenant-Colonel F. Bernard ; “Lettres de<br />
1871,” by Georges Bizet ; “La Famille Royale en<br />
1700,” by Ernest Lavisse ; “Le Congrès de la<br />
Route,” by L. Girardault. Questions extérieures :<br />
“Indépendance Bulgare.”<br />
In the latest numbers of the Revue Hebdoma-<br />
daire are the following articles: “Le Président<br />
Grévy,” by Gabriel Hanotaux; “Le Congrès<br />
Eucharistique à Londres,” by P. Clément Berthel;<br />
“L'Idée du Bonheur et du Progrès dans la Littéra-<br />
ture du Dix-neuvième Siècle,” by Marius Ary<br />
Leblond ; “Ma Vocation sociale,” by Comte<br />
Albert de Mun.<br />
A volume by Maurice Donnay, entitled<br />
“Théâtre,” is just published, containing “Georgette<br />
Lemeunier,” “Le Torrent,” and “La Bascule.”<br />
“Parmi les Pierres,” by Sudermann, translated<br />
into French by M. Rémon and M. Valentin, is<br />
being played at the Odéon, and is now published in<br />
Volume form.<br />
At the Odéon “Parmi les Pierres,” by Suder-<br />
mann, is now on the bill.<br />
At the Renaissance Paul Bourget's<br />
“L’Emigré'' is being played.<br />
Madame Réjane is giving M. Bernstein's<br />
“Israël.” At the Théâtre Antoine “L'Oreille<br />
Fendue " is a great success, and at the Vaudeville<br />
“La Maison en Ordre,” by Mr. Pinero.<br />
ALYS HALLARD.<br />
piece<br />
“L'Ile des Pingouins" (Calmann Lévy).<br />
“Les Détours du Coeur'' (Plon).<br />
“Le Jardin Fermé (Scènes de la Vie feminine en<br />
Turquie)" (Plon).<br />
“L’Espoir" (Fasquelle).<br />
“Lettres du Prince de Metternich a la Comtesse de<br />
Lieven" (1818–1819) (Plon).<br />
The sixth volume of Madame Juliette Adam's Memoirs<br />
(Lemerre).<br />
“L’Evolution du Protestantisme Français au Dix-<br />
neuvième Siècle” (Alcan).<br />
<br />
<br />
## p. 42 (#58) ##############################################<br />
<br />
42<br />
TFIES A UTFIOR.<br />
“Le Sultan, l'Islam et les Puissances” (Colin).<br />
“Les Affaires de Crète ’’ (Colim).<br />
“La Bosnie et l'Herzégovime ’’ (Colin).<br />
“Le Balkan Slave et la Crise autrichienne '' (Perrin).<br />
“Histoire de la Turquie” (Perrin). -<br />
“Le Coeur Humain et les Lois de la Psychologie Positive”<br />
(Perrin).<br />
“L'Aéroplane des Frères Wright: Historique, Expéri-<br />
ences, Description ” (Berger-Levrault).<br />
“Le Parasite ” (Stock).<br />
“Mystères et Aventures '' (Stock).<br />
“Chez les Heureux du Monde ’’ (Plon).<br />
“Théâtre" (Fasquelle).<br />
“Parmi les Pierres” (Calmann Lévy).<br />
—e—º-s— —<br />
THE PAN-AMERICAN COPYRIGHT<br />
CONVENTION.<br />
RT. IST. The signatory States constitute<br />
A. themselves into a Union for the purpose of<br />
recognising and protecting the rights of<br />
literary and artistic property, in conformity with<br />
the stipulations of the present Convention.<br />
ART. 2ND. Under the term “Literary and<br />
Artistic Works,” are comprised books, manuscripts,<br />
pamphlets of all kinds, no matter what subject<br />
they may treat of and what may be the number of<br />
their pages; dramatic or melodramatic works;<br />
choral music and musical compositions, with or<br />
without words, designs, drawings,<br />
sculpture, engravings, photographic works; astro-<br />
nomical and geographical globes; plans, sketches<br />
and plastic works relating to geography or geology,<br />
topography or architecture, or any other science;<br />
and finally, every production in the literary and<br />
artistic field which may be published by any method<br />
of impression or reproduction.<br />
ART. 3RD. The copyright to literary or artistic<br />
work consists in the exclusive right to dispose of<br />
the same, to publish, Sell and translate the same,<br />
or to authorise its translation, and to reproduce<br />
the same in<br />
partially.<br />
The authors belonging to one of the signatory<br />
countries, or their assigns, shall enjoy in the other<br />
signatory countries, and for the time stipulated in<br />
art. 5th, the exclusive right to translate their works,<br />
or to authorise their translation.<br />
ART. 4TH. In order to obtain the recognition of<br />
the copyright of a work, it is indispensable that<br />
the author or his assigns, or legitimate representa-<br />
tive, shall address a petition to the official Depart-<br />
ment which each government may designate,<br />
claiming the recognition of such right, which<br />
petition must be accompanied by two copies of<br />
his work, said copies to remain in the proper<br />
Department.<br />
paintings,<br />
any manner, either entirely or<br />
If the author, or his assigns, should desire that his<br />
copyright be recognised in any other of the signatory<br />
countries, he shall attach to his petition a number<br />
of copies of his work, equal to that of the countries<br />
he may therein designate. The said Department<br />
shall distribute the copies mentioned among those<br />
countries, accompanied by a copy of the respective<br />
certificate, in order that the copyright of the author<br />
may be recognised by them. -<br />
Any omissions which the said Department may<br />
incur in this respect shall not give the author, or<br />
his assigns, any rights to present claims against the<br />
State.<br />
ART. 5TH. The authors who belong to one of the<br />
signatory countries, or their assigns, shall enjoy in<br />
the other countries the rights which their respec-<br />
tive laws at present grant, or in the future may<br />
grant, to their own citizens; but such right shall<br />
not exceed the term of protection granted in the<br />
country of its origin. -<br />
For the works composed of several volumes,<br />
which are not published at the same time, as well<br />
as for bulletins or instalments of publications of<br />
literary or Scientific Societies, or of private parties,<br />
the term of property shall commence to be counted<br />
from the date of the publication of each volume,<br />
bulletin or instalment.<br />
ART. 6TH. The country in which a work is first<br />
published shall be considered as the country of its<br />
origin, or, if such publication takes places simul-<br />
taneously in several of the signatory countries, the<br />
one whose laws establish the shortest period of pro-<br />
tection shall be considered as the country of its<br />
Origin.<br />
ART. 7TH. Lawful translations shall be protected<br />
in the same manner as original works. The trans-<br />
lators of works, in regard to which there exists no<br />
guaranteed right of property, or the right of which<br />
may have become extinguished, may secure the<br />
right of property for their translations, as estab-<br />
lished in art. 3rd, but they shall not prevent the<br />
publication of their translations of the same<br />
work.<br />
ART. 8TH. Newspaper articles may bereproduced,<br />
but the publication from which they are taken must<br />
be mentioned, and the name of the author given, if<br />
it should appear in the same.<br />
ART. 9TH. Copyright shall be recognised in<br />
favour of the persons whose names or acknow-<br />
ledged pseudonyms are stated in the respective<br />
literary or artistic work, or in the petition to which<br />
art. 4th of this Convention refers, excepting case of<br />
proof to the contrary.<br />
ART. 10TH. Addresses delivered or read in<br />
deliberative assemblies, before the courts of<br />
justice and in public meetings, may be published<br />
in the newspaper Press without any special<br />
authorisation.<br />
<br />
<br />
## p. 43 (#59) ##############################################<br />
<br />
THE AUTHOR.<br />
43<br />
ART, 11TH. The reproduction in publications<br />
devoted to public instruction or chrestomathy, of<br />
fragments of literary or artistic works, confers no<br />
right of property, and may therefore be freely made<br />
in all the signatory countries.<br />
ART. 12TH. All unauthorised indirect use of a<br />
literary or artistic work, which does not present<br />
the character of an original work, shall be con-<br />
sidered as an unlawful reproduction.<br />
It shall be considered in the same manner<br />
unlawful to reproduce, in any form, an entire<br />
work, or the greater part of the same, accompanied<br />
by notes or commentaries, under the pretext of<br />
literary criticism, or of enlargement or complement<br />
of an original work.<br />
ART. 13TH. All fraudulent works shall be liable<br />
to sequestration in the signatory countries in which<br />
the original work may have the right of legal pro-<br />
tection, without prejudice to the indemnities or<br />
punishments to which the falsifiers may be liable<br />
according to the laws of the country in which the<br />
fraud has been committed.<br />
ART. 14TH. Each one of the Governments of the<br />
signatory countries shall remain at liberty to<br />
perinit, exercise vigilance over, or prohibit, the<br />
circulation, representation and exposition of any<br />
work or production, in respect to which the<br />
competent authorities shall have power to exercise<br />
such right. - º<br />
ART. 15TH. The present Convention shall take<br />
effect between the signatory States that ratify it<br />
three months from the day they communicate their<br />
ratification to the Mexican Government, and shall<br />
remain in force among all of them until one year<br />
from the date it is denounced by any of said<br />
States. The notification of such denouncement<br />
shall be addressed to the Mexican Government, and<br />
shall only have effect in so far as regards the<br />
country which has given it. -<br />
ART. 16TH. The Governments of the signatory<br />
States, when approving the present Convention,<br />
shall declare whether they accept the adherence to<br />
the same by the nations who have had no repre-<br />
sentation in the Second International American<br />
Conference. t<br />
In testimony whereof the plenipotentiaries and<br />
delegates sign the present Convention and set<br />
thereto the Seal of the Second International<br />
American Conference. - -<br />
Made in the City of Mexico, on the twenty-<br />
seventh day of January, nineteen hundred and two,<br />
in three copies written in Spanish, English and<br />
French respectively, which shall be deposited at<br />
the Department of Foreign Relations of the<br />
Government of the Mexican United States, so<br />
that certified copies thereof may be made, in order<br />
to send them through the diplomatic channel to<br />
the signatory States.<br />
SERIAL AND MINOR RIGHTS.<br />
—º-º-º-<br />
(1) “The publishers shall control absolutely all arrange-<br />
ments for serial publication of the work or any portion of<br />
it, either before or after its publication in book form, and<br />
shall divide equally with the author all gross profits accruing<br />
from such serial publication in England, Australia, Canada,<br />
or any other colony. In case arrangements may be entered<br />
into for the translation of this work to any foreign tongue,<br />
the author and the publishers shall be partners to the<br />
extent of one half-share each in any sum thus received.”<br />
(2) (a) “The publishers shall during the legal term of<br />
copyright have the exclusive right of producing and pub-<br />
lishing the work in the United Kingdom, the Colonies,<br />
India, and the United States of America. The publisher<br />
shall have the entire control of the publication and sale and<br />
terms of sale of the book, and the author shall not during<br />
the continuance of this agreement (without the consent of<br />
the publisher) publish or allow to be published any abridg-<br />
ment, portion, translation, or dramatised version of the<br />
work.”<br />
(b) “In the event of the publisher realising profits from<br />
the sale of serial, Continental, or other rights, or from<br />
claims for infringement of copyright, a royalty of fifty per<br />
cent. Of the net amount of such profits remaining after<br />
deducting all expenses relating thereto.”<br />
(3) (a) “A royalty of 50 per cent. of the net profits<br />
derived from the sale of American copyright (if any).<br />
(b) “A royalty of 50 per cent. of the net profits derived<br />
from the sale of foreign rights (if any).<br />
(c) “A royalty of 50 per cent. of the net profits derived<br />
from the sale of the serial rights (if any).<br />
“In the event of your accepting these terms, it must be<br />
understood that I have the first refusal of your next three<br />
Inew novels, suitable for publication in 6s. form, on terms<br />
to be mutually agreed upon, otherwise there would be little<br />
inducement for pushing the present work.”<br />
We print above (1) a clause taken from one<br />
publisher's agreement, (2) two clauses from another<br />
publisher's agreement, and (3) a portion of a pro-<br />
posal from a third publisher. All the publishers<br />
in question are well known, and no doubt their<br />
proposals will be recognised by those members of<br />
the Society who have signed similar agreements or<br />
had similar proposals. .<br />
There is no need to repeat, what we have often<br />
stated, that under no conditions should these minor<br />
rights (see (1), (2), and (3)), translation, serial rights,<br />
etc., be transferred to a publisher. A publisher is<br />
an agent for the production of the work in book<br />
form. There is no need to repeat that an author<br />
should not allow his literary agent to recommend<br />
him an agreement where these rights are transferred<br />
to the publisher. It is the duty of a literary agent<br />
to place these rights, and for doing so he charges<br />
10 per cent. We do not want even to call the<br />
attention of members to the extraordinary per-<br />
centage asked by the publishers in question for these<br />
rights, for placing which an agent charges only<br />
10 per cent. If the publisher, in our opinion,<br />
should not have them under his control, he certainl y<br />
<br />
<br />
## p. 44 (#60) ##############################################<br />
<br />
44<br />
TISIES A CITYSIOR,<br />
should not have them at 50 per cent., or any other<br />
percentage. We want, however, to call the par-<br />
ticular attention of members to the following<br />
words (see (2) (a)): “The publisher shall have the<br />
entire control of the publication and sale and<br />
terms of sale of the book, and the author shall<br />
not during the continuance of this agreement<br />
(without the consent of the publisher) publish or<br />
allow to be published any abridgment, portion,<br />
translation, or dramatised version of the work.”<br />
It will be seen in the other clauses (see (1), (2)(b),<br />
and (3)) that it is distinctly stated that certain<br />
rights are sold and definite percentages are claimed,<br />
but in clause (2)(a) members will see that there is a<br />
difference in the draftsmanship. Any author<br />
would suppose, on reading this clause, that this<br />
consent, like the consent of a landlord in a lease,<br />
would not be unreasonably withheld, especially as,<br />
and, in contrast, the particulars of the percentages<br />
and the sale of other rights are so carefully set out<br />
in the second clause ; but if he does consider that<br />
this is the case he will be grievously disappointed<br />
when it actually comes to the Sale of translation<br />
rights and the publication of a dramatised version.<br />
Take for instance the case where the author has<br />
written a drama, or has obtained a satisfactory<br />
contract for the translation of his work. He<br />
applies to the publisher for his consent. The pub-<br />
lisher says, “I will give my consent if you will<br />
undertake to pay me 50 per cent. of the returns.”<br />
There is no reason why he should not even ask for<br />
75 per cent. We do not for a moment suggest that<br />
these clauses have been drafted differently in the<br />
two cases in order intentionally to mislead the<br />
author, but that they have done so on two or three<br />
Occasions the secretary of the society has very<br />
strong evidence at the office. It would be very<br />
interesting to find a satisfactory reason for this<br />
particular draftsmanship so favourable to the<br />
publishers, so misleading to the author.<br />
If, therefore, at any time an author is asked to<br />
sign an agreement in which these clauses stand, he<br />
should refuse to do so on the grounds, first, that<br />
the translation rights are not for the publisher to<br />
negotiate, and Secondly, that the publication of a<br />
dramatised version is entirely another property.<br />
If, however, owing to the inherent weakness of<br />
human nature, he decides to give the publisher<br />
Some control over these rights, then the profits<br />
which are to be given to the publisher should be<br />
definitely fixed and the publisher should only be<br />
able to claim a percentage if he has been instru-<br />
mental in bringing together the parties to the<br />
contract. “The publisher's consent” should not<br />
depend upon his claiming 50 or 60 per cent. of the<br />
author's hard-won returns.<br />
The last paragraph of No. 3, the publisher's<br />
proposal, is quite impossible.<br />
Again, it must be stated in the strongest terms<br />
that the author should never bind himself for future<br />
books with any publishers on any conditions; but<br />
the last few words have their amusing side. The<br />
publisher is getting 50 per cent. on the sale of<br />
rights which he ought never to be allowed to<br />
handle, and on which the agent takes only 10 per<br />
cent., and then says that unless he obtains the<br />
next three books there is no inducement for him.<br />
to push the first.<br />
-<br />
—e—“O-e—<br />
MAGAZINE CONTENTS.<br />
—º-º-º-<br />
BIBLIOPHILE.<br />
W. E. Henley. By Theodore Watts-Dunton.<br />
The Cat in Literature. By F. C. Owlett.<br />
An Eighteenth Century Occult Magazine: And a Query<br />
as to William Blake. By Mark Perugini.<br />
BLACKWOOD'S.<br />
The Apocalyptic Style.<br />
BOOKMAN.<br />
Ruskin's Position in the World of Art.<br />
Spielmann.<br />
The Library Edition of Ruskin.<br />
Nicoll, LL.D.<br />
The “Bookman” Gallery.<br />
By M. H.<br />
By W. Robertson<br />
Mr. Harold Bindloss.<br />
BOOK MONTHLY.<br />
Tolstoy at Eighty.<br />
The Novelist as Conqueror of the Stage. By the Editor.<br />
CORNHILL.<br />
Irish Epics and Homer. By Andrew Lang.<br />
The Book on the Table: “Louise de la Vallière.” By<br />
Virginia Stephen.<br />
DUBLIN QUARTERLY.<br />
Francis Thompson : In Memoriam. By W. G. Hole.<br />
FORTNIGHTLY.<br />
The Decay of the Short Story. By Edwin Pugh.<br />
Plays of the New Season. By William Archer,<br />
MONTH.<br />
Heredia. By Harold Binns.<br />
NATIONAL.<br />
The Unparalleled Pieresc. By Austin Dobson.<br />
Patrice. By Miss Alys Hallard.<br />
NEW QUARTERLY.<br />
Flambert and Some Critics (Part I.).<br />
Moore.<br />
Chinese Poetry. By G. L. Strachey.<br />
The Note-books of Samuel Butler (IV.).<br />
*<br />
By T. Sturge.<br />
NINETEENTH CENTURY.<br />
Dante and Shakespeare. By Mary Winslow Smyth.<br />
The Method of Plato. By Herbert Paul, M.P.<br />
The Poet in “High Alps.” By Frederick Wedmore.<br />
<br />
<br />
## p. 45 (#61) ##############################################<br />
<br />
TRIES A UTFIOR.<br />
45<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
—e-º-e—<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property — -<br />
I. Selling it Outright. -<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
Tights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
(1.) That both sides shall know what an agreement<br />
{1623.IlS.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
(nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
——e—º-e—<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
EWER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is ºwell to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
xmanager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(6.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
7. Authors should remember that performing rights in a<br />
play, are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
—e—º-e—<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
•-3-e<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
## p. 46 (#62) ##############################################<br />
<br />
46<br />
TFIES A UTFIOR.<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above,<br />
HOW TO USE THE SOCIETY.<br />
—º-sº-0–<br />
1. VERY member has a right to ask for and to receive<br />
E advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have now arranged for the reception<br />
of members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
8. Many agents neglect to stamp agreements.<br />
The<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
TO MUSICAL COMPOSERS.<br />
–0–0–0–<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH,<br />
—6—Q-0–<br />
EMBERS will greatly assist the Society in the<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
a *- à<br />
w—w-<br />
&<br />
w<br />
& —dº-<br />
v-u-<br />
NOTICES.<br />
—º-º-º-<br />
HE Editor of The Author begs to remind members of<br />
| the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. Subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
—º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
—e—º-e—<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
—º-º-º-<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
## p. 47 (#63) ##############################################<br />
<br />
THE AUTISIOR,<br />
GENERAL NOTES.<br />
—º-º-º-<br />
THE COPYRIGHT CONFERENCE.<br />
THE first meeting of the Copyright Conference<br />
was held in Berlin on October 14. The British<br />
delegates were Sir Henry Bergne, K.C.B. (member<br />
of the council and an ex-chairman of the Society<br />
of Authors), who was plenipotentiary to the first<br />
meeting of the Conference at Berne, Mr. G. R.<br />
Askwith, K.C. (assistant secretary to the Board of<br />
Trade), Count de Salis (councillor of His Majesty's<br />
Embassy at Berlin), Mr. R. L. Craigie (of the<br />
Foreign Office), and Mr. T. W. Phillips (of the<br />
Board of Trade). One of the principal questions<br />
that was discussed was the term during which<br />
copyright should continue, most of the signatories<br />
being in favour of life and fifty years. Germany,<br />
however, who has recently passed a law to this<br />
effect, was in favour of life and thirty years. It<br />
should be understood that matters are discussed at<br />
the Conference by the Governments of the various<br />
countries, and that the Society of Authors and<br />
similar organisations have little or no voice in the<br />
business, although the French Government, always<br />
in advance in literary matters, appointed a com-<br />
mittee of authors to attend. The exact position of<br />
affairs was made plain by Mr. Winston Churchill,<br />
replying recently to questions asked in the House.<br />
He said : “The proposed amendments to the Berne<br />
Convention regarding copyright were communi-<br />
cated to a number of Societies and persons<br />
interested in the questions to be discussed, and<br />
their criticisms were invited and obtained. . . .<br />
Any alteration of the existing law in this country<br />
to give effect to amendments of the convention<br />
must of necessity be submitted to Parliament in<br />
the form of a Bill’’ (The Times, October 20).<br />
The Society of Authors was among those men-<br />
tioned, and the criticisms of its copyright experts<br />
were duly forwarded to the Board of Trade ; but<br />
since the papers were received and opinions<br />
solicited in confidence, no statement appeared in<br />
The Author.<br />
Mr. Churchill said further : “The British dele-<br />
gates at the International Copyright Conference at<br />
Berlin have no power to bind his Majesty's<br />
Government to any amendment of the law of<br />
copyright, and it has been explained to the other<br />
delegates that any provisional assent which they<br />
may give to any proposed amendment or revision<br />
of the International Copyright Convention must<br />
not be held to imply that Great Britain will be<br />
able eventually to adhere and give effect to such<br />
alteration ” (The Times, October 20). If possible,<br />
a full account of the proceedings will appear in the<br />
December issue of The Author.<br />
THE “TIMES ’’ AND THE PUBLISHERS'<br />
ASSOCIATION.<br />
WHAT had come to be known as the “Book<br />
War” is now happily over. On September 29–<br />
too late for mention in our last issue—we received<br />
an official communication from the Publishers'<br />
Association to the effect that a satisfactory settle-<br />
ment of the dispute with The Times had been<br />
effected, and that members of the association were<br />
again entering into ordinary business relations with<br />
The Times as from October 1. The terms upon<br />
which peace was concluded have not transpired ;<br />
but it may be gathered from the fact that pub-<br />
lishers' advertisements are again appearing in the<br />
Literary Supplement that the rapprochement is<br />
lasting and complete.<br />
-<br />
THE PAN-AMERICAN COPYRIGHT CONVENTION.<br />
WE have received from the Library of Congress,<br />
Copyright Office, the text of the Pan-American<br />
Copyright Treaty of 1902, reprinted from the<br />
official English text. -<br />
The treaty was signed at the City of Mexico by<br />
the plenipotentiaries of seventeen countries, includ-<br />
ing those of the United States, on January 27th,<br />
1902. Ratifications of the Convention have since<br />
been deposited with the Mexican Government by<br />
Guatemala, on April 25th, 1902; by Salvador, on<br />
May 19th, 1902; by Costa Rica, on June 28th, 1902;<br />
by Honduras, on July 4th, 1904; by Nicaragua,<br />
On August 13th, 1904; and by the United States,<br />
on March 31st, 1908. According to the provisions<br />
of Article 15, this treaty went into effect as between<br />
the United States and the countries enumerated on<br />
July 1st, 1908.<br />
We do not notice among the articles (which are<br />
reprinted on another page) any provision for the<br />
printing in the United States of the books of the<br />
other subscribing parties. It certainly seems<br />
strange that the United States can enter into such<br />
a treaty with small Central American Republics,<br />
such as Honduras and Costa Rica, and yet refuse<br />
to subscribe to the Berne Convention. Probably,<br />
the omission in the present treaty of this stipula-<br />
tion, which keeps her apart from the European<br />
Powers, is in anticipation of the future union of<br />
these republics with herself; or perhaps, as in most<br />
matters, she looks at the question from the point<br />
of view of the almighty dollar, knowing that she<br />
will gain more by the free export of her authors’<br />
works into the countries named, than she will lose<br />
by the import from these countries, as their<br />
literature is small compared with hers.<br />
THE CHARLES LAMB MEMORIAL.<br />
STRANGE as it may seem, among the many<br />
monuments to literary genius in Westminster<br />
<br />
<br />
## p. 48 (#64) ##############################################<br />
<br />
48<br />
THE A UTHOR.<br />
Abbey there is nothing to commemorate that of<br />
Charles Lamb, one of the most original of England's<br />
humorists and essayists. The only memorial to his<br />
genius exists in the form of a mural tablet erected<br />
by the Middlesex Archaeological Society in the<br />
parish church of Edmonton, in which village the<br />
latter and more eventful years of his life were<br />
passed, and where he and his sister Mary lie<br />
buried.<br />
However, on a site near his grave and Bay<br />
Cottage where he lived, a hall and institute have<br />
now been erected bearing his name. The site has<br />
generously been given by the Ecclesiastical Com-<br />
missioners, and the building planned to include<br />
fifteen rooms besides the large hall, in which<br />
literary, social, and recreative work will be carried<br />
on. The cost is £5,400, of which £2,900 is already<br />
raised or promised. A committee has been formed<br />
to raise the remaining £2,500, and carry through<br />
the scheme ; the Rev. E. A. B. Sanders, of the<br />
Vicarage, Edmonton, is treasurer, to whom all<br />
cheques and contributions may be sent.<br />
A Charles Lamb Festival Dinner has been<br />
arranged with the object of raising the deficiency<br />
on the cost. It will be held at the Criterion<br />
Restaurant, on Thursday, November 12, with Mr.<br />
Anthony Hope Hawkins in the chair, a fact which<br />
should further recommend the scheme to members<br />
of the society. Those desiring to participate<br />
therein should communicate with the steward, Mr.<br />
G. Eedes Eachus, Hughenden, Bush Hill, Winch-<br />
more Hill, N.<br />
•=-smº-nº-<br />
THE U.S.A. BOOK MARKET.<br />
THE announcement list of books to be published<br />
during this autumn and winter season in America<br />
by fifty representative publishers totals some 1,450<br />
titles. The classified list published in the Chicago<br />
Dial shows some curious features. Thus, books for<br />
the young head the list in numbers, followed by<br />
fiction and biography. Biography for the most part<br />
deals with English worthies, American and Italian<br />
taking the second place. In the small section of<br />
poetry and the drama we notice that Mr. Thos. B.<br />
Mosher is issuing a cluster of English poetry from<br />
the pens of W. E. Henley, Lionel Johnson, Francis<br />
Thompson, Oscar Wilde, and Wordsworth. Travel<br />
and exploration are well represented with books<br />
relating to every country from Alaska to Ceylon.<br />
The smallest lists are those dealing with educa-<br />
tion, games, philosophy, health, medicine, and<br />
music. Religion and theology, on the other hand,<br />
are well up to the average. Any endeavour, there-<br />
fore, to judge America by what it reads would<br />
appear to be a task of much difficulty,<br />
*m-.<br />
J. C. PARKINSON.<br />
WE regret to announce the death of Mr. Joseph<br />
Charles Parkinson, on Saturday, October 24. He<br />
Was One of the original members of the council of<br />
the Society, of whom but three or four now survive.<br />
Mr. Parkinson was born in 1833, and his long<br />
and active life was chiefly devoted to journalism<br />
and social reform in connection with the Daily News<br />
and the World. His most noteworthy efforts in<br />
this direction were for the abolition of public<br />
executions, for Poor Law reform, and for the pre-<br />
servation of commons. He was special correspon-<br />
dent to the Daily News at the opening of the<br />
Suez Canal in 1869, and proceeded to India shortly<br />
afterwards in connection with the ocean telegraph.<br />
Among other duties and positions undertaken and<br />
fulfilled, he held high offices in Masonic circles,<br />
was a governor of Christ's Hospital, chairman of<br />
the Reform Club, and treasurer of the Royal<br />
Literary Fund. His publications include “Under<br />
Government,” a guide to the departments of the<br />
Civil Service ; a handbook of “Government<br />
Examinations,” and “The Ocean Telegraph to<br />
India.”<br />
While Mr. Parkinson never took a very promi-<br />
nent part in the work of the society, he was one<br />
of its warmest supporters, and was always ready,<br />
when occasion offered, to encourage it in its duties,<br />
to further its aims, and to seek for its prosperity.<br />
THE PUBLISHERS’ CIRCLE AND BOOK<br />
TRADE DINNER.<br />
—e-º-e—<br />
ITY HE Publishers' Circle organised during the<br />
summer months a book trade dinner. It<br />
was held at the Trocadero, on Friday, Octo-<br />
ber 9, when about 250 people were present, and<br />
many lambs could be seen among the recumbent<br />
lions. -<br />
Mr. Edward Bell, the chairman of the Publishers'<br />
Association, took the chair; and Mr. Arthur Waugh,<br />
the managing director of Messrs. Chapman and<br />
Hall, and Mr. H. W. Keay, president of the<br />
Associated Booksellers, were at the head of the<br />
cross-tables as vice-chairmen.<br />
As Sir George Otto Trevelyan facetiously re-<br />
marked in his speech, he was glad to see that the<br />
publishers had brought their authors with them.<br />
It would be invidious to make distinction or<br />
mention what particular author was in the right-<br />
and left-hand pocket of what particular publisher,<br />
but this is certain, that there was much good-<br />
fellowship and camaraderie, and everyone present<br />
<br />
<br />
## p. 49 (#65) ##############################################<br />
<br />
THE AUTHOR.<br />
49<br />
was glad to sink all debatable subjects and enjoy<br />
the pleasures provided for him.<br />
For this happy issue hearty thanks are due to<br />
Mr. Arthur Waugh, the chairman of the Publishers'<br />
Circle, and Mr. A. D. Power, the secretary.<br />
After the toast of “The King,” Mr. W. L.<br />
Courtney, in his best academic manner, with a<br />
touch of jest and sarcasm, sometimes for, sometimes<br />
against the publisher, proposed the toast of<br />
“Literature.”<br />
He emphasised the fact that literature had<br />
nothing to do with the subject, but the manner in<br />
which the subject was treated. He explained his<br />
proposition with forcible and sincere arguments.<br />
The toast was coupled with the name of Sir<br />
George Trevelyan.<br />
Sir George entertained the company with a<br />
number of interesting literary reminiscences. He<br />
talked of his walks with Carlyle; his travels—or<br />
should it not rather be his voyages —through<br />
Venice with Ruskin for a guide ; his introduction<br />
to Browning, and his meeting with Thackeray.<br />
Everyone appreciated these glimpses of the past.<br />
Towards the end of his speech, in the strongest<br />
terms he windicated the claim of the writers of<br />
history to treat their subject as an art rather than<br />
as a mere dry science or a crude statement of facts.<br />
No doubt all those who read history for the love<br />
of the past will cordially agree with him.<br />
Mr. W. W. Jacobs, in an amusing speech,<br />
proposed “The Book Trades.”<br />
He proclaimed the modesty of publishers because<br />
they never advertised. He knew this was a fact,<br />
because all the authors he had met had assured<br />
him that it was so.<br />
Mr. Edward Bell, the chairman, and Mr. H. W.<br />
Keay responded.<br />
There were pleasant music and songs during the<br />
dinner, and in the intervals between the speeches,<br />
and after the speeches, a soirée was held in the<br />
Alexandra Room.<br />
Thus the first dinner of the Publishers' Circle was<br />
brought to a satisfactory conclusion.<br />
The promoters should be pleased with the results,<br />
which it is to be hoped will bring about the<br />
blessings of peace and goodwill and good under-<br />
standing. • .<br />
—e—º-e—<br />
THE TWELFTH INTERNATIONAL CON-<br />
GRESS OF THE PRESS.<br />
—º-º-e—<br />
HE choice of Berlin as the city wherein the<br />
Twelfth International Press Congress was to<br />
be held, gave rise to many speculations.<br />
Obstacles had frequently been thrown in the way<br />
of holding the Congress in the German capital, but<br />
the success of the meeting has fully justified the<br />
Bureau Central in accepting the invitation.<br />
The Press not only of Berlin but of Germany<br />
have worked cordially, and have been most heartily<br />
supported by the imperial and civic authoritics in<br />
their endeavours to make the Congress a success,<br />
from both the business and social stand point.<br />
When the English delegation had arrived in<br />
Berlin, and received their portfolios, it was at once<br />
seen that every possible detail had been considered<br />
with minute care. The ticket arrangements had<br />
been placed in the hands of the Hamburg-American<br />
Steamship Co., by whose lines most of the English<br />
delegates travelled to Berlin via Hamburg ; the<br />
officials of the line arranged for all the inter.<br />
tickets within the German Empire, and the French<br />
railways, through M. Taunay, accorded passes<br />
through their territory to the Latin members.<br />
The portfolios contained all documents, reports,<br />
time-tables, programmes, invitations, etc., and<br />
from the office in the Reichstaggebaude (Par-<br />
liament House) where these were issued, the<br />
members could at once pass to the writing-rooms<br />
of the House of Parliament, and answer all<br />
necessary notes and invitations. The whole<br />
Suite of the Parliamentary buildings were at<br />
our disposal. Libraries, post-office, lobbies, etc.,<br />
and a lunch was arranged here each day. Before<br />
the first meeting of the Congress the English<br />
delegation came together at the Hotel Adlon, under<br />
the presidency of Major Gratwicke. At this gather-<br />
ing he was elected English Vice-President of the<br />
Congress. On the subjects of the debate being<br />
considered it was decided that Mr. Thomas Catling<br />
should speak upon “The Dignity of the Press and<br />
the Constitution of Professional Tribunals.” Mr.<br />
J. R. Fisher and Mr. Arthur Walter were nomi-<br />
nated as speakers upon the question of “Profes-<br />
sional Secrecy in Matters concerning the Press”;<br />
and upon the Provident Fund questions Major<br />
Gratwicke, the President of the British Inter-<br />
national Association of Journalists (which society<br />
had sent the delegation to Berlin). Upon “The<br />
Reduction of Postal and Telegraphic Tariffs for<br />
the Press'' Mr. J. H. Warden, the Hon. Treas.<br />
and Mr. James Baker, the Hon. Sec., were<br />
appointed speakers; and upon the general work of<br />
the Congresses the representative on the Bureau<br />
Central, Mr. D. A. Louis, was chosen. The other<br />
subjects under consideration were “Concerning the<br />
Unification of the Laws for the Protection of Artistic<br />
and Literary Property” and the suppression of the<br />
“Ambulant Jurisdiction for International Law "<br />
questions. Mr. J. R. Fisher and the Hon. Sec. were<br />
asked, if necessary, to deal with these matters.<br />
The scene in the Chamber of the German Reichs-<br />
tag when the first sitting of the Congress was<br />
opened was a significant one. Here in this hall.<br />
<br />
<br />
## p. 50 (#66) ##############################################<br />
<br />
50<br />
TFIES A UTFIOR.<br />
where so many fiery debates involving serious<br />
matters for the welfare of the German people have<br />
been fought out, were gathered the representatives,<br />
from twenty-one nations, of the Press parliament.<br />
Herr W. Singer, of Vienna, occupied the president's<br />
chair, and near him were Herr George Schweitzer,<br />
the German president, and M. Taunay, the French<br />
general secretary, and on either side, the bureau<br />
representatives of the various nations.<br />
There were present also, in recognition of the<br />
importance of the gathering, the Prussian ministers<br />
Von Rheinhaben, Von Moltke, Dr. Beseler and<br />
the Secretary of State for Foreign affairs, Won<br />
Schoen, as well as under-secretaries of State and<br />
members of the Reichstag.<br />
The Congress was opened by Herr Singer. In an<br />
eloquent and impressive speech he referred to the<br />
first Congress of the Press at Antwerp fourteen years<br />
ago, when no one believed there could be a continu-<br />
ance of international Press deliberations; but, he<br />
continued, reason had worked, and the heart had<br />
helped to bring this about, to work internationally,<br />
each for the good of his fatherland. Herr Singer<br />
spoke at first in German, and then in French, with<br />
witty references to Voltaire's sayings, and to his<br />
own experiences as a journalist ; he declared he had<br />
never doubted the great future of the Press, and he<br />
called upon those gathered from all corners of the<br />
world to work for honour, rectitude, and justice<br />
as the cardinal virtues of the Press.<br />
In an impressive speech the Foreign Secretary<br />
then greeted the Congress, by command of the<br />
Chancellor, Prince von Buelow, and referred,<br />
speaking of its growing power, to the links between<br />
diplomacy and the Press. He assured the Congress<br />
that their labours to lessen misunderstanding and<br />
to bring about better and more just consideration<br />
of political matters would insure the diplomatist's<br />
warmest sympathy.<br />
In the afternoon after the first sitting, the Chan-<br />
cellor, Prince von Buelow, gave a reception in his<br />
historic residence, and the scene in the forest<br />
garden, beneath the rooms in which the Berlin<br />
Congress was held, was full of animation. The<br />
Chancellor chatted with the varied nationalities,<br />
and then standing at his garden door, in response<br />
to Herr Singer, gave an important speech that was<br />
telegraphed to all the journals.<br />
At the second sitting of the Congress a telegram<br />
was read from M. Jules Claretie, the director of the<br />
Comédie Française, who as a dramatic journalist<br />
has spoken at former Congresses, regretting that<br />
unavoidable work prevented him coming to Berlin<br />
and journeying to the home of Goethe.<br />
Then came the question of the Dignity of the<br />
Press and Professional Tribunals, the discussion<br />
being opened by M. Taunay, and illustrated by the<br />
Italian delegates, M. Raimondi and Cantalupi. It<br />
was requested that the bureau should draw up as<br />
far as possible a codex of modern journalistic law.<br />
The important and highly debatable subject of<br />
professional secrecy and coercion of witnesses,<br />
introduced by Dr. George Schweitzer, was then<br />
discussed. Upon this subject Mr. J. R. Fisher,<br />
whose legal knowledge of journalistic usage is very<br />
thorough, stated that in England there was no<br />
Untersuchungsrichter, or examining magistrate, and<br />
the judge would not compel the name of a writer<br />
to be divulged if good ground was given for with-<br />
holding it. Mr. Arthur Walter, the official reporter<br />
of the House of Lords, spoke to the effect that no<br />
departure from common law could be claimed for<br />
the journalist. The journalist was as answerable<br />
for what he published as any other citizen, but as<br />
Mr. Fisher had said, the judge would not compel<br />
the divulging of professional secrets. Mr. Burlumi,<br />
of the Foreign Press Association, also spoke of the<br />
English usage, but he hoped, for the interests of<br />
other countries, the resolution of the central com-<br />
mittee as to professional secrecy would be carried,<br />
which was done unanimously.<br />
The third sitting of the Congress was opened<br />
by Herr Singer announcing he had received a<br />
telegram from his Imperial Majesty Kaiser<br />
Wilhelm, which, after thanking the presidents of<br />
the Press Congress for their telegram of homage,<br />
went on to hope “the delegates would feel them-<br />
selves at home in his capital, and he cherished the<br />
hope that the new relations they might be develop-<br />
ing at this Congress would be utilised in the<br />
service of the highest problems of civilisation.”<br />
The subject of the Provident Fund question<br />
was then introduced by M. Humbert, of Paris, and<br />
although some were in favour of an international<br />
fund, yet the difficulties surrounding such a departure<br />
were recognised.<br />
During the discussion Major Gratwicke, as he<br />
was compelled to return to England before the end<br />
of the debates, took the opportunity to speak of<br />
the various English provident funds, and to renew<br />
the invitation given at Bordeaux for the Congress<br />
to visit London next year. He spoke of the impor-<br />
tant steps already taken, and stated that the chief<br />
journals, as well as the men of diplomacy in both<br />
Houses of Parliament, had signified in the most<br />
emphatic manner their readiness to welcome the<br />
Congress. The journalists of all nations would<br />
then have an opportunity to learn what was done<br />
in England, and in a real way, he hoped, to help<br />
forward the brotherhood of journalism.<br />
It was decided to further the creation of provi-<br />
dent funds, and to appoint a special committee,<br />
with the bureau, to consider the possibilities of an<br />
international fund.<br />
The day following the third sitting was devoted<br />
to an excursion to Potsdam. Already the Berliners<br />
<br />
<br />
## p. 51 (#67) ##############################################<br />
<br />
TISIES A UITEIOR.<br />
51<br />
had shown in an afternoon drive through the<br />
poorest parts of Berlin how their poor lived : as<br />
an English journalist remarked, the cleanliness of<br />
the streets, and the absence of rags and Sordid<br />
poverty staggered him, and we went through the<br />
very poorest quarters; but en route to Potsdam<br />
the West End of Berlin was seen, and all its<br />
artistic development. At Sans Souci and at<br />
Wannsee a most enjoyable and instructive day was<br />
assed.<br />
The fourth sitting of the Congress was devoted<br />
to the consideration of “Telegraphic and Postal<br />
Tariffs,” to the “General Work of the Congress,”<br />
and the “Unification of the Laws for the Pro-<br />
tection of Artistic and Literary Property,” and<br />
also to a discussion upon the “Suppression of the<br />
Ambulant Jurisdiction for International Law<br />
Questions,” upon which subject Mr. Fisher's legal<br />
knowledge was again useful. º<br />
question, the writer pointed out the anomalies in<br />
England, and the fact that foreign printed matter<br />
could come into Britain at cheaper rates than<br />
English printed matter could be sent abroad.<br />
At the close of these debates the question of<br />
where the next Congress should be held was dis-<br />
cussed, and as there were three invitations, London,<br />
Athens, and Constantinople, after Mr. D. A. Louis,<br />
and Señor Lucas, of Lisbon, had spoken for London,<br />
it was decided to leave the decision to the Bureau<br />
Central.<br />
No space remains to describe the elaborate and<br />
cordial social functions, which included a reception<br />
by the municipality of Berlin in the Rathaus,<br />
a gala performance of the Kaiser's version of<br />
“Sardanapalus,” a banquet by the Press in the<br />
luxurious hall at the Zoological Gardens, a banquet<br />
at Wannsee given by the Chambers of Commerce of<br />
Berlin and Potsdam, at which Mr. J. H. Warden<br />
spoke, and a banquet in the Berlin Stock Exchange,<br />
after a visit to the High School of Commerce, at<br />
which the writer had to speak upon German<br />
education, stating it had done more for Germany<br />
than even her army and navy had done.<br />
At the close of the Congress a special train con-<br />
veyed the members to Frankfurt, via Weimar,<br />
where seventeen men were chosen to do homage to<br />
Goethe and Schiller, each man in his own tongue,<br />
a most impressive scene in the ducal crypt. At<br />
Frankfurt and Wiesbaden the reception was most<br />
warm-hearted, and formed a memorable ending to<br />
this Twelfth International Press Congress. The<br />
visit of such a body of writers to England should<br />
prove, from very varied points of view, of great<br />
value. -<br />
JAMES BAKER.<br />
Upon the postal<br />
THE REPORT FROM THE JOINT SELECT<br />
COMMITTEE ON LOTTERIES AND<br />
INDECENT ADWERTISEMENTS.<br />
—t—sº-º-<br />
HE Committee of Members of the two Houses<br />
of Parliament, which has recently issued its<br />
report under the above title, has made some<br />
useful suggestions for the alteration of the law and<br />
procedure which came under their consideration,<br />
and the result of their proposals, if they are carried<br />
into effect, should be beneficial to the community,<br />
and also to authors and artists whose work is<br />
adapted for publication in popular periodicals of<br />
the better class. If the publishers of these are<br />
prevented in future from increasing their circula-<br />
tion by conducting thinly disguised lotteries, they<br />
will have to rely in a greater degree upon the<br />
merits of their reading matter and pictures; and<br />
if at the same time they are freed from the compe-<br />
tition of cheap nastiness, the writer and the illus-<br />
trator can hardly fail to profit by an increased<br />
demand for good and wholesome work.<br />
The full scope of the committee's investigation,<br />
as set out in the order of reference, was not limited<br />
to those subjects which the abbreviated title at<br />
the heading of this article suggests. The com-<br />
mittee had to inquire into the law, (1) as to lotteries,<br />
including the sale of lottery bonds, competitions<br />
for prizes which involve an element of chance, and<br />
advertisements relating thereto ; (2) as to indecent<br />
literature, and pictures, and advertisements relat-<br />
ing to things indecent and immoral ; and to report<br />
what amendments, if any, in the law are necessary<br />
or desirable. This, on the face of it, comprised<br />
rather more than the competitions by which certain<br />
newspapers and periodicals have endeavoured with<br />
Some success to stimulate sales, and enabled the<br />
committee to touch upon questions of higher<br />
importance and less easy to deal with satisfactorily<br />
than the efforts of journals of the lowest class to<br />
appeal to the appetites of the prurient by means<br />
of Vulgar and suggestive stories, paragraphs and<br />
illustrations.<br />
Literature and pictures are wide terms, and, as<br />
a matter of fact, some of the witnesses gave their<br />
opinions on recent novels, even mentioning some<br />
by name, as well as upon at least one exhibition of<br />
paintings held a few years ago. These matters,<br />
however, cannot be said to have been dealt with<br />
seriously or exhaustively, as no writers or authorities<br />
on literature were called as witnesses, nor were any<br />
artists or authorities on art.<br />
As an example of opinions left uncontradicted<br />
and unmodified the following may be quoted :<br />
One of the witnesses referred to, who claimed to<br />
have been interested in the question of indecent<br />
literature and publications for a number of years,<br />
<br />
<br />
## p. 52 (#68) ##############################################<br />
<br />
52<br />
THE AUTHOR.<br />
was asked if it was not his opinion that English<br />
novels have become so indecent of late years as to<br />
be even worse than the French ones. The ques-<br />
tion was no doubt derived from a précis of his<br />
evidence furnished to the committee, for he<br />
answered, “I think that is agreed on all hands.”<br />
The same gentleman was also of the opinion that it<br />
was allowed “on all hands” that English novels<br />
were “far more outspoken, more gross in expres-<br />
sion " than French ones. He may, perhaps, be<br />
congratulated upon the limits which he has set to<br />
his explorations in modern French fiction ; but<br />
limited knowledge is not a qualification for giving<br />
expert evidence. Perhaps it is not surprising that<br />
the gentleman, who drew comparisons so readily<br />
and condemned British authors in such terms, Sug-<br />
gested as a remedy for the evils which he had<br />
discovered what he described as “a small prohibi-<br />
tory board, either attached or unattached to the<br />
Home Office, before whom,” he added, “any publi-<br />
cation (and by publication I include pictures of all<br />
kinds, those mutoscope slides, and so on) may be<br />
cited, whose decision will be final in the case of<br />
improper publications of any description.” A<br />
“small board” of Home Office officials, or appointed<br />
by them, would thus be enabled to give a final<br />
decision on the “decency” or “indecency” of<br />
paragraphs in sporting weeklies, of matter appear-<br />
ing in French and English periodicals of the lowest<br />
class, and of novels and other books dealing with<br />
those problems of life and humanity which have<br />
never for the last century been approached seriously<br />
by any writer without raising an outcry from one<br />
quarter or another. The same “small board,”<br />
apparently, would have jurisdiction over foreign<br />
indecent photographs, over the ill-drawn and vulgar<br />
illustrations of “Silly Bits,” over “mutoscope’”<br />
exhibitions, and over the works of artists and<br />
academicians both British and foreign<br />
It may be observed in this connection that a<br />
police witness before the committee supplied a<br />
definition, or standard of indecency, established by<br />
the police in dealing with such questions of “art ’’<br />
as usually come before them. It is not necessary<br />
to question the usefulness of their test as applied<br />
by them for the purpose of suppressing photographs<br />
imported for sale to persons in search of the<br />
undesirable. It is one, however, which, if given<br />
wide application, might involve awkward conse-<br />
quences for any life school, including the classes<br />
of the Royal Academy, and although the “Small<br />
board ” of the Home Office might have a wider art<br />
training than that usually accorded to police<br />
inspectors, its decisions nevertheless might fail to<br />
meet with the approval and support of artists or of<br />
the educated public. Any such body would in fact<br />
be in a position analogous to that of the licenser of<br />
plays, and would be likely to learn that their findings<br />
were final in name only, and in respect of the<br />
possession of certain powers of suppression, of a<br />
limited character. They would not set at rest the<br />
questions involved, and they would be criticised,<br />
and possibly held up to contempt, by persons whose<br />
right to form and power to express their opinions<br />
would be undemiable.<br />
The committee, however, as might be expected,<br />
did not adopt this or any other such suggestion,<br />
and in recommending the simplification and con-<br />
Solidation of the law by means of a new Act, con-<br />
cluded their report with the following clause :<br />
“(46) A provision should also be inserted to<br />
exempt from the operation of the Act any book of<br />
literary merit or reputation, or any genuine work<br />
of art. The committee consider that it would be<br />
almost impossible to devise any definition which<br />
would cover this exception. In their opinion the<br />
decision in such cases should be left to the dis-<br />
Cretion of the magistrate ; but they believe that,<br />
if a provision such as they recommend were<br />
inserted in the Act, a magistrate would be enabled<br />
to take into consideration all the circumstances of<br />
the case, and would be free from a supposed obliga-<br />
tion merely to decide upon the decency or the<br />
indecency of the particular literary or artistic work<br />
brought to his notice.” There is, of course, a good<br />
deal of difference between a magistrate deciding on<br />
the criminality of a defendant charged before him<br />
(of which he is bound by law to satisfy himself<br />
beyond all reasonable doubt before he can convict<br />
and punish) and the exercise of editorial or cen-<br />
Sorial functions by any individual or body against<br />
whose decision there is no appeal.<br />
Literature and art are, however, not likely to<br />
figure often in the police courts even at the instance<br />
of puritans of the most aggressive type, and the<br />
legislation recommended by the joint committee is<br />
likely to affect authors and artists indirectly rather<br />
than directly, and in the manner suggested above.<br />
With regard to competitions held by or advertised<br />
in newspapers and other periodicals, the committee<br />
realised that limericks formed, as remarked by one<br />
of their witnesses, a phase only. They had been<br />
declared to be lotteries, moreover, by the Court of<br />
Appeal, although the decision seems to be one of<br />
doubtful efficiency so far as police prosecutions are<br />
concerned. They will, however, be robbed of their<br />
attractions, together with a great many other forms<br />
of competition, some of which have been conducted<br />
honestly and some with flagrant dishonesty, by an<br />
Act of Parliament carrying into effect the com-<br />
mittee's recommendation “that it should be<br />
made illegal for any proprietor, publisher, or editor<br />
of any newspaper or periodical to charge any form<br />
of entrance fee, including the purchase and return<br />
of coupons, for prize competitions in his paper.”<br />
They had had before them, by the way, considerable<br />
<br />
<br />
## p. 53 (#69) ##############################################<br />
<br />
TISIES A UTHOR,<br />
53.<br />
evidence as to the good faith with which the prizes<br />
were adjudged in the better-conducted of the papers<br />
which made use of them, and as to the degree of<br />
idiotcy manifested by the bulk of the competitors.<br />
One of those associated with the judging of such<br />
competitions gave it as the result of his experience<br />
that from 30 to 70 per cent. of the last lines sent<br />
in for limericks did not even rhyme. It is also<br />
interesting to note that a witness intimately con-<br />
nected with one of the large groups of newspapers,<br />
in some of which many limerick competitions<br />
have been held, declared himself as strongly dis-<br />
approving of them. The papers under his control<br />
had been compelled, he said, by the action of rival<br />
publications to go in for limericks also, as well as<br />
for other competitions for large prizes. He was<br />
of opinion, however, that competitions penalised<br />
papers of the better class. We may hope, there-<br />
fore, that we are within measurable distance of<br />
Seeing these tiresome adjuncts to journalism dis-<br />
appear, and to find that the newspapers and weekly<br />
publications which fight to maintain their circula-<br />
tion at a high level, do so with legitimate weapons,<br />
competing with one another in the provision of good<br />
reading matter and clever illustrations. It will<br />
assist them if other recommendations made by the<br />
committee are also carried into effect, and if in<br />
their endeavour to win popular appreciation and to<br />
catch the pennies of the multitude they are freed<br />
from rivalry of a kind even more demoralising<br />
and contrary to public policy than limericks,<br />
treasure hunts, and other “competitions.” The<br />
publication of indecent matter, or of that which<br />
borders on it, takes place chiefly in sporting<br />
weeklies, and in cheap illustrated weekly periodi-<br />
cals of the lowest class. We can all of us see them<br />
exposed for sale if we look in at the windows of<br />
small newspaper dealers in by-streets. And if we<br />
linger long enough we may see children of the<br />
errand-boy and work-girl class gloating over them, or<br />
entering to purchase them. We may wonder that<br />
they exist unpunished ; but their safety has lain in<br />
the cumbrousness of the law, which practically can<br />
deal with such a trade only by indictment. This<br />
involves an inquiry before a magistrate, committal<br />
for trial, and then trial before a jury, and a magis-<br />
trate may hesitate to commit for trial in cases<br />
where the matter published, although indecent and<br />
demoralising, can hardly be described as obscene.<br />
With regard to the procedure to be adopted in<br />
future, the committee suggest certain amended and<br />
improved definitions of punishable offences, and go<br />
on to recommend that those guilty of them shall<br />
be liable, in the case of a first offence, on summary<br />
conviction to a fine not exceeding £30 or imprison-<br />
ment not exceeding one month, and that for second<br />
or subsequent offences, or for the commission of<br />
any of the offences specified in transactions with<br />
Persons under sixteen years of age, to much more<br />
Severe penalties, which are only to be inflicted after<br />
conviction upon indictment. It may be added<br />
that the committee would have included in the<br />
subjects dealt with by a new statute all advertise-<br />
ments of books and pictures of an undesirable<br />
character, and that they recommend with regard to<br />
a particularly objectionable class of advertisement<br />
Which has hitherto gone scathless, that it should<br />
be comprehensively defined and made illegal. This,<br />
if carried into effect, would deprive a number of<br />
cheap periodicals of a very low class of the greater<br />
part of their advertisements, and thus hasten their<br />
extinction. It may be possible to be over-sanguine<br />
in such matters. Legislation may be delayed, or<br />
it may not be as effective as is anticipated. The<br />
tendency, however, of any Act of Parliament<br />
framed with a view to carrying into effect the<br />
recommendations made in the report commented<br />
upon above should be to purify and to improve<br />
the literature and illustrations provided for the<br />
enormous class of readers which modern educa-<br />
tional legislation has brought into being, and such<br />
improvement cannot be carried out without some<br />
measure of benefit to authors and artists.<br />
E. A. A.<br />
B00KS AT THE FRANCO-BRITISH<br />
EXHIBITHON.<br />
—º-º-º-<br />
COMMISSION of catholic latitude to report<br />
on the books of the Exhibition took the writer<br />
into that wearisome succession of galleries<br />
that stretch their length from Shepherd's Bush to<br />
Wood Lane, through which no sane person passes<br />
twice except in a wheeled chair. The proportions<br />
of the British display were attenuated to a vanishing<br />
point. We discovered Cedric Chivers, the book-<br />
binder of Bath, the University Tutorial Press,<br />
the Religious Tract Society, and the Oxford<br />
University Press. The last-named alone arrived at,<br />
dignity and effect ; yet even it failed in arousing<br />
the delicate association of author and publisher<br />
which pervaded the French section. The English<br />
publisher is too predominant ; he seems to convey<br />
in some subtle manner that he is not only the pub-<br />
lisher of the book, but the illustrator and author as<br />
well. In vain the author exhibits his name in the<br />
fattest of type ; sense tells us that this is but an<br />
artifice ; it is only the publisher in disguise.<br />
The commercial side stands out in bold relief.<br />
Here is materialism : the dealing with figures and<br />
format. Thus, in the Oxford University Press<br />
exhibit, we must record how the books range from<br />
<br />
<br />
## p. 54 (#70) ##############################################<br />
<br />
54<br />
THE AUTHOR.<br />
a bijou edition, barely two inches high, to tomes of<br />
two feet ; how the rag paper and the India paper<br />
compare in book form, six volumes of the latter<br />
compressing into a space less by half than that<br />
occupied by six volumes of the former. Here is<br />
that prodigious and yet-to-be-completed work of<br />
Dr. Murray, “The New English Dictionary,”<br />
brought down to K, and already in five massive<br />
volumes. Here are cheap Bibles, illustrated in<br />
colour throughout ; Bibles great and small and<br />
bound in every imaginable way. Here is the 1623<br />
Shakespeare reproduced in collotype—marvellously,<br />
it need not be said. We remember the drawings of<br />
old masters at Oxford that Mr. Sydney Colvin<br />
collected last year into three volumes, and forthwith<br />
find them lying on a side-table. Among the<br />
bindings, a Browning catches the eye, inlaid and<br />
hand-tooled, with an almost severe design in gold,<br />
terra-cotta and blue on a green ground. It satisfies<br />
completely.<br />
We are confronted by the Religious Tract Society<br />
and a show of books in various African dialects.<br />
Imagine a “Pilgrim’s Progress” in Chinyana,<br />
Mrs. Mortimer’s “Peep of Day” in Nkondi, and a<br />
hymn-book in Fanti. This is certainly prodigious.<br />
“Our special features,” murmurs the attendant,<br />
“are these Nature books by W. Percival Westell,<br />
George Henslow, and others, also these two-shilling<br />
story-books for boys and girls, attractively bound<br />
and illustrated.” We hardly hear him, being<br />
hypnotised by the hymn-book in Fanti. Amazing !<br />
Cedric Chivers revives us. Commercialism and<br />
strange dialects fade before beautiful bindings,<br />
hand-tooled and hand-sewn. Excellent is his<br />
“vellucent system ’’ of rebinding old books repro-<br />
ducing in the covers the character and age of the title-<br />
page protected by transparent vellum. Excellent,<br />
also, is this transparent vellum in protecting inlaid<br />
and colour work on bindings. Artists, with their<br />
field of colour thus extended, incline to blaze some-<br />
what. Here and there is a shout and a subdued<br />
shriek. Miss Alice Shepherd, much of whose work<br />
is shown, is at her best in embossed leather designs,<br />
wherein she displays a quiet firm touch and a<br />
masterly omission of colour. We notice an edition<br />
of George Meredith in 52 volumes, bound in<br />
morocco with an illuminated panel differing on<br />
on each volume.<br />
How different is the section of France Repre-<br />
sentative, complete, compact ; science, the arts,<br />
romance. Hachette, Floury, Laven, de Rudeval,<br />
Plon-Nourrit, Carteret, and the rest. We have an<br />
assembly of worth. Mons. Jean H. Krüger,<br />
Représentant de la Libraire Française, courteous<br />
and illuminating, finds us before some exquisite<br />
Meissomier engravings and is our Virgil through<br />
these Blessed Aisles. He lays bare the treasures of<br />
his charge ; the whole spirit of the massed exhibit<br />
he conveys with a gesture of the finger. Also he<br />
deplores the apathy of the English publisher. How<br />
can there be a comparison 2 A thousand pities are<br />
expressed on both sides.<br />
But the colour-printing of France Take for<br />
instance these examples of the house of Floury,<br />
soft and exquisite. We handle some proof-sheets<br />
of “L’Ami Fritz,” the latest product of Louis<br />
Conard's press, with illustrations etched and hand-<br />
coloured to a marvel. Under the name of Edouard<br />
Pelletan one must remark an edition of Keats'<br />
“On a Grecian Urn,” in English, with a prose<br />
translation by Anatole France. Mons. Béllery<br />
des Fontaines’ designs and decorations, it seems,<br />
illustrate—nor can one wonder—Anatole France<br />
more than Keats. The border decoration in black<br />
and terra-cotta suggests Etruscan rather than<br />
Greek art.<br />
In the show-case of L. Carteret is a little slim<br />
copy of the “Sylvie’’ of Gerard de Nerval, and<br />
already one is -<br />
“Au fond du ciel bleu<br />
Oü elles chantant les louanges<br />
De la Mère de Dieu.”<br />
Behind it are three stately volumes, tooled and<br />
resplendent. They are “Le Rouge et le Noir" of<br />
Stendhal. How is it this art of our ally is so<br />
stimulating, so suggestive, while the extent of<br />
British literature in visible form leaves one<br />
Cold 2 -<br />
The next case, bearing the name of Conard,<br />
holds “Les Nuits’ of Alfred de Musset in the<br />
plain paper binding that proclaims the French<br />
reader a man of sense. Imagine an Englishman<br />
buying expensive volumes in such a dress Snort-<br />
ing, he demands a cover ; whereas the man of<br />
France will spend five animated hours in consulta-<br />
tion with his bookbinder. Under a great arched<br />
stand the house of Hachette reveals itself, and<br />
across the way the photographs of Sélinonte mark<br />
the stall of Chas. Schmid—“Sélinonte : Colonie<br />
Dorienne en Sicile,” by L. J. Hulot and G.<br />
Fougères—the author and the artist—the greatest<br />
work the house of Schmid has issued for years.<br />
We recall the picture of Sélinonte being exhibited<br />
at the Piccadilly Galleries.<br />
For the credit of Plon-Nourrit et Cie “Les<br />
Antiquités Judaique et le peintre Jean Foucquet ’’<br />
must be mentioned, with reproductions in hélio-<br />
gravure and phototype that are among the best<br />
things done by this well-known house. Marcel<br />
Rivière, Belin Frères, Colin, Laven — can we<br />
mention them all P<br />
It is impossible. Besides, the Franco-British<br />
Exhibition is now no more.<br />
Z.<br />
<br />
<br />
## p. 55 (#71) ##############################################<br />
<br />
TFIES ACTTFIOR. 55<br />
CONTEMPORARY CRITICISMS.—IX.<br />
—º-º-º-<br />
POEMIS BY ALFRED TENNYSON, PP. 163, LONDON,<br />
12MO., 1833.<br />
THIS is, as some of his marginal notes intimate,<br />
Mr. Tennyson's second appearance. By some<br />
strange chance we have never seen his first publica-<br />
tion, which, if it at all resembles its younger<br />
brother, must be by this time so popular that any<br />
notice of it on our part would seem idle and pre-<br />
sumptuous; but we gladly sieze this opportunity<br />
of repairing an unintentional neglect, and of intro-<br />
ducing to the admiration of our more sequestered<br />
readers a new prodigy of genius—another and a<br />
brighter star of that galaxy or milky way of poetry<br />
of which the lamented Keats was the harbinger<br />
. . . . We have to offer Mr. Tennyson our tribute<br />
of unmingled approbation, and it is very agreeable<br />
to us, as well as to our readers, that our present<br />
task will be little more than the selection, for their<br />
delight, of a few specimens of Mr. Tennyson's<br />
singular genius, and the venturing to point out,<br />
now and then, the peculiar brilliancy of some of<br />
the gems that irradiate his poetical crown.<br />
A prefatory sonnet opens to the reader the<br />
aspirations of the young author, in which, after<br />
the manner of Sundry poets, ancient and modern,<br />
he expresses his own peculiar character by wishing<br />
to be something that he is not . . . . Mr. Tenny-<br />
son (though he, too, would, as far as his true-love<br />
is concerned, not unwillingly be “an earring,” “a<br />
girdle,” and “a necklace,” p. 45) in the more serious<br />
and solemn exordium of his works ambitions a<br />
bolder metamorphosis—he wishes to be—a river !<br />
“Mine be the strength of spirit fierce and free,<br />
Like Some broad river rushing down alone *-<br />
Rivers that travel in company are too common for<br />
his taste . . . .<br />
The next piece is a kind of testamentary paper,<br />
addressed “To ——,” a friend, we presume, con-<br />
taining his wishes as to what his friend should<br />
do for him when he (the poet) shall be dead<br />
. . . . Horace said “non omnis moriar,” meaning<br />
that his fame should survive — Mr. Tennyson<br />
is still more vivacious, “non omnine moriar ”—<br />
“I will not die at all ; my body shall be as immortal<br />
as my verse, and however low I may go, I warrant<br />
you I shall keep all my wits about me, therefore<br />
“When, in the darkness over me,<br />
The four-handed mole shall scrape,<br />
l’lant thou no dusky cypress tree,<br />
Nor wreath thy cap with doleful crape,<br />
But pledge me in the flowing grape.”<br />
Observe how all ages become present to the mind<br />
of a great poet ; and admire how naturally he com-<br />
bipes the funereal cypress of classical antiquity<br />
With the crape hatband of the modern undertaker.<br />
He proceeds:– . . . . * *.<br />
“Then let wise Nature work her will,<br />
And on my clay her darnels grow,<br />
Come only when the days are still,<br />
And at my head-stone whisper low,<br />
And tell me?”—<br />
Now, what would an ordinary bard wish to be<br />
told under such circumstances 2—why, perhaps,<br />
how his sweetheart was, or his child, or his family,<br />
or how the Reform Bill worked, or whether the last<br />
edition of the poems had been sold—papa, our<br />
genuine poet's first wish is,<br />
“And tell me—if the wood-bines blow / "<br />
When, indeed, we shall have been satisfied as to<br />
the wood-bines (of the blowing of which in their<br />
due season he may, we think, feel pretty secure),<br />
he turns a passing thought to his friend, and<br />
another to his mother—<br />
“If thou art blest, my mother's smile undimmed.”<br />
But such inquiries, short as they are, seem too<br />
Commonplace, and he immediately glides back into<br />
his curiosity as to the state of the weather and the<br />
forwardness of the spring—<br />
“If thou art blessed—my mother's smile<br />
Undimmed—if the bees are on the wing.”<br />
No ; we believe the whole circle of poetry does<br />
not furnish such another instance of enthusiasm for<br />
the sights and sounds of the vernal season . The<br />
Sorrows of a bereaved mother rank after the blossoms<br />
of the 2000d-line, and just before the hummings of<br />
the bees and this is all that he has any curiosity<br />
about ; for he proceeds<br />
“Then cease, my friend, a little while<br />
That I may ”—<br />
“send my love to my mother,” or, “give you some<br />
hints about bees which I have picked up from<br />
Aristaeus, in the Elysian Fields,” or, “tell you<br />
how I am situated as to my own personal comforts<br />
in the world below * 2–Oh no—<br />
“That I may—hear the throstle sing<br />
His bridal song—the boast of spring.”<br />
“Sweet as the noise, in parchèd plains,<br />
Of bubbling wells that fret the stones,<br />
(If any sense in me remains),<br />
Thy words will be-thy cheerful tones,<br />
As welcome to—my crumbling bones | *—p. 4.<br />
“If any sense in me remains " " This doubt is<br />
inconsistent with the opening stanza of the piece,<br />
and, in fact, too modest ; we take upon ourselves<br />
to reassure Mr. Tennyson that, even after he shall<br />
<br />
<br />
## p. 56 (#72) ##############################################<br />
<br />
56<br />
TFIES A DITFIOR.<br />
be dead and buried, as much “sense ’’ will still<br />
remain as he has now the good fortune to<br />
pOSSess. . . .<br />
We cannot afford space—we wish we could—for<br />
an equally minute examination of the rest of the<br />
volume, but we shall make a few extracts to show,<br />
what we solemnly affirm, that every page teems<br />
with beauties hardly less surprising. . . .<br />
We pass by several songs, sonnets, and small<br />
pieces, all of singular merit, to arrive at a class, we<br />
may call them, of three poems derived from<br />
mythological sources — CEnone, the Hesperides,<br />
and the Lotos-eaters. But, though the subjects are<br />
derived from classical antiquity, Mr. Tennyson<br />
treats them with so much originality that he makes<br />
them exclusively his own. CEnone, deserted by<br />
“Beautiful Paris, evil-hearted Paris.”<br />
sings a kind of dying soliloquy addressed to Mount<br />
Ida, in a formula which is sixteen times repeated in<br />
this short poem,<br />
“Dear Mother Ida, hearken ere I die.”<br />
. . . [The “Hesperides”] opens with a geographi-<br />
cal description of the neighbourhood which must<br />
be very clear and satisfactory to the English reader;<br />
indeed, it leaves far behind in accuracy of topo-<br />
graphy and melody of rhythm the heroics of<br />
Dionysius Perieſ/etés.<br />
“The north wind fall’n, in the new-starred night.”<br />
Here we must pause to observe a new species of<br />
metabolé with which Mr. Tennyson has enriched<br />
our language. He suppresses the E in fallen, where<br />
it is usually written and where it must be pro-<br />
nounced, and transfers it to the word new-starréd,<br />
where it would not be pronounced if he did not<br />
take due care to superfix a grave accent. The use<br />
of this grave accent is, as our readers may have<br />
already perceived, so habitual with Mr. Tennyson,<br />
and is so obvious an improvement, that we really<br />
wonder how the language has hitherto done without<br />
it. We are tempted to suggest, that if analogy to<br />
the accented languages is to be thought of, it is<br />
rather the acute (') than the grave () which should<br />
be employed on such occasions; but we speak with<br />
profound diffidence ; and as Mr. Tennyson is the<br />
inventor of the system, we shall bow with respect to<br />
whatever his final determination may be. . . .<br />
(UNSIGNED).<br />
The Quarterly Review, April, 1833.<br />
Vote.—Owing to the length and form of this famous<br />
review, it is impossible to reprint more than a ragged<br />
extract, sufficient to show the flavour.—[ED.]<br />
CORRESPONDENCE.<br />
–0-0-0--<br />
PENSION FUND.<br />
SIR,-With reference to previous letters on this<br />
subject, I should like to point out what seems to<br />
me a forcible objection to a compulsory pension<br />
fund. I mean the vast diversity in the qualities<br />
and tendencies of what is known as literature.<br />
The members of other professions have a common<br />
qualification and a common aim ; but this is not<br />
the case with writers. All they have in common<br />
is their interest against the editor and the pub-<br />
lisher ; and such of them as have anything to<br />
spare from their own necessities would generally<br />
rather help an individual case with which they<br />
were in sympathy than pay their money into a<br />
fund, to see it given (perhaps) to someone whose<br />
work they might regard as valueless, or even mis-<br />
chievous. I cannot imagine a staunch upholder<br />
of Church and State being willing to contribute to<br />
a pension for Mr. Belfort Bax, nor a writer of<br />
Sunday-School books being willing to subsidise a<br />
follower of Zola. An attempt at compulsion in a<br />
matter like this would split up the society as<br />
effectually as the question of public instruction<br />
has divided the nation ; it is a matter of principle,<br />
not of the amount demanded.<br />
Yours truly,<br />
|H.<br />
—º-º-º-<br />
EDITORIAL FAILINGs.<br />
SIR,-Here is a small matter of some moment to<br />
the young and aspiring author who is forced to<br />
hawk his wares round, and I shall be glad if you<br />
will ventilate it in The Author for their (and my)<br />
benefit. Editors, or their office boys, have an<br />
objectionable habit of scoring our MSS. with a<br />
number, which may be of intense interest to them,<br />
but which is of no value to anyone else and simply<br />
spoils the look of the sheet. When, as Mr. Arnold<br />
Bennett in “A Great Run. ” has been kind enough<br />
to show, the smell of an MS. is a consideration to<br />
some publishers, the others might realise that the<br />
look of a yarn is even more important, and keep<br />
their pencils off them. Cassells is the exception,<br />
in my experience. They mark the envelope<br />
enclosed for the returned empty instead, and so<br />
the boomerang continues its flight as good as new.<br />
Yours, etc.,<br />
3, Claremont, Bradford.<br />
<br />
<br />
## p. 56 (#73) ##############################################<br />
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papers in the Society's offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the<br />
various kinds of fraud which have been made possible by the different clauses therein. 3s.<br />
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br />
the office of the Society since the publication of the “Methods.” With comments and<br />
advice. 2s. -<br />
7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With<br />
Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
American Copyright Bill. By J. M. LELY. 1s. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
(Chairman of Committee, 1888–1892), 1s. 4. -<br />
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br />
LUNGE, J.U.D. 2s. 6d. -<br />
10. Forms of Agreement issued by the Publishers' Association; with Comments. By<br />
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br />
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br />
and Periodicals deal with MSS. and Contributions. 6d.<br />
12. Society of Authors. List of Members. Published October, 1907, price 6d. -<br />
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S.W.]<br />
<br />
<br />
## p. (#12) #################################################<br />
<br />
ADVERTISEMENTS.<br />
(I be šuciety of Autburg (ſmrurpurated).<br />
Telegraphic Address : “AUTORIDAD, LONDON.”<br />
Telephone No. : 374 Victoria.<br />
PRESIDENT.<br />
G-TECTER,G-TE IMITETERIEEIDIETIEC<br />
SIR ROBERT ANDERSON, K.C.B.<br />
SIR. W.M. REYNELL ANSON, Bart., D.C.L.<br />
THE RIGHT HON. THE LORD AVE-<br />
J. M. BARRIE. [BURY, P.C.<br />
A. W. A BECKETT.<br />
ROBERT BATEMAN.<br />
F. E. BEDDARD, F.R.S.<br />
SIR HENRY BERGNE, K.C.B., K.C.M.G.<br />
THE RIGHT HON. AUGUSTINE BIR-<br />
RELI, P.C.<br />
MRS. E. NESBIT BLAND.<br />
THE REV. PROF. BONNEY, F.R.S.<br />
THE RIGHT HON. JAMES BRYok, P.C.<br />
THE BIGHT HON. THE LORD BURGH-<br />
CLERE, P.C.<br />
HALL CAIN E.<br />
J. W. COMYINS CARR.<br />
EGERTON CASTLE, F.S.A.<br />
EDWARD CIODD.<br />
W. MORRIS COLLES.<br />
THE HON, JOHN COLLIER,<br />
SIR. W. MARTIN CONWAY.<br />
F. MARION CRAW FORD.<br />
COUNCIL.<br />
THE RIGHT HON. THE LORD CURZON<br />
OF KEDLESTON.<br />
AUSTIN DOBSON.<br />
SIR ARTHUR CONAN DOYLE.<br />
A. W. DUBOURG.<br />
DOUGLAS FRESH FIELD.<br />
THE RIGHT HON. M.R.S. ALFRED<br />
FELKIN (ELLEN THORNEYCROFT<br />
FowlER).<br />
SIR. W. S. GILBERT.<br />
EDMUND GOSSE, LL.D.<br />
SYDNEY GRUNDY.<br />
H. RIDER HAGGARD.<br />
THOMAS HARDY.<br />
MRs. HARRIson (“LUCAS MALET’’).<br />
ANTHONY HOPE HAWKINS,<br />
E. W. HORN UNG.<br />
MAURICE HEWLETT.<br />
JEROME. K. J.EROMF.<br />
HENRY ARTHUR JONES.<br />
J. SCOTT KELTIE, LL.D.<br />
RUDYARD RIPLING.<br />
SIR EDWIN RAY LANKESTER, F.R.S.<br />
THE REV. W. J. LOFTIE, F.S.A.<br />
C - IMT-<br />
LADY I,UGARD (MISS FLORA L.<br />
SH Aw).<br />
SIDNEY LEE.<br />
MRs. MAXWELL (M. E. BRADDON).<br />
JUSTIN MCCA RTHY.<br />
THE REV. C. H. MIDDLETON-WAKE.<br />
SIR HENRY NORMAN, M.P.<br />
SIR GILBERT PARKER, M.P.<br />
J. C. PARKINSON.<br />
A. W. PIN ER().<br />
ARTHUR RACKHAM.<br />
OWEN SEAMAN.<br />
G. BERNARD SHAW.<br />
G. R. SIMS.<br />
S. SQUIRE SPRIGGE.<br />
FRANCIS STORR.<br />
WILLIAM MOY THOMAS.<br />
MRS. HUMPHRY WARD.<br />
PERCY WHITE.<br />
FIELD MARSHAL THE RIGHT HON,<br />
THE WISCOUNT WolsFLEY, K. P.,<br />
P.C., &c.<br />
SIDNEY WEBB.<br />
COIMIMITTEE OF MANAGEMENT.<br />
K.C.M.G.<br />
MRS. E. NESBIT BLAND.<br />
J. W. COMYINS CARR.<br />
SIR HENRY BERGNE, K.C.B.,<br />
Chairman—DOUGLAS FRESHFIELD.<br />
THE HON. MRS. ALFRED FELKIN<br />
(ELLEN THORNEYCROFT Fow LER).<br />
MAURICE HEWLETT.<br />
SIDNEY LEE.<br />
ARTHUR RACKHAM.<br />
G. BERNARD SHAW.<br />
S. SQUIRE SPRIGGE.<br />
FRAN (; IS STORR.<br />
SIDNEY WEBB.<br />
PENSION FUND COMMITTEE.<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS,<br />
ART.<br />
THE HON, JOHN COLLIER (Chairman).<br />
SIR. W. MARTIN CONWAY.<br />
M. H. SPIELMANN,<br />
Chairman—DOUGLAS FRESHFIELD.<br />
MORLEY ROBERTS.<br />
M. H. SPIELMANN.<br />
SUB-COMMITTEES.<br />
COPYRIGHT.<br />
A. W. A BECKETT.<br />
SIR HENRY BERGNE, K.C.B., K.C.M.G.,<br />
W. MORRIS COLLES.<br />
ANTHONY HOPE HAWKINS.<br />
SIR GILBERT PARKER, M.P.<br />
MRS, ALEC TWEEDIE,<br />
MRS. HUMPHRY WARD.<br />
DRAMA.<br />
HENRY ARTHUR JONES (Chairman).<br />
WILLIAM ARCHER.<br />
MRS. E. NESBIT BLAND.<br />
H. GRAN VILLE BARKER.<br />
J. W. COMYNS CARR.<br />
JEROME K. J.EROME.<br />
W. J. LOCKE.<br />
W. SOMERSET MAUGHAM.<br />
CAPT. ROBERT MARSHALL.<br />
G. BERNARD SHAW.<br />
Counsel in the United States—LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A.<br />
Solicitors—<br />
FIELD, ROSCOE & Co., 36, Lincoln's Inn Fields, W.C.<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W.<br />
Solicitor in England to La Société des Gems de Lettres.<br />
Secretary—G. HERBERT THRING.<br />
OFFICES : 39, OLD QUEEN STREET, SI obey’s GATE, S.W.<br />
<br />
<br />
## p. 1 (#13) ###############################################<br />
<br />
C be El u t b or.<br />
(The Organ of the Incorporated Society of Authors.<br />
Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
WOL. XIX. —No. 1.<br />
OCTOBER 1st, 1908.<br />
[PRICE SIxPENCE.<br />
TELEPHONE NUMBER :<br />
374 WICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
. AUTORIDAD, LONDON.<br />
—e—º-e—<br />
NOTICES.<br />
—º-º-º-<br />
OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are quoted in The Author are<br />
cases that have come before the notice or to the<br />
knowledge of the Secretary of the Society, and that<br />
those members of the Society who desire to have<br />
the names of the publishers concerned can obtain<br />
them on application.<br />
—e—º-e—<br />
THE SOCIETY'S FUNDS.<br />
—e—º-e—<br />
Eliº time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are : (1) The<br />
Capital Fund. This fund is kept in reserve in<br />
case it is necessary for the Society to incur heavy<br />
WOL. XIX.<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society. A state-<br />
ment of the capital of this fund is inserted in The<br />
Author every month and can be seen below.<br />
—e—G-e—<br />
LIST OF MEMBERS.<br />
—º-º-º-<br />
HE List of Members of the Society of Authors,<br />
published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 7#d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
—e—º-e—<br />
PENSION FUND,<br />
—e—“C-e-<br />
HE Trustees of the Pension Fund of the<br />
Society, after the secretary had placed before<br />
them the present financial position of the<br />
Fund, decided to invest £230 in the purchase of<br />
Irish Land Act 2; per cent. Guaranteed Stock.<br />
The amount purchased is £258, and is added to<br />
the list printed below.<br />
The investments are steadily increasing from<br />
year to year, the amount varying between £200<br />
and £250.<br />
The Trustees also recommended to the com-<br />
mittee the possibility of granting another pension.<br />
The committee of the Pension Fund have not<br />
as yet held their meeting for 1908, but their work<br />
will be chronicled in due course.<br />
The following is a statement of the actual Stock.<br />
<br />
<br />
## p. 2 (#14) ###############################################<br />
<br />
2 TISIE AUTHOR.<br />
The money value can be easily worked out at the<br />
current price of the market :-<br />
Consols 23%............................ ..4.1,000<br />
Local Loans ..............................<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock<br />
War Loan .................................<br />
London and North-Western 3% Deben-<br />
ture Stock<br />
Egyptian Government<br />
Trust 4% Certificates<br />
tº e º ºs e º 'º e º e º e º º &<br />
e e s tº e º e º 'º gº tº e º ºs e º e e º ºs e º e º is at e º a tº<br />
Cape of Good Hope 33% Inscribed<br />
Stock ....................................<br />
Glasgow and South-Western Railway<br />
4% Preference Stock..................<br />
New Zealand 33% Stock...........<br />
Irish Land Act 23% Guaranteed Stock<br />
is e e º ºs e e º s tº e º 'º º º<br />
Subscriptions.<br />
1908.<br />
Jan. 7, Richardson, Mrs. Aubrey .<br />
Jan. 13, McPherson, Miss M. M. .<br />
Jan. 16, Douglas, Lieut.-Col. Hugh A.<br />
Feb. 1, Shera, Miss B. M. . e<br />
Feb. 29, Brown, R. Grant<br />
April 10, Fieldhouse, Arthur<br />
May 22, Darbishire, Otto W.<br />
Donations, 1908.<br />
Jan. 1, Egbert, Henry<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
7, Wood, Lawson * > *<br />
8, Bolton, Miss Anna .<br />
8, Hyamson, Albert M.<br />
13, Le Riche, P. J. . .<br />
13, Williamson, Mrs. C. N.<br />
13, Williamson, C. N.<br />
Jan. 20, Colquhoun, A. (amount I'é-<br />
covered by the Society) .<br />
Jan. 21, Saies, Mrs. . e e<br />
Jan. 24, Westrup, Miss Margaret<br />
Feb. 10, Benett. W. . e e<br />
Feb. 10, Wilson, G. F. *<br />
Feb. 26, Travers, Miss R. C.<br />
March 5, Dutton, Miss Annie<br />
March 5, Drummond, Hamilton.<br />
March 11, Ackermann, A. S.<br />
March 20, Loraine, Lady tº<br />
April 6, Plunkett, G. N., Count.<br />
April 9, Crellin, H. N. © wº<br />
May 20, Scoon, W. G. g e<br />
May 26, Cromartie, The Countess of<br />
June 3, Hardy, Harold<br />
June 16, Roberts, Morley .<br />
July 16, Carolin, Mrs. tº<br />
July 28, Atherton, Mrs. Gertrude<br />
Aug. 21, Beckett, Arthur W.<br />
6, Skeat, The Rev. Prof. W. W.<br />
2-<br />
0 0<br />
() ()<br />
19 11<br />
9 3<br />
0 0<br />
O 0<br />
0 0<br />
() ()<br />
9 6<br />
0 0<br />
18 8<br />
S. d.<br />
5 0<br />
1 ()<br />
5 0<br />
5 ()<br />
5 0<br />
10 6<br />
10 6<br />
1 0<br />
I ().<br />
5 ()<br />
5 0<br />
I ()<br />
I ()<br />
I ()<br />
1 0<br />
17 10<br />
5 0<br />
5 ()<br />
I ()<br />
10 6<br />
10 0<br />
à ()<br />
() ()<br />
() ()<br />
10 ()<br />
5 ()<br />
5 0.<br />
10 0<br />
1 0<br />
I () ()<br />
10 6<br />
5 ().<br />
() - 0<br />
I ()<br />
The committee would be glad to receive infor-<br />
mation unofficially from any member of the society<br />
of any author whose need is within the member's<br />
personal knowledge.<br />
Information, which should<br />
be as full as possible, should be sent to the<br />
secretary, 39, Old Queen Street, Storey's Gate, S.W.,<br />
and will receive the prompt and careful attention of<br />
the committee.<br />
—º-º-º-<br />
ANNUAL SUBSCRIBERS TO PENSION FUND.<br />
The following is the list of annual subscribers<br />
to the Fund. The total amount of subscriptions<br />
is about £160.<br />
Abbott, The Rev. E. D.,<br />
D.D<br />
Allingham, W.<br />
Armstrong, Miss F.<br />
Ash, Miss Selby<br />
Avery, H.<br />
Barnett, P. A.<br />
Barrie, J. M.<br />
Bashford, Harry H.<br />
Beeching, The Rev. H.<br />
C.<br />
Bedford, Miss Jessie<br />
Benecke, Miss<br />
Bertouch, The Baroness<br />
de<br />
Bond, R. Warwick<br />
Bosanquet, Eustace F.<br />
Brend, C. Cunninghame<br />
Brinton, Selwyn<br />
Brodhurst, Spencer<br />
Brown, F. M.<br />
Brown, R. Grant<br />
Campbell, Miss Mont-<br />
gomery<br />
Carey, Miss R. N.<br />
Caulfeild, Miss Sophia<br />
Clough, Miss B. A.<br />
Coleborn, Miss M.<br />
Colquhoun, A.<br />
Cox, Miss Roalfe<br />
Cresswell, The Rev. H.<br />
Crockett, S. R.<br />
Crommelin, Miss May<br />
Cuming, E. W. D.<br />
Dale, Miss Nellie<br />
Darbishire, Otto<br />
Davy, Mrs. E. M.<br />
Dixon, W. Scarth<br />
Dobson, Austin<br />
Douglas, Lieut.-Col.<br />
Hugh<br />
Dunsany, The Lord<br />
Durand, The Right Hon.<br />
Sir Henry, G.C.M.G.,<br />
etc.<br />
Düring, Mrs. Stella<br />
Dutton, Miss Annie<br />
Ellis, Miss M. A.<br />
Esmond, H. W.<br />
Fabeck, W. A. de<br />
Fenwick, Miss H.<br />
Fieldhouse, Arthur<br />
Forbes, Lady Helen<br />
Forrest, G. W.<br />
Forster, R. H.<br />
Galsworthy, John<br />
Gibbs, Miss E.<br />
Gidley, Miss E. C.<br />
Gilbert, Sir W. S.<br />
Gilson, Captain Charles<br />
Gonne, Captain C.<br />
Gribble, F.<br />
Gurney, Mrs.<br />
Guthrie, A.<br />
Haggard, Mrs. J.<br />
Halford, F. W.<br />
Hamilton, Mrs. G. W.<br />
Harraden, Miss B.<br />
Harris, Miss J.<br />
Harrison, A.<br />
Hawkes-Cornock, Mrs.<br />
Hawkins, A. Hope<br />
Heath, Miss H.<br />
Heming, Lieut.-Col. D.<br />
Hills, Mrs. C. H.<br />
Hitchings, F. W. W.<br />
Hollingsworth, Charles<br />
James, Henry<br />
Jenkins, Mrs. Hadow<br />
Jerome, Jerome K.<br />
Jones, W. Braunston<br />
Keene, H. G. -<br />
Kersey, W. H.<br />
IXilmarnock, The Lord<br />
<br />
<br />
## p. 3 (#15) ###############################################<br />
<br />
THE AUTHOR. 3<br />
Kitcat, Mrs.<br />
Lambe, J. Laurence<br />
Lincoln, C.<br />
Longe, Miss J.<br />
Malet, Lucas<br />
Marchant, The<br />
James<br />
Marriott, Charles<br />
Mathieson, Miss<br />
McPherson, Miss M. M.<br />
Miniken, Miss Bertha<br />
M. M.<br />
Morrah, H. A.<br />
Nicholls, F. C.<br />
Owen, Charles<br />
Pearson, Mrs. C.<br />
Pendered, Miss<br />
Pickthall, M.<br />
Pinero, A. W.<br />
Pollock, Miss E.<br />
Portman, Lionel<br />
Prelooker, J.<br />
Pryor, Francis<br />
Punshon, E. R.<br />
Reynolds, Mrs. F.<br />
Rhys, Ernest<br />
Richardson,<br />
Aubrey<br />
Roberts, Morley<br />
Roe, Mrs. Harcourt<br />
Rumble, Mrs.<br />
Rumbold, The Right<br />
Hon. Sir Horace,<br />
P.C., etc.<br />
Salmond, Mrs. W.<br />
Salwey, Reginald<br />
Scott, G. Forrester<br />
Seaman, Owen<br />
Sedgwick, W.<br />
Seton-Karr, H. W.<br />
Rev.<br />
Mrs.<br />
Sharp, Miss E.<br />
Shaw, Mrs. Bernard<br />
Shepherd, G. H.<br />
Shera, Miss B. M.<br />
Shiers-Mason, Mrs.<br />
Shipley, Miss M.<br />
Simpson, W. J.<br />
Sinclair, Miss May<br />
Skrine, Mrs. J. H.<br />
Slaughter, Mrs.<br />
Smith, Bertram<br />
Smythe, A.<br />
Spiers, Victor<br />
Stanton, Miss H.<br />
Stein, M. A.<br />
Stevenson, Mrs. M.<br />
Sutherland, Her Grace<br />
The Duchess of<br />
Teignmouth-Shore, The<br />
Rev. Canon<br />
Thorburn, W. M.<br />
Thurston, Mrs.<br />
Todd, Margaret, M.D.<br />
Toynbee, W.<br />
Trevor, Captain P.<br />
Tuckett, F. F.<br />
Turner, G. F.<br />
Wachell, H. A.<br />
Wacher, Francis<br />
Wernéde, R. E.<br />
Voysey, The Rev. C.<br />
Ward, Mrs. Humphry<br />
Warden, Miss G.<br />
Watt, A. P.<br />
Weaver, Mrs. Baillie<br />
Weston, Miss J. L.<br />
White, Mrs. C.<br />
Witherby, The Rev. C.<br />
Wright, Fondi<br />
Young, W. Wellington<br />
comMITTEE NOTEs.<br />
—º-º-º-<br />
TY HE last meeting of the committee before the<br />
vacation was held on Monday, July 20th, at<br />
39, Old Queen Street, Storey's Gate, S.W.<br />
After the minutes of the previous meeting had been<br />
read and signed there followed the election of<br />
members.<br />
Nine members and associates were<br />
elected, bringing the total for the current year up<br />
to 154, and there was one resignation, bringing<br />
the resignations up to 56.<br />
These numbers are, on<br />
the whole, satisfactory. The elections are still in<br />
advance of the number for the corresponding<br />
period of last year.<br />
The appointment of a treasurer, consequent on<br />
Mr. Storr's resignation, was the first matter brought<br />
forward for discussion. The committee decided to<br />
ask Mr. Storr if he would not continue to act in<br />
that capacity, and the Secretary was instructed to<br />
Write to that effect. The committee then discussed<br />
the question of the production of a book dealing<br />
With the clauses of publishers' agreements, their<br />
form and substance ; and the secretary, from whom<br />
the original suggestion came, was instructed to<br />
Work upon the book during the vacation. It was<br />
decided, however, that the names of the publishers<br />
should not be inserted with their agreements, and<br />
that the proofs, when ready, should be submitted<br />
to the solicitors of the society. The final draft<br />
should be laid before the committee for their<br />
consideration.<br />
The next question that arose was an appeal in<br />
the German courts, and it was decided, after con-<br />
sideration of a letter from the society's lawyers in<br />
Germany, that the society should guarantee part of<br />
the expenses on behalf of the member concerned.<br />
It may be remembered that in the last issue of<br />
The Author, it was announced that the secretary<br />
had been instructed to write to the Publishers’<br />
Association to enquire whether they would assist<br />
the Society financially in fighting the issue in the<br />
above case, as it was of importance to publishers<br />
and authors. The reply of the association was<br />
read to the effect that inasmuch as the council of<br />
that body did not anticipate that the appeal would<br />
be successful they were unable to offer the desired<br />
assistance.<br />
An infringement of copyright of the work of one<br />
of the members of the society in New Zealand was<br />
next considered, and the secretary reported that<br />
he had written to the paper and hoped to obtain a<br />
reply in the course of a month or so. In these<br />
circumstances, the matter was adjourned to<br />
October, when it is hoped that an answer will<br />
be forthcoming. In case, however, immediate steps<br />
should be necessary during the vacation, the com-<br />
mittee delegated full powers to the chairman.<br />
Another important matter was laid before the<br />
committee. It was a question arising out of the<br />
production of a book by a publisher under no<br />
formal agreement, but on a half profit arrange-<br />
ument. Since the autumn of last year the society<br />
has been attempting to negotiate a satisfactory<br />
settlement between the author and the publisher,<br />
but owing to the publishers' unbusinesslike<br />
conduct and dilatory methods it was found<br />
impossible to bring the matter to an issue. The<br />
case was then placed in the hands of the society's<br />
solicitors in the hope that a reasonable and formal<br />
agreement might be settled and approved by both<br />
parties. Again the settlement has been unreason-<br />
ably delayed and no satisfactory issue arrived at.<br />
<br />
<br />
## p. 4 (#16) ###############################################<br />
<br />
4 TFIES A UTHOR,<br />
In consequence, acting on the advice of the<br />
Society's solicitors, it was decided to take counsel's<br />
opinion. Counsel's opinion was read to the com-<br />
mittee, and they authorised the commencement of<br />
proceedings against the publisher.<br />
The secretary reported what had taken place in<br />
two other cases that had been carried through by<br />
the society, and stated that in one case the member<br />
concerned expressed his satisfaction at the result ;<br />
in the other case that the debt and costs had been<br />
recovered. In the latter case the secretary read to<br />
the committee a letter thanking the Society for the<br />
work it had undertaken.<br />
The secretary then reported the work which the<br />
dramatic sub-committee had already done since its<br />
election, and added that a further meeting was to<br />
be held in August. He gave the list of the names<br />
of those who had accepted nomination. It was<br />
hoped that the report of the dramatic sub-committee<br />
would be settled in time to be laid before the<br />
committee of management at their meeting in<br />
October.<br />
Mr. Freshfield, the chairman of the society, then<br />
made a statement in regard to the visit of the<br />
president of the Société des Gens de Lettres to<br />
IIondon. He had come over to obtain the support<br />
of English authors to the proposals which French<br />
writers were going to press very strongly at the<br />
meeting in Berlin in October. Mr. Freshfield<br />
stated that he had had the pleasure of introducing<br />
the president to those who were very closely inte-<br />
rested in the question of international copyright,<br />
among others, Mr. Winston Churchill, President<br />
of the Board of Trade. Sir Henry Bergne stated<br />
that he had had a long conversation with the<br />
president of the French society, and had explained<br />
to him fully the position of the Society of Authors<br />
and of the Government in regard to the re-modelling<br />
of the Berne Convention. Sir Henry added that<br />
the president had had an official interview at the<br />
Board of Trade, which he (Sir Henry) believed was<br />
thoroughly satisfactory.<br />
Owing to Mrs. E. Nesbit Bland's illness, she<br />
was unable to attend the meeting to support a<br />
resolution which stood in her name. The question,<br />
accordingly, was adjourned till the committee<br />
meeting in October. .<br />
The draft of a circular letter to be issued to non-<br />
members was considered and formally passed.<br />
Some letters written by the secretary of the<br />
Publishers’ Circle with reference to a dinner in the<br />
autumn were formally laid before the committee<br />
and the secretary was instructed to reply.<br />
It was dedided to purchase some furniture for<br />
the office.<br />
——— e —sº- e ––. ---------—<br />
DRAMATIC COMMITTEE.<br />
HE new dramatic committee of the Society<br />
of Authors elected by the new committee of<br />
management met for the first time on Mon-<br />
day, June 29th, at the offices of the society. The<br />
names of the present committee will be found<br />
printed with the other committees, but it may<br />
be as well to mention that they are:<br />
Mr. William Archer, Mrs. E. Nesbit Bland, Mr.<br />
H. Granville Barker, Mr. J. W. Comyns Carr, Mr.<br />
Jerome K. Jerome, Mr. Henry Arthur Jones<br />
(Chairman), Mr. W. J. Locke, Capt. Robert.<br />
Marshall, Mr. W. Somerset Maugham, and Mr.<br />
G. Bernard Shaw. -<br />
The first business was to consider a report deal-<br />
ing with the present position of the dramatic<br />
authors in the society, what the Society had done<br />
from the foundation of the society and what the<br />
dramatic committee hoped to carry through for<br />
members in the future. This report it was pro-<br />
posed to send round to those members of the<br />
society who had written plays which had been<br />
publicly performed. The report was very care-<br />
fully considered, and various suggestions by different<br />
members of the committee were submitted. It was<br />
decided to adjourn the consideration of the matter<br />
to the next meeting, which was to be held on<br />
July 2nd. This adjournment would enable the<br />
individual members to set out their proposals in<br />
writing. Mr. Shaw then read to the committee a<br />
draft agreement, part of which had been taken from<br />
a pamphlet prepared by the former dramatic com-<br />
mittee, but which contained additions and altera-<br />
tions of his own.<br />
The next meeting of the committee was held on<br />
July 2nd, at 11 o'clock, at the society's offices.<br />
After the minutes had been read the report Was<br />
considered. Various suggestions made by the<br />
different members were accepted, and a Sub-Com-<br />
mittee, consisting of Mr. G. Bernard Shaw and the<br />
secretary, was appointed to incorporate the altera-<br />
tions that had been accepted, and to re-model the<br />
draft on that basis. It was decided to hold a<br />
further meeting of the committee on August 3rd.<br />
The secretary of the society during the month<br />
of July took all the emendations and alterations<br />
which had been accepted at the previous meeting,<br />
and re-drafted the report as instructed. It was then<br />
forwarded to Mr. Shaw and returned approved in<br />
its final form. Unfortunately, owing to the fact<br />
that it was impossible to obtain a quorum on August<br />
3rd, the meeting was adjourned till September 3rd.<br />
On that day there was a full gathering of the<br />
committee. The proceedings opened by the<br />
secretary explaining what Mr. Shaw and he had<br />
done during the vacation, and the final report Was<br />
<br />
<br />
## p. 5 (#17) ###############################################<br />
<br />
THE AUTHOR, 5<br />
laid before the meeting. This was accepted with<br />
a few verbal alterations. The committee decided<br />
that it should be forwarded to Mr. Pinero, who<br />
was acting as chairman of the proposed new<br />
Dramatic Authors' Society, in order that his<br />
committee might consider and report on it to<br />
the dramatic committee of the Society of Authors.<br />
The committee further decided that the report as<br />
finally settled should be sent out to all those mem-<br />
bers of the society who were also dramatic authors,<br />
and that' they should be asked to send, at their<br />
earliest opportunity, their opinions to the secretary<br />
in order that they might be laid before the next<br />
meeting of the dramatic committee. No doubt<br />
when this committee has been able to consider the<br />
report of Mr. Pinero's committee and the opinions<br />
of the members of the society, the result will be<br />
laid before the committee of management, in order<br />
that they may sanction the course proposed by the<br />
dramatic committee. -<br />
Mr. Shaw's draft agreement and the pamphlet on<br />
dramatic rights and property were ordered to be<br />
set up in type to be circulated to the members of<br />
the committee before the next meeting, in order<br />
that the members might have time to prepare their<br />
criticisms.<br />
It was decided to hold the next meeting of the<br />
committee on Tuesday, October 6th, 1908.<br />
• ..º.<br />
—w--w<br />
Cases.<br />
DURING the long vacation thirty-six cases have<br />
been in the hands of the secretary. Over a third<br />
of these—to be precise, thirteen in number—have<br />
related to claims for money unpaid. Seven of the<br />
thirteen had to be placed in the hands of the<br />
society's solicitors for collection. Five terminated<br />
successfully, as the Secretary succeeded in obtaining<br />
the sums due, which were sent on to the authors;<br />
but the last case, lying in the United States, has yet<br />
to be settled. There were six cases for the collec-<br />
tion of accounts. In four of these the accounts<br />
have been rendered by the publishers and have<br />
been forwarded to, and accepted by, the authors.<br />
Two which have only recently come into the office<br />
are still in the course of negotiation. There have<br />
been five cases of infringement of copyright. Three<br />
of these have been satisfactorily concluded. One<br />
of the three referred to dramatic copyright in<br />
Germany. The remaining two related to in-<br />
fringements which occurred in New Zealand.<br />
It is curious that they came to the office within<br />
a week or so of each other. The Society has<br />
had no previous case in this colony, though in-<br />
fringements which have occurred in other colonies<br />
have been dealt with by the secretary. Sufficient<br />
time has not yet elapsed to allow of answers from<br />
the editors. In the event of failure to obtain<br />
satisfactory explanations the matters will be referred<br />
to the committee. Nine cases were for the return<br />
of MSS. Of these eight have been successful,<br />
though in two out of the eight all the MSS. have<br />
not, as yet, been returned, though the agents have<br />
|promised to return them as soon as they come to<br />
hand. The remaining case has had to be aban.<br />
dºned Qying to the absence of proof of the arrival<br />
9f the MS. at the office of the paper. There has<br />
been one complicated case of accounts and money<br />
due, which is still in the course of negotiation, and<br />
tWO cases dealing with the settlement of disputes<br />
on agreements are in the same position.<br />
The society, therefore, may be considered to<br />
have done useful work for its members during the<br />
Vacation: Out of thirty-six cases twenty-one have<br />
been ended satisfactorily.<br />
Of the cases in the solicitor's hands, four have<br />
been settled, two are awaiting trial, and one has<br />
had to be abandoned owing to the fact that the<br />
defendants are in liquidation. *<br />
One or two county court cases, besides those men-<br />
tioned, have been sanctioned by the chairman, but<br />
no big action has been taken up by the Society<br />
since the last meeting of the committee.<br />
—e-º-e—<br />
July Elections,<br />
Donegan, Lieut.-Colonel (Holt & Co.) 3, White-<br />
J. D. F. hall Place, S.W.<br />
Holbach, Mrs. 6, Staverton Road, Ox-<br />
ford.<br />
Jeffery, Reginald W. Brasenose College, Ox-<br />
ford.<br />
Landa, Gertrude . . 23, Clarendon Street,<br />
War wick Square,<br />
S.W.<br />
Moore, Miss Leslie Furzehill, Salcombe<br />
R.S.O., S. T)evon.<br />
32, Moring Road, Toot-<br />
ing Common, S.W.<br />
Lyceum Club, 128, Pic-<br />
cadilly, W. º,<br />
Swallow field Park,<br />
Reading.<br />
College House, Jersey,<br />
C.I<br />
Northrop, W. B.<br />
Pleydell, Mrs. Maunsel .<br />
Russell, Lady<br />
Tucker, Miss Beryl<br />
2, Wychcombe Studios,<br />
Englands Lane, N.W.<br />
Wilkinson, Norman, R.I.<br />
—e—º-<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—t-sº-0–<br />
ART.<br />
MEDIAEVAL SINHALESE ART. A Monograph of Sinhalese<br />
Arts and Crafts, mainly as surviving in the Eighteenth<br />
Century, together with an Account of the Structure of<br />
Society and of the Position of the Craftsmen. By<br />
<br />
<br />
## p. 6 (#18) ###############################################<br />
<br />
THE AUTHOR,<br />
ANANDA. K. CooMARASWAMY, D.Sc., F.L.S., etc.<br />
14 × 10%. 300 pp. Printed and sold by the Author,<br />
at the Essex House Press, in the Norman Chapel at<br />
Broad Campden, Glos. Ordinary Edition of 400 copies<br />
only, £3 3s. n. Twenty-five copies (fifteen for sale), on<br />
hand-made paper, plates on Jap. Vellum, É5 58. In.<br />
THE AIMS OF INDIAN ART. By A. K. COOMARASWAMY.<br />
93 × 7. 23 pp. The Essex House Press. 2s. 6d.<br />
BIOGRAPHY.<br />
SAINT THOMAS OF CANTERBURY. By ROBERT HUGH<br />
BENSON. 63 × 4%. 173 pp. Macdonald and Evans. 2s. n.<br />
THOMAS DoGGETT, DECEASED. By T. A. COOK and GUY<br />
NICKALLS. 104 x 7. xii. -- 156 pp. Constable. 10s. 6d. n.<br />
PESTALOzzI. An Account of his Life and Work. By<br />
H. HOLMAN. 73 x 5. 322 pp. Longmans. 3s. n.<br />
GREAT RALEGH. By HUGH DE SELINCOURT. 83 × 53.<br />
310 pp. Methuen. 10s. 6d. n.<br />
THE LIFE OF ToISTOY. First Fifty Years. By AYLMER<br />
MAUDE. 9 × 53. 457 pp. Constable. 10s. 6d. n.<br />
THE EMPRESS JOSEPHINE : NAPOLEON'S ENCEIANTRESS.<br />
By PHILIP W. SERGEANT, B.A. Two vols. Hutchinson.<br />
24s. In.<br />
AN ALABAMA STUDENT. By WILLIAM OSLER, M.D.,<br />
F.R.S. 9 × 53. 334 pp. Clarendon Press. 7s.6d. n.<br />
RoussFAU AND THE WOMEN HE LOVED. By FRANCIS<br />
GRIBBLE. 9 × 5%. xxi. -- 443 pp. Nash. 15s. n.<br />
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249 pp. (Young Girls' Library.) R. T. S. 2s.<br />
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DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br />
LESLIE STEPHEN and SIDNEY LEE. (New edition.)<br />
Wols. W., WI. and WII. Craik–DTake ; Drant—Finan ;<br />
Finch—Gloucester. 93 × 6+. Smith Elder. 15s. n. each.<br />
CLASSICS.<br />
A HISTORY OF CLASSICAL SCHOLARSHIP. Vol. ii., from<br />
the Revival of Learning to the end of the eighteenth<br />
century in Italy, France, England, and the Netherlands.<br />
Vol. III., the eighteenth century in Germany and the<br />
nineteenth in Europe and the United States of America.<br />
By JoBN EDWIN SANDYS, Litt.D., with chronological<br />
tables, and with 62 portraits and other illustrations.<br />
74 × 5}. xxx. + 498; xiv. -- 523 pp. Cambridge<br />
|University Press. Vol. i., ed. 2, 10s. 6d. In. ; vols. ii. and<br />
iii., each 8s. 6d. In.<br />
- DRAMA.<br />
THE BARRIER. By ALFRED SUTRO.<br />
French. 2s. 6d. n.<br />
WARP AND WOOF : A DRAMA IN THREE ACTS. By EDITH<br />
LYTTELTON. 7# × 53. 128 pp. Unwin. 3s. 6d. n.<br />
THE TRAGEDY OF SAINT ELIZABETH OF HUNGARY. In<br />
Five Acts. By ARTHUR DILLON. 63 x 5. 174 pp.<br />
Elkin Mathews. 43. 6d. n.<br />
7; X 5. 112 pp.<br />
PETE. By HALL CAINE and L. N. PARKER. 7 x 43.<br />
164 pp. Collier. 6d. n.<br />
ECONOMICS.<br />
THE BRITISH TRADE BOOK. Covering the years 1880–<br />
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10} x 63. xxxix. + 491 pp. Murray. 10s. 6d. n.<br />
EDUCATIONAL.<br />
A SHORT HISTORY OF NATIONAL EDUCATION IN GREAT<br />
BRITAIN AND IRELAND. By T. LLOYD HUMBERSTONE.<br />
84 × 5%. 32 pp. P. S. King. 3d.<br />
ſhrIFT MANUAL, FOR THE USE OF TEACHERS IN<br />
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BRABROOK, C.B. 83 × 53. 168 pp. P. S. King. 2s. n.<br />
DIFFERENTIAL CALCULUS FOR BEGINNERs. By A.<br />
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(Third edition.) Revised. 73 x 43. xxvii. 4- 299 pp.<br />
Bell. 4s. 6d. .. -<br />
FICTION.<br />
LOVE AND THE POOR SUITOR. By PERCY WHITE.<br />
73 × 5. 333 pp. Hutchinson. 6s.<br />
HARDY ON THE HILL. By M. E. FRANCIS. 73 × 5.<br />
328 pp. Methuen. 6s.<br />
SERVITUDE. By IRENE OsgooD. 73 × 5. 398 pp.<br />
Sisley's. 6s. .<br />
A MISTAKEN MARRIAGE. By F. E. MILLs YoUNG, 74 × 5.<br />
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GREEN AT GREY HOUSE. By R. S. WARREN BELL.<br />
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THE SILVER QUEEN. By W. SYLVESTER WALKER<br />
(“COO-EE"). 7% × 5. 338 pp. Ouseley. 6s. -<br />
GOOD-BYE TO MARKET. A Collection of Stories. By R.<br />
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AN EMPTY HERITAGE. By VIoDET. TwºFDALE. 73 × 5.<br />
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A DEVONSHIRE LASS. By HENRY CHARLES MooRE.<br />
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TOTTY : THE TRUTH ABOUT TEN MYSTERIOUs TERMs.<br />
By BERTRAM SMITH, 73 × 5. 233 pp. Harper. 3s.6d.<br />
THE SURPRISING HusBAND. By RICHARD MARSH.<br />
7# × 5%. 325 pp. Methuen. 6s.<br />
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312 pp. Greening. 6s.<br />
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255 pp. Heinemann. 2s. 6d. -<br />
THE WILD GEESE. By STANLEY WEYMAN, 74 × 5.<br />
384 pp. Hodder and Stoughton. 6s. -<br />
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Ward, Lock. 63.<br />
THE OLD ALLEGIANCE. By HUBERT WALEs. 7<br />
318 pp. J. Long. 6s. ...<br />
THE HIGH ADVENTURE. By HUGH DE SELINCOURT.<br />
73 × 5. 295 pp. Lane. 6s.<br />
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7# × 5. 421 pp. Nash. 6s. - -<br />
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MAUD STEPNEY RAwson. 73 × 5. 396 pp. Methuen.<br />
68.<br />
THE REVOLT of BEATRIx. By FRED WISHAw.<br />
318 pp. J. Long. 68. - -<br />
PROPULSION OF DOMENICA : A Novel. By HELENA<br />
HEATH, 73 × 5. 243 pp. Ouseley. 3s.6d, -<br />
THE RESULT or AN ACCIDENT. By BEATRICE WHITBY.<br />
7# × 5. 309 pp. Methuen. 6s. -<br />
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#<br />
× 5.<br />
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7# × 5. 308 pp. Greening. 6s. -<br />
BACHELOR BETTY. By WINIFRED JAMES. 127 pp.<br />
THAT SWEET ENEMY. By KATHERINE TYNAN. 124 pp.<br />
(Constable's Sixpenny Series.) 8% x 6. Constable.<br />
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THE SUSPICIONS OF ERMENGARDE. By MAXWELL GRAY<br />
7# X 5. 382 pp. J. Long. 68. - - -<br />
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7# × 5. 316 pp. Unwin. 68. -<br />
THE HOUND OF THE BASKERVILLES. 359 pp. ADVEN-<br />
TURES OF GERARD. 374 pp. THE RETURN OF<br />
<br />
<br />
## p. 7 (#19) ###############################################<br />
<br />
TFIES A UſTISIOR, 7<br />
SHERLOCK HOLMES. 403 pp. By A. CONAN DOYLE.<br />
(New edition.) 73 × 5. Smith, Elder. 3s. 6d. each.<br />
PATsy. By H. DE WERE STACPooDE. 7# × 5. 319 pp.<br />
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320 pp. Ward, Lock. 6s. -<br />
THE CLAIMANT. By WEATHERBY CHESNEY.<br />
328 pp. Chatto and Windus. 6s,<br />
THE POWER OF A LIE. By JOHAN BOJER. Translated<br />
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2s. 6d.<br />
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190 pp. Hurst and Blackett. 6d.<br />
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#<br />
te<br />
158 pp. Greening. 18. m.<br />
THE CLIMAX. By J. CRANSTOUN NEVILL. 73 × 5.<br />
380 pp. Long. 68.<br />
ANTHONY CUTHBERT. By RICHARD BAGOT. 7# × 5.<br />
379 pp. Methuen. 68.<br />
A WOMAN IN ARMOUR. By DAVID CHRISTIE MURRAY.<br />
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THE ORPHAN-MONGER. By G. SIDNEY PATERNOSTER.<br />
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MY LOST SELF. By A. W. MARCHMONT. 73 × 5.<br />
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THE CONSCIENCE OF DR. HOLT.<br />
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LISTENER's LURE. By E. V. LUCAS.<br />
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LECTURES ON DANTE. Delivered to the Students of<br />
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7} x 4%. 140 pp. Hachette. 3s. 6d.<br />
ALL THINGS CONSIDERED. By G. K.<br />
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SIDELIGHTS ON THE HOME RULE MoveMENT. By SIR<br />
ROBERT ANDERSON, K.C.B. (Popular edition.) 73 × 5}<br />
118 pp. Hodder and Stoughton. 1s. n.<br />
REPRINTS.<br />
INSECTIVOROUS PLANTs. By CHARLES DARWIN. Revised<br />
by FRANCIS DARWIN. (Cheap edition.) 8 × 53.<br />
xiv. -- 377 pp. Murray. 2s. 6d. m.<br />
DEMETER, AND OTHER POEMs. Annotated by ALFRED<br />
LORD TENNYSON. Edited by HALLAM LORD TENNYSON.<br />
73 × 4%. 421 pp. Macmillan. 4s. n.<br />
QUEEN MARY AND HAROLD. Annotated by ALFRED<br />
LORD TENNYSON. Edited by HALLAM LORD TENNYSON.<br />
7+ x 5. 381 pp. Macmillan. 4s. r.<br />
CALESTINA. With an Interlude of Calisto and Melebea.<br />
By H. WARNER ALLEN. (Library of Early Novelists.)<br />
8 × 5%. 345 pp. Routledge. 6s. n.<br />
SOCIOLOGY.<br />
THE COMMONSENSE OF MUNICIPAL TRADING. By<br />
BERNARD SHAW. (The Fabian Socialist Series, No. 5.).<br />
73 × 4%. 120 pp. Fifield. 6d. n.<br />
HISTORY.<br />
JAMES II. AND HIS WIVEs. By ALLAN FEA.<br />
320 pp. Methuen. 12s. 6d. n. -<br />
THE FLIGHT OF THE KING. A. Full, True and Parti-<br />
cular Account of the Miraculous Escape of H.M.<br />
King Charles II. after the Battle of Worcester. By<br />
ALLAN FEA. (Second and revised edition.) 83 × 53.<br />
xxiii. 4- 331 pp. Methuen. 7s. 6d. n.<br />
9 × 53.<br />
LITERARY,<br />
STORIES FROM THE ILIAD. xxi. -- 342 pp. STORIES FROM<br />
THE ODYSSEY. xix. + 235 pp. Retold by H. L. HAVELL,<br />
SPORT.<br />
THE COMPLETE OARSMAN. By R. C. LEHMANN.<br />
9 × 5%.<br />
Xviii. —H 390 pp. Methuen. 10s. 6d. m.<br />
<br />
<br />
## p. 8 (#20) ###############################################<br />
<br />
8 TFIES A UTHOR.<br />
THE OLYMPIC GAMEs. By T. A. Cook, member of the<br />
British Olympic Council. 74 × 5. 232 pp. Constable.<br />
1S. n.<br />
THE RULES OF SPORT. With a Preface by T. A. COOK.<br />
Being the International Code of Rules for all Competi-<br />
tions in the Olympic Games. 73 × 43, 181 pp.<br />
Constable. 1s. n.<br />
THE TROUT WATERS OF ENGLAND. By W. M. GALLICHAN.<br />
7 × 4%. 160 pp. Foulis. 2s. 6d. n.<br />
THEOLOGY.<br />
CREATION’s DAWN. By “KISH.” With a Preface by<br />
PROFESSOR: A. H. SAYCE.<br />
Long. 3s.6d.<br />
PASTOR IN ECCLESIA : A PRACTICAL STUDY IN THE ART<br />
of MONEY-RAISING. By THE REV. GILBERT MONKS,<br />
7% × 5. 323 pp. Elliot Stock. 58.<br />
TOIPOGRAPHY.<br />
BY THE ROMAN WALL. NoTES ON A SUMMER HOLIDAY.<br />
By MARIA A. HoxER. 73 × 5%. 159 pp. Nutt. 2s 6d. n.<br />
ISLE OF WIGHT. Painted by A. HEATON COOPER.<br />
Described by A. R. HoPE MONCRIEFF. 9 × 64. 176 pp.<br />
Black. 78. 6d. in.<br />
73 × 5. 131 pp. John<br />
TRAVEL.<br />
BY DESERT WAYS TO BAGHDAD. By Lou ISA JEBB (Mrs.<br />
Rol,AND WILKINs). 9 × 53. 318 pp. Unwin.<br />
10s. 6d. In.<br />
THE ALPS IN NATURE AND HISTORY. By W. A. B.<br />
COOLIDGE. 9 × 53. Methuen. 7s.6d. n.<br />
WASHED BY FOUR SEAS : AN ENGLISH OFFICER'S<br />
TRAVELS IN THE NEAR EAST. By H. C. WOODS,<br />
F.R.G.S. (formerly of the Grenadier Guards.) With<br />
an introduction by Sir Martin Conway. 9 × 53.<br />
xvi. -- 316 pp. Unwin. 7s.6d. ii.<br />
A MONOGRAPH OF MONDARIZ, SPAIN.<br />
CHALLICE. 11 × 15.<br />
By RACHEL<br />
58 pp. Bradbury, Agnew.<br />
…º.<br />
—-ºf-<br />
w-u-<br />
BOOKS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
—e—º-e—<br />
BIOGRAPHY.<br />
GEORGE III., AS MAN, MONARCH, AND STATESMAN. By<br />
BECKLES WILLSON. Jacobs & Co. $3 m.<br />
BOOKS OF REFERENCE.<br />
DICTIONARY OF NATIONAL BIOGRAPHY. By LESLIE<br />
STEPHEN AND SIDNEY LEE. New edition in 22 vols.<br />
Wols. W. and VI. Craik–Drake, Drant—Finan. Mac-<br />
millan. $4.25 m. each. (In sets only.)<br />
FICTION.<br />
THE FOUR PHILANTHROPISTS.<br />
Cupples and Leon Co. 750.<br />
SIR RICHARD EsCOMBE : A ROMANCE. By MAX PEMBER-<br />
*<br />
vºr<br />
By EDGAR JEPSON,<br />
TON. Harper. $1.50.<br />
THE “BLUE PETER ‘’: SEA YARNs. By MORLEY ROBERTs,<br />
Page. $1.50.<br />
A MISTAKEN MARRIAGE. By F. E. Mills Young. John<br />
Lane Co. $1.50.<br />
WHITE ROSE OF WEARY LEAF.<br />
Brentano's, $1.50.<br />
THE METHODS OF MR. AMES.<br />
Mitchell Kennerley. $1.50.<br />
By FREDERIC CARREL.<br />
THE BLOTTING Book. By E. F. BENSON. Doubleday,<br />
Page. $1.<br />
THE ONE AND I. By ELIZABETH FREEMANTLE. G. W.<br />
Jacobs. $1.50.<br />
By VIoIET HUNT.<br />
THE DUKE's MOTTO. By J. HUNTLY McCARTHY. Harper.<br />
1.50.<br />
MEDICAL.<br />
MODERN MEDICINE : ITS THEORY AND PRACTISE. Edited<br />
by W. OSLER and T. McCRAE. In 7 vols. Vols I., II.,<br />
III. and IV. Lea and Febiger. Cloth, per vol. $6 n.<br />
Leather $7 n. Half Mor. $7.50 m.<br />
MISCELLANEOUS.<br />
THE WIFE : HER BOOK. By HAYDN BROWN, M.D. Jacobs<br />
& Co. $1 n.<br />
A FARMER'S YEAR: BEING HIS COMMON PLACE BOOK<br />
FOR 1898. By H. RIDER HAGGARD. Longmans,<br />
Green. $1.50.<br />
FAMOUS FRENCH SALONS. By FRANK HAMEL. Brentano's.<br />
$3.50 m.<br />
THE GOURMET's GUIDE TO EUROPE. By LIEUT.-CoI.<br />
NEWNHAM-DAVIS. Brentano's. $1.50 m.<br />
DECADENCE, THE HENRY SIDGWICK MEMORIAL LECTURE<br />
DELIVERED AT NEWNHAM CoI,LEGE, JAN. 25, 1908.<br />
By ARTHUR J. BALFOUR. Putnam, 506. m.<br />
NATURAL HISTORY.<br />
FIFTY-Two NATURE RAMBLEs. By W. PERCIVAI,<br />
WESTELL. 105 Illustrations. Dodge Publishing Co.<br />
$1.50. w<br />
POETRY.<br />
THE WORKS OF ALFRED LORD TENNYSON, Edited by<br />
HALLAM LORD TENNYSON. (Eversley edition.) In 6<br />
vols. Wols. IV., W. and VI. Macmillan. $1.50 m. each.<br />
DEPARTMENTAL DITTIES ; BALLADS ; BARRACK ROOM<br />
BALLADS. By RUDYARD KIPLING. Doubleday, Page.<br />
$1,50 m.<br />
TOPOGRAPHY.<br />
THE ALPS IN NATURE AND IN HISTORY. By W. A. B.<br />
Coolidge. Dutton. $2.50 m.<br />
MOROCCO. By J. FINNEMORE. Illustrations by A. S.<br />
FORREST, Macmillan. 75c. m.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
—º-º-º-<br />
HE Literary Agency of London inform us.<br />
that the two hundred and fifty guinea.<br />
prize First Novel Competition which they<br />
organised on behalf of a London publisher whose<br />
name is not yet disclosed, had brought in over 150<br />
MSS. by August 31, the last day on which<br />
MSS. were eligible for the competition. MSS.<br />
began to arrive immediately after the first.<br />
announcements a year ago, but more than two-<br />
thirds of the total number were received during<br />
the last ten days : the inference being that the<br />
unusually large prize and the names of the adjudi-<br />
cators induced many authors to try their hand at<br />
a first novel who would not have been attracted by<br />
an ordinary prize competition.<br />
The readers, who have been examining the MSS.<br />
as they came in, report that the general level is,<br />
very high, and in their opinion there are at least<br />
two or three of distinguished merit, and a large<br />
number with sufficient merit to ensure publication.<br />
The adjudicators are Mr. Andrew Lang, Mr. W. L.<br />
<br />
<br />
## p. 9 (#21) ###############################################<br />
<br />
THE AUTHOR, 9<br />
Courtney, and Mr. Clement Shorter; and their<br />
decision will be made known at the earliest<br />
possible date, together with the names of the<br />
prize-winner and of the publisher on whose<br />
instructions the competition was organised.<br />
We have received a “Dictionary of Literary<br />
Terms” by Percival Vivian, published by Messrs.<br />
Routledge in their Miniature Reference Library<br />
at the price of one shilling. The compiler defines<br />
“literary terms” in the preface as “such words of<br />
specialised or technical meaning as constitute the<br />
vocabulary of literature, both in its primary sense<br />
of creation and in its subsidiary one of criticism.”<br />
We have tested the little book thoroughly, and it<br />
seems to be very comprehensive. The only one of<br />
our tests that it failed to give was “Ursula-talk”—<br />
a term sufficiently rare to render the omission venial.<br />
We have also received Part W., which concludes<br />
Wol. XXII. of “Book-Prices Current * from Mr.<br />
Elliot Stock. This excellent publication chronicles<br />
19,504 books sold at auction during the season<br />
[1907-8, and is provided with a very full index, which<br />
is a model of its kind. The volume before us does<br />
credit to everyone concerned in its production.<br />
“Marama, '' is the name of a new story by Mrs.<br />
Woollaston-White, which will be published from<br />
the St. Andrew's Press, Barnet, early in December.<br />
The latest contribution to Napoleonic literature<br />
is Mr. P. W. Sergeant's “The Empress Josephine:<br />
Napoleon's Enchantress” (Messrs. Hutchinson &<br />
Co.). These two volumes gather together the<br />
newest material relating to the Empress, and with<br />
its aid present a more complete picture of her than<br />
it has hitherto been possible to draw. There are<br />
thirty-four illustrations.<br />
Mrs. Humphry Ward issues through Messrs.<br />
Smith, Elder, a new novel, “Diana Mallory.”<br />
The book has a -strong political interest, and its<br />
theroine is a young Imperialist of two-and-twenty.<br />
“Towards the Light” is a mystic poem by Prin-<br />
cess Karadja, which will be published by Messrs.<br />
Regan Paul on the first of November. It has<br />
already passed through many editions in the original<br />
Swedish, and has appeared in German, Dutch, and<br />
Danish translations.<br />
We have received “A General View of Positivism”<br />
translated from the French of Auguste Comte, by<br />
J. H. Bridges. This new edition has an introduc-<br />
tion by Frederic Harrison, and is published by<br />
Messrs. Routledge in their New Jniversal Library.<br />
“In My Lady's Garden" is the title of a new<br />
book by Mrs. Richmond, late garden editor of the<br />
Queen. It has many illustrations, some in colour,<br />
and is published by Mr. Fisher Unwin.<br />
Messrs. Hurst and Blackett are about to publish<br />
a novel by Mrs. Fred Reynolds. The title is<br />
“Love's Magic,” and the book is a study of<br />
, temperament shadowed by pre-natal influences.<br />
Mr. Anthony Hope's bok “The Great Miss<br />
Driver " (Methuen & Co.) is a story of modern<br />
English life. It describes the rise of the heroine<br />
to heights of power, and her fall from the summit;<br />
and also how she regained her footing. The book is<br />
a record by her secretary and friend, Austin Austin.<br />
A new book by the author of “John Westacott"<br />
is announced by Messrs. Chapman and Hall for<br />
October 10, being a volume of “Literary and<br />
Biographical Studies.” The forenote of the volume<br />
says that all the articles are founded upon personal<br />
touch with the subjects dealt with either by<br />
conversation or letter. The names in the index<br />
include many famous ones of the Victorian era,<br />
such as Tennyson, R. D. Blackmore, Lord<br />
Macaulav, Friedrich von Bodenstedt, the friend of<br />
George Eliot, George Müller, Verestschagin, and<br />
others. There is also an extended article upon<br />
Osborne and Queen Victoria. As a special corre-<br />
spondent, the author, Mr. James Baker, has had to<br />
describe many Royal events at which her Majesty<br />
was present.<br />
Messrs. Macmillan announce the early publication<br />
of the following: “Caesar's Commentaries on the<br />
Gallic War,” translated into English by T. Rice<br />
Holmes; “Oxford Lectures on Poetry,” by A. C.<br />
Bradley; “Faust,” freely adapted from Goethe by<br />
Stephen Phillips and J. W. Comyns Carr ; “De<br />
Libris,” Prose and Verse, by Austin Dobson ;<br />
“The Diva's Ruby,” by F. Marion Crawford ;<br />
“The Sunny Side of the Hill,” by Rosa N.<br />
Carey; The Novels of Henry James in 23 volumes;<br />
and a “Commentary on the Holy Bible,” edited by<br />
the Rev. John R. Dummelow.<br />
We have received from Mr. John Ouseley the<br />
following books: “The Silver Queen,” by William<br />
Sylvester Walker (“Coo-ee"); “Topical Epigrams,”<br />
by W. Burton Baldry; “Glenith,” by M. H.<br />
Abraham-Jewel ; “Shadowed,” by Barbara Glyn ;<br />
and “New Poems,” by A. G. Leward.<br />
Messrs. Crewsher & Co. have published an<br />
Anthem, “The Lord is My Shepherd,” by L.<br />
Budgen.<br />
Mr. Henry Bristow has issued a revised edition<br />
of his “Chess Miniatures” (Chess Amateur Office,<br />
Stroud, Glos.). Thirty problems and solutions are<br />
included.<br />
Mr. Harry Tighe has sold the Australian rights<br />
of an Anglo-Australian novel to Mr. Rowlandson,<br />
of Sydney, N.S.W., who will publish it at an early<br />
date under the title of “A Man of Sympathy.”<br />
A second edition of Miss Sophia Caulfeild's<br />
book, “House Mottoes and Inscriptions,” was<br />
published in July.<br />
A second edition of “The Law of Copyright in<br />
Designs,” which includes the practice relating to<br />
proceedings in the Courts and in the Comptroller's<br />
office ; the Patents and Designs Act, 1907, and the<br />
<br />
<br />
## p. 10 (#22) ##############################################<br />
<br />
10<br />
TISIES A UITISIOR.<br />
Repealed Acts, 1883–1888, compared ; the statu-<br />
tory rules and forms, and the International<br />
Convention ; with notes, and a full appendix of<br />
Statutes, Forms, and Precedents, with illustrations,<br />
has been published by Messrs. Sweet and Maxwell.<br />
The authors are Lewis Edmunds, D.Sc., K.C.,<br />
and Herbert Bentwich, LL.B.<br />
“Creation's Dawn,” by “Kish,” has been<br />
published by Mr. John Long. In it the author<br />
sets forth a new theory of the early chapters of<br />
Genesis. Professor Sayce has written the preface.<br />
Mr. Elliot Stock has published “Pastor in<br />
Ecclesia,” by the Rev. Gilbert Monks. This book,<br />
which is intended to form a supplement to “The<br />
Young Preacher's Guide,” deals with the question<br />
of what will be required of a clergyman who<br />
wishes to conduct the business affairs of a church<br />
successfully. The Very Rev. the Dean of Durham<br />
contributes the preface.<br />
“A Treasury of English Literature,” selected<br />
and arranged by Kate M. Warren, has been issued<br />
by Messrs. Constable in six volumes, at one shilling<br />
net each. It is also issued in one volume at seven-<br />
and-six net.<br />
The New Age Press have published “New<br />
Truths for Old,” by Robb Lawson. In fourteen<br />
essays, the author examines the real character of<br />
certain common passions, sentiments and opinions,<br />
such as “woman,” “self-sacrifice,” and “the futility<br />
of speech.”<br />
Mr. Walter M. Gallichan has published, through<br />
Mr. T. N. Foulis, “The Trout Waters of England.”<br />
It is a practical handbook written by a fisherman<br />
who knows what fishermen wish to learn about the<br />
streams and lakes in any given locality. Hints on<br />
the most suitable methods of fishing, the selection<br />
of tackle and flies, are included, together with a<br />
directory of hotels and apartments.<br />
A fourth revised edition of “Printing,” by C. T.<br />
Jacobi, has been issued by Messrs. George Bell.<br />
The work is a practical treatise on the art of typo-<br />
graphy as applied more particularly to the printing<br />
of books, and the present edition has been brought<br />
up to date, more particularly in those sections<br />
relating to composing machines, motive power, and<br />
printing machinery.<br />
“My Giant” is a little sixpenny book by Edward<br />
Urwick, which has been published by Messrs.<br />
Henry Drane. It concerns the doings and sayings<br />
of a giant whom the author met in a Sussex village,<br />
told in a series of humorous stories.<br />
Mr. Basil Tozer has recently brought out through<br />
Messrs. Methuen “The Horse in History,” with<br />
many illustrations, in which all the historic steeds<br />
are lined up.<br />
“Golf Illustrated ” for August 28 contained<br />
an article on a golf resort in Donegal, entitled<br />
“Rosapenna,” by Mrs. Maude C. Knight.<br />
“Rita's "autumn novel is called “Betty Brent,<br />
Typist,” and has been published by Mr. Werner<br />
Laurie. The story concerns a young girl who is<br />
Sent to a country house by her office to do work for<br />
some fast society people. The book gives a descrip-<br />
tion of her adventures among the “smart set.”<br />
L. Budgen is publishing with the Ritz Co.<br />
“Two Lullabies,” and with Crewsher & Co. “Six<br />
Pianoforte Pieces,” in collaboration with the late<br />
Mr. Robert Goldbeck (whose death was announced<br />
in St. Louis last May), the American musician,<br />
whose orchestral and other works were gaining<br />
Such high reputation in the cities of the West.<br />
Messrs. Bell publish “The ‘Pinafore’ Picture<br />
Book,” by W. S. Gilbert. In this volume Sir W.<br />
S. Gilbert has re-told the story of his play in the<br />
form of a story for children. In doing so he has<br />
considerably amplified the details of the story, and<br />
has kept in mind the youthful readers for whom<br />
he writes. The illustrations in colour and in<br />
black-and-white are by Alice B. Woodward.<br />
Raymond Jacbern's new books this season are :<br />
“The Attic Boarders,” a story for elder girls<br />
(Chambers); “A Boy and a Secret,” a story for<br />
children (Chambers); “A Hard Bit of Road,”<br />
(Wells, Gardner and Barton). -<br />
Among the forthcoming publications of the<br />
Oxford University Press we notice “Fonts in<br />
English Churches,” by Francis Bond ; “Com-<br />
parative Greek Grammar,” by Joseph Wright<br />
(Students' series of Historical and Comparative<br />
Grammars); in the Oxford Library of Prose and<br />
Poetry “Selected Poems of William Barnes,”<br />
edited, with a glossary and introduction, by<br />
Thomas Hardy, and “Selected Poems of John<br />
Clare,” edited, with an introduction, by Arthur<br />
Symons; and “An Alabama Student and other<br />
biographical essays,” by William Osler.<br />
On July 8 last, at the Grammar School Hall,<br />
Dedham, Essex, was presented for copyright pur-<br />
poses a new and original play in four acts, entitled<br />
“The Undercurrent,” by Herbert Chorley, the<br />
author of “Cleeves' End,” a novel which was<br />
published this spring. -<br />
“Pete,” by Hall Caine and Louis N. Parker,<br />
dramatised from the former's novel “The Manx-<br />
man,” was staged at the Lyceum on August 29 with<br />
Mr. Matheson Lang in the title-róle. Miss Hutin<br />
Britton, Miss Rita Tomkins, Mr. Eric Mayne and Mr.<br />
Frederick Ross were among those included in the cast.<br />
Mr. Jerome K. Jerome's new play “The Passing<br />
of the Third-Floor Back” was produced at the St.<br />
James's Theatre on September 1. Mr. Forbes<br />
Robertson is the “third-floor back,” a passer-by<br />
who seeks the good of all with whom he comes in<br />
contact. Miss Haidee Wright, Miss Gertrude<br />
Elliott, Miss Kate Bishop, and Mr. Edward Sass<br />
were in support.<br />
<br />
<br />
## p. 11 (#23) ##############################################<br />
<br />
THE AUTHOR. 11<br />
“Idols,” adapted from the novel of that name<br />
by W. J. Locke, by Roy Horniman, was first per-<br />
formed on September 2 at the Garrick Theatre.<br />
The cast included Mr. Allan Aynesworth, Mr.<br />
Arthur Wontner, Mr. Herbert Waring, Miss<br />
Evelyn Millard, Miss Edith Latimer, and Miss<br />
Augusta Haviland.<br />
At the Duke of York's Theatre on September<br />
3 appeared a comedy in four acts by J. M.<br />
Barrie, entitled “What Every Woman Knows.”<br />
John Shand (Mr. Gerald du Maurier) is a<br />
prominent politician—risen from a railway porter<br />
and an amateur house-breaker for intellectual pur-<br />
poses. His wife Maggie (Miss Hilda Trevelyan),<br />
whom, plus an education, he had accepted as an<br />
alternative to prison, is, however, the real politician,<br />
her husband's guide, phrase-maker and speech-<br />
writer in one. The complications are Lady Sybil<br />
Lazenby (Miss Lillah McCarthy) and Shand's<br />
deficiency in humour. However, the play is<br />
rounded by the hero's laugh. -<br />
September 3 was also the first night of “ King<br />
of Cadonia,” a musical play in two acts, by<br />
Frederick Lonsdale, with lyrics by Adrian Ross,<br />
and music by Sydney Jones. The play concerns<br />
the wanderings of a king, who falls among<br />
anarchists. Mr. Bertram Wallis as King Alexis,<br />
and Mr. Huntley Wright as his heir presumptive,<br />
the Duke of Alasia, were supported by Mr. George<br />
Barrett, Mr. Pope Stamper, Miss Izabel Jay, Mme.<br />
Amy Martin, and Miss Grace Leigh. -<br />
His Majesty's Theatre gave “Faust,” by Stephen<br />
Phillips and J. W. Comyns Carr, on September 5.<br />
The chief characters were sustained by Mr. Tree<br />
(Mephistopheles), Mr. Henry Ainley (Faust), Miss<br />
‘Rosina Filippi (Martha), and Miss Maude Löhr<br />
(Margaret).<br />
“The Duke's Motto,” a melodrama adapted from<br />
the French of Paul Féval by Justin Huntly<br />
1McCarthy, made its first appearance at the Lyric<br />
Theatre on September 8. It chiefly concerns<br />
the romantic sword-and-cloak adventures of one<br />
Henri de Lagardère, a gentleman with an infinite<br />
capacity for taking life. With Mr. Lewis Waller,<br />
as the redoubtable Henri, were Mr. A. E. George,<br />
Mr. Alec F. Thompson, Mr. Herbert Jarman, Miss<br />
Walli Walli, and Miss Sybil Carlisle.<br />
Mr. Martin Harvey opened his season at the<br />
Adelphi on September 10, with the production,<br />
before “The Corsican Brothers,” of “The Con-<br />
spiracy,” a one-act play by Robert Barr and<br />
Sidney Lewis-Ransom.<br />
A new ballet by Lieut.-Colonel Newnham-Davis<br />
is about to be produced at the Empire Theatre. It<br />
contains four scenes, and is entitled “Paris.”<br />
Mr. Henry Arthur Jones's new play for October<br />
at the Haymarket Theatre is a comedy in his<br />
lighter vain.<br />
stands out somewhat in relief.<br />
It deals with the value of new year's<br />
resolutions from the point of view of the resultant<br />
benefit. . The play provides good parts for its<br />
leading lady Miss Ethel Irving, Miss Margaret<br />
Halstan, Mr. Robert Loraine and Mr. C. M. Lowne.<br />
Senor Alejandro Maristany has translated<br />
Mr. Henry Arthur Jones' plays, “The Hypo-<br />
crites " and “The Liars,” into Spanish, and<br />
will produce them at the Teatro Principal, at<br />
Barcelona, during the present season. The<br />
répertoire at that theatre includes also “The<br />
Hound of the Baskervilles,” by Sir Arthur Conan<br />
Doyle, and Mr. Hornung’s “Raffles.”<br />
a-A- a<br />
~-<br />
PARIS NOTES.<br />
—º-º-º-<br />
rTHE death of Hector France occurred in<br />
August. This well-known writer was born<br />
in 1837 in the Vosges. He entered the<br />
army and went to Africa for some time. After<br />
the war of 1870 he left France and took refuge in<br />
Belgium, and afterwards in England, where for<br />
some time he was French professor at the Woolwich<br />
Military College. He wrote several studies of<br />
English life, a whole series of French novels, and<br />
articles for many of the best French papers.<br />
It will not be easy for any one else to take the<br />
place which M. Harduin had made for himself in<br />
the French newspaper world. His recent death<br />
will be universally regretted, for his witty and<br />
genial satire was greatly appreciated. He took up<br />
any subject of the moment that pleased his fancy,<br />
and in a few concise lines showed up in a clever,<br />
bantering way the absurdities of many political<br />
questions, party strifes, current events, or even of<br />
mere habits and customs. Many readers of the<br />
Matin subscribed to that paper for the sake of<br />
M. Harduin's daily paragraph.<br />
“Aloyse Valérien,” by Edouard Rod, is classed<br />
by the author among his études passionnelles. He<br />
does not profess to write a novel à thèse, and does<br />
not give his own opinion with regard to the com-<br />
plex problems which arise when touching on the<br />
subject of his novel. The story is well told and<br />
the psychology carefully observed, so that the book<br />
holds the reader's interest from beginning to end.<br />
One can scarcely help feeling surprised and dis-<br />
appointed at the lack of moral energy in so many<br />
of the personages who are thrown together.<br />
Intense Selfishness or a weak will predominates in<br />
each one of the characters. M. Mazelaine alone<br />
* He at any rate<br />
does not console himself with the dangerous and<br />
extremely easy excuse of fatality for condoning<br />
Weakness of character.<br />
“La Rue Saint Honoré,” by Robert Hénard,<br />
from its origin to the time of the Revolution, is an<br />
<br />
<br />
## p. 12 (#24) ##############################################<br />
<br />
12<br />
THE AUTISIOR.<br />
interesting study for all who enjoy the historical<br />
side of Paris. We go back in this book to the<br />
Paris of the times before the Romans, and we also<br />
have a description of it taken from Caesar's Com-<br />
mentaries. Scarcely any street in Paris has been<br />
so celebrated as the Rue St. Honoré, in which, at<br />
the present time, the residences of the President<br />
and of the British Ambassador are situated.<br />
“L’Esprit de Barbey d’Aurevilly” has just<br />
been published by Mlle. Read. It is a collection<br />
of extracts on various subjects taken from the<br />
writings of the great French critic and novelist.<br />
This volume enables the reader who knows<br />
nothing of this author to see something of<br />
the mind of the man whose conversations<br />
gave Paul Bourget “one of the keenest intel-<br />
lectual pleasures he had ever experienced.”<br />
There is an excellent preface by Octave Uzanne,<br />
and the little book is doubly welcome coming, as<br />
it does, a few months before the celebration<br />
throughout France of Barbey d’Aurévilly's cen-<br />
tenary. This literary fête, which should have<br />
taken place in November of this year, is now post-<br />
poned until May, 1909, on account of the death of<br />
François Coppée, who was President of the<br />
Committee. -<br />
Every one who visited Coppée and was acquainted<br />
with his two cats will be glad to hear that Mlle.<br />
Jouise Read has adopted them, and that they will<br />
have for their companion the descendant of<br />
Démonette, the famous cat which was Barbey<br />
d’Aurévilly's faithful companion. The trio will<br />
from henceforth make their home with Mlle.<br />
Read, whom Barbey d’Aurévilly styled la com-<br />
missionnaire du genre humain.<br />
Among recent books are “Mémoires d'une vieille<br />
fille,” by René Bazin, a volume of short stories;<br />
“Jeunes Filles,” by Victor Margueritte; “Adolphe<br />
Monticelli,” by Camille Mauclair ; “Grandeur et<br />
Décadence de Rome " (Vol. VI., Auguste et le<br />
Grand Empire), by G. Ferrero.<br />
A whole series of books on Turkey is now<br />
appearing : “Paradoxes sur la Turquie,” by Afioun-<br />
Effendi; “Midhat Pacha,” by Ali Haydar Midhat<br />
Bey; “Abdul Hamid intime,” by G. Dorys.<br />
Several translations of English books have<br />
appeared recently : “Amours charmantes et<br />
cruelles,” by Maurice Hewlett, translated by MM.<br />
Davray and Kosakiewicz ; “Le Maitre de la<br />
Terre,” by R. H. Benson, translated by T. de<br />
Wyzewa ; “L'Oncle Bernac,” by Conan Doyle.<br />
“Carrière d'Artiste,” by Mrs. Humphry Ward,<br />
is now appearing serially in the Revue de Paris.<br />
M. Johan Bojer, the Norwegian novelist, has<br />
received a prize from the French Academy for his<br />
book “La Puissance du Mensonge,” which has<br />
now been published in English.<br />
In the Revue de Paris of July 15, were articles<br />
by Colonel C. Favre, on “L’Angleterre et l'Armeč<br />
anglaise ’’; by Daniel Halévy, on “Nietzsche et<br />
l'Empire allemand ”; and by Victor Bérard, on<br />
“I’CEuvre d’Edouard VII.”<br />
In recent numbers of La Revue hebdomadaire are<br />
the following articles: “Le Mouvement des Idées,”<br />
by Edouard Rod ; “Comment on nous élevaitil y a<br />
cinquante ans,” by the Marquis de Castellane ;<br />
“L’Aviation,” by Commandant Paul Renard ;<br />
“Le droit prime la force,” by Henri Welschinger,<br />
of , the Institute ; “Le Réforme turque,” by<br />
Gabriel Hanotaux, of the French Academy; “Leon<br />
Tolstoi, jubilaire malgré lui,” by E. Halperine-<br />
Kaminsky; “La Marine française à l'Exposition<br />
de Londres,” by Charles de la Roncière.<br />
Paul Bourget's four-act play “L’Emigré’’ is<br />
being rehearsed at the Renaissance.<br />
At the Théâtre Sarah Bernhardt “L’Or,” by<br />
MM. Peter and Danceny, is the first play of the<br />
SéaSOI).<br />
Madame Rejane is to produce “Israel,” by M.<br />
Henry Bernstein.<br />
The Théâtre Antoine opens with “La Repudiée,”<br />
a three-act play by Mme. Dartigue, and “L’Auberge<br />
rouge,” adapted from Balzac's story.<br />
ALYS HALLARD.<br />
“Aloyse Valérien” (Perrim).<br />
“La Rue Saint Honoré’’ (Emile Paul).<br />
“Mémoires d’une vieille fille ” (Calmann Lévy).<br />
“Jeunes Filles” (Fasquelle).<br />
“Adolphe Monticelli” (Plon).<br />
“Grandeur et Décadence de Rome'' (Plon).<br />
“Paradoxes sur la Turquie” (Bouville).<br />
“Midhat Pacha” (Stock).<br />
“Abdul Hamid intime" (Stock). -<br />
“Amours charmantes et cruelles” (Mercure de France).<br />
“Le Maitre de la Terre” (Perrin).<br />
“L'Oncle Bernac" (Juven).<br />
*—º- a<br />
w-w-w<br />
SPANISH NOTES.<br />
—º-º-º-<br />
S I send these notes from the Hydropathic<br />
Establishment of Mondariz, in Galicia, on the<br />
north-west coast of Spain, they have some<br />
news relating directly to that centre. I must begin by<br />
saying that Don Enrique Peinador has had the glory<br />
of discovering in Mondariz an archaeological treasure<br />
of great value in the form of a huge flat stone<br />
covered with hemispherical signs, something similar<br />
to what a child makes before it has learnt to use<br />
the pencil.<br />
The Hydro has been honoured this week by<br />
two authors of note, for Major Martin Hume<br />
stopped two days at Mondariz on his way to<br />
Oviedo, where he went to represent the Univer-<br />
sity of London at the tercentenary fetes of<br />
the university of the capital of Asturias which<br />
were celebrated from the 21st to the 30th of<br />
<br />
<br />
## p. 13 (#25) ##############################################<br />
<br />
THE AUTHOR.<br />
13<br />
September ; and the famous Pardo Bazan, who is<br />
President of the Literature Section of the Athenaeum<br />
of Madrid, and whose works place her on the<br />
pinnacle of fame, motored to Mondariz to see<br />
her friends the Peinadors. Bright and well<br />
looked the authoress, who must now be called<br />
the Countess Emilia Pardo Bazan, as King<br />
Alfonso XIII. has just bestowed this title on her<br />
in recognition of her literary work.<br />
It is notable that the great tenor Don Francisco<br />
Viñas has just had the honour of receiving the Great<br />
Cross of Agricultural Merit from the King, and,<br />
indeed, in no triumph has the great tenor so appealed<br />
to his country as in this of agriculture. The fête<br />
which celebrated the event in the rural town of<br />
Moya was supported by the town and corporation<br />
in full force.<br />
The fact of Field-Marshal Don José Lopez<br />
Dominguez being decorated with the Order of<br />
the Golden Fleece has been acclaimed with pleasure<br />
by the friends of the former Liberal Prime<br />
Minister. This great political leader always<br />
advocated a true suffrage for Spain, and it is<br />
noteworthy that the Official Journal of the Sessions<br />
of the Senate of November 3, 1902, records the<br />
plaint made by Señor Loygorri in the name of the<br />
Liberal leader against the presentation of the inter-<br />
diction of Colonel Figuerola Ferretti's petition to<br />
high quarters that the system of the appointment of<br />
the Deputies by the Ministers should be exchanged<br />
for that of their election by the people. Had a true<br />
suffrage been thus introduced, the struggle for it<br />
would not have been seen in Catalonia, and, with a<br />
true solidarity in Spain, loyalty to the King would<br />
have prevented any talk of separation.<br />
Señor Cambo, the leader of the Catalonians<br />
(says the excellent daily paper A.B.C.), has just<br />
made an eloquent appeal in the Congress against<br />
the stagnating influence of the overweening power,<br />
which is supported officially, of the “cacique " or<br />
person of highest consideration in a place.<br />
Ring Alfonso XIII. shows his appreciation of<br />
Señor Don Domingo Sanllehey's services as Mayor<br />
of Barcelona by not consenting to his retirement<br />
from the office which the conduct and opinions of<br />
his colleagues have made so untenable for him,<br />
and by conferring on his wife, the lady who is<br />
decorating, at her own expense, the whole of the<br />
front façade of the Cathedral of the city with<br />
sculptures, the Order of Maria Luisa.<br />
It is said in Spain that Pius IX. (Juan Mastai-<br />
Ferretti), related in cousinship to Colonel<br />
Figuerola Ferretti, is to be canonized. The<br />
research necessary for the act reveals many literary<br />
treasures; and the letter in which Ferretti, when<br />
one of the Body of Noble Guards of the Pope,<br />
broke off his engagement with a beautiful lady of<br />
distinction by reason of his call to the Church is<br />
a true work of art. It will be from the thirty-<br />
volumed chronicle of Cardinal Bilio that most of<br />
the details of the life of Pius IX. will be found.<br />
The month of October will see a most interesting<br />
Congress of Science in Saragossa.<br />
There will be seven sections : Mathematical<br />
Sciences, physio-chemical sciences, natural sciences,<br />
Social Sciences, philosophical sciences, medical<br />
Sciences, and applied sciences. The King will be<br />
present at either the opening or concluding session,<br />
as he has accepted the honorary presidency; and<br />
Señor Sigismundo Moret will be the actual presi-<br />
dent. The Congress will have great popular interest,<br />
inasmuch as there will be a series of conferences<br />
in which not only new points and discoveries will<br />
be discussed, but also those which it concerns<br />
humanity in general to know.<br />
Speaking of science reminds me that English<br />
Scientists may soon expect to see a translation of<br />
the notable work by Dr. Enrique Lluria called<br />
“La Vida Super-organica ’’ (“Super-organic Ilife).”<br />
Those to whom the “Monograph of Mondariz’”<br />
may be known may be interested to hear that the<br />
bicarbonated water from the springs of this centre<br />
have just gained the gold medal and cup at the<br />
Exhibition at Carlsbad. The Temporado, the<br />
bright little paper of the Hydropathic Establish-<br />
ment, always contains excellent articles of scientific<br />
and literary merit.<br />
The Society for the Encouragement of Fine Arts<br />
in Madrid, under the presidency of Don Edoardo<br />
Dato, is a great success. Much interest is taken<br />
in the Society by the Señoras Dato, one of whom<br />
is member of the Lyceum Club, the Marchioness<br />
of Ivanrey, the Countess of Torres-Arias, the<br />
Marchioness of Squilache y Ivanrey, etc.<br />
The well-known writer Mariano de Cavia has<br />
just received a great tribute to his talent by<br />
an important street being named after him in<br />
Saragossa, whilst the house which saw his birth<br />
has been marked by a stone signifying the fact.<br />
As Galicia is awakening some interest in England<br />
by the tours arranged by the Booth Steamship<br />
Company, the book called “Across Galicia,” by<br />
the Hidalgo of Tor, forms a capital introduction<br />
to the region.<br />
RACHEL CHALLICE.<br />
à<br />
w<br />
* ~4A-<br />
w-v-<br />
COPYRIGHT<br />
CASE.<br />
MANSELL v. THE WALLEY PRINTING CO.<br />
HIS was an appeal from the judgment of<br />
Mr. Justice Swinfen Eady, who had<br />
awarded the plaintiff £4.3 damages for<br />
infringement of his rights in certain pictures,<br />
<br />
<br />
## p. 14 (#26) ##############################################<br />
<br />
14<br />
THE A DITFIOR.<br />
which belonged to him, and which had been<br />
published without authority by the defendants.<br />
The question raised in the Court of Appeal was<br />
whether, at common law and apart from any<br />
statutory protection, the owner of an unpublished<br />
picture can recover damages against a person who<br />
has, innocently and in good faith, published copies<br />
of the picture. -<br />
The plaintiff, an artist's colour printer and pub-<br />
lisher, was the owner of two pictures, suitable for<br />
advertising purposes, which had been designed for<br />
him by an artist in his employment, for which the<br />
latter had been paid the sum of £43. Another<br />
artist in the same employment had surreptitiously<br />
made copies of the pictures, and, after leaving the<br />
plaintiff’s employ, had sold them under a false<br />
name as original drawings to the defendants, who<br />
published them without any knowledge of the<br />
plaintiff's rights. . .<br />
The plaintiff registered his copyright in the<br />
pictures under the Fine Arts Copyright Act, 1862,<br />
after the publication of them by the defendants;<br />
and the latter, on receiving a complaint from the<br />
plaintiff, offered to stop publication and to deliver<br />
up the copies in hand, but they denied any liability<br />
to pay damages.<br />
The pictures having been made to order on<br />
behalf of the plaintiff without reserve and paid for<br />
by him, the copyright belonged to the plaintiff<br />
under the provisions of the Fine Arts Copyright<br />
Act ; but inasmuch as the registration was not<br />
made until after the publication by the defendants,<br />
the plaintiff was precluded by the statute from<br />
suing for damages for infringement of his copyright.<br />
The plaintiff based his claim, therefore, upon his<br />
common law rights; and it was contended that, as<br />
an author has the exclusive right of publication in<br />
respect of a literary composition, the plaintiff was<br />
entitled to recover damages for infringement of his<br />
proprietary right in an unpublished artistic work.<br />
The principle, in respect of authors, was estab-<br />
lished as far back as 1774 in the case of Donaldson<br />
v. Becket, which was decided by the House of Lords.<br />
“This weighty authority,” said the Master of<br />
the Rolls in delivering judgment, “is, in my<br />
opinion, decisive of the present appeal. It shows<br />
that an action will lie against any person who<br />
prints and publishes an unpublished book without<br />
the author's consent, and when it is established<br />
that the right is a proprietary right, it is plain that<br />
the element of motive or intention on the part of<br />
the defendant is wholly irrelevant. It cannot be<br />
contended, since the case of Prince Albert v.<br />
Strange, in 1849, that the owner of an unpub-<br />
lished picture stands in any different position from<br />
the owner of an unpublished literary work.”<br />
Lord Justice Farwell, in giving judgment to the<br />
same effect, said that it had been argued for the<br />
defendants that it was very hard upon them, because<br />
they had acted quite bond ſide in the matter ; but<br />
it Was no greater hardship on them than it was in<br />
all cases where an innocent party had to bear the<br />
loss brought about by another, whose wrongful act<br />
had caused injury to another innocent party.<br />
Lord Justice Kennedy concurred, and the appeal<br />
was dismissed with costs. -<br />
The arguments in this case appear to have pro-<br />
ceeded upon the assumption that the pictures were<br />
unpublished, until the unauthorised publication by<br />
the defendants. As to what amounts to “publica-<br />
tion "...of an artistic work, there is no precise<br />
authority. It is clear, however, that publication is<br />
not restricted to a public exhibition of the work ;<br />
and, in the absence of any decision upon the point,<br />
it may be doubted whether a picture, which has<br />
been sold and has passed out of the artist's hands,<br />
so that the copyright—“which is statutory and<br />
arises upon publication ”—has come into existence<br />
and belongs to the purchaser, who is registered as<br />
the “copyright proprietor,” can be regarded, with<br />
reference to the provisions of the Fine Arts<br />
Copyright Act, as an unpublished work.<br />
HAROLD HARDY.<br />
—e-º-e—<br />
MAGAZINE CONTENTS.<br />
—º-º-º-<br />
ALBANY.<br />
Nietzsche. By Desmond McCarthy.<br />
Mirabeau. By Desmond McCarthy.<br />
Pascal's Provincial Letters. By Lord St. Cyres.<br />
- BOOKMAN.<br />
The Bookman Gallery : Robert S. Hichens.<br />
BOOK MONTHLY.<br />
The “Sevenpenny.” By J. M.<br />
CONTEMPORARY.<br />
By Edmund Gosse.<br />
Count Lyof Tolstoi.<br />
By G. W. Williams.<br />
Chamber Drama.<br />
CORNHILL.<br />
The Book on the Table: “A Commentary.”<br />
Robert Cecil.<br />
By Lady<br />
- FORTNIGHTLY.<br />
Tolstoy and the Tolstoyans. By Francis Gribble.<br />
Mark Rutherford : An Appreciation. By Frances Low.<br />
NATIONAL.<br />
Mr. Andrew Lang and Robert Burns.<br />
Bayne.<br />
By Thomas<br />
NINETEENTEI CENTURY.<br />
An Actor's Views on Plays and Play-writing. By J. H.<br />
Barnes.<br />
The Censorship of Fiction. By Bram Stoker.<br />
<br />
<br />
## p. 15 (#27) ##############################################<br />
<br />
TISIES A UſTEIOR,<br />
15<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
—º-º-º-<br />
TERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to :<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IV. A Commission Agreement.<br />
The main points are :—<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned. -<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :-<br />
(1.) That both sides shall know what an agreement<br />
IIl€2,IDS.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
e—º-e<br />
WARNINGS TO DRAMATIC AUTHORS,<br />
e—º-e—<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts:—<br />
(4.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
(b.). Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
grOSS receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
—e—º-e—<br />
WARNINGS TO MUSICAL COMPOSERS,<br />
—º-º-º-<br />
ITTLE can be added to the warnings given for the<br />
L assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
## p. 16 (#28) ##############################################<br />
<br />
16<br />
TRIES A UTFIOR.<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
HOW TO USE THE SOCIETY.<br />
—e—º-0—<br />
1. VERY member has a right to ask for and to receive<br />
+ advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove in valuable.<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have now arranged for the reception<br />
of members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society's work<br />
can be obtained in the Prospectus.<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
This<br />
The<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
treated as a composition is treated by a coach.<br />
TO MUSICAL COMPOSERS.<br />
–0-0-0–<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
Society's safe. The musical publishers communicate direct<br />
With the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
—e—º-e—<br />
THE READING BRANCH,<br />
+<br />
EMBERS will greatly assist the Society in the<br />
- branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic Works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
—e—º-e—<br />
NOTICES.<br />
—º-º-º-<br />
TV HE Editor of The Author begs to remind members of<br />
| the Society that, although the paper is sent to them<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
58. 6d. subscription for the year.<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey's<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month. -<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish. -<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
-º-º-º-<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
—e—º-e—<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
{3}. —0-49–6–<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
## p. 17 (#29) ##############################################<br />
<br />
THE AUTFIOR.<br />
17<br />
GENERAL NOTES.<br />
—º-Q-0–<br />
THE PENSION FUND.<br />
UNDER the Correspondence we are publishing a<br />
letter dealing with the question of the Pension<br />
Fund, in which the writer states that 1,720 members<br />
of the Society give nothing. It may be true that<br />
1,720 members are not annual subscribers, but it<br />
should be stated, in all fairness to the generous<br />
supporters of the fund, that many members of the<br />
society in its early days made large donations to<br />
the fund (their names were printed with the first<br />
list of contributors), that many year by year have<br />
made donations, some large, some small, according<br />
to their means (these have been chronicled month<br />
by month in The Author). These may still be<br />
looked upon as subscribers, and their wholehearted<br />
generosity cannot be ignored because they do not<br />
happen to be annual subscribers.<br />
WRONG FUL USE OF THE SOCIETY's NAME.<br />
1. ONCE a certain publishing house placed an<br />
impossible agreement before one of the society's<br />
members. On the refusal of the member to sign<br />
the document, the publishing house informed him<br />
that the agreement had the approval of the Society<br />
of Authors. It is hardly necessary to state that<br />
this was not the case, and the secretary remonstrated.<br />
The publisher thereupon denied that he had put<br />
forward this claim, but as the secretary held his<br />
letter the only thing left for him was to apologise,<br />
and to promise not to repeat the statement. This<br />
he did. -<br />
2. Not long ago one of the members of the<br />
Society laid before the secretary an agreement pro-<br />
viding for a transfer of copyright from author to<br />
publisher. The secretary placed before the member<br />
his strong objections to the proposed transfer.<br />
The agent who was acting, in commenting on the<br />
member's objections, stated that the transfer of<br />
copyright was satisfactory and necessary. It is<br />
almost impossible to conceive of an agent taking<br />
this standpoint, but the fact as stated is true.<br />
3. A publisher placed before a member an agree-<br />
ment asking for an assignment of copyright, and<br />
stated in a covering letter that the Society of<br />
Authors had no objection to it. Again the secre-<br />
tary laid before the member the very strong position<br />
which the committee has always taken up on this<br />
subject.<br />
These three cases have prompted the following<br />
remarks :-<br />
First, the wrongful use of the Authors’ Society's<br />
name by publishers and others in order to obtain<br />
their ends; and secondly, the extreme danger, in<br />
any event, of an author transferring copyright to<br />
a publisher. The legal advisers of the society and<br />
the committee cannot emphasise too strongly the<br />
dangers that may follow such a transfer–dangers<br />
Which have been increased by judgments delivered<br />
in one or two cases recently decided in the Courts.<br />
Again, therefore, it is necessary to insist that<br />
authors should merely grant to publishers licences<br />
to publish, limiting such licences in whatever way<br />
they think well, either by country—to Great Britain<br />
—or by time—to five years——or by edition, to one<br />
or two editions—or by a combination of two or<br />
three of the above. In no case whatever should<br />
there be a transfer of copyright where the author<br />
holds a continuing interest in his work. None of<br />
the reliable publishing houses claim this now. It<br />
is better not to publish at all than to convey all<br />
future interest and control to others unless the<br />
question is one of absolute necessity or the author<br />
sets but little value on his work. If an agent<br />
recommends this transfer of copyright the sooner<br />
an author places his affairs in other hands the<br />
better.<br />
The matter is put on rather a different footing<br />
where the publisher purchases a work outright for<br />
a glven Sum.<br />
HUMPHREYS v. THOMSON.<br />
THE “Lounger” in Putnam's for September<br />
devoted some space to the recent case of Humphreys<br />
v. Thomson, in which Mr. Clement Shorter's views<br />
were strongly deprecated. “Except to change a<br />
slip of grammar or the spelling of a word, for even<br />
the best writers are often the worst spellers, I<br />
cannot see "—says the “Lounger"—“that the<br />
editor of the Red Letter had the slightest excuse<br />
for cutting a story ‘to suit the character of his<br />
paper.' I do not believe there is an editor of any<br />
standing in the United States who would do such<br />
a thing without consulting the writer of the story.<br />
When there is any radical cutting to do, the author<br />
is asked to do it, or to give the editor permission ;<br />
but to change the character of a story to suit the<br />
character of a periodical is an unpardonable im-<br />
pertinence. . . . I have known many stories and<br />
essays to be changed by editors, but never with-<br />
out the permission of the writers. I know of one<br />
notable instance where an editor Worked over a<br />
manuscript with the author, who re-wrote it four<br />
times before it appeared in print. There are very<br />
few stories which are not improved by editorial<br />
suggestion, but the sort of thing that “Rita"<br />
complains of, and that Mr. Shorter upholds, seems<br />
to me little less than a crime. . . . Who steals my<br />
purse is a thief; who garbles my manuscript is a<br />
murderer | *<br />
<br />
<br />
## p. 18 (#30) ##############################################<br />
<br />
18 THE AUTHOR.<br />
CASH PAYMENT OR PUBLISHERS’ BILLS 2<br />
THE following case may be of interest to those<br />
members of the society who have been requested by<br />
their publishers to accept settlement of their<br />
accounts by bills.<br />
One of the members refused to accept a settle-<br />
ment by this method, partly because he desired, in<br />
accordance with the terms of his agreement, to<br />
have a prompt cash settlement, partly because he<br />
did not care to accept the responsibility to his<br />
bankers for the amount, and finally, because he<br />
considered that when a publisher entered into an<br />
agreement he ought to be ready to meet his obliga-<br />
tions under it. The publisher refused, after three<br />
or four requests, to make a cash settlement, and<br />
the matter was referred to the society, and<br />
placed in the hands of its solicitors. Since the<br />
society’s solicitors have taken the matter in hand,<br />
although the publishers had previously ignored the<br />
letters of the secretary, the amount has been<br />
promptly paid. But—and this is the point of which<br />
we complain—the publisher wrote a very uncalled-<br />
for letter to the author, practically refusing to have<br />
anything more to do with him or his work. Con-<br />
sidering that the author had courteously in the first<br />
place, and then firmly by means of the society's<br />
lawyers, requested the publisher merely to act up<br />
to his agreement, the publisher's anger seems<br />
hardly justified. Perhaps, on the whole, the author<br />
is well out of his hands.<br />
CORRECTIONS.<br />
WE understand that a well-known review has<br />
acquired a habit of attaching a notice to proofs<br />
sent to its contributors, stating that if “many<br />
alterations” are made, the expense they entail will<br />
be deducted from the author's honorarium. The<br />
interpretation of the word “many ” appears to be<br />
left to the discretion of the editor ; and nothing is<br />
said touching the distinction between printer's<br />
errors and author's corrections. Apart from this,<br />
the notice raises several nice points.<br />
It may be premised that many, or excessive<br />
alterations, would only be due either to the author's<br />
unskilfulness in his art, or to the necessity of<br />
bringing the article up to date, owing to the lapse<br />
of time between its despatch and the receipt of the<br />
proof. In the first case, it is highly improbable<br />
the article would have been accepted in its original<br />
form ; and in the second, the blame would be<br />
entirely due to the fault of the editor. Supposing,<br />
then, a contributor refused to bring his article up<br />
to date after it had been duly accepted, on the<br />
ground that if he did so his honorarium would be<br />
docked, the editor would have either to do it him-<br />
self, or to stultify himself by repealing his notice,<br />
In both events the contributor would be entitled to<br />
his full price, and the only apparent object of this<br />
happy idea would come to nothing.<br />
We cannot compliment the editor of the review<br />
On his latest editorial method.<br />
UNITED STATES MAGAZINE MARKET.<br />
THE American magazine market has never been<br />
so dull as during the last year. Agents and<br />
authors on this side have found their efforts a<br />
complete waste of stamps; while the native writers,<br />
if reports are to be believed, have either gone into<br />
of business—Writing for magazines in not busi-<br />
ness—or have been living on their capital.<br />
A writer in the Wew York Times places the<br />
Source of the frost in the fact that the magazines<br />
have been recuperating after the panic and living<br />
on accumulated copy. He declares that some of<br />
them have even been selling off superfluous hoards<br />
of “refrigerated stuff.” at quite absurd reductions,<br />
and quotes the following letter, which has been<br />
circulated among editors likely to speculate in<br />
bargains — -<br />
“My dear As you probably know from your own<br />
experience, we editors accumulate a great deal of material,<br />
Which after a while we find to be unsuitable for our use.<br />
In looking over our accumulated material I find a good<br />
deal of verse. Some years ago we used much, but latterly<br />
have found it impossible to give up much space to rhyme.<br />
For this reason I am sending you proofs of some of the<br />
things we now have on hand, thinking that you may be<br />
interested, and that perhaps you might care to buy some<br />
Of it.”<br />
The only authors making money have been the<br />
producers of first-class humour and those working<br />
under iron-clad contracts. However, the end is<br />
predicted for October ; the stock of copy in hand<br />
is said to be running low ; and writers are sharpen-<br />
ing their pens again, in anticipation of a good<br />
time coming.<br />
Happily the English market is not so untrust-<br />
worthy. Prices, it is true, do not average so high<br />
as in the States, nor is payment so prompt ; but,<br />
on the other hand, the demand is steady, and<br />
there is a touch of lost Bohemia in the casual and<br />
unexpected arrival of the cheque that cheers.<br />
*-* *-<br />
FROM THE DICKENSIAN.<br />
The Dickensian, a magazine for Dickens lovers<br />
and a monthly record of the Dickens Fellowship,<br />
had in its August number an interesting account<br />
of the first and last Dickens banquet in the United<br />
States by Mr. S. Kilwin. The first banquet was<br />
held in Boston on February 1, 1842, and among<br />
<br />
<br />
## p. 19 (#31) ##############################################<br />
<br />
THE AUTHOR. - - 19.<br />
those present were Dr. Oliver Wendell Holmes,<br />
J. R. Lowell, W. W. Storey, the famous sculptor;<br />
G. Bancroft, the historian ; and R. H. Dana, the<br />
author of “Ten Years before the Mast.” “The<br />
speaking was begun by Josiah Quincy, jun., in an<br />
address of welcome to the guest, which was not<br />
only eloquent in its tribute to Dickens, but<br />
abounded in witty and appropriate quotations<br />
from “Pickwick’ and “Oliver Twist.’ The<br />
speaker closed with the toast : “Health, Hap-<br />
piness, and a Hearty Welcome to Charles<br />
T)ickens !’ and when Dickens rose to reply he<br />
was greeted by a burst of applause that was loud<br />
and long. Mr. Dickens's reply to the toast was a<br />
grateful and eloquent recognition of the hearty<br />
welcome which he had received, and concluded<br />
with his first public reference in the United States<br />
to an international copyright, which he said he<br />
believed was not far distant, ‘firstly, because it is<br />
justice ; secondly, because without it you never can<br />
have and keep a literature of your Own.’”<br />
“What a different picture the famous author<br />
presented when twenty-six years later he was the<br />
honoured guest at a dinner given in New York. He<br />
was no longer the bright, smooth-faced young man<br />
with the long wavy locks, but had become an elderly<br />
man with streaks of grey in both hair and beard.”<br />
He was an hour late in arriving, and those gathered<br />
to greet him grew nervous and apprehensive at his<br />
non-appearance. Finally he arrived, worn and<br />
racked with pain. “What he wore on his right<br />
foot no one noticed, but on his left seemed to be a<br />
stuffed carpet bag; in his left hand was a stick,<br />
on which he leaned ; his right was on (Horace)<br />
Greeley’s arm,” wrote one of the guests. This<br />
was his last public dinner in the United States.<br />
THE BOOK TRADE DINNER.<br />
As there seems to be some confusion regarding<br />
the exact nature of the Book Trade Dinner which<br />
the Publishers' Circle is organising, we are asked to<br />
state that this is entirely a trade affair, though<br />
many authors, including members of this society,<br />
have accepted invitations to be present as the<br />
guests of their publishers. Application forms for<br />
the tickets have been sent only to publishers and<br />
booksellers. Mr. W. L. Courtney will propose the<br />
toast of “Literature,” to which Sir George Trevelyan<br />
is replying. Mr. W. W. Jacobs will propose the<br />
toast of “The Trade.” The arrangements made,<br />
and the limited number of tickets issued, unfortu-<br />
nately prevent lady authors from being invited.<br />
THE PERILS OF DEFERRED ROYALTY.<br />
—º-º-º-<br />
T is not an uncommon practice among pub-<br />
lishers to insure against loss on a book by<br />
demanding from the author a certain number<br />
of copies free of royalty. From the author's point<br />
of view this method, though preferable to paying<br />
for the cost of production in hard cash, is a bad<br />
method, but if from fear of non-publication an<br />
author may be tempted to accept it, then it should<br />
be stated that it is not without its dangers.<br />
There are two main points which should be<br />
noticed in the case of a deferred royalty. The first<br />
is, that the number of books free should not be so<br />
large as to cover the whole cost of production and<br />
advertising ; the second, that the royalty to the<br />
author should be considerably higher after the<br />
number mentioned has been sold than if the royalty<br />
had been paid from the beginning.<br />
If the number is so large that it practically<br />
covers the cost of production and advertising, then<br />
there is no stimulus whatever to the publisher to<br />
push the book. Most publishers nowadays, when<br />
events move so rapidly,are content to sell sufficient<br />
copies of a book to bring them a fair percentage<br />
on the capital expended, and then sell the book as<br />
a remainder, without any thought of the author<br />
and his interests. This is the result of the modern<br />
methods of business, and occurs in the case of all<br />
books. The power to sell the last few hundred copies,<br />
Or, in exceptional cases, few thousand copies, is<br />
always the test of a good publisher. The ordinary<br />
publisher knows well that it takes more trouble to<br />
sell the last few hundred copies than the first<br />
thousand, and he thinks less of his publishing<br />
reputation than the financial return. In some<br />
cases this proves the best asset. What the author<br />
wants, therefore, is some stimulus to induce the<br />
publisher to push the book, and this is generally<br />
only obtained by a consideration of the financial<br />
aspect. So soon as the publisher has no monetary<br />
risk in the book so soon does his stimulus cease.<br />
The same remarks will refer to the increased<br />
royalty after the sale of an agreed number of<br />
copies, for the more the publisher has paid to the<br />
author in royalties in addition to the cost of pro-<br />
duction and advertising, the more necessary is it<br />
that he should push the book in order to obtain<br />
his own profit, for all authors know after the first<br />
expenses of a book have been covered, future<br />
editions do not cost very much. In an issue of<br />
the Academy, published during the vacation, it has<br />
been clearly pointed out that the great advantage.<br />
to an author in having a sum in advance of royalties<br />
lies in the stimulus it gives to the publisher, and<br />
the same remark holds good in regard to the<br />
example quoted above.<br />
<br />
<br />
## p. 20 (#32) ##############################################<br />
<br />
20<br />
TRIES A UTISIOR.<br />
These remarks have been prompted by two cases<br />
which have come before our notice. In One case<br />
the author agreed to forego his royalties on 1,250<br />
copies, taking after that number a ridiculously<br />
small royalty. The publisher produced 1,000 copies,<br />
sold about 850 copies, and then broke up the type.<br />
The other case was somewhat similar. Five hundred<br />
copies of the book were to be free of royalty. The<br />
book was a small one, and the publisher printed<br />
only 500 copies. In both cases the number of<br />
books to be sold free of royalty was sufficient to<br />
cover the expenditure, as far as can possibly be<br />
judged by ordinary standards, although the detailed<br />
publisher's accounts were not to hand. There was<br />
no reason, therefore, why the publisher should sell<br />
in the one case more than 1,000 copies and in the<br />
other more than 500, if he desired merely to satisfy<br />
his business instincts, and from the result that<br />
apparently was his desire. Such contracts are bad<br />
in principle, and should always be avoided. If the<br />
publisher could find a sufficient number of authors<br />
who stood outside the society, or ignored its advice,<br />
he could run his business without any payment to<br />
the author whose books he produced. If in either<br />
of these cases it had happened that the number<br />
free of royalty had been exceeded, then 33% per<br />
cent. at least would have been a legitimate royalty<br />
for the author to receive, at any rate until matters<br />
had been equalised by continued sales.<br />
One further point of no little importance must<br />
be taken into consideration: if the publisher on<br />
the one hand claims a large number free of royalty,<br />
and in his generosity grants under the agreement<br />
to the author a very high royalty, and if the number<br />
so claimed will quite clear the cost of production,<br />
advertising, as well as put a certain profit into the<br />
publisher's pocket, then the increased royalty will<br />
merely act as a deterrent on the publisher's pushing<br />
the book. The result, therefore, may be summed<br />
up as follows:—<br />
1. The number free of royalty must not exceed<br />
the cost of production and advertisement.<br />
2. The author should obtain a proportionately<br />
higher royalty after the sale of the free copies.<br />
3. If he does not obtain the first the second is<br />
useless.<br />
—e—º-e—<br />
BRITISH WRITERS AND JOURNALISTS IN<br />
NORTH BOHEMIA.<br />
—e—6-e-<br />
N the year 1905 I gave an account in The<br />
I Author of an expedition made by EEglish<br />
writers to Bohemia. The tour then made was<br />
to the interesting and remarkable southern towns.<br />
This summer I received an invitation for a party<br />
to visit Prague during the year of its Jubilee Exhi-<br />
bition, and to explore some of the northern towns<br />
and rock fastnesses.<br />
So, at the end of June, twenty-one members of<br />
the British International Association of Journalists<br />
landed at the Hook of Holland en route for<br />
Dresden and Prague.<br />
Most of the members were specialists, either<br />
writers upon engineering, education, technical<br />
developments, chemistry, industrial and municipal<br />
matters, or historical and topographical writers.<br />
Each traveller had his especial aim, but the general<br />
interest and beauty of the scenery very frequently<br />
made the specialist forget his pet subject in the<br />
romance in which he was engulfed.<br />
Before arriving in Prague the travellers were<br />
met at the Bohemian frontier by M. Franz<br />
Borovsky, the learned director of the Art and<br />
Trades Museum in Prague, and some other friends,<br />
and at Prague itself a warm welcome was received,<br />
not only from the officials of the city, but from the<br />
crowd at the station.<br />
But the northern towns were to be visited before<br />
Prague really received us, so on the following<br />
morning at 6 a.m. (there is no sloth in Bohemia)<br />
we were en route for Turnov or Turnau. I give<br />
the Bohemian and German spelling, as to-day the<br />
Bohemian word is largely used, but on our maps<br />
generally the German word is given. I had<br />
especially asked that this town should be included<br />
in the itinerary, not only for the strange wild<br />
Scenery around it, but also because it possesses a<br />
most remarkable technical school, in which the<br />
jewellery and precious stones industry is taught.<br />
I was anxious our specialists should see this work;<br />
but, alas ! on arriving in the town, we found the<br />
School had just been burnt down ; but we were<br />
enabled to see the apprentices, who attended the<br />
school, in various workshops, and thus to gain<br />
an insight into the real outcome of the work.<br />
Later, in Prague, at the Exhibition, we saw a very<br />
remarkable artistic exhibit of the school's work.<br />
This disaster of the fire gave us more time for<br />
exploring the romantic country around Turnov.<br />
The whole district is called the “Bohemian Para-<br />
dise,” and it is the most delightful paradise I..have<br />
ever visited, though more than once I have found<br />
myself in paradise, in various parts of the world.<br />
Our first glimpse of the strange weird beauty of<br />
the neighbourhood was when we had climbed the<br />
great Hill of Kopanina, and had the whole district<br />
with its natural rock fortresses, and its robber<br />
knight castles, and all the forest, and meadow, and<br />
corn-land stretched beneath us. We soon had a<br />
closer view of one of these fortresses, scooped out,<br />
and into a castle, with chapel and rooms and watch<br />
towers; a date on it was 1447, just the famous<br />
period of Bohemia's history. It was a wonderful<br />
<br />
<br />
## p. 21 (#33) ##############################################<br />
<br />
TFIE A Crºſ"FIOR.<br />
21<br />
walk amidst these great rocks, but I kept silence<br />
amidst the exclamations, for I knew greater and<br />
stranger wonders were to come.<br />
At the little village below the old castle of<br />
Vranov the schoolmaster came to welcome us; it was<br />
noticeable everywhere that if the town or village had<br />
no maire it was the schoolmaster who greeted us.<br />
Often also his children were drawn up with flags<br />
to welcome us, and to sing their national air,<br />
“Where is my home.” The priest rarely took a<br />
foremost position, although nearly all the inhabi-<br />
tants are of the Roman Church. Dinners, lunches,<br />
speeches, and impromptu welcomes met us every-<br />
where. Very often these greetings were in English,<br />
even from mayors of towns of a thousand or so<br />
inhabitants.<br />
The next two days were spent in this romantic<br />
paradise, and at Rovensko the young maidens,<br />
dressed in white, presented us with bouquets and<br />
examples of the jewel stones found here, and then to<br />
prove further that they were the “angels” of this<br />
“paradise” a choir sang their folk songs, and an<br />
excellent orchestra played Dvorak and Smetana.<br />
On the stage of the hall in which the lunch was<br />
served by those same young girls, were busts of<br />
their national heroes, for the hall is the local<br />
theatre. This gives a hint of their village and<br />
small town life ; here the problem of the dullness<br />
of village life has been solved by self-help and<br />
culture.<br />
We were under the shadow of the strange mighty<br />
castle of Trosky, and up to its great ruin we<br />
climbed—a double castle on two peaks linked by a<br />
massive wall. As we descended from this height<br />
along a romantic road our way was blocked by a<br />
group of tiny children singing their songs and<br />
bringing us roses. The schoolmaster in this remote<br />
village was a most cultured man.<br />
We drove on to the deep ravine, above which,<br />
some 600 feet, gleams the castle of Gros Skal.<br />
Up to this we climbed through a cleft in the<br />
vast rock piers called the Mouse Hole, with space<br />
for but one person at a time, and at the summit<br />
lunch No. 2 awaited us. After this we went for a<br />
delightful walk through the forest amidst the<br />
“Rock Town" to Waldstein, the seat of the great<br />
Wallenstein family.<br />
Of course I knew all this district, as I had<br />
described it in my books on Bohemia, but it was<br />
pleasant to go over the ground with fellow-country-<br />
men who could understand, not only the natural<br />
wonders, but the intellectual development of the<br />
inhabitants, and their intense cultivation of the soil.<br />
The former was most forcibly illustrated on the<br />
following day at Jicin, the little town that suffered<br />
terribly in the war of '66, where, in the Wallenstein<br />
Palace, the Triple Alliance was signed in 1813.<br />
Our reception in this little town of 10,000<br />
inhabitants was marked by intellectual and artistic<br />
phases, towards which some great cities might<br />
strive. In the town hall the speeches of the<br />
mayor and Corporation were in three languages—<br />
English, French, and Czech. Many of the towns-<br />
folk described to us in English the historic build-<br />
ings of their home, and acted as guides in the wild<br />
romantic labyrinth of the Prachov “Rock Town.”<br />
that lies above the '66 battlefield of Jicin. We<br />
returned to the town in the evening, and after a<br />
choicely served dinner, we had a concert that was<br />
indeed a delight. An orchestra, a men's choir, and<br />
a women's choir gave examples of Slav music by<br />
Dvorak, Bendl, Smetana. The rendering by<br />
Orchestra and singers was full of fire and tender-<br />
ness, tone and expression. We learnt that all the<br />
performers were engaged in business or professions<br />
in the town. Then came a greater surprise, a lady<br />
soloist, a Miss Jarmila Wolfova, with a brilliant<br />
voice ; she, too, was a citizeness of this little city.<br />
The whole performance was equal to that of a<br />
musical festival production, save that the choir<br />
was less in numbers. .<br />
The Bohemians believe in making everything<br />
themselves, and so the next morning we found<br />
luxurious motor cars, with Mr. Clement, their<br />
maker, as leader, which ran us to other districts of<br />
this paradise. Indeed, a month's stay would not<br />
exhaust its wonders. Running swiftly, touching<br />
fifty miles an hour sometimes, we soon reached<br />
near Kost, but we walked to it through a “vale of<br />
tears,” but a lovely one, and had a superb first view<br />
of Kost and its castle, the four corners of which<br />
can be seen at once. Here Field-Marshal Won<br />
Waldkampf and his son met us, and showed us the<br />
wonders of the place and the beauty around it,<br />
and in the evening we ran into Mlada-Boleslav or<br />
Jungbunzlau. Here I stayed with “Emil Treval,”<br />
the dramatic author, and again we had a delightful,<br />
concert. When late at night we had retired to<br />
rest, soft music from the choir beneath our windows,<br />
told us of the artistic courtesy of a serenade.<br />
But at 8 a.m. again the automobiles awaited us<br />
for a run to Bela, or Weisswasser, and after a really<br />
extraordinary reception in the tiny walled town,<br />
we climbed old Bösig, 900 feet up, and spent<br />
some hours in the grand old ruins and in the<br />
chapel. The view from the great tower is perfect,<br />
of forest, lakes, village and mountains ; but we had<br />
to descend, and after a halt at the Countess of<br />
Wallenstein's castle, that was full of art treasures,<br />
we took the train into Prague.<br />
Now the official reception was given us in the<br />
glorious old town hall by Dr. Gros, the learned<br />
mayor, and we had our old friends, Dr. Maly, who<br />
had so helped us in “paradise,” and Dr. Sum as<br />
guides, with M. Borovsky as chief commander.<br />
Well it was that he was autocratic, for our time was<br />
<br />
<br />
## p. 22 (#34) ##############################################<br />
<br />
22<br />
THE AUTHOR,<br />
packed with engagements. The Exhibition, which<br />
to our specialists had great charms, was excellently<br />
arranged, and work was lightened by music. One<br />
concert by the Philharmonic Orchestra, led by the<br />
famous Nikisch, was a most perfect concord of<br />
sweet sounds. The Chamber of Commerce and<br />
other committees took endless pains to help all to<br />
their especial work, and there was much to see and<br />
record. Personally, I found the technical Schools<br />
a wonderful lesson to us in development, of inge-<br />
nuity, and invention, but here each man and<br />
woman wrote of his or her own special interests.<br />
As international journalists we know naught of<br />
dividing politics or religions, and therefore it was<br />
a great satisfaction to receive an intimation that<br />
the Viceroy of Bohemia, Count Coudenove, would<br />
receive some of our members, and we found him<br />
most cordial, and on my explaining the special<br />
interests of some of them, he invited our engineer-<br />
ing experts, Mr. D. A. Louis, of the Times and the<br />
Engineer, Mr. Paul Hasluck, and others to accom-<br />
pany him on an expedition on the Moldau and<br />
Elbe, to see the great irrigation and flood organis-<br />
ing works being carried out there. In a genial<br />
fashion he lunched and dined them, and again<br />
received us in the most friendly fashion upon our<br />
calling to bid farewell on leaving Prague.<br />
Another instance of our visit uniting all classes<br />
and all races, occurred in our reception at Podie-<br />
brad, the historic birthplace of King George. Here<br />
I knew my old friends, Dr. Boucek and Dr. Jelen,<br />
would secure us a warm welcome, and again we<br />
were surprised at the intensity of the reception by<br />
mayor and officials and the whole town. But at<br />
the castle a further surprise awaited us, for we<br />
found Prince Hohenlohe, the son of the famous<br />
Chancellor, with the Princess, awaiting us in the<br />
courtyard. The Prince had travelled all night<br />
from the Kiel Regatta, only arriving at 3 a.m.,<br />
and, with their Serene Highnesses as guides, we<br />
passed through the halls of the castle and saw its<br />
treasures, notably the portrait of the Chancellor,<br />
whose memoirs aroused such excitement; we looked<br />
out on the old execution terrace, now a parterre of<br />
lovely flowers overlooking the Elbe, and then<br />
passed out into the gardens, where, under the<br />
shady trees, a delightful dejeuner was awaiting us.<br />
I had the pleasure of thanking our hosts, and<br />
of calling my British friends' attention to the fact<br />
that we were in the birthplace of King George,<br />
from whom nearly all the dynasties of Europe had<br />
descended, including our own King and Queen.<br />
After a cordial reply, Prince Hohenlohe drove us<br />
to the new baths, which are most tastefully<br />
equipped. Then the great glass works and other<br />
industries claimed us. Afterwards came a genial<br />
dinner, with hearty health-drinking, and, of course,<br />
an excellent concert. Finally the whole population<br />
hundred towers.”<br />
escorted us to the station, loading us with bouquets<br />
and flowers and mementoes of Podiebrad.<br />
In Prague, after this sortie, the two most<br />
characteristic episodes were on the Sophie Island<br />
and on the Petrin, or Strahov Hill, looking down<br />
On the glorious city.<br />
The Praguers are impetuous in their adoration of<br />
Prague, and on the Sunday they led us out to the<br />
remarkable Ethnographical Museum, that was a<br />
delight and a lesson to us English, and still more<br />
so to the Irish amongst us ; and from thence up<br />
through the park and gardens to the Nebozitek.<br />
restaurant, where, under the thick shade of the<br />
trees, a lunch was laid. From this position we<br />
looked out over the mighty city and the great<br />
Cathedral, and all the palaces, and the Moldau, or<br />
Ultava, flowing beneath the historic Carls Bridge.<br />
It was an inspiring scene, that brought ready<br />
words to my lips, when I had to reply to the toast<br />
given by the Lord Mayor, of “Golden Prague of a<br />
If this scene was poetical and<br />
dramatic, so also was that upon the Sophie Island,<br />
when Prague outdid itself in artistic effect.<br />
But space says halt. The expedition of British<br />
journalists left Prague again to visit Carlstein, the<br />
mighty jewelled castle, and Pilsen, where a repre-<br />
sentation of “ King Lear” in Czech proved M.<br />
Bordil, who took the part of Lear, to be a great<br />
actor ; and thence we journeyed home via Eger,<br />
save those who availed themselves of the Danube<br />
Steamship Company’s offer to sail down the Danube<br />
to Buda Pest, that historic stream that far excels<br />
Rhine or Moselle in grandeur and beauty.<br />
JAMES BAKER.<br />
-º-<br />
w -–wº-<br />
*<br />
w<br />
INSPECTION LIBRARIES AND THE SALE<br />
OF BOOKS.<br />
—e-º-º-<br />
F over-crowding is the natural result of the<br />
high state of civilisation we have reached<br />
and a cause of complaint common to all<br />
professions, there is probably none in which it<br />
occurs in a more acute form than in that of letters.<br />
The beginner is the chief, but perhaps not the<br />
only, sufferer from this state of things. His<br />
success or failure depends on circumstances which<br />
are to a great extent beyond his control. He may<br />
have a lively imagination and considerable dramatic<br />
ability and yet be unable to work within the<br />
narrow limits which many theatrical managers<br />
prescribe ; he may be a man of high poetical<br />
instinct and yet be told again and again when he<br />
offers his works that poetry is a drug on the<br />
market ; or he may even obtain a certain measure<br />
of success in the shape of favourable reviews and<br />
<br />
<br />
## p. 23 (#35) ##############################################<br />
<br />
TISIE AUTISIOR.<br />
23<br />
yet fail to secure an adequate pecuniary reward for<br />
his efforts. Like the soldier in Hans Andersen's<br />
fairy tale, the author has to deal with three kinds<br />
of guardians before he can unlock the magic coffers :<br />
the publishers, the critics, and the booksellers.<br />
Criticism in general is fair, it is even generous,<br />
perhaps too generous, and on that account it is<br />
frequently misleading. As for the booksellers,<br />
they may have eyes as big as towers and yet be<br />
blind to the qualities of many excellent works. It<br />
is not the intrinsic or literary, but the commercial,<br />
value they will consider. The taste of the majority<br />
is their criterion, a changing factor it may be, yet<br />
always the dominant one. The booksellers cater<br />
very little for minorities. There may be many<br />
works which would respond to the needs of a<br />
limited, but not unimportant though scattered,<br />
portion of the public, and the sale of which would,<br />
in course of time, fully justify their publica-<br />
tion, provided that they could be made accessible<br />
to these readers during a sufficiently long period.<br />
But there is no room for them on booksellers'<br />
shelves. If they happen to have found a place<br />
there they are soon ousted by more recent ones,<br />
which though perhaps far inferior to them, com-<br />
mand for the moment the attention of the public.<br />
The bookseller is not a free agent in this respect ;<br />
he cannot afford to keep books which are not, so<br />
to speak, in the eye of the public, and he naturally<br />
selects for the many rather than for the few. It is<br />
very much the same with the buyers for subscription<br />
libraries, and in both cases the over-crowded state<br />
of the market tends to make such a selection<br />
imperfect. It is from this selection that the public<br />
chooses. It does not make its own choice. The<br />
volumes which are offered to it may be stamped<br />
with the approbation of the publishers, the critics,<br />
and the booksellers, but in a great many instances<br />
it knows little or nothing of their contents. Is it<br />
surprising that it refuses to buy books with the<br />
titles of which alone it is acquainted 2 Publishers,<br />
on the other hand, cannot produce Works that<br />
booksellers would refuse to purchase, and that the<br />
public would neglect from lack of knowledge of<br />
their merits. But the taste of the majority of the<br />
reading public does not perhaps reach the highest<br />
standard of literary judgment, and the conditions<br />
under which books are offered for sale favour in<br />
some measure the temporary survival of the less<br />
fit. In literature we find many exceptions to the<br />
Darwinian law, and the ghosts of mammoths and<br />
ichthyausauri, if they have a local habitation, may<br />
rejoice together, for their fate is being avenged.<br />
The natural remedy for the over-crowded state<br />
of the book market would appear to lie in the<br />
establishment of inspection libraries in combina-<br />
tion with a bookselling department. The purposes<br />
of such libraries may be briefly stated as follows:–<br />
1. (a) To enable the reading public to inspect<br />
briefly all works which might be sent to the library<br />
for that purpose, and which would be carefully<br />
classified and arranged. (b) To collect from authors<br />
enjoying the privilege of exposing their works sums<br />
varying from 1s. 6d. to 3s. per book per annum.<br />
2. To prepare a comprehensive classified cata-<br />
logue containing short descriptive notes of about<br />
six to ten lines written by the authors for use in<br />
the inspection library or any of its branches.<br />
3. (a) To enable the authors to insert somewhat<br />
similar notes in the books on the shelves, together<br />
with one or two pages of extracts from press cut-<br />
tings to be selected by them. (b) To post similar<br />
notes printed on postcards, at the expense of the<br />
authors, to anyone inquiring as to the nature of<br />
any given work upon receipt of a $d. stamp.<br />
4. To advertise the library in the daily papers<br />
or otherwise from time to time, and to advertise<br />
lists of the works contained in the library collec-<br />
tively at the option and expense of the authors, so<br />
as to reduce the cost of advertising to a minimum.<br />
It is probable that ninety-nine out of every<br />
hundred readers of books would get a much better<br />
idea of the value and suitability of any work if<br />
they could have it in their hands for ten or even<br />
five minutes than they would from any number<br />
of critical reviews, and in any case, the knowledge<br />
so obtained would differ considerably from that<br />
which is to be gleaned from the present sources<br />
of information. Let us suppose then that a certain<br />
number of authors were to subscribe sufficient<br />
capital to rent a fair-sized house or building in<br />
the neighbourhood of the British Museum, with<br />
a frontage, if possible, on Oxford Street, and whilst<br />
retaining the front part of it as a shop, were to<br />
have the rest, or a large part of it, provided with<br />
shelves for the reception of all the works of which<br />
free copies might be obtained. If this plan were<br />
carried out and were to meet, either in its present<br />
or in any modified form, with a ready response<br />
from authors and publishers, who would be alike<br />
interested in the opening of a new channel for the<br />
disposal of their stocks, it seems reasonable to<br />
suppose that this collection of works would in a<br />
short time become a most important one. That<br />
being so, one may believe that any member of the<br />
public in search of suitable literature for his pro-<br />
fessional or personal requirements would, if in<br />
London, hasten to the inspection library, where he<br />
would probably find most of the more recent works<br />
of his special branch carefully arranged. He<br />
would then know that in making his choice he had<br />
before him the best collection of books available<br />
for his purpose ; for although he would find the<br />
same works in the British Museum, he could not<br />
procure them without a previous knowledge of<br />
their titles, etc. It seems probable that many,<br />
<br />
<br />
## p. 24 (#36) ##############################################<br />
<br />
24<br />
TRIES A UIT)SIOR,<br />
perhaps the majority, of those inspecting the<br />
works in the library would place their orders in<br />
the bookselling department connected with it, and<br />
that, without reckoning the income to be derived<br />
from the subscriptions of authors on the books<br />
they would expose a large part of the rent of the<br />
premises would thus be earned. Whether any<br />
portion of the building should be reserved for<br />
refreshments, or as a reading room, would require<br />
consideration. It would, however, be essential<br />
that members of the public should feel themselves<br />
perfectly free to leave the library without buying,<br />
for this freedom, coupled with an enlarged supply,<br />
constitute one of the chief causes of the success of<br />
large shops. Like them, the inspection library<br />
could offer the public the most varied collection<br />
and the best arrangement of its stock. In the<br />
long run these facilities would insure its prosperity,<br />
and if the profits obtained exceeded a reasonable<br />
return on the capital invested, a certain proportion<br />
of them might be set aside in the first place to<br />
establish branches, and subsequently to allow a<br />
diminution of the fees charged to authors for<br />
exposing their works. The establishment of<br />
inspection libraries may therefore be said to be in<br />
the interest of authors, because it would afford all<br />
an equal opportunity of exposing their works and<br />
of advertising them collectively at the cheapest<br />
rates, of publishers because it would enable them<br />
to get rid of their remainders, and of the public<br />
because it would furnish it with unequalled<br />
facilities for choosing and buying. But authors<br />
are more interested in this matter than publishers<br />
or the public, and whether they endeavour to bring<br />
themselves more closely into touch with the latter,<br />
by this or any other means, if such can be found,<br />
it is common action on their part that is required.<br />
D. L.<br />
LITERATURE AND CRIME.<br />
—e-º-º-<br />
(From the Nation, U.S.A., July, 1908.)<br />
HE recent publication of M. Seghele's book,<br />
“Littérature et Criminalité,” has reopened<br />
in France the discussion of the relation of<br />
crime to literature. The French have often singed<br />
their wings in this flame. Every one feels that the<br />
printed word may be a source of corruption ; is<br />
certain that the public should assume Some<br />
responsibility in checking the evil; but no one<br />
has devised any practicable means of attack.<br />
Official purity, it is generally agreed, is too often<br />
official prudery which condemns the just and the<br />
unjust alike. Fifty years ago Flaubert underwent<br />
arraignment on the score of “Madame Bovary.”<br />
His advocate, M. Senard, maintained that the<br />
who fell dead beside her.<br />
defendant was a man of severe and august<br />
character, actuated by the highest artistic pur-<br />
poses. Only the other day, when M. Georges<br />
Lecomte was protesting before the Société des Gens<br />
de Lettres against the indecency of contemporary<br />
literature, he declared that, had he been present at<br />
that celebrated trial, he would have done homage<br />
not only to the conscience of the artist, but also to<br />
the nobility of the book.<br />
The type of literature which is most cried out<br />
upon in this country is perhaps the least dangerous<br />
—that dealing frankly with arson, highway robbery,<br />
adultery, and murder. It may suggest the means,<br />
but—excepting boy brigands, inspired by the penny<br />
dreadful—seldom the motive of wrongdoing. It<br />
takes root only in minds already fertile in evil<br />
impulses. The letter accompanying the fatal gift<br />
of poisoned ale in Philadelphia ironically requested<br />
that the brew be recommended to the victim's<br />
family. There was in this something suggestive<br />
of the cold-blooded facetiousness of the Borgias.<br />
Life puzzles the observer with a specious mimicry<br />
of literature. In New Rochelle an Italian trapped<br />
his unfaithful wife. Drawing his stiletto, he ran<br />
her through the neck and then stabbed the lover,<br />
As if more completely<br />
to mimic a scene in the theatre, innocent children<br />
were playing in the adjoining room. Yet one<br />
cannot think that this fruit-peddler's mind had<br />
been debauched by D'Annunzio's “Francesca da<br />
Rimini.” A more plausible case is that of the<br />
young man who drank poison and died to waltz<br />
music in a public theatre, after the fashion of the<br />
heroes of Ford and Massinger. This instinct for<br />
the dramatic among criminals appears rather to be<br />
fed than stimulated by literature. M. Claretie<br />
cites in the Temps the celebrated case of Charles<br />
Iſemaire, who killed his prospective step-mother on<br />
the eve of her marriage. Showing his hands red<br />
with blood, he exclaimed in Shakespearean phrase,<br />
“Fine gloves for my father's wedding . "<br />
In so far as literature presents crime as crime, it<br />
is comparatively innocuous; it becomes dangerous<br />
when it presents crime as duty, as self-realisation,<br />
as experience, or as asthetic gratification. In a<br />
letter published in the Public of June 26, the<br />
writer reviles the Chicago authorities for their<br />
treatment of Emma Goldman. In her lectures at<br />
Portland, Ore., he says. that excellent woman<br />
spoke on the revolutionary spirit of modern<br />
drama, “ dealing in a very sympathetic and in-<br />
tellectual manner with Ibsen, Hauptmann, Shaw,<br />
and Sudermann. You might as well send police<br />
to the meetings of the trustees of the Chicago<br />
University.” The Chicago authorities, however,<br />
recognised Emma Goldman as a perilous link<br />
between these dramatists and the bomb-throwers.<br />
They have become distrustful of the so-called<br />
<br />
<br />
## p. 25 (#37) ##############################################<br />
<br />
THE AUTISIOR.<br />
25<br />
“peaccable anarchy.” They have learned that a<br />
certain kind of literature begets dynamite, and they<br />
are not ashamed of panic when a fanatic, educated<br />
to a sense of his duty, rushes out bomb in hand,<br />
burning for martyrdom.<br />
The literature which exalts self-realisation as an<br />
ultimate end is older than the German storm and<br />
stress period, and as young as the latest novel of<br />
the Jack London school. It appeals powerfully to<br />
the masculine spirit endowed with a rich animal<br />
nature. It furnishes a religion to the religiously<br />
emancipated, and a sanction to the strong man<br />
with vividly surviving instincts of the barbarian.<br />
Under the guidance of the German madman whom<br />
so many innocents have taken for a god, it would<br />
bring back Nature red in tooth and claw. It<br />
teaches—to use Tolstoy's words in summarising<br />
a philosophical work published a few years ago in<br />
Chicago — that “all laws, commandments, or<br />
doctrines as to not doing to another what you<br />
do not wish done to you, have no inherent<br />
authority whatever, but receive authority from<br />
the club, the gallows, and the sword. A man<br />
truly free is under no obligation to obey any<br />
injunction, human or divine.” It is the creed<br />
of the lions of the Renaissance, the creed of<br />
Napoleon, the creed of red anarchy, and the<br />
creed of many of the great business men of<br />
America.<br />
A somewhat different Criminal motive is that<br />
furnished by the type of literature which presents<br />
experience as an end in itself. The man whose<br />
aim is self-realisation attempts to crush all else<br />
into his own personality ; the man whose aim is<br />
experience attempts to crush his personality into<br />
all else. Not quality is desired, but variety, inten-<br />
sity, and strangeness. The hero of experience<br />
leads a fundamentally histrionic life ; his success<br />
he measures by the number of rôles he has played.<br />
He lays his past aside like a garment. He gives<br />
no pledges to the future. He lives in the present<br />
noment, like the epicurean ; but, unlike Epicurus,<br />
he delights as much in the sty as in the wreathed<br />
roses. Sin and terror allure his imagination. He<br />
is a vivisectionist, physical and spiritual, for the<br />
quaint excitement of anguish. A good illustration<br />
of this instinct in its most morbid form was fur-<br />
nished by the instructor at Cambridge, Mass., who<br />
two years ago gave his wife arsenic, hoping, since<br />
he loved her, to see her soul depart from the body<br />
in the moment of death. He had been preparing<br />
a thesis on insanity in German literature.<br />
The literature which makes asthetic gratification<br />
the end of existence defeats its own end. Pursued<br />
as an ultimate goal, it leads sooner or later into<br />
quagmires. The aesthete wanders from home in<br />
the quest of new and strange beauties. His truant<br />
feet stray from the classic to the romantic, and<br />
thence to the grotesque ; from the moral to the<br />
unconventional, and thence to the illicit ; from the<br />
sound to the unsound, and thence to the insane ;<br />
from the chaste to the unchaste, and thence to the<br />
indecent. Yet the price of illicit aesthetic pleasure<br />
is the loss of all asthetic pleasure. The unhappy<br />
man, as M. Lecomte says, who little by little allows<br />
himself to be soiled with all that filth, becomes<br />
finally insensible to a vigorous thought, an<br />
expressive portrait, or the proud wing of poetry.<br />
Dulled and stupefied by the contemplation of<br />
obscene images, he is incapable of feeling true<br />
beauty, of understanding, for example, the look and<br />
smile of La Gioconda or the harmonious and living<br />
majesty of the Victory of Samothrace.<br />
4—Q- e.<br />
CONTEMPORARY CRITICISMS.—VIII.<br />
—º-º-º-<br />
REMARKS ON SHELLEY's ADONAIS.<br />
. . . The Della Crusca school has visited us<br />
again, but with some slight change of localities.<br />
Its verses now transpire from the retreats of<br />
Cockney dalliance in the London suburbs, some-<br />
times they visit us by fragments from Venice, and<br />
Sometimes invade us by wainloads from Pisa. In<br />
point of subject and treatment there is but slight<br />
difference ; both schools are smitten with “Nature,<br />
and Nature's love,” run riot in the infrigues of<br />
animonies, daisies, and buttercups, and rave to the<br />
“rivulet proud, and the deep blushing stars.” . . .<br />
We must do the defunct Della Crusca the justice<br />
to say that they kept their private irregularities to<br />
themselves, and sought for no reprobate popu-<br />
larity. . . . They talked nonsense without measure,<br />
were simple down to the lowest degree of silliness,<br />
and “babbled of green fields" enough to make<br />
men sicken of summer, but they were not daring<br />
enough to boast of impurity; there was no pestilent<br />
hatred of everything generous, true, and honour-<br />
able; no desperate licentiousness in their romance;<br />
no daring and friendlike insult to feeling, moralities,<br />
and Christian principle. They were foolish and<br />
profligate, but did not deliver themselves with the<br />
steady devotedness of an insensate and black<br />
ambition to the ruin of society.<br />
We have now to speak of Mr. P. B. Shelley and<br />
poem. Here we must again revert to the Della<br />
Crusca. One of the characteristics of those childish<br />
persons was the restless interest which they sum-<br />
moned the public to take in everything belonging<br />
to their own triviality. If Mrs. Robinson's dog had<br />
a bad night's repose it was duly announced to the<br />
world. . . . All within their enchanted ring was<br />
perfection . . . all beyond was delivered over to<br />
<br />
<br />
## p. 26 (#38) ##############################################<br />
<br />
26<br />
THE AUTHOR.<br />
the empire of Dulness and Demogorgon. The<br />
New School are here the humble imitators of those<br />
original arbiters of human fame.<br />
Mr. P. B. Shelley having been the person<br />
appointed by the Pisan Triumvirate to canonise<br />
the name of poor Keats, “nipt in the bud,” as he<br />
loudly tells us, has produced an Elegy, in which he<br />
weeps “after the manner of Moschus for Bion.”<br />
Locke says that the most dissolute liar cannot lie<br />
more than once in every three sentences. Folly is<br />
more engrossing; for we could prove, from the<br />
present Elegy, that it is possible to write two sen-<br />
tences of pure nonsense out of every three. A<br />
more faithful calculation would bring us to ninety-<br />
nine out of every hundred, or, as the present Con-<br />
sists of only fifty-five stanzas, leaving about five<br />
readable lines in the entire. . . . Mr. Shelley and<br />
his tribe have been panegyrised in their turn for<br />
power of language, and the man of “Tabletalk”<br />
swears by all the gods he owns that he has a great<br />
command of words, to which the most eloquent<br />
effusions of the Five Courts are occasionally inferior.<br />
But any man may have the command of every word<br />
in the vocabulary if he will fling them like pebbles<br />
from a sack; and even in the most fortuitous<br />
flinging they will sometimes fall in pleasing though<br />
useless forms. This art of the modern Della Crusca<br />
is thus to eject every epithet that he can con-<br />
glomerate in his piracy through the lexicon, and<br />
throw them out to settle as they will. He follows<br />
his own rhymes, and shapes his subject to the close<br />
of the measure. He is a glutton of all manner of<br />
colours, and flowers, and smells, and tastes, and<br />
crowds his verse with scarlet, and blue, and yellow,<br />
and green ; extracts tears from everything, and<br />
makes moss and mud hold regular conversations<br />
with him. “A goosepye talks,” it does more, it<br />
thinks, and has its peculiar sensibilities . . . it smiles<br />
and weeps, raves to the stars, and is a listener to<br />
the western wind, as fond as the author himself.<br />
On these principles a hundred or a hundred<br />
thousand verses might be made equal to the best<br />
in Adonais without taking the pen off the paper.<br />
Percy Bysshe has figured as a sentimentalist before,<br />
and we can quote largely without putting him to<br />
the blush by praise. What follows illustrates his<br />
power over the language of passion. In the Cenci<br />
Beatrice is condemned to die for parricide . . . a<br />
situation that, in a true poet, might awaken a<br />
noble succession of distressful thought. The<br />
mingling of remorse, natural affection, woman's<br />
horror of murder, and alternate melancholy and<br />
fear at the prospect of the grave, in Percy Bysshe<br />
worked up only this frigid rant :—<br />
“How comes this hair undone 7<br />
Its wandering strings must be what blinds me so,<br />
And yet I tied it fast ! / i -<br />
x - >k × $ x - 2 . ; .<br />
The sunshine on the floor is black / The air<br />
Is changed to vapours, such as the dead breathe<br />
In charnel pits Poh I am choaked There creeps<br />
A clinging black, contaminating mist,<br />
About me—'tis substantial heavy, thick.<br />
I cannot pluck it from me, for it glues<br />
My fingers and my limbs to one another,<br />
And eats into my Sinews, and dissolves<br />
My flesh to a pollution,” etc., etc.<br />
So much for the history of “Glue,” and so much<br />
easier it is to rake together the vulgar vocabulary<br />
of rottenness and reptilism than to paint the work-<br />
ings of the mind. This raving is such as perhaps<br />
no excess of madness ever raved, except in the<br />
imagination of a Cockney, determined to be as mad<br />
as possible and opulent in his recollections of the<br />
shambles. . . . And it is to this dreary non-<br />
sense that is to be attached the name of poetry<br />
Yet on this passage the whole lauding of his fellow-<br />
Cockneys has been lavished. But Percy Bysshe<br />
feels his hopelessness of poetic reputation, and<br />
therefore lifts himself on the stilts of blasphemy.<br />
He is the Only verseman of the day who has dared<br />
in a Christian country to work out for himself the<br />
character of direct Atheism In his present poem<br />
(Adonais) he talks with impious folly of “the<br />
envious wrath of man or God l’”. Of a<br />
“Branded and ensanguined brow,<br />
Which was like Cain's, or CHRIST’s.”<br />
Offences like these naturally come before a more<br />
effective tribunal than that of criticism. We have<br />
heard it mentioned as the only apology for the<br />
predominant irreligion and nonsense of this person's<br />
works, that his understanding is unsettled. But<br />
in his preface there is none of the exuberance of<br />
insanity; there is a great deal of folly and a<br />
great deal of bitterness, but nothing of the wilder-<br />
ness of his poetic fustian. The Bombastes Furioso<br />
of these stanzas cools into sneering in the preface ;<br />
and his language against the death-dealing Quarterly<br />
Review, which has made such havoc in the empire.<br />
of Cockaigne, is merely malignant, mean, and<br />
peewishly personal. . . . - -<br />
The seasons and a whole hosts of personages, ideal<br />
and otherwise, come to lament over Adonais. They<br />
act in the following manner:—<br />
“Grief made the young Spring wild, and she threw down<br />
Her kindling buds. . . .<br />
To Phoebus was not Hyacinth so dear,<br />
Nor to himself Narcissus, as to both,<br />
Thou, Adonais; wan they stand, and sere,<br />
Amid the drooping comrades of their youth,<br />
With dew all turned to tears, odour to sighing ruth.”<br />
Death makes, as becomes him, a great figure in<br />
this “Lament,” but in rather curious operations.<br />
He is alternately a person, a thing, nothing, etc.<br />
He is “The coming bulk of Death,” then<br />
“Death feeds on the mute voice.”<br />
“Kingly Death keeps his pale court.”<br />
<br />
<br />
## p. 27 (#39) ##############################################<br />
<br />
TRIES A UTFIOR. 27<br />
“The shadow of white Death.”<br />
“Death blushed to annihilation / " .<br />
. . . this wild waste of words is entirely beyond<br />
our comprehension.<br />
Adonais has been published by the author in<br />
Italy, the fitting soil for the poem, sent over to his<br />
honoured correspondents throughout the realm of<br />
Cockaigne, with a delightful mysteriousness worthy<br />
of the dignity of the subject and the writer.<br />
(Weekly Entertainer, 1822.)<br />
a – A-<br />
v-u-<br />
FRENCH NoveLISTS OF T0-DAY."<br />
—e-º-º-<br />
-- BOOK on French novelists of the present<br />
day should appeal alike to those who know<br />
their works and to those who do not.<br />
The former Jook for appreciative criticism, the<br />
latter desire a stimulus to study.<br />
To a limited extent these demands have been<br />
fulfilled. Yet, on laying down the book it is<br />
doubtful if either class will be much enlightened<br />
as to the wonderful charm and delicacy of French<br />
authors, or enriched by fresh insight into the<br />
characters of men whose thoughts are not naturally<br />
in touch with English minds.<br />
M. Anatole France has fared best. He stands<br />
before us as a living man, not a lay figure. His<br />
work is summed up concisely, the extracts are well<br />
chosen, and in the minds of those who have not<br />
read his novels will excite interest and a desire for<br />
more. It is unfortunate that authors such as<br />
Bourget and Loti are not treated in the same<br />
manner, and that so much space has been lavished<br />
on Pierre de Coulevain of secondary rank.<br />
The writer seems to be more in sympathy with<br />
this quasi Frenchwoman, whilst acknowledging<br />
that her books have hardly the vogue in France<br />
that they enjoy elsewhere. After forty pages<br />
devoted to setting forth the merits of her some-<br />
what disjointed writings, it is disappointing<br />
to find Loti disposed of in twenty, which deal<br />
chiefly with his egoism and weakness. Some asser-<br />
tions at the very end might lead the reader to send<br />
for a copy of “Pécheurs d’Islande,” but raise a<br />
doubt whether his other masterpiece “Mon Frère<br />
Yves,” were worth the trouble of perusing. A few<br />
extracts from these books would give a far clearer<br />
idea of their power and mysterious charm than the<br />
attempt to explain his conception of the Ocean.<br />
Both Loti and Bourget are placed before us in<br />
a repellent light, and the commendation of their<br />
* “French Novelists of To-day,” by Winifred Stephens.<br />
Published by John Lane. 6s. met.<br />
books is not convincing. The touch which makes<br />
one realise their great charm is lacking.<br />
Again, the description of Barrès's books leaves<br />
us with an impression first, that his early work<br />
is full of childish egoism, and his later writings<br />
spoilt by the intrusion of politics; and secondly,<br />
that this from an artistic point of view is<br />
detrimental and tends to narrow the interest.<br />
Surely this is not the impression the author<br />
intended to convey. If it is true, then, it seems a<br />
mistake to select him as a typical French writer<br />
when others with better claims have been passed<br />
OWer. -<br />
It is also open to question why Rod, a Swiss,<br />
many of whose books deal with his native land,<br />
should have so much space allotted to him. It is<br />
true he writes in French, but we are not convinced<br />
by this book at any rate—that he represents a<br />
phase of French thought.<br />
Even his own avowal “Paris demeure ma ville<br />
d'élection ” does not strike us so forcibly as the<br />
fact that he was born a Swiss and began life as a<br />
Calvinist. Parisian he certainly is not, though he<br />
may have tried loyally to assimilate the atmosphere.<br />
To sum up, this book shows insight and a certain<br />
adroitness in cataloguing and describing the con-<br />
tents of the works in question. For purposes of<br />
reference it will be found most useful, but in other<br />
respects it falls short of the demands made on it.<br />
Towards the end it is full of vague generalities<br />
and stock phrases which neither do justice to the<br />
Works under discussion nor arouse a desire to read<br />
them and judge independently.<br />
As if the writer had wearied of the task, the<br />
criticism becomes tame and lacks suggestiveness.<br />
The result is unsatisfactory both to those who are<br />
conversant with French literature and to those who<br />
seek for guidance.<br />
—e—º-e—<br />
CORRESPONDENCE.<br />
——º-º-<br />
PENSION FUND.<br />
SIR,--I quite agree with Mr. W. G. Scoon that<br />
five shillings a year is a reasonable sum for every<br />
member to pay towards the Pension Fund, and<br />
should be made compulsory, except in cases where<br />
actual poverty exists, and these would be very few<br />
in number. I mentioned a shilling in my first<br />
letter because the payment was compulsory, but I<br />
also added I hoped a great many members would<br />
give far more.<br />
According to the list published by you in The<br />
Author only 180 members give subscriptions and<br />
donations. Mr. Scoon's estimate is that we have<br />
<br />
<br />
## p. 28 (#40) ##############################################<br />
<br />
28<br />
THE A traºrror.<br />
2,000 members, therefore 1,720 give nothing. This<br />
cannot be as it should be. We are nothing if not<br />
a brotherhood, and why should we, to use Sir<br />
Walter Besant's words, pass round the hat to<br />
outsiders when we are capable of helping ourselves.<br />
I cannot see, however, why a reserve fund of more<br />
than £5,000 should be required. Supposing the roll<br />
of members to be kept up, £500 a year would be<br />
available for distribution (when once the reserve<br />
of £5,000 had been reached) out of members’<br />
subscriptions—surely a more than ample sum for<br />
the needs of those members whose incomes are<br />
very small. Might it not be possible eventually<br />
to extend help in cases of great distress through<br />
Sudden accident, or disease that must soon end<br />
fatally, if it were the husband who was stricken<br />
down; even though he should not have attained<br />
the age of sixty 2 Should the number of members<br />
fall off, the number of those needing pensions<br />
would be reduced in direct proportion. I suppose<br />
no actuary would give the average of life after<br />
the age of sixty as more than fifteen years, there-<br />
fore, as time goes on there will always be pensions<br />
falling in to increase the sum of £500 a year, the<br />
interest of the existing £5,000—another £150 at<br />
least. Mr. Scoon advocates a pension of £25<br />
a year. Could he not extend it to £26, ten<br />
shillings a week, so as to place an unfortunate<br />
author on a level with Giles and Hodge, should<br />
the Old Age Bill pass 2 Could anyone desire<br />
more ?<br />
AUGUSTA HARCOURT ROE.<br />
“ C. K. S.”<br />
SIR,-“C. K. S.’ ” views on literary ethics as<br />
announced to the world in the case of Humphreys<br />
v. Thomson will not be endorsed by many of the<br />
society, who will probably be more inclined to<br />
adopt the views of the judge and jury, that literary<br />
work should not be at the mercy of re-hash at<br />
the hands of irresponsible editors. And now<br />
that the case is not to proceed further it is<br />
permitted for one to say so.<br />
But the many lowers of Fitzgerald must have<br />
squirmed at so hideous a misquotation as fell from<br />
the lips of the great littérateur during the progress<br />
of the case, unless the reporters have maligned<br />
him ; and now that it has again appeared in your<br />
columns it should be gibbetted without mercy.<br />
“Ah, take the cash in hand, and let the credit<br />
go,” “C. K. S.” was reported to have said, which<br />
does not so correctly interpret his attitude towards<br />
literary work as what Fitzgerald really wrote:<br />
“Ah, take the cash in hand, and waive the rest,”<br />
and does not give the same awful shock to all<br />
lovers of<br />
OMAR.<br />
WANTED, AN AUTHORs' CLUB.<br />
SIR,-As a member for some years of the<br />
existing Authors’ Club, I quite agree with “John<br />
Bickerdyke’’ that it is highly desirable that such<br />
an institution—in many ways unique—should not<br />
be allowed to disperse. -<br />
In the establishment at the present moment of<br />
another club on the lines—modest though they be<br />
—sketched out in the current month's Author by<br />
“John Bickerdyke,” I see great difficulties in the<br />
way of preliminary organisation. ~ -<br />
I regret that circumstances prevented my<br />
attendance at the extraordinary general meeting<br />
of the club recently held, or I might have made<br />
a certain proposal.<br />
I am, however, in a position to state that an<br />
established West End club would be willing to place<br />
the advantages named below at the disposal of the<br />
present members of the Authors’ Club at terms<br />
more advantageous than those mentioned by<br />
“John Bickerdyke.”<br />
These would include, in addition, of course, to<br />
the entire use of the club as members, facilities<br />
for Occasional meetings of the Authors’ Club<br />
members in one of the rooms of the club.<br />
The subscription would, in no case, exceed<br />
£2 2s. per annum, without entrance fee.<br />
If any members of the Authors’ Club care to<br />
Communicate with me direct at address below I<br />
will at once place them in communication with<br />
the proper authorities, who would no doubt consent<br />
to a general meeting being held on the premises to<br />
formulate any decisions that might be thought<br />
advisable.<br />
Yours truly,<br />
J. WARRINER, Mus.D.<br />
de Crespigny Lodge,<br />
Denmark Hill, S.E.<br />
TRANSLATION WORK.<br />
SIR,-May I request a few lines of your space<br />
in order to warn authors against the dangers<br />
attendant on undertaking translation work at<br />
the request of publishers, unless payment in cash<br />
forms part of the consideration. Payment by<br />
royalties is full of dangers and pitfalls. You are<br />
already aware of my own bitter experience, which<br />
I will gladly make known to any author who may<br />
be in need of guidance or advice. -<br />
Yours faithfully,<br />
- F. THOROLD DICKSON,<br />
Barrister-at-law.<br />
<br />
<br />
## p. 28 (#41) ##############################################<br />
<br />
AD VERTISEMENTS. iii<br />
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“It has much of the airy humour and real craftsmanship of the<br />
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“A welcome change to the heavy wares of most modern fiction<br />
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## p. 28 (#42) ##############################################<br />
<br />
iv AD VERTISEMENTS.<br />
s º * - - ‘. . * * * -º<br />
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384 | https://historysoa.com/items/show/384 | Index to The Author, Vol. 19 (1909) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+%281909%29">Index to <em>The Author</em>, Vol. 19 (1909)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index">Index</a> | 1909-The-Author-19-index | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors">The Society of Authors</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew & Co.</a> | | | | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909">1909</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a> | | | | https://historysoa.com/files/original/4/384/1909-The-Author-19-index.pdf | publications, The Author |