<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>396</td><td>https://historysoa.com/items/show/396</td><td>Index to The Author, Vol. 20 (1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+%281910%29&quot;&gt;Index to &lt;em&gt;The Author&lt;/em&gt;, Vol. 20 (1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&quot;&gt;Index&lt;/a&gt;</td><td>1910-The-Author-20-index</td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors&quot;&gt;The Society of Authors&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=78&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.&quot;&gt;Bradbury, Agnew &amp;amp; Co.&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910&quot;&gt;1910&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=4&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=London&quot;&gt;London&lt;/a&gt;</td><td></td><td></td><td></td><td>https://historysoa.com/files/original/4/396/1910-The-Author-20-index.pdf</td><td>publications, The Author</td></tr><tr><td>397</td><td>https://historysoa.com/items/show/397</td><td>The Author, Vol. 20 Issue 01 (October 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+01+%28October+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 01 (October 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-10-01-The-Author-20-1</td><td></td><td></td><td></td><td></td><td>1&ndash;32</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-10-01&quot;&gt;1909-10-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>1</td><td></td><td></td><td>19091001</td><td>C be Elut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Wol. XX.-No. 1. OCTOBER 1, 1909, [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE - PAGE&lt;br /&gt;
Notices ... ... . ... ... ... ... ... ... ... 1&ndash;2 Stamping Music ... ... ... ... ... ... ... ... 18&lt;br /&gt;
Committee Notes &ldquo;. ... ... ... ... ... ... 2 The Reading Branch ... ... ... ... ... ... ... 18&lt;br /&gt;
Books published by Members of the Society ... ... ... 4 &ldquo;The Author&amp;quot; ... ... ... ... ... ... ... ... 18&lt;br /&gt;
Books published in America by Members ... ... ... ... 8 Remittances ... ... ... ... ... ... ... ... 18&lt;br /&gt;
Literary, Dramatic and Musical Notes ... * * * * * * * * * 9 General Notes ... * * * * * * - - - t&ordm; &ordm; &ordm; ... ... ... 19&lt;br /&gt;
Paris Notes a t&ordm; e s t&ordm; e - - - e t&ordm; &ordm; t&ordm; &ordm; e e ee t&ordm; e is e - &copy; 13 Sir Theodore Martin ... t&ordm; &ordm; &ordm;s - &laquo;&raquo; - &copy; s &amp;amp; e a 6. - - - t&ordm; e &amp;amp; 20&lt;br /&gt;
Heinemann v. &ldquo;The Smart Set&amp;quot; Publishing Co., Ltd. ... ... 14 U.S. Copyright Code Defects ... ... ... ... ... ... 21&lt;br /&gt;
Legal Action and Members&amp;#039; Responsibilities ... ... ... 15 The Conference at Copenhagen ... ... ... ... ... 22&lt;br /&gt;
Authors and Income Tax ... ... ... ... ... 10 &ldquo;Uncle Tom&amp;#039;s Cabin &amp;quot;... &amp;quot; ... ... ... ... ... ... 23&lt;br /&gt;
Magazine Contents &copy; t&ordm; &ordm; e - e. &bull; e &ordm;s t&ordm; g t&ordm; e - e. t&ordm; &ordm; &ordm;s ... 16 The Procrastination of Happiness in Fiction ... - - - - e &ordm;s 25&lt;br /&gt;
How to Use the Society t&ordm; Q t&ordm; t&ordm; e t&ordm; &copy; t&ordm; &ordm; e t&ordm; &ordm; &amp;amp; &copy; t&ordm; t&ordm; - &ordm; 17 Certain Practical Matters &ordm; - - - * * * t&ordm; t&ordm; a - * * e - e. 26&lt;br /&gt;
Warnings to the Producers of Books ... ... ... ... 17 The Art of Illustrating ... ... ... ... ... ... 27&lt;br /&gt;
Warnings to Dramatic Authors ... ... ... ... ... 17 Taste and Style ... ... ... ... ... ... ... ... 30&lt;br /&gt;
Registration of Scenarios ... &bull; * * &bull; * * * * * * * 4 t&ordm; &ordm; &ordm; 18 Correspondence .., T&ordm; t&ordm; w&ordm; * e &amp;amp; t&ordm; &ordm; &ordm; &ordm; &ordm;g ſ&ordm; t&ordm; a &bull; 2 e t&ordm; &ordm; &ordm; 31&lt;br /&gt;
Warnings to Musical Composers ... e - e. e t&ordm; &ordm; c t&ordm; e &copy; &amp;amp; G&ordm; 18&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1&lt;br /&gt;
. The Annual Report for the current year.&lt;br /&gt;
18.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5&lt;br /&gt;
6&lt;br /&gt;
. The Cost of Production. (Out of print.)&lt;br /&gt;
. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7&lt;br /&gt;
. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY.&lt;br /&gt;
1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d. -&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#362) ################################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
(ſlje &Scaron;uriefn of Autburg (incorporat&ordm;).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON, THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.,&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON, AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BONNEY, F.R.S.&lt;br /&gt;
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THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE,&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENs (&ldquo;MARK TwAIN&amp;quot;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON, D.C.&lt;br /&gt;
PRESIDENT. -&lt;br /&gt;
TIEHIOIMI_A_S IEHI-A-IBIDTY.&lt;br /&gt;
COUNCIL,&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT. .&lt;br /&gt;
EDMUND GossE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
MRS, HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HoPE HAwkINs. -&lt;br /&gt;
E. W. HORNUNG, .&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME. K. J.EROMF.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. Scott KELTIE, LL.D.&lt;br /&gt;
RUDYARD KIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON, SIB ALFRED&lt;br /&gt;
LYALL, P.C. -&lt;br /&gt;
LADY LUGARD (MISS FLOBA L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDoN).&lt;br /&gt;
JUSTIN MCCARTHY,&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PINERO,&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SECAMAN,&lt;br /&gt;
G. BERNARD SHAW,&lt;br /&gt;
G. R. SIMS,&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WIscount Wolseley, K.P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
COMMITTEE OF MANAGEMENT,&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN.&lt;br /&gt;
(ELLEN THORNEYCROFT FowlER).&lt;br /&gt;
Chairman&mdash;SIR ARTHUR PINERO.&lt;br /&gt;
H. GRANVILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
Chairman&mdash;MAURICE EIEWLETT.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
IDRAMATIC SUB-COMMITTEE.&lt;br /&gt;
Wice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
- G. BERNARD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
THE HON, JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
MORLEY ROBERTS,&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
FIELD, Roscoe &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. &ordm; &ordm;&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
OFFICES.&lt;br /&gt;
MRS. ALEC TWEEDIE,&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc. .&lt;br /&gt;
SIR JAMES YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor im Emgland to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
THE FAMILY READER is offering&lt;br /&gt;
good prices for short stories of 5, ooo to&lt;br /&gt;
Io, ooo words.&lt;br /&gt;
interest. Typewritten copy, with price asked,&lt;br /&gt;
to the Editor, 35, Surrey Street, Strand, W.C.&lt;br /&gt;
Strong plots with a love&lt;br /&gt;
AUTHORS AND ARTISTS.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Department,&lt;br /&gt;
WIENER AGENCY,&lt;br /&gt;
LD.,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNE BUILDING, NEW YORK.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#363) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or,&lt;br /&gt;
(The Organ of the Incorporated Society of Authors.&lt;br /&gt;
Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
Vol. XX.-No. 1.&lt;br /&gt;
OCTOBER 1st, 1909.&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&amp;#039; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
LYROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
WOL. XX.&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
*&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
&pound;350 in the purchase of Corporation of London&lt;br /&gt;
24 per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. &pound;1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 0&lt;br /&gt;
Wictorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#364) ################################################&lt;br /&gt;
&lt;br /&gt;
2 TISIES AICTISIOR,&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... #200 0 0&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock .................................. ... 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 33% Stock........... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 23% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Total ............... #3,815 1 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909. # S. d.&lt;br /&gt;
April 13, Gask, Miss Lilian &copy; O 5&lt;br /&gt;
May 17, Rorison, Miss Edith . O 5&lt;br /&gt;
June 10, Voynich, Mrs. E. L. I 1&lt;br /&gt;
June 10, Jaques, E. T. . 1 I&lt;br /&gt;
June 11, Grier, Miss Julia M. ... O 5&lt;br /&gt;
June 11, Field, C. &ordm; &copy; . 0 5&lt;br /&gt;
June 11, Barrington, Mrs. Russell . 0 10&lt;br /&gt;
July 8, Burmester, Miss Frances 1 1&lt;br /&gt;
July 9, Grindrod, Dr. G. F. t&ordm; . 1 1&lt;br /&gt;
July 10, Hargrave, Mrs. Basil . ... O 5&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Sprigge, S. S. Q o 5 0 0&lt;br /&gt;
April 5, Burchell, Sidney H. . ... O 5 0&lt;br /&gt;
April 15, Linton, C. Stuart e ... O 5 0&lt;br /&gt;
April 19, Loraine, Lady . &ordm; . () 10 0&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer 1 0 0&lt;br /&gt;
April 20, Stephens, Riccardo . . 1 1 0&lt;br /&gt;
May 24, Lefroy, Mrs. C. P. 1 1 0&lt;br /&gt;
June 2, &ldquo;Olivia Ramsey&rdquo; e 0 10 6&lt;br /&gt;
June 7, Horne, A. B. &ordm; o . 50 0 0&lt;br /&gt;
June 10, Muir, Ward &copy; . 1 1 0&lt;br /&gt;
June 10, Swan, Miss Myra . () 5 (0&lt;br /&gt;
June 17, Bradley, A. C. e . 1 0 0&lt;br /&gt;
June 22, Trotēre, H. . &copy; &copy; . 1 1 0&lt;br /&gt;
July 8, Harland, Mrs. e o . () 10 O&lt;br /&gt;
July 8, Sinclair, Miss May . e . 15 0 ()&lt;br /&gt;
Aug. 5, Cameron, Mrs. Charlotte 1 1 0&lt;br /&gt;
Sept. 10, Hinkson, Katharine Tynan . 1 1 0&lt;br /&gt;
We regret that we omitted to chronicle a dona-&lt;br /&gt;
tion of &pound;5 from Mr. S. S. Sprigge at the beginning&lt;br /&gt;
of the year. We have now added it to the list.&lt;br /&gt;
With this exception all fresh subscribers and&lt;br /&gt;
donors previous to April, 1909, have been deleted&lt;br /&gt;
from the present announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
TYHE last meeting of the committee of the&lt;br /&gt;
Society of Authors, before the vacation, was&lt;br /&gt;
held on Monday, July 5, at 39, Old Queen&lt;br /&gt;
Street.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been read and signed, thirty-two members and&lt;br /&gt;
associates were elected to the society. The list&lt;br /&gt;
is printed on another page. The total number of&lt;br /&gt;
elections for the current year is 181. The com-&lt;br /&gt;
mittee are pleased to notice that the number is&lt;br /&gt;
largely in excess of the number elected during the&lt;br /&gt;
corresponding period of 1908 and 1907. In 1907&lt;br /&gt;
the elections up to and including July totalled 135,&lt;br /&gt;
and in 1908, 154. Two resignations brought the&lt;br /&gt;
resignations up to sixty-five.&lt;br /&gt;
The first question considered by the committee&lt;br /&gt;
was the sale price of fiction, and they decided to&lt;br /&gt;
appoint a sub-committee of five to go fully into&lt;br /&gt;
the matter. The names of those who have con-&lt;br /&gt;
sented to act are as follows: Mrs. Belloc Lowndes,&lt;br /&gt;
Charles Garvice, E. W. Hornung, W. W. Jacobs,&lt;br /&gt;
and S. S. Sprigge.&lt;br /&gt;
The reference to this sub-committee was &ldquo;the&lt;br /&gt;
standard price of fiction with special reference to&lt;br /&gt;
the production of new copyright novels at the price&lt;br /&gt;
of 2s.&rdquo;&lt;br /&gt;
The secretary then reported the negotiations&lt;br /&gt;
that had been carried on with some of the agents&lt;br /&gt;
on the question of insurance for the benefit of&lt;br /&gt;
members of the society. He stated that one agent&lt;br /&gt;
was favourably disposed towards the suggestion ;&lt;br /&gt;
three were against it, while one other had not&lt;br /&gt;
replied to his letter. The committee requested the&lt;br /&gt;
secretary, during the vacation, to make arrange-&lt;br /&gt;
ments with the agent who was willing to adopt the&lt;br /&gt;
Society&amp;#039;s suggestion, and if the matter was arranged&lt;br /&gt;
satisfactorily, determined that the agent&amp;#039;s name,&lt;br /&gt;
with the amount of the insurance guaranteed to the&lt;br /&gt;
society, should be printed in The Author.&lt;br /&gt;
The chairman then laid before the committee&lt;br /&gt;
certain letters which he had received from Mr.&lt;br /&gt;
Thomas Hardy in regard to the presidency of the&lt;br /&gt;
society. The committee, after considering the views&lt;br /&gt;
expressed by Mr. Hardy in the letters, decided to&lt;br /&gt;
repeat the invitation extended to him by the council,&lt;br /&gt;
and to confirm and endorse the opinion already&lt;br /&gt;
expressed at the council meeting.&lt;br /&gt;
They are pleased to state that Mr. Hardy has&lt;br /&gt;
now accepted the presidency.&lt;br /&gt;
On another page is printed the reply to the&lt;br /&gt;
questions addressed by Mr. Robert Harcourt (who&lt;br /&gt;
is a member of the society) to the Chancellor of the&lt;br /&gt;
Exchequer in regard to income tax on the moneys&lt;br /&gt;
received by authors on the sale of copyrights. The&lt;br /&gt;
committee desire to draw the special attention of&lt;br /&gt;
members to the answers given.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#365) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR, 3&lt;br /&gt;
The committee granted the chairman, during the&lt;br /&gt;
vacation, the powers and authorities vested in them,&lt;br /&gt;
should any emergency arise calling for an immediate&lt;br /&gt;
decision. -&lt;br /&gt;
Some letters were then laid before the committee&lt;br /&gt;
relating to the list of novelists published in the&lt;br /&gt;
June number of The Author. It was decided to&lt;br /&gt;
take no further steps in the matter.&lt;br /&gt;
The secretary then placed before the committee&lt;br /&gt;
a letter received from a prominent novelist in regard&lt;br /&gt;
to the requests made by certain persons forgratuitous&lt;br /&gt;
literary contributions for the benefit of charities.&lt;br /&gt;
The committee thought the matter of importance,&lt;br /&gt;
and instructed the editor of The Author to take&lt;br /&gt;
notice of this custom in the columns of this paper.&lt;br /&gt;
There were three cases considered. The first&lt;br /&gt;
related to a demand for work supplied to a news-&lt;br /&gt;
paper but not paid for. The committee authorised&lt;br /&gt;
proceedings on behalf of the author. In the second&lt;br /&gt;
case the committee found it impossible to come to&lt;br /&gt;
a decision without further information and a copy&lt;br /&gt;
of the original contract, but granted full powers to&lt;br /&gt;
the chairman to act during the vacation in any way&lt;br /&gt;
he considered necessary.&lt;br /&gt;
referred to an infringement in Denmark, the com-&lt;br /&gt;
mittee decided not to take further action, as they&lt;br /&gt;
had been informed by their Danish lawyers that&lt;br /&gt;
One of the offending parties had left Denmark and&lt;br /&gt;
could not be traced, while the other was in bank-&lt;br /&gt;
ruptcy.&lt;br /&gt;
&mdash;&mdash;&ordm;-&ordm;-&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
A MEETING of the Coypright Sub-Committee was&lt;br /&gt;
held at the offices of the society on June 24,&lt;br /&gt;
Mr. Anthony Hope Hawkins in the chair.&lt;br /&gt;
The business before the committee was the con-&lt;br /&gt;
sideration of a Bill for the protection of musical&lt;br /&gt;
composers, drafted by Mr. E. J. MacGillivray at&lt;br /&gt;
the suggestion of Sir Charles Williers Stanford.&lt;br /&gt;
Sir Charles explained to the committee the neces-&lt;br /&gt;
sity for the provisions set out in the Bill, and stated&lt;br /&gt;
that, in the present circumstances, it was absolutely&lt;br /&gt;
impossible for composers to get publishers to accept&lt;br /&gt;
a grant of a licence to publish in their contracts.&lt;br /&gt;
They insisted upon a full assignment, even though&lt;br /&gt;
they paid a royalty. The position of the composer&lt;br /&gt;
was thus rendered impossible. After some discus-&lt;br /&gt;
sion the committee decided to report to the com-&lt;br /&gt;
mittee of management that they were in favour of&lt;br /&gt;
the principle of the Bill, but that they left it to the&lt;br /&gt;
committee of management to decide as to the&lt;br /&gt;
expediency of extending the principle contained in&lt;br /&gt;
the Bill to books in the publication of which the&lt;br /&gt;
same difficulties exist in law, though not so&lt;br /&gt;
frequently in actual practice. The committee also&lt;br /&gt;
instructed the secretary to obtain subsidiary&lt;br /&gt;
evidence from Sir Alexander Mackenzie and Mr.&lt;br /&gt;
In the third case, which&lt;br /&gt;
William Wallace, to lay before the Departmental&lt;br /&gt;
Committee, in support of the principle embodied&lt;br /&gt;
in the Bill.&lt;br /&gt;
&ndash;0-s&ordm;-0&ndash;&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author in July, there&lt;br /&gt;
have been thirty-four cases in the secretary&amp;#039;s hands,&lt;br /&gt;
or an average of seventeen cases each month. This&lt;br /&gt;
is a heavy list for the holiday season. The cases&lt;br /&gt;
may be divided as follows:&lt;br /&gt;
There were five claims for the return of MSS.&lt;br /&gt;
In four of these the Secretary was successful; the&lt;br /&gt;
fifth came to the office only just before the paper&lt;br /&gt;
had gone to press.&lt;br /&gt;
The applications for money reached a total of&lt;br /&gt;
thirteen, and are accounted for as follows:&mdash;In six&lt;br /&gt;
the cheques have been recovered and forwarded to&lt;br /&gt;
the members. One case had to be referred to the&lt;br /&gt;
Solicitors, who succeeded in obtaining judgment in&lt;br /&gt;
the county court. The debt and costs have been&lt;br /&gt;
paid, and a cheque for the former sent to the&lt;br /&gt;
member. Two cases are still in the course of&lt;br /&gt;
negotiation, the defaulting parties having promised&lt;br /&gt;
to make payment by a certain date. The time had&lt;br /&gt;
not elapsed when The Author went to press. In&lt;br /&gt;
one case the defendant was found to be in bank-&lt;br /&gt;
ruptcy, and the Society had to register a formal&lt;br /&gt;
claim against his estate. Of the remaining three&lt;br /&gt;
cases one has been placed in the hands of the&lt;br /&gt;
solicitors of the society, for the defendant made&lt;br /&gt;
no response to the three letters which had been sent&lt;br /&gt;
to him. The other two have only recently come&lt;br /&gt;
to the office.&lt;br /&gt;
One case, dealing with the settlement of a dispute&lt;br /&gt;
on an agreement, has been satisfactorily carried&lt;br /&gt;
through.&lt;br /&gt;
Two cases have been placed in the secretary&amp;#039;s&lt;br /&gt;
hands for the collection of accounts due under&lt;br /&gt;
dramatic contracts. Neither of these is in Great&lt;br /&gt;
Britain, but the manager has promised to go into&lt;br /&gt;
the case and forward the accounts by a fixed date.&lt;br /&gt;
Six cases have arisen where members have been&lt;br /&gt;
unable to obtain from the publishers accounts&lt;br /&gt;
and money. Of these three have been successful.&lt;br /&gt;
Two have been withdrawn from the society, as the&lt;br /&gt;
member was informed that most probably, if the&lt;br /&gt;
accounts were not delivered and the money not&lt;br /&gt;
paid, it would be necessary to take the matter into&lt;br /&gt;
court. The committee have, on many occasions,&lt;br /&gt;
dealt with this point, and have urged upon members&lt;br /&gt;
the absolute necessity of being prepared to take&lt;br /&gt;
matters into court if the Society&amp;#039;s demands on their&lt;br /&gt;
behalf are not complied with. This position is&lt;br /&gt;
dealt with in another column of The Author. In&lt;br /&gt;
the remaining case the author has agreed to wait a&lt;br /&gt;
certain time. There were five cases for the ordinary&lt;br /&gt;
delivery of accounts. Of these two have been&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#366) ################################################&lt;br /&gt;
&lt;br /&gt;
4 TISIES A [ſ&ordm;] IOR.&lt;br /&gt;
successful ; two are still in the course of negotia-&lt;br /&gt;
tion ; and one has only recently come to the office.&lt;br /&gt;
Finally, there are three cases of infringement of&lt;br /&gt;
copyright. One dealing with the infringement of&lt;br /&gt;
an author&amp;#039;s copyright in Canada must necessarily&lt;br /&gt;
take some time owing to the distance between the&lt;br /&gt;
parties, but as the paper is a responsible one it is&lt;br /&gt;
hoped that the matter will be satisfactorily settled.&lt;br /&gt;
One case of infringement in Great Britain has been&lt;br /&gt;
settled, and the sum claimed by the author has&lt;br /&gt;
been paid. One case, which was commenced early&lt;br /&gt;
in the year against a paper in New Zealand, has&lt;br /&gt;
also been settled, and the sum claimed has been&lt;br /&gt;
paid to the author. &ordm;&lt;br /&gt;
The society has been very successful in its foreign&lt;br /&gt;
cases during the past year, as it has obtained com-&lt;br /&gt;
pensation for two infringements of copyright in&lt;br /&gt;
New Zealand and one in Spain.&lt;br /&gt;
There was one other matter beyond those&lt;br /&gt;
included in the list set out above. One of the&lt;br /&gt;
large publishing houses, owing to the necessity of&lt;br /&gt;
making some alteration in the disposition of its&lt;br /&gt;
shares and capital, had to obtain a voluntary&lt;br /&gt;
winding-up order, and, in consequence, under the&lt;br /&gt;
law, was bound to send notice of this to its various&lt;br /&gt;
authors. This brought a considerable amount of&lt;br /&gt;
correspondence to the secretary. The matter has,&lt;br /&gt;
however, been satisfactorily explained and brought&lt;br /&gt;
to a conclusion.&lt;br /&gt;
All the cases open at the issue of the last number&lt;br /&gt;
have been settled or handed over to the solicitors&lt;br /&gt;
of the Society.&lt;br /&gt;
During the vacation no case has been carried&lt;br /&gt;
through the High Courts on behalf of the society&amp;#039;s&lt;br /&gt;
members, but three county court cases have been&lt;br /&gt;
settled, and the debt and costs paid.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
July Elections.&lt;br /&gt;
Boileau, Miss Marie Fairleigh, Shawford,&lt;br /&gt;
Hants.&lt;br /&gt;
Burmester, Miss Frances G.&lt;br /&gt;
Clifford, Miss Lucy . 3, Scroope Terrace,&lt;br /&gt;
Cambridge.&lt;br /&gt;
Furse, Mrs. Charles W. Yockley House, Cam-&lt;br /&gt;
berley.&lt;br /&gt;
Grindrod, Charles F. . Wyche-Side, Malvern.&lt;br /&gt;
Groves, Capt. P. R. C. , 6, Walpole Road,&lt;br /&gt;
Croydon.&lt;br /&gt;
Hargrave, Mrs. Basil (Parry&lt;br /&gt;
Truscott)&lt;br /&gt;
Holmes, The Rev. Chan-&lt;br /&gt;
Ditchling, Sussex.&lt;br /&gt;
East Liberty Wells,&lt;br /&gt;
cellor Scott . Somerset.&lt;br /&gt;
Humphry, Mrs. (&ldquo;Madge &amp;quot; Carrig-Cleena,&lt;br /&gt;
of Truth) &ordm; Maidenhead.&lt;br /&gt;
Huntley, Mrs. Hope 40, Elm Park Man-&lt;br /&gt;
sions, Chelsea, S.W.&lt;br /&gt;
Kelley, Miss Agnes M. 6, Denmark Street,&lt;br /&gt;
- W.C. -&lt;br /&gt;
Kelly, Minnie Harding&lt;br /&gt;
Kennedy, Charles Rann 58, Overstrand Man-&lt;br /&gt;
sions, Battersea&lt;br /&gt;
Park, London, S.W.&lt;br /&gt;
Kirmse, Madame 41, Grove End Road,&lt;br /&gt;
N.W. -&lt;br /&gt;
Kirmse, Richard 41, Grove End Road,&lt;br /&gt;
N.W.&lt;br /&gt;
Lowry, Miss Mary G. Ladies&amp;#039; Athen&aelig;um.&lt;br /&gt;
Club, 31, Dover&lt;br /&gt;
Street, W.&lt;br /&gt;
Lyons, Capt. Gervais (Cap- Grosvenor Club, Picca-&lt;br /&gt;
tain Scuttle) &ordm; e dilly W.&lt;br /&gt;
Minck, J. Murray (Aitken 50, Raeburn Place,&lt;br /&gt;
Murray) &copy; &ordm; Edinburgh.&lt;br /&gt;
Mummery, J. P. Lockhart 10, Cavendish Place,&lt;br /&gt;
- W.&lt;br /&gt;
O&amp;#039;Connell, Mildred (Mau-&lt;br /&gt;
rice Patrice) e e&lt;br /&gt;
O&amp;#039;Fallon, J. M. 27, Derby Avenue,&lt;br /&gt;
North Finchley, N.&lt;br /&gt;
Peek, W. Vernon (W. Forest Lodge, Owls&lt;br /&gt;
Weepey) &copy; Road, Boscombe,&lt;br /&gt;
Hants.&lt;br /&gt;
Reiss, Miss Erna Ennerdale, Lapwing&lt;br /&gt;
Lane, Didsbury,&lt;br /&gt;
Manchester.&lt;br /&gt;
Schwarz, Ernest H. L. Rhodes University&lt;br /&gt;
(Ernest Black) College, Grahams-&lt;br /&gt;
town, South Africa.&lt;br /&gt;
Shedlock, Miss Marie L. 13, Pembroke Gar-&lt;br /&gt;
dens, W.&lt;br /&gt;
Simpson, Miss Violet 26, Nevern Mansions,&lt;br /&gt;
S.W.&lt;br /&gt;
4, Park Place, St.&lt;br /&gt;
James&amp;#039;s, S.W.&lt;br /&gt;
Spurrell, H. G. F.&lt;br /&gt;
Stott, M. D.&lt;br /&gt;
Syrett, Jerrard. 170, Buckingham&lt;br /&gt;
Palace Road, S.W.&lt;br /&gt;
Tibbits, Annie O. Grangermon, Wood-&lt;br /&gt;
side Park, N.&lt;br /&gt;
Turner, Edgar . o . 6, Clifton Road,&lt;br /&gt;
Crouch End, N.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#367) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 5&lt;br /&gt;
FRENCH IDIOMATIC ExPRESSIONs witH ENGLISH&lt;br /&gt;
EXPRESSIONS. By FRED. Rothwell, B.A. (London).&lt;br /&gt;
7% &times; 5. 208 pp. Sands. 2s. 6d. In -&lt;br /&gt;
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THE GOLD BUG, AND OTHER TALEs. By EDGAR ALLAN&lt;br /&gt;
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GRIMM. 126 pp. HANS ANDERSON&amp;#039;s FAIRY TALEs.&lt;br /&gt;
118 pp. (Blackie&amp;#039;s English Texts. Edited by W. H. D.&lt;br /&gt;
ROUSE, Litt.D.). 6% x 43. Blackie. 6d. each.&lt;br /&gt;
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THE FACULTIES AND THEIR POWERS. A contribution to&lt;br /&gt;
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319 pp. Cassell. 68.&lt;br /&gt;
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84 &times; 5.&lt;br /&gt;
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Boon. 68.&lt;br /&gt;
A ROMANCE OF THE NURSERY. By L. ALLEN HARKER.&lt;br /&gt;
(Revised and enlarged edition.) 7% x 5. 317 pp. Murray.&lt;br /&gt;
68.&lt;br /&gt;
LovE&amp;#039;s Fool, : THE CONFESSIONS OF A MAGDALEN. By&lt;br /&gt;
MRS. STANLEY WIRENCH, 73 x 43. 318 pp. Long.&lt;br /&gt;
1S. n.&lt;br /&gt;
THE DIAMOND AND THE ROSE.&lt;br /&gt;
242 pp. Century Press. 6s.&lt;br /&gt;
MULTITUDE AND SOLITUDE. By JOHN MASEFIELD.&lt;br /&gt;
8 x 5+, 300 pp. Grant Richards. 68.&lt;br /&gt;
SHOES OF GOLD. By HAMILTON DRUMMOND. 8 x 5.&lt;br /&gt;
320 pp. Stanley Paul. 68.&lt;br /&gt;
OLIVER. By HENRY C. FF. CASTLEMANN.&lt;br /&gt;
318 pp. John Long. 68.&lt;br /&gt;
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THE NECROMANCERs. By ROBERT HUGH BENSON,&lt;br /&gt;
7% x 5. 326 pp. Hutchinson. 68.&lt;br /&gt;
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360 pp. Cassell, 68. -&lt;br /&gt;
83 &times; 5}.&lt;br /&gt;
By HOPE PROTHEROE.&lt;br /&gt;
7# &times; 5.&lt;br /&gt;
8 x 5.&lt;br /&gt;
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6 TISIES A UTEIOR.&lt;br /&gt;
THE ROMANCE OF BEAUTY. By ROY HoRNIMAN. 73 &times; 5.&lt;br /&gt;
408 pp. Eveleigh Nash. 6s.&lt;br /&gt;
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THE ENTERPRISE OF ELLA. A Stock Exchange Romance.&lt;br /&gt;
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AN EYE FOR AN EYE. By MARIE CONNOR LEIGHTON.&lt;br /&gt;
73 &times; 5. 378 pp. Ward, Lock. 6s.&lt;br /&gt;
CUPID AT THE COUNTER, AND OTHER STORIES. BY&lt;br /&gt;
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TESTIMONY. By ALICE and CLAUDE ASKEW. 73 &times; 43.&lt;br /&gt;
320 pp. Chapman &amp;amp; Hall. 6s.&lt;br /&gt;
SHAMELESS WAYNE. By HALLIWELL SUTCLIFFE.&lt;br /&gt;
83 &times; 53. 188 pp. Newnes, 6d.&lt;br /&gt;
THE SCORE. By LUCAS MALET. 73 &times; 5. 326 pp.&lt;br /&gt;
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A ROYAL INDISCRETION. By RICHARD MARSH. 73 &times; 5.&lt;br /&gt;
311 pp. Methuen. 6s.&lt;br /&gt;
THE ADVENTURES OF CAPTAIN JACK. By MAx&lt;br /&gt;
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THE WAKING Hou R. By HAROLD WINTLE. 73 &times; 5.&lt;br /&gt;
350 pp. Fisher Unwin. 6s.&lt;br /&gt;
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8 x 5. 303 pp. Chapman &amp;amp; Hall. 6s.&lt;br /&gt;
THE LUST OF POWER. By BEATRICE SELWYN and&lt;br /&gt;
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73 &times; 5+. 302 pp. Lane. 6s.&lt;br /&gt;
MIDSUMMER MADNESS. By MORLEY ROBERTS. 73 x 5.&lt;br /&gt;
255 pp. Nash. 6s.&lt;br /&gt;
THE FOUR CANDLEs. By HARRY TIGHE. 74 &times; 5.&lt;br /&gt;
318 pp. John Long. 6s.&lt;br /&gt;
MARY. By WINIFRED GRAHAM. 73 x 5. 377 pp. Mills&lt;br /&gt;
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THIS DAY&amp;#039;S MADNESS. By MAUD ANNESLEY. 73 &times; 5.&lt;br /&gt;
303 pp. Methuen. 6s.&lt;br /&gt;
THE NATIVE WIFE. By Henry Bruce. 73 &times; 5. 380 pp.&lt;br /&gt;
John Long. 68.&lt;br /&gt;
THE OLD ALLEGIANCE. By Hubert Wales. 7 &times; 43.&lt;br /&gt;
316 pp. John Long. 1s. n.&lt;br /&gt;
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306 pp. Mills &amp;amp; Boon. 68.&lt;br /&gt;
LoRDS OF THE SEA. By EDWARD NOBLE. 384 pp. 68.&lt;br /&gt;
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335 pp. Methuen. 68.&lt;br /&gt;
THE MEN OF THE MOUNTAIN. By S. R. CROCKETT.&lt;br /&gt;
73 x 5.&lt;br /&gt;
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LovE, THE THIEF. By HELEN MATHERs. 74 &times; 5.&lt;br /&gt;
316 pp. Stanley Paul. 68.&lt;br /&gt;
THE SINS OF SOCIETY. By CECIL RALEIGH. 280 pp.&lt;br /&gt;
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OPEN COUNTRY: A Comedy with a sting. By MAURICE:&lt;br /&gt;
HEWLETT. 73 &times; 53. 316 pp. Macmillan. 6s,&lt;br /&gt;
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311 pp. Chapman &amp;amp; Hall. 6s.&lt;br /&gt;
LOVE AND THE WISE MEN. By PERCY WHITE. 73 &times; 5.&lt;br /&gt;
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THE SMITHS OF WALLEY WIEW : Being further Adventures.&lt;br /&gt;
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276 pp. Stanley Paul. 6s.&lt;br /&gt;
THE RETURN OF THE PETTICOAT. By WARWICK DEEP-&lt;br /&gt;
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THE SQUIRE&amp;#039;s DAUGHTER. By ARCHIBALD MARSHALL.&lt;br /&gt;
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A STUDIO MODEL. By BURFORD DELANNox. 73. x 5.&lt;br /&gt;
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NORTHERN LIGHTS. By Sir GILBERT PARKER. 74 &times;&lt;br /&gt;
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HAPPINESS. By MAUD STEPNEY RAWSON. # x 5.&lt;br /&gt;
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AVENGING CHILDREN. By MRs. MANN. 310 pp.&lt;br /&gt;
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533 pp. Hutchinson. 6s. -&lt;br /&gt;
CUT OFF FROM THE WORLD. By F. T. BULLEN. 73 &times;&lt;br /&gt;
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THE GIFT OF ST. ANTHON.Y. By CHARLEs GRANVILLE.&lt;br /&gt;
8 &times; 5. 272 pp. Daniel. 68.&lt;br /&gt;
THE SCANDALOUS MR. WALDo. By RALPH STRAUs.&lt;br /&gt;
7 &times; 4%. 323 pp. Heinemann. 3s. n.&lt;br /&gt;
SHADOW SHAPES. By ELLA ERSKINE. 73 x 5. 147 pp.&lt;br /&gt;
Elkin Mathews. 3s.6d. n.&lt;br /&gt;
ARSENE, LUPIN. From the Play by MAURICE LEBLANC.&lt;br /&gt;
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MAURICE LEBLANC. 73 x 5. 344 pp. Mills &amp;amp; Boon.&lt;br /&gt;
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SALTHAVEN. By W. W. JACOBs. New and Cheaper&lt;br /&gt;
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FOLKLORE.&lt;br /&gt;
LINGUISTIC SURVEY OF INDIA. Vol. III. Tibeto-Burman&lt;br /&gt;
Family. Part I. General introduction ; Specimens of&lt;br /&gt;
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GRIERSON, C.I.E., Ph.D., &amp;amp;c. 14 &times; 10%. 641 pp.&lt;br /&gt;
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M. AURIEL STEIN, Ph.D. 93 &times; 6+. 66 pp. (Reprinted&lt;br /&gt;
from the Geographical Journal for July and September,&lt;br /&gt;
1909.)&lt;br /&gt;
HISTORY.&lt;br /&gt;
THE LAST DAYS OF PAPAL ROME, 1850&ndash;70. By R. de&lt;br /&gt;
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Constable. 12s. 6d. n.&lt;br /&gt;
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TISIE A DITISIOR, 7&lt;br /&gt;
HDESPATCHES FROM PARIs, 1784&ndash;1790. Selected and&lt;br /&gt;
Edited from the Foreign Office Correspondence by Oscar&lt;br /&gt;
Browning. Vol. I. (1784&ndash;1787). Camden Third Series.&lt;br /&gt;
Vol. XVI. 83 x 63. 278 pp. Offices of the Society.&lt;br /&gt;
LAW.&lt;br /&gt;
MLAW AND CUSTOM OF THE CONSTITUTION. By SIR&lt;br /&gt;
WILLIAM ANSON, BART., D.C.L. In 3 vols. Vol I.&lt;br /&gt;
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IHUSBAND AND WIFE IN THE LAw. By EDwARD JENKS.&lt;br /&gt;
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LITERARY.&lt;br /&gt;
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PROOFS BEFORE PULPING,&lt;br /&gt;
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&lsquo;OMNIUM GATHERUM BOOKLET. Edited by MRS. ALEC&lt;br /&gt;
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NATURAL HISTORY.&lt;br /&gt;
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6s.&lt;br /&gt;
NAVAL.&lt;br /&gt;
FIGHTING SERIPs, 1909. Founded and edited by F. T.&lt;br /&gt;
JANE. 73 x 123. 492 pp. Sampson, Low. 21s. n.&lt;br /&gt;
PHILOSOPHY.&lt;br /&gt;
IN THE ABSTRACT. By NORMAN ALLISTON.&lt;br /&gt;
- 73 x 5.&lt;br /&gt;
156 pp. Sonnenschein. 2s. 6d.&lt;br /&gt;
POETRY.&lt;br /&gt;
THE SHEPHERD. A book of Ballads and Songs. By&lt;br /&gt;
H. A. MORRAH. 84 &times; 64. 112 pp. Allen. 5s.&lt;br /&gt;
A VISION OF LIFE. By DARRELL FIGGIS. With an&lt;br /&gt;
introduction by G. K. CHESTERTON. 74 &times; 5. 100 pp.&lt;br /&gt;
Lane. 3s. 6d. n.&lt;br /&gt;
MooDs. A Booklet of Verse. By CHARLES GRANVILLE.&lt;br /&gt;
73 &times; 53. 39 pp. The Open Road Publishing Co.&lt;br /&gt;
ls. 6d. n.&lt;br /&gt;
&amp;quot;THOUGHTS AND PASTIMEs. By M. E. R. Illustrated.&lt;br /&gt;
73 &times; 5+. 99 pp. Kegan Paul. 3s. 6d. n.&lt;br /&gt;
VERSES IN TwiligEIT. By the REV. P. W. DE QUETTE-&lt;br /&gt;
VILLE. 73 x 5. 48 pp. Stock. 2s. 6d. n.&lt;br /&gt;
POLITICAL,&lt;br /&gt;
1912 7 GERMANY AND SEA POWER. By A. R. COLQUHOUN.&lt;br /&gt;
73 x 43. 119 pp. Sir Isaac Pitman. 1s. n.&lt;br /&gt;
REPRINTs.&lt;br /&gt;
THE FOUNDATIONs of THE ORIGIN OF SPECIES. A&lt;br /&gt;
Sketch written in 1842. By CHARLEs DARw IN. Edited&lt;br /&gt;
by FRANCIS DARWIN. 9 &times; 6. 53 pp. Cambridge&lt;br /&gt;
University Press.&lt;br /&gt;
SPEECHES ON POLITICS AND LITERATURE. By LoRD&lt;br /&gt;
MACAULAY. 465 pp. (Everyman&amp;#039;s Library. Edited&lt;br /&gt;
by ERNEST RHYs.) 7 x 4+. Bent. 1s. n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
MESMERISM AND CHRISTIAN SCIENCE. A Short History&lt;br /&gt;
of Mental Healing. By FRANK PopMoRE. 9 &times; 53.&lt;br /&gt;
306 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
THE ANNALS OF PSYCHICAL SCIENCE, July&ndash;September,&lt;br /&gt;
1909. Edited by MRs. LAURA L. FINCH. 94 x 73.&lt;br /&gt;
334&ndash;514. 110, St. Martin&amp;#039;s Lane. 3s.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
THE SovKANTY OF SOCIETY. By H. E. M. STUTFIELD.&lt;br /&gt;
7# x 5%. 323 pp. Unwin. 5s. n.&lt;br /&gt;
NEW WORLDS For OLD. A Plain Account of Modern&lt;br /&gt;
Socialism. By H. G. WELLS. 63 &times; 4}. 355 pp.&lt;br /&gt;
Constable. 1s. n.&lt;br /&gt;
MARRIAGE AS A TRADE. By CICELY HAMILTON.&lt;br /&gt;
73 &times; 5. 284 pp. Chapman &amp;amp; Hall. 6s.&lt;br /&gt;
POWERTY AND HEREDITARY GENIUS : A Criticism of Mr.&lt;br /&gt;
Francis Galton&amp;#039;s Theory of Hereditary Genius. By F. C.&lt;br /&gt;
CONSTABLE, 74 x 43. 149 pp. (Cheaper Issue.)&lt;br /&gt;
Fifield. 18. n.&lt;br /&gt;
SPORT.&lt;br /&gt;
THE KEEPER&amp;#039;S BOOK : A Guide to the Duties of a Game-&lt;br /&gt;
keeper. By P. JEFFREY MACKIE and A. STODART&lt;br /&gt;
WALKER. 73 &times; 5. 356 pp. Sixth Edition. Revised&lt;br /&gt;
and Enlarged. Foulis. 5s. n.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
A VISION OF PERFECTION. By GEORGIE HARGREAVES.&lt;br /&gt;
7 x 4. 68 pp. Frank H. Morland, 16, Park Mansions,&lt;br /&gt;
Fulham, S.W. 1s. n.&lt;br /&gt;
TRANSMIGRATION OF SOULS. By D. ALFRED BERTHol.ET,&lt;br /&gt;
Professor of Theology in the University of Basle.&lt;br /&gt;
Translated by the REV. H. J. CHAYTOR, Headmaster of&lt;br /&gt;
Plymouth College. (Harper&amp;#039;s Library of &ldquo;Living&lt;br /&gt;
Thought.&rdquo;) 7 &times; 4%. 133 pp. Harper. 2s. 6d. In.&lt;br /&gt;
CONSCIOUSNESS OF GOD. Two Lectures on the Ante-&lt;br /&gt;
cedents of Revelation. By the REV. T. A. LACEY. 79 pp.&lt;br /&gt;
Mowbray. 18. n.&lt;br /&gt;
THE DAWN OF CHRISTIANITY IN CONTINENTAL EUROPE,&lt;br /&gt;
AND THE PLANTING OF THE ORDER OF KNIGHTS OF&lt;br /&gt;
THE HOSPITAL OF ST. JOHN OF JERUSALEM IN&lt;br /&gt;
ENGLAND. By S. F. A. CAULFIELD. 73 &times; 5. 132 pp.&lt;br /&gt;
Stock 2s. 6d. n.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
MEMORIALS OF OLD MIDDLESEX. Edited by J. TAVENOR-&lt;br /&gt;
PERRY. 8; x 5%. 301 pp. (Memorials of the Counties&lt;br /&gt;
of England. General Editor, Rev. P. H. DITCHFIELD,&lt;br /&gt;
F.S.A.) Bemrose. 15s. n.&lt;br /&gt;
VISITORs&amp;#039; GUIDE To WESTMINSTER ABBEY. By FRANCIS&lt;br /&gt;
BOND. Illustrated by 12 plans, 36 photographs, and other&lt;br /&gt;
illustrations. Frowde. 1s. n.&lt;br /&gt;
THE ISLE OF MAN. Described by AGNES HERBERT.&lt;br /&gt;
Illustrated by DONALD MAXWELL. 9 &times; 6. 270 pp.&lt;br /&gt;
Lane. 10s. 6d. m.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
A WANDERER IN PARIs. By E. V. LUCAS. 73 &times; 5.&lt;br /&gt;
329 pp. Methuen. 6s,&lt;br /&gt;
THE BERNESE OBERLAND. Vol. I. From the Gemm to&lt;br /&gt;
the M&ouml;nchjock. Part I., The Main Range. (A New&lt;br /&gt;
edition.) By W. A. B. Coolidge. 53 x 3}. 155 pp.&lt;br /&gt;
(Conway &amp;amp; Coolidge&amp;#039;s Climbers&amp;#039; Guides.) Fisher Unwin.&lt;br /&gt;
108.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
8 - TISIE A DITFIOR.&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
- MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ART.&lt;br /&gt;
WILLIAM BLAKE. By BASIL DE SELINCOURT.&lt;br /&gt;
Scribner. $2 n.&lt;br /&gt;
THE ENGLISH HOUSE :&lt;br /&gt;
AND STYLES.&lt;br /&gt;
298 pp.&lt;br /&gt;
HOW TO JUDGE ITS PERIODS&lt;br /&gt;
By W. SHAw SPARROW. 348 pp. John&lt;br /&gt;
Lane Co. $2 n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LIFE AND TIMES OF MASTER JOHN HUs. By Count&lt;br /&gt;
LUTzow. 398 pp. $4 n.&lt;br /&gt;
A BISHOP IN THE ROUGH. By THE REV. D. WALLACE&lt;br /&gt;
DUTHIE. 386 pp. Dutton &amp;amp; Co. $2 n.&lt;br /&gt;
BOOKS FOR TEIE YOUNG .&lt;br /&gt;
MADGE-MAKE-TEIE-BEST-OF-IT. By M. E. FRANCIS. St.&lt;br /&gt;
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IN NATURE&rsquo;s SCHOOL. By LILIAN GASK ; with 16&lt;br /&gt;
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York : Thomas Y. Crowell &amp;amp; Co. $1.50.&lt;br /&gt;
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347 pp.&lt;br /&gt;
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SIXPENNY PIECES.&lt;br /&gt;
Lane Co. $1.50.&lt;br /&gt;
THE MEN OF THE MOUNTAIN.&lt;br /&gt;
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Frederick A. Stokes Co. $1.50.&lt;br /&gt;
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Bobbs-Merrill Co. $1.50.&lt;br /&gt;
BROTHERS ALL : MORE STORIES OF DUTCH PEASANT&lt;br /&gt;
LIFE. By MAARTEN MAARTENS. 324 pp. Appleton,&lt;br /&gt;
1909, $1.50. -&lt;br /&gt;
LITERARY.&lt;br /&gt;
MILTON MEMORIAL LECTURES, 1908. Read before the&lt;br /&gt;
Royal Society of Literature; edited, with an introduction,&lt;br /&gt;
by PERCY W. AMES ; with 4 illustrations. Oxford&lt;br /&gt;
University Press, 222 pp. $2.&lt;br /&gt;
OXFORD LECTURES ON PoETRY. By A. C. BRADLEY.&lt;br /&gt;
395 pp. Macmillan. $3 n.&lt;br /&gt;
PLAYS, ACTING AND MUSIC. A book of theory. By&lt;br /&gt;
ARTHUR SYMONS. 322 pp. Dutton &amp;amp; Co. $2 n.&lt;br /&gt;
THE CLAIMS OF FRENCH PoETRY ; NINE STUDIES IN THE&lt;br /&gt;
GREATER FRENCH PoETs. By J. C. BAYLEY. New&lt;br /&gt;
York: Mitchell Kennerley. 313 pp. $2.50.&lt;br /&gt;
GEORGE MEREDITH IN ANECDOTE AND CRITICISM.&lt;br /&gt;
Illustrated with reproductions from photographs and from&lt;br /&gt;
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MICELLANEOUS.&lt;br /&gt;
HINTS ON HousB FURNISHING. By WALTER SHAw&lt;br /&gt;
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and SOPHIE LYALL; painted by MIMA NIxoN. 176 pp.&lt;br /&gt;
New York : Macmillan Co. $2 n. -&lt;br /&gt;
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HUGo Wolf. By ERNEST NEWMAN.&lt;br /&gt;
279 pp. John Lane&lt;br /&gt;
Co. $2.50 m. - .&lt;br /&gt;
NATURAL HISTOR. Y.&lt;br /&gt;
THE WONDERS OF THE ZOO. By LILIAN GASK. 238 pp.&lt;br /&gt;
The Dodge Publishing Co. $1.25.&lt;br /&gt;
POETRY.&lt;br /&gt;
By DARRELL FIGGIs ; with an&lt;br /&gt;
New York : John&lt;br /&gt;
A VISION OF LIFE.&lt;br /&gt;
introduction by G. K. CHESTERTON.&lt;br /&gt;
Lane Co. 100 pp. $1.25 n.&lt;br /&gt;
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THE NAULAHKA : A STORY OF WEST AND EAST. By&lt;br /&gt;
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379 pp. (Pocket Kipling.) Doubleday, Page &amp;amp; Co.&lt;br /&gt;
$1.50.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
SCIENTIFIC PAPERS. Vol. II. : Tidal Friction and COS-&lt;br /&gt;
mogony. By SIR GEO. DARWIN. 516 pp. Putnam.&lt;br /&gt;
$4.50 m.&lt;br /&gt;
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&lt;br /&gt;
TFIES A CITFIOR. 9&lt;br /&gt;
TECHNICAL.&lt;br /&gt;
COMPRESSED AIR WORK AND DIVING : A Handbook&lt;br /&gt;
for Engineers, comprising Deep Water Diving and&lt;br /&gt;
the use of Compressed Air for Sinking Caissons and&lt;br /&gt;
Cyclinders, and for Driving Subaqueous Tunnels. By&lt;br /&gt;
G. W. M. BOYCOTT. New York : D. Wan Nostrand Co.&lt;br /&gt;
128 pp. $4 n.&lt;br /&gt;
THE LIFE STORY OF SIR CHARLES BRIGHT, CIVIL&lt;br /&gt;
ENGINEER : With which is incorporated the story of&lt;br /&gt;
the Atlantic Cable and the first Telegragh to India and&lt;br /&gt;
the Colonies. By CHARLES BRIGHT. 490 pp. New&lt;br /&gt;
York : D. Wan Nostrand Co. $4.50.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
THE MESSAGE OF THE SON OF MAN. By the REV.&lt;br /&gt;
EDWIN, ABBOT. New York : Macmillan. $1.75 m.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
HAMPSHIRE. Painted by WILFRED BALL. Described by&lt;br /&gt;
the REv. TELFORD WARLEY. Macmillan. $6 m.&lt;br /&gt;
THE ISLE OF MAN, described by AGNES HERBERT ; with&lt;br /&gt;
a foreword by A. W. MOORE ; and 32 colour plates by&lt;br /&gt;
DONALD MAXWELL. 270 pp. Jane Lane Co. $3.50 n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
WASHED BY FOUR SEAS. By H. C. WOODS. An English&lt;br /&gt;
Officer&rsquo;s travels in the Near East ; with an introduction&lt;br /&gt;
by SIR MARTIN CONWAY ; illustrated by 62 photographs&lt;br /&gt;
taken by the Author. Brooklyn, New York : A. Wessels&lt;br /&gt;
Co. 316 pp. $2.50 n.&lt;br /&gt;
&agrave;&lt;br /&gt;
w&lt;br /&gt;
&mdash;h- a-&lt;br /&gt;
~---&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
&amp;amp; 4 HE Annals of Psychical Science,&rdquo; founded&lt;br /&gt;
in January, 1905, has changed hands.&lt;br /&gt;
Mr. Dudley Wright, the assistant editor,&lt;br /&gt;
has succeeded Mrs. Laura I. Finch as editor, the&lt;br /&gt;
last named joining the Editorial Board, which&lt;br /&gt;
already includes such well-known names in the&lt;br /&gt;
world of psychical research as Sir William Crookes,&lt;br /&gt;
Camille Flammarion, Prof. Lombroso, Prof.&lt;br /&gt;
Charles Richet, and Col. Albert de Rochas.&lt;br /&gt;
Premises have been secured in the west end&lt;br /&gt;
of London for the proposed Psychical Research&lt;br /&gt;
Club, which will now shortly be opened. Mr.&lt;br /&gt;
Wynton Hope has been appointed secretary, and&lt;br /&gt;
all communications respecting the club should for&lt;br /&gt;
the present be addressed to him c/o &ldquo;The Annals&lt;br /&gt;
of Psychical Science,&rdquo; 110, St. Martin&amp;#039;s Lane,&lt;br /&gt;
London, W.C.&lt;br /&gt;
The summer number of The Car contains an&lt;br /&gt;
article by Maude C. Knight, called &ldquo;An Argyll in&lt;br /&gt;
the West.&rdquo;&lt;br /&gt;
The members of the London and Middlesex&lt;br /&gt;
Archaeological Society paid a visit in July, by&lt;br /&gt;
permission of the trustees, to Morden College,&lt;br /&gt;
Blackheath, where they were received by the&lt;br /&gt;
Chaplain, the Rev. Henry Lansdell, D.D., author&lt;br /&gt;
of &ldquo;The Sacred Tenth,&rdquo; who had prepared for&lt;br /&gt;
their information an account of the most ancient&lt;br /&gt;
possession of the college, namely, the lordship or&lt;br /&gt;
manor at Old Court, Greenwich.&lt;br /&gt;
Mr. J. Ashby Sterry, who originated and has&lt;br /&gt;
Written the popular &ldquo;Bystander &rsquo;&rsquo; column in the&lt;br /&gt;
Graphic for considerably over eighteen years, has&lt;br /&gt;
now altogether retired from that paper. .&lt;br /&gt;
Miss M. A. Woods, author of &ldquo;The Characters&lt;br /&gt;
of Paradise Lost,&rdquo; has just published, through&lt;br /&gt;
Messrs. Baker &amp;amp; Son, of Clifton, Bristol, a work&lt;br /&gt;
entitled &ldquo;A Study of Opposites.&rdquo;&lt;br /&gt;
Miss Alice Henry has been appointed editor of&lt;br /&gt;
the Woman&amp;#039;s department of the &ldquo;Union Ilabour&lt;br /&gt;
Advocate &rsquo;&rsquo; of Chicago, Ill.&lt;br /&gt;
&ldquo;The Adventures of Lally Helsmark&rsquo; is a work&lt;br /&gt;
written by Mr. Marshall Kelly and published by&lt;br /&gt;
Mr. Henry J. Drane in three volumes, sub-&lt;br /&gt;
divided into four parts. The first part follows the&lt;br /&gt;
Course of a man who, bred in the ancient faith,&lt;br /&gt;
Wanders into the thickest stress of atheistic prac-&lt;br /&gt;
tice. In the second part reference is made to the&lt;br /&gt;
difference between the nineteenth and twentieth&lt;br /&gt;
centuries, and to modern faiths. An individual&lt;br /&gt;
is introduced whose progress through certain&lt;br /&gt;
engineering workshops and docks is traced in the&lt;br /&gt;
third part, which contains descriptions of the&lt;br /&gt;
life found there and such reflections as genuinely&lt;br /&gt;
spring out of this. Part four concerns the faith&lt;br /&gt;
of man in all ages, and his practice in this.&lt;br /&gt;
Madame Wassal, who has lately returned from&lt;br /&gt;
Annam, where she has been living for three years,&lt;br /&gt;
is open to lecturing engagements on the subject of&lt;br /&gt;
&ldquo;Life in Annam.&rdquo; Dr. Wassal, who was attached&lt;br /&gt;
to the Pasteur Institute of Nhatrang, made several&lt;br /&gt;
expeditions into the interior, and on every possible&lt;br /&gt;
Occasion was accompanied by Madame Wassal, who&lt;br /&gt;
thus obtained an opportunity of studying not only&lt;br /&gt;
the Annamese, but the wild hill tribes.&lt;br /&gt;
Applications for lectures should be addressed to&lt;br /&gt;
The Lecture Agency, The Outer Temple, Strand,&lt;br /&gt;
London, W.C.&lt;br /&gt;
&ldquo;Royal Revenues,&rdquo; by H. R. H., is a booklet&lt;br /&gt;
in which is revealed an obsolete historical incident,&lt;br /&gt;
exemplifying the self-abnegation of the late Queen&lt;br /&gt;
Victoria and the devotion of one of her counsellors.&lt;br /&gt;
Mr. Elliot Stock is the publisher of the work,&lt;br /&gt;
which is obtainable at the price of 6d. nett.&lt;br /&gt;
FICTION.&lt;br /&gt;
&ldquo;Major Weir&rdquo; by K. L. Montgomery, has been&lt;br /&gt;
brought out in a popular shilling edition by Mr.&lt;br /&gt;
Fisher Unwin. An article on &ldquo;Allen Raine,&rdquo; by&lt;br /&gt;
the same author, appeared in the June number of&lt;br /&gt;
The Treasury. -&lt;br /&gt;
In our United States notes some time ago we&lt;br /&gt;
&lt;br /&gt;
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## p. (#372) ################################################&lt;br /&gt;
&lt;br /&gt;
10&lt;br /&gt;
TISIES A DTEIOR.&lt;br /&gt;
announced the publication of a new novel by&lt;br /&gt;
Gertrude Atherton this spring. We understand&lt;br /&gt;
that we were premature in this announcement and&lt;br /&gt;
that the work in question will not be ready till the&lt;br /&gt;
spring of 1910.&lt;br /&gt;
&ldquo;The Diamond and the Rose,&rdquo; by Hope&lt;br /&gt;
Protheroe, is a novel which has for its theme the&lt;br /&gt;
sacrifice of a girl who releases her lover because of&lt;br /&gt;
the knowledge which comes to her of her inherit-&lt;br /&gt;
ance of the taint of insanity. The Century Press&lt;br /&gt;
are the publishers. -&lt;br /&gt;
Mr. Edgar Turner is publishing, this month,&lt;br /&gt;
through Messrs. Stanley, Paul &amp;amp; Co., a new novel&lt;br /&gt;
entitled &ldquo;The Submarine Girl,&rdquo; which, in title and&lt;br /&gt;
in style, recalls the same author&amp;#039;s first book, &ldquo;The&lt;br /&gt;
Girl with Feet of Clay,&rdquo; a work which was mainly&lt;br /&gt;
about authors.&lt;br /&gt;
&ldquo;Sylvia and the Secretary&rdquo; is a new novel by&lt;br /&gt;
Olivia Ramsey (author of &ldquo;The Marriage of Lionel&lt;br /&gt;
Glyde&rsquo;&rsquo; and &ldquo;The Girl from Catford&rdquo;), which&lt;br /&gt;
Mr. John Long has just published.&lt;br /&gt;
Amongst the novels to be issued at the popular&lt;br /&gt;
price of 28. in the autumn is a re-issue of the&lt;br /&gt;
novels by the author of &ldquo;John Westacott.&rdquo; The&lt;br /&gt;
first volume that Messrs. Chapman and Hall will&lt;br /&gt;
produce is &ldquo;The Gleaming Dawn.&rdquo; This will be&lt;br /&gt;
followed by &ldquo;The Cardinal&amp;#039;s Page,&rdquo; and then will&lt;br /&gt;
come the River Stories : &ldquo;John Westacott,&rdquo; &ldquo;By&lt;br /&gt;
the Western Sea,&rdquo; etc. The author, Mr. James&lt;br /&gt;
Baker, is now engaged upon a volume of &ldquo;Reminis-&lt;br /&gt;
cent Gossip from Old Note-books,&rdquo; some chapters&lt;br /&gt;
of which have appeared in the St. James&amp;#039;s Gazette.&lt;br /&gt;
Mrs. M. H. Spielmann has published, through&lt;br /&gt;
Messrs. Chatto and Windus, a volume called &ldquo;The&lt;br /&gt;
Rainbow Book,&rdquo; in which are included sixteen&lt;br /&gt;
tales of fun and fancy. The book has a coloured&lt;br /&gt;
frontispiece and fourteen illustrations by Arthur&lt;br /&gt;
Rackham, and twenty-two in black and white by&lt;br /&gt;
Hugh Thomson, Bernard Partridge, Lewis Baumer,&lt;br /&gt;
Harry Rowntree, and C. Wilhelm.&lt;br /&gt;
Mr. H. A. Wachell&amp;#039;s new novel, &ldquo;The Paladin,&rdquo;&lt;br /&gt;
which has been running serially during the&lt;br /&gt;
current year in the Cornhill Magazine, was pub-&lt;br /&gt;
lished in book form in the last week of September&lt;br /&gt;
by Messrs. Smith, Elder &amp;amp; Co. Mr. Wachell is&lt;br /&gt;
now engaged upon some dramatic work.&lt;br /&gt;
&ldquo;Only a Woman : An Unsuspected Heroine of&lt;br /&gt;
the Reformation,&rdquo; by Edith C. Kenyon, author of&lt;br /&gt;
&ldquo;A Girl in a Thousand,&rdquo; etc., will be published by&lt;br /&gt;
the Religious Tract Society. This story, dealing&lt;br /&gt;
with the times of Luther, ran as a serial through&lt;br /&gt;
the pages of Our Own Gazette, and we understand&lt;br /&gt;
has already been translated into Swedish.&lt;br /&gt;
&ldquo;Shadow-Shapes&rdquo; is a new volume of short&lt;br /&gt;
stories and sketches by Ella Erskine. It owes its&lt;br /&gt;
title to one of the quatrains of Omar &mdash; &ordm;&lt;br /&gt;
&ldquo;We are no other than a moving row of magic&lt;br /&gt;
shadow-shapes that come and go round with the&lt;br /&gt;
sun-illumined lantern held in midnight by the&lt;br /&gt;
master of the show.&rdquo; -&lt;br /&gt;
It has just been published by Mr. Elkin.&lt;br /&gt;
Mathews. Price 3s. 6d. nett.&lt;br /&gt;
Dolf Wyllarde is publishing, this autumn,&lt;br /&gt;
through Messrs. Stanley Paul &amp;amp; Co., a collection&lt;br /&gt;
of short stories, entitled &ldquo;Tropical Tales,&rdquo; which&lt;br /&gt;
are mostly based on a theory of the influence of&lt;br /&gt;
climate upon human actions and characters. The&lt;br /&gt;
author has adopted the plan of stating the tempera-&lt;br /&gt;
ture in each case.&lt;br /&gt;
The same Writer, in addition to a certain amount&lt;br /&gt;
of journalism and magazine work, is also writing&lt;br /&gt;
a long novel which Messrs. Methuen &amp;amp; Co. will&lt;br /&gt;
publish next year.&lt;br /&gt;
The Religious Tract Society&amp;#039;s autumn publica-&lt;br /&gt;
tions include a modern romance, by Helen H.&lt;br /&gt;
Watson (Mrs. Herbert A. Watson). &ldquo;Love: The&lt;br /&gt;
Intruder,&rdquo; is the title of the story, the author of&lt;br /&gt;
which has already written many stories for children,&lt;br /&gt;
as well as some novels, the latter category includ-&lt;br /&gt;
ing &ldquo;Andrew Goodfellow &rsquo;&rsquo; and &ldquo;The Captain&amp;#039;s&lt;br /&gt;
Daughter.&rdquo;&lt;br /&gt;
Mr. John Bloundelle-Burton&amp;#039;s new novel, &ldquo;The&lt;br /&gt;
King&amp;#039;s Mignon,&rdquo; is to be published shortly by&lt;br /&gt;
Messrs. Everett &amp;amp; Co. The period covers the few&lt;br /&gt;
months that elapsed between the murder of the&lt;br /&gt;
Duc de Guise and his brother, the Cardinal, at.&lt;br /&gt;
Blois, by order of the King (Henri III.) and the&lt;br /&gt;
assassination of the evil king himself by Jacques.&lt;br /&gt;
Cl&eacute;ment. In this setting the author tells a,&lt;br /&gt;
romance of the period, and introduces the&lt;br /&gt;
vicissitudes to which the heroine, wife of one of&lt;br /&gt;
the worst of the mignons, is exposed. An amount,&lt;br /&gt;
of mystery, which surrounds her existence to&lt;br /&gt;
the end, also forms a considerable portion of&lt;br /&gt;
Mr. Bloundelle-Burton&amp;#039;s latest story.&lt;br /&gt;
Mrs. F. E. Penny&amp;#039;s new Indian story, entitled&lt;br /&gt;
&ldquo;The Unlucky Mark,&rdquo; has just been published by&lt;br /&gt;
Messrs. Chatto and Windus.&lt;br /&gt;
Messrs. Washbourne &amp;amp; Co. are publishing &ldquo;A.&lt;br /&gt;
Red Handed Saint,&rdquo; by Miss Olive Katharine Parr,&lt;br /&gt;
this autumn. The story is another slum narrative,&lt;br /&gt;
and has run as a serial in The Universe, London,&lt;br /&gt;
The Universe, Ohio, and the Catholic Standard,&lt;br /&gt;
Philadelphia.&lt;br /&gt;
&ldquo;The Unexplained&rdquo; is the title given to a.&lt;br /&gt;
collection of Indian stories by Edith C. Gerrard,&lt;br /&gt;
which Messrs. Digby, Long &amp;amp; Co. have published.&lt;br /&gt;
There are eight stories in all, and they tell of&lt;br /&gt;
Indian life on the hills and when travelling on the&lt;br /&gt;
plains.&lt;br /&gt;
&ldquo;Paths Perilous,&rdquo; a new novel by Sidney&lt;br /&gt;
Pickering, was published last month by Messrs.&lt;br /&gt;
Chapman and Hall. -&lt;br /&gt;
Miss Winifred James will produce, early this,&lt;br /&gt;
month, a book entitled &ldquo;Saturday&amp;#039;s Children.&rdquo;&lt;br /&gt;
It will be published by Messrs. Blackie &amp;amp; Sons,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#373) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
11&lt;br /&gt;
at the price of 6s. The illustrations are by&lt;br /&gt;
Frances Ewan, and the book deals with the&lt;br /&gt;
vicissitudes of two penniless girls in an Australian&lt;br /&gt;
town. -&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
Miss F. M. S. Batchelor has translated, with the&lt;br /&gt;
assistance of Mr. C. A. Miles, a short history of&lt;br /&gt;
the Popes, which has lately been written by Prof.&lt;br /&gt;
Gustav Kr&uuml;ger, of Giessen, one of the foremost&lt;br /&gt;
ecclesiastical historians in Germany. It is a&lt;br /&gt;
concise and impartial account of the Papacy from&lt;br /&gt;
the earliest times to the accession of Pius X.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co. are the publishers of the&lt;br /&gt;
volume which bears the title of &ldquo;The Papacy : the&lt;br /&gt;
Idea and its Exponents.&rdquo;&lt;br /&gt;
Miss Agnes Murphy, who has been commissioned&lt;br /&gt;
to write the biography of Madame Melba, which&lt;br /&gt;
is to be published in New York and London during&lt;br /&gt;
October, is an Irishwoman who has travelled widely,&lt;br /&gt;
and who, for some years, has filled the position of&lt;br /&gt;
personal representative of the Queen of Song. The&lt;br /&gt;
book will contain a number of illustrations.&lt;br /&gt;
Mr. John Lane has recently published a new&lt;br /&gt;
work dealing with &ldquo;Madame de Maintenon, her&lt;br /&gt;
life and time, 1635&ndash;1719,&rdquo; by Charlotte C.&lt;br /&gt;
Dyson. Recent research has led to the discovery&lt;br /&gt;
of many new facts concerning one whom friends&lt;br /&gt;
and foes alike acknowledge to have been one of the&lt;br /&gt;
most remarkable figures in French history, and&lt;br /&gt;
Miss Dyson will probably, taking these facts into&lt;br /&gt;
account,be able to show the wife of Louis XIV. in&lt;br /&gt;
a new light.&lt;br /&gt;
There are 17 illustrations to the book.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
&ldquo;The YoungNaturalist,&rdquo; by W. Percival Westell,&lt;br /&gt;
is a guide to British animal life, in which the&lt;br /&gt;
author continues his efforts to popularise the study&lt;br /&gt;
of natural history, avoiding the language of the&lt;br /&gt;
large text-books, which he considers are often quite&lt;br /&gt;
beyond the ken of the ordinary individual.&lt;br /&gt;
In addition to eight coloured plates there are&lt;br /&gt;
nearly 250 photographic illustrations. Messrs.&lt;br /&gt;
Methuen &amp;amp; Co. are the publishers.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
A new work by Mr. J. Ellard Gore, F.R.A.S.,&lt;br /&gt;
entitled &ldquo;Astronomical Curiosities: Facts and&lt;br /&gt;
Fallacies,&rdquo; is in the press, and will shortly be pub-&lt;br /&gt;
lished by Messrs. Chatto and Windus.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
Mr. Francis Gribble&amp;#039;s three monographs on&lt;br /&gt;
Geneva, Montreux, and Lausanne have been&lt;br /&gt;
brought together in a single volume called &ldquo;The&lt;br /&gt;
{Lake of Geneva,&rdquo; which will be published by&lt;br /&gt;
Messrs. A. and C. Black. The scope of the work&lt;br /&gt;
is rather biographical and historical than descrip-&lt;br /&gt;
tive. The scenery of the lake having been copiously&lt;br /&gt;
illustrated by J. Hardwicke Lewis and Miss Mary&lt;br /&gt;
Hardwicke Lewis, Mr. Gribble, the author, has&lt;br /&gt;
mainly devoted his text to anecdotal summaries of&lt;br /&gt;
the careers of the celebrities, from Bonivard to&lt;br /&gt;
Byron, and from Calvin to Voltaire, whose names&lt;br /&gt;
are associated with Geneva, Vaud, and Chablais.&lt;br /&gt;
. Messrs. Hutchinson &amp;amp; Co. have just published&lt;br /&gt;
Sir Godfrey Lagden&amp;#039;s work on &ldquo;The Basutos,&rdquo; in&lt;br /&gt;
which the author, who spent the greater part of&lt;br /&gt;
thirty years in Southern Africa and seventeen&lt;br /&gt;
amongst the Basutos, traces their early origin and&lt;br /&gt;
formation into a tribe under the celebrated chief&lt;br /&gt;
Moshish. Their struggles for ascendency with the&lt;br /&gt;
Zulus and other tribes are first depicted, and then&lt;br /&gt;
the rough story of contest with the European&lt;br /&gt;
pioneers. The work, which is published in two&lt;br /&gt;
Volumes, at 24S. nett, is illustrated from a series of&lt;br /&gt;
reproductions from photographs in the author&amp;#039;s&lt;br /&gt;
collections.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
&ldquo;A Vision of Perfection,&rdquo; by Georgie Har-&lt;br /&gt;
greaves, describes the struggle of a being against&lt;br /&gt;
agnostic precepts, and its eventual victory over&lt;br /&gt;
them. Mr. Frank H. Morland, of 16, Park&lt;br /&gt;
Mansions, Fulham, S.W., is the publisher.&lt;br /&gt;
} POETRY.&lt;br /&gt;
&ldquo;Thoughts and Pastimes,&rdquo; by M. E. R., is a&lt;br /&gt;
collection of verse, homely in form and reverent&lt;br /&gt;
in spirit, which has been published by Messrs.&lt;br /&gt;
Kegan, Paul &amp;amp; Co. The proceeds of the sales are&lt;br /&gt;
to go to the Great Ormond Street Children&amp;#039;s&lt;br /&gt;
Hospital. The volume contains six illustrations,&lt;br /&gt;
which add to the attractiveness of the production.&lt;br /&gt;
Mr. G. K. Chesterton&amp;#039;s first book, &ldquo;The Wild&lt;br /&gt;
Knight, and Other Poems,&rdquo; was published nine&lt;br /&gt;
years ago, and Messrs. J. M. Dent &amp;amp; Co. are now&lt;br /&gt;
preparing a new edition, which will be revised by&lt;br /&gt;
the author and contain many entirely new poems.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
To Messrs. George Allen &amp;amp; Sons&amp;#039; series,&lt;br /&gt;
&ldquo;Memorials of the Counties of England,&rdquo; under the&lt;br /&gt;
general editorship of the Rev. P. H. Ditchfield,&lt;br /&gt;
M.A., has been added &ldquo;Memorials of Old Sussex,&rdquo;&lt;br /&gt;
edited by Percy D. Mundy. Mr. Mundy has had&lt;br /&gt;
the assistance of Mr. Hilaire Belloc, who con-&lt;br /&gt;
tributes an introductory chapter on the indi-&lt;br /&gt;
viduality of Sussex; of Dr. Cox, who writes on the&lt;br /&gt;
subject of Sussex forests; of Mr. J. Tavenor-&lt;br /&gt;
Perry, who writes on Saxon architecture ; and of&lt;br /&gt;
many other writers distinguished in their various&lt;br /&gt;
departments. - -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#374) ################################################&lt;br /&gt;
&lt;br /&gt;
12&lt;br /&gt;
TRIES A DTEIOR.&lt;br /&gt;
The volume is to be published on subscription at&lt;br /&gt;
15s, nett.&lt;br /&gt;
ENGINEERING.&lt;br /&gt;
Messrs. Archibald Constable &amp;amp; Co. announce&lt;br /&gt;
the publication of a text-book on gas, oil and petrol&lt;br /&gt;
engines for the use of students and engineers, by&lt;br /&gt;
Mr. H. E. Wimperis. &ldquo;The Internal Combustion&lt;br /&gt;
Engine &amp;quot;-the book under notice&mdash;deals with&lt;br /&gt;
subjects in the borderland between the several&lt;br /&gt;
allied sciences (notably physics and chemistry) and&lt;br /&gt;
the exclusively practical sides of their application.&lt;br /&gt;
The treatment is necessarily mathematical in&lt;br /&gt;
certain parts, but it does not demand any more&lt;br /&gt;
than an average acquaintance with mathematics&lt;br /&gt;
On the part of the reader. -&lt;br /&gt;
POLITICAL.&lt;br /&gt;
Mr. Archibald Colquhoun has republished in a&lt;br /&gt;
Small volume some articles of his which appeared&lt;br /&gt;
recently in the Morning Post on the question of&lt;br /&gt;
Germany and sea power, &ldquo;1912 P&rsquo;&rsquo;&mdash;the tile&lt;br /&gt;
given to the volume (in which will be found some&lt;br /&gt;
hitherto unpublished matter)&mdash;provides the clue to&lt;br /&gt;
the author&amp;#039;s purpose in writing on one of the&lt;br /&gt;
gravest questions of the day. Messrs. Pitmans&lt;br /&gt;
are the publishers.&lt;br /&gt;
HISTORICAL.&lt;br /&gt;
Miss S. F. A. Caulfeild has published, through&lt;br /&gt;
Mr. Elliot Stock, a sketch, more or less brief, of&lt;br /&gt;
the planting of the Christian faith in Continental&lt;br /&gt;
Europe when the several nationalities were pagan.&lt;br /&gt;
The author has included in her history extracts&lt;br /&gt;
from the records of apostolic succession in the&lt;br /&gt;
five primitive mother-churches during the first&lt;br /&gt;
three centuries of Christianity.&lt;br /&gt;
&ldquo;The Dawn of Christianity in Continental&lt;br /&gt;
Europe&rdquo; is the title of Miss Caulfeild&rsquo;s book,&lt;br /&gt;
which is illustrated from photographs, and is&lt;br /&gt;
published at 2s. 6d. nett.&lt;br /&gt;
Count L&uuml;tzow is preparing a new edition of his&lt;br /&gt;
&ldquo;Bohemia : A Historical Sketch,&rdquo; which first&lt;br /&gt;
appeared in 1896, and has long been out of print.&lt;br /&gt;
The new edition will be considerably altered and&lt;br /&gt;
enlarged. As Count L&uuml;tzow has recently written&lt;br /&gt;
a history of Bohemian literature, the last chapter&lt;br /&gt;
of the &ldquo;Sketch,&rdquo; which dealt with the literature&lt;br /&gt;
of Bohemia, has been omitted. On the other&lt;br /&gt;
hand, an extensive chapter has been added which&lt;br /&gt;
deals with the history of Bohemia from the year&lt;br /&gt;
1620 up to the present day. The first edition did&lt;br /&gt;
not continue the history of Bohemia beyond the&lt;br /&gt;
year 1620. The new edition of &ldquo;Bohemia: A&lt;br /&gt;
Historical Sketch,&rdquo; will be published about the&lt;br /&gt;
end of the present year by Messrs. Dent &amp;amp; Co. in&lt;br /&gt;
&ldquo;Everyman&amp;#039;s Library.&rdquo;&lt;br /&gt;
REMINISCENCEs.&lt;br /&gt;
Mr.T. Werner Laurie has just published &ldquo;My&lt;br /&gt;
Friends the French,&rdquo; by Robert Harborough&lt;br /&gt;
Sherard. In this volume Mr. Sherard relates&lt;br /&gt;
further reminiscences of Paris, beyond those given&lt;br /&gt;
in his &ldquo;Twenty Years in Paris,&rdquo; and his observa-&lt;br /&gt;
tions of modern Social life in France.&lt;br /&gt;
LAW.&lt;br /&gt;
Mr. Edward Jenks&amp;#039;s book &ldquo; Husband and Wife&lt;br /&gt;
in the Law,&rdquo; published by Messrs. J. M. Dent &amp;amp;&lt;br /&gt;
Co., explains the mutual relations of husband and&lt;br /&gt;
wife, so far as they are regulated by the law.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
&ldquo;Town Planning in Practice,&rdquo; by Mr. Raymond&lt;br /&gt;
Unwin, is a book which is not occupied with the&lt;br /&gt;
advocacy of town planning or the Garden City&lt;br /&gt;
movement, but, assuming the desirability of these,&lt;br /&gt;
seeks to put before the reader a sketch of town&lt;br /&gt;
planning as it has been practised in the past, and&lt;br /&gt;
to give some idea of the different styles of work.&lt;br /&gt;
It deals particularly with the two main schools&lt;br /&gt;
who advocate respectively formality and inform-&lt;br /&gt;
ality of design, and suggests definite principles for&lt;br /&gt;
guidance. The book, which has 300 illustrations,&lt;br /&gt;
is published by Mr. Fisher Unwin at the price of&lt;br /&gt;
&pound;1 1s. nett.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
Since the last issue of The Author the dramatic&lt;br /&gt;
Section of the Society of Authors has been well&lt;br /&gt;
represented on the stage. Mr. Justin Huntly&lt;br /&gt;
McCarthy, Sir Arthur Pinero, Mr. Cecil Raleigh,&lt;br /&gt;
Mr. Paul Rubens, Mr. G. Bernard Shaw, Mr.&lt;br /&gt;
Alfred Sutro, Mr. J. B. Fagan, and Mr. F.&lt;br /&gt;
Anstey have each produced plays during the&lt;br /&gt;
Vacation.&lt;br /&gt;
Mr. McCarthy&amp;#039;s play &ldquo;The Proud Prince,&rdquo; an&lt;br /&gt;
adaptation of the well-known legend King Robert.&lt;br /&gt;
of Sicily, was produced at the Lyceum Theatre&lt;br /&gt;
on September 4, and was interpreted by a&lt;br /&gt;
caste which included Mr. Matheson Lang, Miss.&lt;br /&gt;
Dorothy Thomas, and Mr. Eric Mayne.&lt;br /&gt;
Sir Arthur Pinero&amp;#039;s play, &ldquo;Mid-Channel,&rdquo; in&lt;br /&gt;
four acts, was produced at the St. James&amp;#039;s Theatre&lt;br /&gt;
early in September. The caste included Miss&lt;br /&gt;
Irene Vanbrugh, Mr. Lyn Harding, and Mr.&lt;br /&gt;
C. M. Lowne.&lt;br /&gt;
&ldquo;The Whip&rdquo; was produced by Mr. Cecil&lt;br /&gt;
Raleigh in collaboration with Mr. Henry&lt;br /&gt;
Hamilton at Drury Lane Theatre, on Thursday,&lt;br /&gt;
September 9, with a caste in which were&lt;br /&gt;
included Miss Jessie Bateman, Mr. Wincent&lt;br /&gt;
Clive, Mr. Cyril Keightley, and Miss Madge.&lt;br /&gt;
Fabian. .&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#375) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
13&lt;br /&gt;
Mr. Paul Ruben&rsquo;s &ldquo;Dear Little Denmark,&rdquo;&lt;br /&gt;
described as a Danish musical incident in two&lt;br /&gt;
acts, was produced at the Prince of Wales&amp;#039;s Theatre&lt;br /&gt;
early last month, Mr. Huntley Wright, Miss Gracie&lt;br /&gt;
Leigh, and Miss Isabel Jay in the caste.&lt;br /&gt;
&ldquo;The Showing-Up of Blanco-Posnet &amp;quot;--Mr. G.&lt;br /&gt;
Bernard Shaw&amp;#039;s one-act play&mdash;was produced at the&lt;br /&gt;
Abbey Theatre in Dublin during the last week in&lt;br /&gt;
August, with Mr. O&rsquo;Donovan as Blanco, and Miss&lt;br /&gt;
Mary O&rsquo;Neill as the mother.&lt;br /&gt;
Mr. Alfred Sutro&amp;#039;s play &ldquo;Making a Gentleman,&rdquo;&lt;br /&gt;
was produced at the Garrick on Saturday, Septem-&lt;br /&gt;
ber 11, and was interpreted by a caste in which&lt;br /&gt;
were included Mr. Arthur Bourchier, Miss Ethel&lt;br /&gt;
Irving, and Mr. Kenneth Douglas.&lt;br /&gt;
&ldquo;False Gods&rdquo; is a translation, for which Mr. J.&lt;br /&gt;
B. Fagan is responsible, from &ldquo;La Foi,&rdquo; by M.&lt;br /&gt;
Brieux, and was produced at His Majesty&amp;#039;s Theatre&lt;br /&gt;
on September 14, with a caste which included&lt;br /&gt;
Sir Herbert Tree, Mrs. Patrick Campbell, Henry&lt;br /&gt;
Ainley, and Miss Evelyn D&rsquo;Alroy.&lt;br /&gt;
Mr. F. Anstey&amp;#039;s fantasy, &ldquo;The Brass Bottle,&rdquo;&lt;br /&gt;
was produced at the Vaudeville Theatre just before&lt;br /&gt;
The Author went to press. In the cast were Mr.&lt;br /&gt;
Lawrence Grossmith, Miss Viva Birkett, and Mr.&lt;br /&gt;
Rudge Harding.&lt;br /&gt;
A new one-act play called &ldquo;The Typist&rdquo; was&lt;br /&gt;
produced on September 15 at the Garden Theatre&lt;br /&gt;
in the Women of All Nations Exhibition at Olympia.&lt;br /&gt;
There are three characters in the piece: Earl&lt;br /&gt;
Dreighton (Mr. Walter Pearce), Mary Lister (a&lt;br /&gt;
heiress impersonated by Miss Ella Erskine), and&lt;br /&gt;
Johnson (a butler, taken by Mr. Louis Calvert).&lt;br /&gt;
The theme relates to the attempt of the Earl to&lt;br /&gt;
Save the fortunes of his house through literature,&lt;br /&gt;
rather than by contracting an alliance with an&lt;br /&gt;
heiress as suggested by his mother, and the play&lt;br /&gt;
shows how he finally did unconsciously (by falling&lt;br /&gt;
in love with an heiress under the impression that&lt;br /&gt;
she was a typist) what his mother had desired he&lt;br /&gt;
should do.&lt;br /&gt;
Miss Ella Erskine, the author of the piece, has&lt;br /&gt;
also written a one-act play which she has called&lt;br /&gt;
&ldquo;The White Hair.&rdquo; This piece has been acquired&lt;br /&gt;
by the Scottish Repertory Theatre for productions&lt;br /&gt;
in Glasgow and Edinburgh this autumn, and Miss&lt;br /&gt;
Erskine has been engaged to play the leading&lt;br /&gt;
part.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE last book written by Mme. Arv&egrave;de Barine&lt;br /&gt;
has been published in volume form since&lt;br /&gt;
her death. It appeared in serial form in&lt;br /&gt;
the Revue des, Deua Mondes. It is the history&lt;br /&gt;
of &ldquo;Madame,&rdquo; the sister-in-law of Louis XIV. As&lt;br /&gt;
&ordm;, descendant of the Stuarts the story of this&lt;br /&gt;
Princess is extremely interesting to English readers.&lt;br /&gt;
A granddaughter of the &ldquo;Winter King &rdquo; of&lt;br /&gt;
Bohemia, her life was by no means an uneventful&lt;br /&gt;
One. On marrying Philippe, Duc d&amp;#039;Orl&eacute;ans,&lt;br /&gt;
brother of Louis XIV., she was required to abjure&lt;br /&gt;
her religion. With her German tastes and her&lt;br /&gt;
independence of character she found Court etiquette&lt;br /&gt;
most irksome, until she became fascinated by the&lt;br /&gt;
Grand Monarch. It is this thread of romance&lt;br /&gt;
which makes the history of the Duchesse d&rsquo;Orl&eacute;ans&lt;br /&gt;
so interesting. We see her, in all the freshness of&lt;br /&gt;
her girlhood, amusing the French Court by her&lt;br /&gt;
frankness and her daring speeches. She delights&lt;br /&gt;
in hunting and riding, and is indefatigable in all&lt;br /&gt;
Outdoor exercises. Much later on we see her&lt;br /&gt;
growing old, tormented by her family troubles,&lt;br /&gt;
jealous of Mme. de Maintenon, withdrawing as&lt;br /&gt;
much as possible from Court life. Mme. Arv&egrave;de&lt;br /&gt;
Barine gives us extracts from her letters to her&lt;br /&gt;
family, so that we have her story, as it were, from her&lt;br /&gt;
own lips, by reading between the lines. The whole&lt;br /&gt;
book is as interesting as a novel. There is not a&lt;br /&gt;
word too much. Mme. Barine was thoroughly well&lt;br /&gt;
up in her subject, and possessed the secret of&lt;br /&gt;
giving, as concisely as possible, a life-like portrait&lt;br /&gt;
of the person she was depicting. She was one of&lt;br /&gt;
the most conscientious of writers, and spared no&lt;br /&gt;
pains in getting all the information necessary from&lt;br /&gt;
every possible source before commencing her book.&lt;br /&gt;
It is an education to read her notes, as no detail&lt;br /&gt;
was neglected by her which might add to the&lt;br /&gt;
interest of the subject she had in hand. This&lt;br /&gt;
volume on &ldquo;Madame&rsquo;&rsquo; is one of the most interest-&lt;br /&gt;
ing of Mme. Arv&egrave;de Barine&amp;#039;s works.&lt;br /&gt;
Jules Huret has now published another volume&lt;br /&gt;
of his studies of Germany. The present one is&lt;br /&gt;
entitled &ldquo;Berlin,&rdquo; and contains chapters on&lt;br /&gt;
&ldquo;l&rsquo;Avenir,&rdquo; &ldquo;La Vie Nocturne,&rdquo; &ldquo;Le Monde,&rdquo;&lt;br /&gt;
&ldquo;Le Peuple,&rdquo; &ldquo;Les Ouvriers,&rdquo; &ldquo;Officiers et&lt;br /&gt;
Soldats,&rdquo; &ldquo;L&rsquo;Hygi&egrave;ne et la Propret&eacute;,&rdquo; &ldquo;L&rsquo;Anti-&lt;br /&gt;
s&eacute;mitisme.&rdquo; The author of this series of books has&lt;br /&gt;
been travelling in all parts of Germany, and his&lt;br /&gt;
study of the country and of the Germans is one of&lt;br /&gt;
the most impartial and thorough criticisms that&lt;br /&gt;
has hitherto appeared.&lt;br /&gt;
Among recent books are &ldquo;La Chasse de Blanche,&rdquo;&lt;br /&gt;
by Gyp ; &ldquo;Pierre et Th&eacute;r&egrave;se,&rdquo; by Marcel Pr&eacute;vost ;&lt;br /&gt;
&ldquo;Polochon,&rdquo; by G. de Pawlowski; &ldquo;Le Partage&lt;br /&gt;
de l&amp;#039;Afrique (Fachoda), by Gabriel Hanotaux.&lt;br /&gt;
A volume of poems by the Duchesse d&amp;#039;Uz&egrave;s,&lt;br /&gt;
n&eacute;e Mortemart, has just been published under the&lt;br /&gt;
title of &ldquo;Paillettes grises.&rdquo; The title itself is a&lt;br /&gt;
trouvaille, and very many of the poems are&lt;br /&gt;
exquisite.&lt;br /&gt;
Pierre de Coulevain&amp;#039;s book &ldquo;On the Branch&amp;quot; is&lt;br /&gt;
to be published shortly by Mr. Nash in England&lt;br /&gt;
and by Messrs. Dutton in America.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#376) ################################################&lt;br /&gt;
&lt;br /&gt;
14&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
In the Revue Bleue M. Lucien Maury devotes&lt;br /&gt;
four pages to Frederika Macdonald&amp;#039;s book on&lt;br /&gt;
Rousseau. The translation of this book into&lt;br /&gt;
French has been greatly appreciated here. Several&lt;br /&gt;
of the reviews had devoted some pages to the&lt;br /&gt;
English edition, giving extracts from it, and this&lt;br /&gt;
had aroused great curiosity. As M. Maury very&lt;br /&gt;
justly observes, Mme. Frederika Macdonald has&lt;br /&gt;
gone more deeply into her subject than anyone&lt;br /&gt;
else hitherto. . In her vindication of Jean Jacques&lt;br /&gt;
Rousseau she has brought some astonishing revela-&lt;br /&gt;
tions to support her theory, and M. Maury calls&lt;br /&gt;
upon his readers to admire &ldquo;the resolution and the&lt;br /&gt;
British perseverance of this clever writer.&rdquo; Further&lt;br /&gt;
On M. Maury acknowledges that Mme. Macdonald&lt;br /&gt;
has proved the plot against Rousseau. Rarely, he&lt;br /&gt;
says, has any seeker after truth been so fortunate&lt;br /&gt;
in finding proofs and in being able to show the&lt;br /&gt;
evidence. The memoirs of Mme. d&amp;#039;Epinay have&lt;br /&gt;
always been used as a weapon against Rousseau.&lt;br /&gt;
It is certainly interesting to find now that these&lt;br /&gt;
memoirs were altered by the author at the instiga-&lt;br /&gt;
tion of Grimm and Diderot. Mme. Macdonald&lt;br /&gt;
shows us the original manuscript with the altera-&lt;br /&gt;
tions. She certainly has been most fortunate in&lt;br /&gt;
her researches among the archives. It has taken&lt;br /&gt;
her twenty years to prove her assertions, but her&lt;br /&gt;
book marks an era for the disciples and admirers&lt;br /&gt;
of Rousseau.&lt;br /&gt;
In the Revue de Paris of July there are interest-&lt;br /&gt;
ing articles by Andr&eacute; Chevrillon on &ldquo;L&rsquo;Orthodoxie&lt;br /&gt;
paradoxale,&rdquo; by Fernand Caussy on &ldquo;Voltaire et&lt;br /&gt;
ses Cur&eacute;s,&rdquo; and by Philippe Gonnard on &ldquo;Sainte&lt;br /&gt;
H&eacute;l&egrave;ne et Napol&eacute;on III.&rdquo; In the August numbers&lt;br /&gt;
of the same review are articles on &ldquo;L&rsquo;Arm&eacute;e&lt;br /&gt;
russe,&rdquo; by an anonymous writer; on &ldquo;Chateau-&lt;br /&gt;
briand, Napol&eacute;on et les Bourbons,&rdquo; by Leonce&lt;br /&gt;
Pingaud ; on &ldquo;La Question d&amp;#039;Alsace,&rdquo; by H.&lt;br /&gt;
Lichtenberger ; and on &ldquo;Questions ext&eacute;rieures,&rdquo;&lt;br /&gt;
by Victor B&eacute;rard. In the September number there&lt;br /&gt;
are articles by Charles Bougl&eacute; on &ldquo;Darwiniens a&lt;br /&gt;
Cambridge,&rdquo; by Commandant Picard on &ldquo;Sedan,&rdquo;&lt;br /&gt;
and by an anonymous writer on &ldquo;Le D&eacute;barque-&lt;br /&gt;
ment des Anglais en Allemagne.&rdquo;&lt;br /&gt;
The theatrical event of this season in France&lt;br /&gt;
has been the representation of &ldquo;Macbeth&amp;quot; at the&lt;br /&gt;
Abbaye of Saint Wandrille. The play has been&lt;br /&gt;
entirely re-translated by M. Maurice Maeterlinck,&lt;br /&gt;
and Mme. Georgette Leblanc Maeterlinck, in the&lt;br /&gt;
r&ocirc;le of Lady Macbeth, will never be forgotten by&lt;br /&gt;
those spectators who had the good fortune to be&lt;br /&gt;
resent. The Abbaye is a picturesque old ch&acirc;teau&lt;br /&gt;
which dates from the seventh century. It was&lt;br /&gt;
reconstructed in the eleventh century. M. and&lt;br /&gt;
Mme. Maeterlinck live in this chdteau during the&lt;br /&gt;
summer months, and it occurred to them to pro-&lt;br /&gt;
duce &ldquo;Macbeth,&rdquo; using the different rooms for the&lt;br /&gt;
stage of the play. From the windows the guests&lt;br /&gt;
looked at the witches out on the green, and, con-&lt;br /&gt;
ducted in groups from room to room, they witnessed&lt;br /&gt;
the different scenes of the tragedy. The most&lt;br /&gt;
effective one was when Lady Macbeth descended&lt;br /&gt;
the Wide staircase, looking with horror at her own&lt;br /&gt;
hand stained for ever with the blood of her victim.&lt;br /&gt;
The torch-light threw the magnified shadow of the&lt;br /&gt;
hand on the wall. The dramatic effect of this&lt;br /&gt;
scene was intense. It is to be hoped that the play&lt;br /&gt;
may be given again under the same conditions.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Madame&amp;quot; (Hachette).&lt;br /&gt;
&ldquo;Berlin&amp;quot; (Fasquelle).&lt;br /&gt;
&ldquo;La Chasse de Blanche&rdquo; (Flammarion).&lt;br /&gt;
&ldquo;Pierre et Th&eacute;r&egrave;se&rsquo;&rsquo; (Lemerre).&lt;br /&gt;
&ldquo;Polochon&rsquo;&rdquo; (Fasquelle).&lt;br /&gt;
Le Partage de l&amp;#039;Afrique (Fachoda)&rdquo; (Flammarion).&lt;br /&gt;
&ldquo;Paillettes grises&rdquo; (Lemerre).&lt;br /&gt;
*&mdash;&ordm;- a&lt;br /&gt;
w&mdash;u&mdash;w&lt;br /&gt;
HEINEMANN v. &ldquo;THE SMART SET &amp;quot;.&lt;br /&gt;
PUBLISHING CO., LTD.&lt;br /&gt;
SERIAL RIGHTS.&lt;br /&gt;
N this case Mr. Heinemann, the well-known pub-&lt;br /&gt;
lisher, brought an action as registered pro-&lt;br /&gt;
: prietor of the copyright in a novel entitled&lt;br /&gt;
&ldquo;Syrinx,&rdquo; by Mr. Lawrence North, which was&lt;br /&gt;
published in volume form in England by the&lt;br /&gt;
plaintiff in January, 1909. The plaintiff claimed&lt;br /&gt;
damages and an injunction to restrain the defendant&lt;br /&gt;
Company from publishing the novel in the magazine&lt;br /&gt;
called The Smart Set.&lt;br /&gt;
Before the book was published in England&lt;br /&gt;
Messrs. Duffield &amp;amp; Co., of New York, applied to the&lt;br /&gt;
plaintiff for the serial rights in America, and it&lt;br /&gt;
Was arranged that Messrs. Duffield &amp;amp; Co. should&lt;br /&gt;
dispose of these rights for &pound;100, which was to be&lt;br /&gt;
divided equally between the plaintiff, the author,&lt;br /&gt;
and Messrs. Duffield &amp;amp; Co.&lt;br /&gt;
Owing to a misunderstanding, apparently,&lt;br /&gt;
Messrs. Duffield &amp;amp; Co., in disposing of the &ldquo;maga-&lt;br /&gt;
zine rights&rdquo; in the novel to the publishers of The&lt;br /&gt;
Smart Set stated that the English rights were&lt;br /&gt;
included, and the defendant company published an&lt;br /&gt;
abridged version of the whole story in one number&lt;br /&gt;
of the magazine. It was urged on behalf of the&lt;br /&gt;
defendants that they had acted innocently and in&lt;br /&gt;
pursuance of what they were justified in regarding&lt;br /&gt;
as an authority from the plaintiff&amp;#039;s agent in&lt;br /&gt;
America.&lt;br /&gt;
Some evidence was given as to the meaning of&lt;br /&gt;
Serial rights and magazine rights. It was stated&lt;br /&gt;
that in England &ldquo;serial rights&rdquo; meant the right of&lt;br /&gt;
publishing a book or novel serially, i.e., in parts&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#377) ################################################&lt;br /&gt;
&lt;br /&gt;
TEIE AUTISIOR.&lt;br /&gt;
15&lt;br /&gt;
and that the expression &ldquo;magazine rights&rdquo; was&lt;br /&gt;
not commonly used and had no distinctive meaning.&lt;br /&gt;
On the other hand, it was said that in America&lt;br /&gt;
serial rights were divided into two groups&mdash;&ldquo;news-&lt;br /&gt;
paper syndicate rights&rdquo; and &ldquo;magazine right; &amp;quot;&mdash;&lt;br /&gt;
and that the latter included the right of publishing&lt;br /&gt;
the whole of the novel&mdash;in an abridged form if neces-&lt;br /&gt;
sary&mdash;in one number of a magazine. It Was a&lt;br /&gt;
common practice in America to abridge a work for&lt;br /&gt;
this purpose without consulting the author.&lt;br /&gt;
Mr. Justice Parker, in giving judgment for the&lt;br /&gt;
plaintiff, said that it was impossible for the defen-&lt;br /&gt;
dants to justify what they had done under any&lt;br /&gt;
authority obtained through Mr. Duffield, who&lt;br /&gt;
clearly had no authority to deal with the English&lt;br /&gt;
rights. It was a case where, an innocent party&ndash;&lt;br /&gt;
innocent in the sense that they believed they had&lt;br /&gt;
the right, though they had not&mdash;infringed a&lt;br /&gt;
copyright. The plea of innocence in that sense&lt;br /&gt;
was not good in law. Owing to an undertaking&lt;br /&gt;
by the defendants to discontinue the sale of the&lt;br /&gt;
number of The Smart Set containing the novel&lt;br /&gt;
an injunction was not necessary, but the plaintiff&lt;br /&gt;
was entitled to the usual inquiry as to damages and&lt;br /&gt;
the costs of the action.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
LEGAL ACTION AND MEMBERS&rsquo;&lt;br /&gt;
RESPONSIBILITIES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE question of the fighting strength of the&lt;br /&gt;
society has again arisen. From time to time&lt;br /&gt;
in the society&amp;#039;s reports and in The Author&lt;br /&gt;
the committee have insisted and persisted that&lt;br /&gt;
those members who place their disputes in the&lt;br /&gt;
hands of the secretary should be ready to take&lt;br /&gt;
their cases into the courts if such a course is&lt;br /&gt;
essential.&lt;br /&gt;
Some little time ago an old member of the&lt;br /&gt;
society who had not made very much use of the&lt;br /&gt;
society&amp;#039;s machinery came in and laid three cases&lt;br /&gt;
before the secretary, desiring that he should take&lt;br /&gt;
the matters in hand immediately.&lt;br /&gt;
The first was a claim for moneys under an agree-&lt;br /&gt;
ment from an American firm of publishers. The&lt;br /&gt;
second was a claim for infringement of copyright&lt;br /&gt;
under the Berne Convention, and the third was a&lt;br /&gt;
claim for royalties withheld by an English publisher&lt;br /&gt;
through misinterpretation of the terms of the&lt;br /&gt;
agreement.&lt;br /&gt;
The secretary at once proceeded to take what&lt;br /&gt;
action he could. In the first case he found out&lt;br /&gt;
that the American publisher was not in a very&lt;br /&gt;
sound financial position, and that it would most&lt;br /&gt;
probably be necessary to bring an action to enforce&lt;br /&gt;
payment. He at once communicated with the&lt;br /&gt;
American publisher. In the second case some&lt;br /&gt;
further details were necessary in order to establish&lt;br /&gt;
the infringement of copyright, and he at once&lt;br /&gt;
wrote to the solicitors of the society to obtain&lt;br /&gt;
their opinion upon the position. It seemed quite&lt;br /&gt;
clear, however, that as the guilty party had been&lt;br /&gt;
dealing with property that was not his, it would&lt;br /&gt;
be necessary to take the matter into court if the&lt;br /&gt;
infringement was clearly established.&lt;br /&gt;
In the third case the secretary read through the&lt;br /&gt;
papers and agreement carefully, and, assured of the&lt;br /&gt;
mistake in the interpretation of the contract, wrote&lt;br /&gt;
to the publishers. He then informed the member&lt;br /&gt;
of the steps that had been taken, and that it would&lt;br /&gt;
most probably be essential&mdash;but at any rate it was&lt;br /&gt;
necessary to be prepared&mdash;to carry the matters&lt;br /&gt;
through the courts. He pointed out at the same&lt;br /&gt;
time that the society&amp;#039;s influence very often was&lt;br /&gt;
able to bring a dispute to settlement without&lt;br /&gt;
going into court, though that influence in the past&lt;br /&gt;
would have been considerably weakened if the&lt;br /&gt;
committee had not made it an important point&lt;br /&gt;
that members should be prepared to take legal&lt;br /&gt;
action.&lt;br /&gt;
The secretary received an answer to his com-&lt;br /&gt;
munication requesting him to return all the papers&lt;br /&gt;
as the member was not of a litigious disposition,&lt;br /&gt;
and did not desire to take legal action. To such a&lt;br /&gt;
member the society can no doubt be of use in&lt;br /&gt;
advising on contracts before they are signed, and&lt;br /&gt;
in keeping business out of the hands of a doubtful&lt;br /&gt;
and unsatisfactory publisher, but it must be evident&lt;br /&gt;
to the member on consideration, and to others&lt;br /&gt;
who read this statement, that it is useless to ask&lt;br /&gt;
the society to make a demand, and then refuse,&lt;br /&gt;
if the demand is repudiated, to allow the society&lt;br /&gt;
to take action. If the committee of management,&lt;br /&gt;
during the twenty-five years of the society&amp;#039;s&lt;br /&gt;
existence, had conducted business on these lines,&lt;br /&gt;
the society would have been the laughing stock of&lt;br /&gt;
publishers, editors, and literary robbers.&lt;br /&gt;
The only danger that may arise on an action of&lt;br /&gt;
this kind is that sometimes the member may go&lt;br /&gt;
away from the society&amp;#039;s office and may proclaim&lt;br /&gt;
that the society is no good&mdash;that it cannot help&lt;br /&gt;
authors when in difficulty. Such a statement would,&lt;br /&gt;
if it were made, of course be contrary to the facts,&lt;br /&gt;
as the fault lies with the member and not with the&lt;br /&gt;
society.&lt;br /&gt;
Again it is necessary to impress upon all mem-&lt;br /&gt;
bers that prevention is better than cure ; but if&lt;br /&gt;
they desire to place a case in the hands of the&lt;br /&gt;
secretary they must be prepared, if his demand on&lt;br /&gt;
their behalf is neglected or repudiated, to be ready&lt;br /&gt;
to take legal action. By these means they will not&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#378) ################################################&lt;br /&gt;
&lt;br /&gt;
16 TISIES A UTEIOR.&lt;br /&gt;
only strengthen their own position, but the position&lt;br /&gt;
of all their fellow authors, and Surely, to the&lt;br /&gt;
majority, the latter reason is the higher ideal.&lt;br /&gt;
a &ndash;&ndash;45&ndash; a&lt;br /&gt;
w-ul---w&lt;br /&gt;
AUTHORS AND INCOME TAX.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N November 26, 1908, Sir Henry Kimber&lt;br /&gt;
put the following questions to the Chancellor&lt;br /&gt;
of the Exchequer:-&lt;br /&gt;
&ldquo;If he (the Chancellor) was aware that the Inland&lt;br /&gt;
Revenue Commissioners contended that the income of an&lt;br /&gt;
inventor derived from patent royalties was, under the&lt;br /&gt;
Finance Act of 1907, not to be treated as earned income,&lt;br /&gt;
but was liable to the full tax of 1s. in the pound instead&lt;br /&gt;
of 9d. which was the rate allowed on incomes earned by&lt;br /&gt;
other professional and scientific labours; and whether he&lt;br /&gt;
would state upon what section of the Act that contention&lt;br /&gt;
was founded.&rdquo;&lt;br /&gt;
The Chancellor of the Exchequer replied in the&lt;br /&gt;
following terms:&mdash;&lt;br /&gt;
&ldquo;Where an inventor sells outright his patent rights,&lt;br /&gt;
the sum realised from the Sale is regarded as capital and&lt;br /&gt;
is not taxed. Where an inventor has not parted with&lt;br /&gt;
his patent rights, but allows another person to work the&lt;br /&gt;
patent in consideration of the payment of a royalty, the&lt;br /&gt;
resulting income is regarded as unearned income derived&lt;br /&gt;
from property.&rdquo;&lt;br /&gt;
When the secretary of the society saw this reply&lt;br /&gt;
he put the matter before the committee in order to&lt;br /&gt;
ascertain whether they desired to put somewhat&lt;br /&gt;
similar questions to the Chancellor in regard to the&lt;br /&gt;
sale of authors&rsquo; copyrights.&lt;br /&gt;
The committee authorised the step suggested by&lt;br /&gt;
the secretary.&lt;br /&gt;
There was some little delay owing to the negotia-&lt;br /&gt;
tions which had to be entered into, but finally&lt;br /&gt;
Mr. Robert Harcourt, a member of the society,&lt;br /&gt;
was kind enough to undertake the duty, and on&lt;br /&gt;
June 22, 1909, he put the following questions&lt;br /&gt;
to the Chancellor and received the reply set forth&lt;br /&gt;
below :&mdash;&lt;br /&gt;
&ldquo;Whether authors, dramatists, or composers may regard&lt;br /&gt;
moneys received from the sale of copyright or performing&lt;br /&gt;
right as capital, and as such not subject to income tax ;&lt;br /&gt;
and whether, in view of the fact that the duration of&lt;br /&gt;
an author&amp;#039;s, dramatist&amp;#039;s, or composer&amp;#039;s property in his own&lt;br /&gt;
works has been limited by statute to forty-two years, or life&lt;br /&gt;
and seven years, whichever is the longer period, the&lt;br /&gt;
royalties and other payments which an author, dramatist,&lt;br /&gt;
or composer may obtain in return for a lease or licence to&lt;br /&gt;
publish or perform will be assessed as earned income&lt;br /&gt;
whether they accrue due before or after the death of the&lt;br /&gt;
author, dramatist, or composer 7&rdquo;&lt;br /&gt;
Reply:&lt;br /&gt;
&ldquo;Such moneys received by an author, dramatist, or&lt;br /&gt;
composer are liable to income tax as being the income&lt;br /&gt;
of a profession, and would be treated as &ldquo;earned income.&rsquo;&lt;br /&gt;
But any payments received after his death would be income&lt;br /&gt;
derived from property left by him, and could not b&lt;br /&gt;
treated in the hands of his representatives as earned.&rdquo;&lt;br /&gt;
The committee of the society, observing the&lt;br /&gt;
discrepancy of these replies, propose to put a further&lt;br /&gt;
question to the Chancellor of the Exchequer.&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&ndash;0-&ordm;-&ordm;-&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Johnson. By Thomas Seccombe.&lt;br /&gt;
Dr. Johnson&amp;#039;s Literary Work. By H. Spencer Scott.&lt;br /&gt;
Dr. Johnson&amp;#039;s Ancestry. By C. F. Sargisson.&lt;br /&gt;
B The White Prophet: Review by The Rev. William&lt;br /&gt;
arTy.&lt;br /&gt;
Chesterton on Shaw : A Review by A. St. John Adcock.&lt;br /&gt;
The Country Books. By Edward Thomas.&lt;br /&gt;
&ldquo;The Times &amp;quot; History. By Lieut.-Col. W. H. James.&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
Meredithian. By Maurice Buxton Forman.&lt;br /&gt;
Byronic Memories.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
The Writings of Mandr&eacute; Gide. By Edmund Gosse.&lt;br /&gt;
CORNEIILL.&lt;br /&gt;
Architecture in English History. By Kenneth Bell.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Master Hoaxer : James de la Cloche.&lt;br /&gt;
Lang.&lt;br /&gt;
Some Neglected Aspects of Horace Walpole. By Norman&lt;br /&gt;
Pearson.&lt;br /&gt;
By Andrew&lt;br /&gt;
MONTH.&lt;br /&gt;
Mandeville&amp;#039;s Travels. By Harold Binns.&lt;br /&gt;
NATIONAL REVIEW.&lt;br /&gt;
George Borrow in Russia. By Hubert Ives.&lt;br /&gt;
Modern French Pictures. By W. Roberts.&lt;br /&gt;
The Shakespearean Problem. By George Hookham.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
Matrimony and the Man of Letters. By Sidney Low.&lt;br /&gt;
L&rsquo;Art Fran&ccedil;ais Contemporain. By Andr&eacute; Beaunier.&lt;br /&gt;
Debussy : His Science and his Music. By A. E. Keeton.&lt;br /&gt;
The Book of Lismore. By the Hon. Mrs. Alfred&lt;br /&gt;
Lyttelton.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co. announce new editions&lt;br /&gt;
of &ldquo;Gulliver&amp;#039;s Travels&rdquo; and &ldquo;Lamb&amp;#039;s Tales from&lt;br /&gt;
Shakespeare.&rdquo; Numerous coloured drawings and&lt;br /&gt;
many illustrations in black and white by Mr.&lt;br /&gt;
Arthur Rackham, with specially designed end&lt;br /&gt;
papers, will be the salient features of the pro-&lt;br /&gt;
duction.&lt;br /&gt;
There will be a large paper edition of each&lt;br /&gt;
Volume, which will be limited to 750 copies, and&lt;br /&gt;
Will be issued at 21s. nett. On subscription&mdash;a price&lt;br /&gt;
which will be raised after publication.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#379) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A TTISIOR. 17&lt;br /&gt;
(?&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
l, WERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case t&ordm; the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
B. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3). To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
iars of the Society&amp;#039;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into With a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society,&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&bull; &ndash;&mdash;&ordm;-&ndash;a&lt;br /&gt;
v----w *&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e-Q-0&ndash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property :&mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society. .&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
t&ordm; &ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
&ordm; well bind yourself for the future to any one solicitor or&lt;br /&gt;
Octor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are &mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In 68,0S,&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#380) ################################################&lt;br /&gt;
&lt;br /&gt;
18&lt;br /&gt;
TISIE AUTHOR,&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
-6&ndash;e&lt;br /&gt;
{}&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS,&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
L&amp;quot;; can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
C9mposer a transfer of fuller rights and less liberal finan.&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. , The musical composer has Very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and Copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&ndash;0-4-0&ndash;&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
* &mdash;h-&lt;br /&gt;
v-v-w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&ndash;0-Q-0&ndash;&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
58. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
* * &mdash;&ordm;-- a&lt;br /&gt;
-v- w&ordm;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#381) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
19&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE SOCIETY&amp;#039;s PRESIDENT.&lt;br /&gt;
WE have much pleasure in announcing that Mr.&lt;br /&gt;
Thomas Hardy has accepted the presidency of the&lt;br /&gt;
Society of Authors.&lt;br /&gt;
&bull; *mamm&ordm; mas&ordm;m&ordm;,&lt;br /&gt;
WE regret to record the death of Miss Rosa&lt;br /&gt;
Nouchette Carey, which occurred at her residence,&lt;br /&gt;
Sandilands, Putney, in July. Miss Carey joined&lt;br /&gt;
the Society in 1891, and was a member up to the&lt;br /&gt;
day of her death, as well as an annual subscriber to&lt;br /&gt;
the Pension Fund since its inauguration. *.&lt;br /&gt;
As a writer for girls she enjoyed a wide popularity,&lt;br /&gt;
her first story, &ldquo;Nellie&amp;#039;s Memories,&rdquo; appearing in&lt;br /&gt;
1868, and her last, &ldquo;The King of the Unknown,&rdquo;&lt;br /&gt;
to which we referred in a previous issue, being&lt;br /&gt;
published by Messrs. Macmillan &amp;amp; Co. in September.&lt;br /&gt;
PARLIAMENTARY COMMITTEES.&lt;br /&gt;
SINCE the last issue of The Author the Depart-&lt;br /&gt;
mental Committee dealing with the Berlin Con-&lt;br /&gt;
vention has been taking further evidence on the&lt;br /&gt;
many points connected with this very difficult&lt;br /&gt;
subject. The Society of Authors has given every&lt;br /&gt;
assistance in its power in the collection of evidence&lt;br /&gt;
on the points suggested by the chairman and&lt;br /&gt;
secretary of the committee. The president of&lt;br /&gt;
L&amp;#039;Association Litt&eacute;raire et Artistiques Inter-&lt;br /&gt;
nationale has given evidence before the committee&lt;br /&gt;
on the question of the duration of copyright. We&lt;br /&gt;
understand that all the evidence has now been&lt;br /&gt;
taken, but that the committee will re-assemble in&lt;br /&gt;
the autumn in order to consider their report. This&lt;br /&gt;
report will be awaited with great interest by those&lt;br /&gt;
who have any dealings with copyright property.&lt;br /&gt;
* ======&lt;br /&gt;
ANOTHER question, of interest to all dramatic&lt;br /&gt;
writers, the question of the censorship of plays,&lt;br /&gt;
has been referred to a committee formed shortly&lt;br /&gt;
after the appearance of the July Author. Appli-&lt;br /&gt;
cation was made to the Society of Authors to&lt;br /&gt;
appoint a delegate to represent its views before&lt;br /&gt;
the committee. Unfortunately, as the last meet-&lt;br /&gt;
ings of the society&amp;#039;s committees before the vacation&lt;br /&gt;
had been held, it was impossible to obtain sanction&lt;br /&gt;
to the appointment of a dramatist to represent the&lt;br /&gt;
society officially, but the secretary circularised&lt;br /&gt;
various members of the dramatic profession, mem-&lt;br /&gt;
bers of the society, in order that they might per-&lt;br /&gt;
sonally give expression to their views before the&lt;br /&gt;
committee that had been appointed. Much of the&lt;br /&gt;
evidence has appeared in the papers. One or two&lt;br /&gt;
members, owing to what would appear to be an inac-&lt;br /&gt;
Curate report in which the society&amp;#039;s name was men-&lt;br /&gt;
tioned, have obtained a false idea of the work of the&lt;br /&gt;
$90iety&amp;#039;s committees and the attitude of the society on&lt;br /&gt;
the matter. If these members had taken the trouble&lt;br /&gt;
to read the columns of The Author they would not&lt;br /&gt;
have been misled and would have known what had&lt;br /&gt;
taken place. We must refer members to the&lt;br /&gt;
Society&amp;#039;s organ for full information. In this case&lt;br /&gt;
also the report of the committee will be awaited&lt;br /&gt;
With great interest. Whatever view one may take&lt;br /&gt;
as to the desirability of the censorship&mdash;whether&lt;br /&gt;
for or against its continuance&mdash;the matter is one&lt;br /&gt;
of great importance to all dramatic writers.&lt;br /&gt;
STANDING MATTER.&lt;br /&gt;
READERS of a paper often neglect to read its&lt;br /&gt;
standing matter, or, if they read it once, forget its&lt;br /&gt;
substance and do not read it again.&lt;br /&gt;
It may be worth while, therefore, to remind&lt;br /&gt;
members of one or two points on which the society&lt;br /&gt;
endeavours to advise and protect them.&lt;br /&gt;
In the beginning of this year the society&lt;br /&gt;
established a register of scenarios of plays. This&lt;br /&gt;
has been found a great convenience to a good&lt;br /&gt;
many of our members, but we may be permitted&lt;br /&gt;
to call the members&amp;#039; attention once again to its&lt;br /&gt;
existence.&lt;br /&gt;
We should like to remind musical composers&lt;br /&gt;
that the Society stamps their compositions, retain-&lt;br /&gt;
ing the stamps in a safe at the office, and charging&lt;br /&gt;
the usual fee of 5s. per 1,000. The vouchers are&lt;br /&gt;
forwarded to the composers and the accounts for&lt;br /&gt;
stamping rendered semi-annually.&lt;br /&gt;
To all members we should like to state that the&lt;br /&gt;
Society undertakes the stamping of agreements&lt;br /&gt;
and letters of contract. All that is necessary is&lt;br /&gt;
that the agreement should be sent to the office&lt;br /&gt;
within the prescribed time. The document will&lt;br /&gt;
be returned, the only charge made being the cost&lt;br /&gt;
of the stamp duty which has to be paid.&lt;br /&gt;
The society also stores agreements on behalf of&lt;br /&gt;
members, keeping them in a safe for this purpose.&lt;br /&gt;
Some of our members may have overlooked these&lt;br /&gt;
matters, which we recall for their convenience.&lt;br /&gt;
MORAL OBLIGATIONS.&lt;br /&gt;
WE were discussing with a well-known English&lt;br /&gt;
composer the other day the serious issues involved&lt;br /&gt;
by the transfer of copyright to a publisher, and the&lt;br /&gt;
fatal result to the composer in the event of the&lt;br /&gt;
assignment of the contract by the trustee after&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#382) ################################################&lt;br /&gt;
&lt;br /&gt;
20&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the publisher&amp;#039;s bankruptcy. The composer stated&lt;br /&gt;
that although the assignee of the contract might&lt;br /&gt;
not be bound by law to pay the royalties, the com-&lt;br /&gt;
poser&amp;#039;s claim being merely one for damages against&lt;br /&gt;
the bankrupt estate, yet he felt quite certain that&lt;br /&gt;
no respectable music publisher would repudiate his&lt;br /&gt;
obligation under the original contract.&lt;br /&gt;
We were pleased to hear this expression of&lt;br /&gt;
opinion. Business men, as a rule, do not take&lt;br /&gt;
much cognisance of moral obligations, and the&lt;br /&gt;
society has generally found moral force of little&lt;br /&gt;
avail unless it can be backed up by legal pressure ;&lt;br /&gt;
but we are compelled, with regret, to confess that&lt;br /&gt;
our experience does not bear out the statement&lt;br /&gt;
made by our friend the composer.&lt;br /&gt;
We have known one publisher of books who has&lt;br /&gt;
paid the royalties in full on taking up contracts&lt;br /&gt;
from a bankrupt estate. We have known other&lt;br /&gt;
publishers who have been only too willing to take&lt;br /&gt;
advantage, in order to evade payment of royalties,&lt;br /&gt;
of the doubtful wording of any contract, when they&lt;br /&gt;
consider that this wording is covered by the legal&lt;br /&gt;
decisions, and we have known publishers of music&lt;br /&gt;
as well as of books equally ready to repudiate their&lt;br /&gt;
moral liabilities in the circumstances.&lt;br /&gt;
It is necessary to repeat, therefore, that no&lt;br /&gt;
author or composer should trust to the morality of&lt;br /&gt;
the issue, but should invariably insist upon a con-&lt;br /&gt;
tract which does not transfer the copyright either&lt;br /&gt;
directly or impliedly to the publisher.&lt;br /&gt;
CHINESE COPYRIGHT.&lt;br /&gt;
SOME months ago one of the members of the&lt;br /&gt;
Society drew the committee&amp;#039;s attention to the&lt;br /&gt;
question of literary piracy in China, and the&lt;br /&gt;
secretary was instructed to write to the Foreign&lt;br /&gt;
Office and ascertain what retribution, if any, could&lt;br /&gt;
be obtained against piracy in that country, taking&lt;br /&gt;
into consideration the fact that no treaty dealing&lt;br /&gt;
with copyright exists between Great Britain and&lt;br /&gt;
China.&lt;br /&gt;
We have much pleasure in printing, with the&lt;br /&gt;
consent of the Foreign Office, the last letter&lt;br /&gt;
received on the subject :&mdash;&lt;br /&gt;
FOREIGN OFFICE,&lt;br /&gt;
- June 12, 1909.&lt;br /&gt;
SIR,-With reference to your letter of February 24th last,&lt;br /&gt;
I am directed by Secretary Sir Edward Grey to inform you&lt;br /&gt;
that a despatch has now been received from His Majesty&amp;#039;s&lt;br /&gt;
Minister at Peking upon the subject of the protection of&lt;br /&gt;
British copyright in China against infringement by British&lt;br /&gt;
and Chinese subjects.&lt;br /&gt;
Great Britain, as you are aware, has no treaty with China&lt;br /&gt;
which deals with the question of copyright, but Sir J.&lt;br /&gt;
Jordan states that a Chinese author wishing to protect his&lt;br /&gt;
work usually sends a copy to the local authority begging&lt;br /&gt;
that he will issue a proclamation warning the public&lt;br /&gt;
against infringement. In case of infringement the author&lt;br /&gt;
can then obtain an injunction against the printer, have&lt;br /&gt;
the pirated work destroyed, and the party so infringing&lt;br /&gt;
unished. Sir J. Jordan adds that similar applications&lt;br /&gt;
made through British consuls to local authorities in China&lt;br /&gt;
against infringement by Chinese subjects of British&lt;br /&gt;
copyright have met with success.&lt;br /&gt;
I am to inform you that there is no objection to the&lt;br /&gt;
publication of this letter.&lt;br /&gt;
I am,&lt;br /&gt;
Sir,&lt;br /&gt;
Your most obedient, humble servant,&lt;br /&gt;
F. A. CAMPBELL.&lt;br /&gt;
&agrave; &mdash;&ordm;- - a&lt;br /&gt;
w&ordm; ~-w&lt;br /&gt;
SIR THEODORE MARTIN.&lt;br /&gt;
&ndash;0-Q-0&ndash;&lt;br /&gt;
Y the death of Sir Theodore Martin literature&lt;br /&gt;
loses its &ldquo;doyen,&rdquo; and the Society of Authors&lt;br /&gt;
a member of twenty-five years&amp;#039; standing.&lt;br /&gt;
He was a solicitor as well as a man of letters; and&lt;br /&gt;
no doubt the large experience of practical affairs&lt;br /&gt;
which he had gained in the former capacity helped&lt;br /&gt;
him to realise from the outset that the work which&lt;br /&gt;
the founders of the society were setting out to do&lt;br /&gt;
was work which badly needed to be done.&lt;br /&gt;
The law, it has often been said, &ldquo;is a jealous&lt;br /&gt;
mistress and brooks no rival.&rdquo; Most lawyers,&lt;br /&gt;
therefore, who have discovered a talent, as well as&lt;br /&gt;
a taste, for literature, have taken the earliest oppor-&lt;br /&gt;
tunity of quitting the law for the pursuits which&lt;br /&gt;
pleased them better. Wilkie Collins did so for&lt;br /&gt;
one, and it would be easy to cite other examples.&lt;br /&gt;
Sir Theodore Martin, however, contrived to follow&lt;br /&gt;
both callings with equal success, and he may be&lt;br /&gt;
said to have done it by adopting the policy of those&lt;br /&gt;
strange people in the &ldquo;Odyssey&rdquo; who earned a&lt;br /&gt;
double wage by toiling both night and day. His&lt;br /&gt;
office hours, during the greater part of his pro-&lt;br /&gt;
fessional life, were from nine o&amp;#039;clock in the morn-&lt;br /&gt;
ing until nine o&amp;#039;clock at night. He then&mdash;so we&lt;br /&gt;
gather from some personal notes contributed a few&lt;br /&gt;
years ago to Literature by his relative, Mr. Robert&lt;br /&gt;
Machray&mdash;rested from his labours and refreshed&lt;br /&gt;
himself for a brief hour and a half; but presently,&lt;br /&gt;
at 10.30, he sat down to write, and often continued&lt;br /&gt;
at his desk until the clock struck two.&lt;br /&gt;
Most men would have broken down under the&lt;br /&gt;
strain of such excesses, or would have found the&lt;br /&gt;
willingness of the spirit undermined by the weak-&lt;br /&gt;
ness of the flesh. Sir Theodore Martin carried his&lt;br /&gt;
burden lightly, and continued to carry it until an&lt;br /&gt;
advanced old age. Working harder than the&lt;br /&gt;
average solicitor, he also produced a larger output&lt;br /&gt;
of books than the average man of letters; while it&lt;br /&gt;
seems only the other day that he was still con-&lt;br /&gt;
spicuous by the old-fashioned Conservatism of his&lt;br /&gt;
printed protests against the blatant Radicalism of&lt;br /&gt;
the motor &amp;#039;bus. There may be no truth in the&lt;br /&gt;
ancient adage that &ldquo;hard work never kills&rdquo;; but&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#383) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIORs 21&lt;br /&gt;
for his vigorous constitution, at all events, it had&lt;br /&gt;
neither terror nor peril. -&lt;br /&gt;
The work which gained Sir Theodore his widest&lt;br /&gt;
circle of readers was indubitably his &ldquo;official&rdquo; Life&lt;br /&gt;
of the late Prince Consort, to which he devoted&lt;br /&gt;
fifteen years of his leisure. The mere fact that it&lt;br /&gt;
was official, while opening up sources of information&lt;br /&gt;
which would not otherwise have been accessible,&lt;br /&gt;
imposed restrictions on the biographer. He could&lt;br /&gt;
no more give expression to his own personality in&lt;br /&gt;
such a volume than in his various translations&lt;br /&gt;
from the German and the Latin. The more critical&lt;br /&gt;
public, therefore, will prefer to judge him by those&lt;br /&gt;
&ldquo;Bon Gaultier Ballads&rdquo; which he wrote in the&lt;br /&gt;
heyday of his youth and irresponsibility.&lt;br /&gt;
The pseudonym, of course, was taken from&lt;br /&gt;
Rabelais. &ldquo;A moi,&rdquo; we read in the master&amp;#039;s pages,&lt;br /&gt;
&ldquo;n&amp;#039;est que honneur et gloire d&rsquo;estre dict et reput&eacute;&lt;br /&gt;
Bon Gaultier et bon compaignon; en ce nom Suis&lt;br /&gt;
bien venu en toutes bonnes compaignies de Panta-&lt;br /&gt;
gruelistes.&rdquo; Sir Theodore, then a young man of&lt;br /&gt;
about five-and-twenty, wrote under the signature&lt;br /&gt;
for various magazines, first alone, and afterwards&lt;br /&gt;
in &ldquo;a kind of Beaumont and Fletcher partnership&rdquo;&lt;br /&gt;
with Professor Aytoun. His own account of the&lt;br /&gt;
partnership may be read in his memoir of his&lt;br /&gt;
collaborator.&lt;br /&gt;
&ldquo;In these papers,&rdquo; he says, &ldquo;in which we ran&lt;br /&gt;
atilt, with all the recklessness of youthful spirits,&lt;br /&gt;
against such of the tastes or follies of the day as&lt;br /&gt;
presented an opening for ridicule or mirth, at the&lt;br /&gt;
same time that we did not altogether lose sight of&lt;br /&gt;
a purpose higher than mere amusement, appeared&lt;br /&gt;
the verses, with a few exceptions, which subse-&lt;br /&gt;
quently became popular, to a degree we then little&lt;br /&gt;
contemplated, as the &ldquo;Bon Gaultier Ballads.&rdquo; . . .&lt;br /&gt;
Fortunately for our purpose there were then living&lt;br /&gt;
not a few poets whose style and manner of thought&lt;br /&gt;
were sufficiently marked to make imitation easy,&lt;br /&gt;
and sufficiently popular for a parody of their&lt;br /&gt;
characteristics to be readily recognised. . . . Never,&lt;br /&gt;
probably, were verses thrown off, with a keener&lt;br /&gt;
sense of enjoyment. In writing them we had no&lt;br /&gt;
thought of the public, and it was a pleasant sur-&lt;br /&gt;
prise to us when we found how rapidly they became&lt;br /&gt;
popular, not only in England, but also in America,&lt;br /&gt;
which had come in for no small share of severe&lt;br /&gt;
though well-meant ridicule.&rdquo;&lt;br /&gt;
On the authors of the &ldquo;Bon Gaultier Ballads,&rdquo;&lt;br /&gt;
that is to say, had fallen the mantle of the authors&lt;br /&gt;
of &ldquo;Rejected Addresses.&rdquo; Their parodies were as&lt;br /&gt;
well liked as those of their predecessors, and gave&lt;br /&gt;
as little offence to their victims&mdash;and, as Sir&lt;br /&gt;
Theodore justly claimed, for the same reason.&lt;br /&gt;
&ldquo;Let no one,&rdquo; he quotes from Heine, &ldquo;ridicule&lt;br /&gt;
mankind unless he loves them &rsquo;&rsquo;; and he con-&lt;br /&gt;
tinues :&mdash;&lt;br /&gt;
&ldquo;With no less truth may it be said, let no one&lt;br /&gt;
parody a poet unless he loves him. He must first&lt;br /&gt;
be penetrated by his spirit, and have steeped his&lt;br /&gt;
ear in the music of his verse, before he can reflect&lt;br /&gt;
these under a humorous aspect with success.&rdquo;&lt;br /&gt;
Precisely because they fulfil those conditions,&lt;br /&gt;
Sir Theodore Martin&amp;#039;s parodies are likely to keep&lt;br /&gt;
a permanent place in that class of literature.&lt;br /&gt;
FRANCIS GRIB BLE.&lt;br /&gt;
U.S. COPYRIGHT CODE DEFECTS.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
(Printed from the United States Publishers&amp;#039; Weekly.)&lt;br /&gt;
HE following are the features in which the&lt;br /&gt;
new code is unsatisfactory to the friends of&lt;br /&gt;
unrestricted property rights in intellectual&lt;br /&gt;
productions:&lt;br /&gt;
SEC. 1. e. The proviso curtailing the rights of&lt;br /&gt;
musical authors as to mechanical reproductions.&lt;br /&gt;
SEC. 13. The addition of the words &ldquo;and the&lt;br /&gt;
copyright shall become void&rdquo; (in case of non-&lt;br /&gt;
deposit of copies), which makes a double, indeed&lt;br /&gt;
triple, penalty and involves forfeiture on a&lt;br /&gt;
technicality, while denial of the right to proceed&lt;br /&gt;
against infringers until such deposit is made is&lt;br /&gt;
quite sufficient.&lt;br /&gt;
SECS, 15&ndash;17. The manufacturing clauses, which&lt;br /&gt;
prevent participation by this country in the Berne&lt;br /&gt;
Copyright Union, particularly as to binding and&lt;br /&gt;
illustration. The affidavit clause is considered&lt;br /&gt;
needlessly burdensome.&lt;br /&gt;
A less objectionable form, admissible as a com-&lt;br /&gt;
promise, was as follows, part in brackets preferably&lt;br /&gt;
omitted :&lt;br /&gt;
SEC. 15. That of the printed book or periodical&lt;br /&gt;
specified in section five, subsections (a) and (b)&lt;br /&gt;
of this Act, except the original text of a book&lt;br /&gt;
of foreign origin in a language or languages&lt;br /&gt;
other than English, the text of all copies accorded&lt;br /&gt;
protection under this Act, except as below provided,&lt;br /&gt;
shall be printed from type set within the limits of&lt;br /&gt;
the United States, either by hand or by the aid of&lt;br /&gt;
any kind of typesetting machine, or from plates&lt;br /&gt;
made within the limits of the United States from&lt;br /&gt;
type set therein, or, if the text be produced by&lt;br /&gt;
lithographic process, or photo-engraving process,&lt;br /&gt;
then by a process wholly performed within the&lt;br /&gt;
limits of the United States, and the printing of the&lt;br /&gt;
text of the said work shall be performed within the&lt;br /&gt;
limits of the United States [which requirements&lt;br /&gt;
shall extend also to the illustrations within a book&lt;br /&gt;
consisting of printed text and illustrations produced&lt;br /&gt;
by lithographic process or photo-engraving process,&lt;br /&gt;
except where in either case the subjects represented&lt;br /&gt;
are located in a foreign country]; but they shall&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#384) ################################################&lt;br /&gt;
&lt;br /&gt;
22&lt;br /&gt;
TFIES A DITISIOR.&lt;br /&gt;
not apply to works in raised characters for the use&lt;br /&gt;
of the blind, or to books published abroad in the&lt;br /&gt;
English language seeking ad interim protection&lt;br /&gt;
under this Act.&lt;br /&gt;
SEC. 16. That in case the Register of Copyrights&lt;br /&gt;
shall receive notice, upon information and belief,&lt;br /&gt;
or shall have other reason to believe that the copies&lt;br /&gt;
so deposited have not been manufactured within&lt;br /&gt;
the limits of the United States as before provided,&lt;br /&gt;
he shall require an affidavit, under the official seal&lt;br /&gt;
of any officer authorised to administer oaths within&lt;br /&gt;
the United States, duly made by the person claim-&lt;br /&gt;
ing copyright or by his duly authorised agent or&lt;br /&gt;
representative residing in the United States, or by&lt;br /&gt;
the printer who has printed the book, setting forth&lt;br /&gt;
that the copies deposited have been printed from&lt;br /&gt;
type set within the limits of the United States&lt;br /&gt;
or from plates made within the limits of the United&lt;br /&gt;
States from type set therein ; or, if the text be&lt;br /&gt;
produced by lithographic process, or photo-engrav-&lt;br /&gt;
ing process, that such process was wholly performed&lt;br /&gt;
within the limits of the United States, and that the&lt;br /&gt;
printing of the text of the said book has also been&lt;br /&gt;
performed within the limits of the United States.&lt;br /&gt;
Such affidavit shall state also the place where and&lt;br /&gt;
the establishment or establishments in which such&lt;br /&gt;
type was set or plates were made or lithographic&lt;br /&gt;
process, or photo-engraving process or printing&lt;br /&gt;
were performed and the date of the completion of&lt;br /&gt;
the printing of the book or the date of publication.&lt;br /&gt;
SEC. 17. That any person who, for the purpose&lt;br /&gt;
of obtaining registration of a claim to copyright,&lt;br /&gt;
shall knowingly make a false affidavit as to his&lt;br /&gt;
having complied with the above conditions shall be&lt;br /&gt;
deemed guilty of a misdemeanor, and upon con-&lt;br /&gt;
viction thereof shall be punished by a fine of not&lt;br /&gt;
more than one thousand dollars, and all of his rights&lt;br /&gt;
and privileges under said copyright shall thereafter&lt;br /&gt;
be forfeited.&lt;br /&gt;
SEC. 23. Authors and publishers desired a term&lt;br /&gt;
of life and fifty years, in accord, with the Berlin&lt;br /&gt;
agreement, as embodied in the following draft :&lt;br /&gt;
That the copyright secured by this Act shall&lt;br /&gt;
endure :&lt;br /&gt;
(a) In the case of any posthumous work, or of any&lt;br /&gt;
periodical or other composite work, or of any work&lt;br /&gt;
copyrighted by a corporate body (otherwise than as&lt;br /&gt;
assignee of the individual author or authors), or by&lt;br /&gt;
employer for whom such work is made for hire, for&lt;br /&gt;
fifty years from the date of first publication;&lt;br /&gt;
(b) In the case of any work not specified in sub-&lt;br /&gt;
section (a) of this section, but including a contribu-&lt;br /&gt;
tion to a periodical when such contribution, has&lt;br /&gt;
been separately registered, for the lifetime of the&lt;br /&gt;
author and for fifty years after his death (or if a&lt;br /&gt;
work by joint authors until fifty years after the&lt;br /&gt;
death of the last survivor of them); and it shall be&lt;br /&gt;
the duty of executors, administrators, or assigns of&lt;br /&gt;
such author, to record in the copyright office the&lt;br /&gt;
date of his death.&lt;br /&gt;
In a work published anonymously or under an&lt;br /&gt;
assumed name, copyright shall subsist for the same&lt;br /&gt;
period as if the work had been produced bearing&lt;br /&gt;
the author&amp;#039;s true name, provided that at least one&lt;br /&gt;
year before the expiration of fifty years from the&lt;br /&gt;
date of publication the true name of the author shall&lt;br /&gt;
be registered in the copyright office. In all of the&lt;br /&gt;
above cases the term shall extend to the end of the&lt;br /&gt;
calendar year of expiration.&lt;br /&gt;
SEC. 24. The bill omits the provision asked for&lt;br /&gt;
by publishers, with the concurrence of the authors,&lt;br /&gt;
known as the Munroe-Smith proviso :&lt;br /&gt;
And provided further, That if such subsisting&lt;br /&gt;
copyright shall have been assigned or a license&lt;br /&gt;
granted therein for publication, and if such assign-&lt;br /&gt;
ment or license shall contain provision for payment&lt;br /&gt;
of royalty, and if the renewed copyright for the&lt;br /&gt;
extended term provided in this Act shall not be&lt;br /&gt;
assigned nor license therein granted to such original&lt;br /&gt;
assignee or licensee or his successor, said original&lt;br /&gt;
assignee or licensee or his successor, shall neverthe-&lt;br /&gt;
less be entitled to continue to publish the work on&lt;br /&gt;
payment of the royalty stipulated in the original&lt;br /&gt;
agreement ; but if such original assignment or&lt;br /&gt;
license contained no provision for the payment of&lt;br /&gt;
royalty, the copyright shall be renewed and extended&lt;br /&gt;
only in case the original assignee or licensee or his&lt;br /&gt;
successor shall join in the application for such&lt;br /&gt;
renewal and extension.&lt;br /&gt;
SEC, 31. The importation clauses, while abso-&lt;br /&gt;
lutely prohibiting importation of foreign-made&lt;br /&gt;
copies even for the author himself, omit the words&lt;br /&gt;
&ldquo;with the written consent of the copyright pro-&lt;br /&gt;
prietor,&rdquo; from (d) first and third, emphasised by&lt;br /&gt;
publishers as necessary to secure the American&lt;br /&gt;
market, as previous to 1891, and in accord with our&lt;br /&gt;
patent laws and the copyright provisions of other&lt;br /&gt;
countries.&lt;br /&gt;
SEC. 53. Omits, in view of the voiding for non-&lt;br /&gt;
deposit, the desirable proviso; Provided, That no&lt;br /&gt;
breach of such rules or regulations shall affect the&lt;br /&gt;
validity of the copyright.&lt;br /&gt;
These variations from the bill as supported by&lt;br /&gt;
publishers are here recorded for possible use in case&lt;br /&gt;
of future movements for amendment.&lt;br /&gt;
* ~~ A.&lt;br /&gt;
v-v-w&lt;br /&gt;
THE CONFERENCE AT COPENHAGEN,&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
HE thirty-first Congress of the International&lt;br /&gt;
T Literary and Artistic Association was held&lt;br /&gt;
at Copenhagen from June 21, to 26,&lt;br /&gt;
1909. Denmark was the last to join the Berne&lt;br /&gt;
Convention, but was anxious to show her zealous&lt;br /&gt;
and continuous support of the principles of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#385) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
23.&lt;br /&gt;
copyright, and gave the delegates a welcome of the&lt;br /&gt;
warmest description.&lt;br /&gt;
We regret that the Society of Authors has never&lt;br /&gt;
been represented at these annual gatherings. Its&lt;br /&gt;
delegates should take a part, and a prominent&lt;br /&gt;
part, in all assemblies which can in any Way&lt;br /&gt;
further the cause of copyright reform. No doubt&lt;br /&gt;
the absence of any representative was due to the&lt;br /&gt;
fact that the society is not a wealthy body. It&lt;br /&gt;
is to be hoped, however, that the time will come&lt;br /&gt;
when the society will be able to afford to send its&lt;br /&gt;
representative annually to these meetings.&lt;br /&gt;
The delegates were welcomed by King Frederick&lt;br /&gt;
the Seventh, who made an appropriate speech in&lt;br /&gt;
proposing the health of the International Society.&lt;br /&gt;
The sessions of the Congress were devoted&lt;br /&gt;
principally to the investigation of questions of&lt;br /&gt;
art and architecture and the application of the&lt;br /&gt;
arts to industry, questions which do not come&lt;br /&gt;
within the scope of the Society of Authors. The&lt;br /&gt;
greater part of the time devoted to literary matter&lt;br /&gt;
was taken up with the discussion of the Berlin&lt;br /&gt;
Convention and its probable result.&lt;br /&gt;
Professor Rothlisberger, the great copyright&lt;br /&gt;
authority, and Secretary of the Bureau at Berne,&lt;br /&gt;
who has always been most courteous and con-&lt;br /&gt;
siderate to the Society of Authors, assures&lt;br /&gt;
us that the Convention &mdash; the result of the&lt;br /&gt;
Berlin Conference&mdash;has been moulded and posted&lt;br /&gt;
in its present form owing in a great extent to the&lt;br /&gt;
efforts of the International Literary and Artistic&lt;br /&gt;
Association during the past years, and We must&lt;br /&gt;
feel deeply grateful for the work this body has&lt;br /&gt;
done and for the results that it has been able to&lt;br /&gt;
attain. We regret, therefore, that the discussion&lt;br /&gt;
raised at Copenhagen appears to make it not a&lt;br /&gt;
little doubtful how the passage of the Berlin&lt;br /&gt;
Convention is likely to affect the cause of inter-&lt;br /&gt;
national copyright.&lt;br /&gt;
|M. Albert Oesterreith read a most important&lt;br /&gt;
report on the Berlin Revision. He said that&lt;br /&gt;
the Conference &mdash; that is, the Berlin Con-&lt;br /&gt;
ference&mdash;found itself in the position of having&lt;br /&gt;
to accept one of two alternatives&mdash;either to see&lt;br /&gt;
some of its decisions practically nullified and&lt;br /&gt;
resultless, or to find some plan which might result&lt;br /&gt;
in a development of international protection, such&lt;br /&gt;
that the countries which could not agree to all&lt;br /&gt;
particulars might accept the union with restric-&lt;br /&gt;
tions. This plan Mr. Oesterreith has named the&lt;br /&gt;
&ldquo;differential system.&rdquo; It is a system which prac-&lt;br /&gt;
tically came into existence after Norway, and&lt;br /&gt;
Śweden, on joining the Berne Convention, found&lt;br /&gt;
hemselves unable to sign the additional Act of&lt;br /&gt;
aris. Mr. Oesterreith trusted that along the&lt;br /&gt;
lines laid down it would be possible for all nations,&lt;br /&gt;
t&lt;br /&gt;
iſ the course of time, to level up their laws to the&lt;br /&gt;
Convention as at present fixed.&lt;br /&gt;
On the other hand, M. A. Taillefer pointed out&lt;br /&gt;
Some of the dangers which might result from the&lt;br /&gt;
course adopted at Berlin, the chief one being that.&lt;br /&gt;
the countries whose copyright law took a higher&lt;br /&gt;
ground would be giving a great deal and getting:&lt;br /&gt;
little in return. This is no doubt a point, and a&lt;br /&gt;
strong point, but we in England have been suffer-&lt;br /&gt;
ing from this for so long in our connection with&lt;br /&gt;
the United States that this argument will have&lt;br /&gt;
but little weight. There has been a certain&lt;br /&gt;
amount of talk in England about retaliation. If&lt;br /&gt;
this same argument found support among those.&lt;br /&gt;
nations who take the higher ground, as suggested&lt;br /&gt;
by M. Taillefer, the result would indeed be disas-&lt;br /&gt;
trous, and render international agreement almost.&lt;br /&gt;
hopeless, but we cannot think that this will be the&lt;br /&gt;
case. We have been optimistic in the past and&lt;br /&gt;
are still so. Personally, we think it OSt.&lt;br /&gt;
admirable step that the Convention should have&lt;br /&gt;
been passed ; for even if it is impossible the&lt;br /&gt;
present circumstances for any nation to adow the&lt;br /&gt;
whole of the Convention, yet there lies before the&lt;br /&gt;
legislature of each country an ideal towards which&lt;br /&gt;
its legislators will look when altering the copy-&lt;br /&gt;
right laws. The Berlin Convention is not a per-&lt;br /&gt;
fect convention, but to the delegates of the different.&lt;br /&gt;
nations it would appear that this has seemed the&lt;br /&gt;
most perfect Convention obtainable under existing:&lt;br /&gt;
circumstances and amidst conflicting opinions.&lt;br /&gt;
In many points it passes beyond the Copyright&lt;br /&gt;
Legislation of the countries which were represented.&lt;br /&gt;
The Convention is a fair ideal for which to:&lt;br /&gt;
struggle, and those nations who get nearest to the&lt;br /&gt;
ideal will not be likely, on account of the reasons.&lt;br /&gt;
put forward, to adopt the policy of retaliation, but&lt;br /&gt;
will urge every nation to come up on to the&lt;br /&gt;
platform on which they themselves stand.&lt;br /&gt;
In the recent Act passed in the United States.&lt;br /&gt;
we see a tendency to rise to a higher platform.&lt;br /&gt;
The movement, indeed, is slow, but still there is .&lt;br /&gt;
a movement, and we trust that the United States,&lt;br /&gt;
when next they bestir themselves to copyright&lt;br /&gt;
alteration, will be able to come whole-heartedly to .&lt;br /&gt;
the level of the civilised European nations.&lt;br /&gt;
a &mdash;&ordm;-- a-&lt;br /&gt;
v-u- ~&lt;br /&gt;
&ldquo; UNCLE TOM&amp;#039;S CABIN.&rdquo;&lt;br /&gt;
(Written for the Bath Classics. Published by&lt;br /&gt;
Cedric Chivers, Ltd., Bath. Printed in these.&lt;br /&gt;
columns by the kind permission of the author,&lt;br /&gt;
with the consent of the publishers.)&lt;br /&gt;
ITERARY appraisement is a more simple-&lt;br /&gt;
matter for those whose judgment is un-&lt;br /&gt;
trammelled by first-hand knowledge of the&lt;br /&gt;
effect produced by given work upon the author&amp;#039;s.&lt;br /&gt;
contemporaries.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#386) ################################################&lt;br /&gt;
&lt;br /&gt;
24&lt;br /&gt;
THE A DfTHOR.&lt;br /&gt;
To think of &ldquo;Uncle Tom&rsquo;s Cabin&rsquo;&rsquo; is for some&lt;br /&gt;
of us to remember hearing that book described in&lt;br /&gt;
our youth as a vicious travesty upon the institution&lt;br /&gt;
of slavery as it existed in the Southern States.&lt;br /&gt;
It is curious now to recall the fact that bitter&lt;br /&gt;
resentment against Mrs. Stowe&amp;#039;s work should have&lt;br /&gt;
been perpetuated by Kentuckians in particular&mdash;&lt;br /&gt;
those &ldquo;Kentuckians &amp;#039; Mrs. Stowe is never tired of&lt;br /&gt;
praising for magnanimity, valour, and breeding ;&lt;br /&gt;
whose treatment of the negro she characterised&lt;br /&gt;
as exceptional for its patriarchal indulgence.&lt;br /&gt;
Through the mouth of the least inhuman of her&lt;br /&gt;
slave-dealers she says: &ldquo;You Kentucky folks spile&lt;br /&gt;
your niggers&rdquo;; and all through the story she&lt;br /&gt;
shows,&amp;#039; that the most horrible threat which it was&lt;br /&gt;
possible to hold over a Kentucky slave was his&lt;br /&gt;
being sold out of that State.&lt;br /&gt;
To re-read the work after the lapse of many&lt;br /&gt;
is to find one&amp;#039;s early bias corrected by a&lt;br /&gt;
yea&lt;br /&gt;
gro g perception of the temperance, the&lt;br /&gt;
scru filous fairness of the famous indictment.&lt;br /&gt;
Two&amp;quot; other surprises await the latter-day reader of&lt;br /&gt;
&ldquo;Uncle Tom.&rdquo; The work has worn for so long its&lt;br /&gt;
label of a novel with a purpose, everywhere (except&lt;br /&gt;
perhaps in the Southern States) it has come to be&lt;br /&gt;
So unquestionably accepted as having played an&lt;br /&gt;
active part in the awakening of a national&lt;br /&gt;
conscience, that the new generation of readers&lt;br /&gt;
will be little prepared to find the book so good&lt;br /&gt;
as a story. Albeit Mrs. Stowe was not a&lt;br /&gt;
novelist using reform as a theme, but a reformer&lt;br /&gt;
using the novel as a weapon, the hand that drew&lt;br /&gt;
&ldquo;Miss Ophelia,&rdquo; &ldquo;Uncle Tom,&rdquo; and the immortal&lt;br /&gt;
&ldquo;Topsy,&rdquo; had its share of a skill that did not&lt;br /&gt;
exhaust itself upon the moral issue. It is true&lt;br /&gt;
there are those who believe that the ailing and&lt;br /&gt;
poverty-ridden housewife&mdash;writing her book with&lt;br /&gt;
a baby on her knee, and an eye on the oven&mdash;&lt;br /&gt;
did more by means of a story to wipe her&lt;br /&gt;
country clean of the stain of slavery than&lt;br /&gt;
any single statesman at the Capitol, or any&lt;br /&gt;
general in the field. Lord Palmerston said of&lt;br /&gt;
&ldquo;Uncle Tom&amp;#039;s Cabin&rsquo;&rdquo;: &ldquo;I have not read a novel&lt;br /&gt;
for thirty years, but I have read that book, rot&lt;br /&gt;
only for the story, but for the statesmanship of it.&rdquo;&lt;br /&gt;
Lord Cockburn could declare the story had &ldquo;done&lt;br /&gt;
more for humanity than was ever before accom-&lt;br /&gt;
plished by any single book of fiction.&rdquo;&lt;br /&gt;
One is nevertheless sure that the kindly,&lt;br /&gt;
humorous little woman would not have been&lt;br /&gt;
ill-pleased to set beside these grave and reverend&lt;br /&gt;
tributes a certain verdict of to-day. I have&lt;br /&gt;
said that this brave book is also a good story.&lt;br /&gt;
It comes well out of the test of being read&lt;br /&gt;
aloud, and out of that other test of hold-&lt;br /&gt;
ing the attention and sympathy, not only of&lt;br /&gt;
administrators and men of the world, but also of&lt;br /&gt;
youth. The laurel I am proud to lay on the altar&lt;br /&gt;
of Mrs. Stowe&amp;#039;s memory is the record of a school-&lt;br /&gt;
boy&amp;#039;s indignation at hearing &ldquo;Uncle Tom&amp;#039;s Cabin&rsquo;&rdquo;&lt;br /&gt;
described as a classic. When finally overborne, he&lt;br /&gt;
said with the air of one who breaks a lance in some&lt;br /&gt;
dear cause: &ldquo;Well, even if it is a classic, it&amp;#039;s jolly&lt;br /&gt;
decent.&rdquo;. The frame of mind that produced that&lt;br /&gt;
flower of appreciation is the modern reader&amp;#039;s second&lt;br /&gt;
surprise.&lt;br /&gt;
The third is not so much ours as what we&lt;br /&gt;
are sure, would be Mrs. Stowe&amp;#039;s&mdash;the surprise,&lt;br /&gt;
too, of all those zealous and somewhat shortsighted&lt;br /&gt;
Abolitionists, could they know that nearly half a&lt;br /&gt;
century after the outbreak of the Civil War,&lt;br /&gt;
the most difficult, perhaps most menacing, problem&lt;br /&gt;
confronting America should be precisely the&lt;br /&gt;
relation between the white population and that&lt;br /&gt;
other, less and less black, yet never in practice&lt;br /&gt;
&ldquo;equal,&rdquo; and never wholly &ldquo;free.&rdquo;&lt;br /&gt;
After all these decades of the nominal emancipa-&lt;br /&gt;
tion of the negro, few indeed are the white house-&lt;br /&gt;
holds in any part of America to-day where the&lt;br /&gt;
coloured citizen would be received on the footing&lt;br /&gt;
of brotherliness and respect accorded the refugee&lt;br /&gt;
slaves on the northern side of the Ohio river in the&lt;br /&gt;
eighteen-fifties. In those days the fusing flame of&lt;br /&gt;
abolitionist ardour burned steady in the North ; and&lt;br /&gt;
in the South was still a fund of that old patriarchal&lt;br /&gt;
kindness in the breasts of white folk&mdash;of men and&lt;br /&gt;
women who had had negro playmates (as no well-&lt;br /&gt;
born white child has to-day)&mdash;and who had known&lt;br /&gt;
in youth the kindness and the sheltering of a black&lt;br /&gt;
nurse&amp;#039;s faithful arms. Between those days and&lt;br /&gt;
now stretches the dismal swamp of the Reconstruc-&lt;br /&gt;
tion period, and the air is newly filled with the&lt;br /&gt;
lingering poison left by the more recent lynchings&lt;br /&gt;
and race riots.&lt;br /&gt;
To turn from the hopes indulged by Abolitionists&lt;br /&gt;
in 1850 to the hard reality of these early years of&lt;br /&gt;
the twentieth century is to find ourselves con-&lt;br /&gt;
fronted by a startling commentary upon the more&lt;br /&gt;
obscure elements in the destiny of nations. Here&lt;br /&gt;
We are, &ldquo;after many days,&rdquo; face to face with one&lt;br /&gt;
of those not-to-be-predicated results of human&lt;br /&gt;
action, which seems to set history forever outside&lt;br /&gt;
the realm of science.&lt;br /&gt;
It is, however, only fair to Mrs. Stowe&amp;#039;s perspi- .&lt;br /&gt;
Cacity to say&mdash;even though the admission provide,&lt;br /&gt;
food for the ironist&mdash;that the Reformer-novelist&lt;br /&gt;
foresaw something of the difficulty involved in the&lt;br /&gt;
free negro&amp;#039;s taking up life, cheek by jowl, with his&lt;br /&gt;
former master. Hence her enthusiasm for the naif&lt;br /&gt;
plan that America should give the slave his manur&lt;br /&gt;
mission papers with one hand, and with the othe&lt;br /&gt;
should open the door and politely, but firmly,&lt;br /&gt;
wave him off the premises. Not even our&lt;br /&gt;
ardent philanthropist could in her inmost softl&lt;br /&gt;
think of the negro as fit to share citizenshi&lt;br /&gt;
with Beechers and with Stowes in the home&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#387) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
25&lt;br /&gt;
of the brave and the land of the free.&lt;br /&gt;
Apparently she was to the end unconscious how&lt;br /&gt;
charged with evil significance for the future of&lt;br /&gt;
America was her quite typical Yankee eagerness to&lt;br /&gt;
transfer all her dear black friends to Liberia, or to&lt;br /&gt;
Heaven. Whatever were her misgivings, the actual&lt;br /&gt;
result of the failure to adopt her simple remedies&lt;br /&gt;
must have beggared her darkest imagining. No&lt;br /&gt;
One could have made Harriet Beecher Stowe believe&lt;br /&gt;
that half a century after she had described the&lt;br /&gt;
brotherly-kindness of Indiana whites towards the&lt;br /&gt;
negro, that these passages would sound as strange,&lt;br /&gt;
as unrealisable, to Northern ears, as they did to any&lt;br /&gt;
slave-holding Southerner in the ante-bellum days.&lt;br /&gt;
Once more we are confronted by the impotence&lt;br /&gt;
of the sword to right the most galling wrongs.&lt;br /&gt;
Not by battles in the field&mdash;by victories in the mind&lt;br /&gt;
and heart of man shall the true emancipation come.&lt;br /&gt;
ELIZABETH ROBINS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE PROCRASTINATION OF HAPPINESS&lt;br /&gt;
IN FICTION.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HAT appears to be wilful procrastination&lt;br /&gt;
or maddening inability to seize the golden&lt;br /&gt;
opportunity on the part of characters in&lt;br /&gt;
fiction often causes the novel-reader to throw aside&lt;br /&gt;
his book in disgust, or at least to lay it down and&lt;br /&gt;
question the likeness of certain passages to life.&lt;br /&gt;
There are undoubtedly some amongst us who fail&lt;br /&gt;
to utilise life&amp;#039;s great moments; Mrs. Pullets, who&lt;br /&gt;
withal slaves to dress, keep their best clothes under&lt;br /&gt;
lock and key in an upper chamber, and never wear&lt;br /&gt;
them out, but so few are these that they stand forth&lt;br /&gt;
as notable landmarks in idiosyncrasy, and the feel-&lt;br /&gt;
ing becomes strong in encountering them repeatedly&lt;br /&gt;
in novels of some defect in the mirror which other-&lt;br /&gt;
wise so truthfully reflects nature. For the elect&lt;br /&gt;
are as great offenders in this matter as the paid&lt;br /&gt;
hacks writing to space. The latter might be for-&lt;br /&gt;
given for marking time a little at a crucial moment&lt;br /&gt;
to eke out the story to its determined length, but&lt;br /&gt;
one does not expect to find the man who has&lt;br /&gt;
&ldquo;arrived &rdquo; in league with the printers, indeed one&lt;br /&gt;
knows that he is not, and casts about for a fresh&lt;br /&gt;
glution to the mystery.&lt;br /&gt;
*In Mr. Hardy&rsquo;s &ldquo;Mayor of Casterbridge&rdquo; an&lt;br /&gt;
instance occurs which strains credulity to the&lt;br /&gt;
utm&ordm; : the scene at the inn when Elizabeth Jane&lt;br /&gt;
returns from her interview with Henchard bearing&lt;br /&gt;
a note from him to her mother. Here is a woman&lt;br /&gt;
who years before, when Henchard&amp;#039;s wife, was sold&lt;br /&gt;
ilm in his cups by auction at a fair for five&lt;br /&gt;
guineſs to another man. Coming to Casterbridge&lt;br /&gt;
in supposed widowhood for the sole purpose of&lt;br /&gt;
discovering her first husband, she makes known to&lt;br /&gt;
him her whereabouts in a letter conveyed by her&lt;br /&gt;
daughter. This is sufficient evidence that she is&lt;br /&gt;
too perturbed to introduce herself in person, yet&lt;br /&gt;
When the answer is brought to her by the gi&ordm;s&lt;br /&gt;
the course of the evening, although moved at .&lt;br /&gt;
of it, she does not read it at once, but i&lt;br /&gt;
asks for a description of Elizabeth Jane&amp;#039;s re&lt;br /&gt;
by Henchard, a matter one would think of se&lt;br /&gt;
Importance to the direct communicati&lt;br /&gt;
sealed before her. Mr. Hardy is also&lt;br /&gt;
for Raye&amp;#039;s lukewarm attitude in &ldquo;On&lt;br /&gt;
Circuit.&rdquo; He is genuinely disquieted&lt;br /&gt;
girl who attracts him has not availed h&lt;br /&gt;
permission to write, and when an answe&lt;br /&gt;
request that she will do so comes, he do&lt;br /&gt;
it for half an hour, though it is the first&lt;br /&gt;
he has received from her.&lt;br /&gt;
And the whole raison d&amp;#039;&ecirc;tre of&lt;br /&gt;
Weyman&rsquo;s &ldquo;Castle Inn,&rdquo; though the fac&lt;br /&gt;
means to be deplored by his readers, is t&lt;br /&gt;
behaviour of the heroine, who although&lt;br /&gt;
with emotion and happiness at her lover&lt;br /&gt;
tion must needs postpone her acceptan&lt;br /&gt;
for twenty-four hours. There is more e&lt;br /&gt;
Hetty Sorrel, whom exacting househol&lt;br /&gt;
prevent from opening the letters whic&lt;br /&gt;
thorne sent to her through Adam Bede.&lt;br /&gt;
heels of its delivery come Mrs. Poyser&rsquo;s col&lt;br /&gt;
to draw the beer, whilst the lighting of her&lt;br /&gt;
pipe and a hundred trivialities follow. Y&lt;br /&gt;
Wonders that the poor girl, guessing the&lt;br /&gt;
import of the letter, does not contrive to st&lt;br /&gt;
to her bedroom before dark.&lt;br /&gt;
Allowance must of course be made for t&ordm;&lt;br /&gt;
grown-up children who prefer to &ldquo;keep the ja&lt;br /&gt;
to the last.&rdquo; &ldquo;Did I read my letter there an&lt;br /&gt;
then 2 Did I consume the venison at once, and&lt;br /&gt;
with haste, as if Esau&rsquo;s shaft flew every day ?&rdquo;&lt;br /&gt;
Thus Lucy Snowe in &ldquo;Willette.&rdquo; The precious&lt;br /&gt;
letter from Bretton given into her hands by M.&lt;br /&gt;
Paul at her desk in class was not to be devoured&lt;br /&gt;
in a mouthful as it were. &ldquo;The cover with its&lt;br /&gt;
address, the seal with its three clear letters was&lt;br /&gt;
bounty and abundance for the present,&rdquo; and the&lt;br /&gt;
description follows of a stealthy exit from the&lt;br /&gt;
room, the acquisition of the key of the great&lt;br /&gt;
dormitory, and the subsequent committal of the&lt;br /&gt;
precious document, shrouded in silver paper to a&lt;br /&gt;
case within a box in a drawer of her bureau, there&lt;br /&gt;
to lie until the house was still for the night, and by&lt;br /&gt;
the light of a borrowed bougie to be enjoyed at&lt;br /&gt;
length in the silence of of a disused garret.&lt;br /&gt;
Duty first, pleasure a day&amp;#039;s march behind. Could&lt;br /&gt;
Charlotte Bront&euml;, with her soul in her heroine, have&lt;br /&gt;
treated the incident otherwise ? One&amp;#039;s thoughts&lt;br /&gt;
fly at once to bleak Haworth and her cheerful setting&lt;br /&gt;
aside of any plans of her own which threatened to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#388) ################################################&lt;br /&gt;
&lt;br /&gt;
26&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
collide ever so gently with those of her captious&lt;br /&gt;
parent. Indeed the whole question resolves itself&lt;br /&gt;
into the personality of the different authors, that&lt;br /&gt;
personality of which, if the law-makers had their&lt;br /&gt;
y, we should never be allowed a glimpse.&lt;br /&gt;
not the men and the women whom you paint&lt;br /&gt;
tour blood-brothers &rdquo; was Leonardo&amp;#039;s advice&lt;br /&gt;
artists of his day. Neither would we wish&lt;br /&gt;
characters to be hung promiscuously like so&lt;br /&gt;
s with their creator&amp;#039;s ideas of life. Never-&lt;br /&gt;
aſsoever of strength an author can trans-&lt;br /&gt;
* soul into his work, such as can help&lt;br /&gt;
2 race that is set before us, whether it&lt;br /&gt;
he mouth of a fictitious man or woman,&lt;br /&gt;
kes the form of a little moralising by&lt;br /&gt;
would none of us wish to eliminate,&lt;br /&gt;
ffend the canons of art or not. We&lt;br /&gt;
anity Fair puppets for themselves, but&lt;br /&gt;
ll more the countless peeps afforded us&lt;br /&gt;
r dead hand that pulled the strings&lt;br /&gt;
maxims given by great lights to less&lt;br /&gt;
comes only in literature by the&lt;br /&gt;
2ealment of one&amp;#039;s every day working&lt;br /&gt;
nt. It seems that this digression has&lt;br /&gt;
he point of a duel between human nature&lt;br /&gt;
ame personality, which after all is but the&lt;br /&gt;
f an individual man or woman pitted&lt;br /&gt;
he same property in a more general sense.&lt;br /&gt;
est la nature vue a travers un tempera-&lt;br /&gt;
rding to the lights of the stereotyped&lt;br /&gt;
t as to how true men and women ought to&lt;br /&gt;
der given circumstances, all the actors in the&lt;br /&gt;
ing examples, with the exception, perhaps, of&lt;br /&gt;
* Snowe, deserved the lash or some such sharp&lt;br /&gt;
hinder to frighten them out of the state of&lt;br /&gt;
aralytic hysteria which appeared to overtake them&lt;br /&gt;
in crises of joy, and Jane Austen&amp;#039;s Marianne in a&lt;br /&gt;
parallel case, snatching at Willoughby&amp;#039;s letter&lt;br /&gt;
which the servant delivers to her at the common&lt;br /&gt;
working-table, and fleeing, deadly pale, from the&lt;br /&gt;
room, seems the only woman worth her salt. The&lt;br /&gt;
gods that be do not put themselves to the trouble&lt;br /&gt;
of providing good things with the intention that&lt;br /&gt;
they are not to be enjoyed to the utmost. Happi-&lt;br /&gt;
ness was never intended to be put before hungry&lt;br /&gt;
appetites on the return system&mdash;a sugared cake in&lt;br /&gt;
our midst not to be cut into, and many a sermon&lt;br /&gt;
should be drummed into the ears of youth, not&lt;br /&gt;
only from the pulpit, but through the medium of&lt;br /&gt;
stage and literature, on the necessity of grasping it&lt;br /&gt;
if it comes.&lt;br /&gt;
MYRA SWAN.&lt;br /&gt;
&ordm;&lt;br /&gt;
CERTAIN PRACTICAL MATTERS.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
O the writer of novels it is a commonplace,&lt;br /&gt;
T but none the less exasperating on that&lt;br /&gt;
account, that for every person who buys his&lt;br /&gt;
work or borrows it from a library there is another&lt;br /&gt;
who would buy, and there are at least twenty who&lt;br /&gt;
would borrow it if they were aware of its existence.&lt;br /&gt;
There is no reason whatever but removable defects&lt;br /&gt;
in the machinery of distribution why a novel that&lt;br /&gt;
&ldquo;sells&rdquo; from one to three thousand copies should&lt;br /&gt;
not easily &ldquo;sell&rsquo;&rdquo; twice or three times that number.&lt;br /&gt;
This is a sad state of things for the novelist, but&lt;br /&gt;
it is not surprising. It is a pretty safe general&lt;br /&gt;
rule that the official virtue of any particular class&lt;br /&gt;
or profession is not the one that on examination&lt;br /&gt;
in cold blood will be found most prominent in its&lt;br /&gt;
individual members. There are exceptions to this&lt;br /&gt;
rule, of course. Some soldiers are brave, I know&lt;br /&gt;
several women who are more domesticated than&lt;br /&gt;
the average man, some poets are imaginative, and&lt;br /&gt;
a few, a very few, practical men are practical.&lt;br /&gt;
But in what is called &ldquo;the book trade,&rdquo; at any rate,&lt;br /&gt;
the more the work to be done falls into the region&lt;br /&gt;
of the practical the worse it is done. On the&lt;br /&gt;
whole, at the present day, novels are better written,&lt;br /&gt;
printed, published, advertised, and reviewed, than&lt;br /&gt;
they are &ldquo;handled &rdquo; as articles of commerce, to be&lt;br /&gt;
sold or lent for a fee over a counter like any other&lt;br /&gt;
article of commerce.&lt;br /&gt;
We are always hearing that the book trade is in&lt;br /&gt;
a bad way. All sorts of suggestions are made for&lt;br /&gt;
its improvement, but they are all, or nearly all,&lt;br /&gt;
based on the assumption that the &ldquo;trade,&rdquo; the&lt;br /&gt;
practical part of it, is being done as well as it can&lt;br /&gt;
be done. On the contrary, it is being done very&lt;br /&gt;
badly. Any improvement in the book trade, and&lt;br /&gt;
particularly as affecting the sale of novels, will be&lt;br /&gt;
achieved, not by juggling with prices, or by&lt;br /&gt;
strenuous efforts on the part of writers to pander&lt;br /&gt;
to an imaginary &ldquo;taste of the public,&rdquo; or by more&lt;br /&gt;
exciting advertisements, but, as in any other trade,&lt;br /&gt;
by the obvious means of bringing the article to be&lt;br /&gt;
sold or lent into contact with the people who are&lt;br /&gt;
likely to buy or borrow it.&lt;br /&gt;
At present there is almost a conspiracy to keep.&lt;br /&gt;
them apart. Whether this is the fault of pub-&lt;br /&gt;
lishers or booksellers I am not prepared to say.&lt;br /&gt;
The intentions of both are excellent, but between&lt;br /&gt;
them they do not handle their wares with the&lt;br /&gt;
common sense with which the grocer handles his&lt;br /&gt;
pounds of tea or pots of jam. What the book-&lt;br /&gt;
seller can do when he is put to it is almost beyond&lt;br /&gt;
belief. Not long ago I saw at an important&lt;br /&gt;
railway station, on the stall of one of the largest&lt;br /&gt;
book-distributing agencies in the United Kingdom,&lt;br /&gt;
a row of the little volumes in the &ldquo;Scott F&ordm;&lt;br /&gt;
&lt;br /&gt;
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## p. (#389) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A CITISIOR,&lt;br /&gt;
27&lt;br /&gt;
With every symptom of pride in his work, the&lt;br /&gt;
man in charge of the stall had labelled them, &ldquo;New&lt;br /&gt;
edition of the Novels of Sir Walter Scott. Only&lt;br /&gt;
one shilling and sixpence per volume.&rdquo; Again, I&lt;br /&gt;
learn that for many booksellers Mrs. Alfred Sidg-&lt;br /&gt;
wick and Miss Sedgwick are interchangeable&lt;br /&gt;
names, Mrs. Henry Dudeney and Miss Sarah&lt;br /&gt;
Doudney are one&mdash;with interesting results in the&lt;br /&gt;
schoolroom&mdash;and, if I may be forgiven the illustra-&lt;br /&gt;
tion&mdash;it is believed by more than one practical&lt;br /&gt;
man engaged in the sale and lending of novels,&lt;br /&gt;
that I wrote &ldquo;Peter Simple.&rdquo; As for &ldquo;The&lt;br /&gt;
Bensons,&rdquo; they, of course, were written by Miss&lt;br /&gt;
Ellen Thorneycroft Fowler.&lt;br /&gt;
Go into the average provincial bookshop, and,&lt;br /&gt;
leaving out the three great and the half dozen or&lt;br /&gt;
so notorious living writers of fiction, ask for the&lt;br /&gt;
work of any fairly well-known novelist within a&lt;br /&gt;
fortnight of publication. The chances are ten to&lt;br /&gt;
one it is not there. &ldquo;But we can get it, when we&lt;br /&gt;
send off our next order to Messrs. So-and-So&amp;#039;&mdash;that&lt;br /&gt;
is, in about a week&mdash;and you are leaving the town the&lt;br /&gt;
day after to-morrow. It is said that people don&amp;#039;t&lt;br /&gt;
buy novels. Indeed, they seldom get the chance&lt;br /&gt;
when they are in the mood. It is the most&lt;br /&gt;
difficult thing in the world to buy a novel. If it&lt;br /&gt;
has been said to me once it has been said a dozen&lt;br /&gt;
times, &ldquo;I tried to get your last book at (varying)&lt;br /&gt;
So-and-So&amp;#039;s, but they hadn&amp;#039;t got it&rsquo;&rsquo;; and every&lt;br /&gt;
novelist can tell the same tale. People can write&lt;br /&gt;
to one&amp;#039;s publisher for the book, of course, but&lt;br /&gt;
people don&amp;#039;t want to be bothered writing to one&amp;#039;s&lt;br /&gt;
publisher. What they want is to be able to go&lt;br /&gt;
into a shop and buy the book then and there. It&lt;br /&gt;
is said that the six shilling novel is about to be&lt;br /&gt;
abolished, but until I can go into any bookshop&lt;br /&gt;
and see, actually see and handle, within two days&lt;br /&gt;
of publication, the last work of any one of twenty&lt;br /&gt;
living novelists I could - name offhand, I shall&lt;br /&gt;
refuse to believe that any serious attempt has been&lt;br /&gt;
made to sell the six shilling novel. It is not even&lt;br /&gt;
easy to borrow a novel&mdash;if it is at all popular&mdash;&lt;br /&gt;
within six weeks of publication. I don&amp;#039;t know how&lt;br /&gt;
many copies of a new novel it &ldquo;pays &amp;quot;a circulating&lt;br /&gt;
library to stock, but I am convinced that informa-&lt;br /&gt;
tion to the advantage of librarian, publisher, and&lt;br /&gt;
novelist, might be obtained from the man who&lt;br /&gt;
lends bicycles for hire.&lt;br /&gt;
Moreover, it must be remembered that the&lt;br /&gt;
number of would-be buyers or borrowers of books&lt;br /&gt;
who know what they want is a very small one.&lt;br /&gt;
There is a huge public that does not know what it&lt;br /&gt;
wants, but will be grateful for being told. Over&lt;br /&gt;
and over again I have won the gratitude of&lt;br /&gt;
acquaintances&mdash;and earned the gratitude of writers&lt;br /&gt;
&mdash;by introducing them to novelists they had never&lt;br /&gt;
* of, never would have heard of if they had&lt;br /&gt;
been left to the men whose business it is to sell or&lt;br /&gt;
lend for a fee those novelists&rsquo; works. I do not&lt;br /&gt;
claim this as a special virtue; every one of my&lt;br /&gt;
readers must have had the same experience. But&lt;br /&gt;
whose business is it to introduce the right novel&lt;br /&gt;
to the right person 2 The publishers ? The&lt;br /&gt;
reviewers ? Few people read publishers&amp;#039; advertise-&lt;br /&gt;
ments; fewer still read reviews. A great,&lt;br /&gt;
immense number of people want to read now&lt;br /&gt;
but, speaking generally, they do not read the no&lt;br /&gt;
they would prefer to read because they are&lt;br /&gt;
brought to their notice.&lt;br /&gt;
How much of this state of things is du&lt;br /&gt;
and how much to methods I do not kno&lt;br /&gt;
the fact remains that the practical bu&lt;br /&gt;
selling novels is not sufficiently practical&lt;br /&gt;
where between the publisher and the p&lt;br /&gt;
machinery breaks down. The novels t&lt;br /&gt;
want to read are being written and publ&lt;br /&gt;
the people that want to read them are&lt;br /&gt;
they meet only by accident. Advertise&lt;br /&gt;
by postcard, isn&amp;#039;t much good ; there is th&lt;br /&gt;
between the receipt of the postcard and&lt;br /&gt;
to the bookshop to be considered. T&lt;br /&gt;
ought to be there, on the spot, just as wh&lt;br /&gt;
into a grocer&amp;#039;s the Epps&amp;#039; cocoa and the&lt;br /&gt;
mustard are there, on the spot. Also it w&lt;br /&gt;
an advantage if every bookseller knew so&lt;br /&gt;
about the books that are being publishe&lt;br /&gt;
cannot be expected to read them, but he o&lt;br /&gt;
least to know who wrote what, and when.&lt;br /&gt;
Above all, it is time to abolish that&lt;br /&gt;
superstition of publishers and booksellers&lt;br /&gt;
the &ldquo;taste of the public,&rdquo; and come down&lt;br /&gt;
hard facts of the case. The &ldquo;taste of the pu&lt;br /&gt;
in the sense intended, that is a taste for trash,&lt;br /&gt;
Mrs. Harris. People want good novels, and t&lt;br /&gt;
are always grumbling because they can&amp;#039;t get them.&amp;quot;&lt;br /&gt;
That merely means that they don&amp;#039;t know where to&lt;br /&gt;
look for them ; plenty of good&mdash;I don&amp;#039;t say great.&lt;br /&gt;
&mdash;novels are being written and published, but&lt;br /&gt;
between the published novel and the possible buyer&lt;br /&gt;
or borrower there is a great gulf fixed.&lt;br /&gt;
CHARLES MARRIOTT.&lt;br /&gt;
* &mdash;&ordm;- ań.&lt;br /&gt;
v&ordm;y -v- *F&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY WM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others).&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
INTRODUCTION.&lt;br /&gt;
N the present day good illustrations are acknow-&lt;br /&gt;
I ledged to be an additional attraction to almost&lt;br /&gt;
any publication. When we open a book for&lt;br /&gt;
the first time does not our eye involuntarily, as we&lt;br /&gt;
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## p. (#390) ################################################&lt;br /&gt;
&lt;br /&gt;
28&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
run the pages through our fingers, seek for the&lt;br /&gt;
pictures 2&lt;br /&gt;
If there are none, is it not without some&lt;br /&gt;
inner feeling of disappointment that we begin to&lt;br /&gt;
con over the head-lines of the various chapters or&lt;br /&gt;
rapidly glance through odd pages to try to glean&lt;br /&gt;
tickly what it is all about 2&lt;br /&gt;
In this hurry-scurry age, no matter how excellent&lt;br /&gt;
he its literary quality, a book is always&lt;br /&gt;
nced by suitable and well-produced illustrations.&lt;br /&gt;
ey catch the eye more readily, and convey&lt;br /&gt;
ickly to the mind some sort of general idea&lt;br /&gt;
Contents.&lt;br /&gt;
ookseller will tell you what a large per-&lt;br /&gt;
f books of all kinds are sold through the&lt;br /&gt;
f the illustrations alone, a well-illustrated&lt;br /&gt;
ing a ready market more easily than one&lt;br /&gt;
upon its letterpressentirely&lt;br /&gt;
ently the art of illustrating, whether in&lt;br /&gt;
choosing suitable illustrations or whether&lt;br /&gt;
of understanding how to illustrate wisely&lt;br /&gt;
mically, cannot be ignored.&lt;br /&gt;
ays of reproduction are now so many and&lt;br /&gt;
that to the uninitiated they must be at&lt;br /&gt;
hifusing.&lt;br /&gt;
authors who wish their work to be illus-&lt;br /&gt;
ave often very little idea as to the best way&lt;br /&gt;
dure and not infrequently propose to their&lt;br /&gt;
er or printer something that is either totally&lt;br /&gt;
ticable or otherwise ineffective.&lt;br /&gt;
with this reason prominently fixed in my&lt;br /&gt;
I will endeavour to elucidate some of the&lt;br /&gt;
ries of art reproduction suitable for books,&lt;br /&gt;
papers, magazines, or catalogues.&lt;br /&gt;
Lhnicalities of the various processes, as that is&lt;br /&gt;
unnecessary, but to give to the lay mind some idea&lt;br /&gt;
of what can and what cannot be done.&lt;br /&gt;
CHAPTER I.&lt;br /&gt;
On Wood- and Steel-Plate Engraving.&lt;br /&gt;
HALF a century ago there were practically only&lt;br /&gt;
two well-known illustrated journals, and these made&lt;br /&gt;
a reputation through their illustrations that has&lt;br /&gt;
lasted until the present day. I allude to the&lt;br /&gt;
Illustrated London News and our old humorous&lt;br /&gt;
friend Punch.&lt;br /&gt;
Wood-engraving in those days was so expensive&lt;br /&gt;
that few publishers were brave enough to risk&lt;br /&gt;
entering the field, and so Punch and the Illustrated&lt;br /&gt;
London News had the world of paper-illustration&lt;br /&gt;
in their own hands.&lt;br /&gt;
All their &ldquo;cuts &amp;#039;&amp;#039; were woodcuts, and the best&lt;br /&gt;
artists of the day were employed for the sketches.&lt;br /&gt;
They were usually drawn in pencil, or painted in&lt;br /&gt;
&lsquo;wash &rsquo;&rsquo; on a box-wood block as one would make&lt;br /&gt;
f&lt;br /&gt;
h is not my intention to enter into the&lt;br /&gt;
an ordinary sepia drawing with a brush and water-&lt;br /&gt;
colour.&lt;br /&gt;
But the drawback to this process was the fact&lt;br /&gt;
that, after the artist had completed the sketch, it&lt;br /&gt;
had then to go into the hands of the wood-engraver,&lt;br /&gt;
who (if he were not as artistic as the artist himself,&lt;br /&gt;
or even if he were, yet had not the feeling or know-&lt;br /&gt;
ledge or touch of that particular artist) more often&lt;br /&gt;
than, not ruined by his &ldquo;wood-pecking&rdquo; the&lt;br /&gt;
excellence of the original.&lt;br /&gt;
And So it was that the artist with a &ldquo;name &amp;quot;&lt;br /&gt;
was nervous of the engraver who had to conceive&lt;br /&gt;
his ideas. Not infrequently the engraver was&lt;br /&gt;
nervous of the artist, and occasionally had reason-&lt;br /&gt;
able cause to be ; as the artist who made a poor&lt;br /&gt;
picture generally expected more from the engraver&lt;br /&gt;
than he ought to have done.&lt;br /&gt;
Consequently it can be appreciated that the&lt;br /&gt;
talented artist was at the engraver&amp;#039;s mercy, who&lt;br /&gt;
frequently spoiled or misinterpreted his sketches,&lt;br /&gt;
while in other cases the engraver was at the mercy&lt;br /&gt;
of the artist.&lt;br /&gt;
It was especially so in the case of large full-page&lt;br /&gt;
or double-page illustrations, when, by reason of&lt;br /&gt;
their size, several&mdash;perhaps, two or four&mdash;engravers&lt;br /&gt;
helped to cut the one block.&lt;br /&gt;
This was necessary in such instances where a&lt;br /&gt;
topical subject was required hurriedly, because time&lt;br /&gt;
was to a certain extent a consequence, even in those&lt;br /&gt;
easygoing days; so the box-wood blocks were placed&lt;br /&gt;
in sections in the hands of several engravers, and&lt;br /&gt;
then screwed or joined together afterwards to&lt;br /&gt;
complete the total picture for printing.&lt;br /&gt;
Therefore wood-engraving was costly, as the best&lt;br /&gt;
engravers commanded big salaries, and it was fre-&lt;br /&gt;
quently the case that the wood-engraver earned&lt;br /&gt;
considerably more than the artist himself.&lt;br /&gt;
Each well-known artist had his favourite&lt;br /&gt;
engraver. To wit&mdash;Sir John Tenniel, the famous&lt;br /&gt;
Punch cartoonist, would only allow one man to&lt;br /&gt;
engrave his cartoons. This chosen engraver was&lt;br /&gt;
the late Mr. Joseph Swain, who personally retired&lt;br /&gt;
from wood-engraving at the same time as Sir John&lt;br /&gt;
Tenniel retired from Punch. As a matter of fact&lt;br /&gt;
they both finished their lives&amp;#039; work together in an&lt;br /&gt;
artistic sense. |&lt;br /&gt;
The only other style of artistic reproduction was&lt;br /&gt;
either on copper or steel. In this way the early&lt;br /&gt;
editions of Charles Dickens&amp;#039;s works were illustrated&lt;br /&gt;
by &ldquo;Phiz&amp;quot; and others.&lt;br /&gt;
In this process, which was principally used for&lt;br /&gt;
book-illustration, the artist as a rule depended&lt;br /&gt;
upon himself alone, being artist and engraver as&lt;br /&gt;
well. !&lt;br /&gt;
The steel or copper plate was covered with a&lt;br /&gt;
thin coating of melted of flowing bees&amp;#039;-wax, which&lt;br /&gt;
was allowed to get cold or set solid, when the picture&lt;br /&gt;
to be produced was engraved upon it with either&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
THE AUTHOR. 29&lt;br /&gt;
fine, medium, or coarse needles&mdash;a sort of&lt;br /&gt;
scratching away down to the surface of the metal.&lt;br /&gt;
The plate was then &ldquo;etched &rdquo; with acid, which&lt;br /&gt;
ate into the uncoated or unprotected parts of the&lt;br /&gt;
metal, and finally, when the wax was cleared away&lt;br /&gt;
from the plate, the picture showed up engraved&lt;br /&gt;
clearly upon it in the same way as an ordinary&lt;br /&gt;
copper-plate heading or address-plate appears&lt;br /&gt;
to-day.&lt;br /&gt;
But wood-engraving and steel-plate engraving,&lt;br /&gt;
beautiful though both were when well executed,&lt;br /&gt;
became almost obsolete when the so-called&lt;br /&gt;
&ldquo;mechanical&rdquo; processes came into vogue; for the&lt;br /&gt;
latter, besides being cheaper, were more generally&lt;br /&gt;
dependable and quicker. For comparison : where&lt;br /&gt;
a large Wood block would take an engraver, perhaps,&lt;br /&gt;
an entire month to engrave, the same-sized plate&lt;br /&gt;
or block could to-day be reproduced in a few hours.&lt;br /&gt;
And although the so-called &ldquo;half-tone process.&amp;quot;&lt;br /&gt;
T |&lt;br /&gt;
%&lt;br /&gt;
ſ&ordm;l&ordm;iſi&lt;br /&gt;
&Oslash;ſ&ordm; &ordm; &ordm;&lt;br /&gt;
Z&ordm;&ordm;&lt;br /&gt;
|&lt;br /&gt;
i. |&lt;br /&gt;
&ordm;&lt;br /&gt;
&ordm;&lt;br /&gt;
/&lt;br /&gt;
&ordm;&lt;br /&gt;
\\&lt;br /&gt;
| W&lt;br /&gt;
||||&lt;br /&gt;
(to which I shall allude fully later on) is un-&lt;br /&gt;
questionably not quite so artistic as a finely&lt;br /&gt;
finished wood-engraving, still, in the race for&lt;br /&gt;
saving time alone, it was bound to come in first&lt;br /&gt;
at last, paradoxical though this may sound.&lt;br /&gt;
Yet wood-engraving is not altogether eclipsed.&lt;br /&gt;
There are many people to-day, especially advertisers,&lt;br /&gt;
who insist upon having it. But it is used more&lt;br /&gt;
for mechanical and industrial articles than any-&lt;br /&gt;
thing else, because in this particular branch of&lt;br /&gt;
art, where an engineer or inventor desires some&lt;br /&gt;
important portion of an engine or machine made&lt;br /&gt;
more prominently noticeable, it is easy for the&lt;br /&gt;
engraver to elaborate the part required and to&lt;br /&gt;
minimise the detail or features of the surrounding&lt;br /&gt;
portiorhs.&lt;br /&gt;
Many firms, too, who issue periodical catalogues,&lt;br /&gt;
Prefer wood-engravings because of their decision,&lt;br /&gt;
glearness, and sharpness of line. It adapts itself&lt;br /&gt;
better to the class of goods they wish to illustrate.&lt;br /&gt;
... For instance, in the case of electro-plate and&lt;br /&gt;
silver go&ordm;ds, cutlery, bags and portmanteaus, tools&lt;br /&gt;
and machines, agricultural implements, etc., it i&lt;br /&gt;
often the favourite mode of reproduction.&lt;br /&gt;
In the above class of goods there is a good&lt;br /&gt;
of straight line or mechanical ruling, and now&lt;br /&gt;
The solid box-wood. Waved line tint.&lt;br /&gt;
|&lt;br /&gt;
&ordm;&lt;br /&gt;
|&lt;br /&gt;
|&lt;br /&gt;
| | |&lt;br /&gt;
&ordm;&lt;br /&gt;
Variegated tint.&lt;br /&gt;
there are many machines for cutting or er&lt;br /&gt;
upon wood in various ways, of which a few e&lt;br /&gt;
are here shown.&lt;br /&gt;
By aid of these engraving-machines the&lt;br /&gt;
|&lt;br /&gt;
Even coarse tint. Circular engraving.&lt;br /&gt;
|||| | | - ---&lt;br /&gt;
M - &ordm;&lt;br /&gt;
&ordm; W.&lt;br /&gt;
| &sect; - %&lt;br /&gt;
* |&lt;br /&gt;
| | | | |&ordm;&lt;br /&gt;
Graduated tint.&lt;br /&gt;
Crossed lines.&lt;br /&gt;
wood blocks has been reduced, as the apprentices&lt;br /&gt;
can do this branch of the work quite well after a&lt;br /&gt;
little practice.&lt;br /&gt;
Apart from this mechanical work there is yet a&lt;br /&gt;
small quantity of the free-hand or artistic wood-&lt;br /&gt;
engraving to be found. This is principally con-&lt;br /&gt;
fined to the large drapery houses, who still think&lt;br /&gt;
that some of their goods look best on wood. Boot-&lt;br /&gt;
manufacturers, too, perfume-makers, and others&lt;br /&gt;
cling affectionately to it in many instances.&lt;br /&gt;
With regard to the price that should be paid for&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#392) ################################################&lt;br /&gt;
&lt;br /&gt;
30&lt;br /&gt;
TFIES A DITFIOR.&lt;br /&gt;
wood blocks, it is practically an impossibility to&lt;br /&gt;
plan out any way of &ldquo;scaling &rdquo; the charges.&lt;br /&gt;
An artistic or freehand wood-engraving would&lt;br /&gt;
cost decidedly more than a merely mechanical one,&lt;br /&gt;
as a man of natural artistic taste and proclivities&lt;br /&gt;
would have to engrave it, whereas in the mechanical&lt;br /&gt;
teproduction it would in all probability be photo-&lt;br /&gt;
aphed direct upon the wood itself, and then&lt;br /&gt;
paved by a series of straight or circular lines&lt;br /&gt;
nich wood-engraving machinery would play an&lt;br /&gt;
:tant part.&lt;br /&gt;
ost of a wood block always depends&lt;br /&gt;
lly upon the amount of &ldquo;hand-work&rsquo;&lt;br /&gt;
upon it. This takes time, and a good&lt;br /&gt;
is necessary for a good-class &ldquo;job.&rdquo;&lt;br /&gt;
E=&lt;br /&gt;
ag&ordm;:=&lt;br /&gt;
&sect;&lt;br /&gt;
&amp;gt;&lt;br /&gt;
Ş&lt;br /&gt;
N&lt;br /&gt;
\\&lt;br /&gt;
&ordm;&lt;br /&gt;
---T. N&lt;br /&gt;
-&lt;br /&gt;
&ordm;&lt;br /&gt;
&ordm;&lt;br /&gt;
&amp;amp;&lt;br /&gt;
V&lt;br /&gt;
RN -&lt;br /&gt;
&ordm; s - &agrave;&lt;br /&gt;
N&lt;br /&gt;
N&lt;br /&gt;
N&lt;br /&gt;
&ordm;&lt;br /&gt;
!&lt;br /&gt;
\&lt;br /&gt;
NS:&lt;br /&gt;
...*&amp;amp;^ſ &ordm;f&lt;br /&gt;
S&ordm;r&ordm;&ordm;:&lt;br /&gt;
3. S&ordm;ss&ordm;:&lt;br /&gt;
S-4&lt;br /&gt;
--~~~&lt;br /&gt;
s&ordm; %&lt;br /&gt;
This is a good example of the effects that can be obtained&lt;br /&gt;
by mechanical wood engraving on a rotating table.&lt;br /&gt;
Then, too, there are so many grades of wood-&lt;br /&gt;
engraving&mdash;good, medium, bad ; and I may add a&lt;br /&gt;
fourth degree&mdash;very bad or atrocious. . There is&lt;br /&gt;
plenty of the fourth-degree work to be found, and&lt;br /&gt;
it is generally produced by small men &ldquo;on their&lt;br /&gt;
own &amp;quot;who cannot get employed by the larger firms&lt;br /&gt;
simply because they are not up to their trade.&lt;br /&gt;
In an ordinarily large engraving firm they have&lt;br /&gt;
(or should have) men who are suited to different&lt;br /&gt;
requirements; some clever at mechanical detail,&lt;br /&gt;
some suited to floral or landscape work, others&lt;br /&gt;
perhaps smart at portraits and figures. To these&lt;br /&gt;
men individually the work is given out that suits&lt;br /&gt;
them best, and, consequently, a satisfactory result&lt;br /&gt;
should be obtained. c&ordm;&lt;br /&gt;
But no wood-engraver can engrave everything or&lt;br /&gt;
be equally brilliant in each branch ; and that is why&lt;br /&gt;
Bennett.&lt;br /&gt;
I say&mdash;although it may sound unkindly&mdash;refrain&lt;br /&gt;
from employing the smaller man for general work,&lt;br /&gt;
because he cannot do it.&lt;br /&gt;
Taking the price of wood blocks cursorily they&lt;br /&gt;
might average&mdash;say, from eighteenpence to four&lt;br /&gt;
shillings a square inch, according to the quality&lt;br /&gt;
and style of work required.&lt;br /&gt;
I should always advise that an estimate be given&lt;br /&gt;
in all cases for the work to be done, and also&lt;br /&gt;
a sample of the work guaranteed to be handed to&lt;br /&gt;
the customer at the same time. -&lt;br /&gt;
If you have a wood block that needs alteration&lt;br /&gt;
or is incorrect in any particular part it can always.&lt;br /&gt;
be remedied by the wood-engraver. He can&lt;br /&gt;
&ldquo;plug&rsquo;&rsquo; it and recut the part so affected, generally&lt;br /&gt;
at a small cost and without detriment to the&lt;br /&gt;
original woodcut.&lt;br /&gt;
Old wood blocks that have been used are in&lt;br /&gt;
some instances repurchased by the wood engravers.&lt;br /&gt;
themselves for planing down, but although they&lt;br /&gt;
cost so much to produce in the first place they&lt;br /&gt;
realise very little second hand, unless they can be:&lt;br /&gt;
utilised again in their original form.&lt;br /&gt;
There are firms who make a business alone of&lt;br /&gt;
buying and selling used blocks of all kinds. The&lt;br /&gt;
price paid by these firms for second hand woodcuts.&lt;br /&gt;
generally varies from about seven to perhaps&lt;br /&gt;
sixteen shillings per hundredweight according to:&lt;br /&gt;
the quality and condition of the wood.&lt;br /&gt;
My next instalment will concern photo-mechani-&lt;br /&gt;
cal illustrations by &ldquo;line &amp;quot; process.&lt;br /&gt;
-*- A_&lt;br /&gt;
-&ordm;- Wy&lt;br /&gt;
TASTE AND STYLE.&rdquo;&lt;br /&gt;
&mdash;t-&ordm;-e&mdash;&lt;br /&gt;
\ | R. Arnold Bennett possesses in an eminent.&lt;br /&gt;
degree the admirable quality of enthusiasm.&lt;br /&gt;
He will not have it that literature is.&lt;br /&gt;
merely a distraction, and literary taste&mdash;the taste,&lt;br /&gt;
that is to say, for the things of permanent value.&lt;br /&gt;
in literature&mdash;merely an accomplishment. It is,&lt;br /&gt;
he says, a &ldquo;faculty,&rdquo; without which man is a poor,&lt;br /&gt;
imperfect creature. &ldquo;He is merely not born.&lt;br /&gt;
He can&amp;#039;t see; he can&amp;#039;t hear; he can&amp;#039;t feel in any&lt;br /&gt;
full sense; he can only eat his dinner.&rdquo; . And then&lt;br /&gt;
there follow hints and instructions for the cultiya-&lt;br /&gt;
tion of the faculty. &ldquo;Begin with Lamb,&rdquo; is Mr.&lt;br /&gt;
Bennett&amp;#039;s prescription ; and he holds out hopes.&lt;br /&gt;
that the man who does begin with Lamb may end&lt;br /&gt;
by preferring the works of Wordsworth to the&lt;br /&gt;
serials in the halfpenny papers and the trick articles&lt;br /&gt;
in the illustrated magazines. He insists, h&ordm;wever,&lt;br /&gt;
that the aspirant should buy plenty of books,&lt;br /&gt;
* &ldquo;Literary Taste: How to Form It,&rdquo; by Arnold.&lt;br /&gt;
New Age Press. 21-&lt;br /&gt;
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## p. (#393) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTSIORs&lt;br /&gt;
31&lt;br /&gt;
whether he has any immediate intentions of read-&lt;br /&gt;
ing them or not : an expression of opinion from&lt;br /&gt;
which no reader of The Author is likely to dissent.&lt;br /&gt;
If one wished to argue with Mr. Bennett, one&lt;br /&gt;
might question some of his dicta about &ldquo;style.&rdquo;&lt;br /&gt;
He lays down that &ldquo;style cannot be distinguished&lt;br /&gt;
from matter,&rdquo; that &ldquo;style and matter are co-existent,&lt;br /&gt;
and inseparable, and alike,&rdquo; that &ldquo;you cannot have&lt;br /&gt;
good matter with bad style,&rdquo; and he denies that it&lt;br /&gt;
is ever justifiable to say: &ldquo;Yes, this idea is fine,&lt;br /&gt;
but the style is not fine.&rdquo; This is the sort of&lt;br /&gt;
exaggeration that is provoked by perverse utterances&lt;br /&gt;
of enthusiasts for style ; but it will not stand the&lt;br /&gt;
test of close scrutiny. The ideas of Kant, to take&lt;br /&gt;
a glaring instance, are very fine indeed, but the&lt;br /&gt;
style of Kant is nothing less than execrable. We&lt;br /&gt;
are quite sure that Mr. Bennett will not, on&lt;br /&gt;
Teflection, deny either of these propositions; yet,&lt;br /&gt;
taken in conjunction, they are quite fatal to his&lt;br /&gt;
thesis. The writer, in fact, is in the position of a&lt;br /&gt;
Tmusician who is at once composer and executant.&lt;br /&gt;
If he is a master of his instrument he may, like&lt;br /&gt;
Tennyson, play an indifferent tune brilliantly. If&lt;br /&gt;
he is not a master of it, he may, like Kant, play a&lt;br /&gt;
brilliant tune badly. Nor is it just to say that a&lt;br /&gt;
style difficult to follow implies a muddle-headed&lt;br /&gt;
man. It may merely imply a man whose intellect&lt;br /&gt;
is so acute that he simply cannot enter into the&lt;br /&gt;
plain man&amp;#039;s difficulty in comprehending a com-&lt;br /&gt;
plicated and carefully qualified proposition. Were&lt;br /&gt;
it otherwise we should not only have to say that&lt;br /&gt;
Aristotle and Meredith were muddle-headed. We&lt;br /&gt;
might even have to say the same of all the authors&lt;br /&gt;
of all the treatises on the higher mathematics.&lt;br /&gt;
Argument with Mr. Bennett on this point, how-&lt;br /&gt;
ever, is not incompatible with a lively appreciation&lt;br /&gt;
of the merits of his pamphlet. It is brightly written&lt;br /&gt;
and full of sage counsel to those who, while &ldquo;fond&lt;br /&gt;
of reading,&rdquo; have not yet found the key which&lt;br /&gt;
unlocks the treasures enshrined in the literary&lt;br /&gt;
masterpieces of previous ages. We cordially wish&lt;br /&gt;
it a large sale.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE SOCIETY&amp;#039;S ADVICE.&lt;br /&gt;
DEAR SIR,-&lsquo;A. M. I.&rdquo; suggests (The Author,&lt;br /&gt;
July, 1909) that &ldquo;the society&amp;#039;s advice is ranged too&lt;br /&gt;
high.&rdquo; In order to satisfy the demands of pub:&lt;br /&gt;
lishers land to get a living he has had to disregard&lt;br /&gt;
the society&amp;#039;s advice and place his books at lower&lt;br /&gt;
terms than an author ought to accept.&rdquo; He thinks&lt;br /&gt;
that th&ordm;se who give the advice &ldquo;fail to take into&lt;br /&gt;
defenceless position of the&lt;br /&gt;
79&lt;br /&gt;
beginner.&lt;br /&gt;
Whatever individual authors may think fit to do,&lt;br /&gt;
I trust that the society will not lower their flag.&lt;br /&gt;
When a man becomes an author he ought not to&lt;br /&gt;
cease to be an adult. He can act on the society&amp;#039;s&lt;br /&gt;
advice, or disregard it. What he should not do is&lt;br /&gt;
to disregard it and then request the society to set&lt;br /&gt;
up a lower standard; or blame the society if, in&lt;br /&gt;
accepting their advice, he remains unpublished. I&lt;br /&gt;
may even be that in many cases acting on t&lt;br /&gt;
Society&amp;#039;s advice would exclude new authors fr&lt;br /&gt;
publication, and thus leave the ground cleare&lt;br /&gt;
well-known authors. The simple question t&lt;br /&gt;
is, whether the society advises what is ju&lt;br /&gt;
right? I say they do, and I have every &ordm;r&lt;br /&gt;
speak, inasmuch as I have myself remained&lt;br /&gt;
lished merely because I acted on the se&lt;br /&gt;
advice&mdash;and would do so again, regardless&lt;br /&gt;
Sequences, if it seemed to me to be good a&lt;br /&gt;
In saying this, moreover, I do not hop&lt;br /&gt;
effective trade union combination of autho&lt;br /&gt;
lifetime. They are the least coherent body&lt;br /&gt;
unionists existing, and perhaps, as a body,&lt;br /&gt;
businesslike.&lt;br /&gt;
A publisher some time ago offered me at&lt;br /&gt;
ment which the society officially told me w&lt;br /&gt;
I tried to get it altered, but the main alt&lt;br /&gt;
was refused by the publisher as preposter&lt;br /&gt;
withdrew the book. So insignificant an au&lt;br /&gt;
myself is perhaps unlikely to incur the col&lt;br /&gt;
boycott of publishers, but my offence po&lt;br /&gt;
became known, and certainly no publisheſ&lt;br /&gt;
since accepted my book.&lt;br /&gt;
Naturally I like my book. I think&mdash;it may&lt;br /&gt;
fond delusion&mdash;that others would like it too,&lt;br /&gt;
even that it might be of some importance in&lt;br /&gt;
world of life and thought, were it only publish&lt;br /&gt;
Most authors think the same of their own books. *&lt;br /&gt;
The point on which I differ from most is that I am&lt;br /&gt;
not after big royalties. I only want to keep my&lt;br /&gt;
copyright. The publishers, on the other hand,&lt;br /&gt;
demand the copyright to start with.&lt;br /&gt;
I have been up stone steps, magnificent stair-&lt;br /&gt;
cases, past marble columns, classic busts, into the&lt;br /&gt;
palatial apartments of various publishers. They&lt;br /&gt;
assure me that in this matter of the copyright the&lt;br /&gt;
Authors&amp;#039; Society is entirely mistaken. I prove to&lt;br /&gt;
them that the Society is right. I endeavour to&lt;br /&gt;
show them a line of business mutually profitable.&lt;br /&gt;
It is less than the society requires, but then it is a&lt;br /&gt;
new thing. Publishers are cast iron. They are&lt;br /&gt;
affluent, and, like the Bourbons, they learn nothing&lt;br /&gt;
and forget nothing. They fight shy of me and my&lt;br /&gt;
manuscript. They will not compromise. Nor&lt;br /&gt;
will I.&lt;br /&gt;
I think I would compromise if it were not for&lt;br /&gt;
the marble columns and all that that sort of thing&lt;br /&gt;
implies. Your correspondent speaks of letters of&lt;br /&gt;
indignation, flat refusals, etc., from publishers, to&lt;br /&gt;
whom he has yielded. It is not for me to judge a&lt;br /&gt;
&lt;br /&gt;
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## p. (#394) ################################################&lt;br /&gt;
&lt;br /&gt;
32 TFIES A LITHOR.&lt;br /&gt;
fellow author whose living depends on his author-&lt;br /&gt;
ship. Personally I have solved the living problem&lt;br /&gt;
for myself in another way. I have become a clerk.&lt;br /&gt;
But under no circumstances, I hope, would I yield&lt;br /&gt;
to marble columns. If publishers, as a class, were&lt;br /&gt;
still human, it is likely that I should have so far&lt;br /&gt;
ven way as to have got my books published&lt;br /&gt;
nehow by this time. It is because, with certain&lt;br /&gt;
tions perhaps, they have become Superhuman,&lt;br /&gt;
&ordm; upon the spirit shown by our friend in&lt;br /&gt;
&ordm;r, that I won&rsquo;t give way, and would rather&lt;br /&gt;
y manuscripts cremated with me than be&lt;br /&gt;
to serfhood. It was only by getting into&lt;br /&gt;
erhaps a somewhat hard condition of mind&lt;br /&gt;
that I was able to produce such writings&lt;br /&gt;
[e produced, and therefore I am merely&lt;br /&gt;
der a necessity of habit long continued,&lt;br /&gt;
not now do otherwise.&lt;br /&gt;
I am, etc.,&lt;br /&gt;
&sect;&lt;br /&gt;
SIGMA,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE PRICE OF NEW NOVELS.&lt;br /&gt;
J should like to express my interest in the&lt;br /&gt;
&ordm;ated by &ldquo;H. J. A.&rdquo; He thinks novels&lt;br /&gt;
ell if they were cheap, and I agree with&lt;br /&gt;
Many travellers would buy a new novel&lt;br /&gt;
they had seen well reviewed, to beguile a&lt;br /&gt;
, when a mere magazine would seem too&lt;br /&gt;
ive a luxury.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
- - M. C. A.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
INTRINSIC VALUE OF A MS.&lt;br /&gt;
(DEAR SIR,-Referring to the article in your last&lt;br /&gt;
g&ordm;mber, &ldquo;Manuscript Or Waste Paper ?&rdquo; what&lt;br /&gt;
7s the intrinsic value of a MS. 2&lt;br /&gt;
Surely a publisher who loses or destroys a copy&lt;br /&gt;
of an author&amp;#039;s MS. cannot be accused of destroying&lt;br /&gt;
property of several pounds&rsquo; worth ! There are few&lt;br /&gt;
writers who have not two or more copies of the&lt;br /&gt;
Same work, or who could not re-write the whole.&lt;br /&gt;
It is after all only one copy that the publisher has&lt;br /&gt;
lost, and this is hardly worth more than the cost&lt;br /&gt;
of paper and typewriting. -&lt;br /&gt;
The book itself is not stolen unless it be&lt;br /&gt;
published without remuneration being made to&lt;br /&gt;
the author.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
EMILY SHORE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
AN AUTHOR&amp;#039;S CAPITAL ExPENDITURE.&lt;br /&gt;
SIR,--I read with interest H. Stuart Thompson&amp;#039;s&lt;br /&gt;
letter in the June number of The Author. As&lt;br /&gt;
far as novelists are concerned, it cannot be said&lt;br /&gt;
that &ldquo;Nor is there any capital expenditure&lt;br /&gt;
required, as is frequently the case in business,&lt;br /&gt;
on this earth.&lt;br /&gt;
unless, indeed, some writers are disposed to look&lt;br /&gt;
upon a few &ldquo;postage stamps&amp;#039; as capital expendi-&lt;br /&gt;
ture.&rdquo; Think of the cost of typewriting. Take&lt;br /&gt;
my own case.&lt;br /&gt;
Typewriting&lt;br /&gt;
Novels. Pills.&lt;br /&gt;
&pound; S. d.&lt;br /&gt;
No. 1. Published the spring, 1906, one&lt;br /&gt;
copy - w&ordm; t&ordm; s&ordm; * - 2 8 3&lt;br /&gt;
No. 2. Published autumn, 1906, two&lt;br /&gt;
copies - &ordm; * &ldquo; s&ordm; - 4 12 10&lt;br /&gt;
No. 3. Agent failed to place it, two&lt;br /&gt;
copies - &ordm; g&ordm; s&ordm;s &ordm; - 5 5 9&lt;br /&gt;
As it was a failure I altered it, and had -&lt;br /&gt;
it re-typed ; published July, 1908,&lt;br /&gt;
two copies - {&ordm; t&ordm;&ordm; &bull;&ordm; - 4 18 2&lt;br /&gt;
No. 4. Published January, 1909, two&lt;br /&gt;
copies - *-8 - - {- - 6 13 1.&lt;br /&gt;
No. 5. Published June, 1909 * - 5 13 1&lt;br /&gt;
No. 6. Neither accept d nyr rejected,&lt;br /&gt;
but told by my publisher to lay it&lt;br /&gt;
aside for the present, two copies - 7 12 8&lt;br /&gt;
No. 7. Accepted by my publisher, two&lt;br /&gt;
copies - s&ordm; * * s&ordm; - 11 0 2&lt;br /&gt;
Add to this the employing of an agent recom-&lt;br /&gt;
mended by the secretary. This man, in the course&lt;br /&gt;
of a year, never placed one of my five stories.&lt;br /&gt;
He charged in advance #2 2s. -&lt;br /&gt;
The payment to a press cutting agency, &pound;1 1s.&lt;br /&gt;
Innumerable stamps for postage, and extra&lt;br /&gt;
postage for rejected MSS., paper, ink, pens, and&lt;br /&gt;
postage for correspondence, for all which I cannot&lt;br /&gt;
give figures.&lt;br /&gt;
Moreover, I have had to pay for the production&lt;br /&gt;
of the first five novels. In future my publisher&lt;br /&gt;
will produce them at no cost to me.&lt;br /&gt;
The small authors are the worst treated creatures&lt;br /&gt;
Talk of the great shops sweating&lt;br /&gt;
the poor workers in the slums, no class of people&lt;br /&gt;
are more sweated than we are.&lt;br /&gt;
For my two first novels I never got more than&lt;br /&gt;
about &pound;20 in royalties, and to get half of that I&lt;br /&gt;
had to have recourse to the secretary of our&lt;br /&gt;
society. I used it to become a life member. I&lt;br /&gt;
left that publisher, and got into the clutches of&lt;br /&gt;
another, bearing a well-known name.&lt;br /&gt;
For my third novel I have received as yet only&lt;br /&gt;
&pound;17 14s. 6d. in royalties. This publisher in his&lt;br /&gt;
agreements stipulates that he does not undertake&lt;br /&gt;
to send in accounts and pay till five months after&lt;br /&gt;
they are due. The last MS. sent in to him will&lt;br /&gt;
not bring in any money for a year and a half, as&lt;br /&gt;
he is hardly likely to publish it till J anuary next ;&lt;br /&gt;
yet I have to settle the typewriter&amp;#039;s bill for it,&lt;br /&gt;
&pound;11 0s. 2d. out of the &pound;17 14s. 6d. Surely&lt;br /&gt;
novelists have &ldquo;capital expenditure&rdquo; beyond a&lt;br /&gt;
few &ldquo;postage stamps.&rdquo; -&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
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## p. (#395) ################################################&lt;br /&gt;
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AD VERTISEMENTS. iii&lt;br /&gt;
THE DESIRE OF THE HILLS.&lt;br /&gt;
By &ldquo;No RNA.&rdquo; Bound in blue cloth, with gold lettering. 1s.&lt;br /&gt;
net. . A book of poems that will appeal to all lovers of hills&lt;br /&gt;
and hill-scenery.&lt;br /&gt;
&ldquo;This book evinces true poetic charm.&rdquo;&mdash;Scotsman.&lt;br /&gt;
&ldquo;These verses are melodious and full of fine thoughts in&lt;br /&gt;
graceful language, in a style which reminds the reader of&lt;br /&gt;
Swinburne, The poet&amp;#039;s inspiration is a love of the hills.&rdquo;&mdash;&lt;br /&gt;
The Universe,&lt;br /&gt;
GARDEN SONGS, and other Poems.&lt;br /&gt;
By MARGARET E. For D. A capital book of poetry, highly&lt;br /&gt;
commended to all lovers of fresh and stimulating verse.&lt;br /&gt;
Printed on thick antique paper, with uncut edges, and boundin&lt;br /&gt;
attractive brochure cover, with flaps, 1s.6d. net.&lt;br /&gt;
1N THE LONG RUN : A Novel,&lt;br /&gt;
By RoberT B. MoRENO. With Frontispiece on art paper.&lt;br /&gt;
Bound in half red and half blue, in cloth, 2s. 6d. net.&lt;br /&gt;
&ldquo;A very curious novel.&amp;quot;&mdash;Publishers&amp;#039; Circular.&lt;br /&gt;
&ldquo;A brightly written and readable novel. The author has a&lt;br /&gt;
facile pen.&rdquo;&mdash;Dundee Advertiser.&lt;br /&gt;
IN THE BEGINNING.&lt;br /&gt;
By CHAs. HAwkINs. With Frontispiece on art paper. Bound&lt;br /&gt;
in attractive cloth covers, 1s. Inet. -&lt;br /&gt;
&ldquo;The author aims at showing that the Mosaic Cosmogony&lt;br /&gt;
is proved by science. The arguments are expressed with lu-&lt;br /&gt;
cidity and force, and the treatment of the subject has both&lt;br /&gt;
freshness and interest.&rdquo;&mdash;Belfast Northern Whig.&lt;br /&gt;
MONICA OF ESSEBURNI : A Novel.&lt;br /&gt;
By MARGARET F. Osborn E. Contains splendid photograph as&lt;br /&gt;
frontispiece, and is bound with attractive design. 2s. met.&lt;br /&gt;
&ldquo;The story of a girl who fell in love with her sister&amp;#039;s lover . . .&lt;br /&gt;
}&ordm;es some pretty description of the village.&rdquo;&mdash;Christian&lt;br /&gt;
O?&amp;quot;{{!,&lt;br /&gt;
Authors should forward MSS. of any description&lt;br /&gt;
&sect;&sect;&sect; Stories, Poems, Essays, &amp;amp;c.), direct to Mr.&lt;br /&gt;
m &Scaron;oćwiſſ, who will immediately advise, free&lt;br /&gt;
of charge, as to publication.&lt;br /&gt;
LONDON :&lt;br /&gt;
AERTHUR. H. STOCKWELL,&lt;br /&gt;
29, LUDGATE HILL, E.C.&lt;br /&gt;
Full lists on application, post free.&lt;br /&gt;
T0 AUTHORS AND JOURNALISIS.&lt;br /&gt;
&amp;quot;I The writer, whether he aspires to write novels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
&bull; THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence Colleg&lt;br /&gt;
teaches the aspirant to serve his apprenticeshi&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary&lt;br /&gt;
business of all kinds.&lt;br /&gt;
For full particulars write at once for pam&lt;br /&gt;
D.M. to the LITERARY CORRESPONDENCE COLL.&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
FIRST LESSONS IN STORY WRIT&lt;br /&gt;
By BARRY PAIN. :&lt;br /&gt;
2s. 6d. net; 2s. 8d. post free.&lt;br /&gt;
&ordm;ff Of this work the Westminster Gazette writes:&lt;br /&gt;
beginner who takes these lessons to heart m&lt;br /&gt;
quite assured of an advantage over his compet)&lt;br /&gt;
HOW TO BECOME AN AUTH&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide; f&lt;br /&gt;
useful hints. 5s. net; 5s. 4d. post free.&lt;br /&gt;
THE LITERARY CORRESPONDENCE COLL&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
Novel and Story Work 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying &amp;amp; &amp;amp; ... 1/1 43 } ), 1 p. 1/3&lt;br /&gt;
Plays, ruled &copy; &ordm; &amp;amp; &amp;amp; 4 &amp;amp; ... 1)- by y by 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&amp;#039; MSS, and GENERAL COPYING undertaken from&lt;br /&gt;
1s. per 1,000 words. Duplicate copies one third price.&lt;br /&gt;
TRIAL ORDER SOLICITED,&lt;br /&gt;
GOOD WORK GUARANTEED,&lt;br /&gt;
A. Wilson, 9, ALEXANDRA ROAD, STAMFORD.&lt;br /&gt;
to AN AUthor&lt;br /&gt;
the APPEARANCE and STYLE of manuscript is&lt;br /&gt;
An Important Matter.&lt;br /&gt;
Sejd your typewriting to me! I have had a broad experience of&lt;br /&gt;
Literary Work,&lt;br /&gt;
{ -&lt;br /&gt;
and, guarantee to execute, all commissions in a manner&lt;br /&gt;
war&amp;#039;ai &eacute;qā to tempt the consideration of the busiest Editors,&lt;br /&gt;
Full Tariff, Testimonials, etc., on application,&lt;br /&gt;
C. HERBERT CESAR, Homeneia w&ordm;&ordm;l.&lt;br /&gt;
|CUUP)&lt;br /&gt;
}&lt;br /&gt;
If you intend entering for the Literary Agency .&lt;br /&gt;
a Competition, this Coupon entitles you to one&lt;br /&gt;
Carbon Duplicate, Gratis, if sent with your order.&lt;br /&gt;
MRS. GILL, Typetoriting Of&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,&lt;br /&gt;
words. Duplicate copies third price. French and Germ&lt;br /&gt;
MSS. accurately copied; or typewritten English tran&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMB ROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of Words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work,-FRANK SAVILE.&amp;quot; -&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
&lt;br /&gt;
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## p. (#396) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
** COASTER. 2%&lt;br /&gt;
You know there is only one Coast&mdash;the West&lt;br /&gt;
Coast of Africa. Every &ldquo;Coaster,&rdquo; and every-&lt;br /&gt;
one who has a Son, or a brother, or a husband,&lt;br /&gt;
or a friend on&lt;br /&gt;
WTHE SEDUCTIVE GOAST&amp;quot;&lt;br /&gt;
uld ask for the volume of poems which&lt;br /&gt;
is that title. It is by J. M. Stuart-Young,&lt;br /&gt;
the author has sought to capture some-&lt;br /&gt;
g of the elusive charm which holds the&lt;br /&gt;
aster&rsquo;&rsquo; bound to West Africa. The&lt;br /&gt;
S are not pretentious. Each one, how-&lt;br /&gt;
is the sincere expression of an emotion ;&lt;br /&gt;
any aspects of tropical life have been&lt;br /&gt;
touched upon.&lt;br /&gt;
Grown 8vo, 175 pp. 5|- nef,&lt;br /&gt;
your B00kseller, or the Railway Bookstall for it&mdash;and&lt;br /&gt;
see that you get it !&lt;br /&gt;
HN OUSELEY, Limited,&lt;br /&gt;
rringdon Street, London, E.C.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
S BARRETT,&rdquo; , Copthall Avenue&lt;br /&gt;
London, E.C.&lt;br /&gt;
Telephone : 9677 Central,&lt;br /&gt;
&ordm;rary Work, Plays, &amp;amp;c., promptly &amp;amp; accurately copied.&lt;br /&gt;
Orders by post quickly carried out.&lt;br /&gt;
Efficient Clerks supplied to Clients by day, week, or month.&lt;br /&gt;
&ordm;rms and specimen of work on application. Highest References.&lt;br /&gt;
TWO popular Hotels in Gentral London.&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL;&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
Passenger Lifts, , Bathrooms on every Floor. Lounges&lt;br /&gt;
and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors, Perfect Sanita-&lt;br /&gt;
tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance) from 3|6 to 6|=.&lt;br /&gt;
Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote,&lt;br /&gt;
Breakfast and Dinner, from 816 to 10/6 per day.&lt;br /&gt;
Full Tariff and Testimonials on application,&lt;br /&gt;
Telegraphic Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
Kingsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
TYPEYAVIRITING:&lt;br /&gt;
ALL, KINDS FROM 9d. PER 1,000.&lt;br /&gt;
Authors&amp;#039;, Playwrights&amp;#039;, Clergymen&amp;#039;s, &amp;amp;c., MSS.&lt;br /&gt;
correctly and efficiently executed.&lt;br /&gt;
Good Work combined with cheapness and quickness,&lt;br /&gt;
In English, French, or German. Good References.&lt;br /&gt;
SEND A SMALL ORDER NOW!&lt;br /&gt;
MISS RALLING, 116, Loughborough Rd., London, S.W.&lt;br /&gt;
&ordm;&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
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[XVIII. CENT.&lt;br /&gt;
Tatt&ordm;nton.&lt;br /&gt;
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INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
SIRES and SIRES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Translations; Duplicating; Plays and Actors&amp;#039; Parts;&lt;br /&gt;
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(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
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DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
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** TELE AUTHOR.&amp;quot;&lt;br /&gt;
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at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/397/1909-10-01-The-Author-20-1.pdf</td><td>publications, The Author</td></tr><tr><td>398</td><td>https://historysoa.com/items/show/398</td><td>The Author, Vol. 20 Issue 02 (November 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+02+%28November+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 02 (November 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-11-01-The-Author-20-2</td><td></td><td></td><td></td><td></td><td>33&ndash;64</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-11-01&quot;&gt;1909-11-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>2</td><td></td><td></td><td>19091101</td><td>C be El ut b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XX. &mdash;No. 2. NOVEMBER 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices ... t&ordm; t&ordm; a &amp;amp; is t&ordm; t&ordm; t&ordm; a * * * * * * * * * g&ordm; t&ordm; &ordm; 33&ndash;34 Warnings to Musical Composers ... * * * t&ordm; g&ordm; t&ordm; &amp;amp; &copy; t&ordm; &amp;amp; &copy; &amp;amp; 49&lt;br /&gt;
Committee Notes * * * g is t&ordm; * * * * * * * t&ordm; g&ordm; g&ordm; &ordm; e * * * 34 Stamping Music ... &amp;amp; e g * * * t&ordm; e &ordm;s &amp;amp; &copy; e * * * * * * ... 49&lt;br /&gt;
Books published by Members of the Society g&ordm; &ordm; e ge e &ordm; e e &amp;amp; 38 The Reading Branch ... * * * g&ordm; &ordm; &ordm; * * * t&ordm; &ordm;n t&ordm; * * * * * * 49&lt;br /&gt;
Books published in America by Members ... &amp;amp; &copy; t&ordm; * = &amp;amp; &amp;amp; &ordm; &ordm;s 40 &ldquo;The Author&rsquo;&rsquo; ... ſ&ordm; t&ordm; e t&ordm; $ 4 t&ordm; e t&ordm; g&ordm; w t&ordm; * g e &amp;amp; &amp;amp; # * * * 49&lt;br /&gt;
Literary, Dramatic and Musical Notes ... ... ... ... 41 Remittances ... ... ... ... ... ... ... ... 49&lt;br /&gt;
Paris Notes e e is * t&ordm; e t&ordm; e &ordm; t&ordm; e d&ordm; g&ordm; t&ordm; &ordm; * * * t&ordm; ſ&ordm; I &copy; &ordm; &ordm; 44 General Notes ... * e &ordm; g&ordm; &ordm; &ordm; t&ordm; g&ordm; g&ordm; * = &amp;amp; t&ordm; g&ordm; t&ordm; e &ordm; &ordm;s t&ordm; s&ordm; &ordm; 50&lt;br /&gt;
The International Conference of the Press, London, 1909 ... 45 Tennyson Centenary ... is e e s e e e - e. e t&ordm; e t&ordm; a g * * * 5]&lt;br /&gt;
School Book Question in Scotland ... * * * t&ordm; ſ&ordm; g &amp;amp; &copy; &ordm; t&ordm; g&ordm; t&ordm; 47 An Unpublished Letter of William Beckford ... * &amp;amp; &copy; * * * 52&lt;br /&gt;
Magazine Contents * g is j&ordm; &ordm; ſ&ordm; t&ordm; 9 &amp;amp; e &amp;amp; &copy; t&ordm; g&ordm; t&ordm; e &ordm; t&ordm; d&ordm; ſ&ordm; 47 Dialect in Fiction &amp;amp; t&ordm; * * * * * * * * * * * * t&ordm; t&ordm; t&ordm; * * * 54&lt;br /&gt;
How to Use the Society t&ordm; &ordm; e t&ordm; ſ&ordm; t&ordm; &eacute; &ordm; &amp;amp; ge &ordm; &amp;#039;&ordm; * G \, t&ordm; &ordm; &ordm; 48 The Art of Illustrating * * * * - &ordm; &amp;amp; t&ordm; &ordm; * - s&ordm; * * * * * * 56&lt;br /&gt;
Warnings to the Producers of Books ſ&ordm; t&ordm; &ordm; * * &amp;gt; g&ordm; &ordm; ſ&ordm; t&ordm; &ordm; t&ordm; 48 Dante in English Literature ... * * * * * * &amp;amp; &ordm; &amp;amp; * * * * * * 60&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; g&ordm; t&ordm; t&ordm; e ſ&ordm; &sect; t&ordm; t&ordm; t&ordm; &ordm; ſ&ordm;. ... 48 Correspondence ... t&ordm; e &ordm;s j&ordm; &ordm; q t&ordm; g&ordm; t&ordm; * 62&lt;br /&gt;
Registration of Scenarios * * * * * * 49&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.) -&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&rsquo;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 38.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s. - -&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and, Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d. -&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gale, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#398) ################################################&lt;br /&gt;
&lt;br /&gt;
11&lt;br /&gt;
&ordm; t&ordm;&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(ſlie &Scaron;ariety of Aufburg (jnrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&amp;#039;&rdquo;&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIB WM. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
THE RIGHT HON, AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND,&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYOE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLEBE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR,&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENS (&ldquo;MARK TWAIN.&rdquo;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
of KEDLESTON, D.C.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
MRS, MAXWELL (M. E. BRADDon).&lt;br /&gt;
JUSTIN MCCARTHY. -&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE,&lt;br /&gt;
SIR HENRY NorMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW,&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON,&lt;br /&gt;
THE WISCOUNT WolsFLEY, K.P&lt;br /&gt;
P.C., &amp;amp;c. -&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
H. G. WELLS.&lt;br /&gt;
&bull; ?&lt;br /&gt;
COMIMIITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
Chairman&mdash;SIR ARTHUR PINERO.&lt;br /&gt;
H. GRANVILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
S. SQUIRE SPRIGGE,&lt;br /&gt;
FRANCIS STORR,&lt;br /&gt;
SIDNEY WEBB,&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
Vice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
G. BERNARD SHAW,&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
PENSION FUND COMMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY EIOPE HAWKINS,&lt;br /&gt;
MRS, ALEC TWEEDIE,&lt;br /&gt;
MRS, HUMPHRY WARD,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
y&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
TIECOIN/I_A_S IEEL-A-IB&amp;amp;IDY -&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHEIELD.&lt;br /&gt;
THE HON. MRS, ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
MAURICE HEWIETT.&lt;br /&gt;
JEROME K. J.EROMR.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LoKTIE, F.S.A.&lt;br /&gt;
THE RIGHT HON, SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA L.&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
| Dougi,AS FRESHFIELD.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
JEROME R. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT,&lt;br /&gt;
MORLEY ROBERTS,&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
ART,&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc. -&lt;br /&gt;
SIR. JAMES YOxALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM,&lt;br /&gt;
SIR. W. MARTIN CONWAY. J. G. MILLAIS.&lt;br /&gt;
FIELD, RoscoB &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. } Solicitors.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
LAwrBNCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States,&lt;br /&gt;
OFFICES.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. ACCURATELY AND NEATLY COPIED,&lt;br /&gt;
9d. PER 1,000 WoRDS, INCLUDING CARBON COPY.&lt;br /&gt;
Also General Copying, Plays and Actors&amp;#039; Parts, etc. . Very&lt;br /&gt;
moderate terms. Reduced terms for regular work.&lt;br /&gt;
MISS B. KERRY, Rohilla, GARSHALT0N.&lt;br /&gt;
AUTHORS AND ARTISTS.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Department,&lt;br /&gt;
WIENER AGENCY, LD.,&lt;br /&gt;
64&amp;#039;s Strand, LONDON,&lt;br /&gt;
AND TRIBUNE BUILDING, NEW YORK.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#399) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
NOVEMBER 1st, 1909.&lt;br /&gt;
[PRICE SIXPENOE.&lt;br /&gt;
Wol. XX. &mdash;No. 2.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
a. * &mdash;&ordm;- a&lt;br /&gt;
w-v- w&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
eases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
*** *&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the boma fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability. -&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
a &mdash;&ordm;-a&lt;br /&gt;
v-u-w&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e-O-6&ndash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;t-G-e-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
. at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0---&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
#350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#400) ################################################&lt;br /&gt;
&lt;br /&gt;
34&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. &pound;1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 O&lt;br /&gt;
Victorian Government 3%. Consoli-&lt;br /&gt;
dated Inscribed Stock&lt;br /&gt;
War Loan .................................&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock ..............................&lt;br /&gt;
Egyptian Government&lt;br /&gt;
Trust 4%. Certificates&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock ....................................&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock..................&lt;br /&gt;
New Zealand 33% Stock........... 247&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258&lt;br /&gt;
Corporation of London 2%% Stock,&lt;br /&gt;
1927&mdash;57&lt;br /&gt;
a e &amp;lt; e &amp;lt; e &ordm; e &ordm; &amp;#039;&ordm; e e &ordm; &amp;#039;&ordm; -&lt;br /&gt;
200&lt;br /&gt;
:O&lt;br /&gt;
4.38&lt;br /&gt;
&amp;amp; &copy; e e g &ordm; e s e e &ordm; e a e e s e &ordm; e s e &ordm; &amp;#039;&ordm; e &ordm; e s = e t&ordm;&lt;br /&gt;
O4:OO0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
April 13, Gask, Miss Lilian&lt;br /&gt;
May 17, Rorison, Miss Edith&lt;br /&gt;
June 10, Voynich, Mrs. E. L.&lt;br /&gt;
June 10, Jaques, E. T. &ordm;&lt;br /&gt;
June 11, Grier, Mrs. Julia M.&lt;br /&gt;
June 11, Field, C. . &ordm; -&lt;br /&gt;
June 11, Barrington, Mrs. Russell&lt;br /&gt;
July 8, Burmester, Miss Frances&lt;br /&gt;
July 9, Grindrod, Dr. G. F.&lt;br /&gt;
July 10, Hargrave, Mrs. Basil&lt;br /&gt;
Aug. 5, Stott, M. D. . &ordm;&lt;br /&gt;
Oct. 15, Greig, James&lt;br /&gt;
Oct. 15, Jacomb, A. E.&lt;br /&gt;
Oct. 16, Hepburn, Thomas&lt;br /&gt;
Oct. 16, Trevelyan, G. M. .&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall &rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. . e e&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
I&lt;br /&gt;
|&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Sprigge, Dr. S. S. .&lt;br /&gt;
April 5, Burchell, Sidney H.&lt;br /&gt;
April 15, Linton, C. Stuart&lt;br /&gt;
April 19, Loraine, Lady . &bull; .&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer&lt;br /&gt;
April 20, Stephens, Riccardo &ordm;&lt;br /&gt;
May 24, Lefroy, Mrs. C. P.&lt;br /&gt;
June 2, &ldquo;Olivia Ramsey&rdquo;&lt;br /&gt;
June 7, Horne, A. B.&lt;br /&gt;
June 10, Muir, Ward&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
5&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
d.&lt;br /&gt;
3.&lt;br /&gt;
S&lt;br /&gt;
June 10, Swan, Miss Myra&lt;br /&gt;
June 17, Bradley, A. C.&lt;br /&gt;
June 22, Trotēre, H. .&lt;br /&gt;
July 8, Harland, Mrs. e&lt;br /&gt;
July 8, Sinclair, Miss May .&lt;br /&gt;
Aug. 5, Cameron, Mrs. Charlotte&lt;br /&gt;
Sept. 10, Hinkson, Katharine Tynan .&lt;br /&gt;
Oct. 16, Hodson, Miss A. L. e&lt;br /&gt;
l&lt;br /&gt;
-|&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H.&lt;br /&gt;
We regret that we omitted to chronicle a dona-&lt;br /&gt;
tion of &pound;5 from Dr. S. S. Sprigge at the beginning&lt;br /&gt;
of the year. We have now added it to the list.&lt;br /&gt;
With this exception all fresh subscribers and&lt;br /&gt;
donors previous to April, 1909, have been deleted&lt;br /&gt;
from the present announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;e&mdash;&ldquo;C-e-&lt;br /&gt;
HE first meeting of the committee, after the&lt;br /&gt;
vacation, was held on Monday, October 11th,&lt;br /&gt;
at 39, Old Queen Street. After the minutes of&lt;br /&gt;
the previous meeting had been read and signed, the&lt;br /&gt;
committee proceeded with the election of members&lt;br /&gt;
and associates. Seventy-three were elected, bring-&lt;br /&gt;
ing the total for the current year up to 254. The&lt;br /&gt;
secretary then placed before the committee the&lt;br /&gt;
resignations, which numbered eight, bringing the&lt;br /&gt;
total resignations for the year up to 73. The&lt;br /&gt;
secretary reported to the committee the accept-&lt;br /&gt;
ance of the presidency of the society by Mr.&lt;br /&gt;
Thomas Hardy. The committee desire to con-&lt;br /&gt;
gratulate the society on Mr. Hardy&amp;#039;s acceptance of&lt;br /&gt;
the post. They feel that there is no need for them&lt;br /&gt;
to mention his qualifications to occupy the position&lt;br /&gt;
left vacant by the death of Mr. George Meredith.&lt;br /&gt;
Those members of the society who have followed&lt;br /&gt;
the work of the committee prior to the vacation&lt;br /&gt;
will recollect that the committee have been engaged&lt;br /&gt;
with the question of the insurance of literary&lt;br /&gt;
agents. They regret that it has been impossible&lt;br /&gt;
to carry out this plan. The secretary has made&lt;br /&gt;
inquiries during the vacation, and has received&lt;br /&gt;
the following statement from the insurance agents&lt;br /&gt;
with whom he has been in correspondence: &ldquo;We&lt;br /&gt;
regret that underwriters will not quote for the&lt;br /&gt;
risk which you wish covered, and, therefore, are&lt;br /&gt;
unable to help in the matter. They cannot suggest&lt;br /&gt;
any arrangement by which an insurance such as&lt;br /&gt;
you require could be effected.&rdquo; -&lt;br /&gt;
The subject of the re-election of old members&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#401) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
35&lt;br /&gt;
was then briefly discussed, and a proposal, to&lt;br /&gt;
operate only during the remainder of the current&lt;br /&gt;
year, was sanctioned. -&lt;br /&gt;
The report of the Copyright Sub-Committee on a&lt;br /&gt;
Musical Copyright Bill which had been laid before&lt;br /&gt;
them was read to the Committee of Management.&lt;br /&gt;
The latter body decided that the matter needed&lt;br /&gt;
careful consideration, and instructed the Secretary&lt;br /&gt;
to forward a copy of the Bill to every member of&lt;br /&gt;
the committee and to bring the subject up at the&lt;br /&gt;
next meeting.&lt;br /&gt;
A question raised by a member as to the Society&amp;#039;s&lt;br /&gt;
attitude in respect of the censorship was next&lt;br /&gt;
considered. The committee referred the member&lt;br /&gt;
to the report of the work of the Dramatic Sub-&lt;br /&gt;
Committee before the vacation set out in The&lt;br /&gt;
Author, and to the paragraph in the October&lt;br /&gt;
number. -&lt;br /&gt;
The sale of books in Canada was next discussed.&lt;br /&gt;
The secretary laid before the committee letters&lt;br /&gt;
he had received from a prominent member of the&lt;br /&gt;
Canadian Authors&rsquo; Society, and from the Secretary,&lt;br /&gt;
which contained suggestions as to a possible&lt;br /&gt;
method of helping the circulation of the works.&lt;br /&gt;
of English authors. These letters the committee&lt;br /&gt;
referred to the Publishers&amp;#039; Association, with a&lt;br /&gt;
request that that body should report back to the&lt;br /&gt;
society. -&lt;br /&gt;
A letter was read from the Right Hon. James&lt;br /&gt;
Bryce, who has been assisting the society in its&lt;br /&gt;
efforts to obtain a new United States lawyer.&lt;br /&gt;
It is hoped that, at no distant date, the committee&lt;br /&gt;
will be able to announce the name of the new&lt;br /&gt;
representative of the society in the United States.&lt;br /&gt;
It was decided by the committee, after discussion&lt;br /&gt;
of the question of advertisements in The Author,&lt;br /&gt;
to place a notice in the standing matter to the&lt;br /&gt;
effect that while the committee endeavour to&lt;br /&gt;
exclude advertisements of firms whose methods&lt;br /&gt;
are undesirable, they can in no way guarantee the&lt;br /&gt;
standing of the advertisers.&lt;br /&gt;
The next subject for discussion was &ldquo;Authors&lt;br /&gt;
and Income Tax.&rdquo; The committee decided that&lt;br /&gt;
it would be inexpedient at the present time to&lt;br /&gt;
ask any further questions in Parliament ; but&lt;br /&gt;
thought it would be wise, should a concrete&lt;br /&gt;
case come forward, to raise the issues in a court&lt;br /&gt;
of law.&lt;br /&gt;
One of the members of the Society drew the&lt;br /&gt;
attention of the committee to a letter he had&lt;br /&gt;
received from a publisher asking for a contribution&lt;br /&gt;
to a publication, for which he was to receive no&lt;br /&gt;
payment, but the gift of certain books published&lt;br /&gt;
by the firm. The committee thanked the member&lt;br /&gt;
for calling their attention to the matter, and&lt;br /&gt;
desired strongly to place before all members of&lt;br /&gt;
the society the unfairness to the other members&lt;br /&gt;
of the profession to work for publishers or news-&lt;br /&gt;
paper proprietors without receiving adequate&lt;br /&gt;
remuneration. &ordm;,&lt;br /&gt;
Four cases of infringement of copyright were&lt;br /&gt;
considered by the committee&mdash;one in England, one&lt;br /&gt;
in Canada, one in New Zealand, and one in the&lt;br /&gt;
Straits Settlements. The committee decided to&lt;br /&gt;
Support the claims of the member in each case.&lt;br /&gt;
They are particularly anxious to put a stop to the&lt;br /&gt;
robbery which goes on in foreign countries and in&lt;br /&gt;
the colonies. As has already been pointed out in&lt;br /&gt;
these columns, the society has succeeded this year&lt;br /&gt;
in obtaining compensation on behalf of two&lt;br /&gt;
members whose work had been pirated in New&lt;br /&gt;
Zealand, and one whose property had been infringed&lt;br /&gt;
in Spain.&lt;br /&gt;
The secretary reported that Mrs. Sargant had&lt;br /&gt;
made a donation of &pound;100 to the funds of the&lt;br /&gt;
society in memory of her daughter, Miss Alice&lt;br /&gt;
Sargant, who died in March of this year. The&lt;br /&gt;
committee desire to tender her their thanks, and&lt;br /&gt;
also Miss May Sinclair for a donation of &pound;15&lt;br /&gt;
to the Pension Fund, Mr. Alfred Sutro for a&lt;br /&gt;
donation of &pound;5 to the Capital Fund as an acknow-&lt;br /&gt;
ledgment for money obtained by the Society for&lt;br /&gt;
an infringement of his copyright, and for the sum&lt;br /&gt;
of 10s. 6d. from Miss Leslie Moore in acknowledg-&lt;br /&gt;
ment of a small sum obtained by the society in a&lt;br /&gt;
case which they carried through the Courts on her&lt;br /&gt;
behalf.&lt;br /&gt;
The committee authorised the investment of&lt;br /&gt;
4,250 from the Capital Fund of the society in 3%&lt;br /&gt;
per cent. London County Stock.&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
THE first meeting of the Dramatic Sub-Committee&lt;br /&gt;
after the vacation was held on Monday, the 18th of&lt;br /&gt;
October, at the offices of the Society. -&lt;br /&gt;
The first matter for consideration was the draft&lt;br /&gt;
of an agreement for repertory performance, which&lt;br /&gt;
had been drawn by the secretary since the last&lt;br /&gt;
meeting and submitted to Mr. Barker and Mr.&lt;br /&gt;
Shaw. The first seven clauses were carefully con-&lt;br /&gt;
sidered, and after some discussion passed. The&lt;br /&gt;
perusal of the rest of the contract was adjourned&lt;br /&gt;
to the next meeting, which it was decided to hold&lt;br /&gt;
on Monday, the 25th.&lt;br /&gt;
Mr. Cecil Raleigh brought before the committee&lt;br /&gt;
the facts relating to Mr. Pelissier&amp;#039;s burlesque of&lt;br /&gt;
his play, &ldquo;The Whip,&rdquo; and the adoption by Mr.&lt;br /&gt;
Pelissier of that title.&lt;br /&gt;
The Dramatic Sub-Committee were of opinion&lt;br /&gt;
that a point of principle was involved in the adoption,&lt;br /&gt;
without any alteration, of the title of the play and&lt;br /&gt;
characters in Mr. Raleigh&amp;#039;s drama, and instructed&lt;br /&gt;
the secretary to write to Mr. Pelissier on the&lt;br /&gt;
matter. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#402) ################################################&lt;br /&gt;
&lt;br /&gt;
36&lt;br /&gt;
THE AUTISIOR,&lt;br /&gt;
COMMITTEE ON THE PRICE OF NOVELS.&lt;br /&gt;
HE first meeting of the sub-committee&lt;br /&gt;
appointed to consider the price of novels&lt;br /&gt;
was held at 39, Old Queen Street, on Thurs-&lt;br /&gt;
day, October 21.&lt;br /&gt;
Members of the society may call to mind the&lt;br /&gt;
terms of the reference from the committee of&lt;br /&gt;
management to the sub-committee : &ldquo;To consider&lt;br /&gt;
the standard price of fiction, especially with refer-&lt;br /&gt;
ence to the publication of new copyright novels&lt;br /&gt;
at 2s.&rdquo;&lt;br /&gt;
Dr. S. S. Sprigge was voted to the chair.&lt;br /&gt;
The secretary placed before the committee&lt;br /&gt;
certain letters he had received from different&lt;br /&gt;
sources, and the committee then discussed the&lt;br /&gt;
question as to what evidence they required and&lt;br /&gt;
the line they should adopt to obtain that evidence&lt;br /&gt;
on which to base their report.&lt;br /&gt;
They decided, in the first instance, to send a&lt;br /&gt;
letter to a list of novelists who had published new&lt;br /&gt;
full-length copyright novels both at 6s. and at&lt;br /&gt;
the cheaper rates of 2s. and 2s. 6d., and to inquire&lt;br /&gt;
if they would be good enough, in confidence, to&lt;br /&gt;
give the committee information. The committee&lt;br /&gt;
desired by this means to obtain, if possible, the&lt;br /&gt;
practical experience of those who had already&lt;br /&gt;
made the experiment. The secretary was in-&lt;br /&gt;
structed to draft a letter for the approval of the&lt;br /&gt;
chairman.&lt;br /&gt;
The committee then decided that a letter should&lt;br /&gt;
be written to several novelists who had not, as&lt;br /&gt;
far as the committee could ascertain, published&lt;br /&gt;
new copyright novels at other prices than 6s., in&lt;br /&gt;
order to obtain their opinion in regard to the&lt;br /&gt;
probable effect of the publication of new copyright&lt;br /&gt;
novels at the cheaper prices.&lt;br /&gt;
The committee further decided to write to the&lt;br /&gt;
President of the Associated Booksellers of Great&lt;br /&gt;
Britain and Ireland, and inquire whether he could&lt;br /&gt;
undertake to obtain information from the book-&lt;br /&gt;
sellers as to the effect on the trade of the alterations&lt;br /&gt;
in prices and the difference in the sales.&lt;br /&gt;
The discussion of these subjects occupied a con-&lt;br /&gt;
siderable time, and the committee finally adjourned&lt;br /&gt;
till Tuesday, November 2, at the same hour, when&lt;br /&gt;
they proposed to consider the further points con-&lt;br /&gt;
nected with the same subject, such as the evidence&lt;br /&gt;
of publishers, the effect of cheap reprints, and&lt;br /&gt;
the evidence which may have been collected by&lt;br /&gt;
the secretary since the former meeting.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases,&lt;br /&gt;
IT is difficult to say anything fresh when placing&lt;br /&gt;
before the members the monthly tally of the cases.&lt;br /&gt;
There have been, however, during the past month&lt;br /&gt;
rather more cases than usual, possibly on account&lt;br /&gt;
of the return of people to business after the vacation.&lt;br /&gt;
In all there have been twenty-three cases. Eight of&lt;br /&gt;
these have been for the payment of money, four of&lt;br /&gt;
which have been settled satisfactorily, one has&lt;br /&gt;
been placed in the hands of the solicitors of the&lt;br /&gt;
society, while three have only recently come into&lt;br /&gt;
the office. There have been six cases for infringe-&lt;br /&gt;
ment of copyright. This number is unusual. The&lt;br /&gt;
difference has arisen owing to the desire of the&lt;br /&gt;
committee to stop, if possible, the wholesale lifting&lt;br /&gt;
of the property of the society&amp;#039;s members in foreign&lt;br /&gt;
countries and the colonies. Of these six, four are&lt;br /&gt;
in various colonies, and it will be impossible to&lt;br /&gt;
close them for six months or even perhaps a year,&lt;br /&gt;
but, cheered by their success in the other cases,&lt;br /&gt;
the committee hope to bring these also to a success-&lt;br /&gt;
ful issue. The two last cases have only just come&lt;br /&gt;
to the office, and refer to infringements in Great&lt;br /&gt;
Britain. One claim for accounts and money has&lt;br /&gt;
been settled. Of three claims for accounts, two&lt;br /&gt;
have been settled, and the third is being satis-&lt;br /&gt;
factorily negotiated. There have been four claims&lt;br /&gt;
for MSS., two of which have been closed, and&lt;br /&gt;
the other two have only recently come into the&lt;br /&gt;
office. In one dispute under a contract, the&lt;br /&gt;
terms of agreement have been arranged, though&lt;br /&gt;
the transaction has not yet been completed.&lt;br /&gt;
Two or three cases open from last month it&lt;br /&gt;
will be necessary to place in the hands of the&lt;br /&gt;
Society&amp;#039;s lawyers. The secretary is waiting for&lt;br /&gt;
the sanction of the chairman of the society.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
0ctober Elections.&lt;br /&gt;
Abbot, G. Frederick. 25, Dryden Cham-&lt;br /&gt;
bers, W.&lt;br /&gt;
c/o H. S. King &amp;amp; Co.,&lt;br /&gt;
9, Pall Mall, S.W.&lt;br /&gt;
Lyceum Club, 128,&lt;br /&gt;
Piccadilly, W.&lt;br /&gt;
Waldorf Hotel, W.C.&lt;br /&gt;
Alexander, Major F. G.&lt;br /&gt;
(&ldquo;Felix&amp;quot;)&lt;br /&gt;
Banks, Miss Elizabeth&lt;br /&gt;
Bariatinsky, Prince Vladi-&lt;br /&gt;
Imlr&lt;br /&gt;
Bell, Mrs. G. H. (&ldquo;John c/o Messrs. Grindley&lt;br /&gt;
Travers &rdquo;) &amp;amp; Co., Bombay,&lt;br /&gt;
India.&lt;br /&gt;
Bennett, Arnold Willa des Nefliers,&lt;br /&gt;
A v on-Fontaine-&lt;br /&gt;
bleau, France.&lt;br /&gt;
3, Clorane Gardens,&lt;br /&gt;
Hampstead, N.W.&lt;br /&gt;
112, Marina, St.&lt;br /&gt;
Leonards-on-Sea.&lt;br /&gt;
Blou&euml;t, Mrs. Mary .&lt;br /&gt;
Boulnois, Miss Helen&lt;br /&gt;
Boulton, Wm. B.&lt;br /&gt;
Bowker, Alfred The Malms, Shaw-&lt;br /&gt;
- ford, Hants. -&lt;br /&gt;
Brand, Miss Ethel J. Brook Hall, Long&lt;br /&gt;
Melford.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#403) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A LITISIOR,&lt;br /&gt;
37&lt;br /&gt;
Brewin, The Rev. Robert .&lt;br /&gt;
Bruce, Henry .&lt;br /&gt;
Calvert, Cayley &copy;&lt;br /&gt;
Christie, Wm. B.&lt;br /&gt;
Christison, Miss Lily&lt;br /&gt;
Cohen, Jacques&lt;br /&gt;
Donovan, Henry C. .&lt;br /&gt;
Douglas-Irvine, Miss&lt;br /&gt;
Edmonston-Scott, W. J. .&lt;br /&gt;
Elliot-Blake, Dr. H.&lt;br /&gt;
Evans, Miss Mary Doro-&lt;br /&gt;
thea Jane&lt;br /&gt;
Fitzgerald, Mrs.&lt;br /&gt;
Force, Charles .&lt;br /&gt;
French, Fox&lt;br /&gt;
Fyvie, John&lt;br /&gt;
Gallon, Tom&lt;br /&gt;
Glasgow, Miss Ellen&lt;br /&gt;
Greenwood, Geo., M.P.&lt;br /&gt;
Greig, James .&lt;br /&gt;
Gun, Mrs. (Ethel Winifrid&lt;br /&gt;
Young)&lt;br /&gt;
Hall, Hadden .&lt;br /&gt;
Hankin, Mrs. St. John.&lt;br /&gt;
Helledoren, Jack.&lt;br /&gt;
Hepburn, Thomas&lt;br /&gt;
Herford, Miss .&lt;br /&gt;
Hind, C. Lewis&lt;br /&gt;
Hodson, Miss A. L. .&lt;br /&gt;
Hodgson, Miss Geraldine&lt;br /&gt;
E., B.A., D.Litt.&lt;br /&gt;
2, Bank Terrace,&lt;br /&gt;
Appleby.&lt;br /&gt;
Mayon Farm, Sennen,&lt;br /&gt;
Cornwall.&lt;br /&gt;
97, Melrose Avenue,&lt;br /&gt;
Cricklewood.&lt;br /&gt;
Lands Department,&lt;br /&gt;
Perth, Australia.&lt;br /&gt;
Burwell Park, near&lt;br /&gt;
Louth, Lincoln-&lt;br /&gt;
shire.&lt;br /&gt;
Richmond House,&lt;br /&gt;
Fallowfield, Man-&lt;br /&gt;
chester.&lt;br /&gt;
51, Coleraine Road,&lt;br /&gt;
Westcombe Park,&lt;br /&gt;
S.E.&lt;br /&gt;
4, Prince&amp;#039;s Terrace,&lt;br /&gt;
Prince&amp;#039;s Square, W.&lt;br /&gt;
c/o Miss Armit, 13,&lt;br /&gt;
Cornwall Street,&lt;br /&gt;
Edinburgh.&lt;br /&gt;
3, Ellasdale Road,&lt;br /&gt;
Bognor, Sussex.&lt;br /&gt;
Pontarfran, Brecon,&lt;br /&gt;
Wales.&lt;br /&gt;
Mhow, Central India.&lt;br /&gt;
14, Gordon Road,&lt;br /&gt;
Ealing, W.&lt;br /&gt;
18, Manor Grove,&lt;br /&gt;
Tonbridge.&lt;br /&gt;
60, Carminia Road,&lt;br /&gt;
Balham, S.W.&lt;br /&gt;
43, Springfield Road,&lt;br /&gt;
St. John&rsquo;s Wood.&lt;br /&gt;
1, West Main Street,&lt;br /&gt;
Richmond, Virginia,&lt;br /&gt;
U.S.A.&lt;br /&gt;
33, Linden Gardens,&lt;br /&gt;
W.&lt;br /&gt;
24, Bromar Road,&lt;br /&gt;
Denmark Hill, S.E.&lt;br /&gt;
48, Hornton Street,&lt;br /&gt;
Kensington, W.&lt;br /&gt;
10, Southwold Man-&lt;br /&gt;
sions, Elgin Ave-&lt;br /&gt;
mue, W.&lt;br /&gt;
Colchester.&lt;br /&gt;
Almswood, Great Mis-&lt;br /&gt;
senden, Bucks.&lt;br /&gt;
19, North Street,&lt;br /&gt;
Westminster, S.W.&lt;br /&gt;
47, York Terrace,&lt;br /&gt;
N.W.&lt;br /&gt;
The University, Bris-&lt;br /&gt;
tol.&lt;br /&gt;
How, Frederick Douglas .&lt;br /&gt;
Howard, Keble&lt;br /&gt;
Hueffer, Ford Madox&lt;br /&gt;
The&lt;br /&gt;
Humphreys, Rev.&lt;br /&gt;
Canon A. E.&lt;br /&gt;
Igglesdon, Charles, J.P. .&lt;br /&gt;
Jacomb, A. E. .&lt;br /&gt;
Jaggard, William&lt;br /&gt;
Jessup, A. E.&lt;br /&gt;
Klippel, Ernest&lt;br /&gt;
Knight, William(&ldquo;Nemo&rdquo;)&lt;br /&gt;
Laycock, Arthur *&lt;br /&gt;
Le Warner, Louis&lt;br /&gt;
Mactaggart, Mrs.&lt;br /&gt;
Mass&eacute;, H. J. L. J.&lt;br /&gt;
Owen, Harold .&lt;br /&gt;
Percival, Miss Helen A.&lt;br /&gt;
Pretorius, John L.&lt;br /&gt;
Roberts, D. Gwyn&lt;br /&gt;
Savi, Mrs. J. Angelo&lt;br /&gt;
(&ldquo;Mrs. Angelo &amp;#039;&amp;#039;)&lt;br /&gt;
Shelley, Herbert&lt;br /&gt;
Synge, Edward&lt;br /&gt;
Trevelyan, G. M. (&ldquo;John&lt;br /&gt;
Trevena&rsquo;)&lt;br /&gt;
Wallance, Aymer&lt;br /&gt;
Wallace, Sir D. Mackenzie,&lt;br /&gt;
K.C.V.O.&lt;br /&gt;
Wasteneys, Lady&lt;br /&gt;
Watt, The Rev. Lauchlan&lt;br /&gt;
MacLean, M.A., B.D.,&lt;br /&gt;
F.S.A.&lt;br /&gt;
Whishaw, Mrs. Bernhard .&lt;br /&gt;
Rencot Manor, Lech-&lt;br /&gt;
lade.&lt;br /&gt;
25, Craven&lt;br /&gt;
Strand, W.C.&lt;br /&gt;
84, Holland Park&lt;br /&gt;
Avenue, W.&lt;br /&gt;
St. Michael&amp;#039;s Vicar-&lt;br /&gt;
age, Stonebridge&lt;br /&gt;
Park, N.W.&lt;br /&gt;
Heathfield, Ashford,&lt;br /&gt;
Kent.&lt;br /&gt;
Street,&lt;br /&gt;
139, Canning Street,&lt;br /&gt;
Liverpool.&lt;br /&gt;
Uplands, Harrow-on-&lt;br /&gt;
the-Hill.&lt;br /&gt;
Mataria, near Cairo,&lt;br /&gt;
Egypt.&lt;br /&gt;
Holmleigh, Malvern.&lt;br /&gt;
1, Beechfield Avenue,&lt;br /&gt;
Blackpool.&lt;br /&gt;
32, Piccadilly, W.&lt;br /&gt;
Rosemount, Campbel-&lt;br /&gt;
toun, Argyllshire.&lt;br /&gt;
37, Mount Park&lt;br /&gt;
Crescent, Ealing,&lt;br /&gt;
4, Greycoat Gardens,&lt;br /&gt;
Westminster, S.W.&lt;br /&gt;
. 11, Cambridge Road,&lt;br /&gt;
Hove.&lt;br /&gt;
63, Charles Street,&lt;br /&gt;
Bloemf on tein,&lt;br /&gt;
O. R. C.&lt;br /&gt;
&ldquo;Lyndale,&rdquo; Staple&lt;br /&gt;
EHill, Bristol.&lt;br /&gt;
c/o Messrs. Thomas&lt;br /&gt;
Cook &amp;amp; Son, Lud-&lt;br /&gt;
gate Circus, E.C.&lt;br /&gt;
&ldquo;Fermoy,&rdquo; 70, Tal-&lt;br /&gt;
garth Road, West&lt;br /&gt;
Kensington, W.&lt;br /&gt;
3, Bayswater Terrace,&lt;br /&gt;
Sandycove, Dublin.&lt;br /&gt;
2, Cheyne Gardens,&lt;br /&gt;
Chelsea, S.W.&lt;br /&gt;
Burlington Fine Arts&lt;br /&gt;
Club, Savile Row,&lt;br /&gt;
W&lt;br /&gt;
St. Ermin&rsquo;s Mansions,&lt;br /&gt;
Caxton Street, S.W.&lt;br /&gt;
Ivy Lodge, South-&lt;br /&gt;
wick, Sussex.&lt;br /&gt;
The Manse, Alloa.&lt;br /&gt;
Fernan 13, Caballero&lt;br /&gt;
Seville.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#404) ################################################&lt;br /&gt;
&lt;br /&gt;
3S&lt;br /&gt;
TFIES A UTHOR.&lt;br /&gt;
Williams, James M. . 21, Monk Street,&lt;br /&gt;
Aberdare.&lt;br /&gt;
Narara, near Gosford,&lt;br /&gt;
New South Wales.&lt;br /&gt;
Winscombe, John Cave S a 1 combe Regis,&lt;br /&gt;
(&ldquo;John Cave&rdquo; Devon.&lt;br /&gt;
We regret that we made an error in chronicling&lt;br /&gt;
the address of Annie O. Tibbits last month. The&lt;br /&gt;
correct addressis &ldquo; Glanfeinion,&rdquo; Woodside Park, N.&lt;br /&gt;
Two members object to the publication either of&lt;br /&gt;
their names or of their addresses.&lt;br /&gt;
Willis, Thomas&lt;br /&gt;
* -ā-&lt;br /&gt;
w-&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ART.&lt;br /&gt;
CONSTABLE. By C. LEWIs HIND. 8 &times; 6.&lt;br /&gt;
(Masterpieces in Colour.) Jack, ls, 6d, In,&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
CHATEAUBRIAND AND HIS COURT OF&lt;br /&gt;
FRANCIS GRIBBLE. 9 &times; 53. 347 pp.&lt;br /&gt;
Hall. 15s. n.&lt;br /&gt;
CHARLES DICKENS AND HIS FRIENDS. By TEIGNMOUTH&lt;br /&gt;
SHORE. 83 &times; 5%, 323 pp. Cassell. , 6s. n.&lt;br /&gt;
MADAME DE MAINTENON : HER LIFE AND TIMES, 1635&ndash;&lt;br /&gt;
1719. By C. C. DYSON, 9 &times; 53. 316 pp. Lane.&lt;br /&gt;
12s. 6d. n. -&lt;br /&gt;
J. B. PATON, D.D., EDUCATIONAL AND SOCIAL PIONEER.&lt;br /&gt;
By J. MARCHANT. 73 &times; 53. 332 pp. J. Clarke. 4s. 6d. n.&lt;br /&gt;
THE RETURN OF LOUIS XVIII. From the French of&lt;br /&gt;
Gilbert Stenger. By MRs. RUDOLPH STAWELL.&lt;br /&gt;
9 &times; 6, 431 pp. Heinemann, 10s. n.&lt;br /&gt;
MR. Pop E : HIS LIFE AND TIMEs. By GEORGE PASTON.&lt;br /&gt;
Two vols. 9 &times; 53. 747 pp. Hutchinson. 248. m.&lt;br /&gt;
MELBA : A BIOGRAPHY. By AGNES G. MURPHY. With&lt;br /&gt;
chapters by MADAME MELBA on the Selection of Music&lt;br /&gt;
as a Profession, and on the Science of Singing, and an&lt;br /&gt;
Introduction by J. A. FULLER-MAITLAND. Illustrated&lt;br /&gt;
by a Photogravure Frontispiece, and 37 Portraits, Views,&lt;br /&gt;
and Autographs. Chatto &amp;amp; Windus. 16s. n.&lt;br /&gt;
EDMUND GARRETT. By E. T. Cook. 83 &times; 53.&lt;br /&gt;
Arnold. 10s. 6d. n.&lt;br /&gt;
THE COURT of A SAINT. By WINIFRED F. KNox.&lt;br /&gt;
9 &times; 53. 367 pp. Methuen. 10s. 6d.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
A DANGEROUS INHERITANCE. By ALICE WILSON FOX.&lt;br /&gt;
73 &times; 5. 256 pp. S.P.C.K. 2s. 6d.&lt;br /&gt;
THE MYSTERY OF A PINK STUD. By MARY E. SHIPLEY.&lt;br /&gt;
t; x 5. 120 pp. S.P.C.K. 13.&lt;br /&gt;
THE FAILURE OF A HERO. A Tale of Shakesperean&lt;br /&gt;
Days. By M. BRAMSTON. 73 x 5. 220 pp. S.P.C.K.&lt;br /&gt;
2s.&lt;br /&gt;
80 pp.&lt;br /&gt;
Wom EN. By&lt;br /&gt;
Chapman &amp;amp;&lt;br /&gt;
284 pp.&lt;br /&gt;
THE TWINS IN CEYLON. By BELLA SIDNEY Woolly&lt;br /&gt;
Illustrated by A. E. JACKSON. 74 &times; 5. 112 pp.&lt;br /&gt;
Duckworth. 1s. 6d. n. -&lt;br /&gt;
THE RAINBOW Book: TALES OF FUN AND FANCY. By&lt;br /&gt;
MRS., M. H. SPIELMANN. 8 &times; 53. 290 pp. Chatto &amp;amp;&lt;br /&gt;
Windus. 5s. r- i&lt;br /&gt;
THE CHILDREN&amp;#039;S BOOK OF ART. By AGNES ETHEL and&lt;br /&gt;
SIR MARTIN CONWAY. From the Middle Ages to Watts.&lt;br /&gt;
With coloured reproductions. 83 x 6. 202 pp, Black.&lt;br /&gt;
6.S.&lt;br /&gt;
THE STORY OF FORGET-ME-NOT AND LILY OF THE&lt;br /&gt;
WALLEY. By MAURICE BARING, Illustrated by S. B.&lt;br /&gt;
63 &times; 5. 120 pp. Nisbet. 23. n.&lt;br /&gt;
THE ATTIC BOARDERS. Ry RAYMOND. J.A.CBERNS.&lt;br /&gt;
Chambers. 3s. 6d. - - *&lt;br /&gt;
BECKY COMPTON, Ex-DUx.&lt;br /&gt;
Chambers. 5s. -&lt;br /&gt;
AUNTIE AMY&amp;#039;s BIRD Book. By A. M. IRVINE. 7] &times; 5.&lt;br /&gt;
126 pp. Partridge. 1s. - . . . . . . . . . .&lt;br /&gt;
WITH NATURE&amp;#039;s CHILDREN. By LILIAN GASK. 73 &times; 5.&lt;br /&gt;
186 pp. Harrap.&lt;br /&gt;
FAIRY TALES. By HANS CHRISTIAN ANDERSEN. A New&lt;br /&gt;
Translation from the Danish Original by H. L. BRAEK-&lt;br /&gt;
By RAYMOND JACBERNS.&lt;br /&gt;
STAD. With an Introduction by EDMUND GOSSE.&lt;br /&gt;
9 &times; 7. 416 pp. Heinemann. 6s. - . . .&lt;br /&gt;
BEASTS OF BUSINESs. By Ascot T R. HoPE. 8 &times; 5}.&lt;br /&gt;
244 pp. Black. 3s. 6d.&lt;br /&gt;
A LITTLE MILITARY KNIGHT.&lt;br /&gt;
223 pp. S.P.C.K. 2s.&lt;br /&gt;
MURIEL AND HER AUNT LU ; OR, SCHOOL AND ART IIFE&lt;br /&gt;
IN PARIS. By MAY BALDWIN. 7# &times; 5}. 412 pp.;&lt;br /&gt;
Chambers. 5s. - . . .&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. Vol. XX. Ubaldini&mdash;Whewell, 9} x 6}.&lt;br /&gt;
1,387 pp, New Edition, Smith, Elder, 15s. n.&lt;br /&gt;
By E. M. GREEN. 73 &times; 5.&lt;br /&gt;
&bull; . &amp;#039;y&lt;br /&gt;
T)RAMATIC.&lt;br /&gt;
THE TRAGEDY OF NAN, AND OTHER PLAYs.&lt;br /&gt;
MASEFIELD. 8 &times; 53. 114 pp.&lt;br /&gt;
3s. 6d. In. -&lt;br /&gt;
SAvoy OPERAs. By W. S. GILBERT. With Illustrations&lt;br /&gt;
in colour by W. RUSSELL FLINT. 103 &times; 73. 208 pp.&lt;br /&gt;
Bell. 15s. n.&lt;br /&gt;
THE CENSORSHIP MUDDLE AND A WAY OUT OF IT. By&lt;br /&gt;
HENRY ARTHUR JONES. 8} x 5%. 58 pp. The Chis-&lt;br /&gt;
wick Press. . . . -&lt;br /&gt;
THREE PLAYs. By MRs. W. K. CLIFFORD. 7 &times; 53.&lt;br /&gt;
296 pp. Duckworth. 63. -&lt;br /&gt;
My LADY&amp;#039;s FAvour. A One act Comedy in Black and&lt;br /&gt;
By J.&lt;br /&gt;
Grant Richards.&lt;br /&gt;
White. By MARY C. RowsELL and E. GILBERT&lt;br /&gt;
How ELL. 7 &times; 53. 30 pp. French. 6d. . . . &amp;#039;&lt;br /&gt;
EDUCATIONAL. -&lt;br /&gt;
A HISTORY OF ST. PAUL&amp;#039;s SCHOOL. By MICHAEL F. J.&lt;br /&gt;
McDon NELL. 9 &times; 53. 496 pp. Chapman &amp;amp; Hall.&lt;br /&gt;
12s. 6d. In.&lt;br /&gt;
FICTION.&lt;br /&gt;
ANN VERONICA. A Modern Love Story. By H. G.&lt;br /&gt;
WELLs, 73 &times; 5, 352 pp. Unwin. 68.&lt;br /&gt;
ACTIONS AND REACTIONs. By RUDYARD KIPLING.&lt;br /&gt;
8 &times; 5+. 290 pp. Macmillan. 68.&lt;br /&gt;
THE SEVERINs. By MRs. ALFRED SIDGWICK. 73&lt;br /&gt;
324 pp. Methuen. 68.&lt;br /&gt;
THE UNIUCKY MARK.&lt;br /&gt;
&times; 5.&lt;br /&gt;
By F. E. PENNY. 73 &times; 5.&lt;br /&gt;
351 pp. Chatto &amp;amp; Windus. 68. - .&lt;br /&gt;
THE FORTUNATE PRISONER. By MAX PEMBERTON.&lt;br /&gt;
73 &times; 54, 312 pp. Hodder &amp;amp; Stoughton, 68.&lt;br /&gt;
TRIAL BY MARRIAGE. By W. S. JACKSON, 73 x 5.&lt;br /&gt;
320 pp. Lane. 6s.&lt;br /&gt;
&lt;br /&gt;
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TISIES A UTFIOR. 39&lt;br /&gt;
FALSE GOLD. By LILLIAS CAMPBELL DAVIDSON. 7% &times; 5.&lt;br /&gt;
319 pp. Digby Long. 6s.&lt;br /&gt;
TIME AND CHANCE. By FRANCIS BANCROFT.&lt;br /&gt;
320 pp. Digby Long. 6s.&lt;br /&gt;
IlovE, THE INTRUDER. By HELEN. H. WATSON (MRS.&lt;br /&gt;
H. A. WATSON), 456 pp. R.I.S. 6s.&lt;br /&gt;
DEEP WATERs. By MARIE CONNOR LEIGHTON. 8 &times; 5.&lt;br /&gt;
414 pp. Ward, Lock. 6s.&lt;br /&gt;
THE SERPENT AND THE CRoss. By STEPHEN ANDREW.&lt;br /&gt;
73 &times; 5. 320 pp. Greening. 6s.&lt;br /&gt;
THE PROUD PRINCE. By JUSTIN HUNTLY MCCARTHY.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
f&lt;br /&gt;
SAILORS&rsquo; KNOTS.&lt;br /&gt;
THE INTRUDING ANGEL. By CHARLES MARRIOTT.&lt;br /&gt;
8 &times; 5. 316 pp. Hurst &amp;amp; Blackett. 6s.&lt;br /&gt;
*&lt;br /&gt;
By W. W. JACOBs. 73 &times; 5. 302 pp.&lt;br /&gt;
Methuen. 3s. 6d.&lt;br /&gt;
7} x 5. 247 pp. Collier. 6d. m.&lt;br /&gt;
ARS&atilde;NE LUPIN. By EDGAR JEPSON. Mills &amp;amp; Boon.&lt;br /&gt;
6s.&lt;br /&gt;
A GIRL OF THE FOURTH. By A. M. IRVINE. 7# &times; 5.&lt;br /&gt;
332 pp. Partridge. 2s. 6d.&lt;br /&gt;
THEY AND I. By JEROME. K. J.EROME.&lt;br /&gt;
7} x 5. 328 pp.&lt;br /&gt;
Hutchinson. 6s. -&lt;br /&gt;
THE FIRST Round. By ST. JoHN LUCAS. 73 &times; 5.&lt;br /&gt;
476 pp. Methuen. 68.&lt;br /&gt;
THE WORTEx. By FRED WHISRAw. 8 &times; 5. 317 pp.&lt;br /&gt;
Stanley Paul. 6s.&lt;br /&gt;
THE SINKING SHIP. By Eva LATHBURY. 73 &times; 5.&lt;br /&gt;
303 pp. Alston Rivers. 68.&lt;br /&gt;
THE MAN WEIO CAME TO LIVE.&lt;br /&gt;
7# &times; 5. 318 pp.&lt;br /&gt;
JOHN HERIOT&amp;#039;S WIFE.&lt;br /&gt;
By ALFRED HENRY.&lt;br /&gt;
By ALICE and CLAUDE ASKEW.&lt;br /&gt;
73 &times; 5. 158 pp. White. 1s. n.&lt;br /&gt;
THE FATAL RUBY. By CHARLES GARVICE. 73 &times; 5%.&lt;br /&gt;
311 pp. Hodder &amp;amp; Stoughton. 68. . .* -&lt;br /&gt;
MR. JUSTICE RAFFLEs. By E. W. HORNUNG. 73 &times; 5.&lt;br /&gt;
315 pp. Smith, Elder. 6s.&lt;br /&gt;
GREAT PossEssions. By MRS. WILFRID WARD. 7# x 5}.&lt;br /&gt;
383 pp. Longmans. 68.&lt;br /&gt;
THE PATH TO HONOUR. By SYDNEY GRIER, 7} x 5.&lt;br /&gt;
329 pp. Blackwood. 68.&lt;br /&gt;
SURRENDER. By Row LAND GREY. 7% &times; 5. 304 pp.&lt;br /&gt;
Hutchinsom. 6s.&lt;br /&gt;
KITTY AUBREY. By KATHARINE TYNAN. 8 &times; 5.&lt;br /&gt;
366 pp. Nisbet. 6s.&lt;br /&gt;
A PERFECT GENIUS. By BERTRAM SMITH, 7} x 5.&lt;br /&gt;
242 pp. Harker. 3s. 6d. -&lt;br /&gt;
THE GI, EAMING DAWN. A Romance of the Middle Ages.&lt;br /&gt;
. . By JAMES BAKER. 7# X 5. 391 pp. Chapman &amp;amp;&lt;br /&gt;
Hall. 2s. n. -&lt;br /&gt;
WHAT LAY BENEATH. By &ldquo;Coo-EE.&rdquo; John Ouseley, Ltd.&lt;br /&gt;
THE GLIMPSE. An Adventure of the Soul. By ARNOLD&lt;br /&gt;
BENNETT. 7; x 5. 365 pp. Chapman &amp;amp; Hall.&lt;br /&gt;
6s. -&lt;br /&gt;
BELLA DONNA. By Rob ERT HICHENS. Two vols.&lt;br /&gt;
7 x 4, 338 + 328 pp. Heinemann. 4s. n.&lt;br /&gt;
THE TYRANT. By MRs. HENRY DE LA PASTURE. 8 &times; 5.&lt;br /&gt;
331 pp. Methuen. 68. --&lt;br /&gt;
THE PRICE OF LIs DoRIs. . By MAARTEN MAARTENs.&lt;br /&gt;
73 &times; 5. 461 pp. Methuen. 68.&lt;br /&gt;
CALVARY : A TRAGEDY OF SECTS.&lt;br /&gt;
401 pp. Hutchinson. 68.&lt;br /&gt;
THE MotoR MAID. By C. N. and A. M. WILLIAMSON.&lt;br /&gt;
By &ldquo;RITA.&rdquo; 7; x 5.&lt;br /&gt;
73 &times; 5. 309 pp. Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
MY FRIEND JIM. By W. E. NORRIS. 6% &times; 4%. 254 pp.&lt;br /&gt;
Macmillan. 7d.&lt;br /&gt;
THE ADMIRABLE TINKER. By EDGAR JEPSON. 74 &times; 5.&lt;br /&gt;
Greening. 6d.&lt;br /&gt;
A BRIDGE OF FANCIES: TALES AND EPISODES. By&lt;br /&gt;
JAMES CASSIDY. 8 &times; 5%. 317 pp. R. Culley. 8s. 6d.&lt;br /&gt;
A WOMAN AGAINST THE WORLD. By L. G. MOBERLY.&lt;br /&gt;
73 &times; 5. 319 pp. Ward, Lock. 68.&lt;br /&gt;
PETER&rsquo;s MoTHER. By MRs. HENRY DE LA PASTURE.&lt;br /&gt;
73 &times; 5. 345 pp. Smith, Elder. 38. 6d.&lt;br /&gt;
By ARTHUR CONAN DOYLE. 73 &times; 5.&lt;br /&gt;
3s.6d.&lt;br /&gt;
SIR NIGEL.&lt;br /&gt;
394 pp. Smith, Elder.&lt;br /&gt;
THE TENANTS OF PIXY FARM.&lt;br /&gt;
73 &times; 5. 350 pp. Murray. 6s.&lt;br /&gt;
HER MOTHER&amp;#039;s DAUGHTER. By KATHARINE TYNAN.&lt;br /&gt;
7% x 5. 311 pp. Smith, Elder. 6s.&lt;br /&gt;
A SWORD IN AMBUSH. By LILLIAS CAMPBELL DAVID-&lt;br /&gt;
SON. 73 &times; 5. 344 pp. Cassell. 68.&lt;br /&gt;
ON THE BRANCH. By PIERRE DE COULEVAIN. Trans-&lt;br /&gt;
lated by ALYS HALLARD. 7% x 5. 368 pp. Nash. 6s.&lt;br /&gt;
THE FOREST LOVERs. By MAURICE HEWLETT. Illus-&lt;br /&gt;
trated in colour by A. S. HARTRICK, S, x 5%. 384 pp.&lt;br /&gt;
Macmillan. 5s. n.&lt;br /&gt;
By MAUDE GOLDRING.&lt;br /&gt;
G-ARDENING.&lt;br /&gt;
IN A YORKSHIRE GARDEN. By REGINALD FARRER.&lt;br /&gt;
9 &times; 53. 316 pp. Arnold. 10s. 6d. n.&lt;br /&gt;
HISTORY.&lt;br /&gt;
GARIBALDI AND THE THOUSAND. By G. M. TREVELY AN.&lt;br /&gt;
9} x 6. 395 pp. Longmans. 7s. 6d. n.&lt;br /&gt;
THE MERRY PAST. By RALPH NEVILL, 9 &times; 53. 307 pp.&lt;br /&gt;
Duckworth. 12s. 6d. n.&lt;br /&gt;
LITERARY.&lt;br /&gt;
ONE DAY AND ANOTHER. By E. W. LUCAS. 7 &times; 4}.&lt;br /&gt;
251 pp. Methuen, 5s.&lt;br /&gt;
TREMENDOUS TRIFLES.&lt;br /&gt;
272 pp. Methuen. 5s.&lt;br /&gt;
THE ROMANTIC MOVEMENT IN ENGLISH POETRY. By&lt;br /&gt;
ARTHUR SYMONs. 9 &times; 6. 344 pp. Constable. 10s. 6d. n.&lt;br /&gt;
MASQUES AND PHASES. By ROBERT ROSS. 7# &times; 53.&lt;br /&gt;
315 pp. A. L. Humphreys. 5s. n.&lt;br /&gt;
By G. K. CHESTERTON. 7 &times; 4}.&lt;br /&gt;
MEDICAL,&lt;br /&gt;
A system OF CLINICAL MEDICINE. By T. D. SAVILL, M.D.&lt;br /&gt;
Second Edition, revised by the Author, assisted by&lt;br /&gt;
F. S. LANGMEAD, M.D., and AGNES F, SAVILL, M.D.&lt;br /&gt;
(Glasgow). 9% x 6.. 963 pp. Arnold. 258, n.&lt;br /&gt;
MILITARY.&lt;br /&gt;
BRITAIN AT BAY. By SPENSER WILKINSON, 9 &times; 7#.&lt;br /&gt;
192 pp. Constable. 68. In.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
MONTHLY GLEANINGS IN A SCOTTISH GARDEN. By&lt;br /&gt;
L. H. SouTAR. With coloured Frontispiece and&lt;br /&gt;
24 Half-Tone Photographic Illustrations. T. Fisher&lt;br /&gt;
Unwin. 68. m.&lt;br /&gt;
THE DEATH GAMBLE. By GEORGE R. SIMS. 7} x 5.&lt;br /&gt;
192 pp. Stanley Paul. 18, n.&lt;br /&gt;
THE ANNALS OF PSYCHICAL SCIENCE. October &mdash;&lt;br /&gt;
December. Edited by Dudley Wright, 110, St.&lt;br /&gt;
Martin&amp;#039;s Lane, W.C. 38. m.&lt;br /&gt;
THE HUMOUR OF THE POST OFFICE. By ALBERT M.&lt;br /&gt;
HYAMSON. George Routledge &amp;amp; Sons. 18, n.&lt;br /&gt;
FAMILY NAMES AND THEIR STORY. By S. BARING-&lt;br /&gt;
GOULD. 9 &times; 53. 432 pp. Seeley. 7s.6d. n.&lt;br /&gt;
YARNS FOR BOY SCOUTS. Told round the Camp Fire.&lt;br /&gt;
By LIEUT.-GENERAL R. S. S. BADEN-POWELL, C.B.&lt;br /&gt;
73 x 5}. 212 pp. Pearson. 28. m.&lt;br /&gt;
THE SPEAKING VoICE : ITS DEVELOPMENT AND PRESER-&lt;br /&gt;
VATION. By Mrs. EMIL BEHNKE. Eighth Edition.&lt;br /&gt;
Revised. 73 x 5. 278 pp. Curwen.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
40&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
MUSIC.&lt;br /&gt;
CALL or OUR Count RY. Words and Music. By L.&lt;br /&gt;
BUDGEN, Bradford. Crewsher &amp;amp; Co. 2d.&lt;br /&gt;
NATURAL EIISTORY. *&lt;br /&gt;
ExTINCT ANIMALS. By E. RAY LANKESTER, LL.D.,&lt;br /&gt;
K.C.B. 84 &times; 5+, 331 pp. Constable. 3s. 6d. n.&lt;br /&gt;
LEISURE HOURs witH NATURE. By B. P. LARKEN.&lt;br /&gt;
S &times; 53. 263 pp. Fisher Unwin. 58.&lt;br /&gt;
PHILOSOPHY.&lt;br /&gt;
AESTHETIC AS SCIENCE OF EXPRESSION AND GENERAL&lt;br /&gt;
ſ/INGUISTIC. Translated from the Italian of Benedetto&lt;br /&gt;
Croce. By Doug LAS AINSLIE. 9 &times; 53. 403 pp.&lt;br /&gt;
Macmillan. 10s, n.&lt;br /&gt;
POETRY.&lt;br /&gt;
VERSE PICTURES. By E. HERRICK. 64 &times; 5}. 64 pp.&lt;br /&gt;
Elkin Mathews. 1S. n.&lt;br /&gt;
MONNICA&rsquo;s LovE, AND OTHER POEMs. By C. GRAN VILLE.&lt;br /&gt;
73 &times; 53. 73 pp. Daniel. 2s. 6d. n.&lt;br /&gt;
REMINISCENCES.&lt;br /&gt;
MY FRIENDS THE FRENCH. With Discursive Allusions&lt;br /&gt;
to other People. By R. H. SHERARD. 9 &times; 53. 296 pp.&lt;br /&gt;
Werner Laurie. 12s. 6d. n.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE TRUTH OF CHRISTIANITY. By LIEUT.-COL. W. H.&lt;br /&gt;
TURTON, D.S.O. Seventh Edition. Wells, Gardner,&lt;br /&gt;
... Darton &amp;amp; Co. 2s. 6d. In.&lt;br /&gt;
GooD COMPANY. A Rally of Men. Edited by E. W.&lt;br /&gt;
LUGAs. 7 &times; 43. 361 pp. Methuen. 58.&lt;br /&gt;
PAST AND PRESENT. By THOMAS CARLYLE. With an&lt;br /&gt;
Introduction by G. K. CHESTERTON. 6 &times; 3}. 331 pp.&lt;br /&gt;
(The World&amp;#039;s Classics). Frowde. 18. n.&lt;br /&gt;
GULLIVER&amp;#039;s TRAVELS. By JONATHAN SWIFT. 291 pp.&lt;br /&gt;
TALES FROM SHAKESPEARE. By CHARLES and MARY&lt;br /&gt;
LAMB. 304 pp. Both illustrated by ARTHUR RACKHAM.&lt;br /&gt;
94 &times; 6). Dent. 7s.6d. m. each.&lt;br /&gt;
SCIENCE. -&lt;br /&gt;
THE STORY OF THE HEAVENS. By SIR Robſ&ordm; RT S. BALL,&lt;br /&gt;
LL.D. To be completed in Fourteen Fortnightly Parts.&lt;br /&gt;
Part I. 9% &times; 6%. 48 pp. Cassell. 6d. n.&lt;br /&gt;
ASTRONOMICAL CURIOSITIES : FACTS AND FALLACIES.&lt;br /&gt;
By J. E. GORE, F.R.A.S. 7# &times; 53. 370 pp. Chatto&lt;br /&gt;
&amp;amp; Windus. 6s. m. -&lt;br /&gt;
TIME AND TIDE. A Romance of the Moon. By SIR&lt;br /&gt;
ROBERT S. BALL, I.L. D. Eleventh thousand. Revised.&lt;br /&gt;
6; x 43. 192 pp. S.P.C.K. 2s. 6d. n.&lt;br /&gt;
SPORT.&lt;br /&gt;
AUCTION BRIDGE, By ARCHIBALD DUNN, 74 &times; 5.&lt;br /&gt;
256 pp. Mills &amp;amp; Boon. 58, n.&lt;br /&gt;
TECHNOLOGY.&lt;br /&gt;
WOOD CARVING. Practical Instructions and Examples.&lt;br /&gt;
Part I. Edited by PAUL HASLUCK. 24 pp. CARPENTRY&lt;br /&gt;
AND JOINERY. Part I. Edited by PAUL HASLUCK.&lt;br /&gt;
24 pp. THE HANDYMAN&amp;#039;s ENQUIRE WITHIN. Making,&lt;br /&gt;
Mending, Renovating. Part I. Edited by PAUL HAS-&lt;br /&gt;
LUCK. 24 pp. 9% x 6%. All to be completed in 24 Weekly&lt;br /&gt;
Parts. Cassell, 3d, n, each.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
MY SUNDAY SCHOOL AND CHILDREN&amp;#039;S SERVICE. A&lt;br /&gt;
Few Hints to Clergy and Sunday School Teachers. By&lt;br /&gt;
the REV. CANON J. HASLOCH POTTER and the REv.&lt;br /&gt;
A. E. W. S.HEARD, 7% x 5. 55 pp. Skeffington. 13, n.&lt;br /&gt;
PROLEGOMENA TO A COMPLETE ExPosLTION or THEIsM.&lt;br /&gt;
By J. COREN. 74 &times; 43. 92 pp. Sonnenschein, 2., n.&lt;br /&gt;
LIVING LONDON. Its Work and Its Play, &amp;amp;c, Edited by&lt;br /&gt;
g&ordm;es R. SIMS. Part I. 11 &times; 83, 32 pp. Casseli.&lt;br /&gt;
7d. In. -&lt;br /&gt;
NEW TESTAMENT STUDIES. By ANTHoNY DEANE.&lt;br /&gt;
73 &times; 5. 163 pp. Skeffington. 2s. 6d. n.&lt;br /&gt;
LAWS OF THE INNER KINGDOM. By HENRY W. CLARKE.&lt;br /&gt;
Crown 8vo. 278 pp. Robert Scott. 3s. 6d. n.&lt;br /&gt;
THE &ldquo;JOHANNINE&rsquo;&rsquo; PROBLEM : A FEw THoughts&lt;br /&gt;
RELATING TO THE AUTHORSHIP OF THE FOURTH&lt;br /&gt;
GOSPEL. By F. W. FRANKLAND. Watson, Eyre &amp;amp; Co.,&lt;br /&gt;
George Street, Palmerston North, New Zealand. w&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
HIGHWAYS AND BY WAYS IN MIDDLESEx. By WALTER&lt;br /&gt;
JERROLD. With Illustrations by HUGH THOMson,&lt;br /&gt;
8 &times; 53. 400 pp. Macmillan. 6s.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
THE BASUTOS: THE MOUNTAINEERS AND THEIR Country.&lt;br /&gt;
Being a narrative of events relating to the tribe from&lt;br /&gt;
its formation early in the nineteenth century to the&lt;br /&gt;
present day. By SIR GoDFREY LAGDEN, K.C.M.G.,&lt;br /&gt;
formerly Resident-Commissioner in Basutoland. Two&lt;br /&gt;
Vols. 83 &times; 5%. 690 pp. Hutchinson. 24s. n.&lt;br /&gt;
BOSNIA AND HERZEGOVINA : SoME WAYSIDE WANDER-&lt;br /&gt;
INGS. By MAUDE M. HoDBACH. 73 x 54. 249 P9,&lt;br /&gt;
Lane. 58, n.&lt;br /&gt;
a &ndash;A- *&lt;br /&gt;
w --&lt;br /&gt;
B00KS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
GEORGE BERNARD SHAW. By G. K. CHESTERTON. New&lt;br /&gt;
York : John Lane Co. $1.50 m.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. Stow-Tytler. New York : Macmillan.&lt;br /&gt;
$4.25 n.&lt;br /&gt;
RICHARD JEFFERIES : HIS LIFE AND WoRK. By Edward&lt;br /&gt;
THOMAS. Boston : Little, Brown &amp;amp; Co. $3 n.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
A CONCEITED PUPPY. By WALTER EMANUEL.&lt;br /&gt;
York : Dutton. 50 cents,&lt;br /&gt;
BABES AND BLOSSOMS. By WALTER JERRold. Boston :&lt;br /&gt;
Hill, Caldwell Co. 75 cents. -&lt;br /&gt;
MARGERY REDFORD AND HER FRIENDs. By MRS. M. H.&lt;br /&gt;
ir&ordm;na&ordm;s. New York : Frederick A. Stokes Co.&lt;br /&gt;
1,50. *&lt;br /&gt;
THE RAINBow Book. By MRs. M. H. SPIELMANN.&lt;br /&gt;
Illustrated by ARTHUR RACKHAM, HUGH THOMSON, and&lt;br /&gt;
others. New York : Frederick Warne &amp;amp; Co. $1.50.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
THE PLAY OF KING LEIR AND HIS THREE DAUGHTERS.&lt;br /&gt;
Edited by SIDNEY LEE. Duffield &amp;amp; Co. $1 m. ; Persian.&lt;br /&gt;
$1.60 m. ; lib. ed. $1.70 m.&lt;br /&gt;
THE MELTING-POT : DRAMA IN FOUR ACTS. By ISRAEL&lt;br /&gt;
ZANG will. 200 pp. New York : Macmillan, $1.25.&lt;br /&gt;
SAvoy OPERAs. By W. S. GILBERT. 208 pp. Macmillam.&lt;br /&gt;
$5 n.&lt;br /&gt;
New&lt;br /&gt;
FICTION.&lt;br /&gt;
MR. JUSTICE RAFFLEs. By E. W. HORNUNG.&lt;br /&gt;
York : Scribner, $1.50.&lt;br /&gt;
THE LoNELY GUARD. By NoFMAN INNEs. Philadelphia;&lt;br /&gt;
George W. Jacobs &amp;amp; Co. $1.25 m. -&lt;br /&gt;
New&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#407) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
41&lt;br /&gt;
A STORY OF THE NEW YORK FIRE&lt;br /&gt;
DEPARTMENT. By H. J. O&rsquo;HIGGINs. Boston : Small&lt;br /&gt;
Maynard &amp;amp; Co. $1.50.&lt;br /&gt;
THE LEOPARD AND THE LILY. By MARJORY BOWEN.&lt;br /&gt;
OLD CLINKERS:&lt;br /&gt;
372 pp. Doubleday, Page &amp;amp; Co. $1.25. -&lt;br /&gt;
OPEN Country : A CoMEDY WITH A STING. By&lt;br /&gt;
MAURICH, HEWLETT. Scribner. $1.50.&lt;br /&gt;
THE WAY THINGs HAPPEN. By HUGH DE SELINCOURT.&lt;br /&gt;
302 pp. New York : John Lane Co. $1.50.&lt;br /&gt;
THE FAITH OF HIS FATHERS: A STORY OF SOME&lt;br /&gt;
IDEALISTs. By A. E. JACOMB. 374 pp. New York :&lt;br /&gt;
Dodd, Mead &amp;amp; Co. $1.50.&lt;br /&gt;
THE CITY OF BEAUTIFUL NoNSENSE. By E. TEMPLE&lt;br /&gt;
THURSTON. 345 pp. New York: Dodd, Mead &amp;amp; Co. $1.50.&lt;br /&gt;
NoFTHERN LIGHTS. By SIR GILBERT PARKER, M.P.&lt;br /&gt;
New York : Harper Bros. $1.50.&lt;br /&gt;
PRISCILLA OF THE GooD INTENT. A Romance of the&lt;br /&gt;
Grey Fells. By HALLIw ELL SUTCLIFFE. Boston :&lt;br /&gt;
Little, Brown &amp;amp; Co. 371 pp. $1.50.&lt;br /&gt;
WHEN A WOMAN Woos. By CHARLES MARRIOTT. 335 pp.&lt;br /&gt;
New York: John Lane Co. $1 50.&lt;br /&gt;
SEYMOUR CHARLTON. By W. B. MAXWELL. 490 pp.&lt;br /&gt;
New York : Appleton. $1.50.&lt;br /&gt;
THE PALADIN. By H. A. VACHELL. 387 pp. Dodd,&lt;br /&gt;
Mead &amp;amp; Co. $1.50.&lt;br /&gt;
SUSANNA AND SUE. By KATE DOUGLAS WIGGIN.&lt;br /&gt;
Boston : Houghton, Miffin Co. $1.50.&lt;br /&gt;
HISTORY.&lt;br /&gt;
EVERYMAN&rsquo;s HISTORY OF THE ENGLISH CHURCH. With&lt;br /&gt;
over 100 Illustrations. By the REv. PERCY DEARMER.&lt;br /&gt;
New York: Frederick Warne. 50 cents. n.&lt;br /&gt;
LITERARY.&lt;br /&gt;
ONE DAY AND ANOTHER. By E. W. LUCAS.&lt;br /&gt;
Macmillan. $1.25 m.&lt;br /&gt;
A REAPING. By E. F. BENSON. 292 pp. Doubleday,&lt;br /&gt;
Page &amp;amp; Co. $1.25.&lt;br /&gt;
{JNTIL THE EVENING. By A. C. BENSON.&lt;br /&gt;
York : Thomas Y. Crowell &amp;amp; Co.&lt;br /&gt;
TMISCELLANEOUS.&lt;br /&gt;
A WANDERER IN PARIS. By E. W. LUCAS. With 16&lt;br /&gt;
Illustrations in colour by WALTER DEXTER and 32&lt;br /&gt;
reproductions from works of art. New York : Mac-&lt;br /&gt;
millan. $1.75 m.&lt;br /&gt;
IMESMERISM AND CHRISTIAN SCIENCE : A SHORT HISTORY&lt;br /&gt;
of MENTAL HEALING. By FRANK PODMORE, 356 pp.&lt;br /&gt;
Philadelphia ; George W. Jacobs &amp;amp; Co. $1.50 n.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
THE TRUTH OF CHRISTIANITY. Being an Examination&lt;br /&gt;
of the More Important Arguments For and Against&lt;br /&gt;
Believing in that Religion. Compiled from various&lt;br /&gt;
sources. By W. H. TURTON. 564 pp. New York:&lt;br /&gt;
Putnam. $1.25.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE LAKE OF GENEVA. By FRANCIS GRIBBLE. New&lt;br /&gt;
York : Macmillan. $6 m.&lt;br /&gt;
New York :&lt;br /&gt;
58 pp. New&lt;br /&gt;
30 cents.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;t-Q-4&ndash;&lt;br /&gt;
ſ R. R.UDYARD KIPLING&amp;#039;Snew book, which&lt;br /&gt;
-- Messrs. Macmillan &amp;amp; Co. announce, is&lt;br /&gt;
entitled &ldquo;Actions and Reactions,&rdquo; and&lt;br /&gt;
comprises eight stories, linked together by eight&lt;br /&gt;
poems, each of the latter being suggested by the&lt;br /&gt;
tale that precedes it.&lt;br /&gt;
The same publishers are publishing a new&lt;br /&gt;
Volume by Mr. Thomas Hardy, which consists of a&lt;br /&gt;
collection of poems on various subjects, and bears&lt;br /&gt;
the title &ldquo;Time&amp;#039;s Laughing-Stocks, and other&lt;br /&gt;
Poems.&rdquo;&lt;br /&gt;
Messrs. Macmillan are also including &ldquo;The&lt;br /&gt;
Education of Uncle Paul&rdquo;&mdash;a new novel by Mr.&lt;br /&gt;
Algernon Blackwood&mdash;in their lists. The story&lt;br /&gt;
deals with the inner life of an imaginative and&lt;br /&gt;
mystical man of mature years, who is led by a little&lt;br /&gt;
child to &ldquo;find &rsquo;&rsquo; himself, to find his work in the&lt;br /&gt;
world, to find reality.&lt;br /&gt;
Mr. Walter Jerrold has written &ldquo;Highways and&lt;br /&gt;
Byways in Middlesex,&rdquo; which is the latest addition&lt;br /&gt;
to the &ldquo;Highways and Byways&rdquo; series published&lt;br /&gt;
by this firm. Mr. Hugh Thomson illustrates the&lt;br /&gt;
present, as the previous volume, on Kent by the&lt;br /&gt;
Same author. w&lt;br /&gt;
Other books which may be expected from&lt;br /&gt;
Messrs. Macmillan &amp;amp; Co. are &ldquo;Light Come, Light&lt;br /&gt;
Go,&rdquo; by Mr. Ralph Nevill, a volume of anecdotes&lt;br /&gt;
of gaming, gamesters, wagers and the Turf, with&lt;br /&gt;
eight coloured plates and other illustrations, and&lt;br /&gt;
the fifth and concluding volume of Mr. J. A. Fuller-&lt;br /&gt;
Maitland&amp;#039;s new edition of Grove&rsquo;s Dictionary of&lt;br /&gt;
Music. As in the earlier volumes, many additions&lt;br /&gt;
and alterations are introduced. It also includes&lt;br /&gt;
an Appendix, which deals with artists and com-&lt;br /&gt;
posers who have come into prominence since the&lt;br /&gt;
issue of the Dictionary in its revised forms, and&lt;br /&gt;
which supplements or corrects articles in the&lt;br /&gt;
previous Volumes.&lt;br /&gt;
Messrs. Macmillan &amp;amp; Co. are also producing a&lt;br /&gt;
new edition of &ldquo;The Making of Ireland,&rdquo; by Mrs.&lt;br /&gt;
J. R. Green, in which is incorporated a considerable&lt;br /&gt;
amount of new matter. Various errors of detail&lt;br /&gt;
have been corrected, and some new notes and&lt;br /&gt;
references have been added.&lt;br /&gt;
Mr. Douglas Ainslie is also represented in&lt;br /&gt;
Messrs. Macmillan&amp;#039;s list, his translation of the&lt;br /&gt;
&ldquo;Theory of &AElig;sthetic&rdquo; of Benedetto Croce having&lt;br /&gt;
appeared in the middle of last month. It is&lt;br /&gt;
hoped that this translation of the work of the&lt;br /&gt;
Italian philosopher, which appears under the title&lt;br /&gt;
&ldquo;AEsthetic as Science of Expression and General&lt;br /&gt;
Linguistic,&rdquo; will arouse in the English readers an&lt;br /&gt;
interest in a system of philosophy which aims at&lt;br /&gt;
&ldquo;the leading back of thought to belief in the&lt;br /&gt;
spirit.&rdquo;&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
Miss Agnes G. Murphy&rsquo;s &ldquo;Biography of Madame&lt;br /&gt;
Melba,&rdquo; which is announced by Messrs. Chatto &amp;amp;&lt;br /&gt;
Windus, is a description of Madame Melba&amp;#039;s life&lt;br /&gt;
from her earliest years, and is a record of the&lt;br /&gt;
outstanding events in her professional career.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#408) ################################################&lt;br /&gt;
&lt;br /&gt;
42&lt;br /&gt;
TISIES A CITISIOH&ordm;.&lt;br /&gt;
Many extracts from letters written and speeches&lt;br /&gt;
delivered by composers, connoisseurs, and fellow-&lt;br /&gt;
singers in regard to Madame Melba&amp;#039;s art are&lt;br /&gt;
included in the work, which also has two essays&lt;br /&gt;
written by Madame Melba, entitled respectively,&lt;br /&gt;
&ldquo;The Selection of Music as a Profession&amp;#039;&amp;#039; and &ldquo;The&lt;br /&gt;
Science of Singing.&rdquo;&lt;br /&gt;
Mr. Robert Machray&amp;#039;s life of his uncle, the late&lt;br /&gt;
Archbishop of Rupert&amp;#039;s Land, first Primate of all&lt;br /&gt;
Canada, will be published about the middle of the&lt;br /&gt;
month. The biography is important not only from&lt;br /&gt;
the Church point of view, but from the Imperial,&lt;br /&gt;
as it shows that it was largely owing to the action&lt;br /&gt;
of the Archbishop during the Riel Rebellion of&lt;br /&gt;
1869&ndash;70 that Manitoba and North-West Canada&lt;br /&gt;
were preserved to the Empire. -&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
The S.P.C.K. has just published a cheap edition&lt;br /&gt;
of &ldquo;The Land of Nod,&rdquo; a little book of fairy tales&lt;br /&gt;
for children, by Jean Roberts, which was first&lt;br /&gt;
published some time ago. The present issue is&lt;br /&gt;
published at 18.&lt;br /&gt;
Raymond Jacberns&amp;#039; new books this season are&lt;br /&gt;
published by Messrs. Chambers &amp;amp; Co. &ldquo;The&lt;br /&gt;
Attic Boarders&rdquo; is a story of a poor clergyman&amp;#039;s&lt;br /&gt;
daughter who takes in dogs as paying guests, while&lt;br /&gt;
&ldquo;Becky Compton, Ex-Dux,&rdquo; is a school story.&lt;br /&gt;
The first book is published at 3s. 6d. and the&lt;br /&gt;
Second at 58. !&lt;br /&gt;
FICTION.&lt;br /&gt;
Miss May Crommelin has lately written a novel&lt;br /&gt;
dealing with life in an English village where old&lt;br /&gt;
Elizabethan dwellings have been converted into&lt;br /&gt;
&ldquo;cottages of gentility.&rdquo; This will be published&lt;br /&gt;
by Messrs. Hutchinson, but the title is still under&lt;br /&gt;
consideration.&lt;br /&gt;
Miss Crommelin has also been engaged upon&lt;br /&gt;
some Christmas fiction for magazines.&lt;br /&gt;
Mr. Frank Savile&rsquo;s new novel, entitled &ldquo;The&lt;br /&gt;
Pursuit,&rdquo; which is now appearing serially in&lt;br /&gt;
Munsey&amp;#039;s Magazine, will be published in the late&lt;br /&gt;
spring by Mr. Edward Arnold in England, and&lt;br /&gt;
Messrs. Little, Brown &amp;amp; Co. in America. Mr.&lt;br /&gt;
Savile is now engaged upon a story which, like his&lt;br /&gt;
last novel &ldquo;Seekers,&rdquo; has a Balkan setting.&lt;br /&gt;
Messrs. Digby Long &amp;amp; Co. have published a new&lt;br /&gt;
book from the pen of Francis Bancroft, entitled&lt;br /&gt;
&ldquo;Time and Chance.&rdquo; The previous novel of the&lt;br /&gt;
same writer, &ldquo;Of Like Passions,&rdquo; was published&lt;br /&gt;
some two years ago.&lt;br /&gt;
&ldquo;With the Merry Austrians&rdquo; is a new novel by&lt;br /&gt;
Amy McLaren, which Mr. John Murray announces.&lt;br /&gt;
Albert Dorrington, the Australian writer who&lt;br /&gt;
came to England in 1907, is engaged on his third&lt;br /&gt;
novel, dealing with the pioneering days of Southern&lt;br /&gt;
Queensland, and which is to be called &ldquo;Children of&lt;br /&gt;
the Cloven Hoof.&rdquo; The story has an unfamiliar&lt;br /&gt;
setting, and depicts life among the free selectors&lt;br /&gt;
and overlanders of the little known Maranoa river.&lt;br /&gt;
Early in the coming year Mr. Dorrington will have&lt;br /&gt;
ready for serial publication a group of sea stories&lt;br /&gt;
similar to those which appeared continuously in the&lt;br /&gt;
Pall Mall Magazine during 1908.&lt;br /&gt;
The Hon. Mrs. Felkin&amp;#039;s new story &ldquo;The Wisdom&lt;br /&gt;
of Folly,&rdquo; which is running as a serial in the&lt;br /&gt;
Woman at Home, will be published in book form in&lt;br /&gt;
the spring by Messrs. Hodder &amp;amp; Stoughton.&lt;br /&gt;
Rowland Grey&amp;#039;s new novel, &ldquo;Surrender,&rdquo; was&lt;br /&gt;
published on September 20 by Messrs. Hutchinson&lt;br /&gt;
&amp;amp; Co. -&lt;br /&gt;
Mr. James Cassidy, author of &ldquo;Love is Love,&rdquo;&lt;br /&gt;
&ldquo;Father Paul,&rdquo; and other works, has just issued,&lt;br /&gt;
through Mr. Robert Culley, a volume containing&lt;br /&gt;
twenty-two tales and episodes, which, singly and&lt;br /&gt;
collectively, are a protest against the harsh judg-&lt;br /&gt;
ment of one&amp;#039;s neighbour, which is often induced&lt;br /&gt;
by a lack of insight and the inability to interpret&lt;br /&gt;
rightly. The title of the book is &ldquo;A Bridge of&lt;br /&gt;
Fancies.&rdquo;&lt;br /&gt;
&ldquo;. The Serpent and the Cross,&rdquo; by Stephen&lt;br /&gt;
Andrew, is a novel which has for its theme a&lt;br /&gt;
deliberate attack upon English Christianity, and&lt;br /&gt;
its failure. Incidentally it raises the question&lt;br /&gt;
whether the more usual Imethods of the Church are&lt;br /&gt;
best suited for grappling with present day problems.&lt;br /&gt;
Messrs. Greening &amp;amp; Co. are the publishers.&lt;br /&gt;
Mr. Bertram Smith, author of &ldquo;Totty&rsquo;&rsquo; and&lt;br /&gt;
&ldquo;The Whole Art of Caravanning,&rdquo; is publishing,&lt;br /&gt;
through Messrs. Harper Bros., a humorous study&lt;br /&gt;
of a man in the making&mdash;the British public-&lt;br /&gt;
School boy&mdash;to which he has given the title of&lt;br /&gt;
&ldquo;A Perfect Genius.&rdquo; -&lt;br /&gt;
Messrs. John Ouseley, Ltd., are publishing a&lt;br /&gt;
new story by &ldquo;Coo-ee,&rdquo; whose novel &ldquo;The Silver&lt;br /&gt;
Queen,&rdquo; issued by the same publishers, is now in a&lt;br /&gt;
third edition. &ldquo;What Lay Beneath&amp;quot;&mdash;the present&lt;br /&gt;
volume&mdash;is a Queensland story of adventure and&lt;br /&gt;
romance, and is published at 6s.&lt;br /&gt;
Messrs. Gibbings &amp;amp; Co. will issue at once a book&lt;br /&gt;
on Indian sport and adventure in search of big&lt;br /&gt;
game in the almost primaeval forests of North-&lt;br /&gt;
Eastern Bengal. It is written by C. E. Gouldsbury,&lt;br /&gt;
a retired Indian police officer, and entitled &ldquo;Dulall,&lt;br /&gt;
the Forest Guard : A Tale of Sport and Adventure&lt;br /&gt;
in the Forests of Bengal.&rdquo;&lt;br /&gt;
Rita&amp;#039;s new novel is called &ldquo;Calvary,&rdquo; and is the&lt;br /&gt;
author&amp;#039;s fiftieth book. It deals with religious&lt;br /&gt;
subjects, varying from Buddhism to Christian&lt;br /&gt;
science. Messrs. Hutchinson &amp;amp; Co. are the&lt;br /&gt;
publishers.&lt;br /&gt;
MISCELLANEOUS. -&lt;br /&gt;
Messrs. Longmans, Green &amp;amp; Co. are publishing&lt;br /&gt;
a volume of Anglo-Bengali tales, entitled &ldquo;The&lt;br /&gt;
Pride of Kadampier,&rdquo; by S. B. Banerjea, while&lt;br /&gt;
the Hitahadi Library of Calcutta will publish, for&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#409) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A &ordm;f TFIOR.&lt;br /&gt;
43&lt;br /&gt;
the same writer, in December next, a book entitled&lt;br /&gt;
&ldquo;Bengali Wit and Wisdom.&rdquo;&lt;br /&gt;
Messrs. Mowbray &amp;amp; Co. have issued a Christmas&lt;br /&gt;
card, with an illuminated border by Miss Florence&lt;br /&gt;
Boady, and verses by Miss Jean Roberts. The&lt;br /&gt;
publication of this card marks a departure from&lt;br /&gt;
the usual run of Christmas greeting cards.&lt;br /&gt;
The editorship of that part of the Health&lt;br /&gt;
Magazine which is headed &ldquo;The Child of the&lt;br /&gt;
Nation&rdquo; has been offered to, and accepted by, Miss&lt;br /&gt;
Rose Harrison, author of &ldquo;Esther Alington,&rdquo; &ldquo;The&lt;br /&gt;
Padre,&rdquo; &ldquo;Children of the New Century,&rdquo; and&lt;br /&gt;
other works.&lt;br /&gt;
Miss Harrison has also published in the Septem-&lt;br /&gt;
ber issues of the Abkari and Health Magazines&lt;br /&gt;
her biographical sketch of Lord Monkswell&amp;#039;s career.&lt;br /&gt;
A portrait of Lord Monkswell is included with the&lt;br /&gt;
sketch in both the magazines.&lt;br /&gt;
Miss L. H. Soutar&amp;#039;s new work, &ldquo;Monthly Glean-&lt;br /&gt;
ings in a Scottish Garden,&rdquo; is not a technical&lt;br /&gt;
treatise on gardening, but month by month descrip-&lt;br /&gt;
tions are given of what may be found in a Scottish&lt;br /&gt;
garden. Flowers, trees, birds and insects, sunsets&lt;br /&gt;
and dawns, storms and calms, are all touched upon&lt;br /&gt;
in sympathetic strain. Bird and plant lore is inter-&lt;br /&gt;
woven with personal observation of facts relative&lt;br /&gt;
to the habitats of a Scottish garden. Each month&lt;br /&gt;
has illustrations suggestive of the time of the year,&lt;br /&gt;
aud the coloured frontispiece is &ldquo;a movement of&lt;br /&gt;
sweet sound and radiance.&rdquo; The book is brought&lt;br /&gt;
out by Mr. Fisher Unwin among his Christmas&lt;br /&gt;
gift-books. -&lt;br /&gt;
By invitation of Admiral Sir Charles and Lady&lt;br /&gt;
Drury, Miss A. E. Keeton will give two of her viv&aacute;&lt;br /&gt;
voce studies in music at Admiralty House, Chatham,&lt;br /&gt;
on November 4 and December 16. The first study,&lt;br /&gt;
on &ldquo;Russian Folk Songs,&rdquo; will be illustrated by&lt;br /&gt;
Mr. Nicholai L&eacute;bedev, who will accompany himself&lt;br /&gt;
on a Little Russian seven-stringed guitar. In her&lt;br /&gt;
second study, &ldquo;Songs by the Younger School of&lt;br /&gt;
British Composers,&rdquo; Miss Keeton will have the&lt;br /&gt;
valuable collaboration of the well-known English&lt;br /&gt;
contralto, Miss Grainger-Kerr.&lt;br /&gt;
&ldquo;The Humour of the Post Office,&rdquo; by Albert M.&lt;br /&gt;
Hyamson, is a collection of anecdotes which have&lt;br /&gt;
been gathered by the author touching the eccen-&lt;br /&gt;
tricities of the public in their relations with the&lt;br /&gt;
various departments of the Post Office service.&lt;br /&gt;
Messrs. George Routledge &amp;amp; Sons are the publishers&lt;br /&gt;
of the book. &amp;amp;&lt;br /&gt;
&ldquo;Her Ladyship&amp;#039;s Knitting Book,&rdquo; edited by&lt;br /&gt;
Mrs. Shearman, and published by Messrs. Baldwin&lt;br /&gt;
&amp;amp; Walker, is a little volume containing instruc-&lt;br /&gt;
tions for the making of woollen garments for&lt;br /&gt;
children. Nearly thirty different articles are dealt&lt;br /&gt;
with, and the directions for the knitting of each&lt;br /&gt;
article are accompanied by designs of the garment&lt;br /&gt;
as finished. It is published at the price of 4%d.&lt;br /&gt;
MUSIC.&lt;br /&gt;
Messrs. Crewsher &amp;amp; Co.&amp;#039;s latest addition to their&lt;br /&gt;
School Series is a song by Miss L. Budgen. &ldquo;Call&lt;br /&gt;
of our Country,&rdquo; the piece referred to, has also been&lt;br /&gt;
accepted by the National Service League to go in&lt;br /&gt;
their list.&lt;br /&gt;
NATURAL HISTORY. -&lt;br /&gt;
Lieut.-Gen. Sir R. S. S. Baden-Powell has con-&lt;br /&gt;
tributed an introduction for Boy Scouts to Mr. W.&lt;br /&gt;
Percival Westell&amp;#039;s new book, which bears the title&lt;br /&gt;
of &ldquo;Nature Stalking for Boys through Field Glass,&lt;br /&gt;
Stereoscope and Camera,&rdquo; and which will be issued&lt;br /&gt;
&ordm; immediately by Messrs. J. M. Dent &amp;amp; Sons,&lt;br /&gt;
to.&lt;br /&gt;
By special permission of Mr. Rudyard Kipling&lt;br /&gt;
certain verses are included from &ldquo;A Patrol Song,&rdquo;&lt;br /&gt;
which relate several of the objects the author had&lt;br /&gt;
in view when writing various sections of this book&lt;br /&gt;
that specially appeal to Boy Scouts. There are four&lt;br /&gt;
coloured plates, as well as one hundred photographs&lt;br /&gt;
taken by Mr. Sedgwick, among which are several&lt;br /&gt;
Stereoscopic and other illustrations of great interest.&lt;br /&gt;
Whilst the serial issue of Messrs. Dent &amp;amp; Co.&amp;#039;s&lt;br /&gt;
work &ldquo;Trees and Shrubs of the British Isles,&rdquo; by&lt;br /&gt;
C. S. Cooper and W. Percival Westell, will not be&lt;br /&gt;
completed until towards the end of the year, the&lt;br /&gt;
publishers will have the work ready in two volumes&lt;br /&gt;
for the autumn season. The work will deal with&lt;br /&gt;
Over 550 species of native and climatised trees and&lt;br /&gt;
shrubs ; it will contain chapters on insect pests,&lt;br /&gt;
useful insects, fungoid pests, galls, fungicides and&lt;br /&gt;
insecticides, as well as a comprehensive calendar,&lt;br /&gt;
lists of species suitable for certain soils and situa-&lt;br /&gt;
tions, a voluminous glossary, &amp;amp;c. Whilst scienti-&lt;br /&gt;
fically accurate, technical terms have only been used&lt;br /&gt;
where necessary, and are explained in the glossary,&lt;br /&gt;
and lists are given of Greek and Latin roots used&lt;br /&gt;
in botanical momenclature. There will be sixteen&lt;br /&gt;
full-page coloured plates and seventy full-page black&lt;br /&gt;
and white plates drawn direct from nature, by&lt;br /&gt;
Mr. C. F. Newall, and four indices (Latin, English,&lt;br /&gt;
natural order and colour).&lt;br /&gt;
REPRINTS.&lt;br /&gt;
The latest addition to &ldquo;The World&amp;#039;s Classics,&rdquo;&lt;br /&gt;
which the Oxford University Press publish, is&lt;br /&gt;
Carlyle&rsquo;s &ldquo;Past and Present,&rdquo; with an introduction&lt;br /&gt;
by G. K. Chesterton.&lt;br /&gt;
The proprietors of the Daily Chronicle and&lt;br /&gt;
Lloyd&amp;#039;s News are publishing a sixpenny edition&lt;br /&gt;
of the works of Charles Dickens, which will be&lt;br /&gt;
illustrated from the original wood engravings by&lt;br /&gt;
Fred Barnard and other contemporary Dickens&lt;br /&gt;
artists. A picture from each story will be repro-&lt;br /&gt;
duced on the paper or cover, and the edition will&lt;br /&gt;
include about thirty volumes, the very long works&lt;br /&gt;
being divided into two. The first volume, &ldquo;A&lt;br /&gt;
Tale of Two Cities,&rdquo; appeared on October 14.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#410) ################################################&lt;br /&gt;
&lt;br /&gt;
44&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
Mrs. Harding Kelly, the author of &ldquo;Roy,&rdquo; has&lt;br /&gt;
written a series of Bible Talks with Children, which&lt;br /&gt;
will be issued immediately by Mr. Elliot Stock&lt;br /&gt;
under the title of &ldquo;The Lord&amp;#039;s Treasures.&rdquo;&lt;br /&gt;
The Rev. Henry W. Clark has written a new&lt;br /&gt;
work entitled &ldquo;Laws of the Inner Kingdom,&rdquo; in&lt;br /&gt;
which he develops the thought of divine Com-&lt;br /&gt;
munication of life from God to man through&lt;br /&gt;
Christ. The volume is published by Mr. Robert&lt;br /&gt;
Scott.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
Mr. John Lane has recently published a new&lt;br /&gt;
book on the Balkans, entitled, &ldquo;Bosnia and&lt;br /&gt;
Herzegovina : Some Wayside Wanderings,&rdquo; by&lt;br /&gt;
Maude M. Holbach, who wrote a book on&lt;br /&gt;
Dalmatia a couple of years ago, to which her&lt;br /&gt;
new book is a companion volume. The second&lt;br /&gt;
title indicates its scope, for &ldquo;Bosnia &amp;quot; is not&lt;br /&gt;
political (though the writer was in the annexed&lt;br /&gt;
territories at the epoch-making period of last year&lt;br /&gt;
and had some interesting experiences), but aims at&lt;br /&gt;
giving a pen picture of a picturesque country which&lt;br /&gt;
deserves the attention of travellers who love to leave&lt;br /&gt;
the beaten track.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N attempt is being made to buy the house in&lt;br /&gt;
which Balzac died, and in which he lived&lt;br /&gt;
for the last six or seven years of his life.&lt;br /&gt;
An association has been formed styled the &ldquo;Amis&lt;br /&gt;
de Balzac,&rdquo; and with the annual subscriptions paid&lt;br /&gt;
by this little group the house has been rented, and&lt;br /&gt;
a museum is now being arranged containing every&lt;br /&gt;
kind of souvenir of Balzac. The house is a one-&lt;br /&gt;
storeyed building situated in a garden in a quiet,&lt;br /&gt;
somewhat unfrequented part of Paris.&lt;br /&gt;
At Marly-le-Roi, where Victorien Sardou had&lt;br /&gt;
been a municipal councillor ever since 1864, a&lt;br /&gt;
statue was unveiled in his honour in the garden&lt;br /&gt;
of the Mairie last month. The whole population&lt;br /&gt;
of Marly was present and a very large number of&lt;br /&gt;
Parisians of note, although no invitations had&lt;br /&gt;
been sent Out. -&lt;br /&gt;
The autumn publishing season has begun in&lt;br /&gt;
earnest, and it is almost impossible to keep pace&lt;br /&gt;
with the interesting books which are appearing&lt;br /&gt;
every day.&lt;br /&gt;
&ldquo;Jadis et Aujourd&rsquo;hui&rdquo; is a series of studies by&lt;br /&gt;
Fr&eacute;d&eacute;ric Masson, whom we all know as the his-&lt;br /&gt;
torian of Napoleon. This writer possesses the&lt;br /&gt;
secret of putting fresh life into the documents he&lt;br /&gt;
finds in his patient researches among the archives,&lt;br /&gt;
thus giving us living stories instead of mere dry&lt;br /&gt;
records.&lt;br /&gt;
The third volume of the &ldquo;Lettres et Documents&lt;br /&gt;
pour servir &agrave; l&rsquo;Histoire de Joachim Murat, 1767&ndash;&lt;br /&gt;
i815,&rdquo; has just been published by Prince Murat.&lt;br /&gt;
This volume takes in the years 1804 and 1805,&lt;br /&gt;
when Murat was Governor of Paris. The letters&lt;br /&gt;
are addressed to Bonaparte, Chaptal, Frochot,&lt;br /&gt;
Fouch&eacute;, Cardinal Fesch and others. It is an&lt;br /&gt;
excellent book for all who are studying this period&lt;br /&gt;
of French history.&lt;br /&gt;
&ldquo;Fanny Elssler&rsquo;&rdquo; is the title of an interesting&lt;br /&gt;
volume by Auguste Ehrhard, in which the author&lt;br /&gt;
gives us the story of the life of the celebrated&lt;br /&gt;
Austrian dancer. She was born in 1810, and her&lt;br /&gt;
father was a music copier and the devoted servitor&lt;br /&gt;
of Haydn. In this book we have a picture of&lt;br /&gt;
Vienna and its Court and society in 1815; a&lt;br /&gt;
description of Fanny&amp;#039;s education, and of her d&eacute;but&lt;br /&gt;
as a dancer. Later on we have her love affair with&lt;br /&gt;
Gentz, a description of Paris and its Opera House&lt;br /&gt;
about the year 1830. An interesting chapter is&lt;br /&gt;
devoted to Marie Taglioni, and in the next chapter&lt;br /&gt;
we have an account of the Elssleristes and the&lt;br /&gt;
Taglionistes. In 1840, after the campaign against&lt;br /&gt;
her, Fanny starts for an American tour, and the&lt;br /&gt;
account of the situation of American theatres at that&lt;br /&gt;
time is instructive. We are told what were the&lt;br /&gt;
forms of enthusiasm in the American theatre; the&lt;br /&gt;
attitude of the clergy is described ; American&lt;br /&gt;
civilisation and the lack of artistic education are&lt;br /&gt;
also subjects of this chapter. Later on we have&lt;br /&gt;
the account of Fanny&amp;#039;s lawsuit with the Paris&lt;br /&gt;
Opera and her European tour. In 1851 she left&lt;br /&gt;
the stage, and for the next thirty-three years lived&lt;br /&gt;
quietly at Hamburg and later on at Vienna, where&lt;br /&gt;
she was surrounded by the numerous friends whose&lt;br /&gt;
affection and esteem she had won.&lt;br /&gt;
The second volume of the &ldquo;M&eacute;moires du&lt;br /&gt;
G&eacute;n&eacute;ral Griois (1792&ndash;1822) &amp;quot; is just published&lt;br /&gt;
by his great-nephew, with an introduction and&lt;br /&gt;
notes by Arthur Chuquet. This second volume is,&lt;br /&gt;
perhaps, more interesting than the first one. ...The&lt;br /&gt;
story of the Russian campaign is most thrilling,&lt;br /&gt;
with the account of the march of the Grande Arm&eacute;e&lt;br /&gt;
through the snow. Through the whole work we&lt;br /&gt;
can read between the lines the writer&amp;#039;s devotion to&lt;br /&gt;
Napoleon, whom he loved more in his reverses.&lt;br /&gt;
than when at the height of his fame and prosperity.&lt;br /&gt;
In the Revue Hebdomadaire Louis Battifol writes&lt;br /&gt;
an article entitled &ldquo;Un Jeune Roi de France&lt;br /&gt;
Soldat,&rdquo; which is very curious and instructive, and&lt;br /&gt;
Wictor du Bled continues his articles on &ldquo;Les&lt;br /&gt;
Salons d&amp;#039;Artistes du Dix-neuvi&egrave;me Si&egrave;cle.&rdquo; In&lt;br /&gt;
this same review M. L. Pervingui&egrave;re writes on the&lt;br /&gt;
&ldquo;Plan&egrave;te Mars et ses Conditions d&amp;#039;Habitabilit&eacute;.&rdquo;&lt;br /&gt;
He gives also a r&eacute;sum&eacute; of the theories of Percival.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#411) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 45&lt;br /&gt;
Lowell, whose book on Mars has recently been&lt;br /&gt;
translated into French by Marcel Moye.&lt;br /&gt;
In the Figaro M. Andr&eacute; Beaunier gives us an&lt;br /&gt;
admirable article on C&eacute;sare Lombroso.&lt;br /&gt;
At the Gymnase M. Henri de Rothschild&rsquo;s play,&lt;br /&gt;
&ldquo;La Rampe,&rdquo; has been awaited with great&lt;br /&gt;
curiosity. M. Henri de Rothschild has hitherto&lt;br /&gt;
been popular in Paris on account of his generous&lt;br /&gt;
philanthropic schemes. He is a qualified medical&lt;br /&gt;
man, and has established a clinique for free&lt;br /&gt;
consultations. He has also organised a scheme for&lt;br /&gt;
supplying dairy produce of the best quality in&lt;br /&gt;
various districts of Paris. For a long time it has&lt;br /&gt;
been an open secret that the author Desfontaines&lt;br /&gt;
and Henri de Rothschild were one and the same&lt;br /&gt;
person. With &ldquo;La Rampe&rdquo; the author drops his&lt;br /&gt;
pseudonym, and this is fortunate, as the play is&lt;br /&gt;
pronounced a success. It is a piece in four acts,&lt;br /&gt;
realistic and dramatic. Mlle. Marthe Brand&ecirc;s and&lt;br /&gt;
M. Dum&eacute;ny interpreted the two chief r&ocirc;les with&lt;br /&gt;
their usual ease and admirable talent.&lt;br /&gt;
Among the plays which M. Antoine promises us&lt;br /&gt;
at the Od&eacute;on this season are &ldquo;David Copperfield,&rdquo;&lt;br /&gt;
adapted by Max Maurey ; an historical play by&lt;br /&gt;
Maurice Donnay ; a play by Guy de Maupassant&lt;br /&gt;
adapted by Andr&eacute; de Lorde ; &ldquo;Parrain,&rdquo; a four-&lt;br /&gt;
act play by Pierre Weber ; &ldquo;L&rsquo;Impasse,&rdquo; a five-act&lt;br /&gt;
piece by Emile and Philippe Moreau : &ldquo;L&rsquo;Orni&egrave;re,&rdquo;&lt;br /&gt;
by Charles Desfontaines; and &ldquo;Reines de Rois,&rdquo;&lt;br /&gt;
by L&eacute;on Hennique and Johannes Gravier. &ldquo;Les&lt;br /&gt;
Emigrants,&rdquo; by C. H. Hirsch, is now being played.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Jadis et Aujourd&rsquo;hui &amp;#039;&amp;#039; (Ollendorff).&lt;br /&gt;
&ldquo;Lettres et Documents pour servir &agrave; l&rsquo;Histoire de Joachim&lt;br /&gt;
Murat, 1767&ndash;1815&deg; (Plon).&lt;br /&gt;
&ldquo;Fanny Elssler&rdquo; (Plon).&lt;br /&gt;
&ldquo;M&eacute;moires du G&eacute;n&eacute;ral Griois,&rdquo; 1792&ndash;1822 (Plon).&lt;br /&gt;
THE INTERNATIONAL CONFERENCE&lt;br /&gt;
OF THE PRESS, LONDON, 1909.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N The Author for November, 1908, I gave an&lt;br /&gt;
I account of the Twelfth International Congress&lt;br /&gt;
of the Press, but as the Thirteenth Congress&lt;br /&gt;
will take place at Rome in 1911, I cannot now&lt;br /&gt;
continue the sequence. The gathering held in&lt;br /&gt;
September in London was an intervening&lt;br /&gt;
conference.&lt;br /&gt;
The Bureau Central found it impossible to hold&lt;br /&gt;
a congress yearly, the work being excessively&lt;br /&gt;
heavy for the officials, but as the statutes that&lt;br /&gt;
govern the International Associations of the Press&lt;br /&gt;
had to be revised, it was decided to hold a con-&lt;br /&gt;
ference in London, at which the presidents or&lt;br /&gt;
especially nominated delegates of each association&lt;br /&gt;
would be present. This representative body would&lt;br /&gt;
undertake the revision, ready for its acceptance by&lt;br /&gt;
the whole of the delegates in full congress&lt;br /&gt;
assembled.&lt;br /&gt;
How varied are the nationalities is proved by&lt;br /&gt;
the composition of the London conference.&lt;br /&gt;
Twenty-two countries sent delegates. The number&lt;br /&gt;
of associations represented was about a hundred,&lt;br /&gt;
having a membership of about thirteen thousand.&lt;br /&gt;
The work of carrying on this polyglottic&lt;br /&gt;
gathering was carried out by the British Inter-&lt;br /&gt;
national Association of Journalists, under the&lt;br /&gt;
hon. presidency of Lord Burnham, K.C.V.O.,&lt;br /&gt;
Major Gratwicke, President D. A. Louis as the&lt;br /&gt;
Bureau Central representative, and James Baker&lt;br /&gt;
as hon. Sec., and linked with them for this special&lt;br /&gt;
Work the Foreign Press Association of London.&lt;br /&gt;
In most of the countries where this Press Con-&lt;br /&gt;
gress has been held, the delegates have been&lt;br /&gt;
graciously met by the reigning monarch, or a&lt;br /&gt;
message of interesting import has been sent, and&lt;br /&gt;
the speaking has been left to the Prime Minister.&lt;br /&gt;
In England the foreign journalists did not have&lt;br /&gt;
the pleasure of a personal word from His Majesty,&lt;br /&gt;
and the Prime Minister was too occupied with&lt;br /&gt;
Parliamentary affairs to be present at either dinner&lt;br /&gt;
or meeting ; but the presence of Sir Edward Grey,&lt;br /&gt;
the Secretary of State for Foreign Affairs, at the&lt;br /&gt;
dinner, and the Right Hon. Lewis Harcourt&amp;#039;s&lt;br /&gt;
cordial welcome at the Government reception and&lt;br /&gt;
lunch at Hampton Court, as well as the visit to&lt;br /&gt;
Windsor at the invitation of His Majesty, were all&lt;br /&gt;
keenly enjoyed.&lt;br /&gt;
Sir Edward Grey&amp;#039;s speech, keen, incisive, has been&lt;br /&gt;
widely commented upon in European journals.&lt;br /&gt;
In writing upon it in Le Matin of Antwerp, the&lt;br /&gt;
originator of this union of the world&amp;#039;s Press&lt;br /&gt;
Associations, M. Heinzmann Savino, speaks of the&lt;br /&gt;
enthusiastic cheers that greeted Sir Edward&amp;#039;s&lt;br /&gt;
statement of &ldquo;l&amp;#039;imp&eacute;rieuse n&eacute;cessit&eacute; pour les&lt;br /&gt;
journalistes de ne jamais farder la v&eacute;rit&eacute;.&rdquo;&lt;br /&gt;
The statutes which the delegates assembled to&lt;br /&gt;
revise are full of interesting points, for it must&lt;br /&gt;
be remembered they are to rule an organisation&lt;br /&gt;
of varied nationalities, religions and aspirations.&lt;br /&gt;
The first statute, which is divided into six sections,&lt;br /&gt;
starts with the statement that &ldquo;the Union&lt;br /&gt;
International of the Associations of the Press&rdquo; has&lt;br /&gt;
for its object &ldquo;the organisation of a common&lt;br /&gt;
action between journalists of all countries with&lt;br /&gt;
regard to professional questions of common&lt;br /&gt;
interest, always excepting all questions of religion,&lt;br /&gt;
politics, race or nationality.&rdquo;&lt;br /&gt;
It is the firm adherence to this Section A of&lt;br /&gt;
Statute 1 that has prevented rupture in the&lt;br /&gt;
organisation during the fifteen years it has been at&lt;br /&gt;
work. The statute then proceeds to state the work&lt;br /&gt;
to be undertaken by the organisation : to establish&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#412) ################################################&lt;br /&gt;
&lt;br /&gt;
46&lt;br /&gt;
TISIE AUTISIOIR,&lt;br /&gt;
certain general rules with regard to usage and&lt;br /&gt;
international customs, in matters relating to the&lt;br /&gt;
Press and literature ; to create and maintain per-&lt;br /&gt;
manent relations between the various associations;&lt;br /&gt;
to ensure professional aid to the members of the&lt;br /&gt;
Union working in other than their own countries;&lt;br /&gt;
to arrange international understandings and&lt;br /&gt;
conventions relating to journalism and literary&lt;br /&gt;
property; to deal with and decide, as far as lies&lt;br /&gt;
in its power, all questions concerning the Press,&lt;br /&gt;
and matters of a literary nature.&lt;br /&gt;
Statute 2 deals with &ldquo;admission to the Union.&rdquo;&lt;br /&gt;
No associations can be admitted if the members are&lt;br /&gt;
not journalists or professional authors. Finance is&lt;br /&gt;
dealt with in Statute 4, the organisation of the&lt;br /&gt;
Committee of Direction, or Central Bureau, in&lt;br /&gt;
Statute 5.&lt;br /&gt;
Each country sends from one to three members&lt;br /&gt;
to the Central Bureau, according to the number of&lt;br /&gt;
members; and this Committee of Direction receives&lt;br /&gt;
the demands for admission, and regulates the&lt;br /&gt;
finance, giving a balance sheet at the congress. It&lt;br /&gt;
also has the decision of the place for holding the&lt;br /&gt;
congress ; its president, general Secretary, Secre-&lt;br /&gt;
tary, and treasurer, and five vice-presidents of&lt;br /&gt;
different countries, are elected every five years.&lt;br /&gt;
This committee has also the power to accept or&lt;br /&gt;
decline subjects for debate at the congress, which&lt;br /&gt;
is to take place in future bi-annually, unless the&lt;br /&gt;
committee sees a necessity for a special congress.&lt;br /&gt;
The other statutes deal with the order of business&lt;br /&gt;
at the congress, the method of electing delegates&lt;br /&gt;
in each country, and of voting, again imperatively&lt;br /&gt;
forbidding the discussion of politics, religion, or&lt;br /&gt;
racial matters; and the 17th and 18th statutes&lt;br /&gt;
deal with the modification of the rules and of&lt;br /&gt;
dissolution of the Union.&lt;br /&gt;
From this summary of the statutes, which have&lt;br /&gt;
to be confirmed in full congress in Rome in 1911,&lt;br /&gt;
it will be seen how such thorny questions as&lt;br /&gt;
international literary copyright law, copyright in&lt;br /&gt;
literary style, in news, professional tribunals and&lt;br /&gt;
professional Secrecy, &amp;amp;c., have been fought out&lt;br /&gt;
without serious rupture ; and less thorny subjects,&lt;br /&gt;
such as postal and telegraph rates, professional&lt;br /&gt;
passports, the dignity of the Press, provident&lt;br /&gt;
associations, have been well debated, and advanced&lt;br /&gt;
or developed in various countries.&lt;br /&gt;
The body of men that came to England to&lt;br /&gt;
discuss these statutes was made up, not only of&lt;br /&gt;
keen Pressmen, but of men who were deeply&lt;br /&gt;
interested in historical, literary, and artistic&lt;br /&gt;
matters. Many places were visited, but at&lt;br /&gt;
Stratford-on-Avon great sorrow was expressed at&lt;br /&gt;
the shortness of time, partly due to the lateness&lt;br /&gt;
of the train in arriving. As one German delegate&lt;br /&gt;
put it, &ldquo;Zwei Stunden in Shakespeare&amp;#039;s Geburtsort&lt;br /&gt;
und vier Stunden Thee trinken&rdquo;; but that same&lt;br /&gt;
German, when he arrived at Warwick, the &ldquo;tea-&lt;br /&gt;
drinking&rdquo; place, was quickly absorbed in wonder&lt;br /&gt;
at the beauty of the castle and its treasures.&lt;br /&gt;
It was this appreciation of the beauties of&lt;br /&gt;
England, its history and its literature, that&lt;br /&gt;
justified the reception given the world&amp;#039;s Pressmen&lt;br /&gt;
by His Gracious Majesty, the Government and the&lt;br /&gt;
Lord Mayor, and other private hosts and public&lt;br /&gt;
bodies.&lt;br /&gt;
Amongst the visitors were Herr Singer, of&lt;br /&gt;
Vienna, the venerable president of the organisation&lt;br /&gt;
from its foundation, whose speeches are so diplo-&lt;br /&gt;
matic, yet full of quiet humour and trenchant&lt;br /&gt;
meaning ; M. Taunay, of Paris, general secretary&lt;br /&gt;
from the inception of the movement, and Herr&lt;br /&gt;
Georges Schweitzer, of Berlin, the treasurer, a&lt;br /&gt;
speaker with a keen love for English literature&lt;br /&gt;
and history. *.&lt;br /&gt;
The only papers read at the conference were in&lt;br /&gt;
English : that written by Sir Edward Russell on&lt;br /&gt;
&ldquo;The Value of Association of the Representatives&lt;br /&gt;
of the Press,&rdquo; and the other by Mr. T. P. O&amp;#039;Connor&lt;br /&gt;
on &ldquo;Are Signed or Unsigned Articles of the&lt;br /&gt;
Greater Value P&rsquo;&rsquo; These gave occasion for short&lt;br /&gt;
discussions and some interesting speeches, amid&lt;br /&gt;
which M. Heinzmann Savino recalled the scene&lt;br /&gt;
in that same hall in 1893, when the movement&lt;br /&gt;
was initiated. Then M. Emile Zola was present,&lt;br /&gt;
and many other journalists now passed away.&lt;br /&gt;
These discussions closed the business of the&lt;br /&gt;
conference. It was notable that the English&lt;br /&gt;
ideas of debate and of silence being maintained&lt;br /&gt;
during after-dinner speeches seemed to be quickly&lt;br /&gt;
grasped and welcomed by the foreign guests.&lt;br /&gt;
M. Singer was especially anxious about this before&lt;br /&gt;
his speeches, and was incredible when I assured&lt;br /&gt;
him he would be heard by everyone.&lt;br /&gt;
That good comes of these international gather-&lt;br /&gt;
ings is evidenced by the fact that one well-known&lt;br /&gt;
editor, who was an intense Anglophobe, in a speech&lt;br /&gt;
at this conference said, &ldquo;this visit had enabled&lt;br /&gt;
them to appreciate the friendship of England,&rdquo;&lt;br /&gt;
and in private conversation expressed his surprise&lt;br /&gt;
at our historic monuments, and especially at the&lt;br /&gt;
calm in our Houses of Parliament and the Order&lt;br /&gt;
in the streets. Through the courtesy of Mr.&lt;br /&gt;
Henniker Heaton and Sir Gilbert Parker, and&lt;br /&gt;
other members, a goodly number of the delegates&lt;br /&gt;
visited Parliament, on this occasion Mr. Thomas&lt;br /&gt;
Catling and Mr. Campion being the escort of one&lt;br /&gt;
company, and the writer guiding another section&lt;br /&gt;
of French, Russian, Portuguese, and Belgian&lt;br /&gt;
delegates. The ladies&amp;#039; committee took excellent&lt;br /&gt;
care of the lady visitors, both in London and upon&lt;br /&gt;
the excursions, the Queen Alexandra Souvenir being&lt;br /&gt;
a pretty and choice complimentary surprise for&lt;br /&gt;
them at the dinner. -&lt;br /&gt;
. JAMES BAKER.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#413) ################################################&lt;br /&gt;
&lt;br /&gt;
school BOOK QUESTION IN SCOTLAND.&lt;br /&gt;
(With the kind permission of the Editor of the Publishers&amp;#039;&lt;br /&gt;
Circular.) .&lt;br /&gt;
ſ|YHE following copy of a notice which appeared&lt;br /&gt;
in one of the Scottish newspapers, with&lt;br /&gt;
- reference to the supply of books to a local&lt;br /&gt;
School board, has again brought the school book&lt;br /&gt;
Supply question to the front :&mdash;&lt;br /&gt;
&ldquo;In anticipation of the re-opening of the Schools,&lt;br /&gt;
the Board met at yesterday, and took into con-&lt;br /&gt;
sideration the offers by various publishing firms for the&lt;br /&gt;
books and stationery proposed to be provided free to the&lt;br /&gt;
pupils. Offers were submitted from several Edinburgh and&lt;br /&gt;
Glasgow firms, and local booksellers. The offers varied&lt;br /&gt;
from 25 per cent. to 42% per cent, under the published&lt;br /&gt;
price. , Glasgow, offered 42% per cent. discount,&lt;br /&gt;
and it was unanimously agreed to strike a bargain for the&lt;br /&gt;
books and stationery with the Glasgow firm.&lt;br /&gt;
&ldquo;Books are to be provided fr&eacute;e to all pupils attending the&lt;br /&gt;
elementary and higher grade schools, with the exception of&lt;br /&gt;
junior students.&rdquo;&lt;br /&gt;
This was not pleasant reading for our friends the&lt;br /&gt;
Scottish booksellers; in fact, one of them sent it to&lt;br /&gt;
Messrs. Menzies, his wholesale agents for school&lt;br /&gt;
books, with a note saying that it was no use his&lt;br /&gt;
attempting to supply 20s. Worth of goods for&lt;br /&gt;
11s. 6d.&lt;br /&gt;
It appears that a Glasgow house had offered to&lt;br /&gt;
supply the books and stationery carriage free and&lt;br /&gt;
at a discount of 40 per cent. Messrs. Menzies&lt;br /&gt;
have taken up this question, as it affects their&lt;br /&gt;
interests, though it affects the retail booksellers&lt;br /&gt;
much more, and they have sent out a circular from&lt;br /&gt;
which we give the following extract :&mdash;&lt;br /&gt;
&ldquo;We ask our friends in the trade, are they prepared&mdash;&lt;br /&gt;
without effort on their part&mdash;to see this very important&lt;br /&gt;
part of bookselling business entirely removed from their&lt;br /&gt;
hands to the large houses, who use wholesale terms on&lt;br /&gt;
books, and especially stationery, for the purpose of under-&lt;br /&gt;
selling the retailers ? - -&lt;br /&gt;
&ldquo;We know that under the two contracts above quoted&lt;br /&gt;
every book is sold at a loss to the contractor. In your&lt;br /&gt;
interests, as in ours, we are taking up strongly with pub-&lt;br /&gt;
lishers the question of putting a stop to this mad under-&lt;br /&gt;
selling, which can only result finally in loss to publisher,&lt;br /&gt;
wholesaler, retailer, and certainly, in the long run, to&lt;br /&gt;
school boards. But we must ask the retail trade of&lt;br /&gt;
Scotland to bear their share of the struggle. We could&lt;br /&gt;
easily estimate as against these outside firms who undersell&lt;br /&gt;
the local booksellers, but we have always declined to com-&lt;br /&gt;
pete with retailers for such contracts, and it is our earnest&lt;br /&gt;
desire to continue in that course.&lt;br /&gt;
&ldquo;The local bookseller is a local ratepayer, and has a first&lt;br /&gt;
claim for orders from his school board at a fair price ; but&lt;br /&gt;
he must make the efforts necessary to preserve that claim.&lt;br /&gt;
With the exception of our knowledge of cost, we make no&lt;br /&gt;
comment on the two cases above quoted, which we think&lt;br /&gt;
are sufficiently strong to induce some effort for their own&lt;br /&gt;
protection on the part of the retail trade.&rdquo;&lt;br /&gt;
We think that it is of very great importance that&lt;br /&gt;
the publishers of school books should do all in&lt;br /&gt;
their power to prevent this great damage, which&lt;br /&gt;
not only threatens but has actually been sustained&lt;br /&gt;
by booksellers. The chairman of the school board&lt;br /&gt;
referred to in the newspaper extract informed&lt;br /&gt;
Messrs. Menzies&amp;#039; customer, a local bookseller, that&lt;br /&gt;
he had lost the contract because of this utterly&lt;br /&gt;
unfair competition.&lt;br /&gt;
It has been suggested, and the suggestion is to&lt;br /&gt;
Some extent a good one, that in order to prevent&lt;br /&gt;
School books being sold at or under cost, by houses&lt;br /&gt;
who make good the loss on books by the profit on&lt;br /&gt;
the stationery, it is proposed that the same house&lt;br /&gt;
shall not be allowed to estimate for both books and&lt;br /&gt;
stationery. This might help materially in many&lt;br /&gt;
cases, though it might not prevent unscrupulous&lt;br /&gt;
action entirely.&lt;br /&gt;
The moral of it is&mdash;what a pity all school books&lt;br /&gt;
and all other books are not met / That is the only&lt;br /&gt;
real remedy. As we have said before, it cannot&lt;br /&gt;
come just yet, but it is the ideal to work for.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Tennyson : A Fragment. By Dr. William Barry.&lt;br /&gt;
Shelley&amp;#039;s Letters. By Prof. Saintsbury.&lt;br /&gt;
The Poetry of Dr. William Wordsworth. . By Michael&lt;br /&gt;
Macmillan, D.Litt.&lt;br /&gt;
Sir Willoughby Patteine, The Egoist. By Maurice&lt;br /&gt;
Buxton Forman. -&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
Reviewers on Trial : A Review of Them from the&lt;br /&gt;
Author&amp;#039;s point of view. By Adams Gowans Whyte,&lt;br /&gt;
Publishers&rsquo; &ldquo;Ads.&rdquo; as they were written in Queen&lt;br /&gt;
Anne&amp;#039;s Time. By M.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
Detley von Liliencron. By R. C. K. Ensor.&lt;br /&gt;
The Poet&amp;#039;s Harvest Time.&lt;br /&gt;
CORNHILL.&lt;br /&gt;
Stevenson and Simonean. By Heiman Scheffauer.&lt;br /&gt;
FORTNIGHTLY,&lt;br /&gt;
&ldquo;Macbeth &amp;#039;&amp;#039; at Saint-Wandrille.&lt;br /&gt;
Blanc-Maeterlinck.&lt;br /&gt;
Chateaubriand&rsquo;s Last Love. By Francis Gribble.&lt;br /&gt;
An English-Speaking Copyright League. By W. Morris&lt;br /&gt;
Colles. -&lt;br /&gt;
Some Famous Writers of Old John Company. By&lt;br /&gt;
Beckles Willson.&lt;br /&gt;
Henry James and His Double. By W. A. Gill.&lt;br /&gt;
Beaumarchais and the Musicians. By Ernest Newman.&lt;br /&gt;
By Georgette Le&lt;br /&gt;
MONTH.&lt;br /&gt;
The Stonyhurst Rubens. By W. P. Baines.&lt;br /&gt;
Italy and the Counter-Reformation. By J. H. Pollen.&lt;br /&gt;
NATIONAL REVIEW.&lt;br /&gt;
Old Kensington Palace. By Austin Dobson.&lt;br /&gt;
New York Journalism : A Snapshot. By Frank Fox.&lt;br /&gt;
NINETEENTH CENTURY AND AFTER.&lt;br /&gt;
A Suggested Source of Milton&amp;#039;s Tractate of Education.&lt;br /&gt;
By Prof. Foster Watson.&lt;br /&gt;
The Evolution of Maurice Barr&egrave;s.&lt;br /&gt;
Dimnet.&lt;br /&gt;
By the Abb&eacute; Ernest&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#414) ################################################&lt;br /&gt;
&lt;br /&gt;
48&lt;br /&gt;
TISIES A TISIOR.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following Tules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
&lsquo;(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exehange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author. -&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor | -&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
&sect; Keep control of the advertisements.&lt;br /&gt;
(3.j Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned. -&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :- -&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In 622. Il S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
*.&lt;br /&gt;
*&lt;br /&gt;
v --&amp;gt;v- w&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority. ſ&ordm; t&ordm; &pound; t&ordm;&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts :- g * * g&ordm;&lt;br /&gt;
(a) sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case 2 the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society. -&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#415) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITISIOR.&lt;br /&gt;
49&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
C9mposer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
Property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
&ordm;n agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&ndash;4-4-&ordm;&amp;#039;--&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
&ndash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
*&mdash;A- a&lt;br /&gt;
-v--w&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved. -&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully i&lt;br /&gt;
the beginning. -&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
S forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
M&ordm;&ordm; will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
*. &mdash;A- a&lt;br /&gt;
&mdash;w--~&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
T the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#416) ################################################&lt;br /&gt;
&lt;br /&gt;
50&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;t&mdash;Q-e-&lt;br /&gt;
AUTUMN NOVELS.&lt;br /&gt;
As there is a committee sitting this autumn&lt;br /&gt;
to report on the price of novels, we do not&lt;br /&gt;
propose, at the present, to print letters from&lt;br /&gt;
members touching this subject, although we have&lt;br /&gt;
had several communications regarding the new&lt;br /&gt;
departures which have been made.&lt;br /&gt;
It would appear, however, to anyone scanning&lt;br /&gt;
the list of autumn movels&mdash;a very long list&mdash;that&lt;br /&gt;
there is not much likelihood of the 6s. novel&lt;br /&gt;
dying. Out of every 100 new copyright novels&lt;br /&gt;
which have been recently published, 80 per cent.,&lt;br /&gt;
and perhaps more, are produced at the price of 68.&lt;br /&gt;
Indeed, we gather from the Publishers&amp;#039; Circular&lt;br /&gt;
that one book which was originally published in&lt;br /&gt;
England at the price of 6d. is now going to be&lt;br /&gt;
issued at 6s. by Mr. Edward Arnold. We wonder&lt;br /&gt;
how this experiment, which reverses the popular&lt;br /&gt;
cry that an author&amp;#039;s work is the public&amp;#039;s property,&lt;br /&gt;
will be accepted by the public.&lt;br /&gt;
IN a lecture on &ldquo;The Literary Life,&rdquo; delivered&lt;br /&gt;
before the Cork Literary and Scientific Society,&lt;br /&gt;
and published in a recent issue of the Irish Monthly,&lt;br /&gt;
the Rev. P. A. Canon Sheehan introduced a kindly&lt;br /&gt;
allusion to the work of the Society of Authors.&lt;br /&gt;
We are glad to reproduce the passage in these&lt;br /&gt;
columns. Dealing with the difficulties surrounding&lt;br /&gt;
the young writer, the lecturer stated&mdash;&lt;br /&gt;
&ldquo;Young writers will never understand that all their&lt;br /&gt;
negotiations are conducted on trade principles, and that&lt;br /&gt;
it is as unwise for an inexperienced author to negotiate for&lt;br /&gt;
his books as it would be for the merest amateur to enter&lt;br /&gt;
into competition with one who has had a lifetime experience&lt;br /&gt;
of Christie&amp;#039;s sales. Hence the enormous boon of the&lt;br /&gt;
Authors&rsquo; Society, London, which is always ready to enter&lt;br /&gt;
into correspondence with its members, and gives strictly legal&lt;br /&gt;
and professional advice on the many most difficult questions&lt;br /&gt;
that concern the publication of books. And if you ever&lt;br /&gt;
think you have a valuable book to place on the market,&lt;br /&gt;
and if you want to escape the clutches of some unscrupulous&lt;br /&gt;
publisher, who will take advantage of your inexperience&lt;br /&gt;
and carelessness to get you into his power and make large&lt;br /&gt;
capital out of your brain-work, giving you back but the&lt;br /&gt;
veriest minimum of royalties, I would advise you neyer to&lt;br /&gt;
sign an agreement without first submitting it to the keen&lt;br /&gt;
eye of the secretary of the Society of Authors.&rdquo; *&lt;br /&gt;
AUTHORS AND CHARITIES.&lt;br /&gt;
IT is not an uncommon practice to endeavour&lt;br /&gt;
to raise moneys for charitable purposes by asking&lt;br /&gt;
authors to contribute, without remuneration, stories&lt;br /&gt;
for production in volume form. Authors, as a&lt;br /&gt;
general rule, are charitably inclined, and no doubt&lt;br /&gt;
would gladly give a subscription when called upon&lt;br /&gt;
to do so; but this special form of application is&lt;br /&gt;
particularly annoying, first, because if the author&lt;br /&gt;
is well known he is practically giving a contribution&lt;br /&gt;
of &pound;20 to &pound;50, where most probably he would only&lt;br /&gt;
give &pound;6, and secondly, because he is in most cases&lt;br /&gt;
doubtful Whether the charity obtains the full&lt;br /&gt;
amount of the subscription he has given. Unless&lt;br /&gt;
the editor of the book has a keen knowledge of&lt;br /&gt;
printing prices and methods of publication, the&lt;br /&gt;
author&amp;#039;s contribution may be entirely wasted, as all&lt;br /&gt;
the profits may go into the pockets of the printers&lt;br /&gt;
and publishers. It is necessary, therefore, if, after&lt;br /&gt;
an appeal has been made, the author is anxious to&lt;br /&gt;
Contribute, that he should devise some means to&lt;br /&gt;
escape from the burden of providing a story, but still&lt;br /&gt;
give the money, or see that the money is given,&lt;br /&gt;
direct to the charity. The simplest method would&lt;br /&gt;
be for the author not to do the work at all, but to&lt;br /&gt;
subscribe to the charity direct. Another method&lt;br /&gt;
would be to get the editor of the volume to pay a&lt;br /&gt;
fair remuneration for the story, and then for the&lt;br /&gt;
author to subscribe the whole, or a portion, of that&lt;br /&gt;
Temuneration to the charity. This would ensure&lt;br /&gt;
the charity getting something from the author and,&lt;br /&gt;
if the sale of the book was large, would ensure a&lt;br /&gt;
further large amount. Of course, there are many&lt;br /&gt;
charities to which an author would not care to&lt;br /&gt;
Subscribe, however much he was pestered. In that&lt;br /&gt;
case he should refuse to contribute in any event.&lt;br /&gt;
It is not only authors that are overwhelmed with&lt;br /&gt;
these applications, but composers, illustrators, and&lt;br /&gt;
other possessors of copyright property.&lt;br /&gt;
This paragraph is written at the suggestion of&lt;br /&gt;
a long-enduring member, not one who is in any&lt;br /&gt;
Way desirous of closing the hand of the charitable&lt;br /&gt;
author, but one who is desirous of opening his eyes&lt;br /&gt;
to the fact that in many cases his contribution may&lt;br /&gt;
not reach the object for which it is given.&lt;br /&gt;
*-*&lt;br /&gt;
AUTHORS AND ANTHOLOGIES.&lt;br /&gt;
THERE is another form of gratuitous contribution&lt;br /&gt;
which, perhaps, is the more serious: that is, the&lt;br /&gt;
contribution to anthologies. These books are&lt;br /&gt;
published for no charitable object, but for the&lt;br /&gt;
pecuniary benefit of the publisher or the editor.&lt;br /&gt;
It is not fair in these cases either for the publisher&lt;br /&gt;
or the editor to demand from an author whose work&lt;br /&gt;
is copyright the inclusion, free of charge, of the&lt;br /&gt;
Smallest portion of that work in an anthology. It&lt;br /&gt;
is like a beggar in the street asking the passer-by&lt;br /&gt;
to contribute towards his maintenance without any&lt;br /&gt;
effort to work for such contribution. Unfortunately,&lt;br /&gt;
in the compilation of some anthologies, living authors&lt;br /&gt;
consider that they cannot afford to have their work&lt;br /&gt;
omitted from a collection which contains works&lt;br /&gt;
from the hands of eminent authors of the past,&lt;br /&gt;
In consequence of the special legislation dealing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#417) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIE AUTISIOR.&lt;br /&gt;
51&lt;br /&gt;
with copyright property, all the great writers of the&lt;br /&gt;
past are bound to become literary blacklegs in the&lt;br /&gt;
hands of the publishers and the public. Every&lt;br /&gt;
great author whose work is out of copyright is&lt;br /&gt;
liable, in the hands of others, to undersell his fellow&lt;br /&gt;
craftsman, and sometimes even compels the living&lt;br /&gt;
author to give his work instead of obtaining a fair&lt;br /&gt;
remuneration ; but the author of the past is not to&lt;br /&gt;
blame&mdash;it is the editor of the anthology, who ought&lt;br /&gt;
not to profit by using the work of living authors&lt;br /&gt;
for his own benefit.&lt;br /&gt;
*s&ordm;&lt;br /&gt;
SCHOOL BOOK PRICES.&lt;br /&gt;
IN another column we print an article from the&lt;br /&gt;
Publishers&amp;#039; Circular dealing with the question of&lt;br /&gt;
school books. As members will see, there is a sub-&lt;br /&gt;
committee sitting dealing with the price of novels.&lt;br /&gt;
Some years ago a sub-committee sat on the&lt;br /&gt;
question of educational books, and it seems time&lt;br /&gt;
almost that another sub-committee should be&lt;br /&gt;
formed to reconsider this question. Educational&lt;br /&gt;
books have larger annual sales very often than&lt;br /&gt;
novels, and these sales endure for a longer period.&lt;br /&gt;
The authors of these books are often inclined to&lt;br /&gt;
market their rights cheaply, and to submit a good&lt;br /&gt;
deal too readily to the demands made by publishers.&lt;br /&gt;
The real reason for this appears to be that most&lt;br /&gt;
writers of educational books do not have to bring&lt;br /&gt;
the same mental effort to bear for each fresh pro-&lt;br /&gt;
duction that is necessary in the case of the writer&lt;br /&gt;
of a novel, because the educational writer has often&lt;br /&gt;
acquired the knowledge necessary for the construc-&lt;br /&gt;
tion of his works during his childhood, his univer-&lt;br /&gt;
sity career, and at maturity. He is disposed to&lt;br /&gt;
forget the amount of money which it has been&lt;br /&gt;
necessary to spend on his education in order to fit&lt;br /&gt;
him for the work which he undertakes. In con-&lt;br /&gt;
sequence, he yields to the publisher&amp;#039;s demand, and&lt;br /&gt;
is paid cheaply for exceedingly valuable work,&lt;br /&gt;
having forgotten to reckon into the sum his years&lt;br /&gt;
ef apprenticeship. This, however, is rather apart&lt;br /&gt;
from the question of the price of School books,&lt;br /&gt;
though it is bound to make the price of school&lt;br /&gt;
books lower than it should be.&lt;br /&gt;
It is just as important that a fair price should&lt;br /&gt;
be maintained in the case of school books as it is&lt;br /&gt;
in the case of novels, and it will be seen by the&lt;br /&gt;
article which we print that the booksellers, in their&lt;br /&gt;
foolish fashion, are trying to undersell one another&lt;br /&gt;
in Scotland. This may mean that the publishers&lt;br /&gt;
again, yielding to the demand of the booksellers,&lt;br /&gt;
will try to reduce prices, and that this again&lt;br /&gt;
will affect the author who produces the book, for it&lt;br /&gt;
is easier to reach the limit of the circulation of an&lt;br /&gt;
educational book than it is to reach the limit of&lt;br /&gt;
circulation of a novel. It is a fallacy to think&lt;br /&gt;
that the circulation of any book can be increased&lt;br /&gt;
indefinitely. In these circumstances it might be&lt;br /&gt;
as well for those educational writers who are&lt;br /&gt;
members of the Society to take some steps to&lt;br /&gt;
|prevent ruinous competition.&lt;br /&gt;
a &ndash;A- A&lt;br /&gt;
w ~~ w&lt;br /&gt;
TENNYSON CENTENARY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N Wednesday, September 22, the city of&lt;br /&gt;
Lincoln celebrated the centenary of the&lt;br /&gt;
birth of the Lincolnshire Poet Laureate,&lt;br /&gt;
Alfred Tennyson. Owing to force of circumstances,&lt;br /&gt;
the proceedings had been postponed from the actual&lt;br /&gt;
anniversary of his birth. In the schools of the&lt;br /&gt;
city a special lesson on Tennyson and his works&lt;br /&gt;
was given to the children, each of whom received a&lt;br /&gt;
souvenir card bearing a portrait of the poet, a brief&lt;br /&gt;
account of his life, and extracts from two or three&lt;br /&gt;
of his works. \&lt;br /&gt;
The centenary service was held in the Cathedral&lt;br /&gt;
in the afternoon, when the Mayor and Corporation&lt;br /&gt;
attended officially. The nave was crowded from&lt;br /&gt;
end to end by an enormous congregation com-&lt;br /&gt;
posed of all classes. The service began with the&lt;br /&gt;
singing of the processional hymn &ldquo;Let us with a&lt;br /&gt;
gladsome mind,&rdquo; and the anthem &ldquo;Strong Son of&lt;br /&gt;
God, Immortal Love,&rdquo; was sung to Sir Herbert&lt;br /&gt;
Oakley&amp;#039;s setting. The Dean of Lincoln (Dr. E. C.&lt;br /&gt;
Wickham) preached the sermon from St. John vii.&lt;br /&gt;
7, 8, and in the course of it said, if the centenary of&lt;br /&gt;
Tennyson was to be celebrated anywhere, what&lt;br /&gt;
place could be more fitted than this mother church&lt;br /&gt;
of the diocese and county with which he was so&lt;br /&gt;
closely connected by memories of the sights and&lt;br /&gt;
sounds which as a boy first stirred his fancy, the&lt;br /&gt;
brooks and bowery lanes of the Wold, the &ldquo;wide-&lt;br /&gt;
winged sunsets on the misty marsh,&rdquo; the &ldquo;hollow&lt;br /&gt;
ocean ridges roaring into cataracts&rdquo; over the sands&lt;br /&gt;
of Mablethorpe 2 We could not thank God for all&lt;br /&gt;
poetry; like His other gifts, the beautiful and&lt;br /&gt;
sacred gift of song can be squandered, as we know&lt;br /&gt;
too well, can be abused to the saddest ends. But&lt;br /&gt;
when it is used to soften and lift and fortify men&amp;#039;s&lt;br /&gt;
hearts, to make goodness attractive, to keep the&lt;br /&gt;
gates ajar through which there come glimpses and&lt;br /&gt;
echoes of a world above the world of sense, then it&lt;br /&gt;
is religion&amp;#039;s best handmaid, as it is a nation&amp;#039;s&lt;br /&gt;
fairest inheritance. He would place the claims&lt;br /&gt;
of Tennyson&amp;#039;s poetry on our gratitude under&lt;br /&gt;
three heads. First, its high and wholesome pur-&lt;br /&gt;
pose. There is nothing in it to weaken, nothing&lt;br /&gt;
to throw a glamour over vice, nothing to suggest&lt;br /&gt;
evil. These are things that live in his poetry :&lt;br /&gt;
chivalry in its purest, gentlest, highest sense,&lt;br /&gt;
heroic patriotism, self-control, the &ldquo;path of duty,&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#418) ################################################&lt;br /&gt;
&lt;br /&gt;
52&lt;br /&gt;
TISIES&lt;br /&gt;
A UTISIOR-&lt;br /&gt;
home love, reverence, the faith of a little child,&lt;br /&gt;
these are the things to which his heart goes out.&lt;br /&gt;
Second, there is the reverence and sympathy of&lt;br /&gt;
his tone when he touches the greatness and Senti-&lt;br /&gt;
ments of religion, the strength and tenderness&lt;br /&gt;
and delicacy with which he treats the great&lt;br /&gt;
central relations and affections. Take his treat-&lt;br /&gt;
ment of the passion of love. No poet has given&lt;br /&gt;
more poignant utterance to its delight, as in&lt;br /&gt;
the exquisite lyrics of &ldquo;Maud.&rdquo; Third, Tenny-&lt;br /&gt;
son&amp;#039;s poetry has been a witness for purity, for&lt;br /&gt;
manhood, for home affection, for moral purpose,&lt;br /&gt;
for religious use and wont. But it has had, in&lt;br /&gt;
the past century, a further function of inesti-&lt;br /&gt;
mable value towards the spiritual life of the&lt;br /&gt;
nation. It has been a century of movement. It&lt;br /&gt;
has brought a vast expansion of knowledge, a new&lt;br /&gt;
attitude of mind towards nature and her processes.&lt;br /&gt;
Tennyson followed with large interest each step in&lt;br /&gt;
the great development. He followed it with a&lt;br /&gt;
poet&rsquo;s quick imagination, picturing, feeling, seeing&lt;br /&gt;
the wonder and beauty, realising the vast distances,&lt;br /&gt;
the limitless prospect opened, feeling also the Void&lt;br /&gt;
which the development left in the deeper cravings&lt;br /&gt;
of the moral nature of man. In &ldquo;In Mem&ocirc;riam &rdquo;&lt;br /&gt;
Tennyson turned his own distress and perplexity&lt;br /&gt;
to the comfort and strengthening of other sufferers&lt;br /&gt;
and bewildered wayfarers. The great battle seems,&lt;br /&gt;
as we read, to sway to and fro; old doubts rise&lt;br /&gt;
again in new forms. The insignificance of man&lt;br /&gt;
and his concerns in the face of the infinite spaces&lt;br /&gt;
and potencies which science reveals, the seeming&lt;br /&gt;
ruthlessness of nature, &ldquo;red in tooth and claw with&lt;br /&gt;
ravine,&rdquo; her seeming indifference to human suffer-&lt;br /&gt;
ing, her immorality, the inexplicable sight of what&lt;br /&gt;
the human spirit does not doubt to be evil side by&lt;br /&gt;
side with what equally it cannot doubt to be&lt;br /&gt;
infinite power and perfect goodness&mdash;these are the&lt;br /&gt;
problems with which his spirit strives.&lt;br /&gt;
After the sermon, the hymn &ldquo;Lead, kindly&lt;br /&gt;
Light,&rdquo; was sung, during which a collection was&lt;br /&gt;
made for the Restoration Fund of Somersby Church.&lt;br /&gt;
The service over, the choir, the cathedral and city&lt;br /&gt;
clergy, and the Mayor and Corporation proceeded&lt;br /&gt;
to the Minster Green, where, gathered round Watts&amp;#039;s&lt;br /&gt;
beautiful statue of Tennyson, the choir Sang&lt;br /&gt;
&ldquo;Crossing the Bar,&rdquo; to Sir Frederick Bridge&amp;#039;s&lt;br /&gt;
setting. The Bishop of Lincoln then gave a short&lt;br /&gt;
address. It was, he said, a day of proper pride&lt;br /&gt;
and sanctity for Lincolnshire when they remem-&lt;br /&gt;
bered that a hundred years ago the county gave&lt;br /&gt;
the world a poet whose words had ever promoted&lt;br /&gt;
the purity and strength of national life, and&lt;br /&gt;
touched the hearts of many individuals by the&lt;br /&gt;
revelation of pure and high ideals in simple&lt;br /&gt;
words.&lt;br /&gt;
In the evening a lecture on &ldquo;Tennyson&rsquo;&rsquo; was&lt;br /&gt;
delivered by Mr. Willingham Rawnsley, a personal&lt;br /&gt;
friend of the late poet, the chair being taken by&lt;br /&gt;
Mr. Tennyson d&amp;#039;Eyncourt. It was hoped that&lt;br /&gt;
Lord Tennyson would be present at the centenary&lt;br /&gt;
celebrations, but he was prevented at the last&lt;br /&gt;
moment by illness.&lt;br /&gt;
CECIL E. BoIAM.&lt;br /&gt;
&mdash;-&ordm;-&lt;br /&gt;
AN UNPUBLISHED LETTER OF WILLIAM&lt;br /&gt;
BECKFORD,&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
Wh&ordm; gathering material for my forthcoming&lt;br /&gt;
biography of William Beckford, the&lt;br /&gt;
author of &ldquo;Wathek,&rdquo; I was so fortunate&lt;br /&gt;
as to trace, and to obtain permission to print,&lt;br /&gt;
some hundreds of his letters. This discovery was&lt;br /&gt;
the more valuable because but little of his corre-&lt;br /&gt;
spondence has hitherto been published. I have the&lt;br /&gt;
assurance of the editor of The Author that his&lt;br /&gt;
readers will be interested in the following letter,&lt;br /&gt;
which has never been printed, and which has the&lt;br /&gt;
additional attraction of being the first letter written&lt;br /&gt;
by Beckford in his youth to be made public.&lt;br /&gt;
Only a few words of introduction are necessary.&lt;br /&gt;
It was written by Beckford in his eighteenth year,&lt;br /&gt;
When he was finishing his education at Geneva.&lt;br /&gt;
H&uuml;ber, of whom a spirited sketch is given, was a&lt;br /&gt;
friend of Voltaire. Woltaire&amp;#039;s invitation to Beckford&lt;br /&gt;
to spend a few days at Ferney was the outcome of&lt;br /&gt;
the favourable impression made by the lad when he&lt;br /&gt;
had been presented to the philosopher some months&lt;br /&gt;
earlier.&lt;br /&gt;
The letter is addressed to &ldquo;My dear Sister,&rdquo; but&lt;br /&gt;
who this lady was I do not know. Beckford was&lt;br /&gt;
an only child, by his father&amp;#039;s second wife. Alder-&lt;br /&gt;
man Beckford&rsquo;s first wife was a widow, Maria March,&lt;br /&gt;
who had a daughter, Elizabeth, by her previous&lt;br /&gt;
marriage. Of Elizabeth I have been able to learn&lt;br /&gt;
nothing, save that she married one Hervey or&lt;br /&gt;
Harvey, and wrote a novel, &ldquo;Louisa,&rdquo; which was&lt;br /&gt;
published anonymously, and still figures as anony-&lt;br /&gt;
mous in the British Museum catalogue. I assume&lt;br /&gt;
that Elizabeth, who was a companion of William at&lt;br /&gt;
Fonthill during his youth, was this &ldquo;sister,&rdquo; but&lt;br /&gt;
if any reader of this note is acquainted with the&lt;br /&gt;
identity of the lady I should be grateful if he&lt;br /&gt;
Would communicate with me.&lt;br /&gt;
LEWIS MELVILLE.&lt;br /&gt;
GENEVA, Ja. 19th, 1778.&lt;br /&gt;
MY DEAR SISTER,--I am very glad indeed that,&lt;br /&gt;
the Letter I sent to Maestricht has reached you at&lt;br /&gt;
Bruscelles, for I would not, for the World, have&lt;br /&gt;
had you imagine that at this moment of all others&lt;br /&gt;
I possessed the idea of forgetfulness, Heaven knows&lt;br /&gt;
how happy I was at receiving a very obliging Letter&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#419) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR, 53&lt;br /&gt;
from Mr. Hervey, which gave me reason to hope&lt;br /&gt;
that your Spirits had very rarely deserted you.&lt;br /&gt;
Certain I am, my dear Sister, that you always had&lt;br /&gt;
an elevation of thought which makes you regard&lt;br /&gt;
a thousand circumstances as minute, which to most&lt;br /&gt;
others would have appeared gigantic. This con-&lt;br /&gt;
sideration I confess has been of great Service to&lt;br /&gt;
me, for it has made me think of you frequently&lt;br /&gt;
with the greatest satisfaction, whereas did I not&lt;br /&gt;
know you possessed that serenity of mind capable&lt;br /&gt;
of dispelling the troubles that may hover around&lt;br /&gt;
you, your remembrance would have been attended&lt;br /&gt;
by innumerable uncomfortable reflections. At&lt;br /&gt;
present&mdash;I think of you, of your Children, of every-&lt;br /&gt;
thing that belongs to you, in a manner that could&lt;br /&gt;
I describe would present no unpleasant Picture of&lt;br /&gt;
the affectionate sentiments with which I am pene-&lt;br /&gt;
trated. Let me, I conjure you, advise as much&lt;br /&gt;
dissipation as possible, that is, as much distraction&lt;br /&gt;
as conveniently lies in your way. Amuse your&lt;br /&gt;
imagination continually, give it full scope, and let&lt;br /&gt;
Buildings, Pictures, Characters fleet before your&lt;br /&gt;
Eyes. Vary eternally the Scene&mdash;I mean of your&lt;br /&gt;
reflections. Occupy yourself very much. Draw,&lt;br /&gt;
read entertaining works, write, have recourse to&lt;br /&gt;
Musick, go to Mass&mdash;do anything but be melan-&lt;br /&gt;
choly. I know you will laugh (at least I hope you&lt;br /&gt;
will) at my idea of sending you to Mass for con-&lt;br /&gt;
solation ; but if there are any very striking and&lt;br /&gt;
magnificent Churches at Bruscelles, the spectacle&lt;br /&gt;
will be new and imposing. I have heard there are&lt;br /&gt;
some pretty Pictures to be seen in your Town,&lt;br /&gt;
chiefly I suppose in private collections. I reckon&lt;br /&gt;
very greatly upon the amusement Antwerp will&lt;br /&gt;
afford you. To a person whose taste is, like&lt;br /&gt;
yours, quite alive to objects of an elegant nature,&lt;br /&gt;
that place must charm your attention in a very&lt;br /&gt;
great degree, which is full of the most famous&lt;br /&gt;
paintings that continually offer themselves to your&lt;br /&gt;
imagination. Let me beg you to examine them as&lt;br /&gt;
much, and, if you can, to think as fully about&lt;br /&gt;
them as if you were travelling on a Scheme of idle&lt;br /&gt;
amusement. My fancy is the only part of me&lt;br /&gt;
which is at present able to travel, for we are on&lt;br /&gt;
all sides hemmed in by Mountains entirely whitened&lt;br /&gt;
with Snow which is about three feet deep every-&lt;br /&gt;
where.&lt;br /&gt;
My Imagination, I say then, has been following&lt;br /&gt;
Ariosto thro&amp;#039; all the wild excursions of his en-&lt;br /&gt;
chanting poetry, thro&rsquo; Forests of Oaks in Caledonia&lt;br /&gt;
and thro&amp;#039; Woods of Citron and myrtle in the&lt;br /&gt;
groves of India, now stalking across the Mountains&lt;br /&gt;
of Spain. One moment descending into the cells&lt;br /&gt;
of enchantment and at another diving into the&lt;br /&gt;
very depths of the Ocean, wandering amongst&lt;br /&gt;
corallines and sporting amidst all the treasures&lt;br /&gt;
which the Sea has swallowed. Sometimes rising&lt;br /&gt;
into the AEther and winging its rapid course to the&lt;br /&gt;
Very Moon. There discovering a thousand quaint&lt;br /&gt;
Conceits and pleasant phantasies imagined with&lt;br /&gt;
such originality as has thrown me into astonish-&lt;br /&gt;
ment. Surely those must have every feeling of&lt;br /&gt;
Genius blunted who are not seized with a kind of&lt;br /&gt;
enthusiasm upon reading such an assemblage of&lt;br /&gt;
beautiful Fictions, delivered with such eloquence,&lt;br /&gt;
with such prodigality of rich imagery and with&lt;br /&gt;
such numbers as soothe the Ear with an harmony&lt;br /&gt;
not to be found, I think, in almost any other&lt;br /&gt;
Language. Do you not recollect a good many years&lt;br /&gt;
ago, when I was a very small Animal, and when you&lt;br /&gt;
studied Italian with great avidity, how frequently&lt;br /&gt;
you used to recount to me the strange adventures,&lt;br /&gt;
pompous Descriptions and marvellous Histories&lt;br /&gt;
you found in this Author P You remember, I&lt;br /&gt;
daresay, with what eagerness I listened to your&lt;br /&gt;
narrations and with what ardour I wished to read&lt;br /&gt;
the original from which you extracted such charm-&lt;br /&gt;
ing Episodes. Judge then of the delight with&lt;br /&gt;
which I renewed my acquaintance with Astolpho&lt;br /&gt;
and the pleasure I took in recovering my long lost&lt;br /&gt;
Ruggiero, his Hippogrif and the Castle of Steel.&lt;br /&gt;
You will be surprised when I tell you that in so&lt;br /&gt;
short a space as two Months I have almost finished&lt;br /&gt;
Ariosto, have read the best part of Dante, have&lt;br /&gt;
translated two Books of the Gerusalemme Liberata,&lt;br /&gt;
and can speak Italian with ease ; in short I should&lt;br /&gt;
wonder myself at the progress I have made, did&lt;br /&gt;
not the ardour, the application and the joy with&lt;br /&gt;
which I read or rather devour Orlando Furioso in&lt;br /&gt;
some measure account for it. But however, I had&lt;br /&gt;
ever a hankering after that Language and having&lt;br /&gt;
learnt the Grammars of several others the difficulty&lt;br /&gt;
was by no means considerable.&lt;br /&gt;
Woltaire has asked me to spend two or three&lt;br /&gt;
Days at Ferney; he adores, worships and glorifies&lt;br /&gt;
Ariosto as well as myself, so we shall agree very well,&lt;br /&gt;
I believe, and as soon as the Snow takes itself away&lt;br /&gt;
I shall set off. At present when I have no Moun-&lt;br /&gt;
tains to resort to or lovely prospects to describe,&lt;br /&gt;
when every object is buried in Snow and every&lt;br /&gt;
Fir Tree glistening with Icicles, wonder not that I&lt;br /&gt;
have recourse to the imaginations of others to&lt;br /&gt;
entertain you ; for really my own is so deadened&lt;br /&gt;
by the Season, so gloomified by uniformly dull&lt;br /&gt;
Weather, that literally without the assistance of&lt;br /&gt;
my Italian poetry and the pleasing recollections of&lt;br /&gt;
those hours I used to pass in hearing you admire&lt;br /&gt;
its vagaries (for by what other appellation can one&lt;br /&gt;
call the stories in general of my adorable Ariosto)&lt;br /&gt;
this Epistle would, I believe, exceed in dulness even&lt;br /&gt;
those which you have before received from me.&lt;br /&gt;
The way of living at Geneva is far from gay;&lt;br /&gt;
but in return it is very improving. The Societies&lt;br /&gt;
are composed of so many clever people that not-&lt;br /&gt;
withstanding a certain form and solemnity that&lt;br /&gt;
prevails in them, they do not altogether displease&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#420) ################################################&lt;br /&gt;
&lt;br /&gt;
54&lt;br /&gt;
THE AUTEIOR,&lt;br /&gt;
me. Another circumstance I like, is the number&lt;br /&gt;
of original Characters to be met with here. In the&lt;br /&gt;
first rank of these, shines my Friend H&uuml;ber whose&lt;br /&gt;
particular excellence would be very hard to discover,&lt;br /&gt;
as he is as changeable as the wind and sometimes&lt;br /&gt;
as boisterous. One day he wanders with his&lt;br /&gt;
Faucons over Hill and Dale, marsh and river,&lt;br /&gt;
wood and garden; the next, shut up in his Cabinet&lt;br /&gt;
he will reflect on the nature of the Universe and&lt;br /&gt;
the first principle of all things. The following&lt;br /&gt;
week perhaps he is totally engaged in drawing&lt;br /&gt;
caricatures and saying the queerest drollest things&lt;br /&gt;
imaginable, and if he writes during this humour,&lt;br /&gt;
probably it will be a dissertation upon the nature&lt;br /&gt;
of Cats&rsquo; whiskers. See him the day after this&lt;br /&gt;
whim has left him and you will find a profound&lt;br /&gt;
Musician, composing Mis&eacute;r&egrave;res and declaiming&lt;br /&gt;
Recitative with all the taste and judgment of an&lt;br /&gt;
eminent professor. Whilst this rage lasts he holds&lt;br /&gt;
forth with all the energy of an ancient Bard and&lt;br /&gt;
is generally poetical. It is during this Fit we&lt;br /&gt;
exult in the glories of Ariosto and Shakespeare,&lt;br /&gt;
give a loose to our imaginations and repeat whole&lt;br /&gt;
passages by heart in SO vociferous a style as makes&lt;br /&gt;
all the Auditors stare again and say the Devil has&lt;br /&gt;
left the Swine to possess us. A few hours elapse.&lt;br /&gt;
Come and you will find him in a coarse jacket&lt;br /&gt;
feeding his Birds of Prey, all over filthiness and&lt;br /&gt;
garbage. His hands are far too nasty to dwell&lt;br /&gt;
upon ; but should you just en passant observe&lt;br /&gt;
their delicacy he would answer, Ah, si vous voiez&lt;br /&gt;
Żmes pieds.&amp;#039;&lt;br /&gt;
The next Night very likely he would be seen&lt;br /&gt;
sunk in his Arm chair by the Fire side covered&lt;br /&gt;
with snuff and strewing it about whenever he&lt;br /&gt;
moves, quite marking his track. He is now as&lt;br /&gt;
indolent as you please and seems to have forgot all&lt;br /&gt;
that activity of Mind and Body for which he is&lt;br /&gt;
sometimes so remarkable. He will now read&lt;br /&gt;
nothing but romances and if anybody comes in&lt;br /&gt;
speaks Spanish. Those who have been with him&lt;br /&gt;
once before, perhaps at the time he talked of the&lt;br /&gt;
government of providence and other topics of the&lt;br /&gt;
gravest cast, might wish to take up the conversa-&lt;br /&gt;
tion again, and put him once more upon such&lt;br /&gt;
subject. Let them question him a little&mdash;it will&lt;br /&gt;
be all in vain. He will gape and whistle and&lt;br /&gt;
pick his teeth and stir the Fire. Suppose they&lt;br /&gt;
persevere. He continues so obstinate that at last&lt;br /&gt;
quite impatient they ask if he ever heard of the&lt;br /&gt;
Etre Supr&ecirc;me. With all the sang froid and&lt;br /&gt;
gravity conceivable he will answer, Oui, j&amp;#039;ai entendu&lt;br /&gt;
dise du bien de lui. By the day after the scene is&lt;br /&gt;
shifted and you will converse with a very reason-&lt;br /&gt;
able Being, a little singular indeed, but upon the&lt;br /&gt;
whole as pleasing as you can imagine. His con-&lt;br /&gt;
versation is now elegant and in what the French&lt;br /&gt;
call un ton cavalier, perfectly well-bred, attentive&lt;br /&gt;
respects different from B&amp;#039;s.&lt;br /&gt;
and obliging, may be tho&amp;#039; a little Sneering ; but&lt;br /&gt;
that only when the Company is very plaguing and&lt;br /&gt;
composed des Gens qui se flanquent d&amp;#039;esprit. If he&lt;br /&gt;
has diverted himself well in the Day either by&lt;br /&gt;
Falconry, engraving, music, writing, etc. etc., you&lt;br /&gt;
will find him delightful in the Evening, ser&ordm;ne&lt;br /&gt;
full of agreeable ideas, ideas that breathe the&lt;br /&gt;
most delicate sensibility. It is then he will talk&lt;br /&gt;
of the adventures of his Youth, recount his rambles&lt;br /&gt;
thro&amp;#039; Italy, and describe the various scenes that have&lt;br /&gt;
just passed before his eyes. His descriptions are&lt;br /&gt;
covered with more vivacity and affect me in a&lt;br /&gt;
degree Superior to any I have ever heard and&lt;br /&gt;
probably they would produce on you a similar&lt;br /&gt;
effect. I would continue tracing this Genius thro&amp;#039;&lt;br /&gt;
all his Windings and following him thro&rsquo; the&lt;br /&gt;
labyrinth of his ideas and occupations in hopes to&lt;br /&gt;
afford you some amusement but it would be as easy&lt;br /&gt;
to pursue a meteor or to Morris after that dancing&lt;br /&gt;
exhalation which our Country Folks call the Wii&lt;br /&gt;
o&amp;#039; the Wisp. ,&lt;br /&gt;
There are more strange Animals at Geneva&lt;br /&gt;
besides the one I have attempted to say something&lt;br /&gt;
about ; but there were none so wonderful. You&lt;br /&gt;
must live with H&uuml;ber to be able to discern his real&lt;br /&gt;
perfection, and I greatly fear I have sent you but&lt;br /&gt;
a very feeble Sketch. However, I trust you will&lt;br /&gt;
excuse my not being able to divert you in the&lt;br /&gt;
Winter. - -&lt;br /&gt;
Adieu Dr. S. I am ever your most aff&lt;br /&gt;
WILLIAM BECKFORD.&lt;br /&gt;
DIALECT IN FICTION.&lt;br /&gt;
&mdash;e-O-0&ndash;&lt;br /&gt;
O all readers and to most writers, the subject&lt;br /&gt;
of dialect in fiction must be important.&lt;br /&gt;
There are published nowadays so many&lt;br /&gt;
novels having their scenes laid in country districts&lt;br /&gt;
Where the English language is more or less con-&lt;br /&gt;
torted and where colloquialisms abound, that&lt;br /&gt;
readers are becoming somewhat familiar with these&lt;br /&gt;
unusual modes of speech, and, being somewhat&lt;br /&gt;
familiar, are becoming in consequence somewhat&lt;br /&gt;
Critical.&lt;br /&gt;
... Every writer of fiction who dabbles in dialect&lt;br /&gt;
has, I think, his own method of transcribing it.&lt;br /&gt;
Now suppose a reader has just laid down a novel&lt;br /&gt;
by A, who has chosen his characters from among&lt;br /&gt;
the peasantry of, say, Devonshire&mdash;and Devon-&lt;br /&gt;
shire seems to be a very favourite workshop for&lt;br /&gt;
fictionists&mdash;and takes up a novel by B, who has&lt;br /&gt;
been digging in the same mine, it is discongerting&lt;br /&gt;
to find that A&amp;#039;s characters speak a dialect in many&lt;br /&gt;
- Unless he is himself&lt;br /&gt;
acquainted with the locale of the stories, it is hard&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#421) ################################################&lt;br /&gt;
&lt;br /&gt;
THE A CITESIOR.&lt;br /&gt;
55&lt;br /&gt;
for the reader to know whether it is A or B who is&lt;br /&gt;
portraying the dialect of the county properly, or&lt;br /&gt;
whether, indeed, either of them is correct. -&lt;br /&gt;
In such a case as this the reader will be wise to&lt;br /&gt;
adopt as his guide&mdash;other things being equal&mdash;the&lt;br /&gt;
writer whose dialect is the more easily read ; for&lt;br /&gt;
without doubt the correct way to write dialect is to&lt;br /&gt;
write as little of it as possible. Dialect suggested&lt;br /&gt;
is in every way more artistic than dialect written&lt;br /&gt;
phonetically, and I think I am correct when I say&lt;br /&gt;
that he who writes dialect most broadly is he who&lt;br /&gt;
knows least about it. Indeed, any attempt to&lt;br /&gt;
reproduce on paper the exact pronunciation and&lt;br /&gt;
intonation of a man speaking in the vernacular,&lt;br /&gt;
must almost certainly be unsuccessful; and should&lt;br /&gt;
it be successful no good purpose is served, for the&lt;br /&gt;
reader is irritated by the difficulty of construing&lt;br /&gt;
sense from the printed words, and the writer, being&lt;br /&gt;
the unconscious cause of this irritation, is made to&lt;br /&gt;
suffer.&lt;br /&gt;
There are of course persons who have a totally&lt;br /&gt;
unjust contempt for the writer of &ldquo;suggested &rdquo;&lt;br /&gt;
dialect, and who delight in deciphering sentences&lt;br /&gt;
the appalling broadness of which would prove an&lt;br /&gt;
obstacle to ninety per cent. of readers. Some time&lt;br /&gt;
ago I read, in one of the popular monthlies, a short&lt;br /&gt;
story supposed to be told in the first person by a&lt;br /&gt;
man of humble station, and to this day I am unable&lt;br /&gt;
to decide from what part of Britain the narrator&lt;br /&gt;
hailed. For a sentence or two he would proceed in&lt;br /&gt;
what seemed an exaggerated reproduction of music-&lt;br /&gt;
hall Scotch ; then he would relapse into something&lt;br /&gt;
dimly resembling the patois of Cumberland, speak&lt;br /&gt;
a sentence in fairly accurate Cockney, and for a&lt;br /&gt;
few whirling paragraphs declaim in the jumbled&lt;br /&gt;
dialect of half a dozen different counties. Why the&lt;br /&gt;
editor of the magazine in question ever published&lt;br /&gt;
the story or how the author ever contrived to pen&lt;br /&gt;
it I do not know, but one thing I am sure of, it&lt;br /&gt;
must have annoyed and perplexed hundreds of&lt;br /&gt;
readers and been understood by but one&mdash;the gifted&lt;br /&gt;
writer.&lt;br /&gt;
Certain novelists who are flagrantly town-birds,&lt;br /&gt;
and who for reasons best known to themselves wish&lt;br /&gt;
to transfer the action of their stories to the country,&lt;br /&gt;
do so with a recklessness of consequences which&lt;br /&gt;
deserves to be, and frequently is, heavily punished.&lt;br /&gt;
A man should write only on subjects with which&lt;br /&gt;
he is thoroughly acquainted, and similarly he&lt;br /&gt;
should write only of places with which he is familiar&lt;br /&gt;
and thoroughly understands. It is presumptuous&lt;br /&gt;
on a writer&amp;#039;s part to attempt a description of&lt;br /&gt;
Devonshire scenery if he has lived all his life in&lt;br /&gt;
London, or to set down for publication his idea of&lt;br /&gt;
the characters and pronunciations of Highlanders&lt;br /&gt;
if he has never been across the border. Not that&lt;br /&gt;
a brief sojourn in Scotland would reward him with&lt;br /&gt;
a knowledge of the Scottish nature or a knowledge&lt;br /&gt;
&ordm;f the peculiarities of the Scottish tongue, for the&lt;br /&gt;
Highlanders are timid of displaying their emotions,&lt;br /&gt;
and to become intimate with their speech one must&lt;br /&gt;
live amongst them for years and hearken to them&lt;br /&gt;
patiently.&lt;br /&gt;
The Scottish tongue indeed is a difficult one to&lt;br /&gt;
reproduce so that it may be intelligible to English&lt;br /&gt;
eyes and ears. Every shire has its own dialect and&lt;br /&gt;
its own curious inflection of the voice, and because&lt;br /&gt;
a Writer may have mastered the dialect of Aberdeen-&lt;br /&gt;
shire or Forfarshire, that does not imply that he is&lt;br /&gt;
fitted to write the dialect of Perthshire. This,&lt;br /&gt;
I fancy, is where readers are apt to be perplexed in&lt;br /&gt;
reading tales of Scottish life. They have won their&lt;br /&gt;
Way through some volumes of what is known as the&lt;br /&gt;
&ldquo;Kailyard School,&rdquo; and are inclined to be put out&lt;br /&gt;
When a farmer from one of the southern shires is&lt;br /&gt;
presented to them as speaking, save for the &ldquo;oo &amp;quot;&lt;br /&gt;
sound, the dropping of final g&rsquo;s, and the habitual&lt;br /&gt;
drawl of the voice, in a language which is little&lt;br /&gt;
different from that of any educated man, and could&lt;br /&gt;
be understood by anyone understanding English.&lt;br /&gt;
The Word &ldquo;no,&rdquo; for example, is a source of&lt;br /&gt;
frequent wondering to English readers. They&lt;br /&gt;
Cannot understand why it should sometimes be&lt;br /&gt;
Written &ldquo;no &amp;quot; and sometimes&mdash;if one is dealing&lt;br /&gt;
With the peasantry&mdash;&ldquo;nae.&rdquo; No is used (I am&lt;br /&gt;
Speaking of Perthshire) when answering a question&lt;br /&gt;
or in declining to perform some request; mile when&lt;br /&gt;
speaking of a lack of something. For instance :&lt;br /&gt;
&ldquo;Will ye give rue some tobacco 2 &amp;#039;&amp;#039;&lt;br /&gt;
&ldquo;No, I&amp;#039;ll no&rsquo;; for I&amp;#039;ve nae tobacco.&rdquo;&lt;br /&gt;
There are many other words which are similarly&lt;br /&gt;
treated, so that anyone writing these simple words&lt;br /&gt;
as they are spoken is in danger of being thought&lt;br /&gt;
inconsistent. . It is curious, too, how chary the&lt;br /&gt;
average Scottish reader is of reading &ldquo;braid Scots&rdquo;&lt;br /&gt;
&mdash;contemporary &ldquo;braid Scots&rdquo; at least, for of&lt;br /&gt;
course he is faithful to Burns and the great Sir&lt;br /&gt;
Walter. It may be that, his ears being surfeited&lt;br /&gt;
with this type of speech, he is unwilling to spend&lt;br /&gt;
his leisure hours in surfeiting his eyes and tiring&lt;br /&gt;
his brain by attempting to follow the wayward&lt;br /&gt;
spelling of the writer.&lt;br /&gt;
The novelist who elects to spend his energies in&lt;br /&gt;
the penning of rural fiction must, if he is to be&lt;br /&gt;
properly fitted for his work, not only have the gift&lt;br /&gt;
of writing dialect artistically, of knowing what to&lt;br /&gt;
omit, but must be thoroughly conversant with the&lt;br /&gt;
hundred odd turns and little tricks of speech and&lt;br /&gt;
the countless colloquialisms and idiomatic phrases&lt;br /&gt;
in use among the characters of whom he writes.&lt;br /&gt;
There have been, and I suppose there are to-day,&lt;br /&gt;
writers who, having decided to place the scene of&lt;br /&gt;
their story in some rural spot, make a flying visit&lt;br /&gt;
to that spot for the purpose of acquiring &ldquo;local&lt;br /&gt;
colour&rdquo; and of studying the speech of the natives.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#422) ################################################&lt;br /&gt;
&lt;br /&gt;
56 THE ALTHOR.&lt;br /&gt;
They spend an hour or two in pottering about the&lt;br /&gt;
village street, in studying the formation of the&lt;br /&gt;
country, in memorising the effect of sunshine or&lt;br /&gt;
mist upon the hills, and in conversing with the&lt;br /&gt;
Jandlord of the inn at which they have lunched,&lt;br /&gt;
and with the policeman who is engaged in standing&lt;br /&gt;
statue-like at the corner of High Street. Having&lt;br /&gt;
thus acquired, from their point of view, the&lt;br /&gt;
requisite amount of local colouring, the novelists&lt;br /&gt;
return to town in the evening, satisfied that the&lt;br /&gt;
entire phraseology of the country folk is jotted&lt;br /&gt;
down in their notebook.&lt;br /&gt;
No the writing of dialect is not a thing to be&lt;br /&gt;
rashly ventured upon. To a few it comes naturally,&lt;br /&gt;
and they are indeed blest ; by the many it may be&lt;br /&gt;
acquired only after long years of patient study,&lt;br /&gt;
coupled&mdash;and this is indispensable&mdash;with the&lt;br /&gt;
artistic sense which will teach the writer to do&lt;br /&gt;
away with every unmusical or unnecessary letter.&lt;br /&gt;
W. HAROLD THOMSON.&lt;br /&gt;
- - -&ordm;-&ordm;- &mdash;&lt;br /&gt;
ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE&lt;br /&gt;
BY WIM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists&lt;br /&gt;
advertisers, and others.)&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
CHAPTER II.&lt;br /&gt;
Photo-Mechanical Illustrations by &ldquo;Line &amp;quot; Process.&lt;br /&gt;
YOU will see by the preceding chapter that it&lt;br /&gt;
was once necessary to start all illustrated work&lt;br /&gt;
through the medium of the artist. All that is&lt;br /&gt;
changed. To-day we can in many instances dis-&lt;br /&gt;
pense with the artist entirely, for the photographic&lt;br /&gt;
&ldquo;snapshotter&rdquo; has to a very large extent taken his&lt;br /&gt;
place, and the old-fashioned artist of twenty years&lt;br /&gt;
ago can now get scarcely a living.&lt;br /&gt;
In fact many of them, some fifteen or sixteen&lt;br /&gt;
years back, seeing the danger signal ahead, threw&lt;br /&gt;
aside their pencil and brush and became disciples&lt;br /&gt;
of the camera.&lt;br /&gt;
This transformation of things has been brought&lt;br /&gt;
about solely by the introduction of so-called &ldquo;pro-&lt;br /&gt;
cess work,&rdquo; the origin of which is based entirely&lt;br /&gt;
upon photography.&lt;br /&gt;
There are two kinds of process work&mdash;the &ldquo;line *&lt;br /&gt;
and the &ldquo;half-tone.&rdquo;&lt;br /&gt;
I will only differentiate between the two in this&lt;br /&gt;
chapter, as I intend to devote my next entirely to&lt;br /&gt;
the latter process.&lt;br /&gt;
By the one process you get a &ldquo;line &amp;quot; block to&lt;br /&gt;
print from, by the other you get a &ldquo;half-tone&rdquo;&lt;br /&gt;
block.&lt;br /&gt;
A &ldquo;line&rdquo; block is usually made from a line&lt;br /&gt;
drawing, that is to say, a drawing made in lines or&lt;br /&gt;
actual solids on white paper in either very black or,&lt;br /&gt;
what is preferable, &ldquo;Indian * ink.&lt;br /&gt;
This drawing or sketch is photographed by&lt;br /&gt;
means of powerful artificial light in the process&lt;br /&gt;
engraver&amp;#039;s specially arranged studio with specially&lt;br /&gt;
made cameras.&lt;br /&gt;
When the negative from the original drawing&lt;br /&gt;
has been obtained, it is &ldquo;fixed&rdquo; and then &ldquo;printed&rdquo;&lt;br /&gt;
on a sheet of highly polished zinc which has&lt;br /&gt;
naturally been sensitized.&lt;br /&gt;
This so-called negative is, however, totally&lt;br /&gt;
different from the ordinary negative taken in the&lt;br /&gt;
Fig. 1.&lt;br /&gt;
Line block.&lt;br /&gt;
Orthodox way. It is really a reversed or turned&lt;br /&gt;
negative, because, having to be printed first on&lt;br /&gt;
the zinc, from which surface it is ultimately to be&lt;br /&gt;
printed upon paper, it becomes necessary that the&lt;br /&gt;
object shall be printed upon the metal in the&lt;br /&gt;
reversed way, so that the left side of the picture&lt;br /&gt;
or drawing shall be on the right side, and the right&lt;br /&gt;
side on the left.&lt;br /&gt;
To accomplish this end a so-termed reversing&lt;br /&gt;
mirror is attached diagonally to the camera.&lt;br /&gt;
The zinc plate with the printed image upon it,&lt;br /&gt;
after passing through a series of chemical processes,&lt;br /&gt;
is next rolled up with lithographic or greasy ink,&lt;br /&gt;
and then immersed in a rocking bath containing&lt;br /&gt;
diluted acid which naturally eats away all the&lt;br /&gt;
exposed parts of the metal or the blank unpro-&lt;br /&gt;
tected spaces or surfaces between the lines.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#423) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DTEIOR- 57&lt;br /&gt;
The etcher may be likened to a chef cooking a&lt;br /&gt;
joint. He of course frequently takes out and&lt;br /&gt;
examines the plate, and knows by experience the&lt;br /&gt;
precise time it should be etched in order to obtain&lt;br /&gt;
the necessary depth that is required for printing.&lt;br /&gt;
By this process the very finest drawn line can&lt;br /&gt;
with care be retained on the surface.&lt;br /&gt;
The metal plate is then &ldquo;routed &rdquo; and mounted&lt;br /&gt;
on a solid wood basis or mount, which renders it&lt;br /&gt;
exactly type high, and the now finished &ldquo;line.&rdquo;&lt;br /&gt;
block, or &ldquo;photo-zinco&rsquo;&rsquo; as it is frequently called,&lt;br /&gt;
is ready for the printing machine.&lt;br /&gt;
The &ldquo;line &amp;quot; process is generally devoted to&lt;br /&gt;
reproducing lines and solid black washes only, of&lt;br /&gt;
which two examples are shown.&lt;br /&gt;
Fig. 2. Line and solid combined.&lt;br /&gt;
Now this line process can be adapted or added to&lt;br /&gt;
in several ways, so that a shade or tint can be&lt;br /&gt;
obtained as well as the pure lines themselves.&lt;br /&gt;
This is produced by means of what is termed a&lt;br /&gt;
&ldquo;stipple&rsquo;&rsquo; or &ldquo;line tint &rsquo;&rsquo; that is laid in contact&lt;br /&gt;
with the plate itself and impressed upon the part&lt;br /&gt;
or parts that the shadow is required.&lt;br /&gt;
By this means very good effects are produced, as&lt;br /&gt;
will be seen by Fig. No. 3.&lt;br /&gt;
With regard to prices for line work, they range at&lt;br /&gt;
so much per square inch, with a minimum or&lt;br /&gt;
lowest charge for a block, no matter how small&lt;br /&gt;
it may be.&lt;br /&gt;
Different engraving firms have different prices&lt;br /&gt;
according to the quality of the work they turn out,&lt;br /&gt;
but as a general rule the rougher kind of line&lt;br /&gt;
blocks are charged at from 23d. to 3d. per square&lt;br /&gt;
inch, with a minimum price of 2s. 6d. to 3s.&lt;br /&gt;
respectively.&lt;br /&gt;
Thus it will be seen that the size of a minimum&lt;br /&gt;
block represents 12 square inches, say, for instance,&lt;br /&gt;
a block measuring 3 inches wide by 4 inches&lt;br /&gt;
deep, or any block below this number of inches.&lt;br /&gt;
For line blocks with stipple one can reckon&lt;br /&gt;
another half penny per inch, or perhaps even more,&lt;br /&gt;
according to the amount and character of the&lt;br /&gt;
stipples required, but in a general way a fair price&lt;br /&gt;
Would be 3d. to 3%d., with minimums accordingly&lt;br /&gt;
of 3S. to 3s. 6d. -&lt;br /&gt;
Very specially fine line work, such as is necessary&lt;br /&gt;
for maps, and intricate close work, might be worth&lt;br /&gt;
4d. per Square inch, and accordingly a minimum&lt;br /&gt;
of 48. for the 12 square inches.&lt;br /&gt;
All large engraving firms keep a variety of&lt;br /&gt;
Fig. 3. Line and tint combined.&lt;br /&gt;
&ldquo;stipples&rdquo; and &ldquo;tints&amp;quot; in stock for the customer&lt;br /&gt;
to select from or leave to the engraver&amp;#039;s discretion.&lt;br /&gt;
Half-tone effects can, however, be reproduced by&lt;br /&gt;
&ldquo;line process&rdquo; by the artist drawing in chalk upon&lt;br /&gt;
a specially made grained paper, which is in itself a&lt;br /&gt;
surface composed of raised lines, or ridges, upon the&lt;br /&gt;
uppermost part of which the chalk lies, thus&lt;br /&gt;
splitting up the sketch into actual lines. This is&lt;br /&gt;
a very effective mode of cheap reproduction, and is&lt;br /&gt;
nowadays adopted by many artists for portraiture,&lt;br /&gt;
landscape work, etc.&lt;br /&gt;
The following illustration (Fig. No. 4) will give&lt;br /&gt;
an idea of this class of work.&lt;br /&gt;
There are several other means of reproducing&lt;br /&gt;
line work in existence, but since photographic line&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#424) ################################################&lt;br /&gt;
&lt;br /&gt;
58&lt;br /&gt;
TISIES AICTEIOR.&lt;br /&gt;
reproduction has become so cheap, they are not&lt;br /&gt;
now generally used. w&lt;br /&gt;
It may be well to mention one or two, however.&lt;br /&gt;
The earliest was the &ldquo;Ideograph,&rdquo; a machine in&lt;br /&gt;
front of which was a bed or table upon which the&lt;br /&gt;
artist laid his full-sized drawing, and by tracing&lt;br /&gt;
same over with a pointer, it reproduced or dupli-&lt;br /&gt;
cated, upon a bed of plaster composition, a replica&lt;br /&gt;
of the drawing itself in any size the artist desired.&lt;br /&gt;
The mould obtained was then cleared of the&lt;br /&gt;
superfluous plaster dust by means of a pair of&lt;br /&gt;
Fig. 4. A line zinco from a chalk drawing on grained&lt;br /&gt;
paper.&lt;br /&gt;
bellows or a soft brush, and a stereotype in metal&lt;br /&gt;
Was next made from same and printed from.&lt;br /&gt;
The Hoke-plate then came into favour, by which&lt;br /&gt;
finer lines and more decided work were produced,&lt;br /&gt;
and upon which the artist drew or engraved his&lt;br /&gt;
sketch to enactly the size he wished it reproduced in&lt;br /&gt;
the print.&lt;br /&gt;
These plates, which were of steel, coated with a&lt;br /&gt;
thin layer of composition, were made in various&lt;br /&gt;
sizes and shapes, and the artist with fine tools or&lt;br /&gt;
needles graved out his picture or scraped away&lt;br /&gt;
Where he wished his lines to appear.&lt;br /&gt;
Into the hollows thus made the hot metal was&lt;br /&gt;
poured, and when cool formed the block from&lt;br /&gt;
which the print was ultimately obtained. -&lt;br /&gt;
Another and better process, however, was one in&lt;br /&gt;
which lithography and lithographic ink played a&lt;br /&gt;
prominent part.&lt;br /&gt;
The artist in this case drew his subject, upon&lt;br /&gt;
what was called transfer paper, with a very fin&eacute;ly-&lt;br /&gt;
pointed brush containing lithographic or greasy&lt;br /&gt;
ink.&lt;br /&gt;
When the drawing was finished, the paper was&lt;br /&gt;
laid face downwards upon a piece of polished zinc&lt;br /&gt;
and transferred upon same by pressur&eacute;. The plate&lt;br /&gt;
was then rolled up in exactly the same way as I&lt;br /&gt;
have previously explained, and etched in an acid&lt;br /&gt;
bath. -&lt;br /&gt;
It was then mounted and printed from as in the&lt;br /&gt;
present-day photographic process. -&lt;br /&gt;
All the above processes are suitable for any and&lt;br /&gt;
every kind of printing, no matter how rough the&lt;br /&gt;
paper or how quickly the machine may be running.&lt;br /&gt;
Daily newspapers are printed upon what are&lt;br /&gt;
termed rotary machines, that is to say, where a&lt;br /&gt;
cylinder is employed for the sake of printing very&lt;br /&gt;
rapidly. These machines frequently turn out as&lt;br /&gt;
many printed and folded papers as 23,000 copies&lt;br /&gt;
per hour, and so it stands to reason, that for work&lt;br /&gt;
of this kind the artist should draw his lines very&lt;br /&gt;
openly, so that they do not clog together or blur&lt;br /&gt;
when being printed. -&lt;br /&gt;
In all drawings for daily papers, which are&lt;br /&gt;
printed usually on coarse, rough-surfaced paper,&lt;br /&gt;
artists should be careful to avoid putting too much&lt;br /&gt;
detail into their sketches.&lt;br /&gt;
As a rule, mere outlines are the most effective,&lt;br /&gt;
as they always appear clean and sharp to the&lt;br /&gt;
reader, and are besides printed without involving&lt;br /&gt;
any technical difficulties. : &amp;#039; ,&lt;br /&gt;
CHAPTER III.&lt;br /&gt;
The &ldquo;Half-Tone&rdquo; Reproduction Process.&lt;br /&gt;
IF you take up an ordinary photograph, whether&lt;br /&gt;
a portrait or landscape, or for the matter of that&lt;br /&gt;
any other subject, you will at once realise that it is&lt;br /&gt;
composed of a variety of tints or shadows of different&lt;br /&gt;
grades of strength. -&lt;br /&gt;
In a seascape, for instance, the sky may be in parts&lt;br /&gt;
almost pure white with several degrees of shade in&lt;br /&gt;
the clouds, while the water will also again show ever&lt;br /&gt;
so many equally varied tints, only of a deeper nature.&lt;br /&gt;
And if there should happen to be one or two&lt;br /&gt;
patches of rock peeping above the level of the sea,&lt;br /&gt;
stronger and deeper shadows still will present them-&lt;br /&gt;
selves until in some parts the shadows may be SO&lt;br /&gt;
dense as to almost form a solid black patch showing&lt;br /&gt;
little or no detail whatever. &bull; 4 -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#425) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR, 59,&lt;br /&gt;
All these numerous degrees of light and shade&lt;br /&gt;
are technically termed &ldquo;half-tones,&rdquo; because none&lt;br /&gt;
of them express any one decided tone or colour.&lt;br /&gt;
Hence the name &ldquo;half-tone&rdquo; as descriptive of&lt;br /&gt;
a process block made from a photograph or wash&lt;br /&gt;
drawing in which many indefinite tints are&lt;br /&gt;
pourtrayed. .&lt;br /&gt;
Now, it would strike a thinking person that it is&lt;br /&gt;
difficult er perhaps impossible to reproduce these&lt;br /&gt;
numerous tints upon one block and in one printing&lt;br /&gt;
by means of an ordinary printing machine. It&lt;br /&gt;
would be so undoubtedly except for the fact&lt;br /&gt;
that all these lights and shades of varying qualities&lt;br /&gt;
can be cut up by the engraver into minute dots or&lt;br /&gt;
patches. - -&lt;br /&gt;
If you look at the illustrations in any of the&lt;br /&gt;
magazines through a magnifying glass you will at&lt;br /&gt;
Once perceive that the reproductions of portraits,&lt;br /&gt;
etc., are cut up or scored as it were by crossed lines&lt;br /&gt;
and dots. &ordm;&lt;br /&gt;
The explanation is, to put it as simply as possible,&lt;br /&gt;
this :&mdash;&lt;br /&gt;
A photograph, for instance, is sent to an engraver&lt;br /&gt;
to reproduce in block form. This is pinned on a&lt;br /&gt;
board and photographed in the same way as&lt;br /&gt;
explained in the previous chapter, but with this&lt;br /&gt;
difference. -&lt;br /&gt;
A glass screen ruled with minute cross lines in&lt;br /&gt;
black is placed inside the camera in front of the&lt;br /&gt;
Sensitised plate, and through this screen the original&lt;br /&gt;
object is photographed. .&lt;br /&gt;
When the plate thus obtained is developed into&lt;br /&gt;
a negative it consequently becomes a half-tone or&lt;br /&gt;
Screened negative, because the original picture on&lt;br /&gt;
its surface has become cut up or separated by means&lt;br /&gt;
of the screen through which it has been exposed.&lt;br /&gt;
It is not necessary for the purposes of these&lt;br /&gt;
articles to go into the complete technique of the&lt;br /&gt;
entire working more than to explain that when&lt;br /&gt;
this negative is printed on the metal and then&lt;br /&gt;
etched, certain action of the light caused by these&lt;br /&gt;
crossed lines intervening differentiates between the&lt;br /&gt;
various lights and shades and causes the minute&lt;br /&gt;
dots to appear in different sizes on the metal, thus&lt;br /&gt;
affording thousands of small varied surfaces to take&lt;br /&gt;
up the ink from the printing machine rollers.&lt;br /&gt;
If you place the opened fingers of your hands&lt;br /&gt;
crosswise and look through them at any object or&lt;br /&gt;
picture it will give you a crude idea of what is cut&lt;br /&gt;
out of the original and what is left in. Or a piece&lt;br /&gt;
of ordinary net or muslim placed over and in contact&lt;br /&gt;
with a photograph will produce the same effect.&lt;br /&gt;
As it is my intention, however, later on to devote&lt;br /&gt;
a chapter principally to screens and their different&lt;br /&gt;
uses, I will proceed to explain what kind of pictures&lt;br /&gt;
can be reproduced by the half-tone process.&lt;br /&gt;
Black and white wash drawings, sepia sketches,&lt;br /&gt;
photographs of every kind, can be reproduced by&lt;br /&gt;
the half-tone process. It is also adaptable for&lt;br /&gt;
reproducing old engravings, photogravures and&lt;br /&gt;
chalk drawings. The latter are often reproduced&lt;br /&gt;
by its aid in fac-simile form: that is to say, all the&lt;br /&gt;
White parts of the paper or drawing which have&lt;br /&gt;
been left untouched by the artist can be cut&lt;br /&gt;
Out Or routed away, so that when the block is&lt;br /&gt;
printed it represents an almost identical copy of&lt;br /&gt;
the artist&amp;#039;s original work.&lt;br /&gt;
Below is a specimen of a half-tone taken from a&lt;br /&gt;
wash drawing.&lt;br /&gt;
Fig. 5. Routed Fashion Block.&lt;br /&gt;
Oil paintings, water-colour drawings and, in fact,&lt;br /&gt;
almost any work of art can be treated by this&lt;br /&gt;
process under certain conditions,&lt;br /&gt;
But whenever the &ldquo;original&rdquo; or &ldquo;copy&amp;quot; is in&lt;br /&gt;
colour, extra expense is incurred, as it is impossible&lt;br /&gt;
to reproduce such objects direct because of the&lt;br /&gt;
colouring. The reason is that blue or lavender&lt;br /&gt;
colours come out white, or, what is more correct,&lt;br /&gt;
they do not come out at all ; while yellow in a&lt;br /&gt;
directly opposite way comes out almost black, or at&lt;br /&gt;
all events very dense. Thus, in a summer landscape&lt;br /&gt;
with yellow flowers in the foreground, the sky&lt;br /&gt;
would vanish entirely, while the yellow blossoms&lt;br /&gt;
would be extremely dark and without detail.&lt;br /&gt;
Therefore it is necessary in such instances first to&lt;br /&gt;
make what is called an isochromatic print or&lt;br /&gt;
picture. This process balances the various colours.&lt;br /&gt;
giving each its proper or proportionate value.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#426) ################################################&lt;br /&gt;
&lt;br /&gt;
60&lt;br /&gt;
TISIES ACTISIOR-&lt;br /&gt;
From the result thus obtained an ordinary half-&lt;br /&gt;
tone negative and block are made, showing the&lt;br /&gt;
picture when printed in its natural form, with all&lt;br /&gt;
the colours properly balanced as they appear to us&lt;br /&gt;
in nature.&lt;br /&gt;
If the blue is of an indigo or very dark tint it&lt;br /&gt;
can be reproduced direct, such a blue, for&lt;br /&gt;
instance, as we sometimes see in engineers&amp;#039; ferro-&lt;br /&gt;
prussiate or sun prints.&lt;br /&gt;
There are three kinds of half-tone blocks&mdash;&lt;br /&gt;
&ldquo;squared-up,&rdquo; &ldquo;routed,&rdquo; and &ldquo;vignetted.&rdquo;&lt;br /&gt;
The first term implies that the block represents&lt;br /&gt;
an ordinary squared-up picture with the outer&lt;br /&gt;
edges running at right angles.&lt;br /&gt;
The second term, a &ldquo;routed&amp;quot; block, represents&lt;br /&gt;
any article where the background all round same&lt;br /&gt;
has to be cut away or routed by the engraver,&lt;br /&gt;
such, for instance, as the photograph of a machine&lt;br /&gt;
It is not possible to get this class of work&lt;br /&gt;
executed at less than 6d. per square inch, and in&lt;br /&gt;
many cases that even would be a low price.&lt;br /&gt;
Minimum accordingly for 12 square inches, 6s.&lt;br /&gt;
This price is also a fair one for &ldquo;vignetted &amp;quot;&lt;br /&gt;
blocks, which require careful &ldquo;fine&rdquo; etching.&lt;br /&gt;
Fac-simile chalk work is an expensive form of&lt;br /&gt;
reproduction, where it has to be routed away,&lt;br /&gt;
showing only the actual lines of the artist, as it&lt;br /&gt;
requires an extremely careful and artistic workman&lt;br /&gt;
to follow the lines on his routing machine. A&lt;br /&gt;
special price would have to be given for this&lt;br /&gt;
according to the subject. The background or&lt;br /&gt;
mesh of the screen can, of course, be left untouched,&lt;br /&gt;
if desired, and a good result obtained, in which case&lt;br /&gt;
it should only be charged up at the ordinary&lt;br /&gt;
&ldquo;squared-up&amp;#039; rate. Pencil sketches as a rule,&lt;br /&gt;
unless drawn in very black pencil, do not reproduce&lt;br /&gt;
Fig. 6.&lt;br /&gt;
which the customer requires to stand up pro-&lt;br /&gt;
minently against a pure white surrounding.&lt;br /&gt;
The last expression, &ldquo;vignetted,&rdquo; nearly every-&lt;br /&gt;
one knows, as we see it exemplified so often in an&lt;br /&gt;
ordinary portrait photograph where the background&lt;br /&gt;
blends or vanishes away gradually, so that one can&lt;br /&gt;
hardly see where it begins or ends.&lt;br /&gt;
The squared-up block is what an engraver calls&lt;br /&gt;
straightforward work, and is consequently the&lt;br /&gt;
cheapest form of half-tone. The price of this&lt;br /&gt;
class of work generally depends upon the quality.&lt;br /&gt;
One firm would charge, possibly, 8d., or even 9d.&lt;br /&gt;
per square inch, while another firm would be glad&lt;br /&gt;
to take it as low as 5d., with a minimum price of&lt;br /&gt;
58. each block.&lt;br /&gt;
The price of a block that has, after it has been&lt;br /&gt;
made, to be routed, depends entirely upon the&lt;br /&gt;
amount of &ldquo;routing&rdquo; to be done, as in the case of&lt;br /&gt;
very minute detail and much cutting away it&lt;br /&gt;
necessarily takes considerable extra time and care.&lt;br /&gt;
Squared-up Half-Tone.&lt;br /&gt;
successfully, as the glint or polish of the lead&lt;br /&gt;
catches the light and makes them faint and&lt;br /&gt;
undecided.&lt;br /&gt;
My next instalment will apply to &ldquo;Two and&lt;br /&gt;
Three-Colour Work,&rdquo; and what it can do.&lt;br /&gt;
The preceding blocks have been supplied by&lt;br /&gt;
John Swain &amp;amp; Son, Ltd.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;--&lt;br /&gt;
DANTE IN ENGLISH LITERATURE.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E must confess to having laid down Mr.&lt;br /&gt;
Toynbee&amp;#039;s &ldquo;Dante in English Literature&lt;br /&gt;
from Chaucer to Cary&rsquo; with a painful&lt;br /&gt;
consciousness of faculties simply overpowered by a&lt;br /&gt;
monument of labour and erudition surpassing&lt;br /&gt;
description. The book resembles the enormous,&lt;br /&gt;
* Paget Toynbee : &ldquo;Dante in English Literature from&lt;br /&gt;
Chaucer to Cary.&rdquo; London : Methuen. Two vols. 8vo.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#427) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
61&lt;br /&gt;
minute, and all-embracing treasuries of a Cres-&lt;br /&gt;
cemberi or a Quadrio rather than anything of the&lt;br /&gt;
sort that these latter days produce. Starting from&lt;br /&gt;
the earliest indication in the works of Chaucer of&lt;br /&gt;
an acquaintance with those of Dante, Mr. Toynbee&lt;br /&gt;
proceeds year by year, gathering up every quota-&lt;br /&gt;
tion, every allusion, and every criticism to be found&lt;br /&gt;
in the works of English authors, known and&lt;br /&gt;
unknown, until he reaches the date of the death of&lt;br /&gt;
Cary in 1844; at the same time adding, on every&lt;br /&gt;
Occasion, all the information and explanations&lt;br /&gt;
necessary to illustrate the passages which he&lt;br /&gt;
adduces. Petrarca wondered whence came all the&lt;br /&gt;
paper and ink which he had consumed in the&lt;br /&gt;
praises of Madonna Laura ; but it is by far more&lt;br /&gt;
difficult to imagine where the author of &ldquo;Dante in&lt;br /&gt;
English Literature * can have found the time and&lt;br /&gt;
patience necessary for the completion of this&lt;br /&gt;
astounding thesaurus. -&lt;br /&gt;
The work is the more remarkable because, at&lt;br /&gt;
first sight, it is not apparent wherein its particular&lt;br /&gt;
value would consist. The opinion that to compile&lt;br /&gt;
a collection of all the passages in English literature&lt;br /&gt;
in which Dante is imitated, or mentioned, might&lt;br /&gt;
form an interesting amusement for a Dante student,&lt;br /&gt;
but would represent rather a pastime than a&lt;br /&gt;
compilation which would serve any valuable end, is&lt;br /&gt;
a conceivable one, and one that may probably have&lt;br /&gt;
recommended itself to more than one student of&lt;br /&gt;
literature whose attention has been attracted by&lt;br /&gt;
the announcement of this book. The book is also&lt;br /&gt;
likely to suggest the idea of an anthology into&lt;br /&gt;
which it might be interesting to dip, but of one&lt;br /&gt;
which it might be impossible to read. Anyone&lt;br /&gt;
who has happened to form respecting &ldquo;Dante in&lt;br /&gt;
English Literature&rdquo; views of this kind should at&lt;br /&gt;
Once disabuse himself of a mistake. Such is the&lt;br /&gt;
fascination of the work, from the beginning to the&lt;br /&gt;
end, that there is no part of it, not even the index,&lt;br /&gt;
which does not furnish matter of the deepest&lt;br /&gt;
interest. The compiler&rsquo;s enormous labours (labours&lt;br /&gt;
which, if they had not been accomplished, might&lt;br /&gt;
have been with reason considered to exceed human&lt;br /&gt;
powers) are not more conspicuous than the felicity&lt;br /&gt;
of the erudition with which every page is illu-&lt;br /&gt;
minated. For the English student of Dante the&lt;br /&gt;
book will be a vade mecum, not only on account of&lt;br /&gt;
the many lights (side-lights in many cases, it may&lt;br /&gt;
be admitted) thrown upon the works of Dante, but&lt;br /&gt;
also, and more particularly, as an entirely unique&lt;br /&gt;
commentary on what Dante has meant to some&lt;br /&gt;
dozen generations of men of a northern clime. The&lt;br /&gt;
work, however, means also a great deal more than&lt;br /&gt;
this. As every great invention answers not only&lt;br /&gt;
the ends for which it was intended, but also many&lt;br /&gt;
others of which the inventor never thought, so a&lt;br /&gt;
great work, perfectly accomplished, embraces&lt;br /&gt;
always a great deal more than its author proposes;&lt;br /&gt;
and Mr. Toynbee has not only accomplished his&lt;br /&gt;
aim of a complete representation of the influence of&lt;br /&gt;
Dante on English literature and English men of&lt;br /&gt;
letters, but opened wide vistas of suggestion hardly&lt;br /&gt;
to be found in any other book.&lt;br /&gt;
The work opens with a masterly introduction,&lt;br /&gt;
which presents in a brief review the results of Mr.&lt;br /&gt;
Toynbee&amp;#039;s investigations. The lucidity of this&lt;br /&gt;
introduction makes it easy at once to grasp the&lt;br /&gt;
outline of the story to be unfolded ; but, as it&lt;br /&gt;
should, this brief prologue immediately prompts a&lt;br /&gt;
perusal of the gigantic collection of excerpts which&lt;br /&gt;
it precedes; and it is from the latter that the full&lt;br /&gt;
meaning of the book is to be gathered.&lt;br /&gt;
That profound significance does not at once&lt;br /&gt;
reveal itself. It is only as the pageant advances,&lt;br /&gt;
and the writers of more than four hundred years&lt;br /&gt;
present what it has pleased them to gather from&lt;br /&gt;
Dante, or to say about him, that the reader becomes&lt;br /&gt;
conscious that he is assisting at a Day of Doom.&lt;br /&gt;
Quidduid latet apparebit&lt;br /&gt;
And it is not Dante that is being judged, but all&lt;br /&gt;
the others. &ldquo;So pale with musing in Pierian&lt;br /&gt;
shades,&rdquo; he occupies the throne, and before him&lt;br /&gt;
flit one by one the resuscitated pale spirits of great&lt;br /&gt;
and small, of the wise and the foolish, to pass, in&lt;br /&gt;
what they say, irrevocable sentence on themselves:&lt;br /&gt;
and sometimes what sentences, of empty conceit, of&lt;br /&gt;
ignorance, of feeble-mindedness, and of worse ; and&lt;br /&gt;
the most terrible condemnations falling not always&lt;br /&gt;
from the lips of the poor&lt;br /&gt;
Incidentally Mr. Toynbee&amp;#039;s work shakes the&lt;br /&gt;
whole of modern criticism to its very foundations,&lt;br /&gt;
by compelling the question : If criticism is any-&lt;br /&gt;
thing more than the random expression of a man&rsquo;s&lt;br /&gt;
humour at a given moment, or, still worse, some&lt;br /&gt;
mere sub-department of advertisement, what are the&lt;br /&gt;
principles upon which it is based ? Every work of&lt;br /&gt;
man has its measure of adequacy or inadequacy, of&lt;br /&gt;
Success or failure to accomplish the aim it had, in&lt;br /&gt;
view. But if the result of the weighing is flat&lt;br /&gt;
contradiction, by what standard does he who judges&lt;br /&gt;
measure ? Here are collected the verdicts upon a&lt;br /&gt;
single author of the critics of four hundred years.&lt;br /&gt;
A number of them may be seen ranged side by side&lt;br /&gt;
in the index. They represent every conceivable&lt;br /&gt;
form of contradiction. We know of no case in&lt;br /&gt;
which criticism has been thus arraigned. A com-&lt;br /&gt;
plete scepticism respecting the value of its decisions&lt;br /&gt;
is the only possible conclusion.&lt;br /&gt;
Many speculations of absorbing interest spring&lt;br /&gt;
spontaneously from a perusal of Mr. Toynbee&amp;#039;s pages.&lt;br /&gt;
Foremost among them is the question of the whole&lt;br /&gt;
influence of Italy on English literature, a question&lt;br /&gt;
that connects itself naturally with that of Dante&amp;#039;s&lt;br /&gt;
influences. The latter question Mr. Toynbee&amp;#039;s&lt;br /&gt;
book answers. It does not seem to us that the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#428) ################################################&lt;br /&gt;
&lt;br /&gt;
62&lt;br /&gt;
TISIE A DITISIOR.&lt;br /&gt;
influence of Dante has been very far-reaching. It&lt;br /&gt;
could work immediately only upon those who&lt;br /&gt;
read Italian ; and no mere Smattering of Italian&lt;br /&gt;
suffices for an intelligent reading of Dante. Those&lt;br /&gt;
who have been his pupils have been among the&lt;br /&gt;
greatest ; and this immediately suggests a regret&lt;br /&gt;
that his pupils have not been more numerous.&lt;br /&gt;
Milton&amp;#039;s case is particularly interesting. All that&lt;br /&gt;
was best in the great centuries of Italian literature&lt;br /&gt;
had perished, or was fast perishing, when Milton&lt;br /&gt;
visited Italy in 1638. What was Milton&amp;#039;s impres-&lt;br /&gt;
sion of the Italian contemporary literature ? For&lt;br /&gt;
it was at its lowest ebb. Milton&amp;#039;s last years&lt;br /&gt;
overlap the first decade of the life of Crescemberi,&lt;br /&gt;
co-founder and first &ldquo;Custode&rdquo; of the &ldquo;Arcadi.&rdquo;&lt;br /&gt;
The Arcadi have been, and are still often enough&lt;br /&gt;
ridiculed, but it was from them that Crescemberli&lt;br /&gt;
wrote the &ldquo;Istoria della Volgar Poesia,&rdquo; afterwards&lt;br /&gt;
expanded into his great work, which means that&lt;br /&gt;
the Arcadi were the first, after a dismal night, to&lt;br /&gt;
turn their eyes to where the light was to be found.&lt;br /&gt;
The results of the labours of the Arcadi should,&lt;br /&gt;
therefore, on no account be underrated, though&lt;br /&gt;
their great limitations are well enough known.&lt;br /&gt;
They followed that epoch at which the influence of&lt;br /&gt;
I)ante in England is shown by Mr. Toynbee to&lt;br /&gt;
have been at its lowest, the latter half of the&lt;br /&gt;
seventeenth century. Dante stands to Italian&lt;br /&gt;
literature somewhat in the same relations as Homer&lt;br /&gt;
stands to Greek literature. Not in exactly the&lt;br /&gt;
same relations, for among the Greeks Homer has&lt;br /&gt;
never suffered a day&amp;#039;s eclipse. Still the apprecia-&lt;br /&gt;
tion of Dante and the level of Italian literature&lt;br /&gt;
may be roughly said to go together. Would it be&lt;br /&gt;
legitimate to think that as a wave takes some time&lt;br /&gt;
to reach a distant shore, so the recovery of attention&lt;br /&gt;
by Dante in England follows, at a proportionate&lt;br /&gt;
distance, the movement in Italy, headed by the&lt;br /&gt;
Arcadi, which turned the attention back to the&lt;br /&gt;
daybreak of Italian letters ? Be that as it may,&lt;br /&gt;
Mr. Toynbee shows that a reawakening of interest&lt;br /&gt;
in Dante comes with the approach of the middle&lt;br /&gt;
of the eighteenth century. The English poet most&lt;br /&gt;
under his influence is Shelley. -&lt;br /&gt;
Very wide problems are involved in the low&lt;br /&gt;
estimate of Dante dominant in certain quarters&lt;br /&gt;
and at certain dates; and these problems, if they&lt;br /&gt;
could be solved, ought to throw a great deal of&lt;br /&gt;
light upon some difficult aspects of literary evolu-&lt;br /&gt;
tion. Every student of Italian literature is familiar&lt;br /&gt;
with the singular rapidity of the decadence of&lt;br /&gt;
Dante&amp;#039;s fame in Italy itself. His work had not&lt;br /&gt;
been completed long before it began to fall out of&lt;br /&gt;
fashion. Petrarca&amp;#039;s attitude is well known ; and&lt;br /&gt;
how Boccaccio, who worshipped Dante, would press&lt;br /&gt;
him in vain to take up the study of the great&lt;br /&gt;
master. Later, outside Italy, in the development&lt;br /&gt;
of French literature, at an important epoch, and&lt;br /&gt;
one that influenced all the literatures of Europe,&lt;br /&gt;
writers of note are impatient of Dante. There is&lt;br /&gt;
a somewhat similar epoch of English letters that:&lt;br /&gt;
makes little account of Shakespeare ; and Voltaire&amp;#039;s&lt;br /&gt;
condemnation of both of these immortal poets is&lt;br /&gt;
all of one piece. To condemn that is easy, and&lt;br /&gt;
equally easy to mention the dates and the circum-&lt;br /&gt;
stances of the reappearance of a taste for either&lt;br /&gt;
the one or the other. But the intelligent student&lt;br /&gt;
of literature will not be contented with knowing&lt;br /&gt;
how, or when, approval or disapproval was awarded.&lt;br /&gt;
A deeper problem is presented by the little interro-&lt;br /&gt;
gative&mdash;why What is the secret of these cycles,&lt;br /&gt;
of admiration and indifference on the part of men&lt;br /&gt;
of no mean abilities 2 Results do not emerge&lt;br /&gt;
without causes ; and the mere vacillation of&lt;br /&gt;
fashion, swept hither and thither by a breath,&lt;br /&gt;
seems hardly to afford any sufficient explanation.&lt;br /&gt;
There are in Mr. Toynbee&amp;#039;s book materials that&lt;br /&gt;
might assist the solution of some of these difficult&lt;br /&gt;
literary problems, such as have never been before&lt;br /&gt;
anywhere presented. &ordm; -&lt;br /&gt;
It is, however, impossible to indicate a tithe of&lt;br /&gt;
the speculations which this work suggests, or of&lt;br /&gt;
the long vistas that it opens, whilst of the wealth&lt;br /&gt;
of matter that it contains there is no end. Not&lt;br /&gt;
the least interesting feature, and one on no account.&lt;br /&gt;
to be overlooked, is the multitude of forgotten or&lt;br /&gt;
half-forgotten works which here once more emerge&lt;br /&gt;
into the light.&lt;br /&gt;
Many of the comments on Dante, with which&lt;br /&gt;
the book, of course, abounds, are illuminating. Of&lt;br /&gt;
them all we think the finest Keble&amp;#039;s comparison&lt;br /&gt;
of Dante and Lucretius (Vol. II., p. 437).&lt;br /&gt;
This is a book above praise. The Florentine&lt;br /&gt;
has breathed upon its pages, and given them some-&lt;br /&gt;
thing of that quality of endless significance which&lt;br /&gt;
characterises his own immortal works.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
&amp;amp; C THE UTILITY OF REVIEWS.&rdquo;&lt;br /&gt;
SIR,-With regard to this subject, introduced&lt;br /&gt;
in a past issue, I should like to narrate my&lt;br /&gt;
experience.&lt;br /&gt;
Last June a book written by me was published&lt;br /&gt;
&mdash;a first book by an absolutely unknown writer&mdash;&lt;br /&gt;
and copies were sent to the Press in the usual&lt;br /&gt;
manner. Almost immediately reviews of a favour-&lt;br /&gt;
able nature began to come in, and in the course of&lt;br /&gt;
a few months they numbered over thirty, and&lt;br /&gt;
nearly all were from papers of repute. For&lt;br /&gt;
instance, in the Times there appeared the usual&lt;br /&gt;
initial notice, followed a few weeks later by a really&lt;br /&gt;
complimentary review. The Standard gave the&lt;br /&gt;
book a quarter-column notice under a special&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#429) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A LITRSIOR,&lt;br /&gt;
63&lt;br /&gt;
heading, every word of which was flattering ; the&lt;br /&gt;
Daily Chronicle and Westminster Gazette also&lt;br /&gt;
printed excellent notices under special headings,&lt;br /&gt;
and the following London newspapers remarked&lt;br /&gt;
favourably on the book:-the Morning Leader, Pall&lt;br /&gt;
Mall Gazette, Globe, and Sportsman. The York-&lt;br /&gt;
shire Weekly Post, I believe a widely-circulating&lt;br /&gt;
and influential journal, deals only with a single&lt;br /&gt;
book in each issue, and within three weeks of&lt;br /&gt;
publication made my book the subject of its article,&lt;br /&gt;
&ldquo;A Book to Read.&rdquo; There appeared a good&lt;br /&gt;
notice in T. P.&amp;#039;s Weekly, a short, though excellent&lt;br /&gt;
one, in the Bookman, a very long review in the&lt;br /&gt;
Nottingham Guardian, and appreciative notices in&lt;br /&gt;
Seven of the leading Scotch papers. Journals of&lt;br /&gt;
such diverse character as the Field, the Catholic&lt;br /&gt;
Times, and the Throne, gave the book favourable&lt;br /&gt;
mention, and several of the leading provincial&lt;br /&gt;
dailies said a good word for my little work. There&lt;br /&gt;
were only two papers that had any unkind criticism&lt;br /&gt;
to make, and one of these, the Sheffield Daily Tele-&lt;br /&gt;
graph, praised one phase of the book while it&lt;br /&gt;
blamed the other.&lt;br /&gt;
Well, Sir, I think you will agree that this&lt;br /&gt;
unpretentious little three-and-sixpenny volume, the&lt;br /&gt;
Work of an unknown author, was well received,&lt;br /&gt;
and for my part I must say how grateful I am for&lt;br /&gt;
this kind reception, and how clearly it demonstrates&lt;br /&gt;
the fairness and disinterestedness of editors and&lt;br /&gt;
reviewers.&lt;br /&gt;
But the point is, How did all this affect the sale&lt;br /&gt;
of the book 2 Well, according to my publisher&amp;#039;s&lt;br /&gt;
statement, received after the book had been on&lt;br /&gt;
sale for eight months, the number of copies returned&lt;br /&gt;
as actually sold (there was a line of some two or&lt;br /&gt;
three hundred out on sale or return) amounted to&lt;br /&gt;
less than the number of favourable Press notices !&lt;br /&gt;
In fact, the number returned as sold seemed&lt;br /&gt;
scarcely to equal the number my friends must&lt;br /&gt;
have purchased, so that the sale of no single copy&lt;br /&gt;
could be traced to a Press review.&lt;br /&gt;
Is this disappointing experience common to&lt;br /&gt;
authors, or am I an unusually unlucky one *&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
H. J. A.&lt;br /&gt;
P.S.&mdash;For your personal information, Sir, I&lt;br /&gt;
enclose a page from my publisher&amp;#039;s catalogue,&lt;br /&gt;
giving extracts from a few of the reviews.&lt;br /&gt;
&mdash;s&mdash;e-s&mdash;&lt;br /&gt;
HARDLY FAIR TO THE SOCIETY.&lt;br /&gt;
SIR,-Among the many difficulties which con-&lt;br /&gt;
fronted the founders of the society in its early&lt;br /&gt;
&Oacute;lays, none was more potent than the fear, preva-&lt;br /&gt;
lent among writers at the time, that to join such&lt;br /&gt;
an organisation was to invite publishers to boycott&lt;br /&gt;
their works.&lt;br /&gt;
That bar to the society&amp;#039;s prosperity has now&lt;br /&gt;
Completely disappeared &mdash; how completely the&lt;br /&gt;
following incident will show.&lt;br /&gt;
In the course of conversation recently with a&lt;br /&gt;
Writer I made a casual reference to the society&lt;br /&gt;
and its work. My friend, speaking in enthusiastic&lt;br /&gt;
terms of its utility, explained that he had found&lt;br /&gt;
the mention of its name very effective in the case&lt;br /&gt;
of editors afflicted with the habit of mislaying their&lt;br /&gt;
cheque books.&lt;br /&gt;
My natural deduction that a man who found&lt;br /&gt;
the society&amp;#039;s name so helpful must necessarily be&lt;br /&gt;
a member was rather rudely dispelled by a subse-&lt;br /&gt;
Quent remark which he made to the effect that he&lt;br /&gt;
would very probably join it &ldquo;one of these days.&rdquo;&lt;br /&gt;
That, should this practice become general, &ldquo;one&lt;br /&gt;
of these days&rdquo; there will be no society to join, did&lt;br /&gt;
not apparently occur to him.&lt;br /&gt;
Yours, &amp;amp;c., A. L.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
A NOVEL SUGGESTION FOR THE SALE OF Books.&lt;br /&gt;
SIR,--I presume all your readers will agree with&lt;br /&gt;
Mr. Charles Marriott, in the October number, as to&lt;br /&gt;
the difficulty of finding a book they want at a book-&lt;br /&gt;
seller&amp;#039;s ready to be bought on the spot. The fact&lt;br /&gt;
seems to be that the great output of books has&lt;br /&gt;
outrun the means of distribution. In the ordinary&lt;br /&gt;
bookshop we cannot expect to find all the novels&lt;br /&gt;
and books that appear weekly, and yet, as Mr.&lt;br /&gt;
Marriott says, we ought to be able to do so, and it&lt;br /&gt;
Would be to the advantage of the author, the&lt;br /&gt;
publisher, and the reader if we could. I venture&lt;br /&gt;
to suggest a possible remedy for the consideration&lt;br /&gt;
of your readers and those concerned. -&lt;br /&gt;
It appears to me that what is wanted is a large&lt;br /&gt;
dep&ocirc;t or store in a central position in the West&lt;br /&gt;
End, so far as London is concerned. This dep&ocirc;t&lt;br /&gt;
might be built by a company formed by publishers&lt;br /&gt;
and the public, if the publishers alone cannot&lt;br /&gt;
undertake it. It should be fitted up in the most&lt;br /&gt;
convenient manner that can be devised for seeing&lt;br /&gt;
and taking down books from the shelves. The&lt;br /&gt;
profit to this company would be derived from the&lt;br /&gt;
rental of the space required by the publishers for&lt;br /&gt;
the sale of their books. The company would not&lt;br /&gt;
buy the books sent, but merely give them house&lt;br /&gt;
room and provide assistants and necessary expenses.&lt;br /&gt;
The books would be there on what is called the&lt;br /&gt;
sale or return system. The company would act as&lt;br /&gt;
commission agents for the sale of books, a small&lt;br /&gt;
amount, say 18, 2d. per 1s., being charged on sales,&lt;br /&gt;
sufficient to pay expenses other than rent. &bull; ,&lt;br /&gt;
The publisher who availed himself of the dep&ocirc;t&lt;br /&gt;
would send samples of all his books as they were&lt;br /&gt;
published, paying rent for the space they occupied.&lt;br /&gt;
The charge for rent would of course require much&lt;br /&gt;
expert consideration, but it is obvious that the&lt;br /&gt;
publisher could afford to pay a good price, as when&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#430) ################################################&lt;br /&gt;
&lt;br /&gt;
64&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
the dep&ocirc;t became known he would save the discount&lt;br /&gt;
to the bookseller, travellers&rsquo; expenses, and expensive&lt;br /&gt;
advertisements, or, to put it in another form, the&lt;br /&gt;
charge made should be equivalent to those expenses&lt;br /&gt;
as well as can be judged, or rather less, to give an&lt;br /&gt;
inducement to join, plus the rent for space. The&lt;br /&gt;
bookseller, if he chose, could buy at the store on his&lt;br /&gt;
present trade terms. Rules should be made to&lt;br /&gt;
decide the time that books remained in the store,&lt;br /&gt;
novels say a year, and other works longer, as decided&lt;br /&gt;
by the company, for the object is to display new&lt;br /&gt;
works, not to form a library. Accounts of sales to&lt;br /&gt;
be sent to the publishers as made. This plan&lt;br /&gt;
would relieve the company of all risk respecting the&lt;br /&gt;
sale of books which falls on the publisher who has&lt;br /&gt;
already appraised it in his own interest. If such a&lt;br /&gt;
scheme were developed it might meet the object in&lt;br /&gt;
view, and, if successful, be adopted in other towns.&lt;br /&gt;
H. D. BARCLAY.&lt;br /&gt;
&mdash;t-s&ordm;-0&mdash;&lt;br /&gt;
SMASHED MANUSCRIPTS.&lt;br /&gt;
DEAR SIR,-My grievance may be a trivial one,&lt;br /&gt;
but it has rankled long, and the time has come&lt;br /&gt;
when it demands an outlet. I suffer under a&lt;br /&gt;
burden of accumulated exasperation at the frequent&lt;br /&gt;
appearance on the breakfast table of flabby and&lt;br /&gt;
pitiable envelopes addressed in my own handwriting,&lt;br /&gt;
containing rejected manuscripts, battered and bent,&lt;br /&gt;
returned without a card. I hasten to explain that&lt;br /&gt;
I have no reason whatever to complain of their&lt;br /&gt;
being rejected. In that I see only the wisdom and&lt;br /&gt;
sound judgment of the editor in question ; but I&lt;br /&gt;
do very strongly object to their being cast into the&lt;br /&gt;
troubled vortex of the post-office without the&lt;br /&gt;
shelter and protection of their natural guardian.&lt;br /&gt;
Not long ago I had the good fortune to become&lt;br /&gt;
the possessor of two incomparable sheets of card-&lt;br /&gt;
board, which had been used to pack a picture. I&lt;br /&gt;
seized upon them with enthusiasm, and had soon&lt;br /&gt;
divided them into no less than eight manuscript&lt;br /&gt;
cards of a class all by themselves, not for a moment&lt;br /&gt;
to be confounded with the lids of old boxes of type-&lt;br /&gt;
writing paper, which had previously formed my&lt;br /&gt;
main source of supply. From that hour my&lt;br /&gt;
manuscripts went forth rigid and spotless into the&lt;br /&gt;
world. And now I find that not a single one of&lt;br /&gt;
my eight cards remains. It is not that my con-&lt;br /&gt;
tributions have all been accepted&mdash;far from it&mdash;&lt;br /&gt;
but the cards have been accepted with alacrity.&lt;br /&gt;
Now, briefly, what I want to know is this, and I am&lt;br /&gt;
sorry if I must put it bluntly&mdash;Who is stealing my&lt;br /&gt;
cards 2 One does not imagine that the editorial&lt;br /&gt;
mind ever comes in contact with such details, but&lt;br /&gt;
if it is the office boy, what in the world does he do&lt;br /&gt;
with them 2 Is there some new game now rife&lt;br /&gt;
among office boys in which pieces of cardboard figure,&lt;br /&gt;
or are they used to mount photographs, or what ?&lt;br /&gt;
I hope I do not trespass too far upon your space,&lt;br /&gt;
but I can assure you that even if it has no other&lt;br /&gt;
effect I shall feel the better for having written this&lt;br /&gt;
letter. And seriously I think a little more care&lt;br /&gt;
might be shown in this matter. I have more than&lt;br /&gt;
once of late had to get a damaged manuscript re-&lt;br /&gt;
typed after its first journey.&lt;br /&gt;
I am, Sir, yours faithfully,&lt;br /&gt;
BERTRAM SMITH.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
LITERARY AGENTs AGAIN.&lt;br /&gt;
SIR,-As some of your readers may know, it is&lt;br /&gt;
not an uncommon practice of editors in search of&lt;br /&gt;
stories of a particular character, or of articles of&lt;br /&gt;
a specialised nature, to seek the co-operation of&lt;br /&gt;
literary agents. The literary agent can generally,&lt;br /&gt;
without much difficulty, find writors who are&lt;br /&gt;
capable of executing a commission of this character.&lt;br /&gt;
Unfortunately, however, the editor&amp;#039;s necessity is&lt;br /&gt;
too often the agent&amp;#039;s rather than the author&amp;#039;s&lt;br /&gt;
opportunity. In spite of the fact that the agent&lt;br /&gt;
has, in many cases, a large number of authors on&lt;br /&gt;
his books to whom he can quite easily refer such&lt;br /&gt;
a commission, too often he prefers to ignore his&lt;br /&gt;
clients in order to use it as a bait to attract other&lt;br /&gt;
Writers. He writes to some author who is not on&lt;br /&gt;
his list and puts before him the offer in order to&lt;br /&gt;
obtain the handling of his future work, and some-&lt;br /&gt;
times in order to draw him away from the agent&lt;br /&gt;
who is then acting for him. This position is bad&lt;br /&gt;
enough, but I have had experience of something&lt;br /&gt;
Worse. The agent, in order to draw the author&lt;br /&gt;
into his meshes, will sometimes write and make&lt;br /&gt;
him an offer on behalf of a publisher or editor,&lt;br /&gt;
which offer was never really in existence. When&lt;br /&gt;
he has got the author within his toils, he explains,&lt;br /&gt;
with one excuse or another, that it is impossible to&lt;br /&gt;
complete the contract. The agent is, of course, a&lt;br /&gt;
business man just as is the publisher, and is as&lt;br /&gt;
anxious to increase the work in his office, and, in&lt;br /&gt;
consequence, his commission, as the publisher is to&lt;br /&gt;
obtain books from various authors; but there is&lt;br /&gt;
always a way of doing these things. It is a pity&lt;br /&gt;
that agents do not follow it.&lt;br /&gt;
There are other points to which I should like to&lt;br /&gt;
draw the attention of your readers, but I think,&lt;br /&gt;
perhaps, it would be as well to leave these questions&lt;br /&gt;
for another letter. For instance, there is the case&lt;br /&gt;
of the agent who deals as principal ; the case of&lt;br /&gt;
the agent who acts as a publisher&amp;#039;s or an editor&amp;#039;s&lt;br /&gt;
tout; and, finally, there is the agent who is either&lt;br /&gt;
careless or does not know his business.&lt;br /&gt;
I should be very pleased to have the experiences&lt;br /&gt;
of other members of the society if they care to&lt;br /&gt;
write to the editor and the editor, is able to insert&lt;br /&gt;
their letters.&lt;br /&gt;
. Yours, &amp;amp;c., P. W. C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#431) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
** COASTER.?&rdquo;&lt;br /&gt;
You know there is only one Coast&mdash;the West&lt;br /&gt;
Coast of Africa. Every &ldquo;Coaster,&rdquo; and every-&lt;br /&gt;
one who has a son, or a brother, or a husband,&lt;br /&gt;
or a friend on&lt;br /&gt;
&ldquo;THE SEDUCTIVE GOAST,&rdquo;&lt;br /&gt;
should ask for the volume of poems which&lt;br /&gt;
bears that title. It is by J. M. Stuart-Young,&lt;br /&gt;
and the author has sought to capture some-&lt;br /&gt;
thing of the elusive charm which holds the&lt;br /&gt;
&ldquo;Coaster&rsquo;&rsquo; bound to West Africa. The&lt;br /&gt;
poems are not pretentious. Each one, how-&lt;br /&gt;
ever, is the sincere expression of an emotion ;&lt;br /&gt;
and many aspects of tropical life have been&lt;br /&gt;
touched upon.&lt;br /&gt;
Grown 8vo, 175 pp. 5|- nef,&lt;br /&gt;
Ask your Bookseller, or the Railway Bookstall for it&mdash;and&lt;br /&gt;
See that you get it !&lt;br /&gt;
JOHN OUSELEY, Limited,&lt;br /&gt;
Farringdon Street, London, E.C.&lt;br /&gt;
T0 AUTHORS AND JOURNALISTS.&lt;br /&gt;
* The writer, whether he aspires to write movels,&lt;br /&gt;
short stories, or articles, often spends years in&lt;br /&gt;
uncongenial work, rebuffs and drudgery being&lt;br /&gt;
the only return for the time and labour spent.&lt;br /&gt;
T THE COURSE OF LITERARY TRAINING&lt;br /&gt;
promoted by the Literary Correspondence College&lt;br /&gt;
teaches the aspirant to serve his apprenticeship&lt;br /&gt;
to Literature in the briefest time possible.&lt;br /&gt;
* The College also undertakes Literary Agency&lt;br /&gt;
business of all kinds.&lt;br /&gt;
For full particulars write at once for pamphlet&lt;br /&gt;
D.M. to the LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
FIRST LESSONS IN STORY WRITING.&lt;br /&gt;
By BARRY PAIN.&lt;br /&gt;
2s. 6d. net; 2s. 8d. post free.&lt;br /&gt;
*Iſ Of this work the Westminster Gazette Writes: &ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be&lt;br /&gt;
quite assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
HOW TO BECOME AN AUTHOR.&lt;br /&gt;
By ARNOLD BENNETT. A Practical Guide; full of&lt;br /&gt;
useful hints. 5s. net; 5s. 4d. post free.&lt;br /&gt;
THE LITERARY correspondence Col.I.EGE,&lt;br /&gt;
Ş, Arundel Street, Strand, W.C.&lt;br /&gt;
-AUTHORS!&lt;br /&gt;
OVER THIS SUM has been pefused in fees&lt;br /&gt;
&pound;400 !-&lt;br /&gt;
since January 1, 1909, by&lt;br /&gt;
THE GAMBRIDGE LITERARY AGENCY.&lt;br /&gt;
During the current year over 940 (nine hundred and forty) Novels,&lt;br /&gt;
Short Stories, etc., have been returned because the work could not&lt;br /&gt;
be honestly recommended to the 140 (one hundred and forty)&lt;br /&gt;
Publishers and Periodicals&lt;br /&gt;
accepting MSS. from this Agency.&lt;br /&gt;
This statement can be proved to any inquirer.&lt;br /&gt;
HIGHEST&lt;br /&gt;
PRICES OBTAINED.&lt;br /&gt;
REPRESENTATIVE IN AMERICA.&lt;br /&gt;
Sixteen page Prospectus on application to&mdash;&lt;br /&gt;
Telephone&mdash;&lt;br /&gt;
Gerrard, 1648.&lt;br /&gt;
THE JECRETARY, 115, J trand, London.&lt;br /&gt;
* N&ordm; - - -&lt;br /&gt;
* * * &ldquo;&ordm; C t&ordm;&lt;br /&gt;
&ordm; Y&amp;#039; &amp;#039;&bull; * * * * -, , , a &amp;quot;. .&lt;br /&gt;
2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#432) ################################################&lt;br /&gt;
&lt;br /&gt;
iv ADVERTISEMENTS.&lt;br /&gt;
TG) AN AUTHOR&lt;br /&gt;
the APPEARANCE and STYLE of manuscript is&lt;br /&gt;
An Important Matter.&lt;br /&gt;
Send your typewriting to me ! I have had a broad experience of&lt;br /&gt;
Literary Work,&lt;br /&gt;
and guarantee to execute all commissions promptly, and in&lt;br /&gt;
a manner warranted to tempt the consideration of the&lt;br /&gt;
busiest Editors.&lt;br /&gt;
Price List, Testimonials, etc., on application.&lt;br /&gt;
C. HERBERT CAESA y Homefield, Yoodstock Road,&lt;br /&gt;
|COUPON.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
This Coupon entitles you to one Carbon&lt;br /&gt;
Duplicate, Gratis, if sent with your order.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work.&mdash;FRANK SAVIL.E.&rdquo;&lt;br /&gt;
Miss M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDIESEX.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
TWO popular Hotels in Gentral London.&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL.&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL.&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
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and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors. Perfect Sanita-&lt;br /&gt;
tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance), single, from&lt;br /&gt;
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Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote,&lt;br /&gt;
Breakfast and Dinner, from 816 to 10/6 per day.&lt;br /&gt;
Full Tariff and Testimonials on application.&lt;br /&gt;
Telegraphic Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
Kingsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
Taztanton. [XVIII. cent.&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
SIKES and SIPKES,&lt;br /&gt;
The West Kensington Typewriting 0ffices,&lt;br /&gt;
(Established 1893)&lt;br /&gt;
223a, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MISS. ; Translations; Duplicating; Plays and Actors&amp;#039; Parts;&lt;br /&gt;
Legal, General and Commercial Documents. Private Dictation Room.&lt;br /&gt;
LESSONS. References.&lt;br /&gt;
MRS. GILL, Typetoriting Cffice,&lt;br /&gt;
(Established 1888.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
Words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephome 84.64 Central.&lt;br /&gt;
TYPEWRITING OFFICES.&lt;br /&gt;
(Established 1897.)&lt;br /&gt;
COVENTRY. &mdash; Please note Change of&lt;br /&gt;
Address to &ldquo;WESTLEIGH,&amp;quot; KING RICHARD&lt;br /&gt;
STREET, from Oswald House, Queen&lt;br /&gt;
&ordm;f Victoria Road. TYPEwBITING OF EvKRY&lt;br /&gt;
P&ordm; DESCRIPTION, from 9d. per 1,000 words.&lt;br /&gt;
Eacellent Testimonial from Play Writers.&lt;br /&gt;
Quickly and carefully done on good paper, from&lt;br /&gt;
7d. per 1,000 words.&lt;br /&gt;
References from leading London publishers.&lt;br /&gt;
Miss B. G. BLAXELLE, c/o Messrs. King-Potter,&lt;br /&gt;
Clerments &amp;amp; Co., 56, Ludgate Hili, E.C.&lt;br /&gt;
TYPEWRITING -7&lt;br /&gt;
&amp;#039;... . . .&amp;quot; s&ordm;. . . . . . . . . &ordm;. . . . . . . .&ordm;.&ordm;.&ordm;. c&ordm;&ordm;r . . . . ... . . . . . . . . s&ordm;&lt;br /&gt;
AUTHORS, TYPEwriting.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-,&lt;br /&gt;
General Copying &amp;amp; s&ordm; ... 1/1 3 3, 5 y 2 3 1/3,&lt;br /&gt;
Plays, ruled e - e. &amp;amp; &ordm; &ordm; ... 1)- 3 y y y&ordm; 114-&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD. .&lt;br /&gt;
&ordm;: ; ; ; ;...&amp;quot; ... * ***.*, *.*.*: l&lt;br /&gt;
* , &ordm;r 8. s&ordm; #Z&ordm;&ordm;&amp;lt;! . . . . . . . . . . . . .&rdquo; 3.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. and GENERAL COPYING undertaken from.&lt;br /&gt;
1S. per 1,000 words. Duplicate copies one third price.&lt;br /&gt;
TRIAL ORDER SOLICHTED.&lt;br /&gt;
GOOD WORK GUARANTEED.&lt;br /&gt;
A. WILSON, 9, ALEXANDRA ROAD, STAMFORD.&lt;br /&gt;
Printed by BRADBURY, AGNEW, &amp;amp; Co. LD., and Published by them for THE SocIETy of AUTHORs (INCORPORATED),&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/398/1909-11-01-The-Author-20-2.pdf</td><td>publications, The Author</td></tr><tr><td>399</td><td>https://historysoa.com/items/show/399</td><td>The Author, Vol. 20 Issue 03 (December 1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+03+%28December+1909%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 03 (December 1909)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-12-01-The-Author-20-3</td><td></td><td></td><td></td><td></td><td>65&ndash;96</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-12-01&quot;&gt;1909-12-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>3</td><td></td><td></td><td>19091201</td><td>C be El ut b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XX.&mdash;No. 3. DECEMBER 1, 1909. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
* PAGE PAGE&lt;br /&gt;
Notices ... t&ordm; t&ordm; g t&ordm; ſ&ordm; &ordm; t&ordm; a &ordm; &amp;amp; e ſ&ordm; &copy; t&ordm; &ordm; t&ordm; &ordm; &amp;amp; &ordm; &ordm; 65&ndash;66 Registration of Scenarios and Original Plays ... is e t&ordm; t&ordm; e t&ordm; S7&lt;br /&gt;
Committee Notes t&ordm; w 4 t&ordm; g&ordm; &amp;amp; &amp;amp; &ordm; ſ&ordm;. t&ordm; t&ordm; w&ordm; t&ordm; e g &ordm; t&ordm; g&ordm; t&ordm; 6 e 66 Warnings to Musical Composers * t&ordm; e e &lsquo;&ordm; &ordm; t&ordm; t&ordm; e t&ordm; &ordm; w&ordm; S7&lt;br /&gt;
Books published by Members of the Society &amp;amp; &copy; t&ordm; t&ordm; e e &copy; t&ordm; t&ordm; 71 Stamping Music ... s&ordm; t&ordm; e &amp;amp; &copy; e t&ordm; s &amp;amp; $ t&ordm; e t&ordm; t&ordm; g&ordm; &ordm; e &ordm; * * * S7&lt;br /&gt;
Literary, Dramatic and Musical Notes ... ... ... ... 73 The Reading Branch ... ... ... ... ... ... ... sy&lt;br /&gt;
Paris Notes t&ordm; ſ&ordm; w&ordm; * t&ordm; g&ordm; &amp;amp; ſ&ordm; e t&ordm; s e t&ordm; &ordm; &ordm; s&ordm; t&ordm; &ordm; t&ordm; t&ordm; &ordm; &euml; e &ordm;s 77 &ldquo;The Author &rsquo;&rsquo; ... &amp;amp; &ordm; e &euml; t&ordm; &ordm; &amp;amp; t&ordm; t&ordm; &ordm; &ordm; e t&ordm; &ordm; t&ordm; &ordm; e &amp;amp; B t&ordm; S7&lt;br /&gt;
Copyright in Compilations ... e e &ordm;n t&ordm; &ordm; &ordm; 4&deg; t&ordm; a t&ordm; &ordm; ſ&ordm;. ... 7S Remittances ... &amp;quot; ... ... e t&ordm; &ordm; &bull; - - - - - - - - - - - S7&lt;br /&gt;
Claim to Copyright in the Title of a book &copy; t&ordm; &ordm; t&ordm; t&ordm; g&ordm; ... 79 General Notes ... ... ... t&ordm; &pound; t&ordm; t&ordm; &ordm; &ndash; ... ... ... SS&lt;br /&gt;
Artistic Copyright ... {e t&ordm; g&ordm; &ordm; &ordm;g ge e t&ordm; d&ordm; e &ordm; &ordm;s t&ordm; &ordm; ve ... 79 The Lord Chief Justice on Copyright ... t&ordm; &ordm; a t&ordm; e &ordm;s * * * S9&lt;br /&gt;
The Report of the Joint Committee on the Stage Plays Art and Taxation t&ordm; e &amp;amp; &euml; e 9 t&ordm; e &ordm; &amp;amp; &ordm; &ordm; * u, &ordm;, * * * * t&ordm; e t&ordm; 90&lt;br /&gt;
(Censorship) ... ... ... ... ... ſe t&ordm; &amp;amp; ... ..., 80 The Art of Illustrating &ldquo;. ... ... ... ... ... 91&lt;br /&gt;
Prize Play Competition * * * * * * &amp;gt; t&ordm; &ordm; ſ&ordm; * - s&ordm; t&ordm; $ t&ordm; &sect; 4 &amp;amp; S4 Critical Essays of the Seventeenth Century * @ * * * t&ordm; t&ordm; &ordm; 94.&lt;br /&gt;
How to Use the Society * * * * * * &copy; t&ordm; e g&ordm; &ordm; &ordm; t&ordm; &ordm; &ordm; t&ordm; ſ&ordm; &ordm; S6 Short Stories &amp;amp; s&ordm; s&ordm;. * * * t&ordm; s&ordm; g&ordm; * * * t&ordm; &ordm; &ordm; &amp;amp; &copy; t&ordm; t&ordm; a &ordm; 95&lt;br /&gt;
Warnings to the Producers of Books t&ordm; t&ordm; g t&ordm; t&ordm; g&ordm; t&ordm; ſ&ordm; t&ordm; t&ordm; &ordm; ſ&ordm; S6 Correspondence ... ſ&ordm; &ordm; t&ordm; * * g. t&ordm; g &amp;amp; e t&ordm; &ordm; &ordm;n t&ordm; &ordm; t&ordm; &pound; t&ordm; t&ordm; t&ordm; e 95&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; t&ordm; &ordm; * * S6&lt;br /&gt;
PTTBLICATIONS OF THE SOCIETY.&lt;br /&gt;
. The Annual Report for the current year, 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MoRRIS COLLEs, Barrister-at-Law. 38.&lt;br /&gt;
. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 1s.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 1s.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
1&lt;br /&gt;
*&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d. \&lt;br /&gt;
- *~~&lt;br /&gt;
10. Forms of Agreement issued by the publishers Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.&lt;br /&gt;
11. Periodicals and their Contributors.&rdquo; Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#434) ################################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(ſlie &Scaron;uriefn of Autburg (jnrurpurated).&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
TIECOINAT ALS IEEI_A_IERIDY -&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
THE HON. M.R.S. ALFRED FELKIN&lt;br /&gt;
(ELLEN THoRNEYCROFT FOWLER).&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
MRs. HARRIson (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG,&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. Lo&ordm;&amp;#039;ſ IE, F.S.A.&lt;br /&gt;
THE RIGHT HON, SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD&lt;br /&gt;
SHAw).&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
(MISS FLORA. L.&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY NORMAN, M.P.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PIN ERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT WolsFLEY, K. P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB,&lt;br /&gt;
|H. G. WELLS.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
| Douglas FRESHFIELD.&lt;br /&gt;
SIDNEY LEE.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
JEROME K. J.EROME.&lt;br /&gt;
W. J. LOCKE.&lt;br /&gt;
CAPT. ROBERT MARSHALL.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
Chairmam&mdash;MAURICE HEWLETT.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
ART.&lt;br /&gt;
JoHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
OFFICES.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
SIR. JAMES YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HIGRBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres,&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR. W.M. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S. .&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REV. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYNS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENS (&ldquo;MARK TWAIN&rsquo;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON, D.C.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
THE HON. MRS. ALFRED FELKIN&lt;br /&gt;
(ELLEN THORNEYCROFT FOWLER).&lt;br /&gt;
Chairman&mdash;SIR ARTHUR PINERO.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
IDRAMATIC SUB-COMMITTEE.&lt;br /&gt;
Vice-Chairman&mdash;EIENRY ARTHUR JONES.&lt;br /&gt;
PENSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
COPYRIGHT SUB-COMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HoPE HAWKINS.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
FIELD, Rosco E &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. t&ordm; e&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. Solicitors.&lt;br /&gt;
LAwkENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#435) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XX.&mdash;No. 3.&lt;br /&gt;
DECEMBER 1st, 1909.&lt;br /&gt;
[PRICE SIxPENOE.&lt;br /&gt;
TELEPHONE N unpr&ordm; :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
* &mdash;&ordm;- a&lt;br /&gt;
~&ndash;w--&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the boma fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
*&mdash;&ordm;- *&lt;br /&gt;
v-u-&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Th; List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicle.]&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ldquo;C-0&ndash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial&amp;#039; position of the Fund, decided to invest&lt;br /&gt;
#350 in the purchase of Corporation of London&lt;br /&gt;
24 per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#436) ################################################&lt;br /&gt;
&lt;br /&gt;
66 TISIES A CITISIOR.&lt;br /&gt;
more than &pound;100 over the amount invested last&lt;br /&gt;
year.&lt;br /&gt;
Consols 23%.............................. 31,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 0&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates ............... 200 0 ()&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock .................................... 200 () 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 34% Stock. . . . . . . .... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 23% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Total ............... f&ordm;&atilde;,815 1 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
April 13, Gask, Miss Lilian&lt;br /&gt;
May 17, Rorison, Miss Edith&lt;br /&gt;
June 10, Voynich, Mrs. E. L.&lt;br /&gt;
June 10, Jaques, E. T. .&lt;br /&gt;
June 11, Grier, Mrs. Julia M.&lt;br /&gt;
June 11, Field, C. &ordm; g&ordm;&lt;br /&gt;
June 11, Barrington, Mrs. Russell&lt;br /&gt;
July 8, Burmester, Miss Frances&lt;br /&gt;
July 9, Grindrod, Dr. G. F.&lt;br /&gt;
July 10, Hargrave, Mrs. Basil&lt;br /&gt;
Aug. 5, Stott, M. D. . o&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
1&lt;br /&gt;
15, Greig, James&lt;br /&gt;
15, Jacomb, A. E.&lt;br /&gt;
16, Hepburn, Thomas&lt;br /&gt;
16, Trevelyan, G. M. .&lt;br /&gt;
16, &ldquo;Haddon Hall &rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. * *&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
Nov. 5, Dixon, A. Francis .&lt;br /&gt;
Nov. 6, Helledoren, J.&lt;br /&gt;
|&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Sprigge, Dr. S. S. . 5 () ()&lt;br /&gt;
April 5, Burchell, Sidney H. () 5 ()&lt;br /&gt;
April 15, Linton, C. Stuart () 5 ()&lt;br /&gt;
April 19, Loraine, Lady . te . () 10 ()&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer 1 0 0&lt;br /&gt;
April 20, Stephens, Riccardo . 1 1 0&lt;br /&gt;
May 24, Lefroy, Mrs. C. P. 1 1 0&lt;br /&gt;
June 2, &ldquo;Olivia Ramsey&rsquo;&rdquo; () 10 6&lt;br /&gt;
June 7, Horne, A. B. 50 () ()&lt;br /&gt;
&pound; s. d.&lt;br /&gt;
June 10, Muir, Ward o 1 1 0&lt;br /&gt;
June 10, Swan, Miss Myra () 5 0&lt;br /&gt;
June 17, Bradley, A. C. I () ()&lt;br /&gt;
June 22, Trotēre, H. . | | 0&lt;br /&gt;
July 8, Harland, Mrs. &amp;amp; . (; 10 0&lt;br /&gt;
July 8, Sinclair, Miss May * . 15 0 ()&lt;br /&gt;
Aug. 5, Cameron, Mrs. Charlotte 1 1 0&lt;br /&gt;
Sept. 10, Hinkson, Katharine Tynan . 1 1 0&lt;br /&gt;
Oct. 16, Hodson, Miss A. L. &copy; () 5 ()&lt;br /&gt;
Oct. 16, Wasteneys, Lady . () 5 - 0&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. . t&ordm; () 5 ()&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril . I () ()&lt;br /&gt;
Nov. 4, George, W. L. t&ordm; () 5 0&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
April, 1909, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
&mdash;&ordm;- - a&lt;br /&gt;
w&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE November meeting of the Committee of&lt;br /&gt;
Management was held at the offices of the&lt;br /&gt;
Society on the 1st day of that month.&lt;br /&gt;
After the reading and signing of the minutes of&lt;br /&gt;
the previous meeting, thirteen members and&lt;br /&gt;
associates were elected, bringing the total elections&lt;br /&gt;
for the current year up to 267. The highest&lt;br /&gt;
election in any previous year since the society was&lt;br /&gt;
founded was 247, so that without reckoning the&lt;br /&gt;
December elections still to be included, the society&lt;br /&gt;
has already passed the election in any former year&lt;br /&gt;
by twenty. Two resignations were accepted, bring-&lt;br /&gt;
ing the resignations for the year up to 75.&lt;br /&gt;
The committee then took into consideration the&lt;br /&gt;
matter of their nominees for the committee election&lt;br /&gt;
for 1910. These will be mentioned in the January&lt;br /&gt;
number of The Author in accordance with the&lt;br /&gt;
Articles of Association of the new constitution.&lt;br /&gt;
The Musical Copyright Bill was then brought&lt;br /&gt;
forward, but it was decided to adjourn the con-&lt;br /&gt;
sideration of this, as the secretary reported that an&lt;br /&gt;
agreement was in the course of settlement, with&lt;br /&gt;
the assistance of Sir Charles Stanford, between a&lt;br /&gt;
firm of musical publishers and the society, and it&lt;br /&gt;
was thought that this agreement, when laid before&lt;br /&gt;
the committee, would influence them in their&lt;br /&gt;
decision in regard to the Bill.&lt;br /&gt;
The question of the registration of scenarios was&lt;br /&gt;
laid before the committee, and it was decided that&lt;br /&gt;
the charge of 2s. 6d. which had already been settled&lt;br /&gt;
in accordance with the recommendation of the&lt;br /&gt;
Dramatic Sub-committee should be continued, but&lt;br /&gt;
that in the case of registration of the whole play&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#437) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 67&lt;br /&gt;
the charge should be at the rate of 2s. 6d. per act.&lt;br /&gt;
A suggestion that musical works should be registered&lt;br /&gt;
under this scheme was considered, but the committee&lt;br /&gt;
did not see their way to undertake this responsibility.&lt;br /&gt;
The next business was the consideration of certain&lt;br /&gt;
Ca,S&eacute;S.&lt;br /&gt;
The committee were informed that an appeal had&lt;br /&gt;
been lodged to the House of Lords in the case of&lt;br /&gt;
Scholz v. Amasis by the plaintiff, who had sought&lt;br /&gt;
to set aside a bankruptcy petition at present&lt;br /&gt;
standing against him. If the petition was set aside&lt;br /&gt;
he intended to carry forward the appeal and plead&lt;br /&gt;
Žn formal pauperis. The solicitors&rsquo; letters relating&lt;br /&gt;
to the matter were read to the committee.&lt;br /&gt;
The conduct of another case which had been&lt;br /&gt;
taken up some time ago was also considered by the&lt;br /&gt;
committee. It is inadvisable at the present time&lt;br /&gt;
to report the decision to which they came.&lt;br /&gt;
Correspondence relating to an infringement of&lt;br /&gt;
copyright by an Irish newspaper was read, and it&lt;br /&gt;
was decided to support the member in his claim&lt;br /&gt;
against the paper unless some acceptable proposal&lt;br /&gt;
were made by the delinquents.&lt;br /&gt;
Another case of piracy by a colonial paper was&lt;br /&gt;
discussed. The difficulty in this matter had arisen&lt;br /&gt;
owing to the reluctance of the member to sign the&lt;br /&gt;
usual guarantee form which the Society requires&lt;br /&gt;
from those members whose cases it takes in hand.&lt;br /&gt;
The committee decided that, if after explanation&lt;br /&gt;
of the meaning of the guarantee the member&lt;br /&gt;
persisted in his refusal to sign it, they would be&lt;br /&gt;
obliged to abandon the case.&lt;br /&gt;
A case arising out of a dispute between an&lt;br /&gt;
author and a publisher in respect of the meaning&lt;br /&gt;
of an existing agreement was discussed, and it was&lt;br /&gt;
agreed to take the opinion of counsel on the facts.&lt;br /&gt;
The last case which came up for the committee&amp;#039;s&lt;br /&gt;
consideration related to a matter which the Com-&lt;br /&gt;
mittee felt unable to support, as it appeared to be&lt;br /&gt;
outside the scope of the Society&amp;#039;s work.&lt;br /&gt;
The committee decided to allow the secretary to&lt;br /&gt;
use his discretion, with the advice of the solicitors,&lt;br /&gt;
in taking actions into the county court, and thus&lt;br /&gt;
to set aside the reference to the chairman or the&lt;br /&gt;
committee. The practice hitherto has been to&lt;br /&gt;
refer all county court cases to the chairman or&lt;br /&gt;
the committee.&lt;br /&gt;
A report from the Publishers&rsquo; Association on a&lt;br /&gt;
matter which had been laid before them by the&lt;br /&gt;
last committee was read, as well as other letters for&lt;br /&gt;
the committee&amp;#039;s information.&lt;br /&gt;
The secretary regrets the omission in the October&lt;br /&gt;
number of The Author of a donation of 158. from&lt;br /&gt;
Miss Brooke to the capital funds of the Society.&lt;br /&gt;
-&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
THE Dramatic Sub-Committee met at the offices&lt;br /&gt;
of the society on Monday, October 25.&lt;br /&gt;
In the absence of Sir Arthur Pinero and Mr.&lt;br /&gt;
Henry Arthur Jones, chairman and vice-chairman&lt;br /&gt;
respectively, Mr. Carton took the chair as at the&lt;br /&gt;
former meeting. After the minutes had been read&lt;br /&gt;
and signed, the Secretary reported that the plaintiff&lt;br /&gt;
in Scholz v. Amasis had decided to appeal&lt;br /&gt;
against the judgment of the Court of Appeal to the&lt;br /&gt;
House of Lords. Members may recall to mind that&lt;br /&gt;
the society supported the appeal on behalf of Mr.&lt;br /&gt;
Frederick Fenn, one of the defendants, against the&lt;br /&gt;
judgment given in the Court of First Instance,&lt;br /&gt;
and that the three judges in the Court of Appeal&lt;br /&gt;
delivered a unanimous decision in Mr. Fenn&rsquo;s&lt;br /&gt;
favour. The society has been unable to obtain&lt;br /&gt;
from the other side the costs incurred in the appeal,&lt;br /&gt;
which are taxed at about &pound;150. Mr. Scholz has&lt;br /&gt;
now lodged an appeal to the House of Ilords,&lt;br /&gt;
desiring to proceed in form&aacute; pauperis.&lt;br /&gt;
The secretary then read a letter which he had&lt;br /&gt;
written to Mr. H. G. Pelissier in regard to that&lt;br /&gt;
gentleman&amp;#039;s burlesques of popular plays, and the&lt;br /&gt;
reply which he had received. The committee&lt;br /&gt;
thanked Mr. Pelissier for his communication, and&lt;br /&gt;
decided to let the matter stand for the present.&lt;br /&gt;
A question was next raised in regard to the&lt;br /&gt;
appointment of agents for the collection of fees in&lt;br /&gt;
the colonies, and the Secretary was instructed to&lt;br /&gt;
write to managers at Melbourne and Cape Town to&lt;br /&gt;
inquire whether they were willing to act as the&lt;br /&gt;
society&rsquo;s agents and, if so, on what terms.&lt;br /&gt;
The Dramatic Sub-Committee then resumed their&lt;br /&gt;
discussion of the repertory agreement, adjourned&lt;br /&gt;
from the last meeting, but as the other matters&lt;br /&gt;
before them had taken considerable time it was&lt;br /&gt;
found impossible to deal with many more clauses.&lt;br /&gt;
Accordingly the matter was adjourned till the next&lt;br /&gt;
meeting, which, it was decided, should be held on&lt;br /&gt;
Thursday, November 11.&lt;br /&gt;
II.&lt;br /&gt;
THE second meeting of the Dramatic Sub-&lt;br /&gt;
Committee was held on Thursday, November 11,&lt;br /&gt;
when Mr. R. C. Carton again took the chair.&lt;br /&gt;
After the minutes of the previous meeting had&lt;br /&gt;
been read and signed the remaining clauses of the&lt;br /&gt;
repertory agreement were considered, discussed,&lt;br /&gt;
and settled. The secretary was instructed to have&lt;br /&gt;
the agreement typed in its final form and sent&lt;br /&gt;
round to all the members of the sub-committee&lt;br /&gt;
before the next meeting. The consideration of&lt;br /&gt;
these clauses and the consequent discussion took&lt;br /&gt;
up a large portion of the time of the committee.&lt;br /&gt;
The question concerning the terms of &ldquo;a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#438) ################################################&lt;br /&gt;
&lt;br /&gt;
68&lt;br /&gt;
TISIES A DITISIOR.&lt;br /&gt;
Stratford-on-Avon Play Competition &rdquo; was also&lt;br /&gt;
raised, and it was decided to mention the matter,&lt;br /&gt;
with comments, in the present number of The&lt;br /&gt;
Author. The committee agreed to meet again on&lt;br /&gt;
Friday, November 26, at 3 o&amp;#039;clock, when the&lt;br /&gt;
repertory agreement in its finished shape will be&lt;br /&gt;
laid on the table, and other matters of importance&lt;br /&gt;
to dramatic writers will be raised and discussed.&lt;br /&gt;
III.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee of&lt;br /&gt;
the Society of Authors was held on Tuesday,&lt;br /&gt;
November 22.&lt;br /&gt;
Mr. Henry Arthur Jones, the vice-chairman,&lt;br /&gt;
was present in the chair, Sir Arthur Pinero&lt;br /&gt;
unfortunately being unable to attend owing to an&lt;br /&gt;
attack of influenza. The important business&lt;br /&gt;
before the meeting was the consideration of the&lt;br /&gt;
Stage Plays (Censorship) Report of the Joint&lt;br /&gt;
Committee of the House of Lords and the House&lt;br /&gt;
of Commons. Letters had been drafted by two or&lt;br /&gt;
three members of the Sub-committee setting out&lt;br /&gt;
their views, which it was proposed, with the sanc-&lt;br /&gt;
tion of the Sub-committee, to send round to the&lt;br /&gt;
papers embodying their objections to and approval&lt;br /&gt;
of the report. These were very carefully con-&lt;br /&gt;
sidered, and the different points put forward were&lt;br /&gt;
discussed at considerable length. Finally, the text&lt;br /&gt;
of a letter embodying the views of the committee&lt;br /&gt;
on the subject was decided upon and passed.&lt;br /&gt;
The secretary was instructed to obtain the support&lt;br /&gt;
of those members who were not present to the&lt;br /&gt;
opinions expressed in that letter, and then to&lt;br /&gt;
forward the letter, with a covering note, to the&lt;br /&gt;
editors of all the daily and weekly papers, and to&lt;br /&gt;
make it generally public. -&lt;br /&gt;
Owing to the time which the Sub-committee&lt;br /&gt;
had to devote to the careful consideration of this&lt;br /&gt;
matter, it was impossible for the other important&lt;br /&gt;
matters to be discussed. They were, accordingly,&lt;br /&gt;
adjourned till the next meeting, which it was&lt;br /&gt;
decided to hold on Tuesday, December 7,&lt;br /&gt;
The secretary reported two dramatic cases which&lt;br /&gt;
had been in hand since the last meeting.&lt;br /&gt;
The following is the text of the letter &mdash;&lt;br /&gt;
SIR,--On the Report of the Select Committee on Stage&lt;br /&gt;
Plays (Censorship), we desire to make the following&lt;br /&gt;
comments in our capacity as the Dramatic Committee&lt;br /&gt;
of the Society of Authors, which is the sole public&lt;br /&gt;
body representing the dramatic authors of the United&lt;br /&gt;
Kingdom.&lt;br /&gt;
We recognise that the report is a notable advance on&lt;br /&gt;
anything of the kind that has appeared before ; and we&lt;br /&gt;
appreciate its virtually complete admission of our case&lt;br /&gt;
against the existing censorship, and its adoption of our&lt;br /&gt;
suggestions for preventing the abuse as an instrument of&lt;br /&gt;
censorship of the power of licensing theatres.&lt;br /&gt;
The Dramatic Committee note with the greatest satis-&lt;br /&gt;
faction that one licence for all places of amusement has&lt;br /&gt;
been recommended. There is an immediate necessity for&lt;br /&gt;
this reform, which should at once be passed into law.&lt;br /&gt;
Concerning the recommendations regarding the censor-&lt;br /&gt;
ship, the Dramatic Committee feel that these recommenda-&lt;br /&gt;
tions require careful and exhaustive criticism, but they&lt;br /&gt;
hope that public attention will be especially centred upon&lt;br /&gt;
the recommendation that empowers &agrave; landiord to compel&lt;br /&gt;
his lessee to produce only such plays as have been passed&lt;br /&gt;
by the censor. So long as this recommendation stands the&lt;br /&gt;
censorship is not optional. As in all probability most&lt;br /&gt;
theatrical landlords would insist upon the clause, it makes&lt;br /&gt;
all the limitations of the censorship useless. If an optional&lt;br /&gt;
censorship is to be instituted, landlords should be restrained&lt;br /&gt;
by definite statute from compelling their tenants to take&lt;br /&gt;
up an option which they do not desire. The Dramatic&lt;br /&gt;
Committee feel strongly that under no circumstances&lt;br /&gt;
should a landlord be penalised for the fault of his tenant.&lt;br /&gt;
It is the man, not the building, that has done the harm.&lt;br /&gt;
If a punishable play is produced, the author and the lessee&lt;br /&gt;
(or sub-lessee) immediately responsible for the production&lt;br /&gt;
of the play should be punished. By penalising a build-&lt;br /&gt;
ing because Somebody produces a punishable play in it,&lt;br /&gt;
you drive the landlord into driving his lessee to the censor.&lt;br /&gt;
If there were an appeal from the judgment of that censor&lt;br /&gt;
it would be a different matter, but as there is no appeal,&lt;br /&gt;
neither the author nor the lessee of the theatre should be&lt;br /&gt;
obliged to go to the censor if they do not wish to do so.&lt;br /&gt;
The recommendation concerning the responsibility of the&lt;br /&gt;
Lord Chamberlain to the House of Commons is regarded by&lt;br /&gt;
us as most satisfactory.&lt;br /&gt;
The Second proposal to which we take exception is&lt;br /&gt;
objectionable on the ground of general political principle.&lt;br /&gt;
A list of offences is first drawn up in such loose general&lt;br /&gt;
terms that there is hardly a play in existence, or possible&lt;br /&gt;
to be written, which could not be found guilty under it.&lt;br /&gt;
We ask why we, alone among British subjects, are to be&lt;br /&gt;
allowed to exercise our profession only on the impossible&lt;br /&gt;
condition that we hurt nobody&amp;#039;s feelings. We again&lt;br /&gt;
demand as complete freedom of conscience and speech as&lt;br /&gt;
our fellow-subjects enjoy.&lt;br /&gt;
If the proposals of the Committee as to a new Judicial&lt;br /&gt;
Committee of the Privy Council are proceeded with, we&lt;br /&gt;
suggest that the list of offences be cut down by the omis-&lt;br /&gt;
sion of all the items which are clearly abrogations of the&lt;br /&gt;
religious and political liberty of the stage, and that the&lt;br /&gt;
author shall have the option of trial by jury in every case&lt;br /&gt;
if he prefers it to trial by the proposed committee.&lt;br /&gt;
We desire further that it should be made clear that the&lt;br /&gt;
powers of the Director of Public Prosecutions and the&lt;br /&gt;
Attorney-General set forth in the proposals are not to&lt;br /&gt;
supplement, but to supersede the powers now possessed by&lt;br /&gt;
the common informer ; so that we may be freed from&lt;br /&gt;
persecution by irresponsible individuals and Societies&lt;br /&gt;
which aim at the extirpation of dramatic art.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
ARTHUR W. PINERO (Chairman),&lt;br /&gt;
HENRY ARTHUR JONES (Vice-Chairman),&lt;br /&gt;
GRAN VILLE BARKER,&lt;br /&gt;
J. M. BARRIE,&lt;br /&gt;
R. C. CARTON,&lt;br /&gt;
CICELY HAMILTON,&lt;br /&gt;
JEROME K. J.EROME,&lt;br /&gt;
W. J. LOCKE,&lt;br /&gt;
ROBERT MARSHALL,&lt;br /&gt;
CECIL RALEIGH,&lt;br /&gt;
G. BERNARD SHAW,&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
s . *w&lt;br /&gt;
&mdash;e&mdash;s&ordm;-&ordm;-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#439) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
69&lt;br /&gt;
SUB-COMMITTEE ON THE PRICE OF NOVELS.&lt;br /&gt;
I.&lt;br /&gt;
THE sub-committee appointed to consider the&lt;br /&gt;
questions relating to the price of novels met at&lt;br /&gt;
39, Old Queen Street, on November 2.&lt;br /&gt;
The secretary opened the business of the meet-&lt;br /&gt;
ing by reading the draft letters which had been&lt;br /&gt;
circularised to various novelists in accordance with&lt;br /&gt;
the instructions received at the previous meeting.&lt;br /&gt;
The chairman, Dr. S. Squire Sprigge, then made&lt;br /&gt;
a short statement in regard to the correspondence&lt;br /&gt;
which had been received, and gave the committee&lt;br /&gt;
the names of those novelists who had been kind&lt;br /&gt;
enough to answer. The committee decided to&lt;br /&gt;
approach other writers and left the selection of&lt;br /&gt;
names to the discretion of the secretary, and&lt;br /&gt;
instructed him to tabulate the evidence when it&lt;br /&gt;
arrived, in order that it might be ready for the&lt;br /&gt;
next meeting. The committee would then consider&lt;br /&gt;
their opinion on this and other evidence received.&lt;br /&gt;
The secretary then read a letter which it was&lt;br /&gt;
proposed to send to the president of the Associated&lt;br /&gt;
Booksellers of Great Britain and Ireland. This&lt;br /&gt;
letter was approved and passed by the committee,&lt;br /&gt;
and it is hoped that at the next meeting the com-&lt;br /&gt;
mittee will have the booksellers&rsquo; evidence before&lt;br /&gt;
them.&lt;br /&gt;
The next matter which received the attention of&lt;br /&gt;
the committee was the question of obtaining&lt;br /&gt;
evidence from publishers, and here, also, the&lt;br /&gt;
secretary was instructed to draft a letter to be&lt;br /&gt;
approved by the chairman, and to be sent in the&lt;br /&gt;
first instance to those publishers who had essayed&lt;br /&gt;
the publication of original copyright novels in cheap&lt;br /&gt;
form. When the sub-committee have the evidence&lt;br /&gt;
of the publishers in addition to the other evidence,&lt;br /&gt;
it will be possible for them to draw up their report&lt;br /&gt;
to be submitted to the Committee of Management.&lt;br /&gt;
At the next meeting of the committee, which&lt;br /&gt;
was fixed for November 11, all the evidence&lt;br /&gt;
collected will be considered, in addition to the&lt;br /&gt;
report already issued in regard to 7d. reprints and&lt;br /&gt;
published in the April (1909) issue of The Author.&lt;br /&gt;
II.&lt;br /&gt;
A MEETING of this sub-committee was held on&lt;br /&gt;
Thursday, November 11.&lt;br /&gt;
After the minutes of the former meeting had&lt;br /&gt;
been read and signed, the committee proceeded to&lt;br /&gt;
go through the evidence that they had collected.&lt;br /&gt;
Out of seventy-eight letters sent to the writers of&lt;br /&gt;
fiction, sixty replies had come to hand. These&lt;br /&gt;
were epitomised and discussed. The secretary&lt;br /&gt;
read a letter he had received from the president of&lt;br /&gt;
the Booksellers&amp;#039; Association, who promised to let&lt;br /&gt;
him have the desired evidence as soon as possible&mdash;&lt;br /&gt;
he had not yet had time to collect it. Answers&lt;br /&gt;
from the various publishers were also laid before&lt;br /&gt;
the meeting.&lt;br /&gt;
The sub-committee then proceeded to consider&lt;br /&gt;
the form of their report, and employed one of their&lt;br /&gt;
members to draft it. It was to deal, in the first&lt;br /&gt;
instance, with the evidence of the writers; in the&lt;br /&gt;
Second with the evidence of the publishers; and,&lt;br /&gt;
thirdly, with the evidence of the booksellers;&lt;br /&gt;
fourthly, the committee decided to adopt the&lt;br /&gt;
former report on the 7d. reprint, which has been&lt;br /&gt;
already published in The Author; while the report&lt;br /&gt;
Will end with a short addendum on the state of the&lt;br /&gt;
French fiction market as bearing upon the English&lt;br /&gt;
position. The sub-committee have still to collect&lt;br /&gt;
further evidence before they can report. They&lt;br /&gt;
decided to meet again on Thursday, November 18,&lt;br /&gt;
at 3 o&amp;#039;clock.&lt;br /&gt;
III.&lt;br /&gt;
The sub-committee met again on Thursday,&lt;br /&gt;
November 18, at the offices of the society.&lt;br /&gt;
Further evidence was laid before them which the&lt;br /&gt;
Secretary had received from publishers and authors,&lt;br /&gt;
but the booksellers had been unable to collect their&lt;br /&gt;
evidence in time for the meeting. The secretary&lt;br /&gt;
laid before the sub-committee Mr. Heinemann&amp;#039;s&lt;br /&gt;
letter which had appeared in the Publishers&rsquo; Cir-&lt;br /&gt;
cular, and it was decided unanimously that an&lt;br /&gt;
interim report should be written, based on the&lt;br /&gt;
evidence already before the sub-committee, and&lt;br /&gt;
setting out the sub-committee&amp;#039;s deductions from&lt;br /&gt;
that evidence. The sub-committee felt unable to&lt;br /&gt;
issue their full report until they had received still&lt;br /&gt;
further evidence from novelists, as well as the&lt;br /&gt;
booksellers&rsquo; evidence, and the evidence which&lt;br /&gt;
Mr. William Heinemann has promised to give in&lt;br /&gt;
February of 1910.&lt;br /&gt;
The sub-committee decided to meet again on&lt;br /&gt;
December 2, when they will discuss and settle&lt;br /&gt;
the interim report. It is hoped to lay the interim&lt;br /&gt;
report before the Committee of Management at its&lt;br /&gt;
meeting on December 6.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
Cases.&lt;br /&gt;
SINCE the last issue of The Author twenty-one&lt;br /&gt;
new cases have been through the Secretaly&amp;#039;s hands.&lt;br /&gt;
Two of these referred to disputes on contracts.&lt;br /&gt;
One has been settled, and the other is still in the&lt;br /&gt;
course of negotiation. There have been five cases&lt;br /&gt;
where members have desired the secretary to apply&lt;br /&gt;
for the return of MSS. Two of these have been&lt;br /&gt;
successful. It is improbable that the society will&lt;br /&gt;
be able to carry the other three to a successful issue.&lt;br /&gt;
It is to be regretted that when members demand&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#440) ################################################&lt;br /&gt;
&lt;br /&gt;
70&lt;br /&gt;
TISIES A UTEIOR.&lt;br /&gt;
the return of their MSS. through the society&amp;#039;s&lt;br /&gt;
agency, they are not able to provide some defi-&lt;br /&gt;
nite proof that the MSS. actually came into the&lt;br /&gt;
hands of a responsible party&mdash;editor, publisher, or&lt;br /&gt;
literary agent. Even if the evidence is clear that&lt;br /&gt;
the MSS. reached responsible hands, it is impossible&lt;br /&gt;
for the author to claim any damages unless he can&lt;br /&gt;
show that there is negligence on the part of the&lt;br /&gt;
receiver of the MSS. This evidence is difficult to&lt;br /&gt;
obtain, though in many cases, when the Society&lt;br /&gt;
has commenced an action, it has succeeded.&lt;br /&gt;
Although the society&amp;#039;s influence is very often able&lt;br /&gt;
to produce a satisfactory answer, yet members&lt;br /&gt;
must not claim it as a right that the society&lt;br /&gt;
should commence an action. The legal position&lt;br /&gt;
is sometimes exceedingly difficult, and the final&lt;br /&gt;
decision must be with the committee.&lt;br /&gt;
There have been nine claims for money. Of&lt;br /&gt;
these, three have been successful. One has been&lt;br /&gt;
placed in the solicitors&rsquo; hands. One of the&lt;br /&gt;
remainder is a claim in the United States. The&lt;br /&gt;
other four are still in the course of negotiation.&lt;br /&gt;
There have been two cases for infringement of&lt;br /&gt;
copyright. One of these is in the colonies; the&lt;br /&gt;
other has been satisfactorily settled. A case of&lt;br /&gt;
literary libel has been placed in the secretary&rsquo;s&lt;br /&gt;
hands. This is rather an interesting case, as it is not&lt;br /&gt;
often that this form of literary action comes before&lt;br /&gt;
the society. One of our members has sold his&lt;br /&gt;
copyright, and the book has been produced in&lt;br /&gt;
translated form abroad in such a way as to amount&lt;br /&gt;
to literary libel. The secretary has written for the&lt;br /&gt;
opinion of the society&amp;#039;s foreign lawyer, and, no&lt;br /&gt;
doubt, if the opinion is favourable, the committee&lt;br /&gt;
will be ready to support the member&amp;#039;s claim. One&lt;br /&gt;
case of account has been satisfactorily settled, and&lt;br /&gt;
One case of money and account has only just come&lt;br /&gt;
into the office.&lt;br /&gt;
The number of disputes that pass through the&lt;br /&gt;
Secretary&amp;#039;s hands appears to be increasing from&lt;br /&gt;
month to month and from year to year. In some&lt;br /&gt;
ways this is a good sign, for it shows the activity of&lt;br /&gt;
the society and that the members find more and&lt;br /&gt;
more benefit from using its machinery. From&lt;br /&gt;
Some points of view it is a bad sign, as it shows&lt;br /&gt;
that editors, publishers, agents, and others are&lt;br /&gt;
still unrepentant.&lt;br /&gt;
Five cases are still open from last month. Of&lt;br /&gt;
these four refer to infringement of copyright in&lt;br /&gt;
the colonies. The fifth is virtually concluded, but&lt;br /&gt;
not yet actually closed. One or two of the cases&lt;br /&gt;
in the solicitors&rsquo; hands have been satisfactorily&lt;br /&gt;
settled. The money has been paid and the&lt;br /&gt;
cheques handed over to the members of the society,&lt;br /&gt;
but there are still some cases open awaiting trial.&lt;br /&gt;
The full statement of all the solicitors&rsquo; work&lt;br /&gt;
will, of course, be made clear in the report at the&lt;br /&gt;
end of the year.&lt;br /&gt;
A most important case of infringement of&lt;br /&gt;
dramatic copyright was placed in the hands of&lt;br /&gt;
the Secretary during the month. As the Question&lt;br /&gt;
Was One which needed immediate decision for it&lt;br /&gt;
might have been necessary to apply for an injunc.&lt;br /&gt;
tion&mdash;the secretary passed it on at once to the&lt;br /&gt;
solicitors and proceeded immediately to obtain&lt;br /&gt;
the chairman&amp;#039;s sanction. The chairman gave his&lt;br /&gt;
Sanction and the Society took the case forward.&lt;br /&gt;
We are glad to report that the case has been&lt;br /&gt;
settled without any need of application to the law&lt;br /&gt;
COurts.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
November Elections.&lt;br /&gt;
Abram, Miss Annie .&lt;br /&gt;
Dixon A. Francis . &amp;amp;&lt;br /&gt;
George, W. L. .&lt;br /&gt;
Haley, Miss Alice&lt;br /&gt;
Jeans, The Rev. George&lt;br /&gt;
Edward&lt;br /&gt;
Martin, John Smellie&lt;br /&gt;
Miller, The Rev. George .&lt;br /&gt;
Robinson, Arthur&lt;br /&gt;
Timins, Mrs.&lt;br /&gt;
Van Welden, D. E.&lt;br /&gt;
Walker, James. *&lt;br /&gt;
Wallace. Sir Donald Mac-&lt;br /&gt;
kenzie, K. C. I. E.,&lt;br /&gt;
K.C.V.O.&lt;br /&gt;
Weihe, Mrs. M.&lt;br /&gt;
46, Aberdare Gardens,&lt;br /&gt;
South Hampstead.&lt;br /&gt;
73, Grosvenor Road,&lt;br /&gt;
Dublin.&lt;br /&gt;
84, Hamilton Terrace,&lt;br /&gt;
N.W.&lt;br /&gt;
2, Pembroke Cottages,&lt;br /&gt;
Edwardes Squale,&lt;br /&gt;
Kensington, W.&lt;br /&gt;
Shor well Vicarage,&lt;br /&gt;
Isle of Wight. -&lt;br /&gt;
Byass Terrace, Kirk-&lt;br /&gt;
land Street, Mother-&lt;br /&gt;
Well.&lt;br /&gt;
Wesbourne, Welling-&lt;br /&gt;
ton Terrace, Cleve-&lt;br /&gt;
don.&lt;br /&gt;
The University, Edin-&lt;br /&gt;
burgh.&lt;br /&gt;
Highbury House, Bury&lt;br /&gt;
St. Edmunds.&lt;br /&gt;
Box 393, Pretoria,&lt;br /&gt;
South Africa.&lt;br /&gt;
&ldquo; Easdale,&rdquo; Little&lt;br /&gt;
Sutton, Cheshire.&lt;br /&gt;
St. Ermins Mansions,&lt;br /&gt;
Caxton Street, S.W.&lt;br /&gt;
Brookbank, Chelten-&lt;br /&gt;
ham.&lt;br /&gt;
We regret that in the list of elections which&lt;br /&gt;
appeared in the last issue of The Author, owing to&lt;br /&gt;
a printer&amp;#039;s error, two names were printed as one,&lt;br /&gt;
thus: Trevelyan, G. M.&lt;br /&gt;
Cheyne Gardens, Chelsea, S.&lt;br /&gt;
have appeared thus:&lt;br /&gt;
(&ldquo;John Trevena &rsquo;&rsquo;) 2,&lt;br /&gt;
W. The names should&lt;br /&gt;
Trevelyan, G. M., 2, Cheyne Gardens, Chelsea,&lt;br /&gt;
S.W. -&lt;br /&gt;
Trevena, John.&lt;br /&gt;
We proffer our sincere apologies to both members&lt;br /&gt;
for the error.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#441) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTHOR.&lt;br /&gt;
71&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
IFRENCH CATHEDRALS, MONASTERIES AND ABBEYS, AND&lt;br /&gt;
SACRED SITEs OF FRANCE. By ELIZABETH ROBINS&lt;br /&gt;
PENNELL. Illustrated by JosłPH PENNELL. 10% &times; 74.&lt;br /&gt;
424 pp. Fisher Unwin. 20s. n.&lt;br /&gt;
WESTMINSTER ABBEY. By FRANCIS BOND, 9 &times; 53.&lt;br /&gt;
332 pp, Frowde. 10s, n,&lt;br /&gt;
ART,&lt;br /&gt;
RAPHAEL. By A. P. OPP&aacute;. 104 &times; 7. 231 pp. 200 plates.&lt;br /&gt;
Methuen. I2s. 6d. n. -&lt;br /&gt;
BOTTICELLI. By RICHARD DAVEY. 10 &times; 7%. 24 pp.&lt;br /&gt;
72 plates. Hodder &amp;amp; Stoughton. 5s. n.&lt;br /&gt;
BIBLIOGRAPHY.&lt;br /&gt;
BIRTH AND GROWTH OF PRINTING. By WILLIAM&lt;br /&gt;
JAGGARD. With illuminated Fascimile of the Gutenberg&lt;br /&gt;
Bible and a portrait of Caxton. 9% &times; 6%. 16 pp. and 2&lt;br /&gt;
plates. Shakespeare Press, Liverpool. Is. 6d. m.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
BLESSED JOAN THE MAID. By A. S. BARNES, Chamberlain&lt;br /&gt;
of Honour to H.H. Pius X. 7 x 43. 140 pp. Burns &amp;amp;&lt;br /&gt;
Oates. 2s. 6d. m. -&lt;br /&gt;
WILLIAM.MAKEPEACE THACKERAY. A Biography includ-&lt;br /&gt;
ing Hitherto Uncollected Letters and Speeches, and a&lt;br /&gt;
Bibliography of 1,300 items. By LEWIS MELVILLE.&lt;br /&gt;
9 x 6. 357 + 407 pp. Lane. 25s. n.&lt;br /&gt;
THE LETTERS OF JOHN STUART BLACKIE TO HIS WIFE.&lt;br /&gt;
With a Few Earlier Ones to his Parents. Selected and&lt;br /&gt;
edited by his nephew, A. STODART WALKER. 410 pp.&lt;br /&gt;
Blackwood. 12s. 6d. n.&lt;br /&gt;
CLEOPATRA OF EGYPT :&lt;br /&gt;
ROMANCE. By P. W. SERGEANT.&lt;br /&gt;
Hutchinson. 16s. n.&lt;br /&gt;
LIFE OF ROBERT MACHRAY, D.D., LL.D., D.C.L. By his&lt;br /&gt;
nephew, ROBERT MACHRAY. 9 &times; 53. 468 pp. Mac-&lt;br /&gt;
millan. 21s. n.&lt;br /&gt;
THE AUTOBIOGRAPHY OF SIR. HENRY MORTIMER&lt;br /&gt;
STANLEY. Edited by his wife, DoROTHY STANLEY.&lt;br /&gt;
9} x 6%. 551 pp. Sampson Low. 218, n.&lt;br /&gt;
ANTIQUITY&amp;#039;S QUEEN OF&lt;br /&gt;
8; x 5%. 343 pp.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
THE LITTLE BLACK PRINCESS OF THE NEVER-NEVER.&lt;br /&gt;
By Mrs. AENEAS GUNN. New and revised edition.&lt;br /&gt;
8} x 5%. 107 pp. Hodder &amp;amp; Stoughton. 3s. 6d.&lt;br /&gt;
SATURDAY&amp;#039;S CHILDREN. By WINIFRED JAMEs.&lt;br /&gt;
5%. 392 pp. Blackie. 6s.&lt;br /&gt;
UNCLE HILARY&rsquo;s NIECEs. By CHRISTINA GowANS&lt;br /&gt;
WHYTD. 8 &times; 53. 368 pp. Frowde; and Hodder &amp;amp;&lt;br /&gt;
Stoughton. 6s.&lt;br /&gt;
BRAVO, BOB : A SCHOOL STORY. By ANDREW HOME.&lt;br /&gt;
73 x 5}. 368 pp. Chambers. 3s.6d.&lt;br /&gt;
7# &times;&lt;br /&gt;
THE GATEWAY TO ROMANCE: TALEs RETOLD. By&lt;br /&gt;
EMILY UNDERDOWN. From &ldquo;The Earthly Paradise&rdquo;&lt;br /&gt;
of William Morris. 93 x 7}. 299 pp. Nelson.&lt;br /&gt;
58. n.&lt;br /&gt;
THE ISLANDERS : THE STORY OF A FAMILY. By&lt;br /&gt;
THEODORA WILSON WILSON. 73 &times; 5. 255 pp.&lt;br /&gt;
Blackie. 2s. 6d.&lt;br /&gt;
IAND BABIES AND SEA BABIES. By EMILY SHORE.&lt;br /&gt;
10 &times; 7%. Unwin. 2s. 6d.&lt;br /&gt;
THE QUEST OF THE WHITE MERLE. By LILIAN GASK.&lt;br /&gt;
Illustrated by DOROTHY HARDY. 73 &times; 53. 282 pp.&lt;br /&gt;
Harrap. 3s. 6d. n.&lt;br /&gt;
THE WONDERFUL RIVER, AND OTHER ADDRESSES TO&lt;br /&gt;
YOUNG PEOPLE. By J. A. HAMILTON. 73 &times; 5.&lt;br /&gt;
268 pp. Allenson. 3s. 6d.&lt;br /&gt;
WHEN BAB WAS YOUNG. 3 page coloured illustrations.&lt;br /&gt;
Cloth boards. BY L. E. TIDDEMAN. 7; x 5. 160 pp.&lt;br /&gt;
S. P. C. K. 1s. 6d.&lt;br /&gt;
THE USUAL HALF CROWN. By F. BAYFor D. Harrison.&lt;br /&gt;
73 &times; 5. 158 pp. S. P. C. K. Is. 6d.&lt;br /&gt;
AFLOAT ON THE DOGGER BANK: A Story of Adventure&lt;br /&gt;
on the North Sea and in China. By H. C. MooRE. 7%&lt;br /&gt;
x 5%. 250 pp. Wells, Gardner. 2s. 6d.&lt;br /&gt;
THE WORLD : The Adventures of a Young Mountaineer.&lt;br /&gt;
By A. R. HOPE, 83 &times; 53. 296 pp. Wells, Gardner,&lt;br /&gt;
58.&lt;br /&gt;
HERBERT STRANG&amp;#039;s ANNUAL. 10} x 74.&lt;br /&gt;
Frowde ; and Hodder &amp;amp; Stoughton. 5s. n.&lt;br /&gt;
IN THE NEW FOREST : A Story of the Reign of William&lt;br /&gt;
the Conqueror. By HERBERT STRANG and J. ASTON.&lt;br /&gt;
73 &times; 5. 159 pp. Frowde; and Hodder &amp;amp; Stoughton.&lt;br /&gt;
2s. 6d.&lt;br /&gt;
PALM TREE ISLAND. By HERBERT STRANG. 73 &times; 53.&lt;br /&gt;
443 pp. Frowde; and Hodder &amp;amp; Stoughton. 68.&lt;br /&gt;
THE LAST EMPIRE ; A Tale of Many Lands. By&lt;br /&gt;
Captain C. GILSON. 8 &times; 5%. 384 pp. Frowde; and&lt;br /&gt;
Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
SETTLER AND SCOUTS: A Tale of the African Highlands.&lt;br /&gt;
By HERBERT STRANG. 8 x 5%. 374 pp. Frowde; and&lt;br /&gt;
Hodder &amp;amp; Stoughton. 5s.&lt;br /&gt;
THE SCHOOL ACROSS THE ROAD. By DESMOND COKE.&lt;br /&gt;
7# &times; 5%. 336 pp. Frowde; and Hodder &amp;amp; Stoughton.&lt;br /&gt;
5s.&lt;br /&gt;
CoME AND GO. Verses by CLIFTON BINGHAM, 8 x 124.&lt;br /&gt;
Nister. 3s. 6d.&lt;br /&gt;
NATURE STALKING FOR BOYS. THROUGH FIELD GLAss,&lt;br /&gt;
STEREOSCOPE, AND CAMERA. By W. PERCIVAL&lt;br /&gt;
WESTELL, F.L.S. With an introduction for Boy Scouts&lt;br /&gt;
by Lieut.-Gen. Sir R. S. S. BADEN-PoWELL. 8 &times; 53.&lt;br /&gt;
351 pp. Dent. 5s. 6d. n.&lt;br /&gt;
JOHN BARGREAVE&amp;#039;S GOLD : A Tale of Adventures in&lt;br /&gt;
the Caribbean. By Captain F. S. BRERETON.&lt;br /&gt;
7} &times; 53. 356 pp. Blackie. 5s.&lt;br /&gt;
BABES AND BIRDS WERSEs. By JESSIE POPE, Drawings&lt;br /&gt;
by CHARLES ROBINSON. 7} x 5. Blackie. 2s.&lt;br /&gt;
THE BUNNY BOOK. A PICTURE BOOK FOR LITTLE FOLR.&lt;br /&gt;
Rhymes by JESSIE POPE. Drawings by ANGUSINE&lt;br /&gt;
MACGREGOR. 10 &times; 7. Blackie. Is. 6d.&lt;br /&gt;
A HERO OF SEDAN. By Captain F. S.&lt;br /&gt;
7# x 5%. 384 pp. Blackie. 6s.&lt;br /&gt;
GRIMM&amp;#039;S FAIRY TALES. Illustrated by ARTHUR RACK-&lt;br /&gt;
HAM, 10} x 73. 325 pp. Constable. 15s. n.&lt;br /&gt;
THE IRISH FAIRY BOOK. By A. P. GRAVES. Illustrated&lt;br /&gt;
by G. DENEIAM. 8 &times; 53. 355 pp. Fisher Unwin.&lt;br /&gt;
68.&lt;br /&gt;
THE SWISS FAMILY ROBINSON.&lt;br /&gt;
by EDITH ROBARTS. 104 &times; 8. Blackie. Is.&lt;br /&gt;
THE SONG OF SIXPENCE PICTURE-BOOK. With the&lt;br /&gt;
Original Coloured Drawings. By WALTER CRANE.&lt;br /&gt;
10% x 94. Lane. 4s. 6d.&lt;br /&gt;
FATHER TUCK&amp;#039;S ANNUAL.&lt;br /&gt;
7%. 255 pp. Raphael Tuck,&lt;br /&gt;
200 pp.&lt;br /&gt;
{&lt;br /&gt;
BRERETON.&lt;br /&gt;
Re-told for Little Folks&lt;br /&gt;
By E. WREDENBURG.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
9} x&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#442) ################################################&lt;br /&gt;
&lt;br /&gt;
72 TISIE AUTISIOR.&lt;br /&gt;
ROBERT EMMET : A HISTORICAL Roy ANCE. By STEPHEN&lt;br /&gt;
GWYNN. 73 &times; 5. 332 pp. Macmillan. 63.&lt;br /&gt;
CANDLES IN THE WIND. By MAUD DIVER,&lt;br /&gt;
392 pp. Blackwood. 63.&lt;br /&gt;
VILLA RUBEIN AND OTHER STORIES.&lt;br /&gt;
8 r&lt;br /&gt;
By JOHN GALS-&lt;br /&gt;
WORTHY, 73 &times; 5. 398 pp. Duckworth. 6s.&lt;br /&gt;
EXTRACT FROM CAPTAIN STORMFIELD&amp;#039;S VISIT TO&lt;br /&gt;
HEAVEN. . By MARK TWAIN, 8 x 54. 121 pp.&lt;br /&gt;
Harper. 2s. n.&lt;br /&gt;
SUSANNA AND SUE. By RATE DOUGLAS WIGGIN.&lt;br /&gt;
73 &times; 5. 223 pp. Hodder &amp;amp; Stoughton. 3s. 6d.&lt;br /&gt;
KIRK LIFE AND KIRK FOLR : An Interpretation of the&lt;br /&gt;
Clerical Satires of Burns. By J. WotRERspoon. 73 &times;&lt;br /&gt;
5}. 354 pp. Foulis. 5s. n.&lt;br /&gt;
DUALL, THE FOREST GUARD : A Tale of Sport and&lt;br /&gt;
Adventures in the Forests of Bengal. By C. E.&lt;br /&gt;
GOULDSBURY. 7} x 5. 291 pp. Gibbins. 3s. 6d.&lt;br /&gt;
HISTORY.&lt;br /&gt;
THE AUSTRIAN COURT IN THE NINETEENTH CENTURY.&lt;br /&gt;
By the Right Hon. Sir HORACE RUMBOLD, Bart., G.C.B.&lt;br /&gt;
9 X 5%. 383 pp. Methuen, 18s. n.&lt;br /&gt;
THE LONDON LIFE OF YESTERDAY. By A. CoMPTON-&lt;br /&gt;
RICKETT. 9 &times; 53. 400 pp. Constable. 7s 6d, n,&lt;br /&gt;
THE MEDICI. By Colonel G. F. YoUNG, C.B. 94 &times; 6.&lt;br /&gt;
538 pp. -- 569 pp. Murray. 36s. n.&lt;br /&gt;
THE LAST YEARS OF THE PROTECTORATE, 1656&ndash;1658.&lt;br /&gt;
By CHARLES HARDING FIRTH, Regius Professor of&lt;br /&gt;
Modern History in the University of Oxford. Two vols.&lt;br /&gt;
9 &times; 5%. 345 pp. Longmans. 24s. n.&lt;br /&gt;
A HISTORY OF MEDIAEVAL POLITICAI. THEORY IN THE&lt;br /&gt;
WEST. By R. W. CARLYLE, C.D. E., and A. J. CARLYLE.&lt;br /&gt;
Vol. II. The Political Theory of the Roman Lawyers&lt;br /&gt;
and the Canonists from the Tenth Century to the&lt;br /&gt;
Thirteenth Century. By A. J. CARLYLE. 9 &times; 53.&lt;br /&gt;
274 pp. Blackwood. 15s. n.&lt;br /&gt;
LAW.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. Edited by&lt;br /&gt;
SIDNEY LEE. Vol. XXI. Whichcord&mdash;Zuylestein. 93 &times; 6+.&lt;br /&gt;
1,358 pp. Smith, Elder. 158. n. -&lt;br /&gt;
THE JOHN RYLANDS LIBRARY, MANCHESTER. An&lt;br /&gt;
Analytical Catalogue of the contents of the two editions&lt;br /&gt;
of &ldquo;AN ENGLISH G ARNER.&rdquo; Compiled by E. ARBER&lt;br /&gt;
(1877&ndash;97), and re-arranged under the Editorship of&lt;br /&gt;
THOMAS SECCOMBE (1903&ndash;4). 10% &times; 6%. 221 pp.&lt;br /&gt;
Manchester : University Press. London : Sherratt &amp;amp;&lt;br /&gt;
Hughes. 18. In.&lt;br /&gt;
DRAMIA.&lt;br /&gt;
LETO SUPPLIANT. By ARTHUR DILLON.&lt;br /&gt;
Elkin Mathews. 2s. 6d. In.&lt;br /&gt;
THE BUILDER OF BRIDGES.&lt;br /&gt;
ALFRED SUTRO, 7} x 5.&lt;br /&gt;
6% x 5. 66 pp.&lt;br /&gt;
A Play in Four Acts. By&lt;br /&gt;
95 pp. French.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
LUCIAN&amp;#039;s DIALOGUES. Prepared for Schools. 100 pp.&lt;br /&gt;
Notes (in Greek) 87 pp. 73 x 5. By W. H. D. ROUSE,&lt;br /&gt;
Litt.D. Oxford : Clarendon Press. 2s. each.&lt;br /&gt;
THE OPEN-AIR NATURE BOOK : THE HEDGE, THE POND,&lt;br /&gt;
THE WOODs. Edited by W. PERCIVAL WESTELL, F.L.S.,&lt;br /&gt;
AND HENRY E. TURNER, General Secretary of the&lt;br /&gt;
School Nature Study Union. 74 &times; 5. 258 pp. Dent.&lt;br /&gt;
28. 6d.&lt;br /&gt;
FICTION.&lt;br /&gt;
IORD RENTWELL&rsquo;S TOVE AFFAIR.&lt;br /&gt;
7 &times; 4%. 357 pp. Heinemann,&lt;br /&gt;
THE FLORENTINE FRAME.&lt;br /&gt;
7; x 5. 344 pp. Murray. 6s.&lt;br /&gt;
THE GOD OF LOVE. By JUSTIN HUNTLY MCCARTHY.&lt;br /&gt;
8 &times; 5. 321 pp. Hurst &amp;amp; Blackett. 6s.&lt;br /&gt;
THE GREAT APPEAL. By JOSEPH KEATING. 8 &times; 5.&lt;br /&gt;
320 pp. Everett. 6s.&lt;br /&gt;
&amp;quot;WITH THE MERRY AUSTRIANS.&lt;br /&gt;
7; x 5. 352 pp. Murray. 68.&lt;br /&gt;
John THORNDYKE&amp;#039;s CASES. Related by C. JERVIs, M.D.,&lt;br /&gt;
and Edited by R. AUSTIN FREEMAN, 73 &times; 5. 288 pp.&lt;br /&gt;
Chatto &amp;amp; Windus.&lt;br /&gt;
THE BLINDNESS OF DR. GRAY. By the WERY REv. CANON&lt;br /&gt;
P. A. SHEEHAN, D.D. 8 &times; 5%. 488 pp. Longmans, 6s.&lt;br /&gt;
THE WALLEY OF THE KINGS. By MARMADUKE PICK-&lt;br /&gt;
THALL. 7# &times; 5. 340 pp. Murray. 6s.&lt;br /&gt;
THE ROAR OF THE SEA. By WALTER WOOD.&lt;br /&gt;
341 pp. Nash. 68.&lt;br /&gt;
MAMMON AND LADY MARGOT. By HENRY FARMER.&lt;br /&gt;
73 &times; 5. 320 pp. John Milne. 63.&lt;br /&gt;
IN THE SHADE. By VALENTINE HAWTREY.&lt;br /&gt;
Murray. 6s.&lt;br /&gt;
A LEGACY OF THE GRANITE HILLs. By BERTRAM&lt;br /&gt;
MIT FORD. 73 &times; 5. 318 pp. John Lane. 63.&lt;br /&gt;
THE SENATOR LICINIUS. By W. P. KELLY.&lt;br /&gt;
394 pp. George Routledge &amp;amp; Sons. 6s.&lt;br /&gt;
THE LADY OF BLOSSHOLME. By H. RIDER HAGGARD.&lt;br /&gt;
73 &times; 5. 316 pp. Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
THE GATEWAY. By HAROLD BEGBI.E. 73 &times; 5.&lt;br /&gt;
Hodder &amp;amp; Stoughton. 68.&lt;br /&gt;
IRIX AND OVER-THE-MOON. By AM&aacute;LIE RIVEs (Prin-&lt;br /&gt;
cess Troubetzkoy). 83 &times; 53. 165 pp. Harper. 3s.6d.&lt;br /&gt;
ON THE FORGOTTEN ROAD. By HENRY BAERLEIN. 7;&lt;br /&gt;
By F. C. PRICE.&lt;br /&gt;
33. n.&lt;br /&gt;
By ELIZABETH ROBINs.&lt;br /&gt;
By AMY MCLAREN.&lt;br /&gt;
7} x 5.&lt;br /&gt;
384 pp.&lt;br /&gt;
73 &times; 5.&lt;br /&gt;
296 pp.&lt;br /&gt;
&times; 5%. 279 pp. Murray. 63.&lt;br /&gt;
THE HOUSE OF TERROR. By GERALD BIss. 73 &times; 5.&lt;br /&gt;
289 pp. Greening. 68.&lt;br /&gt;
THE SUBMARINE GIRL. By EDGAR TURNER. 8 &times; 5.&lt;br /&gt;
336 pp. Stanley Paul. 6s.&lt;br /&gt;
THE DOLLAR PRINCESS. By HAROLD SIMPSON. 7 x 43.&lt;br /&gt;
260 pp. Mills &amp;amp; Boon, 1s. n.&lt;br /&gt;
A DIGEST OF THE LAW OF PARTNERSHIP. With forms,&lt;br /&gt;
etc. By Sir FREDERICK Poſ, LOCK, Bart., D.C.L.&lt;br /&gt;
# &times; 5%. 256 pp. (Ninth Edition). Stevens &amp;amp; Sons,&lt;br /&gt;
Ltd. 10s.&lt;br /&gt;
LITERARY.&lt;br /&gt;
ROSEMARY&amp;#039;S LETTER BOOK : THE RECORD OF A YEAR.&lt;br /&gt;
By W. L. COURTNEY. 9 &times; 53. 369 pp. Melrose.&lt;br /&gt;
7s. 6d. n.&lt;br /&gt;
FATHER AND SON : A STUDY OF TWO TEMPERAMENTs.&lt;br /&gt;
By EDMUND GOSSE. New Edition. 64 &times; 4. 335 pp.&lt;br /&gt;
Heinemann. 28. m.&lt;br /&gt;
MEDICAL.&lt;br /&gt;
120 YEARS OF LIFE AND How To ATTAIN THEM. By&lt;br /&gt;
C. REINHARDT, M.D. 73 x 5. 50 pp. London&lt;br /&gt;
Publicity Company. 1s.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
HAUNTED HOUSES OF LONDON. By ELLIOT O&rsquo;DONNELL.&lt;br /&gt;
7% &times; 5. 200 pp. Nash. 2s. 6d.&lt;br /&gt;
POTTED BRAINs; OR, QUICK CULTURE FOR ALL. By&lt;br /&gt;
KEBLE HOWARD and JoHN HASSALL. 9 &times; 7. 122 pp.&lt;br /&gt;
Stanley Paul. 1s. n.&lt;br /&gt;
&ldquo;THE TRAGIC COMEDIANS.&rdquo;&lt;br /&gt;
German translation by IDA. L. BENECKE.&lt;br /&gt;
&amp;amp; Co.&lt;br /&gt;
THE MESSAGE OF THE EAST.&lt;br /&gt;
WAMY. Madras : Ganesh &amp;amp; Co.&lt;br /&gt;
MUSIC.&lt;br /&gt;
STORIES FROM THE OPERAs. With short Biographies of the&lt;br /&gt;
Composers. By GLADYS DAVIDSON. Illustrated. (Third&lt;br /&gt;
By GEORGE MEREDITH.&lt;br /&gt;
Siegle, Hill&lt;br /&gt;
By A. K. COOMARAS-&lt;br /&gt;
4 annas.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#443) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UTFIOR, 73&lt;br /&gt;
Series Music Lovers&amp;#039; Library). 7} x 5.&lt;br /&gt;
Werner Laurie. 3s. 6d. n.&lt;br /&gt;
MYSTICISM.&lt;br /&gt;
THE WAY OF INITIATION. By RUDOLF STEINER, Ph.D.&lt;br /&gt;
With some Biographical Notes of the Author by&lt;br /&gt;
EDOUARD SCHURf. Second issue. Translated by M.&lt;br /&gt;
151 pp.&lt;br /&gt;
GYSI. 237 pp. Cloth. Crown Svo. T. P. S. 3s.6d. m.&lt;br /&gt;
INITIATION AND ITS RESULTs. By RUDOLF STEINER,&lt;br /&gt;
Ph.D. Translated by M. GYSI. 202 pp. Cloth.&lt;br /&gt;
Crown 8vo. T. P. S. 3s. 6d. n.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
TREES AND SHRUBS OF THE BRITISH ISLEs, NATIVE AND&lt;br /&gt;
ACCLIMATISED. By C. S. CoopFR, F.R.H.S., and W.&lt;br /&gt;
PERCIVAL WESTELL, F.L.S. Illustrated by C. F.&lt;br /&gt;
NEWALL. 12 x 9}. Two vols. 102 x 261 pp. Dent.&lt;br /&gt;
21s. n.&lt;br /&gt;
NATURAL HISTORY IN THE ZOOLOGICAL GARDENs: Being&lt;br /&gt;
Some account of Vertebrated Animals, with special refer-&lt;br /&gt;
ence to those usually to be seen in the Zoological Society&amp;#039;s&lt;br /&gt;
Gardens in London and similar Institutions. By F. E.&lt;br /&gt;
BEDDARD, F.R.S., F.Z.S. 8 &times; 53. 310 pp. (Cheap&lt;br /&gt;
re-issue.) Constable. 3s. 6d. m.&lt;br /&gt;
THE NATURAL HISTORY OF BRITISH GAME BIRDS. By&lt;br /&gt;
J. G. MILLAIS. 16} x 12. 142 pp. Longmans.&lt;br /&gt;
#8 8s. In. -&lt;br /&gt;
LEISURE HOURS WITH NATURE.&lt;br /&gt;
71 Illustrations. 258 pp. Fisher Unwin.&lt;br /&gt;
PAMPHILETS.&lt;br /&gt;
Evolution IN RELIGION. By T. G. Bon NEY, F.R.S.&lt;br /&gt;
Cambridge : Bowes &amp;amp; Bowes.&lt;br /&gt;
- PHILOSOPHY.&lt;br /&gt;
THE SURVIVAL OF MAN : A Study in Unrecognised&lt;br /&gt;
Human Faculty. By Sir OLIVER LODGE, F.R.S.&lt;br /&gt;
9 &times; 53. 357 pp. Methuen. 7s. 6d. n.&lt;br /&gt;
POETRY.&lt;br /&gt;
ST. ALBAN. By CLAUD FIELD (Corpus Christi Col-&lt;br /&gt;
By E. P. LARKEN.&lt;br /&gt;
58. m.&lt;br /&gt;
lege). THE SEATONIAN PRIZE POEM. Cambridge :&lt;br /&gt;
J. Clarke. 2d.&lt;br /&gt;
NEW PoEMS. By WILLIAM WATSON. 7} x 5. 133 pp.&lt;br /&gt;
Lane. 58. m.&lt;br /&gt;
AIRY NOTHINGs. Humorous Verse. By JESSIE POPE.&lt;br /&gt;
7 x 4%. 78 pp. Elkin Mathews. 1s. 6d. n.&lt;br /&gt;
LAUDS. By KATHARINE TYNAN. 6 &times; 4%. 56 pp. The&lt;br /&gt;
Cedar Press. 3s. n.&lt;br /&gt;
THE WHEEL OF LIFE. By A. MAQUARIE. 73 &times; 53.&lt;br /&gt;
161 pp. Bickers. 5s. n.&lt;br /&gt;
THE SEDUCTIVE COAST : POEMS LYRICAL AND DESCRIP-&lt;br /&gt;
TIVE FROM WESTERN AFRICA. By J. M. STUART-&lt;br /&gt;
YOUNG. 8} x 53. 165 pp. Ouseley. 5s. n.&lt;br /&gt;
LATER POEMS FROM Punch, 1887&ndash;1908. With an Intro-&lt;br /&gt;
duction by ARTHUR WAUGH, 73 &times; 5%. 235 pp.&lt;br /&gt;
Harrap. 58. n. -&lt;br /&gt;
POLITICAL.&lt;br /&gt;
THE PLACE OF INDIA IN THE EMPIRE. Being an Address&lt;br /&gt;
delivered before the Philosophical Institute of Edinburgh,&lt;br /&gt;
by LORD CURzoN of KEDLESTON, on October 19, 1909.&lt;br /&gt;
83 &times; 53. 46 pp. Murray. 18. m.&lt;br /&gt;
TURKEY IN TRANSITION. By G. F. ABBOTT. 9 &times; 53.&lt;br /&gt;
370 pp. Arnold. 12s. 6d. n.&lt;br /&gt;
REPRINTS,&lt;br /&gt;
THE HILLS AND THE WALE. By RICHARD JEFFERIES.&lt;br /&gt;
With an Introduction by EDWARD THOMAS. 8 &times; 53.&lt;br /&gt;
312 pp. Duckworth, 68. -&lt;br /&gt;
THE ARABIAN NIGHTS. The best-known tales retold&lt;br /&gt;
by KATE Doug LAS WIGGIN and NORA. SMITH. With&lt;br /&gt;
Coloured illustrations by MAXFIELD PARRISH. 94 x 7.&lt;br /&gt;
339 pp. Werner Laurie. 10s. 6d. n.&lt;br /&gt;
UNDINE. By DE LA MoTTE Fouqu&ntilde;. Adapted from&lt;br /&gt;
the German by W. L. CourTNEY and Illustrated by&lt;br /&gt;
* RACKHAM. 104 &times; 7%. 136 pp. Heinemann.&lt;br /&gt;
S. 6d. m.&lt;br /&gt;
THE MASTER OF GAME. By EDwARD, SECOND DUKE of&lt;br /&gt;
YORK. The Oldest English Book on Hunting. Edited&lt;br /&gt;
by W. A. and F. BAILLIE-GROHMAN. With a fore-&lt;br /&gt;
Word by THEQDORE, RoosevKLT. 84 &times; 53. 302 pp.&lt;br /&gt;
Chatto &amp;amp; Windus. 7s. 6d. n. - -&lt;br /&gt;
DEFOE. Edited by JoHN MASE FIELD. 73 &times; 5. 388 pp.&lt;br /&gt;
Bell. 8s. 6d. m.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
SOCIAL HYGIENICS : A NEW CRUSADE. By JAMEs&lt;br /&gt;
MARCHANT. Forewords by the Right Hon. H. J.&lt;br /&gt;
gapstone M.P. 7 &times; 4%. 122 pp. Sonnenschein.&lt;br /&gt;
S.&lt;br /&gt;
MODERN WOMAN AND How To MANAGE HER. By&lt;br /&gt;
WALTER M. GALLICHAN. 7} x 43. 120 pp. Werner&lt;br /&gt;
Iaurie. 2s. n. -&lt;br /&gt;
SPORT&lt;br /&gt;
BRITISH SPORT, PAST AND PRESENT. By E. D. CUMING.&lt;br /&gt;
Illustrated by G. DENHOLM ARMOUR. i.13 &times; 9. 271 pp.&lt;br /&gt;
Hodder and Stoughton. 20s. n.&lt;br /&gt;
THEOLOGY,&lt;br /&gt;
BROKEN EARTHENWARE : A Footnote in narrative to&lt;br /&gt;
Prof. William James&rsquo; Study in Human Nature, &ldquo;The&lt;br /&gt;
Varieties of Religious Experience.&rdquo; By HAROLD&lt;br /&gt;
&ordm;wn. 73 &times; 5, 286 pp. Hodder &amp;amp; Stoughton.&lt;br /&gt;
S. -&lt;br /&gt;
PAUL AND JESUS. By JOHANNES WEISS. Translated by&lt;br /&gt;
the REV. H. J. CHAYTOR. 7 &times; 4], Harpers.&lt;br /&gt;
2s. 6d. n.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE SOUTH COUNTRY. By EDwARD THOMAs. 74 &times; 5.&lt;br /&gt;
279 pp. Dent. 3s. 6d. n.&lt;br /&gt;
MEMORIALS OF OLD SUSSEX. Edited by PERCY D.&lt;br /&gt;
MUNDY. 9 &times; 53. 304 pp. Allen. 15s. n.&lt;br /&gt;
LONDON : THE STORY OF THE CITY. By ERNEST RHys.&lt;br /&gt;
7} x 45, 60 pp. Hampstead : The Priory Press. 6d. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
ITALIAN HOURS. By HENRY JAMEs. Illustrated by&lt;br /&gt;
JOSEPH PENNELL. 11 &times; 8%. 376 pp. Heinemann.&lt;br /&gt;
258, n.&lt;br /&gt;
THE CHRONICLE OF A PILGRIMAGE. By HAROLD&lt;br /&gt;
MONRO. Brown, Langham &amp;amp; Co. 3s. 6d. n.&lt;br /&gt;
THE GREAT WALL OF CHINA. By W. E. GEIL, F.R.G.S.&lt;br /&gt;
# &times; 6. 351 pp. Murray. 21s. n.&lt;br /&gt;
PEAKS AND GLACIERS OF NUN KUN. By FANNY BUL-&lt;br /&gt;
LOCK WoRKMAN and W. HUNTER WoRKMAN. 94 &times; 64.&lt;br /&gt;
204 pp. Constable. 18s.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ESSRS. BROWN, LANGHAM &amp;amp; CO.&lt;br /&gt;
published early last month a book en-&lt;br /&gt;
titled &ldquo;The Chronicle of a Pilgrimage,&rdquo;&lt;br /&gt;
by Mr. Harold Monro, which is an account of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#444) ################################################&lt;br /&gt;
&lt;br /&gt;
74&lt;br /&gt;
TISHE AUTHOR,&lt;br /&gt;
a walk which Mr. Monro made last year from Paris&lt;br /&gt;
to Milan. s&lt;br /&gt;
&ldquo;The Autobiography of Sir Henry Mortimer&lt;br /&gt;
Stanley,&rdquo; edited by his wife, Lady Stanley, was&lt;br /&gt;
published last month by Messrs. Sampson, Low&lt;br /&gt;
&amp;amp; Co. The first nine chapters of the book are the&lt;br /&gt;
autobiography covering the early years of Stanley&amp;#039;s&lt;br /&gt;
life. In the remaining chapters, the editor&amp;#039;s aim&lt;br /&gt;
has been to make him the narrator and interpreter&lt;br /&gt;
of his own actions. This has been done, wherever&lt;br /&gt;
possible, by interweaving, into a connected narrative,&lt;br /&gt;
strands gathered from his unpublished writings.&lt;br /&gt;
The book, which contains sixteen photogravures as&lt;br /&gt;
well as a map, is published at &pound;1 1s. net.&lt;br /&gt;
Mr. G. Wolliscroft Rhead&rsquo;s &ldquo;History of the&lt;br /&gt;
Fan,&rdquo; already announced for publication by Messrs.&lt;br /&gt;
Kegan Paul &amp;amp; Co., is expected to appear almost&lt;br /&gt;
immediately. Mrs. E. P. Medley has materially&lt;br /&gt;
assisted the author by translations of the Continental&lt;br /&gt;
literature on the subject. The work is to be&lt;br /&gt;
published at &pound;4 4s. net, and will contain twenty-&lt;br /&gt;
seven full-page illustrations in colour, 100 pages&lt;br /&gt;
of half-tones, and over eighty illustrations in line&lt;br /&gt;
by the author.&lt;br /&gt;
&ldquo;The Gateway to Romance&rdquo; is a new book by&lt;br /&gt;
Miss Emily Underdown, which Messrs. Nelson &amp;amp; Sons&lt;br /&gt;
announce. The volume contains eight romantic&lt;br /&gt;
stories told in simple prose from the &ldquo;Earthly&lt;br /&gt;
Paradise &rsquo;&rsquo; of William Morris. There are sixteen&lt;br /&gt;
coloured plates and about 150 marginal illustrations.&lt;br /&gt;
Messrs. Constable &amp;amp; Co. have recently published&lt;br /&gt;
a new Himalayan book by Dr. and Mrs. Workman&lt;br /&gt;
called &ldquo;Peaks and Glaciers of Nun Kun,&rdquo; being a&lt;br /&gt;
full account of the glaciers and mountains of that&lt;br /&gt;
range situated in the province of Suru Kashmir.&lt;br /&gt;
Mrs. Bullock Workman&amp;#039;s ascent of 23,300 feet, the&lt;br /&gt;
highest climb made by a woman, is described in&lt;br /&gt;
detail. She is now lecturing in France, and on&lt;br /&gt;
December 6 will give a joint lecture with Dr. Work-&lt;br /&gt;
man before the Royal Geographical Society on their&lt;br /&gt;
1908 Himalayan expedition.&lt;br /&gt;
By invitation of the council of the Slavonic Circle&lt;br /&gt;
of the Lyceum Club, Miss A. E. Keeton will give&lt;br /&gt;
a lecture in the club on Thursday afternoon,&lt;br /&gt;
December 9, at 4.30, on &ldquo;The Songs of the&lt;br /&gt;
Russian People.&rdquo; Mr. Lebedev will sing a number&lt;br /&gt;
of the typical marriage, barge, soldier and beggar&lt;br /&gt;
songs of Russia, as well as examples of the Russian&lt;br /&gt;
carols and epic ballads. A few cards of admission&lt;br /&gt;
for non-members of the club are obtainable from&lt;br /&gt;
Mrs. Harry Thomson, hon. Secretary, Slavonic&lt;br /&gt;
Circle, Lyceum Club, 128, Piccadilly, W.&lt;br /&gt;
&ldquo;Mignon&amp;#039;s Peril,&rdquo; by Miss Jean Middlemass,&lt;br /&gt;
which has been running as a serial through &ldquo;Our&lt;br /&gt;
Home,&rdquo; will be published in book form by Messrs.&lt;br /&gt;
Digby Long &amp;amp; Co. this month. Another novel,&lt;br /&gt;
by the same writer. &ldquo;At the Altar Steps,&rdquo; the serial&lt;br /&gt;
rights of which have been purchased by the National&lt;br /&gt;
Press Syndicate, will appear in the spring in book&lt;br /&gt;
form.&lt;br /&gt;
Mr. Elliot Stock has published recently a work&lt;br /&gt;
by Joan Dane, entitled &ldquo;Prince Madog: The&lt;br /&gt;
Welshman who discovered America, A.D. 1170.&rdquo;&lt;br /&gt;
In a note to the Volume, the author states that she&lt;br /&gt;
has culled her story from old Welsh chronicles, and&lt;br /&gt;
that it is founded on extracts taken from the&lt;br /&gt;
manuscripts of the Abbeys of Strata, Florida and&lt;br /&gt;
Conway, where were kept the records of the chief&lt;br /&gt;
historical events of the Welsh nation. The author&rsquo;s&lt;br /&gt;
chief object is to arouse interest in, and do justice&lt;br /&gt;
to, a great Welshman whose name has long been&lt;br /&gt;
hidden in oblivion. Mr. A. S. Boyd has illus-&lt;br /&gt;
trated the work, the published price of which is&lt;br /&gt;
6S. nett.&lt;br /&gt;
Mr. W. R. Titterton has published, through&lt;br /&gt;
1Mr. Frank Palmer, a new volume of prose, entitled&lt;br /&gt;
&ldquo;An Afternoon Tea Philosophy.&rdquo; A further book&lt;br /&gt;
of his, &ldquo;The Discovery of Britain,&rdquo; will be issued&lt;br /&gt;
by Messrs. Methuen &amp;amp; Co. in the spring.&lt;br /&gt;
Agnes and Egerton Castle&amp;#039;s novel, &ldquo;Diamond&lt;br /&gt;
Cut Paste,&rdquo; which appeared serially in the Queen,&lt;br /&gt;
has just been published by Mr. John Murray. The&lt;br /&gt;
same Writers&amp;#039; next work, which will be included in&lt;br /&gt;
Nelson&amp;#039;s 2s. editions of New Copyright Novels, is&lt;br /&gt;
to be called &ldquo;Panther&rsquo;s Cub.&rdquo; -&lt;br /&gt;
A reprint of two of Mr. Egerton Castle&amp;#039;s earlier&lt;br /&gt;
novels at 1s. will appear early next year. &ldquo;The&lt;br /&gt;
Light of Scarthey,&rdquo; originally one of the &ldquo;Times&lt;br /&gt;
Novels,&rdquo; published in 1896, is one of these reprints,&lt;br /&gt;
and will be included in Collins&amp;#039; series; and the&lt;br /&gt;
other is &ldquo;Young April,&rdquo; originally published in&lt;br /&gt;
1898 by Messrs. Macmillans, and now to be pub-&lt;br /&gt;
lished in Pearson&amp;#039;s 1s. series.&lt;br /&gt;
Mr. and Mrs. Castle have another work on the&lt;br /&gt;
stocks, a modern life romance, to be entitled&lt;br /&gt;
&ldquo;Nik&eacute;,&rdquo; which will probably begin as a serial next&lt;br /&gt;
autumn. t&lt;br /&gt;
&ldquo;The Wonderful River,&rdquo; by the Rev. J. A.&lt;br /&gt;
Hamilton, is a series of addresses to children in&lt;br /&gt;
a similar vein to the same writer&amp;#039;s volume, &ldquo;A&lt;br /&gt;
Mountain Path,&rdquo; published some fifteen years ago.&lt;br /&gt;
There are sixty-three addresses in the present Work,&lt;br /&gt;
which is published by Messrs. H. R. Allenson, Ltd.,&lt;br /&gt;
at 3s. 6d.&lt;br /&gt;
Mr. H. Rider Haggard&rsquo;s new novel, &ldquo;The Lady&lt;br /&gt;
of Blossholme,&rdquo; which Messrs. Hodder and&lt;br /&gt;
Stoughton announce for publication shortly, is a&lt;br /&gt;
novel of the time of Henry VIII.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co., of Aldine House,&lt;br /&gt;
29 and 30, Bedford Street, Covent Garden, W.C.,&lt;br /&gt;
has been turned into a private company under the&lt;br /&gt;
title, Messrs. J. M. Dent &amp;amp; Sons, Ltd.&lt;br /&gt;
Mr. J. M. Dent, as chairman of the directors,&lt;br /&gt;
will continue to guide the policy of the business,&lt;br /&gt;
with the assistance of Mr. Hugh Railton Dent as&lt;br /&gt;
managing director.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#445) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
75&lt;br /&gt;
Miss F. B. Slater has just received an intimation,&lt;br /&gt;
through Lord Crewe, of the King&amp;#039;s acceptance of&lt;br /&gt;
her latest novel, &ldquo;Time and Chance.&rdquo; This is the&lt;br /&gt;
first published work from the pen of a colonial&lt;br /&gt;
author since the granting of Union to South&lt;br /&gt;
Africa.&lt;br /&gt;
The incidents in Mr. Desmond Coke&amp;#039;s new book,&lt;br /&gt;
&ldquo;The School Across the Road&rdquo; (Henry Frowde&amp;#039;s,&lt;br /&gt;
and Hodder and Stoughton), arise out of the&lt;br /&gt;
uniting of two schools, &ldquo;Warner&rsquo;s&rdquo; and &ldquo;Corunna,&rdquo;&lt;br /&gt;
under the name of &ldquo;Winton.&rdquo; The headmaster&amp;#039;s&lt;br /&gt;
hope that the new school shall be known as a great&lt;br /&gt;
seat of learning is not at first realised, owing to&lt;br /&gt;
the discord between the two sets of boys in the&lt;br /&gt;
schools. Eventually, however, they unite against&lt;br /&gt;
a common enemy, and this joining of forces leads&lt;br /&gt;
to a firmer union which results in the consumma-&lt;br /&gt;
tion of the head&amp;#039;s ambition.&lt;br /&gt;
Messrs. Blackie &amp;amp; Son, Ltd., have published a book&lt;br /&gt;
on Paleobotany or Fossil Botany, by Miss M. C.&lt;br /&gt;
Stokes, D.Sc., Ph.D., lecturer on Fossil Botany&lt;br /&gt;
at Manchester University. The book is entitled&lt;br /&gt;
&ldquo;Ancient Plants,&rdquo; and is written with the double&lt;br /&gt;
purpose of introducing the non-specialist reader to&lt;br /&gt;
this branch of science and of presenting a general&lt;br /&gt;
survey of the whole subject in its most recent&lt;br /&gt;
developments.&lt;br /&gt;
Sir Oliver Lodge&amp;#039;s new book, which Messrs.&lt;br /&gt;
Methuen &amp;amp; Co. announce for early publication,&lt;br /&gt;
is called &ldquo;The Survival of Man * : a Study in&lt;br /&gt;
Unrecognised Human Faculty. In it Sir Oliver&lt;br /&gt;
gives an account of many of his investigations into&lt;br /&gt;
matters connected with psychical research during&lt;br /&gt;
the last quarter of a century, with an abridgment&lt;br /&gt;
of contemporary records. The most important&lt;br /&gt;
section of the book treats of automatic writing,&lt;br /&gt;
trance speech, and other instances of temporary&lt;br /&gt;
lucidity, while a concluding section relates some of&lt;br /&gt;
his experiences in connection with the controverted&lt;br /&gt;
&ldquo;psychical phenomena&rdquo; associated with exceptional&lt;br /&gt;
mental states.&lt;br /&gt;
The same publishers have issued a second edition&lt;br /&gt;
of Mrs. Henry de la Pasture&amp;#039;s novel, &ldquo;The Tyrant,&rdquo;&lt;br /&gt;
in which is presented a picture of a household&lt;br /&gt;
groaning beneath the despotic sway of an ill-&lt;br /&gt;
tempered father. The opportunity which sud-&lt;br /&gt;
denly arises and is seized by the long-suffering&lt;br /&gt;
wife to turn the tables upon her tyrannous partner,&lt;br /&gt;
forms the subject of the novel, the scene of which&lt;br /&gt;
is laid upon the Welsh borderland.&lt;br /&gt;
Amongst recent buyers of Mr. Wynford Dew-&lt;br /&gt;
hurst&amp;#039;s pictures, we notice the Manchester Cor-&lt;br /&gt;
poration, who have purchased his picture, &ldquo;The&lt;br /&gt;
Picnic,&rdquo; as well as a landscape with figures. The&lt;br /&gt;
Lord Mayor-elect of Manchester is another pur-&lt;br /&gt;
chaser. He has taken from Mr. Dewhurst a&lt;br /&gt;
landscape of the Lake Maggiore for decoration of&lt;br /&gt;
the Mayor&amp;#039;s Parlour, Town Hall.&lt;br /&gt;
The balance of unsold pictures are now en route,&lt;br /&gt;
together with twenty-five others, for Germany, where&lt;br /&gt;
Edward Schulte, the Berlin connoisseur and dealer,&lt;br /&gt;
is to take them to show to six of the principal&lt;br /&gt;
cities.&lt;br /&gt;
Christina Gowans Whyte is publishing two stories&lt;br /&gt;
for girls this autumn. One is called &ldquo;Uncle&lt;br /&gt;
Hilary&amp;#039;s Nieces,&rdquo; and will be published by Messrs.&lt;br /&gt;
Frowde, and Hodder and Stoughton; and the other,&lt;br /&gt;
&ldquo;For the Sake of Kitty,&rdquo; will be issued through&lt;br /&gt;
Messrs. Collins.&lt;br /&gt;
Mr. Fisher Unwin has published a book by&lt;br /&gt;
Mr. E. P. Larken, entitled, &ldquo;Leisure Hours with&lt;br /&gt;
Nature.&rdquo; The book contains various chapters on&lt;br /&gt;
interesting points of Nature, and shows the keen&lt;br /&gt;
observation of the author. It is illustrated with&lt;br /&gt;
many photographs, some of them exceedingly good,&lt;br /&gt;
taken from wild life itself. The work will repay&lt;br /&gt;
the study of all Nature lovers, and if it falls into&lt;br /&gt;
the hands of young boys or girls will show to&lt;br /&gt;
them what pleasure may be obtained by accurate&lt;br /&gt;
observation.&lt;br /&gt;
&ldquo;Souls Adrift. &amp;#039;&amp;#039; is a story by Julia M. Grier,&lt;br /&gt;
author of &ldquo;Babette Vivian,&rdquo; which opens with the&lt;br /&gt;
marriage of a young man of good family with an&lt;br /&gt;
heiress full of life and spirits, but who had been&lt;br /&gt;
brought up in a bad school. Herself a sceptic in&lt;br /&gt;
religion, she imbues her husband with ideas similar&lt;br /&gt;
to her own. The effect which this has on his&lt;br /&gt;
relations with the offspring of the marriage, is the&lt;br /&gt;
main theme of the story, though there are many&lt;br /&gt;
other incidental matters which add to the reader&amp;#039;s&lt;br /&gt;
interest. Messrs. Digby Long &amp;amp; Co. are the&lt;br /&gt;
publishers.&lt;br /&gt;
Mr. Theodore Holland has composed three&lt;br /&gt;
additional musical numbers for Leo Fall&amp;#039;s comic&lt;br /&gt;
opera, &ldquo;The Merry Peasant,&rdquo; a piece which has had&lt;br /&gt;
a run on the Continent equal to the run of &ldquo;The&lt;br /&gt;
Merry Widow.&rdquo; These additional numbers are&lt;br /&gt;
&ldquo;The Way to Win,&rdquo; &ldquo;Woman, Wine, and Song,&rdquo;&lt;br /&gt;
and a light duet for Miss Florence St. John and&lt;br /&gt;
Miss Monkman.&lt;br /&gt;
&ldquo;Leto Suppliant,&rdquo; by Arthur Dillon, is a play&lt;br /&gt;
in Greek form in which the author has given to the&lt;br /&gt;
chorus a distinct personal interest in the action,&lt;br /&gt;
instead of leaving them mere commentators&lt;br /&gt;
and spectators. Mr. Elkin Mathews is the&lt;br /&gt;
publisher.&lt;br /&gt;
Speaking at a dinner of the Poets&amp;#039; Club, held on&lt;br /&gt;
November 8, Mr. Maurice Hewlett, in the&lt;br /&gt;
course of an address on the subject of Poetry,&lt;br /&gt;
stated that poetry had always dealt with three&lt;br /&gt;
subjects&mdash;love, religion, and race, and these things&lt;br /&gt;
were still forces, but either poets could not say&lt;br /&gt;
them, or people would not listen to them. One&lt;br /&gt;
reason for this was that we were too comfortable.&lt;br /&gt;
It was good to think of Wordsworth living on an&lt;br /&gt;
income that never exceeded a couple of hundred a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#446) ################################################&lt;br /&gt;
&lt;br /&gt;
76. THE AUTHOR.&lt;br /&gt;
year, and of Southey, Shelley, and others in like&lt;br /&gt;
case. Poetry was suffering from the fact that&lt;br /&gt;
poets expected to be read. None of the Greek or&lt;br /&gt;
Latin poets were read ; they were heard. Printing&lt;br /&gt;
&mdash;an invention of the devil&mdash;had ruined three&lt;br /&gt;
things: the art of caligraphy, the art of memory,&lt;br /&gt;
and the art of poetry. Printed words went to the&lt;br /&gt;
brain ; words heard to the emotions. It was&lt;br /&gt;
reserved for Keats, who had more ear than brain,&lt;br /&gt;
to bring our poetry back to music. The Poets&amp;#039;&lt;br /&gt;
Club, in so far as its activities tended in the same&lt;br /&gt;
direction, was likely to prove a benefactor to its&lt;br /&gt;
generation.&lt;br /&gt;
Mr. J. A. Steuart&amp;#039;s latest novel, &ldquo;Faces in the&lt;br /&gt;
Mist,&rdquo; which ran serially in the Christian World,&lt;br /&gt;
has been published in book form by James&lt;br /&gt;
Clarke &amp;amp; Co.&lt;br /&gt;
In &ldquo;The Irish Fairy Book,&rdquo; which Mr. T. Fisher&lt;br /&gt;
Unwin has just issued, Mr. A. P. Graves has&lt;br /&gt;
brought together a rich treasure of fairy lore,&lt;br /&gt;
ancient and modern. The coloured frontispiece&lt;br /&gt;
and the hundred red and black illustrations by&lt;br /&gt;
Mr. George Denham are based on a careful study of&lt;br /&gt;
ancient Irish decoration. The volume is published&lt;br /&gt;
at 6S.&lt;br /&gt;
Miss Winifred Graham&amp;#039;s last book, &ldquo;Mary,&rdquo; has&lt;br /&gt;
to do with a woman of mystery, who is engaged as&lt;br /&gt;
a lady gardener to a well-known R.A. and his wife,&lt;br /&gt;
and is persuaded to pose to the artist as a model&lt;br /&gt;
of the Virgin. The theme of the book is rever-&lt;br /&gt;
ently handled. Messrs. Mills &amp;amp; Boon are the&lt;br /&gt;
publishers.&lt;br /&gt;
&ldquo;The Lord&rsquo;s Treasures,&rdquo; published by Mr. Elliot&lt;br /&gt;
Stock, is a series of Bible talks with children,&lt;br /&gt;
written by Mrs. Harding King. Its appeal is&lt;br /&gt;
mainly to Sunday school teachers and other&lt;br /&gt;
Christian workers, but it should prove useful also&lt;br /&gt;
to parents.&lt;br /&gt;
Her Majesty Queen Alexandra has had much&lt;br /&gt;
pleasure in accepting a copy of &ldquo;Trees and Shrubs&lt;br /&gt;
of the British Isles,&rdquo; by C. S. Cooper, F.R.H.S.,&lt;br /&gt;
and W. Percival Westell, F.L.S. This work has&lt;br /&gt;
recently been issued in two volumes by Messrs.&lt;br /&gt;
J. M. Dent &amp;amp; Sons, Limited.&lt;br /&gt;
Her Majesty the Queen of Norway and the&lt;br /&gt;
Princess of Wales have both expressed pleasure in&lt;br /&gt;
accepting, on behalf of Prince Olaf and Prince&lt;br /&gt;
Albert of Wales respectively, a copy of Mr. W.&lt;br /&gt;
Percival Westell&amp;#039;s new book, &ldquo;Nature Stalking&lt;br /&gt;
for Boys.&rdquo; This book has just been published by&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Sons, Limited, and specially&lt;br /&gt;
appeals to boy Scouts, containing an introduction&lt;br /&gt;
by Gen. Sir R. S. S. Baden Powell, K.C.V.O., and&lt;br /&gt;
verses by Mr. Rudyard Kipling.&lt;br /&gt;
Mr. Walter Wood, who recently went out to the&lt;br /&gt;
North Sea for the purpose of an article for Scribner&amp;#039;s&lt;br /&gt;
Magazine, has just returned from a tour in Galicia,&lt;br /&gt;
where he has been collecting material for a book to&lt;br /&gt;
be published early next year by Mr. Eveleigh Nash.&lt;br /&gt;
The Volume will have colour illustrations by&lt;br /&gt;
Mr. Frank H. Plason, who was Mr. Wood&amp;#039;s travel-&lt;br /&gt;
ling companion in North - West Spain. The&lt;br /&gt;
arrangements for the two were made by the Booth&lt;br /&gt;
Steamship Company, Limited, who have recently&lt;br /&gt;
opened out this little known part of the King of&lt;br /&gt;
Spain&amp;#039;s dominions. At Santiago, the Jerusalem&lt;br /&gt;
of the West, and Spain&amp;#039;s holy city, Mr. Wood&lt;br /&gt;
had a special audience with the Cardinal, at the&lt;br /&gt;
Palace,&lt;br /&gt;
We have received the syllabus of the Royal&lt;br /&gt;
College of Science (Department of Zoology) for&lt;br /&gt;
1909&ndash;10. The department is under the direction&lt;br /&gt;
of Prof. Adam Sedgwick. Mr. A. D. Darbishire,&lt;br /&gt;
who is one of the special lecturers of the college,&lt;br /&gt;
is giving a course of about twenty lectures on&lt;br /&gt;
Heredity, Wariation, and Evolution. The course&lt;br /&gt;
is intended both for the student who desires&lt;br /&gt;
information for practical application, and for the&lt;br /&gt;
student who is interested in evolution and other&lt;br /&gt;
vital phenomena from a purely scientific and philo-&lt;br /&gt;
sophical aspect. Students, other than members of&lt;br /&gt;
the college, may obtain leave to attend the lectures&lt;br /&gt;
by applying to the secretary of the college. The&lt;br /&gt;
lectures are held on Wednesdays and Fridays at&lt;br /&gt;
5 o&amp;#039;clock, beginning on Wednesday, January 12,&lt;br /&gt;
and ending about Friday, March 18, 1910.&lt;br /&gt;
&ldquo;The Servant in the House,&rdquo; a play in five acts,&lt;br /&gt;
by Charles Rann Kennedy, was produced at the&lt;br /&gt;
Adelphi Theatre towards the end of October. The&lt;br /&gt;
leading character is a Christlike person and the&lt;br /&gt;
dramatist shows the influence which he has on the&lt;br /&gt;
rest of the people in the house. Miss Wynne&lt;br /&gt;
Matthison and Mr. Sidney Valentine are in the&lt;br /&gt;
Cast.&lt;br /&gt;
&ldquo;Pierrot and Pierrette,&rdquo; a lyrical musical drama&lt;br /&gt;
in two acts, was staged at the Afternoon Theatre&lt;br /&gt;
early in November. The words of the piece are&lt;br /&gt;
by Mr. W. E. Grogan, and the music by Mr. Josef&lt;br /&gt;
Holbrooke. There are four characters in the&lt;br /&gt;
piece : Pierrot, Mr. Albert Archdeacon ; Pierrette,&lt;br /&gt;
Miss Esta D&amp;#039;Argo; the Nurse, Miss Katherine&lt;br /&gt;
Jones; the Stranger, Mr. Leon de Sousa.&lt;br /&gt;
Mr. R. C. Carton&amp;#039;s new play, &ldquo;Lorrimer Sabiston,&lt;br /&gt;
Dramatist,&rdquo; was produced last month at St. James&rsquo;&lt;br /&gt;
Theatre, with a cast including Mr. George&lt;br /&gt;
Alexander, Miss Beryl Faber and Mr. C. M.&lt;br /&gt;
Lowne.&lt;br /&gt;
The Christmas mystery-play, &ldquo;Eager Heart,&rdquo; by&lt;br /&gt;
Miss A. M. Buckton, will be given in London&lt;br /&gt;
during the first days of December, with the original&lt;br /&gt;
company. All particulars to be had of Chappell &amp;amp;&lt;br /&gt;
Co., 50, New Bond Street, W.&lt;br /&gt;
The small body of players who since 1904 have,&lt;br /&gt;
every Christmas, produced this modern mystery-&lt;br /&gt;
play, have formed themselves, with their friends,&lt;br /&gt;
into an incorporated company, &ldquo;for the performance,&lt;br /&gt;
3)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#447) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DTH O R.&lt;br /&gt;
77&lt;br /&gt;
protection and furtherance of the play, and of like&lt;br /&gt;
modern plays of an idealist nature.&rdquo;&lt;br /&gt;
&amp;#039;I&amp;#039;his season there will be two special performances&lt;br /&gt;
given in Bethnal Green on November 30, for&lt;br /&gt;
Oxford House and adjacent Settlements ; and the&lt;br /&gt;
play will then be performed for the public, for&lt;br /&gt;
three evenings and five matin&eacute;es, in the hall of the&lt;br /&gt;
Passmore Edwards Settlement, Tavistock Place,&lt;br /&gt;
W.C.&lt;br /&gt;
Bach&amp;#039;s Pastoral Symphony and the &ldquo;Gloria in&lt;br /&gt;
Excelsis,&rdquo; as well as the chorales, will be again under&lt;br /&gt;
the direction of Miss Rosabel Watson.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
HE third volume of the Duchesse de Dino&amp;#039;s&lt;br /&gt;
&ldquo;Chronique&rdquo; is now published, and takes us&lt;br /&gt;
from 1841&ndash;1850. This volume begins&lt;br /&gt;
with an account of a reception at the French&lt;br /&gt;
Academy. The whole book, like the two previous&lt;br /&gt;
volumes, is interspersed with anecdotes. These&lt;br /&gt;
three volumes are published by Princess Radziwill,&lt;br /&gt;
but there is matter for at least two more interest-&lt;br /&gt;
ing volumes if the Comtesse de Castellane should&lt;br /&gt;
consent to continue the publication she commenced&lt;br /&gt;
some two years ago with the diary of the Duchesse&lt;br /&gt;
de Dino before her marriage with Talleyrand&amp;#039;s&lt;br /&gt;
nephew.&lt;br /&gt;
Judith Gautier publishes her volume of &ldquo;Le&lt;br /&gt;
Collier des Jours,&rdquo; under the title of &ldquo;Le Troisi&egrave;me&lt;br /&gt;
Rang du Collier.&rdquo; This volume will be greatly&lt;br /&gt;
appreciated by all admirers of Wagner, as the greater&lt;br /&gt;
part of the book is devoted to Wagner.&lt;br /&gt;
&ldquo;L&rsquo;Aurore Australe,&rdquo; by Biard d&amp;#039;Aunet, is a&lt;br /&gt;
book which should be read by English people. It&lt;br /&gt;
is a volume on Australia by a keen observer who&lt;br /&gt;
spent twelve years there, and lost no opportunity of&lt;br /&gt;
studying this new country and its government.&lt;br /&gt;
|M. Biard d&amp;#039;Aunet is a French plenipotentiary&lt;br /&gt;
minister, who lived in Australia from 1893 to&lt;br /&gt;
1905. His book is divided into five chapters,&lt;br /&gt;
entitled &ldquo;Australian Society,&rdquo; &ldquo;Socialism in&lt;br /&gt;
Australia,&rdquo; &ldquo;The Australian Constitution,&rdquo; &ldquo;The&lt;br /&gt;
Material Wealth and Situation of Australia,&rdquo;&lt;br /&gt;
and &ldquo;Australia seen from Outside.&rdquo; When&lt;br /&gt;
speaking of Australian society the author touches&lt;br /&gt;
on the aspirations of the people, the difference&lt;br /&gt;
between this country and America, the influence of&lt;br /&gt;
climate and of fresh surroundings, education, the&lt;br /&gt;
fine arts, social entertainments, the Australian&lt;br /&gt;
woman, the government of Australia, and social and&lt;br /&gt;
political etiquette. He then speaks of socialism in&lt;br /&gt;
this new country, and the conception of socialism&lt;br /&gt;
there and in Europe. He gives us the history of&lt;br /&gt;
the Labour Party, and of the various leagues and&lt;br /&gt;
Societies organised there. He throws light on many&lt;br /&gt;
Questions which are somewhat obscure, bearing on&lt;br /&gt;
the Australian conception of its relations with&lt;br /&gt;
England, on British Imperialism, and the working&lt;br /&gt;
of the Australian Constitution. The chapter on&lt;br /&gt;
&ldquo;The Material Situation of Australia&rsquo; is extremely&lt;br /&gt;
instructive, as the author gives full details with&lt;br /&gt;
regard to the products and industries of the country.&lt;br /&gt;
He also gives valuable information about the&lt;br /&gt;
commerce and exports, and many useful hints to&lt;br /&gt;
would-be colonisers. In the last chapter he speaks&lt;br /&gt;
of the relations between Australia and England, of&lt;br /&gt;
the idea of creating an Australian navy, of military&lt;br /&gt;
defence, and the problem of Imperialism, of pre-&lt;br /&gt;
ferential trade and of tariff reform. The whole&lt;br /&gt;
book is extremely interesting, and written in an&lt;br /&gt;
impartial way, as it is more easy for a Frenchman&lt;br /&gt;
to study the pros and cons of certain delicate&lt;br /&gt;
questions than it would be for an Australian or an&lt;br /&gt;
Englishman.&lt;br /&gt;
&ldquo;Le Mirage Oriental,&rdquo; by Louis Bertrand, is a&lt;br /&gt;
remarkable study of Oriental life, written after&lt;br /&gt;
twelve months&amp;#039; life in the East. The chapters are&lt;br /&gt;
entitled : &ldquo;Les Mirages de l&amp;#039;Arriv&eacute;e&amp;quot; ; &ldquo;La&lt;br /&gt;
R&eacute;alit&eacute; ; Le Peuple &amp;quot;; &ldquo;Les Elites&rdquo;; &ldquo;Jeunes&lt;br /&gt;
Turcs et Jeunes Egyptiens&rsquo; Les Elites&rdquo;; &ldquo;Juifs&lt;br /&gt;
et Chr&eacute;tiens &amp;#039;&amp;quot; ; &ldquo;Les Ecoles Chr&eacute;tiennes et&lt;br /&gt;
Isra&eacute;lites&rdquo;; &ldquo;Les &Eacute;coles Musulmanes &amp;quot;; &ldquo;L&lt;br /&gt;
M&ecirc;l&eacute;e de R&eacute;ligions en Orient.&rdquo; It will be seen&lt;br /&gt;
from these titles what a vast subject the author has&lt;br /&gt;
approached.&lt;br /&gt;
A very curious book has just been written by&lt;br /&gt;
Jean Lor&eacute;dan. It is entitled &ldquo; La Grande&lt;br /&gt;
Mis&egrave;re et les Woleurs au XVIII* si&egrave;cle&rdquo; (Marion&lt;br /&gt;
du Faou&ecirc;t et ses Associ&eacute;s, 1740&ndash;1770). It is the&lt;br /&gt;
account of Marion and the band of thieves&lt;br /&gt;
associated with her. The author explains that&lt;br /&gt;
when staying at Faou&euml;t, in Brittany, he heard&lt;br /&gt;
stories about this Marion which aroused his&lt;br /&gt;
curiosity and, on searching the archives, he came&lt;br /&gt;
across documents which were a revelation to him&lt;br /&gt;
about the habits and customs of the people of that&lt;br /&gt;
part of the world in the days of the celebrated&lt;br /&gt;
woman robber.&lt;br /&gt;
Very rarely has any author had as much post-&lt;br /&gt;
humous celebrity as Barbey d&rsquo;Aur&eacute;villy. There&lt;br /&gt;
are fresh articles and books on the subject of this&lt;br /&gt;
author and his works every week. One of the&lt;br /&gt;
latest is by Pierre de Crisenoy, entitled &ldquo;Essai sur&lt;br /&gt;
Jules, Am&eacute;d&eacute;e d&rsquo;Aur&eacute;villy.&rdquo; The little volume is&lt;br /&gt;
extremely interesting, and it is very evident that&lt;br /&gt;
the author wrote it under the inspiration of great&lt;br /&gt;
affection and admiration for the subject of his&lt;br /&gt;
book. He has made the story of this author seem&lt;br /&gt;
as fascinating as a novel and, as he has taken the&lt;br /&gt;
works of the great French novelist and critic in&lt;br /&gt;
chronological order, we can study the influence&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#448) ################################################&lt;br /&gt;
&lt;br /&gt;
78&lt;br /&gt;
TISIES A [ITISIOR.&lt;br /&gt;
which d&rsquo;Aur&eacute;villy&amp;#039;s life must have had on his writ-&lt;br /&gt;
ings. M. de Crisenoy must be Norman himself to&lt;br /&gt;
be able to understand, as he does, the charm of&lt;br /&gt;
Normandy, and the deep love of Barbey d&rsquo;Aur&eacute;villy&lt;br /&gt;
for his birthplace.&lt;br /&gt;
&ldquo;La Petite,&rdquo; by Andr&eacute; Lichtenberger, is another&lt;br /&gt;
of the delightful psychological studies of children&lt;br /&gt;
in which this writer is a past master. We have&lt;br /&gt;
none of us forgotten &ldquo;Trott,&rdquo; and &ldquo;La Petite&lt;br /&gt;
Soeur de Trott.&rdquo; In this new volume we have a&lt;br /&gt;
young girl, Lillete. She is about fifteen when we&lt;br /&gt;
make her acquaintance. It is a delightful study&lt;br /&gt;
of a girl&amp;#039;s psychology, of all the thoughts, ideas,&lt;br /&gt;
events and emotions which unite to form her&lt;br /&gt;
character.&lt;br /&gt;
On his arrival in Paris, Lieutenant Shackleton&lt;br /&gt;
was received at the station by a delegation of&lt;br /&gt;
members of the Soci&eacute;t&eacute; de G&eacute;ographie. In the&lt;br /&gt;
evening the British Chamber of Commerce gave a&lt;br /&gt;
dinner in his honour, and a reception was organised&lt;br /&gt;
by the Soci&eacute;t&eacute; de G&eacute;ographie at the Sorbonne.&lt;br /&gt;
&ldquo;Au Coeur de l&rsquo;Antarctique,&rdquo; by G. H. Shackleton,&lt;br /&gt;
has been translated by M. Charles Rabot,&lt;br /&gt;
For the last few years we have had, each winter&lt;br /&gt;
Season, at the Sorbonne a series of lectures on&lt;br /&gt;
America by an American. Last year Mr. Henry&lt;br /&gt;
Van Dyke lectured on &ldquo;American Genius.&rdquo; This&lt;br /&gt;
year Mr. Bliss Perry will study representative&lt;br /&gt;
American books and men, with special reference to&lt;br /&gt;
literary intercourse between England and America.&lt;br /&gt;
It seems strange that English literatureshould not be&lt;br /&gt;
represented at the Sorbonne by an English lecturer.&lt;br /&gt;
The initiative with regard to this American chair&lt;br /&gt;
at the Sorbonne was taken by Mr. James Hyde.&lt;br /&gt;
Thanks also to the activity of Mr. Hyde the&lt;br /&gt;
Harvard University has a chair of French litera-&lt;br /&gt;
ture, and some of the most noted French&lt;br /&gt;
authors have been invited to give a course of&lt;br /&gt;
lectures in the United States. On November 8&lt;br /&gt;
the Soci&eacute;t&eacute; des Gens de Lettres gave a dinner&lt;br /&gt;
in honour of Mr. Hyde and Mr. Bliss Perry.&lt;br /&gt;
M. Emile Boutroux, Dr. Paz (of Buenos Ayres),&lt;br /&gt;
Mr. Melville Stone (director of the Associated&lt;br /&gt;
Press of New York), and Mr. Frank Puaux (vice-&lt;br /&gt;
president of the Alliance Fran&ccedil;aise) were among&lt;br /&gt;
the guests.&lt;br /&gt;
In a recent number of La Revue hebdomadaire&lt;br /&gt;
Edouard Rod writes an excellent article on literary&lt;br /&gt;
women. Several books have been published lately&lt;br /&gt;
On this subject :&mdash;&ldquo;Princesses de Lettres,&rdquo; by E.&lt;br /&gt;
Tissot ; &ldquo;Nos Femmes de Lettres,&rdquo; by Paul Flat ;&lt;br /&gt;
and &ldquo;La Litt&eacute;rature f&eacute;minine d&rsquo;aujourd&rsquo;hui,&rdquo;&lt;br /&gt;
by Jules Bertaut. Edouard Rod, in his article on&lt;br /&gt;
&ldquo;Le Mouvement des Id&eacute;es,&rdquo; gives us the r&eacute;sum&eacute;&lt;br /&gt;
of these volumes.&lt;br /&gt;
At the Com&eacute;die Fran&ccedil;aise M. Henri Lavedau&rsquo;s&lt;br /&gt;
new play, &ldquo;Sire,&rdquo; has been given. At the Th&eacute;&acirc;tre&lt;br /&gt;
Sarah Bernhardt &ldquo;Le Proc&egrave;s de Jeanne d&rsquo;Arc *&lt;br /&gt;
is on the bill, and at the Th&eacute;&acirc;tre R&eacute;jane &ldquo;Ile&lt;br /&gt;
Risque.&rdquo; -&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Chronique &amp;quot; (Plon).&lt;br /&gt;
Le Troisi&egrave;me Rang du Collier &amp;quot; (Juven).&lt;br /&gt;
&ldquo;L&rsquo;Aurore Australe&rdquo; (Plon).&lt;br /&gt;
&ldquo;Le Mirage Oriental&rdquo; (Perrin).&lt;br /&gt;
&ldquo;La Grande Mis&egrave;re et les Voleurs au XVIIIeme si&egrave;cle&lt;br /&gt;
(Perrin).&lt;br /&gt;
&ldquo;Essai sur Jules, Am&eacute;d&eacute;e Barbey d&rsquo;Aur&eacute;villy &rdquo; (Biblio&lt;br /&gt;
th&egrave;que des Entr&eacute;tiens Id&eacute;alistes).&lt;br /&gt;
&ldquo;La Petite&rdquo; (Librairie des Annales).&lt;br /&gt;
&ldquo;Au Coeur de l&rsquo;Antarctique&rdquo; (Hachette).&lt;br /&gt;
a &mdash;&ordm;- A&ordm;A&lt;br /&gt;
-&ordm;-&lt;br /&gt;
v&ordm;y w&lt;br /&gt;
COPYRIGHT IN COMPILATIONS.&lt;br /&gt;
A. BROWN &amp;amp; SONS, LTD. V. TREVOR AND ENGLAND.&lt;br /&gt;
QUESTION has been raised, and will shortly&lt;br /&gt;
be tried, as to how far documents which are&lt;br /&gt;
compiled from materials available to the&lt;br /&gt;
general public are capable of copyright ; and as to&lt;br /&gt;
the rights of a public authority in a document&lt;br /&gt;
composed by a person in its employ.&lt;br /&gt;
The plaintiffs in this action, which was tried in&lt;br /&gt;
the Hull County Court, sued the defendants for&lt;br /&gt;
infringement of their copyright in certain com-&lt;br /&gt;
pilations or books of forms called &ldquo;The Hull&lt;br /&gt;
Register of Admission,&rdquo; and &ldquo;The Hull Summary&lt;br /&gt;
Register of Attendances.&rdquo; On the passing of the&lt;br /&gt;
Education Act, it became necessary to have books&lt;br /&gt;
of forms showing admissions, attendances, and&lt;br /&gt;
other matters of School routine, and it was said&lt;br /&gt;
that these books had been compiled for the&lt;br /&gt;
plaintiffs by Someone who was at the time in the&lt;br /&gt;
employment of the School Board. In 1908 the&lt;br /&gt;
plaintiffs registered themselves at Stationers&amp;#039; Hall&lt;br /&gt;
as proprietors of the copyright in these com-&lt;br /&gt;
pilations.&lt;br /&gt;
The county court judge dismissed the action,&lt;br /&gt;
upon the ground that the copyright in the com-&lt;br /&gt;
pilations did not belong to the plaintiffs, or if&lt;br /&gt;
they had any copyright at all, there was at least as&lt;br /&gt;
much copyright belonging to the school authorities&lt;br /&gt;
who had sanctioned what was done by the&lt;br /&gt;
defendants.&lt;br /&gt;
While the action was pending in the county&lt;br /&gt;
court, an application was made to the High Court,&lt;br /&gt;
by Messrs. Trevor and England and by a Mr.&lt;br /&gt;
Martin, to expunge the entries in the register at&lt;br /&gt;
Stationers&amp;#039; Hall, in which Messrs. Brown &amp;amp; Sons&lt;br /&gt;
were described as the copyright proprietors, or to&lt;br /&gt;
restrain the plaintiffs from using such entries as&lt;br /&gt;
evidence of their copyright in the county court&lt;br /&gt;
action. It was contended that such compilations&lt;br /&gt;
were not the subject of copyright, and that even&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#449) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR. 79&lt;br /&gt;
if they were the subject of copyright, they were&lt;br /&gt;
substantially copies of similar forms compiled many&lt;br /&gt;
years ago by Mr. Martin.&lt;br /&gt;
The Divisional Court, however, expressed the&lt;br /&gt;
opinion that such compilations were capable of&lt;br /&gt;
copyright, and they refused the application.&lt;br /&gt;
The defendants appealed to the Court of Appeal,&lt;br /&gt;
which has adjourned the appeal, and has directed&lt;br /&gt;
an issue to be tried to determine the question&lt;br /&gt;
whether any copyright exists in such compilations,&lt;br /&gt;
and, if so, whether Messrs. Brown &amp;amp; Sons are&lt;br /&gt;
entitled to the copyright.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CLAIM TO COPYRIGHT IN THE TITLE&lt;br /&gt;
OF A BOOK. -&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CROTCH v. ARNOLD.&lt;br /&gt;
HE plaintiff, Mr. William Crotch, author of&lt;br /&gt;
&ldquo;Cottage Homes of England,&rdquo; applied for&lt;br /&gt;
an injunction to restrain Mr. Arnold from&lt;br /&gt;
publishing a book bearing the same title, on&lt;br /&gt;
the ground that it was calculated to lead the&lt;br /&gt;
public to believe that it was the plaintiff&amp;#039;s book.&lt;br /&gt;
The plaintiff also alleged that the use of the title of&lt;br /&gt;
his book was an infringement of copyright, and he&lt;br /&gt;
asked for an injunction to restrain any further&lt;br /&gt;
infringement.&lt;br /&gt;
It appeared that the plaintiff&amp;#039;s book had provided&lt;br /&gt;
material for political speeches, and had been quoted&lt;br /&gt;
and used as a political handbook on rural housing&lt;br /&gt;
and for other purposes. The price varied in&lt;br /&gt;
different editions from 1s, to 3s. 6d. The&lt;br /&gt;
defendant&amp;#039;s book, on the other hand, was published&lt;br /&gt;
in two editions, at one and two guineas respec-&lt;br /&gt;
tively; it was beautifully illustrated, containing&lt;br /&gt;
sixty-two coloured plates, and dealt with cottages&lt;br /&gt;
in England from a pictorial and descriptive&lt;br /&gt;
standpoint.&lt;br /&gt;
Mr. Justice Swinfen Eady, in refusing the&lt;br /&gt;
application, said that the law was settled that there&lt;br /&gt;
is no copyright in a title ; and he came to the con-&lt;br /&gt;
clusion, upon the evidence, that the plaintiff&amp;#039;s book&lt;br /&gt;
was of a character absolutely and entirely different&lt;br /&gt;
from the book published by the defendant.&lt;br /&gt;
&ldquo;It is addressed to an altogether different class&lt;br /&gt;
of readers,&rdquo; said his lordship ; &ldquo;and looking at the&lt;br /&gt;
two works, there is no possibility of taking one for&lt;br /&gt;
the other. It is clear that at the time when the&lt;br /&gt;
book was published neither the publisher nor any&lt;br /&gt;
member of his staff had heard of the plaintiff&amp;#039;s work,&lt;br /&gt;
and the coincidence of title was purely accidental.&rdquo;&lt;br /&gt;
It may be pointed out that, in cases of this kind,&lt;br /&gt;
it is necessary to distinguish between what is known&lt;br /&gt;
as &ldquo;passing off&rdquo;&mdash;i.e., selling a book under a title&lt;br /&gt;
calculated to produce the impression that it is&lt;br /&gt;
another work bearing the same title, which is the&lt;br /&gt;
Violation of a common law right&mdash;from an infringe-&lt;br /&gt;
ment of statutory copyright. As a general rule,&lt;br /&gt;
there is no copyright in the name of a book ; but&lt;br /&gt;
the adoption of the name, or a similar name, may&lt;br /&gt;
be restrained on the ground that it is misleading&lt;br /&gt;
to purchasers. The plaintiff, however, must show&lt;br /&gt;
that his property is likely to be injured by the&lt;br /&gt;
Similarity of the name, and this depends upon the&lt;br /&gt;
evidence in each particular case.*&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
s&ordm; &mdash;&ordm;- *&lt;br /&gt;
w ~g-w&lt;br /&gt;
ARTISTIC COPYRIGHT.&lt;br /&gt;
&mdash;0&ndash;9&ndash;0&ndash;&lt;br /&gt;
HUNTER v. CLIFFORD &amp;amp; Co.&lt;br /&gt;
HIS was an action in the Westminster Count&lt;br /&gt;
Court, in which the plaintiff, Mr. John&lt;br /&gt;
Hunter, artist, claimed the sum of &pound;50, or&lt;br /&gt;
an account to be taken of sums due to him from&lt;br /&gt;
the defendants, Messrs. Clifford &amp;amp; Co., art pub-&lt;br /&gt;
lishers, under an agreement of May 4, 1899.&lt;br /&gt;
The agreement, which was in writing, was as&lt;br /&gt;
follows:&mdash;&lt;br /&gt;
&ldquo;In consideration of your giving me twelve&lt;br /&gt;
artist&amp;#039;s proofs of my picture entitled, &lsquo;My Lady&amp;#039;s&lt;br /&gt;
Garden, and a royalty of 58. on every proof sold,&lt;br /&gt;
I hereby assign my copyright to your firm abso-&lt;br /&gt;
lutely. I agree to sign edition of 400 artist&amp;#039;s&lt;br /&gt;
proofs (free of any expense) when called upon.&lt;br /&gt;
The above is subject to my arranging the copy-&lt;br /&gt;
right with the Chantrey Fund if necessary.&rdquo;&lt;br /&gt;
The picture had been exhibited in the Royal&lt;br /&gt;
Academy and the defendants reproduced it; artist&amp;#039;s&lt;br /&gt;
proofs were signed by the plaintiff and were sold&lt;br /&gt;
by the defendants, but the plaintiff had received&lt;br /&gt;
no royalties. The picture was purchased for the&lt;br /&gt;
nation in 1899 under the terms of the Chantrey&lt;br /&gt;
Bequest, but there was no written agreement&lt;br /&gt;
reserving the copyright to the artist or the rights&lt;br /&gt;
of his assignees. The plaintiff gave evidence and&lt;br /&gt;
produced the written agreement, but he was unable&lt;br /&gt;
to state whether the sale of the picture was prior,&lt;br /&gt;
or subsequent, to the date of the agreement.&lt;br /&gt;
It was contended on behalf of the defendants&lt;br /&gt;
that there was a failure of consideration, because&lt;br /&gt;
the copyright in the picture was lost when the&lt;br /&gt;
artist sold the picture, without a written agree-&lt;br /&gt;
ment reserving the copyright : alternatively, no&lt;br /&gt;
arrangement had been made with the trustees of the&lt;br /&gt;
Chantrey Fund in accordance with the agreement&lt;br /&gt;
sued upon by the plaintiff.&lt;br /&gt;
* Halsbury&rsquo;s &ldquo;Laws of England&rdquo;; title, &ldquo;Copyright&lt;br /&gt;
and Literary Property,&rsquo;&rdquo; pp. 143&ndash;4.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#450) ################################################&lt;br /&gt;
&lt;br /&gt;
80&lt;br /&gt;
TISIES AICTEIOR.&lt;br /&gt;
The Fine Arts Copyright Act, 1862, provides&lt;br /&gt;
that, when any painting is sold for the first time,&lt;br /&gt;
the vendor shall not be entitled to the copyright,&lt;br /&gt;
unless it is expressly reserved to him by a written&lt;br /&gt;
agreement ; and the purchaser of the painting&lt;br /&gt;
shall not be entitled to the copyright unless there&lt;br /&gt;
is a written agreement to that effect. It was&lt;br /&gt;
argued, therefore, that in the absence of such&lt;br /&gt;
written agreement, the copyright in the picture&lt;br /&gt;
was lost, and the protection stipulated for by the&lt;br /&gt;
defendants in the last clause of the agreement sued&lt;br /&gt;
upon had not been secured to the defendants,&lt;br /&gt;
because anybody was entitled to copy the picture.&lt;br /&gt;
For the plaintiff it was submitted that such a&lt;br /&gt;
contention might be the subject of a counterclaim,&lt;br /&gt;
but that it was no defence to the action.&lt;br /&gt;
The judge held that, if the agreement was&lt;br /&gt;
entered into after the sale of the picture, the copy-&lt;br /&gt;
right was lost, and there was no consideration for&lt;br /&gt;
the payment of royalties; on the other hand, if the&lt;br /&gt;
sale took place after the agreement, the whole&lt;br /&gt;
agreement was subject to the plaintiff arranging&lt;br /&gt;
the copyright with the Chantrey Fund, and it&lt;br /&gt;
being admitted that no such arrangement had been&lt;br /&gt;
made, the plaintiff was not entitled to the royalties&lt;br /&gt;
payable under the agreement.&lt;br /&gt;
Judgment was given for the defendant with&lt;br /&gt;
COsts.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&mdash;&lt;br /&gt;
THE REPORT OF THE JOINT COMMITTEE&lt;br /&gt;
ON THE STAGE PLAYS (CENSORSHIP).&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Joint Select Committee of the House of&lt;br /&gt;
Lords and the House of Commons, which&lt;br /&gt;
has summarised as above the subject of its&lt;br /&gt;
inquiry on the title-page of its recently issued&lt;br /&gt;
report, had to inquire, according to the terms of&lt;br /&gt;
its reference, &ldquo;into the censorship of stage plays&lt;br /&gt;
as constituted by the Theatres Act, 1843, and into&lt;br /&gt;
the operations of the Acts of Parliament relating&lt;br /&gt;
to the licensing and regulation of theatres and&lt;br /&gt;
places of public entertainment, and to report any&lt;br /&gt;
alterations of the law or practice which may appear&lt;br /&gt;
desirable.&rdquo;&lt;br /&gt;
THE LICENSING AUTHORITY FOR THEATRES AND&lt;br /&gt;
MUSIC-HALLS.&lt;br /&gt;
The effect of the report so far as it tends to&lt;br /&gt;
simplify the licensing of theatres and music-halls&lt;br /&gt;
by assigning this duty in the case of both to one&lt;br /&gt;
authority, will be understood best from the sum-&lt;br /&gt;
mary given by the Committee of the existing law&lt;br /&gt;
upon this subject. In the reign of Henry VIII.&lt;br /&gt;
the amusements of the Court were under the control&lt;br /&gt;
of a Master of the Revels, and subsequently, until&lt;br /&gt;
the Commonwealth suppressed all theatres, writers&lt;br /&gt;
of plays were under the authority of the Master of&lt;br /&gt;
the Revels, of the Privy Council, or of the Star&lt;br /&gt;
Chamber. In or about 1628 the Lord Chamber-&lt;br /&gt;
lain exercised powers of licensing and closing&lt;br /&gt;
theatres and Supervising plays, and in 1737 re-&lt;br /&gt;
ceived statutory powers to license theatres and&lt;br /&gt;
to sanction plays within a stated jurisdiction.&lt;br /&gt;
Passing over intermediate stages, we come to the&lt;br /&gt;
Theatres Act of 1843, referred to above, and to the&lt;br /&gt;
powers still existing which it conferred. Music-&lt;br /&gt;
halls, on the other hand, date their regulation&lt;br /&gt;
from the passing of the Disorderly Houses Act,&lt;br /&gt;
1751, and the legislation which has been based&lt;br /&gt;
upon it. Attention has been called to the different&lt;br /&gt;
positions of theatres and music-halls by the recent&lt;br /&gt;
practice of introducing dramatic sketches into the&lt;br /&gt;
performances of the latter, and the committee calls&lt;br /&gt;
attention to the fact that, although songs are not&lt;br /&gt;
interpolated between plays at theatres, some thea-&lt;br /&gt;
trical performances, such as pantomimes, approxi-&lt;br /&gt;
mate closely to variety entertainments. The Com-&lt;br /&gt;
mittee also mentions the construction of the modern&lt;br /&gt;
music-hall as approaching, or being identical with,&lt;br /&gt;
that of a theatre. The state of the law relating to&lt;br /&gt;
these buildings and the performances taking place&lt;br /&gt;
in them is thus summarised (p. xv):&mdash;&lt;br /&gt;
&ldquo;(a) Stage plays, as defined by the Theatres Act, 1843,&lt;br /&gt;
and by the interpretation placed on that Act by the Courts,&lt;br /&gt;
may legally only be performed in buildings possessing a&lt;br /&gt;
* Published, with Minutes of the Evidence and&lt;br /&gt;
Appendices, in a Blue-Book. Price 38. 3d.&lt;br /&gt;
stage play licence. Their performance is not authorised&lt;br /&gt;
by the music and dancing licence granted under the Dis-&lt;br /&gt;
Orderly Houses Act, 1751, and in statutes amending it, or&lt;br /&gt;
under the Acts applicable in the provinces.&lt;br /&gt;
&ldquo;(b) Since the Lord Chamberlain&amp;#039;s censorship extends&lt;br /&gt;
only to stage plays he has no control over the nature of the&lt;br /&gt;
performances which music-halls are entitled to give under&lt;br /&gt;
the music and dancing licence. -&lt;br /&gt;
&ldquo;(c) In the cities of London and Westminster, and the&lt;br /&gt;
metropolitan boroughs mentioned in the Theatres Act of&lt;br /&gt;
1843, and in Bath, Margate and Windsor, theatres are&lt;br /&gt;
licensed by the Lord Chamberlain. Theatres which are in&lt;br /&gt;
a county borough are licensed by the town council, under&lt;br /&gt;
the provisions of the Local Government Act of 1888. By&lt;br /&gt;
section 28 of the Act a town council is authorised to&lt;br /&gt;
delegate its powers to the justices. In a county the&lt;br /&gt;
county council is the licensing authority for theatres under&lt;br /&gt;
the provisions of the Local Government Act of 1888, but it&lt;br /&gt;
may transfer the duty to a committee of the council, to the&lt;br /&gt;
district councils, or to the councils of the non-county&lt;br /&gt;
boroughs within its area, or to the justices. Music-halls&lt;br /&gt;
within the county of London are licensed by the London&lt;br /&gt;
County Council. In other parts of England, except in&lt;br /&gt;
Middlesex and in towns which have local Acts of their own,&lt;br /&gt;
the licensing of music-halls is regulated by the provisions&lt;br /&gt;
of the Local Government Act of 1888, or of the Public&lt;br /&gt;
Health Acts Amendment Act of 1890. Under the first of&lt;br /&gt;
these Acts music-halls in a county borough are licensed by&lt;br /&gt;
the town council; in a non-county borough by the county&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#451) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#452) ################################################&lt;br /&gt;
&lt;br /&gt;
Supplement to &ldquo;The Author &amp;quot;&lt;br /&gt;
Fig. 2&lt;br /&gt;
Fig. 3&lt;br /&gt;
Two Col of PRocess.&lt;br /&gt;
To illustrate article &ldquo;THE&lt;br /&gt;
ART OF ILL&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#453) ################################################&lt;br /&gt;
&lt;br /&gt;
&lsquo;December, /909.&lt;br /&gt;
Fig. 2&lt;br /&gt;
- Fig. 4&lt;br /&gt;
FIG. 3 - - - - - - ---&lt;br /&gt;
Flo. 5&lt;br /&gt;
THREE Colo R PRocess&lt;br /&gt;
TRATING.&amp;quot; by Wm. Brett Plummer.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#454) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#455) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
81&lt;br /&gt;
Council, unless it has delegated its authority to a committee&lt;br /&gt;
of the town council of the borough. If, however, the pro-&lt;br /&gt;
visions of the Public Health Acts Amendment Act have&lt;br /&gt;
been adopted either in a county or non-county borough,&lt;br /&gt;
the justices become the licensing authority.&lt;br /&gt;
&ldquo;(d) A music-hall requiring a licence to sell intoxicants,&lt;br /&gt;
must obtain it from the justices who are the authority for&lt;br /&gt;
the granting of other liquor licences. A theatre is entitled&lt;br /&gt;
to obtain an excise licence without needing a justices&amp;#039;&lt;br /&gt;
licence.&lt;br /&gt;
&ldquo;(e) A regulation made by the Lord Chamberlain pro-&lt;br /&gt;
hibits smoking in the auditorium of theatres licensed by&lt;br /&gt;
him, within a radius of a mile and a half from a fixed&lt;br /&gt;
point in the centre of London. No such regulation is&lt;br /&gt;
applied by the local authorities to music-halls, or, so far as&lt;br /&gt;
the Committee is aware, to theatres licensed by them.&lt;br /&gt;
&ldquo;The licensing authorities have no statutory power to&lt;br /&gt;
impose conditions as to the nature of the performances to&lt;br /&gt;
be given in music-halls, but the licence being annually&lt;br /&gt;
renewable enables them, if they so desire, to exercise an&lt;br /&gt;
effective control.&rdquo;&lt;br /&gt;
With regard to the licensing of theatres and&lt;br /&gt;
music-halls, the Committee proposes to do away&lt;br /&gt;
with the varying conditions summarised above,&lt;br /&gt;
both with regard to the authority granting the&lt;br /&gt;
licence and the nature of the performance to be&lt;br /&gt;
held in the licensed building. The Committee&lt;br /&gt;
recommends &ldquo;a single licence for both classes of&lt;br /&gt;
houses, giving them freedom to produce whatever&lt;br /&gt;
entertainment may best conform to the tastes of&lt;br /&gt;
the public which they serve.&rdquo;&lt;br /&gt;
In London the Committee would place the&lt;br /&gt;
licensing of all theatres (forty are now licensed by&lt;br /&gt;
the Lord Chamberlain) and music-halls in the&lt;br /&gt;
hands of the London County Council.&lt;br /&gt;
THE DRAMATIC CENSORSHIP.&lt;br /&gt;
The dramatic censorship was the primary cause&lt;br /&gt;
of the Committee&amp;#039;s appointment, the most impor-&lt;br /&gt;
tant subject proposed for its consideration both&lt;br /&gt;
in the eyes of those interested in the drama as&lt;br /&gt;
authors or otherwise and of the general public,&lt;br /&gt;
and the first subject dealt with in its report. As,&lt;br /&gt;
however, in recommending new tribunals and new&lt;br /&gt;
methods of procedure for dealing with the produc-&lt;br /&gt;
tion of plays the Committee has proposed for these&lt;br /&gt;
a wider jurisdiction than the Lord Chamberlain,&lt;br /&gt;
acting through the censor, has hitherto exercised, the&lt;br /&gt;
portion of the Report which explains that jurisdic-&lt;br /&gt;
tion has been dealt with first.&lt;br /&gt;
The recent position of the censorship of stage&lt;br /&gt;
plays and the control exercised by an official&lt;br /&gt;
appointed by the Lord Chamberlain is well known,&lt;br /&gt;
and does not require explanation or comment.&lt;br /&gt;
The conclusions and recommendations of the&lt;br /&gt;
Committee are briefly as follows, and it will be&lt;br /&gt;
remembered that the latter apply not only to&lt;br /&gt;
stage plays as hitherto understood, but to all plays,&lt;br /&gt;
sketches, and songs performed at music-halls which&lt;br /&gt;
hitherto have had to pass no censor.&lt;br /&gt;
The Committee considers that the law which&lt;br /&gt;
prevents or punishes indecency, blasphemy, and&lt;br /&gt;
libel in printed publications would not be adequate&lt;br /&gt;
for the control of the drama, and concludes that&lt;br /&gt;
the public interest requires that theatrical per-&lt;br /&gt;
formances should be regulated by special laws.&lt;br /&gt;
It takes into consideration the preliminary&lt;br /&gt;
expenses of production incurred by managers, the&lt;br /&gt;
Circumstances in which arrangements are made&lt;br /&gt;
beforehand for the production of plays on tour in&lt;br /&gt;
the provinces, and the fact that an element of&lt;br /&gt;
insecurity, if unavoidable, might press unduly&lt;br /&gt;
upon those connected with theatrical enterprise,&lt;br /&gt;
and concludes that the producers of plays should&lt;br /&gt;
have access prior to their production to a public&lt;br /&gt;
authority, which should be empowered to license&lt;br /&gt;
plays as suitable for performance.&lt;br /&gt;
It takes into consideration the drawbacks which&lt;br /&gt;
have attended recent examples of the exercise of&lt;br /&gt;
the censor&amp;#039;s powers, the changes of standard which&lt;br /&gt;
must Occur, and the fact that &ldquo;more and more the&lt;br /&gt;
theatre is attracting writers of intellect who desire&lt;br /&gt;
to present through its agency sincere and serious&lt;br /&gt;
dramas, critical of existing conventions&rdquo;; and it&lt;br /&gt;
is of opinion that, &ldquo;if it were right that the law&lt;br /&gt;
should prevent the presentation upon the stage of&lt;br /&gt;
painful or disturbing ideas or situations, it would&lt;br /&gt;
be necessary to veto tragedy and melodrama and&lt;br /&gt;
to license comedy alone&rdquo;; and it adds that &ldquo;in&lt;br /&gt;
view of the danger that official control over plays&lt;br /&gt;
before their production may hinder the growth of&lt;br /&gt;
a great and serious national drama, and of the&lt;br /&gt;
grave injury that such hindrance would do to the&lt;br /&gt;
development of thought and of art, we conclude&lt;br /&gt;
that the licensing authority which we desire to&lt;br /&gt;
See maintained should not have power to impose a&lt;br /&gt;
veto on the production of plays.&rdquo;&lt;br /&gt;
The Report proceeds: &ldquo;If, however, the law is&lt;br /&gt;
to allow the performance of unlicensed plays, it&lt;br /&gt;
must take effective measures to safeguard the&lt;br /&gt;
community against the evils that might ensue.&lt;br /&gt;
The freedom designed for the drama of ideas may&lt;br /&gt;
be made the opportunity for a drama of indecencies&lt;br /&gt;
and personalities.&rdquo;&lt;br /&gt;
It will be seen that at this point the Committee&lt;br /&gt;
arrives at the decision that there should be an&lt;br /&gt;
authority to whom producers of plays may apply&lt;br /&gt;
for a licence for an individual play, but that the&lt;br /&gt;
refusal to license shall not constitute a veto upon&lt;br /&gt;
production. It would make the law provide that&lt;br /&gt;
a play should be capable of being lawfully produced&lt;br /&gt;
after a licence has been obtained, or after it has been&lt;br /&gt;
refused, or without any licence being sought for it,&lt;br /&gt;
but that the position of the unlicensed play should&lt;br /&gt;
differ for the worse from that which has been&lt;br /&gt;
licensed. -&lt;br /&gt;
In other words, if the recommendations of the&lt;br /&gt;
Committee are carried out, there will be theatres&lt;br /&gt;
and music-halls enjoying what it proposes to call&lt;br /&gt;
the &ldquo;dramatic and music licence.&rdquo; In them, it&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#456) ################################################&lt;br /&gt;
&lt;br /&gt;
82&lt;br /&gt;
TISIES A CITFIOR.&lt;br /&gt;
will be lawful to perform plays, sketches, Songs&lt;br /&gt;
and kindred productions in respect of which&mdash;&lt;br /&gt;
(1) Licence for performance has been granted ;&lt;br /&gt;
(2) A licence has been applied for and refused ;&lt;br /&gt;
(3) A licence has not been applied for.&lt;br /&gt;
These three conditions must be borne in mind&lt;br /&gt;
in considering the recommendations of the Com-&lt;br /&gt;
mittee to deal with plays, sketches and songs&lt;br /&gt;
which after production may be deemed to be&lt;br /&gt;
undesirable.&lt;br /&gt;
In considering the possible abolition of the&lt;br /&gt;
censor&amp;#039;s veto the Committee dwells upon the evils&lt;br /&gt;
attendant on a licentious stage, and points out that&lt;br /&gt;
the censor&amp;#039;s intervention has taken place in the case&lt;br /&gt;
of plays of a light character and indecent type, as&lt;br /&gt;
well as in that of plays of serious purpose contain-&lt;br /&gt;
ing incidents or passages which have been con-&lt;br /&gt;
demned by him. It concludes that the public&lt;br /&gt;
authority should be empowered by a summary&lt;br /&gt;
process to suspend the performance of unlicensed&lt;br /&gt;
plays which appear to be of an improper character,&lt;br /&gt;
and that where it is confirmed that they are of such&lt;br /&gt;
a character the producers should be liable to&lt;br /&gt;
penalties. -&lt;br /&gt;
It also would confer no immunity from proceed-&lt;br /&gt;
ings after production to licensed plays, but would&lt;br /&gt;
provide that the result should not be so serious&lt;br /&gt;
as in the case of those unlicensed.&lt;br /&gt;
In considering the question of ea post facto con-&lt;br /&gt;
trol the Committee does not think it desirable that&lt;br /&gt;
this should be in the hands of the local authorities&lt;br /&gt;
or of the licenser of plays, but recommends for the&lt;br /&gt;
consideration of questions, not including allegations&lt;br /&gt;
of indecency, the formation of &ldquo;a standing com-&lt;br /&gt;
mittee of the Privy Council, composed of men of&lt;br /&gt;
distinction, of impartiality, and of large experience&lt;br /&gt;
of the world, among whom a small number would&lt;br /&gt;
be chosen by the local president to adjudicate&lt;br /&gt;
on every case.&rdquo; The recommendation with regard&lt;br /&gt;
to &ldquo;indecency&rdquo; is that it should be left to be dealt&lt;br /&gt;
with in courts of law.&lt;br /&gt;
In coming to the closer consideration of pro-&lt;br /&gt;
cedure, the Committee proposes that legislation&lt;br /&gt;
should provide that&mdash;&lt;br /&gt;
The Lord Chamberlain should remain licenseſ of plays.&lt;br /&gt;
It should be his duty to license any play submitted to&lt;br /&gt;
him, unless he considers that it may reasonably be held&mdash;&lt;br /&gt;
(1) To be indecent :&lt;br /&gt;
(2) To contain offensive personalities;&lt;br /&gt;
(3) To represent on the stage in an invidious manner&lt;br /&gt;
a living person, or any person recently dead;&lt;br /&gt;
(4) To do violence to the sentiment of religious&lt;br /&gt;
reverence ;&lt;br /&gt;
(5) To be calculated to conduce to crime or vice;&lt;br /&gt;
(6) To be calculated to impair friendly relations with&lt;br /&gt;
any foreign Power ; or&lt;br /&gt;
(7) To be calculated to cause a breach of the peace.&lt;br /&gt;
It should be optional to submit a play for license, and&lt;br /&gt;
legal to perform an unlicensed play whether it has been&lt;br /&gt;
submitted or not.&lt;br /&gt;
If the Director of Public Prosecutions is of opinion that&lt;br /&gt;
any unlicensed play which has been performed is open to&lt;br /&gt;
objection on the ground of indecency, he shall prefer an&lt;br /&gt;
indictment against the manager of the theatre where the&lt;br /&gt;
play has been produced, and against the author of the&lt;br /&gt;
play. When notice has been given to the manager of the&lt;br /&gt;
theatre by the Director of Public Prosecutions of an inten-&lt;br /&gt;
tion to take proceedings, it should be illegal for any further&lt;br /&gt;
performances of the play to take place until the case has&lt;br /&gt;
been heard and decided.&lt;br /&gt;
The court before which an indictment is preferred should&lt;br /&gt;
be empowered to make One or more of the following orders&lt;br /&gt;
according to the merits of the case :--&lt;br /&gt;
(a) Prohibiting the performance of the play for such&lt;br /&gt;
period as they may think fit, but for not more than ten years;&lt;br /&gt;
(b) Imposing penalties on the manager of the theatre;&lt;br /&gt;
(c) Imposing penalties on the author of the play :&lt;br /&gt;
(d) Endorsing a conviction on the licence of the theatre.&lt;br /&gt;
A play which has been prohibited by an order of court&lt;br /&gt;
from being performed for a period of ten years should not&lt;br /&gt;
be eligible for performance after that period unless it has&lt;br /&gt;
been licensed by the licenser of plays.&lt;br /&gt;
The licence of a theatre which has been indorsed three&lt;br /&gt;
times within a period of five years should be liable to&lt;br /&gt;
forfeiture by the court which directed the last indorse-&lt;br /&gt;
ment and be incapable of renewal, for a period of three&lt;br /&gt;
years following, to or for the benefit of the same licensee.&lt;br /&gt;
If the Attorney-General considers that an unlicensed&lt;br /&gt;
play which has been performed is improper for performance&lt;br /&gt;
on any of the seven grounds specified above, he should be&lt;br /&gt;
empowered to apply to a committee of the Privy Council&lt;br /&gt;
for an order prohibiting the performance of the play for a&lt;br /&gt;
period of not more than ten years, and, if he thinks fit, for&lt;br /&gt;
an endorsement on the licence of the theatre. Pending the&lt;br /&gt;
decision of the committee, the performance of the play&lt;br /&gt;
should be suspended as in the case of pending prosecutions.&lt;br /&gt;
Similar consequences should follow a prohibition of a play&lt;br /&gt;
and an endorsement of a theatre licence by order of the com-&lt;br /&gt;
mittee of the Privy Council as would follow where the order&lt;br /&gt;
was made by a court. The committee of the Privy Council&lt;br /&gt;
would not be empowered to impose penalties on the manager&lt;br /&gt;
or author, and penalties beyond such prohibition and&lt;br /&gt;
endorsement would in such cases be unnecessary. The&lt;br /&gt;
committee would have an inherent power of hearing cases, if&lt;br /&gt;
it wished, in camera.&lt;br /&gt;
It should be lawful to take proceedings against the&lt;br /&gt;
producers of a licensed play, but in those cases the perform-&lt;br /&gt;
ance should not be liable to suspension pending the&lt;br /&gt;
decision of the proceedings, the manager and author should&lt;br /&gt;
not in any case be liable to penalties, or the theatre licence&lt;br /&gt;
be liable to endorsement.&lt;br /&gt;
The measure of immunity conferred by the licensing of&lt;br /&gt;
a play should attach only to the text as passed by the&lt;br /&gt;
licenser.&lt;br /&gt;
The powers of the authorities which license theatres&lt;br /&gt;
should remain as they now are : that is to say, that they&lt;br /&gt;
should be empowered to withdraw a theatre licence, pro&lt;br /&gt;
vided that they are acting according to the rules of reason&lt;br /&gt;
and justice ; but it should not be regarded as a valid reason&lt;br /&gt;
for withdrawing the licence of a theatre that a licensed&lt;br /&gt;
play, to which objection is taken, has been performed&lt;br /&gt;
there; or that an unlicensed play has been performed there&lt;br /&gt;
if proceedings have been taken, and the court or the Com-&lt;br /&gt;
mittee of the Privy Council, as the case may be, have not&lt;br /&gt;
ordered the theatre licence to be endorsed.&lt;br /&gt;
I do not propose to criticise here at any length&lt;br /&gt;
recommendations which will affect dramatic&lt;br /&gt;
authors and others differently according to their&lt;br /&gt;
several positions and interests. There are, how-&lt;br /&gt;
ever, two or three points to which I would draw&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#457) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
83&lt;br /&gt;
their attention, and which I should recommend&lt;br /&gt;
them to consider.&lt;br /&gt;
It will be seen that there are two tribunals to&lt;br /&gt;
which, at the instance of two different legal officials,&lt;br /&gt;
the committee would refer matters relating to&lt;br /&gt;
unlicensed plays after production.&lt;br /&gt;
These are (a) where indecency is alleged to the&lt;br /&gt;
police courts first, and eventually to courts of&lt;br /&gt;
assize (desirably not of quarter sessions), On&lt;br /&gt;
indictment. Prosecutions to be initiated by the&lt;br /&gt;
Director of Public Prosecutions.&lt;br /&gt;
(b) Where all seven of the points to which the&lt;br /&gt;
Lord Chamberlain&amp;#039;s attention is to be directed&lt;br /&gt;
(including (1) indecency), are concerned, the tri-&lt;br /&gt;
bunal is to be the committee of the Privy Council,&lt;br /&gt;
and the proceedings are to be at the instance of&lt;br /&gt;
the Attorney-General.&lt;br /&gt;
As to these I would point out (1) that it is&lt;br /&gt;
highly desirable that any Act incorporating such&lt;br /&gt;
provisions should make it quite clear that the&lt;br /&gt;
authors and managers are only to be subject to&lt;br /&gt;
proceedings at the instance of the officials men-&lt;br /&gt;
tioned, and not otherwise. There should be no&lt;br /&gt;
question of the private faddist being able to step&lt;br /&gt;
in where the Director of Public Prosecutions or the&lt;br /&gt;
Attorney-General has declined to move. I think&lt;br /&gt;
that this may have been the Committee&amp;#039;s intention,&lt;br /&gt;
but if so, it has not been expressed clearly, and it&lt;br /&gt;
may be suggested that under (3) may occur cases&lt;br /&gt;
in which a private person may desire to set the law&lt;br /&gt;
in motion on the ground that he is libelled.&lt;br /&gt;
I apprehend that the legislature will not interfere&lt;br /&gt;
with any right to proceed for defamation in the&lt;br /&gt;
criminal or civil courts which private individuals,&lt;br /&gt;
who believe themselves to be aggrieved by a play,&lt;br /&gt;
may possess. But this point will need consideration.&lt;br /&gt;
(2) The question of &ldquo;indecency &amp;#039;&amp;#039; is apparently&lt;br /&gt;
left to both tribunals. It is primarily to be&lt;br /&gt;
punishable on indictment at the instance of the&lt;br /&gt;
Director of Public Prosecutions, but it is also one&lt;br /&gt;
of the seven grounds assigned to the consideration&lt;br /&gt;
of the Attorney-General and of the committee of&lt;br /&gt;
the Privy Council.&lt;br /&gt;
I would point out that although there are cases&lt;br /&gt;
as to which no doubt would arise, and although the&lt;br /&gt;
Director of Public Prosecutions may be and is&lt;br /&gt;
intended to deal with licentious plays and lewd&lt;br /&gt;
music-hall songs, there is also the question under&lt;br /&gt;
this heading of the serious play dealing with&lt;br /&gt;
sex problems. The outcry against any such work is&lt;br /&gt;
usually one of &ldquo;indecency &amp;quot;-that is the term used,&lt;br /&gt;
and I know of no other which implies an offence&lt;br /&gt;
against the law and which is applicable. Does the&lt;br /&gt;
leaving of &ldquo;indecency * (the first of the Seven points&lt;br /&gt;
for the censor) as one which may bring the&lt;br /&gt;
Attorney-General into the field, imply that in cases&lt;br /&gt;
of indecency (properly so-called) indictment is to be&lt;br /&gt;
the remedy, but in the case of so-called indecency,&lt;br /&gt;
such as the discussion of problems of sex, of&lt;br /&gt;
harriage and similar matters, the tribunal is to be&lt;br /&gt;
the Privy Council committee 2 If this is so, it&lt;br /&gt;
should be made clear.&lt;br /&gt;
(3) A point occurs to me on which I am hardly&lt;br /&gt;
Competent to do more than suggest that there may&lt;br /&gt;
be diversity of opinions. Is it certain that a com-&lt;br /&gt;
mittee of the Privy Council could be found which&lt;br /&gt;
Would be competent to discuss to the satisfaction&lt;br /&gt;
of those most concerned such matters as are to be&lt;br /&gt;
laid before it 2 What do theatrical managers and&lt;br /&gt;
authors say ? In the course of the year how many&lt;br /&gt;
privy Councillors go to theatres, and to what&lt;br /&gt;
theatres or plays do they go 2 Those who never&lt;br /&gt;
or rarely go to theatres will hardly consider ques-&lt;br /&gt;
tions affecting them sympathetically, and I sug-&lt;br /&gt;
gest the following point briefly for others to con-&lt;br /&gt;
sider if they think it worth while. The problems&lt;br /&gt;
which are raised in the serious dramas of the day&lt;br /&gt;
are connected with the progress of thought, and&lt;br /&gt;
are often raised by the younger authors, or by those&lt;br /&gt;
in sympathy with them ; also the audience which&lt;br /&gt;
desires to listen to the discussion of serious pro-&lt;br /&gt;
blems on the stage is composed to a large extent of&lt;br /&gt;
the comparatively young, and of those imbued with&lt;br /&gt;
new and &ldquo;young&rsquo;&rsquo; ideas, My impression is that&lt;br /&gt;
privy Councillors are for the most part old or&lt;br /&gt;
elderly men, whose opinions on most subjects are&lt;br /&gt;
pretty decisively formed already. Can a suitable&lt;br /&gt;
committee be found among them 2&lt;br /&gt;
(4) With regard to the application of the above-&lt;br /&gt;
suggested procedure to music-halls, the Committee&lt;br /&gt;
anticipates that the Privy Council committee will&lt;br /&gt;
rarely be troubled with questions relating to per-&lt;br /&gt;
formances at these. They will be left to the&lt;br /&gt;
Director of Public Prosecutions; but it may be&lt;br /&gt;
suggested that in drafting a Bill it will hardly be&lt;br /&gt;
thought desirable to leave an indictment as the&lt;br /&gt;
only form of procedure against an alleged indecent&lt;br /&gt;
&ldquo;gag &rsquo;&rsquo; introduced by a lion comique without pre-&lt;br /&gt;
vious submission to the Lord Chamberlain. A&lt;br /&gt;
court of summary jurisdiction would be competent&lt;br /&gt;
to deal with many such cases.&lt;br /&gt;
(5) Another point arises out of the penalties of&lt;br /&gt;
endorsement of the theatre licence, and of possible&lt;br /&gt;
forfeiture of it in respect of the performance of un-&lt;br /&gt;
licensed plays to which objection is successfully&lt;br /&gt;
taken. It may be safely assumed that this con-&lt;br /&gt;
tingency will be considered by owners of theatres&lt;br /&gt;
when they let them, and that covenants will be&lt;br /&gt;
inserted in many leases to the effect that only&lt;br /&gt;
licensed plays are to be performed in the theatre.&lt;br /&gt;
The Committee regarded this as likely, for we find&lt;br /&gt;
in their report more than one reference to it, and&lt;br /&gt;
also a recommendation with regard to theatres&lt;br /&gt;
already (i.e. at the time when the proposed legis-&lt;br /&gt;
lation takes place) in the hands of lessees with no&lt;br /&gt;
such restraining conditions. The Committee advises&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#458) ################################################&lt;br /&gt;
&lt;br /&gt;
84 THE AUTHOR.&lt;br /&gt;
with regard to these existing contracts &ldquo;That the&lt;br /&gt;
owner of a theatre and the lessee of a theatre who&lt;br /&gt;
has sub-let shall be entitled either to add to any&lt;br /&gt;
lease or sub-lease, granted before the passing of the&lt;br /&gt;
new statute, a covenant that no unlicensed plays&lt;br /&gt;
shall be performed in the theatre, or that such&lt;br /&gt;
plays shall only be performed upon conditions&lt;br /&gt;
specified in the covenant, or as an alternative to&lt;br /&gt;
cancel any lease or sub-lease if the licence of the&lt;br /&gt;
theatre has once been indorsed.&rdquo; As a matter of&lt;br /&gt;
comment it is conceivable, and indeed probable, that&lt;br /&gt;
if penalties affecting the lessor may attach to the&lt;br /&gt;
production of unlicensed plays, the performance of&lt;br /&gt;
licensed plays only will be stipulated for in a large&lt;br /&gt;
majority of leases, with the result that authors and&lt;br /&gt;
managers who do not desire to submit their work&lt;br /&gt;
to the censor will find very many desirable houses&lt;br /&gt;
in London and the provinces closed to them. This&lt;br /&gt;
seems inevitable if the endorsement and forfeiture&lt;br /&gt;
of theatre licences forms part of the new legislation.&lt;br /&gt;
Even without it there will be a temptation to&lt;br /&gt;
lessors to impose the condition referred to. A&lt;br /&gt;
man will argue that he does not wish to have&lt;br /&gt;
trouble associated with his theatre, even though it&lt;br /&gt;
may not directly affect the value of his property,&lt;br /&gt;
and that the easiest way to avoid it is to allow&lt;br /&gt;
only licensed plays to be performed in it.&lt;br /&gt;
It may be suggested with regard to existing&lt;br /&gt;
leases that if the lessor is to be empowered to&lt;br /&gt;
insert a new condition which will place his lessee&lt;br /&gt;
in a less favourable position than that of the lessees&lt;br /&gt;
of some other theatres, then the lessee under an&lt;br /&gt;
existing lease should equally have the choice&lt;br /&gt;
whether he will, or will not, continue to hold his&lt;br /&gt;
lease under the new conditions.&lt;br /&gt;
Also, with regard to the possibility of theatre&lt;br /&gt;
owners trying to stipulate for the performance of&lt;br /&gt;
licensed plays only in their theatres, it is conceiv-&lt;br /&gt;
able that the power to impose such terms might be&lt;br /&gt;
nullified by the united action of theatrical man-&lt;br /&gt;
agers. If the leaders among these, who annually&lt;br /&gt;
Send out plays on tour and to outlying theatres,&lt;br /&gt;
were to agree to &ldquo;boycott&rsquo;&rsquo; the censor by never&lt;br /&gt;
applying to have plays licensed, the owners of the&lt;br /&gt;
theatres in question would find themselves power-&lt;br /&gt;
less. They would have to give way or they would&lt;br /&gt;
lose their best tenants.&lt;br /&gt;
It should be mentioned that in considering and&lt;br /&gt;
recommending the retention of a censorship the&lt;br /&gt;
Committee refers with approval to the suggestion&lt;br /&gt;
(ascribed to the Lord Chamberlain) of an advisory&lt;br /&gt;
committee acting without payment. The com-&lt;br /&gt;
position suggested for this advisory committee had&lt;br /&gt;
been, the Committee observes, &ldquo;strongly attacked&lt;br /&gt;
by one of the witnesses who attended before us&lt;br /&gt;
to represent the Society of Authors.&rdquo; This refers&lt;br /&gt;
to the evidence given by Mr. Cecil Raleigh (p. 116&lt;br /&gt;
of the &ldquo;Minutes of Evidence &rsquo;&rsquo;), who condemned&lt;br /&gt;
the proposal to make the suggested tribunal consist&lt;br /&gt;
of two theatre managers and an author. The&lt;br /&gt;
following prognostication on the part of the Com.&lt;br /&gt;
mittee as to the result of its own proposals may be&lt;br /&gt;
quoted: &ldquo;We anticipate that . . . the theatres&lt;br /&gt;
Will be few which will undertake the staging of&lt;br /&gt;
unlicensed plays. It may be expected, however,&lt;br /&gt;
What, some unlicensed dramas will be performed.&lt;br /&gt;
Of these a considerable proportion, being on the&lt;br /&gt;
border-line, will have been rightly held&rsquo; by the&lt;br /&gt;
licenser not to be entitled to the measure of&lt;br /&gt;
immunity which a licence confers, but will be&lt;br /&gt;
held; also rightly, by the Attorney-General and&lt;br /&gt;
the Public Prosecutor not to be open to objection&lt;br /&gt;
So grave as to necessitate proceedings being taken.&rdquo;&lt;br /&gt;
In conclusion, it is to be noted that the recom-&lt;br /&gt;
mendations above described refer to England, but&lt;br /&gt;
that the Committee is of opinion that they are&lt;br /&gt;
equally applicable to Scotland. It does not con-&lt;br /&gt;
sider that the evidence before it warrants the&lt;br /&gt;
recommendation of any change in the law and&lt;br /&gt;
practice existing in Ireland.&lt;br /&gt;
It may be mentioned that Mr. A. E. W. Mason,&lt;br /&gt;
M.P., a member of the Committee, is a member of&lt;br /&gt;
the Society of Authors, and out of fifteen dramatic&lt;br /&gt;
authors who gave evidence before the Committee&lt;br /&gt;
fourteen were members of the Society :&mdash;Mr.&lt;br /&gt;
W. Archer, Mr. G. Bernard Shaw, Mr. Granville&lt;br /&gt;
Barker, Mr. J. M. Barrie, Mr. Cecil Raleigh, Mr.&lt;br /&gt;
Laurence Housman, Sir William S. Gilbert, Pro-&lt;br /&gt;
fessor. Gilbert Murray, Mr. J. W. Comyns Carr,&lt;br /&gt;
Mr. Hall Caine, Mr. Israel Zangwill, Sir Arthur&lt;br /&gt;
Pinero, and Mr. G. K. Chesterton.&lt;br /&gt;
E. A. A.&lt;br /&gt;
PRIZE PLAY COMPETITION.&lt;br /&gt;
&mdash;e-Q-e&mdash;&lt;br /&gt;
RULES OF COMPETITION.&lt;br /&gt;
PRIZE of &pound;300 will be given by one of the Governors.&lt;br /&gt;
of Stratford-upon-Avon Shakespeare Memorial&lt;br /&gt;
Theatre, to the dramatist whose play shall be.&lt;br /&gt;
adjudged the best by a committee representative&lt;br /&gt;
of the drama and literature, whose names will be shortly&lt;br /&gt;
announced. -&lt;br /&gt;
The successful play will be produced under the direction.&lt;br /&gt;
of Mr. F. R. Benson, during the Festival performances at.&lt;br /&gt;
Stratford-upon-Avon of 1910 or 1911.&lt;br /&gt;
The dramatist may be of any nation, but the play must&lt;br /&gt;
be written in English.&lt;br /&gt;
The dramatist shall be free to choose his own subject,&lt;br /&gt;
but the period of the subject must not be later than&lt;br /&gt;
A.D. 1800.&lt;br /&gt;
It is understood that the prize of &pound;300 awarded to the&lt;br /&gt;
Successful dramatist does not constitute purchase of the&lt;br /&gt;
play, except for the performances above mentioned, at&lt;br /&gt;
Stratford-upon-Avon, but he must agree that Mr. F. R.&lt;br /&gt;
Benson shall have the right to perform the play in the&lt;br /&gt;
provinces, and the first refusal of the right to produce the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#459) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITEIOR-&lt;br /&gt;
85&lt;br /&gt;
play in London for a run, on payment of 5 per cent. of&lt;br /&gt;
the gross takings at such performances.&lt;br /&gt;
The plays submitted can be in verse, in prose, or both.&lt;br /&gt;
The prize of &pound;300 will be handed to the successful&lt;br /&gt;
competitor on the day of the production at Stratford-upon-&lt;br /&gt;
Avon,&lt;br /&gt;
All competitors shall apply to the secretary, Prize Play&lt;br /&gt;
Competition, Memorial Theatre, Stratford-upon-Avon, who&lt;br /&gt;
Will allot a special number to each competitor. This&lt;br /&gt;
number to be placed prominently upon the play when&lt;br /&gt;
submitted.&lt;br /&gt;
These numbers will be carefully registered, and will be&lt;br /&gt;
the only identification of authorship placed before the&lt;br /&gt;
Committee.&lt;br /&gt;
All plays must be printed or type-written.&lt;br /&gt;
All unsuccessful plays will be returned to their authors.&lt;br /&gt;
All plays must be submitted for the judgment of the&lt;br /&gt;
committee on or before December 21, 1909.&lt;br /&gt;
All plays to be addressed to the secretary, Prize Play&lt;br /&gt;
Competition, Memorial Theatre, Stratford-upon-Avon.&lt;br /&gt;
The above competition and the rules that govern&lt;br /&gt;
it are matters of interest to all would-be dramatists.&lt;br /&gt;
It is quite clear that the &pound;300 is given as a&lt;br /&gt;
prize to the dramatist, the only conditions affect-&lt;br /&gt;
ing his property being conditions binding him on&lt;br /&gt;
certain terms to Mr. Benson for the provincial&lt;br /&gt;
and London rights of the play. It is, however,&lt;br /&gt;
these terms and conditions which we consider it&lt;br /&gt;
necessary to discuss in order that the dramatist&lt;br /&gt;
may be made cognisant of the terms on which he&lt;br /&gt;
Submits his play. It appears to us that the terms,&lt;br /&gt;
in some points, are much too indefinite.&lt;br /&gt;
|Mr. Benson is to have the right to perform the&lt;br /&gt;
play in the provinces. Does this mean that he is&lt;br /&gt;
to have the exclusive right 2 Does it mean that&lt;br /&gt;
he is to have the play at his disposal during the&lt;br /&gt;
whole term of the performing rights P Does it&lt;br /&gt;
mean that he may take it up at any time and&lt;br /&gt;
perform it, or, on the other hand, omit to perform&lt;br /&gt;
it If it does, the author may find his play&lt;br /&gt;
shelved for ever if it does not happen to suit Mr.&lt;br /&gt;
Benson&amp;#039;s peculiar talent and his company, although&lt;br /&gt;
it might succeed in other hands. In view of the&lt;br /&gt;
fact that provincial rights are often extremely&lt;br /&gt;
valuable and produce for the author large sums of&lt;br /&gt;
money, we could not recommend an author to risk&lt;br /&gt;
their suppression for &pound;300. If Mr. Benson is to&lt;br /&gt;
have the option of producing the play in the&lt;br /&gt;
provinces, it should be clearly stated that he must&lt;br /&gt;
exercise that option on or before a certain date ;&lt;br /&gt;
that he must actually produce the play on or&lt;br /&gt;
before a certain date and for a certain number&lt;br /&gt;
of performances; and that if in any year less than&lt;br /&gt;
a certain number of performances be given, the&lt;br /&gt;
play shall return unencumbered to the author.&lt;br /&gt;
In regard to the 5 per cent, this is the very lowest&lt;br /&gt;
percentage the author should take for his rights on&lt;br /&gt;
the first few hundred pounds of gross Weekly&lt;br /&gt;
receipts. His royalty should rise with the amount&lt;br /&gt;
in the house to at least 10 per cent. for full houses&lt;br /&gt;
in important towns. The fixed 5 per cent. offered&lt;br /&gt;
can be justified only by the payment of &pound;300, not&lt;br /&gt;
as an advance on account of fees, but as a premium.&lt;br /&gt;
No doubt this is a weighty consideration&amp;#039;, but the&lt;br /&gt;
bargain would not be a good one if the play were&lt;br /&gt;
successful, unless the author had power to revise&lt;br /&gt;
the agreement after a short term of years.&lt;br /&gt;
Then there is the case of the London rights,&lt;br /&gt;
which are specially important because Mr. Benson&lt;br /&gt;
S0 seldom plays in London. The manager is to&lt;br /&gt;
have the first refusal of the right to produce the&lt;br /&gt;
play in London for a run. No date is fixed by&lt;br /&gt;
Which he should give his refusal or acceptance.&lt;br /&gt;
Again, no date is fixed by which he is to produce&lt;br /&gt;
the play for a run in London, and again, it is&lt;br /&gt;
stated, as has already been pointed out, the pay-&lt;br /&gt;
ment is to be only 5 per cent, on the gross takings,&lt;br /&gt;
no matter how large they may prove. If it is the&lt;br /&gt;
intention of the management&mdash;and we cannot help&lt;br /&gt;
thinking that it must have been their intention&mdash;to&lt;br /&gt;
treat the author in a considerate and equitable way&lt;br /&gt;
On considerate and equitable terms, then these&lt;br /&gt;
rights should not be given to the manager without&lt;br /&gt;
the usual limitations and guarantees which appear&lt;br /&gt;
in properly drawn dramatic contracts.&lt;br /&gt;
The truth is, it would have been much better&lt;br /&gt;
had the governors taken expert advice from the&lt;br /&gt;
proper authorities before laying their proposal&lt;br /&gt;
before those inexperienced dramatic authors who&lt;br /&gt;
are likely to be tempted by a competition. We&lt;br /&gt;
feel assured, from our knowledge of the gentlemen&lt;br /&gt;
composing this body, that they desire to deal, in&lt;br /&gt;
every Way, in a fair and reasonable spirit ; and we&lt;br /&gt;
feel certain that the manager, Mr. F. R. Benson,&lt;br /&gt;
is entirely with them in this attitude; but in a&lt;br /&gt;
document which may become practically a binding&lt;br /&gt;
contract, it is important that the terms, whether&lt;br /&gt;
they are fair or unfair to the dramatist, should be&lt;br /&gt;
thoroughly intelligible to the novices who are&lt;br /&gt;
invited to accept them. If they are unfair, yet if&lt;br /&gt;
they are clear, it is the dramatist&amp;#039;s own fault if he&lt;br /&gt;
enters the competition seeing clearly the dangers&lt;br /&gt;
ahead of him. If they are fair, so much the better.&lt;br /&gt;
The only really objectionable position is when the&lt;br /&gt;
conditions are indefinite and&mdash;to a novice&mdash;largely&lt;br /&gt;
invisible.&lt;br /&gt;
The dramatist who is unversed in all the legal&lt;br /&gt;
technicalities necessary to protect himself and his&lt;br /&gt;
property, sends in his play ; receives a &pound;300 prize :&lt;br /&gt;
and is suddenly confronted by conditions of which&lt;br /&gt;
he was totally unaware. He may indeed find that&lt;br /&gt;
with the acceptance of the &pound;300 follows the loss of&lt;br /&gt;
his property for ever. Such a possibility should be&lt;br /&gt;
avoided.&lt;br /&gt;
We should like, therefore, to warn all dramatists&lt;br /&gt;
who contemplate entering into the competition,&lt;br /&gt;
before they send in their work to have the exact&lt;br /&gt;
position more clearly explained to them by the&lt;br /&gt;
secretary acting for those who are making the&lt;br /&gt;
offer.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#460) ################################################&lt;br /&gt;
&lt;br /&gt;
86 TISIES AUTISIOR.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;3-0-&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, sen&lt;br /&gt;
the document to the Society for examination. *&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s Work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&ndash;0&mdash;&ordm;-0&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property :&mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned. - --&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are:&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
11163, DS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
Ina InageT.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#461) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR, 87&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;4-6&ndash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
WARNINGS TO MUSICAL&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music or&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever,&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
A -*- A&lt;br /&gt;
v-u- w&ordm;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;t&mdash;&ordm;-e&mdash;&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lame, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#462) ################################################&lt;br /&gt;
&lt;br /&gt;
88&lt;br /&gt;
TFIE&lt;br /&gt;
A UITISIOR,&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE DRAMATIC CENSORSHIP.&lt;br /&gt;
IT has been necessary to delay the publication of&lt;br /&gt;
The Author for a few days in order that the leport&lt;br /&gt;
of the last meeting of the Dramatic Sub-committee&lt;br /&gt;
might be laid before the members at the earliest&lt;br /&gt;
opportunity.&lt;br /&gt;
The attention of the dramatic members of the&lt;br /&gt;
society is particularly called to the letter from the&lt;br /&gt;
Dramatic Sub-committee and to the article which&lt;br /&gt;
deals exhaustively with the Censorship Report.&lt;br /&gt;
w-m-m-m-&ordm;s&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
WE should like to draw the special attention of&lt;br /&gt;
members of the society to the articles that are at&lt;br /&gt;
present running in The Author on &ldquo;The Art of&lt;br /&gt;
Illustrating.&rdquo; The subject is one of increasing&lt;br /&gt;
importance to all authors. Writers of fiction and&lt;br /&gt;
of children&amp;#039;s books must not think that they alone&lt;br /&gt;
are concerned. The writers of technical books and&lt;br /&gt;
historical books should not neglect to read these&lt;br /&gt;
articles under the impression that they are not&lt;br /&gt;
interested. There is hardly a book published now-&lt;br /&gt;
adays&mdash;in the department of history, of biography&lt;br /&gt;
or of education, or in any other department of&lt;br /&gt;
knowledge&mdash;which does not have illustrations of&lt;br /&gt;
some sort. In medical books and books dealing&lt;br /&gt;
with other technical subjects illustrations are of&lt;br /&gt;
the most vital importance, and it is equally&lt;br /&gt;
important that the writer should have some know-&lt;br /&gt;
ledge of the cost of reproduction, not only of the&lt;br /&gt;
simpler black-and-white reproduction, but also of&lt;br /&gt;
colour reproduction and more expensive processes.&lt;br /&gt;
This month colour reproduction has been dealt&lt;br /&gt;
with. In subsequent issues will appear articles&lt;br /&gt;
dealing with reproduction in photogravure, collotype&lt;br /&gt;
and other more expensive forms.&lt;br /&gt;
AN AMERICAN BOOK OF REFERENCE.&lt;br /&gt;
FROM time to time authors receive from pub-&lt;br /&gt;
lishers requests for information as to their careers,&lt;br /&gt;
with a view to its inclusion in the various&lt;br /&gt;
biographical dictionaries which are placed on the&lt;br /&gt;
market. While we should be the last to dissuade&lt;br /&gt;
authors from co-operating with the editors of these&lt;br /&gt;
works in order to make them as representative as&lt;br /&gt;
possible, we should like to impress upon them that&lt;br /&gt;
it is important before doing so that they should&lt;br /&gt;
satisfy themselves of the bona ſides of the parties&lt;br /&gt;
responsible for the undertaking, and that they do&lt;br /&gt;
not render themselves financially liable.&lt;br /&gt;
We mention this aspect as the following case,&lt;br /&gt;
which has recently come to our notice, seems to&lt;br /&gt;
point to the necessity of some such warning in the&lt;br /&gt;
interests of authors.&lt;br /&gt;
Some months ago a member of the Society of&lt;br /&gt;
Authors was approached by an American firm with&lt;br /&gt;
a, big-sounding title with a request for his&lt;br /&gt;
photograph and some biographical notes for&lt;br /&gt;
insertion, in a library of American biography,&lt;br /&gt;
to be published in five volumes. The member,&lt;br /&gt;
having some personal associations with the city in&lt;br /&gt;
which the publishers&amp;#039; premises were situated,&lt;br /&gt;
acceded to the request, under the impression&mdash;a .&lt;br /&gt;
perfectly just one in the circumstances&mdash;that he&lt;br /&gt;
Was granting a courtesy to the firm. To his sur-&lt;br /&gt;
prise he received by a subsequent mail a bill for&lt;br /&gt;
$20 for &ldquo;engraving.&rdquo; The member replied,&lt;br /&gt;
repudiating the charge and demanding the return&lt;br /&gt;
of his photograph. This protest produced an&lt;br /&gt;
answer, of which the following is an extract :&lt;br /&gt;
&ldquo;Since your photograph has already been engraved sub-&lt;br /&gt;
ject to portrait fee as above, we shall appreciate your&lt;br /&gt;
remittance of ten dollars (one-half the usual rate) as&lt;br /&gt;
payment in full, in view of the misunderstanding in&lt;br /&gt;
regard to the same, and your early compliance will be&lt;br /&gt;
appreciated. . . . .&rdquo; &bull;&lt;br /&gt;
As this letter was printed in imitation type, it&lt;br /&gt;
was clear that our member&amp;#039;s was not the only case&lt;br /&gt;
in which there had been a &ldquo;misunderstanding,&rdquo;&lt;br /&gt;
and we advise 1 him therefore to ignore the request.&lt;br /&gt;
BIRTHDAY HONOURS.&lt;br /&gt;
WE must congratulate Sir Edward Shackleton,&lt;br /&gt;
who joined the Society prior to his departure for&lt;br /&gt;
the South Pole, on his well-deserved honour after&lt;br /&gt;
his arduous and successful undertaking.&lt;br /&gt;
There is no need to comment on the work which&lt;br /&gt;
he has accomplished. The record has just been&lt;br /&gt;
published by Mr. William Heinemann in a book&lt;br /&gt;
which is sure to have a warm welcome from the&lt;br /&gt;
public.&lt;br /&gt;
We must also congratulate so old a member of&lt;br /&gt;
the society as Sir Robertson Nicol on the receipt of&lt;br /&gt;
his knighthood. He joined the society in 1885,&lt;br /&gt;
the first year after its formation.&lt;br /&gt;
For many years he has been before the public as&lt;br /&gt;
editor of the British Weekly and the Bookman.&lt;br /&gt;
He is also well known as a reviewer under the&lt;br /&gt;
pseudonyms of &ldquo;Claudius Clear&rdquo; and &ldquo;A Man of&lt;br /&gt;
Kent,&rdquo; as well as under his own initials. His out-&lt;br /&gt;
put in the shape of books, though not large, has&lt;br /&gt;
been marked with the care of an earnest student of&lt;br /&gt;
literature. Among his published Works may be&lt;br /&gt;
mentioned &ldquo;Life of James Macdonell,&rdquo; &ldquo;My&lt;br /&gt;
Father,&rdquo; &ldquo;Life of Ian MacLaren.&rdquo; He has also&lt;br /&gt;
edited the complete works of Charlotte Bront&euml;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#463) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A DITISIOR. 89&lt;br /&gt;
THE LORD CHIEF JUSTICE ON&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
SERIES of dinners have been inaugurated&lt;br /&gt;
at the Authors&rsquo; Club during the winter&lt;br /&gt;
and spring, at which distinguished guests&lt;br /&gt;
whom the members are delighted to honour are&lt;br /&gt;
asked to raise various subjects for discussion. As&lt;br /&gt;
is natural in an authors&rsquo; club, many of these&lt;br /&gt;
subjects are closely connected with literature.&lt;br /&gt;
On November 1 Lord Alverstone spoke on&lt;br /&gt;
Literary Copyright ; on November 15 Mr. Arthur&lt;br /&gt;
Severn on Ruskin and Keats; on November 29&lt;br /&gt;
Sir James Crichton Browne on Oliver Goldsmith ;&lt;br /&gt;
while on December 20 Sir Oliver Lodge, under&lt;br /&gt;
the chairmanship of Mr. Anthony Hope Hawkins,&lt;br /&gt;
will open a discussion on Literature of Yesterday&lt;br /&gt;
and To-day ; and on February 21 Mr. Henniker&lt;br /&gt;
Heaton will speak on Authorship and the Empire.&lt;br /&gt;
We wish to give a short comment on the&lt;br /&gt;
remarks by the Lord Chief Justice on Literary&lt;br /&gt;
Copyright, a subject closer than any other to the&lt;br /&gt;
heart of the author.&lt;br /&gt;
His Lordship received a warm welcome from a&lt;br /&gt;
crowded gathering, presided over by Sir Edward&lt;br /&gt;
Brabrook, that staunch supporter of the club. He&lt;br /&gt;
stated that he desired to see Great Britain and the&lt;br /&gt;
British colonies do all in their power to reach&lt;br /&gt;
that goal&mdash;the accession of all civilised nations to&lt;br /&gt;
the principle of the recognition of the property in&lt;br /&gt;
Copyright and literary work as belonging to the&lt;br /&gt;
author. He then touched on the history of&lt;br /&gt;
international copyright, and incidentally mentioned&lt;br /&gt;
the difficulty with the United States owing to the&lt;br /&gt;
existence of the printing clause. He referred to&lt;br /&gt;
the Bern Convention, the Act of Paris, and the&lt;br /&gt;
Berlin Convention. He hoped that Great Britain&lt;br /&gt;
Would support the requests of other nations to the&lt;br /&gt;
extension of the period of protection to life and&lt;br /&gt;
fifty years. He desired to see uniformity with the&lt;br /&gt;
principles of the Berlin Convention.&lt;br /&gt;
He proceeded to refer to colonial copyright, and&lt;br /&gt;
stated that there should be some registration, so&lt;br /&gt;
that other nations might have a knowledge of the&lt;br /&gt;
author and of the arrangements which they could&lt;br /&gt;
make for the republication of his works. He&lt;br /&gt;
thought, however, that it should be a recognised&lt;br /&gt;
principle that the international recognition of&lt;br /&gt;
property on publication should prim&aacute; facie bear&lt;br /&gt;
with it some duty to pay royalty to the original&lt;br /&gt;
author.&lt;br /&gt;
He finally stated that he thought anyone should&lt;br /&gt;
be allowed to dramatise a novel on fair terms.&lt;br /&gt;
We are very pleased that the Lord Chief Justice&lt;br /&gt;
showed his strong support of many of the most&lt;br /&gt;
important reforms of the copyright law.&lt;br /&gt;
The society has been working very hard during&lt;br /&gt;
the past year for the principle of uniformity. Its&lt;br /&gt;
sub-committees have been making full arrange-&lt;br /&gt;
ments in order to place the proper evidence before&lt;br /&gt;
the Departmental Committee which has been&lt;br /&gt;
sitting. The one point on which all holders of&lt;br /&gt;
Copyright, including publishers, musical composers,&lt;br /&gt;
and musical publishers, seemed to be unanimous&lt;br /&gt;
Was that, if possible, all minor differences should&lt;br /&gt;
be sunk in order that this uniformity should be&lt;br /&gt;
obtained. . This was very strongly supported with&lt;br /&gt;
evidence from all quarters. Included in this&lt;br /&gt;
uniformity will, of course, be the extension of the&lt;br /&gt;
author&amp;#039;s rights for life and fifty years. We can-&lt;br /&gt;
not, however, agree with the Lord Chief Justice&lt;br /&gt;
on the subject of registration, for the simpler the&lt;br /&gt;
method by which the author can obtain copyright&lt;br /&gt;
the better it will be for all nations and all parties.&lt;br /&gt;
The simplicity of the English law of copyright by&lt;br /&gt;
publication is at present most satisfactory. The&lt;br /&gt;
One difficulty that arises would be, to a great&lt;br /&gt;
extent, swept away if the doctrine of uniformity&lt;br /&gt;
were carried through.&lt;br /&gt;
Under the present law copyright is given for&lt;br /&gt;
forty-two years or the life of the author and seven&lt;br /&gt;
years, whichever is the longer period. It is very&lt;br /&gt;
often, therefore, of great importance that the date&lt;br /&gt;
of publication should be fixed, and difficulties are&lt;br /&gt;
inclined to arise at present owing to the fact that&lt;br /&gt;
there is no registration, but when the copyright&lt;br /&gt;
exists for the life of the author and fifty years,&lt;br /&gt;
registration would appear to be superfluous, for a&lt;br /&gt;
Search in the death register of a country would be&lt;br /&gt;
sufficient to settle the question of the duration of&lt;br /&gt;
Copyright. Registration, besides, is very cumber-&lt;br /&gt;
Some, and may often lead to losses of great&lt;br /&gt;
importance. To anyone who has studied the&lt;br /&gt;
existing American methods this is quite clear.&lt;br /&gt;
The last remark of the Lord Chief Justice seems&lt;br /&gt;
also to be contrary to the spirit of all copyright&lt;br /&gt;
legislation. As it is, there is hardly an author&lt;br /&gt;
who would not allow a dramatist to dramatise his&lt;br /&gt;
work &ldquo;on fair terms &rdquo; if he were not going to&lt;br /&gt;
dramatise it himself. -&lt;br /&gt;
It would be difficult indeed to define what &ldquo;fair&lt;br /&gt;
terms&rdquo; mean. Surely the author is the person who&lt;br /&gt;
should have the control of his own property, and to&lt;br /&gt;
say in what form it should be placed before the&lt;br /&gt;
public. &ldquo;Fair terms,&rdquo; therefore, should not merely&lt;br /&gt;
mean &ldquo;financial &amp;quot; terms, but should include the&lt;br /&gt;
right of the author to approve the shape and the&lt;br /&gt;
literary or dramatic style. If &ldquo;fair terms &rdquo;&lt;br /&gt;
include these points, then there will be hardly any&lt;br /&gt;
need for legislation on the subject. Otherwise, it&lt;br /&gt;
might just as well be argued that on &ldquo;fair terms&rdquo;&lt;br /&gt;
a stranger may have the right to abridge your&lt;br /&gt;
work, whether such abridgment was distasteful or&lt;br /&gt;
not.&lt;br /&gt;
We must, however, thank the Lord Chief Justice&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#464) ################################################&lt;br /&gt;
&lt;br /&gt;
90&lt;br /&gt;
TISIES AUTISIOR.&lt;br /&gt;
for his warm support of the case for copyright&lt;br /&gt;
reform, and trust that he may be able to assist the&lt;br /&gt;
cause when the new Copyright Bill goes to the&lt;br /&gt;
House of Lords.&lt;br /&gt;
Mr. Louis Tracy also made some remarks about&lt;br /&gt;
the United States and copyright on the lines of the&lt;br /&gt;
articles which he has been kind enough to write for&lt;br /&gt;
The Author. He said: &ldquo;Let Britain and America&lt;br /&gt;
offer each other six months&amp;#039; protection after publica-&lt;br /&gt;
tion and on payment of a small registration fee in&lt;br /&gt;
either country, a further period of a year in which&lt;br /&gt;
to publish in that country, and ninty-nine per cent.&lt;br /&gt;
of the copyright grievances would disappear.&rdquo; The&lt;br /&gt;
real difficulty in this suggestion is that there is no&lt;br /&gt;
need to offer this to America, because Americans can&lt;br /&gt;
publish in this country without troubling to print,&lt;br /&gt;
and the citizens of the United States who have had&lt;br /&gt;
influence in carrying through the copyright law&lt;br /&gt;
know this. There is no doubt, however, that the&lt;br /&gt;
great pressure which has been brought to bear by&lt;br /&gt;
authors and publishers, and the intellectual minority&lt;br /&gt;
of the United States, has had some effect in the&lt;br /&gt;
passing of the Act which came into force on July 1.&lt;br /&gt;
It is not likely that any European nation will go&lt;br /&gt;
back now to the printing clause.&lt;br /&gt;
Mr. W. Oliver Hodges spoke on the question, and&lt;br /&gt;
Mr. Francis Gribble hinted at the possibility of&lt;br /&gt;
obtaining perpetual copyright by assignment to&lt;br /&gt;
the Oxford or Cambridge Universities. The idea&lt;br /&gt;
is interesting, and has been suggested once or twice&lt;br /&gt;
before, but is impracticable owing to the special&lt;br /&gt;
form in which the Act 15 Geo. III. c. 53, was&lt;br /&gt;
passed. Those concerned in the passing of that&lt;br /&gt;
Act evidently had Mr. Gribble&amp;#039;s point in their&lt;br /&gt;
mind, and were careful to stop it.&lt;br /&gt;
The discussion was extremely interesting to all&lt;br /&gt;
the members of the club, and further discussions on&lt;br /&gt;
questions of importance to authors may tend to&lt;br /&gt;
clear up in the minds of authors confusion&lt;br /&gt;
on points relating to their property with which&lt;br /&gt;
they ought to be familiar.&lt;br /&gt;
majority of authors have no idea of the complica-&lt;br /&gt;
tions surrounding literary copyright and the passing&lt;br /&gt;
of a Copyright Bill. First, copyright legislation&lt;br /&gt;
does not catch votes; secondly, there is domestic&lt;br /&gt;
Copyright to be considered, colonial copyright,&lt;br /&gt;
the Bern and Berlin Conventions, the agreement&lt;br /&gt;
existing with the United States, Austria-Hungary&lt;br /&gt;
and other nations which stand outside these&lt;br /&gt;
Conventions.&lt;br /&gt;
It was hoped that the sitting of the Departmental&lt;br /&gt;
Committee at the beginning of this year would have&lt;br /&gt;
brought the copyright question into the forefront&lt;br /&gt;
of legislation, but we understand that although&lt;br /&gt;
evidence was given from all those quarters that have&lt;br /&gt;
copyright interests in England, the Government&lt;br /&gt;
neglected to take advantage of the opportunity of&lt;br /&gt;
discussing the matter with the colonial representa-&lt;br /&gt;
Unfortunately, the&lt;br /&gt;
tives. , If we are correctly informed, an opportunity&lt;br /&gt;
to make a most vital change in the whole&amp;#039;situation&lt;br /&gt;
has been neglected, and, in consequence, it is&lt;br /&gt;
feared that copyright legislation has again been&lt;br /&gt;
indefinitely postponed.&lt;br /&gt;
&rarr;&ordm;- A&ordm;A&lt;br /&gt;
-&mdash;w&lt;br /&gt;
ART AND TAXATION.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
(Republished from the New Age.)&lt;br /&gt;
T a time when El Doradoes for taxation are&lt;br /&gt;
as difficult to reach as the North Pole, it is&lt;br /&gt;
odd that no attention should be given to&lt;br /&gt;
the untaxed injustice that attends all profitable&lt;br /&gt;
trading in expired copyrights.&lt;br /&gt;
What is a copyright 2 And why should it be&lt;br /&gt;
taxed when it suffers legal death and yet leaves&lt;br /&gt;
marketable property to be exploited by tradesmen.&lt;br /&gt;
The first question is very hard to answer reason-&lt;br /&gt;
ably, because the laws of copyright are illogical,&lt;br /&gt;
and do harm to all who with thought and skill&lt;br /&gt;
invent books, pictures, music, designs, and mecha-&lt;br /&gt;
nical contrivances. These good things&mdash;one and&lt;br /&gt;
all&mdash;represent property, personal to their makers,&lt;br /&gt;
without whose genius they could not exist at all,&lt;br /&gt;
to dignify life and to fructify in business and&lt;br /&gt;
employment. Yet the State not only declines to&lt;br /&gt;
regard them as personal property, but with grudg-&lt;br /&gt;
ing laws fixes varying terms of years to the privilege&lt;br /&gt;
of trade enjoyment which inventors and artists are&lt;br /&gt;
allowed to keep in the bread-winning value of their&lt;br /&gt;
achievements. Though that privilege differs in&lt;br /&gt;
the case of books and engravings, and of pictures&lt;br /&gt;
and patents, the principle is ever the same,&lt;br /&gt;
namely, that invention should belong to anybody&lt;br /&gt;
and everybody after a legalised spell of protection.&lt;br /&gt;
So the word &ldquo;copyright&amp;quot; is in no way an admis-&lt;br /&gt;
sion by the law that a writer&amp;#039;s books, for example,&lt;br /&gt;
belong to him entirely, like his tables and his&lt;br /&gt;
chairs: it means nothing more than the sole and&lt;br /&gt;
exclusive liberty of multiplying copies of his books&lt;br /&gt;
during a fixed period of time, for the author&amp;#039;s life&lt;br /&gt;
and seven years after his death, or for a period of&lt;br /&gt;
forty-two years from the date of first publication,&lt;br /&gt;
whichever term shall be the longer. So, then,&lt;br /&gt;
&ldquo;Old Father Antic the Law&amp;#039;&rdquo; grants you leave to&lt;br /&gt;
control your own book property for a short while,&lt;br /&gt;
recognising that even authors and their families&lt;br /&gt;
must have some chance of paying their rents, rates,&lt;br /&gt;
taxes, food and school bills. For a while, then,&lt;br /&gt;
they can be of use to themselves; after that their&lt;br /&gt;
benefactions must be nominally for the public, but&lt;br /&gt;
mainly for the publisher. How this law operates&lt;br /&gt;
may be seen in the following tale :-&lt;br /&gt;
It is fifty-two years since two brothers, A. and&lt;br /&gt;
B., became craftsmen. A. designed and made all&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#465) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITFIOR.&lt;br /&gt;
91&lt;br /&gt;
the furniture required for his home, and bequeathed&lt;br /&gt;
it by will to his eldest son. He died last year, and&lt;br /&gt;
his son, now thirty-two, has made a will leaving&lt;br /&gt;
that furniture to his own eldest boy, who at&lt;br /&gt;
present is a lad of eight. Plainly, then, the old&lt;br /&gt;
furniture belongs to the family, and may be&lt;br /&gt;
handed on from father to son for any length of&lt;br /&gt;
time. As to B., he wrote a book. At first it was&lt;br /&gt;
a failure, but little by little it won success, till at&lt;br /&gt;
last it earned for him in royalties a small income&lt;br /&gt;
&mdash;about &pound;10 each quarter. But the author died,&lt;br /&gt;
leaving a widow in the grip of poverty, and the&lt;br /&gt;
copyright of his book lapsed. Then several pub-&lt;br /&gt;
lishers at the same moment issued cheap editions,&lt;br /&gt;
and not one farthing did the widow receive. Her&lt;br /&gt;
husband&rsquo;s work no longer remained in the family,&lt;br /&gt;
but belonged to the predatory booming of cheap&lt;br /&gt;
trades.&lt;br /&gt;
they mean Shakespeares and Miltons, are inferior&lt;br /&gt;
as property to frying-pans and footstools, or bureaus&lt;br /&gt;
and bedsteads.&lt;br /&gt;
Why in the world should that be so 2 Why&lt;br /&gt;
should a widow starve while tradesmen gamble in&lt;br /&gt;
her husband&amp;#039;s work P Why should publishers and&lt;br /&gt;
booksellers turn Charles Dickens into rents, rates,&lt;br /&gt;
taxes, and profits, while the author&amp;#039;s descendants&lt;br /&gt;
have to be grateful for tiny pensions ? And why&lt;br /&gt;
should the dead men of genius, by competing in&lt;br /&gt;
the market with the help of unfair conditions, be&lt;br /&gt;
as blacklegs to our own contemporary inventors 2&lt;br /&gt;
For royalties&mdash;out of which the living must make&lt;br /&gt;
shift to live&mdash;increase the cost price of marketable&lt;br /&gt;
wares, while lapsed copyrights of saleable work&lt;br /&gt;
lessen that price and become predatory foes to&lt;br /&gt;
inventors and artists of to-day. It is monstrous&lt;br /&gt;
that our dead poets, paying no royalties, should&lt;br /&gt;
drive our living poets to suicide. When a man&lt;br /&gt;
cannot live by doing useful and beautiful work, he&lt;br /&gt;
suffers two deaths, for his spirit dies long before&lt;br /&gt;
his heart stops beating. And again, what is&lt;br /&gt;
posthumous fame but the repentance of mankind&lt;br /&gt;
for old sins of cruel negligence fatal to someone&lt;br /&gt;
great 2 &rsquo;,&lt;br /&gt;
It is often forgotten that the trade competition&lt;br /&gt;
between lapsed rights and present copyrights&lt;br /&gt;
favours the dead for a reason other than that of&lt;br /&gt;
expired royalties, for the lapsed rights commonly&lt;br /&gt;
belong to work that sells year by year in large&lt;br /&gt;
editions, such as few copyrights now win for their&lt;br /&gt;
authors, with the result that the big editions of&lt;br /&gt;
popular classics are less costly to put on the&lt;br /&gt;
market than the smaller editions of most current&lt;br /&gt;
literature. Popular classics, again, need but little&lt;br /&gt;
advertising.&lt;br /&gt;
I have said in several of my books, and I repeat&lt;br /&gt;
it here, that the State having declined to protect&lt;br /&gt;
invented property by greatly extending the term of&lt;br /&gt;
copyright, ought certainly to charge fixed royalties&lt;br /&gt;
Books, then, however good, even aithough&lt;br /&gt;
on all expired copyrights, the proceeds to be col-&lt;br /&gt;
lected into a national fund for the encouragement&lt;br /&gt;
of the arts and crafts. Those royalties, of course,&lt;br /&gt;
should be such as the living act, and get, so that&lt;br /&gt;
old work may not be subsidised by the State to&lt;br /&gt;
the injury of new productions. It is a crime&lt;br /&gt;
against the present and the future that the great-&lt;br /&gt;
ness of former times should cripple the genius of&lt;br /&gt;
to-day by having granted to it unfair advantages&lt;br /&gt;
in market competition.&lt;br /&gt;
Far too often, I fear, Modern Justice has one&lt;br /&gt;
eye bandaged, and Parliament coaxes her to believe&lt;br /&gt;
that the blind side is the more useful to her&lt;br /&gt;
and us.&lt;br /&gt;
Here we have Ruskin, for example, dead but a&lt;br /&gt;
few years, and yet for some time his books have&lt;br /&gt;
been free to a sordid rivalry between the cheap-&lt;br /&gt;
jacks of trade. To say that the public benefits by&lt;br /&gt;
Such rivalry is absurd, for it implies, in these days&lt;br /&gt;
of free libraries, that our democracy cannot&lt;br /&gt;
afford to read borrowed books. Besides, the&lt;br /&gt;
country is not yet so poor that readers cannot give&lt;br /&gt;
a fair price for that which they wish to read.&lt;br /&gt;
Whatever laws may say or do, works of art and&lt;br /&gt;
invention are property far more intimately per-&lt;br /&gt;
sonal than are inherited lands and chattels. The&lt;br /&gt;
least that Modern Justice should do is to use her&lt;br /&gt;
one eye with some judgment ; and this she can do&lt;br /&gt;
in the following ways:&ndash;&lt;br /&gt;
1. By demanding royalties for the State on al&lt;br /&gt;
expired rights; -&lt;br /&gt;
2. By taxing the receipts on all old works of art&lt;br /&gt;
sold at auctions and elsewhere for trade; and&lt;br /&gt;
3. By using all the money thus obtained to&lt;br /&gt;
advance the progress of modern work.&lt;br /&gt;
Then &ldquo;the simple great ones gone&amp;quot; will help to&lt;br /&gt;
support their successors, instead of being the petted&lt;br /&gt;
slaves of gambling tradesmen, who would value&lt;br /&gt;
Shakespeare at a penny if they could earn a&lt;br /&gt;
ha&amp;#039;penny by doing so.&lt;br /&gt;
W. SHAW SPARROW.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
By W.M. BRETT PLUMMER.&lt;br /&gt;
THE&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others.) .&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
CHAPTER IV.&lt;br /&gt;
&ldquo;Th90 and Three Colour Work,&rdquo; and how&lt;br /&gt;
it can be applied.&lt;br /&gt;
HAT a revolution in printing &ldquo;Three&lt;br /&gt;
Colour Work&rdquo; has brought about !&lt;br /&gt;
If we realise that in only three primary&lt;br /&gt;
colours, that is to say, in three actual printings or&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#466) ################################################&lt;br /&gt;
&lt;br /&gt;
92&lt;br /&gt;
TISIES A DITISIOR.&lt;br /&gt;
&ldquo;workings,&rdquo; we are able now to produce in effect&lt;br /&gt;
what but a few years ago took fifteen or sixteen&lt;br /&gt;
separate machinings to accomplish, we cannot deny&lt;br /&gt;
it is little short of marvellous.&lt;br /&gt;
Many a printer twenty years ago would have&lt;br /&gt;
ridiculed the idea asimpossible had it been suggested&lt;br /&gt;
to him.&lt;br /&gt;
S), when the new colour process first came&lt;br /&gt;
out, it was regarded dubiously as one of those&lt;br /&gt;
&ldquo;wild cat schemes &amp;quot; that makes a start but never&lt;br /&gt;
eventuates.&lt;br /&gt;
To the chromo-lithographic printer Who Was, up&lt;br /&gt;
to that time, the only man who could reproduce&lt;br /&gt;
anything in colours, it must, at least, have been&lt;br /&gt;
an unpleasant surprise when he first beheld a&lt;br /&gt;
printed proof in three workings almost equal to,&lt;br /&gt;
and, in certain points, more effective than, his own&lt;br /&gt;
productions in twelve or fourteen.&lt;br /&gt;
This was the initiative of the ordinary letter-&lt;br /&gt;
press printer being enabled to produce artistic&lt;br /&gt;
illustrative colour work.&lt;br /&gt;
The difference between chromo-lithography and&lt;br /&gt;
three-colour work is this :&lt;br /&gt;
The former is an impression printed from stone&lt;br /&gt;
on which the sketch is generally drawn by hand,&lt;br /&gt;
while the latter is reproduced photographically&lt;br /&gt;
and mechanically from &ldquo;Screened &rsquo;&rsquo; or half-tone&lt;br /&gt;
metal plates.&lt;br /&gt;
Stone is of a porous nature, and therefore&lt;br /&gt;
absorbent. It imbibes, as it were, water or ink.&lt;br /&gt;
Now, for chromo-lithographic work a stone is&lt;br /&gt;
employed upon which a grain or a solid body&lt;br /&gt;
colour can both be depicted. That is to say, if you&lt;br /&gt;
rub a greasy lithographic chalk over its surface you&lt;br /&gt;
can obtain a grain, and at the same time, also, if&lt;br /&gt;
you want a thick solid mass of colour, you can by&lt;br /&gt;
lithographic ink and a brush obtain it upon the&lt;br /&gt;
same surface.&lt;br /&gt;
This is, of course, for one colour or printing for&lt;br /&gt;
each individual Stone.&lt;br /&gt;
Thus we will say, we are reproducing a water-&lt;br /&gt;
colour drawing by chromo of a subject similar to&lt;br /&gt;
the supplements given away in our Christmas&lt;br /&gt;
newspaper annuals; take, for instance, the late&lt;br /&gt;
Sir J. E. Millais&amp;#039;s &ldquo;Bubbles&rdquo; or &ldquo;Cherry Ripe,&rdquo;&lt;br /&gt;
as well-known examples.&lt;br /&gt;
Now these prints run into many workings or&lt;br /&gt;
stones&mdash;one solid colour and one grained tint on&lt;br /&gt;
each stone. -&lt;br /&gt;
A portrait or figure print may include the&lt;br /&gt;
following colours, with as many stones to match :&mdash;&lt;br /&gt;
Black (or key), two reds, two blues, two or three&lt;br /&gt;
yellows, one or two greys, a flesh, a pink, helio-&lt;br /&gt;
trope or lavender, brown, and even other colours.&lt;br /&gt;
This naturally means expense, as the paper upon&lt;br /&gt;
which they are printed has to run through the&lt;br /&gt;
machine many times&mdash;at all events once for each&lt;br /&gt;
colour impression from each stone.&lt;br /&gt;
By these numerous printings an excellent result&lt;br /&gt;
is often obtained ; yet in most cases, although&lt;br /&gt;
naturally coloured, it is still somewhat mechanical&lt;br /&gt;
in effect, so that any one at all versed in colour&lt;br /&gt;
work can see at a glance that it is &ldquo;chromo-litho?&rdquo;&lt;br /&gt;
work, and nothing else.&lt;br /&gt;
And the hard stamp of chromo-lithography&lt;br /&gt;
clings to it.&lt;br /&gt;
Now in the three-colour process we get a more&lt;br /&gt;
real effect from the mere fact that it is to begin&lt;br /&gt;
with a purely photographic mechanical reproduction&lt;br /&gt;
of the Original picture.&lt;br /&gt;
Whatever the artists&rsquo; merits or demerits may be,&lt;br /&gt;
they are bound to be faithfully reproduced by this&lt;br /&gt;
process.&lt;br /&gt;
You can, by the three-colour process, get so&lt;br /&gt;
faithful a representation of an oil painting that&lt;br /&gt;
where the artist has used a palette knife, and the&lt;br /&gt;
oil colour stands out thick in relief on the canvas,&lt;br /&gt;
the reproduction of the pigment will look to pro-&lt;br /&gt;
ject exactly like the original painting.&lt;br /&gt;
This perfect similarity to an original no litho-&lt;br /&gt;
graphic artist has ever been able to attain.&lt;br /&gt;
Nature itself, in the shape of still-life objects,&lt;br /&gt;
such as fruit, flowers, or dead game, can be so&lt;br /&gt;
faithfully reproduced that the feathers of a bird,&lt;br /&gt;
or the leaves of a rose, might almost appear as&lt;br /&gt;
though they could be lifted up.&lt;br /&gt;
The bloom on a bunch of grapes, or a dish of&lt;br /&gt;
peaches, preserves a magically natural colour that&lt;br /&gt;
no other colour process by hand can possibly&lt;br /&gt;
imitate.&lt;br /&gt;
Yet if you want a huge pictorial poster to placard&lt;br /&gt;
a wall, you must decidedly employ chromo-litho-&lt;br /&gt;
graphy, because three-colour work would be not&lt;br /&gt;
only too expensive, but its perfection of minute&lt;br /&gt;
detail is unnecessary when one stands at a distance&lt;br /&gt;
from a hoarding.&lt;br /&gt;
At present, too, it would be too expensive to&lt;br /&gt;
handle above a size of, say, 25 inches by 35 inches.&lt;br /&gt;
Now the tri-colour process evolved in this way.&lt;br /&gt;
There are three primary colours, as most people&lt;br /&gt;
know, red, blue, and yellow ; and consequently&lt;br /&gt;
three binary or intermediate tints: Orange, green,&lt;br /&gt;
and violet.&lt;br /&gt;
If you photograph an oil painting, placing an&lt;br /&gt;
Orange-coloured filter or glass between your lens&lt;br /&gt;
and the picture, you obtain a negative for the blue&lt;br /&gt;
colour only, as you shut out all the reds and yello!08.&lt;br /&gt;
In the same way, you photograph the object a&lt;br /&gt;
Second time, on this occasion, however, using a&lt;br /&gt;
green filter, and you obtain your negative for the&lt;br /&gt;
red printing, as you have obliterated the blues and&lt;br /&gt;
yellows.&lt;br /&gt;
Again, for the third time, by using a violet filter .&lt;br /&gt;
you obtain a yellow negative, as you have dispersed&lt;br /&gt;
the reds and blues.&lt;br /&gt;
These three negatives have, of course, to be in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#467) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A [ſ&amp;#039;TRIOR.&lt;br /&gt;
93&lt;br /&gt;
perfect register, and are half-tone or screen nega-&lt;br /&gt;
tives as explained in the previous chapter.&lt;br /&gt;
They are then printed on to metal plates, etched,&lt;br /&gt;
mounted, and ready to take impressions from.&lt;br /&gt;
The coloured supplement issued with this&lt;br /&gt;
number will better illustrate the mode of procedure.&lt;br /&gt;
In the first subject we see in Fig. 1 the impres-&lt;br /&gt;
sion from the yellow block alone, in Fig. 2 the red,&lt;br /&gt;
and in Fig. 3 the blue.&lt;br /&gt;
Fig. 4 represents the yellow and red blocks com-&lt;br /&gt;
bined or superimposed.&lt;br /&gt;
The yellow block has been printed first, and the&lt;br /&gt;
red block has been printed over it. Through a&lt;br /&gt;
magnifying glass the yellow underlying the red will&lt;br /&gt;
be easily discerned.&lt;br /&gt;
Now in Fig. 5 the complete picture containing&lt;br /&gt;
all the printings or colours, the blue block&lt;br /&gt;
(Fig. No. 3) has been printed over the yellow and&lt;br /&gt;
red (Fig. No. 4), and the finished result is obtained,&lt;br /&gt;
which, we must admit, is very effective.&lt;br /&gt;
I should like to point out, however, that although&lt;br /&gt;
the three-colour process is adaptable for nearly&lt;br /&gt;
everything, there are still some few technical&lt;br /&gt;
subjects that it could not depict with perfect&lt;br /&gt;
fidelity.&lt;br /&gt;
These are subjects where the blues, or the yellows,&lt;br /&gt;
or the reds, or perhaps all three, are so individually&lt;br /&gt;
distinctive in character that they could not possibly&lt;br /&gt;
be reproduced by three printings only.&lt;br /&gt;
In the fruit subject the yellow is of a light&lt;br /&gt;
lemon colour, the red of a crimson lake order, while&lt;br /&gt;
the blue is a peculiarly deep blue verging somewhat&lt;br /&gt;
On indigo.&lt;br /&gt;
Now the blue is what I prefer to call the key or&lt;br /&gt;
binding block.&lt;br /&gt;
It in a way forms the basis of the whole picture.&lt;br /&gt;
It will be noticed that the blue is more prominent,&lt;br /&gt;
and is more freely used than either the yellow or red.&lt;br /&gt;
It is, in fact, the outline or basis of the whole&lt;br /&gt;
subject. If a lighter blue ink were employed&lt;br /&gt;
instead of the present dark one, the entire effect&lt;br /&gt;
would be altered, and the general outline would be&lt;br /&gt;
weakened considerably.&lt;br /&gt;
If a vermilion red, too, or a chrome-coloured yellow&lt;br /&gt;
were substituted instead of the present red and&lt;br /&gt;
yellow, all the character of the colouring would be&lt;br /&gt;
totally changed.&lt;br /&gt;
Now these three set colours do not and cannot&lt;br /&gt;
suit all subjects.&lt;br /&gt;
Take the case, for instance, of a number of new&lt;br /&gt;
English and foreign postage stamps, of as varied&lt;br /&gt;
colours as possible, placed side by side on a sheet&lt;br /&gt;
of paper. .&lt;br /&gt;
Among them we should possibly find stamps&lt;br /&gt;
representing three or four totally different and&lt;br /&gt;
distinct blues, vermilion, crimson lake, and Indian&lt;br /&gt;
reds, chrome, lemon, gamboge, and other yellows.&lt;br /&gt;
It would be totally impossible to reproduce all&lt;br /&gt;
these varied colours faithfully by any process&lt;br /&gt;
Constituting three printings only.&lt;br /&gt;
A fairly good copy could be made which might&lt;br /&gt;
please the inexperienced eye, but the technical&lt;br /&gt;
expert, who could detect the smallest dissimilarity,&lt;br /&gt;
Would find fault with it.&lt;br /&gt;
So, too, with a number of butterflies of many&lt;br /&gt;
varied hues. The enact delicacy of each individual&lt;br /&gt;
colour would in many cases have to be sacrificed.&lt;br /&gt;
This would also apply to birds&amp;#039; eggs of varying&lt;br /&gt;
shades of colour. They would require more than&lt;br /&gt;
the three primary colours to produce a facsimile&lt;br /&gt;
result.&lt;br /&gt;
But these difficult technical subjects can always&lt;br /&gt;
be faithfully reproduced with an extra working or&lt;br /&gt;
two, according to the nature of the original itself.&lt;br /&gt;
Three-colour blocks can be made from oil&lt;br /&gt;
paintings, water-colour drawings, coloured-up photo-&lt;br /&gt;
graphs, tinted engravings, or direct from nature&lt;br /&gt;
itself, as in the case of the fruit illustration.&lt;br /&gt;
The price of the blocks made from a painting,&lt;br /&gt;
coloured engraving, or printed copy should be&lt;br /&gt;
3s. per square inch over all, with a minimum of&lt;br /&gt;
2% to 3 guineas, according to the nature of the work.&lt;br /&gt;
This includes the three blocks (yellow, red, and&lt;br /&gt;
blue), and averages the rate of 1s. per square inch&lt;br /&gt;
each block.&lt;br /&gt;
If the blocks are made direct from Nature, such&lt;br /&gt;
subjects, for instance, being tapestries, carpets,&lt;br /&gt;
furniture, soft goods, flowers, cigars, furs, china&lt;br /&gt;
Ware, or a hundred similar subjects, then 4s. per&lt;br /&gt;
square inch over all, or 25 per cent, more, should be&lt;br /&gt;
the demand. Minimum charge, 3 guineas.&lt;br /&gt;
At this point I should like to add a word or two&lt;br /&gt;
with regard to two-colour work. This very excel-&lt;br /&gt;
lent and effective mode of colour reproduction is&lt;br /&gt;
either too much slighted or its advantages unrecog-&lt;br /&gt;
mised. Both printer and publisher apparently fail&lt;br /&gt;
to appreciate it as it should be appreciated, for it&lt;br /&gt;
can be employed with surprising results in quite a&lt;br /&gt;
number of ways and lends scope for originality in&lt;br /&gt;
the way of composition. You are not bound down&lt;br /&gt;
in any Way to any particular colour or colours, and&lt;br /&gt;
if it were possible in this series, I should like very&lt;br /&gt;
much to give examples of some of the charming&lt;br /&gt;
combinations that can be attained.&lt;br /&gt;
I am able to give one, however, the small land-&lt;br /&gt;
scape depicted in the supplement.&lt;br /&gt;
This subject I had proofed in about six different&lt;br /&gt;
ways, and it was astonishing the varied tints and&lt;br /&gt;
effects that were obtained.&lt;br /&gt;
In the published example the reader will see that&lt;br /&gt;
in Fig. I the ground colour or basis is printed in&lt;br /&gt;
a sort of buff or subdued chrome. Fig. 2 repre-&lt;br /&gt;
sents the key or binding block, while Fig. 3&lt;br /&gt;
represents the complete picture, showing the black&lt;br /&gt;
key block superimposed on the colour block, and&lt;br /&gt;
presenting eventually what is intended to be a cold&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#468) ################################################&lt;br /&gt;
&lt;br /&gt;
94&lt;br /&gt;
TISIES A dTISIORs&lt;br /&gt;
autumnal effect. But a sunny, warm appearance&lt;br /&gt;
could be equally well depicted by another choice of&lt;br /&gt;
colour in each block.&lt;br /&gt;
For figure subjects excellent results can be&lt;br /&gt;
obtained by printing off the copies in carefully&lt;br /&gt;
chosen red and blue blocks. Where the two&lt;br /&gt;
colours are superimposed strongly in places an&lt;br /&gt;
acceptable brown tint is provided that lends a&lt;br /&gt;
pleasing contrast in the picture. &bull; &lsquo;e&lt;br /&gt;
Good effects, too, are produced by combining&lt;br /&gt;
two tints in the same colour, say, for instance, a&lt;br /&gt;
dark rich blue for the key, and a lighter com-&lt;br /&gt;
plementary blue as the basis or groundwork. .&lt;br /&gt;
Two claret colours, two greens, or two violets&lt;br /&gt;
combined, produce a harmonious contrast that is&lt;br /&gt;
artistic and refined.&lt;br /&gt;
Then again, in two-colour printing, one can&lt;br /&gt;
with good effect produce a striking picture by&lt;br /&gt;
printing the subject on a yellow paper instead of&lt;br /&gt;
a White one, when the colour in the paper helps to&lt;br /&gt;
the general effect.&lt;br /&gt;
A striking example of this may be seen in the&lt;br /&gt;
many clever two-colour covers of Pearson&rsquo;s Maga-&lt;br /&gt;
2ine, the proprietors of which have always been&lt;br /&gt;
fully alive to its merits.&lt;br /&gt;
Other tints of paper could be equally well&lt;br /&gt;
employed as a groundwork for new ideas of&lt;br /&gt;
harmony in this direction.&lt;br /&gt;
The cost of two-colour blocks averages 1s. 6d.&lt;br /&gt;
per Square inch, with a minimum of 30s. Over all,&lt;br /&gt;
that is to say, for the two blocks inclusively.&lt;br /&gt;
For this form of reproduction only a photograph&lt;br /&gt;
Wash-drawing or black - and - white original is&lt;br /&gt;
actually necessary if the work is placed in the&lt;br /&gt;
hands of a first-class firm of engravers who know&lt;br /&gt;
what they are about.&lt;br /&gt;
If placed in inexperienced hands disappointment&lt;br /&gt;
usually follows.&lt;br /&gt;
As a matter of fact, even in this day, there are&lt;br /&gt;
Very few firms who can really reproduce colour-&lt;br /&gt;
work as it should be done. They could be&lt;br /&gt;
counted on the fingers of one hand.&lt;br /&gt;
Artists, who as a rule &ldquo;know the game,&rdquo; after&lt;br /&gt;
finishing their black or key drawing, will cover&lt;br /&gt;
same with a piece of tracing paper and wash in&lt;br /&gt;
roughly with a light tint the actual parts they&lt;br /&gt;
want depicted in colour.&lt;br /&gt;
This is an assistance to the engraver, as he is&lt;br /&gt;
thereby able to follow out his client&amp;#039;s wishes in a&lt;br /&gt;
Satisfactory manner, and is, moreover, a proof as&lt;br /&gt;
to whether his instructions have been adhered to.&lt;br /&gt;
In my next instalment I shall have something&lt;br /&gt;
to say about measuring up work, instructions to&lt;br /&gt;
engravers, the &ldquo;faking&rsquo; of originals, touching up&lt;br /&gt;
photographs, etc.&lt;br /&gt;
The blocks used for the printing of the coloured&lt;br /&gt;
supplement in this issue have been kindly lent by&lt;br /&gt;
Messrs. John Swain &amp;amp; Son, Ltd.&lt;br /&gt;
CRITICAL ESSAYS OF THE SEVEN-&lt;br /&gt;
TEENTH CENTURY.:&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash; -&lt;br /&gt;
N his third volume of &ldquo;Critical Essays of the&lt;br /&gt;
Seventeenth, Century, containing Essays&lt;br /&gt;
originally published between 1685 and 1700.&amp;quot;&lt;br /&gt;
Mr. Spingarn offers his readers a collection of ten&lt;br /&gt;
essays of very different merits. Sir William&lt;br /&gt;
Temple&amp;#039;s two essays, &ldquo;An Essay upon the Ancient&lt;br /&gt;
and Modern Learning,&rdquo; and &ldquo;Of Poetry,&rdquo; both of&lt;br /&gt;
which first appeared in 1690, easily hold the first&lt;br /&gt;
rank, on account alike of the grace of the style, so&lt;br /&gt;
justly praised by Dr. Johnson, the interest of their&lt;br /&gt;
subjects, and the value of the remarks which they&lt;br /&gt;
contain. Nor can it be forgotten that in the&lt;br /&gt;
history of literature the former connects itself both&lt;br /&gt;
with Perrault&amp;#039;s &ldquo;Parallele des Anciens des&lt;br /&gt;
Modernes,&rdquo; and with the subsequent controversy&lt;br /&gt;
which raged around &ldquo;The Letters of Phalaris.&rdquo;&lt;br /&gt;
To have Wotton&rsquo;s &ldquo;Reflections upon Ancient and&lt;br /&gt;
Modern Learning &rdquo; in the same volume as Sir&lt;br /&gt;
William Temple&amp;#039;s observations on the same subject&lt;br /&gt;
will be a convenience to students of the history&lt;br /&gt;
of criticism ; but, of itself, Wotton&amp;#039;s essay, though&lt;br /&gt;
containing some interesting matter, is of inferior&lt;br /&gt;
value. Congreve&amp;#039;s essay, &ldquo;Concerning Humour in&lt;br /&gt;
Comedy&rdquo; (1695), is, after Sir William Temple&amp;#039;s&lt;br /&gt;
Works, the most suggestive piece in the volume,&lt;br /&gt;
which contains also Wolsley&rsquo;s &ldquo;Preface to Roches-&lt;br /&gt;
ter&amp;#039;s Valentine&rdquo; (1685); Langbaine&rsquo;s &ldquo;Essay on&lt;br /&gt;
Dryden&rsquo; (1691); Dennis&rsquo; &ldquo;Impartial Critic&rdquo;&lt;br /&gt;
(1693); Gildon&rsquo;s &ldquo;Vindication of Paradise Lost &amp;quot;&lt;br /&gt;
(1694); Sir Richard Blackmore&rsquo;s &ldquo;Preface to&lt;br /&gt;
Prince Arthur&rsquo; (1695), and his &ldquo;Satire against&lt;br /&gt;
Wit&rdquo; (1700); and Granville&rsquo;s &ldquo;Essay upon&lt;br /&gt;
Unnatural Flights in Poetry&rdquo; (1701). From Jeremy&lt;br /&gt;
Collier&amp;#039;s celebrated &ldquo;Short View of the Immorality&lt;br /&gt;
and Profaneness of the English Stage&rdquo; (1698), Mr.&lt;br /&gt;
Spingarn prints only the fourth chapter, and a&lt;br /&gt;
portion of the fifth. These detached portions are&lt;br /&gt;
indeed, as he remarks in his notes, &ldquo;complete in&lt;br /&gt;
themselves,&rdquo; but we are unable to agree with his&lt;br /&gt;
opinion that &ldquo;they lose little, if anything, by separa-&lt;br /&gt;
tion from the rest of the book.&rdquo; Separated from&lt;br /&gt;
the rest of the book, they assist to perpetuate that&lt;br /&gt;
false impression of the whole which, for some&lt;br /&gt;
reason or another, it has long been the fashion to&lt;br /&gt;
foster. Anyone who reads the whole of Jeremy&lt;br /&gt;
Collier&amp;#039;s diatribe can see at once that it is not&lt;br /&gt;
simply a protest against the worst features of the&lt;br /&gt;
drama of his day, but a deliberate and distinctly&lt;br /&gt;
puritanical attack on drama of any sort. It is not&lt;br /&gt;
the fashion to reproduce Collier&amp;#039;s observations&lt;br /&gt;
On Shakespeare, but we think that Mr. Spingarn&lt;br /&gt;
* J. E. Spingarn : &ldquo;Critical Essays of the Seventeenth&lt;br /&gt;
Century.&rdquo; Vol. III., 1685&ndash;1700. Oxford : Clarendon&lt;br /&gt;
Press. 1909. 8vo.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#469) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A CITFIOR.&lt;br /&gt;
95&lt;br /&gt;
should have taken higher ground than this, which,&lt;br /&gt;
by implication, represents Collier as objecting to&lt;br /&gt;
nothing that was not objectionable. The volume&lt;br /&gt;
concludes with some addenda and corrigenda&lt;br /&gt;
belonging to the first and second volumes previously&lt;br /&gt;
published, and a bibliography of the works which&lt;br /&gt;
the author has used. We have pleasure in con-&lt;br /&gt;
gratulating Mr. Spingarn upon the completion of&lt;br /&gt;
a learned and useful work.&lt;br /&gt;
a &ndash;-&ordm;-&lt;br /&gt;
v-sy&ndash;&lt;br /&gt;
A&lt;br /&gt;
w&lt;br /&gt;
SHORT STORIES.&rdquo;&lt;br /&gt;
R. CANBY, who is Assistant Professor of&lt;br /&gt;
English in the Sheffield Scientific School&lt;br /&gt;
of Yale University, writes, we take it, not&lt;br /&gt;
for the aspirant, but for the student. Mr. Kipling&lt;br /&gt;
could not learn from his pages how to write like&lt;br /&gt;
Mr. Henry James; nor could Mr. Thomas Hardy&lt;br /&gt;
learn how to write like Mr. W. W. Jacobs. But&lt;br /&gt;
all these four practitioners, and many other practi-&lt;br /&gt;
tioners as well, might derive from the work the&lt;br /&gt;
sort of instruction which would be useful to them&lt;br /&gt;
if they had to face a Board of Examiners in English&lt;br /&gt;
Literature. They would find in it a history of the&lt;br /&gt;
evolution of the short story from the confe d&eacute;v&ocirc;t&lt;br /&gt;
to &ldquo;Plain Tales from the Hills,&rdquo; a classification of&lt;br /&gt;
the different kinds of short stories, and an analysis&lt;br /&gt;
of the effects which short stories produce upon the&lt;br /&gt;
human mind. It is quite proper that we should&lt;br /&gt;
receive edification on this subject from an American&lt;br /&gt;
writer, for if &ldquo;the great American novel&rdquo; is still&lt;br /&gt;
to seek, the American short story writers attained&lt;br /&gt;
a high level of excellence at an earlier date than&lt;br /&gt;
ours; and our best men, on the whole, have imitated&lt;br /&gt;
theirs far more than their best men have imitated&lt;br /&gt;
ours. Professor Canby comes to his task with a&lt;br /&gt;
full equipment of erudition ; and he places his&lt;br /&gt;
erudition at the disposal of his readers in elaborate&lt;br /&gt;
bibliographical notes, which quote innumerable&lt;br /&gt;
authorities, not only in the English, but also in the&lt;br /&gt;
Lalin, French, and German languages. If we have&lt;br /&gt;
a fault to find, it is that the Professor&amp;#039;s style&lt;br /&gt;
inclines to the pedantic and sometimes lacks&lt;br /&gt;
lucidity. Reading his remarks is a little like&lt;br /&gt;
fighting one&amp;#039;s way through the thick undergrowth&lt;br /&gt;
of a primeval forest&mdash;a bracing exercise for those&lt;br /&gt;
who like it, but not an exercise, which he can rely&lt;br /&gt;
upon all his readers to enjoy. Some of his pages,&lt;br /&gt;
indeed, are as difficult as Green&rsquo;s &ldquo;Prolegomena to&lt;br /&gt;
Ethics,&rdquo; and it cannot be said that the difficulty&lt;br /&gt;
of the exposition is justified in his case, as it is in&lt;br /&gt;
Green&amp;#039;s, by any corresponding difficulty in the&lt;br /&gt;
* &ldquo;The Short Story in English,&rdquo; by Henry Seidel Canby,&lt;br /&gt;
Ph.D. New York : Holt &amp;amp; Company.&lt;br /&gt;
Subject-matter. He generally says the right thing,&lt;br /&gt;
but he seldom says it in any clear-cut phrase which&lt;br /&gt;
One Can Seize upon and remember.&lt;br /&gt;
* &mdash;&rdquo;- *&lt;br /&gt;
v--~~-w&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
*&mdash;G--e&lt;br /&gt;
MAGAZINE WRITERS AND THE INCOME TAx.&lt;br /&gt;
DEAR SIR,--In reply to your correspondent,&lt;br /&gt;
Mr. H. Stuart Thompson, re magazine writers and&lt;br /&gt;
the income tax, I am glad to see he can afford to&lt;br /&gt;
be generous with respect to the payment of income&lt;br /&gt;
tax levied on such contributions; but the state-&lt;br /&gt;
ment of facts which appears in the article signed&lt;br /&gt;
&ldquo;X. Y. Z.&rdquo; in the June number of The Author,&lt;br /&gt;
though not ostensibly treating of this subject,&lt;br /&gt;
more than supports the point which I raised in&lt;br /&gt;
your March issue.&lt;br /&gt;
Very faithfully yours,&lt;br /&gt;
ALFRED SMYTHE.&lt;br /&gt;
INTRINSIC VALUE OF A MS.&lt;br /&gt;
SIR,-A lady asks: &ldquo;What is the intrinsic&lt;br /&gt;
Value of a MS. P&rdquo; and then, with true feminine&lt;br /&gt;
inadvertence, proceeds to make deductions from&lt;br /&gt;
her own question, and her own imagination. A&lt;br /&gt;
book (or a MS.) can be stolen without either being&lt;br /&gt;
published or paid for.&lt;br /&gt;
The intrinsic value of a MS. depends upon the&lt;br /&gt;
Tepute of its writer. An author sent a MS. to&lt;br /&gt;
Bentley &amp;amp; Son, per passenger train. Bentley&lt;br /&gt;
received the box, but not the MS. The Writer&lt;br /&gt;
sued the railway company for &pound;10, all he thought&lt;br /&gt;
he could claim under the Common Carriers&rsquo;&lt;br /&gt;
Act. The case was heard in the Westminster&lt;br /&gt;
County Court, before Judge Baily, a man of some&lt;br /&gt;
eminence in his day. The defendants&amp;#039; solicitor&lt;br /&gt;
pleaded that a MS. had no intrinsic value, and&lt;br /&gt;
was promptly knuckled down by the judge, who,&lt;br /&gt;
after hearing Mr. Bentley&amp;#039;s opinion, said the MS.&lt;br /&gt;
was worth at least &pound;300, basing that opinion on&lt;br /&gt;
the writer&amp;#039;s previous work. But he held the&lt;br /&gt;
defendants protected by the &ldquo;Common Carriers&lt;br /&gt;
Act.&rdquo; If an article is of more than &pound;10 value the&lt;br /&gt;
fact must be declared, and the package insured.&lt;br /&gt;
The judge held the carrier absolved from paying&lt;br /&gt;
the lesser amount where the package exceeded &pound;10.&lt;br /&gt;
Our beautiful laws | He refused to give defendants&lt;br /&gt;
their costs, and ordered them to refund the carriage&lt;br /&gt;
money.&lt;br /&gt;
Another case. A short story writer sued Mr.&lt;br /&gt;
Dicks, 313, Strand, for 50s. the value of a lost MS.&lt;br /&gt;
The learned judge gave judgment in these terms:&lt;br /&gt;
&ldquo;Fifty shillings won&amp;#039;t hurt you, Mr. Dicks.&lt;br /&gt;
Verdict for plaintiff, 50s. and costs.&rdquo;&lt;br /&gt;
There are many other cases, but none, so far as&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#470) ################################################&lt;br /&gt;
&lt;br /&gt;
96 TRIE A D&ordm;DISIOR,&lt;br /&gt;
I know, on appeal. This is important, as those&lt;br /&gt;
who know anything of law will at once perceive.&lt;br /&gt;
But the fact is established that the MS. of a great&lt;br /&gt;
writer may have a high value quite apart from&lt;br /&gt;
publication; and many writers may become great&lt;br /&gt;
writers.&lt;br /&gt;
Mark. In the cases quoted above, the word&lt;br /&gt;
&ldquo;copy&amp;quot; was not once used; and my experience&lt;br /&gt;
satisfies me that the &ldquo;intrinsic value &amp;quot; of MSS.&lt;br /&gt;
of those writers who assist lazy editors by&lt;br /&gt;
multiplying typewritten copies is just the price&lt;br /&gt;
of the paper and ink. If an author cannot&lt;br /&gt;
write legibly, he should learn to do so. I&lt;br /&gt;
absolutely refuse to have my work &ldquo;typed.&rdquo; I&lt;br /&gt;
consider it is an impudent imposition of editors to&lt;br /&gt;
put this tax on writers; and those authors who&lt;br /&gt;
submit to it are the enemies of the literary&lt;br /&gt;
profession. If editors try the la-de-da, high-handed&lt;br /&gt;
business with me&mdash;well, Benjamin Franklin could&lt;br /&gt;
live on &ldquo;sawdust pudding,&rdquo; and I can live in&lt;br /&gt;
sackcloth and ashes.&lt;br /&gt;
Yours very faithfully,&lt;br /&gt;
PAUL FOUNTAIN.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
SHAKSPERE&amp;#039;s PLAYS : SCHOOL-BOOKS OR PLAY-&lt;br /&gt;
BOOKS 2&lt;br /&gt;
DEAR SIR,-May not one assume that the&lt;br /&gt;
present mode of &ldquo;teaching English literature&rdquo; in&lt;br /&gt;
schools is not calculated to foster a love for the&lt;br /&gt;
classics 2 An odium attaches to the name of a&lt;br /&gt;
&ldquo;school-book.&rdquo; Why them are the masterpieces of&lt;br /&gt;
our literature to be &ldquo;school-books &amp;#039;&amp;#039; Let them&lt;br /&gt;
rather be &ldquo;play-books.&rdquo;&lt;br /&gt;
It is after all in our play-hours that we learn&lt;br /&gt;
most ; and the theatre is often a truer instructor&lt;br /&gt;
than the school. -&lt;br /&gt;
Shakspere&amp;#039;s plays were meant to be acted. He&lt;br /&gt;
surely never intended them for &ldquo;lessons,&rdquo; to weary&lt;br /&gt;
the brains of children who cannot possibly under-&lt;br /&gt;
stand them.&lt;br /&gt;
I once &ldquo;learnt &ldquo;Henry W.&rsquo;&rdquo; at school, at the&lt;br /&gt;
age of fifteen. Till quite lately I entertained only&lt;br /&gt;
a vague notion of there being in it something about&lt;br /&gt;
&ldquo;Crispin Crispian,&rdquo; likewise an epilogue which&lt;br /&gt;
had been troublesome to learn. Had I not seen&lt;br /&gt;
the play, I should not have dreamed of reading&lt;br /&gt;
over again an old lesson-book. When I did, I&lt;br /&gt;
knew that I had never read it before. I am&lt;br /&gt;
inclined to think that, were it not for the theatre,&lt;br /&gt;
many persons would remain ignorant of Shakspere&lt;br /&gt;
all their days. Who wants to read old lesson-&lt;br /&gt;
books when lesson time is over ?&lt;br /&gt;
Yet Shakspere is our heritage, and we ought to&lt;br /&gt;
be allowed to love him.&lt;br /&gt;
Shakspere&amp;#039;s beautiful plays &ldquo;school-books&rdquo; &ndash;&lt;br /&gt;
the exquisite scenes and passages employed as a&lt;br /&gt;
means of exercising the memory, children sickened&lt;br /&gt;
of what they cannot yet understand&mdash;surely&lt;br /&gt;
something is wrong here.&lt;br /&gt;
A friend of mine, in like case to my own, &ldquo; had&lt;br /&gt;
had enough of &lsquo;Julius Caesar&rsquo; at school.&rdquo; With&lt;br /&gt;
difficulty persuaded to read it, she, in her turn,&lt;br /&gt;
realised that she had never done so before, and&lt;br /&gt;
becoming quite fascinated by the character of&lt;br /&gt;
Cassius,&rdquo; declared that she could not get him or&lt;br /&gt;
Brutus out of her head.&lt;br /&gt;
Few will disagree that a love for Shakspere, if&lt;br /&gt;
it come at all, will come when the mind is&lt;br /&gt;
matured ; nor that this love is often hindered of&lt;br /&gt;
development, or actually killed, by the distaste for&lt;br /&gt;
his works begotten in lesson-hours.&lt;br /&gt;
Surely the development of soul and intellect is&lt;br /&gt;
more important than the passing of examinations,&lt;br /&gt;
or even the opportunity of earning one&amp;#039;s living.&lt;br /&gt;
If the sole object is the latter, then by all means&lt;br /&gt;
let the children spend heart and brain in studying&lt;br /&gt;
obsolete words and phrases in a story of the&lt;br /&gt;
characters of which they know nothing beyond the&lt;br /&gt;
names, the mention of which in after-life will only&lt;br /&gt;
recall a &ldquo;lesson-book.&rdquo;&lt;br /&gt;
Did Shakspere intend his plays to be lesson-&lt;br /&gt;
books 2 And if he did not, is it not presumptuous&lt;br /&gt;
to make them so The majority of young people&lt;br /&gt;
under eighteen are not capable of caring for&lt;br /&gt;
Shakspere, and those who are had better be left&lt;br /&gt;
to read him in their leisure hours.&lt;br /&gt;
The prevailing ignorance of classic authors in&lt;br /&gt;
English society is deplorable, and for this the habit&lt;br /&gt;
of surfeiting children with them is largely to&lt;br /&gt;
blame.&lt;br /&gt;
Apart from every other consideration, what an&lt;br /&gt;
influx of happiness might be brought into the&lt;br /&gt;
stinted lives of people in remote villages and&lt;br /&gt;
towns, were the old conventional tradition of the&lt;br /&gt;
&ldquo;dulness&rdquo; of classic authors proved to be the&lt;br /&gt;
fallacy it is One feels the educational world owes&lt;br /&gt;
a debt of gratitude to the village schoolmistress&lt;br /&gt;
who has tried to bring this about in her own&lt;br /&gt;
village : one hopes others may follow her example.&lt;br /&gt;
The often-despised &ldquo;Lamb&amp;#039;s Tales&rdquo; and others&lt;br /&gt;
like them&mdash;not &ldquo;lessons&rdquo;&mdash;&mdash;are the true foundation&lt;br /&gt;
for Shakspere. Let the children have these tales&lt;br /&gt;
for &ldquo;play-books&rdquo;; and the natural result will be&lt;br /&gt;
(especially if they are told that the actual works&lt;br /&gt;
of Shakspere are beyond them 1) that they will&lt;br /&gt;
long to eat of the forbidden fruit, and will glory in&lt;br /&gt;
the day which sets open the gates of the wonderful&lt;br /&gt;
garden.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
EMILY SHORE.&lt;br /&gt;
A short time after writing the above article,&lt;br /&gt;
the writer overheard &ldquo;Romeo and Juliet &amp;quot; being&lt;br /&gt;
discussed by shop-girls in a little tea-shop.&lt;br /&gt;
* &ldquo;Chacun a son go&ucirc;t.&rdquo;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#471) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
WHERE KNIFE IS DRIVEN. -&lt;br /&gt;
By MAX TROTTER, M.D. A story of exceptional interest,&lt;br /&gt;
with frontispiece on art paper. Is... net.&lt;br /&gt;
&ldquo;A Hospital Story.&rdquo;&mdash;Timzes. -&lt;br /&gt;
&ldquo;The tale shows a good deal of the business side of the&lt;br /&gt;
surgeon&amp;#039;s calling.&rdquo;&mdash;Dundee Advertise?&amp;quot;. -&lt;br /&gt;
THE MYSTERIOUS LIGHT : . A Novel.&lt;br /&gt;
By JANET B. ORR. With frontispiece on art paper. A capital&lt;br /&gt;
and wholesome love story. 2s. net. -&lt;br /&gt;
&ldquo;A tale relating the attempt on the part of circumstances and&lt;br /&gt;
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Telegraft/.&lt;br /&gt;
&ldquo;A charming story, with dramatic incidents that fascinate the&lt;br /&gt;
reader.&rdquo;&mdash;Black&ouml;tern Gazette.&lt;br /&gt;
THE COMING OF THE CHILD : A Dream.&lt;br /&gt;
A Tale of Belgravia and Brixton. By THEODORE PHILIPPY.&lt;br /&gt;
A legend of peculiar and cistinctive interest. Is, net.&lt;br /&gt;
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THE QUEEN&amp;#039;s FAVOURITE, and other Poems.&lt;br /&gt;
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Capital little stories, full of fun and laughter. Just issued.&lt;br /&gt;
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These are pertiment questions and well worth&lt;br /&gt;
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Many young writers would meet with success&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#472) ################################################&lt;br /&gt;
&lt;br /&gt;
iv ADVERTISEMENTS.&lt;br /&gt;
TO AN AUTHOR&lt;br /&gt;
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An Important Matter.&lt;br /&gt;
Send your typewriting to me ! I have had a broad experience of&lt;br /&gt;
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Price List, Testimonials, etc., on application.&lt;br /&gt;
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This Coupon entitles you to one Carbon&lt;br /&gt;
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at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/399/1909-12-01-The-Author-20-3.pdf</td><td>publications, The Author</td></tr><tr><td>400</td><td>https://historysoa.com/items/show/400</td><td>Supplement to The Author (1909)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Supplement+to+%3Cem%3EThe+Author%3C%2Fem%3E+%281909%29&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt; (1909)&lt;/a&gt;</td><td>Colour illustrations for William Brett Plummer&amp;#039;s article on &amp;#039;The Art of Illustrating&amp;#039;.</td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1909-12-01-The-Author-20-3&quot;&gt;Supplement to The Author, Vol. 20 Issue 03&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1909-12-01-Supplement-20-3</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1909-12-01&quot;&gt;1909-12-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>3</td><td></td><td></td><td>19091201</td><td></td><td>https://historysoa.com/files/original/5/400/1909-12-01-Supplement-20-3.pdf</td><td>art, publications, The Author</td></tr><tr><td>401</td><td>https://historysoa.com/items/show/401</td><td>The Author, Vol. 20 Issue 04 (January 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+04+%28January+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 04 (January 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-01-01-The-Author-20-4</td><td></td><td></td><td></td><td></td><td>97&ndash;124</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-01-01&quot;&gt;1910-01-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>4</td><td></td><td></td><td>19100101</td><td>(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
WoL. XX. &mdash;No. 4. JANUARY 1, 1910. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
- PAGE |PAGE.E.&lt;br /&gt;
Notices ... t&ordm; &ordm; is t&ordm; $ t&ordm; t&ordm; &ordm; &ordm; e s &ordm; t&ordm; e Q e &ordm; &ordm; * * * 97&ndash;98 Warmings to Musical Composers ... t&ordm; s&ordm; &ordm; t&ordm; &amp;amp; a * * * ... 114&lt;br /&gt;
Committee Notes * * * t&ordm; &ordm; &ordm; e e s&ordm; * * * t&ordm; e &ordm; t&ordm; &ordm; &ordm; t&ordm; g&ordm; &ordm; 9S Stamping Music ... t&ordm; &ordm; &ordm; E &ordm;n e t&ordm; e t&ordm; &pound; 6 t&ordm; * = e &bull; * * ... 114&lt;br /&gt;
Books published by Members of the Society ... ... ... 101 The Reading Branch ... ... ... ... ... ... ... 114&lt;br /&gt;
Books published in America by Members... g &ordm; &ordm; e &ordm; e ... 103 &ldquo;The Author&rsquo;&rsquo; ... * * * &amp;amp; Q &amp;amp; &amp;amp; e e &amp;amp; ſ&ordm; t&ordm; e &ordm; &ordm; t&ordm; a t&ordm; ... 114&lt;br /&gt;
Literary, Dramatic and Musical Notes ... t&ordm; a &ordm; * * * ... 103 Remittances * * * * &amp;amp; C&ordm;. $ &amp;amp; &copy; * * * t&ordm; e &ordm; ... ... ... 114&lt;br /&gt;
Paris Notes t&ordm; # 6. a ſ&ordm; a t&ordm; &amp;amp; t&ordm; t&ordm; t&ordm; &ordm;n * c t&ordm; t&ordm; &ordm; &ordm; g s&ordm; t&ordm; ... 106 General Notes ..., * * * * is t&ordm; &amp;amp; &ordm; e t&ordm; g&ordm; &amp;amp; * * * ſ&ordm; e &ordm; ... 113&lt;br /&gt;
The Sub-Committee on the Price of Novels g&ordm; t&ordm; e * * * ... 107 Committee Election ... * e g t&ordm; * * * * * * e is t&ordm; * * * ... 113&lt;br /&gt;
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The Berlin Convention t&ordm; a &ordm; * &amp;amp; &ordm;t &amp;amp; B &amp;amp; * * * t&ordm; &ordm; &ordm; ... ll? The Reviewer and His Little Ways... * = &amp;amp; t&ordm; e &ordm; t&ordm; t&ordm; &ordm; ... 119&lt;br /&gt;
How to Use the Society ... ... ... ... ... ... 113 The Literary Year Book ... ... ... ... ... ... 121&lt;br /&gt;
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Warnings to Dramatic Authors &amp;amp; &ordm; &ordm; * * * * * e t&ordm; &ordm; &amp;amp; ... 113 Fiction Through the Ages ... t&ordm; g &ordm; t&ordm; &ordm; &ordm; * &amp;amp; &amp;amp; t&ordm; # 4 ... 123&lt;br /&gt;
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## p. (#475) ################################################&lt;br /&gt;
&lt;br /&gt;
(The Organ of the Incorporated Society of Authors.&lt;br /&gt;
FOUNDED BY SHR&lt;br /&gt;
Monthly.)&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
WOL. XX.-No. 4.&lt;br /&gt;
JANUARY 1st, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 VICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;t&mdash;&ordm;-t&mdash;&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the bona fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
* *&mdash;a&lt;br /&gt;
w-v- v&ordm;y&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;&ndash;s&ordm;-0&ndash;&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
oase it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;e-&ordm;-o-&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
3350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
2s. 4d., and is&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#476) ################################################&lt;br /&gt;
&lt;br /&gt;
98 THE AUTHOR.&lt;br /&gt;
more than &pound;100 over the amount invested in&lt;br /&gt;
1907.&lt;br /&gt;
Consols 24%.................... . . . . . . . . . . 31,000 0 0&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock .............................. 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates ............... 200 0 0&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock .................................... 200 () ()&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 34% Stock. . . . . . . . ... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 25% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 4.38 2 4.&lt;br /&gt;
Total ............... #3,815 1 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
April 13, Gask, Miss Lilian &amp;amp;&lt;br /&gt;
May 17, Rorison, Miss Edith&lt;br /&gt;
June 10, Voynich, Mrs. E. L.&lt;br /&gt;
June 11, Grier, Mrs. Julia M.&lt;br /&gt;
June 11, Field, C. . &amp;amp; &ordm;&lt;br /&gt;
June 11, Barrington, Mrs. Russell&lt;br /&gt;
July 8, Burmester, Miss Frances&lt;br /&gt;
July 9, Grindrod, Dr. G. F.&lt;br /&gt;
July 10, Hargrave, Mrs. Basil&lt;br /&gt;
Aug. 5, Stott, M. D. . t&ordm;&lt;br /&gt;
Oct. 15, Greig, James&lt;br /&gt;
Oct. 15, Jacomb, A. E.&lt;br /&gt;
Oct. 16, Hepburn, Thomas&lt;br /&gt;
Oct. 16, Trevelyan, G. M. .&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall&rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. &copy; &ordm;&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
Nov. 5, Dixon, A. Francis .&lt;br /&gt;
Nov. 6, Helledoren, J.&lt;br /&gt;
Dec. 4, Tearle, Christian&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor .&lt;br /&gt;
Dec. 17, Somerville, Miss Edith CE.&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Jan. 1, Sprigge, Dr. S. S. .&lt;br /&gt;
April 5, Burchell, Sidney H.&lt;br /&gt;
April 15, Linton, C. Stuart&lt;br /&gt;
April 19, Loraine, Lady . e e&lt;br /&gt;
April 19, Durand, Sir Henry Mortimer&lt;br /&gt;
April 20, Stephens, Riccardo &copy;&lt;br /&gt;
May 24, Lefroy, Mrs. C. P.&lt;br /&gt;
June 2, &ldquo;Olivia Ramsey&rsquo;&rdquo;&lt;br /&gt;
;I&lt;br /&gt;
1&lt;br /&gt;
II&lt;br /&gt;
June 7, Horne, A. B.&lt;br /&gt;
June 10, Muir, Ward&lt;br /&gt;
June 10, Swan, Miss Myra&lt;br /&gt;
June 17, Bradley, A. C.&lt;br /&gt;
June 22, Trot&eacute;re, H. .&lt;br /&gt;
July 8, Harland, Mrs. o&lt;br /&gt;
July 8, Sinclair, Miss May .&lt;br /&gt;
Aug. 5, Cameron, Mrs. Charlotte &amp;amp;&lt;br /&gt;
Sept. 10, Hinkson, Katharine Tynan .&lt;br /&gt;
Oct. 16, Hodson, Miss A. L. e&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. &sect;&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril .&lt;br /&gt;
Nov. 4, George, W. L. e&lt;br /&gt;
Nov. 25, Tench, Miss Mary&lt;br /&gt;
Dec. 1, Shedlock, Miss&lt;br /&gt;
T}ec. 3, Esmohd, H. W.&lt;br /&gt;
Dec. 9, Hewlett, Maurice . e&lt;br /&gt;
Dec. 17, Reynolds, Mrs. Baillie .&lt;br /&gt;
Dec. 17, Martin, Miss Violet&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
April, 1909, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
5&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
2&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE committee of management met for the&lt;br /&gt;
last time, in 1909, on December 6, at 39,&lt;br /&gt;
Old Queen Street. The minutes of the&lt;br /&gt;
last meeting were read and signed. The com-&lt;br /&gt;
mittee then proceeded to elect 31 members and&lt;br /&gt;
associates, bringing the total elections for the year&lt;br /&gt;
up to 298. This is an increase of 50 over the&lt;br /&gt;
largest annual election to the Society since its&lt;br /&gt;
foundation. The committee desire to congratulate&lt;br /&gt;
the members on the increasing vitality of the&lt;br /&gt;
Society. Four resignations brought the total&lt;br /&gt;
number of resignations for the year up to 79.&lt;br /&gt;
The next matter that came before the committee&lt;br /&gt;
was the circular issued by some of the lending&lt;br /&gt;
libraries, and a letter received from the Publishers&amp;#039;&lt;br /&gt;
Association setting out the resolutions passed by&lt;br /&gt;
that body. A letter from Mr. Edmund Gosse which&lt;br /&gt;
appeared in the Times was also considered, with&lt;br /&gt;
several other letters from members. The chairman,&lt;br /&gt;
after some discussion, placed before the committee&lt;br /&gt;
a resolution he had drafted for the committee&amp;#039;s&lt;br /&gt;
consideration.&lt;br /&gt;
The resolution in its final shape was passed&lt;br /&gt;
unanimously, and is as follows:&ndash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#477) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
99&lt;br /&gt;
&ldquo;The committee of management of the Society of&lt;br /&gt;
Authors have considered the letter addressed by the&lt;br /&gt;
circulating libraries to the Publishers&amp;#039; Association and the&lt;br /&gt;
Press. They observe upon it that it is in the discretion of&lt;br /&gt;
the libraries to select what books they will offer to their&lt;br /&gt;
customers, and that in point of fact this has always been&lt;br /&gt;
done. The committee regard the demand for delay of&lt;br /&gt;
publication to enable the libraries to make their selection&lt;br /&gt;
as unwarrantable, and they cannot advise the publishers to&lt;br /&gt;
assent to any such condition.&lt;br /&gt;
&ldquo;They are ready at all times to delegate to a sub-&lt;br /&gt;
committee the duty of conferring with a similar body&lt;br /&gt;
deputed by the Publishers&rsquo; Association, and will be pre-&lt;br /&gt;
pared to receive through that body and consider any&lt;br /&gt;
further representation which the Libraries&rsquo; Association&lt;br /&gt;
may desire to make.&rdquo;&lt;br /&gt;
The secretary was instructed to forward it to the&lt;br /&gt;
daily Press with a covering letter. The committee&lt;br /&gt;
feel that the matter may become one of vital&lt;br /&gt;
importance, and that they may be bound, if further&lt;br /&gt;
action is taken, to consult all the members and&lt;br /&gt;
to ascertain their opinion by referendum. In the&lt;br /&gt;
meantime they have taken measures to appoint&lt;br /&gt;
certain members of the society, under the presidency&lt;br /&gt;
of Mr. Maurice Hewlett, chairman of the committee,&lt;br /&gt;
to meet, if necessary, a sub-committee of the&lt;br /&gt;
Publishers&rsquo; Association. After the meeting between&lt;br /&gt;
these two bodies it will be easier for the committee&lt;br /&gt;
to decide upon their future action.&lt;br /&gt;
The next question before the committee was also&lt;br /&gt;
one of importance. The chairman laid before the&lt;br /&gt;
committee a letter which he had written to the&lt;br /&gt;
Times in regard to the British Academy. The&lt;br /&gt;
matter, after some discussion, was adjourned until&lt;br /&gt;
the January meeting.&lt;br /&gt;
Mr. Sidney Lee sent in the resignation of his&lt;br /&gt;
Seat on the committee, stating that while he was&lt;br /&gt;
greatly interested in the work, he felt that he&lt;br /&gt;
Ought not to continue on the committee in view of&lt;br /&gt;
the fact that he could not give to it the time&lt;br /&gt;
and labour which it deserved. The committee,&lt;br /&gt;
empowered under the constitution to fill up occa-&lt;br /&gt;
Sional vacancies, asked Mr. W. W. Jacobs to&lt;br /&gt;
undertake the duties of committee man, and he&lt;br /&gt;
has kindly consented to do so.&lt;br /&gt;
It was decided, in accordance with the statement&lt;br /&gt;
printed in another column, that the names of&lt;br /&gt;
candidates for election to the committee should be&lt;br /&gt;
returnable on or before Tuesday, February 15.&lt;br /&gt;
Mr. Anthony Hope Hawkins, the committee&amp;#039;s&lt;br /&gt;
nominee to the Pension Fund Committee, resigned&lt;br /&gt;
in due course and was unanimously re-elected.&lt;br /&gt;
The notice in respect of the election of the society&amp;#039;s&lt;br /&gt;
nominee to the same committee is set out in another&lt;br /&gt;
column.&lt;br /&gt;
Mr. Arthur Rackham and Mr. Francis Storr&lt;br /&gt;
were appointed a sub-committee to settle the&lt;br /&gt;
Report, which will be in the hands of the members&lt;br /&gt;
in the early months of 1910. The committee&lt;br /&gt;
decided to increase the salary of the head clerk by&lt;br /&gt;
5s. per week.&lt;br /&gt;
The secretary laid before the committee a copy&lt;br /&gt;
of the letter, which had already appeared in the&lt;br /&gt;
|papers, from the Dramatic Sub-Committee of the&lt;br /&gt;
Society on the censorship report. The committee&lt;br /&gt;
agreed also to issue a circular, if the Dramatic Sub-&lt;br /&gt;
Committee should so desire, with a view to calling&lt;br /&gt;
a conference of the dramatists of the society.&lt;br /&gt;
The Sub-Committee on the Price of Novels,&lt;br /&gt;
having collected certain evidence on the question&lt;br /&gt;
under their investigation, presented to the com-&lt;br /&gt;
mittee of management an interim report based&lt;br /&gt;
upon that evidence. The committee expressed&lt;br /&gt;
their thanks to the sub-committee for the care&lt;br /&gt;
which they had shown in dealing with the matter&lt;br /&gt;
and Ordered the report to be printed in the columns&lt;br /&gt;
of The Author. The committee sanctioned the&lt;br /&gt;
purchase of a new typewriter for the office and an&lt;br /&gt;
extension of the telephone service to the secretary&amp;#039;s&lt;br /&gt;
office.&lt;br /&gt;
The first case which came before the com-&lt;br /&gt;
mittee related to a literary libel. The work of&lt;br /&gt;
a member of the society had been translated into&lt;br /&gt;
German without his authority, and with consider-&lt;br /&gt;
able alterations. Unfortunately, the writer had&lt;br /&gt;
sold his copyright to the British publisher, but the&lt;br /&gt;
committee were advised by the society&amp;#039;s lawyer in&lt;br /&gt;
Germany that this did not preclude him from&lt;br /&gt;
taking action against the delinquent. The com-&lt;br /&gt;
mittee decided to take up the case.&lt;br /&gt;
The secretary then reported the settlement of a&lt;br /&gt;
dramatic infringement which had been taken up&lt;br /&gt;
on the authority of the chairman. As it might&lt;br /&gt;
have been necessary to apply for an injunction,&lt;br /&gt;
the chairman had authorised proceedings without&lt;br /&gt;
reference to the committee. The secretary read&lt;br /&gt;
to the committee a letter of thanks from the mem-&lt;br /&gt;
ber on the satisfactory settlement of the dispute.&lt;br /&gt;
The next case was also a dramatic case, and the&lt;br /&gt;
member claimed accounts and money under an&lt;br /&gt;
agreement for the performance of his work. This&lt;br /&gt;
matter also the committee agreed to take up.&lt;br /&gt;
Following these cases was one of an infringement&lt;br /&gt;
of an author&amp;#039;s copyright by a paper in San&lt;br /&gt;
Francisco which had printed the work without&lt;br /&gt;
authority. The committee decided to commence&lt;br /&gt;
action for damages, and instructed the secretary to&lt;br /&gt;
place the matter in the hands of a lawyer in that&lt;br /&gt;
city.&lt;br /&gt;
f&ordm; last question was one which the committee&lt;br /&gt;
were asked to take to the Court of Appeal. The&lt;br /&gt;
details of the case had been placed before the&lt;br /&gt;
committee on a former occasion, when the com-&lt;br /&gt;
mittee, after close investigation of the papers,&lt;br /&gt;
decided not to take the matter up. The case was&lt;br /&gt;
subsequently heard and a verdict given against the&lt;br /&gt;
plaintiff. The committee adjourned the matter to&lt;br /&gt;
the January meeting, when further information&lt;br /&gt;
and further particulars are expected.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#478) ################################################&lt;br /&gt;
&lt;br /&gt;
100&lt;br /&gt;
TRIES A UTFIOIR,&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
The Dramatic Sub-Committee of the Society of&lt;br /&gt;
Authors met on Tuesday, December 7, at the&lt;br /&gt;
offices of the society.&lt;br /&gt;
The Repertory Agreement was laid before the&lt;br /&gt;
committee once more, and was gone through&lt;br /&gt;
clause by clause. Some slight alterations and&lt;br /&gt;
additions were made and the secretary was&lt;br /&gt;
instructed to incorporate these in the Agree-&lt;br /&gt;
ment and to submit the completed document&lt;br /&gt;
to the sub-committee at their next meeting in&lt;br /&gt;
January. -&lt;br /&gt;
A suggestion relating to the summoning of&lt;br /&gt;
a Conference of Dramatic Authors was, after&lt;br /&gt;
considerable discussion, adjourned till the next&lt;br /&gt;
meeting.&lt;br /&gt;
SUB-COMMITTEE ON THE PRICE OF NOVELS.&lt;br /&gt;
A MEETING of this sub-committee was held on&lt;br /&gt;
Thursday, December 2.&lt;br /&gt;
The secretary reported the receipt of a large&lt;br /&gt;
mass of evidence from the booksellers, and of&lt;br /&gt;
further evidence from novelists in answer to the&lt;br /&gt;
circular letters.&lt;br /&gt;
The sub-committee then considered the interim&lt;br /&gt;
report which had been drafted by the chairman.&lt;br /&gt;
After a few verbal alterations had been made, the&lt;br /&gt;
report was settled, and appears, in its final form, in&lt;br /&gt;
another page of this month&amp;#039;s Author. As stated in&lt;br /&gt;
the report, it has not yet been possible to issue any&lt;br /&gt;
exhaustive survey of the subject. This must, of&lt;br /&gt;
necessity, be deferred till the receipt of the further&lt;br /&gt;
evidence which is expected in February. The sub-&lt;br /&gt;
committee will, at that date, consider all the&lt;br /&gt;
evidence from authors, which will by then have&lt;br /&gt;
been arranged and tabulated, together with the&lt;br /&gt;
evidence from booksellers (which needs most care-&lt;br /&gt;
ful classification), and also the further evidence of&lt;br /&gt;
the publishers.&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month sixteen cases have been&lt;br /&gt;
placed in the secretary&amp;#039;s hands for settlement.&lt;br /&gt;
The majority of these, as is usual, refer to&lt;br /&gt;
claims for money. There are six under this&lt;br /&gt;
heading. Two have been placed in the hands of&lt;br /&gt;
the Society&amp;#039;s solicitors, as it was impossible to get&lt;br /&gt;
any satisfactory reply. In two the money has been&lt;br /&gt;
paid and forwarded to the members. The remain-&lt;br /&gt;
ing two are, as yet, unsatisfied, but they have only&lt;br /&gt;
recently come into the office. Of three claims for&lt;br /&gt;
accounts, one has been carried through, while the&lt;br /&gt;
other two are still in the course of negotiation.&lt;br /&gt;
The publishers have promised delivery. Of four&lt;br /&gt;
cases for the recovery of MSS., one case has been&lt;br /&gt;
successful ; in the other three no answers have, as&lt;br /&gt;
yet, been received. One case of infringement of&lt;br /&gt;
copyright is still in the course of negotiation. It&lt;br /&gt;
will, most probably, terminate satisfactorily, but&lt;br /&gt;
the infringer adopts an injured attitude. It&lt;br /&gt;
happens not infrequently, when the infringement&lt;br /&gt;
has been committed by a colonial or a provincial&lt;br /&gt;
paper, that the editor feels hurt that the author is&lt;br /&gt;
not delighted at the gratis advertisement which he&lt;br /&gt;
receives. It may be a satisfactory advertisement&lt;br /&gt;
or it may not, but it must lie with the author to&lt;br /&gt;
decide whether or not he is willing to have such&lt;br /&gt;
a gratis advertisement made by the use of&lt;br /&gt;
his property. Editors must not take this for&lt;br /&gt;
granted.&lt;br /&gt;
There have been two disputes as to the proper&lt;br /&gt;
reading of agreements. These cases, like questions&lt;br /&gt;
of infringement of copyright, take some time to&lt;br /&gt;
settle.&lt;br /&gt;
Eight of the cases from former months still&lt;br /&gt;
remain open. Five of these refer to matters abroad&lt;br /&gt;
or in the colonies, and are likely to be open for&lt;br /&gt;
some time to come owing to the delay in obtaining&lt;br /&gt;
answers to letters. Three refer to the return of&lt;br /&gt;
MSS. We have mentioned, frequently, in The&lt;br /&gt;
Author, the reason why there is often much&lt;br /&gt;
difficulty in obtaining satisfaction in these&lt;br /&gt;
C8,S&eacute;S.&lt;br /&gt;
December Elections.&lt;br /&gt;
Allinson, Alfred 13, Claremont Ter-&lt;br /&gt;
race, Exmouth.&lt;br /&gt;
4, Melbury Road,&lt;br /&gt;
Kensington, W.&lt;br /&gt;
Broad Meadow, King&amp;#039;s&lt;br /&gt;
Bagehot, Mrs. Walter&lt;br /&gt;
Bantock, Granville .&lt;br /&gt;
Norton.&lt;br /&gt;
Beal, N. W. Roseneath, Queen&lt;br /&gt;
Street, Hammer-&lt;br /&gt;
Smith, W.&lt;br /&gt;
Burn-Murdoch, W. G. Northfield, Berwick-&lt;br /&gt;
(&ldquo;Levensis&rdquo;) shire ; Arthur&lt;br /&gt;
Lodge, Dalkeith&lt;br /&gt;
Road, Edinburgh.&lt;br /&gt;
7, Havelock Road,&lt;br /&gt;
Croydon.&lt;br /&gt;
Alton, Hants.&lt;br /&gt;
170, Kennington Park&lt;br /&gt;
Road, S.E.&lt;br /&gt;
411, Argyle Road,&lt;br /&gt;
Brooklyn, New&lt;br /&gt;
York, U.S.A.&lt;br /&gt;
Eagle Heart Incorporated&lt;br /&gt;
O.&lt;br /&gt;
Earland, Miss Ada&lt;br /&gt;
Everett, Miss Ethel F.&lt;br /&gt;
Grisewood, R. Norman&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#479) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITISIOR.&lt;br /&gt;
101&lt;br /&gt;
Hales, A. G. . e Authors&rsquo; Club, 2,&lt;br /&gt;
Whitehall Court,&lt;br /&gt;
S.W.&lt;br /&gt;
Harrison, Frederic, LL.D., Elm Hill, Hawk-&lt;br /&gt;
Litt.D. hurst.&lt;br /&gt;
Brookfield House,&lt;br /&gt;
Shanbrook, Beds.&lt;br /&gt;
Hicks, Miss Frances.&lt;br /&gt;
Ingpen, Roger. e &copy;&lt;br /&gt;
Jessel, Ernest Edward . 8,0ueen&amp;#039;s Gardens, W.&lt;br /&gt;
Law, Ernest . . . The Pavilion, Hamp-&lt;br /&gt;
ton Court Palace.&lt;br /&gt;
90, Broadhurst Gar-&lt;br /&gt;
dens, Hampstead,&lt;br /&gt;
N.W.&lt;br /&gt;
Drishame, Skibbereen,&lt;br /&gt;
Co. Cork.&lt;br /&gt;
Wykeham Cave, High-&lt;br /&gt;
trees, Loughton,&lt;br /&gt;
Essex.&lt;br /&gt;
17, Bryanston Street,&lt;br /&gt;
Portman Square, W.&lt;br /&gt;
9, Lyon Road, Harrow.&lt;br /&gt;
Lazarus, Miss Olga .&lt;br /&gt;
Martin, Miss Violet (Mar-&lt;br /&gt;
tin Ross)&lt;br /&gt;
Newte, Horace&lt;br /&gt;
Palmer, Miss&lt;br /&gt;
Richardson, Harry Handel&lt;br /&gt;
Sherren, Wilkinson . Authors&rsquo; Club, 2,&lt;br /&gt;
Whitehall Court,&lt;br /&gt;
S.W.&lt;br /&gt;
Somerville, Miss Edith CE. Drishane House, Skib-&lt;br /&gt;
bereen, Co. Cork,&lt;br /&gt;
Ireland.&lt;br /&gt;
54, Lower Mount&lt;br /&gt;
Street, Dublin.&lt;br /&gt;
27, Cadogan Gardens,&lt;br /&gt;
S.W.&lt;br /&gt;
21, Carlisle Mansions,&lt;br /&gt;
Victoria Street,&lt;br /&gt;
S.W.&lt;br /&gt;
St. Katharine&amp;#039;s, Hook&lt;br /&gt;
Heath, Surrey.&lt;br /&gt;
Stephens, James&lt;br /&gt;
Strachey, Lady&lt;br /&gt;
Sylvan, F.&lt;br /&gt;
Tyrrell, Eleanor .&lt;br /&gt;
Walkey, S. . 30, Kingberry Park,&lt;br /&gt;
- Newton Abbot,&lt;br /&gt;
Devon.&lt;br /&gt;
Wright, W. P. e The Grey House, Lym-&lt;br /&gt;
inge, Folkestone.&lt;br /&gt;
Wyndham, Horace . . Authors&rsquo; Club, S.W.&lt;br /&gt;
Young, Filson . e . 53, Upper Brook&lt;br /&gt;
Street, Park Lane,&lt;br /&gt;
W.&lt;br /&gt;
&mdash;e&mdash;&ordm;-&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and as exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the office&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it sabstantially&lt;br /&gt;
aCCurate. -&lt;br /&gt;
ARCH.EOLOGY.&lt;br /&gt;
THE ARTS AND CRAFTs of ANCIENT Egypt.&lt;br /&gt;
FLINDERS PETRIE, F.R.S. 73 &times; 53.&lt;br /&gt;
58. m.&lt;br /&gt;
STONEHENGE AND OTHER BRITISH STONE MONUMENTs&lt;br /&gt;
By W. M.&lt;br /&gt;
159 pp. Foulis.&lt;br /&gt;
ASTRONOMICALLY CONSIDERED. By SIR NorMAN&lt;br /&gt;
LOCKYER, K.C.B., F.R.S. Second edition. 9} x 6.&lt;br /&gt;
499 pp. Macmillan. 14s. n.&lt;br /&gt;
ART.&lt;br /&gt;
THE SPORT OF CIVIC LIFE, or ART AND THE MUNICI-&lt;br /&gt;
PALITY CARICATUREs of PROMINENT CITIZENs.&lt;br /&gt;
Articles by W. ROTHENSTEIN, F. RUTTER, and others.&lt;br /&gt;
94 &times; 74. 24 pp. Liverpool : Handley, 2d.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
US FOUR. By S. MIACNAUGHTAN. 7; x 5.&lt;br /&gt;
Murray. 6s.&lt;br /&gt;
THE DAUPHINES CE FRANCE.&lt;br /&gt;
284 pp.&lt;br /&gt;
By FRANK HAMEL.&lt;br /&gt;
9 &times; 53. 413 pp. Stanley Paul. 16s. n.&lt;br /&gt;
MICHAEL SERVETUs. By W. OSLER, M.D., F.R.S. 9 &times; 6.&lt;br /&gt;
35 pp. Frowde. 1s. r.&lt;br /&gt;
DR. JOHNSON AND MIRs. THRALE. Including Mrs. Thrale&amp;#039;s&lt;br /&gt;
unpublished journal of the Welsh Tour made in 1774, and&lt;br /&gt;
much hitherto unpublished Correspondence of the&lt;br /&gt;
Streatham Coterie, by A. M. BROADLEY. With an&lt;br /&gt;
Introductory Essay (74 pp.), by T. SECCOMBE. 9 &times; 53.&lt;br /&gt;
338 pp. Lane. 16s. n.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
THE DOLL&amp;#039;s DIARY. By Rose HAIG THOMAs.&lt;br /&gt;
trated by JOHN HASSALL. 10 &times; 7%. 100 pp.&lt;br /&gt;
Richards. 5s. m.&lt;br /&gt;
DAME THIN-PIN AND OTHER STORIES. By HELEN MAR-&lt;br /&gt;
GARET DIXON. Illustrated by RATE MARION RATHBONE.&lt;br /&gt;
8+ x 6%. 214 pp. Birmingham : Cormish Bros., Ltd.&lt;br /&gt;
THE CHILDREN&rsquo;s Hou R. Nine volumes, forming a com-&lt;br /&gt;
plete Children&amp;#039;s Library. With an Introduction. By&lt;br /&gt;
HALL CAINE. 83 &times; 5%. Cloth, &pound;2 2s. 6d. m. ; leather,&lt;br /&gt;
&pound;3. 3s. 6d. m.&lt;br /&gt;
Illus-&lt;br /&gt;
Grant&lt;br /&gt;
HARDING&amp;#039;s LUCK. By E. NESBIT. 8 &times; 5}. 281 pp.&lt;br /&gt;
Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
DICTIONARY OF NATIONAL BIOGRAPHY. Vol. 22.&lt;br /&gt;
Supplement. Edited by SIDNEY LEE. 9% x 63.&lt;br /&gt;
1 5S. n.&lt;br /&gt;
1,400 pp, Smith, Elder.&lt;br /&gt;
By E. T. Coor.&lt;br /&gt;
ROSE GROWING MADE EASY.&lt;br /&gt;
204 pp. Newnes. 18, m.&lt;br /&gt;
CLASSICAL.&lt;br /&gt;
EURIPIDIS FABUL.E RECOGNOVIT BREVIQUE ADNOTA-&lt;br /&gt;
TIONE CRITICA INSTRUXIT GILBERTUS MURRAY.&lt;br /&gt;
TOMUs III. 7} x 43. (Oxford Classical Texts.)&lt;br /&gt;
Oxford : Clarendom Press. London : Frowde. 3s. 6d. n.&lt;br /&gt;
EDUCATION.&lt;br /&gt;
THE MASTERY OF DESTINY. By JAMES ALLEN. 43 &times; 6.&lt;br /&gt;
120 pp. &ldquo;The Light of Reason,&rdquo; Ilfracombe.&lt;br /&gt;
BRITISH PHYSICAL EDUCATION FOR GIRLS. By A.&lt;br /&gt;
ALEXANDER, F.R.G.S., and MRS. ALEXANDER. 83 &times;&lt;br /&gt;
5%. 230 pp. McDougall&amp;#039;s Educational Company.&lt;br /&gt;
10s. 6d. n.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#480) ################################################&lt;br /&gt;
&lt;br /&gt;
102&lt;br /&gt;
THE A DITISIOR,&lt;br /&gt;
AN AFTERNOON TEA PHILOSOPHY. By W. R.TITTERTON.&lt;br /&gt;
6% x 4%. 95 pp. F. Palmer. 1s. 6d. m.&lt;br /&gt;
THE G.B.S. CALENDAR : A QUOTATION FROM THE Works&lt;br /&gt;
OF GEORGE BERNARD SHAW For EVERY DAY IN THE&lt;br /&gt;
YEAR. Selected by MARION NIxoN. Second edition.&lt;br /&gt;
6# X 4%. 91 pp. Palmer. 18. n.&lt;br /&gt;
MISC ELLANEOUS.&lt;br /&gt;
FARTHEST FROM THE TRUTH; A Series of Dashes. By&lt;br /&gt;
the authors of &ldquo;Wisdom While you Wait,&rdquo; and GEORGE&lt;br /&gt;
MORROW. 73 &times; 4%. 91 pp. Sir Isaac Pitman. Is... n.&lt;br /&gt;
BRITANNIA&amp;#039;s CALENDAR OF HEROES. Compiled by&lt;br /&gt;
KATE, STANWAY. With an Introduction by the Rev.&lt;br /&gt;
the Hon. E. LYTTELTON, B.D. 73 &times; 5. 412 p}}.&lt;br /&gt;
Allen. 5s. n.&lt;br /&gt;
THE ONE LIFE. A FREE AND OCCASIONAL PAPER. By&lt;br /&gt;
JOHN TREVOR. Horsted Keynes, Sussex.&lt;br /&gt;
THE KILLARTAN HISTORY BOOK. By LADY GREGORY.&lt;br /&gt;
Illustrated by R. GREGORY, 7} x 5.&lt;br /&gt;
ls. 6d. p.&lt;br /&gt;
THE JOURNAL OF EDUCATION. Vol. for 1909. 12 &times; 9.&lt;br /&gt;
864 pp. Rice, 7s. 6d.&lt;br /&gt;
FICTION.&lt;br /&gt;
WHAT LAY BENEATH. By &ldquo;COO-EE.&rdquo; (WILLIAM SYLVES-&lt;br /&gt;
TER WALKER). 301 pp. Ouseley. 6s.&lt;br /&gt;
THE EDUCATION OF UNCLE PAUL. By ALGERNON BLACK-&lt;br /&gt;
WOOD. 8 &times; 5}. 348 pp. Macmillan. 6s.&lt;br /&gt;
ORDINARY PEOPLE. By UNA L. SILBERRAD.&lt;br /&gt;
420 pp. Constable. 6s.&lt;br /&gt;
THE KING&amp;#039;s MIGNON. By J. BLOUNDELLE BURTON.&lt;br /&gt;
8 &times; 5. 316 pp. Everett. 6s.&lt;br /&gt;
PRINCE MADOG, DISCOVERER OF AMERICA : A Legendary&lt;br /&gt;
7; x 5.&lt;br /&gt;
Story. By JOAN DANE. Illustrated by A. S. BOYD.&lt;br /&gt;
8% &times; 5. 222 pp. Stock. 68.&lt;br /&gt;
THE DISC. By J. B. HARRIS-BURLAND. 73 &times; 5.&lt;br /&gt;
Greening, 6s.&lt;br /&gt;
DON Q&amp;#039;s LOVE STORY. By K. and HESKETH PRICHARD.&lt;br /&gt;
73 x 5. 312 pp. Greening. 6s.&lt;br /&gt;
THE KNIGHT OF THE GOLDEN SWORD.&lt;br /&gt;
BARRINGTON. Chatto &amp;amp; Windus. 6s.&lt;br /&gt;
318 pp.&lt;br /&gt;
By MICHAEL&lt;br /&gt;
THE ANNE QUEEN&amp;#039;S CHRONICLE. By REGINALD FARRER.&lt;br /&gt;
7} x 43. 363 pp. Alston Rivers. 63.&lt;br /&gt;
THEODORA&amp;#039;s HUSBAND. By Lou ISE MACK.&lt;br /&gt;
329 pp. Alston Rivers. 6s.&lt;br /&gt;
HARUM SCARUM&amp;#039;S FORTUNE.&lt;br /&gt;
5. 312 pp. Jarrold. 3s. 6d.&lt;br /&gt;
MIGNON&amp;#039;S PERIL. By JEAN MIDDLEMASS.&lt;br /&gt;
304 pp. Digby, Long, 68.&lt;br /&gt;
&ordm;&lt;br /&gt;
7% &times; 5.&lt;br /&gt;
By ESME STUART. 73 &times;&lt;br /&gt;
7% &times; 5.&lt;br /&gt;
GARDENING.&lt;br /&gt;
MoSTHLY GLEANINGS IN A SCOTTISH GARDEN. By&lt;br /&gt;
L. H. Soutar. 5. 192 pp. Unwin. 6s.&lt;br /&gt;
7% &times; 5.&lt;br /&gt;
EHISTORY.&lt;br /&gt;
A HISTORY OF SARAWAK UNDER ITS Two WHITE&lt;br /&gt;
RAJAHS, 1839&ndash;1908. By S. BARING-GOULD and C. A.&lt;br /&gt;
BAMPFYLDE, F.R.G.S., late President of Sarawak.&lt;br /&gt;
9 &times; 5%, 464 pp. Sotheran. 153. m.&lt;br /&gt;
THE MAKING OF IRELAND AND ITS UNDOING, 1200&ndash;&lt;br /&gt;
1600. By ALICE STOPFORD GREEN. 9 &times; 53. 573 pp.&lt;br /&gt;
Macmillan. 10s, m.&lt;br /&gt;
JUVENILE.&lt;br /&gt;
THE LIMBERSNIGS : THE ADVENTURES OF PRINCE&lt;br /&gt;
KEBOLE THE TALL. By FLORA and LANCELOT SPEED.&lt;br /&gt;
London : Lawrence &amp;amp; Jellicoe, Ltd. 3s. 6d.&lt;br /&gt;
CINDERELLA. By E. NESBIT. 64 &times; 4}. 38 pp. Sidg-&lt;br /&gt;
wick &amp;amp; Jackson. 6d. n.&lt;br /&gt;
A GIRL OF THE FOURTH The Story of an Unpopular&lt;br /&gt;
Schoolgirl. By A. M. IRVINE. 73 &times; 53. 332 pp.&lt;br /&gt;
Partridge. 2s. 6d.&lt;br /&gt;
BRAVE SONS OF THE EMPIRE. By H. C. MooRE.&lt;br /&gt;
8 &times; 5%. 251 pp. R. T. S. 28. -&lt;br /&gt;
A LITTLE FLEET. By JACK B. YEATs. 7 &times; 4}. Elkin&lt;br /&gt;
Mathews. I s. n.&lt;br /&gt;
FOR THE SAKE OF KITTY. By CHRISTINA GowANS&lt;br /&gt;
WHYT.E. 7# x 5}. 348 pp, Collins. 3s. 6d.&lt;br /&gt;
I,ITERARY.&lt;br /&gt;
QUESTIONINGS ON CRITICISM AND BEAUTY. By the&lt;br /&gt;
Right Honourable A. J. BALFOUR. Delivered in the&lt;br /&gt;
Sheldonian Theatre, November 24th, 1909. (The&lt;br /&gt;
Romances Lecture, 1909.) Oxford : Clarendon Press.&lt;br /&gt;
London : Frowde. 2s. n.&lt;br /&gt;
BETWEEN COLLEGE TERMS.&lt;br /&gt;
NARD. 8 &times; 53. 271 pp.&lt;br /&gt;
By CONSTANCE L. MAY-&lt;br /&gt;
Nisbet. 5s. In.&lt;br /&gt;
52 pp. Maunsell.&lt;br /&gt;
MUSIC.&lt;br /&gt;
THE GATHERING SONG OF BLACK DONALD. From the&lt;br /&gt;
Poem by Sir Walter Scott. Composed by JAMES&lt;br /&gt;
M. GALLATLY. Keith Prowse &amp;amp; Co., Ltd. 23. m.&lt;br /&gt;
THE RHYTHM OF MODERN MUSIC. By C. F. ABDy&lt;br /&gt;
WILLIAMS. 8 &times; 5%. 321 pp. Macmillan. 5s.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
THE BOOK OF FLOWERS. By KATHERINE TYNAN AND&lt;br /&gt;
FRANCES MAITLAND. 8 &times; 5}, 319 pp. Smith, Elder&lt;br /&gt;
&amp;amp; Co. 68. n. .&lt;br /&gt;
PAMPHILETS.&lt;br /&gt;
THE UNIVERSITY AND THE STUDY OF WAR. An Inaugural&lt;br /&gt;
Lecture delivered before the University of Oxford,&lt;br /&gt;
November 27, 1909. By SPENCER WILKINSON, Chichele&lt;br /&gt;
Professor of Military History. Oxford : Clarendon Press.&lt;br /&gt;
London : Frowde. 1s. m.&lt;br /&gt;
WoRKING Wom EN AND THE POOR LAw. By B. L.&lt;br /&gt;
HUTCEIINSON. Women&amp;#039;s Industrial Council. Id.&lt;br /&gt;
POETRY.&lt;br /&gt;
A SONG OF THE ENGLISH. By RUDYARD RIPLING.&lt;br /&gt;
Illustrated by W. HEATH ROBINSON, 113 x 9. Hodder&lt;br /&gt;
&amp;amp; Stoughton. 158, n.&lt;br /&gt;
HARVESTING. By H. M. WAITHMAN, 7 x 4%. 134 pp.&lt;br /&gt;
Kegan Paul. 3s. 6d. n.&lt;br /&gt;
TIME&amp;#039;s LAUGHINGSTOCKS, AND OTHER VERSEs. By&lt;br /&gt;
THOMAS HARDY. 73 &times; 5. 206 pp. Macmillan. 4s. 6d. n.&lt;br /&gt;
ENGLAND, AND OTHER POEMs. By LAURENCE BINYon.&lt;br /&gt;
73 &times; 5. 88 pp. Flkin Mathews. 3s. 6d. m.&lt;br /&gt;
THE BORDER BREED. GEORGICS AND PASTORALS AND&lt;br /&gt;
OTHER POEMS. By SIR GEORGE DOUGLAS, BART.&lt;br /&gt;
8 &times; 53. 448 pp. The St. Catherine Press. 3s. 6d. in.&lt;br /&gt;
POLITICAL.&lt;br /&gt;
THE HINDRANCES To Good CITIZENSHIP. By JAMES&lt;br /&gt;
(Yale Lectures on the&lt;br /&gt;
New Haven : Yale&lt;br /&gt;
68. n.&lt;br /&gt;
BRYCE. 73 &times; 5}. 138 pp.&lt;br /&gt;
Responsibilities of Citizenship.)&lt;br /&gt;
University Press. London : Frowde.&lt;br /&gt;
PSYCHICA.L.&lt;br /&gt;
HERE AND HEREAFTER (APRES LA MORT). BY L&Eacute;ON&lt;br /&gt;
DENIS. Translated by GEORGE G. FLEUROT. W. Rider&lt;br /&gt;
&amp;amp; Son, 164, Aldersgate Street, E.C.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE POCKET CARLYLE. Edited by ROSE GARDNER.&lt;br /&gt;
7 x 44, 264 pp. Routledge. 38. 6d. n.&lt;br /&gt;
BosweLL&amp;#039;s JoHNSON. Edited by ROGER INGPEN. Bicen-&lt;br /&gt;
tenary Extra-Illustrated Edition. Parts 10, 11, &amp;amp; 12.&lt;br /&gt;
10 &times; 7, 657&ndash;832. Sir Isaac Pitman. 6d. In each.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#481) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITPSIOR.&lt;br /&gt;
103&lt;br /&gt;
SCIENCE.&lt;br /&gt;
CHARLES DARWIN AND THE ORIGIN OF SPECIES. By&lt;br /&gt;
E. B. POULTON, D.Sc. 94 &times; 6. 362 pp. Longmans.&lt;br /&gt;
7s. 6d. n.&lt;br /&gt;
ALL THE WORLD&amp;#039;s AIRSHIPs, AEROPLANES, AND&lt;br /&gt;
DIRIGIBLES. Founded and edited by FRED T. JANE,&lt;br /&gt;
with a special chapter on &ldquo;Aerial Engineering.&rdquo; By&lt;br /&gt;
CHARLES DE GRAVE SELLs, M. Inst. C.E. 73 &times; 12%.&lt;br /&gt;
374 pp. Sampson Low. 21s. n.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
THE GREAT IDEA : Notes by an Eye-witness on some of&lt;br /&gt;
the Social Work of the Salvation Army. By ARNOLD&lt;br /&gt;
WHITE. 73 &times; 53. 161 pp. Salvation Army, 101,&lt;br /&gt;
Queen Victoria Street, E.C.&lt;br /&gt;
SPORT.&lt;br /&gt;
LIGHT COME, LIGHT Go. By RALPEI NEVILL. 9 &times; 53.&lt;br /&gt;
448 pp. Macmillan. 15s. n.&lt;br /&gt;
THIEOLOGY.&lt;br /&gt;
PHILOSOPHY AND RELIGION. Six Lectures delivered at&lt;br /&gt;
Cambridge. By HASTINGS RASHDALL. 7% x 5. 189 pp.&lt;br /&gt;
Duckworth. 2s. 6d. n.&lt;br /&gt;
THE NEW TESTAMENT IN MODERN SPEECH. By the late&lt;br /&gt;
R. F. WEYMOUTH. Edited and Partly Revised by&lt;br /&gt;
E. HAMPDEN-COOK. Third Edition (Re-set and Revised).&lt;br /&gt;
7; x 4%. 734 pp. J. Clarke. 2s. 6d. m.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE HEART OF ENGLAND. By E. THOMAS. 7 &times; 5.&lt;br /&gt;
244 pp. Dent. 3s. 6d. In.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ANTHOLOGIES.&lt;br /&gt;
SOME FRIENDS OF MINE : A R ALLY OF MEN, By E. V.&lt;br /&gt;
LUCAs. 362 pp. New York : Macmillan &amp;amp; Co. $1.25 n.&lt;br /&gt;
ART.&lt;br /&gt;
CoNSTABLE. Illustrated with 8 reproductions in colour.&lt;br /&gt;
By C. LEWIS HIND. 80 pp. New York : Frederick A.&lt;br /&gt;
Stokes Co. Boards, 650. m. ; leather, $1.50 m.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
MR. POPE : HIS LIFE AND TIMES.&lt;br /&gt;
illustrations. By GEORGE PASTON.&lt;br /&gt;
New York: Putnam. $6.50 m.&lt;br /&gt;
BOOKS FOR THE YOUNG,&lt;br /&gt;
THE ARABIAN NIGHTS: Their best-known Tales. By&lt;br /&gt;
KATE DOUGLAS WIGGIN AND NORA. A. SMITH. Illus-&lt;br /&gt;
trated in colour. By MAXFIELD PATRISH. 339 pp. New&lt;br /&gt;
York : Scribner. $2.50.&lt;br /&gt;
DRAM.A.&lt;br /&gt;
THE MASQUERADERs : A Play in Four Acts. By HENRY&lt;br /&gt;
ARTHUR JONES. 135 pp. New York : Samuel French.&lt;br /&gt;
50c.&lt;br /&gt;
FICTION.&lt;br /&gt;
DAPHNE IN FITzRoy STREET. By E. NESBIT.&lt;br /&gt;
New York : Doubleday, Page &amp;amp; Co. $1.50.&lt;br /&gt;
With twenty-six&lt;br /&gt;
364 + 382 pp.&lt;br /&gt;
417 pp.&lt;br /&gt;
THE LAND OF THE BLUE FLOWER. B y FRANCES HODG-&lt;br /&gt;
son BURNETT. 67 pp. New York : Moffat, Yard &amp;amp; Co.&lt;br /&gt;
( )6. Il.&lt;br /&gt;
ABAFT THE FUNNEL. By RUDYARD KIPLING.&lt;br /&gt;
New York : B. W. Dodge &amp;amp; Co. $1.50.&lt;br /&gt;
ACTIONS AND REACTIONs. By RUDYARD KIPLING.&lt;br /&gt;
324 pp. New York: Doubleday, Page &amp;amp; Co. $1.50.&lt;br /&gt;
ANND WERQNICA. By H. G. WELLs. 377 pp. New York :&lt;br /&gt;
360 pp.&lt;br /&gt;
Harper Bros. $1.50.&lt;br /&gt;
EMILY Fox-SETON : Being &ldquo;THE MAKING or A&lt;br /&gt;
MARCHIONESS&rsquo;&rsquo;&rsquo; and &ldquo;THE METHODs or LADy&lt;br /&gt;
WALDERHURST.&rdquo; By FRANCEs Hodgson BURNETT.&lt;br /&gt;
New York: Frederick A. Stokes. $1.50.&lt;br /&gt;
THE TRAVELLING COMPANIONs: A Story in Scenes. By&lt;br /&gt;
ANSTEY GUTHRIE and BERNARD PARTRIDGE. 194 199-&lt;br /&gt;
New York : Dutton. $I. n.&lt;br /&gt;
TRIAL BY MARRIAGE. By WILFRED SCARBOROUGH&lt;br /&gt;
ſ&ordm;os. 320 pp. New York : John Lane &amp;amp; Co.&lt;br /&gt;
$1.50. -&lt;br /&gt;
TESTIMONY. By ALICE AND CLAUDE AsKEw. 320 pp.&lt;br /&gt;
New York : John Lane Co. $1.50.&lt;br /&gt;
THE NECROMANCERs. By R. H. BENSON.&lt;br /&gt;
37.4 pp. St.&lt;br /&gt;
Louis : B. Herder. $1.50. p}&lt;br /&gt;
CANDLES IN THE WIND. By MAUD DIVER, 392 DD.&lt;br /&gt;
New York : John Lane Co. $1.50.&lt;br /&gt;
SAILOR&amp;#039;S KNOTs. By W. W. JACOBs. 283 pp. New&lt;br /&gt;
York : Scribner. $1.50.&lt;br /&gt;
SPARROWS : The Story of an Unprotected Girl. By&lt;br /&gt;
HORACE W. C. NEWTE. 533 pp. New York : Mitcheil&lt;br /&gt;
Kennerley. $1.50.&lt;br /&gt;
THE BLINDNESS OF DR. GREY.&lt;br /&gt;
CANON SHEEHAN, D.D., 488 pp.&lt;br /&gt;
mans, Green, &amp;amp; Co. $1.50.&lt;br /&gt;
THE FLORENTINE FRAME. By ELIZABETH Robins.&lt;br /&gt;
334 pp. New York: Moffat Yard &amp;amp; Co. $1.50.&lt;br /&gt;
GARDENING.&lt;br /&gt;
IN A YORKSHIRE GARDEN. By REGINALD FARRER.&lt;br /&gt;
: 316 pp. New York : Longmans, Green &amp;amp; Co. $3.50.&lt;br /&gt;
JUVENILE.&lt;br /&gt;
TALES OF WONDER. A fourth fairy book. Edited by&lt;br /&gt;
KATE DOUGLAS WIGGIN and NORA ARCHIBALD SMITH.&lt;br /&gt;
By THE REV. P. A.&lt;br /&gt;
New York : Long-&lt;br /&gt;
440 pp. New York : Doubleday, Page &amp;amp; Co. $1.50.&lt;br /&gt;
POLITICAL.&lt;br /&gt;
TURKEY IN TRANSITION. By G. F. ABBOTT. 370 pp.&lt;br /&gt;
New York : Longmans, Green &amp;amp; Co. $4.25 n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
BOSNIA AND HERZEGOVINA. By MAUDE HOLBACH.&lt;br /&gt;
Forty-one illustrations from photographs by O. HoDBACH.&lt;br /&gt;
249 pp. New York : John Lane Co. $1.50 m.&lt;br /&gt;
THE HEART OF THE ANTARCTIC : Being the Story of the&lt;br /&gt;
British Antarctic Exhibition, 1907&ndash;1909. With an intro-&lt;br /&gt;
duction by H. R. M.ILL. An account of the first journey&lt;br /&gt;
to the South Magnetic Pole. In two vols. 366 +&lt;br /&gt;
451 pp. Philadelphia : Lippincott. $10 m.&lt;br /&gt;
&mdash;e&mdash;&ldquo;Q-6&ndash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
OBERT AITKEN&amp;#039;S new novel, &ldquo;The&lt;br /&gt;
Ilantern of Luck,&rdquo; which has recently been&lt;br /&gt;
published in the United States and also in&lt;br /&gt;
Canada, will be issued on this side early in 1910 by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#482) ################################################&lt;br /&gt;
&lt;br /&gt;
104&lt;br /&gt;
TISIES A UſTSIOR,&lt;br /&gt;
Mr. John Murray. Messrs. Greening &amp;amp; Co. have&lt;br /&gt;
on their list a cheap edition of &ldquo;The Golden&lt;br /&gt;
Horseshoe &amp;#039;&amp;#039; by the same author. .&lt;br /&gt;
Messrs. Cassell &amp;amp; Co. have just issued a fresh&lt;br /&gt;
and revised edition of &ldquo;Popular Fallacies Explained&lt;br /&gt;
and Corrected,&rdquo; by A. S. E. Ackermann. The work&lt;br /&gt;
covers a very wide field of fallaciousness&mdash;domestic,&lt;br /&gt;
legal, historical, technical&mdash;and treats also of various&lt;br /&gt;
fallacies connected with ourselves in addition to the&lt;br /&gt;
members of the animal kingdom.&lt;br /&gt;
&ldquo;The Mastery of Destiny&rdquo; is the title of a new&lt;br /&gt;
volume by Mr. James Allen which has just&lt;br /&gt;
appeared. The volume deals with the subject of&lt;br /&gt;
re-birth, and touches upon Social questions and on&lt;br /&gt;
the training of the will and mind. Among the&lt;br /&gt;
subjects dealt with are The Science of Self-Control ;&lt;br /&gt;
Cause and Effect in Human Conduct ; Cultivation&lt;br /&gt;
of Concentration ; Practice of Meditation ; and&lt;br /&gt;
The Joy of Accomplishment. G. P. Putnam&amp;#039;s Sons&lt;br /&gt;
are the publishers in America.&lt;br /&gt;
The pen sketch in Mary C. Rowsell&amp;#039;s novel of&lt;br /&gt;
&ldquo;The Friend of the People&rdquo; has come under the&lt;br /&gt;
notice of M. Buffenoir, Member of the Soci&eacute;t&eacute; des&lt;br /&gt;
Gens de Lettres. Miss Rowsell is by his wish&lt;br /&gt;
translating the articles for the purpose of publica-&lt;br /&gt;
tion in England. They are illustrated by numerous&lt;br /&gt;
portraits of Robespierre, of which some bear special&lt;br /&gt;
interest. Among these is the picture portrait of&lt;br /&gt;
him in his room in the house of Duplay, in the&lt;br /&gt;
Rue St. Honor&eacute;, and another is the cast of his head&lt;br /&gt;
taken after the death by Madame Tussaud. Mr.&lt;br /&gt;
John Tussaud has presented to the author of &ldquo;The&lt;br /&gt;
Friend of the People&rdquo; two copyright photographs&lt;br /&gt;
&mdash;profile and full face&mdash;of this memorial, and it&lt;br /&gt;
will be added to the portraits which Mr. Buffenoir&lt;br /&gt;
has with infinite pains and research collected.&lt;br /&gt;
The matter in the December issue of Travel&lt;br /&gt;
and Erploration is provided almost exclusively by&lt;br /&gt;
members of the Society.&lt;br /&gt;
Mrs. Bullock Workman tells of her ascent of the&lt;br /&gt;
Nun Kun range of mountains in the Himalayas.&lt;br /&gt;
Dr. J. Scott Keltie deals with notable fictitious&lt;br /&gt;
narratives in travel and exploration, of which,&lt;br /&gt;
perhaps, Baron Munchausen&amp;#039;s adventures are a&lt;br /&gt;
typical example.&lt;br /&gt;
&ldquo;A Traveller in Travel &rdquo; is the title of an&lt;br /&gt;
article in the same journal by Mr. A. R. Hope&lt;br /&gt;
Moncrieff, who describes some of his experiences&lt;br /&gt;
gleaned from his professional travels as a guide-&lt;br /&gt;
book editor.&lt;br /&gt;
A review by Mr. E. A. Reynolds Ball of Sir&lt;br /&gt;
|Ernest Shackleton&rsquo;s &ldquo;Record of his Antarctic&lt;br /&gt;
Expedition &rdquo; is another item in this monthly.&lt;br /&gt;
We regret that in our last issue we announced a&lt;br /&gt;
book on &ldquo;Fossil Botany &rdquo; as by Miss M. C. Stokes,&lt;br /&gt;
whereas the correct spelling of the author&amp;#039;s name&lt;br /&gt;
is Stopes. We tender our apologies to Miss Stopes&lt;br /&gt;
for the error.&lt;br /&gt;
Messrs. Cornish Bros., of Birmingham, have&lt;br /&gt;
favoured us with a sumptuous volume of stories&lt;br /&gt;
for children by Miss H. Margaret Dixon. &ldquo;Dame&lt;br /&gt;
Thin-Pin and Other Stories&rdquo; is the title given to&lt;br /&gt;
the collection. There are ten stories in all, and&lt;br /&gt;
twelve accompanying illustrations by Kate Marion&lt;br /&gt;
Rathborne and other artists.&lt;br /&gt;
Mr. Andrew Melrose&amp;#039;s new Two-hundred-and-fifty&lt;br /&gt;
Guinea Prize Novel Competition, which closed on the&lt;br /&gt;
30th ult., has brought in 162 MSS., seven more than&lt;br /&gt;
last year&amp;#039;s competition produced. The adjudicators&lt;br /&gt;
in the present competition are Mrs. Flora Annie&lt;br /&gt;
Steel, Miss Mary Cholmondeley and Mrs. Henry&lt;br /&gt;
De La Pasture, and Mr. Melrose&amp;#039;s staff is at&lt;br /&gt;
present busy making the selection of novels which&lt;br /&gt;
will be submitted to them. As this competition is&lt;br /&gt;
not for a first novel it has brought a number of&lt;br /&gt;
MSS. from manifestly practised writers, and the&lt;br /&gt;
task of classification is proportionately difficult, but&lt;br /&gt;
it is hoped to put the selected list in the adjudi-&lt;br /&gt;
cators&amp;#039; hands before the end of the month, and&lt;br /&gt;
that a declaration of the result may be made some&lt;br /&gt;
time in January.&lt;br /&gt;
&ldquo;Light Come, Light Go&rdquo; is a new work&lt;br /&gt;
announced for early publication by Messrs.&lt;br /&gt;
Macmillan &amp;amp; Co. Mr. Ralph Nevill, the author,&lt;br /&gt;
has gathered together in the volume a collection of&lt;br /&gt;
anecdotes concerning gaming, gamesters, wagers&lt;br /&gt;
and the turf. In addition to this, much informa-&lt;br /&gt;
tion is given about the public gaming tables, which&lt;br /&gt;
were once such a conspicuous feature of the Palais&lt;br /&gt;
Royal in Paris, and afterwards of Baden-Baden,&lt;br /&gt;
Homburg, Ems, and other German spas. An&lt;br /&gt;
entire chapter of the book is devoted to Monte&lt;br /&gt;
Carlo, and a number of the various popular systems&lt;br /&gt;
and methods of play are analysed and described.&lt;br /&gt;
Printers&amp;#039; Ink, a weekly journal for advertisers,&lt;br /&gt;
has published, from the pen of Mr. Edward&lt;br /&gt;
Urwick, a series of Sonnets to the poster artists.&lt;br /&gt;
Mr. William Patrick Kelly&amp;#039;s new novel, &ldquo;The&lt;br /&gt;
Senator Licinius,&rdquo; a romance of ancient Rome in&lt;br /&gt;
the days of Caligula, has just been published by&lt;br /&gt;
Messrs. Routledge. It forms the third of the&lt;br /&gt;
author&amp;#039;s series of historical romances, of which the&lt;br /&gt;
first two &mdash; &ldquo;The Stonecutter of Memphis.&rdquo; and&lt;br /&gt;
&ldquo;The Assyrian Bride&amp;quot;&mdash;are already published.&lt;br /&gt;
The fourth book of the series, &ldquo;A Romance of&lt;br /&gt;
Athens in the Age of Pericles,&rdquo; will probably appear&lt;br /&gt;
early next year.&lt;br /&gt;
Mr. Henry Frowde and Messrs. Hodder and&lt;br /&gt;
Stoughton have forwarded us the following&lt;br /&gt;
Christmas books for children :-&lsquo;&lsquo;Books of British&lt;br /&gt;
Ships,&rdquo; 5s. ; &ldquo;Young Franctireurs,&rdquo; 3s 6d. ;&lt;br /&gt;
&ldquo;Farm Babies,&rdquo; 5s. ; &ldquo;Stories from Grimm,&rdquo;&lt;br /&gt;
2s. 6d. ; &ldquo;Robinson Crusoe,&rdquo; 7s. 6d. net ; &ldquo;Loco-&lt;br /&gt;
motives of the World,&rdquo; 5s. net ; &ldquo;Ballads of Famous&lt;br /&gt;
Fights,&rdquo; 3s. 6d. net ; &ldquo;Lamb&amp;#039;s Tales from Shake-&lt;br /&gt;
speare,&rdquo; 6d. net ; &ldquo; Robinson Crusoe,&rdquo; 6d. net ;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#483) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
105&lt;br /&gt;
&ldquo;Mungo Park,&rdquo; 6d. net ; &ldquo;Hans Andersen,&rdquo; 6d.&lt;br /&gt;
net; &ldquo;White Kitten Book,&rdquo; 2s. 6d. net; &ldquo;Children&amp;#039;s&lt;br /&gt;
Shakespeare,&rdquo; 2s. 6d. net ; &ldquo;Children&amp;#039;s Dickens,&rdquo;&lt;br /&gt;
2s. 6d. net; &ldquo;Madam Mouse,&rdquo; 1s. net ; &ldquo;Squirrel&lt;br /&gt;
Hall,&rdquo; 1s. met. ; &ldquo;Bunnikin Brown,&rdquo; 1s. net. Per-&lt;br /&gt;
haps itishardly correct to say that they are exclusively&lt;br /&gt;
for children, as the illustrations are so beautiful and&lt;br /&gt;
the get-up is so good that they would be likely to&lt;br /&gt;
amuse and interest the older folk at this season of&lt;br /&gt;
the year. The 6d. editions with their beautiful&lt;br /&gt;
end-plates and their coloured frontispieces are&lt;br /&gt;
wonderful at the price. The illustrated 18. books&lt;br /&gt;
are exceedingly well got up, and the illustrations&lt;br /&gt;
to two of them, by Mr. Cecil Aldin, are particularly&lt;br /&gt;
clever. There is no need to recommend this artist&amp;#039;s&lt;br /&gt;
work. As presents these books ought to be exceed-&lt;br /&gt;
ingly welcome, and their price is within the range&lt;br /&gt;
of almost every Christmas giver.&lt;br /&gt;
The large number of illustrated books issued at&lt;br /&gt;
this period of the year emphasises the importance&lt;br /&gt;
of the article on colour illustration which was&lt;br /&gt;
published in last month&amp;#039;s Author.&lt;br /&gt;
Messrs. Chapman &amp;amp; Hall have published &ldquo;The&lt;br /&gt;
History of St. Paul&amp;#039;s School,&rdquo; by Michael F. J.&lt;br /&gt;
McDonnell. In this work, which contains forty-&lt;br /&gt;
eight portraits and other illustrations, the author&lt;br /&gt;
has received every assistance from the school&lt;br /&gt;
authorities, and has secured access to various&lt;br /&gt;
private MS. collections which throw light on the&lt;br /&gt;
story of Dean Colet&amp;#039;s foundation. The history,&lt;br /&gt;
beginning with a consideration of the question of&lt;br /&gt;
the continuity of the school with the ancient&lt;br /&gt;
Cathedral Grammar School of St. Paul&amp;#039;s, is carried&lt;br /&gt;
down to modern times, so as to include an account&lt;br /&gt;
of the revival of the fortunes of St. Paul&rsquo;s under&lt;br /&gt;
the late head master, Mr. Walker.&lt;br /&gt;
&ldquo;Here and Hereafter &rsquo;&rsquo; is the title which Mr.&lt;br /&gt;
George G. Fleurot has given to his translation of&lt;br /&gt;
L&eacute;on Denis&rsquo; &ldquo; Apr&egrave;s la Mort,&rdquo; of which Messrs.&lt;br /&gt;
William Rider &amp;amp; Son, 164, Aldersgate Street,&lt;br /&gt;
E.C., are the English, and Messrs. Brentano, of&lt;br /&gt;
New York, the American publishers. The first&lt;br /&gt;
edition having been exhausted, a second edition is&lt;br /&gt;
in the press.&lt;br /&gt;
We have received from Messrs. A. &amp;amp; C. Black&lt;br /&gt;
copies of the year books issued from their house,&lt;br /&gt;
viz., &ldquo;Who&amp;#039;s Who,&rdquo; &ldquo;&lsquo;Who&amp;#039;s Who? Year Book,&rdquo;&lt;br /&gt;
&ldquo;The Englishwoman&amp;#039;s Year Book,&rdquo; and &ldquo;The&lt;br /&gt;
Writers&amp;#039; and Artists&amp;#039; Year Book.&rdquo;&lt;br /&gt;
&ldquo;Who&rsquo;s Who&rsquo;&rsquo; for 1910 Contains&lt;br /&gt;
biographies.&lt;br /&gt;
The &ldquo; . Who&amp;#039;s Who&amp;#039; Year Book&rdquo; comprises the&lt;br /&gt;
tables which were formerly a part of the larger&lt;br /&gt;
volume. It includes lists of ambassadors,&lt;br /&gt;
academies, clubs, societies, as well as many others&lt;br /&gt;
which professional men and women will be glad to&lt;br /&gt;
consult from time to time during the coming year.&lt;br /&gt;
&ldquo;The Englishwoman&amp;#039;s Year Book,&rdquo; which is&lt;br /&gt;
23,000&lt;br /&gt;
now in its thirtieth year, is a compendium of&lt;br /&gt;
information for women, in whatever department of&lt;br /&gt;
life they may be engaged. Education, sport,&lt;br /&gt;
literature, professions, industrial, and philan-&lt;br /&gt;
thropic work are a few of the more prominent&lt;br /&gt;
questions of which it treats.&lt;br /&gt;
Messrs. James Clarke &amp;amp; Co. have issued a third&lt;br /&gt;
edition of the late R. F. Weymouth&rsquo;s &ldquo;New Testa-&lt;br /&gt;
ment in Modern Speech.&rdquo; This work, under the&lt;br /&gt;
editorship of Mr. E. Hampden-Cook, has been re-set&lt;br /&gt;
in new type, and, in order to add to the interest of&lt;br /&gt;
the translation, all conversations have been spaced&lt;br /&gt;
out in accordance with modern custom. Many&lt;br /&gt;
errata have been corrected, and a very considerable&lt;br /&gt;
number of what seemed to be infelicities or slight&lt;br /&gt;
inaccuracies in the English have been removed.&lt;br /&gt;
We offer our apologies to Mr. C. E. Gouldsbury&lt;br /&gt;
for an error in our notice of his book in the last&lt;br /&gt;
issue of The Author, which we entitled &ldquo;Duall&rdquo;&lt;br /&gt;
instead of &ldquo;Dulall, the Forest Guard.&rdquo; The book&lt;br /&gt;
contains a brief account of the proceedings of two&lt;br /&gt;
young Englishmen in their pursuit of tiger, rhino-&lt;br /&gt;
ceros, elephant, bear, etc., in the Bengal jungles.&lt;br /&gt;
The chief character is Dulall Sing, a forest guard,&lt;br /&gt;
a subordinate in the Forest Department, truthful,&lt;br /&gt;
brave, faithful to his employers, running into&lt;br /&gt;
danger himself, while careful of his charges.&lt;br /&gt;
Messrs. Gibbings are the publishers.&lt;br /&gt;
&ldquo;The Life and Letters of James Wolfe,&rdquo; by&lt;br /&gt;
Beckles Willson, which Mr. William Heinemann&lt;br /&gt;
publishes, is the outcome of much new material,&lt;br /&gt;
including many hitherto unpublished letters&lt;br /&gt;
placed at the author&amp;#039;s disposal. To as great an&lt;br /&gt;
extent as possible Mr. Beckles Willson has allowed&lt;br /&gt;
the letters to tell the story.&lt;br /&gt;
Her Majesty the Queen has had much pleasure&lt;br /&gt;
in accepting a copy of Emily Shore&amp;#039;s book, &ldquo;Iland-&lt;br /&gt;
Babies and Sea-Babies.&rdquo;&lt;br /&gt;
The current number of the Journal of the&lt;br /&gt;
Royal Asiatic Society contains an instalment of&lt;br /&gt;
the revised translation of the B&aacute;bar-Nāma, on&lt;br /&gt;
which Mrs. Beveridge is now working. The&lt;br /&gt;
portion published is the description of Fārghana,&lt;br /&gt;
so much discussed by writers on Central Asia.&lt;br /&gt;
DRAMA.&lt;br /&gt;
Mr. Richard Pryce&amp;#039;s dramatic adaptations of&lt;br /&gt;
Mrs. Mann&amp;#039;s stories, &ldquo;Freddy&amp;#039;s Ship&rdquo; and &ldquo; The&lt;br /&gt;
Eglamore Portraits,&rdquo; were staged at the Playhouse&lt;br /&gt;
on December 1st.&lt;br /&gt;
The first, which was produced under the title of&lt;br /&gt;
&ldquo;The Visit,&rdquo; deals with the humanising of a&lt;br /&gt;
selfish woman as a result of her fulfilment of a&lt;br /&gt;
disagreeable duty.&lt;br /&gt;
The longer piece, produced under the title of&lt;br /&gt;
&ldquo;Little Mrs. Cummim,&rdquo; treats of a battle between&lt;br /&gt;
a newly-made benedict and an interfering mother-&lt;br /&gt;
in-law.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#484) ################################################&lt;br /&gt;
&lt;br /&gt;
106&lt;br /&gt;
TISIES A DITISIOR.&lt;br /&gt;
This latter piece was interpreted by a cast&lt;br /&gt;
which included Miss Lottie Wenne, Mr. Kenneth&lt;br /&gt;
Douglas, and Miss Marie Lohr.&lt;br /&gt;
&ldquo;The King&amp;#039;s Cup,&rdquo; by H. Dennis Braaley and&lt;br /&gt;
E. Phillips Oppenheim was produced at a special&lt;br /&gt;
maſſin&eacute;e at the Adelphi Theatre on December 13th,&lt;br /&gt;
1909. The cast includes Mr. Nye Chart, Miss&lt;br /&gt;
Nora Sevening and Mr. Paul Arthur.&lt;br /&gt;
Sir William Gilbert&amp;#039;s new opera, &ldquo;Fallen Fairies;&lt;br /&gt;
or, The Wicked World,&rdquo; was produced at the&lt;br /&gt;
Savoy Theatre early in December last. The music&lt;br /&gt;
is by Edward German, and the cast includes Mr.&lt;br /&gt;
C. H. Workman, Miss Nancy McIntosh and Miss&lt;br /&gt;
Jessie Rose.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
&ldquo;CN OUVENIRS autour d&amp;#039;un groupe litt&eacute;raire,&rdquo; by&lt;br /&gt;
Madame Alphonse Daudet, is a book of the&lt;br /&gt;
greatest interest to all lovers of French litera-&lt;br /&gt;
ture. The widow of the great novelist is herself a&lt;br /&gt;
gifted poetess, and her memoirs gain much by this&lt;br /&gt;
fact. During the lifetime of her husband her&lt;br /&gt;
salon was a rendezvous for the writers of the day.&lt;br /&gt;
Madame Daudet&amp;#039;s parents were poets, so that she&lt;br /&gt;
had from her earliest years the greatest respect for&lt;br /&gt;
literary work. Her mother and father published a&lt;br /&gt;
volume of poetry entitled &ldquo;Les Marges de la Vie,&rdquo;&lt;br /&gt;
and Madame Daudet gives us a letter from Madame&lt;br /&gt;
Desbordes Valmore, who had just read it in manu-&lt;br /&gt;
script. She then tells us of her acquaintance with&lt;br /&gt;
Mistral, Paul Ar&egrave;ne and Francisque Sarcey. She&lt;br /&gt;
gives us a portrait of Barbey d&amp;#039;Aurevilly and the&lt;br /&gt;
most charming letter from him to Daudet. It was&lt;br /&gt;
written after a slight misunderstanding caused by a&lt;br /&gt;
terrible criticism of Flaubert by d&amp;#039;Aurevilly.&lt;br /&gt;
Madame Daudet gives us a description of her first&lt;br /&gt;
visit to Victor Hugo. She tells us of her first&lt;br /&gt;
meeting with the Goncourt brothers, who were to&lt;br /&gt;
become life-long friends, of the reunions of &ldquo;the&lt;br /&gt;
Five,&rdquo; Flaubert, Goncourt, Alphonse Daudet,&lt;br /&gt;
Tourg&eacute;neff and Zola, and then of the &ldquo;M&eacute;dan&lt;br /&gt;
Group,&rdquo; Hennique, C&eacute;ard Paul Alexis, Huysmans,&lt;br /&gt;
Maupassant, and, later on, Rod. Madame Daudet&lt;br /&gt;
tells us then of her Own Salon in the Marais, the&lt;br /&gt;
old-world part of Paris, and when we read the&lt;br /&gt;
names of the habitu&eacute;s we can only envy the writer&lt;br /&gt;
the intellectual treats she must so frequently&lt;br /&gt;
have had. Among these names are Th&eacute;uriet,&lt;br /&gt;
Bl&eacute;mont, Anatole France, Gil, L&eacute;on Allard, Sully&lt;br /&gt;
Prudhomme, Fran&ccedil;ois Copp&eacute;e, H&eacute;r&eacute;dia, Pierre de&lt;br /&gt;
Nolhac, Haraucourt, Massenet, Pugno, Rollinat,&lt;br /&gt;
etC.&lt;br /&gt;
We read, too, of the foundation of the Th&eacute;&acirc;tre&lt;br /&gt;
Libre by Antoine. In those days this was a little&lt;br /&gt;
room at the end of a passage, where the arrange-&lt;br /&gt;
ments were all so primitive that the last person to&lt;br /&gt;
leave was requested to turn out the gas.&lt;br /&gt;
Madame Daudet then tells us of some of the&lt;br /&gt;
other Paris Salons, of that of the Princess Mathilde&lt;br /&gt;
and of that of Madame Buloz and of Madame&lt;br /&gt;
Juliette Adam. In this book Madame Daudet takes&lt;br /&gt;
us with her through the literary Paris of her time.&lt;br /&gt;
It was quite another Paris from that of to-day. The&lt;br /&gt;
foreign invasion has, no doubt, had a certain&lt;br /&gt;
influence on Paris, but the old world is still there&lt;br /&gt;
behind all these modern buildings, and we are glad&lt;br /&gt;
to get some echoes from it in such books as this of&lt;br /&gt;
Madame Daudet. The last chapters are better&lt;br /&gt;
read in the original. They are too sacred to touch&lt;br /&gt;
on lightly. They begin from the year 1898, after&lt;br /&gt;
the death of Alphonse Daudet.&lt;br /&gt;
&ldquo;Whenever I leave home,&rdquo; says his widow, &ldquo;it&lt;br /&gt;
seems to me always that I shall find him on my&lt;br /&gt;
return, but it is always the same disappointment.&lt;br /&gt;
I cannot resign myself to death, to his continued&lt;br /&gt;
absence.&rdquo;&lt;br /&gt;
&ldquo;Les Infernales&rdquo; is the title of a remarkable&lt;br /&gt;
volume of short stories, or rather studies, by Nikto.&lt;br /&gt;
This book comes as a surprise to all who know&lt;br /&gt;
its author. Nikto is one of the most marvellous&lt;br /&gt;
musicians of our times, a pupil of Liszt, of Teleffsen,&lt;br /&gt;
and of Mikuli, Chopin&amp;#039;s gifted pupil. To anyone&lt;br /&gt;
who has heard Chopin and Liszt interpreted by&lt;br /&gt;
Nikto, there seems mothing left to hear by these&lt;br /&gt;
two great composers. With the force of a man&lt;br /&gt;
and the delicacy and intuition of a woman, Nikto&lt;br /&gt;
has discovered all the treasures hidden in the music.&lt;br /&gt;
Execution, expression, fire, tenderness and deep&lt;br /&gt;
feeling, Nikto interprets all that there is to&lt;br /&gt;
interpret. The hours spent by the favoured few&lt;br /&gt;
who are allowed the rare privilege of hearing her&lt;br /&gt;
explain and interpret the works of her two masters&lt;br /&gt;
are hours that will never be forgotten. At present&lt;br /&gt;
we discover that this great musician is also a&lt;br /&gt;
talented writer. In all these stories we have the&lt;br /&gt;
fire and passion of the Slavonic soul described and&lt;br /&gt;
painted by an artist. There are tragic stories of&lt;br /&gt;
terrible cruelty, there is a Breton idyll which is&lt;br /&gt;
exquisitely poetical, a story of diabolic revenge and&lt;br /&gt;
a study, at the end of the volume, of tzigame music.&lt;br /&gt;
Although Nikto is a Polish Russian, she has&lt;br /&gt;
accomplished the task, almost impossible to foreign&lt;br /&gt;
authors, of writing her book in French. Very&lt;br /&gt;
many years ago that pitiless critic, Barbey&lt;br /&gt;
d&rsquo;Aurevilly, who was always more or less hard on&lt;br /&gt;
women writers, wrote a somewhat scathing article&lt;br /&gt;
on one of Nikto&rsquo;s literary works. She dedicates&lt;br /&gt;
her book to-day &ldquo;To the memory of Barbey&lt;br /&gt;
d&rsquo;Aurevilly, the admirable author of &lsquo;Les&lt;br /&gt;
Diaboliques,&rsquo; from The one whom he scathed.&rdquo;&lt;br /&gt;
If all writers of merit could have an Egeria like&lt;br /&gt;
Mlle. Louise Read, it would not be necessary for&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#485) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITFIOR,&lt;br /&gt;
107&lt;br /&gt;
them to trouble about their future fame. Thanks&lt;br /&gt;
to her unceasing devotion in publishing posthumous&lt;br /&gt;
works of Barbey d&rsquo;Aurevilly, France has slowly,&lt;br /&gt;
during the last twenty years, realized the fact that&lt;br /&gt;
he was one of her great writers. Rarely has any&lt;br /&gt;
Centenary been so universally f&eacute;ted in any country,&lt;br /&gt;
and for a long time to come lectures, articles and&lt;br /&gt;
books will prove to us that the author so few of us&lt;br /&gt;
know is one of those whose works should not&lt;br /&gt;
be neglected. Rodin&amp;#039;s statue was inaugurated&lt;br /&gt;
this last month, and a pilgrimage of lovers of&lt;br /&gt;
literature set out from Paris to be present at the&lt;br /&gt;
unveiling ceremony at St. Sauveur le Wicomte, in&lt;br /&gt;
Normandy, Barbey d&rsquo;Aurevilly&amp;#039;s birth-place.&lt;br /&gt;
Among the new books we have another volume&lt;br /&gt;
of G. Len&ocirc;tre&amp;#039;s &ldquo;Paris R&eacute;volutionnaire&amp;quot; (Vieilles&lt;br /&gt;
maisons, vieux papiers). The subjects treated are :&lt;br /&gt;
Papa Tam, Les Meubles de M. Berth&eacute;lemy,&lt;br /&gt;
Le M&eacute;nage Tison, Herman, Montcairzain, L&rsquo;As&lt;br /&gt;
de Pique, La fin de Th&eacute;r&egrave;se Lavasseur, L&amp;#039;Ev&ecirc;que&lt;br /&gt;
d&rsquo;Agra, Thomazeau, Madame Gasnier, l&rsquo;Am&eacute;ri-&lt;br /&gt;
caine, and Monsieur de Charette. The chapter on&lt;br /&gt;
Th&eacute;r&egrave;se Levasseur after Jean-Jacques&amp;#039; death is&lt;br /&gt;
very curious and instructive, whilst the story of the&lt;br /&gt;
Comtesse de Montcairzain would make the plot for&lt;br /&gt;
a novel.&lt;br /&gt;
&ldquo;La Rue Saint Honor&eacute;&amp;#039;&amp;#039; (de la Revolution &agrave; nos&lt;br /&gt;
jours) is the second volume by Robert H&eacute;nard on&lt;br /&gt;
this subject. It seems indeed as though this street&lt;br /&gt;
must surely be more full of memories than any&lt;br /&gt;
other street in Paris. We have a description of&lt;br /&gt;
the scenes that took place there on the day of the&lt;br /&gt;
taking of the Bastille, and on many other historical&lt;br /&gt;
occasions. Marie Antoinette was taken down this&lt;br /&gt;
street on her way to execution. Robespierre lived&lt;br /&gt;
there. The famous Caf&eacute; de la R&eacute;gence, the&lt;br /&gt;
favourite resort of Musset, is still there. Under&lt;br /&gt;
the Consulate and the Empire the Rue St. Honor&eacute;&lt;br /&gt;
was a very fashionable resort. The volume gives&lt;br /&gt;
many interesting details, and makes one realize how&lt;br /&gt;
full of past history Paris is.&lt;br /&gt;
In a recent number of the Revue hebdomadaire,&lt;br /&gt;
there is an article on &ldquo;Selma Lagerlof,&rdquo; by Jacques&lt;br /&gt;
de Coussange, and in another recent number of&lt;br /&gt;
the same magazine is an article by Ernest Seilli&egrave;re&lt;br /&gt;
on &ldquo;Le M&eacute;nage du grand Fr&eacute;d&eacute;ric.&rdquo;&lt;br /&gt;
The play &ldquo;Susette,&rdquo; by M. Brieux, given at&lt;br /&gt;
the Com&eacute;die Fran&ccedil;aise, is not intended as an&lt;br /&gt;
argument against divorce, but against divorce too&lt;br /&gt;
easily obtained. It is the story of a child between&lt;br /&gt;
parents who are at loggerheads with each other.&lt;br /&gt;
We see all the suffering of a child in this situation.&lt;br /&gt;
M. Brieux has already treated this subject in the&lt;br /&gt;
&ldquo;Berceau,&rdquo; but &ldquo;Susette&rdquo; is a much stronger and&lt;br /&gt;
more convincing play,&lt;br /&gt;
At the Th&eacute;&acirc;tre Antoine &ldquo;Papillon, dit Lyonnais&lt;br /&gt;
le Juste,&rdquo; by M. Louis B&eacute;ni&egrave;re, is having great&lt;br /&gt;
success. It is the story of a simple workman Who&lt;br /&gt;
comes into a fortune. It is an extremely natural&lt;br /&gt;
and simple play, amusing and pathetic in parts.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
Souvenirs autour d&amp;#039;un groupe litt&eacute;raire&rsquo; (Fasquelle).&lt;br /&gt;
&ldquo;Les Infernales &amp;quot; (Lemetre).&lt;br /&gt;
* Paris R&eacute;volutionnaire&amp;quot; (Perrin).&lt;br /&gt;
&ldquo;La Rue Saint Honor&eacute;&amp;quot; (Emile Paul).&lt;br /&gt;
&mdash;&amp;amp;h&ndash;&lt;br /&gt;
w ~&ndash;w&lt;br /&gt;
THE SUB-COMMITTEE ON THE PRICE OF&lt;br /&gt;
NOVELS.&lt;br /&gt;
&mdash;&mdash;&ordm;-0&ndash;&lt;br /&gt;
INTERIMI REPORT.&lt;br /&gt;
W&ordm; the sub-committee appointed to consider&lt;br /&gt;
the question of the price at which new&lt;br /&gt;
novels should be issued, think that we&lt;br /&gt;
ought to make an interim report, having regard to&lt;br /&gt;
the Serious nature of the present situation. We&lt;br /&gt;
feel, also, that a conclusive and comprehensive&lt;br /&gt;
report upon the matter can hardly be expected&lt;br /&gt;
from us, remembering the variety of directions in&lt;br /&gt;
which evidence must be sought, and the distinct&lt;br /&gt;
understanding that we have received that the&lt;br /&gt;
results of certain experiments in the change of&lt;br /&gt;
price of new novels&mdash;which experiments are now&lt;br /&gt;
being conducted&mdash;will be given to us.&lt;br /&gt;
Our first step was to invite the opinion of seventy-&lt;br /&gt;
eight novelists, almost all being members of our&lt;br /&gt;
Society, who were Selected as far as possible because&lt;br /&gt;
they seemed to us to represent varying degrees of&lt;br /&gt;
position as men and women of letters and greatly&lt;br /&gt;
different conditions of popularity. Further, we&lt;br /&gt;
gave preference in our first letter of inquiry to&lt;br /&gt;
those authors whose works we knew had been made&lt;br /&gt;
the subject of some experiments in the lowering of&lt;br /&gt;
the original price of issue. The result of that&lt;br /&gt;
inquiry was that thirty authors declared them-&lt;br /&gt;
Selves uncompromisingly opposed to any systematic&lt;br /&gt;
reduction of the usual publishing price of the new&lt;br /&gt;
novel, viz., 6s., believing that the reduction would&lt;br /&gt;
bring to them, having regard to the reduced&lt;br /&gt;
royalties offered, no return which would compen-&lt;br /&gt;
sate them for the loss which they would sustain by&lt;br /&gt;
not receiving the larger royalty upon the larger&lt;br /&gt;
prices; seven authors believe the reverse of this,&lt;br /&gt;
but their convictions were not expressed with any&lt;br /&gt;
great force in all instances.&lt;br /&gt;
Of the remaining authors to whom we wrote,&lt;br /&gt;
fourteen were non-committal in their statements,&lt;br /&gt;
certain of them giving information in answer to&lt;br /&gt;
our questions, but without expressing opinions and&lt;br /&gt;
leaving us to make deductions from the facts;&lt;br /&gt;
nine stated that they were unable to give useful&lt;br /&gt;
information, and from the remainder we have not&lt;br /&gt;
yet heard. Much of this unclassified evidence was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#486) ################################################&lt;br /&gt;
&lt;br /&gt;
108&lt;br /&gt;
THE A DITFIOR.&lt;br /&gt;
informatory to ourselves, and the deduction we have&lt;br /&gt;
drawn from it is that it contains no definite argu-&lt;br /&gt;
ments in favour of the lowering of the original&lt;br /&gt;
price of the new novel from 6s, either for the&lt;br /&gt;
benefit of the author, the publisher, the book-&lt;br /&gt;
seller, or the public.&lt;br /&gt;
We propose to collect further evidence from&lt;br /&gt;
novelists during the time that must elapse before&lt;br /&gt;
we can report finally.&lt;br /&gt;
Our interim conclusion, that novelists would be&lt;br /&gt;
unwise to allow themselves, or their agents for&lt;br /&gt;
them, to enter into any contracts whereby it is&lt;br /&gt;
agreed that the initial price of the new novel&lt;br /&gt;
should be lower than 6s., is much strengthened b&lt;br /&gt;
the replies which we have received from the list of&lt;br /&gt;
publishers to whom we addressed a letter asking&lt;br /&gt;
whether the circulation obtained for novels pub-&lt;br /&gt;
lished originally at a lower price than 68. Would,&lt;br /&gt;
in their opinion, result in a proportionate increase&lt;br /&gt;
if the price were lowered. The basis on which we&lt;br /&gt;
asked for information was a 6s. novel of the&lt;br /&gt;
ordinary length of about 80,000 to 100,000 words&lt;br /&gt;
with a circulation of at least 3,000 copies; and,&lt;br /&gt;
further, we asked if it would be practicable to pay&lt;br /&gt;
an author royalties on a 28., a 2s. 6d. Or a 38. net&lt;br /&gt;
book at so high a rate as on a 68. book ; and if it&lt;br /&gt;
would be practicable to consider raising the Original&lt;br /&gt;
price in certain cases.&lt;br /&gt;
We desire to record our sense of the valuable&lt;br /&gt;
and courteous manner in which our questions,&lt;br /&gt;
necessarily of a searching nature, were responded&lt;br /&gt;
to by the publishers.&lt;br /&gt;
Several publishers said that at the present&lt;br /&gt;
moment they were not prepared to answer definitely,&lt;br /&gt;
while one, who may be mentioned by name, because&lt;br /&gt;
his position has been made public by his own letter&lt;br /&gt;
to The Publishers&rsquo; Circular, viz., Mr. Heinemann,&lt;br /&gt;
pointed out to us that he was at the present&lt;br /&gt;
moment engaged in an important experiment in&lt;br /&gt;
the alteration of the prices at which new novels&lt;br /&gt;
should be issued, of the results of which he would&lt;br /&gt;
be in a position to inform us in February. Other&lt;br /&gt;
publishers who have issued new fiction at lower&lt;br /&gt;
prices than 68, have given us details showing that&lt;br /&gt;
the experiments had failed.&lt;br /&gt;
The consensus of opinion from the publishers is&lt;br /&gt;
to the effect :&lt;br /&gt;
(1) (a) that from 9,000 copies at least, to 12,000&lt;br /&gt;
(the highest figure mentioned) must be sold at&lt;br /&gt;
2S. net ;&lt;br /&gt;
(b) that 8,000 must be sold at 2s. 6d. net ; and&lt;br /&gt;
(c) that 6,000 copies must be sold at 3s. net&lt;br /&gt;
before the author would receive the amount equiva-&lt;br /&gt;
lent to that which he usually receives on 3,000&lt;br /&gt;
copies at 68., i.e., 48. 6d. net. -&lt;br /&gt;
(2) That, leaving exceptional cases out of count,&lt;br /&gt;
it does not appear probable that the author&amp;#039;s&lt;br /&gt;
circulation would be proportionately enhanced by&lt;br /&gt;
a reduction in the price of the original issue. On&lt;br /&gt;
this point figures relating to particular cases have&lt;br /&gt;
been submitted in proof of the opinion.&lt;br /&gt;
(3) That the same proportionate royalty could&lt;br /&gt;
not be offered upon the lower prices. On this&lt;br /&gt;
point the publishers are all very clear.&lt;br /&gt;
Regarding these publishers, as we do, as&lt;br /&gt;
thoroughly cognisant of the business side of the&lt;br /&gt;
publication of fiction in the present conditions,&lt;br /&gt;
and as competent to guide us as to the probable&lt;br /&gt;
result of modifications or developments of those&lt;br /&gt;
conditions, we think that their opinions constitute&lt;br /&gt;
a grave warning to authors who may be invited to&lt;br /&gt;
issue new novels of the ordinary length at any&lt;br /&gt;
price below 6s.&lt;br /&gt;
With regard to the issue of new novels in cloth.&lt;br /&gt;
binding at the initial price of 2s., we hope that&lt;br /&gt;
this innovation is not likely to affect any large&lt;br /&gt;
number of writers. Few publishers will make the&lt;br /&gt;
attempt to produce a new Work of fiction in such&lt;br /&gt;
enormous quantities for a first edition as would be&lt;br /&gt;
required to pay the author and recoup themselves.&lt;br /&gt;
There can be no guarantee that the large prices&lt;br /&gt;
which have been offered to authors as payment&lt;br /&gt;
for serial rights and royalties in advance under&lt;br /&gt;
this system will be maintained.&lt;br /&gt;
We have definite information that, with regard&lt;br /&gt;
to the 7d. reprints, the publishers are already&lt;br /&gt;
offering far smaller sums in advance than in the&lt;br /&gt;
first instance ; and that even in the cases of authors,&lt;br /&gt;
whose books have practically earned these advances&lt;br /&gt;
they are not now willing to make new contracts on&lt;br /&gt;
the old terms.&lt;br /&gt;
We possess a large amount of evidence from the&lt;br /&gt;
booksellers upon the various questions involved,&lt;br /&gt;
but this, which has only just reached us, requiress&lt;br /&gt;
sifting and classification.&lt;br /&gt;
We have received scattered information from&lt;br /&gt;
several authors who have actually experienced the&lt;br /&gt;
results of the issue of new novels, at prices lower&lt;br /&gt;
than 6s. In every case the author has suffered.&lt;br /&gt;
Having, then, regard to the weight of opinion&lt;br /&gt;
from those novelists whom we have consulted, to&lt;br /&gt;
the responsible remarks of leading publishers, and&lt;br /&gt;
to details which we have received of the actual&lt;br /&gt;
experience of authors, we repeat the recommenda-&lt;br /&gt;
tion that the novelist should maintain the price of&lt;br /&gt;
the original production of his works at 68. There&lt;br /&gt;
is no evidence that a low price means a large&lt;br /&gt;
circulation.&lt;br /&gt;
ADDENDUM.&lt;br /&gt;
One of us, having particular knowledge of the&lt;br /&gt;
business side of literature in France, wishes to&lt;br /&gt;
point out that even in the days when the regular&lt;br /&gt;
price of the new novel in France was Fr. 3.50, all&lt;br /&gt;
the leading French novelists, Daudet and Zola.&lt;br /&gt;
among them, greatly regretted the lowering of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#487) ################################################&lt;br /&gt;
&lt;br /&gt;
THE A CITESIOR,&lt;br /&gt;
109&lt;br /&gt;
standard price to that figure. France has since&lt;br /&gt;
been flooded with new novels at 9%d., and the&lt;br /&gt;
result has been most disastrous to French literature&lt;br /&gt;
as well as to French authors. It has meant that&lt;br /&gt;
the great mass of writers have now to produce&lt;br /&gt;
novels that are short and sensational, and dependent&lt;br /&gt;
for their popularity upon their violent appeal.&lt;br /&gt;
(Signed) M. A. BELLOC-LOWNDES.&lt;br /&gt;
CHARLES GARVICE.&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
- S. SQUIRE SPRIGGE.&lt;br /&gt;
JDecember 2, 1909.&lt;br /&gt;
a &ndash; A &ndash;a&lt;br /&gt;
&mdash;v---&lt;br /&gt;
A PUBLISHING TRANSACTION.&lt;br /&gt;
&mdash;t&mdash;&ordm;-e&mdash;&lt;br /&gt;
- HEN an author is asked by a publisher to&lt;br /&gt;
contribute towards the production of his&lt;br /&gt;
book, it is time for him to be on the&lt;br /&gt;
alert. There are, it is true, certain books, the&lt;br /&gt;
publication of which must be attended with a&lt;br /&gt;
certain degree of risk, on account of the fact that&lt;br /&gt;
they appeal only to very limited audiences, or&lt;br /&gt;
because as a result of profuse illustrations or some&lt;br /&gt;
other cause they are expensive to produce. In&lt;br /&gt;
these cases, the bond ſides of a publisher who seeks&lt;br /&gt;
to divide the risks with the author may be quite&lt;br /&gt;
genuine, though even here the writer will be well&lt;br /&gt;
advised to exercise a firm control over the expen-&lt;br /&gt;
diture, and ascertain beforehand whether, given a&lt;br /&gt;
fair sale, the venture will prove profitable to&lt;br /&gt;
himself. -&lt;br /&gt;
In the case of the novel, however, the position is&lt;br /&gt;
different, and the author who is asked to bear any&lt;br /&gt;
portion of the cost of production should refuse to&lt;br /&gt;
do so. It may safely be claimed that the novel&lt;br /&gt;
which is not published at the publisher&amp;#039;s expense&lt;br /&gt;
had better, in nine cases out of ten, remain unpub-&lt;br /&gt;
lished, that is, if its author looks for financial&lt;br /&gt;
reward for his work. If, however, the writer has&lt;br /&gt;
a firm conviction that his book possesses all the&lt;br /&gt;
potentialities of a commercial success, or has some&lt;br /&gt;
other equally weighty reason for desiring his book&lt;br /&gt;
to be placed on the market, and cares to back his&lt;br /&gt;
belief by risking money in its production, two&lt;br /&gt;
precautions are absolutely essential ; the first is to&lt;br /&gt;
publish with a house of established reputation, and&lt;br /&gt;
the second is to see that he retains such a control&lt;br /&gt;
over the work (both as to the items in the cost of&lt;br /&gt;
production, and as to the terms of Sale) as shall&lt;br /&gt;
be commensurate with the amount which he&lt;br /&gt;
is putting into the adventure.&lt;br /&gt;
The failure to take these two precautions is&lt;br /&gt;
bound to be attended with disastrous results to the&lt;br /&gt;
author, as the following case will show.&lt;br /&gt;
A certain author entered into a contract with a&lt;br /&gt;
publisher for the publication of a novel under an&lt;br /&gt;
agreement, the material parts of which are printed&lt;br /&gt;
below:&mdash;&lt;br /&gt;
MEMORANDUM OF AGREEMENT made this&lt;br /&gt;
Of between&lt;br /&gt;
hereinafter termed the author of the one part&lt;br /&gt;
and hereinafter termed the publisher of the other&lt;br /&gt;
part WHEREBY it is mutually agreed between the parties&lt;br /&gt;
hereto for themselves and their respective executors&lt;br /&gt;
administrators and assigns (or successors as the case may&lt;br /&gt;
be) as follows:&mdash;&lt;br /&gt;
1. The author is the writer and holds the copyright of a&lt;br /&gt;
work at present entitled , which he has submitted&lt;br /&gt;
to the publisher with a view to his producing publishing&lt;br /&gt;
and advertising the same in the United Kingdom of Great&lt;br /&gt;
Britain and Ireland and elsewhere on the following&lt;br /&gt;
terms &mdash;&lt;br /&gt;
2. That in consideration of the author paying to the&lt;br /&gt;
publisher the sum of Ninety Five Pounds (Fifty Pounds&lt;br /&gt;
when he signs this agreement, Thirty Pounds when the&lt;br /&gt;
whole of the work is in type, and Fifteen Pounds from his&lt;br /&gt;
share of the sales of the work) the publisher hereby agrees&lt;br /&gt;
to produce the work in the best style print on good paper&lt;br /&gt;
from new type bind in suitable cloth as trade demands&lt;br /&gt;
warrant and publish the book in the English edition at the&lt;br /&gt;
price of Six Shillings per copy. The said payment of&lt;br /&gt;
Ninety Five Pounds shall constitute the author&amp;#039;s sole&lt;br /&gt;
liability. -&lt;br /&gt;
3. The author guarantees to the publisher that the said&lt;br /&gt;
work is in no way whatever a violation of any existing&lt;br /&gt;
copyright and that it contains nothing of a libellous or&lt;br /&gt;
Scandalous character and that he will indemnify the&lt;br /&gt;
publisher from all suits claims and proceedings damages&lt;br /&gt;
and costs which may be made taken or incurred by or&lt;br /&gt;
against him on the ground that the said work is an infringe-&lt;br /&gt;
ment of copyright or contains anything libellous or&lt;br /&gt;
scandalous.&lt;br /&gt;
4. The publisher agrees to pay to the author and the&lt;br /&gt;
author agrees to accept the following royalties, that is to&lt;br /&gt;
say :&mdash;&lt;br /&gt;
(a) A royalty of one shilling and sixpence per copy on&lt;br /&gt;
all copies sold of the English 6s. edition up to a sale of two&lt;br /&gt;
thousand copies and afterwards a royalty of 20 per cent. Of&lt;br /&gt;
the nominal published price of all copies sold of this&lt;br /&gt;
particular 6s. edition.&lt;br /&gt;
(b) A royalty of fifteen per cent. of the nominal published&lt;br /&gt;
price of all copies sold of any cheaper edition or editions.&lt;br /&gt;
(c) A royalty of fifty per cent. of the net profits derived&lt;br /&gt;
from the sale of the American copyright (if any).&lt;br /&gt;
(d) A royalty of fifty per cent. of the net profits derived&lt;br /&gt;
from the sale of Foreign rights (if any).&lt;br /&gt;
(e) A royalty of fifty per cent. of the net profits derived&lt;br /&gt;
from the sale of the Serial rights (if any).&lt;br /&gt;
(f) In the event of remainder sales, that is when the&lt;br /&gt;
demand for the work has ceased, a royalty of five per cent.&lt;br /&gt;
of the net sum received.&lt;br /&gt;
5. The publisher shall present to the author twenty&lt;br /&gt;
copies of the work on publication and shall sell to him any&lt;br /&gt;
further copies that he may require at the lowest trade price,&lt;br /&gt;
all copies thus bought to be charged to the general sales&lt;br /&gt;
account and royalties to be paid to the author on Same.&lt;br /&gt;
6. No royalties shall be paid on any copies given&lt;br /&gt;
away for review or other purposes in the interests of the&lt;br /&gt;
work.&lt;br /&gt;
7. Account sales shall be made up half-yearly to Decem-&lt;br /&gt;
ber thirty-first and June thirtieth and delivered and settled&lt;br /&gt;
within five months of those dates. In making up accounts,&lt;br /&gt;
thirteen copies shall be reckoned as twelve in accordance&lt;br /&gt;
with trade usage.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#488) ################################################&lt;br /&gt;
&lt;br /&gt;
110&lt;br /&gt;
TRIE AUTHOR.&lt;br /&gt;
the publisher touching the meaning of this agreement or&lt;br /&gt;
the rights or liabilities of the parties thereunder, the same&lt;br /&gt;
shall be referred to the arbitration of two persons (one to&lt;br /&gt;
be named by each party) or their umpire, in accordance&lt;br /&gt;
with the provisions of the Arbitration Act, 1889.&lt;br /&gt;
9. The term &ldquo;PUBLISHER&amp;#039;&amp;#039; throughout this agreement&lt;br /&gt;
shall be deemed to include the person or persons or Com-&lt;br /&gt;
pany for the time being carrying on the business of the&lt;br /&gt;
said under as well its present as any&lt;br /&gt;
future style and the benefit of this agreement shall be&lt;br /&gt;
transmissible accordingly.&lt;br /&gt;
10. That in consideration of the publisher undertaking&lt;br /&gt;
the publication of the work hereinbefore mentioned, the&lt;br /&gt;
author agrees to give to the publisher the first refusal, from&lt;br /&gt;
one month of the date of the delivery of the manuscript, of&lt;br /&gt;
the next three new novels which he may write, suitable for&lt;br /&gt;
publication in 6s. volume form, and if the publisher accept&lt;br /&gt;
all or any of them, they shall be published on terms to be&lt;br /&gt;
mutually agreed upon. The term &ldquo;next three new novels &amp;quot;&lt;br /&gt;
shall not include any novel which the author may have&lt;br /&gt;
completed at the time of signing this agreement. -&lt;br /&gt;
It is not necessary to offer any very exhaustive&lt;br /&gt;
comment on this document, which, indeed, has&lt;br /&gt;
been fully commented on in a previous issue of&lt;br /&gt;
The Author.&lt;br /&gt;
Every clause is full of difficulties which would&lt;br /&gt;
work out to the author&amp;#039;s disadvantage. Indeed no&lt;br /&gt;
author could be recommended to sign such a&lt;br /&gt;
document.&lt;br /&gt;
We should like, however, to state very briefly&lt;br /&gt;
Some of the more serious objections.&lt;br /&gt;
It will be noticed that the author is asked to&lt;br /&gt;
provide a sum of money, not towards the cost of&lt;br /&gt;
production of the work, but as consideration for&lt;br /&gt;
certain acts which the publisher undertakes to&lt;br /&gt;
perform. No information is given to the author&lt;br /&gt;
as to how the money is to be spent, how the amount&lt;br /&gt;
fixed is arrived at, nor is any mention made of the&lt;br /&gt;
number of copies which the publisher will actually&lt;br /&gt;
print, bind and publish for the payment asked. It&lt;br /&gt;
is true that in section 4 (a) of the agreement the&lt;br /&gt;
author is promised a different royalty after the&lt;br /&gt;
sale of 2,000 copies, but this reference to 2,000&lt;br /&gt;
copies does not bind the publisher to anything,&lt;br /&gt;
though it may deceive the author. Nowhere does&lt;br /&gt;
the publisher agree to print that number. Indeed,&lt;br /&gt;
under an agreement of this kind some publishers&lt;br /&gt;
might produce a very small edition of, say, 400 or&lt;br /&gt;
500 copies, and by neglecting to advertise it&mdash;&lt;br /&gt;
readers will notice that the agreement contains&lt;br /&gt;
nothing which binds him to advertise&mdash;kill the&lt;br /&gt;
book entirely. This might pay him well, as he&lt;br /&gt;
would thereby secure to himself the greater portion&lt;br /&gt;
of the &pound;95. There is no identity of interest&lt;br /&gt;
between the parties. While the author looks to a&lt;br /&gt;
large sale to recoup him for his outlay, the&lt;br /&gt;
publisher, under this arrangement, is very often&lt;br /&gt;
independent of the public entirely as far as profit&lt;br /&gt;
is concerned. The publisher has already made&lt;br /&gt;
a profit on the production. He has little interest&lt;br /&gt;
8. If any difference shall arise between the author and&lt;br /&gt;
in the subsequent fate of the book. If the book&lt;br /&gt;
shows signs of selling, it is true that the publisher&lt;br /&gt;
may find it profitable to &ldquo;push &rsquo;&rsquo; it, but the point&lt;br /&gt;
to remember is that a book which succeeds when&lt;br /&gt;
published on these terms does so not because of the&lt;br /&gt;
publisher, but in spite of him. All that has&lt;br /&gt;
happened is that the publisher has committed an&lt;br /&gt;
error of judgment ; has accepted a book which has&lt;br /&gt;
&ldquo;caught on.&rdquo; despite the circumstances surrounding&lt;br /&gt;
its publication.&lt;br /&gt;
Moreover, there is nothing by which the author&lt;br /&gt;
can demand from the publisher a statement of&lt;br /&gt;
how the amount paid has been spent. He&lt;br /&gt;
cannot demand details as to the cost of production,&lt;br /&gt;
he cannot even demand any of the copies printed&lt;br /&gt;
as his own, although his payment may have covered,&lt;br /&gt;
and more than covered, their cost. The whole&lt;br /&gt;
agreement is thoroughly bad. To make matters&lt;br /&gt;
Worse, the author binds himself by the last clause&lt;br /&gt;
in the agreement for his next three books. Even&lt;br /&gt;
were the agreement as fair as it is grossly deplor-&lt;br /&gt;
able, we should still object to an author binding&lt;br /&gt;
himself for future works. With such an agree-&lt;br /&gt;
ment as the present one the clause is nothing&lt;br /&gt;
short of disastrous.&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
LIBEL WITHOUT INTENT.&lt;br /&gt;
JONES v. E. HULTON &amp;amp; Co., LTD.&lt;br /&gt;
HE principle involved in this case, which has&lt;br /&gt;
been confirmed by the House of Lords, is&lt;br /&gt;
one which affects authors and journalists,&lt;br /&gt;
and is of particular importance to writers of fiction.&lt;br /&gt;
It has now been laid down by the highest court&lt;br /&gt;
of appeal, that in an action for libel it is no.&lt;br /&gt;
defence to show that the defendant wrote the&lt;br /&gt;
defamatory statement with reference to some&lt;br /&gt;
imaginary person, and with no intention of&lt;br /&gt;
libelling the plaintiff. If the name of the&lt;br /&gt;
imaginary person adopted by the writer is that of&lt;br /&gt;
a living person, it seems to follow from the&lt;br /&gt;
decision that a jury may award damages to any&lt;br /&gt;
individual who happens to bear the name if the&lt;br /&gt;
evidence is sufficient to prove that those who know&lt;br /&gt;
the plaintiff would necessarily think that the&lt;br /&gt;
defamatory statement referred to him.&lt;br /&gt;
The libel was contained in an article in the&lt;br /&gt;
Sunday Chronicle, published in Manchester,&lt;br /&gt;
Written by the Paris correspondent and purporting&lt;br /&gt;
to describe the life at Dieppe on the occasion of&lt;br /&gt;
certain motor-car races. Incidentally the article&lt;br /&gt;
mentioned &ldquo;Artemus Jones,&rdquo; as being with a&lt;br /&gt;
woman who was not his wife, and described him as&lt;br /&gt;
a churchwarden of Peckham ; and it contrasted&lt;br /&gt;
the austerity of his parochial duties in the English,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#489) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTEIOR.&lt;br /&gt;
11 f&lt;br /&gt;
suburb with the gaiety of his proceedings upon&lt;br /&gt;
the Continent.&lt;br /&gt;
Mr. Artemus Jones, a barrister, brought an action&lt;br /&gt;
against the publishers of the newspaper for libel.&lt;br /&gt;
The evidence showed that the plaintiff was not a&lt;br /&gt;
churchwarden, or a resident of Peckham, and that&lt;br /&gt;
he was not married. But witnesses were called&lt;br /&gt;
who said that they had read the article and thought&lt;br /&gt;
that it referred to the plaintiff. The writer of the&lt;br /&gt;
article stated, however, that he had never heard of&lt;br /&gt;
the plaintiff, and that the name was suggested by&lt;br /&gt;
the name of &ldquo;Artemus Ward,&rdquo; and was used merely&lt;br /&gt;
for the purpose of representing a type of individual&lt;br /&gt;
in the scene described. The jury found that it&lt;br /&gt;
was a libel on the plaintiff, and awarded &pound;1,750&lt;br /&gt;
damages.&lt;br /&gt;
The defendants appealed upon the ground of mis-&lt;br /&gt;
direction, and upon the question whether the state-&lt;br /&gt;
ment could be libellous when it was not intended&lt;br /&gt;
to refer to the plaintiff. The Court of Appeal&lt;br /&gt;
dismissed the appeal.&lt;br /&gt;
In the House of Lords the Lord Chancellor&lt;br /&gt;
(Lord Loreburn) expressed his opinion on the&lt;br /&gt;
point as follows:&ndash; &ldquo;A libel is a tortious act.&lt;br /&gt;
What does the tort consist of 2 In using language&lt;br /&gt;
which others, knowing the circumstances, would&lt;br /&gt;
reasonably think to be defamatory of the person&lt;br /&gt;
who complained of being injured by it. A person&lt;br /&gt;
cannot defend himself from a charge of libel by&lt;br /&gt;
saying that he intended not to defame the person&lt;br /&gt;
complaining of being injured by the libel. By&lt;br /&gt;
publishing the libel the defendant imputed some-&lt;br /&gt;
thing disgraceful to the plaintiff, who had none the&lt;br /&gt;
less cause to complain because the defendant said&lt;br /&gt;
he did it unintentionally.&rdquo; Lord Shaw stated that&lt;br /&gt;
he adopted the view expressed by the Lord Chief&lt;br /&gt;
Justice (Lord Alverstone), who in his judgment&lt;br /&gt;
in the Court of Appeal had said : &ldquo;The question,&lt;br /&gt;
if it be disputed whether the article is a libel upon&lt;br /&gt;
the plaintiff, is a question of fact for the jury, and&lt;br /&gt;
in my judgment this question of fact involves not&lt;br /&gt;
only whether the language used of a person in its&lt;br /&gt;
fair and ordinary meaning is libellous or defamatory,&lt;br /&gt;
but whether the person referred to in the libel&lt;br /&gt;
would be understood by persons who knew him to&lt;br /&gt;
refer to the plaintiff.&rdquo;&lt;br /&gt;
The decision has been the subject of considerable&lt;br /&gt;
comment, and novelists may feel Some alarm lest&lt;br /&gt;
the chance selection of a name for One of the&lt;br /&gt;
characters in a novel may render them liable for&lt;br /&gt;
damages in a libel action brought by a person&lt;br /&gt;
whom they had no intention to defame and whose&lt;br /&gt;
existence may have been unknown to them.&lt;br /&gt;
Clearly some care is necessary in adapting names&lt;br /&gt;
for imaginary characters, but the alarm of novelists&lt;br /&gt;
may be exaggerated. There is a distinction&lt;br /&gt;
between works of fiction and a newspaper article&lt;br /&gt;
purporting to describe an actual scene taking&lt;br /&gt;
place in real life at a seaside resort. A character&lt;br /&gt;
in a novel is generally regarded as an imaginary&lt;br /&gt;
person, whereas the mention of an individual by&lt;br /&gt;
name in a descriptive narrative in a newspaper&lt;br /&gt;
may reasonably be supposed to refer to a real&lt;br /&gt;
person.&lt;br /&gt;
. Mr. Justice Channell made this distinction clear&lt;br /&gt;
in his direction to the jury, which was approved by&lt;br /&gt;
the House of Lords, when he said : *The real&lt;br /&gt;
point on which your verdict must turn is, ought or&lt;br /&gt;
ought not sensible and reasonable people reading&lt;br /&gt;
this article to to think that it was some imaginary&lt;br /&gt;
Person, such as I have said&mdash;Tom Jones, Mr.&lt;br /&gt;
Pecksniff, Mr. Stiggins, or any of that sort of&lt;br /&gt;
name&mdash;that one reads of in literature used as&lt;br /&gt;
types If you think that a reasonable person.&lt;br /&gt;
Would think that, it is not actionable at all. If,&lt;br /&gt;
on the other hand, you do not think that, but&lt;br /&gt;
think that people would suppose it to mean some&lt;br /&gt;
real person then the action is main-&lt;br /&gt;
tainable.&rdquo;&lt;br /&gt;
It may be mentioned that in other cases of tort,&lt;br /&gt;
for example, in an action for infringement of&lt;br /&gt;
Copyright, it has been held that the absence of&lt;br /&gt;
intention is no defence, and an innocent infringer&lt;br /&gt;
of copyright may be liable for damages although&lt;br /&gt;
he did not know of the existence of the Copyright.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
PAYING QUARTERLY AND ON DEMAND,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
MEMBER has been a contributor to a&lt;br /&gt;
weekly paper for seven or eight years. The&lt;br /&gt;
paper has lately been sold to a company of&lt;br /&gt;
the composition of which he knows nothing. The&lt;br /&gt;
member, being somewhat loth to break a long con-&lt;br /&gt;
nection, agreed to continue his contributions. The&lt;br /&gt;
custom of the paper had been to pay monthly.&lt;br /&gt;
Not receiving, when due, his first cheque under the&lt;br /&gt;
new ownership, the member applied for payment,&lt;br /&gt;
which was made in a short time. For his next&lt;br /&gt;
payments he applied twice, but received no reply.&lt;br /&gt;
Three months&amp;#039; remuneration being then due, the&lt;br /&gt;
member placed the matter in the hands of the&lt;br /&gt;
society.&lt;br /&gt;
On application by the secretary the company&lt;br /&gt;
wrote the following note, signed &ldquo;The Manager&rdquo;:&lt;br /&gt;
I am directed to inform you that this company&rsquo;s pay-&lt;br /&gt;
ments to contributors are made quarterly. The amounts,&lt;br /&gt;
therefore, for June, July, and August, become payable: in&lt;br /&gt;
September, and you may inform Mr. X. that as soon as the&lt;br /&gt;
amount for that period is complete, he will receive his.&lt;br /&gt;
cheque for the amount due to him.&lt;br /&gt;
To the member the editor also wrote that, owing&lt;br /&gt;
to the long credit asked by advertising agents and,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#490) ################################################&lt;br /&gt;
&lt;br /&gt;
112&lt;br /&gt;
TISIES A Pr&ordm;THOR.&lt;br /&gt;
others, the company had decided to pay con-&lt;br /&gt;
tributors quarterly. The editor regretted that the&lt;br /&gt;
member had seen fit to communicate with the&lt;br /&gt;
Authors&rsquo; Society, and added that if the quarterly&lt;br /&gt;
arrangement did not fall in with his views he&lt;br /&gt;
should tell him so.&lt;br /&gt;
The member replied, with the cognisance of the&lt;br /&gt;
secretary, that he regretted that he could not see&lt;br /&gt;
his way to continue his contributions to the paper&lt;br /&gt;
On a quarterly basis, and that when two applica-&lt;br /&gt;
tions for payment had been made without reply,&lt;br /&gt;
the editor could have no complaint to make of the&lt;br /&gt;
matter being placed in the society&amp;#039;s hands.&lt;br /&gt;
The member, as he expected, has heard nothing&lt;br /&gt;
further, and he has done no more work.&lt;br /&gt;
Finally, the Society&rsquo;s solicitors, under threat of&lt;br /&gt;
a writ, obtained a cheque.&lt;br /&gt;
There is a great deal to be said for the member&amp;#039;s&lt;br /&gt;
action in resisting, particularly in the case of a&lt;br /&gt;
paper which belongs to a company the members&lt;br /&gt;
of which are not known, an attempt to put off con-&lt;br /&gt;
tributors with quarterly payments. The writer,&lt;br /&gt;
who has been a journalist all his life, knows of mo&lt;br /&gt;
paper other than that referred to which pays&lt;br /&gt;
quarterly. He is informed, however, that some&lt;br /&gt;
exist.&lt;br /&gt;
The arrangement is, nevertheless, an inequitable&lt;br /&gt;
one. The contributor&rsquo;s work is begun and finished&lt;br /&gt;
before the office staff and the printers have done a&lt;br /&gt;
stroke. If there is to be any differentiation between&lt;br /&gt;
those to whom payments are due, it should not be&lt;br /&gt;
at the expense of those who have written the&lt;br /&gt;
&ldquo;copy&rsquo; that the staff and printers have to&lt;br /&gt;
handle. *&lt;br /&gt;
There is only one practice in connection with&lt;br /&gt;
the payment of contributors that is as bad as the&lt;br /&gt;
quarterly arrangement, and that is payment on&lt;br /&gt;
demand. It is impossible for a contributor to see&lt;br /&gt;
every issue of every paper to which he may send&lt;br /&gt;
work, and even if he orders copies he cannot always&lt;br /&gt;
obtain them. Copies have been reported &ldquo;out of&lt;br /&gt;
print&rsquo;&rsquo; even when ordered in advance through the&lt;br /&gt;
usual channels. This happened in a case lately in&lt;br /&gt;
the hands of the secretary of the society. The&lt;br /&gt;
time seems to have come when a protest should be&lt;br /&gt;
made against the system of payment on demand.&lt;br /&gt;
The net result of it is to leave in the hands of&lt;br /&gt;
the newspaper proprietors concerned a consider-&lt;br /&gt;
able balance on account of not paid-for contributions.&lt;br /&gt;
In the case of a daily paper this must amount to a&lt;br /&gt;
large sum in the course of a year. -&lt;br /&gt;
The plan not only of paying on publication, but&lt;br /&gt;
of sending a voucher copy of the issue containing&lt;br /&gt;
the article to the contributor who has written it, is&lt;br /&gt;
that to which proprietors should be pressed to&lt;br /&gt;
conform as a matter of equity, courtesy and good&lt;br /&gt;
business. The Manchester Guardian is conspicuous&lt;br /&gt;
..among daily papers in Sending a voucher copy.&lt;br /&gt;
Even the Quarterly Review, which costs six shillings&lt;br /&gt;
to buy, and carries a good deal of postage, is sent&lt;br /&gt;
to those who have articles in it.&lt;br /&gt;
As journals are increasingly owned by companies,&lt;br /&gt;
the directors of which know little of and care littl&eacute;&lt;br /&gt;
for the traditions of journalism, there will be&lt;br /&gt;
no doubt a larger number of cases in which the&lt;br /&gt;
payment of contributors is put off to the latest&lt;br /&gt;
possible date, and it behoves those in the profession&lt;br /&gt;
who value fair dealing to resist.&lt;br /&gt;
I should be very glad to receive from readers&lt;br /&gt;
of The Author the names of papers which pay&lt;br /&gt;
quarterly or on demand, with a view, if the com-&lt;br /&gt;
mittee of the Society approve, to publication of the&lt;br /&gt;
names of the journals in these columns as a&lt;br /&gt;
cautionary measure, or as a step to friendly&lt;br /&gt;
remonstrance.&lt;br /&gt;
It should be added that even the practice of the&lt;br /&gt;
best publications, of paying on publication, may be,&lt;br /&gt;
although an undoubted step in advance, by no&lt;br /&gt;
means an ideal arrangement. A very special&lt;br /&gt;
authority on the relations of editors and con-&lt;br /&gt;
tributors writes to me: &ldquo;I should like to say that&lt;br /&gt;
I think payment on publication is in a great many&lt;br /&gt;
cases almost as bad and, in Some cases, even worse&lt;br /&gt;
than payment quarterly. I have known articles in&lt;br /&gt;
the big reviews held up for two, and even three,&lt;br /&gt;
years. I think editors, in order to be businesslike,&lt;br /&gt;
ought really to drop a post-card as soon as they&lt;br /&gt;
decide to accept an article and, if possible, to pay&lt;br /&gt;
for all articles accepted within the week. The&lt;br /&gt;
Way editors keep authors dangling on by non-&lt;br /&gt;
publication and by no direct acceptance is some-&lt;br /&gt;
times very unsatisfactory and unbusinesslike.&rdquo;&lt;br /&gt;
HOME COUNTIES.&lt;br /&gt;
THE BERLIN convenTION.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&mdash;&lt;br /&gt;
HE Report of the Departmental Committee on&lt;br /&gt;
the Law of Copyright was issued to the public&lt;br /&gt;
on December 20, just as The Author was&lt;br /&gt;
going to press. In order to get the magazine out&lt;br /&gt;
by January 1, 1910, it was necessary to send to&lt;br /&gt;
Press earlier than usual on account of the Christ-&lt;br /&gt;
mas holidays. The Report is of such importance&lt;br /&gt;
that it would have been a mistake to publish any&lt;br /&gt;
superficial comments upon it in the current issue&lt;br /&gt;
of The Author. A considered criticism will be&lt;br /&gt;
published in due course.&lt;br /&gt;
We are glad to notice that the committee&lt;br /&gt;
recommend an extension of the copyright term to&lt;br /&gt;
life and fifty years, with only two dissentient&lt;br /&gt;
members. Another point of importance is the&lt;br /&gt;
fact that there is no minority report issued.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#491) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
113&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
&ordm;: without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution,&lt;br /&gt;
Secretary will undertake it on behalf of members,&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E RE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement). -&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth, From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :-&lt;br /&gt;
(1.) That both sides shall know what an agreement.&lt;br /&gt;
IO 63.IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld. -&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&ordm;&lt;br /&gt;
w&lt;br /&gt;
- &mdash;dh-&lt;br /&gt;
--~~&lt;br /&gt;
- EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manageT.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#492) ################################################&lt;br /&gt;
&lt;br /&gt;
114&lt;br /&gt;
THE A DTHOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(e.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NCENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
aules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act. -&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
-o-&ordm;-e&mdash;&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
L assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
e&mdash;&ordm;- e.&lt;br /&gt;
w = \&ordm;-&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&mdash;3&ndash;0&ndash;&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
* A&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
w-up- w&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
T the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
58. 6d. Subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&bull; &mdash;-&ordm;- a&lt;br /&gt;
-&ordm;-&lt;br /&gt;
v&ordm;y w&lt;br /&gt;
REMITTANCEs.&lt;br /&gt;
&mdash;4&mdash;&ordm;-t&mdash;&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#493) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
115&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash; -&lt;br /&gt;
COLLES v. MAUGHAM.&lt;br /&gt;
AN important case, of interest to members of the&lt;br /&gt;
Society, has just been decided before Mr. Justice&lt;br /&gt;
Channell and a special jury. The case was brought&lt;br /&gt;
by Mr. W. Morris Colles, literary agent, against&lt;br /&gt;
Mr. W. Somerset Maugham, dramatic author, and&lt;br /&gt;
related to a claim made by the plaintiff on the&lt;br /&gt;
defendant for commission for agency work.&lt;br /&gt;
The committee, before deciding to defend the&lt;br /&gt;
case, took counsel&amp;#039;s opinion, which was very&lt;br /&gt;
strongly in favour of the Society&amp;#039;s contesting the&lt;br /&gt;
claim on the ground that the plaintiff had no cause&lt;br /&gt;
of action. The committee, in addition, felt that it&lt;br /&gt;
was most important to have some distinct judg-&lt;br /&gt;
ment in order to be able to ascertain the rights&lt;br /&gt;
and wrongs of agency claims.&lt;br /&gt;
The verdict of the jury in the present case has,&lt;br /&gt;
however, been given against the member of the&lt;br /&gt;
Society to the extent of half the commission&lt;br /&gt;
claimed by the agent, who accordingly obtained&lt;br /&gt;
judgment for &pound;21 10s. and costs. The present&lt;br /&gt;
note is being written during the Christmas legal&lt;br /&gt;
vacation, and the advisers of the Society are con-&lt;br /&gt;
sidering the propriety of applying for a new trial,&lt;br /&gt;
so that the case is still to some extent sub judice,&lt;br /&gt;
and further comment on it must be deferred for a&lt;br /&gt;
short time.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COMMITTEE ELECTION.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
IN pursuance of Article 19 of the Articles of&lt;br /&gt;
Association of the Society, the committee&lt;br /&gt;
give notice that the election of members to&lt;br /&gt;
the committee of management will be proceeded&lt;br /&gt;
with in the following manner &mdash;&lt;br /&gt;
(1) One-third of the members of the present&lt;br /&gt;
committee of management retire from office in&lt;br /&gt;
accordance with Article 17.&lt;br /&gt;
(2) The members desiring to offer themselves for&lt;br /&gt;
re-election who have been nominated by the com-&lt;br /&gt;
mittee are Mrs. E. Nesbit Bland, Mr. Comyns&lt;br /&gt;
Carr, Mr. G. Bernard Shaw, and Mr. Francis Storr.&lt;br /&gt;
(3) The date fixed by the committee up to&lt;br /&gt;
which nominations by the subscribing members&lt;br /&gt;
of candidates for election to the new committee&lt;br /&gt;
may be made is the 15th day of February.&lt;br /&gt;
(4) The committee nominate the following&lt;br /&gt;
candidates, being subscribing members of the&lt;br /&gt;
Society, to fill the vacancies caused by the retire-&lt;br /&gt;
ment of one-third of the committee, according to&lt;br /&gt;
the new constitution :-&lt;br /&gt;
Mrs. E. Nesbit Bland.&lt;br /&gt;
Mr. Comyns Carr.&lt;br /&gt;
Mr. G. Bernard Shaw.&lt;br /&gt;
Mr. Francis Storr.&lt;br /&gt;
The Committee remind the members that, under&lt;br /&gt;
Article 19 of the amended articles of association,&lt;br /&gt;
&ldquo;any two subscribing members of the society may&lt;br /&gt;
hominate one or more subscribing members, other&lt;br /&gt;
than themselves, not exceeding the number of&lt;br /&gt;
Vacancies to be filled up, by notice in writing sent&lt;br /&gt;
t&ordm; the secretary, accompanied by a letter signed by&lt;br /&gt;
the candidate or candidates expressing willingness&lt;br /&gt;
to accept the duties of the post.&rdquo;&lt;br /&gt;
Members desiring to exercise their powers under&lt;br /&gt;
this rule must send in the name of the candidate&lt;br /&gt;
9, candidates they nominate, not exceeding four in&lt;br /&gt;
all, on or before the 15th day of February, together&lt;br /&gt;
With an accompanying letter written by the candi-&lt;br /&gt;
date, or candidates expressing readiness to accept&lt;br /&gt;
nomination. The complete list of candidates will&lt;br /&gt;
be printed in the March issue of The Auſ/or.&lt;br /&gt;
Having regard to the fact that the present Com-&lt;br /&gt;
mittee have been in office just over a year, the com-&lt;br /&gt;
mittee consider it in the interest of the society not&lt;br /&gt;
to suggest any change at the present time. They&lt;br /&gt;
have therefore re-nominated the four retiring&lt;br /&gt;
members. C&lt;br /&gt;
A &mdash;&ordm;- A.&lt;br /&gt;
~y-&lt;br /&gt;
w w&lt;br /&gt;
THE PENSION FUND COMMITTEE.&lt;br /&gt;
Is accordance with annual custom, and in order&lt;br /&gt;
to give members of the society, should they&lt;br /&gt;
desire to appoint a fresh member to the&lt;br /&gt;
Pension Fund Committee, full time to act, it has&lt;br /&gt;
been thought advisable to place in The Author a&lt;br /&gt;
complete statement of the method of election under&lt;br /&gt;
the scheme for administration of the Pension Fund.&lt;br /&gt;
Under that scheme the committee is composed of&lt;br /&gt;
three members elected by the committee of the&lt;br /&gt;
society, three members elected by the society at the&lt;br /&gt;
general meeting, and the chairman of the society&lt;br /&gt;
for the time being, ex officio. The three members&lt;br /&gt;
elected at the general meeting when the fund was&lt;br /&gt;
started were Mr. Morley Roberts, Mr. M. H. Spiel-&lt;br /&gt;
mann, and Mrs. Alec Tweedie. These have in turn&lt;br /&gt;
during the past years resigned, and, submitting&lt;br /&gt;
their names for re-election, have been unanimously&lt;br /&gt;
re-elected. Mr. Morley Roberts resigned and was&lt;br /&gt;
re-elected in 1909. This year Mr. M. H. Spielmann,&lt;br /&gt;
under the rules of the scheme, tenders his resigna-&lt;br /&gt;
tion, and submits his name for re-election. The&lt;br /&gt;
members have power to put forward other names&lt;br /&gt;
under clause 9, which runs as follows:&ndash;&lt;br /&gt;
Any candidate for election to the Pension Fund Com-&lt;br /&gt;
imittee by the members of the society (not being a retiring&lt;br /&gt;
member of such committee) shall be nominated in writing&lt;br /&gt;
to the secretary at least three weeks prior to the general&lt;br /&gt;
meeting at which such candidate is to be proposed, and the&lt;br /&gt;
nomination of each such candidate shall be subscribed by&lt;br /&gt;
at least three members of the society. A list of the names&lt;br /&gt;
of the candidates so nominated shall be sent to the members&lt;br /&gt;
of the society, with the annual report of the Managing&lt;br /&gt;
Committee, and those candidates obtaining the most votes&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#494) ################################################&lt;br /&gt;
&lt;br /&gt;
116&lt;br /&gt;
TFIES A UſTISIOR.&lt;br /&gt;
at the general meeting shall be elected to serve on the&lt;br /&gt;
Pension Fund Committee.&lt;br /&gt;
In case any member should desire to refer to the&lt;br /&gt;
list of members, the list, taking the elections up to&lt;br /&gt;
the end of July, 1907, was published in October&lt;br /&gt;
of that year. This list is complete, with the excep-&lt;br /&gt;
tion of the thirty-eight members referred to in the&lt;br /&gt;
short preface. All further elections have been duly&lt;br /&gt;
notified in The Author. They can easily be referred&lt;br /&gt;
to, as members receive a copy every month.&lt;br /&gt;
It will be as well, therefore, should any of the&lt;br /&gt;
members desire to put forward a candidate, to take&lt;br /&gt;
the matter within their immediate consideration.&lt;br /&gt;
The general meeting of the society has usually&lt;br /&gt;
been held towards the end of February or the&lt;br /&gt;
beginning of March. It is essential that all&lt;br /&gt;
nominations should be in the hands of the secretary&lt;br /&gt;
before the 31st of January, 1910.&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EFORE these notes are in type the new&lt;br /&gt;
American Academy, which has been in&lt;br /&gt;
embryo for the last five years, will have&lt;br /&gt;
fairly come to the birth. Of the sixty-two originally&lt;br /&gt;
selected members, seventeen have dropped out of&lt;br /&gt;
the ranks, the latest casualties having been H. C. Lea&lt;br /&gt;
and Richard Watson Gilder. If the desirableness of&lt;br /&gt;
the institution itself be conceded, few will, we think,&lt;br /&gt;
be found to quarrel with the names, a list of which&lt;br /&gt;
appeared in a recent number of the Chicago Dial.&lt;br /&gt;
It will be agreed by most Americans that the&lt;br /&gt;
book of the fall, if not the book of the year, has&lt;br /&gt;
been the veteran John Bigelow&rsquo;s &ldquo;Retrospections&lt;br /&gt;
of an Active Life.&rdquo; The three volumes cover no&lt;br /&gt;
less a period than fifty years&mdash;from 1817 to 1867&ndash;&lt;br /&gt;
and there is said to be more to come. Much of it&lt;br /&gt;
is concerned with the diplomatic life of Mr. Bigelow&lt;br /&gt;
at Paris, where he played a notable part at a&lt;br /&gt;
critical period of his country&amp;#039;s fortunes. There are&lt;br /&gt;
also notable personal estimates of Lincoln and&lt;br /&gt;
Seward ; and historical points of interest, such as&lt;br /&gt;
the death of Toussaint l&rsquo;Ouverture and the pro-&lt;br /&gt;
gress of the Monroe Doctrine, receive much atten-&lt;br /&gt;
tion. On the latter peril Mr. Bigelow is more&lt;br /&gt;
cautious and conservative than the men of to-day.&lt;br /&gt;
The third volume will be valuable to the historian&lt;br /&gt;
for the mass of material in the shape of confiden-&lt;br /&gt;
tial correspondence concerning the unfortunate&lt;br /&gt;
Mexican adventure of Napoleon III.&lt;br /&gt;
Several other notable biographical works are&lt;br /&gt;
also signalising this season. There are George&lt;br /&gt;
F. Parker&rsquo;s &ldquo;Recollections of Grover Cleveland,&rdquo;&lt;br /&gt;
and the story of Fulton&amp;#039;s achievements by his&lt;br /&gt;
descendant Alice Craty Sutcliffe, both of which&lt;br /&gt;
come from the Century Company; &ldquo;Home Letters&lt;br /&gt;
of General Sherman&rsquo;&rsquo; (extending from the West&lt;br /&gt;
Point period in 1837 through the war till 1888),&lt;br /&gt;
edited by M.A. De Wolfe. Howe, issued by&lt;br /&gt;
Scribners ; &ldquo;The Diary of President James&lt;br /&gt;
K. Polk,&rdquo; edited by Adlai E. Stevenson ; and&lt;br /&gt;
Clark E. Carr&rsquo;s &ldquo;Study of Stephen Douglas,&rdquo; by&lt;br /&gt;
the McClurg Company ; not to mention Emerson&rsquo;s&lt;br /&gt;
Journals, Stanley&rsquo;s &ldquo;Autobiography,&rdquo; William&lt;br /&gt;
Winter&rsquo;s &ldquo;Life and Art of Richard Mansfield,&rdquo;&lt;br /&gt;
and Eugenie Paul Jefferson&rsquo;s &ldquo;Intimate Recollec-&lt;br /&gt;
tions of Joseph Jefferson.&rdquo; It is a veritable&lt;br /&gt;
embarras de richesse.&lt;br /&gt;
Cleveland&amp;#039;s Vice-president and Polk&amp;#039;s editor&lt;br /&gt;
gives us some fine miscellaneous feeding in his&lt;br /&gt;
&ldquo;Something of Men I have Known,&rdquo; which is full&lt;br /&gt;
of good stories. &amp;amp;&lt;br /&gt;
Apropos of the &ldquo;Pigskin Library&rdquo; catalogue at&lt;br /&gt;
the end of one of Mr. Roosevelt&amp;#039;s recent Scribner&lt;br /&gt;
articles, a writer in the Dial suggested that &ldquo;The&lt;br /&gt;
Pigskin Library,&rdquo; edited by Theodore Roosevelt,&lt;br /&gt;
might not be a bad venture for some enterprising&lt;br /&gt;
publisher, &ldquo;especially if he could announce the&lt;br /&gt;
volumes as bound in skins of the distinguished&lt;br /&gt;
editor&amp;#039;s own procuring &rdquo;&lt;br /&gt;
Judge Shute has followed up his &ldquo;Real Diary of&lt;br /&gt;
a Real Boy&rdquo; with &ldquo;Farming It,&rdquo; which purports to&lt;br /&gt;
be the narrative of his experiences as an amateur&lt;br /&gt;
agriculturist in the region of Exeter, New Hamp-&lt;br /&gt;
shire. The judge makes free with the names of&lt;br /&gt;
his friends and neighbours, nay more, with his own,&lt;br /&gt;
his wife&amp;#039;s and his children&amp;#039;s, and does not stick too&lt;br /&gt;
closely to his text. Yet there are some who charge&lt;br /&gt;
him with &ldquo;fiction.&rdquo;&lt;br /&gt;
Professor Wilbur L. Cross&rsquo;s &ldquo;Life and Times of&lt;br /&gt;
Laurence Sterne,&rdquo; like Emerson&amp;#039;s Journal, com-&lt;br /&gt;
bines biographical and literary interest. Five&lt;br /&gt;
years ago the author, in his edition of Sterne,&lt;br /&gt;
was the first to print &ldquo;The Journal to Eliza.&rdquo; In&lt;br /&gt;
the present work he has used other unedited&lt;br /&gt;
material. Although he has made his objective a&lt;br /&gt;
personal rather than a literary life, it seems likely&lt;br /&gt;
that the book, from its fulness, accuracy and fresh-&lt;br /&gt;
ness, will prove, in many aspects of the subject, a&lt;br /&gt;
definitive record. .&lt;br /&gt;
On October 21, the anniversary of the distin-&lt;br /&gt;
guished Harvard professor&amp;#039;s death, the Charles&lt;br /&gt;
Eliot Norton Memorial Lectureship in the Arch&aelig;o-&lt;br /&gt;
logical Institute of America was endowed by Mr.&lt;br /&gt;
James Loch. Preference in the choice of lecturers&lt;br /&gt;
is to be given to European scholars, but Americans&lt;br /&gt;
are not to be wholly barred.&lt;br /&gt;
Nearly the same day appeared, with the imprint&lt;br /&gt;
of the Houghton, Mifflin Company, &ldquo;American&lt;br /&gt;
Foreign Policy, by a Diplomatist,&rdquo; both the con-&lt;br /&gt;
tents and the authorship of which were calculated&lt;br /&gt;
to excite no small interest.&lt;br /&gt;
From the Chicago University Press comes&lt;br /&gt;
&ldquo;The Armenian Awakening,&rdquo; by Leon Arpee, a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#495) ################################################&lt;br /&gt;
&lt;br /&gt;
THE A LITH OF&ordm;.&lt;br /&gt;
117&lt;br /&gt;
publication likely to be often referred to in the&lt;br /&gt;
years to come.&lt;br /&gt;
Henry James&amp;#039;s &ldquo;Italian Hours&amp;quot; hardly needs&lt;br /&gt;
Comment in The Author, and the same may perhaps&lt;br /&gt;
be said of W. D. Howells&amp;#039;s &ldquo;Seven Cities,&rdquo; which&lt;br /&gt;
most of your readers will have seen or read&lt;br /&gt;
about.&lt;br /&gt;
In view of the raging, tearing suffrage agitation,&lt;br /&gt;
they may, however, like their attention drawn to&lt;br /&gt;
Dr. Edith Abbott&amp;#039;s &ldquo;Women in Industry,&rdquo; which&lt;br /&gt;
is issued by Messrs. Appleton.&lt;br /&gt;
Anna A. Rogers&amp;#039;s &ldquo;Why American Marriages&lt;br /&gt;
Fail&rdquo; (Houghton, Mifflin)&mdash;we will not disclose&lt;br /&gt;
the secret&mdash;may by some cynics also be held to&lt;br /&gt;
bear upon the subject.&lt;br /&gt;
On November 15 the new buildings of the Boston&lt;br /&gt;
Art Museum were opened. The Museum has&lt;br /&gt;
acquired some valuable Greek sculptures, and is&lt;br /&gt;
increasing its deservedly high reputation.&lt;br /&gt;
It is announced that Mr. and Mrs. Joseph&lt;br /&gt;
Pennell are to begin a lecturing tour in America&lt;br /&gt;
in January next, their subjects being &ldquo;Whistler,&lt;br /&gt;
Artist and Man,&rdquo; &ldquo;The History of Illustration,&rdquo;&lt;br /&gt;
and &ldquo;Engraving.&rdquo;&lt;br /&gt;
&ldquo;The Life and Letters of Edmund Clarence&lt;br /&gt;
Stedman&rdquo; is to be undertaken by his granddaughter,&lt;br /&gt;
Moffat Yard &amp;amp; Co. being her publishers.&lt;br /&gt;
Messrs. Scribner are undertaking the Memorial&lt;br /&gt;
Edition of Meredith in the United States.&lt;br /&gt;
James Edward Rogers has essayed to defend &ldquo;The&lt;br /&gt;
American Newspaper&rsquo; in a large spirit. We do&lt;br /&gt;
not envy him his task of examining fifteen thousand&lt;br /&gt;
journals, but are constrained to applaud his thorough-&lt;br /&gt;
neSS. It is Chicago that repels the attack of the&lt;br /&gt;
foe, not the headquarters of the Yellow Press.&lt;br /&gt;
The reprint of John Davis&rsquo;s &ldquo;Travels of Four&lt;br /&gt;
Years and a Half in the United States&rdquo; (H. Holt&lt;br /&gt;
&amp;amp; Co.)&ndash;1798 to 1802 they were&mdash;will be welcome&lt;br /&gt;
to the curious.&lt;br /&gt;
Fiction is not unduly prominent just at present,&lt;br /&gt;
though Messrs. Holt are publishing for Professor&lt;br /&gt;
Canby, of Yale, &ldquo;A Guide to the Short Story in&lt;br /&gt;
English.&rdquo; &ldquo;Happy Hawkins&rdquo; has been hailed in&lt;br /&gt;
some quarters as the best story of the West since&lt;br /&gt;
&ldquo;The Virginians.&rdquo; The author is Robert Alexander&lt;br /&gt;
Wason ; the publishers, Small, Maynard &amp;amp; Co.&lt;br /&gt;
Mr. Marion Crawford&amp;#039;s posthumous &ldquo;Stradella&rsquo;&rsquo;&lt;br /&gt;
was a good love story ; Jack London did himself&lt;br /&gt;
justice in his &ldquo;Martin Eden,&rdquo; as did Thomas&lt;br /&gt;
Nelson Page in &ldquo;John Marvel&amp;#039;s Assistant.&rdquo; &ldquo;The&lt;br /&gt;
Southerner,&rdquo; a book of some force but slender&lt;br /&gt;
artistic merit, seems to be of the nature of a roman&lt;br /&gt;
&agrave; clef.&lt;br /&gt;
&ldquo;Lost Borders,&rdquo; a collection of short stories by&lt;br /&gt;
Harry Austin, is distinguished for a certain forceful&lt;br /&gt;
simplicity.&lt;br /&gt;
Mr. Chambers&amp;#039;s new story is called &ldquo;The Danger&lt;br /&gt;
Mark;&rdquo; that of Miss Elizabeth Robins, &ldquo;The Floren-&lt;br /&gt;
time Frame.&rdquo;&lt;br /&gt;
Theatre.&rdquo;&lt;br /&gt;
Hamlin Garland displays his old power of con-&lt;br /&gt;
Veying atmosphere in &ldquo;The Moccasin Ranch.&rdquo;&lt;br /&gt;
My obituary list includes Henry Charles Lea&lt;br /&gt;
(who died at Philadelphia on October 24), the dis-&lt;br /&gt;
tinguished historian of the Inquisition and author&lt;br /&gt;
of other works on Spanish and ecclesiastical history,&lt;br /&gt;
Who was a publisher by extraction as well as pursuit ;&lt;br /&gt;
Col. Theodore Dodge (died at Versailles, October 26),&lt;br /&gt;
Who lost liberty and a leg in the Civil War, but&lt;br /&gt;
lived to write its history, as well as those of Alex-&lt;br /&gt;
Ander, Hannibal, and other military heroes:&lt;br /&gt;
Richard Watson Gilder (died in New York,&lt;br /&gt;
November 18), editor of the Century Maſſazine,&lt;br /&gt;
Scribner&amp;#039;s Monthly, and other periodicals, distin-&lt;br /&gt;
guished as poet and municipal reformer ; and&lt;br /&gt;
William M. Laffan, publisher of the New York&lt;br /&gt;
Sun for a quarter of a century, and author of&lt;br /&gt;
&ldquo;American Wood Engravers.&rdquo;&lt;br /&gt;
The latter is &ldquo;a novel of the New&lt;br /&gt;
a&mdash;&ordm;- a&lt;br /&gt;
v-u-w&lt;br /&gt;
DIFFICULTY IN WIRITING.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HILE many authors are blessed with a&lt;br /&gt;
fluent pen, and give themselves no&lt;br /&gt;
anxiety how they shall begin, or con-&lt;br /&gt;
tinue, or leave off, others are afflicted with a kind&lt;br /&gt;
of paralysis, and labour under an unaccountable&lt;br /&gt;
friction, which obstructs them at every turn and&lt;br /&gt;
makes composition a herculean task. This difficulty&lt;br /&gt;
isin writing very much what stammering is in speech,&lt;br /&gt;
the effort to bring out the words and to say a thing&lt;br /&gt;
being wholly disproportionate to the result : extra-&lt;br /&gt;
ordinary exertions are made, and after all the&lt;br /&gt;
outcome is no more than ordinary speaking. The&lt;br /&gt;
two disorders, moreover, appear to me to be alike&lt;br /&gt;
in this, that both more or less are due to a certain&lt;br /&gt;
nervousness. If the author, inflamed with ideas,&lt;br /&gt;
could but compose himself, could lay aside exces-&lt;br /&gt;
sive anxiety, and confront his subject squarely, he&lt;br /&gt;
would no doubt be more &ldquo;prosperously delivered &rdquo;&lt;br /&gt;
of his thoughts. Indeed, I suppose most people&lt;br /&gt;
find that what is written for private purposes is&lt;br /&gt;
done much more expeditiously and freely than what&lt;br /&gt;
is written for publication, and often better done&lt;br /&gt;
into the bargain. Still, I do not mean to say that&lt;br /&gt;
difficulty in writing is a complaint so superficial&lt;br /&gt;
that it may be cured by a Sage precept or two ;&lt;br /&gt;
for, on the contrary, quickness or slowness are&lt;br /&gt;
qualities so deeply embedded in our nature that we&lt;br /&gt;
never outlive them, but show our tendency to one&lt;br /&gt;
or the other almost in our every act. Nor do I&lt;br /&gt;
suggest by any means that it is the mark of an&lt;br /&gt;
indifferent or inexperienced writer to be slow and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#496) ################################################&lt;br /&gt;
&lt;br /&gt;
118&lt;br /&gt;
TriB Anthor.&lt;br /&gt;
to express oneself with a struggle. Everyone knows&lt;br /&gt;
that this is not so ; everyone knows that there has&lt;br /&gt;
been no lack even among the greatest authors to&lt;br /&gt;
give proof&ndash;what Vasari says in allusion to some&lt;br /&gt;
drawings of Michael Angelo&mdash;that the hammer of&lt;br /&gt;
Vulcan was necessary to bring Minerva from the&lt;br /&gt;
head of Jupiter. Swift even goes so far as to assert&lt;br /&gt;
that common fluency of speech is owing to scarcity&lt;br /&gt;
of matter and scarcity of words: &ldquo;people come&lt;br /&gt;
faster out of a church when it is almost empty, than&lt;br /&gt;
when a crowd is at the door,&rdquo; he remarks.&lt;br /&gt;
When we consider it in the abstract it certainly&lt;br /&gt;
seems that writing ought to be a very easy thing,&lt;br /&gt;
for it is nothing but putting down what you have&lt;br /&gt;
to say. It really is hardly credible that a man can&lt;br /&gt;
find such difficulty in it. Yet where is the author&lt;br /&gt;
who does not know that it is a labour to write, a&lt;br /&gt;
severe labour very often, and sometimes a desperate&lt;br /&gt;
encounter in which he wrestles and contends as with&lt;br /&gt;
an adversary On such occasions I have often&lt;br /&gt;
asked myself what it is that impedes me, and why&lt;br /&gt;
I cannot get on and despatch my business. For&lt;br /&gt;
doubtless much that retards us in these instances&lt;br /&gt;
has only to be brought to view to be set aside, or&lt;br /&gt;
at least made less formidable. To this end I shall&lt;br /&gt;
here notice some of the hindrances to fluency, or&lt;br /&gt;
expedition, in writing.&lt;br /&gt;
The first lies in bringing conceptions to earth,&lt;br /&gt;
and making them specific. What we think for&lt;br /&gt;
ourselves is done as it were in skeleton : here we&lt;br /&gt;
are in immediate contact with the ideas themselves,&lt;br /&gt;
so the merest tracery suffices; we know what we&lt;br /&gt;
mean at once, and have no need to enter into&lt;br /&gt;
details, arguments and long explanations. But in&lt;br /&gt;
Writing we have to communicate thoughts, that is&lt;br /&gt;
to say, we have to make other people understand,&lt;br /&gt;
other people feel. This necessitates a certain&lt;br /&gt;
radical transformation of the idea, in which what&lt;br /&gt;
before was diffuse is condensed into something&lt;br /&gt;
definite, as vapour is turned into rain. To corner&lt;br /&gt;
our thoughts in this way, if I may so express it,&lt;br /&gt;
and make them stand and deliver, often presents&lt;br /&gt;
the greatest difficulty ; for thoughts are so far&lt;br /&gt;
from immediately becoming words, as has been&lt;br /&gt;
maintained, that a person may conceive in a few&lt;br /&gt;
moments what will take him weeks to bring&lt;br /&gt;
properly out. He has the guiding points, the&lt;br /&gt;
essence of the thing in mind ; but that it may take&lt;br /&gt;
communicable shape, steady development, rumina-&lt;br /&gt;
tion, is required. This, then, is one of the&lt;br /&gt;
hindrances to ready writing. It is obviated, at&lt;br /&gt;
least to a great extent, by thinking before we begin&lt;br /&gt;
to write, and making the subject perfectly clear to&lt;br /&gt;
ourselves; for the more definite an idea is, the&lt;br /&gt;
more easily it slips into Words.&lt;br /&gt;
The question of order and arrangement is&lt;br /&gt;
another fertile cause of delay. If in writing we&lt;br /&gt;
had nothing else to do but put down the thoughts&lt;br /&gt;
just as they came into our heads, and to go&lt;br /&gt;
rambling on like a madman, there would indeed be&lt;br /&gt;
little excuse for stopping. But a self-respecting&lt;br /&gt;
author aims at being consequent and connected :&lt;br /&gt;
and so he is necessarily often exercised as to how&lt;br /&gt;
he shall dispose of his matter. This particular&lt;br /&gt;
difficulty is greatest at the beginning, and&lt;br /&gt;
diminishes with the progress of the work : for at&lt;br /&gt;
first a hundred alternatives present themselves, but&lt;br /&gt;
once a beginning is made one thing leads to&lt;br /&gt;
another. A good beginning gives an impetus, and&lt;br /&gt;
carries one along ; SO it is just as well to allow a&lt;br /&gt;
little delay here, and not from impatience to rush&lt;br /&gt;
blindly in. At the same time it is better to write&lt;br /&gt;
something near to what we would, than by waiting&lt;br /&gt;
indefinitely for the exact expression to write&lt;br /&gt;
nothing at all.&lt;br /&gt;
Next, transition must be mentioned. It brings&lt;br /&gt;
the writer to a temporary halt whenever what he is&lt;br /&gt;
about to say diverges from what he has just said.&lt;br /&gt;
To pass smoothly from point to point in a piece of .&lt;br /&gt;
writing, so that the whole runs on without abrupt&lt;br /&gt;
jerks and changes, is not always easy to manage ;&lt;br /&gt;
and thus, to be paradoxical, the very effort at&lt;br /&gt;
fluency may hinder fluency, the writer pausing&lt;br /&gt;
that the reader may afterwards the better go on.&lt;br /&gt;
Akin to this is the difficulty of returning from a&lt;br /&gt;
digression to take up the main theme again, and&lt;br /&gt;
also that of trying to bring any special observation&lt;br /&gt;
within the scope of the subject we have undertaken&lt;br /&gt;
to write about. They are both best avoided by&lt;br /&gt;
determining not to drag in alien malter. Other&lt;br /&gt;
causes of obstruction to the free course of writing&lt;br /&gt;
are trying to find examples, trying to begin or end&lt;br /&gt;
in a particular way, trying to fit in special words&lt;br /&gt;
or phrases, avoiding dissonance, and seeking&lt;br /&gt;
variety of expression ; for all these and many&lt;br /&gt;
other considerations prevent us from putting down&lt;br /&gt;
the first thing that comes into our heads.&lt;br /&gt;
But perhaps the chief hindrances to despatch in&lt;br /&gt;
Writing are moral in their nature. Among these I&lt;br /&gt;
have already mentioned anxiety. It is a great tie,&lt;br /&gt;
and not only prevents a person from pushing&lt;br /&gt;
adequately forward in his work, but makes what&lt;br /&gt;
he does write calculated and halting, depriving him&lt;br /&gt;
of his proper freedom, and so of the grace that&lt;br /&gt;
naturally accompanies unconscious and unimpeded&lt;br /&gt;
action. Instead of attending to his business, and&lt;br /&gt;
saying what he has got to say, an author Very often&lt;br /&gt;
is mainly intent upon making an impression. This&lt;br /&gt;
pre-occupation to appear to advantage, this exces-&lt;br /&gt;
sive caution not to make a mistake, brings constant&lt;br /&gt;
hesitation, hampers the movements, and, in thus&lt;br /&gt;
interrupting, cools and dries the stream of&lt;br /&gt;
eloquence. To avoid slovenly writing is but due&lt;br /&gt;
to the reader; but guardedness, which retards the&lt;br /&gt;
pen far more, only shows distrust. Hence it is&lt;br /&gt;
often a positive help to an author to make less of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#497) ################################################&lt;br /&gt;
&lt;br /&gt;
TFE A CITFIOR.&lt;br /&gt;
119&lt;br /&gt;
an undertaking of his work, and not to be too con-&lt;br /&gt;
cerned about the success of it.&lt;br /&gt;
To lie under an obligation to write in a given&lt;br /&gt;
manner or at given length is another thing that&lt;br /&gt;
prevents easy progress; for a man is thus put out&lt;br /&gt;
of his natural stride, and moves under constraint.&lt;br /&gt;
But the worst effect of any is produced by dis-&lt;br /&gt;
inclination&mdash;&mdash;a negative sort of electricity which&lt;br /&gt;
repels ideas and scatters attention. When we are&lt;br /&gt;
in this mood, dawdling is unavoidable. Some&lt;br /&gt;
slight aversion of this kind is generally experienced&lt;br /&gt;
in commencing to write, since it requires a certain&lt;br /&gt;
interval to work up the circulation in the mind.&lt;br /&gt;
Time and place, again, have great influence on the&lt;br /&gt;
happiness of composition ; for, whatever people&lt;br /&gt;
may say, there is no more fancy in an author not&lt;br /&gt;
being able to write with equal ease at any time or&lt;br /&gt;
in any place, than in his not being able to go to&lt;br /&gt;
sleep whenever or wherever he wishes. Still,&lt;br /&gt;
Control does much to master any undue fastidious-&lt;br /&gt;
ness in this particular,&lt;br /&gt;
In speaking above of the reduction of ideas from&lt;br /&gt;
the form in which we dwell upon them for ourselves&lt;br /&gt;
to that in which they must be embodied so as to&lt;br /&gt;
become transmissible to others, I omitted to notice&lt;br /&gt;
that hesitation is often caused by the poverty of&lt;br /&gt;
the thought to be conveyed. At the last moment&lt;br /&gt;
the writer discovers that his idea contains much&lt;br /&gt;
less than at first seemed ; he does not like to come&lt;br /&gt;
right out with it : and he must then either beat&lt;br /&gt;
about the bush, or waste time in belated improvisa-&lt;br /&gt;
tion. To avoid this, we must fatten up our&lt;br /&gt;
chickens before we bring them to market, or, in&lt;br /&gt;
other words, make sure that we have something to&lt;br /&gt;
tell before preparing to tell it.&lt;br /&gt;
I say nothing here of style, the question&lt;br /&gt;
being about difficulty in writing, not about&lt;br /&gt;
difficulty in the arts, or technique of writing,&lt;br /&gt;
just as in a factory there is the question of power&lt;br /&gt;
transmission, quite apart from that of the style&lt;br /&gt;
and quality of the goods manufactured. What&lt;br /&gt;
introduces needless friction ; what makes a writer&lt;br /&gt;
gape about, and dilly-dally, and fritter away his&lt;br /&gt;
time and energy ; what impedes his utterance,&lt;br /&gt;
even when all attentive; these are the points we&lt;br /&gt;
set out to consider. Having made our diagnosis,&lt;br /&gt;
it remains to prescribe the remedies. They are, of&lt;br /&gt;
course, several; but I must not be interminable,&lt;br /&gt;
and therefore shall content myself with giving a&lt;br /&gt;
single specific. But, so that I may no longer&lt;br /&gt;
appeal to a sick man for advice how to be healthy,&lt;br /&gt;
let me in this pass over my own opinions, and&lt;br /&gt;
conclude with the sententious maxim of Cobbett :&mdash;&lt;br /&gt;
Sit down to write what you have thought, and not&lt;br /&gt;
to think what you shall write.&lt;br /&gt;
NORMAN ALLISTON.&lt;br /&gt;
THE REVIEWER AND HIS LITTLE WAYS.&lt;br /&gt;
BY A WRITER.&lt;br /&gt;
OME authors never read reviews of their own&lt;br /&gt;
Works&mdash;or so they inform a credulous world.&lt;br /&gt;
Others not only read them, but when they&lt;br /&gt;
are favoured with a good review, cut it out and&lt;br /&gt;
keep it. Others again, a noble few, cut out all&lt;br /&gt;
the notices they receive, good and bad, and paste&lt;br /&gt;
them into a book. This book serves as a means&lt;br /&gt;
of Self-chastening when the author is conscious of&lt;br /&gt;
feeling uplifted. Not only are the best notices&lt;br /&gt;
of his works balanced by others which it is dis-&lt;br /&gt;
agreeable to recall, but the reviewer who wishes&lt;br /&gt;
to be kind does not always praise the right thing.&lt;br /&gt;
If you are the sole European authority on the&lt;br /&gt;
manners and customs of the Elecampane Indians,&lt;br /&gt;
it jars upon you to find a jovial person writing of&lt;br /&gt;
your book &mdash;&ldquo;A thrilling narrative, but we think&lt;br /&gt;
less of its main theme than does the author.&lt;br /&gt;
Anyone can Write about Indians, and what appeals&lt;br /&gt;
to us is the racy account of the doings on the&lt;br /&gt;
Voyage out.&rdquo; We knew an author once who was&lt;br /&gt;
compared, year after year, by a certain paper to&lt;br /&gt;
Jane Austen. High praise, one would say, and&lt;br /&gt;
fairly certain to exceed his deserts. Ah, but the&lt;br /&gt;
Works in question were thrilling romances of&lt;br /&gt;
adventure, as desirous as the Fat Boy of making&lt;br /&gt;
the flesh Creep. And they recalled Jane Austen&lt;br /&gt;
because &ldquo;they began quietly, went on quietly,&lt;br /&gt;
ended quietly; they never stirred the blood; they&lt;br /&gt;
Were more painstakingly decorous than &amp;#039;&amp;#039; even her&lt;br /&gt;
books&lt;br /&gt;
But these, after all, are good reviews, and if&lt;br /&gt;
they are to be read for chastening, the bad may&lt;br /&gt;
be recalled for comfort. Not so much the first&lt;br /&gt;
bad review you ever received, which you read with&lt;br /&gt;
a pained incredulity that anyone could be found&lt;br /&gt;
to say such unkind, unfair things about a book&lt;br /&gt;
which other critics had found so good, but those&lt;br /&gt;
that came a little later, looking back on which&lt;br /&gt;
you are tempted to wonder how you ever dared to&lt;br /&gt;
go on writing at all. It was a question of setting&lt;br /&gt;
your teeth and sitting tight, for the unpleasant&lt;br /&gt;
review has a staying power that outlasts even that&lt;br /&gt;
of the delightfully kind one that makes you go&lt;br /&gt;
about smiling to yourself all day. But you lived&lt;br /&gt;
through it somehow, and went on writing, and&lt;br /&gt;
you have a certain feeling of triumph nowadays&lt;br /&gt;
when the reviewers tell you how good your earlier&lt;br /&gt;
books were. It is true they are not flattering to&lt;br /&gt;
those of the present. &ldquo;We expected better work&lt;br /&gt;
than this from the hand that gave us &rsquo; and&lt;br /&gt;
* &mdash;,&amp;#039;&rdquo; they say. &ldquo;In Mr. Smith pro-&lt;br /&gt;
duced a masterpiece, even a classic, and the present&lt;br /&gt;
book reveals, a sad falling-off from his earlier&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#498) ################################################&lt;br /&gt;
&lt;br /&gt;
120&lt;br /&gt;
TISIES A DITFIOR.&lt;br /&gt;
methods.&rdquo; In some surprise, you look up the&lt;br /&gt;
review of the masterpiece in question, and find&lt;br /&gt;
that the reviewer&amp;#039;s love to it was so carefully&lt;br /&gt;
dissembled that he had no hesitation in kicking it&lt;br /&gt;
downstairs immediately on its appearance. And&lt;br /&gt;
if your first books were better than you were ever&lt;br /&gt;
allowed to suspect at the time, so also your&lt;br /&gt;
personal dignity stood higher in the reviewer&amp;#039;s&lt;br /&gt;
estimation. &ldquo;Mr. Smith should really not have&lt;br /&gt;
come down to this line of business,&rdquo; he says now,&lt;br /&gt;
with pained surprise, and you wonder how any&lt;br /&gt;
descent was possible from the extremely low level&lt;br /&gt;
at which your reputation stood. If it be permitted&lt;br /&gt;
to the trodden worm to indulge a grievance against&lt;br /&gt;
its treader, you might find one in the Occasional&lt;br /&gt;
inconsistency of your critic. &ldquo;We cannot but&lt;br /&gt;
trust,&rdquo; he says, &ldquo;that in the next instalment of&lt;br /&gt;
the story we shall get plenty of that romantic&lt;br /&gt;
political intrigue in the delineation of which&lt;br /&gt;
|Mr. Smith has so often proved himself a master.&rdquo;&lt;br /&gt;
The next instalment does provide the required&lt;br /&gt;
excitement, and with beating heart you await&lt;br /&gt;
commendation, only to receive this dash of cold&lt;br /&gt;
water :&mdash;&ldquo;The story is well written, and some of&lt;br /&gt;
the scenes are very striking ; but we cannot feel&lt;br /&gt;
much interest in these politics &amp;#039;&amp;#039;&lt;br /&gt;
But there is something to be thankful for even&lt;br /&gt;
here, for many a reviewer is driven to frenzy by&lt;br /&gt;
the discovery of a sequel&mdash;a thing that readers&lt;br /&gt;
delight in and demand. No matter how complete&lt;br /&gt;
the book is in itself, he washes his hands of it the&lt;br /&gt;
moment he perceives it is not the first appearance&lt;br /&gt;
of every character on any stage. Sometimes excess&lt;br /&gt;
of resentment leads him to o&amp;#039;erleap himself. Of a&lt;br /&gt;
certain novel a reviewer said that &ldquo;the heroine&lt;br /&gt;
was preordained to die because in a former book,&lt;br /&gt;
post-dated, her husband appeared as a widower.&rdquo;&lt;br /&gt;
But the gentleman referred to did not appear at&lt;br /&gt;
all, save as a ghost, in the other book, and the&lt;br /&gt;
author remains intermittently troubled by the&lt;br /&gt;
problem whether a ghost can correctly be spoken&lt;br /&gt;
of as a widower.&lt;br /&gt;
There is another unpardonable sin in the&lt;br /&gt;
reviewer&rsquo;s eyes, and that is length. Here again&lt;br /&gt;
his interest runs directly counter to that of the&lt;br /&gt;
reader. Lordly in his seclusion, with his weekly&lt;br /&gt;
dose of fiction delivered at his door in a neat&lt;br /&gt;
parcel from the office, he has never waited in a&lt;br /&gt;
circulating library, watching the women who&lt;br /&gt;
extricate their books with difficulty from a string&lt;br /&gt;
bag containing various materials for home dress-&lt;br /&gt;
making and a cake for tea. He would see them&lt;br /&gt;
weighing critically the merits of two novels on the&lt;br /&gt;
score of number of pages and closeness of print.&lt;br /&gt;
They discern at once the publishers&amp;#039; catalogue&lt;br /&gt;
which, with the aid of paper as thick as cardboard,&lt;br /&gt;
pads out to six-shilling length the little gem which&lt;br /&gt;
he ran through in twenty minutes and stamped&lt;br /&gt;
with the seal of his high approval, and they reject&lt;br /&gt;
it unhesitatingly. What use would so slight a&lt;br /&gt;
production be in alleviating a toothache or a cold&lt;br /&gt;
in the head It would be gone in no time, and&lt;br /&gt;
there would be nothing more to read. As well set&lt;br /&gt;
a cream meringue before a hungry man.&lt;br /&gt;
If the reviewer could only be brought to see it,&lt;br /&gt;
it is not the length of the book that is in fault,&lt;br /&gt;
but the necessity for pretending to have tried to&lt;br /&gt;
read it through. The pretence results in a notice&lt;br /&gt;
something like this :&mdash;&ldquo;&lsquo;The Pink Lobelia&amp;#039; is a&lt;br /&gt;
novel that suffers from being interminable. We&lt;br /&gt;
have spent many weary hours over it, and failed&lt;br /&gt;
to reach the end. Of course Lord Hugo and the&lt;br /&gt;
heroine marry at last, but frankly, we were not&lt;br /&gt;
sufficiently interested in them to find out how they&lt;br /&gt;
did it.&rdquo; Then the author, if he is young and&lt;br /&gt;
innocent, writes timidly to point out that the&lt;br /&gt;
whole object of the book is to show why the&lt;br /&gt;
beauteous Angela did not espouse the gay Hugo,&lt;br /&gt;
but her father&rsquo;s old comrade-in-arms, and the&lt;br /&gt;
editor appends to his communication the sarcastic&lt;br /&gt;
note :-&lsquo;&lsquo;We print this letter as requested, but&lt;br /&gt;
we are bound to say that we infinitely prefer our&lt;br /&gt;
reviewer&amp;#039;s ending to the author&amp;#039;s, which strikes us&lt;br /&gt;
as jejune in the extreme.&rdquo; The unhappy author&lt;br /&gt;
recovers from the blow by degrees, and learns the&lt;br /&gt;
invaluable lesson that a contest is unequal in&lt;br /&gt;
which your opponent is bound to have the last&lt;br /&gt;
Word.&lt;br /&gt;
Why should not the reviewer give up the&lt;br /&gt;
pretence of reading through a long book by a&lt;br /&gt;
little-known author P Even if he likes the book,&lt;br /&gt;
his tender mercies are cruel, for he writes his&lt;br /&gt;
notice in the form of a synopsis of the plot&mdash;&lt;br /&gt;
generally all wrong. Why should there not be a&lt;br /&gt;
formula of this kind&mdash;in which the publisher&lt;br /&gt;
would no doubt assist by enclosing a list of the&lt;br /&gt;
characters ?&mdash;&ldquo;&lsquo;The Pink Lobelia.&rsquo; The scene&lt;br /&gt;
of this book is laid in the Mountains of the Moon,&lt;br /&gt;
whither an exploring party proceeds in quest of&lt;br /&gt;
the treasure of the title.&rdquo; (Observe the prudence&lt;br /&gt;
which fails to specify whether the treasure is&lt;br /&gt;
animal, vegetable, or mineral.) &ldquo;The principal&lt;br /&gt;
characters are Lord Hugo Stoneybroke, a dashing&lt;br /&gt;
sprig of nobility, Colonel Trueheart, a soldier&lt;br /&gt;
without fear and without reproach, and Angela&lt;br /&gt;
Verifayre, a beautiful heiress. There are adven-&lt;br /&gt;
tures and deeds of derring-do galore &rdquo; (no one,&lt;br /&gt;
surely, would be so hard-hearted as to deprive the&lt;br /&gt;
poor reviewer of these two indispensable words 2),&lt;br /&gt;
&ldquo;and the love-story ends in a way which we will&lt;br /&gt;
not wound our readers by revealing.&rdquo; Too much&lt;br /&gt;
like the publisher&amp;#039;s puff, you will say ; but is the&lt;br /&gt;
publisher&amp;#039;s puff never made use of in reviews&lt;br /&gt;
already ?&lt;br /&gt;
Every reviewer is omniscient by nature, and&lt;br /&gt;
when he makes a hash of your plot in purporting&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#499) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
121&lt;br /&gt;
to Summarise it, that merely shows that Homer&lt;br /&gt;
still nods occasionally. When a mistake occurs&lt;br /&gt;
in matters of fact, it is because the reviewer has&lt;br /&gt;
gone for his holiday, and his work is being done&lt;br /&gt;
by the office-boy. If you doubt this, make a&lt;br /&gt;
complaint of any such mistake to the journal in&lt;br /&gt;
Which it appears, and see. One hopes that the&lt;br /&gt;
reviewer (or office-boy) who recently placed the&lt;br /&gt;
Peninsular War in &ldquo;the fifties&rdquo; is the same that&lt;br /&gt;
Some years ago reviewed &ldquo;The Great Proconsul&rsquo;&rsquo;&lt;br /&gt;
under the impression that the trial of Warren&lt;br /&gt;
Hastings ended in a verdict of &ldquo;Guilty,&rdquo; and that&lt;br /&gt;
there are not two people whose historical studies&lt;br /&gt;
ended presumably with the Norman Conquest&lt;br /&gt;
running amuck in the critical world. If this type&lt;br /&gt;
of reviewer knows too little about his subject to&lt;br /&gt;
find any other fault, he can always bring a charge&lt;br /&gt;
of plagiarism. What matters it that he is review-&lt;br /&gt;
ing in two successive weeks two novels which&lt;br /&gt;
appeared almost simultaneously It is smart&lt;br /&gt;
and easy to say:&mdash;&ldquo;Mr. Brown-Jones will never&lt;br /&gt;
want for the sincerest form of flattery while Mr.&lt;br /&gt;
Smith lives and writes,&rdquo; and the public, which&lt;br /&gt;
knows nothing about dates of publication, credits&lt;br /&gt;
him with much critical acumen, Half the charges&lt;br /&gt;
of plagiarism which afflict the modern author are&lt;br /&gt;
based upon ignorance of the common authority&lt;br /&gt;
upon which both writers have drawn, and a goodly&lt;br /&gt;
proportion of the remainder on the fallacy that&lt;br /&gt;
the writer has read everything that the reviewer&lt;br /&gt;
has reviewed.&lt;br /&gt;
If you are a writer with a purpose, there is&lt;br /&gt;
another crow which you will often have to pick&lt;br /&gt;
with the reviewer. When you have spent months&lt;br /&gt;
of labour on the preparation of an impeccable&lt;br /&gt;
index, in the modest hope of securing a word of&lt;br /&gt;
jpraise from a paper which is strong on such&lt;br /&gt;
matters, it is disappointing to find the point&lt;br /&gt;
altogether ignored, and your book treated merely&lt;br /&gt;
as a jumping-off place for the gambols of an expert&lt;br /&gt;
whose views are not yours. But it is even more&lt;br /&gt;
galling, when you have written, say, a Socialist&lt;br /&gt;
novel, and it is reviewed in your own pet Socialist&lt;br /&gt;
daily, to discover that its message is belittled and&lt;br /&gt;
its anticipations ridiculed, precisely as if you had&lt;br /&gt;
to thank The Primrose Messenger for the notice.&lt;br /&gt;
The subject is one to be discreetly touched, for in&lt;br /&gt;
it is involved the whole question of a man&rsquo;s&lt;br /&gt;
working for a paper whose political opinions he&lt;br /&gt;
does not share. Oddly enough, there is no&lt;br /&gt;
reciprocity about the thing. You never find&lt;br /&gt;
your Socialism unexpectedly commended by The&lt;br /&gt;
Primrose Messenger.&lt;br /&gt;
Akin to this grievance is that of the existence&lt;br /&gt;
of the multiple reviewer. Every author is con-&lt;br /&gt;
vinced that he has an enemy who writes against&lt;br /&gt;
each of his books in turn in Several papers, and&lt;br /&gt;
there are some who can produce presumptive&lt;br /&gt;
evidence of the fact in mis-spellings and tags of&lt;br /&gt;
Sp&ordm;ch appearing with suspicious reiteration. Tut&lt;br /&gt;
authors themselves are not wholly innocent in this&lt;br /&gt;
Tespect. A certain novelist recently made, or&lt;br /&gt;
allowed to be made for her, the calm confession&lt;br /&gt;
that on the appearance of a book of poems by a&lt;br /&gt;
relative she &ldquo;herself reviewed the volume under&lt;br /&gt;
Various pen-names in several periodicals, and later&lt;br /&gt;
Wrote for the edition included in a certain series&lt;br /&gt;
the introduction that is signed with initials other&lt;br /&gt;
than her own.&rdquo; If an adverse reviewer had made&lt;br /&gt;
this confession, it would have been greeted with a&lt;br /&gt;
Storm of protest. Is there any difference in&lt;br /&gt;
Principle when the reviewing is favourable and&lt;br /&gt;
done by one interested in the success of the book?&lt;br /&gt;
Let us be just, then, even to the reviewer. If&lt;br /&gt;
he can be horrid, he can also be Very, very nice.&lt;br /&gt;
If he can obstinately pervert the most Original&lt;br /&gt;
actions of your characters into Something old&lt;br /&gt;
and commonplace, he can also display an insight&lt;br /&gt;
into their motives that surprises you. And he&lt;br /&gt;
likes you to purr when you are pleased. There is&lt;br /&gt;
9ne, literary journal which has the delightful&lt;br /&gt;
habit of sending the author a copy of the issue&lt;br /&gt;
Containing the review. One says &ldquo;delightful&amp;quot; with&lt;br /&gt;
fear and trembling, for hitherto, like the sun-dial,&lt;br /&gt;
the paper has marked only sunny hours. Would&lt;br /&gt;
it be sent if the notice was a bad one 2 The&lt;br /&gt;
Critic on the Hearth is resdy with the answer,&lt;br /&gt;
&ldquo;Rather and in double-quick time !&rdquo;&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
&mdash;t&mdash;&ordm;-e&mdash;&lt;br /&gt;
LAW AND LETTERS.&lt;br /&gt;
HERE seems to be no variation from the&lt;br /&gt;
issue of last year under the heading of &ldquo;Law&lt;br /&gt;
and Letters&rdquo; in the new Literary Year&lt;br /&gt;
Book. Has no case of importance been tried&lt;br /&gt;
during the past year * Has the United States&lt;br /&gt;
passed no important Copyright Act 2&lt;br /&gt;
The standing matter which has been reprinted is,&lt;br /&gt;
on the whole, satisfactory; we mentioned this in&lt;br /&gt;
our last year&amp;#039;s review, but the Omission of such&lt;br /&gt;
important things as the United States Copyright&lt;br /&gt;
Act and the cases that have been tried reduces the&lt;br /&gt;
value of the article immensely.&lt;br /&gt;
With regard to what does appear, it is needless&lt;br /&gt;
to put forward the same objections that we have&lt;br /&gt;
put forward on previous occasions; but we might&lt;br /&gt;
repeat that the portion of the article on &ldquo;Ilaw and&lt;br /&gt;
Letters &rdquo; which refers to agreements is the least&lt;br /&gt;
satisfactory. The article on the &ldquo;Royalty Agree-&lt;br /&gt;
ment &rsquo;&rsquo; is still unchanged. The writer states, after&lt;br /&gt;
setting out the parties to an agreement : &ldquo;A&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#500) ################################################&lt;br /&gt;
&lt;br /&gt;
122&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Royalty Agreement proceeds thus, or to this effect:&lt;br /&gt;
&lsquo;That in consideration that the copyright and&lt;br /&gt;
plant, etc., shall forth with belong to and become&lt;br /&gt;
the property of the publisher, etc.&rsquo;&rdquo; It would be&lt;br /&gt;
most interesting to know from where this form of&lt;br /&gt;
agreement was obtained. We are glad to say that&lt;br /&gt;
there are very few authors&mdash;and they get fewer year&lt;br /&gt;
by year&mdash;who are foolish enough to assign their&lt;br /&gt;
copyright, and the great majority of publishers,&lt;br /&gt;
especially those whose names for many years have&lt;br /&gt;
stood high in the publishing trade, only take a&lt;br /&gt;
licence to publish, limited in most cases to volume&lt;br /&gt;
form, and do not think of asking for a transfer of&lt;br /&gt;
copyright.&lt;br /&gt;
We must repeat that, in a review of an important&lt;br /&gt;
subject like forms of agreement, the contracts&lt;br /&gt;
should be drawn in favour of the author. One&lt;br /&gt;
reason for this is clear and irrefutable. The&lt;br /&gt;
publishers make it the business of a lifetime,&lt;br /&gt;
or ought to make it their business, to have a&lt;br /&gt;
knowledge of copyright law and of contracts.&lt;br /&gt;
Their very agreements show that they have studied&lt;br /&gt;
their own interests in this matter. It is the author&lt;br /&gt;
that desires help, for many men write books but&lt;br /&gt;
do not live by their books. These are essen-&lt;br /&gt;
tially in need of guidance. They can, of course,&lt;br /&gt;
become members of the Society of Authors, but&lt;br /&gt;
there are still some who have not heard of the&lt;br /&gt;
society&amp;#039;s existence. In that case they would no&lt;br /&gt;
doubt desire to turn to some book of reference, and&lt;br /&gt;
if that book of reference did not mention the&lt;br /&gt;
society as giving the necessary assistance&mdash;-the&lt;br /&gt;
Literary Year Book is inclined to avoid it&mdash;&mdash;and&lt;br /&gt;
does not give the necessary assistance itself, it is a&lt;br /&gt;
useless book from the author&amp;#039;s point of view&mdash;that&lt;br /&gt;
is from the point of view of those persons alone&lt;br /&gt;
who study its forms of agreement for advice.&lt;br /&gt;
This little review does not deal with the other&lt;br /&gt;
details of the book. These will be dealt with in&lt;br /&gt;
another review by another hand.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
AN EDITOR&amp;#039;S CHAIR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
\ | R. ERNEST FOSTER narrates in a simple&lt;br /&gt;
and straightforward style some of his&lt;br /&gt;
experiences as editor of (assell&amp;#039;s Safurday&lt;br /&gt;
Journal and of (&amp;#039;h&ordm;ms, disarming criticism of an&lt;br /&gt;
editor&amp;#039;s literary style by saying in a &ldquo;foreword &rdquo; :&lt;br /&gt;
&ldquo;In the belief that the matters dealt with will&lt;br /&gt;
speak for themselves, no attempt has been made to&lt;br /&gt;
elaborate them : nor, beyond being arranged in&lt;br /&gt;
groups, are they presented in any particular order ;&lt;br /&gt;
* &ldquo;An Editor&amp;#039;s Chair : A Record of Experiences and&lt;br /&gt;
Happenings,&rdquo; by Ernest Foster. London : Everett &amp;amp; Co.&lt;br /&gt;
and if, as a whole, the book is kaleidoscopic rather&lt;br /&gt;
than formal and long-drawn-out, I hope it will not&lt;br /&gt;
be accounted a fault.&rdquo;&lt;br /&gt;
It is possible to suggest that a book may be&lt;br /&gt;
elaborated without being either formal or long-&lt;br /&gt;
drawn-out, and to conjecture that probably Mr.&lt;br /&gt;
Foster&amp;#039;s contributors, even when imparting useful&lt;br /&gt;
information to his readers, exhibited a more&lt;br /&gt;
dexterous craftsmanship than his ; but, nevertheless,&lt;br /&gt;
the matters which he says should speak for them-&lt;br /&gt;
selves do so with tolerable clearness. Many&lt;br /&gt;
who write, but do not always succeed in seeing&lt;br /&gt;
their work in print, may study his pages with&lt;br /&gt;
advantage, and draw inferences for their own&lt;br /&gt;
guidance from the advice which he does not alto-&lt;br /&gt;
gether omit, and from his experiences with those&lt;br /&gt;
who wrote for him, with others whom he wanted&lt;br /&gt;
to write for him, with those who wished to write&lt;br /&gt;
for him but failed to appreciate the characteristics&lt;br /&gt;
of his paper, with those who sought to help him&lt;br /&gt;
with advice in editing it, and with others who&lt;br /&gt;
commended him and showed their interest in the&lt;br /&gt;
success of his efforts. It need hardly be added&lt;br /&gt;
that an important proportion of the lessons conveyed&lt;br /&gt;
is for the consideration and assimilation of those&lt;br /&gt;
who worry editors with manuscripts wholly unsuited&lt;br /&gt;
to the periodicals which they conduct, and then&lt;br /&gt;
complain of lack of editorial discrimination, thus&lt;br /&gt;
making the way harder for others who seek to&lt;br /&gt;
approach from the outside, and to obtain acceptance&lt;br /&gt;
as new or occasional contributors.&lt;br /&gt;
Much advice has been given from time to time&lt;br /&gt;
in the pages of The Author, derived from many&lt;br /&gt;
Sources, to those who find it impossible to project&lt;br /&gt;
themselves in imagination for a moment into an&lt;br /&gt;
editor&amp;#039;s chair, and to reflect on what may be his&lt;br /&gt;
point of view in his official capacity, or his physical&lt;br /&gt;
and mental limitations and weaknesses as a brother&lt;br /&gt;
man. These should read with profit Mr. Foster&amp;#039;s&lt;br /&gt;
chapters entitled &ldquo;Some Callers,&rdquo; &ldquo;Some Corre-&lt;br /&gt;
spondents,&rdquo; &ldquo;Would - be Contributors,&rdquo; &ldquo;Free&lt;br /&gt;
Lances as Contributors,&rdquo; &ldquo;Regular Contributors,&rdquo;&lt;br /&gt;
and &ldquo;Some Dangers of Editing.&rdquo; More practised&lt;br /&gt;
writers, and those with the imaginative gift referred&lt;br /&gt;
to, will not need to be told that &ldquo;an editor has&lt;br /&gt;
Settled convictions as to his needs, and it goes&lt;br /&gt;
without saying that the more closely an article or&lt;br /&gt;
story approximates to them the more it commends&lt;br /&gt;
itself&rdquo;; but even these may derive amusement,&lt;br /&gt;
where they need no instruction, from an editor&amp;#039;s&lt;br /&gt;
stories of fifty-four manuscripts sent to him in a&lt;br /&gt;
batch, of sheets pasted at their edges and thus joined&lt;br /&gt;
one above the other so as to form a scroll several&lt;br /&gt;
feet long ; of covering letters of all kinds, including&lt;br /&gt;
appeals for charity, and containing in one instance&lt;br /&gt;
the information that a wager depended on accept-&lt;br /&gt;
ance or rejection. Most of us believe ourselves to&lt;br /&gt;
be tactful&mdash;more so, at least, than the editors who&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#501) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UſTISIOR.&lt;br /&gt;
123&lt;br /&gt;
reject our stories&mdash;so that few will apply as a&lt;br /&gt;
warning to themselves Mr. Foster&amp;#039;s anecdote of a&lt;br /&gt;
contributor who sent a manuscript with an intima-&lt;br /&gt;
tion that it was much too good for Cassell&amp;#039;s Saſur-&lt;br /&gt;
day, Journal, but that high-class magazines kept&lt;br /&gt;
stories so long that it was offered on condition that&lt;br /&gt;
a cheque was sent on acceptance, as the author&lt;br /&gt;
had some pressing payments to make.&lt;br /&gt;
Among Smbjects of general interest to authors&lt;br /&gt;
Mr. Foster discusses &ldquo;Plagiarism add Coincidence&rdquo;&lt;br /&gt;
in a chapter which describes somewhat euphemisti-&lt;br /&gt;
cally as &ldquo;direct plagiarism &amp;quot; that fraud upon&lt;br /&gt;
editors and authors which consists in copying an&lt;br /&gt;
article from one periodical and forwarding it as an&lt;br /&gt;
Original manuscript to another. Mr. Foster seems&lt;br /&gt;
to think the attitude of &ldquo;plagiarised &amp;#039;&amp;#039; authors to&lt;br /&gt;
have been unduly severe towards himself, or even&lt;br /&gt;
rapacious, when they suggested pecuniary compen-&lt;br /&gt;
sation for the infringement (involuntary on the&lt;br /&gt;
editor&amp;#039;s part), of their rights. It is submitted,&lt;br /&gt;
however, that such cases are to be determined&lt;br /&gt;
according to circumstances. An author may be&lt;br /&gt;
willing to waive a claim for compensation, and to&lt;br /&gt;
assist an editor in bringing a knave to justice, if&lt;br /&gt;
the editor on his part will take active and energetic&lt;br /&gt;
steps to punish the guilty, and to contribute to the&lt;br /&gt;
future protection of authors and editors by so doing.&lt;br /&gt;
It must be remembered that an editor who, though&lt;br /&gt;
he may have published a stolen article in good&lt;br /&gt;
faith, declines to prosecute, and is even unwilling&lt;br /&gt;
to acknowledge the fraud perpetrated upon him,&lt;br /&gt;
acts precisely as he would do who deliberately&lt;br /&gt;
&ldquo;lifted &amp;#039;&amp;#039; the matter himself as a means of obtain-&lt;br /&gt;
ing cheap copy for his paper. He may, in fact, be&lt;br /&gt;
actuated by clemency, or he may fear to make&lt;br /&gt;
public the ease with which such frauds are perpe-&lt;br /&gt;
trated ; but the author who, perhaps, differs from&lt;br /&gt;
him in disposition or opinion, may decline to&lt;br /&gt;
acknowledge, as no doubt he should do, that editors&lt;br /&gt;
in the position of Mr. Foster are beyond suspicion,&lt;br /&gt;
and may say &ldquo;A thief ought to be punished in the&lt;br /&gt;
interests of justice and of honest men; if you intend&lt;br /&gt;
to say nothing about it pay me for the contribution&lt;br /&gt;
of which you have had the advantage. At the&lt;br /&gt;
worst you will only pay twice over, and even then&lt;br /&gt;
my story is worth more.&rdquo; Authors who take up&lt;br /&gt;
such an attitude ought not, however, to complain&lt;br /&gt;
of the system by which contributions from unknown&lt;br /&gt;
contributors are not paid for till a reasonable time&lt;br /&gt;
after their appearance.&lt;br /&gt;
One of Mr. Foster&amp;#039;s stories is of a man who&lt;br /&gt;
complained that some anecdotes which he had&lt;br /&gt;
narrated had been borrowed by another Writer, and&lt;br /&gt;
settled the question of whether they might have&lt;br /&gt;
been derived from a common source by declaring&lt;br /&gt;
ingenuously that he had invented them himself.&lt;br /&gt;
Somewhat diverting anecdotes, by the Way, are&lt;br /&gt;
narrated by Mr. Foster in two chapters devoted to&lt;br /&gt;
&ldquo;Interviews and Interviewing,&rdquo; and to the &ldquo;Diffi-&lt;br /&gt;
culties of the Interviewer.&rdquo; We can all of us&lt;br /&gt;
understand, even without personal experience, that&lt;br /&gt;
Some of the great people of the earth (and of the&lt;br /&gt;
small ones) are very willing to be interviewed, and&lt;br /&gt;
that others are not. It is less easy to appreciate&lt;br /&gt;
the mental attitude, or, indeed, condition of those&lt;br /&gt;
Who, after expressing willingness to be interviewed,&lt;br /&gt;
9r actually answering questions volubly, suddenly&lt;br /&gt;
impose a condition that nothing is to be published.&lt;br /&gt;
This may, of course, be accounted for by a sudden&lt;br /&gt;
change of mind or realisation of the effect of the&lt;br /&gt;
publication in cold print of a candid conversation&lt;br /&gt;
With a beguiling lady or gentleman. But still,&lt;br /&gt;
everyone knows nowadays what an &ldquo;interview &amp;quot;&lt;br /&gt;
means, and to indulge deliberately in a conver-&lt;br /&gt;
sation with an interviewer and then to stipulate&lt;br /&gt;
that it is to be treated as confidential, savours of&lt;br /&gt;
imbecility. Even less comprehensible, however, is&lt;br /&gt;
the injunction &ldquo;No notes, please,&rdquo; which Mr.&lt;br /&gt;
Foster or his interviewer (he acknowledges in-&lt;br /&gt;
debtedness to Mr. C. Duncan Lucas) describes&lt;br /&gt;
as a familiar one.&lt;br /&gt;
We may sympathise with those who feel nervous&lt;br /&gt;
at having their words taken down, but this was not&lt;br /&gt;
the motive in the cases referred to. They con-&lt;br /&gt;
sented to be interviewed and submitted to the&lt;br /&gt;
Operation, but objected to have their words written&lt;br /&gt;
down on the spot, a process which we need hardly&lt;br /&gt;
point out would be resorted to by the interviewer&lt;br /&gt;
for no dark or dangerous purpose, but merely for&lt;br /&gt;
the sake of accuracy, and so employed as much for&lt;br /&gt;
the benefit of his subject as his own. Did they&lt;br /&gt;
Wish to leave a loophole of escape in order that if a&lt;br /&gt;
statement or opinion of which they had cause after-&lt;br /&gt;
Wards to be ashamed were fastened upon them,&lt;br /&gt;
they might deny its paternity and attribute it to&lt;br /&gt;
the inventive faculty of the interviewer 2 We&lt;br /&gt;
must leave them to answer the questions, or&lt;br /&gt;
possibly the reader may find it to be one of the&lt;br /&gt;
&ldquo;matters which speak for themselves,&rdquo; and under-&lt;br /&gt;
stand it better than We do.&lt;br /&gt;
- E. A. A.&lt;br /&gt;
FICTION THROUGH THE AGES.*&lt;br /&gt;
&mdash;t&mdash;&ordm;-&ordm;-&lt;br /&gt;
R. RANSOME gives us the impression of a&lt;br /&gt;
man who writes because that is his Way of&lt;br /&gt;
enjoying himself. His book has both the&lt;br /&gt;
qualities and the defects commonly discoverable in&lt;br /&gt;
work done from such a motive. Being himself&lt;br /&gt;
* &ldquo;A History of Story-telling,&rdquo; by Arthur Ransome.&lt;br /&gt;
Jack, 7s. 6d. llet,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#502) ################################################&lt;br /&gt;
&lt;br /&gt;
124&lt;br /&gt;
TISIES AICTFIOR.&lt;br /&gt;
interested, he is generally interesting ; but he is&lt;br /&gt;
not complete, or systematic, or careful of propor-&lt;br /&gt;
tion. Whatever seems dull to him he leaves out ;&lt;br /&gt;
wherever it pleases him to do so he enlarges; and&lt;br /&gt;
he skips from literature to literature, and from&lt;br /&gt;
country to country, as the fancy takes him&mdash;from&lt;br /&gt;
England to France, from France to Spain, from&lt;br /&gt;
Spain to Italy. Improvements in the technique of&lt;br /&gt;
fiction are the principal objects of his quest ; but the&lt;br /&gt;
paths on which he looks for them are somewhat arbi-&lt;br /&gt;
trarily chosen. He says a good deal about Chateau-&lt;br /&gt;
briand, and Gautier, and M&eacute;rim&eacute;e , but he says&lt;br /&gt;
nothing about either Madame de Sta&euml;l or Benjamin&lt;br /&gt;
Constant, though both of them mark epochs and&lt;br /&gt;
have influenced their successors. Constant&amp;#039;s&lt;br /&gt;
&ldquo;Adolphe &rsquo;&rsquo; was the first of all novels of analysis,&lt;br /&gt;
and has been hailed as such by such masters of&lt;br /&gt;
criticism as MM. Paul Bourget and Anatole France.&lt;br /&gt;
Madame de Sta&euml;l was the first of those who sounded&lt;br /&gt;
what Mr. Courtney has called &ldquo;the feminine note&lt;br /&gt;
in fiction.&rdquo; &ldquo;Corinne&rsquo;&rsquo; is the source of &ldquo;Jane,&rdquo;&lt;br /&gt;
whether Miss Corelli is aware of her debt or not.&lt;br /&gt;
In a short book, however, which does not profess&lt;br /&gt;
to be a text-book, such omissions are bound to&lt;br /&gt;
occur ; and the author must be judged, not by&lt;br /&gt;
what he has omitted, but by what he has&lt;br /&gt;
included. His merit is that he treats novelists&lt;br /&gt;
as human beings, and endeavours to show how&lt;br /&gt;
their books are related to their lives. That is&lt;br /&gt;
Sainte-Beuve&amp;#039;s method. It is the most readable,&lt;br /&gt;
and it produces the best critical results. Mr. Ran-&lt;br /&gt;
some might have followed it with more success if&lt;br /&gt;
he had had either more space or a shorter list of&lt;br /&gt;
subjects; but he writes pleasantly, though he has&lt;br /&gt;
placed himself in conditions in which it was almost&lt;br /&gt;
impossible for him to be more than superficial.&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
SMASHED MANUSCRIPTS.&lt;br /&gt;
DEAR SIR,-My sympathies are entirely with&lt;br /&gt;
your correspondent Mr. Bertram Smith in this&lt;br /&gt;
matter. His sad experience has also been mine.&lt;br /&gt;
Recently, goaded by fury to protest, I have&lt;br /&gt;
written upon the sheet of cardboard enclosed with&lt;br /&gt;
my MSS. my name and address, and below it,&lt;br /&gt;
&ldquo;Please return this card with manuscript.&rdquo;&lt;br /&gt;
So far this has had the desired effect, but it may&lt;br /&gt;
merely be a coincidence. It may be that the office&lt;br /&gt;
boys in those particular editorial offices upon which&lt;br /&gt;
I have of late inflicted my manuscripts do not know&lt;br /&gt;
the game involving sheets of cardboard, and are&lt;br /&gt;
not bitten with the&lt;br /&gt;
necessitating &ldquo;mounts.&rdquo;&lt;br /&gt;
May I advise Mr. Bertram Smith to try my&lt;br /&gt;
plan It may possibly save a few cards in his&lt;br /&gt;
Case, as it has in mine.&lt;br /&gt;
photographic mania&mdash;&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
Fox FRENCH.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&lt;br /&gt;
ART AND TAXATION.&lt;br /&gt;
DEAR SIR,--Mr. W. Shaw Sparrow hits the nail&lt;br /&gt;
on the head with his remarks on copyright-expired&lt;br /&gt;
works. If the Dukes of Marlborough and Welling-&lt;br /&gt;
ton may live on property earned by illustrious&lt;br /&gt;
ancestors, why should not the descendants of&lt;br /&gt;
Dickens and Thackeray do the same thing 2 It is&lt;br /&gt;
monstrous to think that while Charles Dickens&amp;#039;&lt;br /&gt;
Works are selling in their hundreds of thousands&lt;br /&gt;
every year, his granddaughters should be forced to&lt;br /&gt;
draw Civil List pensions, and very small ones at&lt;br /&gt;
that. As it is obvious that a similar fate awaits&lt;br /&gt;
the descendants of the distinguished writers who&lt;br /&gt;
form the Society of Authors&amp;#039; Council, let these&lt;br /&gt;
clever men get to work and see if they cannot put&lt;br /&gt;
things right !&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
R. S. WARREN BELL.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
REVIEWERS AND REVIEWED.&lt;br /&gt;
DEAR SIR,--I read the letter signed H. J. A.&lt;br /&gt;
with considerable interest, and I am of opinion&lt;br /&gt;
that the answer to it may be found in Mr. Eveleigh&lt;br /&gt;
Nash&amp;#039;s article in &ldquo;M. A. P.,&rdquo; in which that pub-&lt;br /&gt;
lisher states that the first book he produced was&lt;br /&gt;
reviewed adversely, yet the work achieved con-&lt;br /&gt;
siderable success. Viewing both these cases in&lt;br /&gt;
every conceivable light, it seems to me that the&lt;br /&gt;
value of reviews of books cannot be accepted&lt;br /&gt;
as a criterion either of success or failure. The&lt;br /&gt;
great arbiter of a book is not the critic, is not&lt;br /&gt;
the publisher, and certainly is not the author : it&lt;br /&gt;
is the public. As the writer of two or three&lt;br /&gt;
books which were fortunate enough to secure the&lt;br /&gt;
favourable opinion of the critics, I am in a position&lt;br /&gt;
to state that notwithstanding my faith and con-&lt;br /&gt;
fidence in my publishers, and notwithstanding the&lt;br /&gt;
good reviews that welcomed the appearance of the&lt;br /&gt;
books, still, from a financial point of view, neither&lt;br /&gt;
my publishers nor myself scored very highly. I&lt;br /&gt;
am of the opinion that book reviews are not worth&lt;br /&gt;
a rap of one&amp;#039;s fingers. However, from H. J. A.&amp;#039;s&lt;br /&gt;
own story it is quite clear that his publishers did&lt;br /&gt;
all they possibly could to make a financial success&lt;br /&gt;
of the book.&lt;br /&gt;
- M. A.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#503) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
11]&lt;br /&gt;
WHERE KHNIFE IS DRIVEN. -&lt;br /&gt;
By MAX TROTTER, M.D. A story of exceptional interest,&lt;br /&gt;
with frontispiece on art paper. Is. net. -&lt;br /&gt;
&lsquo;&lsquo;A Hospital Story.&rdquo;&mdash;77//es.&lt;br /&gt;
&ldquo;The tale shows a good deal of the business side of the&lt;br /&gt;
surgeon&amp;#039;s calling.&rdquo;&mdash;Dzzydee Adžertiser.&lt;br /&gt;
THE RMYSTERIOUS LIGHT : A Novel.&lt;br /&gt;
By JANET B. ORR. With frontispiece on art paper.&lt;br /&gt;
and wholesome love story. 2s. net.&lt;br /&gt;
&ldquo;A tale relating the attempt on the part of circumstances and&lt;br /&gt;
a worldly mother to separate two lovers.&rdquo;&mdash;Sheffie/d Daiſy&lt;br /&gt;
Telegza//.&lt;br /&gt;
&ldquo;A charming story, with dramatic incidents that fascinate the&lt;br /&gt;
reader.&rdquo;&mdash;Blackbuz&ordm;n Gazette.&lt;br /&gt;
&amp;quot;THE COM!!!NG OF THE CHE L L - A D realm.&lt;br /&gt;
A Tale of Belgravia and Brixton. By THEODORE PHILIPPy.&lt;br /&gt;
A legend of peculiar and distinctive interest. Is. net.&lt;br /&gt;
&ldquo;A cleverly written story of a lady of ancient lineage.&rdquo;&mdash;&lt;br /&gt;
B777/zing/ia77. Daiſy Post.&lt;br /&gt;
&ldquo;An interesting story of the disappearance of the eldest son&lt;br /&gt;
of Sir Thomas Blunt.&rdquo;&mdash;Baſ&ordm;tist.&lt;br /&gt;
THE QUEEN&amp;#039;s FAVOURITE, and other Poems,&lt;br /&gt;
By M. H. A BRAHAMI-JEWELL. A capital book of poetry, which&lt;br /&gt;
will be much enjoyed by verse lovers. 2s. net.&lt;br /&gt;
STOBS&amp;#039; FLYING MACHINE, anci other Adventures.&lt;br /&gt;
By ILFORD LANGTON. 6d. met, in strong brochure cover.&lt;br /&gt;
Capital little stories, full of fun and laughter. Just issued.&lt;br /&gt;
SYBELLA (A Sketch in Japanese setting).&lt;br /&gt;
By ETHEL CANNING. A splendid story, with handsome&lt;br /&gt;
picture as frontispiece. Hound in bevelled boards, 1s. 6d. net only.&lt;br /&gt;
Divided into three parts, the book is full of well-sustained&lt;br /&gt;
interest and incident throughout. Now Ready.&lt;br /&gt;
STOCKWELL, who will immediately advise, free&lt;br /&gt;
of charge, as to publication.&lt;br /&gt;
29, L&amp;#039;UIDGATE HILL, E.C.&lt;br /&gt;
IFull lists on application, post free.&lt;br /&gt;
A capital&lt;br /&gt;
...A / . SS Authors should forward MSS. of any description&lt;br /&gt;
&ordm;f . ..&lt;br /&gt;
LONDON&lt;br /&gt;
(Novels, Storics, Poems, Essays, &amp;amp;c.) direct to Mr.&lt;br /&gt;
ARTHUR. H. STOCKWELL,&lt;br /&gt;
TO Authors and Journalists.&lt;br /&gt;
Are you SATISFIED with the quality of&lt;br /&gt;
your work?&lt;br /&gt;
Does literary output find a ready&lt;br /&gt;
market?&lt;br /&gt;
These are pertinent questions and well worth&lt;br /&gt;
answering.&lt;br /&gt;
Many young writers would meet with success&lt;br /&gt;
if they took the trouble to learn the technique&lt;br /&gt;
of their art. Our Students are successful&lt;br /&gt;
because we instil into them that subtle some-&lt;br /&gt;
thing which makes for success. We cultivate&lt;br /&gt;
their special bent and enable them to make the&lt;br /&gt;
most of their natural gifts.&lt;br /&gt;
A Course of Training under our supervision&lt;br /&gt;
will, at the very outset, put you on the path of&lt;br /&gt;
progress&mdash;the road that leads to the Editorial&lt;br /&gt;
Sanctum, Let us tell you more about this ; we&lt;br /&gt;
shall be pleased to send you full particulars on&lt;br /&gt;
receipt of a post-card.&lt;br /&gt;
your&lt;br /&gt;
Address your application to the---&lt;br /&gt;
LiTERARY CORRESPONDENGE 60LLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
Are advertised for weekly in&lt;br /&gt;
THE PUBLISHERS&rsquo; CIRCULAR&lt;br /&gt;
AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
(ESTABLISHED 1837),&lt;br /&gt;
Which also gives Dists of the New Books published&lt;br /&gt;
during the Week, Ammouncements of Forthcoming&lt;br /&gt;
Books, &amp;amp;c.&lt;br /&gt;
Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
in the Books Wanted Columns.&lt;br /&gt;
Send for 52 weeks, post free, for 10s. 6d. home and&lt;br /&gt;
13s. 6d. foreign.&lt;br /&gt;
Speciment Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
Office : 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
TYPEWRTHNG.&lt;br /&gt;
A Member of the Authors&rsquo; Society will be glad to&lt;br /&gt;
recommend Miss E. WARMINGTON as a thoroughly&lt;br /&gt;
efficient Typewriter, very prompt, and skilful at&lt;br /&gt;
deciphering difficult handwriting.&lt;br /&gt;
For terms and particulars apply,&lt;br /&gt;
Miss E. WARMINGTon,&lt;br /&gt;
114, Surmatra Road, W. Harm pstead, N.W.&lt;br /&gt;
Authors :&lt;br /&gt;
Study &ldquo;How to write SALEABLE Fiction,&rdquo;&lt;br /&gt;
by George Magnus, who is selling MSS. to&lt;br /&gt;
over 14o Publishers and Editors. One&lt;br /&gt;
author writes : &ldquo;Have sold 26o MSS. in&lt;br /&gt;
three years, thanks solely to the invaluable&lt;br /&gt;
information contained in this book.&rdquo;&lt;br /&gt;
Particulars on application&mdash;CAMBRIDGE&lt;br /&gt;
LITERARY AGENCY, I 15, Strand, London.&lt;br /&gt;
Middleton&rsquo;s Military Plan of&lt;br /&gt;
the Flat Earth.&lt;br /&gt;
POST FREE, FIVE PENCE.&lt;br /&gt;
Alone gives the all Red Route Mid-Canada, to&lt;br /&gt;
|Farthest South !&lt;br /&gt;
or Mid-Canada to Brisbane and Australia |&lt;br /&gt;
From Middleton. St. Matthew&amp;#039;s.&lt;br /&gt;
St. Leonard&amp;#039;s.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#504) ################################################&lt;br /&gt;
&lt;br /&gt;
iv - AD VERTISEMENTS.&lt;br /&gt;
TO AN AUTHOR&lt;br /&gt;
the APPEARANCE and STYLE of manuscript is&lt;br /&gt;
An important Matter.&lt;br /&gt;
Send your typewriting to me ! I have had a broad experience of&lt;br /&gt;
Literary Work,&lt;br /&gt;
and guarantee to execute all commissions promptly, and in&lt;br /&gt;
a mannel warranted to tempt the consideration of the&lt;br /&gt;
busiest Editors.&lt;br /&gt;
Price List, Testimonials, etc., on application.&lt;br /&gt;
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Printed by BRADBURY, AGNEw, &amp;amp; Co. L.D., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/401/1910-01-01-The-Author-20-4.pdf</td><td>publications, The Author</td></tr><tr><td>402</td><td>https://historysoa.com/items/show/402</td><td>The Author, Vol. 20 Issue 05 (February 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+05+%28February+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 05 (February 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-02-01-The-Author-20-5</td><td></td><td></td><td></td><td></td><td>125&ndash;152</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-02-01&quot;&gt;1910-02-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>5</td><td></td><td></td><td>19100201</td><td>C be El u t b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XX.-No. 5. FEBRUARY 1, 1910. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE --- PAGE&lt;br /&gt;
Notices .... a s g &bull; a s &ldquo;. ... * &dagger; t&ordm; g&ordm; t&ordm; t&ordm; t&ordm; g&ordm; 125&mdash;126 Warnings to Musical Composers ... s t&ordm; &ordm; t&ordm; $ t&ordm; t&ordm; e &ordm; ... 140&lt;br /&gt;
Committee Notes ... ... ... ... ... ... 126 Stamping Music ... ... ... ... ... ... ... ... 140&lt;br /&gt;
Books published by Members of the Society &amp;amp; &copy; e. * * * ... 130 The Reading Branch ... * * * * * &amp;gt; &amp;amp; &amp;amp; &copy; &euml; &ordm; &ordm; &amp;amp; &amp;amp; &ordm;t ... 140&lt;br /&gt;
Books published in America by Members... an &ordm; l&ordm; ... . ... 131 &ldquo;The Author &amp;quot; ... t&ordm; &ordm; &ordm; * e e * = e * * * e; a &ordm; t&ordm; e 4- ... 140&lt;br /&gt;
Literary, Dramatic and Musical Notes ... e &ordm; &ordm;s &amp;amp; e - ... 132 Remittances &amp;amp; &copy; t&ordm; * * * t&ordm; E &amp;amp; e &lsquo;&ordm; &ordm; * * * * * * e &amp;amp; &ordm; ... 140&lt;br /&gt;
Paris Notes ... ... ... ... ... ... ... ... 134 General Notes ... ... ... ... ... ... ... ... 141&lt;br /&gt;
United States Copyright Case * * &amp;gt; &amp;amp; &ordm; s&ordm; * * * s: 8 &ordm;&amp;#039; ... 136 Austin Dobson ... * * * * * * &bull; * * * * * * c &amp;amp; s &amp;amp; &ordm; ... 143&lt;br /&gt;
Colles v. Maugham t&ordm; e ſ&ordm; &ecirc; &ordm; &ordm; 138 The Berlin Convention is &ordm; &ordm; * * * t&ordm; * * t&ordm; e t&ordm; * * * ... 143&lt;br /&gt;
How to Use the Society * * , &amp;amp; C&ordm; &ordm; t&ordm; &ordm; &ordm; g&ordm; t&ordm; &ordm; g&ordm; &ordm; &ordm; ... 139 The Art of Illustrating... * * * t&ordm; &ordm;n 8 * * * t&ordm; e e e - e. ... 147&lt;br /&gt;
Warnings to the Producers of Books t&ordm; $ t&ordm; &ordm; &ordm; &amp;amp; &copy; e ... 139 Francesco Petrarca a &amp;amp; &ordm; e &ordm;f a e s &ordm; t&ordm; &ordm; a &amp;amp; &amp;amp; g ... 150&lt;br /&gt;
Warnings to Dramatic Authors &amp;amp; G &rarr; $ t&ordm; &ordm; # = s. &bull; * * ... 139 . Dictionary of Copyright * * is &bull; * * * * * * * * * * * ... 151&lt;br /&gt;
Registration of Scenarios and Original Plays ... t&ordm; q v, ... 140 Correspondence ... * * * * ~ * s is &ordm; * * * * @ e * * * ... 152&lt;br /&gt;
E&rsquo;UBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
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6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
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[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#506) ################################################&lt;br /&gt;
&lt;br /&gt;
}}&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
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LYALL, PC.&lt;br /&gt;
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SHA wy.&lt;br /&gt;
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TH E REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
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ART.&lt;br /&gt;
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OFFICES.&lt;br /&gt;
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IDRAMATIC SUB-COIMIMITTEE.&lt;br /&gt;
|Vice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#507) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR&lt;br /&gt;
WoL. XX. &mdash;No. 5.&lt;br /&gt;
FEBRUARY 1st, 1910.&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&amp;#039; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
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ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
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advertisers, the committee desire it to be stated&lt;br /&gt;
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Although care is exercised that no undesirable&lt;br /&gt;
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Members should apply to the secretary for advice&lt;br /&gt;
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&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-e&mdash;&lt;br /&gt;
+ ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;4&mdash;s&ordm;-0&ndash;&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N the 5th of February, 1909, the Trustees of&lt;br /&gt;
the Pension Fund of the Society, after&lt;br /&gt;
the secretary had placed before them the&lt;br /&gt;
financial position of the Fund, decided to invest&lt;br /&gt;
&pound;350 in the purchase of Corporation of London&lt;br /&gt;
2} per cent. Stock (1927&ndash;57).&lt;br /&gt;
The amount purchased is &pound;438 2s. 4d., and is&lt;br /&gt;
added to the list printed below.&lt;br /&gt;
The Trustees are glad to report that owing to&lt;br /&gt;
the generous answer to the circular sent round at&lt;br /&gt;
the end of 1908, they have been able to invest&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#508) ################################################&lt;br /&gt;
&lt;br /&gt;
126 TISIES A UTHOR,&lt;br /&gt;
more than &pound;100 over the amount invested in&lt;br /&gt;
1907.&lt;br /&gt;
Consols 24%.............................. 391,000 0 0&lt;br /&gt;
Local Loans ..............................&lt;br /&gt;
Victorian Government 3%. Consoli-&lt;br /&gt;
dated Inscribed Stock ...............&lt;br /&gt;
War Loan .................................&lt;br /&gt;
Hondon and North-Western 3% Deben-&lt;br /&gt;
ture Stock ..............................&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates ...............&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock ....................................&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock..................&lt;br /&gt;
New Zealand 34% Stock. . . . . . . . ...&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock&lt;br /&gt;
Corporation of London 24% Stock,&lt;br /&gt;
1927&ndash;57 ............... . . . . . . . . . . . . . . .&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909.&lt;br /&gt;
Oct. 15, Greig, James&lt;br /&gt;
Oct. 15, Jacomb, A. E. .&lt;br /&gt;
Oct. 16, Hepburn, Thomas&lt;br /&gt;
Oct. 16, Trevelyan, G. M. .&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall&rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. te *&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
Nov. 5, Dixon, A. Francis .&lt;br /&gt;
Nov. 6, Helledoren, J.&lt;br /&gt;
Dec. 4, Tearle, Christian .&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor .&lt;br /&gt;
Dec. 17, Somerville, Miss Edith CE.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine&lt;br /&gt;
Jan. 13, Child, Harold H. .&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O. &ordm; e&lt;br /&gt;
Jan. 27, Lion, Leon M.&lt;br /&gt;
Donations.&lt;br /&gt;
19()9.&lt;br /&gt;
Oct. 16, Hodson, Miss A. L.&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. . *&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril .&lt;br /&gt;
Nov. 4, George, W. L. &amp;amp;&lt;br /&gt;
Nov. 25, Tench, Miss Mary&lt;br /&gt;
Dec. 1, Shedlock, Miss&lt;br /&gt;
Dec. 3, Esmond, H. W.&lt;br /&gt;
Dec. 9, Hewlett, Maurice&lt;br /&gt;
2.&lt;br /&gt;
()4.:()0&lt;br /&gt;
I;&lt;br /&gt;
&ordm;&lt;br /&gt;
&ordm;&ordm;&lt;br /&gt;
I&lt;br /&gt;
2&lt;br /&gt;
&pound; s. d.&lt;br /&gt;
Dec. 17, Reynolds, Mrs. Baillie . () 5 ()&lt;br /&gt;
Dec. 17, Martin, Miss Violet I () ()&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R. . ge &copy;&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
tion &ordm; e w te ſ&ordm; e&lt;br /&gt;
Jan. 1, Northcote, H. &euml; &copy;&lt;br /&gt;
Jan. 3, Watson, Mrs. Herbert A.&lt;br /&gt;
Jan. 3, Fursdon, Mrs. F. M.&lt;br /&gt;
Jan. 3, Smith, Miss Edith A.&lt;br /&gt;
Jan. 4, Pryce, Richard &amp;amp;&lt;br /&gt;
Jan. 4, Wroughton, Miss Cicely .&lt;br /&gt;
Jan. 6, Kaye-Smith, Miss Sheila&lt;br /&gt;
Jan. 6, Underdown, Miss E. M. .&lt;br /&gt;
Jan. 6, Carolin, Mrs. . *&lt;br /&gt;
Jan. 8, P. H. and M. K.&lt;br /&gt;
Jan. 8, Crellin, H. R.&lt;br /&gt;
Jan. 10, Tanner, James T..&lt;br /&gt;
Jan. 10, Miller, Arthur&lt;br /&gt;
Jan. 10, Bolton, Miss Anna&lt;br /&gt;
Jan. 10, Parr, Miss Olive K.&lt;br /&gt;
Jan. 17, Harland, Mrs.&lt;br /&gt;
Jan. 21, Benecke, Miss Ida&lt;br /&gt;
Jan. 25, Fradd, Meredith - e&lt;br /&gt;
Aſl fresh subscribers and donors previous to&lt;br /&gt;
October, 1909, have been deleted from the present&lt;br /&gt;
ann Ouncement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
()&lt;br /&gt;
5&lt;br /&gt;
I1&lt;br /&gt;
()&lt;br /&gt;
O&lt;br /&gt;
5&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-o-&lt;br /&gt;
HE first meeting of the Committee of&lt;br /&gt;
Management for the year 1910 was held&lt;br /&gt;
at the offices of the society on January&lt;br /&gt;
10, at 4 o&amp;#039;clock.&lt;br /&gt;
After the reading of the minutes of the pre-&lt;br /&gt;
vious meeting the committee proceeded to the&lt;br /&gt;
election of members and associates. Thirty-eight&lt;br /&gt;
were elected. Their names will be found on&lt;br /&gt;
another page.&lt;br /&gt;
The committee accepted, with regret, the resigna-&lt;br /&gt;
tion of twenty-four members. The resignations&lt;br /&gt;
were heavy, but not more so than is usual at the&lt;br /&gt;
commencement of the year&mdash;in fact, the numbers&lt;br /&gt;
differed only one point from the resignations in&lt;br /&gt;
January of last year.&lt;br /&gt;
It was decided that, if it was necessary, owing to&lt;br /&gt;
the nomination of members for the committee, to&lt;br /&gt;
have a poll, that the voting papers should be&lt;br /&gt;
returnable to the society by March 17th at the&lt;br /&gt;
latest. Full instructions will, according to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#509) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITISIOR.&lt;br /&gt;
127&lt;br /&gt;
statutes of the society, be sent to all members with&lt;br /&gt;
the March issue of The 41ſthor.&lt;br /&gt;
The date of the general meeting was fixed for&lt;br /&gt;
Wednesday, March 16. The circular and the&lt;br /&gt;
report will be issued in due course. The question&lt;br /&gt;
of the British Academy again came before the&lt;br /&gt;
Society of Authors, and the chairman reported a&lt;br /&gt;
meeting of the Royal Society of Literature which&lt;br /&gt;
he had attended. Several suggestions were made&lt;br /&gt;
by members of the Committee of Management, and&lt;br /&gt;
the chairman undertook to represent them to the&lt;br /&gt;
Sub-Committee of the Royal Society of Literature&lt;br /&gt;
which had been appointed to consider the whole&lt;br /&gt;
matter.&lt;br /&gt;
The casual vacancy caused by the resignation of&lt;br /&gt;
the Hon. Mrs. Felkin was filled up by the appoint-&lt;br /&gt;
ment of Mrs. Belloc Lowndes, who has already&lt;br /&gt;
rendered the society valuable assistance as a mem-&lt;br /&gt;
ber of the sub-committee appointed to consider the&lt;br /&gt;
price of novels.&lt;br /&gt;
The question of the alteration of the subscription&lt;br /&gt;
for life membership was raised by one of the mem-&lt;br /&gt;
bers, and his letter was placed before the committee,&lt;br /&gt;
who decided to leave the rule as it stood at present.&lt;br /&gt;
They considered that &pound;10 10s. was a very small&lt;br /&gt;
subscription to ask in view of the claims which a&lt;br /&gt;
member was entitled to make on the society&amp;#039;s funds.&lt;br /&gt;
The secretary then referred to the committee a&lt;br /&gt;
question relating to the infringement of copyright&lt;br /&gt;
in Canada. He pointed out that, under the&lt;br /&gt;
Canadian Customs Act, the Custom House authori-&lt;br /&gt;
ties could stop the importation of books which had&lt;br /&gt;
been copyrighted in Canada under the Canadian&lt;br /&gt;
Copyright Act, but that no provision had been&lt;br /&gt;
made to stop the importation of pirated copies of&lt;br /&gt;
books copyrighted there under the Imperial Act.&lt;br /&gt;
He mentioned that in New Zealand, a country&lt;br /&gt;
which also had a copyright law of its own, special&lt;br /&gt;
provisions had been made in the Customs Act of&lt;br /&gt;
that country for the protection of copyright owners&lt;br /&gt;
under the Imperial Act against the importation of&lt;br /&gt;
pirated copies, as well as of those who had copy-&lt;br /&gt;
righted their works under the New Zealand Act,&lt;br /&gt;
and he suggested that it might be possible, by&lt;br /&gt;
approaching the Colonial Office, to turn the atten-&lt;br /&gt;
tion of the Canadian Government to the considera-&lt;br /&gt;
tion of this difficulty. Sir Alfred Bateman kindly&lt;br /&gt;
undertook to approach the Colonial Office and Tord&lt;br /&gt;
Strathcona, and to report to the committee.&lt;br /&gt;
The secretary informed the committee that the&lt;br /&gt;
following gentlemen had consented to act on the&lt;br /&gt;
sub-committee to consider the proposed censorship&lt;br /&gt;
of the libraries, in case there was need for a meeting&lt;br /&gt;
should the libraries take any further action : Mr.&lt;br /&gt;
Edmund Gosse, Mr. Maurice Hewlett and Sir&lt;br /&gt;
George Darwin. The committee empowered the&lt;br /&gt;
Sub-committee to add to their number should they&lt;br /&gt;
think desirable.&lt;br /&gt;
The action of the Copyright Sub-Committee in&lt;br /&gt;
the settlement of an agreement between a composer&lt;br /&gt;
and a music publisher was next reported to the&lt;br /&gt;
Committee, who confirmed the action of the copy-&lt;br /&gt;
right sub-committee and expressed themselves&lt;br /&gt;
ready to consider any report that sub-committee&lt;br /&gt;
might care to submit.&lt;br /&gt;
A request from the Dramatic Sub-Committee to&lt;br /&gt;
be allowed to consider dramatic cases likely to&lt;br /&gt;
involve legal action, prior to their submission to&lt;br /&gt;
the Committee of Management, was granted by the&lt;br /&gt;
Committee.&lt;br /&gt;
Sanction was given for the purchase of a mimeo-&lt;br /&gt;
graph for the office use.&lt;br /&gt;
The committee thanked several supporters of the&lt;br /&gt;
Pension Fund for donations, and expressed their&lt;br /&gt;
gratitude for the support which this fund received.&lt;br /&gt;
A list of recent donations and subscriptions appears&lt;br /&gt;
elsewhere in The Author.&lt;br /&gt;
Cases referred to the Committee.&mdash;The first case&lt;br /&gt;
before the committee referred to the support of an&lt;br /&gt;
appeal which was mentioned in the last issue of&lt;br /&gt;
The Author. Since the December meeting the&lt;br /&gt;
Solicitors of the Society had an opportunity of going&lt;br /&gt;
carefully into the papers and reported to the chair-&lt;br /&gt;
man. The chairman, having considered the&lt;br /&gt;
Solicitors&rsquo; report, advised that the matter should&lt;br /&gt;
not be taken further. The secretary reported to&lt;br /&gt;
the committee, who decided to follow this advice.&lt;br /&gt;
The next question, the secretary reported, con-&lt;br /&gt;
cerned a breach of contract which had now been&lt;br /&gt;
Satisfactorily settled by the member concerned.&lt;br /&gt;
The secretary advised the committee that, during&lt;br /&gt;
the past month, he had placed two county court&lt;br /&gt;
cases in the hands of the society&rsquo;s solicitors&mdash;both&lt;br /&gt;
against papers and both for accounts unpaid.&lt;br /&gt;
The next case was for the collection of moneys&lt;br /&gt;
in India on behalf of two dramatists who were&lt;br /&gt;
members of the Society. The Dramatic Committee&lt;br /&gt;
had recommended that the Committee of Manage-&lt;br /&gt;
ment should take the matters up, and the committee&lt;br /&gt;
accepted their recommendation accordingly.&lt;br /&gt;
The secretary reported to the committee two&lt;br /&gt;
claims for members of the society against a&lt;br /&gt;
publisher. He read a long letter from the solicitors&lt;br /&gt;
of the Society setting out the financial position, and&lt;br /&gt;
the committee decided to instruct the solicitors to&lt;br /&gt;
proceed with the claims of the members concerned.&lt;br /&gt;
The next question related to an infringement of&lt;br /&gt;
performing rights in Belgium. As a difficult ques-&lt;br /&gt;
tion of international copyright law was involved,&lt;br /&gt;
the committee decided to obtain counsel&amp;#039;s opinion&lt;br /&gt;
before action was taken.&lt;br /&gt;
The secretary next reported the result of two&lt;br /&gt;
cases commenced some time ago against newspapers&lt;br /&gt;
in New Zealand for piracy of the articles of members.&lt;br /&gt;
Both had been Satisfactorily settled, the amounts&lt;br /&gt;
claimed in both cases being paid. They desire to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#510) ################################################&lt;br /&gt;
&lt;br /&gt;
128&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
express their thanks to Mr. Arnold White&mdash;one of&lt;br /&gt;
the members involved&mdash;for a donation of &pound;4 4s. to&lt;br /&gt;
the society&amp;#039;s Capital Fund, the amount that had been&lt;br /&gt;
recovered by the society on his behalf.&lt;br /&gt;
At their last meeting the committee sanctioned&lt;br /&gt;
proceedings in Germany to support a charge of&lt;br /&gt;
literary libel which one of the members was bringing&lt;br /&gt;
against a German publisher, and the society&rsquo;s&lt;br /&gt;
German lawyers had been instructed at once. The&lt;br /&gt;
secretary had written to the member concerned on&lt;br /&gt;
various occasions for further instructions and&lt;br /&gt;
for particulars demanded by the society&amp;#039;s German&lt;br /&gt;
lawyer, but had been unable to obtain any&lt;br /&gt;
reply. He felt bound, therefore, to report&lt;br /&gt;
the matter to the committee, who instructed&lt;br /&gt;
him to write to the member concerned and point&lt;br /&gt;
out that the society was incurring considerable&lt;br /&gt;
expenditure, for which they would be bound to hold&lt;br /&gt;
the member responsible if he refused to answer&lt;br /&gt;
their letters or to assist them in the action they&lt;br /&gt;
were taking at his request.&lt;br /&gt;
A small case for moneys and accounts from a&lt;br /&gt;
provincial theatre was next considered, and the&lt;br /&gt;
committee decided to adopt the recommendation of&lt;br /&gt;
the Dramatic Sub-Committee and to support the&lt;br /&gt;
case on behalf of the member involved.&lt;br /&gt;
A case of literary libel which had occurred was&lt;br /&gt;
placed before the committee, who confirmed the&lt;br /&gt;
secretary&amp;#039;s action and undertook, if necessary, to&lt;br /&gt;
sanction legal proceedings.&lt;br /&gt;
Lastly, the committee considered the question of&lt;br /&gt;
appealing in a case backed by the society, in which&lt;br /&gt;
the verdict had been given against the member in&lt;br /&gt;
the Court of First Instance. For various legal&lt;br /&gt;
reasons they decided not to take the matter further.&lt;br /&gt;
Thirteen cases in all came before the committee for&lt;br /&gt;
consideration. This is a strong witness to the&lt;br /&gt;
activity of the society and to the work which the&lt;br /&gt;
committee are bound to undertake on behalf of&lt;br /&gt;
those who are members.&lt;br /&gt;
It should be remembered that, besides these cases&lt;br /&gt;
which are taken up by the committee and involve&lt;br /&gt;
legal action, the secretary deals with a considerable&lt;br /&gt;
number of cases every month which are chronicled&lt;br /&gt;
under another heading.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
I.&lt;br /&gt;
THE first meeting of the Dramatic Sub-Com-&lt;br /&gt;
mittee for 1910 was held on January 4, at the&lt;br /&gt;
offices of the Society. After the minutes of the&lt;br /&gt;
last meeting had been read and signed, the Reper-&lt;br /&gt;
tory Agreement, in its final shape, was laid before&lt;br /&gt;
the committee. A slight alteration was made in&lt;br /&gt;
one of the clauses, and the Agreement was passed.&lt;br /&gt;
It is now lying at the offices of the society ready&lt;br /&gt;
for any member to refer to, should he so desir&eacute;.&lt;br /&gt;
The secretary has been instructed to supply full&lt;br /&gt;
information.&lt;br /&gt;
It was decided to send out a circular to all the&lt;br /&gt;
members of the society in order to ascertain the&lt;br /&gt;
number of dramatists included in its ranks, and, if&lt;br /&gt;
possible, to obtain particulars as to those of their&lt;br /&gt;
works which have been publicly performed. The&lt;br /&gt;
issue of this circular has been sanctioned by the&lt;br /&gt;
Committee of Management. It will be forwarded&lt;br /&gt;
to the members in due course. .&lt;br /&gt;
A proposal from the Sketch Association was to&lt;br /&gt;
have been laid before the meeting, but owing to&lt;br /&gt;
the fact that the secretary of that association had&lt;br /&gt;
not put it into formal shape the matter had to be&lt;br /&gt;
adjourned.&lt;br /&gt;
A question next arose as to the desirability of&lt;br /&gt;
getting into closer touch with the various Dramatic&lt;br /&gt;
Authors&rsquo; Societies on the Continent, and the&lt;br /&gt;
Secretary was instructed to write to the Italian,&lt;br /&gt;
Spanish, and German societies and obtain what&lt;br /&gt;
information he could, and to lay the same before the&lt;br /&gt;
sub-committee at their next meeting. The sub-&lt;br /&gt;
Committee desire, if possible, to nominate agents&lt;br /&gt;
in these and other countries able to answer&lt;br /&gt;
inquiries and, if necessary, to collect fees.&lt;br /&gt;
The Report of the Committee on the Law of&lt;br /&gt;
Copyright, which had been circulated by the&lt;br /&gt;
Secretary to all the members of the sub-committee,&lt;br /&gt;
was laid on the table. The sub-committee&lt;br /&gt;
expressed their warm approval of the Report and&lt;br /&gt;
their hope that it would be possible to pass legis-&lt;br /&gt;
lation giving effect to the recommendations laid&lt;br /&gt;
down in that Report.&lt;br /&gt;
It was then moved and carried that the Dramatic&lt;br /&gt;
Sub-Committee recommend to the Committee of&lt;br /&gt;
Management that all dramatic cases should be laid&lt;br /&gt;
before them in the first instance if a decision was&lt;br /&gt;
desired as to whether or not legal action should be&lt;br /&gt;
taken. They hope, by this means, to relieve the&lt;br /&gt;
Committee of Management of a difficult portion&lt;br /&gt;
of their work. The final authorisation in regard to&lt;br /&gt;
the expenditure of the society&amp;#039;s funds must, however,&lt;br /&gt;
rest with the Committee of Management.&lt;br /&gt;
Six cases were next laid before the sub-committee,&lt;br /&gt;
and the following recommendations were made to&lt;br /&gt;
the Committee of Management. The first case&lt;br /&gt;
they recommended the Committee of Management&lt;br /&gt;
not to take up. In three other cases they deferred&lt;br /&gt;
giving a final decision pending the arrival of fuller&lt;br /&gt;
details and the opinion of the society&amp;#039;s solicitors&lt;br /&gt;
on the legal position. One case they recommended&lt;br /&gt;
the Committee of Management to take up. One&lt;br /&gt;
case, which involved recovery of fees under a&lt;br /&gt;
contract, the secretary was able to report had&lt;br /&gt;
already been settled by the payment of the money.&lt;br /&gt;
The secretary laid before the sub-committee&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#511) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
129&lt;br /&gt;
letters he had received from a correspondent in&lt;br /&gt;
South Africa whom the sub-committee contemplated&lt;br /&gt;
appointing as agent. It was decided to await the&lt;br /&gt;
arrival of a further report which the gentleman&lt;br /&gt;
had promised to forward to the office.&lt;br /&gt;
II.&lt;br /&gt;
THE second meeting of this sub-committee was&lt;br /&gt;
held at 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.,&lt;br /&gt;
on Tuesday, January 18.&lt;br /&gt;
The first matter for consideration was the agency&lt;br /&gt;
agreement which had been drafted by the secretary.&lt;br /&gt;
The document was read through carefully from end&lt;br /&gt;
to end and discussed at some length. As it was&lt;br /&gt;
found impossible, however, to complete the settle-&lt;br /&gt;
ment of the agreement and to get through all the&lt;br /&gt;
other work before the committee, the further dis-&lt;br /&gt;
cussion was adjourned to the next meeting.&lt;br /&gt;
Several cases then came before the sub-committee&lt;br /&gt;
for consideration. In the first case, which related&lt;br /&gt;
to the breach of an agreement by a theatrical&lt;br /&gt;
manager, the secretary stated that he had been&lt;br /&gt;
asked to defer taking action pending the arrival of&lt;br /&gt;
further evidence. The next case was one of alleged&lt;br /&gt;
infringement of copyright, and from the opinion of&lt;br /&gt;
the society&amp;#039;s solicitors, which the secretary read to&lt;br /&gt;
the committee, it appeared to that body that at&lt;br /&gt;
present no cause of action would lie, though it was&lt;br /&gt;
just possible that some cause might arise when the&lt;br /&gt;
offending play was produced. In these circum-&lt;br /&gt;
stances, the Dramatic Sub-Committee did not feel&lt;br /&gt;
that they could come to a decision on the existing&lt;br /&gt;
facts.&lt;br /&gt;
The secretary reported the satisfactory settle-&lt;br /&gt;
ment of two other cases which had been placed on&lt;br /&gt;
the agenda. -&lt;br /&gt;
The next question under consideration was con-&lt;br /&gt;
tained in a letter from the Theatres&rsquo; Alliance.&lt;br /&gt;
The sub-committee decided to go carefully into&lt;br /&gt;
the matter, which touched the question of infringe-&lt;br /&gt;
ment of performing rights by performances in&lt;br /&gt;
private clubs. Upon this question the secretary&lt;br /&gt;
was asked to obtain fuller information to be placed&lt;br /&gt;
before a subsequent meeting.&lt;br /&gt;
Some letters received from correspondents in&lt;br /&gt;
South Africa and Australia, who had been&lt;br /&gt;
approached with a view to their appointment as&lt;br /&gt;
agents of the society, were next read, but the matter&lt;br /&gt;
was left open by the sub-committee for further&lt;br /&gt;
consideration.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month fifteen cases have been&lt;br /&gt;
in the hands of the secretary of the Society.&lt;br /&gt;
Though he is unable to report that more than two&lt;br /&gt;
have been settled, the others are in the course of&lt;br /&gt;
Bridge, Mrs. C.&lt;br /&gt;
Satisfactory negotiation. There were six cases for&lt;br /&gt;
money; three claims for the return of MSS. ; three&lt;br /&gt;
claims for infringement of copyright, and three for&lt;br /&gt;
aCCOUnts.&lt;br /&gt;
It is satisfactory to state that the back cases&lt;br /&gt;
mentioned in these reports are now closing up&lt;br /&gt;
rapidly, and that during the past month, in addition&lt;br /&gt;
to the settlement of other matters, two cases of&lt;br /&gt;
infringement of copyright in the colonies have&lt;br /&gt;
been terminated by the payment by the papers of&lt;br /&gt;
the amount claimed by the society on behalf of its&lt;br /&gt;
members.&lt;br /&gt;
One amount, just recovered, the author has&lt;br /&gt;
kindly presented to the capital account of the&lt;br /&gt;
Society.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;--&lt;br /&gt;
January Elections.&lt;br /&gt;
Barrett, A. Wilson . Pebworth House, Peb-&lt;br /&gt;
Worth, Stratford-on-&lt;br /&gt;
Avon.&lt;br /&gt;
Roseneath, Hammer-&lt;br /&gt;
Smith, W.&lt;br /&gt;
Anderida, Gorringe&lt;br /&gt;
Road, Eastbourne.&lt;br /&gt;
9, Guildford Terrace,&lt;br /&gt;
Beal, N. Watkin&lt;br /&gt;
Bedford, Edward J.&lt;br /&gt;
Dover.&lt;br /&gt;
Bristow-Noble, J. C. &ldquo;Violet Dell,&rdquo; Model&lt;br /&gt;
Village, Pnrley,&lt;br /&gt;
Surrey.&lt;br /&gt;
Bryan, Mrs. Hugh . 2, Ranelagh Grove,&lt;br /&gt;
Ebury Bridge, S.W.&lt;br /&gt;
Bryson, C. Lee . Driver, Colorado,&lt;br /&gt;
U.S.A.&lt;br /&gt;
Child, Harold H. c/o . The Burlingſon&lt;br /&gt;
lſ aſſa &ordm;ne, 17, Old&lt;br /&gt;
Burlington Street, W.&lt;br /&gt;
Colbourn, John 152, Alexandra Road,&lt;br /&gt;
St. John&amp;#039;s Wood,&lt;br /&gt;
N.W.&lt;br /&gt;
Coleman, Walter Moore . Huntsville, Texas,&lt;br /&gt;
U.S.A.&lt;br /&gt;
18, Harrington Court,&lt;br /&gt;
Cope, Mrs. E. E., c/o&lt;br /&gt;
Glendower Place,&lt;br /&gt;
Mrs. H. Cope&lt;br /&gt;
S.W.&lt;br /&gt;
Desborough, the Lord, Taplow Court, Taplow&lt;br /&gt;
K.C.V.O. Bucks.&lt;br /&gt;
Betham-Edwards, Miss M.&lt;br /&gt;
Fletcher, Charles&lt;br /&gt;
Willia Juiia, Hastings.&lt;br /&gt;
23, Birch Hall Lane,&lt;br /&gt;
Longsight, Man-&lt;br /&gt;
chester.&lt;br /&gt;
Offa House,&lt;br /&gt;
Tooting, S.W.&lt;br /&gt;
National Liberal Club,&lt;br /&gt;
Whitehall Place,&lt;br /&gt;
S.W.&lt;br /&gt;
Foster, J. J. . Upper&lt;br /&gt;
Fr a did, MI e l&amp;#039; edit h&lt;br /&gt;
(&ldquo;Stephen Torre&rdquo;)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#512) ################################################&lt;br /&gt;
&lt;br /&gt;
130&lt;br /&gt;
THE A DITFIOR.&lt;br /&gt;
Franklin, Miles . . Room 503, 275, La&lt;br /&gt;
Salle Street, Chicago,&lt;br /&gt;
Ill.&lt;br /&gt;
Grainger, F. E.,(&ldquo;Headon Hastings House,&lt;br /&gt;
Hill&rdquo;), c/o A. P. Watt Norfolk Street,&lt;br /&gt;
&amp;amp; Son&lt;br /&gt;
Strand, W.C.&lt;br /&gt;
Heron-Maxwell, Mrs. .&lt;br /&gt;
4, Welbeck Mansions,&lt;br /&gt;
- Welbeck Street, W.&lt;br /&gt;
Kirkpatrick, F. A. &ordm; -&lt;br /&gt;
Lion, Leon M. &ordm; . Thurston Lodge,&lt;br /&gt;
New Bushey, Herts.&lt;br /&gt;
Garloch, Wallington,&lt;br /&gt;
Surrey.&lt;br /&gt;
29, Rue Salneuve,&lt;br /&gt;
Paris. -&lt;br /&gt;
24, Greenmount Road,&lt;br /&gt;
Terenure, Dublin.&lt;br /&gt;
299, Kennington Road,&lt;br /&gt;
Longhurst, Percy .&lt;br /&gt;
MacDonald, Mrs. .&lt;br /&gt;
McDonnell, Randal&lt;br /&gt;
McKeown, Norman&lt;br /&gt;
Orczy, the Baroness . Snowfield, Bearsted,&lt;br /&gt;
- Maidstone.&lt;br /&gt;
Purdon, K. F. o . Hotwell, Enfield, co.&lt;br /&gt;
Meath.&lt;br /&gt;
Pycraft, William Plane . British Museum&lt;br /&gt;
(Natural History),&lt;br /&gt;
London, S.W.&lt;br /&gt;
166, Barcombe Avenue,&lt;br /&gt;
S.W.&lt;br /&gt;
City of London Col-&lt;br /&gt;
lege, E.C.&lt;br /&gt;
Rankin, F. M.&lt;br /&gt;
Riley, Josephine (&ldquo;West-&lt;br /&gt;
meria &amp;#039;&amp;#039;)&lt;br /&gt;
Romero-Todesco, Eloisas&lt;br /&gt;
Routledge, W. S. . . Waterside, Buksledon,&lt;br /&gt;
Hants.&lt;br /&gt;
Scott, Dr. Kenneth . 7, Manchester Square,&lt;br /&gt;
13, Cornwall Mansions,&lt;br /&gt;
Chelsea, S.W.&lt;br /&gt;
170, Buckingham&lt;br /&gt;
Palace Road, S.W.&lt;br /&gt;
Rock House, Bideford,&lt;br /&gt;
N. Devon.&lt;br /&gt;
Windy Peak, St. Mar-&lt;br /&gt;
garet&rsquo;s-at-Cliffe,&lt;br /&gt;
Kent.&lt;br /&gt;
2, St. Oswald&amp;#039;s Studios,&lt;br /&gt;
Sedle combe Road,&lt;br /&gt;
West Brompton,&lt;br /&gt;
S.W.&lt;br /&gt;
Strickland, Miss Margaret&lt;br /&gt;
Syrett, Miss Netta.&lt;br /&gt;
Triscott, E. Browning&lt;br /&gt;
Ward, C. H. Dudley&lt;br /&gt;
Wildman, W. A.&lt;br /&gt;
&ldquo;E. H. Young.&rdquo;&lt;br /&gt;
(We regret that in our last issue the name of the&lt;br /&gt;
Incorporated Company of Eager Heart was incor-&lt;br /&gt;
rectly entered. The correct designation is:&mdash;&lt;br /&gt;
The Incorporated Company of Eager Heart:&lt;br /&gt;
Edgar Playford, Secretary, 85, Gracechurch&lt;br /&gt;
Street, E.C.)&lt;br /&gt;
&mdash;e-Q-0&ndash;&lt;br /&gt;
B00KS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE sociFTY.&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ART.&lt;br /&gt;
A Chapter in the History of&lt;br /&gt;
By S. T. PRIDEAUX. 93 &times; 64.&lt;br /&gt;
15s. n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
EDWARD MARJORIBANKS, LORD TWEEDMoUTH, K. T.,&lt;br /&gt;
1849&ndash;1900. Notes and Recollections, 10} x 73. 158 pp.&lt;br /&gt;
Constable. 5s. n.&lt;br /&gt;
AQUATINT ENGRAVING.&lt;br /&gt;
Book Illustrations.&lt;br /&gt;
434 pp. Duckworth.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
&ldquo;WHERE THERE&amp;#039;s A WILL, THERE&amp;#039;s A WAY.&rdquo; ; OR, THE&lt;br /&gt;
STORY OF ADVENTURES ON A BICYCLE. By the Rev.&lt;br /&gt;
GILBERT MONKS. Elliot Stock, 2d.&lt;br /&gt;
CLASSICAL. -&lt;br /&gt;
THE YEAR&amp;#039;s WoRK IN CLASSICAL STUDIES. Edited by&lt;br /&gt;
W. H. D. Rous E, Litt.D. 8; X 5%. 176 pp. Murray,&lt;br /&gt;
2s. 6d. n. -&lt;br /&gt;
DRAMA. &amp;amp;&lt;br /&gt;
PLAYs, ACTING, AND MUSIC. A Book of Theory. By&lt;br /&gt;
ARTHUR SYMONS. 9 &times; 5%. 322 pp. Constable. 2s. n.&lt;br /&gt;
THE RACE-SPIRIT. A Play in One Act. By C. GRAN-&lt;br /&gt;
VILLE. 9 &times; 53. 42 pp. Daniel, 1s. 6d. n.&lt;br /&gt;
THE BLUE BIRD SOUVENIR. Containing a Short Essay on&lt;br /&gt;
the Life and Work of Maeterlinck. By H. TRENCH.&lt;br /&gt;
9% &times; 11%. John Long, 1s. m.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
A GREEK BOY AT HOME. A Story written in Greek.&lt;br /&gt;
By W. H. D. Rouse. 74 &times; 5. 134 pp. Vocabulary&lt;br /&gt;
separate. 59 pp. Blackie. 3s. 6d. n.&lt;br /&gt;
SAHIB&rsquo;s BIRTHDAY. Adapted from the Story by L. E.&lt;br /&gt;
TIDDEMAN. 6; x 4%. 32 pp. Blackie. . Id.&lt;br /&gt;
ROWE&amp;#039;s RAPID METHOD OF TEACHING CHILDREN TO&rsquo;&lt;br /&gt;
READ. For use in the Nursery, the Kindergarten, and&lt;br /&gt;
the Infant School. By BLANCHE HANBURY ROWE.&lt;br /&gt;
Child&rsquo;s First Primer, 4d. m. ; Child&amp;#039;s Second Primer,&lt;br /&gt;
5d. m. ; The Teacher&amp;#039;s Manual (How to Begin). 28. 6d. m.&lt;br /&gt;
J. M. Dent &amp;amp; Sons, Ltd. -&lt;br /&gt;
THE STUDENT&amp;#039;s BUSINESS METHODS ; OR, COMMERCIAL.&lt;br /&gt;
PRACTICE AND CORRESPONDENCE. By ARTHUR&lt;br /&gt;
FIELDHOUSE. Fourth edition. 73 &times; 5. 318 pp.&lt;br /&gt;
Simpkin, Marshall, 2s. 6d. -&lt;br /&gt;
COMMERCIAL BOOK-&lt;br /&gt;
THE STUDENT&amp;#039;S ELEMENTARY&lt;br /&gt;
KEEPING. By ARTHUR FIELDHOUSE. . Thirteenth&lt;br /&gt;
edition. 74 &times; 5. 270 pp. Simpkin, Marshall. 28.&lt;br /&gt;
REY TO THE STUDENT&amp;#039;s ELEMENTARY COMMERCIAL&lt;br /&gt;
Book-KEEPING. By ARTHUR FIELDHOUSE and EDWIN&lt;br /&gt;
WILSON. 83 &times; 53. 309 pp. Simpkin, Marshall, 12s.&lt;br /&gt;
EXPOSITION AND ILLUSTRATION IN TEACHING. By JOHN&lt;br /&gt;
ADAMs, M.A., B.Sc. 426 pp. Macmillan, 58.&lt;br /&gt;
FICTION.&lt;br /&gt;
GARRYOwl;N. The Romance of a Racehorse.&lt;br /&gt;
By H. DE&lt;br /&gt;
WERE STACPOOLE. 73 &times; 5. 352 pp.&lt;br /&gt;
Unwin. 68.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#513) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
131&lt;br /&gt;
THE GREAT GAY RoAD. By TOM GALLON. , 7.3 &times; 5.&lt;br /&gt;
317 pp. John Long. 6s.&lt;br /&gt;
THE UNCOUNTED COST. By MARY GAUNT.&lt;br /&gt;
290 pp. Werner Laurie. 6s.&lt;br /&gt;
CHIPPINGE. By STANLEY WEYMAN.&lt;br /&gt;
Newnes. 6d.&lt;br /&gt;
THE ANGER OF OLIVIA. By THOMAS COBB.&lt;br /&gt;
294 pp. Mills &amp;amp; Boon, 63.&lt;br /&gt;
A DAUGHTER IN JUDGMENT.&lt;br /&gt;
8} x 5%. 212 pp.&lt;br /&gt;
7# x 5.&lt;br /&gt;
By EDITH A. GIBBS.&lt;br /&gt;
7# &times; 5. 382 pp. John Long, 6s.&lt;br /&gt;
JOY. By L. G. MOBERLY. 73 &times; 5. 315 pp. Ward&lt;br /&gt;
Lock, 6s.&lt;br /&gt;
ARSENE LUPIN. From the Play by Maurice Leblanc and&lt;br /&gt;
Francis De Groisset. By EDGAR JEPSON and MAURICE&lt;br /&gt;
LEBLANC. Seventh Thousand. 73 &times; 5. 344 pp.&lt;br /&gt;
Mills &amp;amp; Boon, 1s. n.&lt;br /&gt;
WHITE WALLs. By MAx PEMBERTON. 73 &times; 5. 304 pp.&lt;br /&gt;
Ward Lock, 68.&lt;br /&gt;
KING EDWARD INTERVENES.&lt;br /&gt;
7# x 5.&lt;br /&gt;
By ARABELLA KENEALY.&lt;br /&gt;
372 pp. John Long, 68.&lt;br /&gt;
HISTORY.&lt;br /&gt;
&amp;#039;#&amp;#039;HE UNKNOWN HISTORY OF THE JEWS DISCOVERED FROM&lt;br /&gt;
THE ANCIENT RECORDS AND MONUMENTS OF EGYPT&lt;br /&gt;
AND BABYLON. By E. E. JESSEL. 170 pp. Watts,&lt;br /&gt;
3s. 6d. n.&lt;br /&gt;
LITERARY.&lt;br /&gt;
GEORGE MEREDITH, 1909. By J. M. BARRIE. 54 &times; 3}.&lt;br /&gt;
16 pp. Constable. 18. n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
MotoR DICTA (BEING ODDS AND ENDS OF AUTO-&lt;br /&gt;
MoBILISM). By GERALD BISS. Greening &amp;amp; Co. 1s.&lt;br /&gt;
THE STRANGE STORY OF THE DUNMOW FLITCH. By&lt;br /&gt;
J. W. RoberTSON SCOTT (&ldquo;Home Counties.&rdquo;) 53 &times; 4}.&lt;br /&gt;
63 pp. Dunmow : Carter. 28.&lt;br /&gt;
MUSIC.&lt;br /&gt;
THE SCHOOLGIRLS : A SET OF SIX SONGS. By L. BUDGEN.&lt;br /&gt;
London : Milner &amp;amp; Co., 15a, Paternoster Row, E.C.&lt;br /&gt;
Raglan Works, Halifax, 1s. n.&lt;br /&gt;
ORIENTAL.&lt;br /&gt;
HALF THE BATTLE IN BURMESE. A Manual of the&lt;br /&gt;
Spoken Language. By R. GRANT BROWN. 6} x 5.&lt;br /&gt;
149 pp. Frowde, 5s. n. \ = r. ..&lt;br /&gt;
* -a&ordm; ----- ~~~~g. POETRY. 38&amp;amp;A &ordm;f &amp;quot;g.&lt;br /&gt;
PURITAN PANSIES, By CLAUD FIELD. 62 pp.&lt;br /&gt;
Headley.&lt;br /&gt;
POLITICAL.&lt;br /&gt;
THE CRISIS OF LIBERALISM.&lt;br /&gt;
By J. A. HOBSON.&lt;br /&gt;
68. n.&lt;br /&gt;
A GREAT CONSPIRACY. By SIR ROBERT ANDERSON,&lt;br /&gt;
K.C.B. An abridged edition of &ldquo;Sidelights on the Home&lt;br /&gt;
Rule Movement.&rdquo; 7# &times; 53.1 18 pp. Murray. 6d. n.&lt;br /&gt;
PATRIOTISM AND UNEMPLOYMENT. By MRs, MONTAGU&lt;br /&gt;
New Issues of Democracy.&lt;br /&gt;
84 &times; 53. 284 pp. P. S. King.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
FENTON&amp;#039;S NEW TESTAMENT IN MoDERN ENGLISH. By&lt;br /&gt;
FERRAR FENTON. Ninth Edition. S. W. Partridge &amp;amp; Co.&lt;br /&gt;
Cloth, 2s. 6d. : Paper Covers, Is.&lt;br /&gt;
THE LIFE AND DIVINE WRITINGs of JoANNA Southcott.&lt;br /&gt;
By ALICE SEYMOUR. Two volumes. Simpkin, Marshall &amp;amp;&lt;br /&gt;
CO. 4s. 6d. m. each w&lt;br /&gt;
THE MANY-SIDED UNIVERSE. A Study of Science and&lt;br /&gt;
Religion Specially Addressed to Young People. By&lt;br /&gt;
E. M. CAILLARD. 73 &times; 5}. 159 pp., Allenson,&lt;br /&gt;
3s. 6d. m.&lt;br /&gt;
THE NEW THEOLOGY. By the REv. R. J. CAMPBELL.&lt;br /&gt;
Thoroughly Revised and with a Full Account of the Pro-&lt;br /&gt;
gressive League, including the Speeches of Hall Caine&lt;br /&gt;
and Bernard Shaw. New Popular Edition. 7, 2 4#.&lt;br /&gt;
274 pp. Mills &amp;amp; Boon. Is. n. -&amp;quot;&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
By JULIA CARTWRIGHT (MRs. ADy).&lt;br /&gt;
Wells Gardner. 2s. 6d. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
OUR LADY OF THE SUNSHINE AND HER INTERNATIONAL&lt;br /&gt;
VISITORS. A Series of Impressions written by Repre-&lt;br /&gt;
Sentatives of the various Delegations attending the&lt;br /&gt;
Quinquennial Meeting of the International Council of&lt;br /&gt;
Women in Canada, June, 1909. Edited by the COUNTESS&lt;br /&gt;
OF ABERDEEN, 7} x 43. 103 pp. Constable. Is. n.&lt;br /&gt;
TRAVEL AND EXPLORATION. A Monthly Illustrated&lt;br /&gt;
HAMPTON COURT.&lt;br /&gt;
73 &times; 5. 204 pp.&lt;br /&gt;
Magazine. Edited by E. A. REYNoLDs BALL. Vol. II.&lt;br /&gt;
July to December, 1909. 83 &times; 64. 384 pp. Witherby.&lt;br /&gt;
7s. 6d. m.&lt;br /&gt;
B00KS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
WESTMINSTER ABBEY. Illustrated by 270 photographs,&lt;br /&gt;
plans, sections, sketches, and measured drawings. By&lt;br /&gt;
FRANCIS BOND. New York: Oxford University Press.&lt;br /&gt;
332 pp. $4 m.&lt;br /&gt;
IBIOGRAPHY.&lt;br /&gt;
CHATEAUBRIAND AND HIS COURT OF WOMEN.&lt;br /&gt;
photogravure portraits. By Francis Gribble.&lt;br /&gt;
York : Scribner. $3.75 m.&lt;br /&gt;
HEROES OF MODERN INDIA. By the REv. E. GILLIAT.&lt;br /&gt;
336 pp. Philadelphia : Lippincott, $1.50 m.&lt;br /&gt;
With 6&lt;br /&gt;
New&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
THE HINDRANCE To GooD CITIZENSHIP. By THE RIGHT&lt;br /&gt;
HON. JAMES BRYCE. Yale University Press. 138 pp.&lt;br /&gt;
$1.15 n.&lt;br /&gt;
STORIES FROM THE GREEK LEGENDS. By C. GASQUOINE&lt;br /&gt;
(Mrs. C. G. Gallichan). 170 pp. Philadelphia : Lip-&lt;br /&gt;
LUBBoCK. 12 pp. W. H. Smith &amp;amp; Son.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
Boswell&amp;#039;s Johnson. Edited by ROGER INGPEN. Extra&lt;br /&gt;
illustrated. Bicentenary Edition. Part 14. 10 &times; 73.&lt;br /&gt;
Pitman. 6d. n.&lt;br /&gt;
Illustrated. Bicentenary Edition.&lt;br /&gt;
Edited by Rog ER INGPEN. 10 x 73. 1073&mdash;&lt;br /&gt;
Sir Isaac Pitman, 6d. m.&lt;br /&gt;
881&ndash;928 pp.&lt;br /&gt;
BOSWELL&rsquo;S JOHNSON.&lt;br /&gt;
Part 1S.&lt;br /&gt;
1120 pp.&lt;br /&gt;
pincott. $1.25 m.&lt;br /&gt;
FICTION. -&lt;br /&gt;
THE HOUSE OF ARDEN. By E. NESBIT BLAND 350 pp&lt;br /&gt;
New York : Dutton. $1.50. - -&lt;br /&gt;
THE FATAL RUB Y. By CHARLES GARVICE, 313 pp.&lt;br /&gt;
New York : George H. Doran Co. $1.50.&lt;br /&gt;
A SON OF THE IMMORTALS. By LOUIS TRACY. 319 pp.&lt;br /&gt;
New York : Edward Clode. $1.50.&lt;br /&gt;
THE DUPE. By GERALD BISS. 310 pp. Brentano&amp;#039;s.&lt;br /&gt;
$1.50. t&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#514) ################################################&lt;br /&gt;
&lt;br /&gt;
132&lt;br /&gt;
TISIES A DTEIOR.&lt;br /&gt;
HISTORY.&lt;br /&gt;
SoCIAL ENGLAND IN THE XVTH CENTURY. A Study of&lt;br /&gt;
the Effects of Economic Conditions. By A. ABRAM.&lt;br /&gt;
244 pp. New York: Dutton &amp;amp; Co. $1 n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
THE SURVIVAL OF MAN.&lt;br /&gt;
Human Faculty. By SIR OLIVER LODGE.&lt;br /&gt;
New York: Moffat, Yard &amp;amp; Co. $2. In.&lt;br /&gt;
FAMILY NAMES AND THEIR STORY. By REV. S. BARING&lt;br /&gt;
GOULD. 431 pp. Philadelphia : Lippincott. $3 m.&lt;br /&gt;
STORIES FROM THE OPERAs. Third Series, with Short&lt;br /&gt;
Biographies of the Composers. By GLADYS DAVIDSON.&lt;br /&gt;
151 pp, Philadelphia: Lippincott. $1.25 m.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
TREES AND SHRUBS OF THE BRITISH ISLES.&lt;br /&gt;
COOPER and W. PERCIVAL WESTELL.&lt;br /&gt;
108 + 262 pp. New York: Dutton. $7.&lt;br /&gt;
POLITICAL.&lt;br /&gt;
THE CRIME of THE CONGo. By SIR ARTHUR CONAN&lt;br /&gt;
Doy L.E. 128 pp. New York : Doubleday, Page &amp;amp; Co.&lt;br /&gt;
Cloth, 50c. : Paper, 256.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
THE WONDERS OF ASIATIC EXPLORATION. With 10 illus-&lt;br /&gt;
trations. By ARCHIBALD WILLIAMS. Philadelphia :&lt;br /&gt;
Lippincott. 750.&lt;br /&gt;
THE WONDERS OF MECHANICAL INGENUITY.&lt;br /&gt;
illustrations. By ARCHIBALD WILLIAMS.&lt;br /&gt;
Philadelphia : Lippincott. 756.&lt;br /&gt;
TEIE OLOGY.&lt;br /&gt;
BEGINNING AT JERUSALEM. Studies in Historic Com-&lt;br /&gt;
munions of Christendom. By the REV. T. A. LACEY.&lt;br /&gt;
66 pp. New York : Edwin S. Gorham. 606.&lt;br /&gt;
FENTON&amp;#039;s NEW TESTAMENT IN MODERN ENGLISH. By&lt;br /&gt;
FERRAR FENTON. Ninth edition. New York : Oxford&lt;br /&gt;
University Press. -&lt;br /&gt;
THE BALL AND THE CROSs. By G. K. CHESTERTON.&lt;br /&gt;
New York : John Lane Co. 403 pp. $1.50.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
HIGHWAYS AND BY WAYS OF MIDDLESEx. By WALTER&lt;br /&gt;
A Study in Unrecognised&lt;br /&gt;
361 pp.&lt;br /&gt;
By C. S&lt;br /&gt;
Two vols.&lt;br /&gt;
With 8&lt;br /&gt;
160 pp.&lt;br /&gt;
JERROLD. Illustrated by HUGH THOMPSON. 402 pp.&lt;br /&gt;
New York : Macmillan. $2 n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
THE GREAT WALL OF CHINA. With 100 full-page illus-&lt;br /&gt;
trations and maps. By W. E. GEIL. 393 pp. New&lt;br /&gt;
York : Sturgis &amp;amp; Walton Co. $5 m.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
HE name of Molly Aston is familiar to every&lt;br /&gt;
reader of Boswell&rsquo;s &ldquo;Life of Johnson&rsquo;&rsquo; as&lt;br /&gt;
one of the early amorets of the great lexico-&lt;br /&gt;
grapher, but, strange to say, no portrait of the lady&lt;br /&gt;
was known to exist. It is true that Sir Joshua once&lt;br /&gt;
painted her, but the picture was burnt some years&lt;br /&gt;
ago in the fire of a family mansion. A faithful&lt;br /&gt;
copy of the picture, however, was made by another&lt;br /&gt;
hand, and this copy, the authenticity of which is&lt;br /&gt;
satisfactorily attested, has come to light recently,&lt;br /&gt;
and the owner has generously permitted it to be&lt;br /&gt;
reproduced in part 19 of Mr. Roger Ingpen&amp;#039;s extra&lt;br /&gt;
illustrated edition of Boswell&amp;#039;s &ldquo;Johnson,&rdquo; a bi-&lt;br /&gt;
centenary edition of which in sixpenny parts Sir&lt;br /&gt;
Isaac Pitman &amp;amp; Sons, Ltd., commenced issuing&lt;br /&gt;
last autumn. Part 20 will complete the reissue.&lt;br /&gt;
Mary Gaunt, the author of &ldquo;The Silent. Ones,&rdquo;&lt;br /&gt;
has just published a new novel, &ldquo;The Uncounted&lt;br /&gt;
Cost.&rdquo; The book, of which Mr. T. Werner Laurie&lt;br /&gt;
is the publisher, is concerned with the adventures&lt;br /&gt;
of some naval officers in the &ldquo;Mahogany Coast&rdquo;&lt;br /&gt;
district.&lt;br /&gt;
The same publishers have also issued Miss&lt;br /&gt;
Victoria Cross&amp;#039;s new novel, &ldquo;The Eternal Fires.&rdquo;&lt;br /&gt;
It is the story of an entirely unsophisticated girl,&lt;br /&gt;
who, thrust forth from a very sheltered life, is&lt;br /&gt;
forced, in her poverty, to earn her living as an&lt;br /&gt;
artist&amp;#039;s model.&lt;br /&gt;
&ldquo;Rowe&amp;#039;s Rapid Method of teaching Children to&lt;br /&gt;
Read&rdquo; (Messrs. J. M. Dent &amp;amp; Sons) attacks the&lt;br /&gt;
difficulty of the English vowel and its apparent&lt;br /&gt;
inconsistencies. The children are taught to see&lt;br /&gt;
when it will &ldquo;say its &ldquo;name-sound&rdquo; and&lt;br /&gt;
when its &ldquo;short-sound,&rdquo; and in what circum-&lt;br /&gt;
stances it will borrow certain other sounds. Thus,&lt;br /&gt;
it rapidly enables the child to decipher for himself&lt;br /&gt;
every normally constructed syllable in the language.&lt;br /&gt;
This system should also appeal to foreigners, for it&lt;br /&gt;
proves the English language to be far more regular&lt;br /&gt;
than is popularly supposed.&lt;br /&gt;
&ldquo;Cousin Hugh &amp;#039;&amp;#039; is the title of a new novel by&lt;br /&gt;
Theo Douglas (Mrs. H. D. Everett), shortly to be&lt;br /&gt;
published by Messrs. Methuen &amp;amp; Co.&lt;br /&gt;
The January number of the Quiver contains, on&lt;br /&gt;
the opening page, an article entitled &ldquo;Great Britain&lt;br /&gt;
at the Cross Roads,&rdquo; by D. L. Woolmer. Another&lt;br /&gt;
article from the same writer will appear in the&lt;br /&gt;
February issue of the same magazine.&lt;br /&gt;
The purpose of Professor John Adams&rsquo; &ldquo;Exposi-&lt;br /&gt;
tion and Illustration in Teaching &rdquo; (Macmillan) is&lt;br /&gt;
to give some guidance to those whose business it is&lt;br /&gt;
to expound, whether in the class-room, the pulpit,&lt;br /&gt;
or the lecture hall. After a discussion of the&lt;br /&gt;
nature and scope of exposition and illustration, the&lt;br /&gt;
author sets out the psychological principles that&lt;br /&gt;
underlie all attempts to communicate knowledge.&lt;br /&gt;
The nature of ideas, of mental content, of mental&lt;br /&gt;
activity, of mental backgrounds, of suggestion, is&lt;br /&gt;
treated in chapters full of practical applications to&lt;br /&gt;
the work of the school and the platform.&lt;br /&gt;
The Christmas number of the Pall Mall Magazine&lt;br /&gt;
has a story by Miss Emma Brooke, entitled&lt;br /&gt;
&ldquo;Dolly&amp;#039;s Adventure.&rdquo;&lt;br /&gt;
In our notice of &ldquo;The Mastery of Destiny,&rdquo; in&lt;br /&gt;
our last issue, we gave as the publishers &ldquo;The&lt;br /&gt;
Light of Reason.&rdquo; We understand from the&lt;br /&gt;
author, Mr. James Allen (to whom we tender our&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#515) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A DITFMOR.&lt;br /&gt;
133&lt;br /&gt;
apologies), that the publishers are not &ldquo;The Light&lt;br /&gt;
of Reason,&rdquo; but Messrs. G. P. Putnam&amp;#039;s Sons.&lt;br /&gt;
An illustrated souvenir of &ldquo;The Blue Bird,&rdquo;&lt;br /&gt;
Maurice Maeterlinck&amp;#039;s play now running at the&lt;br /&gt;
Haymarket, has been prepared and is being pub-&lt;br /&gt;
lished by Mr. John Long. The souvenir is produced&lt;br /&gt;
in colour, and Mr. John Hassall is responsible for&lt;br /&gt;
the cover design. The letterpress, which Mr.&lt;br /&gt;
Herbert Trench has written, includes a little sketch&lt;br /&gt;
of the life and work of Maurice Maeterlinck.&lt;br /&gt;
The January number of Travel and Eaplora-&lt;br /&gt;
&pound;ion, edited by E. A. Reynolds Ball, contains,&lt;br /&gt;
among other interesting matter, contributions from&lt;br /&gt;
four of our members. Mr. William Hunter Workman&lt;br /&gt;
continues the description of the exploration of&lt;br /&gt;
the Nun Kun range, commenced by Mrs. Bullock&lt;br /&gt;
Workman in the December issue. Mr. C. N.&lt;br /&gt;
Williamson describes the attractions of the motor&lt;br /&gt;
journey from Paris to the south of France, and&lt;br /&gt;
illustrates with a story the necessity for due&lt;br /&gt;
observance of custom-house regulations in crossing&lt;br /&gt;
from France into Italy.&lt;br /&gt;
Mr. Ralph Durand writes, with others, on &ldquo;Outfit&lt;br /&gt;
and Equipment for the Traveller, Explorer, and&lt;br /&gt;
Sportsman.&rdquo;&lt;br /&gt;
Sir Sven Hedin&rsquo;s &ldquo;Trans-Himalaya : Discoveries&lt;br /&gt;
and Adventures in Tibet,&rdquo; is reviewed by the editor.&lt;br /&gt;
We have received the second volume of this&lt;br /&gt;
magazine, comprising the issues for July to&lt;br /&gt;
December, 1909. It is strongly bound, and the&lt;br /&gt;
illustrations, of which there are many, are very&lt;br /&gt;
well reproduced. These, in addition to the maps&lt;br /&gt;
and an index, add to the attractiveness of the&lt;br /&gt;
volume.&lt;br /&gt;
The Princess Karadja is delivering a course of&lt;br /&gt;
lectures on behalf of the Gnosis Propaganda Fund&lt;br /&gt;
at the Blue Salon, Eustace Miles Restaurant,&lt;br /&gt;
40, Chandos Street, Charing Cross. *&lt;br /&gt;
The first of these lectures, &ldquo;The Esoteric Meaning&lt;br /&gt;
of the Seven Sacraments,&rdquo; was first delivered some&lt;br /&gt;
weeks ago, was repeated on January 15, and&lt;br /&gt;
will subsequently appear in book form.&lt;br /&gt;
On February 12 the Princess&amp;#039;s subject will be&lt;br /&gt;
&ldquo;The Tower of Babel &rdquo; (explanations concerning&lt;br /&gt;
Masonic teaching in the Bible); on the 26th,&lt;br /&gt;
&ldquo;Balaam&rsquo;s Ass&rdquo; (an illumination concerning the&lt;br /&gt;
esoteric signification of this allegory) ; on&lt;br /&gt;
March 5, &ldquo;The Destiny of the Weaker Wessel&rdquo;;&lt;br /&gt;
while the concluding lecture, on March 19, will&lt;br /&gt;
deal with Jachin and Boaz and the accuracy of&lt;br /&gt;
the usual interpretation of the Scriptural passages&lt;br /&gt;
referring thereto.&lt;br /&gt;
Tickets for the course, including tea on reserved&lt;br /&gt;
gallery, may be obtained, at 12s. 6d. for each person,&lt;br /&gt;
from Princess Karadja&amp;#039;s secretary, 11, King&amp;#039;s&lt;br /&gt;
Road, Sloane Square ; from Mr. Wooderson,&lt;br /&gt;
4, Great Russell Street, W.C. ; or at the lecture&lt;br /&gt;
TOOIſle&lt;br /&gt;
Admission to each lecture, without tea, may be&lt;br /&gt;
obtained at a cost of 2s. 6d. &bull;&lt;br /&gt;
Mr. J. W. Robertson Scott has just published a&lt;br /&gt;
little volume, &ldquo;The Strange Story of the Dunmow&lt;br /&gt;
Flitch,&rdquo; in which he has gathered together and set&lt;br /&gt;
forth, in as simple and attractive a fashion as&lt;br /&gt;
possible, such data as he has been able to collect&lt;br /&gt;
concerning a custom with which but few people are&lt;br /&gt;
unfamiliar. The book is published at Dunmow&lt;br /&gt;
by Mr. D. Carter.&lt;br /&gt;
In &ldquo;The Unknown History of the Jews,&rdquo; pub-&lt;br /&gt;
lished by Messrs. Watts &amp;amp; Co., Mr. Ernest E,&lt;br /&gt;
Jessel reviews the higher criticism of the Old&lt;br /&gt;
Testament, and adds the historical evidence of the&lt;br /&gt;
monuments up to date, with the object of arriving&lt;br /&gt;
at the truth concerning the origin of Jewish laws&lt;br /&gt;
and observances and the history of the Jewish&lt;br /&gt;
people. In the course of his researches, the author&lt;br /&gt;
discovered indications which led him to pay par-&lt;br /&gt;
ticular attention to Egyptian history, with the&lt;br /&gt;
result that he has identified the ancestors of the&lt;br /&gt;
Jews with a great warlike and industrial people&lt;br /&gt;
who descended into Palestine from Asia Minor&lt;br /&gt;
upwards of four thousand years ago.&lt;br /&gt;
Numerous illustrations are reproduced from&lt;br /&gt;
Egyptian and Babylonian historical sculptures and&lt;br /&gt;
paintings, none of them more recent than 700 B.C.&lt;br /&gt;
Upwards of 80,000 copies of Mr. Ferrar Fenton&amp;#039;s&lt;br /&gt;
translation of the Bible have left the press since&lt;br /&gt;
the first issue under the approval of the late&lt;br /&gt;
J. S. Blaikie, the well-known Edinburgh professor&lt;br /&gt;
of Greek.&lt;br /&gt;
Mr. Fenton is now engaged on a revision of his&lt;br /&gt;
&ldquo;Complete Bible in Modern English&rdquo; for a fifteenth&lt;br /&gt;
edition.&lt;br /&gt;
Miss Florence L. Barclay&amp;#039;s new novel, &ldquo;The&lt;br /&gt;
Rosary,&rdquo; published in London and New York by&lt;br /&gt;
Messrs. Putnam&amp;#039;s Sons, is a love story pure and&lt;br /&gt;
simple, having for its hero a young man in good&lt;br /&gt;
position, who, greatly sought after by the stylish&lt;br /&gt;
ladies of the county, prefers, much to their chagrin,&lt;br /&gt;
a young lady who is plain to a degree. As the&lt;br /&gt;
story proceeds, however, the exceptional gifts and&lt;br /&gt;
graces of the girl become apparent to the reader.&lt;br /&gt;
Since Lady Stanley&amp;#039;s account of the great&lt;br /&gt;
explorer was published, just before Christmas, by&lt;br /&gt;
Messrs. Sampson Low &amp;amp; Co., an interesting letter&lt;br /&gt;
from Stanley has been discovered. It was written&lt;br /&gt;
on June 2, 1858, when Stanley was still John&lt;br /&gt;
Rowlands. He was out of the workshop, but&lt;br /&gt;
without a post or prospects. In the next edition&lt;br /&gt;
of Stanley&amp;#039;s autobiography a facsimile will be&lt;br /&gt;
included.&lt;br /&gt;
&ldquo;By Divers Paths&rdquo; is a collection of essays&lt;br /&gt;
arranged in the form of a calendar. Miss Annie&lt;br /&gt;
Matheson has edited the volume, which is made up&lt;br /&gt;
of rambles, rhymes, and reveries. The claim of&lt;br /&gt;
the book is, in the words of the editor, for odd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#516) ################################################&lt;br /&gt;
&lt;br /&gt;
134&lt;br /&gt;
TRIES A Pſ&amp;quot;TFIOR.&lt;br /&gt;
moments&mdash;those chance moments that come all too&lt;br /&gt;
seldom, when for a few seconds the rush and&lt;br /&gt;
clamour of the road are less insistent, and the&lt;br /&gt;
wayfarers may take an instant&amp;#039;s rest.&lt;br /&gt;
The list of contributors includes, besides Miss.&lt;br /&gt;
Matheson, Mr. C. C. Cotterill, Professor C. H.&lt;br /&gt;
Herford, Litt.D., Maud Egerton King, Greville&lt;br /&gt;
MacDonald, M.D., May Sinclair and Eleanor Tyrrell.&lt;br /&gt;
Miss Eleanor Tyrrell&rsquo;s contributions to the fore-&lt;br /&gt;
going volume have been favourably mentioned by&lt;br /&gt;
South Africa, which paper contains also a kindly&lt;br /&gt;
reference to a story from the same Writer in&lt;br /&gt;
Lippincott&amp;#039;s Magazine.&lt;br /&gt;
Messrs. Simpkin, Marshall &amp;amp; Co. have just&lt;br /&gt;
issued &ldquo;The Life and Divine Writings of Joanna&lt;br /&gt;
Southcott,&rdquo; by Alice Seymour.&lt;br /&gt;
The object of the work is to prove that Joanna&lt;br /&gt;
Southcott was no impostor, but a woman Divinely&lt;br /&gt;
chosen to give warning of the approach of the&lt;br /&gt;
Second Coming. The work is published in two&lt;br /&gt;
volumes at 4s. 6d. nett each.&lt;br /&gt;
&ldquo;Oxford : Its Buildings and Gardens &amp;#039;&amp;#039; is a&lt;br /&gt;
volume published by Mr. Grant Richards. The&lt;br /&gt;
letterpress is by Mr. Ralph Durand, and the 32&lt;br /&gt;
illustrations in colour are reproduced from draw-&lt;br /&gt;
ings by Mr. W. A. Wildman. It is published at&lt;br /&gt;
21s, nett ; also in an &eacute;dition de luze, limited to&lt;br /&gt;
100 copies, at 428. nett.&lt;br /&gt;
Derek Vane is writing the new serial story for&lt;br /&gt;
Lloyd&amp;#039;s Weekly News. It is called &ldquo;The Heather&lt;br /&gt;
Hall Mystery,&rdquo; and illustrates the saying that&lt;br /&gt;
&ldquo;all sin is dogged, and, though that which follows&lt;br /&gt;
may lag, it never loses the track.&rdquo;&lt;br /&gt;
Derek Vane has also recently contributed short&lt;br /&gt;
stories to the Sketch and Bystander, and is now&lt;br /&gt;
engaged on a society novel.&lt;br /&gt;
DRAMATIC.&lt;br /&gt;
&ldquo;Dame Nature,&rdquo; Mr. Frederick Fenn&rsquo;s adapta-&lt;br /&gt;
tion of M. Henry Bataille&rsquo;s &ldquo;La Femme Nue,&rdquo; was&lt;br /&gt;
produced at the Garrick Theatre on January 19th.&lt;br /&gt;
The play, which is a study of the consequences&lt;br /&gt;
of ill-asso, ted marriage, was interpreted by a cast&lt;br /&gt;
including Miss Ethel Irving, Mr. Ernest Leicester,&lt;br /&gt;
and Mr. J. D. Beveridge.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;e-C-0&ndash;&lt;br /&gt;
NE of the literary events of the month has&lt;br /&gt;
been the publication of Alfred de Musset&amp;#039;s&lt;br /&gt;
&ldquo;Lettres &agrave; l&rsquo;Inconnue.&rdquo;&lt;br /&gt;
It is known at last that the woman to whom&lt;br /&gt;
this correspondence was addressed was no other&lt;br /&gt;
than Aim&eacute;e d&amp;#039;Alton, who, after the death of Alfred,&lt;br /&gt;
married his brother Paul de Musset.&lt;br /&gt;
The correspondence commenced in 1837. Alfred&lt;br /&gt;
de Musset died in 1842, and four years later Aim&eacute;e&lt;br /&gt;
married his brother. She died herself in 1881, a&lt;br /&gt;
few months after her husband.&lt;br /&gt;
These letters were confided to Jules Troubat,&lt;br /&gt;
Sainte-Beuve&amp;#039;s secretary, and were given by him to&lt;br /&gt;
the Biblioth&egrave;que Nationale, only to be opened at&lt;br /&gt;
the expiration of a certain number of years. At&lt;br /&gt;
the given date Jules Troubat opened the little&lt;br /&gt;
packet of letters and commenced the publication of&lt;br /&gt;
them in the Figaro. There was great excitement&lt;br /&gt;
in literary circles when it was announced that the&lt;br /&gt;
time had come to open the mysterious love-letters.&lt;br /&gt;
Many of them are very charming, and, taken as a&lt;br /&gt;
whole, they give an excellent idea of the poet,&lt;br /&gt;
witty, clever, affectionate, tender-hearted, but weak&lt;br /&gt;
in character, and as irresponsible as a boy. All&lt;br /&gt;
this was after his liaison with George Sand. The&lt;br /&gt;
first freshness of his love is over. There is a some-&lt;br /&gt;
thing wanting in these letters; they are not like&lt;br /&gt;
those he had written earlier to George Sand.&lt;br /&gt;
There is no doubt, though, that Aim&eacute;e d&amp;#039;Alton&lt;br /&gt;
exercised a very salutary influence over him during&lt;br /&gt;
the time that he was in love with her. The poems&lt;br /&gt;
Written at this epoch are among his finest work.&lt;br /&gt;
In spite of the prosaic times in which we live,&lt;br /&gt;
poetry is decidedly in favour in France. Matin&eacute;es&lt;br /&gt;
are very much in vogue at which poetry of all&lt;br /&gt;
epochs is recited. There are reviews almost&lt;br /&gt;
entirely devoted to the works of poets, and some&lt;br /&gt;
of these reviews organise matin&eacute;es at which the&lt;br /&gt;
various authors are duly feted. One of the most&lt;br /&gt;
enterprising of these reviews is La Po&eacute;tique, as&lt;br /&gt;
M. Saint-Chamarand, the editor, organises a&lt;br /&gt;
matin&eacute;e every Monday for his subscribers, and at&lt;br /&gt;
these matin&eacute;es not only French poets, but foreign&lt;br /&gt;
authors too, are introduced to a Parisian public.&lt;br /&gt;
Only a short time ago Shakespeare had the place&lt;br /&gt;
of honour, and a matin&eacute;e was devoted to his plays.&lt;br /&gt;
The admirers of Alfred de Musset have formed&lt;br /&gt;
a society called &ldquo;Les Mussettistes,&rdquo; and their&lt;br /&gt;
season was inaugurated this winter by a brilliant&lt;br /&gt;
causerie on &ldquo;Alfred de Musset, explained by his&lt;br /&gt;
works.&rdquo; Madame Marguerite Chenu gave this&lt;br /&gt;
causerie, and it was followed by recitations and&lt;br /&gt;
Songs from Musset&amp;#039;s poems. Some members of the&lt;br /&gt;
poet&amp;#039;s family were present.&lt;br /&gt;
&ldquo;L&rsquo;Egypte &agrave; Petites Journ&eacute;es : Souvenirs du&lt;br /&gt;
Caire d&rsquo;Autrefois,&rdquo; is the title of the new edition&lt;br /&gt;
of this fascinating book recently published by&lt;br /&gt;
Arthur Rhon&eacute;, a member of the Egyptian Institute.&lt;br /&gt;
The author visited Egypt in 1864, and he tells us&lt;br /&gt;
that only as far back as thirty years ago the&lt;br /&gt;
ancient cities of the world still remained much as&lt;br /&gt;
they had been since time immemorial. He speaks&lt;br /&gt;
of Rome, Jerusalem, Damascus, Constantinople,&lt;br /&gt;
and Cairo as they were in those days, and he&lt;br /&gt;
regrets bitterly the sans g&egrave;ne of our present&lt;br /&gt;
generation and the ruthless way in which it&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#517) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A [Cſ&rsquo;&rsquo;INFIOR.&lt;br /&gt;
135.&lt;br /&gt;
destroys things which can never be restored, in&lt;br /&gt;
order to introduce the luxuries of modern life.&lt;br /&gt;
In 1864, M. Rhon&eacute; tells us he was able to see&lt;br /&gt;
Cairo &ldquo;in all its Arabian and Mussulman splen-&lt;br /&gt;
dour.&rdquo; There was not a house with five storeys,&lt;br /&gt;
not a footpath, and not a lamp-post. There were&lt;br /&gt;
numberless mosques of all ages, dying peacefully&lt;br /&gt;
away in their own ruins. The effendis and mer-&lt;br /&gt;
chants alike, who at present can only be seen in&lt;br /&gt;
European costume, were promenading about in&lt;br /&gt;
their long silky caftans. On coming back from&lt;br /&gt;
this voyage the author was full of enthusiasm and&lt;br /&gt;
wrote eloquently about the Egypt he had seen.&lt;br /&gt;
He tells us that many friends who visited Cairo&lt;br /&gt;
many years later, when things were completely&lt;br /&gt;
altered, were somewhat disappointed at the differ-&lt;br /&gt;
ence they found between his early accounts and&lt;br /&gt;
Egypt as it now is. The first edition of M. Rhon&eacute;&amp;#039;s&lt;br /&gt;
book was awarded a prize by the French Academy.&lt;br /&gt;
As it is now out of print, it occurred to the author&lt;br /&gt;
to bring out this new edition, with numbers of&lt;br /&gt;
illustrations of things as they were, for the benefit&lt;br /&gt;
of those lovers of antiquity to whom the past is&lt;br /&gt;
sacred, and who prefer the Egypt of the Pharaohs&lt;br /&gt;
to that of Cook&amp;#039;s tourists.&lt;br /&gt;
&ldquo;L&rsquo;Oiseau Bleu,&rdquo; by M. Maurice Maeterlinck,&lt;br /&gt;
is a delightful fairy story. Tyltyl and Myltyl,&lt;br /&gt;
children of a woodcutter, set out in search of the&lt;br /&gt;
&ldquo;Bluebird,&rdquo; which in other words means happiness.&lt;br /&gt;
They go to the Country of Souvenirs, which is the&lt;br /&gt;
past. They then visit the Palace of Night, which&lt;br /&gt;
means ignorance and superstition. After this they&lt;br /&gt;
go to the forest, or to nature, and then to the&lt;br /&gt;
cemetery on the way to the Kingdom of the Future.&lt;br /&gt;
Their search is all in vain, though. They find&lt;br /&gt;
several blue birds, but directly they take them&lt;br /&gt;
from their own surroundings their colour, n&ordm;t being&lt;br /&gt;
genuine, fades away. The two children return&lt;br /&gt;
home quite sad, but on arriving they discover that&lt;br /&gt;
their own dove in the old cage is blue. Delighted&lt;br /&gt;
to find such happiness in their own home, they&lt;br /&gt;
stroke the bird in their glee. At the first touch,&lt;br /&gt;
though, it flies away. There are some charming&lt;br /&gt;
images, full of the subtle symbolism peculiar to&lt;br /&gt;
this author. In the Country of Souvenirs Tyltyl&amp;#039;s&lt;br /&gt;
grandmother, who has long been dead, tells him&lt;br /&gt;
that she is always lo&ordm;king forward to the visits of&lt;br /&gt;
her living friends.&lt;br /&gt;
came to see me,&rdquo; she says. &ldquo;You have not been&lt;br /&gt;
since All Saints&amp;#039; Day !&rdquo; &ldquo;But I did not go out&lt;br /&gt;
all that day,&rdquo; exclaims Tyltyl. &ldquo;No,&rdquo; replies the&lt;br /&gt;
grandmother, &ldquo;but you thought of us, and every&lt;br /&gt;
time a living person thinks of us we wake up out&lt;br /&gt;
of our sleep, and we see you. It is sweet to sleep&lt;br /&gt;
when life is finished, but we also like such waking&lt;br /&gt;
up from time to time.&rdquo; Altogether it is a charming&lt;br /&gt;
book, and the allegory of the sister souls in the&lt;br /&gt;
Kingdom of the Future is most poetical.&lt;br /&gt;
&ldquo;It is a long time since you&lt;br /&gt;
&ldquo;Figaro et ses Devanciers,&rdquo; by MM. Paul&lt;br /&gt;
d&rsquo;Estr&eacute;e and Frantz Funck Brentano, is a very&lt;br /&gt;
instructive and amusing study of the times under&lt;br /&gt;
the ancien r&eacute;gime. Although the press, as we have&lt;br /&gt;
it at present, did not exist then, there was a thirst&lt;br /&gt;
for information and for news about everything.&lt;br /&gt;
We are told that nearly everyone was eager to&lt;br /&gt;
collect and carry about the news of the day. The&lt;br /&gt;
letters of the seventeenth and eighteenth centuries&lt;br /&gt;
were very different from the scrappy epistles of our&lt;br /&gt;
time. They were veritable gazettes, as we see by&lt;br /&gt;
those of Madame de S&eacute;vign&eacute;, Madame de Maintenon,&lt;br /&gt;
Mademoiselle de Scud&eacute;ry, Madame de Stael,&lt;br /&gt;
Mademoiselle de Lespinasse, Madame du Deffand,&lt;br /&gt;
and Madame d&amp;#039;Epinay. Men, too, found time&lt;br /&gt;
to Write such letters, as we see from the&lt;br /&gt;
correspondence of Balzac, Voltaire, Diderot,&lt;br /&gt;
the Abb&eacute; Pr&eacute;vost, Mirabeau, and Beau-&lt;br /&gt;
marchais. Many of the salons were more like&lt;br /&gt;
academies of journalism. The delight of the&lt;br /&gt;
hostess was when a guest brought some startling&lt;br /&gt;
piece of news. It was not to be wondered at that,&lt;br /&gt;
With such stirring times in the history of France,&lt;br /&gt;
everyone should want to be well posted. This&lt;br /&gt;
thirst for information led to the establishment of&lt;br /&gt;
bureaux, where news was copied and distributed to&lt;br /&gt;
Subscribers. There were as many as sixty or&lt;br /&gt;
Seventy subscribers to some of these bureaux. In&lt;br /&gt;
1730 Madame Doublet started a little society&lt;br /&gt;
in her Salom called &ldquo;La Paroisse.&rdquo; She had twenty-&lt;br /&gt;
nine members, and at a fixed hour they all used to&lt;br /&gt;
meet and examine the authenticity of the news which&lt;br /&gt;
each member contributed. Madame d&rsquo;Argental, who&lt;br /&gt;
was admitted as a member of this little society,&lt;br /&gt;
took copies of the news, circulated it, and obtained&lt;br /&gt;
subscribers. Madame Doublet was threatened by the&lt;br /&gt;
police if she continued to circulate the news&lt;br /&gt;
brought to her Salon. As she had friends at court,&lt;br /&gt;
she took no notice of the threat and continued her&lt;br /&gt;
information bureau until her death, at the age of&lt;br /&gt;
ninety-three.&lt;br /&gt;
In recent numbers of the Revue des Deua Mondes&lt;br /&gt;
we have articles on &ldquo;La Vieille France monas-&lt;br /&gt;
tique,&rdquo; by M. l&amp;#039;Abb&eacute; A. Sicard ; &ldquo;La Police&lt;br /&gt;
Politique sous la Restauration,&rdquo; by M. Ernest&lt;br /&gt;
Daudet ; and &ldquo;La Revolution Fiscale &agrave; propos&lt;br /&gt;
du Budget Anglais,&rdquo; by M. Leroy Beaulieu.&lt;br /&gt;
In the Revue Hebdomadaire we have &ldquo;Jean&lt;br /&gt;
Aicard,&rdquo; by M. Chantavoine ; &ldquo;Les Critiques du&lt;br /&gt;
Rationalisme,&rdquo; by M. A. Chaumeix : &ldquo;La Bataille&lt;br /&gt;
du Budget en Angleterre,&rdquo; by M. Raphael Georges&lt;br /&gt;
L&eacute;vy ; &ldquo;F&eacute;n&eacute;lon,&rdquo; by Jules Lema&icirc;tre ; and &ldquo;La&lt;br /&gt;
Cour des Tuileries,&rdquo; by the Marquis de Massa.&lt;br /&gt;
The Figaro is to be congratulated on its enter-&lt;br /&gt;
prise. It is publishing as a supplement, once a&lt;br /&gt;
fortnight, a children&amp;#039;s newspaper, Le Figaro de la&lt;br /&gt;
Jeunesse. This new paper is the delight of French&lt;br /&gt;
children. It is brought out in exactly the same&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#518) ################################################&lt;br /&gt;
&lt;br /&gt;
136&lt;br /&gt;
TFIE A D&ordm;DISIOR.&lt;br /&gt;
style as the newspaper for their parents. There is&lt;br /&gt;
a leading article ; subjects of the day are treated,&lt;br /&gt;
the latest exploits of the aeroplanes, theatrical&lt;br /&gt;
news, with a r&eacute;sum&eacute; of plays suitable for young&lt;br /&gt;
people. There will be criticisms of books, news&lt;br /&gt;
concerning sports, and, in place of the financial&lt;br /&gt;
column, a column devoted to the Stamp Exchange,&lt;br /&gt;
etc. Altogether the venture seems to be a happy&lt;br /&gt;
one and to supply a need. There is to be a&lt;br /&gt;
separate subscription for this supplement, and the&lt;br /&gt;
little paper will no doubt be hailed with delight in&lt;br /&gt;
foreign countries as a means of making the study&lt;br /&gt;
of French attractive to boys and girls. We hear of&lt;br /&gt;
schools subscribing for this paper, and suggestions&lt;br /&gt;
are invited from the youthful subscribers.&lt;br /&gt;
At the Vaudeville Theatre, Paul Bourget&amp;#039;s play&lt;br /&gt;
&ldquo;La Barricade &amp;#039;&amp;#039; is pronounced a success. The&lt;br /&gt;
plot is by no means a new one. It is the old story&lt;br /&gt;
of the employer and his workmen, but the subject&lt;br /&gt;
is treated by Paul Bourget as might be expected&lt;br /&gt;
from the author of &ldquo;L&rsquo;Etape.&rdquo;&lt;br /&gt;
At the Fran&ccedil;ais Lavedan&amp;#039;s new piece &ldquo;Sire * is&lt;br /&gt;
being given, and at the Th&eacute;&acirc;tre Sarah Bernhardt&amp;#039;s&lt;br /&gt;
&ldquo;Le Proc&egrave;s de Jeanne d&amp;#039;Arc.&rdquo;&lt;br /&gt;
A new society has just been founded styled&lt;br /&gt;
&ldquo;Amis de l&rsquo;Art Dramatique.&rdquo; The object of this&lt;br /&gt;
group is to raise the standard of so many of the&lt;br /&gt;
pieces now being given on the French stage and to&lt;br /&gt;
facilitate and encourage the putting on of plays&lt;br /&gt;
that will have a better influence on the public.&lt;br /&gt;
The society is headed by several academicians and&lt;br /&gt;
by many of the best known men and women in&lt;br /&gt;
France. Among others are Maurice Barr&egrave;s,&lt;br /&gt;
Francis Charmes, Ren&eacute; Doumie, Emile Faguet,&lt;br /&gt;
the Duchesse d&amp;#039;Uz&egrave;s, Madame Dieulafoy, Madame&lt;br /&gt;
Massieu, Madame Felix-Faure Goyau, Madame&lt;br /&gt;
Chenu, and the Comtesse Jean de Castellane. M.&lt;br /&gt;
de Ronseray is the honorary secretary, and the&lt;br /&gt;
Society is already doing useful work.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;L&rsquo;Egypte &agrave; Petites Journ&eacute;es : Souvenirs du Caire&lt;br /&gt;
d&rsquo;Autrefois&amp;quot; (Henri Jouve, &eacute;diteur, 15, Rue Racine).&lt;br /&gt;
&ldquo;L&rsquo;Oiseau Bleu&amp;quot; (Fasquelle).&lt;br /&gt;
&ldquo;Figaro et ses Devanciers &rdquo; (Hachette).&lt;br /&gt;
&mdash;s&mdash;Q&ndash;&lt;br /&gt;
UNITED STATES COPYRIGHT CASE.&lt;br /&gt;
(From the U. S. Publishers&amp;#039; Weekly.)&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COPYRIGHT UNDER REPEATED ENTRY.&lt;br /&gt;
N the Supreme Court of the United States,&lt;br /&gt;
October term, 1909, in the case of Isaac H.&lt;br /&gt;
Caliga (plaintiff in error) v. Inter Ocean&lt;br /&gt;
208paper Company, Mr. Justice Day delivered&lt;br /&gt;
the opinion of the Court, November 29, 1909, as&lt;br /&gt;
follows:&lt;br /&gt;
The plaintiff in error, also plaintiff below,&lt;br /&gt;
brought an action in the Circuit Court of the&lt;br /&gt;
United States for the Northern District of Illinois&lt;br /&gt;
to recover damages under section 4965 of the&lt;br /&gt;
Revised Statutes of the United States, because&lt;br /&gt;
of the publication by the defendant of more than&lt;br /&gt;
one thousand copies of a newspaper containing a&lt;br /&gt;
picture of a painting, copyrighted by the plaintiff.&lt;br /&gt;
The plaintiff alleged that he had in all respects&lt;br /&gt;
complied with the Revised Statutes of the United&lt;br /&gt;
States by causing to be deposited, on or about the&lt;br /&gt;
fifth day of November, 1901, a photograph and&lt;br /&gt;
a description of the painting for the purpose of&lt;br /&gt;
having it copyrighted, which deposit was before&lt;br /&gt;
publication of the same in the United States or in&lt;br /&gt;
any foreign country. By reason of the premises&lt;br /&gt;
and the compliance with the statutes of the United&lt;br /&gt;
States the plaintiff claimed to be entitled to a&lt;br /&gt;
copyright for the painting for the term of twenty-&lt;br /&gt;
eight years from and after the recording of the&lt;br /&gt;
title thereof by the Librarian of Congress on&lt;br /&gt;
November 7, 1901. r&lt;br /&gt;
There were other allegations, and proofs tending&lt;br /&gt;
to show a publication of a copy of the photograph&lt;br /&gt;
in the newspaper of the defendant company. In&lt;br /&gt;
the course of the trial it appeared that the plaintiff&lt;br /&gt;
had deposited a description and photograph of the&lt;br /&gt;
same painting with the Librarian of Congress on&lt;br /&gt;
October 7, 1901, for the purpose of securing a&lt;br /&gt;
copyright. The trial court charged the jury, as&lt;br /&gt;
a matter of law, that the plaintiff had brought his&lt;br /&gt;
suit upon the wrong copyright, and therefore&lt;br /&gt;
directed a verdict in favour of the defendant.&lt;br /&gt;
Upon writ of error the Circuit Court of Appeals&lt;br /&gt;
for the Seventh Circuit affirmed this judgment ;&lt;br /&gt;
(157 Fed. 186.) The case is now here for review.&lt;br /&gt;
The photographs filed upon the two applications&lt;br /&gt;
for a copyright are identical. Nor is any sub-&lt;br /&gt;
stantial change in the painting shown ; the copy-&lt;br /&gt;
rights undertaken to be secured were, therefore,&lt;br /&gt;
upon the same painting. The difference is that&lt;br /&gt;
in the copyright sued upon, that of November 7,&lt;br /&gt;
1901, the title and description are, &ldquo;The Guardian&lt;br /&gt;
Angel. Portrait of a young girl sitting, hair&lt;br /&gt;
arranged smoothly over the ears, hair parted in&lt;br /&gt;
the middle. Her guardian angel stands behind&lt;br /&gt;
her, one hand resting on her left shoulder, the&lt;br /&gt;
other on her right arm.&rdquo; The description accom-&lt;br /&gt;
panying the application for the copyright of&lt;br /&gt;
October 7, 1901, is, &ldquo;Maidenhood ; A Young&lt;br /&gt;
Girl seated beside a Window ; An Angel stands&lt;br /&gt;
behind her.&rdquo;&lt;br /&gt;
The question in this case is : Is the second&lt;br /&gt;
attempt to copyright valid and effectual, or was&lt;br /&gt;
the court right in charging in substance that it&lt;br /&gt;
was void and of no effect 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#519) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
137&lt;br /&gt;
We have had such recent and frequent occasions&lt;br /&gt;
to consider the nature and extent of the copyright&lt;br /&gt;
laws of the United States, as the same were before&lt;br /&gt;
the recent revision, which took effect July 1,&lt;br /&gt;
1909, that it is unnecessary to enter into any&lt;br /&gt;
extended discussion of the subject now. (Bobbs-&lt;br /&gt;
Merrill Company v. Straus, 210 U. S. 339; White-&lt;br /&gt;
Smith Music Publishing Company v. Apollo Com-&lt;br /&gt;
pany, 209 U. S. 1 ; American Tobacco Company V.&lt;br /&gt;
Werckmeister, 207 U. S. 284 ; Bong v. Campbell&lt;br /&gt;
Art Company, 214 U. S. 236.) In these cases&lt;br /&gt;
the previous cases in this court were cited and&lt;br /&gt;
reviewed.&lt;br /&gt;
As a result of the decisions of this Court certain&lt;br /&gt;
general propositions may be affirmed. Statutory&lt;br /&gt;
copyright is not to be confounded with the common-&lt;br /&gt;
law right. At common law the exclusive right to&lt;br /&gt;
copy existed in the author until he permitted a&lt;br /&gt;
general publication. Thus, when a book was&lt;br /&gt;
published in print, the owner&amp;#039;s common-law right&lt;br /&gt;
was lost. At common law an author had a pro-&lt;br /&gt;
perty in his manuscript, and might have an action&lt;br /&gt;
against any one who undertook to publish it with-&lt;br /&gt;
out authority. The statute created a new property&lt;br /&gt;
right, giving to the author, after publication, the&lt;br /&gt;
exclusive right to multiply copies for a limited&lt;br /&gt;
period. This statutory right is obtained in a&lt;br /&gt;
certain way and by the performance of certain&lt;br /&gt;
acts which the statute points out. That is, the&lt;br /&gt;
author, having complied with the statute and&lt;br /&gt;
given up his common-law right of exclusive dupli-&lt;br /&gt;
cation prior to general publication, obtained by&lt;br /&gt;
the method pointed out in the statute an exclusive&lt;br /&gt;
right to multiply copies and publish the same for&lt;br /&gt;
the term of years named in the statute. Congress&lt;br /&gt;
did not sanction an existing right ; it created a&lt;br /&gt;
new one. (Wheaton v. Peters, 8 Pet. 591, 661.)&lt;br /&gt;
Those violating the statutory rights of the author&lt;br /&gt;
or proprietor are subject to certain penalties, and&lt;br /&gt;
to the payment of certain damages, as is provided&lt;br /&gt;
in the statute.&lt;br /&gt;
Section 4952 of the Revised Statutes, as amended&lt;br /&gt;
in 1891 (3 Comp. Stat. 3406), provides that the&lt;br /&gt;
proprietor of any painting, upon compliance with&lt;br /&gt;
the provisions of the Copyright Act, has the sole&lt;br /&gt;
right of publishing, copying and vending the&lt;br /&gt;
same. By section 4953 we find that this right&lt;br /&gt;
exists for the period of twenty-eight years from&lt;br /&gt;
the recording of the title of the copyright, with a&lt;br /&gt;
right to certain extensions after the expiration of&lt;br /&gt;
the twenty-eight years, as provided in section 4954.&lt;br /&gt;
In section 4956 we find that a copyright is secured&lt;br /&gt;
by depositing, on or before the day of publication,&lt;br /&gt;
in this or any foreign country, in case of a painting,&lt;br /&gt;
a photograph of the painting, accompanied by a&lt;br /&gt;
description thereof. There is absolutely no provi-&lt;br /&gt;
sion in the statutes for a second filing of the&lt;br /&gt;
photograph or description, nor is there any provi-&lt;br /&gt;
Sion as to filing any amendments thereto, and as&lt;br /&gt;
the matter is wholly the subject of statutory&lt;br /&gt;
regulation, we are at a loss to perceive by what&lt;br /&gt;
authority any second application for the same&lt;br /&gt;
painting, with a view to securing a copyright&lt;br /&gt;
thereon, can be sustained. If it could be, we see&lt;br /&gt;
no reason why the proprietor might not thus&lt;br /&gt;
extend the limit of copyright fixed in the statute&lt;br /&gt;
by an indefinite number of new applications and&lt;br /&gt;
filings with the Librarian.&lt;br /&gt;
The argument of the plaintiff in error is that,&lt;br /&gt;
inasmuch as the statutory copyright is not com-&lt;br /&gt;
plete before a publication of the subject-matter&lt;br /&gt;
thereof, and no publication being shown prior to&lt;br /&gt;
the second application, it was within his power,&lt;br /&gt;
while his rights were thus inchoate, to make the&lt;br /&gt;
second application for the copyright, that of&lt;br /&gt;
November 7, 1901. Assuming that these premises&lt;br /&gt;
are correct and that publication was requisite to&lt;br /&gt;
complete the right to be secured by the statute,&lt;br /&gt;
it by no means follows that a second copyright is&lt;br /&gt;
warranted by the statute. On the other hand, as&lt;br /&gt;
we have already stated, the statute is barren of&lt;br /&gt;
any provision to that end. There is no provision,&lt;br /&gt;
as there is in the patent law, for an amended&lt;br /&gt;
application, and under the patent law it has been&lt;br /&gt;
held that there is no authority for double patenting.&lt;br /&gt;
(Miller v. Eagle Manufacturing Company, 151&lt;br /&gt;
U. S. 186.) This is so because the first patent&lt;br /&gt;
exhausts the statutory right secured by the Act of&lt;br /&gt;
Congress.&lt;br /&gt;
In this case the plaintiff had complied with all&lt;br /&gt;
the terms of the statute on October 7, 1901. He&lt;br /&gt;
then attempts to take out a new copyright under&lt;br /&gt;
the same statute on November 5, 1901, for the&lt;br /&gt;
same painting, by depositing a new description of&lt;br /&gt;
the painting, and the same photograph. It is&lt;br /&gt;
true there is a change in the title of the painting,&lt;br /&gt;
and a slight change in the description, but these&lt;br /&gt;
matters are immaterial and cannot enlarge the right.&lt;br /&gt;
of the plaintiff. We think the same principle, in&lt;br /&gt;
this aspect, controls, as in the case of a patent.&lt;br /&gt;
The plaintiff had already exhausted his statutory&lt;br /&gt;
right and the second attempt availed him nothing.&lt;br /&gt;
These views render it unnecessary to consider&lt;br /&gt;
whether the record shows a publication of the&lt;br /&gt;
painting prior to November 5, 1901. For the&lt;br /&gt;
reasons stated, we are of opinion that the Circuit&lt;br /&gt;
Court of Appeals was right in holding that the&lt;br /&gt;
attempted duplication of the copyright was void&lt;br /&gt;
and of no effect.&lt;br /&gt;
Affirmed.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#520) ################################################&lt;br /&gt;
&lt;br /&gt;
138&lt;br /&gt;
TFIES A DITFIOR.&lt;br /&gt;
COLLES v. MAUGHAM&lt;br /&gt;
&mdash;0&mdash;-&ordm;-&ordm;-&lt;br /&gt;
HIS action was tried on Monday, Decem-&lt;br /&gt;
ber 20, 1909, before Mr. Justice Channell&lt;br /&gt;
and a special jury. The defendant was&lt;br /&gt;
represented by Mr. Montague Lush, K.C., and&lt;br /&gt;
Mr. George Wallace. Mr. Eldon Bankes, K.C.,&lt;br /&gt;
and Mr. Hugh Fraser appeared for the plaintiff.&lt;br /&gt;
Mr. Bankes, in opening the case for the plaintiff,&lt;br /&gt;
dwelt at some length on the amount of work that&lt;br /&gt;
the plaintiff had done during the eighteen months&lt;br /&gt;
the play had been in his hands, in the course of&lt;br /&gt;
which he had submitted the play to Mr. Waller.&lt;br /&gt;
He relied on the letters from Mr. Waller dated&lt;br /&gt;
July 6 and 21, 1903, in which Mr. Waller said&lt;br /&gt;
he liked the play and under certain conditions&lt;br /&gt;
might be inclined to treat for it, but suggested that&lt;br /&gt;
it was too thin and not sufficient for a whole&lt;br /&gt;
evening&amp;#039;s entertainment, and required the collabora-&lt;br /&gt;
tion of a good dramatic author to fill it out, and&lt;br /&gt;
that if Mr. Maugham could be induced to take a&lt;br /&gt;
collaborator he believed there might be money in&lt;br /&gt;
the play and would be willing to entertain it.&lt;br /&gt;
Mr. Maugham refused to have a collaborator and&lt;br /&gt;
withdrew the play from Mr. Colles in April, 1904,&lt;br /&gt;
since which time the MS. had never been in Mr.&lt;br /&gt;
Colles&amp;#039;s hands.&lt;br /&gt;
In 1907, four years after it had first been pre-&lt;br /&gt;
sented to him and about three years after the play&lt;br /&gt;
had been withdrawn, Mr. Waller agreed to accept&lt;br /&gt;
the play, whereupon the plaintiff brought this&lt;br /&gt;
action. The Judge, in the course of counsel&amp;#039;s&lt;br /&gt;
opening speech, remarked that the amount of work&lt;br /&gt;
that the plaintiff had done had really very little to&lt;br /&gt;
do with the case. The question to be decided was,&lt;br /&gt;
Did the plaintiff&rsquo;s work really bring about the ulti-&lt;br /&gt;
mate acceptance of the play by Mr. Lewis Waller 2&lt;br /&gt;
The defendant relied on the evidence of Mr.&lt;br /&gt;
Lewis Waller, who stated that he had never&lt;br /&gt;
suggested to Mr. Maugham the alterations he&lt;br /&gt;
thought should be made. The witness thought&lt;br /&gt;
that the play had been so altered when it was last&lt;br /&gt;
submitted to him as to amount to a different play&lt;br /&gt;
altogether. In reply to Mr. Lush&rsquo;s question&lt;br /&gt;
whether the services of Mr. Colles had anything to&lt;br /&gt;
do with his ultimately accepting the play, Mr. Lewis&lt;br /&gt;
Waller replied, &ldquo;Nothing whatever.&rdquo;&lt;br /&gt;
Mr. Maugham explained the extensive alterations,&lt;br /&gt;
including the addition of an entirely new act and&lt;br /&gt;
the various rejections of the play by theatrical&lt;br /&gt;
managers, including Mr. Waller himself. He also&lt;br /&gt;
explained how and by whose influence the play was&lt;br /&gt;
ultimately accepted by Mr. Waller, and how he was&lt;br /&gt;
in fact paying commission to other persons in&lt;br /&gt;
respect of such introduction.&lt;br /&gt;
The Judge, in his summing up to the jury,&lt;br /&gt;
explained the nature of the contract in commission&lt;br /&gt;
cases. He told them that it was very necessary, if&lt;br /&gt;
the system of commission was to prevail, to be very&lt;br /&gt;
careful not to accede to the argument &ldquo;Oh, I have&lt;br /&gt;
done a very great deal of work, and having done a&lt;br /&gt;
very great deal of work it is very hard that I should&lt;br /&gt;
not be paid anything &rdquo;&mdash;because those were the&lt;br /&gt;
very terms upon which the business was done.&lt;br /&gt;
The question, the Judge said, was, Did the&lt;br /&gt;
plaintiff&rsquo;s work really bring about the ultimate&lt;br /&gt;
acceptance of the play by Mr. Lewis Waller 2&lt;br /&gt;
The Judge further pointed out the difference&lt;br /&gt;
between the principal introduced by a house agent&lt;br /&gt;
and the introduction to Mr. Lewis Waller. &ldquo;If it&lt;br /&gt;
is found,&rdquo; he said, &ldquo;that after the owner had taken&lt;br /&gt;
the house out of the house agent&amp;#039;s hands the owner&lt;br /&gt;
has sold it to a person to whom the house agent&lt;br /&gt;
had introduced him, then the natural inference of&lt;br /&gt;
the agent would be, &lsquo;It is my introduction that&lt;br /&gt;
brought it about.&rsquo; -&lt;br /&gt;
&ldquo;But the defendant, in taking back the play into&lt;br /&gt;
his own hands,&rdquo; he continued, &ldquo;is not disentitled&lt;br /&gt;
to deal himself with Mr. Lewis Waller. Mr. Waller&lt;br /&gt;
is, of course, a very well-known gentleman, and&lt;br /&gt;
there are a limited number of theatrical managers,&lt;br /&gt;
and when it was taken again to Mr. Waller by the&lt;br /&gt;
defendant it was taken to Mr. Waller because&lt;br /&gt;
Mr. Waller was Mr. Waller. He was the theatrical&lt;br /&gt;
manager&mdash;he was the man likely to produce the&lt;br /&gt;
play. It is not like going back to a man whom&lt;br /&gt;
you would never have known of but for the&lt;br /&gt;
introduction.&rdquo; He referred to Mr. Waller&amp;#039;s letters&lt;br /&gt;
of July 21, 1903, in which he suggested a&lt;br /&gt;
collaborator to help to fill out the piece. Mr.&lt;br /&gt;
Maugham had filled out the play himself since then&lt;br /&gt;
more or less on the lines suggested by Mr. Waller.&lt;br /&gt;
&ldquo;Mr. Waller&amp;#039;s evidence,&rdquo; continued the Judge,&lt;br /&gt;
&ldquo;cannot be overlooked, but the jury are not bound&lt;br /&gt;
by it, because it is just the thing that a person&lt;br /&gt;
cannot judge for himself very certainly. As to&lt;br /&gt;
whether it had or had not influenced him is a&lt;br /&gt;
matter for you, and whether Mr. Waller thought it&lt;br /&gt;
had or had not is an important matter for you to&lt;br /&gt;
bear in mind.&rdquo;&lt;br /&gt;
The Judge in conclusion said that he had thought&lt;br /&gt;
all along that it was 10 per cent. or nothing, but that&lt;br /&gt;
it turned out that that was not so, because the 10 per&lt;br /&gt;
cent. was to include the carrying out of the agreement&lt;br /&gt;
and the collecting of the royalties, which Mr. Colles&lt;br /&gt;
had not done ; and that, therefore, if they found&lt;br /&gt;
for the plaintiff they were at liberty to deduct some-&lt;br /&gt;
thing in respect of the work which he had not done&lt;br /&gt;
and which had in fact been done by other people.&lt;br /&gt;
The jury, after long consideration, returned a&lt;br /&gt;
verdict for the plaintiff for &pound;21 10s., being 5 per&lt;br /&gt;
cent. on the amount of the author&amp;#039;s fees, half the&lt;br /&gt;
amount claimed, with a declaration that the plaintiff&lt;br /&gt;
was entitled to the like commission on all future sums&lt;br /&gt;
received as a result of the agreement. Judgment&lt;br /&gt;
Was entered accordingly.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#521) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
139&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
E advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS,&lt;br /&gt;
&mdash;e&mdash;-&ordm;-&ordm;-&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property :&mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society. -&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement). -&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :-&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
IQ63, Il S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
&mdash;&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
UnflDageT.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash; -&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his nause on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#522) ################################################&lt;br /&gt;
&lt;br /&gt;
140&lt;br /&gt;
TISIE A DITISIOR.&lt;br /&gt;
(h.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
S&ordm;; typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
58. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month. -&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;Q-0&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
The Secretary of the Society. begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#523) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITFIOR.&lt;br /&gt;
141&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE REPERTORY AGREEMENT.&lt;br /&gt;
MEMBERS will see, on reading the record of the&lt;br /&gt;
work done by the committees, that the Dramatic&lt;br /&gt;
Committee have settled finally the Repertory&lt;br /&gt;
Agreement.&lt;br /&gt;
After due consideration, they have decided not&lt;br /&gt;
to publish it in The Author, but to give this notice&lt;br /&gt;
to the members that the Agreement is lying at the&lt;br /&gt;
offices of the society for reference.&lt;br /&gt;
Any member or associate who desires informa-&lt;br /&gt;
tion is asked to apply direct to the secretary.&lt;br /&gt;
The committee consider that it might lead to&lt;br /&gt;
difficulty if the agreement were published ; that&lt;br /&gt;
the document might get into the hands of managers&lt;br /&gt;
who might make a wrongful application of the&lt;br /&gt;
terms set out, while at the same time they could&lt;br /&gt;
assure the dramatist that the terms had been&lt;br /&gt;
approved by the Dramatic Sub-Committee of the&lt;br /&gt;
society.&lt;br /&gt;
*-* -&lt;br /&gt;
UNITED STATES COPYRIGHT CASE.&lt;br /&gt;
IN another column of this number we print a&lt;br /&gt;
United States copyright case which will accentuate&lt;br /&gt;
what we have mentioned in our review of the&lt;br /&gt;
report of the Departmental Committee on Copy-&lt;br /&gt;
right, namely, the danger of registration in order&lt;br /&gt;
to secure copyright protection.&lt;br /&gt;
The Publishers&rsquo; Weekly, in its editorial, makes&lt;br /&gt;
the following comments:&mdash;&lt;br /&gt;
&ldquo;Artists seem to have a notion that it is&lt;br /&gt;
desirable to copyright a sketch and afterwards the&lt;br /&gt;
picture painted from that sketch, and publishers of&lt;br /&gt;
books have not infrequently sought to strengthen&lt;br /&gt;
their copyright by recopyrighting latereditions with&lt;br /&gt;
minor changes.&lt;br /&gt;
&ldquo;The general principle of copyright law is that a&lt;br /&gt;
second copyright is valid only where there are sub-&lt;br /&gt;
stantial additions to or modifications of a work first&lt;br /&gt;
copyrighted, and then only for such additions or&lt;br /&gt;
modifications. Further than that, a mistaken claim&lt;br /&gt;
of copyright of later date than the true or original&lt;br /&gt;
copyright is invalid because it claims ipso facto&lt;br /&gt;
a longer term of protection than the law allows,&lt;br /&gt;
though a date in the copyright notice which is&lt;br /&gt;
earlier than the true one and therefore claims a&lt;br /&gt;
term within that allowed by law, may not have the&lt;br /&gt;
same effect.&rdquo;&lt;br /&gt;
This matter is, of course, one of great importance;&lt;br /&gt;
for who is to decide how far additions and altera-&lt;br /&gt;
tions are substantial additions to or modifications&lt;br /&gt;
of the work as copyrighted ?&lt;br /&gt;
-*-&lt;br /&gt;
An author might make additions to his book,&lt;br /&gt;
cause a re-entry of copyright to be made and, when&lt;br /&gt;
the work is infringed, sue under the re-entry. He&lt;br /&gt;
might then find that his money has been wasted, as&lt;br /&gt;
the Court might declare that the alterations were&lt;br /&gt;
not substantial.&lt;br /&gt;
On the other hand, an author might obtain&lt;br /&gt;
C&ordm;pyright in a scientific work and fifteen years&lt;br /&gt;
afterwards re-edit the work with alterations and&lt;br /&gt;
modifications, but fail to re-register the copyright,&lt;br /&gt;
thus losing what might have been a substantial new&lt;br /&gt;
property. 4.&lt;br /&gt;
Some effort should be made to effect such an&lt;br /&gt;
alteration in the law as would modify the serious&lt;br /&gt;
position in which the author may find himself&lt;br /&gt;
placed. */&lt;br /&gt;
---&lt;br /&gt;
*-*.&lt;br /&gt;
COLLES v. MAUGHAMI.&lt;br /&gt;
WE have been asked to chronicle an error in our&lt;br /&gt;
general note bearing on this case, printed in the&lt;br /&gt;
January issue of The Author, and accordingly we&lt;br /&gt;
insert the following letter received from the plain-&lt;br /&gt;
tiff&rsquo;s solicitors &mdash; -&lt;br /&gt;
- Our client Mr. W. Morris Colles calls our attention to the&lt;br /&gt;
incorrect report of this case appearing on page 115 in the&lt;br /&gt;
issue of The Author of the 1st January.&lt;br /&gt;
All reference to the declaration obtained by our client&lt;br /&gt;
that he is entitled to commission upon all future earnings&lt;br /&gt;
of &ldquo;The Explorer&rsquo;&rsquo; at the rate of 5 per cent., is excluded&lt;br /&gt;
from your report ; and we must ask you to be kind enough&lt;br /&gt;
to make this correction in the next issue of the paper.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
ADAMS AND ADAMS.&lt;br /&gt;
The Editor of&lt;br /&gt;
The -47(thoſ&rdquo;.&lt;br /&gt;
We are sorry that we omitted the declaration&lt;br /&gt;
of the commission that was allowed upon all future&lt;br /&gt;
earnings, for it emphasises the point as to what&lt;br /&gt;
commission a court of law is likely to allow an&lt;br /&gt;
agent, and makes it all the more important&lt;br /&gt;
that authors should not deal with literary or&lt;br /&gt;
dramatic agents except under express contracts&lt;br /&gt;
very carefully drawn and supervised.&lt;br /&gt;
THE LIBRARIES AND BOOKs.&lt;br /&gt;
SUNDRY letters and articles have come to hand&lt;br /&gt;
from members of the society dealing with the&lt;br /&gt;
question of the Libraries&amp;#039; Association and the&lt;br /&gt;
Censorship of Literature. It has already been&lt;br /&gt;
chronicled in The Author that a sub-committee&lt;br /&gt;
has been elected to meet a sub-committee of the&lt;br /&gt;
Publishers&amp;#039; Association to discuss the position.&lt;br /&gt;
We think it right, while the question in dispute&lt;br /&gt;
is, so to speak, sub-judice, not to print any corre-&lt;br /&gt;
spondence referring to the subject. What steps&lt;br /&gt;
the sub-committee take will be printed in The&lt;br /&gt;
Author. If it is found necessary to refer any point&lt;br /&gt;
to the members, due notice will be given in these&lt;br /&gt;
columns.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#524) ################################################&lt;br /&gt;
&lt;br /&gt;
142&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PUBLISHERS&rsquo; METHODS.&lt;br /&gt;
FROM time to time some very curious examples of&lt;br /&gt;
the methods of publishers in the conduct of their&lt;br /&gt;
business come to the offices of the society.&lt;br /&gt;
During the last two months cases have arisen in&lt;br /&gt;
which publishers have undertaken to pay a certain&lt;br /&gt;
sum on the first edition of a book, to be followed by&lt;br /&gt;
a further payment when that edition is exhausted.&lt;br /&gt;
By some error, perhaps, the number of copies com-&lt;br /&gt;
prised in the first edition is not mentioned by the&lt;br /&gt;
publishers. When the author takes the liberty of&lt;br /&gt;
inquiring as to the number of copies contained in&lt;br /&gt;
the first edition the publisher&amp;#039;s answer varies. In&lt;br /&gt;
two cases, however, the publishers assert that it lies&lt;br /&gt;
entirely in their own discretion as to the size of the&lt;br /&gt;
first edition, so that, if they cared, they could&lt;br /&gt;
print a first edition of 5,000 copies. This, we feel&lt;br /&gt;
sure, would not be upheld in a court of law. We&lt;br /&gt;
are equally sure that the position would not be&lt;br /&gt;
defended by any of the better-known and older&lt;br /&gt;
established firms. It is, naturally, of the greatest&lt;br /&gt;
importance that the limit of an edition should be&lt;br /&gt;
established when the monetary payment under the&lt;br /&gt;
contract depends upon that limit. It would seem&lt;br /&gt;
unbelievable, were it not unfortunately true, that&lt;br /&gt;
publishers should consider it impertinent for an&lt;br /&gt;
author to make inquiries on a matter of so much&lt;br /&gt;
importance in the interpretation of the contract.&lt;br /&gt;
We have often urged that the Publishers&amp;#039;&lt;br /&gt;
Association should agree to a unit for an edition.&lt;br /&gt;
Had they done so no questions could have arisen,&lt;br /&gt;
and many of the disputes so common between author&lt;br /&gt;
and publisher would have been at an end.&lt;br /&gt;
*-* *-&lt;br /&gt;
A PRIZE COMPETITION.&lt;br /&gt;
WE have just come across a prize competition&lt;br /&gt;
sent out by the London Magazine for a short story.&lt;br /&gt;
The short stories have to be in by January 31,&lt;br /&gt;
so that whatever we have to say, we regret,&lt;br /&gt;
will come too late for the benefit of our members.&lt;br /&gt;
The competition states, &ldquo;the winning story will&lt;br /&gt;
become the sole copyright of the London Magazine.&rdquo;&lt;br /&gt;
This is rather a funny way to state what the&lt;br /&gt;
magazine desires, but we think it expresses&lt;br /&gt;
sufficiently clearly the abandonment by the author&lt;br /&gt;
of all his rights. It further states, &ldquo;Any story not&lt;br /&gt;
awarded the prize may be published in the maga-&lt;br /&gt;
zine on payment of two guineas per thousand&lt;br /&gt;
words unless directly specified to the contrary by&lt;br /&gt;
its owner at the time of sending in.&rdquo; This is a&lt;br /&gt;
curious sentence to be issued from the editorial&lt;br /&gt;
department of the London Magazine. We do not&lt;br /&gt;
think it really conveys to the public what it is&lt;br /&gt;
intended to convey. Indeed, one member of the&lt;br /&gt;
society inquired whether he had to pay the two&lt;br /&gt;
guineas per thousand words to the editor for the&lt;br /&gt;
insertion of his story. This, we take it, was not&lt;br /&gt;
the editor&amp;#039;s meaning, but that he is willing to pay&lt;br /&gt;
two guineas per thousand words if the story is&lt;br /&gt;
suitable for the magazine. Apart from the con-&lt;br /&gt;
struction of the sentence, the terms are by no&lt;br /&gt;
means clear. We think the legal position in these&lt;br /&gt;
competitions should be clearly expressed both for&lt;br /&gt;
the benefit of the public and for the benefit of the&lt;br /&gt;
contributors. We consider that the clause as it&lt;br /&gt;
stands Would mean that two guineas per thousand&lt;br /&gt;
Words would be paid for the serial use of the story&lt;br /&gt;
in the London Magazine only, but it is possible&lt;br /&gt;
that the editor does not desire to convey this. He&lt;br /&gt;
may desire to convey to the public that he is&lt;br /&gt;
purchasing the full copyright of the story for the&lt;br /&gt;
payment of two guineas per thousand words. We&lt;br /&gt;
can only regret, as already stated, that the compe-&lt;br /&gt;
tition has come to our notice too late for our advice&lt;br /&gt;
to be of any use to our members.&lt;br /&gt;
*-*-&lt;br /&gt;
LORD MONKSWELL.&lt;br /&gt;
WE note, with great regret, the announcement of&lt;br /&gt;
the death of Lord Monkswell, which we were unable&lt;br /&gt;
to chronicle in the last issue, as the January&lt;br /&gt;
number had already gone to press when the sad&lt;br /&gt;
event occurred. Although he was never a member&lt;br /&gt;
of the society, he has been in close touch with&lt;br /&gt;
it for many years as a staunch supporter of the&lt;br /&gt;
rights of authors and of the cause of copyright.&lt;br /&gt;
As opportunity offered, Lord Monkswell was good&lt;br /&gt;
enough to act before the House of Lords in placing&lt;br /&gt;
forward the views of the Society of Authors in&lt;br /&gt;
respect to copyright legislation, and used his best&lt;br /&gt;
endeavours to carry through copyright reform. He&lt;br /&gt;
succeeded in piloting one Copyright Bill through&lt;br /&gt;
a second reading, and the last Copyright Bill,&lt;br /&gt;
drafted by Lord Thring, was placed under his&lt;br /&gt;
guardianship. The attempt to carry it failed, but&lt;br /&gt;
we are not the less indebted to Lord Monkswell&lt;br /&gt;
for his support and for the earnestness which he&lt;br /&gt;
displayed in the struggle.&lt;br /&gt;
His death has come suddenly, for on the last&lt;br /&gt;
occasion when we had the pleasure of Seeing him he&lt;br /&gt;
appeared to be in his usual vigorous health with&lt;br /&gt;
many years of life before him. Whatever work he&lt;br /&gt;
engaged in he took up with vigour and with a&lt;br /&gt;
sincere desire to put into his task the very best.&lt;br /&gt;
It was only because of the great difficulty incidental&lt;br /&gt;
to all copyright matters, and the lack of public&lt;br /&gt;
interest in these questions, accompanied by in-&lt;br /&gt;
activity on the part of his Majesty&amp;#039;s Government,&lt;br /&gt;
that his efforts were not crowned with the success&lt;br /&gt;
which they deserved. He was quite cognisant of&lt;br /&gt;
the difficulties surrounding this undertaking, but&lt;br /&gt;
these difficulties did not prevent him from throwing&lt;br /&gt;
his whole energy into the work. Indeed, the Very&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#525) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
143&lt;br /&gt;
fact that these difficulties existed seemed to serve&lt;br /&gt;
as a stimulus to fresh endeavour.&lt;br /&gt;
It is with great sorrow, therefore, that we have&lt;br /&gt;
to chronicle his death at the comparatively early&lt;br /&gt;
age of 64. g&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
AUSTHN DOBSON.&lt;br /&gt;
E congratulate Mr. Austin Dobson on&lt;br /&gt;
his seventieth birthday, which fell on&lt;br /&gt;
January 18. We do not offer our con-&lt;br /&gt;
gratulations to him as a well-known writer only,&lt;br /&gt;
but also as a cordial friend to the Society of&lt;br /&gt;
Authors. He joined the society as long ago as&lt;br /&gt;
1887, three years after its foundation. He has&lt;br /&gt;
served on its committee of management, and has&lt;br /&gt;
been a steady supporter of the Pension Fund. In the&lt;br /&gt;
former capacity, his advice, assistance, and sympathy&lt;br /&gt;
were of great value to his colleagues, and also to&lt;br /&gt;
the secretary, who owes him a debt of the deepest&lt;br /&gt;
gratitude. We are pleased to see that his position&lt;br /&gt;
in letters has been recognised by the presentation&lt;br /&gt;
to him of a set of silver, consisting of a rose bowl,&lt;br /&gt;
a salver, and two pairs of candlesticks, all of late&lt;br /&gt;
eighteenth century design. This gift was accom-&lt;br /&gt;
panied by the following address and list of&lt;br /&gt;
subscribers:&ndash;&lt;br /&gt;
January 18th, 1910.&lt;br /&gt;
DEAR MR. AUSTIN DOBSON.&mdash;&lt;br /&gt;
It is hard to realise that you complete your seventieth&lt;br /&gt;
year to-day, but we take the opportunity to assure you of&lt;br /&gt;
our constant admiration and affection.&lt;br /&gt;
We greet in you the brilliant lyrical poet and the&lt;br /&gt;
fastidious writer of prose.&lt;br /&gt;
We are rejoiced to know that you are still as eager as&lt;br /&gt;
ever in the pursuit of literary perfection, and we confidently&lt;br /&gt;
hope that you have before you many years of honourable&lt;br /&gt;
activity.&lt;br /&gt;
In asking you to accept the birthday gift which accom-&lt;br /&gt;
panies this letter, we beg you to believe that it is but&lt;br /&gt;
a small token of the esteem with which you are regarded,&lt;br /&gt;
not merely by your many personal friends, but by an&lt;br /&gt;
ever widening circle of readers.&lt;br /&gt;
We are, dear Mr. Austin Dobson,&lt;br /&gt;
Very faithfully yours,&lt;br /&gt;
ALFRED E. BATEMAN,&lt;br /&gt;
JAMES j&ordm;keux.)&lt;br /&gt;
EDMUND GOSSE,&lt;br /&gt;
MAURICE HEWLETT,&lt;br /&gt;
HENRY JAMES, Committee.&lt;br /&gt;
LYTTON,&lt;br /&gt;
P. CHALMERS MITCHELL,&lt;br /&gt;
ARTHUR WAUGH,&lt;br /&gt;
Pull List of the Subscribers.&lt;br /&gt;
Edwin A. Abbey, R. A. Alfred Austin.&lt;br /&gt;
G. A. Aitken. T. G. Bain.&lt;br /&gt;
Sir Lawrence Alma-Tadema, Sir Alfred Bateman,&lt;br /&gt;
K.C.M.G.&lt;br /&gt;
Arthur C. Benson, C.V.O.&lt;br /&gt;
Charles W. Boyd, C.M.G.&lt;br /&gt;
A. C. Bradley. -&lt;br /&gt;
R.A.&lt;br /&gt;
Arthur W. Anstruther, C.B.&lt;br /&gt;
William Archer,&lt;br /&gt;
J. Ashby-Sterly.&lt;br /&gt;
The Lady Burghclere.&lt;br /&gt;
W. C. Cartwright, C.M.G.&lt;br /&gt;
The Hon. Evan Charteris,&lt;br /&gt;
Sidney Colvin.&lt;br /&gt;
Wilbraham Williers Cooper.&lt;br /&gt;
The Hon. Mrs. Wilbraham&lt;br /&gt;
Cooper.&lt;br /&gt;
W. J. Courthope, C.B.&lt;br /&gt;
The Earl of Crewe, K.G.&lt;br /&gt;
Major Marten Dunne.&lt;br /&gt;
The Hon. Mrs. Marten&lt;br /&gt;
Dunne.&lt;br /&gt;
Sir Thomas Elliott, K.C.B.&lt;br /&gt;
Isaac N. Ford.&lt;br /&gt;
Hanson W. Fraser, I.S.O.&lt;br /&gt;
Henry N. Gladstone.&lt;br /&gt;
The Hon. Mrs. Henry Glad-&lt;br /&gt;
Stone.&lt;br /&gt;
Edmund Gosse.&lt;br /&gt;
Mrs. Edmund Gosse.&lt;br /&gt;
Miss Teresa Gosse.&lt;br /&gt;
Miss Sylvia Gosse.&lt;br /&gt;
Anthony Hope Hawkins.&lt;br /&gt;
William Heinemann.&lt;br /&gt;
Maurice Hewlett.&lt;br /&gt;
Sir Francis Hopwood,&lt;br /&gt;
G.C.M.G.&lt;br /&gt;
The Rev. Dr.&lt;br /&gt;
Hunt.&lt;br /&gt;
Archer Milton Huntington.&lt;br /&gt;
Henry James.&lt;br /&gt;
James Fitzmaurice-Kelly.&lt;br /&gt;
W. P. Ker.&lt;br /&gt;
Rudyard Kipling.&lt;br /&gt;
Andrew Lang.&lt;br /&gt;
Sidney Lee.&lt;br /&gt;
The Earl of Lytton.&lt;br /&gt;
Charles Home McCall.&lt;br /&gt;
Sir Frederick Macmillan.&lt;br /&gt;
Edward H. Marsh, C.M.G.&lt;br /&gt;
Sir Frank Marzials, C.B.&lt;br /&gt;
A. E. W. Mason.&lt;br /&gt;
Leo Maxse.&lt;br /&gt;
P. Chalmers Mitchell, F.R.S.&lt;br /&gt;
Horace C. Monro, C.B.&lt;br /&gt;
William&lt;br /&gt;
The Lady Dorothy Nevill.&lt;br /&gt;
Henry Newbolt.&lt;br /&gt;
W. E. Norris. -&lt;br /&gt;
The Lord Northcliffe.&lt;br /&gt;
Sir Gilbert Parker.&lt;br /&gt;
Alfred Parsons, A.R.A.&lt;br /&gt;
J, Bernard Partridge.&lt;br /&gt;
Sydney S. Pawling.&lt;br /&gt;
The Hon. T. H. W. Pelham,&lt;br /&gt;
C.B.&lt;br /&gt;
Sir Frederick Pollock, Bart.&lt;br /&gt;
J. M. W. van der Poorten-&lt;br /&gt;
Schwartz (&ldquo;Maarten&lt;br /&gt;
Maartens&rdquo;).&lt;br /&gt;
The Lord Rendel.&lt;br /&gt;
The Lady Rendel.&lt;br /&gt;
The Hon. Clarice Rendel,&lt;br /&gt;
Lady Ritchie.&lt;br /&gt;
Alexander Galt Ross.&lt;br /&gt;
Robert Ross.&lt;br /&gt;
George Saintsbury.&lt;br /&gt;
Owen Seaman.&lt;br /&gt;
George Bernard Shaw.&lt;br /&gt;
Clement K. Shorter.&lt;br /&gt;
Sir Cecil Clementi&lt;br /&gt;
P.C., G.C.M.G.&lt;br /&gt;
M. H. Spielmann, F.S.A.&lt;br /&gt;
The Duchess of Sutherland.&lt;br /&gt;
Henry R. Tedder.&lt;br /&gt;
The Lord Tennyson.&lt;br /&gt;
Hamo Thornycroft, R.A.&lt;br /&gt;
Miss Agnes Tobin.&lt;br /&gt;
Humphry Ward.&lt;br /&gt;
Mrs. Humphry Ward.&lt;br /&gt;
The Hon. Lady Leighton-&lt;br /&gt;
Warren.&lt;br /&gt;
The Vice-Chancellor of Ox-&lt;br /&gt;
ford University (T. Her-&lt;br /&gt;
bert Warren).&lt;br /&gt;
Arthur Waugh.&lt;br /&gt;
|B. W. Willett.&lt;br /&gt;
Mrs. Robert H. Williams.&lt;br /&gt;
Thomas J. Wise.&lt;br /&gt;
C. T. Hagberg Wright.&lt;br /&gt;
Smith,&lt;br /&gt;
We understand that the following gentlemen&lt;br /&gt;
who, from absence or other causes, were unable to&lt;br /&gt;
take part in the above presentation, have since&lt;br /&gt;
signified their sympathy with its object: the Hon.&lt;br /&gt;
Maurice Baring ; Mr. Douglas W. Freshfield ; Mr.&lt;br /&gt;
H. B. Wheatley, F.S.A.; Mr. Laurence Binyon ;&lt;br /&gt;
Mr. S. T. Irwin ; Mr. G. Herbert Thring ; Mr.&lt;br /&gt;
Frederic Harrison ; Mr. W. H. Pollock.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
THE BERLIN CONVENTION.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HE Report of the Committee on the Law of&lt;br /&gt;
Copyright, which has been presented to both&lt;br /&gt;
Houses of Parliament, was published towards&lt;br /&gt;
the end of December.&lt;br /&gt;
It was impossible to insert a satisfactory state-&lt;br /&gt;
ment with reference to this document in the&lt;br /&gt;
January issue of The Author. It was of such&lt;br /&gt;
mportance that it required more than a superficial&lt;br /&gt;
study. -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#526) ################################################&lt;br /&gt;
&lt;br /&gt;
144&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
The Committee of Management of the Society&lt;br /&gt;
of Authors, and the members of the society,&lt;br /&gt;
may well be pleased with the result of the&lt;br /&gt;
labours of the Committee as embodied in the Report,&lt;br /&gt;
and we hope that when the time comes for effective&lt;br /&gt;
legislation it will be possible to carry through a&lt;br /&gt;
Bill embodying the main features of the Committee&amp;#039;s&lt;br /&gt;
Report.&lt;br /&gt;
The Committee, so it appears from their state-&lt;br /&gt;
ment, came to the conclusion that the most con-&lt;br /&gt;
venient course to adopt was to deal with each&lt;br /&gt;
Article of the Revised Convention, and to point&lt;br /&gt;
out (1) how far, in their opinion, the Article could&lt;br /&gt;
be accepted either in whole or in part, and, if any,&lt;br /&gt;
with what amendment ; (2) what alterations in&lt;br /&gt;
British law will be required in order to bring that&lt;br /&gt;
law into harmony with the Revised Convention ;&lt;br /&gt;
(3) what amendments it would be desirable to&lt;br /&gt;
make in inter-territorial British law irrespective of&lt;br /&gt;
the Revised Convention.&lt;br /&gt;
Having come to this admirable decision, the&lt;br /&gt;
Committee proceed to give a list of the laws dealing&lt;br /&gt;
with the various kinds of copyright property. No&lt;br /&gt;
more trenchant argument could be brought forward&lt;br /&gt;
to prove the necessity of the consolidation and&lt;br /&gt;
amendment of the law of copyright than is con-&lt;br /&gt;
tained in the fact that the list of copyright enact-&lt;br /&gt;
ments occupies three pages of printed matter. It&lt;br /&gt;
is not necessary, in this article, to go into any sort&lt;br /&gt;
of review of the law of copyright, but there can&lt;br /&gt;
hardly be any law throughout the British Empire&lt;br /&gt;
So contradictory, so confusing, and, in many cases,&lt;br /&gt;
so badly drafted, as the law embodied in the Acts&lt;br /&gt;
which govern copyright property.&lt;br /&gt;
The Berlin Convention, on a consideration of&lt;br /&gt;
which the Report is founded, was printed as a&lt;br /&gt;
supplement to the January (1909) Author. To&lt;br /&gt;
this number the members are requested to refer.&lt;br /&gt;
There are some important comments in the&lt;br /&gt;
Report on the first Article, or perhaps we should&lt;br /&gt;
rather say arising out of that Article. First, the&lt;br /&gt;
Committee consider it important that any assign-&lt;br /&gt;
ment of the rights which the author possesses&lt;br /&gt;
should be in writing. Secondly, quoting In re&lt;br /&gt;
Grant Richards, Ea, parte Warwick Deeping (a case&lt;br /&gt;
which was conducted by the society on behalf of&lt;br /&gt;
One of its members), the Committee suggest that&lt;br /&gt;
it would be desirable, &ldquo;as assignments and licences&lt;br /&gt;
by authors at the present day are largely based on&lt;br /&gt;
a royalty payment, to provide in any amending&lt;br /&gt;
Act that the author should retain the right to&lt;br /&gt;
enforce the payment of his royalties against any&lt;br /&gt;
person who holds an assignment of the author&amp;#039;s&lt;br /&gt;
right or of the licence which he has given.&rdquo;&lt;br /&gt;
It may be necessary to give a few words of&lt;br /&gt;
explanation in regard to this recommendation.&lt;br /&gt;
Mr. Warwick Deeping assigned his copyright,&lt;br /&gt;
subject to the payment of certain royalties, to Mr.&lt;br /&gt;
Grant Richards. Mr. Grant Richards went into&lt;br /&gt;
bankruptcy, and the agreement, not being merely&lt;br /&gt;
a personal agreement, but having included a transfer&lt;br /&gt;
of copyright, became assignable by the trustee in&lt;br /&gt;
bankruptcy. He assigned the copyright to a third&lt;br /&gt;
party, who refused to pay the royalties due under&lt;br /&gt;
that agreement. The matter was referred by Mr.&lt;br /&gt;
Deeping to the society, who decided to take it up.&lt;br /&gt;
The decision, we regret to say, was given against&lt;br /&gt;
Mr. Deeping. The committee would have appealed,&lt;br /&gt;
but, on referring the matter to King&amp;#039;s Counsel,&lt;br /&gt;
were informed that if they appealed the result&lt;br /&gt;
would be the same, but the decision would most&lt;br /&gt;
probably be given on a point quite outside the par-&lt;br /&gt;
ticular issue which it was desired to clear.&lt;br /&gt;
It is evident, however, that the society&rsquo;s action&lt;br /&gt;
in this matter has borne fruit. It has called the&lt;br /&gt;
attention of the Committee to an existing evil&lt;br /&gt;
which, without the Deeping decision, might have&lt;br /&gt;
escaped their notice.&lt;br /&gt;
The second Article specifies the works which are&lt;br /&gt;
to be the subject of copyright. The Committee&lt;br /&gt;
advise, under the heading of literary and artistic&lt;br /&gt;
Works, the inclusion of choreographic and panto-&lt;br /&gt;
mimic works, the acting form of which is fixed in&lt;br /&gt;
writing or otherwise. There is some doubt as to&lt;br /&gt;
whether these can possibly be included under the&lt;br /&gt;
present law, but they are included in the Berlin&lt;br /&gt;
Convention.&lt;br /&gt;
The other forms of literary and artistic works&lt;br /&gt;
included in the list, with the exception of architec&lt;br /&gt;
ture, differ but little from the present definition&lt;br /&gt;
of these works in England, but the Committee&lt;br /&gt;
recommend that the right of delivery of lectures,&lt;br /&gt;
speeches, and sermons should be assimilated to that&lt;br /&gt;
of dramatic authors.&lt;br /&gt;
Under Art. 4 the question of registration is&lt;br /&gt;
raised. The Committee fail to see what advantage&lt;br /&gt;
to the public can be expected from systems of&lt;br /&gt;
registration which are particularly onerous in the&lt;br /&gt;
case of foreign authors. If abolished for these, they&lt;br /&gt;
should equally be abolished for authors of our own&lt;br /&gt;
country. This decision seems to be thoroughly&lt;br /&gt;
Satisfactory. There is no doubt that for some&lt;br /&gt;
countries registration has a fatal fascination, but it&lt;br /&gt;
may prove, in the end, disastrous for the owners&lt;br /&gt;
of the property to be registered. Under the United&lt;br /&gt;
States Act the difficulties surrounding registration&lt;br /&gt;
have grown till it may safely be said that it would&lt;br /&gt;
be almost impossible for a foreigner to rely upon&lt;br /&gt;
obtaining copyright protection there by his own&lt;br /&gt;
unaided efforts, especially if that foreigner has&lt;br /&gt;
published a book in the English language.&lt;br /&gt;
The Committee made some very sound recom-&lt;br /&gt;
mendations in regard to the alteration of the&lt;br /&gt;
artistic copyright law, which is in an even worse&lt;br /&gt;
state of confusion and uncertainty than the&lt;br /&gt;
law which deals with literary property. The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#527) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITISIOR.&lt;br /&gt;
145&lt;br /&gt;
Committee recommended that the author of any&lt;br /&gt;
work of art should retain the copyright for his work&lt;br /&gt;
when the work is sold, unless an agreement in Writing&lt;br /&gt;
is made to the contrary, but that in the case of any&lt;br /&gt;
work ordered by any person to be produced by the&lt;br /&gt;
author, such person should be entitled to the copy-&lt;br /&gt;
right therein unless there be an agreement in&lt;br /&gt;
writing to the contrary effect.&lt;br /&gt;
Under this section there is a very important&lt;br /&gt;
change proposed in the law dealing with dramas and&lt;br /&gt;
dramatico-musical works. Dramatists should take&lt;br /&gt;
particular note of it. The Committee are anxious&lt;br /&gt;
that the law should be brought into conformity&lt;br /&gt;
with the suggestions contained in the Berlin Con-&lt;br /&gt;
vention, and consider that it is desirable &ldquo;that the&lt;br /&gt;
British Law should be clearly laid down upon this&lt;br /&gt;
point to the effect that the representation or per-&lt;br /&gt;
formance of works anywhere shall not amount to&lt;br /&gt;
publication and shall not deprive, the author of&lt;br /&gt;
protection in the United Kingdom.&rdquo;&lt;br /&gt;
The next two Articles deal with the citizens and&lt;br /&gt;
subjects of the different States of the Union, and&lt;br /&gt;
these Articles, though important, are not of such&lt;br /&gt;
paramount interest as the others.&lt;br /&gt;
Art. 7 is an important Article dealing with&lt;br /&gt;
the duration of copyright. The Committee report&lt;br /&gt;
that evidence was given showing that the existence&lt;br /&gt;
of copyright did not, at the present date, interfere&lt;br /&gt;
with the publication of books in cheap editions,&lt;br /&gt;
when there was a sufficient demand from the public&lt;br /&gt;
for such editions. We are glad this point has been&lt;br /&gt;
put forward very strongly, as we had understood it&lt;br /&gt;
was the desire of the Labour Members, and those&lt;br /&gt;
who deny the right of any individual to own pro-&lt;br /&gt;
perty, to endeavour to prevent an extension of the&lt;br /&gt;
copyright period on the ground that such extension&lt;br /&gt;
prevented the public from obtaining what was&lt;br /&gt;
theirs by right. The Committee recommend the&lt;br /&gt;
extension to life and fifty years. In the case of&lt;br /&gt;
photographs they also approve this extension, but&lt;br /&gt;
where the producer is employed by another, whether&lt;br /&gt;
the employer be an individual, a firm, or company,&lt;br /&gt;
the employer should receive protection for the term&lt;br /&gt;
of fifty years from publication.&lt;br /&gt;
Under this heading, also, they touch on the 18th&lt;br /&gt;
section of the present Act&mdash;one of the most badly&lt;br /&gt;
drafted sections in any Act of Parliament&mdash;and&lt;br /&gt;
recommend that the proprietor of an encyclop&aelig;dia,&lt;br /&gt;
etc., should have the copyright in the whole Work&lt;br /&gt;
as published for fifty years from the publication, and&lt;br /&gt;
that the author of each article or writing in it&lt;br /&gt;
should have the copyright of such separate part&lt;br /&gt;
for his life and fifty years, subject to any agreement&lt;br /&gt;
in writing between the parties. This seems to be&lt;br /&gt;
a sensible view to take of the present situation&lt;br /&gt;
which is not without its difficulties. Finally, in&lt;br /&gt;
dealing with posthumous works, the Committee&lt;br /&gt;
recommend that the copyright should last for fifty&lt;br /&gt;
years, and they also touch upon that curious section&lt;br /&gt;
(Section 3) of the present Act which provides that&lt;br /&gt;
the copyright in a posthumous work is to be the&lt;br /&gt;
property of the proprietor of the author&rsquo;s MS. from&lt;br /&gt;
Which such work shall be published and his assigns,&lt;br /&gt;
and recommend that this should be altered, and&lt;br /&gt;
that the mere possession of the MS. shall not be&lt;br /&gt;
conclusive proof of the ownership of the copyright.&lt;br /&gt;
Art. 8 is also an important clause. In it the&lt;br /&gt;
rights of British authors are enlarged, and the&lt;br /&gt;
Committee recommend its adoption. It is to the&lt;br /&gt;
effect that the right in translations shall endure for&lt;br /&gt;
the same period as the right of the author in the&lt;br /&gt;
original MS. Art. 9 deals with points which&lt;br /&gt;
are already, to a great extent, covered by the&lt;br /&gt;
Imperial Act. Art. 10 deals with the right of&lt;br /&gt;
extracting portions of literary and artistic works&lt;br /&gt;
for use in publications for educational purposes.&lt;br /&gt;
The Committee do not think that any changes are&lt;br /&gt;
necessary in the British law in respect of the&lt;br /&gt;
matters with which this section deals.&lt;br /&gt;
Authors of music should make a careful study&lt;br /&gt;
of Art. 11. Under it, the difficult question&lt;br /&gt;
arises whether it is more advisable to print a notice&lt;br /&gt;
On copies of music to prevent their being per-&lt;br /&gt;
formed or not. The Committee have set out, at&lt;br /&gt;
Some length, the evidence given on both sides.&lt;br /&gt;
Our opinion is that it would be desirable that&lt;br /&gt;
the notice should be done away with. If the&lt;br /&gt;
composer wishes his piece to be performed widely&lt;br /&gt;
without it being necessary to ask for his sanction,&lt;br /&gt;
he can always print a notice to that effect on the&lt;br /&gt;
copy It has not been found necessary, under&lt;br /&gt;
the laws of other countries, to publish a notice&lt;br /&gt;
prohibiting the performance, and the weight of&lt;br /&gt;
evidence appears to be, on the whole, against&lt;br /&gt;
such notice. There was a very distinct difference&lt;br /&gt;
of opinion amongst the witnesses, but the Com-&lt;br /&gt;
mittee came to the conclusion that the weight of&lt;br /&gt;
evidence was in favour of abolishing the require-&lt;br /&gt;
ment of the notice which at present exists under&lt;br /&gt;
British law. The Committee continue : &ldquo;It is&lt;br /&gt;
extremely important, in the view of the Committee,&lt;br /&gt;
that there should be uniformity amongst the&lt;br /&gt;
countries of the Union upon this point, and if&lt;br /&gt;
Great Britain were to dissent from this Article,&lt;br /&gt;
considerable difficulty would arise in relation to&lt;br /&gt;
foreign composers who might in their own country&lt;br /&gt;
not be compelled to put any motice upon the songs.&lt;br /&gt;
or music produced by them.&rdquo;&lt;br /&gt;
Art. 12 refers to the transformation of a novel&lt;br /&gt;
or piece of poetry into a dramatic composition, or&lt;br /&gt;
vice vers&auml;. This also is an important Article&lt;br /&gt;
for the dramatic writer. At present, under British&lt;br /&gt;
law, the Committee state : &ldquo;Transformations of a&lt;br /&gt;
novel, tale, or piece of poetry into a dramatic&lt;br /&gt;
composition by way of performance and not by&lt;br /&gt;
way of copying are not forbidden, unless the author&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#528) ################################################&lt;br /&gt;
&lt;br /&gt;
146&lt;br /&gt;
TISIE A DITFIOR,&lt;br /&gt;
has first clothed his work with a dramatic char-&lt;br /&gt;
acter, in which case it would be protected under&lt;br /&gt;
the Dramatic Copyright Act of 1833.&rdquo;&lt;br /&gt;
With a slight reservation, the Committee are in&lt;br /&gt;
favour of adopting the Article.&lt;br /&gt;
Art. 13 deals with the reproduction of musical&lt;br /&gt;
works by mechanical means, and the public per-&lt;br /&gt;
formance of musical works by mechanical means.&lt;br /&gt;
There is some difficulty in regard to the drafting&lt;br /&gt;
of this Article. As it at present stands it would&lt;br /&gt;
seem to refer to musical works only. That there&lt;br /&gt;
should be no question that this Article refers also&lt;br /&gt;
to dramatic, dramatico-musical, and literary works,&lt;br /&gt;
the Committee suggest that the necessary protection&lt;br /&gt;
should be expressly conferred.&lt;br /&gt;
There was a considerable amount of evidence&lt;br /&gt;
given against this Article, and the section in the&lt;br /&gt;
United States Act of last year, dealing with&lt;br /&gt;
mechanical reproduction, was quoted. Many of&lt;br /&gt;
the objections were based on the fact that a large&lt;br /&gt;
amount of capital had already been invested in&lt;br /&gt;
mechanical reproductions under the present law&mdash;&lt;br /&gt;
a law which does not bind the producer to pay any&lt;br /&gt;
royalty to the author. The Committee state that&lt;br /&gt;
there can be no doubt but that it is right in&lt;br /&gt;
principle that authors of works capable of adapta-&lt;br /&gt;
tion to mechanical instruments should have the&lt;br /&gt;
exclusive right of authorising adaptation of their&lt;br /&gt;
works to such instruments, and most of the Wit-&lt;br /&gt;
nesses who defended the compulsory licence did&lt;br /&gt;
not deny the justice of the author&amp;#039;s claim.&lt;br /&gt;
The Committee, with one dissentient, came to&lt;br /&gt;
the conclusion that the author should have freedom&lt;br /&gt;
of action in regard to the exercise of this right.&lt;br /&gt;
There can be no doubt whatever that this is the&lt;br /&gt;
right view to take of the position, if it is allowed&lt;br /&gt;
that any property exists in the reproduction of the&lt;br /&gt;
outcome of a man&amp;#039;s individual talent.&lt;br /&gt;
Not only for the sake of the author, but even&lt;br /&gt;
for the sake of the public, it is as well that the&lt;br /&gt;
composer&rsquo;s work should not be falsely interpreted&lt;br /&gt;
through bad mechanical reproduction.&lt;br /&gt;
The next Article deals with reproduction by&lt;br /&gt;
cinematograph. The Committee recommend its&lt;br /&gt;
adoption.&lt;br /&gt;
The next three Articles deal with proof of an&lt;br /&gt;
author&amp;#039;s title to his work and with piracy, while&lt;br /&gt;
Art. 18 deals with the rights in existing pro-&lt;br /&gt;
perty, which may be extended or restricted by&lt;br /&gt;
the adoption of the present convention, or by&lt;br /&gt;
alteration of the present law, in order to bring&lt;br /&gt;
it into uniformity with the Convention. These are&lt;br /&gt;
exceedingly difficult questions, but as time goes&lt;br /&gt;
On they are bound to get fewer and fewer, till in&lt;br /&gt;
the fulness of time everything will fall naturally&lt;br /&gt;
under the new terms.&lt;br /&gt;
There is a small note at the end of the Report&lt;br /&gt;
dealing with the colonial aspect of the case.&lt;br /&gt;
The Committee do not make any report, but they&lt;br /&gt;
consider it of the utmost importance that the&lt;br /&gt;
colonies, as part of the British Empire, should&lt;br /&gt;
come into line with Great Britain, and that, as&lt;br /&gt;
far as possible, there should be one law through-&lt;br /&gt;
out the Empire. We heartily support this sug-&lt;br /&gt;
gestion. Nothing is more likely to interfere with&lt;br /&gt;
the liberary production of a colony than a limited&lt;br /&gt;
Copyright Act.&lt;br /&gt;
Four members of the Committee made sup-&lt;br /&gt;
plementary reports. Mr. W. Joynson Hicks&lt;br /&gt;
objected, from the point of view of the public, to&lt;br /&gt;
the extension of the copyright term. We know&lt;br /&gt;
that this feeling does exist owing to the fact that&lt;br /&gt;
the public have been allowed a share of the author&amp;#039;s&lt;br /&gt;
rights for so long a time, but we take it that Mr.&lt;br /&gt;
Joynson Hicks would object very strongly if any-&lt;br /&gt;
One took his hat off his hat-stand, after he had the&lt;br /&gt;
use of it for a year, and claimed the right to use it&lt;br /&gt;
if he wished to. The cases, though not strictly&lt;br /&gt;
analogous, have much in common.&lt;br /&gt;
Mr. E. Trevor Ll. Williams seems very anxious&lt;br /&gt;
to establish a register. He gives his reasons, the&lt;br /&gt;
chief of which is that the date of the existence of&lt;br /&gt;
Some copyrights will depend upon the date of&lt;br /&gt;
publication. That is so, but if the term of copy-&lt;br /&gt;
right is extended to life and a certain number of&lt;br /&gt;
years the cases will be so few that they will hardly&lt;br /&gt;
Warrant the expense of a copyright register. We&lt;br /&gt;
must repeat that anything in the form of registra-&lt;br /&gt;
tion, anything that tends to complicate the title of&lt;br /&gt;
the author to his property, we consider bad.&lt;br /&gt;
All the members of the Committee signed the&lt;br /&gt;
report. -&lt;br /&gt;
Their names are : The Right Hon. The Lord&lt;br /&gt;
Gorell (Chairman), L. Alma-Tadema, G. R.&lt;br /&gt;
Askwith, H. Granville Barker, William Boosey,&lt;br /&gt;
C. W. Bowerman, Henry R. Clayton, Henry Cust,&lt;br /&gt;
E. Cutler, Anthony Hope Hawkins, W. Joynson&lt;br /&gt;
Hicks, Algernon Law, Frederick Macmillan, Walter&lt;br /&gt;
Raleigh, T. E. Scrutton, E. Trevor Ll. Williams.&lt;br /&gt;
The members who supplemented the Report with&lt;br /&gt;
Some remarks of their own were : Henry R.&lt;br /&gt;
Clayton, W. Joynson Hicks, T. E. Scrutton,&lt;br /&gt;
E. Trevor Ll. Williams.&lt;br /&gt;
If a law is ever passed embracing all the&lt;br /&gt;
suggestions put forward by the Committee, then,&lt;br /&gt;
indeed, will all the owners of copyright property&lt;br /&gt;
obtain a greater security of tenures, and the members&lt;br /&gt;
of the society may justly congratulate themselves&lt;br /&gt;
and the Committee on the untiring labour of those&lt;br /&gt;
whom they have entrusted to watch their interests.&lt;br /&gt;
Indeed, whatever may be the final result, the&lt;br /&gt;
management of the society has shown itself now as&lt;br /&gt;
always keenly alive to the welfare of its members.&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
&mdash;w-w&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#529) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
147&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY WIM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others).&lt;br /&gt;
(All riſh is reserved by the Author.)&lt;br /&gt;
CHAPTER W.&lt;br /&gt;
What Aufhors can do wiſh ſhe J/alerials&lt;br /&gt;
at their Disposal. -&lt;br /&gt;
S I have before expressed myself, an author&lt;br /&gt;
often desires to illustrate his work, but in&lt;br /&gt;
many instances hasn&amp;#039;t any idea how best to&lt;br /&gt;
set about it commercially.&lt;br /&gt;
It may be a novel, for example, in which case&lt;br /&gt;
it is comparatively a simple matter, for then he&lt;br /&gt;
has only to select his artist, and according to the&lt;br /&gt;
latter&amp;#039;s abilities, coupled with his own taste, instruct&lt;br /&gt;
him as to whether he is to pourtray the sketches&lt;br /&gt;
in &ldquo; half-tone&amp;#039;&amp;#039; or &ldquo;line.&rdquo;&lt;br /&gt;
If it is decided they are to be in &ldquo;half-tone &amp;quot; it&lt;br /&gt;
will be necessary that the blocks are printed either&lt;br /&gt;
on &ldquo;high art&rdquo; or &ldquo;super-calendared &amp;quot; paper,&lt;br /&gt;
because it will then be imperative that a starch&lt;br /&gt;
surfaced, or highly polished, or planished paper is&lt;br /&gt;
employed to catch up the fine dots of the half-tone&lt;br /&gt;
block, while another, and perhaps more important&lt;br /&gt;
A half-tone block as it appears when printed on a coarsely-&lt;br /&gt;
surfaced paper.&lt;br /&gt;
factor, is that a perfectly level surfaced or ungrained&lt;br /&gt;
paper is requisite for this class of what is termed&lt;br /&gt;
&ldquo;high art work,&rdquo; otherwise the grain of the paper&lt;br /&gt;
Would show up underneath the printing and spoil&lt;br /&gt;
the effect as depicted in the preceding example.&lt;br /&gt;
ſ&lt;br /&gt;
The previous block printed on a surfaced or art paper.&lt;br /&gt;
One word more. Every art paper even has a&lt;br /&gt;
riſht and a wronſ side. The right side is always&lt;br /&gt;
apparently more highly glazed than the other, on&lt;br /&gt;
which the grain of the paper shows more discernibly;&lt;br /&gt;
but, of course, on both sides of such carefully&lt;br /&gt;
prepared paper as this, half-tone blocks print with&lt;br /&gt;
good effect, and it is only an expert who would&lt;br /&gt;
notice the slight difference.&lt;br /&gt;
&ldquo;Line&rdquo; work, especially if it is roughly drawn,&lt;br /&gt;
that is to say, the lines broadly and boldly set&lt;br /&gt;
apart, can be printed upon almost any quality of&lt;br /&gt;
paper, no matter how rough or unfinished its surface&lt;br /&gt;
may be. It could even be printed upon the coarsest&lt;br /&gt;
brown paper, such as is employed for common trade&lt;br /&gt;
bags, if the individual lines are sufficiently thick&lt;br /&gt;
and well defined. They will then have enough&lt;br /&gt;
force in them to leave their mark upon whatever&lt;br /&gt;
paper they are impressed.&lt;br /&gt;
Even particularly finely-drawn line work can be&lt;br /&gt;
reproduced upon a comparatively coarse-grained or&lt;br /&gt;
soft, yielding paper.&lt;br /&gt;
So it remains with the author to decide whether&lt;br /&gt;
he prefers a &ldquo;half-tone&rdquo; or &ldquo;line&amp;quot; effect for&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#530) ################################################&lt;br /&gt;
&lt;br /&gt;
148&lt;br /&gt;
TISIES AUTISIOR,&lt;br /&gt;
his illustrations, and, of course, it also depends&lt;br /&gt;
Somewhat upon the nature of the subjects he&lt;br /&gt;
desires to illustrate.&lt;br /&gt;
&ldquo;Half-tone * suits some subjects, while clear&lt;br /&gt;
open line work is preferable for others.&lt;br /&gt;
Cost is likewise an object, because if the author&amp;#039;s&lt;br /&gt;
intended illustrations can be depicted by &ldquo;line,&rdquo;&lt;br /&gt;
the whole letterpress matter&mdash;that is, the type&lt;br /&gt;
matter and the blocks themselves, can be printed&lt;br /&gt;
upon one and the same paper throughout the entire&lt;br /&gt;
book, without regard to the quality of the paper&lt;br /&gt;
at all.&lt;br /&gt;
This is an important item in any publication,&lt;br /&gt;
and one worth noting.&lt;br /&gt;
If the entire letterpress matter and illustrations&lt;br /&gt;
can be produced at one pull or machining through-&lt;br /&gt;
Out, a decided advantage is gained, as the whole&lt;br /&gt;
effect is thus reproduced upon one and the same&lt;br /&gt;
sheets, and afterwards folded up complete into either&lt;br /&gt;
quarto, Octavo or any other form or size.&lt;br /&gt;
This is, in technical phraseology, termed &ldquo;Letter-&lt;br /&gt;
press printing.&rdquo; Any ordinary printer, even a&lt;br /&gt;
perpetrator of the commonest form of handbill, can&lt;br /&gt;
or ought to be able to turn out this class of&lt;br /&gt;
illustrated work in a presentable manner.&lt;br /&gt;
On the other hand, when you come to &ldquo; half-&lt;br /&gt;
tone * reproductions, it is only a printer of actual&lt;br /&gt;
experience and ability who can give effect to the&lt;br /&gt;
artist&amp;#039;s and block-maker&amp;#039;s efforts, and it is only&lt;br /&gt;
upon expensive paper that you can get a thoroughly&lt;br /&gt;
Satisfactory result.&lt;br /&gt;
In this superior class of work, if any fault is to&lt;br /&gt;
be found, the printer usually tries to blame the&lt;br /&gt;
block-maker, while the latter endeavours to shift&lt;br /&gt;
the responsibility by retaliating on the printer for&lt;br /&gt;
his want of knowledge or carelessness in &ldquo;making&lt;br /&gt;
ready.&rdquo;&lt;br /&gt;
Sometimes the paper-maker is also drawn into&lt;br /&gt;
the argument, when he tries to smirch the two of&lt;br /&gt;
them&mdash;the one for bad blocks and the other for&lt;br /&gt;
indifferent printing. So you see the author is&lt;br /&gt;
really between three stools when he starts illustrating,&lt;br /&gt;
unless he knows something about what he is doing.&lt;br /&gt;
The paper maker is not invariably blameless in&lt;br /&gt;
the dispute, for it is true that papers from the same&lt;br /&gt;
mill occasionally vary very greatly indeed.&lt;br /&gt;
There is much virtue in the paper if it is always&lt;br /&gt;
up to the sample. Unfortunately it is not.&lt;br /&gt;
But in the case of the paper being brought into&lt;br /&gt;
question the printer is primarily to blame, because&lt;br /&gt;
he has no right to start printing on any paper he&lt;br /&gt;
may consider unsuitable for the class of work he&lt;br /&gt;
has to produce. In such a case he should raise an&lt;br /&gt;
objection at the outset.&lt;br /&gt;
Measuring up Work.&lt;br /&gt;
Now, in arranging for the sizes of blocks for a&lt;br /&gt;
book, you first of all must take into consideration&lt;br /&gt;
the extreme measurement of the type matter that&lt;br /&gt;
you can allow for your pages.&lt;br /&gt;
Because it stands to reason that your full-page&lt;br /&gt;
illustrations must not exceed this limit.&lt;br /&gt;
And a most important thing to recollect is, that&lt;br /&gt;
drawings and photographs are not elastic. They&lt;br /&gt;
cannot be stretched in one direction and at the&lt;br /&gt;
same time reduced in the other.&lt;br /&gt;
If you lengthen the depth of a picture, you&lt;br /&gt;
necessarily also widen it in proportion.&lt;br /&gt;
It is astonishing how often people send an&lt;br /&gt;
engraver a photograph or drawing that is perhaps&lt;br /&gt;
6 inches wide by 10 inches deep, with instructions&lt;br /&gt;
to reproduce it and make the block four inches&lt;br /&gt;
&ldquo;square.&rdquo;. This is of course, impossible.&lt;br /&gt;
As a guide to measuring up all kinds of work, I&lt;br /&gt;
introduce the following diagram, which may serve&lt;br /&gt;
to illustrate the proportionate progressive sizes up-&lt;br /&gt;
wards of an original photograph measuring, say,&lt;br /&gt;
4 inches deep by 3 inches wide.&lt;br /&gt;
By the above plan, if you take your original&lt;br /&gt;
photograph or drawing and pin it squarely down to&lt;br /&gt;
a board or piece of paper, placing a straight edge&lt;br /&gt;
from corner to corner as per the upper edge, rule&lt;br /&gt;
shown transversely, and then measure from the left-&lt;br /&gt;
hand side in a horizontal line to the evacſ width&lt;br /&gt;
you require the enlargement to be, and then&lt;br /&gt;
re-measure from that particular point downwards&lt;br /&gt;
to the bottom horizontal line of your subject, you&lt;br /&gt;
will obtain the proportionate depth your block will&lt;br /&gt;
Occupy.&lt;br /&gt;
The same idea of scaling applies equally to&lt;br /&gt;
7&amp;#039;&eacute;ductions as shown in the following diagram.&lt;br /&gt;
Imagine the outer lines to represent a draw-&lt;br /&gt;
ing 9 inches wide by 6 inches deep, which you&lt;br /&gt;
require to reduce in this instance to 6% inches&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#531) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
149&lt;br /&gt;
wide ; thus, by the same rule of following the&lt;br /&gt;
dotted line from opposite corners you obtain a&lt;br /&gt;
measurement of 6% inches wide by about 4% inches&lt;br /&gt;
deep.&lt;br /&gt;
*&mdash;4&mdash;%&mdash;*&mdash;#&mdash;a 9&ndash;7&ndash;3&ndash;96&lt;br /&gt;
S&lt;br /&gt;
t 24&lt;br /&gt;
|&lt;br /&gt;
&scaron; 3,&lt;br /&gt;
C&ordm;le 3&lt;br /&gt;
Ž 2&lt;br /&gt;
;&lt;br /&gt;
tn 4.&lt;br /&gt;
&amp;lt;&mdash; 6 # 4 NCHES &mdash;-&lt;br /&gt;
There are two capital instruments that can be pro-&lt;br /&gt;
cured for mechanically measuring up drawings, etc.,&lt;br /&gt;
for reproduction. One is Graddon&amp;#039;s scale, which is&lt;br /&gt;
a very useful article for quick measurement, and the&lt;br /&gt;
other a yard-stick with an elastic or pliable measure&lt;br /&gt;
attached.&lt;br /&gt;
Both of these can be obtained of Messrs. Penrose&lt;br /&gt;
&amp;amp; Co., Ltd., 109, Farringdon Road, E.C.&lt;br /&gt;
&ldquo;Faked &rdquo; Originals.&lt;br /&gt;
Inferior photographs, that many who are un-&lt;br /&gt;
initiated might cast aside as worthless for repro-&lt;br /&gt;
ductive purposes, can be frequently touched up by&lt;br /&gt;
the engraver so as to come out quite well in the&lt;br /&gt;
block itself.&lt;br /&gt;
This is what is termed &ldquo;Faking,&rdquo; and is often&lt;br /&gt;
very successfully carried out, the block-maker&lt;br /&gt;
charging extra, of course, according to the amount of&lt;br /&gt;
work expended upon it by his toucher-up.&lt;br /&gt;
Even fairly good photographs are often improved&lt;br /&gt;
by retouching in certain places, such as strengthen-&lt;br /&gt;
ing weak lines, painting in detail, etc.&lt;br /&gt;
Portraits alone are dangerous to tamper with, as&lt;br /&gt;
the artist, who has in all probability never seen the&lt;br /&gt;
original &ldquo;sitter,&rdquo; stands a very good chance of&lt;br /&gt;
spoiling the character of the likeness.&lt;br /&gt;
A &ldquo;flat&amp;quot; photograph can often be successfully&lt;br /&gt;
reproduced with good contrasts in the lights and&lt;br /&gt;
shades without any retouching at all.&lt;br /&gt;
This effect can be obtained by the engraver him-&lt;br /&gt;
self by the medium of what is known as &ldquo;fine&lt;br /&gt;
etching.&rdquo; This means that certain parts of the&lt;br /&gt;
plate are protected by varnish after the first acid&lt;br /&gt;
bath, and then re-etched to obtain the extreme&lt;br /&gt;
&ldquo;high lights&rdquo; in the uncoated spaces.&lt;br /&gt;
Cracked and damaged photographs can often be&lt;br /&gt;
remedied or made perfect by the engraver, and&lt;br /&gt;
While on this subject I would like to say a word or&lt;br /&gt;
two on&lt;br /&gt;
Packinſ Photographs and Wegatives.&lt;br /&gt;
All unmounted photographs going through the&lt;br /&gt;
post should be rolled up with the picture or film on&lt;br /&gt;
the outer side.&lt;br /&gt;
If rolled the other way the films are extremely&lt;br /&gt;
liable to crack.&lt;br /&gt;
Stout cylinders should be employed for their safe&lt;br /&gt;
transit. -&lt;br /&gt;
Glass negatives require most careful packing.&lt;br /&gt;
Many thousands of the latter are broken annually&lt;br /&gt;
going through the post, owing to the remitter&amp;#039;s own&lt;br /&gt;
Carelessness.&lt;br /&gt;
A negative should always be packed in wadding&lt;br /&gt;
first, and then wrapped round with several thick.&lt;br /&gt;
nesses of stout paper. Blotting paper is very good&lt;br /&gt;
for this purpose, as it protects the negative from&lt;br /&gt;
damp. A layer of cardboard should then be placed&lt;br /&gt;
or tied on each side, and the whole should be&lt;br /&gt;
packed tightly in a substantial box.&lt;br /&gt;
Engravers will not hold themselves liable for&lt;br /&gt;
accidents occurring to negatives sent per post.&lt;br /&gt;
Packages should be marked &ldquo;With care,&rdquo; and&lt;br /&gt;
insured if valuable.&lt;br /&gt;
Instructions ſo Euffrarers.&lt;br /&gt;
Always write clearly underneath your drawings the&lt;br /&gt;
width you wish them to be in inches, or if you are&lt;br /&gt;
going by the depth measurement&mdash;that is to say,&lt;br /&gt;
from top to bottom of the picture&mdash;write your&lt;br /&gt;
desired measurement along one side.&lt;br /&gt;
If you do not wish to injure the face of the&lt;br /&gt;
drawing, write your instructions on the back, but&lt;br /&gt;
in that case be careful to draw a line with a&lt;br /&gt;
pointer at each end, so as to show clearly in which&lt;br /&gt;
direction you wish the subject to be measured by ;&lt;br /&gt;
thus :&mdash;&lt;br /&gt;
&amp;lt;&mdash; 6% inches. &ndash;-&lt;br /&gt;
or whatever the measurement may be.&lt;br /&gt;
If you wish a sketch or photograph to be repro-&lt;br /&gt;
duced evacfly the same size as the original, it is only&lt;br /&gt;
necessary to put a mark on same similar to this :&mdash;&lt;br /&gt;
Should you desire to reduce a drawing to half&lt;br /&gt;
scale, remember that when reproduced it will only&lt;br /&gt;
represent one quarter the original size, as it means&lt;br /&gt;
half the width of same, and consequently only&lt;br /&gt;
half the depth also, as the depth is reduced&lt;br /&gt;
proportionately to the width.&lt;br /&gt;
Some engravers will put up two or three photos&lt;br /&gt;
together, and after reproducing them on the metal&lt;br /&gt;
cut them up into separate blocks, and charge the&lt;br /&gt;
ordinary scale measurement over all the work.&lt;br /&gt;
This is a saving, of course, when the blocks&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#532) ################################################&lt;br /&gt;
&lt;br /&gt;
150&lt;br /&gt;
TriB ArtTHOR.&lt;br /&gt;
required are very small, as they may work out two&lt;br /&gt;
or three blocks collectively at a minimum charge,&lt;br /&gt;
but this is not always practicable, as the photographs&lt;br /&gt;
so dealt with must be of a uniform, or at least a&lt;br /&gt;
similar, character and colour. Otherwise one suffers&lt;br /&gt;
for the other in the reproduction.&lt;br /&gt;
The engraver, in this instance, makes an extra&lt;br /&gt;
charge of 3d. for separating and mounting each&lt;br /&gt;
respective block.&lt;br /&gt;
When two or three photographs, or drawings, are&lt;br /&gt;
so put up and reduced together, they must neces-&lt;br /&gt;
sarily all be reproduced to the same scale.&lt;br /&gt;
General Hints.&lt;br /&gt;
Ferro-prussiate or light blue engineering prints&lt;br /&gt;
made from tracings, and used principally by&lt;br /&gt;
engineers, have in most cases to be re-drawn entirely&lt;br /&gt;
as the blue of the ground-work photographs white.&lt;br /&gt;
This remark applies also to lavender or helio-&lt;br /&gt;
trope colouring, or any pigment in which blue&lt;br /&gt;
predominates.&lt;br /&gt;
Mechanical line drawings can often be altered by&lt;br /&gt;
the reproducer as required, such as obliterating a line&lt;br /&gt;
or two here and adding in a line or a word there.&lt;br /&gt;
This can be done by &ldquo;painting in &rsquo;&rsquo; on the plate&lt;br /&gt;
without in any way destroying the original drawing.&lt;br /&gt;
If any explanatory lettering is to be added to a&lt;br /&gt;
drawing always remember that it must be drawn&lt;br /&gt;
sufficiently large so as to be perfectly legible when&lt;br /&gt;
reduced.&lt;br /&gt;
The style of lettering should likewise be in&lt;br /&gt;
keeping with the character of the drawing.&lt;br /&gt;
Maps, when in colours, are as a rule difficult to&lt;br /&gt;
reproduce direct, but the colouring, if not too&lt;br /&gt;
varied or too strong, can sometimes be overcome by&lt;br /&gt;
the engraver using an isochromatic plate.&lt;br /&gt;
In my next I shall explain the use of the various&lt;br /&gt;
screens, etc., and what they are suitable for.&lt;br /&gt;
*-&lt;br /&gt;
FRANCESCO PETRARCA.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
NEW English life of Francesco Petrarca was&lt;br /&gt;
wanted, and Mrs. Jerrold has produced one&lt;br /&gt;
of a kind likely to be most serviceable in&lt;br /&gt;
the present state of Italian studies in England.&lt;br /&gt;
For some time past the literature of Italy, one of&lt;br /&gt;
the greatest that Europe has brought forth, has&lt;br /&gt;
been too much neglected in England. There seem&lt;br /&gt;
now to be indications that it is emerging from a&lt;br /&gt;
period of eclipse, and it is to be earnestly hoped&lt;br /&gt;
that these indications are an evidence of an&lt;br /&gt;
approaching restoration of the Italian authors of&lt;br /&gt;
the classical period of the language to their rights.&lt;br /&gt;
* &ldquo;Maud F, Jerrold : Francesco Petrarca, Poet and&lt;br /&gt;
Humanist.&rdquo; London : J. M. Dent &amp;amp; Co. 1909.&lt;br /&gt;
In one respect they resemble the authors of&lt;br /&gt;
classical Greece and Rome. They are removed&lt;br /&gt;
from our modern northern thought by a consider-&lt;br /&gt;
able lapse of time, and by a wide difference in&lt;br /&gt;
circumstances. In consequence of this they can-&lt;br /&gt;
not be righty appreciated without some such know-&lt;br /&gt;
ledge of themselves and of their times as must be&lt;br /&gt;
gathered from commentaries and memoirs.&lt;br /&gt;
Francesco Petrarca in particular needed to be&lt;br /&gt;
re-focussed. Recent investigations on the part&lt;br /&gt;
both of his own countrymen and of others, the&lt;br /&gt;
more careful examination of documentary records,&lt;br /&gt;
and the wider views now taken of the lives and&lt;br /&gt;
works of men, have all combined to throw new&lt;br /&gt;
light upon his character and his story, and to render&lt;br /&gt;
needful more accurate appreciations of both the&lt;br /&gt;
one and the other. In some respects he is much&lt;br /&gt;
easier to understand than Dante ; he neither rises&lt;br /&gt;
to the heights, nor penetrates to the profundities&lt;br /&gt;
of thought presented by the great epic poet. In&lt;br /&gt;
other respects he is more difficult to understand,&lt;br /&gt;
for Dante was ever consistent with himself, and&lt;br /&gt;
Petrarca presents a great deal of the inconsistency&lt;br /&gt;
of ordinary human nature. He was also a many-&lt;br /&gt;
sided man, and one of the merits of Mrs. Jerrold&amp;#039;s&lt;br /&gt;
work is that this aspect of his character and of his&lt;br /&gt;
writings is fully illustrated. While her pages do&lt;br /&gt;
justice to the great lyric poet, one of the very&lt;br /&gt;
greatest the world has ever seen, the humanist is&lt;br /&gt;
also fully presented to view, and Petrarca&amp;#039;s right to&lt;br /&gt;
be accounted one of the primary forces of the new&lt;br /&gt;
learning is duly accentuated. That aspect of&lt;br /&gt;
his work, and his great learning, an erudition&lt;br /&gt;
for his age positively enormous, though he never&lt;br /&gt;
attained the Latinity that was his ambition,&lt;br /&gt;
places Petrarca in a light entirely different from&lt;br /&gt;
the one in which he is too commonly regarded in&lt;br /&gt;
England&mdash;simply as a writer of celebrated sonnets.&lt;br /&gt;
On the other hand, we have been particularly&lt;br /&gt;
pleased by the sane manner in which this work&lt;br /&gt;
deals with the whole history of Petrarca and&lt;br /&gt;
Lauretta de Sade. The story is one around which&lt;br /&gt;
no small amount of myth has gathered, and into&lt;br /&gt;
which a still larger measure of wilful perversion has&lt;br /&gt;
been introduced. If Mrs. Jerrold&amp;#039;s book succeeds&lt;br /&gt;
only in sweeping away some of this mass of non-&lt;br /&gt;
sense, it will do good service ; but it is a book that&lt;br /&gt;
goes far beyond the mere removal of vulgar errors.&lt;br /&gt;
It puts the Italian poet in the light in which his&lt;br /&gt;
works should be read by all who desire to under-&lt;br /&gt;
stand him. The work is illustrated with repro-&lt;br /&gt;
ductions from Italian engravings, for the most&lt;br /&gt;
part appertaining to the &ldquo;Trionfi&rsquo;&rsquo;; and contains&lt;br /&gt;
a chapter showing the direct influence of Petrarca&lt;br /&gt;
upon the earlier English sonneteers, which will&lt;br /&gt;
interest students of the history of English&lt;br /&gt;
literature. -&lt;br /&gt;
We have no wish to dwell upon minor points in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#533) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
151&lt;br /&gt;
which we do not entirely agree with the accom-&lt;br /&gt;
plished authoress; an entire agreement respecting&lt;br /&gt;
some of the particulars discussed is a thing hardly&lt;br /&gt;
to be expected, but we should have liked to have&lt;br /&gt;
found a stern condemnation of Carducci&amp;#039;s return,&lt;br /&gt;
in his critical edition, to the wholly unauthorised&lt;br /&gt;
division of the &ldquo;Canzoniere,&rdquo; first suggested,&lt;br /&gt;
most mistakenly, by Cardinal Bembo. After&lt;br /&gt;
Mestica&amp;#039;s demonstration that this division of the&lt;br /&gt;
&ldquo;Canzoniere &amp;quot; was Bembo&amp;#039;s invention, and incon-&lt;br /&gt;
sistent with the other division of the work made&lt;br /&gt;
by Petrarca himself (because it corresponded to a&lt;br /&gt;
critical moment in his own life), Carducci&amp;#039;s con-&lt;br /&gt;
tinuation of a misrepresentation, merely because it&lt;br /&gt;
had become popular, appears to us unpardonable.&lt;br /&gt;
A great poet has a right to have his works per-&lt;br /&gt;
petuated in the form which he himself gave them.&lt;br /&gt;
We are unable also to endorse wholeheartedly the&lt;br /&gt;
chapter on the Proven&ccedil;al Poets, and it appears to&lt;br /&gt;
us that their enumeration in the order in which&lt;br /&gt;
they are mentioned in the &ldquo;Trionfi&amp;quot; opens a door&lt;br /&gt;
for a serious misunderstanding of their relative&lt;br /&gt;
dates. But, be that as it may, &ldquo;Francesco Petrarca,&lt;br /&gt;
Poet and Humanist,&rdquo; is a work of many merits,&lt;br /&gt;
and will be found full of interest and of instruction&lt;br /&gt;
both by those who are about to make the acquaint-&lt;br /&gt;
ance of Petrarca and by those who have been long&lt;br /&gt;
familiar with his works.&lt;br /&gt;
&mdash;a &mdash;&ordm;-- - a&lt;br /&gt;
w---w&lt;br /&gt;
DICTIONARY OF COPYRIGHT.;&lt;br /&gt;
&ndash;0&ndash;C&ndash;0&ndash;&lt;br /&gt;
HE author, who is a sub-director of the&lt;br /&gt;
International Bureau of Intellectual and&lt;br /&gt;
Industrial Property at Berne, has compiled&lt;br /&gt;
in dictionary form a valuable book of reference&lt;br /&gt;
respecting everything bearing upon copyright&lt;br /&gt;
property. In his preface he modestly disclaims&lt;br /&gt;
any attempt to add to the already very bulky&lt;br /&gt;
literature, in many languages, dealing with copy-&lt;br /&gt;
right legislation and copyright questions; but it&lt;br /&gt;
will be immediately apparent how useful will be,&lt;br /&gt;
if only on account of the vast extent of this&lt;br /&gt;
literature, a book which gathers together the facts&lt;br /&gt;
in such a manner as to present the information in&lt;br /&gt;
alphabetical order.&lt;br /&gt;
The matter is arranged under a far-reaching&lt;br /&gt;
number of headings, and many unexpected articles&lt;br /&gt;
will be found showing how very varied are the&lt;br /&gt;
aspects under which questions of copyright can&lt;br /&gt;
present themselves. The work begins, for instance,&lt;br /&gt;
with &ldquo;Abandon,&rdquo; setting forth the ways in which&lt;br /&gt;
* &ldquo;I.6on Poinsard : La Propri&eacute;t&eacute; Artistique et Lit-&lt;br /&gt;
teraire.&rdquo; R&eacute;pertoire Alphab&eacute;tique : Paris. Libraire&lt;br /&gt;
G&eacute;n&eacute;rale de Droit et de Jurisprudence. 1910.&lt;br /&gt;
it is possible for an author to renounce his rights;&lt;br /&gt;
&ldquo;Abridgements,&rdquo; presenting in a succinct form&lt;br /&gt;
the results of recent legislation upon this topic ;&lt;br /&gt;
and &ldquo;Abyssinia,&rdquo; mentioning that this is one of&lt;br /&gt;
the countries still without any copyright legislation.&lt;br /&gt;
&ldquo;Hotels&rdquo; may be mentioned as a case of an&lt;br /&gt;
article that was hardly to be expected. At the&lt;br /&gt;
Same time an important point is mentioned,&lt;br /&gt;
namely, that in these days, when it is a common&lt;br /&gt;
thing for the proprietors of large hotels to provide&lt;br /&gt;
Various evening entertainments for their guests,&lt;br /&gt;
cases are not rare when dramatic pieces are per-&lt;br /&gt;
formed, or musical entertainments given, by which&lt;br /&gt;
the rights of dramatic authors or of composers are&lt;br /&gt;
directly infringed. It may be supposed that there&lt;br /&gt;
is no intention to defraud, and that the resulting&lt;br /&gt;
piracies are absolutely unpremeditated. At the&lt;br /&gt;
same time authors and composers are on these&lt;br /&gt;
occasions defrauded of their rights.&lt;br /&gt;
Long articles are naturally dedicated to the&lt;br /&gt;
Countries whose literatures are of world-wide&lt;br /&gt;
importance. That on &ldquo;France &rsquo;&rsquo; includes, among&lt;br /&gt;
many other things of value, an interesting enumera-&lt;br /&gt;
tion of all the French laws bearing on copyright&lt;br /&gt;
presented in chronological order.&lt;br /&gt;
The article on &ldquo;Great Britain&rsquo;&rsquo; occupies twenty&lt;br /&gt;
pages, and is both full and also admirable for the&lt;br /&gt;
lucidity and conciseness with which the undeniably&lt;br /&gt;
perplexing English copyright legislation is treated.&lt;br /&gt;
The article concludes with an index of the various&lt;br /&gt;
literary conventions which have been made between&lt;br /&gt;
Great Britain and other countries&mdash;a particular&lt;br /&gt;
fully dealt with in the case of all the civilised states.&lt;br /&gt;
One of the results of the dictionary arrangement&lt;br /&gt;
is the drawing together under one head of informa-&lt;br /&gt;
tion that might be otherwise scattered, with the&lt;br /&gt;
consequence that large and often interesting&lt;br /&gt;
opportunities of comparison present themselves.&lt;br /&gt;
&ldquo;Duration &amp;#039;&amp;#039; (of authors&rsquo; rights) presents a wide&lt;br /&gt;
conspectus of the actual situation of this much&lt;br /&gt;
vexed question in a number of countries. Guate-&lt;br /&gt;
mala, Mexico, Nicaragua and Venezuela are&lt;br /&gt;
here seen setting a splendid example, &ldquo;perpetual&lt;br /&gt;
copyright,&rdquo; which States that boast at least an&lt;br /&gt;
older civilisation appear to be in no hurry to&lt;br /&gt;
emulate. The number and status of the countries&lt;br /&gt;
that have &ldquo;life and fifty years afterwards&rdquo; can be&lt;br /&gt;
immediately distinguished&mdash;and those that, for&lt;br /&gt;
reasons not very apparent, have preferred not to&lt;br /&gt;
come into that simple and highly sanctioned&lt;br /&gt;
principle. The quaint English term of copyright&lt;br /&gt;
stands isolated in its Oddity. But M. Poinsard&lt;br /&gt;
elsewhere remarks with reason, &ldquo;It will be seen&lt;br /&gt;
that the English copyright law is remarkable&lt;br /&gt;
neither for its simplicity nor for its lucidity.&rdquo;&lt;br /&gt;
The Revised Convention of Berne is printed at&lt;br /&gt;
an appendix at the end of the volume. The&lt;br /&gt;
innovations introduced at the last Congress are&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#534) ################################################&lt;br /&gt;
&lt;br /&gt;
152&lt;br /&gt;
TISIES A CITISIOR-&lt;br /&gt;
printed in heavy-faced type, with the result that all&lt;br /&gt;
these important modifications can be distinguished&lt;br /&gt;
at a glance. -&lt;br /&gt;
The work is fully furnished with cross references,&lt;br /&gt;
and has every appearance of being likely to be&lt;br /&gt;
found most convenient for use and reference.&lt;br /&gt;
There is one particular only in which we wish that&lt;br /&gt;
the author could have found it possible to go a&lt;br /&gt;
point farther. We will admit at once that to give&lt;br /&gt;
anything like full references would have so much&lt;br /&gt;
overburdened the book as to defeat its aim. But&lt;br /&gt;
we cannot, at the same time, help wishing that the&lt;br /&gt;
author had found it possible to add, at least at the&lt;br /&gt;
end of the more important articles, references to&lt;br /&gt;
some of the leading works bearing on the several&lt;br /&gt;
subjects. The value of a dictionary is very much&lt;br /&gt;
increased when such notes at the close of its&lt;br /&gt;
articles show the reader where he may look if he&lt;br /&gt;
desires to push his investigations a little farther.&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE LITERARY YEAR BOOK.&lt;br /&gt;
DEAR SIR,-In the review of the &ldquo; ſaw and&lt;br /&gt;
Letters&rdquo; section in the Literary Year Book (1910)&lt;br /&gt;
in the current number of The Author, your reviewer&lt;br /&gt;
states that there is no variation from the issue of&lt;br /&gt;
last year under this heading. May I point out that&lt;br /&gt;
alterations have been made to meet the views of&lt;br /&gt;
The Author, as expressed in its notice last year of&lt;br /&gt;
the 1909 issue of the Year Book, and that, judging&lt;br /&gt;
from his remarks, your reviewer cannot have read&lt;br /&gt;
this year&amp;#039;s edition very carefully.&lt;br /&gt;
On pages 554 and 555 of the 1910 edition, under&lt;br /&gt;
the heading &ldquo;Sale of Copyright,&rdquo; two clauses have&lt;br /&gt;
been inserted in consequence of your suggestions,&lt;br /&gt;
viz.: &ldquo;There should always be a clause fixing&lt;br /&gt;
(under penalty) . . .&rdquo; etc.; and (2) &ldquo;An offer below&lt;br /&gt;
the rate of &pound;1 per 1,000 words . . . .&rdquo; etc. Other&lt;br /&gt;
alterations have been made in accordance with&lt;br /&gt;
previous suggestions in The Author, which to&lt;br /&gt;
mention in detail would make this letter unduly&lt;br /&gt;
lengthy, but I should like to point out that the&lt;br /&gt;
various agreements, as set forth in the &ldquo;Law&lt;br /&gt;
Letters &rdquo; section of the Literary Year Book, are&lt;br /&gt;
considered as typical of those most commonly used,&lt;br /&gt;
and do not profess to be ideal from the point of&lt;br /&gt;
view of either an author or a publisher.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
B. STEwART, Editor L. Y. B.&lt;br /&gt;
[We have pleasure in inserting this letter, and&lt;br /&gt;
regret that the alterations should not have been&lt;br /&gt;
noticed by the reviewer. We do not, however, see&lt;br /&gt;
any reference to the U.S.A. Act, the most impor-&lt;br /&gt;
tant copyright event which is likely to occur short&lt;br /&gt;
of a new copyright law in Great Britain.&mdash;ED.].&lt;br /&gt;
&ndash;0-s&ordm;-0&ndash;&lt;br /&gt;
WOUCHER COPIES.&lt;br /&gt;
DEAR SIR.&mdash;In , an excellent protest against&lt;br /&gt;
&ldquo;Payment Quarterly and on Demand &rdquo; in the&lt;br /&gt;
January issue of The Author, &ldquo;Home Counties&rdquo;&lt;br /&gt;
mentions the Manchester Guardian as &ldquo;conspicuous&lt;br /&gt;
among daily papers in sending a voucher copy.&rdquo;&lt;br /&gt;
It would be interesting to know if other members&lt;br /&gt;
who habitually contribute to the paper in question&lt;br /&gt;
can ratify the assertion, or whether &ldquo;Home&lt;br /&gt;
Counties &amp;quot; has been singularly favoured in this&lt;br /&gt;
respect. As the writer of twelve special articles&lt;br /&gt;
for the Manchester Guardian, I can testify to its&lt;br /&gt;
exemplary regularity in payment and unfailing&lt;br /&gt;
courtesy ; but I have never received a voucher&lt;br /&gt;
Copy.&lt;br /&gt;
Possibly, however, &ldquo;Home Counties&amp;quot; refers&lt;br /&gt;
solely to commissioned articles&mdash;in which case I&lt;br /&gt;
can but apologise for misunderstanding, and sign&lt;br /&gt;
myself,&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
&ldquo;DUNCE * SCOTUS.&lt;br /&gt;
a &mdash;-&ordm;- a&lt;br /&gt;
w-w-w&lt;br /&gt;
MAGAZINE CONTENTs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
J. St. Loe Strachey. By Drayton Ford.&lt;br /&gt;
The Cleansing of Fiction. By Dr. William Barry.&lt;br /&gt;
A Man in the Making. By Sir George Douglas, Bart.&lt;br /&gt;
The English Essay. By Thomas Seccombe. -&lt;br /&gt;
CORNIHILL.&lt;br /&gt;
The First Editor and the Founder. By Lady Ritchie.&lt;br /&gt;
An Impromptu to the Editor. By Thomas Hardy.&lt;br /&gt;
The Jubilee of the Cornhill. By E. T. Cook.&lt;br /&gt;
On Essays at Large. By A. C. Benson.&lt;br /&gt;
Leslie Stephen, Editor. By W. E. Norris.&lt;br /&gt;
James Payn, Editor. By Stanley T. Weyman.&lt;br /&gt;
Middle Age to Youth. By A. D. Godley.&lt;br /&gt;
Envoi. By Mrs. George Smith.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
The Player&amp;#039;s Poverty. By Cecil Raleigh.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
La Litt&eacute;rature Fran&ccedil;aise Contemporaine.&lt;br /&gt;
Beaunier.&lt;br /&gt;
The Making of a Poet. By Stephen Gwynn, M.P.&lt;br /&gt;
The Mogul School of Painting. By Percy Brown.&lt;br /&gt;
James Boswell and a Corsican Patriot. By Rose M.&lt;br /&gt;
Bradley.&lt;br /&gt;
The Censorship of Stage Plays: Another Point of View.&lt;br /&gt;
By Viola Tree.&lt;br /&gt;
By Andr&eacute;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#535) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. i&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
. . . A Library of Humour is a boom both to the busy&lt;br /&gt;
worker and to the man or woman of leisure.&lt;br /&gt;
The finest Library of Humour in the World is&lt;br /&gt;
PICTURES&lt;br /&gt;
FROM &ldquo;* PUNICEC 22&lt;br /&gt;
Four Handsome Volumes,&lt;br /&gt;
Two Thousand Pages,&lt;br /&gt;
Four Thousand Pictures.&lt;br /&gt;
These four desirable Royal 4to volumes contain all&lt;br /&gt;
the best of the Social pictures which have appeared&lt;br /&gt;
in Punch for the last 60 years&mdash;they appeal strongly&lt;br /&gt;
alike to the artistic taste and the sense of humour.&lt;br /&gt;
All the illustrations in &ldquo;Pictures&lt;br /&gt;
from &lsquo;Punch &amp;quot; &amp;quot; are reproduced in&lt;br /&gt;
the original size without any re-&lt;br /&gt;
duction whatever.&lt;br /&gt;
Would you not like to possess one of these delight-&lt;br /&gt;
ful sets 7&lt;br /&gt;
They can be sent to you (carriage paid), bound&lt;br /&gt;
in cloth, for 40s., or bound in a remarkably rich&lt;br /&gt;
half-morocco binding, at 55s.&lt;br /&gt;
&mdash;s&ordm;-&lt;br /&gt;
Address: THE SECRETARY, &ldquo;PUNCH* OFFICE,&lt;br /&gt;
10, Bouyerie Street, London, E.C.&lt;br /&gt;
TO Authors and Journalists,&lt;br /&gt;
Are you SATISFIED with the quality of&lt;br /&gt;
your work?&lt;br /&gt;
Does your literary output find a ready&lt;br /&gt;
market? -&lt;br /&gt;
These are pertinent questions and well worth&lt;br /&gt;
answering.&lt;br /&gt;
Many young writers would meet with success&lt;br /&gt;
if they took the trouble to learn the technique&lt;br /&gt;
of their art. Our Students are successful |-&lt;br /&gt;
because we instil into them that subtle some-&lt;br /&gt;
thing which makes for success. We cultivate&lt;br /&gt;
their special bent and enable them to make the&lt;br /&gt;
most of their matural gifts.&lt;br /&gt;
A Course of Training under our supervision&lt;br /&gt;
will, at the very outset, put you on the path of&lt;br /&gt;
progress&mdash;the road that leads to the Editorial&lt;br /&gt;
Sanctum. Let us tell you more about this ; we&lt;br /&gt;
shall be pleased to send you full particulars on&lt;br /&gt;
receipt of a post-card.&lt;br /&gt;
Address your application to the-&lt;br /&gt;
LITERARY GORRESPONDENGE GOLLEGE,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
re advertised for weekly in&lt;br /&gt;
THE PUBLISHERS&rsquo; CIRCULAR&lt;br /&gt;
AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
(ESTABLISHED 1837),&lt;br /&gt;
Which also gives Lists of the New Books published&lt;br /&gt;
during the Week, Announcements of Forthcoming&lt;br /&gt;
Books, &amp;amp;c.&lt;br /&gt;
Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
in the Books Wanted Columns.&lt;br /&gt;
Sent for 52 weeks, post free, for 10s. 6d. home and&lt;br /&gt;
13S, 6d. foreign.&lt;br /&gt;
Specimen Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
office : 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
TYPEYWYRITING:&lt;br /&gt;
ALL, KINDS FROM 9d. PER 1,000.&lt;br /&gt;
Authors&amp;#039;, Playwrights&amp;#039;, clergymen&amp;#039;s, &amp;amp;c., MSS.&lt;br /&gt;
correctly and efficiently executed.&lt;br /&gt;
Good work combined with cheapness and quickness.&lt;br /&gt;
In English, French, or German. Good References.&lt;br /&gt;
SEND A SMALL ORDER NOW f&lt;br /&gt;
MISS RALLING, 176, Loughborough Rd., London, S.W.&lt;br /&gt;
A Member of the Society of Author&amp;#039;s highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENS, S.W.,&lt;br /&gt;
as a Residence for Women Workers and Students. It is a&lt;br /&gt;
quiet comfortable house ; the number of boarders is limited&lt;br /&gt;
to 14, and references are required. Terms from 25s, a week.&lt;br /&gt;
Redcliffe Gardens is five minutes&amp;#039; walk from Earl&amp;#039;s Court&lt;br /&gt;
District and Tube Stations.&lt;br /&gt;
Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIK E S and SIKES,&lt;br /&gt;
The West Kensington Typewriting Offices&lt;br /&gt;
(Established 1893),&lt;br /&gt;
223A, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. ; Plays and Actors&amp;#039; Parts ; Duplicating; Lessons;&lt;br /&gt;
Legal, General and Commercial Documents.&lt;br /&gt;
Educated Operators, GOOD PAPER, Standard Machines,&lt;br /&gt;
FAIR PRICES.&lt;br /&gt;
Terms and References on application.&lt;br /&gt;
AUTHORS &amp;amp; PLAYW RIGHTS.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Departlment,&lt;br /&gt;
WIENER AGENCY, L.D.,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNE BUILDING, NEW YORK.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHors&rsquo; MISS. and GENERAL COPYING undertaken from&lt;br /&gt;
1s. per 1,000 words. Duplicate copies one third price.&lt;br /&gt;
TRIAL ORDER SOLICITED.&lt;br /&gt;
GOOD WORK GUARANTEED,&lt;br /&gt;
A. wilson, 9, ALEXANDRA ROAD, STAMFORD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#536) ################################################&lt;br /&gt;
&lt;br /&gt;
IV AD VERTISEMENTS.&lt;br /&gt;
TO AN AUTHOR&lt;br /&gt;
the APPEARANCE and STYLE of manuscript is&lt;br /&gt;
An Important Matter.&lt;br /&gt;
Send your typewriting to me ! I have had a broad experience of&lt;br /&gt;
Literary Work,&lt;br /&gt;
and guarantee to execute all commissions promptly, and in&lt;br /&gt;
a mammer warranted to tempt the consideration of the&lt;br /&gt;
busiest Editors.&lt;br /&gt;
Price List, Testimonials, etc., on application.&lt;br /&gt;
C. HERBERT CAESAR, Homefield, w&ordm;&ordm;l;&lt;br /&gt;
GOUP0N.&lt;br /&gt;
This Coupon entitles you to one Carbon&lt;br /&gt;
Duplicate, Gratis, if sent with your order.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-. Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HORNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, Speed, and neatness with which she&lt;br /&gt;
does her Work.&mdash;FRANK SAVILE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDIESEX.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Two popular Hotels in Gentral London,&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL.&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL.&lt;br /&gt;
&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
Passenger Lifts. Bathrooms on every Floor. Lounges&lt;br /&gt;
and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors. Perfect Sanita-&lt;br /&gt;
- tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance), single, from&lt;br /&gt;
3|6 to 6|=.&lt;br /&gt;
Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote&lt;br /&gt;
Breakfast and Dinner, from 816 to 10/6 per day.&lt;br /&gt;
Full Tariff and Testimonials on application.&lt;br /&gt;
Telegraphie Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
Ringsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
[XVIII. CENT.&lt;br /&gt;
Tazt??ton.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE EN QUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
&lt;br /&gt;
TYPEWRITING&lt;br /&gt;
from 10d. per 1,000 words, by experienced&lt;br /&gt;
Typist. Authors&rsquo; MSS. and Technical&lt;br /&gt;
work a speciality.&lt;br /&gt;
ORDERS BY POST PROMIPTLY PRTTENDED TO.&lt;br /&gt;
MISS LUETCHFORD, 122, LONDON WALL, E.C.&lt;br /&gt;
MRS. GILL, Typetoriting Cffice,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&rsquo; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
Novel and Story Work ... 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying ... 1/1 5 y 5 y 2 3 1/3&lt;br /&gt;
Plays, ruled * - * * ... 1)- 32 7 * 92 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
&lsquo;&lsquo;TEIE AUTHOE.&rdquo;&lt;br /&gt;
SCA LE FOR A D VERTIS EMENT&amp;#039;S.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
6&lt;br /&gt;
Front Page ...4.4 0 0&lt;br /&gt;
Other Pages . 3 0 ()&lt;br /&gt;
Half of a Page ... ... 1 10 0&lt;br /&gt;
Quarter of a Page ... 0 15 0&lt;br /&gt;
Eighth of a Page t&ordm; e s e - e. ... . .: 0 1&lt;br /&gt;
Single Column Advertisements per inch 0 6 0&lt;br /&gt;
Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent, for&lt;br /&gt;
Twelve Imsertions.&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
ADVERTISEMENT MANAGER, The Author Office, 39, Old Queen Street,&lt;br /&gt;
Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/402/1910-02-01-The-Author-20-5.pdf</td><td>publications, The Author</td></tr><tr><td>403</td><td>https://historysoa.com/items/show/403</td><td>The Author, Vol. 20 Issue 06 (March 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+06+%28March+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 06 (March 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-03-01-The-Author-20-6</td><td></td><td></td><td></td><td></td><td>153&ndash;180</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-03-01&quot;&gt;1910-03-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>6</td><td></td><td></td><td>19100301</td><td>O be El ut b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XX. &mdash;No. 6.&lt;br /&gt;
MARCH 1, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE&lt;br /&gt;
Notices ... * t&ordm; e t&ordm; g&ordm; &ordm; * &amp;gt; * e t&ordm; &ordm; g e is &amp;amp; &amp;amp; 8 g = &amp;amp; ... 153&lt;br /&gt;
Committee Notes t&ordm; $ t&ordm; &amp;amp; &amp;amp; C&ordm;. * * * * &ordm; &ordm;r t&ordm; a t&ordm; * * * ... 155&lt;br /&gt;
Books published by Members of the Society ... ... ... 33.&lt;br /&gt;
Books published in America by Members... .. ... ... 158&lt;br /&gt;
Literary, Dramatic and Musical Notes ... g&ordm; t&ordm; &ordm;r e t&ordm; e ... 158&lt;br /&gt;
Paris Notes t&ordm; e &isin; * * * * - ſ&ordm; * t&ordm; g e e &ordm; as &ordm; g&ordm; a ſ&ordm; &ordm; ... 160&lt;br /&gt;
TJnited States Copyright ... * g e * * * * * * * * * ... 161&lt;br /&gt;
British International Association of Journalists s it e ... 165&lt;br /&gt;
Magazine Contents &ordm; t&ordm; &ordm; &amp;amp; * * &amp;gt; t&ordm; &ordm; &ordm; e a * * * ... 166&lt;br /&gt;
How to Use the Society ... ... ... ... ... ... 107&lt;br /&gt;
Warnings to the Producers of Books a g &ordm; &ordm; &ordm; &ordm; t&ordm; ſ&ordm; t&ordm; ... 167&lt;br /&gt;
Warnings to Dramatic Authors * * * * * * &amp;amp; ſ&ordm; &amp;amp; &amp;amp; ſ&ordm; &ordm; ..., 167&lt;br /&gt;
Registration of Scenarios and Original Plays ... * * * ..., 168&lt;br /&gt;
Warnings to Musical Composers * g t&ordm; ... ... ... 168&lt;br /&gt;
PAGE&lt;br /&gt;
Stamping Music ... . ... ... * * * * * * * * * e &lsquo;&ordm; g&ordm; ... 168&lt;br /&gt;
The Reading Branch ... ... &amp;amp; G &amp;amp; &copy; t&ordm; g&ordm; t&ordm; e &ordm; e &ordm; e ... I68&lt;br /&gt;
&ldquo;The Author&rsquo;&rdquo; ... &euml; e g t&ordm; &ordm; &ordm; * = &amp;amp; * * * * * * t&ordm; t&ordm; L&ordm; ... 168&lt;br /&gt;
Remittances g&ordm; &ordm; e t&ordm; &ordm; &ordm; s&ordm; t&ordm; e e &lsquo;&ordm; e. * * * * g e * * * ... 168&lt;br /&gt;
General Notes ... &copy; t&ordm; &ordm; g&ordm; g&ordm; t&ordm; a d&ordm; ſ&ordm; g&ordm; e = &amp;amp; &ordm; e ſ&ordm; &ordm; s&ordm; ... 169&lt;br /&gt;
A Great Belgian Poet ... t&ordm; e &ordm; &ordm; &ordm; ſ&ordm; * * &amp;amp; * = &amp;amp; * * * ... 170&lt;br /&gt;
The Child Spirit in Literature t&ordm; &ordm; 0. e # 8 t&ordm; e &amp;lt; &amp;amp; &ordm; &ordm; ... 171&lt;br /&gt;
Realism in Drama t&ordm; a ſ&ordm; * * * * * * * t&ordm; e * * * * * * ... 172&lt;br /&gt;
Magazine Editors t&ordm; a s&ordm; t&ordm; e 4 * * * * * * &amp;amp; e &amp;amp; &amp;amp; e e ... 173&lt;br /&gt;
The Art of Illustrating... t&ordm; a se fe &amp;amp; 8 t&ordm; &ordm; &amp;amp; is e &ordm; * * * ... 175&lt;br /&gt;
The Literary Year Book * * * * * * t&ordm; &ordm; &ordm; # * * ſ&ordm; t&ordm; &ordm; ... 177&lt;br /&gt;
Book Prices Current ... * * * * * * &amp;amp; # * * * * t&ordm; s&ordm; &ordm; ... };}&lt;br /&gt;
Correspondence ... t&ordm; &ordm; g&ordm; * * * * * * e is e &amp;amp; &ordm; &ordm; * &dagger; t&ordm; ... 179&lt;br /&gt;
x.&lt;br /&gt;
TO Authors and Journalists,&lt;br /&gt;
Are you SATISFIED with the quality of&lt;br /&gt;
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Does your literary output find a ready&lt;br /&gt;
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Many young writers would meet with success&lt;br /&gt;
if they took the trouble to learn the technique&lt;br /&gt;
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A Course of Training under our supervision&lt;br /&gt;
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Old Age, How to attain it. &sect;&sect;&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#538) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Lje &Scaron;arietu uſ Autburg (jnrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR WM. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
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SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
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RELL, P.C.&lt;br /&gt;
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THE RIGHT HON. THE LORD CURzoN&lt;br /&gt;
OF KEDLESTON, P.C.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
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THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
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LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA L.&lt;br /&gt;
SHAw).&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#539) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or,&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
&mdash;s&lt;br /&gt;
Wol. XX.-No. 6.&lt;br /&gt;
MARCH 1ST, 1910.&lt;br /&gt;
--~&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER:&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
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&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&ordm;-&ordm;-&ordm;sm&ordm;&lt;br /&gt;
ADVERTISEMENTs.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the bona fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
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never have accepted, any liability.&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&mdash;e-s&mdash;&lt;br /&gt;
+ ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&amp;quot;&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
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needs of all the members of the Society.&lt;br /&gt;
&bull; *&mdash; a&lt;br /&gt;
v &mdash;--w&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
N February 1, 1910, the trustees of the&lt;br /&gt;
() Pension Fund of the society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&ndash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#540) ################################################&lt;br /&gt;
&lt;br /&gt;
154&lt;br /&gt;
TISIES AUTISIOR.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Oct. 16, Hodson, Miss A. L.&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. 3.&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril .&lt;br /&gt;
Nov. 4, George, W. L. e&lt;br /&gt;
Nov. 25, Tench, Miss Mary&lt;br /&gt;
Dec. 1, Shedlock, Miss&lt;br /&gt;
Dec. 3, Esmond, H. W.&lt;br /&gt;
Dec. 9, Hewlett, Maurice . &amp;amp;&lt;br /&gt;
Dec. 17, Reynolds, Mrs. Baillie .&lt;br /&gt;
Dec. 17, Martin, Miss Violet&lt;br /&gt;
S&lt;br /&gt;
e&lt;br /&gt;
2-&lt;br /&gt;
1.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R. . ſ&ordm; te&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
tion) . e &ordm; ſe &ordm; &ordm;&lt;br /&gt;
Jan. 1, Northcote, H. &amp;amp; o&lt;br /&gt;
Jan. 3, Watson, Mrs. Herbert A.&lt;br /&gt;
Jan. 3, Fursdon, Mrs. F. M. e&lt;br /&gt;
Jan. 3, Smith, Miss Edith A.&lt;br /&gt;
Jan. 4, Pryce, Richard e&lt;br /&gt;
Jan. 4, Wroughton, Miss Cicely .&lt;br /&gt;
Jan. 6, Kaye-Smith, Miss Sheila&lt;br /&gt;
Jan. 6, Underdown, Miss E. M. .&lt;br /&gt;
Jan. 6, Carolin, Mrs. . &ordm;&lt;br /&gt;
Jan. 8, P. H. and M. K.&lt;br /&gt;
Jan. 8, Crellin, H. R. e&lt;br /&gt;
Jan. 10, Tanner, James T..&lt;br /&gt;
Jan. 10, Miller, Arthur&lt;br /&gt;
Jan. 10, Bolton, Miss Anna&lt;br /&gt;
Jan. 10, Parr, Miss Olive K.&lt;br /&gt;
Jan. 17, Harland, Mrs.&lt;br /&gt;
Jan. 21, Benecke, Miss Ida&lt;br /&gt;
Jan. 25, Fradd, Meredith&lt;br /&gt;
Jan. 29, Stayton, F. . e&lt;br /&gt;
Feb. 1, Wharton, L. C. .&lt;br /&gt;
Feb. 4, Bowen, Miss Marjorie&lt;br /&gt;
Feb. 5, Cameron, Mrs.&lt;br /&gt;
Feb. 7, Pettigrew, W. F. .&lt;br /&gt;
Feb. 7, Church, Sir A. H. .&lt;br /&gt;
Feb. 8, Bland, Mrs. E. Nesbit&lt;br /&gt;
Feb. 8, The XX. Pen Club&lt;br /&gt;
Feb. 10, Greenbank, Percy&lt;br /&gt;
Feb. 11, Stopford, Francis.&lt;br /&gt;
Feb. 11, Dawson, A. J. . .&lt;br /&gt;
Feb. 12, Ainslie, Miss Kathleen .&lt;br /&gt;
Feb. 16, W. D. . &ordm; &bull;&lt;br /&gt;
16, Gibbs, F. L. A.&lt;br /&gt;
17, Wintle, H. R. &ordm;&lt;br /&gt;
21, Thurston, E. Temple&lt;br /&gt;
23, Dawson, Mrs. Frederick&lt;br /&gt;
5&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
Feb.&lt;br /&gt;
Reb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
We regret that we omitted to state that the&lt;br /&gt;
donation of &pound;2 5s. 4d. for January 21st, from&lt;br /&gt;
Consols 24%.................. ........... #1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3%. Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291 19 11&lt;br /&gt;
War Loan ................................. 20I 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 3%% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . ................ 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 3% Stock............... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 2;% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Jamaica. 3% Stock, 1919&mdash;49......... 132 18 6.&lt;br /&gt;
Mauritius 4%. 1937 Stock............... 120 12 I&lt;br /&gt;
Total ............... f*,068 11 7&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909. &pound; S. d.&lt;br /&gt;
Oct. 15, Greig, James 0 5 ()&lt;br /&gt;
Oct. 15, Jacomb, A. E. e () 5 ()&lt;br /&gt;
Oct. 16, Hepburn, Thomas 0 10 6&lt;br /&gt;
Oct. 16, Trevelyan, G. M. . 0 10 0&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall &rdquo; 0 5 ()&lt;br /&gt;
Oct. 22, Jessup, A. E. es &ordm; 1 1 0&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard O 5 0&lt;br /&gt;
Nov. 5, Dixon, A. Francis . 0. 5 ()&lt;br /&gt;
Nov. 6, Helledoren, J. () 5 ()&lt;br /&gt;
Dec. 4, Tearle, Christian 2 2 0&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor &ordm; () 10 ()&lt;br /&gt;
Dec. 17, Somerville, Miss Edith CE. () 5 ()&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine 0 7 6&lt;br /&gt;
Jan. 13, Child, Harold H. . &copy; . () 10 ()&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O. s &ordm; . 1 1 0&lt;br /&gt;
Jan. 27, Lion, Leon M. 0 5 O&lt;br /&gt;
Feb. 7, Fagan, J. B. . e () 10 0&lt;br /&gt;
Feb. 10, Newton, Miss A. M. 0 5 0&lt;br /&gt;
1&lt;br /&gt;
()&lt;br /&gt;
()&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#541) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A [CITISIOR,&lt;br /&gt;
155&lt;br /&gt;
Miss Ida Benecke, is derived from the sale of her&lt;br /&gt;
German translation of Mr. George Meredith&rsquo;s&lt;br /&gt;
&ldquo;Tragic Comedians,&rdquo; the proceeds of which she&lt;br /&gt;
has kindly consented to devote to this fund.&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
October, 1909, have been deleted from the present&lt;br /&gt;
announcement. .&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HE February meeting of the Committee of&lt;br /&gt;
Management of the Society of Authors was&lt;br /&gt;
held at the offices of the society on Monday,&lt;br /&gt;
February 7. Fourteen members and associates&lt;br /&gt;
were elected, and against these elections have to be&lt;br /&gt;
chronicled twelve resignations, which the committee&lt;br /&gt;
accepted with regret.&lt;br /&gt;
The Annual Report was passed in its final shape,&lt;br /&gt;
and has been circulated to the members in due&lt;br /&gt;
course, with full notice of the general meeting&lt;br /&gt;
which has been fixed for Wednesday, March 16, at&lt;br /&gt;
the rooms of the Society of Medicine, 20, Hanover&lt;br /&gt;
Square, W., at 4 o&amp;#039;clock.&lt;br /&gt;
The next matter before the committee was the&lt;br /&gt;
report of the sub-committee on the Music Pub-&lt;br /&gt;
lishers&amp;#039; Agreement which had been settled with the&lt;br /&gt;
representative of a firm of music publishers. Mr.&lt;br /&gt;
E. J. MacGillivray, representing the Copyright&lt;br /&gt;
Sub-committee, and the representative of the&lt;br /&gt;
music publishing firm attended, to explain the&lt;br /&gt;
exact position. The questions at issue were very&lt;br /&gt;
fully discussed, but owing to some fresh suggestions&lt;br /&gt;
put forward by the Music Publishers and some&lt;br /&gt;
alterations made by the Committee of Management,&lt;br /&gt;
the matter had to be referred back again to the&lt;br /&gt;
Copyright Sub-committee.&lt;br /&gt;
Mr. James Byrne, of Messrs. Byrne &amp;amp; Cutcheon,&lt;br /&gt;
of 24, Broad Street, New York, U.S.A., was&lt;br /&gt;
appointed lawyer in the States to the Society of&lt;br /&gt;
Authors. We understand from Mr. Douglas&lt;br /&gt;
Freshfield, who has recently returned from the&lt;br /&gt;
States, and from Mr. Laurence Godkin, who&lt;br /&gt;
formerly represented the society, that Mr. Byrne is&lt;br /&gt;
willing to accept the duties of the position.&lt;br /&gt;
The annual dinner of the society was fixed for&lt;br /&gt;
the second or third week in June. Notice of it&lt;br /&gt;
will be sent round at a later date, together with full&lt;br /&gt;
particulars as to place, price of tickets, &amp;amp;c., to all&lt;br /&gt;
the members.&lt;br /&gt;
A question relating to the Libraries&amp;#039; Censorship&lt;br /&gt;
Was then discussed, and a letter from Mr. Edward&lt;br /&gt;
Bell, of the Publishers&rsquo; Association, read to the&lt;br /&gt;
Committee. The committee are keeping a watchful&lt;br /&gt;
eye on authors&amp;#039; interests in this matter.&lt;br /&gt;
The chairman reported that the Royal Society of&lt;br /&gt;
Literature had decided to form an academy of&lt;br /&gt;
literature consisting of forty members. Fourteen&lt;br /&gt;
of this number were to be chosen from the mem-&lt;br /&gt;
bers of the Royal Society of Literature, fourteen&lt;br /&gt;
by the Committee of Management of the society&lt;br /&gt;
from members of the society. The members so&lt;br /&gt;
elected were to elect a further twelve to make the&lt;br /&gt;
number up to forty. After the first election the&lt;br /&gt;
academy would be self-elected. A sub-committee&lt;br /&gt;
consisting of three members was formed for the&lt;br /&gt;
election of the fourteen members to represent the&lt;br /&gt;
Society. The names selected by the sub-committee&lt;br /&gt;
will be referred to the Committee of Management&lt;br /&gt;
for confirmation.&lt;br /&gt;
A question was raised with respect to copyright&lt;br /&gt;
registration in the United States, and the secretary&lt;br /&gt;
explained a serious point which had arisen and was&lt;br /&gt;
likely to prove a heavy handicap on English&lt;br /&gt;
authors. The committee decided to collect the&lt;br /&gt;
fullest particulars and to send a letter, signed by&lt;br /&gt;
the chairman, setting out the issues involved, for&lt;br /&gt;
the consideration of the Foreign Office.&lt;br /&gt;
Sir Alfred Bateman reported the nature of the&lt;br /&gt;
steps he had taken in regard to a question relating&lt;br /&gt;
to Canadian copyright raised at the last meeting.&lt;br /&gt;
The committee decided to act on the advice given&lt;br /&gt;
by Sir Alfred, but do not think, at the present&lt;br /&gt;
time, it would be expedient to make any further&lt;br /&gt;
Statement.&lt;br /&gt;
Cases before the Committee.&mdash;The secretary&lt;br /&gt;
reported that during the past month he had placed&lt;br /&gt;
two county court cases in the hands of the society&amp;#039;s&lt;br /&gt;
solicitors, both in respect of work done for editors&lt;br /&gt;
of journals, but not paid for.&lt;br /&gt;
A case of literary libel in Germany was again&lt;br /&gt;
considered by the committee, who authorised the&lt;br /&gt;
secretary to pay the usual court fees and the sum&lt;br /&gt;
asked for security for costs.&lt;br /&gt;
The secretary reported that he had been able to&lt;br /&gt;
obtain compensation, on behalf of one of the&lt;br /&gt;
society&amp;#039;s members, from a publication in the Straits&lt;br /&gt;
Settlement which had infringed the member&amp;#039;s&lt;br /&gt;
copyright. With the exception of the case still&lt;br /&gt;
being conducted in Canada, this closes the present&lt;br /&gt;
list of infringements in the colonies.&lt;br /&gt;
Two donations of &pound;1 1s., from M. Gysi and&lt;br /&gt;
Harold Child, to the Capital Fund of the society&lt;br /&gt;
were reported to the committee, who expressed their&lt;br /&gt;
thanks to the members for their support of the&lt;br /&gt;
fund.&lt;br /&gt;
The additional subscriptions and donations to&lt;br /&gt;
the Pension Fund will be found chronicled in&lt;br /&gt;
another column.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#542) ################################################&lt;br /&gt;
&lt;br /&gt;
156&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee&lt;br /&gt;
was held at the offices of the society on Tuesday,&lt;br /&gt;
February 8, at 3 o&amp;#039;clock.&lt;br /&gt;
Owing to certain cases referring to the work of&lt;br /&gt;
dramatic agents which have come before the courts&lt;br /&gt;
recently, the sub-committee have deemed it&lt;br /&gt;
essential that they should consider and settle a&lt;br /&gt;
proper form of agreement between an author and&lt;br /&gt;
a dramatic agent. They do not think that it is&lt;br /&gt;
profitable or advantageous to a dramatic author to&lt;br /&gt;
employ an agent, but if from some special cause a&lt;br /&gt;
dramatic author finds it essential to do so, then&lt;br /&gt;
they regard it as necessary that he should have an&lt;br /&gt;
agreement in writing carefully framed and super-&lt;br /&gt;
vised. Accordingly, the consideration of such an&lt;br /&gt;
agreement, adjourned from a former meeting, was&lt;br /&gt;
renewed. The agreement was settled subject to&lt;br /&gt;
one or two suggested alterations, and to one or two&lt;br /&gt;
legal points which arose during the discussion of&lt;br /&gt;
the clauses. It will be redrafted and placed before&lt;br /&gt;
the committee in its redrafted shape at their next&lt;br /&gt;
meeting.&lt;br /&gt;
The question of theatrical performances in&lt;br /&gt;
clubs was also carefully debated. The secretary&lt;br /&gt;
read some letters he had received from the Theatres&rsquo;&lt;br /&gt;
Alliance and placed before the committee copies of&lt;br /&gt;
a paper called Club Life, which advertised these&lt;br /&gt;
performances. He also reported the substance of&lt;br /&gt;
a conversation which he had had with the Secretary&lt;br /&gt;
of Samuel French, Ltd., and the sub-committee&lt;br /&gt;
instructed the secretary to discuss the position with&lt;br /&gt;
the secretary of the Theatres&rsquo; Alliance in order to&lt;br /&gt;
obtain the views of that body as to what course, if&lt;br /&gt;
any, should be adopted in the matter.&lt;br /&gt;
The question of foreign agents was next before&lt;br /&gt;
the meeting, and it was decided to obtain some&lt;br /&gt;
further information. The committee were desirous&lt;br /&gt;
of appointing agents who could give information to&lt;br /&gt;
the Society as to what pieces were being acted in&lt;br /&gt;
the colonies, in order to facilitate the stopping of&lt;br /&gt;
any performances not sanctioned by the authors.&lt;br /&gt;
The secretary then reported the settlement of&lt;br /&gt;
Certain theatrical cases that had been before the&lt;br /&gt;
committee at their last meeting. No fresh cases&lt;br /&gt;
had arisen for the committee&amp;#039;s consideration.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
THIRTEEN cases have passed through the&lt;br /&gt;
Society&rsquo;s hands during February. Seven of these&lt;br /&gt;
were claims for money, and it is satisfactory to&lt;br /&gt;
report that four of them have been settled, the&lt;br /&gt;
money having been paid and forwarded to the&lt;br /&gt;
members concerned. Two of them came only&lt;br /&gt;
recently into the office. The remaining one will&lt;br /&gt;
most probably have to go into the hands of the&lt;br /&gt;
Society&amp;#039;s solicitors. Of two claims for accounts&lt;br /&gt;
one has already been settled. There was one&lt;br /&gt;
claim for infringement of copyright, which the&lt;br /&gt;
secretary was bound to advise the member to with-&lt;br /&gt;
draw, as his title was incomplete. The matter,&lt;br /&gt;
accordingly, has been closed. Of three cases for&lt;br /&gt;
the return of MSS. one has been settled, one,&lt;br /&gt;
Owing to the fact that it lies in the United States,&lt;br /&gt;
will take further time, and one has only recently&lt;br /&gt;
come into the office.&lt;br /&gt;
With the exception of five cases for accounts,&lt;br /&gt;
which are in the course of negotiation, and will&lt;br /&gt;
probably be settled shortly, and with the exception&lt;br /&gt;
of two or three small county court actions which&lt;br /&gt;
have been placed in the hands of the society&amp;#039;s&lt;br /&gt;
Solicitors, all the cases open from the previous&lt;br /&gt;
month have been settled.&lt;br /&gt;
February Elections.&lt;br /&gt;
14, Rue Duplessis, Bor-&lt;br /&gt;
deaux, France.&lt;br /&gt;
Delf View, Eyam, near&lt;br /&gt;
Sheffield.&lt;br /&gt;
Constitutional Club,&lt;br /&gt;
W.C.&lt;br /&gt;
Durrant, Wm. Scott . 39, Sussex Gardens,&lt;br /&gt;
Hyde Park, W.&lt;br /&gt;
Chase, Lewis Nathaniel&lt;br /&gt;
Dawson, Mrs. Frederick&lt;br /&gt;
Dawson, A. J. . e&lt;br /&gt;
Fether stonhaugh-&lt;br /&gt;
Frampton, Mrs. H. .&lt;br /&gt;
Gilleard, John Thomas 32A, Bury New Road,&lt;br /&gt;
Bolton.&lt;br /&gt;
27, Aberdare Gardens,&lt;br /&gt;
West Hampstead.&lt;br /&gt;
Levuka, Countown Har-&lt;br /&gt;
bour, Govey, Co. Wex-&lt;br /&gt;
ford, Ireland.&lt;br /&gt;
The Grange, Silverton,&lt;br /&gt;
near Exeter.&lt;br /&gt;
c/o Woodhead &amp;amp; Co.,&lt;br /&gt;
44, Charing Cross.&lt;br /&gt;
Holmwood, Redditch,&lt;br /&gt;
Worcestershire.&lt;br /&gt;
Ewenny Priory, Bridg-&lt;br /&gt;
end, S. Wales.&lt;br /&gt;
Cavendish Square,&lt;br /&gt;
London, W. -&lt;br /&gt;
2, Piccadilly Chambers,&lt;br /&gt;
Coventry Street, W.&lt;br /&gt;
Greenbank, Percy&lt;br /&gt;
Haviland, Maud Doria&lt;br /&gt;
Heath, Francis George&lt;br /&gt;
Lecky, H. S., Lieut. R.N.&lt;br /&gt;
Newton, A. M.&lt;br /&gt;
Picton-Warlow, Beatrice&lt;br /&gt;
Steeves, George Walter, 9,&lt;br /&gt;
B.A., M.D.&lt;br /&gt;
Talbot, Howard&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#543) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
157&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members Will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
:accurate.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
&lsquo;OUR HOMES AND How To MAKE THE BEST OF THEM. By&lt;br /&gt;
W. SHAw SPARRow. 10 &times; 7%. 280 pp. Hodder &amp;amp;&lt;br /&gt;
Stoughton. 7s. 6d. m.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
CASSELL&rsquo;s DICTIONARY OF GARDENING. Edited by&lt;br /&gt;
W. P. WRIGHT. New and Revised Edition. Part I.&lt;br /&gt;
10% x 7%. 48 pp. Cassell. 7d. n.&lt;br /&gt;
THE PUBLIC SCHOOLS YEAR BOOK. Edited by H. F. W.&lt;br /&gt;
DEANE, M.A., F.S.A., and W. A. EVANS, M.A. 714 pp.&lt;br /&gt;
London : The Year Book Press, clo. Swan Sonnen-&lt;br /&gt;
schein &amp;amp; Co. 3s. 6d. m.&lt;br /&gt;
HAM&amp;#039;s YEAR Book (ExCISE), 1910. A Book of General&lt;br /&gt;
Reference and of Special Information on the Excise and&lt;br /&gt;
Licensing Laws, Income Tax, and Death Duties, &amp;amp;c.&lt;br /&gt;
Edited by E. GRANT HOOPER and E. A. DYSON. 7} X 5.&lt;br /&gt;
405 + 45 + 156 pp. E. Wilson. 4s. 6d. m.&lt;br /&gt;
DRAMA.&lt;br /&gt;
T)IONYSIUs THE AREOPAGITE. A Tragedy. By A. W.&lt;br /&gt;
LANGLANDS. 6; x 4%. 101 pp. Stock. 38. n.&lt;br /&gt;
EDUCATION.&lt;br /&gt;
HALF THE BATTLE IN BURMESE.&lt;br /&gt;
Spoken Ilanguage. By R. GRANT BROWN. 6; x 5.&lt;br /&gt;
143 pp. London : Henry Frowde. 5s. n.&lt;br /&gt;
IPICTION.&lt;br /&gt;
No. 19. By EDGAR JEPSON. 7} x 54. 309 pp. Mills&lt;br /&gt;
&amp;amp; Boon. 6s.&lt;br /&gt;
A FLUTTER WITH FATE.&lt;br /&gt;
# x 5. 318 pp. 6s.&lt;br /&gt;
THE CASE OF MISS ELLIOTT. By BARONEss ORCzY.&lt;br /&gt;
Popular Edition. 73 &times; 5. 319 pp. Greening. Is. n.&lt;br /&gt;
THE CAXBOROUGH SCANDAL. By FRED. WHISHAw.&lt;br /&gt;
73 &times; 5. 311 pp. White. 6s. -&lt;br /&gt;
THE QUESTION. By PARRY TRUSCOTT. 289 pp. F. Werner&lt;br /&gt;
Laurie. 68.&lt;br /&gt;
BOUND TOGETHER. By MARY E. MANN. 73 &times; 5. 302 pp.&lt;br /&gt;
Mills &amp;amp; Boon, 6s.&lt;br /&gt;
THE GOLDEN CENTIPEDE. By Louis E GERARD. 73 &times; 5+.&lt;br /&gt;
309 pp. Methuen. 6s. -&lt;br /&gt;
BERENICE. By E. PHILLIPS OPPENHEIM.&lt;br /&gt;
303 pp. Ward, Lock. 6s.&lt;br /&gt;
A BLIND GODDESS. By MULVY OUSELEY. 7:&lt;br /&gt;
320 pp. Ouseley. 6s.&lt;br /&gt;
A TRADER&rsquo;s DAUGHTER. By W. A. KING ON. 7;&lt;br /&gt;
348 pp. Ouseley. 6s.&lt;br /&gt;
BY CHARLES IGGLEDEN.&lt;br /&gt;
7&lt;br /&gt;
;&lt;br /&gt;
X&lt;br /&gt;
5#&lt;br /&gt;
&sect;&lt;br /&gt;
X&lt;br /&gt;
5&lt;br /&gt;
#&lt;br /&gt;
X&lt;br /&gt;
5&lt;br /&gt;
A Manual of the&lt;br /&gt;
THE RUST OF ROME. By WARWICK DEEPING, 73 &times; 5.&lt;br /&gt;
400 pp. Cassell. 6s.&lt;br /&gt;
WHY I)ID HE Do IT By BERNARD CAPEs. 73 &times; 5.&lt;br /&gt;
336 pp. Methuen. 6s.&lt;br /&gt;
CUMNER&amp;#039;s SON AND OTHER SOUTH SEA FOLK. By SIR&lt;br /&gt;
GILBERT PARKER, 7} x 43. 284 pp. Mills &amp;amp; Boom.&lt;br /&gt;
18, n.&lt;br /&gt;
Cousin HUGH. By THEO. Doug LAS (MRS. H. D.&lt;br /&gt;
EveRETT). 73 &times; 5. 307 pp. Methuen. 68.&lt;br /&gt;
A CALL. The Tale of Two Passions. By FORD MADOX&lt;br /&gt;
HUEFFER. 74 &times; 5. 304 pp. Chatto &amp;amp; Windus.&lt;br /&gt;
REST AND UNREST. By EDWARD THOMAS. 6; &times; 4%.&lt;br /&gt;
191 pp. Duckworth. 2s. 6d. n.&lt;br /&gt;
LovERS ON THE GREEN. By MAY CROMMELIN. 75 &times; 5.&lt;br /&gt;
343 pp. Hutchinson. 6s.&lt;br /&gt;
THE BLOT. By STEPHEN TORRE.&lt;br /&gt;
Everett &amp;amp; Co. 6s.&lt;br /&gt;
WRACK. By MAURICE DRAKE.&lt;br /&gt;
Duckworth. 68.&lt;br /&gt;
WHEN No MAN PURSUETH. By MRs. BELLOC LOWNDES.&lt;br /&gt;
7# &times; 5. 352 pp. Heinemann. 68.&lt;br /&gt;
THE THIEF of VIRTUE. By EDEN PHILLPOTTS. 7; X 5+.&lt;br /&gt;
452 pp. Murray. 68.&lt;br /&gt;
BEAUTY FOR ASHES. By DESMOND COKE, 7% &times; 5.&lt;br /&gt;
337 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
THE END OF THE RAINBOW. By STELLA. M. D&uuml;RING.&lt;br /&gt;
7; X 5. 312 pp.&lt;br /&gt;
7; x 5. 331 pp.&lt;br /&gt;
7# &times; 5. 315 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
THE GRASS WIDow. By DoROTHEA GERARD. 73 &times; 5.&lt;br /&gt;
318 pp. John Long, 6s.&lt;br /&gt;
LIVE MEN&amp;#039;S SHOEs. By RICHARD MARSH. 7} x 5.&lt;br /&gt;
309 pp. Methuen. 6s.&lt;br /&gt;
JOHN MAR, DETECTIVE. By MARIE CONNOR LEIGHTON.&lt;br /&gt;
73 &times; 5. 306 pp. Ward, Lock. 6s.&lt;br /&gt;
THE CARDINAL&amp;#039;s PAGE. By J. BAKER,&lt;br /&gt;
7# &times; 53. 31.4 pp. Chapman &amp;amp; Hall.&lt;br /&gt;
HISTORY.&lt;br /&gt;
SOCIAL ENGLAND IN THE FIRTEENTH CENTURY. A&lt;br /&gt;
Popular Edition.&lt;br /&gt;
2s. In.&lt;br /&gt;
Study of the Effects of Economic Conditions. By&lt;br /&gt;
A. ABRAM. G. Routledge &amp;amp; Sons.&lt;br /&gt;
THE MEDICI. By CoIONEL E. F. YoUNG, C.B. Two&lt;br /&gt;
vols. John Murray. 36s. n.&lt;br /&gt;
SELECTIONS FROM THE STATE PAPERS OF THE GOVERNORS-&lt;br /&gt;
GENERAL OF INDIA. Edited by G. W. FORREST, C.I.E.,&lt;br /&gt;
ex-Director of Records, Government of India. Two&lt;br /&gt;
vols. 9 &times; 53. 323 + 348 pp. Oxford : Blackwell.&lt;br /&gt;
London : Constable. 21s. m.&lt;br /&gt;
IITERARY.&lt;br /&gt;
Prose Papers on Poetry.&lt;br /&gt;
252 pp. Macmillan.&lt;br /&gt;
THE BRIDLING OF PEGASUS.&lt;br /&gt;
By ALFRED AUSTIN. 9 &times; 53.&lt;br /&gt;
7s. 6d. In.&lt;br /&gt;
A JAPANESE MEDIAEVAL DRAMA. By MARIE C. STOPEs,&lt;br /&gt;
D.Sc., Ph.D. Transactions, Royal Society Literature.&lt;br /&gt;
Vol. XXIX.&lt;br /&gt;
MEDICAL.&lt;br /&gt;
MIEDICAL REFORMI MEASURES. Including the College&lt;br /&gt;
Reform, other Reforms, and Poems, University and&lt;br /&gt;
College Annals, a Vignette, &amp;amp;c. By H. ELLIOT-BLAKE.&lt;br /&gt;
8} x 6}. Bale &amp;amp; Co., Oxford House, Great Titchfield&lt;br /&gt;
House, W. 7s. 6d. m.,&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
MIND HEALING. An Elementary Treatise.&lt;br /&gt;
BOULNOIS. Simpkin, Marshall &amp;amp; Co. 6d.&lt;br /&gt;
I.ONDON&amp;#039;s PRIDE AND LONDON&amp;#039;S SHAME. By L. COPE&lt;br /&gt;
CORNFORD. 83 &times; 5%. 174 pp. P. S. King,&lt;br /&gt;
THE STORY OF THE BROTHERHOOD OF HERO DOG.S.&lt;br /&gt;
By HELEN&lt;br /&gt;
By MRs. DE COURCY LAFFAN. 6; &times; 4}. 60 pp.&lt;br /&gt;
Madgwick, Houlston, 4, Ave Maria Lane, E. C. 1s. m.&lt;br /&gt;
MUSIC.&lt;br /&gt;
An Irish Two Step ;&lt;br /&gt;
&ldquo; (iim and Bitters.&rdquo;&lt;br /&gt;
IXeith, Prowse &amp;amp; Co. 2s.&lt;br /&gt;
|POLITICS. -&lt;br /&gt;
ENGLISH POOR LAW POLICY. By SIDNEY and BEATRICE&lt;br /&gt;
WEBB. 9 &times; 5%. 379 pp. Longmans, 7 s. 6d, n,&lt;br /&gt;
&ldquo;The Terrapin&amp;#039;&lt;br /&gt;
By JAMES MI.&lt;br /&gt;
n, each,&lt;br /&gt;
&ldquo;BEGORRAH !&rdquo;&lt;br /&gt;
Two Step ;&lt;br /&gt;
GALLATI.Y.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#544) ################################################&lt;br /&gt;
&lt;br /&gt;
158&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
BOSWELL&rsquo;s JOHNSON. Illustrated Bicentenary Edition.&lt;br /&gt;
Complete in twenty weekly parts. Part 20. Edited&lt;br /&gt;
by RogFR INGPEN. 10 &times; 74. Sir Isaac Pitman. 6d. n.&lt;br /&gt;
THACKERAY (Masters of Literature). Edited by G. K.&lt;br /&gt;
CHESTERTON. 73 x 5. 350 pp. Bell. 3s.6d. n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
SCIENTIFIC PAPERs. By SIR GEORGE How ARD DARWIN,&lt;br /&gt;
K.C.B., F.R.S. Vol. III. Figures of Equilibrium of&lt;br /&gt;
Rotating Liquid and Geophysical Investigations.&lt;br /&gt;
10% x 7. 527 pp. Cambridge : University Press.&lt;br /&gt;
158. n.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE FIRST GEORGE IN HANOVER AND ENGLAND. With&lt;br /&gt;
eighteen portraits and illustrations. By LEWIS MEL-&lt;br /&gt;
vTLLE. 257+ 252 pp. Scribner. $6 n.&lt;br /&gt;
ESSAYS.&lt;br /&gt;
By G. K. CHESTERTON. 325 pp.&lt;br /&gt;
$1.20 m.&lt;br /&gt;
TREMENDOUS TRIFLES.&lt;br /&gt;
New York : Dodd, Mead &amp;amp; Co.&lt;br /&gt;
FICTION.&lt;br /&gt;
ZARLAH, THE MARTIAN. By R. NORMAN GRISEwooD.&lt;br /&gt;
New York : R. F. Fenno &amp;amp; Co. $1.&lt;br /&gt;
BARTY CRUSOE AND HIS MAN SATURDAY. By FRANCES&lt;br /&gt;
HoDGson BURNETT. 16 + 295 pp. New York : Moffat,&lt;br /&gt;
Yard &amp;amp; Co. $1 n. .&lt;br /&gt;
THE SINKING SHIP. By Eva LATHBURY. 326 pp. New&lt;br /&gt;
York : Henry Holt &amp;amp; Co. $1.50.&lt;br /&gt;
THE POOL OF FLAME. By Louis JOSEPH VANCE.&lt;br /&gt;
Illustrated by J. R.A.E. 350 pp. New York: Dodd,&lt;br /&gt;
Mead &amp;amp; Co. $1.50.&lt;br /&gt;
GARDENING.&lt;br /&gt;
THE CHILDREN&rsquo;s BOOK OF GARDENING. By MRS. ALFRED&lt;br /&gt;
SIDGWICK and MRS. PAYNTER. Twelve full-page illus-&lt;br /&gt;
trations in colour from drawings by MRS. CAYLEY-&lt;br /&gt;
ROBINSON. 235 pp. New York : Macmillan. $2 n.&lt;br /&gt;
TRAVET,.&lt;br /&gt;
TYROL AND ITS PEOPLE. By CLIVE HOLLAND. With&lt;br /&gt;
sixteen illustrations in colour by ADRIAN STOKES :&lt;br /&gt;
thirty-one additional illustrations and a map. 336 pp.&lt;br /&gt;
New York : James Pott &amp;amp; Co. $2.50 m. boxed.&lt;br /&gt;
ITALIAN HOUSE. By HENRY JAMES. With illustration&lt;br /&gt;
in colour by JOSEPH PENNELL. Boston : Houghton,&lt;br /&gt;
Mifflin Co. 504 pp. $7.50 n.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
ESSRS. JOHN OUSELEY, Ltd., have just&lt;br /&gt;
issued a new series of classics, to which&lt;br /&gt;
they have given the title &ldquo;Little Keep-&lt;br /&gt;
sakes.&rdquo; The volumes included are &ldquo;Myths of the&lt;br /&gt;
Gods&rdquo;; &ldquo;The Rub&aacute;iy&aacute;t of Omar Khayy&aacute;m &amp;quot;;&lt;br /&gt;
&ldquo;Thoughts from Marcus Aurelius &rdquo; ; &ldquo;Love&lt;br /&gt;
Letters of Abelard and Heloise &rsquo;&rsquo;; &ldquo;The Fire&lt;br /&gt;
Worshippers,&rdquo; by Thomas Moore ; and &ldquo;Sonnets&lt;br /&gt;
from the Portuguese.&rdquo; The same firm have also&lt;br /&gt;
published Mr. Mulvy Ouseley&rsquo;s new novel, &ldquo;A&lt;br /&gt;
Blind Goddess,&rdquo; and &ldquo;A Trader&amp;#039;s Daughter: A&lt;br /&gt;
Tale of Kaffirland,&rdquo; by W. Angus Kingon.&lt;br /&gt;
Miss Abram&rsquo;s &ldquo;Social England in the Fifteenth&lt;br /&gt;
Century,&rdquo; which we included in our list of Ameri-&lt;br /&gt;
can publications in the last issue of The Author,&lt;br /&gt;
has also, we understand, been published in England.&lt;br /&gt;
Messrs. Routledge are the publishers.&lt;br /&gt;
&ldquo;Medical Reform Measures,&rdquo; by Dr. H. Elliot-&lt;br /&gt;
Blake, is a book which gives an account of the&lt;br /&gt;
medical colleges reform with which the writer&lt;br /&gt;
has been associated. It gives also a succinct&lt;br /&gt;
historical survey of the London medical colleges,&lt;br /&gt;
the University of London and the Society of&lt;br /&gt;
Apothecaries, as well as a short account of a&lt;br /&gt;
practical Noise Abatement Bill. Little couplets,&lt;br /&gt;
verses, and poems have been added to the book,&lt;br /&gt;
the designs in which are the work of the author.&lt;br /&gt;
Messrs. Bale &amp;amp; Co. are the publishers.&lt;br /&gt;
Mrs. Alice Perrin&amp;#039;s new Indian novel will be&lt;br /&gt;
published this year by Messrs. Methuen in England&lt;br /&gt;
and Messrs. Duffield in New York. A series of&lt;br /&gt;
Mrs. Perrin&amp;#039;s short Indian stories are now appearing&lt;br /&gt;
in McClure&amp;#039;s Magazine, New York. -&lt;br /&gt;
The Poetry Section of Everyman&amp;#039;s Library&lt;br /&gt;
published by J. M. Dent &amp;amp; Sons, will be&lt;br /&gt;
strengthened by the inclusion of Spenser&rsquo;s &ldquo;Faerie&lt;br /&gt;
Queene,&rdquo; in two volumes, with an introduction by&lt;br /&gt;
Prof. J. W. Hales.&lt;br /&gt;
Mrs. Stanley Wrench&amp;#039;s third novel, &ldquo;A Perfect&lt;br /&gt;
Passion,&rdquo; will be published in a few weeks by&lt;br /&gt;
Messrs. John Long.&lt;br /&gt;
Mr. Harold Wintle is engaged on another novel&lt;br /&gt;
which will shortly be published.&lt;br /&gt;
The January number of the Red Magazine&lt;br /&gt;
has a story by Elton Harris, entitled &ldquo;When You&lt;br /&gt;
are Free.&rdquo;&lt;br /&gt;
Miss Helen Boulnois has just produced a little&lt;br /&gt;
book called &ldquo;Mind Healing : An Elementar&lt;br /&gt;
Treatise.&rdquo; The book can be obtained of all book-&lt;br /&gt;
sellers, or of Messrs. Simpkin, Marshall &amp;amp; Co. It&lt;br /&gt;
has been printed by the Women&amp;#039;s Printing Society,&lt;br /&gt;
Brick Street, Piccadilly.&lt;br /&gt;
Mr. John Murray&amp;#039;s recent publications include&lt;br /&gt;
Col. G. F. Young&amp;#039;s history of &ldquo;The Medici,&rdquo; in&lt;br /&gt;
two volumes, with numerous portraits, illustrations&lt;br /&gt;
and tables of genealogy. It covers more than three&lt;br /&gt;
centuries, from the rise of the Medici in 1400 to&lt;br /&gt;
their end in 1743. The romance and colour of&lt;br /&gt;
their eventful history, their unique connection with&lt;br /&gt;
learning and art, the fact that both the Popes most&lt;br /&gt;
prominently connected with the Reformation were&lt;br /&gt;
members of this family, and, lastly, the fact that&lt;br /&gt;
nearly every existing building or work of art in&lt;br /&gt;
Florence has some connection with the Medici&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#545) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
159&lt;br /&gt;
make their story interesting from many points of&lt;br /&gt;
view. Included in the work is a large amount of&lt;br /&gt;
information regarding contemporary art, the&lt;br /&gt;
meaning of many pictures of the time having a&lt;br /&gt;
close connection with the history of this family.&lt;br /&gt;
In his new novel, &ldquo;The Blot,&rdquo; Mr. Stephen&lt;br /&gt;
Torre treats of the inadequacy of the law relating&lt;br /&gt;
to divorce, and portrays the degradation of many&lt;br /&gt;
married lives under present social conditions.&lt;br /&gt;
Messrs. Everett &amp;amp; Co. are the publishers.&lt;br /&gt;
Mr. R. Grant Brown has issued, through the&lt;br /&gt;
Oxford University Press, &ldquo;Half the Battle in&lt;br /&gt;
Burmese : A Manual of the Spoken Language.&rdquo;&lt;br /&gt;
The author&amp;#039;s aim has been to apply to an Oriental&lt;br /&gt;
tongue the scientific methods of teaching languages&lt;br /&gt;
which are now growing in favour in Europe, and&lt;br /&gt;
to enable the student to acquire a thorough&lt;br /&gt;
understanding of the phonetics, the structure of&lt;br /&gt;
the language, and the use of the particles.&lt;br /&gt;
We have received from the publishers (Messrs.&lt;br /&gt;
Swan Sonnenschein &amp;amp; Co.) &ldquo;The Public Schools&lt;br /&gt;
Year Book for 1910.&rdquo; The present year is the&lt;br /&gt;
twenty-first anniversary of the issue of the work,&lt;br /&gt;
which has now been adopted as the official book of&lt;br /&gt;
reference of the Headmasters&rsquo; Conference. The&lt;br /&gt;
first part of the book is devoted (a) to a summary&lt;br /&gt;
of the work of the committee of the Conference&lt;br /&gt;
and an abstract of the resolution adopted at the&lt;br /&gt;
last annual meeting of the Conference, (b) to full&lt;br /&gt;
information relative to the public schools. The&lt;br /&gt;
Second part deals with entrance scholarships at&lt;br /&gt;
the public schools, entrance examination to the&lt;br /&gt;
universities, conditions of admission to the navy,&lt;br /&gt;
army, civil service and other professions. The&lt;br /&gt;
concluding portion gives lists of preparatory&lt;br /&gt;
schools and further matters of interest relating to&lt;br /&gt;
public and preparatory schools.&lt;br /&gt;
Dr. J. Beattie Crozier is contributing to the&lt;br /&gt;
Financial Review of Reviews a work on the&lt;br /&gt;
various status of banks and insurance companies&lt;br /&gt;
for investment purposes. The book will form a&lt;br /&gt;
sequel to the same writer&rsquo;s &ldquo;Wheel of Wealth.&rdquo;&lt;br /&gt;
We regret that, by a slip of the pen, we men-&lt;br /&gt;
tioned the revised edition of Mr. Ferrar Fenton&rsquo;s&lt;br /&gt;
&ldquo;Complete Bible in Modern English&amp;quot; as being the&lt;br /&gt;
fifteenth edition, whereas, in point of fact, it is the&lt;br /&gt;
fifth edition which Mr. Fenton is preparing for the&lt;br /&gt;
}. Messrs. S. W. Partridge &amp;amp; Co., of 8 and 9,&lt;br /&gt;
aternoster Row, E.C., are the English publishers.&lt;br /&gt;
&ldquo;Where There&amp;#039;s a Will There&amp;#039;s a Way&rdquo; is a&lt;br /&gt;
little story in which are described the adventures&lt;br /&gt;
of a gentleman who, missing his train, decided to&lt;br /&gt;
reach his destination by means of a bicycle. Mr.&lt;br /&gt;
Elliot Stock publishes the story, of which the Rev.&lt;br /&gt;
Gilbert Monks is the author. -&lt;br /&gt;
Stella M. D&uuml;ring&amp;#039;s latest novel, &ldquo;The End of&lt;br /&gt;
the Rainbow,&rdquo; was published on February 17 by&lt;br /&gt;
Messrs. Chapman &amp;amp; Hall.&lt;br /&gt;
A volume entitled &ldquo;The Common Sense of&lt;br /&gt;
Political Economy,&rdquo; upon which Mr. Philip&lt;br /&gt;
Wicksteed, M.A., author of &ldquo;An Alphabet of&lt;br /&gt;
Economic Science,&rdquo; has been at work for some&lt;br /&gt;
years past, was published on February 18 by&lt;br /&gt;
Messrs. Macmillan &amp;amp; Co., Ltd. Mr. Wicksteed&lt;br /&gt;
is well known as an exponent of the &ldquo;marginal&rdquo;&lt;br /&gt;
theory of Jevons and the Geneva school, and he&lt;br /&gt;
here seeks to erect a constructive system of&lt;br /&gt;
political economy upon it&mdash;a system resting upon&lt;br /&gt;
the best economic thought of recent years, but&lt;br /&gt;
carried forward, trenchantly, to positions not usually&lt;br /&gt;
hitherto taken by orthodox economists. Mr. Wick-&lt;br /&gt;
steed has adopted the course of carrying the non-&lt;br /&gt;
academic reader with him by using the facts and&lt;br /&gt;
observations of daily experience to illustrate his&lt;br /&gt;
analysis of the structure of industry.&lt;br /&gt;
Count Plunkett, author of &ldquo;Sandro Botticelli,&rdquo;&lt;br /&gt;
has been made a Knight Commander of the Order&lt;br /&gt;
of the Holy Sepulchre.&lt;br /&gt;
Messrs. Leonard &amp;amp; Co. are publishing a new&lt;br /&gt;
Irish patriotic song entitled &ldquo;St. Patrick&amp;#039;s Day,&rdquo;&lt;br /&gt;
words by Alfred Smythe and music by Wilton&lt;br /&gt;
King, joint authors of &ldquo;Shamrock&rdquo; (song of the&lt;br /&gt;
shamrock-seller), which was brought out by that&lt;br /&gt;
firm last year with considerable success. It will&lt;br /&gt;
make its appearance prior to March 17.&lt;br /&gt;
A new monthly devoted to travel and sport,&lt;br /&gt;
with hints to travellers, will shortly be issued&lt;br /&gt;
under the editorship of Mrs. French Sheldon.&lt;br /&gt;
&ldquo;Travel Talk&rdquo; is the name of the publication.&lt;br /&gt;
In his new book, &ldquo;The Ball and the Cross,&rdquo;&lt;br /&gt;
published by Messrs. Wells, Gardner &amp;amp; Co., Mr.&lt;br /&gt;
G. K. Chesterton uses the form of fiction as the&lt;br /&gt;
vehicle of one dominant idea&mdash;the conflict between&lt;br /&gt;
belief and unbelief. The two points of view are&lt;br /&gt;
personified in the two heroes, whose violent&lt;br /&gt;
sincerity leads them to a duel that sets England&lt;br /&gt;
by the ears. The plot touches on many problems&lt;br /&gt;
of life but always remains a story.&lt;br /&gt;
Mrs. Atherton&amp;#039;s new story, &ldquo;Tower of Ivory,&rdquo;&lt;br /&gt;
is published by Mr. John Murray. The scene is&lt;br /&gt;
laid in Germany. -&lt;br /&gt;
&ldquo;I Will Maintain,&rdquo; Miss Marjorie Bowen&amp;#039;s new&lt;br /&gt;
story, which Messrs. Methuen &amp;amp; Co. announce, has&lt;br /&gt;
its scene laid in the United Provinces, at the period&lt;br /&gt;
when John de Witt had raised them to a foremost&lt;br /&gt;
place among the Powers of Europe.&lt;br /&gt;
Mr. J. W. Comyns Carr&amp;#039;s play, &ldquo;Dr. Jekyll and&lt;br /&gt;
Mr. Hyde,&rdquo; founded on the story by Robert Louis&lt;br /&gt;
Stevenson, was produced at the Queen&amp;#039;s Theatre on&lt;br /&gt;
January 28. The cast includes Mr. H. B. Irving,&lt;br /&gt;
Miss Dorothea Baird, and Miss Tittel-Brune.&lt;br /&gt;
Mr. Justin Huntly McCarthy&amp;#039;s play, &ldquo;The&lt;br /&gt;
O&amp;#039;Flynn,&rdquo; was produced at His Majesty&amp;#039;s Theatre&lt;br /&gt;
early last month. The cast includes Sir Herbert&lt;br /&gt;
Tree, Miss D&amp;#039;Alroy, and Mr. Henry Ainley.&lt;br /&gt;
Mr. W. Somerset Maugham&amp;#039;s new play, &ldquo;The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#546) ################################################&lt;br /&gt;
&lt;br /&gt;
160&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
Tenth Man,&rdquo; was produced at the Globe Theatre&lt;br /&gt;
on February 24. Mr. Arthur Bourchier, Miss&lt;br /&gt;
Frances Dillon, and Mr. A. E. George are in the&lt;br /&gt;
l&egrave;C&eacute;.&lt;br /&gt;
p A comedy, entitled &ldquo;The Dressing Room,&rdquo; by&lt;br /&gt;
Mr. James Bernard Fagan, was produced at the&lt;br /&gt;
Hippodrome, with Miss Winifred Emery as Peg&lt;br /&gt;
Woffington.&lt;br /&gt;
&mdash;e&mdash;&ldquo;P-6&ndash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE news of Edouard Rod&amp;#039;s sudden death was&lt;br /&gt;
received in literary circles here with universal&lt;br /&gt;
regret. Rod belonged to that race of writers&lt;br /&gt;
who live by and for literature. He had nothing&lt;br /&gt;
of the arrivist about him, for his whole life was&lt;br /&gt;
devoted to his work. He was only fifty-three at&lt;br /&gt;
the time of his death, and yet he had written about&lt;br /&gt;
thirty volumes. He was born at Nyon, near&lt;br /&gt;
Geneva, in 1857, and, when only about twenty&lt;br /&gt;
years of age, came to Paris. His first book was&lt;br /&gt;
&ldquo;Palmyre Weulard,&rdquo; published in 1880. In 1883,&lt;br /&gt;
a serial of his entitled &ldquo;La Femme d&rsquo;Henri&lt;br /&gt;
Wanneau&rsquo;&rsquo; was published in a paper called Parle-&lt;br /&gt;
ment, managed by M. Ribot and edited by M.&lt;br /&gt;
Jules Dietz Ganderax. El&eacute;mir Bourges, Andr&eacute;&lt;br /&gt;
Michel, James Darmesteter, Andr&eacute; Hallays, and&lt;br /&gt;
Paul Bourget were his fellow-contributors. Rod&amp;#039;s&lt;br /&gt;
books are all psychological studies of extreme&lt;br /&gt;
interest. The author was essentially a searcher,&lt;br /&gt;
and a searcher who, to the last day of his life, con-&lt;br /&gt;
tinued his quest. He never found the solutions to&lt;br /&gt;
the great questions of life. He examined all sides&lt;br /&gt;
of a question, and in his psychological studies he&lt;br /&gt;
had the keen vision for Seeing, and the delicate&lt;br /&gt;
hand for rendering all the delicate shades of the&lt;br /&gt;
soul that he portrayed. Many readers complain&lt;br /&gt;
that it is impossible to discover from Rod&rsquo;s books&lt;br /&gt;
what the author really thought with regard to the&lt;br /&gt;
problems he exposed. For many other readers the&lt;br /&gt;
charm of Rod lay in the fact that he was great&lt;br /&gt;
enough to be very simple. He laid down no hard&lt;br /&gt;
and fast rule ; he bound himself to no dogma. He&lt;br /&gt;
was never weary of exploring the human soul, but&lt;br /&gt;
he knew that in that Soul there are elements that&lt;br /&gt;
are divine, elements that are beyond human com-&lt;br /&gt;
prehension. Rod shows us in his books the&lt;br /&gt;
struggles that are ever being waged within the&lt;br /&gt;
human soul. He draws no conclusion for us. He&lt;br /&gt;
leaves us to Solve Our Own problems, but the one&lt;br /&gt;
thing to be read between all the lines of his books&lt;br /&gt;
is his admiration for absolute sincerity.&lt;br /&gt;
As one of his critics writes: &ldquo;He was the&lt;br /&gt;
novelist of solidarity, of responsibility, of con-&lt;br /&gt;
science, for he himself was scrupulously, proudly,&lt;br /&gt;
and absolutely conscientious.&rdquo; He was by no&lt;br /&gt;
means a popular novelist. He has written no&lt;br /&gt;
sensational stories with the ordinary dramatic&lt;br /&gt;
episodes. His dramas are all the silent ones of&lt;br /&gt;
the soul. His finest books are perhaps &ldquo;La Course&lt;br /&gt;
&agrave; la Mort,&rdquo; &ldquo;Le Silence,&rdquo; &ldquo;Les Trois Coeurs,&rdquo;&lt;br /&gt;
&ldquo;La Vie Priv&eacute;e de Michel Teissier,&rdquo; &ldquo;La Seconde&lt;br /&gt;
Wie de Michel Teissier,&rdquo; &ldquo;Le Dernier Refuge,&rdquo;&lt;br /&gt;
&ldquo;Les Roches Blanches,&rdquo; and &ldquo;L&amp;#039;Ombre s&amp;#039;&eacute;tend sur&lt;br /&gt;
la Montagne.&rdquo;&lt;br /&gt;
Among the interesting articles in recent reviews&lt;br /&gt;
are the following : &ldquo;Les Elections Anglaises,&rdquo; by&lt;br /&gt;
Gabriel Hanotaux, in the Revue Hebdomadaire ;&lt;br /&gt;
&ldquo;Le Bonapartisme,&rdquo; by Jules Delafosse ; and an&lt;br /&gt;
admirable article on Edouard Rod by Paul Bourget&lt;br /&gt;
will be found in the same number of this review.&lt;br /&gt;
In the Revue de Paris Marcel Labord&egrave;re writes on.&lt;br /&gt;
&ldquo;Une Solution de Crise Commerciale,&rdquo; and Gabriel&lt;br /&gt;
S&eacute;ailles on &ldquo;Edouard Manet.&rdquo;&lt;br /&gt;
The great theatrical event of the month has been&lt;br /&gt;
the production of the long-awaited piece by Rostand,&lt;br /&gt;
&ldquo;Chantecler.&rdquo;&lt;br /&gt;
Mme. Sarah Bernhardt is giving a play&lt;br /&gt;
entitled &ldquo;Beffa,&rdquo; by M. Benelli, adapted by M. Jean&lt;br /&gt;
Richepin. &ldquo;Antar&rdquo; is being performed at the&lt;br /&gt;
Od&eacute;on, and &ldquo;L&rsquo;Ange Gardien&rsquo;&rsquo; at the Th&eacute;&acirc;tre&lt;br /&gt;
Antoine.&lt;br /&gt;
The publication of many of the books announced&lt;br /&gt;
for February was postponed on account of the&lt;br /&gt;
floods. During the past month little else has been&lt;br /&gt;
read but the newspaper. For some time to come&lt;br /&gt;
there will be work in Paris for all hands in helping&lt;br /&gt;
to build up again the homes of the thousands of&lt;br /&gt;
destitute families who have lost, in a few hours,&lt;br /&gt;
the result of the work and savings of a lifetime.&lt;br /&gt;
It seems incredible that so much mischief should&lt;br /&gt;
have been wrought in so short a time. When the&lt;br /&gt;
river began to rise no one imagined that anything&lt;br /&gt;
more than various slight inconveniences could be&lt;br /&gt;
the result. When the first streets were inundated,&lt;br /&gt;
everyone visited them and Paris was considered&lt;br /&gt;
picturesque, but when the first boats appeared and&lt;br /&gt;
families had to be rescued, the gravity of the&lt;br /&gt;
situation was at once evident. From that time&lt;br /&gt;
forth all Paris rose to the situation. With a speed&lt;br /&gt;
which seemed miraculous, refuges were opened&lt;br /&gt;
everywhere. Thousands of beds were provided,&lt;br /&gt;
soup-kitchens opened, clothes procured and dis-&lt;br /&gt;
tributed. Within a fortnight one branch alone&lt;br /&gt;
of the Red Cross Society had spent &pound;26,520.&lt;br /&gt;
Another branch of the same society had provided&lt;br /&gt;
food, lodging, and clothing for 8,000 of the victims.&lt;br /&gt;
The mayors of the sixteen districts of Paris.&lt;br /&gt;
organised soup-kitchens and refuges everywhere,&lt;br /&gt;
whilst private initiative and enterprise worked&lt;br /&gt;
miracles. In the suburbs of Paris whole villages.&lt;br /&gt;
are devastated, and there are at present. Some&lt;br /&gt;
60,000 workmen without resources.&lt;br /&gt;
The problem is the equitable distribution of avail-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#547) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
161&lt;br /&gt;
able funds, in order to give so many families a&lt;br /&gt;
fresh start in life. The Government, the banks,&lt;br /&gt;
foreign nations, and all the charitable societies are&lt;br /&gt;
doing their utmost to alleviate the misery, but&lt;br /&gt;
there must inevitably be hundreds of pitiful cases&lt;br /&gt;
of people who will never solicit, and consequently&lt;br /&gt;
never receive, official help. Many of the charitable&lt;br /&gt;
Societies are endeavouring to discover such cases&lt;br /&gt;
and to come quietly and privately to the&lt;br /&gt;
Tescue through individual members. At the&lt;br /&gt;
Paris branch of the Lyceum Club we are&lt;br /&gt;
endeavouring, as far as our means will allow us, to&lt;br /&gt;
help some of these cases. The English and&lt;br /&gt;
American members of the club have subscribed&lt;br /&gt;
generously, and a concert has been given in aid of&lt;br /&gt;
the sufferers. As honorary secretary of this club&lt;br /&gt;
here, I ventured to ask all members of the London&lt;br /&gt;
Lyceum (2,500 in number) to send sixpence or a&lt;br /&gt;
shilling each to our Relief Fund. Thanks to their&lt;br /&gt;
prompt and extremely generous answer to my&lt;br /&gt;
appeal, we have already been able to help some&lt;br /&gt;
Very urgent cases of great distress. Mme.&lt;br /&gt;
Tieulafoy, the well-known explorer, has organised&lt;br /&gt;
and opened a workroom at the Paris Lyceum, and&lt;br /&gt;
our members are now making garments for distri-&lt;br /&gt;
bution by the Red Cross Society, the president of&lt;br /&gt;
which, the Comtesse d&amp;#039;Haussonville, is one of our&lt;br /&gt;
members. Mme. Biollay, a member of our com-&lt;br /&gt;
mittee, is vice-president of the Red Cross Society,&lt;br /&gt;
the Marquise de S&eacute;gur, Mme. Chenu, and&lt;br /&gt;
Mme. Landouzy are all presidents of other&lt;br /&gt;
Societies which are working actively, whilst Mlle.&lt;br /&gt;
Chaptal, another member of our committee, has&lt;br /&gt;
given hospitality to over sixty of the victims.&lt;br /&gt;
The following is a complete list of the members&lt;br /&gt;
of the Paris Lyceum Committee :-&lt;br /&gt;
Pr&eacute;sidente : Mme. la Duchesse d&amp;#039;Uz&egrave;s, Douairi&egrave;re.&lt;br /&gt;
Vice-Pr&eacute;sidentes : Mme. Paul Biollay, Mme. Andr&eacute;&lt;br /&gt;
Soulange-Bodin, Mme. Albert Besnard, Mme. Ch.&lt;br /&gt;
Bigot, Mlle. Breslau, Mme. la Comtesse de Chabannes&lt;br /&gt;
(Armande de Polignac), Mlle. Chaptal, Mme.&lt;br /&gt;
Chenu, Mme. C. Coignet, Mme. Alphonse Daudet,&lt;br /&gt;
Mme. Dieulafoy, Mme. Goyau-F&eacute;lix Faure, Mme.&lt;br /&gt;
Fiedler, Mme. Foulon de Vaulx, Mme. la Duchesse-&lt;br /&gt;
Dre. de la Roche-Guyon, Mme. D&eacute;jerine-Klumpke,&lt;br /&gt;
Mme. la Comtesse de Labry, Mme. Landouzy,&lt;br /&gt;
Mme. Le Roy-Liberge, Mme. Massieu, Mme. la&lt;br /&gt;
Comtesse de Puliga (Brada), Mme. J.-E. Schmahl,&lt;br /&gt;
Mme. la Marquise de S&eacute;gur. Secr&eacute;taire honoraire :&lt;br /&gt;
Mlle. Alys Hallard. Tr&eacute;sori&egrave;re honoraire : Mlle.&lt;br /&gt;
Alice Williams. D&eacute;l&eacute;gu&eacute;e honoraire : Mlle. Tef&eacute;bure.&lt;br /&gt;
If any readers of The Author should feel inclined&lt;br /&gt;
to help us, we should be very glad to receive six-&lt;br /&gt;
penny Or shilling contributions in stamps, postal&lt;br /&gt;
orders, or cheques for our LYCEUM RELIBF FUND,&lt;br /&gt;
at the club address, 28, Rue de la Bienfaisance,&lt;br /&gt;
Paris. -&lt;br /&gt;
- ALYS HALLARD.&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
(Reprinted from the United States Publishers&amp;#039; Weekly,&lt;br /&gt;
January 15, 1910.)&lt;br /&gt;
&mdash;&mdash;&ordm;-t&mdash;&lt;br /&gt;
APPEAL DECISION IN THE &ldquo;HEIR. To THE&lt;br /&gt;
HOORAH &lsquo;&rsquo; CASE.&lt;br /&gt;
HIS was a suit in equity brought in Feb-&lt;br /&gt;
ruary, 1906, by Henry J. W. Dam to&lt;br /&gt;
restrain an alleged infringement of a copy-&lt;br /&gt;
right. The original complainant died in April,&lt;br /&gt;
1906, and the suit was subsequently revived in the&lt;br /&gt;
name of the administratrix of his estate, the present&lt;br /&gt;
complainant.&lt;br /&gt;
The Circuit Court held that the defendant had&lt;br /&gt;
infringed the copyright in question, and rendered&lt;br /&gt;
a decree for an injunction and an accounting.&lt;br /&gt;
The defendant has appealed.&lt;br /&gt;
The following are material facts:&ndash;&ndash;&lt;br /&gt;
During the year 1898, said Dam, who was an&lt;br /&gt;
author and dramatist, wrote a story entitled &ldquo;The&lt;br /&gt;
Transmogrification of Dan.&rdquo; In 1901 Dam sent&lt;br /&gt;
the manuscript of this story to the Ess Ess Pub-&lt;br /&gt;
lishing Company, a New York corporation, and&lt;br /&gt;
the proprietor and publisher of a monthly magazine&lt;br /&gt;
called the Smart Set. The editors of the magazine&lt;br /&gt;
accepted the story and fixed the price to be paid&lt;br /&gt;
therefor at $85. The business office of the pub-&lt;br /&gt;
lishing company then sent a cheque to Dam for&lt;br /&gt;
that amount, with a receipt for his signature, which&lt;br /&gt;
was duly signed and returned. The receipt read&lt;br /&gt;
as follows : &mdash;&lt;br /&gt;
&ldquo;July 12, 1901.&lt;br /&gt;
&ldquo;Received of Ess Ess Publishing Company $85,&lt;br /&gt;
in full payment for story entitled &lsquo;The Trans-&lt;br /&gt;
mogrification of Dan.&amp;#039;&lt;br /&gt;
&ldquo; H. J. W. DAM.&rdquo;&lt;br /&gt;
Dam had no personal interview with any of the&lt;br /&gt;
officers or employees of the publishing company,&lt;br /&gt;
and the entire transaction with respect to the&lt;br /&gt;
acquisition of the story is described in the foregoing&lt;br /&gt;
Statement.&lt;br /&gt;
The story was published in the number of the&lt;br /&gt;
Smart Set for September, 1901. This number as&lt;br /&gt;
a whole was duly copyrighted in the name of the&lt;br /&gt;
Ess Ess Publishing Company, and bore a notice&lt;br /&gt;
in the front part thereof, &ldquo;Copyrighted 1901 by&lt;br /&gt;
Ess Ess Publishing Company.&rdquo; The magazine&lt;br /&gt;
contained no other notice of copyright, and no&lt;br /&gt;
steps were taken either by the publishing company&lt;br /&gt;
or by Dam to copyright the story separately.&lt;br /&gt;
On October 27, 1905, the ESS Ess Publishing&lt;br /&gt;
Company, without any monetary consideration,&lt;br /&gt;
assigned to said Dam its copyright of said number&lt;br /&gt;
of the Smart Set magazine so far as it applied to,&lt;br /&gt;
covered or protected said story, all its interest in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#548) ################################################&lt;br /&gt;
&lt;br /&gt;
162&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
said story under said copyright and its claims and&lt;br /&gt;
demands then existing for the infringement of said&lt;br /&gt;
copyright.&lt;br /&gt;
The defendant is a New York corporation&lt;br /&gt;
engaged in the general theatrical business. At&lt;br /&gt;
various times between September 4, 1905, and&lt;br /&gt;
the commencement of this suit the defendant&lt;br /&gt;
caused a play entitled &ldquo;The Heir to the Hoorah &amp;quot;&lt;br /&gt;
to be publicly performed in various theatres in the&lt;br /&gt;
United States. This play was written and copy-&lt;br /&gt;
righted by Paul Armstrong, a dramatist, and was&lt;br /&gt;
presented by the defendant through an arrangement&lt;br /&gt;
with him. -&lt;br /&gt;
On November 15, 1905, said Dam, by his&lt;br /&gt;
attorney, notified the defendant that said play was&lt;br /&gt;
an unlawful dramatisation of said story and for-&lt;br /&gt;
bade its future production. The defendant, how-&lt;br /&gt;
ever, continued to produce said play, and this suit&lt;br /&gt;
was brought.&lt;br /&gt;
In his original bill of complaint Dam alleged in&lt;br /&gt;
substance that he assigned to the publishing com-&lt;br /&gt;
pany the right to publish and print said story as&lt;br /&gt;
a part of said magazine and not otherwise, and&lt;br /&gt;
that the right to dramatise said story was held by&lt;br /&gt;
the publishing company as trustee for his benefit.&lt;br /&gt;
In an affidavit made for the purpose of obtaining&lt;br /&gt;
a preliminary injunction Dam swore as follows:&ndash;&lt;br /&gt;
&ldquo;I have not at any time parted with any right&lt;br /&gt;
or interest in said literary work entitled &lsquo;The&lt;br /&gt;
Transmogrification of Dan&rsquo; except the right for&lt;br /&gt;
publication thereof in said number of the Smart&lt;br /&gt;
Set for September, 1901.&rdquo;&lt;br /&gt;
The amended bill of complaint alleged simply&lt;br /&gt;
that Dam sold and assigned said story to the Ess&lt;br /&gt;
Ess Publishing Company.&lt;br /&gt;
Noyes, Circuit Judge (after making the foregoing&lt;br /&gt;
statement):&mdash;&lt;br /&gt;
The first question of law arising upon the fore-&lt;br /&gt;
going facts is whether the Ess Ess Publishing&lt;br /&gt;
Company by virtue of its transaction with Dam&lt;br /&gt;
became the absolute proprietor of the story in&lt;br /&gt;
question, or acquired merely the right to publish&lt;br /&gt;
it in the Smart Set magazine.&lt;br /&gt;
If the statement made by Dam in his original&lt;br /&gt;
bill and his affidavit could be accepted as correctly&lt;br /&gt;
defining the rights of the parties, the publishing&lt;br /&gt;
company acquired only a qualified right to the&lt;br /&gt;
story. But the entire transaction with respect to&lt;br /&gt;
the acquisition of the story by the publishing com-&lt;br /&gt;
pany has been stated. Even if Dam&amp;#039;s statements&lt;br /&gt;
as to his interpretation of the transaction were&lt;br /&gt;
contrary to his later claims or against his interest,&lt;br /&gt;
they could not change what actually took place nor&lt;br /&gt;
the legal conclusions to be drawn therefrom. This&lt;br /&gt;
conclusion must be drawn by the court. No&lt;br /&gt;
principle of estoppel is present.&lt;br /&gt;
Now, as a matter of law, it seems possible to draw&lt;br /&gt;
only one conclusion from the facts surrounding the&lt;br /&gt;
acquisition of the story by the Ess Ess Publishing&lt;br /&gt;
Company, and that is that it became the purchaser&lt;br /&gt;
and, consequently, the proprietor of the work with&lt;br /&gt;
all the rights accompanying ownership. The&lt;br /&gt;
author offered the story. The publisher accepted&lt;br /&gt;
and paid for it, and the author transferred it&lt;br /&gt;
without any reservations whatever,&lt;br /&gt;
While it is probable that an author in assigning&lt;br /&gt;
the right to publish and vend his work may retain&lt;br /&gt;
and reserve the rights of translation or drama-&lt;br /&gt;
tisation (Ford v. Blaney Amusement Co.,&lt;br /&gt;
148 Fed. 642), a sale or assignment without&lt;br /&gt;
reservation would seem necessarily to carry all the&lt;br /&gt;
rights incidental to ownership. And a transaction&lt;br /&gt;
in which an author delivers his manuscript and&lt;br /&gt;
accepts a sum of money, &ldquo;in full payment for&lt;br /&gt;
story,&rdquo; cannot be regarded as a sale with reserva-&lt;br /&gt;
tions. The courts cannot read words of limitation&lt;br /&gt;
into a transfer which the parties do not choose to&lt;br /&gt;
UlS62. .&lt;br /&gt;
The copyright statute in force at the time of this&lt;br /&gt;
transaction (Rev. Stat., Sec. 4952 as amended in&lt;br /&gt;
1901) provided that the &ldquo;proprietor of any book&lt;br /&gt;
... shall upon complying with the provisions of&lt;br /&gt;
this chapter have the sole liberty of . . . pub-&lt;br /&gt;
lishing . . . and vending the same.&rdquo; It further&lt;br /&gt;
provided that &ldquo;authors or their assigns shall have&lt;br /&gt;
the exclusive right to dramatise or translate any&lt;br /&gt;
of their works for which copyright shall have been&lt;br /&gt;
obtained under the laws of the United States.&rdquo;&lt;br /&gt;
We think it the better view that the Ess Ess&lt;br /&gt;
Publishing Company by virtue of its transaction&lt;br /&gt;
with Dam became the absolute proprietor of the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan,&rdquo; and was&lt;br /&gt;
entitled to the exclusive right to dramatise it.&lt;br /&gt;
The next question is whether the publishing&lt;br /&gt;
company as proprietor of the story duly complied&lt;br /&gt;
with the statute and obtained a valid copyright&lt;br /&gt;
protecting the dramatic rights. No question is&lt;br /&gt;
raised but that the publishing company took all&lt;br /&gt;
the steps required by the statute to enter for copy-&lt;br /&gt;
right in its own name the number of the Smart Set&lt;br /&gt;
magazine containing the story under the title of the&lt;br /&gt;
magazine. It is claimed, however, that such steps&lt;br /&gt;
accomplished no more than to obtain such protec-&lt;br /&gt;
tion as the publishing company needed as publishers&lt;br /&gt;
of the magazine.&lt;br /&gt;
Assuming that Dam retained the dramatic rights&lt;br /&gt;
to the story, there would be much force in this&lt;br /&gt;
contention. In such case we doubt very much&lt;br /&gt;
whether the steps which the publishing, company&lt;br /&gt;
took to copyright its magazine, especially in view&lt;br /&gt;
of the form of the copyright notice, would have&lt;br /&gt;
been sufficient to protect the dramatic rights.&lt;br /&gt;
It is true that in Mifflin v. White, 190 U. S. 260,&lt;br /&gt;
263 (decided in 1903), the Supreme Court said that&lt;br /&gt;
&ldquo;without further explanation it might perhaps be&lt;br /&gt;
inferred that the author of a book who places it in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#549) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UITESIOR,&lt;br /&gt;
j63&lt;br /&gt;
the hands of publishers for publication might be&lt;br /&gt;
presumed to intend to authorise them to obtain a&lt;br /&gt;
copyright in their own names.&rdquo; And it is said in&lt;br /&gt;
Drone on Copyright, p. 260:&mdash;-&lt;br /&gt;
&ldquo;A person who is not the author or owner of a&lt;br /&gt;
work may take out the copyright in his own name,&lt;br /&gt;
and hold it in trust for the rightful owner. Thus&lt;br /&gt;
when an article has first been published in a&lt;br /&gt;
cyclop&aelig;dia, magazine, or any other publication, the&lt;br /&gt;
legal title to the copyright, if taken out in the&lt;br /&gt;
name of the publisher, will vest in him. But it&lt;br /&gt;
may be the property of the author, and held in&lt;br /&gt;
trust for him. And the same is true while the&lt;br /&gt;
copyright of a book which belongs to the author is&lt;br /&gt;
entered in the name of the publisher. In such&lt;br /&gt;
case a court of equity, if called upon, may decree&lt;br /&gt;
a transfer of the copyright to be made to the&lt;br /&gt;
owner.&rdquo; -&lt;br /&gt;
The difficulty is that the Supreme Court in the&lt;br /&gt;
Mifflin Case, supra, after holding that in certain&lt;br /&gt;
cases there may be a presumption of intention to&lt;br /&gt;
authorise the copyright of a work by the publishers,&lt;br /&gt;
said that, assuming the existence of such authority,&lt;br /&gt;
there was an additional question, viz., whether&lt;br /&gt;
the entry of a magazine by its title in the name of&lt;br /&gt;
its publisher is equivalent to entering a book by&lt;br /&gt;
its title in the name of its author. And the&lt;br /&gt;
Supreme Court said:&mdash;&lt;br /&gt;
&ldquo;The object of the notice being to warn the&lt;br /&gt;
public against the republication of a certain book&lt;br /&gt;
by a certain author or proprietor, it is difficult to&lt;br /&gt;
see how a person reading these notices would&lt;br /&gt;
understand that they were intended for the pro-&lt;br /&gt;
tection of the same work. On their face they&lt;br /&gt;
would seem to be designed for entirely different&lt;br /&gt;
purposes. While, owing to the great reputation of&lt;br /&gt;
the work and the fame of its author, we might&lt;br /&gt;
infer in this particular case that no publisher was&lt;br /&gt;
actually led to believe that the book copyrighted&lt;br /&gt;
by Dr. Holmes was not the same work which had&lt;br /&gt;
appeared in the Atlantic Monthly, that would be&lt;br /&gt;
an unsafe criterion to apply to a work of less&lt;br /&gt;
celebrity. It might well be that a book not copy-&lt;br /&gt;
righted, or insufficiently copyrighted, by the author&lt;br /&gt;
might be republished by another in total ignorance&lt;br /&gt;
of the fact that it had previously appeared serially&lt;br /&gt;
in a copyrighted magazine. It is incorrect to say&lt;br /&gt;
that any form of notice is good which calls atten-&lt;br /&gt;
tion to the person of whom inquiry can be made&lt;br /&gt;
and information obtained, since, the right being&lt;br /&gt;
purely statutory, the public may justly demand&lt;br /&gt;
that the person claiming a monopoly of publication&lt;br /&gt;
shall pursue, in substance at least, the statutory&lt;br /&gt;
method of securing it (Thompson v. Hubbard,&lt;br /&gt;
131 U. S. 123). In determining whether a notice&lt;br /&gt;
of copyright is misleading, we are not bound to&lt;br /&gt;
look beyond the face of the notice, and inquire&lt;br /&gt;
whether, under the facts of the particular case, it is&lt;br /&gt;
reasonable to suppose an intelligent person could&lt;br /&gt;
actually have been misled. -&lt;br /&gt;
&ldquo;With the utmost desire to give a construction&lt;br /&gt;
the statute most liberal to the author, we find&lt;br /&gt;
it impossible to say that the entry of a book under&lt;br /&gt;
one title by the publishers can validate the entry&lt;br /&gt;
of another book of a different title by another&lt;br /&gt;
person.&rdquo;&lt;br /&gt;
See also Mifflin v. Dutton, 190 U. S. 265.&lt;br /&gt;
In view of this decision by the Supreme Court,&lt;br /&gt;
We think that had Dam retained the dramatic&lt;br /&gt;
rights to his story the entry of the magazine and&lt;br /&gt;
the notice of copyright would have been insufficient&lt;br /&gt;
to protect them. A notice of the copyright of the&lt;br /&gt;
Smart Set magazine by the Ess Ess Publishing&lt;br /&gt;
Company is hardly equivalent to a notice that the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan,&rdquo; is copy-&lt;br /&gt;
righted by or in favour of H. J. W. Dam. In the&lt;br /&gt;
case of the reservation of dramatic rights, in&lt;br /&gt;
addition to the notice of the copyright of a&lt;br /&gt;
magazine, it may well be that it should appear in&lt;br /&gt;
Some distinct way that such reservation of such&lt;br /&gt;
rights to the particular article is made for the&lt;br /&gt;
benefit of the author. Indeed, it may be that the&lt;br /&gt;
author should contemporaneously take out in his&lt;br /&gt;
own name a copyright covering such rights.&lt;br /&gt;
But this question need not now be determined.&lt;br /&gt;
Having found that the Ess Ess Publishing&lt;br /&gt;
Company became the proprietor of the story&lt;br /&gt;
within the meaning of the copyright statute, the&lt;br /&gt;
precise question is whether that corporation took&lt;br /&gt;
sufficient and proper steps to protect the dramatic&lt;br /&gt;
rights which belonged to it as assignee.&lt;br /&gt;
In the first place, we think that the entry of the&lt;br /&gt;
magazine containing the story with the notice in&lt;br /&gt;
the magazine protected the story. The copyright&lt;br /&gt;
law should receive a reasonable construction, and&lt;br /&gt;
in our opinion it is not necessary that a copy of&lt;br /&gt;
the title to each article, in respect of which copy-&lt;br /&gt;
right is claimed, should be filed, nor that a notice&lt;br /&gt;
should be inserted at the head of each article. In&lt;br /&gt;
Ford v. Blaney Amusement Co., 148 Fed. Rep.&lt;br /&gt;
644, Judge Holt said :-&lt;br /&gt;
&ldquo;The Copyright Act, in my opinion, should be&lt;br /&gt;
liberally construed, with a view to protect the&lt;br /&gt;
just rights of authors and to encourage literature&lt;br /&gt;
and art. I think that the filing of the title of a&lt;br /&gt;
magazine is sufficient to secure a copyright of the&lt;br /&gt;
articles in it, if they are written or owned by the&lt;br /&gt;
proprietor of the magazine.&rdquo;&lt;br /&gt;
In Harper v. Donohue, 144 Fed. Rep. 491, 496,&lt;br /&gt;
upon an extended review of the authorities, it is&lt;br /&gt;
said:&mdash;&lt;br /&gt;
&ldquo;The almost uniform practical construction of&lt;br /&gt;
the copyright law has been to give the notice in&lt;br /&gt;
connection with each number of a magazine, and&lt;br /&gt;
this has been often sustained.&rdquo;&lt;br /&gt;
In Drone on Copyright, p. 144, it is said:&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#550) ################################################&lt;br /&gt;
&lt;br /&gt;
164&lt;br /&gt;
TISIES A [CITYSIOR,&lt;br /&gt;
&ldquo;The copyright protects the whole and all the&lt;br /&gt;
parts and contents of a book. When the book&lt;br /&gt;
comprises a number of independent compositions&lt;br /&gt;
each of the latter is as fully protected as the&lt;br /&gt;
whole.&rdquo; -&lt;br /&gt;
As a corollary to the conclusion that the copy-&lt;br /&gt;
righting by the Ess Ess Publishing Company of&lt;br /&gt;
the Smart Set magazine protected the story, &ldquo;The&lt;br /&gt;
Transmogrification of Dan,&rdquo; of which it was the&lt;br /&gt;
proprietor, it follows that the dramatic rights to&lt;br /&gt;
said story, of which it was likewise the owner,&lt;br /&gt;
were protected. That which protected the story&lt;br /&gt;
protected the incidents of the story.&lt;br /&gt;
The Ess Ess Publishing Company assigned its&lt;br /&gt;
interest in the copyright of the story, &ldquo;The Trans-&lt;br /&gt;
mogrification of Dan,&rdquo; to the author, together&lt;br /&gt;
with its existing rights of action. We do not&lt;br /&gt;
understand that any question is raised as to the&lt;br /&gt;
sufficiency of this assignment. -&lt;br /&gt;
Considering the case thus far, we think that the&lt;br /&gt;
complainant has established that she, as adminis-&lt;br /&gt;
tratrix of Dam&rsquo;s estate, is the owner as assignee&lt;br /&gt;
of the Ess Ess Publishing Company of a valid&lt;br /&gt;
copyright covering the right to dramatise the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan.&rdquo; The&lt;br /&gt;
next question is whether the defendant has&lt;br /&gt;
infringed.&lt;br /&gt;
We think it unnecessary to review the evidence&lt;br /&gt;
in detail with respect to the question of infringe-&lt;br /&gt;
ment. The Circuit Court has carefully compared&lt;br /&gt;
the story with the play, and we agree with its con-&lt;br /&gt;
clusion that the play is a dramatisation of the story.&lt;br /&gt;
The playwright expanded the plot. He made a&lt;br /&gt;
successful drama. The story was but a framework.&lt;br /&gt;
But the theme of the story is the theme of the&lt;br /&gt;
play, viz., the change produced in the character of&lt;br /&gt;
a husband by becoming a father.&lt;br /&gt;
It is, of course, true that the play has more&lt;br /&gt;
characters than the story and many additional&lt;br /&gt;
incidents. It is likewise true that none of the&lt;br /&gt;
language of the story is used in the play and that&lt;br /&gt;
the characters have different names. But the right&lt;br /&gt;
given to an author to dramatise his work includes&lt;br /&gt;
the right to adapt it for representation upon the&lt;br /&gt;
stage, which must necessarily involve changes,&lt;br /&gt;
additions and omissions. It is impossible to make&lt;br /&gt;
a play out of a story&mdash;to represent a narrative by&lt;br /&gt;
dialogue and action&mdash;without making changes, and&lt;br /&gt;
a playwright who appropriates the theme of&lt;br /&gt;
another&amp;#039;s story cannot, in our opinion, escape the&lt;br /&gt;
charge of infringement by adding to or slightly&lt;br /&gt;
varying its incidents.&lt;br /&gt;
It is undoubtedly true, as claimed by the defen-&lt;br /&gt;
dant, that an author cannot by a suggestion obtain&lt;br /&gt;
exclusive control of a field of thought upon a par-&lt;br /&gt;
ticular subject. If the playwright in this case,&lt;br /&gt;
without the use of the story and working indepen-&lt;br /&gt;
dently, had constructed a play embracing its&lt;br /&gt;
central idea, it may well be that he would not have&lt;br /&gt;
infringed the copyright of the story. But a com-&lt;br /&gt;
parison of the play with the story shows con-&lt;br /&gt;
clusively in many unimportant details that&lt;br /&gt;
Armstrong read the story and used it as the basis&lt;br /&gt;
of his play. It is practically impossible that the&lt;br /&gt;
similarities were coincidences. Other testimony is&lt;br /&gt;
to the same effect. In our opinion the playwright&lt;br /&gt;
deliberately appropriated the story and dramatised&lt;br /&gt;
it&lt;br /&gt;
The statute giving authors of cepyrighted works&lt;br /&gt;
the exclusive right to dramatise them must receive&lt;br /&gt;
a reasonably liberal application, or it will be wholly&lt;br /&gt;
ineffective. As we have just pointed out, the&lt;br /&gt;
adaptation of a story to the stage must necessitate&lt;br /&gt;
changes and additions. Few short stories could be&lt;br /&gt;
transformed into dramatic compositions without&lt;br /&gt;
the addition of many new incidents. Unless the&lt;br /&gt;
copyright statute is broad enough to cover any&lt;br /&gt;
adaptation which contains the plot or theme of the&lt;br /&gt;
story, it is wholly ineffective. If Armstrong, by&lt;br /&gt;
what he did, did not infringe the dramatic rights&lt;br /&gt;
of this story, it is difficult to see what he could&lt;br /&gt;
have done which would have infringed them.&lt;br /&gt;
We thus reach the conclusion that the defendant,&lt;br /&gt;
by the production of the play, &ldquo;The Heir to the&lt;br /&gt;
Hoorah,&rdquo; infringed the copyright of the story,&lt;br /&gt;
&ldquo;The Transmogrification of Dan.&rdquo; This conclusion&lt;br /&gt;
would call for an affirmance of the decree without&lt;br /&gt;
further discussion were it in the usual form.&lt;br /&gt;
Questions as to the amount of damages or profits&lt;br /&gt;
ordinarily come up for determination only after the&lt;br /&gt;
accounting. The decree in this case, however, is&lt;br /&gt;
very broad. It provides &ldquo;that the complainant&lt;br /&gt;
recover of the defendant the gains and profits&lt;br /&gt;
made by it by making use of said play, entitled&lt;br /&gt;
&lsquo;The Heir to the Hoorah,&rdquo; by giving public per-&lt;br /&gt;
formances thereof by causing or licensing public&lt;br /&gt;
performance thereof to be given, or in any other&lt;br /&gt;
way, form or manner.&rdquo;&lt;br /&gt;
As, therefore, the decree goes much further than&lt;br /&gt;
to provide for the recovery of the profits derived&lt;br /&gt;
from the use of the story and embraces all profits&lt;br /&gt;
arising from the production of the play, it is&lt;br /&gt;
necessary now to determine whether such com-&lt;br /&gt;
prehensive form is proper.&lt;br /&gt;
At the first consideration of the subject it seems&lt;br /&gt;
most unjust that the representatives of an author&lt;br /&gt;
who was willing to sell his story for $85 ; who&lt;br /&gt;
apparently never thought of dramatising it ;&lt;br /&gt;
whose dramatisation, if made, might have been&lt;br /&gt;
wholly unsuccessful&mdash;indeed might never have&lt;br /&gt;
been produced; who took no risks of an unsuccess-&lt;br /&gt;
ful venture, should receive all the profits made by&lt;br /&gt;
the defendant in the venturesome enterprise of&lt;br /&gt;
producing and presenting the play&mdash;an enterprise&lt;br /&gt;
involving the expenditure of time and money for&lt;br /&gt;
the employment of actors, the preparation of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#551) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
165&lt;br /&gt;
Scenery and costumes, the hiring of theatres,&lt;br /&gt;
advertising, and many other purposes. On the&lt;br /&gt;
other hand, unless the complainant is entitled to&lt;br /&gt;
all the profits arising from the production of the&lt;br /&gt;
play she is, as a practical matter, entitled to&lt;br /&gt;
no pecuniary recovery at all. It is manifestly im-&lt;br /&gt;
possible for an author of a book or story which he&lt;br /&gt;
has never dramatised to show that he has sustained&lt;br /&gt;
any actual damage by the dramatisation and pro-&lt;br /&gt;
duction of a play based upon it.&lt;br /&gt;
impossible for him to show the proportion of the&lt;br /&gt;
profits accruing to a theatrical company from the&lt;br /&gt;
use of a copyrighted theme or plot and the pro-&lt;br /&gt;
portion accruing from the use of the scenery, the&lt;br /&gt;
employment of favourite actors, and other sources.&lt;br /&gt;
If in a case like the present an author cannot hold&lt;br /&gt;
the theatrical company as his trustee and account-&lt;br /&gt;
able for all the profits from the play, then it&lt;br /&gt;
necessarily follows that all copyrighted but&lt;br /&gt;
undramatised books and stories may be appro-&lt;br /&gt;
priated and used with impunity. The right to&lt;br /&gt;
follow the theatrical company over the country and&lt;br /&gt;
seek injunctive relief would involve great expense&lt;br /&gt;
and be of little avail. Notwithstanding the hard-&lt;br /&gt;
ships imposed upon the defendant by the decree in&lt;br /&gt;
this case, we think that no other decree gives effect&lt;br /&gt;
to the copyright statute and that it is supported by&lt;br /&gt;
the authorities. Thus in Callaghan v. Myers,&lt;br /&gt;
128 U. S. 617, 660, the Supreme Court of the&lt;br /&gt;
United States by Mr. Justice Blatchford said:&mdash;&lt;br /&gt;
&ldquo;In regard to the general question of the profits&lt;br /&gt;
to be accounted for by the defendants, as to the&lt;br /&gt;
Volumes in question, the only proper rule to be&lt;br /&gt;
adopted is to deduct from the selling price the&lt;br /&gt;
actual and legitimate manufacturing cost. If the&lt;br /&gt;
volume contains matter to which a copyright could&lt;br /&gt;
not properly extend, incorporated with matter&lt;br /&gt;
proper to be covered by a copyright, the two&lt;br /&gt;
necessarily going together when the volume is sold,&lt;br /&gt;
as a unit, and it being impossible to separate the&lt;br /&gt;
profits on the one from the profits on the other,&lt;br /&gt;
and the lawful matter being useless without the&lt;br /&gt;
unlawful, it is the defendants who are responsible&lt;br /&gt;
for having blended the lawful with the unlawful,&lt;br /&gt;
and they must abide the consequences on the same&lt;br /&gt;
principle that he who has wrongfully produced a&lt;br /&gt;
confusion of goods must alone suffer. As was said&lt;br /&gt;
by Lord Eldon, in Mawman v. Tegg, 2 Russell,&lt;br /&gt;
385, 391 : &ldquo;If the parts which have been copied&lt;br /&gt;
cannot be separated from those which are original&lt;br /&gt;
without destroying the use and value of the original&lt;br /&gt;
matter, he who has made an improper use of that&lt;br /&gt;
which did not belong to him must suffer the con-&lt;br /&gt;
sequences of so doing. If a man mixes what&lt;br /&gt;
belongs to him with what belongs to me, and the&lt;br /&gt;
mixture be forbidden by the law, he must again&lt;br /&gt;
Separate them, and he must bear all the mischief&lt;br /&gt;
and loss which the separation may occasion. If&lt;br /&gt;
It is equally&lt;br /&gt;
an individual chooses in any work to mix my&lt;br /&gt;
literary matter with his own, he must be restrained&lt;br /&gt;
from publishing the literary matter which belongs&lt;br /&gt;
to me ; and if the parts of the work cannot be&lt;br /&gt;
Separated, and if by that means the injunction&lt;br /&gt;
which restrained the publication of my literary&lt;br /&gt;
matter prevents also the publication of his own&lt;br /&gt;
literary matter, he has only himself to blame.&rsquo;&lt;br /&gt;
The present is one of those cases in which the value&lt;br /&gt;
9f the book depends on its completeness and&lt;br /&gt;
integrity. It is sold as a book, not as the frag-&lt;br /&gt;
ments &ordm;f a book. In such a case, as the profits&lt;br /&gt;
result from the sale of the book as a whole, the&lt;br /&gt;
OWner of the copyright will be entitled to recover&lt;br /&gt;
the entire profits on the sale of the book if he&lt;br /&gt;
elects that remedy. (Elizabeth v. Pavement Co.,&lt;br /&gt;
97 U. S. 126, 139).&rdquo;&lt;br /&gt;
See also Belvord v. Scribner, 144 U. S. 508.&lt;br /&gt;
In the present case it is impossible to separate&lt;br /&gt;
that which is taken from the story from the&lt;br /&gt;
remainder of the play, and we can reach no other&lt;br /&gt;
conclusion than that the complainant is entitled&lt;br /&gt;
to recover the whole profits from the play.&lt;br /&gt;
For these reasons the decree of the Circuit Court&lt;br /&gt;
is affirmed, with costs.&lt;br /&gt;
BRITISH INTERNATIONAL ASSOCIATION&lt;br /&gt;
OF JOURNALISTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ANNUAL MEETING.&lt;br /&gt;
HE annual meeting of this association was&lt;br /&gt;
held at the Hotel Cecil on Friday, Feb-&lt;br /&gt;
ruary 11. There was a good attendance&lt;br /&gt;
of members from all parts of Britain.&lt;br /&gt;
After the reading of the minutes of the last&lt;br /&gt;
annual meeting several new members were elected.&lt;br /&gt;
The president, Major Gratwicke, then called upon&lt;br /&gt;
the hon. Secretary, Mr. James Baker, for This&lt;br /&gt;
report, which ran as follows:&ndash;&lt;br /&gt;
&ldquo;The year 1909 has been an eventful and busy&lt;br /&gt;
year for the association, involving a great deal of&lt;br /&gt;
work for the committees and members in organising&lt;br /&gt;
the first International Conference of the Press held&lt;br /&gt;
in England.&lt;br /&gt;
&ldquo;The whole work of the year has been devoted&lt;br /&gt;
to this object. Mr. J. H. Warden, the treasurer&lt;br /&gt;
of the association, owing to illness, felt compelled&lt;br /&gt;
to resign, and Miss Stuart temporarily consented&lt;br /&gt;
to undertake the work. The president added to&lt;br /&gt;
his work, already heavy, the work of treasurership&lt;br /&gt;
of the Conference. The membership of the&lt;br /&gt;
association has increased, and the finances are&lt;br /&gt;
satisfactory.&lt;br /&gt;
&ldquo;The success of the Conference historically,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#552) ################################################&lt;br /&gt;
&lt;br /&gt;
166&lt;br /&gt;
TISIES A DfTISIOR,&lt;br /&gt;
socially, and financially, has been acknowledged&lt;br /&gt;
by all who participated in its work and social&lt;br /&gt;
functions, and by the press. The hearty co-opera-&lt;br /&gt;
tion of the Foreign Press Association in London,&lt;br /&gt;
and the assistance of its polyglottic members,&lt;br /&gt;
especially its president, vice-president, and secre-&lt;br /&gt;
tary, helped the work of this association. And a&lt;br /&gt;
substantial proof that our members generally were&lt;br /&gt;
all in sympathy with the Conference is evident by&lt;br /&gt;
the fact that out of the &pound;1,700 subscribed the sum&lt;br /&gt;
of just upon &pound;500 was subscribed by our members.&lt;br /&gt;
This included the handsome donations of our vice-&lt;br /&gt;
presidents, Sir Joseph Lawrence, Mr. Frank&lt;br /&gt;
Lloyd, and Mr. H. T. Cadbury.&lt;br /&gt;
&ldquo;The success of the Conference should aid our&lt;br /&gt;
association in its work of linking British journalists&lt;br /&gt;
with our confr&egrave;res in Europe and other parts of&lt;br /&gt;
the world, and in helping them with a knowledge&lt;br /&gt;
of other countries, other peoples, other tongues,&lt;br /&gt;
and other manners. If we work forward to this&lt;br /&gt;
aim unselfishly, we shall strengthen our association&lt;br /&gt;
and make the British International Association of&lt;br /&gt;
Journalists a society that all literary journalists&lt;br /&gt;
will be glad to join.&rdquo;&lt;br /&gt;
The treasurer&amp;#039;s report was then read by Miss&lt;br /&gt;
Stuart. The report showed a goodly increase of&lt;br /&gt;
membership, and left a balance in favour of the&lt;br /&gt;
association.&lt;br /&gt;
Some interesting reminiscences of the work&lt;br /&gt;
done in the Central Bureau of the Associations of&lt;br /&gt;
the Press were then given by Mr. D. A. Louis,&lt;br /&gt;
who for several years has ably represented the&lt;br /&gt;
association at the meetings of the central com-&lt;br /&gt;
mittee in the capitals of Europe. Mr. Louis was&lt;br /&gt;
thanked for his services on the Bureau.&lt;br /&gt;
Upon proceeding to the election of officers for&lt;br /&gt;
the year 1910, the president, Major Gratwicke,&lt;br /&gt;
rose and stated with regret that he could not act as&lt;br /&gt;
president for another year, his other engagements&lt;br /&gt;
preventing him from giving the time to the work.&lt;br /&gt;
Mr. Aspden then proposed Mr. Arthur Spurgeon&lt;br /&gt;
as president. This proposal was seconded by Sir&lt;br /&gt;
Hugh Gilzean Reid, both thanking Major Gratwicke&lt;br /&gt;
for his arduous work during the Conference year.&lt;br /&gt;
Mr. Spurgeon was unanimously elected as presi-&lt;br /&gt;
dent. The vice-presidents were re-elected, with&lt;br /&gt;
the addition of Mr. Thomas Catling and Major&lt;br /&gt;
Gratwicke, to complete the twelve vice-presidents&lt;br /&gt;
permitted by the rules of the association. Mr. D. A.&lt;br /&gt;
Louis was again elected to be the representative on&lt;br /&gt;
the Bureau Central, and Miss Stuart was elected&lt;br /&gt;
as hon. treasurer. Mr. Fullard was nominated for&lt;br /&gt;
the office of hon. Secretary, but upon ballot being&lt;br /&gt;
taken Mr. James Baker was declared re-elected.&lt;br /&gt;
The office of hon. auditor was again accepted by&lt;br /&gt;
Mr. Thomas Catling. For the membership of the&lt;br /&gt;
committee a ballot was taken, which resulted in&lt;br /&gt;
the election of for London : Hartley Aspden, Esq.,&lt;br /&gt;
G. Springfield, Esq., J. H. Panting, Esq., A&lt;br /&gt;
Walter, Esq., Walter Jerrold, Esq., Miss Strutt&lt;br /&gt;
Cavell; for country : J. R. Fisher, Esq., Belfast;&lt;br /&gt;
J. Lloyd Evans, Esq., Warwick; Clive Holland,&lt;br /&gt;
Esq., Bournemouth ; Major Steven, Berwick-on-&lt;br /&gt;
Tweed ; J. H. Warden, Esq., Hendon; Mrs.&lt;br /&gt;
Hamer Jackson, Westgate-on-Sea. In the evening,&lt;br /&gt;
at the annual dinner, there was an influential&lt;br /&gt;
gathering of members and guests, including&lt;br /&gt;
M. Victor Taunay, of Paris, the general secretary&lt;br /&gt;
of the International Press Association, Sir Thomas&lt;br /&gt;
Barclay, M.P., the Hon. Harry Lawson, M.P.,&lt;br /&gt;
Mr. W. L. Courtney, Mr. Burlumi, vice-president&lt;br /&gt;
of the Foreign Press Association of London.&lt;br /&gt;
During the evening Sir Hugh Gilzean Reid made&lt;br /&gt;
presentations for the work done in organising the&lt;br /&gt;
first International Press Conference in England to&lt;br /&gt;
Major Gratwicke, Mr. D. A. Louis, and Mr. James&lt;br /&gt;
Baker, and each of the recipients, in their replies,&lt;br /&gt;
hoped that the work done might tend to inter-&lt;br /&gt;
national amity and journalistic camaraderie.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
T. P. O&amp;#039;Connor as Author and Journalist.&lt;br /&gt;
Gibson.&lt;br /&gt;
The Memorial Edition of Meredith.&lt;br /&gt;
Seccombe.&lt;br /&gt;
A Meredith Primer. By M. Buxton Forman.&lt;br /&gt;
Anthologies. By Francis Bickley.&lt;br /&gt;
The Authoress of &ldquo;The Wide, Wide World.&rdquo;&lt;br /&gt;
Quiller Couch.&lt;br /&gt;
Thomas Hardy&amp;#039;s Poems. By A. St. John Adcock.&lt;br /&gt;
The Man Shakespeare. By F. E. Page.&lt;br /&gt;
Irish Humour. By Walter Jerrold.&lt;br /&gt;
Fielding. By Lewis Melville.&lt;br /&gt;
By Ashley&lt;br /&gt;
By Thomas&lt;br /&gt;
By L.&lt;br /&gt;
BLACKWOOD&amp;#039;S.&lt;br /&gt;
Sir Walter Scott : Eſis Friends and Critics.&lt;br /&gt;
Musings without Method : History and Literature.&lt;br /&gt;
The Evidence of the Poets&mdash;Tennyson and the Victorian&lt;br /&gt;
Age.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
Italian and French Influence in English.&lt;br /&gt;
Pastoral. By George Whitelock.&lt;br /&gt;
Two Centuries of French Opera. By A. E. Keeton.&lt;br /&gt;
Literary Supplement : The Blending of Prose, Blank&lt;br /&gt;
Verse and Rhymed.&lt;br /&gt;
Verse in &ldquo;Romeo and Juliet.&rdquo; By Mary Suddard.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Responsibility of Authors. By Sir Oliver Lodge,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Mrs. Julia Ward Howe. By Constance Maud.&lt;br /&gt;
The Alleged Marriage of Swift and Stella.&lt;br /&gt;
The Hugo Legend. By Francis Gribble.&lt;br /&gt;
Francis Thompson. By Katharine Tynar.&lt;br /&gt;
Some Unpublished Letters of W. S. Landor.&lt;br /&gt;
Rev. E. H. R. Tatham.&lt;br /&gt;
By the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#553) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
167&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e-Q-9&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus. -&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
embers are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution,&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
&amp;amp; &ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
i. well bind yourself for the future to any one solicitor or&lt;br /&gt;
Octor&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
What the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In e2.IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
A &amp;amp;&lt;br /&gt;
v-u-v&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#554) ################################################&lt;br /&gt;
&lt;br /&gt;
16S&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;A-&lt;br /&gt;
w -v-w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&ndash;t-&ordm;-&ordm;--&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;6&ndash;0&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#555) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UTFIOR.&lt;br /&gt;
169&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
On the ballot paper which accompanies&lt;br /&gt;
this month&rsquo;s &ldquo;Author&rsquo; subscribers have full&lt;br /&gt;
details as to the manner in which their yotes&lt;br /&gt;
should be recorded. Any members who&lt;br /&gt;
have not received ballot papers with their&lt;br /&gt;
&ldquo;Authors&rdquo; are requested to write to the&lt;br /&gt;
Secretary at once.&lt;br /&gt;
Associates are not qualified, under the&lt;br /&gt;
constitution of the Society, to vote for the&lt;br /&gt;
election of the Committee.&lt;br /&gt;
THE Annual General Meeting of the Society of&lt;br /&gt;
Authors will be held on Wednesday March 16,&lt;br /&gt;
at 4 o&amp;#039;clock, in the large hall of the Society of&lt;br /&gt;
Medicine, 20 Hanover Square, W.&lt;br /&gt;
Formal notice of the meeting has been sent to all&lt;br /&gt;
the members of the society.&lt;br /&gt;
The Agenda before the meeting will be :&mdash;&lt;br /&gt;
1. To receive, and if desired, to discuss the&lt;br /&gt;
accounts and report of the Committee of&lt;br /&gt;
Management.&lt;br /&gt;
2. To elect a member of the Pension Fund&lt;br /&gt;
Committee under the scheme for the management&lt;br /&gt;
of the Pension Fund.&lt;br /&gt;
Mr. M. H. Spielmann resigns in due order, but&lt;br /&gt;
submits his name for re-election. The name of no&lt;br /&gt;
other candidate has been put forward.&lt;br /&gt;
To appoint scrutineers to count the votes under&lt;br /&gt;
the new constitution.&lt;br /&gt;
*-*-* *-*m&ordm;&lt;br /&gt;
UNITED STATES DRAMATIC COPYRIGHT.&lt;br /&gt;
IN another column of The Author we print an&lt;br /&gt;
interesting case on United States copyright. We&lt;br /&gt;
have printed the case in full from the Publishers&rsquo;&lt;br /&gt;
Weekly because the points discussed in the judg-&lt;br /&gt;
ment, although they do not all of them deal with&lt;br /&gt;
the issue of dramatic copyright, are exceedingly&lt;br /&gt;
interesting to those who may have literary property&lt;br /&gt;
to market in the United States.&lt;br /&gt;
The first point to which we would draw attention&lt;br /&gt;
refers to the sale of work to a magazine. In this&lt;br /&gt;
case the terms of the sale were practically settled&lt;br /&gt;
by the evidence of the receipt. That is, the terms&lt;br /&gt;
of contract were interpreted by the form and word-&lt;br /&gt;
ing of the receipt for the money. We have pointed&lt;br /&gt;
out on previous occasions in The Author that if the&lt;br /&gt;
terms of the contract are clear, the fact that an&lt;br /&gt;
authorsigns a different form of receipt subsequently,&lt;br /&gt;
will not alter the actual terms of the contract, but&lt;br /&gt;
it would appear from this decision that in the&lt;br /&gt;
absence of any exact terms before publication and&lt;br /&gt;
payment, the form of receipt will be very strong&lt;br /&gt;
evidence as to the exact terms of the contract.&lt;br /&gt;
In this case it happened to be lucky, according to&lt;br /&gt;
the final decision, that the author sold his whole&lt;br /&gt;
Copyright to the magazine proprietor. Usually,&lt;br /&gt;
however, such a course is very bad for the author,&lt;br /&gt;
who should only sell the one serial use of his story&lt;br /&gt;
to the magazine.&lt;br /&gt;
The second point which is of importance is&lt;br /&gt;
raised on the question of registration. Registra-&lt;br /&gt;
tion is no doubt a terrible evil for the owners of&lt;br /&gt;
Copyright property. It is like a virulent disease&lt;br /&gt;
Which at any time may destroy the valuable growth&lt;br /&gt;
of the author. In this case, however, the difficul-&lt;br /&gt;
ties connected with registration were overcome&lt;br /&gt;
more by good luck than by anything else. It is&lt;br /&gt;
the obiter dicta of the judge which are important.&lt;br /&gt;
He seemed to think that if the author had not sold&lt;br /&gt;
his full copyright to the proprietor of the magazine,&lt;br /&gt;
Some other registration of copyright would have&lt;br /&gt;
been necessary for the protection of the author&lt;br /&gt;
than the registration of the magazine only in which&lt;br /&gt;
the story appeared. When you add to the ques-&lt;br /&gt;
tion of copyright (by the word copyright we refer&lt;br /&gt;
to reproduction in printed form) the question of&lt;br /&gt;
performing rights also, registration becomes exceed-&lt;br /&gt;
ingly, complicated. The author might sell his&lt;br /&gt;
copyright to the magazine and retain his dramatic&lt;br /&gt;
rights. What should be done with regard to registra-&lt;br /&gt;
tion in this case ? We recommend a careful perusal&lt;br /&gt;
of What the judge had to say in order to make clear&lt;br /&gt;
the intricacy of the registration problem.&lt;br /&gt;
The third point, which is of distinct interest to&lt;br /&gt;
dramatic authors, not because it is connected closely&lt;br /&gt;
with the imperial law, but because it deals purely&lt;br /&gt;
with American rights and the dramatic rights of&lt;br /&gt;
authors in foreign countries, is, how far a dramatic&lt;br /&gt;
version of a story infringes the author&amp;#039;s rights in&lt;br /&gt;
the Original story The judge stated as follows:&ndash;&lt;br /&gt;
&ldquo;It is, of course, true that the play has more characters&lt;br /&gt;
than the story and many additional incidents. It is like-&lt;br /&gt;
wise true that none of the language of the story is used in&lt;br /&gt;
the play and that the characters have different names.&lt;br /&gt;
&ldquo;It is undoubtedly true, as claimed by the defendant,&lt;br /&gt;
that an author cannot by a suggestion obtain exclusive&lt;br /&gt;
control of a field of thought upon a particular subject. If&lt;br /&gt;
the playwright in this case, without the use of the story&lt;br /&gt;
and working independently, had constructed a play&lt;br /&gt;
embracing its central idea, it may well be that he would&lt;br /&gt;
not have infringed the copyright of the story. But a com-&lt;br /&gt;
parison of the play with the story shows conclusively in&lt;br /&gt;
many unimportant details that the defendant read the story&lt;br /&gt;
and used it as the basis of his play. It is impossible that&lt;br /&gt;
the similarities were coincidences.&rdquo;&lt;br /&gt;
It is quite possible also that this judgment&lt;br /&gt;
might be of interest to English authors at no&lt;br /&gt;
distant date if the present law is altered to bring&lt;br /&gt;
it into conformity with the Berlin Convention.&lt;br /&gt;
These three are the chief points of interest, but&lt;br /&gt;
all dramatists should read the case with great care.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#556) ################################################&lt;br /&gt;
&lt;br /&gt;
170&lt;br /&gt;
TISIES A [CITEIOR,&lt;br /&gt;
THE &ldquo; ENGLISH REVIEW.&rdquo;&lt;br /&gt;
WE understand that Mr. Austin Harrison has&lt;br /&gt;
been appointed editor of the English Review, which,&lt;br /&gt;
in future, will be published from Messrs. Chapman&lt;br /&gt;
&amp;amp; Hall&amp;#039;s offices, 11, Henrietta Street, Covent&lt;br /&gt;
Garden, W.C. We are further informed that the&lt;br /&gt;
unsatisfied claims of contributors to the Review&lt;br /&gt;
under the old management will be settled by the&lt;br /&gt;
new management.&lt;br /&gt;
We are very pleased to be able to make this&lt;br /&gt;
announcement officially, as it is not often that&lt;br /&gt;
a new proprietor, taking over the assets of an old&lt;br /&gt;
company, also takes over its liabilities and under-&lt;br /&gt;
takes to satisfy them.&lt;br /&gt;
&mdash;s&mdash;e-e&mdash;&lt;br /&gt;
A GREAT BELGIAN POET.&lt;br /&gt;
MIL WERHAEREN was born in 1855, in the&lt;br /&gt;
small town of Saint Amand, which looks&lt;br /&gt;
from the banks of the Scheldt across the&lt;br /&gt;
wind-swept plains of Flanders. Here, as a boy, he&lt;br /&gt;
saw the dark-sailed barges moving seaward, and&lt;br /&gt;
heard the wind-borne chimes of the tall belfries&lt;br /&gt;
which alone break the monotony of the level&lt;br /&gt;
pastures. Both his parents were Flemish, with&lt;br /&gt;
traces of Dutch forebears on his father&amp;#039;s side, and&lt;br /&gt;
French on his mother&amp;#039;s.&lt;br /&gt;
At eleven he was sent to a convent school at&lt;br /&gt;
Brussels, and, two years later, passed on to a like&lt;br /&gt;
establishment at Ghent. It was here that he first&lt;br /&gt;
began writing verses&mdash;always in French, which had&lt;br /&gt;
been the language habitually spoken in his home.&lt;br /&gt;
Lacordaire, Chateaubriand, and Lamartine were, at&lt;br /&gt;
this time, the gods of his idolatry, Hugo being still&lt;br /&gt;
considered a name of doubtful Omen in the mouths&lt;br /&gt;
of young collegians. But life here proved as little&lt;br /&gt;
to his taste as it did to Maeterlinck&amp;#039;s, who followed&lt;br /&gt;
a few years later. The dulness and discipline&lt;br /&gt;
weighed heavily on so ardent a spirit, and imprison-&lt;br /&gt;
ment in a penitential cell for Some lapse infuriated&lt;br /&gt;
him so much that he hurled everthing he could get&lt;br /&gt;
hold of into an adjoining laboratory and smashed&lt;br /&gt;
the utensils.&lt;br /&gt;
At twenty he entered the oil factory of an uncle&lt;br /&gt;
whom he was destined to succeed ; but, finding the&lt;br /&gt;
work uncongenial, forsook it after a year&amp;#039;s trial in&lt;br /&gt;
order to study for the law. He then entered the&lt;br /&gt;
University of Louvain, which he left in 1881, having&lt;br /&gt;
obtained the necessary qualifications.&lt;br /&gt;
His first volume of verse, published in the follow-&lt;br /&gt;
ing year, gave absolutely no hint of the fine work&lt;br /&gt;
which has since rendered him famous. During the&lt;br /&gt;
next two or three years he practised law in a very&lt;br /&gt;
dilatory fashion, and in 1884 finally abandoned it.&lt;br /&gt;
In 1883 appeared his first important volume,&lt;br /&gt;
&ldquo;Les Flamandes,&rdquo; which gave rise to some&lt;br /&gt;
scandal owing to the over-bold scorn which it&lt;br /&gt;
displayed for conventional decency, but gained also&lt;br /&gt;
Some influential apologists. -&lt;br /&gt;
&ldquo;Les Moines&rdquo; (1886) is largely based on childish&lt;br /&gt;
recollections of the cloisters which still haunted him.&lt;br /&gt;
The next three volumes, &ldquo;Soirs&rdquo; (1887 ),&lt;br /&gt;
&ldquo;D&eacute;bacles&rdquo; (1888), and &ldquo;Flambeaux Noirs&rdquo;&lt;br /&gt;
(1890), are a most sombre trio, bitter and tearful&lt;br /&gt;
even to the Verge of madness. Much of them was&lt;br /&gt;
Written while living in London, where he shrank&lt;br /&gt;
from the tread of the &ldquo;hungry generations,&rdquo; and&lt;br /&gt;
the horror of the smoke-stifled air. It has been&lt;br /&gt;
frankly stated that the real explanation of these&lt;br /&gt;
plaintive works was indigestion and consequent&lt;br /&gt;
lack of sleep&mdash;not the only point in which it is&lt;br /&gt;
claimed that he resembles our own Carlyle.&lt;br /&gt;
&ldquo;Les Villages Illusoires&rdquo; (of 1894) marks a&lt;br /&gt;
distinct epoch in his artistic development, being a&lt;br /&gt;
daring attempt to poeticise the ruder elements of&lt;br /&gt;
pastoral life, so that &ldquo;the common round, the&lt;br /&gt;
simple task&rdquo; of blacksmith, miner, and ploughman&lt;br /&gt;
assume a vaster significance as symbols in the great&lt;br /&gt;
pageant of life.&lt;br /&gt;
Then followed a period of travel, chiefly in Spain&lt;br /&gt;
and Germany ; and his impressions of Hamburg&lt;br /&gt;
seem to have given rise to that obsession of world-&lt;br /&gt;
force, at once august and terrible, which found&lt;br /&gt;
relief through the artistic medium of &ldquo;Les Willes&lt;br /&gt;
Tentaculaires&rdquo; (1895), a crowded nightmare of&lt;br /&gt;
splendour and horror, a vision in which the pilgrim&lt;br /&gt;
floats like a feather above the fumes of factories&lt;br /&gt;
and the currents of ship-laden estuaries, with the&lt;br /&gt;
roar of machinery and the cry of workers, triumphant&lt;br /&gt;
or down-trodden, for ever in his ears.&lt;br /&gt;
&ldquo;Les Visages de la Vie&rdquo; (1899) and &ldquo;Les&lt;br /&gt;
Forces Tumultueuses&rdquo; (1902) show him in the&lt;br /&gt;
plenitude of his power, a little more aloof, perhaps,&lt;br /&gt;
from that horror of tyrannic necessity which throbs&lt;br /&gt;
through &ldquo;Les Willes,&rdquo; and braver in outlook. He&lt;br /&gt;
seems here to tell himself, in the words of Words-&lt;br /&gt;
worth,&lt;br /&gt;
&ldquo;thou hast great allies ;&lt;br /&gt;
Thy friends are exultations, agonies,&lt;br /&gt;
And love, and man&amp;#039;s unconquerable mind.&rdquo;&lt;br /&gt;
Here, too, we find an unsuspected tenderness&lt;br /&gt;
and lightness of touch, as in this little Turneresque&lt;br /&gt;
aquar-elle :-&lt;br /&gt;
Comme des objets fr&eacute;les,&lt;br /&gt;
Les vaisseaux d&amp;#039;or semblent pos&eacute;s&lt;br /&gt;
Sur la mer &eacute;ternelle.&lt;br /&gt;
Le vent futile et pur, n&amp;#039;est que baisers;&lt;br /&gt;
Et les &eacute;cumes&lt;br /&gt;
Qui, doucement, &euro;chouent&lt;br /&gt;
Contre les proues&lt;br /&gt;
Ne sont que plumes.&lt;br /&gt;
His essays in drama are not wholly successful,&lt;br /&gt;
though &ldquo;Les Aubes&amp;quot; (of which an English version&lt;br /&gt;
by Arthur Symons has been issued by Messrs. Duck-&lt;br /&gt;
worth) contains some memorable poetry.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#557) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
171&lt;br /&gt;
&ldquo;Tendresses Premi&egrave;res&rdquo; (1904) is brimful of&lt;br /&gt;
early scenes viewed down the rosy-hued vistas of&lt;br /&gt;
memory, while &ldquo;Heures d&rsquo;Apr&egrave;s-Midi&amp;quot; (1905)&lt;br /&gt;
recalls a long period of convalescence. With &ldquo;La&lt;br /&gt;
Multiple Splendeur&rdquo; (1907) he once more assumes&lt;br /&gt;
the prophetic mantle, with gaze fixed on the broader&lt;br /&gt;
pathways of human activity, and in &ldquo;Toute la&lt;br /&gt;
Flandre&rsquo;&rdquo; (still uncompleted) he is striving to&lt;br /&gt;
leave for posterity a vision of the desolate levels&lt;br /&gt;
of his native country as Elysian fields &ldquo;not&lt;br /&gt;
unbecoming men that strove with Gods.&rdquo;&lt;br /&gt;
Though regarded as a demi-god among Belgian&lt;br /&gt;
litterati, he has waited long for the wider recogni-&lt;br /&gt;
tion commensurate with his great powers. But&lt;br /&gt;
sympathy need not be wasted on the unconquerable&lt;br /&gt;
soul who has written, for our reproof,&lt;br /&gt;
Il faut vouloir l&amp;#039;&eacute;preuve et non la gloire ;&lt;br /&gt;
Casque ferm&eacute;, mais pennon haut,&lt;br /&gt;
Prendre chaque bonheur d&amp;#039;assaut&lt;br /&gt;
Par &agrave; travers une victoire.&lt;br /&gt;
W. C. T.&lt;br /&gt;
a &ndash;a&ndash;a&lt;br /&gt;
w x&lt;br /&gt;
THE CHILD SPIRIT IN LITERATURE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-s&mdash;&lt;br /&gt;
HE child spirit in literature shows itself most&lt;br /&gt;
significantly through intensity of impres-&lt;br /&gt;
sion, simply as impression. The poignancy&lt;br /&gt;
with which certain writers mirror trifling inci-&lt;br /&gt;
dents recalls the extraordinary importance of the&lt;br /&gt;
happenings of childhood&amp;#039;s days.&lt;br /&gt;
Perhaps it is the freshness of the child&amp;#039;s men-&lt;br /&gt;
tality which secures so sharp a record of certain&lt;br /&gt;
incidents and places and people. They stand out&lt;br /&gt;
clearly for no particular reason beyond the all-&lt;br /&gt;
potent one that in some way the child&rsquo;s imagination&lt;br /&gt;
was wakened, and the place or person immediately&lt;br /&gt;
became invested with glamour.&lt;br /&gt;
It seems to me it is every writer&amp;#039;s business to&lt;br /&gt;
illuminate the scenes of daily life with this&lt;br /&gt;
intensity. We learn far more of a writer&amp;#039;s point&lt;br /&gt;
of view by seeing pictures of life as he sees&lt;br /&gt;
it than by the deductions he may bestow on us:&lt;br /&gt;
and the child spirit that can make vivid pictures&lt;br /&gt;
simply, almost unconsciously, is wielding as&lt;br /&gt;
powerful a weapon as that of any professional&lt;br /&gt;
moralist, if those pictures be limned by the child&lt;br /&gt;
mind that knows no evil.&lt;br /&gt;
All pictures of pure and beautiful and love-filled&lt;br /&gt;
life are so many thoughts of positive good, and the&lt;br /&gt;
author who sends such thoughts into the world is&lt;br /&gt;
sending out a stream of positive influence. Many&lt;br /&gt;
of the best known men and women of the world&lt;br /&gt;
have never lived in the flesh, but are only characters&lt;br /&gt;
fashioned out of thought, and owing their exist-&lt;br /&gt;
ence to the receptivity of thought ; yet such mental&lt;br /&gt;
figures have wielded as far-reaching an influence as&lt;br /&gt;
if they had had corporeal being. Their example&lt;br /&gt;
has been followed by countless receptive minds, and&lt;br /&gt;
characters have been deliberately or unwittingly&lt;br /&gt;
moulded to their pattern.&lt;br /&gt;
Therefore, the child spirit that is eternally pure,&lt;br /&gt;
fresh, and loving can inform myriads of thought&lt;br /&gt;
images, and send them out into the living world to&lt;br /&gt;
add their weight to the scale which holds the good&lt;br /&gt;
and beautiful. -&lt;br /&gt;
Of late years there has crept into modern thought&lt;br /&gt;
a strange perverse idea to the effect that beauty lies&lt;br /&gt;
in decay, futility, and death. &ldquo;The sweetest songs&lt;br /&gt;
are those that tell of saddest thoughts,&rdquo; and the&lt;br /&gt;
most &ldquo;artistic &rsquo;&rsquo; novels appear to be those which&lt;br /&gt;
deal with most revolting and depressing subjects.&lt;br /&gt;
In the same way strength is supposed to be&lt;br /&gt;
expressed by the portrayal of the evil in men and&lt;br /&gt;
Women, and the fact that a flood of debased ideals&lt;br /&gt;
is being set free for the further debasement of&lt;br /&gt;
humanity is completely overlooked.&lt;br /&gt;
Truth is considered the excuse for the creation&lt;br /&gt;
of such thought models; the writer can cite&lt;br /&gt;
similar examples in the world he moves amongst,&lt;br /&gt;
and it never occurs to him that such examples are&lt;br /&gt;
not worth multiplying, even though he draw moral&lt;br /&gt;
deductions concerning their iniquity.&lt;br /&gt;
Because the moral deductions do not live in&lt;br /&gt;
people&amp;#039;s minds with anything like the forcefulness&lt;br /&gt;
of vivid personalities.&lt;br /&gt;
Should an author only portray the good in life,&lt;br /&gt;
then P -&lt;br /&gt;
I hear a scoffing protest at the suggestion.&lt;br /&gt;
Yet the child spirit which is beginning to steal&lt;br /&gt;
into our literature and life is never found in those&lt;br /&gt;
whom we call &ldquo;realists.&rdquo;&lt;br /&gt;
The child spirit does see good in all, because it&lt;br /&gt;
is of &ldquo;purer eyes than to behold evil&rdquo;; because,&lt;br /&gt;
moreover, it finds that the joy and Zest of life lie in&lt;br /&gt;
life&amp;#039;s possibilities of betterment. The eyes of the child&lt;br /&gt;
are ever turned forward ; at any milestone a new&lt;br /&gt;
adventure may disclose itself; at any turn of the&lt;br /&gt;
road a new companion may appear. The child&lt;br /&gt;
spirit lives simply in the present, and trustfully as&lt;br /&gt;
regards the future; but it discards the burden of&lt;br /&gt;
the past as unprofitable, and instinctively refuses&lt;br /&gt;
to be hampered by regrets.&lt;br /&gt;
The child spirit is living, moving, loving all&lt;br /&gt;
whom it encounters, and for such a spirit life holds&lt;br /&gt;
eternal joy.&lt;br /&gt;
It is that faculty for throwing itself heart-wholly&lt;br /&gt;
into the present that constitutes the charm and&lt;br /&gt;
strength of the child mind, and ensures the&lt;br /&gt;
vividness of its impressions. Grief and pain are&lt;br /&gt;
forgotten as soon as over, succeeded by the&lt;br /&gt;
entrancing and compelling round of life. The&lt;br /&gt;
child spirit is the embodiment of life, and so rejects&lt;br /&gt;
and sheds the husks of past sorrow which grown-&lt;br /&gt;
ups cherish.&lt;br /&gt;
Therefore, in books that are animated by the&lt;br /&gt;
child spirit we find a moving procession of events,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#558) ################################################&lt;br /&gt;
&lt;br /&gt;
172&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
each of which automatically pushes out the past one,&lt;br /&gt;
and so frees the consciousness for the reception of&lt;br /&gt;
its entirely new successor. This determined con-&lt;br /&gt;
centration on the present and expectation from the&lt;br /&gt;
future carries one forward with a delightful sense&lt;br /&gt;
of youth ; such books are true tonics, full of&lt;br /&gt;
recuperative health. The surest sign of health is&lt;br /&gt;
the unconsciousness of its possession. Health is&lt;br /&gt;
only the natural state of being in which we are&lt;br /&gt;
keenly alive and vigorous. A healthy person&lt;br /&gt;
scarcely realises his good fortune; health but serves&lt;br /&gt;
to set free his abilities.&lt;br /&gt;
Bereft of health, however, a man goes clogged&lt;br /&gt;
and heavy ; his potentialities are circumscribed, his&lt;br /&gt;
being handicapped. Decay has laid its hand upon&lt;br /&gt;
him, and the full, fresh glow of life is hindered.&lt;br /&gt;
The child spirit is emphatically healthy. We con-&lt;br /&gt;
nect the idea of health with youth and purity, and&lt;br /&gt;
thus we know all children should be healthy even&lt;br /&gt;
though we allow their sickly elders a dispensation&lt;br /&gt;
and even feel that hollow eyes and pallid skins are&lt;br /&gt;
&ldquo;interesting.&rdquo; But then we are clinging to the idea&lt;br /&gt;
that the ravages of evil may have aesthetic value.&lt;br /&gt;
For the child, however, we have but one standard.&lt;br /&gt;
This health that it manifests is in reality a&lt;br /&gt;
guarantee of life, and so, it seems to one, the life&lt;br /&gt;
of healthy and health-giving books is guaranteed.&lt;br /&gt;
See how quickly the neurotic diseased output of&lt;br /&gt;
Imodern authors sinks into oblivion. No One&lt;br /&gt;
treasures such books to read and read again. But&lt;br /&gt;
those that have sterling sense and wit continue on&lt;br /&gt;
our shelves, and the heroes and the heroines whom&lt;br /&gt;
we love remain enshrined within our memory.&lt;br /&gt;
The health of life and love&mdash;and I would again&lt;br /&gt;
say&mdash;the health of the real and final truth of being&lt;br /&gt;
&mdash;constitute the child spirit.&lt;br /&gt;
The age-tired mind draws sober morals or con-&lt;br /&gt;
ceives cynical images of man ; but the child spirit&lt;br /&gt;
idealises and energises all that it infuses ; and&lt;br /&gt;
with its advent we may look forward to a radiant&lt;br /&gt;
troop of friends waiting to greet us from the&lt;br /&gt;
future&mdash;glowing, joyous thought-models for readers&lt;br /&gt;
of the future CONSTANCE ARMFIELD.&lt;br /&gt;
&mdash;6&ndash;Q-0&ndash;&lt;br /&gt;
REALISM IN DRAMA.&lt;br /&gt;
&mdash;t&mdash;Q&ndash;0&ndash;&lt;br /&gt;
CN INCE ever the world began, man in the evening&lt;br /&gt;
has wanted to be amused.&lt;br /&gt;
Since ever the world began, the genius, the&lt;br /&gt;
buffoon, the poet, the story-teller have delighted in&lt;br /&gt;
amusing him.&lt;br /&gt;
Round the camp-fire at night there always has&lt;br /&gt;
been one who could spring to his feet, strong to&lt;br /&gt;
catch the attention of the others in the hour when&lt;br /&gt;
they have finished labour, are fed, and resting before&lt;br /&gt;
sleep.&lt;br /&gt;
To the end of the world men will want this thing,&lt;br /&gt;
and their chief wish at this hour remains the same&lt;br /&gt;
&mdash;it is not to be edified, nor to be instructed, but&lt;br /&gt;
to be amused.&lt;br /&gt;
The day&rsquo;s work is done.&lt;br /&gt;
The question for the dramatist, from all time and&lt;br /&gt;
to all time, since first he flung himself in the full&lt;br /&gt;
glare of the bonfire to entertain the rude fore-&lt;br /&gt;
fathers of the race, to the present moment, when&lt;br /&gt;
the work of his brain is ably interpreted behind&lt;br /&gt;
footlights by educated men and women is&mdash;not&lt;br /&gt;
what he wishes the people to hear, nor even what he&lt;br /&gt;
thinks would be good for them to hear, but simply&lt;br /&gt;
what they care to hear.&lt;br /&gt;
The love of a good story is ineradicable in the&lt;br /&gt;
human race. Let there be a story, let it be about&lt;br /&gt;
kings and prime ministers, let it be about slaves and&lt;br /&gt;
beggar men, let it be about whom the story-teller&lt;br /&gt;
will or can, but let it be a story.&lt;br /&gt;
Most of us are two people, or three or four people.&lt;br /&gt;
We Want to be taken out of ourselves in the even-&lt;br /&gt;
ing, and the pleasantest way is to give play to that&lt;br /&gt;
part of us which is starved during the day. Thus,&lt;br /&gt;
the prime minister will probably prefer to hear of&lt;br /&gt;
the beggar man, the slave of the king. But we&lt;br /&gt;
do not want bits of a sordid life, the details of&lt;br /&gt;
which we know too well already.&lt;br /&gt;
The author and his friends may call this true&lt;br /&gt;
art, or true to a certain school of art. The average&lt;br /&gt;
man suspects himself of knowing little about art.&lt;br /&gt;
You may trust it to touch him right enough&mdash;when&lt;br /&gt;
it is there. But there is one thing he justly&lt;br /&gt;
suspects and often abhors&mdash;it is a specific school&lt;br /&gt;
of art which gets itself called by some peculiar&lt;br /&gt;
Ila,ID6.&lt;br /&gt;
To be fair, the author who is called a realist does&lt;br /&gt;
not always give us life that is sordid. But his pre-&lt;br /&gt;
vailing sense of realism in life is thin. The tones&lt;br /&gt;
must be monotonous. The current run slowly.&lt;br /&gt;
And while he is so keen on being &ldquo;real,&rdquo; he may&lt;br /&gt;
forget that most real people have in them a sense of&lt;br /&gt;
drama, which they unconsciously and fittingly use&lt;br /&gt;
in the great events of their lives. The author&rsquo;s&lt;br /&gt;
chance is to catch that moment in the strong issues&lt;br /&gt;
of life, when men and women do rise to that&lt;br /&gt;
Sublimely unconscious, sub-conscious sense of drama,&lt;br /&gt;
which makes them clothe their most intense&lt;br /&gt;
moments with something a little raised from the&lt;br /&gt;
ordinary level at which they live their lives.&lt;br /&gt;
There is a yet more serious charge to bring&lt;br /&gt;
against this school of realism. The dramatist too&lt;br /&gt;
often mounts the pulpit of his own opinions, though&lt;br /&gt;
he should never merge himself in the preacher.&lt;br /&gt;
The preacher is for the one thing, the only thing,&lt;br /&gt;
the one idea. The author should be for the mani-&lt;br /&gt;
fold. He should be all things&mdash;never one thing.&lt;br /&gt;
Above all he must keep a sane Sense of proportion.&lt;br /&gt;
Let him tell his tale from all sides, and set forth&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#559) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
173&lt;br /&gt;
his puppets, but do not let him mount a tub and&lt;br /&gt;
rant on his own account.&lt;br /&gt;
While Shakespeare breatheseloquence for all time&lt;br /&gt;
into Brutus, it is Brutus who speaks to all time&mdash;&lt;br /&gt;
never Shakespeare.&lt;br /&gt;
It is the feeling of being outside that makes the&lt;br /&gt;
author ruthless in the noble art of cutting down.&lt;br /&gt;
Once Jet him get inside, let him voice his own&lt;br /&gt;
opinions, the nice sense of criticism, the balance of&lt;br /&gt;
proportion deserts him. It is then he lays himself&lt;br /&gt;
open to the charge that he has small sense of&lt;br /&gt;
humour, which, after all, is another name for sense&lt;br /&gt;
of balance.&lt;br /&gt;
The moment the man at the camp-fire turned to&lt;br /&gt;
his personal idea of injustice, to a grievance&mdash;&lt;br /&gt;
whether for himself or others&mdash;he lost touch with his&lt;br /&gt;
fellows. They yawned and fell away, sensibly enough&lt;br /&gt;
preferring their slumbers as soon as they recognised&lt;br /&gt;
his drift, however clever he might be in wrapping&lt;br /&gt;
it up. We, people of to-day, feel the same. Go&lt;br /&gt;
back to primitive man. We will never get past&lt;br /&gt;
him, prate of civilisation as we will.&lt;br /&gt;
And it is provoking to remark that realism is&lt;br /&gt;
allowed to run by, the moment that the tub is&lt;br /&gt;
mounted. The author promptly forgets that some&lt;br /&gt;
other of his consistently real people would doubt-&lt;br /&gt;
less interrupt in real life, and that even life&amp;#039;s little&lt;br /&gt;
commonplaces (the cat knocking over a vase, the&lt;br /&gt;
fire going out, or the kettle coming to the boil)&lt;br /&gt;
rarely wait for a man to finish his rant.&lt;br /&gt;
Then again, choosing the wrong time for thrusting&lt;br /&gt;
forward an opinion gives the unwilling listener a&lt;br /&gt;
profound belief in the utterer&amp;#039;s conceit. It is&lt;br /&gt;
beyond human power to forgive conceit in gods or&lt;br /&gt;
men. And a character representing a mass fails to&lt;br /&gt;
touch. Give us one man standing out alone, and&lt;br /&gt;
him we will take to our hearts. We laugh, we&lt;br /&gt;
love, we suffer with him. We rejoice in his&lt;br /&gt;
success. We grieve in his adversity. But we can&lt;br /&gt;
see a multitude massacred without a pang. When an&lt;br /&gt;
individual no longer stands for himself alone, but&lt;br /&gt;
is simply the voice of many, he only represents the&lt;br /&gt;
multitude, and cannot enlist our peculiar sympathy.&lt;br /&gt;
And there is one other thing we do not like&mdash;it&lt;br /&gt;
is having our ability to judge distrusted. Shake-&lt;br /&gt;
speare and Sheridan never told us what to think of&lt;br /&gt;
their characters, nor what moral to draw. Distrust&lt;br /&gt;
our ability to follow you as much as you like. It&lt;br /&gt;
will doubtless be good for us and for you&mdash;but do&lt;br /&gt;
not let us see it.&lt;br /&gt;
To the true artist these are words thrown away.&lt;br /&gt;
He is at once the creator and the listener. He&lt;br /&gt;
never ceases to sit with his own audience. He&lt;br /&gt;
needs no Svengali to mesmerise his Trilby, for he&lt;br /&gt;
himself is Svengali, holding and directing from the&lt;br /&gt;
hearts of his hearers the Trilby with which he is&lt;br /&gt;
enchanting them.&lt;br /&gt;
But he gives us, not realism, reality.&lt;br /&gt;
MAGAZINE EDITORS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY AN EDITOR.&lt;br /&gt;
T is impossible to understand the discourtesy of&lt;br /&gt;
many magazine editors. At one time there&lt;br /&gt;
Were men who worked hard for their magazines&lt;br /&gt;
and who remembered that contributors were the&lt;br /&gt;
principal agents in all business projects connected&lt;br /&gt;
with their work. Then a great change began,&lt;br /&gt;
following that large increase in the number of half-&lt;br /&gt;
readers that board schools produced year by year.&lt;br /&gt;
It was a radical change from many standpoints,&lt;br /&gt;
and not one was good either for contributors or for&lt;br /&gt;
literature. Even great reviews lost their old&lt;br /&gt;
thorough character, and published what Ruskin&lt;br /&gt;
Once called &ldquo;scrap-books of snippets.&rdquo; No article&lt;br /&gt;
Was long enough to be complete. And this arose&lt;br /&gt;
from a new fear, a belief that the public was an&lt;br /&gt;
ass, and that its intelligence decreased with each&lt;br /&gt;
extension of the franchise and each new &pound;100,000&lt;br /&gt;
spent by the State on compulsory education. Faith&lt;br /&gt;
in the many disappears when many begin to rule.&lt;br /&gt;
As long as editors made their appeal to a general&lt;br /&gt;
reader who did generally read, magazines were&lt;br /&gt;
Conducted by men who did not despise their&lt;br /&gt;
public ; but as soon as editors began to aim at&lt;br /&gt;
that dim and devious intelligence known as the&lt;br /&gt;
public, an astonishing revolution happened. Let us&lt;br /&gt;
pass in review its phenomena.&lt;br /&gt;
1. Although the largest sales in fiction are won by&lt;br /&gt;
Women and men having no aim in common, yet each&lt;br /&gt;
magazine editor persists in believing that his publica-&lt;br /&gt;
tion must have its own &ldquo;style,&rdquo; so called, its own&lt;br /&gt;
recipe for the people&amp;#039;s appetite in literature. As a&lt;br /&gt;
consequence, writers must be ventriloquists in order&lt;br /&gt;
that they may adapt their voices to each editor&amp;#039;s&lt;br /&gt;
idea of what the public insists upon having. Let&lt;br /&gt;
an author have a style of his own, a marked&lt;br /&gt;
personality, and his struggle is terrible indeed. It&lt;br /&gt;
is the poor imitator, the mimic, who submits with&lt;br /&gt;
ease to any absurd whim that magazine editors&lt;br /&gt;
enforce upon their contributors. Some years ago.&lt;br /&gt;
it was rumoured&mdash;and probably the story was quite&lt;br /&gt;
true &mdash; that a very distinguished and popular&lt;br /&gt;
novelist played a trick upon a dozen magazine.&lt;br /&gt;
editors in the following way. He wrote a short&lt;br /&gt;
story with the greatest care, signed it with a false&lt;br /&gt;
name, and then sent it forth in typescript to those&lt;br /&gt;
dozen wiseacres, who in course of time&mdash;ranging&lt;br /&gt;
from two or three weeks to six months&mdash;returned&lt;br /&gt;
it with printed thanks. Had he signed his real&lt;br /&gt;
name each of them would have been happy to pay&lt;br /&gt;
a large sum per thou.&lt;br /&gt;
2. This tale, whether true or false, has value,&lt;br /&gt;
because very few modern editors have any judg-&lt;br /&gt;
ment in their choice of copy. Starting out with a&lt;br /&gt;
settled contempt for the popular taste, and a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#560) ################################################&lt;br /&gt;
&lt;br /&gt;
174&lt;br /&gt;
TRIES A DITISIOR,&lt;br /&gt;
wonderful belief in their own recipe of style, they&lt;br /&gt;
fear a new name, and like to gather around them a&lt;br /&gt;
few writers whose work they like, adding to those&lt;br /&gt;
favourities a few stories by the most popular&lt;br /&gt;
novelists. Then they feel secure : and they fall&lt;br /&gt;
asleep over volunteered contributions, which, too&lt;br /&gt;
often, are left to underpaid young clerks who glory&lt;br /&gt;
in the title of &ldquo;assistant editor.&rdquo; It is true&lt;br /&gt;
that the rank and file do get their chance here&lt;br /&gt;
and there, thanks, not to editors, as a rule, but&lt;br /&gt;
to needs of economy enforced upon editors by the&lt;br /&gt;
merciful high prices which leading novelists are&lt;br /&gt;
able to demand. When twenty stories by strugglers&lt;br /&gt;
can be bought for less than one short tale by a&lt;br /&gt;
big man, the twenty get their chance, though&lt;br /&gt;
seldom with their best work. In the language&lt;br /&gt;
of picture dealers, they become &ldquo;make-weights,&rdquo;&lt;br /&gt;
because they save the big men from upsetting the&lt;br /&gt;
financial balance of a magazine.&lt;br /&gt;
3. Again, there is no lottery so uncertain as that&lt;br /&gt;
of an editor&amp;#039;s choice and decision. It is even worse&lt;br /&gt;
than a &ldquo;committee of selection &rdquo; for pictures and&lt;br /&gt;
sculptors. What happens in this case is familiar&lt;br /&gt;
to every artist who has helped to choose pictures&lt;br /&gt;
for an exhibition. Two attendants carry in a large&lt;br /&gt;
painting which has taken six months to bring to&lt;br /&gt;
completion. The committee look at it for a few&lt;br /&gt;
seconds. &ldquo;Out !&rdquo; they cry, and the attendants&lt;br /&gt;
disappear with a painter&amp;#039;s daily bread. Then&lt;br /&gt;
someone says: &ldquo;Oh, I say, this will never do.&lt;br /&gt;
That work is by So-and-So. A good man, you&lt;br /&gt;
know, and a jolly fine fellow.&rdquo; Ah The atten-&lt;br /&gt;
dants are now recalled ; that picture is&lt;br /&gt;
accepted. But consider the essential difference&lt;br /&gt;
between painting and literature in this all-important&lt;br /&gt;
question of choice and judgment. In two seconds&lt;br /&gt;
a painter can tell whether a picture is good or bad;&lt;br /&gt;
in five minutes he will be able to analyse its&lt;br /&gt;
qualities. Well, what can an editor do in five&lt;br /&gt;
minutes ? He cannot read the shortest of short&lt;br /&gt;
stories; and if he has been drinking too much wine&lt;br /&gt;
over night at a dinner, he may find even five&lt;br /&gt;
minutes of reading an infernal nuisance.&lt;br /&gt;
4. Contributors, then, are at the mercy of two&lt;br /&gt;
things in their editors : a variable sense of honour,&lt;br /&gt;
and a changeful dislike for hard work. There are&lt;br /&gt;
magazine editors who do so little work that they&lt;br /&gt;
find time to be dramatic critics, playwrights, poets,&lt;br /&gt;
novelists, Alpine climbers, and so forth. Their&lt;br /&gt;
editing is a trifle, a little sinecure, and trifles are&lt;br /&gt;
left for odd half-hours. This type of editor keeps&lt;br /&gt;
your copy for six months, and then returns it with-&lt;br /&gt;
out apology and with a printed slip to humble you&lt;br /&gt;
still more. For six months he has prevented&lt;br /&gt;
you from selling your work, just because he is&lt;br /&gt;
incompetent, lazy, and insolent.&lt;br /&gt;
I have had many talks with my fellow editors,&lt;br /&gt;
and I feel very sure of one point&mdash;it is this: that&lt;br /&gt;
there should be in The Author a pillory column for&lt;br /&gt;
magazine editors. In other words, publish the&lt;br /&gt;
names of those magazines who act discourteously&lt;br /&gt;
to members of the Society, and publish the names&lt;br /&gt;
of those editors who are not authors also. That&lt;br /&gt;
would do an immense amount of good. Author-&lt;br /&gt;
editors are more likely to hold the balance of&lt;br /&gt;
justice with care between their contributors on the&lt;br /&gt;
one hand and their financial employers on the&lt;br /&gt;
other. Still, to justify confidence in an author-&lt;br /&gt;
editor, it is necessary to make inquiries on three&lt;br /&gt;
points. Is he a man of character and therefore&lt;br /&gt;
likely to stand firm in the interests of his con-&lt;br /&gt;
tributors ? Has he a fixed rate of payment per&lt;br /&gt;
column or per page 2 Or, on the other hand, does&lt;br /&gt;
he work for one of those grasping companies which&lt;br /&gt;
have many papers, and which insist upon the&lt;br /&gt;
driving of hard bargains 2 It is a cowardly act of&lt;br /&gt;
disloyalty to his profession when an author in his&lt;br /&gt;
capacity as editor cuts down his fellow-writers, not&lt;br /&gt;
because he feels that their work is bad, but because&lt;br /&gt;
he has not courage enough to lose his position&lt;br /&gt;
rather than betray his calling and curry favour&lt;br /&gt;
with unjust employers, For the rest, no writer&lt;br /&gt;
should have faith in that type of magazine editor&lt;br /&gt;
who has two aims&mdash;to overburden his publication&lt;br /&gt;
with advertisements, and to take business advantage&lt;br /&gt;
of any contributor who is hard up and asks for&lt;br /&gt;
payment in advance.&lt;br /&gt;
Bad as things are at present, they will become&lt;br /&gt;
worse if present methods of editing continue their&lt;br /&gt;
evolution. Open a pillory column, use the whip,&lt;br /&gt;
and write official letters to the financial directors&lt;br /&gt;
of magazines. It is only in this way that dis-&lt;br /&gt;
courteous editing and dilatory editing can be made&lt;br /&gt;
as unprofitable to lazy editors as it is at present to&lt;br /&gt;
hard-worked authors. I know but one magazine&lt;br /&gt;
editor who takes infinite pains, and even he would&lt;br /&gt;
admit at once that he makes many mistakes, for&lt;br /&gt;
no man can read scores of MSS. and yet keep his&lt;br /&gt;
judgment fresh and clear for each and for all.&lt;br /&gt;
That cannot be helped. But the gross carelessness&lt;br /&gt;
which is now so common, and tedious delays, can&lt;br /&gt;
and should be opposed and shown up.&lt;br /&gt;
Indolence is so much in Vogue that magazine&lt;br /&gt;
editors never explain to their contributors why&lt;br /&gt;
certain well-written stories and articles are unsuit-&lt;br /&gt;
able. Could anything be more absurd from a&lt;br /&gt;
business standpoint P The greatest joy in editing&lt;br /&gt;
is to find new men and to train them.&lt;br /&gt;
In all the editing which I have done myself&mdash;&lt;br /&gt;
and in some compilations, I have had as many as a&lt;br /&gt;
hundred and twenty contributors for a single&lt;br /&gt;
volume, all artists of note&mdash;I have ever tried to be&lt;br /&gt;
loyal to five principles:&mdash;&lt;br /&gt;
1. To do every detail of editing work with my&lt;br /&gt;
own hand ;&lt;br /&gt;
2. To pay every contributor the courtesy of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#561) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR,&lt;br /&gt;
175&lt;br /&gt;
writing to him myself, and never in a typed letter ;&lt;br /&gt;
3. Never to return rejected work with printed&lt;br /&gt;
slips; -&lt;br /&gt;
4. To answer all letters immediately ;&lt;br /&gt;
5. To thank all contributors for their help.&lt;br /&gt;
When editing and compilation is done in this&lt;br /&gt;
fashion, a day&amp;#039;s work is never less than twelve&lt;br /&gt;
hours, and very often it is fifteen. But it is all&lt;br /&gt;
essential if writers and artists are to be treated&lt;br /&gt;
with professional etiquette and courtesy. For&lt;br /&gt;
single volumes in a series I have written 1,500&lt;br /&gt;
letters, and have had 3,000 contributions from&lt;br /&gt;
which to choose about 15 per cent., Sometimes&lt;br /&gt;
a little more ; and this takes infinite care and&lt;br /&gt;
patience. It is better never to invite volunteered&lt;br /&gt;
contributions, but to seek out the new men one by&lt;br /&gt;
one, while welcoming applications by letter from&lt;br /&gt;
those who wish to contribute.&lt;br /&gt;
It is at this point that one great difficulty arises,&lt;br /&gt;
The plethora of fiction magazines has stirred into&lt;br /&gt;
life a great host of amateurs, boys and girls, who&lt;br /&gt;
imagine that a short story is the easiest thing in&lt;br /&gt;
the world to write. When volunteered contribu-&lt;br /&gt;
tions are invited, all these amateurs post their&lt;br /&gt;
unlucky tales, dismaying editors and burying the&lt;br /&gt;
good work of many professional writers. We need a&lt;br /&gt;
Clearing House for popular fiction &mdash; an office&lt;br /&gt;
supported by all magazines, where contributors&lt;br /&gt;
would send their typescripts, and where an efficient&lt;br /&gt;
staff under discipline would pick out all rubbish.&lt;br /&gt;
This done, the good things would be sent on to&lt;br /&gt;
their magazines for consideration.&lt;br /&gt;
Finally, it is my hope that, before long, there&lt;br /&gt;
will be a general improvement in the copy accepted&lt;br /&gt;
by magazines. At present there is little variety of&lt;br /&gt;
style, and few stories count as literature. A dead&lt;br /&gt;
routine rules almost everywhere.&lt;br /&gt;
&agrave;- *&mdash;&ordm;- A.&lt;br /&gt;
v&ordm;y ~-&lt;br /&gt;
wer&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BY WM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others.)&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
CHAPTER WI.&lt;br /&gt;
Screens and their Effects&mdash;&ldquo;Stereos &amp;quot; and&lt;br /&gt;
&ldquo; Electros.&rdquo;&lt;br /&gt;
INTEND to devote this chapter principally to&lt;br /&gt;
explaining what can be done by different&lt;br /&gt;
screens. In my last I endeavoured to make&lt;br /&gt;
it clear that a finely-screened, &ldquo;half-tone &amp;quot; block,&lt;br /&gt;
although it will print with excellent results on an&lt;br /&gt;
&ldquo;art surface &rsquo;&rsquo; paper, cannot be expected to repro-&lt;br /&gt;
duce advantageously on any coarsely grained paper.&lt;br /&gt;
... This objection more particularly applies to small&lt;br /&gt;
illustrations where a mass of detail occurs in a&lt;br /&gt;
Very limited space.&lt;br /&gt;
In a halfpenny evening paper, for instance,&lt;br /&gt;
where very coarsely made paper is used, if the&lt;br /&gt;
block is a large one, and the screen or grain of&lt;br /&gt;
the block very open, then a fairly effective result&lt;br /&gt;
can be obtained.&lt;br /&gt;
The Screen for this class of work should be not&lt;br /&gt;
more than fifty lines to the inch, or even less.&lt;br /&gt;
There are two principal kinds of printing&lt;br /&gt;
machines in general use : the flat bed machine,&lt;br /&gt;
upon which fine art work is usually printed and&lt;br /&gt;
which runs at a comparatively slow speed, and&lt;br /&gt;
the rotary or cylinder machine, which is mostly&lt;br /&gt;
used for newspaper work and other printing where&lt;br /&gt;
time and speed are the primary objects.&lt;br /&gt;
In the accompanying page of illustrations a good&lt;br /&gt;
idea of the value of the various screens is given.&lt;br /&gt;
All these half-tone blocks have been made from&lt;br /&gt;
one and the same portrait, and the figures under-&lt;br /&gt;
neath represent the number of lines to the inch in&lt;br /&gt;
each screen.&lt;br /&gt;
In numbers 50, 60, 80, and 100 the screen is&lt;br /&gt;
quite discernible to the naked eye, while in 120&lt;br /&gt;
you begin to lose sight of the cross lines, and in&lt;br /&gt;
the finest example screen, 200, require a mag-&lt;br /&gt;
nifying glass to detect it.&lt;br /&gt;
The last screen is very little used, as, unless it&lt;br /&gt;
is most carefully printed, it takes up too much&lt;br /&gt;
ink and consequently becomes blurred by the tiny&lt;br /&gt;
Spaces getting clogged.&lt;br /&gt;
The most popular screens for magazine or book-&lt;br /&gt;
work are 120, 133, and 150.&lt;br /&gt;
The best illustrated papers, such as the Graphic,&lt;br /&gt;
the Illustrated London News, and others of their&lt;br /&gt;
class, adopt the 150 screen.&lt;br /&gt;
The finer the screen, the more detail is gained&lt;br /&gt;
from the picture or photograph, while a very coarse&lt;br /&gt;
screen can only be of use where the reproduction&lt;br /&gt;
is large or where minute detail is unimportant.&lt;br /&gt;
In printing subjects where duplicate blocks are&lt;br /&gt;
required, it is frequently the case that electros or&lt;br /&gt;
stereos are made, so that the same picture can be&lt;br /&gt;
printed four or eight up at a time, or even more.&lt;br /&gt;
The three coarsest screens will render excellent&lt;br /&gt;
results when stereotyped, while from screens 100,&lt;br /&gt;
120, and 133, first class electrotypes can be obtained;&lt;br /&gt;
but in the two last or finest screens it will be found&lt;br /&gt;
that only a good reproduction can be gained by&lt;br /&gt;
printing from the original blocks themselves.&lt;br /&gt;
These latter are too fine for either stereotyping&lt;br /&gt;
or electrotyping.&lt;br /&gt;
This seems to be an opportune time for explain-&lt;br /&gt;
ing the difference between, and the respective&lt;br /&gt;
qualities of, a &ldquo;stereo&amp;quot; and an &ldquo;electro.&rdquo;&lt;br /&gt;
To obtain the first named, the original &ldquo;forme&rdquo;&lt;br /&gt;
or frame of type, together with any illustration&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#562) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITFIOR.&lt;br /&gt;
60 80&lt;br /&gt;
Recommended for Rotary and For better-class newspaper print- Gives excellent results on flat-bed&lt;br /&gt;
other fast-running machines. ing. Will print well on almost any machines and on cheap paper.&lt;br /&gt;
cheap paper.&lt;br /&gt;
100 120 133&lt;br /&gt;
Gives good results on thin coated Suitable for illustrated &ldquo;weeklies,&rdquo; More used than any other screen,&lt;br /&gt;
or calendered papers and can be advertisements in trade papers and being fine but plintable on any&lt;br /&gt;
printed rapidly. work of not too fine a nature. coated paper used in good maga-&lt;br /&gt;
zine or commercial work.&lt;br /&gt;
150 175 200&lt;br /&gt;
Requires good paper and ink and Excellent for high-class machining Occasionally in demand but not&lt;br /&gt;
best conditions in printing. and trade catalogues, printed under recommended.&lt;br /&gt;
the finest conditions.&lt;br /&gt;
THE MOST POPULAR SCREENS FOR HALF-TONE REPRODUCTIONS.&lt;br /&gt;
(Blocks kindly lent by Messrs. John Swain &amp;amp; Son, Ltd.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#563) ################################################&lt;br /&gt;
&lt;br /&gt;
TriB ArtTrror.&lt;br /&gt;
177&lt;br /&gt;
blocks contained therein, is covered over with a&lt;br /&gt;
Series of damp sheets of porous paper and beaten&lt;br /&gt;
in by a hard bristled brush until a sort of soft&lt;br /&gt;
impression upon same is gained from the metal&lt;br /&gt;
underlying it. This, in its damp state, is termed&lt;br /&gt;
the &ldquo;flong.&rdquo; The flong is then lifted off, heated,&lt;br /&gt;
and dried in a sand oven, which has the effect of&lt;br /&gt;
hardening the pulped material into a kind of&lt;br /&gt;
papier m&acirc;ch&eacute;. In this hardened state it is hence-&lt;br /&gt;
forward called a &ldquo;matrice.&rdquo;&lt;br /&gt;
The matrice is then laid, with the inverted side&lt;br /&gt;
upwards, in an iron box or mould, into which is&lt;br /&gt;
poured molten &ldquo;stereo-metal.&rdquo;&lt;br /&gt;
When allowed to cool or set, which it does in a&lt;br /&gt;
very few moments, an exact replica of the original&lt;br /&gt;
type is the result.&lt;br /&gt;
Any number of &ldquo;stereos&rdquo; can be taken from the&lt;br /&gt;
same matrice, and from these various duplicates.&lt;br /&gt;
When placed together on a printing machine bed,&lt;br /&gt;
a correspondingly large number of prints, doubled&lt;br /&gt;
or quadrupled, can be made.&lt;br /&gt;
For ordinary type matter &ldquo;stereos&rdquo; are very&lt;br /&gt;
well adapted, and for line &ldquo;zincos&rdquo; also ; but when&lt;br /&gt;
it comes to &ldquo; half-tone * reproductions they cannot&lt;br /&gt;
be said to be equally effective.&lt;br /&gt;
There is a tendency to thicken, and a hazy, dirty&lt;br /&gt;
greyness will be observed in the &ldquo;high lights&rdquo; of&lt;br /&gt;
the print, while the solids will become too solid.&lt;br /&gt;
The fact is that the weight of the hot stereo&lt;br /&gt;
metal is insufficient to reach the bottom of the&lt;br /&gt;
block in such fine art work.&lt;br /&gt;
&ldquo;Stereo&amp;quot; metal also by its nature is too porous&lt;br /&gt;
for the delicate detail required.&lt;br /&gt;
From a stereo plate one should be able to print&lt;br /&gt;
say from 40,000 to 50,000 impressions with an&lt;br /&gt;
equally good result.&lt;br /&gt;
An electrotype, or &ldquo;electro&rdquo; as it is technically&lt;br /&gt;
called, is a superior kind of duplicate.&lt;br /&gt;
In this case a wax impression or mould is first&lt;br /&gt;
taken by placing the original &ldquo;forme&rdquo; under a&lt;br /&gt;
very heavy pressure of about one hundred tons,&lt;br /&gt;
which forces the wax into the most minute&lt;br /&gt;
cavities.&lt;br /&gt;
This mould is them hung in a tank in near&lt;br /&gt;
proximity to a sheet of copper from which, by&lt;br /&gt;
means of galvanism, the minute particles of copper&lt;br /&gt;
are deposited or &ldquo;positived &rsquo;&rsquo; upon the mould or&lt;br /&gt;
negative.&lt;br /&gt;
By this process a &ldquo;shell&rdquo; of copper is formed&lt;br /&gt;
of any desired thickness. The &ldquo;shell&rdquo; is then&lt;br /&gt;
backed up with a metal backing and finally&lt;br /&gt;
mounted as an ordinary block,&lt;br /&gt;
From the wax impression thus taken any number&lt;br /&gt;
of electros can be made.&lt;br /&gt;
In an electro the thin deposit of copper can&lt;br /&gt;
always be discerned on the surface, and it is thus&lt;br /&gt;
easily detected from the original half-tone block&lt;br /&gt;
which is made entirely of sheet copper.&lt;br /&gt;
An electro is also very much heavier by reason&lt;br /&gt;
of the backing up of same.&lt;br /&gt;
From an electro with a thick deposit of&lt;br /&gt;
copper, 80,000 to 100,000 impressions should be&lt;br /&gt;
easily printed without showing any appreciable&lt;br /&gt;
difference. -&lt;br /&gt;
In colour work it is often necessary to &ldquo;nickel&lt;br /&gt;
face &rsquo;&rsquo; electros. The reason for this is because in&lt;br /&gt;
most modern printing inks containing colour, an&lt;br /&gt;
amount of mercury is used which sets up a chemical&lt;br /&gt;
contact with the metal.&lt;br /&gt;
For this nickel facing, electrotypers make an&lt;br /&gt;
extra charge.&lt;br /&gt;
The cost of an ordinary electro varies between&lt;br /&gt;
1+d, and 1%d. per square inch, while a stereo costs&lt;br /&gt;
about half that amount. Nickel-faced electros&lt;br /&gt;
should be charged at 2d. per square inch.&lt;br /&gt;
In three or four-colour work, where the matter&lt;br /&gt;
of exact register is necessarily of the greatest&lt;br /&gt;
importance, it depends upon the electrotyper as to&lt;br /&gt;
What he will charge when guaranteeing the finest&lt;br /&gt;
work and a faithful result to the originals. These&lt;br /&gt;
colour electros have to be specially prepared with&lt;br /&gt;
wax of a perfectly even temperature.&lt;br /&gt;
In this particular instance the firm in whose&lt;br /&gt;
hands the work is placed should be asked to pro-&lt;br /&gt;
vide the customer with a set of &ldquo;proofs.&rdquo;&lt;br /&gt;
But in no case can one expect an electro or&lt;br /&gt;
stereo to be quite up to the standard of the original&lt;br /&gt;
block.&lt;br /&gt;
In some few instances, however, I have seen an&lt;br /&gt;
original set of three-colour blocks and a set of&lt;br /&gt;
electros from same printed side by side, when it&lt;br /&gt;
has been a puzzle even for an expert to detect as to&lt;br /&gt;
which was which ; but these happy instances are rare.&lt;br /&gt;
It is better if really first class work is expected&lt;br /&gt;
in a long run, to order a set of duplicate blocks at&lt;br /&gt;
the time of placing the order, as duplicate blocks&lt;br /&gt;
are always made from the original negatives, and&lt;br /&gt;
thereby a facsimile result should be obtained in&lt;br /&gt;
both cases.&lt;br /&gt;
A reduction of 10 per cent, or 15 per cent. is&lt;br /&gt;
usually allowed on the second or duplicate set.&lt;br /&gt;
This, though dearer than the cost of electros&lt;br /&gt;
would be, is decidely likely to give more satisfaction&lt;br /&gt;
in the end.&lt;br /&gt;
e&mdash;&ordm;-e&mdash;&mdash;&lt;br /&gt;
THE LITERARY YEAR BOOK.&rdquo;&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;-&lt;br /&gt;
GENERAL REVIEW.&lt;br /&gt;
MONG useful works of reference, so far as&lt;br /&gt;
British authors are concerned, first place&lt;br /&gt;
must be given to the &ldquo;Literary Year Book,&rdquo;&lt;br /&gt;
the fourteenth annual volume of which is now&lt;br /&gt;
* &ldquo;The Literary Year Book 1910,&amp;quot; fourteenth annua&lt;br /&gt;
volume. Edited by Basil Stewart. Routledge. 6s. Inet.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#564) ################################################&lt;br /&gt;
&lt;br /&gt;
178&lt;br /&gt;
TISIES A Pſ&rsquo;īYFIOR.&lt;br /&gt;
before us. Mr. Basil Stewart, author of &ldquo;The&lt;br /&gt;
Land of the Maple Leaf&rdquo; and other books, is to&lt;br /&gt;
be congratulated on being not only the editor, but&lt;br /&gt;
&mdash;we believe&mdash;the proprietor of a publication which&lt;br /&gt;
ought to be indispensable to every writer and reader&lt;br /&gt;
interested in books and their producers.&lt;br /&gt;
The present edition possesses the salient&lt;br /&gt;
features of its predecessors. The legal informa-&lt;br /&gt;
tion, given in a special section, has already been&lt;br /&gt;
dealt with in these columns. A useful literary&lt;br /&gt;
r&eacute;sum&eacute; for 1909 is afforded in the preface, recording,&lt;br /&gt;
as it does, particulars of the Imperial Press Con-&lt;br /&gt;
ference and its delegates from distant parts of the&lt;br /&gt;
Empire; distinctions conferred on authors, drama-&lt;br /&gt;
tists, and publishers, and changes which have taken&lt;br /&gt;
place in the journalistic profession, bookselling and&lt;br /&gt;
publishing trades during the past twelve months.&lt;br /&gt;
Other matters of interest are the lists of news-&lt;br /&gt;
papers, of publishers, and principal libraries in the&lt;br /&gt;
United Kingdom and abroad, all of which are&lt;br /&gt;
noteworthy. Then we have the usual records of&lt;br /&gt;
indexers, typists, photographers, bookbinders, etc.&lt;br /&gt;
At last we are glad to see that the sprinkling of&lt;br /&gt;
the edges of the book with two separate colours (so&lt;br /&gt;
as to indicate Parts I. and II.) has been abandoned.&lt;br /&gt;
These divisions have not been helpful to a work&lt;br /&gt;
intended for ready reference, and it is hoped that&lt;br /&gt;
in a future edition the entire contents will be&lt;br /&gt;
arranged alphabetically, so that &ldquo;Obituaries&rdquo; may&lt;br /&gt;
not again come before &ldquo;Booksellers,&rdquo; nor &ldquo;Typists&rdquo;&lt;br /&gt;
before &ldquo;Libraries.&rdquo;&lt;br /&gt;
The calendar would be increased in usefulness if&lt;br /&gt;
an almanac for the ensuing year (1911) were added ;&lt;br /&gt;
surely the editor cannot consider that this addition&lt;br /&gt;
would militate against the selling of the book&lt;br /&gt;
twelve months hence.&lt;br /&gt;
In previous years we have gone very carefully&lt;br /&gt;
through the directory of authors, the lists of news-&lt;br /&gt;
papers, literary societies, etc., and have pointed out&lt;br /&gt;
many omissions. With every wish to be of service&lt;br /&gt;
both to the editor and to authors who purchase the&lt;br /&gt;
book, we have ventured to note various short-&lt;br /&gt;
comings in the hope of their being subsequently&lt;br /&gt;
corrected. In a publication which calls itself the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; and claims to be authorita-&lt;br /&gt;
tive, it is incumbent on The Author to draw&lt;br /&gt;
attention to matters requiring revision. If the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; is already useful, we main-&lt;br /&gt;
tain that it could be made of far more service than&lt;br /&gt;
at present were certain features attended to in a&lt;br /&gt;
business-like way. The literary profession is not&lt;br /&gt;
one that stands still. During the past twelve&lt;br /&gt;
months the number of journalists has considerably&lt;br /&gt;
increased, and the output of fiction alone, according&lt;br /&gt;
to certain returns, has greatly augmented. Taking&lt;br /&gt;
these lists and going through the names of authors&lt;br /&gt;
casually, we find not a few omissions in this new&lt;br /&gt;
issue. Last year 343 pages were devoted to&lt;br /&gt;
authors. As the list this year occupies only one&lt;br /&gt;
page more, it is regrettably evident that no com-&lt;br /&gt;
prehensive attempt has yet been made to compile&lt;br /&gt;
a &ldquo;full&rdquo; and authoritative directory of authors&lt;br /&gt;
resident in the British Isles as ought to have been&lt;br /&gt;
done after thirteen years&amp;#039; experience. In this&lt;br /&gt;
insular country we are too prone to shut our eyes&lt;br /&gt;
to facts, and imagine that we lead long after we&lt;br /&gt;
have been overtaken by foreigners in some special&lt;br /&gt;
field of endeavour. By comparing what has been&lt;br /&gt;
done abroad, that which is lacking at home may&lt;br /&gt;
perhaps be shown in the most forcible manner.&lt;br /&gt;
Some years ago Mr. K&uuml;rschner brought out in&lt;br /&gt;
Germany what he called his &ldquo;Literary Calendar.&rdquo;&lt;br /&gt;
It is now edited by Dr. Henry Klenz. We refer&lt;br /&gt;
to that book because an examination of it should&lt;br /&gt;
convince Mr. Basil Stewart better than any criticism&lt;br /&gt;
of ours could do what is required by authors in this&lt;br /&gt;
country. The two great differences between the&lt;br /&gt;
German and the British literary year books are,&lt;br /&gt;
first, that every particle of padding is eliminated&lt;br /&gt;
from the former, whilst there is a good deal of&lt;br /&gt;
superfluous matter inserted in the latter; and&lt;br /&gt;
secondly, that the former is issued by authors for&lt;br /&gt;
authors, whilst the latter seems to be the outcome&lt;br /&gt;
of a publisher&amp;#039;s enterprise in favour rather of&lt;br /&gt;
publishers than of authors.&lt;br /&gt;
Printed in two columns and in smaller type than&amp;#039;&lt;br /&gt;
Mr. Stewart&amp;#039;s book, the German list of authors&lt;br /&gt;
occupies not 344, but 1,926 pages. At the same&lt;br /&gt;
time all sorts of ingenious abbreviations or symbols&lt;br /&gt;
are used to save space. In other words, the&lt;br /&gt;
editor of the book evidently employs specialists&lt;br /&gt;
exclusively to canvass the entire literary profession&lt;br /&gt;
of Germany, so that the book is, in every sense of&lt;br /&gt;
the word, trustworthy. That may have entailed&lt;br /&gt;
an initial expenditure of capital; but it has&lt;br /&gt;
evidently been a sound investment. We have in&lt;br /&gt;
this German publication, first, a careful digest of&lt;br /&gt;
copyright and other laws, and a list of Literary&lt;br /&gt;
Societies representing the different German States.&lt;br /&gt;
These demonstrate how efficiently the literary pro-&lt;br /&gt;
fession is organised in the &ldquo;Fatherland,&rdquo; so that&lt;br /&gt;
the various bodies can act unitedly when occasion&lt;br /&gt;
arises. Then follows a carefully-edited and&lt;br /&gt;
exhaustive &ldquo;Obituary &amp;#039;&amp;#039; list. But the body of the&lt;br /&gt;
book consists of the Directory of Authors. After&lt;br /&gt;
these there is a list of newspapers and magazines,&lt;br /&gt;
a list of publishers and agents, and, finally,&lt;br /&gt;
particulars of important theatres, with their official&lt;br /&gt;
staffs, are given, such institutions being Very&lt;br /&gt;
helpful to dramatists.&lt;br /&gt;
In taking &ldquo;K&uuml;rschner&amp;#039;s Literary Calendar&rsquo;&rsquo; as a&lt;br /&gt;
model which many authors in this country would&lt;br /&gt;
like followed, and not begrudge the cost of getting,&lt;br /&gt;
it is not advocated that Mr. Stewart&amp;#039;s Literary&lt;br /&gt;
Year Book should be suddenly re-cast. The&lt;br /&gt;
change can be made gradually, and every&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#565) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES&lt;br /&gt;
A UITESIOR. 179&lt;br /&gt;
succeeding edition can be improved if the compila-&lt;br /&gt;
tion is carried out on the right lines. At present&lt;br /&gt;
little practical help is given to the literary pro-&lt;br /&gt;
fession by merely republishing large sections of the&lt;br /&gt;
book year by year without such systematic&lt;br /&gt;
checking as obtains in Kelly&amp;#039;s Post Office London&lt;br /&gt;
Directory.&lt;br /&gt;
Lord Rosebery has lately referred to the Silent&lt;br /&gt;
Voter. The Silent Scribbler, it should be remem-&lt;br /&gt;
bered, is quick to perceive if he is getting value for&lt;br /&gt;
his money. He soon recognises any marked&lt;br /&gt;
improvement in a useful work of reference. Other-&lt;br /&gt;
wise he contents himself with only subscribing&lt;br /&gt;
Occasionally instead of annually. These remarks&lt;br /&gt;
are particularly justified on the present occasion,&lt;br /&gt;
when the price of the &ldquo;Literary Year Book&rdquo; has been&lt;br /&gt;
increased from 58. to 6s. net, without any indica-&lt;br /&gt;
tion that greater value is being offered than in&lt;br /&gt;
previous years. We can only assure the editor&lt;br /&gt;
and proprietor of the book that there is a large&lt;br /&gt;
and increasing literary public ready to support an&lt;br /&gt;
Authors&rsquo; Directory compiled in a really reliable&lt;br /&gt;
manner. It is with every good wish that we make&lt;br /&gt;
this criticism, and we look forward to seeing the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; take, in the near future, the&lt;br /&gt;
high position it ought to do.&lt;br /&gt;
A. R.&lt;br /&gt;
BOOK PRICES GURRENT.&rdquo;&lt;br /&gt;
TVBE first part of &ldquo;Book Prices Current &amp;quot; for&lt;br /&gt;
1910 records the auctions, fourteen in&lt;br /&gt;
number, of October and November, 1910.&lt;br /&gt;
It need hardly be said that the record maintains&lt;br /&gt;
its high level of excellence, and is full of informa-&lt;br /&gt;
tion equally delightful to the bibliographer and&lt;br /&gt;
indispensable for the collector of books. Where&lt;br /&gt;
the matter is so varied, whilst the tast&eacute;s and&lt;br /&gt;
interests of book collectors are equally diversified,&lt;br /&gt;
to select what shall be of interest to all, or to avoid&lt;br /&gt;
the omission of particulars of moment to others,&lt;br /&gt;
is an impossible task; and this must be our&lt;br /&gt;
apology for offering a few notes only on a publica-&lt;br /&gt;
tion that must be carefully read from end to end&lt;br /&gt;
if its value is to be rightly appreciated. The&lt;br /&gt;
sales of the new season began with good prices&lt;br /&gt;
for the time of year ; but, subsequently, sales&lt;br /&gt;
proportionately remunerative seem hardly to have&lt;br /&gt;
* &ldquo;Book Prices Current : A Bi-monthly Record of the&lt;br /&gt;
Price at which Books have been sold by Auction.&rdquo;&lt;br /&gt;
London : Elliott Stock. Part I. 1910.&lt;br /&gt;
ruled. The present may still be regarded as&lt;br /&gt;
favourable to purchasers rather than to sellers.&lt;br /&gt;
On November 1 a collection of twenty-one&lt;br /&gt;
different works by Oscar Wilde, first editions, and&lt;br /&gt;
&eacute;ditions de lure, sold at advanced prices. The&lt;br /&gt;
&ldquo;Collected Edition,&rdquo; 14 vols., Japanese vellum,&lt;br /&gt;
fetched &pound;18 10s. Later in the month a copy&lt;br /&gt;
of &ldquo;The Vicar of Wakefield,&rdquo; first edition, uncut,&lt;br /&gt;
2 vols., Salisbury, 1766, sold at Messrs. Hodgson&amp;#039;s&lt;br /&gt;
for &pound;105. The same firm sold on November 24&lt;br /&gt;
a copy of the first edition of Keats&rsquo; &ldquo;Endymion,&rdquo;&lt;br /&gt;
1818, for &pound;12 15s. An item that may have&lt;br /&gt;
particular interest for authors was the proof sheets&lt;br /&gt;
of nearly the whole of vol. I. of Bewick&rsquo;s &ldquo; British&lt;br /&gt;
Birds,&rdquo; with numerous corrections and additions&lt;br /&gt;
in Bewick&amp;#039;s handwriting, sold for &pound;12 10s. The&lt;br /&gt;
sales of the present season will deserve to be&lt;br /&gt;
watched with particular interest, as, Saving in&lt;br /&gt;
the case of certain pre-eminent books which&lt;br /&gt;
always command high and constantly enhanced&lt;br /&gt;
prices, the sales of last year seem to have shown&lt;br /&gt;
a falling off in the value of many classes of what&lt;br /&gt;
may be called collectors&rsquo; books.&lt;br /&gt;
e-s&ordm;-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
A TRIBUTE.&lt;br /&gt;
DEAR SIR,--I have been tempted many times,&lt;br /&gt;
when studying the correspondence columns of The&lt;br /&gt;
Author, to enter the lists on behalf of those much-&lt;br /&gt;
abused individuals publishers and editors. May&lt;br /&gt;
I relate my own experience with regard to the&lt;br /&gt;
return and care of manuscripts, and general&lt;br /&gt;
treatment from the &ldquo;powers that be.&rdquo;&lt;br /&gt;
Since the year 1896, I have had accepted, paid&lt;br /&gt;
for, and published, thirty-four books and forty&lt;br /&gt;
magazine short stories. Among the books, I find,&lt;br /&gt;
on referring to my note book, that one travelled to&lt;br /&gt;
twenty-eight different publishers before being placed.&lt;br /&gt;
Another visited twenty-three firms. Seven books&lt;br /&gt;
travelled between them to ninety-five different firms&lt;br /&gt;
before reaching their haven.&lt;br /&gt;
Among the short tales, I find that, in the early&lt;br /&gt;
days of stress and struggle, several made from&lt;br /&gt;
eight to twelve journeys each to editorial judgment&lt;br /&gt;
bars.&lt;br /&gt;
During these past fourteen years I have&lt;br /&gt;
never lost a manuscript. I have never been&lt;br /&gt;
obliged to re-type a manuscript owing to rough&lt;br /&gt;
usage on their journeys. I have never received&lt;br /&gt;
back a manuscript badly packed. I have never&lt;br /&gt;
lost a millboard backing. I have never been&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#566) ################################################&lt;br /&gt;
&lt;br /&gt;
180&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
unpaid for my work, though the sums received&lt;br /&gt;
have varied considerably. I have never received&lt;br /&gt;
uncourteous treatment from publishers or editors.&lt;br /&gt;
Only once have I had a slight difference of opinion&lt;br /&gt;
with a publisher. I have only once had to apply&lt;br /&gt;
for help to the Authors&rsquo; Society in the case of a&lt;br /&gt;
dilatory firm. I started my literary career without&lt;br /&gt;
one scrap of influence, and I have not one single&lt;br /&gt;
grumble to record against publishers or editors.&lt;br /&gt;
My experience ought not to be unique, and may&lt;br /&gt;
I conclude by giving a few hints to those who are&lt;br /&gt;
starting the long climb towards success.&lt;br /&gt;
1. Attach a stout piece of yellow millboard to&lt;br /&gt;
the back of every manuscript, whether it be a&lt;br /&gt;
short tale or a book. The same paper fastener&lt;br /&gt;
that holds the leaves together should pierce the&lt;br /&gt;
millboard.&lt;br /&gt;
2. Divide lengthy manuscript into two or three&lt;br /&gt;
portions for the convenience of the reader. Besides&lt;br /&gt;
the millboard at the back, there should be a title&lt;br /&gt;
page on each portion giving title, name and&lt;br /&gt;
address of author, and numbered plainly, Part&lt;br /&gt;
One, Two, etc.&lt;br /&gt;
Publishers are busy men, and anything that&lt;br /&gt;
saves them time is appreciated.&lt;br /&gt;
3. Any accompanying letter should be condensed&lt;br /&gt;
into four lines, three if possible. No amount of&lt;br /&gt;
letter writing will persuade a business man to take&lt;br /&gt;
an article that does not suit his class of readers.&lt;br /&gt;
4. Never forget to enclose return postage. It&lt;br /&gt;
is an expense, but why should we expect publishers&lt;br /&gt;
to pay for the return of articles they have not&lt;br /&gt;
asked to read 2&lt;br /&gt;
5. Do not stint string or stout paper in sending&lt;br /&gt;
out manuscript. It is false economy to damage&lt;br /&gt;
your literary goods, and I rather fancy that if&lt;br /&gt;
complaints could be sifted to the foundation, that&lt;br /&gt;
very often the author himself is more to blame&lt;br /&gt;
for careless dispatch than clerks for careless&lt;br /&gt;
return.&lt;br /&gt;
As I am not likely to rush into print again,&lt;br /&gt;
may I say just one word to those, who, like myself&lt;br /&gt;
fourteen years ago, are beginning the fight,&lt;br /&gt;
without influence, with very little literary know-&lt;br /&gt;
ledge, without much wisdom. If you have a story&lt;br /&gt;
to tell, never give in. That story will be told to&lt;br /&gt;
the world sooner or later. If you have no story to&lt;br /&gt;
tell, then drop out of the ranks, and do not try to&lt;br /&gt;
manufacture one. Genius may and does very often&lt;br /&gt;
fly straight to the mark with but small labour.&lt;br /&gt;
To the average writer, however, it is plodding,&lt;br /&gt;
grit, and never knowing when you are beaten,&lt;br /&gt;
that wins the day.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
RAYMOND JACBERNS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COLLES v. MAUGHAM.&lt;br /&gt;
DEAR SIR,-We are instructed by Mr. Colles to&lt;br /&gt;
draw your attention to some inaccuracies in your&lt;br /&gt;
report of this case in the February number of The&lt;br /&gt;
Author, which might leave a wrong impression of&lt;br /&gt;
the trial and the evidence given thereat in the&lt;br /&gt;
minds of your readers.&lt;br /&gt;
Firstly : You only refer to the evidence of Mr.&lt;br /&gt;
Waller and Mr. Maugham, and make no mention&lt;br /&gt;
of the evidence given by Mr. Colles or his witnesses,&lt;br /&gt;
neither do you repeat Mr. Waller&amp;#039;s cross-examina-&lt;br /&gt;
tion which confirmed his letter to Mr. Colles in&lt;br /&gt;
July, 1903, stating that Mr. Waller liked the play&lt;br /&gt;
&ordm; was inclined to treat for it, which he ultimately&lt;br /&gt;
did.&lt;br /&gt;
Secondly : The report of Mr. Waller&amp;#039;s evidence&lt;br /&gt;
concludes with the words &ldquo;nothing whatever,&rdquo;&lt;br /&gt;
leaving it to be inferred that Mr. Colles had&lt;br /&gt;
nothing to do with the ultimate acceptance of&lt;br /&gt;
the play. That this was not the case the verdict.&lt;br /&gt;
of the jury abundantly testifies.&lt;br /&gt;
Thirdly : You report Mr. Maugham as saying&lt;br /&gt;
that he was paying commission to other persons in&lt;br /&gt;
respect of the introduction to Mr. Waller. Both&lt;br /&gt;
Mr. Golding Bright, the defendant&rsquo;s agent, and&lt;br /&gt;
Mr. Fred. Ker, in giving evidence in support of&lt;br /&gt;
the defendant&rsquo;s case, demonstrated that this was&lt;br /&gt;
incorrect, as the former received 5 per cent. for&lt;br /&gt;
collecting royalties, and the latter the same com-&lt;br /&gt;
mission for suggestions and advice.&lt;br /&gt;
Fourthly : Your report states that the verdict&lt;br /&gt;
was for half the amount claimed. This is incor-&lt;br /&gt;
rect, as the jury admitted the whole commission at&lt;br /&gt;
10 per cent. but made an allowance (under the&lt;br /&gt;
directions of the Judge) for services which Mr.&lt;br /&gt;
Colles did not render.&lt;br /&gt;
Fifthly : On page 141 of the paper, in comment-&lt;br /&gt;
ing upon our letter to you complaining of the&lt;br /&gt;
inaccuracies in your report of the case in the&lt;br /&gt;
January number, you say that the declaration that&lt;br /&gt;
Mr. Colles was entitled to 5 per cent. &ldquo;emphasises&lt;br /&gt;
what commission a Court of law is likely to allow&lt;br /&gt;
an agent.&rdquo; As we have already pointed out, the&lt;br /&gt;
reduction from 10 per cent. to 5 per cent. was to&lt;br /&gt;
provide for the commission given to another person&lt;br /&gt;
for that part of the work which Mr. Colles had not&lt;br /&gt;
done, namely, collection of royalties. This obviously&lt;br /&gt;
does not affect the commission contracted for, which&lt;br /&gt;
was 10 per cent. as set out in the statement of&lt;br /&gt;
claim, and as actually admitted in the defence to&lt;br /&gt;
the action.&lt;br /&gt;
We must request you to be good enough either&lt;br /&gt;
to insert this letter in your next issue, or to give a&lt;br /&gt;
correct report of the case.&lt;br /&gt;
Yours obediently,&lt;br /&gt;
ADAMS &amp;amp; ADAMS.&lt;br /&gt;
February 18th, 1910.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#567) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
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ſ&ordm; &amp;amp; ... Y&ordm;ss &ordm; &Aacute;l &sect;&lt;br /&gt;
&ordm; $3% &ordm; e lv&ordm;s &ordm; &amp;lt;=} s: &ordm;&lt;br /&gt;
3. &sect;&ordm; &sect;&lt;br /&gt;
ſ - 42 s&ordm; &sect; 2.&lt;br /&gt;
&ordm; # &ordm;, Er&ordm; S$s.&lt;br /&gt;
&ordm; &ordm; Y-&amp;gt;&lt;br /&gt;
ſ&ordm; &ordm;: &ordm; . ( % &sect;&lt;br /&gt;
* &sect;&lt;br /&gt;
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s&ordm;&lt;br /&gt;
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iſ,&lt;br /&gt;
11,&lt;br /&gt;
MONTHLY MAGAZINE&lt;br /&gt;
For the Publication of&lt;br /&gt;
The following are among the Contributors to the March&lt;br /&gt;
Number t&mdash;&lt;br /&gt;
CHAPMAN &amp;amp; HALL, LTD.,&lt;br /&gt;
ORIGINAL POETRY, .&lt;br /&gt;
LITERARY ARTICLES,&lt;br /&gt;
AND REVIEWS. . . .&lt;br /&gt;
H. F. B. BRETT-SMITH,&lt;br /&gt;
F. W. BOURDILLON,&lt;br /&gt;
C. KENNETT BURROW,&lt;br /&gt;
LADY ALIX EGERTON.&lt;br /&gt;
F. O&amp;#039;NEILL GALLAGHER,&lt;br /&gt;
DORA GREENWELL McCHESNEY,&lt;br /&gt;
JOHN SPENCER MUIRHEAD,&lt;br /&gt;
GEORGE NORTON NORTHROP,&lt;br /&gt;
ARTHUR L. SALVION,&lt;br /&gt;
EDWARD THOMAS,&lt;br /&gt;
KATHARINE TYNAN,&lt;br /&gt;
H. M. WAITHMAN,&lt;br /&gt;
ROSAMIOND MARRIOTT WATSON,&lt;br /&gt;
RICHARD WHITEING.&lt;br /&gt;
Pr&iacute;ce ONE SHILLING net.&lt;br /&gt;
HENRIETTA ST., STRAND, W.C.&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
Are advertised for weekly in&lt;br /&gt;
&amp;quot;THE PUBLISHERS&rsquo; CIRCULAR&lt;br /&gt;
AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
(ESTABLISHED 1837),&lt;br /&gt;
Which also gives Lists of the New Books published&lt;br /&gt;
during the Week, Announcements of Forthcoming&lt;br /&gt;
Books, &amp;amp;c.&lt;br /&gt;
Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
in the Books Wanted Columns.&lt;br /&gt;
Sent for 52 weeks, post free, for 10s. 6d. horne and&lt;br /&gt;
13s. 6d. foreign.&lt;br /&gt;
Speciment Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
Office : 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
A Member of the Society of Authors highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENs, S.W.,&lt;br /&gt;
as a Residence for Women Workers and Students. It is a&lt;br /&gt;
quiet comfortable house ; the number of boarders is limited&lt;br /&gt;
to 14, and references are required. Terms from 25s, a week.&lt;br /&gt;
Redcliffe Gardens is five minutes&amp;#039; walk from Earl&amp;#039;s Court&lt;br /&gt;
District and Tube Stations.&lt;br /&gt;
Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting Offices&lt;br /&gt;
(Established 1893),&lt;br /&gt;
223A, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MISS. 1s. 1,000 words; over 40,000, 10d. No unfair&lt;br /&gt;
&ldquo;cutting &rdquo; of prices.&lt;br /&gt;
Educated Operators, GOOD PAPER, Standard Machines.&lt;br /&gt;
I?] FER ENCES.&lt;br /&gt;
AUTHORS &amp;amp; PLAYW RIGHTS.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Department,&lt;br /&gt;
WIENER AGENCY, LD.,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNIE BUILDING, NEW YORK.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. neatly and accurately copied, 9d. per&lt;br /&gt;
1,000 words, including Carbon Copy.&lt;br /&gt;
Also General Copying, Plays, Actors&amp;#039; Parts, &amp;amp;c.&lt;br /&gt;
MISS B, KERRY, Rohilla, CARSHALION, Surrey.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. and GENERAL COPYING undertaken from&lt;br /&gt;
1s. per 1,000 words. Duplicate copies one-third price.&lt;br /&gt;
TRIAL ORDER SOLICITED.&lt;br /&gt;
GOOD WORK GUARANTEED.&lt;br /&gt;
A. Wilson, 9, ALEXANDRA ROAD, STAMFORD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#568) ################################################&lt;br /&gt;
&lt;br /&gt;
IV AD VERTISEMENTS.&lt;br /&gt;
TYPEWRITING&lt;br /&gt;
with BRAINS.&lt;br /&gt;
MISS RALLINGi is an&lt;br /&gt;
EXPERT TYPIST&lt;br /&gt;
- and she uses her -&lt;br /&gt;
BRAINS as Well as&lt;br /&gt;
her HANDS on all the&lt;br /&gt;
WORK She undertakes.&lt;br /&gt;
PLEASE &ldquo;Miss Ralling has typed for me on&lt;br /&gt;
READ several occasions, and I have much&lt;br /&gt;
MY pleasure in saying that she typed most&lt;br /&gt;
beautifully and with much care. She&lt;br /&gt;
LATEST did some very difficult work for me.&rdquo;&mdash;&lt;br /&gt;
TESTIMONIAL. Mrs. F. G., Haslemere, Sw&ordm;rrey.&lt;br /&gt;
ALL WORK ENTRUSTED TO ME IS WELL DONE.&lt;br /&gt;
AUTHORS are respectfully requested&lt;br /&gt;
to NOTE MY GHARGES ARE WERW LOW.&lt;br /&gt;
CORRECTNESS! GHEAPNESS!! QUICKNESS!!!&lt;br /&gt;
SEND A SAMPLE ORDER&mdash;&lt;br /&gt;
176, LOUGHBOROUGH RD., LONDON, S.W.&lt;br /&gt;
TWO popular Hotels in Gentral London.&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL.&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL.&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
Passenger Lifts. Bathrooms on every Floor. Lounges&lt;br /&gt;
and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors. Perfect Sanita-&lt;br /&gt;
tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance), single, from&lt;br /&gt;
3|6 to 6|=.&lt;br /&gt;
Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote,&lt;br /&gt;
Breakfast and Dinner, from 8|6 to 1016 per day.&lt;br /&gt;
Full Tariff and Testimonials on application.&lt;br /&gt;
Telegraphic Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
Kingsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
The&lt;br /&gt;
BLICK&lt;br /&gt;
is the easiest&lt;br /&gt;
Typewriter to&lt;br /&gt;
learn&mdash;an hour does&lt;br /&gt;
it&mdash;the writing is beautis&lt;br /&gt;
fully clear and always in&lt;br /&gt;
sight. It makes splendid care&lt;br /&gt;
bons. Then it is easy to carry&lt;br /&gt;
about in its wooden case. It weighs&lt;br /&gt;
machines at half the cost.&lt;br /&gt;
Price 9 to 13 Guineas.&lt;br /&gt;
Write for TBooklet No. 84.&lt;br /&gt;
That Typewriting Account :&lt;br /&gt;
It soon mounts up, doesn&rsquo;t it 2 If you reckon 6,000&lt;br /&gt;
words as your weekly quota and are paying fees&lt;br /&gt;
to a Typist on that basis, a year&rsquo;s bill of costs&lt;br /&gt;
will enable you to buy a &ldquo;Blick.&rdquo;&lt;br /&gt;
the &ldquo;Blick&rdquo; will last you for many years,&lt;br /&gt;
93 to 14 lbs., and it has centred in it all&lt;br /&gt;
the best qualities of the higher-priced&lt;br /&gt;
Gash Discount or Easy Terms,&lt;br /&gt;
The BLICKensderfer Co., Ld., * s&ordm;&ordm;&lt;br /&gt;
And as&lt;br /&gt;
being so strongly made and the&lt;br /&gt;
mechanism so simple that it&lt;br /&gt;
seldom gets out of order, you&lt;br /&gt;
will be saving many $&rsquo;s&lt;br /&gt;
by the investment.&lt;br /&gt;
2&lt;br /&gt;
Printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORs (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/403/1910-03-01-The-Author-20-6.pdf</td><td>publications, The Author</td></tr><tr><td>404</td><td>https://historysoa.com/items/show/404</td><td>The Author, Vol. 20 Issue 07 (April 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+07+%28April+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 07 (April 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-04-01-The-Author-20-7</td><td></td><td></td><td></td><td></td><td>181&ndash;204</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-04-01&quot;&gt;1910-04-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>7</td><td></td><td></td><td>19100401</td><td>C be Elut b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors.&lt;br /&gt;
Monthly.)&lt;br /&gt;
Wol. XX.-No. 7. t&lt;br /&gt;
APRIL 1, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
- - PAGE PAGE&lt;br /&gt;
Notices ... a s : - - - t&ordm; &ordm; &ordm; t&ordm; &ordm; 0. - * 0. * - - - e. e. ..., 181 Stamping Music ... - - - * - - t&ordm; e &ordm;s &amp;amp; 6 t&ordm; - - - s &amp;amp; &copy; ... 194&lt;br /&gt;
Committee Notes * * * * e &ordm; &amp;#039;&ordm; e s - &copy; t&ordm; ... ... ... 183 The Reading Branch ... ... ... ... ... ... ... 194&lt;br /&gt;
Books published by Members of the Society ... ... ... 185 Remittances ... ... ... ... ... ... ... ... 194&lt;br /&gt;
Books published in America by Members... * * * * * * ... 187 General Notes ... - - - * * * * * * - t&ordm; &ordm; * * * &amp;amp; &ordm; &ordm;s ... 195&lt;br /&gt;
Literary, Dramatic and Musical Notes ... e - e. t&ordm; a g ... 187 Committee Election ... * * * * * * - e. e. ſ&ordm; - - * . . ... 196&lt;br /&gt;
Paris Notes ... ... ... ... ... ... ... ... 189 General Meetings ... ... ... ... ... ... ... 197&lt;br /&gt;
The Editorial Attitude... * = * * * * - - - * - - e e ... 190 United States Notes ... * * * * * * - - - &bull; * 1 * * * ... 198&lt;br /&gt;
International Congress of Publishers &bull; &amp;amp; e * * * &amp;amp; g t&ordm; ... 192 The Utility of Reviews... * - a &bull; e is * * * * * , t&ordm; - - ... 200&lt;br /&gt;
How to Use the Society &amp;amp; &copy; e e &amp;amp; e t&ordm; a e e - ee &amp;amp; ... 193 The Fairy Tale in Fiction ... * * - - - - - - - * * * ... 20.1&lt;br /&gt;
Warnings to the Producers of Books &bull; * - ... is e e ... 193 The Art of Illustrating... - - - t&ordm; e - &bull; * * - - - * * * ... 202&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; 4 &ordm;&amp;#039; t&ordm; 4 t&ordm; * - - &amp;lt;e e - ... 193 American Journalism ... &bull; * - * * * - - - &bull; * * * - - ... 203&lt;br /&gt;
Dramatic Authors and Agents &bull; * * - - - * - - # t&ordm; a ... 194 Stops; or, How to Punctuate 204&lt;br /&gt;
Registration of Scenarios and Original Plays ... ... . ... 194 Correspondence ... - * - - 204&lt;br /&gt;
Warnings to Musical Composers - &laquo;&raquo; - 194&lt;br /&gt;
r&mdash;&lt;br /&gt;
TO Authors and Journalists,&lt;br /&gt;
Are you SATISFIED with the quality of&lt;br /&gt;
your work? - -&lt;br /&gt;
Does&lt;br /&gt;
your&lt;br /&gt;
market?&lt;br /&gt;
literary output find a ready&lt;br /&gt;
These are pertinent questions and well worth&lt;br /&gt;
answering. -&lt;br /&gt;
Many young writers would meet with success&lt;br /&gt;
if they took the trouble to learn the technique&lt;br /&gt;
of their art. Our Students are successful&lt;br /&gt;
because we instil into them that subtle some-&lt;br /&gt;
thing which makes for success. We cultivate&lt;br /&gt;
their special bent and enable them to make the&lt;br /&gt;
most of their natural gifts.&lt;br /&gt;
A Course of Training under our supervision&lt;br /&gt;
will, at the very outset, put you on the path of&lt;br /&gt;
progress&mdash;the road that leads to the Editorial&lt;br /&gt;
Sanctum. Let us tell you more about this; we&lt;br /&gt;
shall be pleased to send you full particulars on&lt;br /&gt;
receipt of a post-card.&lt;br /&gt;
Address your application to the-&lt;br /&gt;
LITERARY CORRESPONDENGE GOLLEGE,&lt;br /&gt;
TYPEwriting.&lt;br /&gt;
Authors&amp;#039; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HORNE has typed for me literary matter to the&lt;br /&gt;
ext ent of some bundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her work.-FRANK SAVILE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDIESEX.&lt;br /&gt;
YWYAN TED 3.&lt;br /&gt;
AUTHORS&amp;#039; MSS., PLAYS, AND GENERAL COPYING.&lt;br /&gt;
Don&rsquo;t hesitate. Send a trial order now. I guarantee&lt;br /&gt;
satisfaction. One Carbon Duplicate supplied grafis&lt;br /&gt;
with first order. Terms on application.&lt;br /&gt;
C. HERBERT CAESAR,&lt;br /&gt;
Homefield, Woodstock Rd., ST. ALBANS, HERTs.&lt;br /&gt;
AUTHORS&rsquo; TYPEWRITING.&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
MRS. GILL, Typetoriting Office,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&rsquo; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
Genera.) Copying * * ... 1/1 ?? y &amp;gt; 3 &ordm; 1/3&lt;br /&gt;
Plays, ruled * t&ordm; - * ... 1)- y; p&ordm; * 9. 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. ST EVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
ECRETARY.-Gentleman, 37, unmarried, competent&lt;br /&gt;
to give practical literary assistance, would like&lt;br /&gt;
engagement, whole or part time, town or country;&lt;br /&gt;
typist (own machine).-F. S., 48, BRIDGE RoAD WEST,&lt;br /&gt;
BATTERSEA PARK, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#570) ################################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
&lt;br /&gt;
SAMPSON LOW, MARSTON &amp;amp; CD., LTD.&lt;br /&gt;
Admiral Mahan&rsquo;s Famous&lt;br /&gt;
Sea Power Books.&lt;br /&gt;
*THE INFLUENCE OF SEA POWER&lt;br /&gt;
UPON HISTORY, 1660-1783. With 25&lt;br /&gt;
Charts of Great Naval Battles. Demy 8vo, cloth&lt;br /&gt;
extra, gilt top, 18s.&lt;br /&gt;
&ldquo;THE INFLUENCE of sea Power on&lt;br /&gt;
THE FRENICH REVOLUTION AND&lt;br /&gt;
EMPIRE. With 13 Maps and Battle Plans.&lt;br /&gt;
Two yols., demy 8vo, cloth extra, gilt top, 30s.&lt;br /&gt;
*THE INFLUENCE OF SEA POWER IN&lt;br /&gt;
ITS RELATIONS TO THE WAR OF&lt;br /&gt;
1812. In two volumes, demy 8vo., cloth, with&lt;br /&gt;
Maps and Plates. 36s, net.&lt;br /&gt;
* May be had separately.&lt;br /&gt;
These Volumes (not sold separately) are&lt;br /&gt;
also now published in a new and cheaper form.&lt;br /&gt;
5 Volumes, demy 8vo, navy blue cloth, gilt&lt;br /&gt;
top, 52/6 net.&lt;br /&gt;
THE LIFE OF NELSON. The Embodiment&lt;br /&gt;
of the Sea Power of Great Britain. New and&lt;br /&gt;
Cheaper Edition. Demy 8vo, cloth, 7s. 6d. met;&lt;br /&gt;
or tree calf, boxed, 14S. met.&lt;br /&gt;
THE LIFE OF WELLINGTON. By the Right&lt;br /&gt;
Hon. Sir HERBERT MAXWELL, Bart., M.P., F. R.S.&lt;br /&gt;
With 76 Illustrations. 1,000 pages. In 2 yols.,&lt;br /&gt;
medium 8vo, cloth gilt, gilt tops. Price 36s.&lt;br /&gt;
net; in 1 Yol., price 18s, net.&lt;br /&gt;
THE GROWTH OF MODERN PHILO-&lt;br /&gt;
SOPHY. By C. DELISLE BURNS, M.A. (Cantab.).&lt;br /&gt;
With 16 Illustrations of Popular Philosophers.&lt;br /&gt;
Crown 8vo, cloth, 3s. 6d. net. The Significance&lt;br /&gt;
of Philosophy &mdash; The Renaissance &mdash; Spinoza and&lt;br /&gt;
Leibnitz &mdash; The English School &mdash; The French&lt;br /&gt;
Enlightenment &mdash; The German Aufkl&auml;rung and&lt;br /&gt;
Kant&mdash;The Critical Philosophy&mdash;The Kantians,&lt;br /&gt;
Fichte, and Romanticism&mdash; Hegel &mdash; Herbart and&lt;br /&gt;
Schopenhauer&mdash;Physical Science and Philosophy.&lt;br /&gt;
HENRY FIELDING. An Informal Memoir by&lt;br /&gt;
G. M. GoDDEN. Demy 8vo (9 by 6), cloth extra,&lt;br /&gt;
10s. 6d. net. Also a Special Edition of 250&lt;br /&gt;
numbered copies, on handmade paper, signed&lt;br /&gt;
by the Author, 21s. net. -&lt;br /&gt;
ENGLISH CATALOGUE OF BOOKS FOR&lt;br /&gt;
1909. A work indispensable to Authors.&lt;br /&gt;
Royal 8yo, cloth, 327 pp. 6s. net.&lt;br /&gt;
L O R N A DO O N E : A Ronnance of&lt;br /&gt;
Exmoor. By the late R. D. BLACKMORE. The&lt;br /&gt;
Dulverton Edition, With illustrations by C. E.&lt;br /&gt;
BRITTAN and C. E. BROCK. Crown 4to, cloth,&lt;br /&gt;
gilt top, price 21s. net ; also an Edition de Luxe,&lt;br /&gt;
Demy 4to, full morocco, &pound;33s. net.&lt;br /&gt;
LORNA DOONE. By R. D. BLACKMORE. Doone-&lt;br /&gt;
land Edition. With an Introduction and Notes&lt;br /&gt;
by H. S.Now DEN WARD, and 50 illustrations by&lt;br /&gt;
Mrs. CATHERINE WEED BARNES WARD. Demy&lt;br /&gt;
8vo, cloth extra gilt, gilt top, 7s. 6d. net ; in&lt;br /&gt;
white buckram, gilt edges, boxed, 10s. 6d. net.&lt;br /&gt;
I LOI RNA &amp;amp; J DOCOIN E.&lt;br /&gt;
4s. 6d. net. Illustrated Edition. Demy 8vo, cloth, gilt&lt;br /&gt;
top, 4s. 6d. net. -&lt;br /&gt;
2s. 6d. ch&ordm;p&ordm;niform Edition, crown 8vo, cloth,&lt;br /&gt;
Se 60&amp;#039; s&lt;br /&gt;
Thin Paper Pocket Edition.&lt;br /&gt;
25, net. Small 8vo, cloth, 25. net.&lt;br /&gt;
3.S. net. Small 8vo, limp leather, 3s. net.&lt;br /&gt;
3s. 6d. net. Small 8vo, Yelvet Persian, yapp, 3s. 6d. net.&lt;br /&gt;
65. net. Small 8vo, yelyet calf, round corners, gilt&lt;br /&gt;
edges, in box, 6s. net.&lt;br /&gt;
Works by Jeremiah Curtin.&lt;br /&gt;
Translator of the Works of Sienkiewicz.&lt;br /&gt;
THE MONGOLS IN RUSSIA.&mdash;A History.&lt;br /&gt;
By JEREMIAH CURTIN. With a Foreword by&lt;br /&gt;
THEODORE ROOSEVELT. Demy 8vo, cloth,&lt;br /&gt;
12s. 6d. met. -&lt;br /&gt;
THE MONGOLS : A History. By JEREMIAH&lt;br /&gt;
CURTIN, Author of &ldquo;Myths and Folk-Tales of the&lt;br /&gt;
Russians,&rdquo; &ldquo;Western Slavs and Magyars.&rdquo; With a&lt;br /&gt;
Foreword by THEODoRE ROOSEVELT. Demy 8vo,&lt;br /&gt;
cloth, gilt. Price 12s. 6d. net.&lt;br /&gt;
A JOURNEY IN SOUTHERN SIBERIA :&lt;br /&gt;
The Mongois ; their Religion and&lt;br /&gt;
their Myths. By JEREMIAH CURTIN. With&lt;br /&gt;
47 Illustrations. Medium 8vo, cloth, gilt,&lt;br /&gt;
12s. 6d. net.&lt;br /&gt;
ACROSS YUINNAN : A Journey of Sur-&lt;br /&gt;
prises. Including an account of the remarkable&lt;br /&gt;
French Line now completed. By ARCHIBALD&lt;br /&gt;
LITTLE, Author of &ldquo;Through the Yangtse Gorges,&rdquo;&lt;br /&gt;
etc. With 16 Illustrations and Maps. Crown 8vo,&lt;br /&gt;
cloth, 3s. 6d. net.&lt;br /&gt;
MESSRS. SAMPSON LOw, MARSTON &amp;amp; Co., LTD., will be pleased to forward&lt;br /&gt;
their 60-page list of books by pro minent authors dealing with the following&lt;br /&gt;
subjects:&ndash;GEOGRAPHICAL &ndash;Fictio N &ndash; ADVENTURE &ndash; CRITICISM &ndash; BIOGRAPHY-&lt;br /&gt;
RESEARCH-ART-TRAVEL&ndash;SPORT-HISTORY-BELLES LETTRES-&lt;br /&gt;
London : Overy House, 1 OO, Southwark Street, S.E.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#571) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or,&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WoL. XX.-No. 7.&lt;br /&gt;
APRIL 1ST, 1910.&lt;br /&gt;
---&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
-* *-&lt;br /&gt;
ARTICLES AND CONTRIBUTIONS.&lt;br /&gt;
THE Editor of The Author begs to remind&lt;br /&gt;
members of the Society that, although the paper&lt;br /&gt;
is sent to them free of cost, its production would&lt;br /&gt;
be a very heavy charge on the resources of the&lt;br /&gt;
Society if a great many members did not forward&lt;br /&gt;
to the Secretary the modest 5s. 6d. subscription for&lt;br /&gt;
the year.&lt;br /&gt;
Communications for The Author should be&lt;br /&gt;
addressed to the Offices of the Society, 39, Old&lt;br /&gt;
Queen Street, Storey&amp;#039;s Gate, S.W., and should&lt;br /&gt;
reach the Editor not later than the 21st of each&lt;br /&gt;
month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the&lt;br /&gt;
standpoint of art or business, but on no other&lt;br /&gt;
subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
WOL, XX,&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the bona fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
&mdash;&ordm;-e&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#572) ################################################&lt;br /&gt;
&lt;br /&gt;
182&lt;br /&gt;
TFIES A UTFJOR.&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;Q-0&mdash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
O&rdquo; February 1, 1910, the trustees of the&lt;br /&gt;
Pension Fund of the Society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&mdash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Consols 2%.................. ........... #1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
War Loan ................................. 201 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 3% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . . ............... 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. ) 0&lt;br /&gt;
New Zealand 3% Stock............... 247 () 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 24% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Jamaica 34% Stock, 1919&ndash;49......... 6&lt;br /&gt;
1&lt;br /&gt;
Mauritius 4%. 1937 Stock...............&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909. &pound; s. d.&lt;br /&gt;
Oct. 15, Greig, James () 5 ()&lt;br /&gt;
Oct. 15, Jacomb, A. E. () 5 ()&lt;br /&gt;
Oct. 16, Hepburn, Thomas 0 10 6&lt;br /&gt;
Oct. 16, Trevelyan, G. M. . 0 10 0&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall&rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. &ordm; &amp;amp;&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
Nov. 5, Dixon, A. Francis.&lt;br /&gt;
Nov. 6, Helledoren, J.&lt;br /&gt;
Dec. 4, Tearle, Christian .&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor e&lt;br /&gt;
Dec. 17, Somerville, Miss Edith OE.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine &amp;amp;&lt;br /&gt;
Jan. 13, Child, Harold H. . t&ordm; e&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O. &ordm; * t&ordm;&lt;br /&gt;
Jan. 27, Lion, Leon M.&lt;br /&gt;
Feb. 7, Fagan, J. B. . &ordm;&lt;br /&gt;
Feb. 10, Newton, Miss A. M.&lt;br /&gt;
March 7, Smith, Bertram .&lt;br /&gt;
Domalions.&lt;br /&gt;
1909.&lt;br /&gt;
16, Hodson, Miss A. L.&lt;br /&gt;
16, Wasteneys, Lady .&lt;br /&gt;
18, Bell, Mrs. G. H. e&lt;br /&gt;
3, Turnbull, Mrs. Peveril .&lt;br /&gt;
4, George, W. L. &ordm;&lt;br /&gt;
25, Tench, Miss Mary&lt;br /&gt;
1, Shedlock, Miss&lt;br /&gt;
3, Esmond, H. W.&lt;br /&gt;
9, Hewlett, Maurice s&lt;br /&gt;
17, Reynolds, Mrs. Baillie .&lt;br /&gt;
17, Martin, Miss Violet&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R. . e o&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
Oct.&lt;br /&gt;
Nov.&lt;br /&gt;
NOV.&lt;br /&gt;
NOV.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
Dec.&lt;br /&gt;
tion) e &amp;amp; &ordm;&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
1, Northcote, H. e Q&lt;br /&gt;
3, Watson, Mrs. Herbert A.&lt;br /&gt;
3, Fursdom, Mrs. F. M.&lt;br /&gt;
3, Smith, Miss Edith A.&lt;br /&gt;
4, Pryce, Richard &ordm;&lt;br /&gt;
4, Wroughton, Miss Cicely .&lt;br /&gt;
6, Kaye-Smith, Miss Sheila&lt;br /&gt;
6, Underdown, Miss E. M. .&lt;br /&gt;
6, Carolin, Mrs. . &ordm;&lt;br /&gt;
8, P. H. and M. K.&lt;br /&gt;
8, Crellin, H. R. e&lt;br /&gt;
10, Tanner, James T..&lt;br /&gt;
10, Miller, Arthur&lt;br /&gt;
10, Bolton, Miss Anna e&lt;br /&gt;
10, Parr, Miss Olive K. .&lt;br /&gt;
17, Harland, Mrs. e&lt;br /&gt;
21, Benecke, Miss Ida e&lt;br /&gt;
25, Fradd, Meredith . .&lt;br /&gt;
29, Stayton, F. . &bull; e&lt;br /&gt;
2&lt;br /&gt;
.&lt;br /&gt;
:&lt;br /&gt;
()&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
5&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
i&lt;br /&gt;
0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#573) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
183&lt;br /&gt;
&pound; s. d.&lt;br /&gt;
Feb. 1, Wharton, L. C. . 0 1 () ()&lt;br /&gt;
Feb. 4, Bowen, Miss Marjorie 1 I ()&lt;br /&gt;
Feb. 5, Cameron, Mrs. Charlotte J 1 ()&lt;br /&gt;
Feb. 7, Pettigrew, W. F. . () 5 ()&lt;br /&gt;
Feb. 7, Church, Sir A. H. . 1 1 0&lt;br /&gt;
Feb. 8, Bland, Mrs. E. Nesbit 0 1 0 6&lt;br /&gt;
Feb. 8, The XX. Pen Club 0 3 0&lt;br /&gt;
Feb. 10, Greenbank, Percy 0 5 ()&lt;br /&gt;
Feb. 11, Stopford, Francis. 2 2 ()&lt;br /&gt;
Feb. 11, Dawson, A. J. . ſ&ordm; 0 5 ()&lt;br /&gt;
Feb. 12, Ainslie, Miss Kathleen . () 5 ()&lt;br /&gt;
Feb. 16, W. D. . . . . 1 1 0&lt;br /&gt;
Feb. 16, Gibbs, F. L. A. 0 10 0&lt;br /&gt;
Feb. 17, Wintle, H. R. * 1 0 ()&lt;br /&gt;
Feb. 21, Thurston, E. Temple 1 1 ()&lt;br /&gt;
Feb. 23, Dawson, Mrs. Frederick () j ()&lt;br /&gt;
Feb. 24, Williamson, C. N. &amp;amp; 2 2 ()&lt;br /&gt;
Feb. 24, Williamson, Mrs. C. N. 2 2 ()&lt;br /&gt;
Feb. 25, Westell, W. P. &ordm; 0 1 () ()&lt;br /&gt;
March 2, Toplis, Miss Grace () 5 ()&lt;br /&gt;
March 3, Hawtrey, Miss Valentina I. I. ()&lt;br /&gt;
March 5, Smith, Bertram . 5 () ()&lt;br /&gt;
March 12, Yould, A. . 0 5 ()&lt;br /&gt;
March 16, Loraine, Lady 0 10 ()&lt;br /&gt;
Aſl fresh subscribers and donors previous to&lt;br /&gt;
October, 1909, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
&mdash;s&mdash;e-s&mdash;&lt;br /&gt;
comMITTEE NOTEs.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
HE March meeting of the Committee of Man-&lt;br /&gt;
agement was held at the offices of the&lt;br /&gt;
society on the seventh day of that month.&lt;br /&gt;
The first item on the agenda, after the reading of&lt;br /&gt;
the minutes, was, as usual, the election of members&lt;br /&gt;
and associates. Nineteen were elected, bringing&lt;br /&gt;
the total for the year up to seventy-one. The&lt;br /&gt;
names are set out in another column. The resigna-&lt;br /&gt;
tions numbered twenty-one, bringing the total&lt;br /&gt;
resignations for the year to fifty-seven. The Com-&lt;br /&gt;
mittee regret that the resignations at this meeting&lt;br /&gt;
were in excess of the elections, but this can be&lt;br /&gt;
accounted for by the fact that the first application&lt;br /&gt;
for unpaid subscriptions was issued during the&lt;br /&gt;
month of February.&lt;br /&gt;
The question of the library censorship was again&lt;br /&gt;
raised, and the chairman reported what had taken&lt;br /&gt;
place during the month. The Committee decided&lt;br /&gt;
to make the terms of reference more exact, and&lt;br /&gt;
appointed a sub-committee to meet the publishers&lt;br /&gt;
on the terms of the reference thus made. The&lt;br /&gt;
reference was &ldquo;to confer with the publishers on&lt;br /&gt;
the relations of authors, publishers, and libraries.&rdquo;&lt;br /&gt;
The Secretary was instructed to communicate with&lt;br /&gt;
the publishers to settle the date of meeting.&lt;br /&gt;
The report of the work of the copyright sub-&lt;br /&gt;
committee dealing with the music publishing&lt;br /&gt;
agreement was placed before the Committee of&lt;br /&gt;
Management by the secretary. After considerable&lt;br /&gt;
discussion it was decided that the chairman of the&lt;br /&gt;
Committee of Management should confer with the&lt;br /&gt;
chairman of the copyright sub-committee in&lt;br /&gt;
respect of certain proposed alterations, and that he&lt;br /&gt;
should then report to the next meeting of the&lt;br /&gt;
Committee.&lt;br /&gt;
The secretary laid before the meeting three&lt;br /&gt;
publishers&amp;#039; agreements: a music publishing agree-&lt;br /&gt;
ment, and two agreements from publishers of&lt;br /&gt;
books. It was decided by the Committee that the&lt;br /&gt;
agreements should be published in The Author,&lt;br /&gt;
with comments from the secretary, with the names&lt;br /&gt;
of the publishers attached. It is hoped that it will&lt;br /&gt;
be possible to carry this through in one of the&lt;br /&gt;
near issues of The Author.&lt;br /&gt;
A report of the work of the dramatic sub-&lt;br /&gt;
committee was next laid before the meeting by the&lt;br /&gt;
Secretary. He stated that that sub-committee had&lt;br /&gt;
taken in hand the drafting of a contract between&lt;br /&gt;
an author and a dramatic agent, and had issued a&lt;br /&gt;
warning to be printed in The Author among the&lt;br /&gt;
warnings to dramatic authors. He also reported&lt;br /&gt;
the Committee&amp;#039;s decision in a case which had come&lt;br /&gt;
before them.&lt;br /&gt;
The next question considered by the Committee&lt;br /&gt;
related to the redemption of the war loan of which&lt;br /&gt;
the Society possessed a holding. It was decided&lt;br /&gt;
to invest the money received in Canadian Pacific&lt;br /&gt;
Railway Bonds (Government Guaranteed) 34 per&lt;br /&gt;
cent.&lt;br /&gt;
The cases before the Committee numbered five.&lt;br /&gt;
In one it was decided to appeal from a master&amp;#039;s&lt;br /&gt;
decision to the judge in chambers. In a second&lt;br /&gt;
case, between one of the society&amp;#039;s members and a&lt;br /&gt;
publisher, after all the papers had been carefully&lt;br /&gt;
considered and the legal aspects discussed, the&lt;br /&gt;
Committee decided they were unable to take the&lt;br /&gt;
matter in hand. In the third case, relating to&lt;br /&gt;
the infringement of an author&amp;#039;s copyright work by&lt;br /&gt;
a firm in Chicago, it was decided, as under the&lt;br /&gt;
agreement between the author and his American&lt;br /&gt;
publisher, the publisher was entitled to receive a&lt;br /&gt;
power of attorney to conduct the case, to advise&lt;br /&gt;
the member to allow his American publisher to&lt;br /&gt;
take what steps he thought fit, and the secretary&lt;br /&gt;
was instructed to write to the member in this&lt;br /&gt;
S&euml;IAS&eacute;.&lt;br /&gt;
In the next case a question was raised as to&lt;br /&gt;
joining the publisher of a book in England with&lt;br /&gt;
the author, who is taking action for infringement&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#574) ################################################&lt;br /&gt;
&lt;br /&gt;
184&lt;br /&gt;
TISIES A UſTMSIOR,&lt;br /&gt;
of his rights in Germany, and in view of the fact&lt;br /&gt;
that the success of the author depended upon&lt;br /&gt;
this, it was decided to take this step, guaranteeing&lt;br /&gt;
the publisher against loss and costs, if necessary.&lt;br /&gt;
The last matter related to the financial difficulties&lt;br /&gt;
of a publisher. As many members were involved,&lt;br /&gt;
and their interests were to some extent conflicting,&lt;br /&gt;
it was decided to obtain fuller and more accurate&lt;br /&gt;
information before any decision was come to.&lt;br /&gt;
&mdash;&mdash;e-s&mdash;&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
THE Dramatic Sub-Committee met at the offices&lt;br /&gt;
of the society on Tuesday, March 1. After the&lt;br /&gt;
signing of the minutes the consideration of the&lt;br /&gt;
Dramatic Agency Agreement came before the&lt;br /&gt;
meeting. The secretary read a letter he had&lt;br /&gt;
received from the solicitors of the society on the&lt;br /&gt;
agreement, and a further suggestion was made as to&lt;br /&gt;
the alteration of one of the clauses. The com-&lt;br /&gt;
mittee considered, in view of recent decisions in the&lt;br /&gt;
Courts, that it was of the utmost importance to&lt;br /&gt;
press forward this model agreement, and instructed&lt;br /&gt;
the secretary to incorporate forthwith the altera-&lt;br /&gt;
tions suggested and lay the agreement before the&lt;br /&gt;
next meeting.&lt;br /&gt;
In connection with this subject, they authorised&lt;br /&gt;
the insertion in the standing matter of The Author&lt;br /&gt;
of some additional warnings to dramatists, which&lt;br /&gt;
accordingly appear in the current issue, and will be&lt;br /&gt;
repeated in future issues of the magazine.&lt;br /&gt;
The committee then turned their attention to&lt;br /&gt;
the question of the names to be submitted to the&lt;br /&gt;
Committee of Management for election to the&lt;br /&gt;
T]ramatic Sub-Committee for the current year.&lt;br /&gt;
The list as settled will go before the Committee&lt;br /&gt;
of Management in due course after the elections to&lt;br /&gt;
the Committee of Management have been reported.&lt;br /&gt;
The question of Colonial Agents then arose, and&lt;br /&gt;
the secretary reported an interview he had had with&lt;br /&gt;
the secretary of Messrs. Samuel French, and laid&lt;br /&gt;
before the committee letters he had received from&lt;br /&gt;
Australia. The committee decided to wait until&lt;br /&gt;
they had obtained a statement from Messrs. French,&lt;br /&gt;
when they will reconsider the position and proceed&lt;br /&gt;
with the appointment of colonial representatives.&lt;br /&gt;
The questi&ordm;n of Theatrical Performances in Clubs&lt;br /&gt;
next came up for discussion, and the secretary&lt;br /&gt;
reported that he had had an interview with the&lt;br /&gt;
secretary of the Theatres Alliance, but stated that&lt;br /&gt;
it was necessary again to adjourn the matter, as a&lt;br /&gt;
letter expected from that body had not arrived.&lt;br /&gt;
Sir Arthur Pinero then laid before the committee&lt;br /&gt;
a letter he had received about the formation of a&lt;br /&gt;
Dramatic Society, and read to the committee his&lt;br /&gt;
answer to the communication, in which he stated&lt;br /&gt;
that the objects of the proposed society were in a&lt;br /&gt;
great part those of the Dramatic Sub-Committee&lt;br /&gt;
of the Authors&amp;#039; Society, while the rest differed in&lt;br /&gt;
no essential from the objects of an ordinary dramatic&lt;br /&gt;
agency.&lt;br /&gt;
A letter was then read from the society&amp;#039;s solicitors&lt;br /&gt;
in India in regard to a dramatic case undertaken&lt;br /&gt;
on behalf of two members of the society. The&lt;br /&gt;
sub-committee decided to report to the Committee&lt;br /&gt;
of Management that no proceedings should be taken&lt;br /&gt;
at present on account of the great difficulty there&lt;br /&gt;
appeared to be in putting the matter on a proper&lt;br /&gt;
basis, but if the solicitors were unable to come to&lt;br /&gt;
any satisfactory settlement the matter was to be&lt;br /&gt;
reconsidered. Instructions were also given to the&lt;br /&gt;
secretary to write to an agent in London who has&lt;br /&gt;
been acting in the interests of a certain Indian&lt;br /&gt;
theatrical manager informing that agent of the&lt;br /&gt;
default made by the manager in the before-&lt;br /&gt;
mentioned case. -&lt;br /&gt;
SUB-COMMITTEE TO CONSIDER THE PRICE OF&lt;br /&gt;
NOVELS.&lt;br /&gt;
THE sub-committee to consider the price of&lt;br /&gt;
novels met at the offices of the society on Friday,&lt;br /&gt;
March 11th.&lt;br /&gt;
Members of the society may recall that an&lt;br /&gt;
interim report was issued by this sub-committee&lt;br /&gt;
and published in the January number of The Author,&lt;br /&gt;
in which the sub-committee regretted that they&lt;br /&gt;
were unable to make a final statement, owing to the&lt;br /&gt;
fact that certain evidence promised to them would&lt;br /&gt;
not be forthcoming till March of the present year.&lt;br /&gt;
After the minutes of the last meeting had been&lt;br /&gt;
read, the evidence from Mr. Heinemann, for which&lt;br /&gt;
the sub-committee had been waiting, was laid before&lt;br /&gt;
them and considered, together with evidence from&lt;br /&gt;
240 booksellers, which had been collected by the&lt;br /&gt;
kindness of Mr. H. W. Keay, the President of the&lt;br /&gt;
Associated Booksellers of Great Britian and Ireland.&lt;br /&gt;
Evidence, obtained from twenty more novelists,&lt;br /&gt;
was also tabulated and discussed.&lt;br /&gt;
The chairman had already considered this&lt;br /&gt;
evidence and drawn up a draft report, which he&lt;br /&gt;
proceeded to read to the sub-committee. The&lt;br /&gt;
sub-committee gave this report careful considera-&lt;br /&gt;
tion, and, with certain additions and emendations,&lt;br /&gt;
passed it. It will be laid before the Committee of&lt;br /&gt;
Management in its final shape.&lt;br /&gt;
The sub-committee desired to express their&lt;br /&gt;
indebtedness to the authors, publishers and book-&lt;br /&gt;
sellers who have given them such valuable assist-&lt;br /&gt;
ance in their deliberations.&lt;br /&gt;
The proceedings were finally closed by a&lt;br /&gt;
unanimous vote of thanks to the chairman.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#575) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A CITFIOR.&lt;br /&gt;
185&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month eleven cases have been&lt;br /&gt;
placed in the hands of the secretary. Six referred&lt;br /&gt;
to applications for money due from editors and&lt;br /&gt;
publishers for articles unpaid for or accounts&lt;br /&gt;
unsettled. In one case the money has been&lt;br /&gt;
recovered and forwarded to the author. In the&lt;br /&gt;
remaining five no settlement has, at present, been&lt;br /&gt;
arrived at. If the editors in question neglect to&lt;br /&gt;
attend to the secretary&amp;#039;s demands the matters will&lt;br /&gt;
be placed in the hands of the society&rsquo;s solicitors.&lt;br /&gt;
One case, referring to the transfer of contracts&lt;br /&gt;
between a publisher and an author, has arisen,&lt;br /&gt;
and will require considerable negotiation. The&lt;br /&gt;
action is necessarily slow, but is being carried&lt;br /&gt;
forward satisfactorily. Two claims were made for&lt;br /&gt;
the return of MSS. One has been settled ; the&lt;br /&gt;
other has only just come into the office. Of the&lt;br /&gt;
last two cases one is a claim for accounts and&lt;br /&gt;
money, and one for accounts only. As the claim&lt;br /&gt;
for accounts and money is against an American&lt;br /&gt;
firm, some time must elapse before an answer is&lt;br /&gt;
received. The question of accounts is only just to&lt;br /&gt;
hand. .&lt;br /&gt;
The cases open from former months are slowly&lt;br /&gt;
closing. Some have had to be handed to the&lt;br /&gt;
solicitors of the society, and some have been&lt;br /&gt;
settled. There are still three or four cases dealing&lt;br /&gt;
with the settlement of accounts, and one case in&lt;br /&gt;
America. It is hoped that these will be closed&lt;br /&gt;
before the next issue of The Author.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
March Elections. -&lt;br /&gt;
Bampfylde - Fuller, Sir c/o London County&lt;br /&gt;
Joseph t and Westminster&lt;br /&gt;
Bank, St. James&amp;#039;s&lt;br /&gt;
- Street, S.W.&lt;br /&gt;
Barzini, Luigi ſ&ordm; . 31, Corso Magenta,&lt;br /&gt;
- Milano, Italy.&lt;br /&gt;
Bastin, S. Leonard . . Morningside, Lynd-&lt;br /&gt;
. hurst, Hampshire.&lt;br /&gt;
167, Gleneldon Road,&lt;br /&gt;
Streatham, S.W.&lt;br /&gt;
Weston Favel Grange,&lt;br /&gt;
near Northampton.&lt;br /&gt;
Langle y Vicarage,&lt;br /&gt;
Middle G ree n,&lt;br /&gt;
Slough.&lt;br /&gt;
26, Per h a m Road,&lt;br /&gt;
West Kensington, W.&lt;br /&gt;
Bullock, Shan F. . &copy;&lt;br /&gt;
Cove, Herbert John ſ&ordm;&lt;br /&gt;
Eckersley, Rev. James .&lt;br /&gt;
Farquhar, John Maurice.&lt;br /&gt;
Rinross, Charles . . Hornsea, East Yorks.&lt;br /&gt;
Lloyd, John . i. . 15, Chepstow Place, W.&lt;br /&gt;
&ldquo;Magenta&rdquo; . &Ccedil;&ordm; . 123, New Bond Street,&lt;br /&gt;
W.&lt;br /&gt;
Savage Club, Adelphi&lt;br /&gt;
Moore, Frederick . &ordm;&lt;br /&gt;
Terrace, W.C.&lt;br /&gt;
Painter, C. Beresford&lt;br /&gt;
Oliver, Cecil Wentworth&lt;br /&gt;
Langford (&ldquo;Wentworth&lt;br /&gt;
Oliver&rdquo;)&lt;br /&gt;
82, Leghorn Road,&lt;br /&gt;
Harlesden, London,&lt;br /&gt;
N.W. . . . .&lt;br /&gt;
26, Wenner Road,&lt;br /&gt;
Sydenham, S.E.&lt;br /&gt;
52, Stanford Road,&lt;br /&gt;
Kensington, W.&lt;br /&gt;
20, Gordon Road,&lt;br /&gt;
Chiswick, W.&lt;br /&gt;
Tivington Knowle,&lt;br /&gt;
Minehead.&lt;br /&gt;
Main Street, Frods-&lt;br /&gt;
ham, Cheshire.&lt;br /&gt;
(&ldquo;Leslie Beresford &rdquo;).&lt;br /&gt;
Short, Ernest H. . &bull;&lt;br /&gt;
Spurrier, Steven . e&lt;br /&gt;
Taylor, Mrs. Frank &bull;&lt;br /&gt;
Yould, Arthur . t&ordm;&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
Books PUBLISHED BY MEMBERs of&lt;br /&gt;
THE SOCIETY. -&lt;br /&gt;
&mdash;6&ndash;0-0&ndash;&lt;br /&gt;
&lsquo;by the members.&lt;br /&gt;
other papers.&lt;br /&gt;
INSECT Wond ERLAND. By ConstancE M. Foot&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
&amp;#039;some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
&lsquo;particulars of their works, help to make it substantially&lt;br /&gt;
accurate. -&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
THE MANOR Houses of ENGLAND. By P. H. DITCH-&lt;br /&gt;
FIELD, F.S.A.. Illustrated by S. R. Jon ES. 104 &times; 63.&lt;br /&gt;
211 pp. Batsford. 78. 6d. n.&lt;br /&gt;
ART.&lt;br /&gt;
PEWTER PLATE. An Historical and Descriptive Hands&lt;br /&gt;
- book. By H. J. L. MASS&Eacute;. Second Edition, revised.&lt;br /&gt;
11 x 7#. 331 pp. Bell. 30s. n. &bull;&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LIFE OF W. J. Fox, PUBLIC TEACHER AND SOCIAL&lt;br /&gt;
REFORMER, 1786&ndash;1864. By the late RICHARD GAR-&lt;br /&gt;
NETT, C.B. Concluded by E. GARNETT. 9 &times; 53.&lt;br /&gt;
339 pp. Lane. 168. n.&lt;br /&gt;
THE LIFE AND TIMES OF HILDEBRAND,&lt;br /&gt;
GREGORY VII. By THE RIGHT REv.&lt;br /&gt;
HARRIS MATHEW, D.D. 8; &times; 7.&lt;br /&gt;
Griffiths. 12s. 6d. n.&lt;br /&gt;
THE DIARY OF JOHN BURCHARD OF STRASBURG, BISHOP&lt;br /&gt;
OF ORTA AND CIVITA CASTELLANA, A.D., 1483&ndash;1506.&lt;br /&gt;
Translated from the Latin text. Published in Paris,&lt;br /&gt;
with Notes and Appendices. By THE RIGHT REv.&lt;br /&gt;
ARNOLD HARRIS MATFIEW, D. D. Wol. I. A.D., 1483&ndash;&lt;br /&gt;
1492. 104 &times; 6%. 431 pp. F. Griffiths. 21s. n.&lt;br /&gt;
GEORGE SAND. SOME ASPECTS OF FIER LIFE AND&lt;br /&gt;
WRITINGs. BY RENE, Doum IC. Translated by ALYS&lt;br /&gt;
HALLARD. 9 &times; 53. 309 pp. Chapman &amp;amp; Hall. 10s. 6d. n.&lt;br /&gt;
PIANO AND I. FURTHER REMINISCENCES. By GEORGE&lt;br /&gt;
GROSSMITH. 7} x 43. 200 pp. Arrowsmith. 18. n.&lt;br /&gt;
BOOKS FOR THE YOUNG.&lt;br /&gt;
POPE&lt;br /&gt;
ARNOLD&lt;br /&gt;
308 pp. F.&lt;br /&gt;
7&amp;#039; x 5,&lt;br /&gt;
196 pp. Methuen. 3s. 6d, n. *.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#576) ################################################&lt;br /&gt;
&lt;br /&gt;
186&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
CLASSICAL. t&lt;br /&gt;
THE IPHIGENIA IN TAURIS OF EURIPIDES. Translated&lt;br /&gt;
into English Rhyming Verse, with Explanatory Notes,&lt;br /&gt;
by GILBERT MURRAY, LL.D., D.Litt., Regius Professor&lt;br /&gt;
of Greek in the University of Oxford. 7} x 5. 105 pp.&lt;br /&gt;
Allen. 2s. n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
JUSTICE. A Tragedy in Four Acts.&lt;br /&gt;
7 &times; 53.&lt;br /&gt;
By J. GALsworth Y.&lt;br /&gt;
111 pp. Duckworth. 2s. n.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
THE COMMON SENSE OF POLITICAL ECONOMY. INCLUD-&lt;br /&gt;
ING A. STUDY OF THE HUMAN BASIS OF ECONOMIC&lt;br /&gt;
LAw. By P. H. WICKSTEED. 93 x 6. 762 pp. Mac-&lt;br /&gt;
millan. 14s. n.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
GRAMMAR OF THE GOTHIC LANGUAGE AND THE&lt;br /&gt;
GOSPEL OF ST. MARK. Selections from the other&lt;br /&gt;
Gospels and the Second Epistle to Timothy, with Notes&lt;br /&gt;
and Glossary. By J. WRIGHT, Ph.D., D.C.L., Professor&lt;br /&gt;
of Comparative Philology in the University of Oxford.&lt;br /&gt;
73 &times; 53. 366 pp. Oxford: Clarendon Press. London :&lt;br /&gt;
Frowde. 5s. n.&lt;br /&gt;
FICTION.&lt;br /&gt;
SERVICE. By CoNSTANCE SMEDLEY (MRS, MAXWELL&lt;br /&gt;
ARMFIELD). 7% x 5. 346 pp. Chatto &amp;amp; Windus. 6s.&lt;br /&gt;
EVE IN EARNEST. By JOHN BARNETT. 7# x 5. 307 pp.&lt;br /&gt;
Smith. Elder. 6s.&lt;br /&gt;
THE LANTERN of LUCK. By ROBERT AITKEN. 7# &times; 5.&lt;br /&gt;
341 pp. Murray. 6s.&lt;br /&gt;
LoVE IN LILACLAND. By C. GUISE MITFORD. 7# x 5.&lt;br /&gt;
318 pp. John Long. 63.&lt;br /&gt;
A PERFECT PASSION. By MRS. STANLEY WRENCH.&lt;br /&gt;
73 x 5. 330 pp. John Long, 68.&lt;br /&gt;
THE ISLAND PROVIDENCE. By FREDERICK NIVEN.&lt;br /&gt;
73 x 5. 310 pp. Lane. 6s,&lt;br /&gt;
LORD LOVELAND DISCOVERS AMERICA. By C. N. and&lt;br /&gt;
A. M. WILLIAMSON. 7# &times; 5. 376 pp. Methuen. 6s.&lt;br /&gt;
THE MYSTERY OF THE GREEN HEART. By MAX PEM-&lt;br /&gt;
BERTON. 73 x 5. 446 pp. Methuen. 68.&lt;br /&gt;
THE EXILES OF FALOo. By BARRY PAIN. 7# &times; 5.&lt;br /&gt;
316 pp. Methuen. 6s.&lt;br /&gt;
THE GREATEST WISH IN THE WORLD. By E. TEMPLE&lt;br /&gt;
THURSTON. 7# &times; 5. 392 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
FoES OF JUSTICE. By HEADON HILL. 73 &times; 53. 319 pp.&lt;br /&gt;
Ward, Lock. 68.&lt;br /&gt;
THE SILENT BARRIER. By LOUIS TRACY. 73 &times; 5.&lt;br /&gt;
320 pp. Ward, Lock. 6s.&lt;br /&gt;
THE ROMANCE of MDLLE. ATSS&Eacute;. By Mrs. CAMPBELL&lt;br /&gt;
PRAED. 74 &times; 5. 414 pp. John Long. 68.&lt;br /&gt;
DEVIOUS WAYs. By GILBERT CANNAN. 73 x 5. 312 pp.&lt;br /&gt;
Heinemann. 68.&lt;br /&gt;
A STEPSON OF THE SOIL. By MARY J. H. SKRINE.&lt;br /&gt;
73 &times; 5+. 315 pp. Arnold. 68.&lt;br /&gt;
THE ROMANCE OF OLGA AVELING. By OLIVIA&lt;br /&gt;
RAMSEY. 73 &times; 5. 357 pp. John Long. 6s.&lt;br /&gt;
KAMI-NO-MICHI : THE WAY OF THE GODS IN JAPAN.&lt;br /&gt;
By HoPE HUNTLY. 73 &times; 5. 338 pp. Rebman. 68.&lt;br /&gt;
THE FATED FIVE. By GERALD BISS. 73 &times; 5. 320 pp.&lt;br /&gt;
Greening. 63.&lt;br /&gt;
JoHN CHILCOTE, M.P. By KATHARINE CECIL THURSTON.&lt;br /&gt;
73 &times; 5. 370 pp. Blackwood. 18, n.&lt;br /&gt;
THE STOOPING LADY. By MAURICE HEWLETT. 253 pp.&lt;br /&gt;
Macmillan. 7d.&lt;br /&gt;
EAST LONDON VISIONS.&lt;br /&gt;
305 pp. Longmans, 68.&lt;br /&gt;
THE BALL AND THE CROSS. By G. K.&lt;br /&gt;
74 &times; 53. 403 pp. Wells, Gardner. 68,&lt;br /&gt;
FRANKLIN KANE. By ANNE DOUGLAS SEDGWICK&lt;br /&gt;
&deg; (MRS. BASIL, DE S&eacute;LINCOURT). 7% x 5. 346 pp.&lt;br /&gt;
Arnold. 68.&lt;br /&gt;
By O&amp;#039;DERMID W. LAWLER.&lt;br /&gt;
CHESTERTON.&lt;br /&gt;
A HISTORY OF BIRDS.&lt;br /&gt;
I WILL MAINTAIN.&lt;br /&gt;
Methuen. 6s.&lt;br /&gt;
AN INTERRUPTED FRIENDSHIP. By E. L. VoxNICH.&lt;br /&gt;
7} x 5. 336 pp. Hutchinson. 6s.&lt;br /&gt;
CALIGo JACK. By H. W. C. NEwTE. 7; x 5.&lt;br /&gt;
Mills &amp;amp; Boon. 68.&lt;br /&gt;
A LADY OF FRANCE. By B. SYMONs.&lt;br /&gt;
Stanley Paul. 6s.&lt;br /&gt;
AN AVERTED MARRIAGE, AND OTHER StorTEs. By&lt;br /&gt;
PERCY WHITE. 7# x 5, 318 pp. Mills &amp;amp; Boon. 63.&lt;br /&gt;
TUMULT. A Wessex Love Story. By WILKINSON&lt;br /&gt;
SHERREN. 73 x 5. 320 pp. Stanley Paul. 6s.&lt;br /&gt;
MAURIN THE ILLUSTRIOUS.&amp;#039; A Translation from the&lt;br /&gt;
French of Jean Aicard. By A. ALLINsoN. 7# x 5.&lt;br /&gt;
436 pp. Lane. 6s. *&lt;br /&gt;
THE TREE OF BITTER FRUIT. By CULLEN GOULDS-&lt;br /&gt;
BURY. 7# x 5. 336 pp. Eveleigh Nash. 6s.&lt;br /&gt;
THE BOUNTY OF THE GODs. By LADY HELEN FORBEs.&lt;br /&gt;
73 &times; 5. 340 pp. Duckworth. 6s.&lt;br /&gt;
IN A TURKISH GARDEN. By ANN BAxTER Gwyn.&lt;br /&gt;
Greening &amp;amp; Co. 6s.&lt;br /&gt;
GARDENING.&lt;br /&gt;
GARDENING MADE EASY. By E.T. Cook. &ldquo;The Country&lt;br /&gt;
Life&rdquo; Library. 8 &times; 53. 202 pp. Newnes. 1s. n.&lt;br /&gt;
BY MARJORIE BowFN. 532 pp.&lt;br /&gt;
373 pp.&lt;br /&gt;
7# &times; 5. 324 pp.&lt;br /&gt;
LITERARY.&lt;br /&gt;
LANDMARKS IN RUSSIAN LITERATURE. By MAURICE&lt;br /&gt;
BARING. 73 x 5. 299 pp. Methuen. 6s.&lt;br /&gt;
DREAMs MADE VERITY. By MRS. DE CourCY LAFFAN.&lt;br /&gt;
73 &times; 53. 183 pp. Elkin Mathews. 3s.6d.&lt;br /&gt;
ART AND LIFE. By T. STURGE MOORE. 73 x 5. 314 pp.&lt;br /&gt;
Methuen. 5s.&lt;br /&gt;
MUSIC.&lt;br /&gt;
MOTOR HUMS. Four Music Pianoforte Pieces. Illustrated&lt;br /&gt;
by the author. By DR. ELLIOT-BLAKE (Composer&lt;br /&gt;
of &ldquo;He&rsquo;s An Absent Minded Beggar&amp;quot;&mdash;Original Version).&lt;br /&gt;
Weekes &amp;amp; Co. 2s. 6d.&lt;br /&gt;
&ldquo;WILLON.&rdquo; Symphonic Poem No. 6, full score. By&lt;br /&gt;
WILLIAM WALLACE. Schott. 10s. 6d. n.&lt;br /&gt;
WILLON&amp;#039;S PRAYER TO NOSTRE-DAME. From the above,&lt;br /&gt;
with words by the composer, WILLIAM WALLACE.&lt;br /&gt;
Schott. 2s. n.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
OUR BRITISH TREES AND How TO KNOW THEM. By&lt;br /&gt;
F. G. HEATH. Third Edition, revised. 6; &times; 4}.&lt;br /&gt;
491 pp. Hutchinson. 5s. n.&lt;br /&gt;
By W. P. PYCRAFT. With an&lt;br /&gt;
Introduction by SIR. RAY LANKESTER, K.C.B. 83 &times; 53.&lt;br /&gt;
458 pp. Methuen. 10s. 6d. n.&lt;br /&gt;
KEARTON&amp;#039;s NATURE PICTURES. Part I. With descrip-&lt;br /&gt;
tive Text. By R. KEART.on, F.7.S. To be completed&lt;br /&gt;
in 24 fortnightly parts. 124 x 9}. Cassell. 13, n.&lt;br /&gt;
PAMPHILETS.&lt;br /&gt;
THE TRUTH ABOUT WIVISECTION. No. W.-FIGHTING THE&lt;br /&gt;
INVISIBLE, By Eva RICHMOND. 8 pp. Research&lt;br /&gt;
Defence Society, 70, Harley Street, W.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
EARLY ENGLISH PRover Bs. Chiefly of the Thirteenth&lt;br /&gt;
and Fourteenth Centuries. Collected by the REV.&lt;br /&gt;
WALTER W. SKEAT. Elrington and Bosworth&lt;br /&gt;
Professor of Anglo-Saxon, and Fellow of Christ&amp;#039;s College,&lt;br /&gt;
Cambridge. 7 x 43. 147, pp., Oxford : Clarendom&lt;br /&gt;
Press. London : Frowde. 8s. 6d. n.&lt;br /&gt;
THE LORD FROM HEAVEN. Chapters on the Deity of&lt;br /&gt;
Christ. By SIR. RoRERT ANDERSON K.G.B., LL.D.&lt;br /&gt;
With a Prefatory Note by HANDLEY C. G. MOULE, D.D.&lt;br /&gt;
8; x 5%. 134 pp. Nisbet. 38. 6d.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#577) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
187&lt;br /&gt;
THE WAY OF WICTORY. Meditations for Lent, Passiontide&lt;br /&gt;
and Easter. By JEAN RoRERTs. With an Introduction&lt;br /&gt;
by ABBOT of CALDEY. 63 &times; 4%. 39 pp. Allenson.&lt;br /&gt;
18. In.&lt;br /&gt;
SCIENCE. &amp;#039;&lt;br /&gt;
THE MUTATION THEORY. Experiments and Observations&lt;br /&gt;
on the Origin of Species in the Vegetable Kingdom.&lt;br /&gt;
By Hugo DE WRIES, Professor of Botany at Amsterdam.&lt;br /&gt;
Translated by PROFESSOR: J. B. FARMER and A. D.&lt;br /&gt;
DARBISHIRE, Vol. I. &mdash; The Origin of Species by&lt;br /&gt;
Mutation. 93 x 6. 582 pp. Kegan Paul. 188. m.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
SoCIALISM AND SUPERIOR BRAINS. A Reply to Mr.&lt;br /&gt;
Mallock. By BERNARD SHAW. , 7} X 5. , 59 pp.&lt;br /&gt;
(The Fabian Socialist Series, No. 8.) Fifield. 6d. n.&lt;br /&gt;
SPORT.&lt;br /&gt;
INTERNATIONAL SPORT. A Short History of the Olympic&lt;br /&gt;
Movement from 1896 to the Present Day, containing the&lt;br /&gt;
account of a visit to Athens in 1906 and of the Olympic&lt;br /&gt;
Games of 1908 in London, together with the Code of&lt;br /&gt;
Rules for twenty different forms of sport and numerous&lt;br /&gt;
illustrations. By T. A. COOK. 7% &times; 5. 251 + 181 pp.&lt;br /&gt;
Constable. 3s. 6d.&lt;br /&gt;
THE POCKET LAWS OF POKER. With Hints to Beginners.&lt;br /&gt;
By R. F. FosTER. 33 &times; 23. 28 pp. De la Rue. 6d.&lt;br /&gt;
ScouTING GAMEs. By LIEUT. - GENERAL R. S. S.&lt;br /&gt;
BADEN-Powel L. 7# &times; 5. 144 pp. Pearson. IS. Im.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
PROBLEMS OF HOPE AND LOVE. Four Addresses to&lt;br /&gt;
Women. By John HUNTLEY SKRINE (Vicar of St.&lt;br /&gt;
Peter&amp;#039;s in the East, Oxford). 6; x 4%. 82 pp. Mow-&lt;br /&gt;
bray. 18. 6d. n.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
MOTOR TOURS IN THE WEST COUNTRY.&lt;br /&gt;
RODOLPH STOWELL. 73 &times; 5}.&lt;br /&gt;
STOUGHTON, 6s. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
THROUGH AFRO-AMERICA. An English Reading of the&lt;br /&gt;
Race Problem. By WILLIAMARCHER. 9 &times; 53. 295 pp.&lt;br /&gt;
Chapman &amp;amp; Hall. 10s. 6d. n.&lt;br /&gt;
By MRs.&lt;br /&gt;
228 pp. Hodder &amp;amp;&lt;br /&gt;
* &mdash;&ordm;----a&lt;br /&gt;
w-u--w&lt;br /&gt;
Books PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
STORIES FROM THE OPERAs : With Short Biographies of&lt;br /&gt;
the Composers, By GLADYS DAVIDSON. Philadelphia,&lt;br /&gt;
Lippincott. $1.25 m.&lt;br /&gt;
FICTION.&lt;br /&gt;
CAB No. 44. By R. F. FOSTER. New York: Frederick&lt;br /&gt;
A. Stokes Co. $1.25.&lt;br /&gt;
THE STRONGER CLAIM. By ALICE R. PERRIN (MRs. C.&lt;br /&gt;
PERRIN). New York: Duffield &amp;amp; Co. $1.50.&lt;br /&gt;
THE ForTUNE HUNTER. By L. J. WANCE.&lt;br /&gt;
Dodd, Mead &amp;amp; Co. $1.50.&lt;br /&gt;
MUSIC.&lt;br /&gt;
MOTOR HUMs. Four Pianaforte Pieces: Illustrated by the&lt;br /&gt;
author. By DR. ELLIOT-BLAKE (Composer of &ldquo;He&rsquo;s an&lt;br /&gt;
Absent Minded Beggar&rsquo;&rsquo;&mdash;Original Version). Clayton F.&lt;br /&gt;
Summy Co.&lt;br /&gt;
New York :&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
PRIMER of English for foreign students, by&lt;br /&gt;
Wilfred C. Thor.ey, has just been published&lt;br /&gt;
by Messrs. Macmillan &amp;amp; Co. It is intended&lt;br /&gt;
to serve at once as an outline for teachers and a&lt;br /&gt;
synopsis for learners cſ lessons in English given&lt;br /&gt;
by the direct method, and is based on the author&amp;#039;s&lt;br /&gt;
experience abroad in teaching pupils of nearly&lt;br /&gt;
every European nationality. The book is practical&lt;br /&gt;
rather than literary, but the author has endeavoured&lt;br /&gt;
to avoid an exclusively business or technical&lt;br /&gt;
phraseology in favour of colloquial English.&lt;br /&gt;
&ldquo;The Truth about Vivisection,&rdquo; published by&lt;br /&gt;
the Research Defence Society, is an account of a visit&lt;br /&gt;
made by Miss Eva Richmond to the Lister Institute&lt;br /&gt;
of Preventive Medicine. Miss Richmond describes&lt;br /&gt;
in her pamphlet some of the experiments made in&lt;br /&gt;
the laboratories of the institute for the detection&lt;br /&gt;
of the microbes of disease.&lt;br /&gt;
&ldquo;Tumult&rdquo; is the title of a Wessex love story by&lt;br /&gt;
Mr. Wilkinson Sherren, which Messrs. Stanley&lt;br /&gt;
Paul &amp;amp; Co. have recently published.&lt;br /&gt;
The annual general meeting of the Royal&lt;br /&gt;
Iliterary Fund was held on March 9, Sir&lt;br /&gt;
Alfred Bateman in the chair. In moving the&lt;br /&gt;
adoption of the report, Sir Alfred stated that&lt;br /&gt;
during the past year the sum of &pound;3,165 was spent&lt;br /&gt;
in the relief of forty-five applicants, being &pound;335&lt;br /&gt;
more than was granted in 1908, while the number&lt;br /&gt;
of applicants assisted was twelve in excess of the&lt;br /&gt;
preceding year. The claims on the Fund were&lt;br /&gt;
very heavy owing, no doubt, to the fact that more&lt;br /&gt;
people were engaged in literature than at any&lt;br /&gt;
previous period, while the remuneration for the&lt;br /&gt;
rank and file was lower than ever. The chairman&lt;br /&gt;
was pleased to announce that Mr. Anthony Hope&lt;br /&gt;
Hawkins had promised to preside at the annual&lt;br /&gt;
dinner of the Fund to be held at the Hotel Metropole&lt;br /&gt;
on May 5.&lt;br /&gt;
Mr. Edward Arnold has in the press, for early&lt;br /&gt;
publication, &ldquo;Les Fran&ccedil;ais d&rsquo;Aujourd&rsquo;hui,&rdquo; by&lt;br /&gt;
Jetta S. Wolff, author of &ldquo;Les Fran&ccedil;ais em.&lt;br /&gt;
M&eacute;nage,&rdquo; and &ldquo;Les Fran&ccedil;ais en Voyage.&rdquo; -&lt;br /&gt;
For the same writer Messrs. J. M. Dent &amp;amp; Co.&lt;br /&gt;
will publish shortly &ldquo;Pour la Patrie et d&rsquo;Autres&lt;br /&gt;
Contes.&rdquo;&lt;br /&gt;
Messrs. Greening &amp;amp; Co. are the publishers of a&lt;br /&gt;
novel by Anne Baxter Gwyn (Mrs. Maud Edmonds)&lt;br /&gt;
entitled, &ldquo;In a Turkish Garden.&rdquo; It is an English&lt;br /&gt;
romance with an Eastern setting, dealing with the&lt;br /&gt;
struggle in Macedonia and the ever-present Easterm&lt;br /&gt;
problem.&lt;br /&gt;
We have received the analytical programme&lt;br /&gt;
of Mr. Joseph Holbrooke&amp;#039;s orchestral concert,&lt;br /&gt;
given at the Queen&amp;#039;s Hall on February 11.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#578) ################################################&lt;br /&gt;
&lt;br /&gt;
188&lt;br /&gt;
TISIES A &ordm;f THOR.&lt;br /&gt;
Among other items included were a prelude&lt;br /&gt;
entitled &ldquo;The Bells,&rdquo; composed by Mr. Holbrooke&lt;br /&gt;
and conducted by him, and a symphony, &ldquo;Les&lt;br /&gt;
Hommages,&rdquo; by the same composer, conducted by&lt;br /&gt;
Mr. Landon Ronald. Mr. Holbrooke&amp;#039;s three&lt;br /&gt;
new songs, entitled respectively, &ldquo;A Requital,&rdquo;&lt;br /&gt;
&ldquo;Killary,&rdquo; and &ldquo;An Outsong,&rdquo; had, unfortu-&lt;br /&gt;
nately, to be omitted, owing to the indisposition&lt;br /&gt;
of Miss Edith Evans, who was to have delivered&lt;br /&gt;
them. -&lt;br /&gt;
Mr. John Long&amp;#039;s new publications include novels&lt;br /&gt;
by Mrs. Campbell Praed, Olivia Ramsay, Mr. C.&lt;br /&gt;
Guise Mitford, and Mrs. Stanley Wrench. &ldquo;The&lt;br /&gt;
Romance of Mademoiselle Aiss&eacute;,&rdquo; is the title of&lt;br /&gt;
Mrs. Campbell Praed&amp;#039;s book; Olivia Ramsay&amp;#039;s is&lt;br /&gt;
called &ldquo;The Romance of Olga Aveling &rdquo;; and&lt;br /&gt;
&ldquo;Love in Lilacland &rdquo; is the title of Mr. Mitford&amp;#039;s&lt;br /&gt;
novel. Mrs. Wrench&amp;#039;s story is called &ldquo;A Perfect&lt;br /&gt;
Passion.&rdquo; -&lt;br /&gt;
We have received from the Clarendon Press&lt;br /&gt;
&ldquo;Early English Proverbs,&rdquo; collected by the Rev.&lt;br /&gt;
Walter Skeat. In a preface to the collection Prof.&lt;br /&gt;
Skeat states that he has endeavoured to gather&lt;br /&gt;
together such Middle-English proverbs as have&lt;br /&gt;
attracted his attention. While it is not claimed&lt;br /&gt;
that the collection is exhaustive, it is submitted&lt;br /&gt;
that it gives a fair idea of the use of proverbs&lt;br /&gt;
in the thirteenth and fourteenth centuries. No&lt;br /&gt;
example has been admitted that is later than the&lt;br /&gt;
year 1400. An index of the proverbs, each under&lt;br /&gt;
its leading word, or (in some cases) two leading&lt;br /&gt;
words, with cross-references, appears at the end of&lt;br /&gt;
the book. - -&lt;br /&gt;
Mr. John Long will issue Mr. Harry Tighe&amp;#039;s&lt;br /&gt;
new novel, &ldquo;The Model in Green,&rdquo; in April. It is&lt;br /&gt;
a story of love and passion, touching the rim of&lt;br /&gt;
the artistic life in Pars and Holland. It mainly&lt;br /&gt;
centres round the model and the painter she loves.&lt;br /&gt;
The story ends in a tragedy in the Engadine&mdash;&lt;br /&gt;
after a series of scenes at Wollendam and Edam&mdash;&lt;br /&gt;
the artist&rsquo;s paradise on the Zuyder Zee&mdash;painted&lt;br /&gt;
first hand by the author. &bull; * -&lt;br /&gt;
The Churchman&rsquo;s Pulpit, being sermons and&lt;br /&gt;
addresses for the Sundays, Festival and Holy Days&lt;br /&gt;
of the Christian Year, is a new work (edited by the&lt;br /&gt;
Rev. J. Henry Burn, B.D., F.R.S.E.) which will&lt;br /&gt;
be published in weekly parts, for the use of clergy-&lt;br /&gt;
men in their equipment for the pulpit. It com-&lt;br /&gt;
prises a vast collection of specially selected and,&lt;br /&gt;
in many cases, specially written original sermons&lt;br /&gt;
suitable not only for every Sunday in the Christian&lt;br /&gt;
year and for all the Holy Days in the Anglican&lt;br /&gt;
Kalendar, but also for every mood and every&lt;br /&gt;
occasion. Mr. Francis Griffiths is the publisher.&lt;br /&gt;
Weekly parts are published at 1s. 6d. net ; double&lt;br /&gt;
parts at 3s. 6d. net ; and special parts at&lt;br /&gt;
58. net.&lt;br /&gt;
The current number of the Empire Review&lt;br /&gt;
contains an article by Mr. C. O. Burge on &ldquo;The&lt;br /&gt;
Transcontinental Railway of Australia.&rdquo; -&lt;br /&gt;
K. I. Montgomery&amp;#039;s new novel is at present being&lt;br /&gt;
serialised in the Sunday Chronicle, under the&lt;br /&gt;
title &ldquo;A Rioter of the Roads.&rdquo; The plot deals with&lt;br /&gt;
the Rebekah riots in South Wales of 1843, which&lt;br /&gt;
ultimately led to a Government Commission, and&lt;br /&gt;
the universal disuse of the toll system throughout&lt;br /&gt;
Great Britain. Messrs. A. C. McClurg, of Chicago,&lt;br /&gt;
have recently arranged to publish an American&lt;br /&gt;
edition of K. L. Montgomery&amp;#039;s Venetian book,&lt;br /&gt;
&ldquo;The Cardinal&rsquo;s Pawn.&rdquo; : . .&lt;br /&gt;
Lady Helen Forbes&amp;#039; new novel, &ldquo;The Bounty of&lt;br /&gt;
the Gods,&rdquo; a study in points of view, has just&lt;br /&gt;
been published by Messrs. Duckworth &amp;amp; Co. .&lt;br /&gt;
Messrs Rebman announce the publication of&lt;br /&gt;
&ldquo;Kami-No-Michi: the Way of the Gods in&lt;br /&gt;
Japan,&rdquo; by Hope Huntley. The desire of the&lt;br /&gt;
author is to guide her readers along the &ldquo;Way of&lt;br /&gt;
the Gods,&rdquo; tracing the path in threefold aspect&mdash;&lt;br /&gt;
ethical, philosophical, and romantic. The story&lt;br /&gt;
trends towards a sensational crisis in order to&lt;br /&gt;
emphasise life portraits known to the author while&lt;br /&gt;
resident in the country. . . . - &bull; ;&lt;br /&gt;
Miss Constance Foot has published, through&lt;br /&gt;
Messrs. Methuen &amp;amp; Co., a volume entitled &ldquo;Insect&lt;br /&gt;
Wonderland,&rdquo; with thirty-eight illustrations by&lt;br /&gt;
W. Q. Allan. The purpose of the author in writing&lt;br /&gt;
this book is to convey some simple facts concerning&lt;br /&gt;
the insect world in a form both interesting and&lt;br /&gt;
instructive to the youthful readers for whom it is&lt;br /&gt;
intended. One or more specimens have been&lt;br /&gt;
chosen from each of the seven great natural&lt;br /&gt;
orders, according to the Linnean system of divi-&lt;br /&gt;
sion. The insects tell their own tales, in ten&lt;br /&gt;
chapters, entitled &ldquo;Butterfly Green,&rdquo; &ldquo;Grasshopper&lt;br /&gt;
Lane,&rdquo; &ldquo;Beehive Palace,&rdquo; and so on. The pub-&lt;br /&gt;
lished price of the book is 38. 6d. net.&lt;br /&gt;
In &ldquo;Art and Life,&rdquo; by T. Sturge Moore, the&lt;br /&gt;
vital import of aesthetics is illustrated from the&lt;br /&gt;
precepts of Gustave Flaubert and William Blake.&lt;br /&gt;
The harmony of art with personal and social morals&lt;br /&gt;
is foreseen, not where Taine and Bruneti&egrave;re looked&lt;br /&gt;
for it, in the selection of beneficent themes, nor&lt;br /&gt;
yet where the mystic pursues it, through obedience&lt;br /&gt;
to esoteric tuition, but in a development of con-&lt;br /&gt;
science in regard to taste parallel to that of the&lt;br /&gt;
religious life. Messrs. Methuen &amp;amp; Co. are the&lt;br /&gt;
publishers. . - * ,&lt;br /&gt;
One of the chief events of the month, in&lt;br /&gt;
dramatic circles, has been the opening of the&lt;br /&gt;
Repertory Theatre in St. Martin&amp;#039;s Lane. ... Mr.&lt;br /&gt;
John Galsworthy, Mr. J. M. Barrie, Mr. G. Bernard&lt;br /&gt;
Shaw, and Mr. H. Granville Barker have each&lt;br /&gt;
been represented, as also has the late President of&lt;br /&gt;
the Society, Mr. George Meredith. * .&lt;br /&gt;
&ldquo;Justice,&rdquo; Mr. Galsworthy&amp;#039;s play, is con-&lt;br /&gt;
cerned with the prison system, and has for its&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#579) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
189&lt;br /&gt;
theme the servitude of a clerk (imprisoned for&lt;br /&gt;
forgery) and his subsequent degradation following&lt;br /&gt;
upon his release. Mr. Denis Eadie, Mr. Sydney.&lt;br /&gt;
Valentine, and Miss Edyth Olive are in the cast.&lt;br /&gt;
Mr. J. M. Barrie is represented by two one-act&lt;br /&gt;
plays&mdash;one, &ldquo;The Twelve Pound Look,&rdquo; referring&lt;br /&gt;
to the return of a divorced wife to her husband as&lt;br /&gt;
a typist ; the second, &ldquo;Old Friends,&rdquo; narrating&lt;br /&gt;
how a reformed drunkard&amp;#039;s daughter became&lt;br /&gt;
afflicted with the vice of which her father had&lt;br /&gt;
become cured. The cast included Miss Lena&lt;br /&gt;
Ashwell, Mr. Sydney Walentine, and Miss Dorothy&lt;br /&gt;
Minto. - -&lt;br /&gt;
In Mr. George Meredith&amp;#039;s comedy, &ldquo;The Senti-&lt;br /&gt;
mentalists,&rdquo; were Miss Fay Davis, Miss Mary&lt;br /&gt;
Jerrold, and Mr. Charles Maude.&lt;br /&gt;
&ldquo;Misalliance,&rdquo; by Mr. Bernard Shaw, is described&lt;br /&gt;
as a debate in one sitting. Mr. Frederick Lloyd,&lt;br /&gt;
Miss Miriam Lewes, Miss Florence Haydon, Miss&lt;br /&gt;
Lena Ashwell, and Mr. C. M. Lowne were among&lt;br /&gt;
those who took part in the discussion. -&lt;br /&gt;
Mr. H. Granville Barker&rsquo;s &ldquo;The Madras House&rsquo;&rsquo;&lt;br /&gt;
is a comedy in four acts. It is interpreted by a&lt;br /&gt;
cast which includes Miss Florence Haydon, Mr.&lt;br /&gt;
Dennis Eadie, Miss Fay Davis, and Mr. Sydney&lt;br /&gt;
Walentine. -&lt;br /&gt;
- - &mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
- |&lt;br /&gt;
&ldquo;T&ordm; A Duchesse de Duras et Chateaubriand,&rdquo;&lt;br /&gt;
by G. Pailh&egrave;s, is a very detailed account&lt;br /&gt;
of the intercourse between Ren&eacute; and his&lt;br /&gt;
ch&egrave;re sc&ordm;ur, as he always called this friend. We&lt;br /&gt;
have the story of the Duchesse de Duras from her&lt;br /&gt;
birth to her death. She was the daughter of the&lt;br /&gt;
Comte de Kersaint, and was born in 1777. Her&lt;br /&gt;
father was one of the victims of the Revolution, and&lt;br /&gt;
she and her mother went to America and after-&lt;br /&gt;
wards to Switzerland and London. It was in&lt;br /&gt;
England that she met the Duc de Duras. After&lt;br /&gt;
her marriage, and the birth of two little daughters,&lt;br /&gt;
she went to Lausanne, where she made the&lt;br /&gt;
acquaintance of Rosalie de Constant. A twenty-&lt;br /&gt;
years&amp;#039; friendship was the result of this. Her&lt;br /&gt;
letters to Mlle. de Constant and Rosalie&amp;#039;s replies&lt;br /&gt;
to them are extremely interesting. We have an&lt;br /&gt;
account of her first meeting with Chateaubriand,&lt;br /&gt;
and from this time forth (1809) his name is&lt;br /&gt;
constantly in her letters to Rosalie. All these&lt;br /&gt;
letters give an excellent idea of her life at that&lt;br /&gt;
time. .&lt;br /&gt;
The second part of the volume is chiefly com-&lt;br /&gt;
posed of letters from Chateaubriand and the letters&lt;br /&gt;
of Madame de Duras to her various friends.&lt;br /&gt;
When Chateaubriand becomes interested in&lt;br /&gt;
Madame R&eacute;camier, Madame del)uras is unhappy and&lt;br /&gt;
jealous, and finally Madame R&eacute;camier also becomes&lt;br /&gt;
jealous and unhappy. Chateaubriand&rsquo;s sentiments&lt;br /&gt;
for the two women are analysed. He is appointed&lt;br /&gt;
Ambassador to London. The letters from Madame&lt;br /&gt;
de Duras to Rosalie de Constant at this epoch&lt;br /&gt;
touch on all the topics of the day. -&lt;br /&gt;
The fourth part of the book is devoted to the&lt;br /&gt;
time when Chateaubriand was Minister.&lt;br /&gt;
Later on we have an account of the novels and&lt;br /&gt;
also of the Salon and friends of Madame de Duras.&lt;br /&gt;
The final chapters are devoted to details relating&lt;br /&gt;
to the last years of her life. There are letters, too,&lt;br /&gt;
from Chateaubriand, and, finally, a charming one for&lt;br /&gt;
the new year, which was to be her last one. He&lt;br /&gt;
is tired of politics, and promises her that they will&lt;br /&gt;
take up literature and art once more. &ldquo;You shall&lt;br /&gt;
wield your sceptre again,&rdquo; he says, &ldquo;and I will&lt;br /&gt;
spend the last years of my life in your company.&rdquo;&lt;br /&gt;
A month later Madame de Duras died. On&lt;br /&gt;
closing the book the first words of the volume&lt;br /&gt;
come back to one&amp;#039;s mind : &ldquo;We know people&lt;br /&gt;
almost better by the sentiments they inspire than&lt;br /&gt;
by themselves.&rdquo; They were the words of Madame&lt;br /&gt;
de Duras, and they certainly applied to Chateau-&lt;br /&gt;
briand.&lt;br /&gt;
The following is a list of recent French books,&lt;br /&gt;
Some of which we will treat more fully in a later&lt;br /&gt;
article :- - .&lt;br /&gt;
&ldquo;Impressions d&rsquo;Afrique,&rdquo; by Raymond Roussel.&lt;br /&gt;
&ldquo;Laide,&rdquo; by Madame Adam. &ldquo;Charlotte Corday,&rdquo;&lt;br /&gt;
by Henri d&amp;#039;Alm&eacute;ras. &ldquo;L&rsquo;Arm&eacute;e Anglaise dans un&lt;br /&gt;
conflit europ&eacute;en,&rdquo; by G&eacute;n&eacute;ral H. Larglois. &ldquo;Le&lt;br /&gt;
Droit de l&rsquo;Uganda,&rdquo; by Henri Rolin, with a pre-&lt;br /&gt;
face by M. Joseph Chailley. &ldquo;L&rsquo;Inde britan-&lt;br /&gt;
nique,&rdquo; by Joseph Chailley.&lt;br /&gt;
&ldquo;I&rsquo;Education &rdquo; is the title of a new international&lt;br /&gt;
review to be published quarterly in French. The&lt;br /&gt;
first number contains, among other articles, one by&lt;br /&gt;
M. Dugas on &ldquo;Character and Habit&rdquo;; another, by&lt;br /&gt;
Dr. Badley, of the famous Bedales school of Peters-&lt;br /&gt;
field, on &ldquo;The New Movement in Education&rdquo;; others&lt;br /&gt;
by M. Riotor on &ldquo;AEsthetical Education in the&lt;br /&gt;
Belgian Schools,&rdquo; and by Madame Bertinot, on&lt;br /&gt;
French Kindergartens. There are criticisms of&lt;br /&gt;
new books on education, and a summary of review&lt;br /&gt;
articles. Altogether the new venture seems to aim&lt;br /&gt;
at being as complete as possible, by attempting to&lt;br /&gt;
draw what is good from all sources and all&lt;br /&gt;
countries. -&lt;br /&gt;
The Soci&eacute;t&eacute; des Gens de Lettres gave a dinner&lt;br /&gt;
last month in honour of Belgian literature, as&lt;br /&gt;
represented by MM. Camille Lemonnier, Emile&lt;br /&gt;
Werhaeren, Maurice Maeterlinck, Maurice Will-&lt;br /&gt;
motte, E. Gilbert, Dumont-Wilden, Edmond&lt;br /&gt;
Picard and Octave Mans, novelists, poets,&lt;br /&gt;
dramatic authors, and critics. The dinner was&lt;br /&gt;
presided over by the Belgian Minister in Paris.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#580) ################################################&lt;br /&gt;
&lt;br /&gt;
190&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
An interesting study has been found among&lt;br /&gt;
Bruneti&egrave;re&amp;#039;s papers on the &ldquo;Youth of Voltaire.&rdquo;&lt;br /&gt;
It will be brought out shortly in the Revue des Deua.&lt;br /&gt;
Mondes. -&lt;br /&gt;
There is a question at present of Holland joining&lt;br /&gt;
the Berne Convention, like all civilised nations.&lt;br /&gt;
A movement, too, is announced in Turkey which&lt;br /&gt;
has for object the adhesion of that country to&lt;br /&gt;
the Berne Convention.&lt;br /&gt;
In the Revue de Paris, Johan Bojer has just&lt;br /&gt;
published his new novel, &ldquo;Sous le Ciel Vide&amp;quot;; M.&lt;br /&gt;
Photiad&egrave;s a series of articles on George Meredith.&lt;br /&gt;
In recent numbers of La Revue Hebdomadaire&lt;br /&gt;
are articles by Paul Bourget &ldquo;Autour de la Barri-&lt;br /&gt;
cade &rsquo;&rsquo;; by Jules Lemaitre on &ldquo;F&eacute;nelon&amp;quot;; by the&lt;br /&gt;
Marquis de S&eacute;gur on &ldquo;Louise Colet&rdquo;; by M. Frantz&lt;br /&gt;
Funck-Brentano on &ldquo;La Bastille sous la R&eacute;gence,&rdquo;&lt;br /&gt;
and by Andr&eacute; Beaunier on &ldquo;Madame de Beaumont.&rdquo;&lt;br /&gt;
&ldquo;Chantecler&rdquo; continues to be one of the curiosi-&lt;br /&gt;
ties of the theatrical season. Opinions are very&lt;br /&gt;
much divided as to its being more than a &ldquo;success&lt;br /&gt;
of curiosity.&rdquo; Time alone will prove whether it is&lt;br /&gt;
a play to live or to vanish for ever when it dis-&lt;br /&gt;
appears from the bills.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;La Duchesse de Duras et Chateaubriand&rsquo;&rsquo; (Perrin).&lt;br /&gt;
&ldquo;Impressions d&rsquo;Afrique &amp;quot; (A. Lemerre).&lt;br /&gt;
&ldquo;Charlotte Corday&rdquo; (Les Annales politiques et litt&eacute;raires).&lt;br /&gt;
&ldquo;L&rsquo;Arm&eacute;e Anglaise dans un conflit europ&eacute;en &amp;quot; (Berger&lt;br /&gt;
Levrault),&lt;br /&gt;
&ldquo;Le Droit de l&rsquo;Uganda &amp;quot; (Challemel).&lt;br /&gt;
&ldquo;L&rsquo;Inde britannique &amp;quot; (Armand Colin).&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE EDITORIAL ATTITUDE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY A CONTRIBUTOR.&lt;br /&gt;
T is quite refreshing to read an article like the&lt;br /&gt;
one entitled &ldquo;Magazine Editors&rdquo; in the&lt;br /&gt;
March Author. For the editor of a magazine&lt;br /&gt;
to admit that a contributor has any rights at all is&lt;br /&gt;
a state of affairs that is as novel as it is pleasing.&lt;br /&gt;
Of course there are exceptions; but they are very&lt;br /&gt;
few, and in the great majority of instances the&lt;br /&gt;
contributor who looks to an editor for either&lt;br /&gt;
courtesy, common honesty, or even ordinary&lt;br /&gt;
business-like treatment might as well spend his&lt;br /&gt;
time looking for the philosopher&amp;#039;s stone. Why on&lt;br /&gt;
earth should editors not be courteous, honest, and&lt;br /&gt;
business-like 2 The possession and exercise of&lt;br /&gt;
these qualities is not necessarily a bar to the&lt;br /&gt;
successful conduct of a magazine. At any rate, I&lt;br /&gt;
cannot see that it is. With regard to the lack of&lt;br /&gt;
courtesy prevailing among editors as a class, every&lt;br /&gt;
author could give examples by the dozen from his&lt;br /&gt;
own experience. The usual form it takes is to&lt;br /&gt;
decline to enter into any correspondence whatever&lt;br /&gt;
respecting a contribution. It is the rarest thing&lt;br /&gt;
imaginable for the author of an article that does&lt;br /&gt;
not happen to be specially commissioned to get a&lt;br /&gt;
written assurance from the editor that it has ever&lt;br /&gt;
arrived. He does not hear a word about it. For&lt;br /&gt;
all he knows it may have been lost in the post.&lt;br /&gt;
My own opinion is that editors adopt this attitude&lt;br /&gt;
of silence in order to permit them to disclaim any&lt;br /&gt;
responsibility for losing a manuscript. /&lt;br /&gt;
No doubt contributors are often trying, but&lt;br /&gt;
editors as a class are infinitely more so. One&lt;br /&gt;
would think that, considering how dependent they&lt;br /&gt;
are upon those who write for their periodicals, they&lt;br /&gt;
would at least make an effort to treat them with&lt;br /&gt;
ordinary civility. Nothing, however, in too many&lt;br /&gt;
cases, seems further from their views. Manu-&lt;br /&gt;
scripts&mdash;frequently of a highly topical nature&mdash;are&lt;br /&gt;
kept for months, and then returned with the&lt;br /&gt;
caustic comment &ldquo;scarcely up to date,&rdquo; or else not&lt;br /&gt;
returned at all. Sometimes, too, they are returned&lt;br /&gt;
with the pages so soiled and dog-eared, and bearing&lt;br /&gt;
such evident signs of having been examined during&lt;br /&gt;
an interval of spirituous refreshment on the part&lt;br /&gt;
of the reader, that it is necessary to re-type them.&lt;br /&gt;
Still more indefensible, however, is the practice&lt;br /&gt;
that obtains in editorial offices of actually having a&lt;br /&gt;
topical article set up in proof and then&mdash;when,&lt;br /&gt;
Owing to the carelessness of the staff, it has not&lt;br /&gt;
been used&mdash;returning it to the writer. If the un-&lt;br /&gt;
fortunate contributor complains, he is told that the&lt;br /&gt;
exigencies of the paper have rendered this course&lt;br /&gt;
necessary. In several big offices, too, a manuscript&lt;br /&gt;
is never examined at all until it has first been&lt;br /&gt;
indelibly marked with a blue pencil, while the&lt;br /&gt;
backs of photographs and sketches are also&lt;br /&gt;
submitted to the same disfiguring process.&lt;br /&gt;
&ldquo;There is no lottery so uncertain as that of an&lt;br /&gt;
editor&amp;#039;s choice and decision,&rdquo; observes the writer&lt;br /&gt;
of the article to which reference has just been made.&lt;br /&gt;
Every contributor will corroborate this. It is quite&lt;br /&gt;
a common experience to submit an item and have&lt;br /&gt;
it returned ; and then, on forwarding it again a&lt;br /&gt;
few months afterwards, to have it accepted. What&lt;br /&gt;
is the explanation ? The natural one is that on&lt;br /&gt;
the first occasion the proffered contribution was&lt;br /&gt;
not read, or perhaps it arrived simultaneously with&lt;br /&gt;
a demand for income tax, whereas the next time it&lt;br /&gt;
made its appearance the editor happened to be in a&lt;br /&gt;
more amiable mood. I have heard of one&lt;br /&gt;
unattached journalist who always posts his work&lt;br /&gt;
so as to arrive immediately after luncheon, and&lt;br /&gt;
declares that the practice is justified by results.&lt;br /&gt;
It may be worth trying ; still, I do not believe in&lt;br /&gt;
it myself overmuch. The principal reason, it&lt;br /&gt;
seems to me, why the work of the ordinary free-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#581) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
191&lt;br /&gt;
lance is accorded so little consideration at the hands&lt;br /&gt;
of magazine editors as a class is because these&lt;br /&gt;
latter do not regard their responsibilities with&lt;br /&gt;
proper seriousness. Instead of being editors and&lt;br /&gt;
nothing else, they attempt to be Jacks-of-all-&lt;br /&gt;
trades, and mix up literary and dramatic criticism,&lt;br /&gt;
authorship, speech-making at public dinners, and&lt;br /&gt;
other side lines with the discharge of their purely&lt;br /&gt;
editorial functions. Under these circumstances, as&lt;br /&gt;
may be imagined, editing goes to the wall. This&lt;br /&gt;
type of &ldquo; editor&rdquo; frankly admits that he &ldquo;cannot&lt;br /&gt;
be bothered &rdquo; with the manuscripts of unknown&lt;br /&gt;
men. It would not matter so much if only he&lt;br /&gt;
would have the honesty to insert a notice to this&lt;br /&gt;
effect in his magazine, and thus prevent unsophis-&lt;br /&gt;
ticated aspirants from wasting their time. But&lt;br /&gt;
such an idea never enters his head.&lt;br /&gt;
A very genuine grievance under which the&lt;br /&gt;
magazine writer labours is that of getting his&lt;br /&gt;
money when it is due. There is no real reason&lt;br /&gt;
why an author should not be paid as soon as his&lt;br /&gt;
work has been accepted. A contribution should be&lt;br /&gt;
paid for when it is bought. An editor has no more&lt;br /&gt;
right to withhold payment for an article until he&lt;br /&gt;
prints it than he has to order a new hat and tell&lt;br /&gt;
the shopman he will pay for it the first time he&lt;br /&gt;
wears it. Under the generally prevailing practice,&lt;br /&gt;
however, an author may wait months, if not years,&lt;br /&gt;
for his money. I may be wrong, but I fancy that&lt;br /&gt;
editors adopt this course in the hope that their&lt;br /&gt;
contributors may die before a cheque is sent them,&lt;br /&gt;
and that the executors of the estate will have no&lt;br /&gt;
knowledge of the fact that one is even due. A&lt;br /&gt;
return of unclaimed payments thus withheld from&lt;br /&gt;
authors would probably reach a substantial figure.&lt;br /&gt;
In some offices a rule obtains that payment will not&lt;br /&gt;
be made until an account has first been submitted.&lt;br /&gt;
This is certainly a hardship, for unless a voucher&lt;br /&gt;
copy be supplied him, the author is required to read&lt;br /&gt;
through every issue in order to see if his work has&lt;br /&gt;
appeared or not. When&mdash;and as generally happens&lt;br /&gt;
&mdash;a free-lance has a dozen or more contributions&lt;br /&gt;
seeking acceptance at the same time, it is quite&lt;br /&gt;
impossible for him to keep a watchful eye on all&lt;br /&gt;
the papers concerned. A few of the better class&lt;br /&gt;
magazines send voucher copies ; but none of the&lt;br /&gt;
daily or weekly journals do so. Of course, this&lt;br /&gt;
scarcely matters where the periodicals are conducted&lt;br /&gt;
honestly ; but when they are not conducted&lt;br /&gt;
honestly this matters very much indeed.&lt;br /&gt;
It is an undeniable truth&mdash;as any free-lance&lt;br /&gt;
journalist is painfully aware&mdash;that flagrant dis-&lt;br /&gt;
honesty marks the editorial conduct of quite a&lt;br /&gt;
number of periodicals, and some of the principal&lt;br /&gt;
offenders among these are ones with very large&lt;br /&gt;
circulations. The commonest trick they adopt is&lt;br /&gt;
to print an article without telling the author they&lt;br /&gt;
are doing so, and trust to luck that he will not&lt;br /&gt;
know it has ever been used. If, however, he does&lt;br /&gt;
happen to see it, it is no great matter. This kind of&lt;br /&gt;
editor is a person of vast resource and fertility of&lt;br /&gt;
invention when it comes to making excuses for&lt;br /&gt;
withholding cheques. The procedure adopted is&lt;br /&gt;
always much the same. You write a polite letter,&lt;br /&gt;
asking for payment. No response. You write a&lt;br /&gt;
Second time, tempering politeness with firmness.&lt;br /&gt;
Still, no response. Then you write a third time,&lt;br /&gt;
intimating that non-receipt of a cheque will result&lt;br /&gt;
in a solicitor&amp;#039;s letter. This probably draws an&lt;br /&gt;
answer. The customary form it takes is that the&lt;br /&gt;
editor is in Scotland, the assistant editor in Ireland,&lt;br /&gt;
and the manager somewhere else, but that on the&lt;br /&gt;
return of this important trio to the scene of their&lt;br /&gt;
arduous labours the matter will be &ldquo;inquired into.&rdquo;&lt;br /&gt;
If you are young and innocent you will believe&lt;br /&gt;
this and hope for the best. If, on the other hand,&lt;br /&gt;
you are hardened you will issue a writ.&lt;br /&gt;
To get cash out of some editors is like getting&lt;br /&gt;
gold out of doughnuts. Until they are absolutely&lt;br /&gt;
convinced that you mean to have your money they&lt;br /&gt;
will put every obstacle in the way of your getting it.&lt;br /&gt;
Occasionally this class of editor (he is usually the&lt;br /&gt;
proprietor as well) makes curious offers to persistent&lt;br /&gt;
contributors. Quite recently one suggested to me&lt;br /&gt;
that a bound volume of his magazine was adequate&lt;br /&gt;
remuneration for half a dozen articles I had written.&lt;br /&gt;
When I declined it, he offered me a share in the&lt;br /&gt;
(entirely imaginary) profits of an advertising&lt;br /&gt;
agency that he ran. Not doing a deal here, he&lt;br /&gt;
next proposed, and with similar results, that pay-&lt;br /&gt;
ment should take the form of a box of cigars, or,&lt;br /&gt;
failing that, a bottle of whisky. &ldquo;What on earth&lt;br /&gt;
is it that you do want, then P&rsquo;&rsquo; he demanded.&lt;br /&gt;
&ldquo;Money,&rdquo; I replied. The editor heaved a heavy&lt;br /&gt;
sigh, and then, with an air of martyrdom, wrote&lt;br /&gt;
out a cheque. &ldquo;It&rsquo;s people like you,&rdquo; he said&lt;br /&gt;
bitterly, as he blotted his signature, &ldquo;that make it&lt;br /&gt;
so difficult for editors to run their papers nowa-&lt;br /&gt;
days.&rdquo; I might have retorted that it was editors&lt;br /&gt;
like this one who made it so difficult for journalists&lt;br /&gt;
to conduct their business. However, I refrained.&lt;br /&gt;
He might not have liked it. Besides, he was bigger&lt;br /&gt;
than I.&lt;br /&gt;
Once an editor has made up his mind to&lt;br /&gt;
avoid payment (except as a last resource) there&lt;br /&gt;
is very little at which he will stick in order&lt;br /&gt;
to carry out his nefarious intentions. I remember&lt;br /&gt;
on one occasion obtaining a county oourt&lt;br /&gt;
judgment against an editor of this kind. But I&lt;br /&gt;
soon discovered that there was a vast difference&lt;br /&gt;
between obtaining judgment and obtaining money.&lt;br /&gt;
However, I persevered, if only to prevent this&lt;br /&gt;
harpy from victimising other authors. When he&lt;br /&gt;
was in due time ordered to show cause why he&lt;br /&gt;
should not be committed to prison for disobeying&lt;br /&gt;
the order of the court, he wrote a long letter to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#582) ################################################&lt;br /&gt;
&lt;br /&gt;
192&lt;br /&gt;
TISIES A CITISIOR.&lt;br /&gt;
judge, protesting, firstly, that he knew nothing&lt;br /&gt;
about the matter and had never even received a&lt;br /&gt;
summons; and, secondly, that he was a regular&lt;br /&gt;
Willage Blacksmith among editors (&ldquo;He looked the&lt;br /&gt;
whole world in the face and owed not any man &rsquo;&rsquo;),&lt;br /&gt;
whose one desire was to meet all just claims, etc.,&lt;br /&gt;
etc. Fortunately, I was able to prove that not only.&lt;br /&gt;
had the original summons been served on him&lt;br /&gt;
personally, but that he had also entered a defence.&lt;br /&gt;
After this even the slimmest of editors would have&lt;br /&gt;
found it a little difficult to plead ignorance. At&lt;br /&gt;
any rate, the judge took this view, and gave him&lt;br /&gt;
his choice between paying up within a fortnight or&lt;br /&gt;
going to prison for ten days. He paid.&lt;br /&gt;
- X. Y. Z.&lt;br /&gt;
&mdash;e&mdash;&ldquo;O-e&mdash;&lt;br /&gt;
INTERNATIONAL CONGRESS OF&lt;br /&gt;
PUBLISHERS.&lt;br /&gt;
- . - k&lt;br /&gt;
VTE print from the Publishers&amp;#039; Circular of&lt;br /&gt;
W February 19 a list of some of the sub-&lt;br /&gt;
jects which are to be dealt with at the&lt;br /&gt;
International Congress of Publishers, which will&lt;br /&gt;
be held this year at Amsterdam from the 18th to&lt;br /&gt;
the 22nd of July. Many of these papers are of&lt;br /&gt;
considerable interest to authors. Nos. 2 and 3.&lt;br /&gt;
ought to be of special importance, and No. 9, as .&lt;br /&gt;
coming from the president of the English Pub-&lt;br /&gt;
lishers&rsquo; Association, will give members of the&lt;br /&gt;
Authors&rsquo; Society much food for thought. .&lt;br /&gt;
1. The Classification of Former Resolutions of the&lt;br /&gt;
Congress, by Mr. J. Hetzel, Paris. x *&lt;br /&gt;
2. The Berlin Conference of 1908 in relation to the&lt;br /&gt;
Berne Convention, by Mr. E. Wandeveld,&lt;br /&gt;
Brussels. -&lt;br /&gt;
. The Berlin Conference and the Ratification of&lt;br /&gt;
the Revised Berne Convention, by Mr. H.&lt;br /&gt;
Morel, Berne. - ,&lt;br /&gt;
4. The Influence of Literary Critics on the Sale of&lt;br /&gt;
Books, by Mr. Rodriguez Novas, Madrid. . . .&lt;br /&gt;
5. Report presenting a Summary of the More&lt;br /&gt;
Important of the New Provisions of the Copy-&lt;br /&gt;
right Law of the United States, which came&lt;br /&gt;
into effect on the 1st of July last, in the Statute&lt;br /&gt;
that was enacted on the 2nd of March, 1909,&lt;br /&gt;
by Mr. Geo. Haven Putnam, New York.&lt;br /&gt;
6. What Means could be adopted in Europe and&lt;br /&gt;
America to Keep Up the Full Price of New&lt;br /&gt;
Books sold to Private People (Draft of an&lt;br /&gt;
International Convention to Keep Up the&lt;br /&gt;
Full Sale Prics), by Mr. W. P. van Stockum,&lt;br /&gt;
The Hague. - -&lt;br /&gt;
7. Maintenance of the Catalogue Price and Lower-&lt;br /&gt;
3&lt;br /&gt;
ing of the Too High Price, by Mr. Max&lt;br /&gt;
Leclerc, Paris. -&lt;br /&gt;
8. The Commission House for the Dutch Book&lt;br /&gt;
Trade in Amsterdam, by Mr. K. Groesbeek,&lt;br /&gt;
Amsterdam. Conclusion by Mr. J. Hetzel,&lt;br /&gt;
Paris.&lt;br /&gt;
9. The Literary Agencies as a Medium between&lt;br /&gt;
Publishers and Writers in the Publication of&lt;br /&gt;
Books, by Mr. W. Heinemann, London.&lt;br /&gt;
The Inscription of the Titles on the Backs of&lt;br /&gt;
the Bindings, by Mr. , Paris.&lt;br /&gt;
11. The Effect of Cheap Clothbound Reprints on&lt;br /&gt;
more expensive Editions, by Mr. Arthur&lt;br /&gt;
Spurgeon, London. - -&lt;br /&gt;
The Development of the Copyrights in&lt;br /&gt;
Germany for the Making and Selling of&lt;br /&gt;
Instruments, with a view to Rendering&lt;br /&gt;
Music Mechanically after the Revision at&lt;br /&gt;
Berlin of the Berne Convention in 1908,&lt;br /&gt;
by Mr. Gustav Bock, LL.D., Berlin.&lt;br /&gt;
Furtherance and International Organisation of&lt;br /&gt;
Establishing Book Trade Assistants Abroad,&lt;br /&gt;
by Mr. Victor Ranschburg, Budapest.&lt;br /&gt;
. Reform of the Rates of Postage, with a view&lt;br /&gt;
to the Distribution of Periodical Publica-&lt;br /&gt;
tions, by Mr. Victor Ranschburg, Budapest.&lt;br /&gt;
5. A Proposal to Prepare the Publication of an&lt;br /&gt;
Encyclopedia of the International Book&lt;br /&gt;
Trade, by Mr. Carl Junker, Vienna.&lt;br /&gt;
10.&lt;br /&gt;
12.&lt;br /&gt;
13.&lt;br /&gt;
1&lt;br /&gt;
a &mdash;&ordm;- a&lt;br /&gt;
v-u-w&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-C-O--&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Sheridan. By Lewis Melville.&lt;br /&gt;
The Centenary of Sir Samuel Ferguson.&lt;br /&gt;
Graves.&lt;br /&gt;
, Meredith&amp;#039;s Poems. By M. Sturge Henderson.&lt;br /&gt;
By A. P.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
&ldquo;Istar in the Underworld.&rdquo; By Regina Miriam Bloch.&lt;br /&gt;
Stained Glass Windows. By L. March Phillipps.&lt;br /&gt;
The Future of the Classics. By C. T.&lt;br /&gt;
ENGLISH REVIEW.&lt;br /&gt;
The Censorship of Books. By Edmund Gosse.&lt;br /&gt;
Time&amp;#039;s Laughing Stocks. By Maurice Hewlett.&lt;br /&gt;
Chantecler. By Count de Soissons.&lt;br /&gt;
D&amp;#039;Annunzio&amp;#039;s New Novel. By V. M. Crawford.&lt;br /&gt;
G. M. Godden&amp;#039;s Life of Fielding. By Norreys Connell.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
Arthur Schmitzler. By H. B. Samuel,&lt;br /&gt;
Lamartine and Elvire. By Francis Gribble.&lt;br /&gt;
William Blake as a Teacher. By Herbert Ives. -&lt;br /&gt;
M. Edmond Rostand and &ldquo;Chantecler.&rdquo; By John F.&lt;br /&gt;
Macdonald. -&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Anthony Trollope. By Alice Sedgwick.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#583) ################################################&lt;br /&gt;
&lt;br /&gt;
THE A CITISIOR-&lt;br /&gt;
193&lt;br /&gt;
. How To use THE SOCIETY.&lt;br /&gt;
!. WISRY member has a right to ask for and to receive&lt;br /&gt;
- E advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus. -&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
TERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property:-&lt;br /&gt;
I. Selling it outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society. -&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
&ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
i. well bind yourself for the future to any one solicitor or&lt;br /&gt;
Octor |&lt;br /&gt;
III. The Royalty System. -&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :-&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
Id&eacute;a,DS. -&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash; -&lt;br /&gt;
(a.) Sale outright of the performing right. This .&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#584) ################################################&lt;br /&gt;
&lt;br /&gt;
194&lt;br /&gt;
TISIE A DITFIOR,&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration. -&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning. -&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;0&ndash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
DRAMATIC AUTHORS AND AGENTS.&lt;br /&gt;
&mdash;e-O-e&mdash;&lt;br /&gt;
RAMATIC authors should seek the advice of the&lt;br /&gt;
Society before putting plays into the hands of&lt;br /&gt;
agents. As the law stands at present, an agent&lt;br /&gt;
may acquire a perpetual claim to a percentage on&lt;br /&gt;
the author&amp;#039;s fees from a play without rendering him&lt;br /&gt;
any service. As far as the placing of plays is con-&lt;br /&gt;
cerned, it may be taken as a general rule that there are&lt;br /&gt;
only very few agents who can do anything for an author&lt;br /&gt;
that he cannot, under the guidance of the Society, do&lt;br /&gt;
equally well or better for himself. The collection of fees&lt;br /&gt;
is also a matter in which in many cases no intermediary is&lt;br /&gt;
required. For certain purposes, such as the collection of&lt;br /&gt;
fees on amateur performances, and in general the trans-&lt;br /&gt;
action of frequent petty authorisations with different&lt;br /&gt;
individuals, and also for the collection of fees in foreign&lt;br /&gt;
countries, almost all dramatic authors employ agents; and&lt;br /&gt;
in these ways the services of agents are real and valuable.&lt;br /&gt;
But the Society warns authors against agents who profess&lt;br /&gt;
to have influence with managers in the placing of plays, or&lt;br /&gt;
who propose to act as principals by offering to purchase&lt;br /&gt;
the author&amp;#039;s rights. In any case, in the present state of&lt;br /&gt;
the law, an agent should not be employed under any&lt;br /&gt;
circumstances without an agreement approved of by the&lt;br /&gt;
Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
*&mdash;&ordm;- a&lt;br /&gt;
w-v-w&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
* &ndash; A &ndash; a&lt;br /&gt;
v---w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&lt;br /&gt;
REMITTANCEs.&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#585) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIES A UTFIOR.&lt;br /&gt;
195&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-0&ndash;&lt;br /&gt;
THE SALE OF COPYRIGHT.&lt;br /&gt;
A VERY serious matter to all writers of technical&lt;br /&gt;
books is constantly coming before the secretary of&lt;br /&gt;
the society. -&lt;br /&gt;
Many publishers of educational and technical&lt;br /&gt;
works, seeing a young and prominent scholar&lt;br /&gt;
coming to the front in a special branch of learn-&lt;br /&gt;
ing, arrange with him to write a book on the&lt;br /&gt;
particular subject of which he is a student. Such&lt;br /&gt;
a writer, absolutely ignorant of the prices and of&lt;br /&gt;
the conditions which obtain in the literary market,&lt;br /&gt;
sells the copyright of his work outright for a sum&lt;br /&gt;
down or subject to a royalty. We have, on various&lt;br /&gt;
occasions, pointed out in these columns the danger&lt;br /&gt;
of selling the copyright outright to a publisher ; but&lt;br /&gt;
in the case of a technical writer this danger is&lt;br /&gt;
greatly increased, for in any science, where&lt;br /&gt;
developments are constantly forthcoming, in&lt;br /&gt;
history, where new MSS. come to light, in&lt;br /&gt;
education where new methods are employed, it&lt;br /&gt;
is sure to happen, and, judging from the many&lt;br /&gt;
cases before the secretary, has frequently happened&lt;br /&gt;
that later in his career the young writer, having&lt;br /&gt;
acquired a reputation, desires to bring his work&lt;br /&gt;
up to date by issuing a new edition, or per-&lt;br /&gt;
haps to produce an exhaustive treatise, or if he&lt;br /&gt;
happens already to have produced such a treatise,&lt;br /&gt;
to produce it in an abridged form for the considera-&lt;br /&gt;
tion of a particular section of the public. He&lt;br /&gt;
finds, however, that he cannot do so without&lt;br /&gt;
infringing his own copyright which he has&lt;br /&gt;
assigned, and unless the publisher will make&lt;br /&gt;
him a reasonable offer, he is estopped from&lt;br /&gt;
writing the book and from conveying to the public&lt;br /&gt;
the additional knowledge he has gained on his&lt;br /&gt;
subject. Examples are forthcoming of publishers&lt;br /&gt;
who, realising the strength of their position, have&lt;br /&gt;
refused to make a reasonable offer, and, in conse-&lt;br /&gt;
quence, have compelled the author to re-purchase&lt;br /&gt;
his copyright at their own price. This is an&lt;br /&gt;
exceedingly serious position, as it often prevents&lt;br /&gt;
the author from claiming any financial reward&lt;br /&gt;
from many years&amp;#039; careful study, and it likewise&lt;br /&gt;
prevents the public from obtaining the benefit of&lt;br /&gt;
his research. -&lt;br /&gt;
THE UNIT OF AN EDITION.&lt;br /&gt;
WE regret exceedingly that the letter we print&lt;br /&gt;
below came too late for the March number. It&lt;br /&gt;
is an answer to a statement contained under&lt;br /&gt;
the heading of &ldquo;Publishers&rsquo; Methods &amp;#039;&amp;#039; in the&lt;br /&gt;
February issue, and to this we refer our members.&lt;br /&gt;
It is satisfactory to have an authoritative answer&lt;br /&gt;
from the Publishers&rsquo; Association itself, though the&lt;br /&gt;
reason given in their answer does not, to our mind,&lt;br /&gt;
appear convincing. If, for instance, the unit of&lt;br /&gt;
an edition was fixed at 1,000, then if 250 copies&lt;br /&gt;
only were printed, it could be stated that a quarter&lt;br /&gt;
of an edition had been produced ; if 500 copies,&lt;br /&gt;
one half, and so on. -&lt;br /&gt;
SIR,-With reference to the note in the February number&lt;br /&gt;
of The Author, headed &ldquo;Publishers&amp;#039; Methods,&rdquo; I am directed&lt;br /&gt;
by the Council of this Association to say that it does not&lt;br /&gt;
appear to them to be practicable to fix any definite number&lt;br /&gt;
of copies which shall be regarded universally as the unit&lt;br /&gt;
for an edition. The number of copies of which the first or&lt;br /&gt;
any subsequent edition of a book should consist depends&lt;br /&gt;
On a variety of circumstances. It is even, in many cases,&lt;br /&gt;
unwise to fix the number for any given book long before-&lt;br /&gt;
hand, and to fix it for all books would be impossible. In&lt;br /&gt;
Some cases the first edition consists of as few as 500 or even&lt;br /&gt;
250 copies. In many cases it is 1,000 ; while 1,500, 2,000,&lt;br /&gt;
or indeed any number up to 40,000 or 50,000, are fre-&lt;br /&gt;
quently printed. The number to print of any given book&lt;br /&gt;
is indeed one of the most difficult points which a publisher&lt;br /&gt;
is called upon to decide.&lt;br /&gt;
Where, however, an agreement is in contemplation&lt;br /&gt;
between an author and a publisher in which the arrange-&lt;br /&gt;
ment is that the publisher should buy the first edition of a&lt;br /&gt;
book for an agreed sum, to be followed by a further pay-&lt;br /&gt;
ment When that edition is exhausted, it is obvious that the&lt;br /&gt;
number of the first edition must be fixed in the agreement.&lt;br /&gt;
This proposition appears to my Council to be self-evident,&lt;br /&gt;
and it seems to them to be almost incredible that either an&lt;br /&gt;
author or a publisher should enter into an agreement on&lt;br /&gt;
these lines in which the number of which the first edition&lt;br /&gt;
is to consist is not fixed.&lt;br /&gt;
I am, Sir,&lt;br /&gt;
Your obedient servant,&lt;br /&gt;
WM. Pou DTEN,&lt;br /&gt;
Secretary.&lt;br /&gt;
HENRY HOLT AND THE AMERICAN PUBLISHERS.&lt;br /&gt;
IN the Publishers&rsquo; Weekly, of New York,&lt;br /&gt;
Mr. Henry Holt, on his seventieth birthday, has&lt;br /&gt;
been putting forward some interesting reminis-&lt;br /&gt;
cences. He is not what you would call optimistic&lt;br /&gt;
of the publishing trade, judging from the following&lt;br /&gt;
statement: &ldquo;As I look toward the setting sun, I&lt;br /&gt;
am not impressed that the horizon is in any way&lt;br /&gt;
crowded by worthy successors to the publishers of&lt;br /&gt;
a generation ago.&rdquo; It is well known that before&lt;br /&gt;
the United States first Copyright Law was passed&lt;br /&gt;
an understanding existed amongst the better class&lt;br /&gt;
American houses that they should not interfere,&lt;br /&gt;
by piracy, with the contracts between themselves&lt;br /&gt;
and their respective English authors. This posi-&lt;br /&gt;
tion Mr. Holt affirms. The moral obligation&lt;br /&gt;
between American publishers seems to have been&lt;br /&gt;
very strong. It was a pity that their moral&lt;br /&gt;
obligations towards the position of English authors&lt;br /&gt;
was not equally strong, for Mr. Holt goes on to&lt;br /&gt;
show that it was only when the pirates struck&lt;br /&gt;
in, and cheap edition after cheap edition was pub-&lt;br /&gt;
lished, and it became impossible to make things&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#586) ################################################&lt;br /&gt;
&lt;br /&gt;
i96&lt;br /&gt;
TISIE AUTISIORs&lt;br /&gt;
pay, that the moral obligation of the American&lt;br /&gt;
publisher made him turn towards bettering the&lt;br /&gt;
position of the English author and made it neces-&lt;br /&gt;
sary for him to join in getting through the Law of&lt;br /&gt;
1891. We wonder if it would be possible to stir&lt;br /&gt;
up the moral obligation of the American publisher&lt;br /&gt;
to the same extent now, so that he should put the&lt;br /&gt;
same energy and the same amount of capital into&lt;br /&gt;
passing a law for the benefit of the unfortunate&lt;br /&gt;
writer in the English language who resides outside&lt;br /&gt;
the United States which he did when the contents&lt;br /&gt;
of his pocket were being emptied by the too greedy&lt;br /&gt;
pirate. We have our fears, for the pirate has ceased&lt;br /&gt;
from troubling, and the cheap reprint is at rest.&lt;br /&gt;
HENRY HolT AND THE AUTHORs&amp;#039; AGENT.&lt;br /&gt;
MR. HENRY HOLT makes some interesting&lt;br /&gt;
remarks about the authors&amp;#039; agent. He says :&lt;br /&gt;
&ldquo;One of the most interesting things in my career&lt;br /&gt;
has been his rise and fall&mdash;I mean fall from his&lt;br /&gt;
high state of dictation to nearly all the publishing&lt;br /&gt;
houses, toward the modest one of useful auxiliary,&lt;br /&gt;
which I think he will reach, and where I hope he&lt;br /&gt;
will long deserve and find success.&rdquo; He accuses the&lt;br /&gt;
agent in the first days of &ldquo;setting by the ears all&lt;br /&gt;
publishers and authors through whom he was&lt;br /&gt;
getting no commissions, and setting the publishers&lt;br /&gt;
bidding against each other.&rdquo; He states that the&lt;br /&gt;
agent not only scattered and weakened the publishers&amp;#039;&lt;br /&gt;
interest in the anthors&rsquo; books, but sold their books&lt;br /&gt;
before they were written, sometimes three deep,&lt;br /&gt;
and so worked many of the authors out. He&lt;br /&gt;
further goes on to say that the agent has forced&lt;br /&gt;
up the royalties of established authors to points&lt;br /&gt;
that they cannot hold, and quotes as an example&lt;br /&gt;
one house who pays an author a royalty that makes&lt;br /&gt;
the publisher lose money on every copy sold. He&lt;br /&gt;
adds: &ldquo;It is needless to say that this house is in a&lt;br /&gt;
chronic state of failure.&rdquo; These are bitter remarks,&lt;br /&gt;
and if they are true the sooner the agent reaches&lt;br /&gt;
that position which Mr. Holt hopes he will reach,&lt;br /&gt;
the better. It seems to us on considering the posi-&lt;br /&gt;
tion, however, that what has taken place is what&lt;br /&gt;
takes place in all trades directly it appears that&lt;br /&gt;
the prices are being wrongly quoted owing to&lt;br /&gt;
lack of competition. Authors no doubt were&lt;br /&gt;
receiving royalties much below those which the&lt;br /&gt;
tradesmen could afford to give, and in conse-&lt;br /&gt;
quence, with the keen competition engendered by&lt;br /&gt;
the employment of a literary agent, the prices were&lt;br /&gt;
forced up to a fair trading value. If any went&lt;br /&gt;
beyond the fair trading value, then there was bound&lt;br /&gt;
to be a reaction. Then, as in all trades, the&lt;br /&gt;
weaker brethren who happen to have over-bought&lt;br /&gt;
or undersold, are weeded out, and the natural level&lt;br /&gt;
is again established.&lt;br /&gt;
In another column of this issu&eacute; we see that&lt;br /&gt;
Mr. Heinemann is going to give his views at the&lt;br /&gt;
International Publishers&amp;#039; Congress at Amsterdam&lt;br /&gt;
on the same subject. We shall be anxious to see&lt;br /&gt;
how far his views agree with Mr. Holt&amp;#039;s.&lt;br /&gt;
We must say we have read Mr. Holt&amp;#039;s remarks&lt;br /&gt;
about his publishing house and American methods&lt;br /&gt;
with the greatest interest, though we do not always&lt;br /&gt;
agree with his statements. We are glad to con-&lt;br /&gt;
gratulate him on having reached the ripe age of&lt;br /&gt;
three score years and ten.&lt;br /&gt;
-msm--&lt;br /&gt;
THE ENGLISH CATALOGUE OF BOOKS.&lt;br /&gt;
THE English Catalogue of Books for 1909 is&lt;br /&gt;
now before the public. Little further can be said&lt;br /&gt;
than what has been usually said with regard to&lt;br /&gt;
this production. It is printed in clear type, on&lt;br /&gt;
good paper, and bound up in a serviceable cloth&lt;br /&gt;
cover. It issues from the same firm as usual,&lt;br /&gt;
Messrs. S. Low, Marston &amp;amp; Co., Ltd., and its price&lt;br /&gt;
is 6s. net. -&lt;br /&gt;
At the end of the volume, after the list of books&lt;br /&gt;
there comes a list of societies and a list of pub-&lt;br /&gt;
lishers in England and America. These items all&lt;br /&gt;
add to the utility of the volume. In the analysis&lt;br /&gt;
of books published at the beginning we see that in&lt;br /&gt;
1909 the output has been larger than ever it has&lt;br /&gt;
been before, reaching the enormous number of&lt;br /&gt;
10,725 volumes, 900 volumes more than were pro-&lt;br /&gt;
duced in 1908. Perhaps it is needless to state&lt;br /&gt;
that the largest class is the class of fiction and&lt;br /&gt;
juvenile works; the output of these books reached&lt;br /&gt;
2,881. Religious works come third with 1,022.&lt;br /&gt;
It will be interesting to see whether in 1910 this&lt;br /&gt;
huge increase is maintained.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COMMITTEE ELECTION.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THIS year, owing to a different arrangement of&lt;br /&gt;
dates, it was impossible to give notice of the result&lt;br /&gt;
of the election of the committee at the general&lt;br /&gt;
meeting which was held on the 16th of last&lt;br /&gt;
month.&lt;br /&gt;
The following is the signed statement of the&lt;br /&gt;
scrutineers, recording the votes for 1910 in the&lt;br /&gt;
following order :&mdash;&lt;br /&gt;
286&lt;br /&gt;
J. W. Comyns Carr&lt;br /&gt;
Mrs. E. Nesbit Bland 283&lt;br /&gt;
Francis Storr &ordm; . . 266&lt;br /&gt;
G. Bernard Shaw . G . . 233&lt;br /&gt;
Mackenzie Bell 178&lt;br /&gt;
It may be worth while to repeat that one-third&lt;br /&gt;
of the committee retires annually. Therefore, of a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#587) ################################################&lt;br /&gt;
&lt;br /&gt;
197&lt;br /&gt;
committee consisting of twelve members, four&lt;br /&gt;
members have to retire. The committee have&lt;br /&gt;
the right of nomination, or any two members of&lt;br /&gt;
the society may nominate a third member.&lt;br /&gt;
Three hundred and fifty-five votes were recorded&lt;br /&gt;
in the election for the current year. The first&lt;br /&gt;
four on the above list are those who will join the&lt;br /&gt;
committee. - -&lt;br /&gt;
GENERAL MEETINGS.&lt;br /&gt;
I. THE COUNCIL.&lt;br /&gt;
TYRIOR to the annual general meeting, held at&lt;br /&gt;
the Society of Medicine on Wednesday,&lt;br /&gt;
T March 16th, the general meeting of the&lt;br /&gt;
shareholders, the Council of the Society, was held.&lt;br /&gt;
The meeting was merely formal to pass the annual&lt;br /&gt;
report of the committee of management, to elect&lt;br /&gt;
the accountants for 1910, and to adopt the accounts&lt;br /&gt;
for the past year. g&lt;br /&gt;
As the report and accounts had been circulated&lt;br /&gt;
they were taken as read, and the three items on&lt;br /&gt;
the agenda, put from the chair, were duly carried,&lt;br /&gt;
Messrs. Oscar Berry &amp;amp; Co. again being elected&lt;br /&gt;
accountants.&lt;br /&gt;
II. THE SOCIETY.&lt;br /&gt;
THE general meeting of the society was held&lt;br /&gt;
on Wednesday, March 16th, at 4 p.m., Mr.&lt;br /&gt;
Maurice Hewlett, chairman of the Committee of&lt;br /&gt;
Management, presiding. - -&lt;br /&gt;
The agenda on the paper were:&ndash;1. To receive&lt;br /&gt;
and, if desired, to discuss the accounts and report&lt;br /&gt;
of the Committee of Management 2. To elect a&lt;br /&gt;
member of the Pension Fund Committee under the&lt;br /&gt;
scheme for the management of the Pension Fund.&lt;br /&gt;
3. To appoint scrutineers to count the votes under&lt;br /&gt;
the new constitution. -&lt;br /&gt;
In order to dispose of No. 2 and No. 3 before&lt;br /&gt;
proceeding to the main business of the meeting, the&lt;br /&gt;
chairman invited the nomination of a new member&lt;br /&gt;
of the Pension Fund Committee, and as no such&lt;br /&gt;
nomination was made, declared Mr. M. H.&lt;br /&gt;
Spielmann (who, retiring by rotation, offered him-&lt;br /&gt;
self for re-election) to be duly elected. A similar&lt;br /&gt;
request was made for names of members to act as&lt;br /&gt;
scrutineers, and as none was put forward the chair-&lt;br /&gt;
man intimated that the committee would make the&lt;br /&gt;
necessary appointments. w&lt;br /&gt;
i. to deal with the report, Mr. Hewlett&lt;br /&gt;
congratulated the society upon a membership of&lt;br /&gt;
over 2,000, increased during 1909 by more elections&lt;br /&gt;
than in any preceding year. - -&lt;br /&gt;
of its president, Mr. George Meredith.&lt;br /&gt;
Even if the total of all the authors in the&lt;br /&gt;
kingdom amounted to 3,000 or 4,000, such a&lt;br /&gt;
number combined in the society constituted a very&lt;br /&gt;
formidable body. They had elected to the council&lt;br /&gt;
in the year Mark Twain and Mr. H. G. Wells,&lt;br /&gt;
thereby doing honour to themselves. A serious&lt;br /&gt;
loss had been sustained by the society in the death&lt;br /&gt;
There was&lt;br /&gt;
no need to add to what had already been said upon&lt;br /&gt;
such a subject, but the Society had been fortunate&lt;br /&gt;
in securing as his successor Mr. Thomas Hardy.&lt;br /&gt;
Mr. George Meredith had succeeded Lord Tennyson,&lt;br /&gt;
and would be followed by the most distinguished&lt;br /&gt;
Writer in England, who, as poet, philosopher and&lt;br /&gt;
moral force, stood easily first. -&lt;br /&gt;
With regard to the Committee of Management,&lt;br /&gt;
the chairman mentioned the retirement of Mrs.&lt;br /&gt;
Felkin and the re-election of Dr. Squire Sprigge,&lt;br /&gt;
Mr. Arthur Rackham and Mr. Sidney Webb. He&lt;br /&gt;
also congradulated the society upon having added&lt;br /&gt;
the name of Sir Alfred Bateman to the committee&lt;br /&gt;
to supply the great loss sustained in the death of&lt;br /&gt;
Sir Henry Bergne. After referring briefly to the&lt;br /&gt;
work of the Committee of Management and of the&lt;br /&gt;
sub-committees, Mr. Hewlett expressed himself&lt;br /&gt;
as having been surprised since he had become its&lt;br /&gt;
chairman by the number of cases dealt with and by&lt;br /&gt;
the variety and extent of the work done. He&lt;br /&gt;
mentioned an instance of an unusual case, one of&lt;br /&gt;
&ldquo;literary libel,&rdquo; occurring in a foreign country and&lt;br /&gt;
now under consideration, in which the question&lt;br /&gt;
arose out of a book translated into German, with all&lt;br /&gt;
the names and topical allusions converted into&lt;br /&gt;
German names and allusions, producing a result&lt;br /&gt;
amusing to all but the author. After referring to&lt;br /&gt;
the satisfactory financial position of the scoiety, he&lt;br /&gt;
drew attention to the fact that during the past&lt;br /&gt;
year the aid of the society had been deliberately&lt;br /&gt;
invoked for the first time by the Publishers&amp;#039;&lt;br /&gt;
Association ; this showed that the publishers&lt;br /&gt;
thought the society worth consulting, and indicated&lt;br /&gt;
a new and very gratifying state of affairs. He&lt;br /&gt;
concluded by paying a tribute to the service&lt;br /&gt;
rendered by the secretary of the society, Mr. G. H.&lt;br /&gt;
Thring, than whom no one could have discharged&lt;br /&gt;
his duties with greater industry or a more intelligent&lt;br /&gt;
sympathy.&lt;br /&gt;
At the close of the chairman&amp;#039;s address, and in&lt;br /&gt;
reply to an invitation to those present to put ques-&lt;br /&gt;
tions arising out of the report, Mr. Harold Hardy,&lt;br /&gt;
speaking as a member of the Copyright Sub-com-&lt;br /&gt;
mittee, made the suggestion to the Committee of&lt;br /&gt;
Management, that just as they referred dramatic&lt;br /&gt;
cases to the Dramatic Sub-committee, so they should&lt;br /&gt;
refer copyright cases to the Copyright Sub-com-&lt;br /&gt;
mittee. In reply, the chairman expressed personal&lt;br /&gt;
approval of the idea, and said that he would bring&lt;br /&gt;
the proposal before the Committee of Management.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#588) ################################################&lt;br /&gt;
&lt;br /&gt;
198&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
Mr. J. Harwood Panting referred to the election of&lt;br /&gt;
the president, and urged that it would be prefer-&lt;br /&gt;
able that he should be elected by the society and&lt;br /&gt;
not be merely a nominee of the committee. In&lt;br /&gt;
reply, the chairman pointed out that the election of&lt;br /&gt;
the president was by the council, in accordance&lt;br /&gt;
with the constitution of the society, which had to&lt;br /&gt;
be observed. Mr. Bernard Shaw, commenting&lt;br /&gt;
upon Mr. Harold Hardy&amp;#039;s suggestion that the&lt;br /&gt;
Copyright Sub-committee should have entrusted to&lt;br /&gt;
it cases now dealt with by the Committee of Man-&lt;br /&gt;
agement in which questions relating to copyright&lt;br /&gt;
were raised, observed that committees made their&lt;br /&gt;
own work ; that the Dramatic Sub-committee,&lt;br /&gt;
which now dealt with cases relating to dramatic&lt;br /&gt;
matters, at one time practically did not exist, but&lt;br /&gt;
that if the sub-committee was found to be doing its&lt;br /&gt;
work well, meeting regularly and with a good&lt;br /&gt;
attendance of its members, them all work suitable&lt;br /&gt;
for it would soon be handed over to it. The Com-&lt;br /&gt;
mittee of Management had plenty to do, and the&lt;br /&gt;
Copyright Sub-committee would not find that it&lt;br /&gt;
was not sufficiently human to be willing to turn&lt;br /&gt;
over a portion of its labonrs. Mr. Shaw, con-&lt;br /&gt;
tinuing, referred to the growing membership, and&lt;br /&gt;
to the necessity notwithstanding for active recruit-&lt;br /&gt;
ing, and for making use of the society after joining&lt;br /&gt;
it. The society had a great many members who&lt;br /&gt;
appeared to proceed on the assumption that the&lt;br /&gt;
society did not exist, members who, after joining,&lt;br /&gt;
complained of agreements into which they had&lt;br /&gt;
entered, and when asked if they had consulted the&lt;br /&gt;
society were found not to have even thought of doing&lt;br /&gt;
so. These seemed to look upon joining the society&lt;br /&gt;
as a mere form which had to be gone through,&lt;br /&gt;
like the rite of confirmation. Many of them had&lt;br /&gt;
never even heard of the existence of the secretary.&lt;br /&gt;
He urged that even those who were good business&lt;br /&gt;
men, and who were able to understand their agree-&lt;br /&gt;
ments, would do the society a service by consulting&lt;br /&gt;
it with regard to them. He had recently had&lt;br /&gt;
before him on the Committee of Management a&lt;br /&gt;
publisher&amp;#039;s agreement of so preposterous a character&lt;br /&gt;
that it was almost inconceivable, and he had had&lt;br /&gt;
another submitted to him with regard to the&lt;br /&gt;
Writing of plays, by a leading London manager,&lt;br /&gt;
so monstrous that he believed he could get it&lt;br /&gt;
quashed by writing and informing the manager&lt;br /&gt;
that unless he withdrew it the society would advise&lt;br /&gt;
dramatic authors to have nothing to do with him.&lt;br /&gt;
It was of the greatest importance that members&lt;br /&gt;
should get every author they possibly could to join&lt;br /&gt;
their organisation. He urged every member who&lt;br /&gt;
might be asked privately for advice by a friend&lt;br /&gt;
upon some literary matter, although he might be&lt;br /&gt;
perfectly able to give it, to refuse it, and to send&lt;br /&gt;
those asking for it to the society.&lt;br /&gt;
A vote of thanks to the chairman was proposed&lt;br /&gt;
by Mr. Charles Garvice and seconded by G. N.&lt;br /&gt;
Count Plunkett. The members present included:&lt;br /&gt;
Chairman, Mr. Maurice Hewlett; E. A. Armstrong,&lt;br /&gt;
Miss Emily Baker, Sir Alfred Bateman, T. P.&lt;br /&gt;
Beddoes, Mackenzie Bell, Mrs. Belloc-Lowndes,&lt;br /&gt;
Edward J. Bedford, Mrs. E. Nesbit Bland, John&lt;br /&gt;
Buchan, C.O. Burge, W. M. Coleman, Thomas Cobb,&lt;br /&gt;
Miss Ellen Collett, James Curtis, F. H. Cripps Day,&lt;br /&gt;
W. Scott Durrant, Miss Gabrielle Festing, Douglas&lt;br /&gt;
Freshfield, John Fyvie, Charles Garvice, Miss Mary&lt;br /&gt;
Gaunt, Harold Hardy, Anthony Hope Hawkins,&lt;br /&gt;
Miss E. M. Hine, C. T. Jacobi, Miss Arabella&lt;br /&gt;
Kenealy, E. P. Larken, C. Lincoln, Sir Alfred&lt;br /&gt;
Lyall, Miss Annie Matheson, A. R. Hope Moncrieff,&lt;br /&gt;
Harwood Panting, H. M. Paull, W. Booth Pearsall,&lt;br /&gt;
Mrs. Alice Perrin, W. F. Pettigrew, Count G. N.&lt;br /&gt;
Plunkett, J. Prelooker, John Richmond, Lieut.-&lt;br /&gt;
Col. W. Sedgwick, G. Bernard Shaw, Mrs. G.&lt;br /&gt;
Bernard Shaw, Miss H. M. E. Stanton, Francis&lt;br /&gt;
Storr, Miss Grace Toplis, Mrs. Alec Tweedie,&lt;br /&gt;
Frederick Vicars, Mrs. Voynich, William Wallace,&lt;br /&gt;
L. C. Wharton, Edward Willmore, Miss D.&lt;br /&gt;
Zingler.&lt;br /&gt;
-*&mdash;&lt;br /&gt;
wr-&ordm;-&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
&mdash;e-C*-e&mdash;&lt;br /&gt;
O&rdquo;. more one hears the complaint that&lt;br /&gt;
many of the really good books of the year&lt;br /&gt;
&mdash;&ldquo;books&rdquo; in this connection are of course&lt;br /&gt;
novels&mdash;did not figure among the recorded &ldquo;best&lt;br /&gt;
sellers&rdquo; of 1909. Even so it is rather significant&lt;br /&gt;
that a work of the calibre of Mrs. McCartney&lt;br /&gt;
Lane&rsquo;s &ldquo;Katrine&rdquo; should actually head the list.&lt;br /&gt;
It is also rather curious that women authors&lt;br /&gt;
among the most popular should be in the propor-&lt;br /&gt;
tion of only one to three male writers. Mrs. Ward&lt;br /&gt;
and Robert Hichens represent not unworthily the&lt;br /&gt;
non-American element.&lt;br /&gt;
An event of the spring publishing season will be&lt;br /&gt;
the appearance of a new book by Max Adeler.&lt;br /&gt;
The subject of it is the experiences of one who in&lt;br /&gt;
his own despite has gained the reputation of a&lt;br /&gt;
mighty &ldquo;natural&rdquo; healer. George W. Jacobs&lt;br /&gt;
&amp;amp; Co., of Philadelphia, are the publishers. By&lt;br /&gt;
the bye, it is said that Mr. Clark, unlike a cele-&lt;br /&gt;
brated English humourist, dislikes being addressed&lt;br /&gt;
by his pen-name, which ignores his labours in&lt;br /&gt;
other fields to which he has long devoted his best&lt;br /&gt;
energies.&lt;br /&gt;
Commander Peary&amp;#039;s recent Arctic experiences,&lt;br /&gt;
which are appearing in Hampton&amp;#039;s Magazine, are,&lt;br /&gt;
it is said, to wait for publication in book form till&lt;br /&gt;
the fall, when they will be issued by the Stokes&lt;br /&gt;
Company in two volumes. -&lt;br /&gt;
The seventh volume of Prof. J. B. McMaster&amp;#039;s&lt;br /&gt;
History of the United States, bringing the narra-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#589) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
199&lt;br /&gt;
tive down to 1852, is just appearing. Meanwhile,&lt;br /&gt;
two more instalments of Elroy McKendree Avery&amp;#039;s&lt;br /&gt;
large history have come to hand. The first&lt;br /&gt;
volume deals with the early days of the Revolu-&lt;br /&gt;
tion, and the second with the Revolution itself and&lt;br /&gt;
its consolidation in the Confederation. The illus-&lt;br /&gt;
trations, which have been the great feature of the&lt;br /&gt;
work, seem to have been a little overdone in these&lt;br /&gt;
latest volumes.&lt;br /&gt;
Prof. Guy Stevens Collender&rsquo;s &ldquo;Selections from&lt;br /&gt;
the Economic History of the United States&amp;#039;&lt;br /&gt;
should be a boon to students of political economy.&lt;br /&gt;
This large source book, issued by Ginn &amp;amp; Co.,&lt;br /&gt;
begins with the year 1765 and extends to 1860.&lt;br /&gt;
Abraham Lincoln is by no means done with as&lt;br /&gt;
yet. Chicago makes two further contributions to&lt;br /&gt;
his literature this spring in the &ldquo;Century Tribute,&rdquo;&lt;br /&gt;
edited by Nathan William McChesney, and the&lt;br /&gt;
&ldquo;Monograph,&rdquo; by Isaac N. Phillips. Both come&lt;br /&gt;
from McClurg &amp;amp; Co.&lt;br /&gt;
Mrs. Atherton&amp;#039;s new novel, &ldquo;Tower of Ivory,&rdquo;&lt;br /&gt;
is the story of a young English diplomat&amp;#039;s unfortu-&lt;br /&gt;
nate marriage with a frivolous American and his&lt;br /&gt;
tragic passion for a German singer with a past.&lt;br /&gt;
The book, which will fully sustain her reputation,&lt;br /&gt;
is to be issued in London by John Murray. This&lt;br /&gt;
writer contributed te a recent number of the New&lt;br /&gt;
York Bookman a piquant article upon the American&lt;br /&gt;
novel in England. My recollection is that it&lt;br /&gt;
rather bore out the truth of the old Scriptural&lt;br /&gt;
saying about the honour of a prophet in his own&lt;br /&gt;
country.&lt;br /&gt;
The hitherto unpublished &ldquo;Diary of President&lt;br /&gt;
Polk&rdquo; is being printed this spring from the&lt;br /&gt;
original manuscript belonging to the Chicago&lt;br /&gt;
Historical Society. Prof. Milo Quaife, of the&lt;br /&gt;
Lewis Institute of Technology, is the editor. Of&lt;br /&gt;
this document Prof. Albert Hart has declared&lt;br /&gt;
that &ldquo;in all American history we have few such&lt;br /&gt;
revelations of the inside workings of war and&lt;br /&gt;
diplomacy.&rdquo; Prof. Garrison, of Texas University,&lt;br /&gt;
has pointed out how it refutes the charges against&lt;br /&gt;
its author&amp;#039;s character.&lt;br /&gt;
Prof. John M. Manly has arranged with the&lt;br /&gt;
authorities of the Bodleian for the publication of&lt;br /&gt;
a collotype facsimile of the Caedmon Manuscript.&lt;br /&gt;
The issue is to be limited to one hundred copies at&lt;br /&gt;
five guineas.&lt;br /&gt;
A meeting in commemoration of the career of&lt;br /&gt;
the late Richard Watson Gilder was held in&lt;br /&gt;
Mendelssohn Hall, New York, on February 20.&lt;br /&gt;
Governor Hughes presided, and among the&lt;br /&gt;
speakers were President Nicholas M. Butler,&lt;br /&gt;
Robert Underwood Johnson, Dr. Hamilton Wright&lt;br /&gt;
Mabie, and Mr. J. Forbes Robertson.&lt;br /&gt;
One of the most notable of the February books&lt;br /&gt;
was William Winter&rsquo;s &ldquo;Life and Art of Richard&lt;br /&gt;
Mansfield.&rdquo; An Englishman by birth and an&lt;br /&gt;
American by adoption, Mansfield was in reality&lt;br /&gt;
a citizen of the world. He owed much to his&lt;br /&gt;
biographer in life, and the debt has not been&lt;br /&gt;
diminished by this record of his personality and&lt;br /&gt;
activities. The book is a valuable contribution to&lt;br /&gt;
dramatic criticism as well as to contemporary&lt;br /&gt;
biography.&lt;br /&gt;
Amongst the subjects chosen by the judges for&lt;br /&gt;
the annual economic prizes offered by Messrs. Hart,&lt;br /&gt;
Schaffner, and Marx, of Chicago, I note that one is&lt;br /&gt;
&ldquo;The Value of Protectionism to American Work-&lt;br /&gt;
ing Men,&rdquo; whilst another is &ldquo;German Experience&lt;br /&gt;
in Taxing the Unearned Increment from Land.&rdquo;&lt;br /&gt;
Such subjects as these and &ldquo;The Effects of Modern&lt;br /&gt;
Immigration in the United States&rdquo; should produce&lt;br /&gt;
Some interesting contributions.&lt;br /&gt;
Students of American psychology are well catered&lt;br /&gt;
for nowadays. No sooner have they finished with&lt;br /&gt;
Maurice Low&rsquo;s &ldquo;Study of the American People&rdquo;&lt;br /&gt;
than they are confronted with Dr. Henry Van&lt;br /&gt;
Dyke&amp;#039;s &ldquo;Spirit of America.&rdquo; It may be safely&lt;br /&gt;
asserted that readers of both these will not be&lt;br /&gt;
confined to one hemisphere.&lt;br /&gt;
Someone has discovered the existence of an earlier&lt;br /&gt;
American Academy dating from the year 1820. Its&lt;br /&gt;
habitat was New York, its president John Quincy&lt;br /&gt;
Adams, and its corresponding secretary and organ-&lt;br /&gt;
ising genius a certain William S. Cardell. A prize&lt;br /&gt;
and gold medal were offered for the best written&lt;br /&gt;
history of the United States, and other subjects&lt;br /&gt;
were proposed for competition in subsequent years.&lt;br /&gt;
Apparently this laudable body only survived a few&lt;br /&gt;
years; but it was a gallant, if premature, attempt.&lt;br /&gt;
Edwin Tenney Brewster&rsquo;s &ldquo;Life and Letters of&lt;br /&gt;
Josiah Dwight Whitney &rsquo;&rsquo; is an admirably executed&lt;br /&gt;
record of the achievements of the first American&lt;br /&gt;
geologist of mark. Professor Whitney, who died&lt;br /&gt;
in 1896, was a brother of the eminent philologist,&lt;br /&gt;
whom he helped with the &ldquo;Century Dictionary.&rdquo;&lt;br /&gt;
Another book recently issued by Houghton,&lt;br /&gt;
Mifflin &amp;amp; Co., Mrs. Anna Robeson Burr&amp;#039;s critical&lt;br /&gt;
and comparative study of &ldquo;The Autobiography&amp;quot;&lt;br /&gt;
should attract not a few readers. The author has&lt;br /&gt;
examined and grouped no less than 265 &ldquo;capital&rdquo;&lt;br /&gt;
specimens in various languages. The task is&lt;br /&gt;
ambitious and Scarcely admits of being conclusive.&lt;br /&gt;
A recent correspondent of the Dial thinks she has&lt;br /&gt;
discovered the secret of the &ldquo;best-seller.&rdquo; She&lt;br /&gt;
repudiates the suggestion of the anonymous writer&lt;br /&gt;
of &ldquo;The Confessions of a Best-seller&rdquo; in the&lt;br /&gt;
Atlantic Monthly that the key to popularity is&lt;br /&gt;
&ldquo;plot-interest.&rdquo; People who buy new books are&lt;br /&gt;
after something more than a good story, she&lt;br /&gt;
declares, and that something is &ldquo;the genteel&lt;br /&gt;
atmosphere.&rdquo; This, no doubt, so far as women&lt;br /&gt;
readers are concerned, is a highly plausible plea.&lt;br /&gt;
But the other writer was presumably thinking of&lt;br /&gt;
the tired male.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#590) ################################################&lt;br /&gt;
&lt;br /&gt;
200&lt;br /&gt;
THE A Drt FIOR.&lt;br /&gt;
The versatile William Everett, preacher, mis-&lt;br /&gt;
sionary orator, classical scholar, and English&lt;br /&gt;
writer, died on February 16, at Quincy, where&lt;br /&gt;
he had been principal of the Adams Academy&lt;br /&gt;
nearly thirty years. He is said to have left in&lt;br /&gt;
manuscript a life of his father, Edward Everett.&lt;br /&gt;
Mrs. Jessie Van Zile Belden, the novelist, died in&lt;br /&gt;
New York a fortnight earlier.&lt;br /&gt;
&mdash;&ordm;- Ah&lt;br /&gt;
~-w&lt;br /&gt;
THE UTILITY OF REVIEws.&lt;br /&gt;
HAVE read with considerable interest the letters&lt;br /&gt;
in these columns on the subject of the utility of&lt;br /&gt;
reviews, and, as the author of some hundred&lt;br /&gt;
novels, all of which have had the favour of the&lt;br /&gt;
public&amp;#039;s eye, and many of which have had the favour&lt;br /&gt;
of the reviewer&amp;#039;s pen, I should like, if I might, to&lt;br /&gt;
say a word or two of my own impressions.&lt;br /&gt;
In past days reviews were entrusted to men of&lt;br /&gt;
letters, of university education, of culture and&lt;br /&gt;
ability. Though a reviewer might be merciless,&lt;br /&gt;
he had such critical faculty and such information&lt;br /&gt;
that though his victim might writhe, he still could&lt;br /&gt;
gather help and improvement from his tortures.&lt;br /&gt;
The reviewer&amp;#039;s trade, like much else, has changed&lt;br /&gt;
in these haste-to-be-rich days. Newspapers,&lt;br /&gt;
agonising to pay shareholders&amp;#039; dividends or to&lt;br /&gt;
become millionaires on their own account, cut all&lt;br /&gt;
expenses. Book reviews can be written by any&lt;br /&gt;
member of the executive staff who has a swift pen&lt;br /&gt;
and a nimble fancy. The clerk, proud of his&lt;br /&gt;
extreme youth and as ignorant of the world as&lt;br /&gt;
he is of anything beyond his board-school educa-&lt;br /&gt;
tion ; the office boy on promotion, they are con-&lt;br /&gt;
sidered quite capable reviewers. The innocence&lt;br /&gt;
of their comments, the wild inappositeness of their&lt;br /&gt;
criticisms, tickle the humour of the reviewed, even&lt;br /&gt;
while the victims protest against the distortion of&lt;br /&gt;
their own meanings, the misrepresentation of their&lt;br /&gt;
plots, their characters, their situations. The reading&lt;br /&gt;
public gravely accepts the dictum of young per-&lt;br /&gt;
sonages whose opinion in real life they would be&lt;br /&gt;
reluctant to take on the weather, and the book&lt;br /&gt;
and its author are catalogued according to the&lt;br /&gt;
reviewer&amp;#039;s praise or condemnation. -&lt;br /&gt;
There is another class of reviewer. He is still&lt;br /&gt;
educated, enlightened, justified in criticising. But&lt;br /&gt;
time fails him. I dislike the personal illustration,&lt;br /&gt;
but must resort to it to make my point. Not long&lt;br /&gt;
since a historical biography I had just published&lt;br /&gt;
received a somewhat slighting mention in one of&lt;br /&gt;
the leading London daily papers. Not long after-&lt;br /&gt;
wards a relative of mine met the reviewer. He&lt;br /&gt;
admitted, with some embarrassment, that he had&lt;br /&gt;
not yet read my book when he wrote the review,&lt;br /&gt;
doubt that a book may be damned by blame.&lt;br /&gt;
and excused himself by saying that the business of&lt;br /&gt;
reviewing was so wretchedly paid nowadays and&lt;br /&gt;
the number of books to review was so over-&lt;br /&gt;
whelming that, except in very exceptional cases,&lt;br /&gt;
a harassed reviewer could do no more than dip&lt;br /&gt;
hastily between the pages. I suppose it was by&lt;br /&gt;
way of amende honorable that that same paper, in&lt;br /&gt;
its general literary review at the close of the year,&lt;br /&gt;
said so many kind and friendly things to me.&lt;br /&gt;
There is still a third reviewer. He is apt to be&lt;br /&gt;
attached to the better class of periodical&mdash;the&lt;br /&gt;
quarterly, or monthly, or weekly that is looked up&lt;br /&gt;
to as a final literary authority, and prides itself on&lt;br /&gt;
its up-to-date Smartness.&lt;br /&gt;
This reviewer owes his&lt;br /&gt;
post to his powers of Smart writing, his turn of a&lt;br /&gt;
sentence, his quip, his jeer, his satire. To make a&lt;br /&gt;
brilliant stroke of the pen is his aim, his aspiration.&lt;br /&gt;
At any cost he must sparkle, must call attention&lt;br /&gt;
to his own wit. To praise is poor work, trite,&lt;br /&gt;
commonplace. The feeblest intellect can praise.&lt;br /&gt;
There is no reputation in it. So he dips his pen&lt;br /&gt;
in vinegar, and struts in epigram, and proves him-&lt;br /&gt;
self a pretty wit and a shining writer.&lt;br /&gt;
Now, I take it that the main object of reviews&lt;br /&gt;
is twofold: to help the reading public in the selec-&lt;br /&gt;
tion of a book, and to teach the author. None of&lt;br /&gt;
these three classes of modern reviewer achieve the&lt;br /&gt;
latter object. When a reviewer has palpably not&lt;br /&gt;
read one&amp;#039;s book, praise is quite as distasteful as&lt;br /&gt;
unjust blame. When it is evident his cast of mind&lt;br /&gt;
is not that of the educated for whom one writes,&lt;br /&gt;
his criticism becomes valueless. When the effort&lt;br /&gt;
to sparkle as a witty critic is too deplorably&lt;br /&gt;
evident, satire leaves one cold. The author has no&lt;br /&gt;
real enlightenment as to his faults or his successes.&lt;br /&gt;
The other object, that of a guide to selection, is no&lt;br /&gt;
doubt achieved, but with profound injustice.&lt;br /&gt;
There can be no doubt that the sale of any book&lt;br /&gt;
is enormously regulated by reviews. If we con-&lt;br /&gt;
cede that the sale of a successful book is not&lt;br /&gt;
entirely due to good reviews, there can be no&lt;br /&gt;
But,&lt;br /&gt;
in truth, there has been more than one author in&lt;br /&gt;
my personal knowledge floated into public favour&lt;br /&gt;
by laudatory critics, and an editor once informed&lt;br /&gt;
me that he ordered his serials from authors with-&lt;br /&gt;
out having read a line of their writings, merely on&lt;br /&gt;
the strength of reviews of their first books.&lt;br /&gt;
But a book abused by the critics is heavily&lt;br /&gt;
handicapped throughout its career, and in almost&lt;br /&gt;
every instance injurious reviews affect disastrously&lt;br /&gt;
the publishing chances of its successor. An&lt;br /&gt;
author&amp;#039;s future, his daily bread, may depend on&lt;br /&gt;
the whim of a newspaper clerk, his fit of indiges-&lt;br /&gt;
tion, his fatigue, his vanity. The profession of&lt;br /&gt;
letters is surely one of such assured dignity that&lt;br /&gt;
these things should not be possible, and that it&lt;br /&gt;
should have a right to demand, if merely as a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#591) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIE A DITISIOR.&lt;br /&gt;
201&lt;br /&gt;
commercial protection, sane, intelligent, serious&lt;br /&gt;
reviews, written by men fitted to deal with their&lt;br /&gt;
subject, and honest in their method of dealing.&lt;br /&gt;
Lest my next book should be a prey to the&lt;br /&gt;
teeth of the reviewer after this protest, I will take&lt;br /&gt;
the reviewer&amp;#039;s privilege of remaining nameless.&lt;br /&gt;
But I will very gladly answer any communication&lt;br /&gt;
addressed to me by any member of this society&lt;br /&gt;
on the subject.&lt;br /&gt;
AUTHORESS.&lt;br /&gt;
THE FAIRW TALE IN FICTION.&lt;br /&gt;
g&ordm; - &mdash;e-&ordm;-&ordm;-&lt;br /&gt;
V7 RITERS of fiction not infrequently speak&lt;br /&gt;
with some contempt of the work of their&lt;br /&gt;
humbler brothers and sisters&mdash;the writers&lt;br /&gt;
of Fairy Tales. Fairy Tales, they say, are so easy&lt;br /&gt;
to do&mdash;all that is needed is for the writer to live&lt;br /&gt;
in a world of his own making, under conditions of&lt;br /&gt;
of his own laying down. When a difficulty, when&lt;br /&gt;
a tangle occurs, the aid of the supernatural or the&lt;br /&gt;
grotesque can be called in to solve or to disentangle.&lt;br /&gt;
The men and women in Fairy Tales are puppets in&lt;br /&gt;
the hands of non-humans. They do not act, or&lt;br /&gt;
speak, or think like the men and women in every-&lt;br /&gt;
day life. Whereas in ordinary fiction the work of&lt;br /&gt;
the artist is to hold the mirror up to nature&mdash;in&lt;br /&gt;
Fairy Tales no mirror is necessary&mdash;not even a&lt;br /&gt;
distorting &ldquo;magic&amp;quot; mirror, convex or concave&mdash;&lt;br /&gt;
wherein nature is caricatured beyond recognition.&lt;br /&gt;
A writer of Fiction holds a mirror&mdash;a poor, cracked,&lt;br /&gt;
blurred affair it may be, but still a mirror&mdash;while&lt;br /&gt;
the Fairy Tale writer splashes away at a canvas,&lt;br /&gt;
and exhibits something which, whatever else it may&lt;br /&gt;
be, has no claim to reflect what passes in the world&lt;br /&gt;
around us. Now all this is very unfair&mdash;and the&lt;br /&gt;
more unfair because of a certain element of truth&lt;br /&gt;
underlying it. Of course Fairy Tale writers have&lt;br /&gt;
an advantage over writers of Fiction in being able&lt;br /&gt;
to choose &ldquo;worlds unrealised &rdquo; for their scenes&lt;br /&gt;
instead of the workaday world which we all know.&lt;br /&gt;
But there the advantage ceases. The elements of&lt;br /&gt;
which Fairy Tales are composed are precisely the&lt;br /&gt;
same as the elements which go to the composition&lt;br /&gt;
of a novel. The characteristics of the actors are&lt;br /&gt;
as strongly marked in the one as in the other.&lt;br /&gt;
The influences which modify or guide the actions&lt;br /&gt;
are the same in each, although in Fiction these&lt;br /&gt;
influences are treated as vague forces of fate,&lt;br /&gt;
whereas in Fairy Tales they are personified as&lt;br /&gt;
fairies or magicians. The Fairy Tale, being shorter&lt;br /&gt;
than a novel, the effect of these influences on&lt;br /&gt;
character development cannot have full play.&lt;br /&gt;
Mrs. Gaskell must have felt all this when she&lt;br /&gt;
wrote her group of short stories, &ldquo;Old Friends&lt;br /&gt;
with New Faces.&rdquo; In the happy ending story in&lt;br /&gt;
Fiction, in which virtue is triumphant and vice&lt;br /&gt;
is punished, for example, is that ending truer to&lt;br /&gt;
what takes place in the world we know than the&lt;br /&gt;
typical ending of a Fairy Tale, &ldquo;and so the wicked&lt;br /&gt;
Stepmother was condemned to be burnt, and the&lt;br /&gt;
prince and princess married, and lived happily ever&lt;br /&gt;
afterwards&rdquo;? But, it may be said, the means by&lt;br /&gt;
which the end is reached in happy ending Fiction&lt;br /&gt;
is quite different from the means by which the end is&lt;br /&gt;
reached in the Fairy Tale. Is this the case&lt;br /&gt;
really Coincidence in the Fairy Tale plays an&lt;br /&gt;
important part. It brings together the prince and&lt;br /&gt;
the princess&mdash;that is the hero and heroine&mdash;who&lt;br /&gt;
have been wandering half over the world in opposite&lt;br /&gt;
directions, at the critical moment. But the&lt;br /&gt;
coincidence is given its true place in the Fairy&lt;br /&gt;
Tale. It is not the result of chance&mdash;it is the&lt;br /&gt;
result of the deliberate actions of higher powers.&lt;br /&gt;
In Fiction, coincidence, while brought in for the&lt;br /&gt;
same end, is a clumsy contrivance discredited by&lt;br /&gt;
all writers, and made use of by all. Dickens, more,&lt;br /&gt;
perhaps, than any great writer of Fiction, made&lt;br /&gt;
use of the Fairy Tale element in his stories. Most&lt;br /&gt;
conspicuously is this the case in the conversions&lt;br /&gt;
chronicled by him, conversions brought about by&lt;br /&gt;
utterly inadequate means, of bad characters into&lt;br /&gt;
good. Then his good characters are, generally&lt;br /&gt;
speaking, like the little girl in the rhyme, so &ldquo;very,&lt;br /&gt;
very good&amp;quot;&mdash;and his bad characters so unvaryingly&lt;br /&gt;
&ldquo; horrid&rdquo; as are the good and bad characters in&lt;br /&gt;
Fairy Tales. Jack goes out to meet his giants alike&lt;br /&gt;
in Fiction and Fairy Tales, and polishes them off in&lt;br /&gt;
the most satisfactory manner. If he does not escape&lt;br /&gt;
unscathed he wins his princess, and marries her,&lt;br /&gt;
and lives happily ever after. Whereas in real life&lt;br /&gt;
Jack would almost certainly be the killed and not&lt;br /&gt;
the killer, or at best would be taken prisoner, and&lt;br /&gt;
be kept shut up under the kitchen floor in some&lt;br /&gt;
giant&amp;#039;s stronghold. As for the other Jack&mdash;him of&lt;br /&gt;
the Beanstalk&mdash;Fiction delights in telling us how&lt;br /&gt;
he looked out of his window one morning and&lt;br /&gt;
found that the pretty coloured bean which he had&lt;br /&gt;
sown the night before had sprung up, and was now&lt;br /&gt;
a towering tree, with its topmost branches hidden&lt;br /&gt;
in the clouds. Of course we are told that this&lt;br /&gt;
sudden blaze of success out of the dying embers of&lt;br /&gt;
failure does occur in real life, and we are pointed&lt;br /&gt;
to Byron as an example. But it is not convincing.&lt;br /&gt;
Success does not come in this way, Byron notwith-&lt;br /&gt;
standing. Cinderella is a special favourite in&lt;br /&gt;
Fiction&mdash;in days gone by she was even a greater&lt;br /&gt;
favourite than she is at present. In Fiction and&lt;br /&gt;
Fairy Tales she goes to the ball and marries her&lt;br /&gt;
prince, and rejoices in the discomfiture of her&lt;br /&gt;
sisters, which is the greatest thing of all. In real&lt;br /&gt;
life, alas ! Cinderella stays at home and marries&lt;br /&gt;
the curate. And Cinderella&amp;#039;s godmother ? In&lt;br /&gt;
days gone by she used to be the long lost uncle&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#592) ################################################&lt;br /&gt;
&lt;br /&gt;
202&lt;br /&gt;
TISIES A cr&ordm;RIOR.&lt;br /&gt;
from the goldfields of Australia&mdash;more recently&lt;br /&gt;
she is the eccentric millionaire, American or other-&lt;br /&gt;
wise, and no relation to Cinderella whatever.&lt;br /&gt;
Still, there she is, and her vulgarity and twang do&lt;br /&gt;
not disguise from us for a moment that the Deus&lt;br /&gt;
er machina is really the Dea of our childhood.&lt;br /&gt;
It is in fact beyond dispute that the whole of the&lt;br /&gt;
machinery of Fiction is identical with the&lt;br /&gt;
machinery of Fairy Tales. In a few details only,&lt;br /&gt;
and those for the most part of a purely surface&lt;br /&gt;
character, do those two classes of literature vary.&lt;br /&gt;
Therefore as Fairy Tales are older than Fiction, the&lt;br /&gt;
writers of the latter, if they have a scrap of gratitude&lt;br /&gt;
in them, will regard with less patronising contempt&lt;br /&gt;
the composition of the former. The dwarf on the&lt;br /&gt;
shoulders of the giant does not think much of the&lt;br /&gt;
giant, but he is a dwarf for all that, and the giant&lt;br /&gt;
is still the giant.&lt;br /&gt;
E. P. II.&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
- &mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY WM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others.)&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
CHAPTER WII.&lt;br /&gt;
Various Processes, and Concluding Remarks.&lt;br /&gt;
IN the foregoing chapters I have described those&lt;br /&gt;
processes that are most useful and more&lt;br /&gt;
generally adopted for illustrative purposes&lt;br /&gt;
by reason of their commercial adaptability.&lt;br /&gt;
There are several others however, which, while&lt;br /&gt;
beautiful in their finish and effect, can only be used&lt;br /&gt;
under certain conditions.&lt;br /&gt;
Photogravure.&lt;br /&gt;
The first and most important of these is the&lt;br /&gt;
&ldquo;Photogravure&amp;quot; process, an example of which is&lt;br /&gt;
presented with this issue.&lt;br /&gt;
This process is an excellent one for portraiture&lt;br /&gt;
and any general work that can be used as an insel,&lt;br /&gt;
but it cannot be printed off with the ordinary type-&lt;br /&gt;
matter on a printing machine, and therefore is in&lt;br /&gt;
many cases inapplicable.&lt;br /&gt;
Photogravure is, as in half-tone, a photo-&lt;br /&gt;
graphic process, but is made without a screen of any&lt;br /&gt;
hind on a polished copper plate, and is moreover of&lt;br /&gt;
a sunken or intaglio nature, the paper being damped&lt;br /&gt;
for printing purposes and then forced into the&lt;br /&gt;
cavities after the same manner as an ordinary&lt;br /&gt;
copper-plate.&lt;br /&gt;
It would be superfluous to enter into the details&lt;br /&gt;
of this special branch of art reproduction more&lt;br /&gt;
than to say that, these plates being printed from&lt;br /&gt;
entirely by hand, the cost of same is naturally&lt;br /&gt;
expensive, and in many cases prohibitive.&lt;br /&gt;
As to the photogravure plate itself, the price&lt;br /&gt;
varies somewhat according to the reputation of the&lt;br /&gt;
firm supplying same, but it may be assumed to&lt;br /&gt;
range at from 18. to 1s. 6d. per square inch, with a&lt;br /&gt;
minimum cost of from thirty shillings to two&lt;br /&gt;
guineas for each plate.&lt;br /&gt;
Being slow as well as costly, it is generally&lt;br /&gt;
unsuitable for large editions.&lt;br /&gt;
It can be produced in colour form when required,&lt;br /&gt;
but as each printed impression is practically coloured&lt;br /&gt;
by hand on the plate itself it will be readily under-&lt;br /&gt;
stood that this method requires a long purse if first&lt;br /&gt;
class results are desired to be obtained.&lt;br /&gt;
Collotype.&lt;br /&gt;
In this process also the camera plays an im-&lt;br /&gt;
portant part, the pictures being reproduced by&lt;br /&gt;
mechanical means.&lt;br /&gt;
It is used a great deal for insets in book illustra-&lt;br /&gt;
tion, etc., and has been utilised extensively for&lt;br /&gt;
picture postcard and similar work.&lt;br /&gt;
A sheet of thick plate-glass after being sensitised&lt;br /&gt;
is exposed under a negative. The film, when kept&lt;br /&gt;
moist, will take ink readily and can be printed on&lt;br /&gt;
a hand press or cylinder machine. This process is,&lt;br /&gt;
however, very sensitive to atmospheric changes, and&lt;br /&gt;
although much quicker than photogravure is not&lt;br /&gt;
nearly so certain or generally effective as the latter.&lt;br /&gt;
Nor is it so artistic.&lt;br /&gt;
It is, moreover, very variable in its results, and&lt;br /&gt;
is therefore not to be recommended in an ordinary&lt;br /&gt;
way as it often ends in disappointment.&lt;br /&gt;
A collotype can be printed in any number of&lt;br /&gt;
colours by super-imposition. .&lt;br /&gt;
In giving out work by this process the best form&lt;br /&gt;
of procedure is to obtain estimates and samples&lt;br /&gt;
from various firms and compare their prices and&lt;br /&gt;
quality of work for the reproduction and prints&lt;br /&gt;
combined.&lt;br /&gt;
It is difficult to lay down an absolute rule or&lt;br /&gt;
guidance as to price, so many surrounding circum-&lt;br /&gt;
stances having to be taken into consideration.&lt;br /&gt;
It is only fair to say that some very beautiful&lt;br /&gt;
results in colour have been attained by collotype&lt;br /&gt;
reproduction, but it is uncommercial in a general&lt;br /&gt;
Sense by reason of its uncertainty.&lt;br /&gt;
Combination Colour Work.&lt;br /&gt;
There are a number of effective ways of repro-&lt;br /&gt;
ducing colour work by means of combining the&lt;br /&gt;
various processes. Picture postcards especially are&lt;br /&gt;
often treated in this way, and the results are&lt;br /&gt;
frequently quite artistic.&lt;br /&gt;
These combinations appear under all sorts of&lt;br /&gt;
names and disguises, many firms of reproducers&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#593) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A DITFIOR,&lt;br /&gt;
203&lt;br /&gt;
christening their particular method under some&lt;br /&gt;
compound title, which is not only confusing but&lt;br /&gt;
deceptive, and claiming it as their own special and&lt;br /&gt;
secret process.&lt;br /&gt;
This, as may be imagined, however, is only trade&lt;br /&gt;
bluff.&lt;br /&gt;
One of the favourite forms of combination,&lt;br /&gt;
which has appeared under all sorts of fancy head-&lt;br /&gt;
ings, is to produce the colour portion by means of&lt;br /&gt;
lithography and then to print the key on top of&lt;br /&gt;
same by means of half-tone or collotype. Both&lt;br /&gt;
ways are striking and good when well carried out.&lt;br /&gt;
I would like to warn authors against what are&lt;br /&gt;
called new processes. Whenever a man mentions&lt;br /&gt;
a perfectly new process to me I immediately&lt;br /&gt;
become sceptical. I have seen so many and heard&lt;br /&gt;
of so many. They are like ghosts: they appear&lt;br /&gt;
and they vanish, and remind me of Macbeth&amp;#039;s&lt;br /&gt;
truism :&mdash; .&lt;br /&gt;
&ldquo;Out, out brief candle !&lt;br /&gt;
Life&amp;#039;s but a walking shadow, a poor player&lt;br /&gt;
That struts and frets his hour upon the stage,&lt;br /&gt;
And then is heard no more.&rdquo;&lt;br /&gt;
I have no desire to hear of any new processes for&lt;br /&gt;
some time.&lt;br /&gt;
Continental Terms.&lt;br /&gt;
In sending blocks abroad, for the purpose of&lt;br /&gt;
facilitating correspondence, it may be mentioned&lt;br /&gt;
that an ordinary line block is called a clich&eacute;, an&lt;br /&gt;
electro is termed a galvano, half-tone work is&lt;br /&gt;
known as photo-gravure, and three-colour process as&lt;br /&gt;
helio-gravure.&lt;br /&gt;
These terms are recognised in Germany and&lt;br /&gt;
Austria as well as in France, and are generally&lt;br /&gt;
accepted throughout the European Continent.&lt;br /&gt;
Disused Metal Blocks.&lt;br /&gt;
Disused blocks quickly accumulate and are often&lt;br /&gt;
in the way, but they, unfortunately, fetch very&lt;br /&gt;
little unless you can find a purchaser who can&lt;br /&gt;
utilise them in their original form. Sometimes, of&lt;br /&gt;
course, one does not wish them to be reprinted by&lt;br /&gt;
a second party, and then the only thing is to&lt;br /&gt;
dispose of them as old metal.&lt;br /&gt;
Under these circumstances they should be&lt;br /&gt;
scratched over by a sharp tool so as to prevent&lt;br /&gt;
them being printed from by unscrupulous pur-&lt;br /&gt;
chasers.&lt;br /&gt;
In this condition they fetch a very small price ;&lt;br /&gt;
generally averaging only between 7s. 6d. and&lt;br /&gt;
12s. 6d. per cwt., wood included.&lt;br /&gt;
This selling price applies to old electros and&lt;br /&gt;
zincos, all of which go into the melting pot.&lt;br /&gt;
Copyright and Piracy.&lt;br /&gt;
It is not customary in this country to reproduce&lt;br /&gt;
portraits or photographs without the Sanction of&lt;br /&gt;
the original photographer, unless you can show a&lt;br /&gt;
receipt for payment for the photograph in the first&lt;br /&gt;
instance.&lt;br /&gt;
Professional photographers generally make a&lt;br /&gt;
charge varying from 5s. to &pound;1 1s. for the right of&lt;br /&gt;
reproduction, and in the case of well-known firms&lt;br /&gt;
also an insistence that their names shall be&lt;br /&gt;
acknowledged in the publication.&lt;br /&gt;
If a purchaser commissions an original drawing&lt;br /&gt;
or sketch from an artist, he will then own the&lt;br /&gt;
entire copyright, and it is his sole right to reproduce&lt;br /&gt;
same in any form, unless there is some specially&lt;br /&gt;
drawn up agreement to the contrary.&lt;br /&gt;
Where a photographer has taken a portrait of a&lt;br /&gt;
person, celebrity or otherwise, without making any&lt;br /&gt;
charſe, the right of reproduction belongs to the&lt;br /&gt;
photographer.&lt;br /&gt;
Throughout America and Canada I regret to say&lt;br /&gt;
there is a general disinclination either to acknow-&lt;br /&gt;
ledge or pay copyright fees for English photographs,&lt;br /&gt;
and piracies occur in the most shamefaced way on&lt;br /&gt;
every hand.&lt;br /&gt;
I have seen numbers of English photographs&lt;br /&gt;
reproduced in well-known American and Canadian&lt;br /&gt;
publications. Their English origin is totally&lt;br /&gt;
ignored.&lt;br /&gt;
. It is a matter that might, with advantage, be&lt;br /&gt;
inquired into by English producers who should&lt;br /&gt;
be naturally interested in such an important&lt;br /&gt;
Question.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
AMERICAN JOURNALISM.&rdquo;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
0 reader is likely to rise from the perusal of&lt;br /&gt;
this work with feelings of enthusiasm for&lt;br /&gt;
the newspapers of the United States of&lt;br /&gt;
North America. If all that Mr. Rogers says of&lt;br /&gt;
them is true, then they may, with a few honourable&lt;br /&gt;
exceptions, such as the New York Evening Post, be&lt;br /&gt;
divided into two classes: newspapers which one&lt;br /&gt;
would not willingly touch with a pair of tongs,&lt;br /&gt;
and newspapers which one would not willingly&lt;br /&gt;
touch with anything but a pair of tongs. They&lt;br /&gt;
suppress, doctor, or even invent news to serve the&lt;br /&gt;
interests of politicians or gratify the wishes of&lt;br /&gt;
advertisers. Their sensationalism panders to the&lt;br /&gt;
lowest instincts of their subscribers. They&lt;br /&gt;
unscrupulously invade the privacy of private life,&lt;br /&gt;
and they habitually blackmail and intimidate&lt;br /&gt;
public men. If we could imagine an English&lt;br /&gt;
newspaper endeavouring to secure the acquittal of&lt;br /&gt;
such a character as the late Whittaker Wright by&lt;br /&gt;
threatening to discover skeletons in the cupboards&lt;br /&gt;
* &ldquo;The American Newspaper,&rdquo;&lt;br /&gt;
Edward&lt;br /&gt;
Rogers. University of Chicago Press.&lt;br /&gt;
by James&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#594) ################################################&lt;br /&gt;
&lt;br /&gt;
204&lt;br /&gt;
TFIE A DITFIOR.&lt;br /&gt;
of the jury and to get the judge kicked off the&lt;br /&gt;
bench if he were convicted, we should have a fair&lt;br /&gt;
parallel to the state of things which Mr. Rogers&lt;br /&gt;
describes as prevailing in San Francisco in con-&lt;br /&gt;
nection with &ldquo;boodle&amp;quot; and &ldquo;graft.&rdquo; The indict-&lt;br /&gt;
ment, of course, is his, not ours. We merely&lt;br /&gt;
register his impressions without presuming to&lt;br /&gt;
go behind them. . As he assures us that he&lt;br /&gt;
examined fifteen thousand newspapers in order&lt;br /&gt;
to form them, he is at all events well docu-&lt;br /&gt;
menf&ouml;. The fault, however, cannot be attributed&lt;br /&gt;
solely to the innate wickedness of editors, or&lt;br /&gt;
even of proprietors. The deficiencies of the law&lt;br /&gt;
of the land are largely responsible. If judges were&lt;br /&gt;
irremovable, if the law of libel were effective, and&lt;br /&gt;
if contempt of court were properly punished, many&lt;br /&gt;
of the worst features of American journalism would&lt;br /&gt;
disappear. Even so, however, it would remain a&lt;br /&gt;
disappointing journalism&mdash;a standing proof of the&lt;br /&gt;
decline in American ideals which followed upon&lt;br /&gt;
the passing of the intellectual sceptre from New&lt;br /&gt;
England to New York and the new cities of the&lt;br /&gt;
West. New England always aimed high, though&lt;br /&gt;
its outlook was somewhat narrow. New York and&lt;br /&gt;
Chicago combine a broad outlook with low aims,&lt;br /&gt;
and their Press reflects the desire of rich men to&lt;br /&gt;
exploit the multitude. The same tendency may,&lt;br /&gt;
it is true, be detected in some sections of Our Own&lt;br /&gt;
Press; but it is less pronounced with us, because&lt;br /&gt;
we have more deeply rooted traditions than the&lt;br /&gt;
Americans, and a greater reverence for law and&lt;br /&gt;
order. This sentiment may sound pharisaical,&lt;br /&gt;
but it is true.&lt;br /&gt;
&mdash;o-&ordm;-e&lt;br /&gt;
STOPS, OR HOW TO PUNCTUATE.&rdquo;&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
R. ALLARDYCE has compiled in his&lt;br /&gt;
M | treatise on the grammatical points a work&lt;br /&gt;
which should be in the hands of every&lt;br /&gt;
author. It is sometimes asserted that authors&lt;br /&gt;
leave such details as the &ldquo;stops * to the care of&lt;br /&gt;
the printer. We hope that the allegation is not&lt;br /&gt;
true; as, on the one hand, it is inconceivable that&lt;br /&gt;
any man who respects his own work should leave&lt;br /&gt;
its meaning to the mercy of the compositors :&lt;br /&gt;
and, on the other hand, it is only too evident that&lt;br /&gt;
a writer who does not know how to use the points&lt;br /&gt;
correctly can himself have only a vague notion of&lt;br /&gt;
what he has wished to convey. At the same time,&lt;br /&gt;
that, on certain occasions, very delicate distinctions&lt;br /&gt;
are involved, and considerable literary ability&lt;br /&gt;
* &ldquo;Stops, or how to Punctuate; a Practical Handbook&lt;br /&gt;
for Writers and Students.&rdquo; Paul Allardyce, London : T.&lt;br /&gt;
Fisher Unwin. 8vo.&lt;br /&gt;
displayed by a deft use of the points, cannot be&lt;br /&gt;
denied ; and any one in doubt may consult with much&lt;br /&gt;
advantage &ldquo;Stops, or How to Punctuate.&rdquo; The&lt;br /&gt;
little work is both full and accurate. No detail&lt;br /&gt;
of any kind has been omitted ; and the author&lt;br /&gt;
has much enhanced the value of his book by&lt;br /&gt;
lucidly explaining the grounds upon which his&lt;br /&gt;
excellent rules are based.&lt;br /&gt;
~--&mdash;w- &bull; *-*.&lt;br /&gt;
CORRESPONDENCE,&lt;br /&gt;
&ndash;0-0-0&ndash;&lt;br /&gt;
DEAR SIR,-With regard to &ldquo;No Copyright in&lt;br /&gt;
Titles,&rdquo; I learn that a novel lately announced in The&lt;br /&gt;
Author has the title of an old one of mine fairly well&lt;br /&gt;
known in its day, viz., &ldquo;Joy.&rdquo;&lt;br /&gt;
On three previous occasions I have known titles&lt;br /&gt;
of mine copied, with the alteration or omission of&lt;br /&gt;
a word. But this is my first experience of wholly&lt;br /&gt;
sincere flattery&mdash;I am ready to believe unpremedi-&lt;br /&gt;
tated. However, as &ldquo;Joy&rdquo; appears in my published&lt;br /&gt;
lists of novels in works of reference, pray allow&lt;br /&gt;
me to state my claim to priority of ownership&lt;br /&gt;
in the name.&lt;br /&gt;
I remain, dear Sir,&lt;br /&gt;
Yours truly,&lt;br /&gt;
MAY CROMMELIN.&lt;br /&gt;
TRIBUTE NO. 2.&lt;br /&gt;
SIR,-Although not a member of the Society,&lt;br /&gt;
I should like, if I may, to endorse Mr. Jacbern&amp;#039;s&lt;br /&gt;
tribute to publishers.&lt;br /&gt;
Since 1884 my MSS. have been running about,&lt;br /&gt;
many to America, and never have I lost one or had&lt;br /&gt;
it returned in a bad condition.&lt;br /&gt;
Only once have I had any difficulty about pay-&lt;br /&gt;
ment. An American journal which went into&lt;br /&gt;
liquidation paid me eventually in full without&lt;br /&gt;
being asked. But I have always observed such&lt;br /&gt;
rules as your correspondent calls &ldquo;hints.&rdquo;&lt;br /&gt;
I have had three books published. No. 1 was&lt;br /&gt;
taken by the first publisher, so was No. 2, and&lt;br /&gt;
No. 3 only took two journies. They are not stories,&lt;br /&gt;
nor in any way remarkable. I never knew an&lt;br /&gt;
editor nor a publisher, and only once did a friend&lt;br /&gt;
approach an editor on my behalf. Nor do I type&lt;br /&gt;
my MSS. ; I write them as clearly as I can, and&lt;br /&gt;
post them to take their chance on their own merits.&lt;br /&gt;
I consider I have always been treated fairly and&lt;br /&gt;
courteously.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
S. B.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#595) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. - iii&lt;br /&gt;
-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
AUTHORS 1&lt;br /&gt;
HAVE YOU A MS.&lt;br /&gt;
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The CLASSIFIED INDEX will tell you AT&lt;br /&gt;
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&ldquo;We wish . . . people who send round their wildly unsuit-&lt;br /&gt;
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&mdash;Athen&aelig;um.&lt;br /&gt;
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All English Plays submitted to the Bureau&lt;br /&gt;
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The INTERNATIONAL COPYRIGHT BUREAU, Ltd.,&lt;br /&gt;
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ERNEST MAYER | ni&lt;br /&gt;
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ANTHONY L. ELLIS&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
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AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
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Which also gives Lists of the New Books published&lt;br /&gt;
Week, Announcements of Forthcoming&lt;br /&gt;
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Sent for 52 weeks, post free, for 10s. 6d. home and&lt;br /&gt;
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Speciment Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
office: 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
A Member of the Society of Authors highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENS, S.W.,&lt;br /&gt;
as a Residence for Women Workers and Students. It is a&lt;br /&gt;
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Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIPKES and SIRES,&lt;br /&gt;
The West Kensington Typewriting Offices,&lt;br /&gt;
(Established 1893),&lt;br /&gt;
223a, HAMMERSMITH ROAD, LONDON, W. *&lt;br /&gt;
Authors&amp;#039; MSS. 1s. 1,000 words; over 40,000, 10d. No unfair&lt;br /&gt;
&ldquo;cutting&rdquo; of prices.&lt;br /&gt;
Educated Operators, GOOD PAPER, Standard Machines.&lt;br /&gt;
REFERENCES.&lt;br /&gt;
AUTHORs &amp;amp; playwrights.&lt;br /&gt;
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Particulars from Manager, Literary Department, -&lt;br /&gt;
WHENER AGENCY, LD.,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNE BUILDING, NEW YORK.&lt;br /&gt;
ESTABLISHED]&lt;br /&gt;
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INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#596) ################################################&lt;br /&gt;
&lt;br /&gt;
iv AD VERTISEMENTS.&lt;br /&gt;
TYPEWRITING&lt;br /&gt;
with BRAINS.&lt;br /&gt;
MISS RALLINGi is an&lt;br /&gt;
EXPERT TYPIST&lt;br /&gt;
- and She uses her -&lt;br /&gt;
BRAINS as Well as&lt;br /&gt;
her HANDS on all the&lt;br /&gt;
WORK She undertakes.&lt;br /&gt;
PLEASE &ldquo;Miss Ralling has typed for me on&lt;br /&gt;
READ Several occasions, and I have much&lt;br /&gt;
MY pleasure in Saying that she typed most&lt;br /&gt;
~ beautifully and with much care. She&lt;br /&gt;
LATEST did some very difficult work for me.&rdquo;&mdash;&lt;br /&gt;
TESTIMONIAL. Mrs. F. G., Haslemere, Surrey.&lt;br /&gt;
ALL WORK ENTRUSTED TO ME IS WELL DONE.&lt;br /&gt;
AUTHORS are respectfully requested&lt;br /&gt;
to NOTE MW GHARGES ARE WERW LOW.&lt;br /&gt;
CORREGINESS. CHEAPNEss! QUICKNESS!!!&lt;br /&gt;
SEND A SAMPLE ORDER&mdash;&lt;br /&gt;
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Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
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The BLICK&lt;br /&gt;
presents compliments and asks for a trial, as an&lt;br /&gt;
efficient and untiring helper, who will save you&lt;br /&gt;
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&ldquo;Blick&rdquo; is the easiest Typewriter to learn, an hour does it ;&lt;br /&gt;
the writing is beautifully clear and always in sight. It is easy&lt;br /&gt;
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Printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#597) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices ... t&ordm; &ordm; g e is $ * * * we g&ordm; t&ordm; * * * t&ordm; e e t&ordm; &amp;amp; &copy; ... 205 Dramatic Authors and Agents &amp;amp; a s g&ordm; as ſ&ordm; * * * v s &amp;amp; ... 219&lt;br /&gt;
Committee Notes &amp;amp; e &amp;amp; t&ordm; g&ordm; &ordm; * * * t&ordm; &ordm; &amp;amp; * * * * * * ... 207 Warnings to Musical Composers ... t&ordm; t&ordm; &ordm; g &amp;amp; # e e &ordm; ... 219&lt;br /&gt;
Books published by Members of the Society ... ... ... 210 Stamping Music ... ... &amp;quot; ... ... ... ... ... ... 219&lt;br /&gt;
Books published in America by Members... ... ... ... 211 The Reading Branch ... ... ... ... ... ... ... 219&lt;br /&gt;
Literary, Dramatic and Musical Notes ... * * * t&ordm; &ordm; &ordm; ... 212 General Notes ... t&ordm; g&ordm; &ordm; t&ordm; e e t&ordm; $ t&ordm; t&ordm; g&ordm; t&ordm; * * $ t&ordm; g&ordm; t&ordm; ... 220&lt;br /&gt;
Paris Notes &amp;amp; &copy; g&ordm; t&ordm; &ordm; e e &ordm; e &amp;amp; &copy; t&ordm; * a s we g e t&ordm; g&ordm; &ordm; ... 214 S. L. Clemens ... * * * &amp;amp; 4 t&ordm; * * * * * * * * * * * * ... 221&lt;br /&gt;
The Editorial Attitude... * - t&ordm; * * * t&ordm; &ordm; ve t&ordm; $ $ g&ordm; t&ordm; ... 216 The Society, the Composer, and Messrs. Stainer &amp;amp; Bell ... 222&lt;br /&gt;
Victor Hugo and Charles Dickens ... &hellip; &amp;amp; s * * * * * * ... 217 Ideas, and How to Protect Them ... &ordm; &euro; $ t&ordm; e a * * * ... 224&lt;br /&gt;
Magazine Contents * * 4 t&ordm; e t&ordm; # = s. a &amp;amp; t&ordm; * * * ..., 217 Of the Making of Books * * * * * * * * * * * * &amp;amp; e &amp;amp; ... 226&lt;br /&gt;
How to Use the Society t&ordm; &ordm; &ordm; t&ordm; &amp;amp; &copy; * * * &amp;amp; e &amp;amp; &amp;amp; &amp;amp; &copy; ... 218 International Copyright * * * t&ordm; e &ordm; * t&ordm; &ordm; g is a * * * ... 229&lt;br /&gt;
Warnings to Producers of Books ... t&ordm; $ t&ordm; t&ordm; e &ordm; * * * ... 218 The Feminine Note &amp;amp; s&ordm; t&ordm; * * * ge &amp;amp; &amp;amp; e t&ordm; &ordm; * * * * * * ... 230&lt;br /&gt;
Warnings to Dramatic Authors t&ordm; e t&ordm; * * * s&ordm; t&ordm; g&ordm; &amp;amp; &amp;amp; &copy; ... 21S Correspondence ... * e e a g&ordm; &ordm; * * * &amp;amp; a t&ordm; * &amp;amp; &amp;amp; &amp;amp; t&ordm; ... 230&lt;br /&gt;
Registration of Scenarios and Original Plays ... t&ordm; s&ordm; &ordm; ... 219&lt;br /&gt;
E&rsquo;UBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MoRRIS COLLES, Barrister-at-Law. 3s.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 3s.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
&ordm; office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7, Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 1s. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 1s.&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 2s. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 1s.&lt;br /&gt;
11. Periodicals and their Contributors. Giving the Terms on which the different Magazine&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
13. International Copyright Convention as Revised at Berlin, 1909. 18.&lt;br /&gt;
[All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#598) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
The suriefn of Autburg (ſmrurporaten).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR. W.M. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
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&lt;br /&gt;
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ADVERTISEMENTS. iii&lt;br /&gt;
k&ordm; V&ordm;ž&lt;br /&gt;
S&amp;amp;&ordm; &amp;amp;&ordm;r;&lt;br /&gt;
&sect; &ordm;ss&lt;br /&gt;
&ordm; 3&ordm; W&ordm;ź ſ&ordm;&lt;br /&gt;
&sect; &ordm;&scaron; Č&scaron; t&ordm;&lt;br /&gt;
&sect;&sect; &sect; &sect; &yen;s s&ordm;&lt;br /&gt;
ſ&ordm; *: &amp;amp;A &ordm;f ***&lt;br /&gt;
. &ordm;&lt;br /&gt;
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* N&ordm;. &sect;&sect;&lt;br /&gt;
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&sect; *:&lt;br /&gt;
G&ordm;m&ordm;&lt;br /&gt;
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4;ſ&ordm;&lt;br /&gt;
%N&ordm;.ſ#&sect;&lt;br /&gt;
s .&lt;br /&gt;
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&ordm;t&ordm; 3 *&lt;br /&gt;
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* ...:&scaron;.ś&lt;br /&gt;
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h&ordm;&lt;br /&gt;
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Storey&amp;#039;s Gate, S.W.</td><td>https://historysoa.com/files/original/5/404/1910-04-01-The-Author-20-7.pdf</td><td>publications, The Author</td></tr><tr><td>405</td><td>https://historysoa.com/items/show/405</td><td>The Author, Vol. 20 Issue 08 (May 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+08+%28May+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 08 (May 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-05-02-The-Author-20-8</td><td></td><td></td><td></td><td></td><td>205&ndash;232</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-05-02&quot;&gt;1910-05-02&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>8</td><td></td><td></td><td>19100502</td><td>C&ordm; be El u t b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
Wol. XX. &mdash;No. 8.&lt;br /&gt;
MAY 2ND, 1910.&lt;br /&gt;
[PRICE SIxPENCE.&lt;br /&gt;
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OR the opinions expressed in papers that are&lt;br /&gt;
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g&ordm;&ordm;ms&ordm;m&ordm;m&ordm;s&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;s&ordm;s&lt;br /&gt;
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&agrave;&lt;br /&gt;
w&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The Committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;dh- A&lt;br /&gt;
~- w&lt;br /&gt;
LIST of MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only. -&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#602) ################################################&lt;br /&gt;
&lt;br /&gt;
206&lt;br /&gt;
TFIES A DTISIOR.&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-e&mdash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N February 1, 1910, the trustees of the&lt;br /&gt;
() Pension Fund of the society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&ndash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Consols 23%.................. ........... 21,000 0 0&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . ................ 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 34% Stock............... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of london 2;% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Jamaica. 3%% Stock, 1919&ndash;49 ......... 132 1.8 6&lt;br /&gt;
Mauritius 4%. 1937 Stock............... 120 12 1&lt;br /&gt;
Dominion of Canada C.P.R. 3% Land&lt;br /&gt;
Grant Stock, 1938..................... 198 3 8&lt;br /&gt;
Total ............... f4,065 6 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909. &pound; s. d.&lt;br /&gt;
Oct. 15, Greig, James () 5 ()&lt;br /&gt;
Oct. 15, Jacomb, A. E. () 5 ()&lt;br /&gt;
Oct. 16, Hepburn, Thomas O 10 6&lt;br /&gt;
Oct. 16, Trevelyan, G. M. .&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall &rdquo;&lt;br /&gt;
Oct. 22, Jessup, A. E. &copy; *&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard&lt;br /&gt;
Nov. 5, Dixon, A. Francis .&lt;br /&gt;
Nov. 6, Helledoren, J.&lt;br /&gt;
Dec. 4, Tearle, Christian&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor .&lt;br /&gt;
Dec. 17, Somerville, Miss Edith OE.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine&lt;br /&gt;
Jan. 13, Child, Harold H. . e &ordm;&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O. o g&lt;br /&gt;
Jan. 27, Lion, Leon M. .&lt;br /&gt;
Feb. 7, Fagan, J. B. . &ordm;&lt;br /&gt;
Feb. 10, Newton, Miss A. M.&lt;br /&gt;
March 7, Smith, Bertram .&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Oct. 16, Hodson, Miss A. L.&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. . &ordm;&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril .&lt;br /&gt;
Nov. 4, George, W. L. &amp;amp;&lt;br /&gt;
Nov. 25, Tench, Miss Mary&lt;br /&gt;
Dec. 1, Shedlock, Miss&lt;br /&gt;
T)ec. 3, Esmond, H. W.&lt;br /&gt;
Dec. 9, Hewlett, Maurice . l&ordm;&lt;br /&gt;
Dec. 17, Reynolds, Mrs. Baillie .&lt;br /&gt;
Dec. 17, Martin, Miss Violet&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R.&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
tion&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
1, Northcote, H. e e&lt;br /&gt;
3, Watson, Mrs. Herbert A.&lt;br /&gt;
3, Fursdon, Mrs. F. M.&lt;br /&gt;
3, Smith, Miss Edith A.&lt;br /&gt;
4, Pryce, Richard - &ordm;&lt;br /&gt;
4, Wroughton, Miss Cicely .&lt;br /&gt;
6, Kaye-Smith, Miss Sheila&lt;br /&gt;
6, Underdown, Miss E. M. .&lt;br /&gt;
6, Carolin, Mrs. . g&lt;br /&gt;
8, P. H. and M. K.&lt;br /&gt;
8, Crellin, H. R. -&lt;br /&gt;
10, Tanner, James T..&lt;br /&gt;
10, Miller, Arthur&lt;br /&gt;
10, Bolton, Miss Anna&lt;br /&gt;
10, Parr, Miss Olive K.&lt;br /&gt;
17, Harland, Mrs.&lt;br /&gt;
21, Benecke, Miss Ida&lt;br /&gt;
25, Fradd, Meredith&lt;br /&gt;
&ordm;&lt;br /&gt;
:&lt;br /&gt;
2&lt;br /&gt;
()&lt;br /&gt;
l&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
5&lt;br /&gt;
1l&lt;br /&gt;
(&lt;br /&gt;
:&sect;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#603) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
207&lt;br /&gt;
S.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
29, Stayton, F. .&lt;br /&gt;
1, Wharton, L. C. .&lt;br /&gt;
4, Bowen, Miss Marjorie&lt;br /&gt;
5, Cameron, Mrs. Charlotte&lt;br /&gt;
7, Pettigrew, W. F. .&lt;br /&gt;
7, Church, Sir A. H. .&lt;br /&gt;
8, Bland, Mrs. E. Nesbit&lt;br /&gt;
8, The XX. Pen Club&lt;br /&gt;
10, Greenbank, Percy&lt;br /&gt;
11, Stopford, Francis .&lt;br /&gt;
11, Dawson, A. J. . e&lt;br /&gt;
12, Ainslie, Miss Kathleen .&lt;br /&gt;
16, W. D. . &amp;amp;&lt;br /&gt;
16, Gibbs, F. L. A.&lt;br /&gt;
17, Wintle, H. R. g&lt;br /&gt;
21, Thurston, E. Temple&lt;br /&gt;
23, Dawson, Mrs. Frederick&lt;br /&gt;
24, Williamson, C. N. *&lt;br /&gt;
Feb. 24, Williamson, Mrs. C. N.&lt;br /&gt;
Feb. 25, Westell, W. P. .&lt;br /&gt;
March 2, Toplis, Miss Grace&lt;br /&gt;
March 3, Hawtrey, Miss Valentina&lt;br /&gt;
March 5, Smith, Bertram&lt;br /&gt;
March 12, Yould, A. .&lt;br /&gt;
March 16, Loraine, Lady . g&lt;br /&gt;
March 29, Macdonnell, Randall .&lt;br /&gt;
April 6, Blake, J. P. . e &amp;amp;&lt;br /&gt;
April 8, &ldquo;Patricia Wentworth *&lt;br /&gt;
April 14, Hinkson, Mrs. K. Tynan 10&lt;br /&gt;
Aſl fresh subscribers and donors previous to&lt;br /&gt;
October, 1909, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
|&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
lI&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
HE Committee of Management of the Society&lt;br /&gt;
of Authors met on Monday, April 4. The&lt;br /&gt;
first item on the agenda was the election of&lt;br /&gt;
chairman of the committee for the current year.&lt;br /&gt;
On the proposal of Mr. Douglas Freshfield,&lt;br /&gt;
seconded by Dr. S. Squire Sprigge, Mr. Maurice&lt;br /&gt;
Hewlett was unanimously re-elected. Mr. Hewlett&lt;br /&gt;
expressed his willingness to undertake the duties&lt;br /&gt;
of the post for another term.&lt;br /&gt;
The minutes of the previous meeting were then&lt;br /&gt;
read, approved, and signed, and the committee&lt;br /&gt;
proceeded with the election of the sub-committees.&lt;br /&gt;
Those who have kept themselves informed of the&lt;br /&gt;
work of the society will know that there is a stand-&lt;br /&gt;
ing Dramatic Sub-Committee which meets once or&lt;br /&gt;
twice a month; a standing Copyright Sub-Com-&lt;br /&gt;
mittee, to which questions dealing with the law of&lt;br /&gt;
Copyright are referred; and a standing Art Sub-&lt;br /&gt;
Committee, before whom questions dealing with&lt;br /&gt;
the illustration of books, reproduction, etc., are&lt;br /&gt;
laid. All the sub-committees were re-elected, and&lt;br /&gt;
the name of Captain Basil Hood was added to the&lt;br /&gt;
Dramatic Sub-Committee to fill the vacancy caused&lt;br /&gt;
by the resignation of Mr. W. J. Locke. The&lt;br /&gt;
Society is to be congratulated not only on the&lt;br /&gt;
present strength of its Dramatic Sub-Committee,&lt;br /&gt;
but on having gained the adhesion of Captain&lt;br /&gt;
Basil Hood.&lt;br /&gt;
The next business was the election of members.&lt;br /&gt;
Sixteen members and associates were elected,&lt;br /&gt;
bringing the total elections for the current year up&lt;br /&gt;
to eighty-seven. This is a lower average than in&lt;br /&gt;
the two former years, 1908&ndash;9, but it is hardly&lt;br /&gt;
possible to keep the elections as high as they were&lt;br /&gt;
in those two years. There were two resignations,&lt;br /&gt;
bringing the total number of resignations up to&lt;br /&gt;
fifty-nine. The latter the committee accepted&lt;br /&gt;
with regret.&lt;br /&gt;
The Secretary made a detailed statement of the&lt;br /&gt;
work undertaken by the Dramatic Sub-Committee&lt;br /&gt;
during the past month. He reported that the&lt;br /&gt;
repertory agreement was finally settled; that the&lt;br /&gt;
agreement between the dramatist and the agent&lt;br /&gt;
had, subject to one slight alteration, been passed,&lt;br /&gt;
and that a warning in regard to the employment&lt;br /&gt;
of dramatic agents had been added to the standing&lt;br /&gt;
matter of The Author. He further explained that&lt;br /&gt;
the Dramatic Committee were anxious to appoint&lt;br /&gt;
agents abroad and in different colonies, in order&lt;br /&gt;
that the Society might be kept informed of any&lt;br /&gt;
infringements of performing right that might occur.&lt;br /&gt;
The Dramatic Sub-Committee had recommended&lt;br /&gt;
that these agents should receive 10 per cent. of the&lt;br /&gt;
damages recovered, and, in the case of an injunction,&lt;br /&gt;
a small fee for their work. The Committee of&lt;br /&gt;
Management willingly accepted this proposal,&lt;br /&gt;
leaving the amount of the fee to the judgment&lt;br /&gt;
of the Dramatic Sub-Committee.&lt;br /&gt;
Mr. Maurice Hewlett, as chairman and as a&lt;br /&gt;
member of the sub-committee appointed to deal&lt;br /&gt;
with the question of the Relations of Authors,&lt;br /&gt;
Publishers, and the Libraries, then reported to the&lt;br /&gt;
committee the work the sub-committee had done;&lt;br /&gt;
how they had met the Publishers&rsquo; Association and&lt;br /&gt;
discussed the matter in detail. He understood&lt;br /&gt;
that at present no steps would be taken. The&lt;br /&gt;
committee desired that all the information that&lt;br /&gt;
could possibly be collected as to the further censor-&lt;br /&gt;
ship of authors&rsquo; books and the further action of&lt;br /&gt;
publishers should be carefully gathered and laid&lt;br /&gt;
before the committee at their next meeting in&lt;br /&gt;
May.&lt;br /&gt;
Dr. S. Squire Sprigge, chairman of the Sub-&lt;br /&gt;
Committee on the Price of Novels, then laid before&lt;br /&gt;
the Committee of Management the formal report&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#604) ################################################&lt;br /&gt;
&lt;br /&gt;
208&lt;br /&gt;
TISIES A DfTISIOIR,&lt;br /&gt;
of that sub-committee. The report was adopted&lt;br /&gt;
by the Committee of Management, and is printed&lt;br /&gt;
as a supplement to the current issue of The Author.&lt;br /&gt;
The secretary then raised an important point&lt;br /&gt;
respecting the registration of works in the United&lt;br /&gt;
States. It was decided after some discussion and&lt;br /&gt;
after full explanation of the difficulties of the&lt;br /&gt;
position not to take any further steps at present,&lt;br /&gt;
but should a definite case arise in the United&lt;br /&gt;
States, to support it with all the power of the society.&lt;br /&gt;
The publication of the agreements of certain&lt;br /&gt;
publishers with their names, which was decided&lt;br /&gt;
upon at the last meeting of the committee, came&lt;br /&gt;
up again for discussion, owing to a letter which the&lt;br /&gt;
Secretary read to the committee bearing on the&lt;br /&gt;
legal point of infringement of copyright. The&lt;br /&gt;
committee instructed the secretary to take two&lt;br /&gt;
typical agreements and write articles on them for&lt;br /&gt;
the consideration of the committee at their next&lt;br /&gt;
meeting,&lt;br /&gt;
The Music Publishers&rsquo; Agreement, which was&lt;br /&gt;
Settled by the Copyright Sub-Committee, was laid&lt;br /&gt;
before the Committee of Management, and the&lt;br /&gt;
report of that sub-committee was formally adopted.&lt;br /&gt;
Mr. Harold Hardy&amp;#039;s suggestion, put forward at the&lt;br /&gt;
general meeting of the society, was considered, but&lt;br /&gt;
the committee thought it was inexpedient to make&lt;br /&gt;
any alteration in the work of the committee at the&lt;br /&gt;
present time.&lt;br /&gt;
Cases before the Committee.&mdash;A case which had&lt;br /&gt;
been carried forward in Germany was mentioned&lt;br /&gt;
by the secretary. He had been unable to obtain&lt;br /&gt;
any assistance from the member concerned, and&lt;br /&gt;
could not therefore proceed with the matter. The&lt;br /&gt;
committee decided to send the member a wire, and&lt;br /&gt;
instructed the secretary to supplement it with a&lt;br /&gt;
letter informing the member that it would be&lt;br /&gt;
necessary to abandon the case unless full informa-&lt;br /&gt;
tion for the benefit of the German lawyers was&lt;br /&gt;
forthcoming. In a case of infringement of dramatic&lt;br /&gt;
copyright, the committee authorised the secretary&lt;br /&gt;
to put the papers into the hands of the Solicitors,&lt;br /&gt;
instructing them to take action as soon as possible.&lt;br /&gt;
There were two cases of account. In one the com-&lt;br /&gt;
mittee decided to appoint an accountant to go&lt;br /&gt;
through the books, and in the other, as the pub-&lt;br /&gt;
lisher had refused to produce the necessary&lt;br /&gt;
vouchers, the committee decided to take the matter&lt;br /&gt;
into court on behalf of the member.&lt;br /&gt;
Owing to the fact that a member had desired a&lt;br /&gt;
full statement of a case, with the name of the&lt;br /&gt;
publisher, to be published in the correspondence&lt;br /&gt;
column in The Author, the secretary read an&lt;br /&gt;
opinion received from the solicitors and the letter&lt;br /&gt;
from the member. After considering all the facts&lt;br /&gt;
the committee decided that it would be inexpedient&lt;br /&gt;
to make the publication, and instructed the&lt;br /&gt;
secretary to write to the member to that effect.&lt;br /&gt;
The secretary finally reported that the Canadian&lt;br /&gt;
lawyers of the Society had recovered an amount for&lt;br /&gt;
infringement of copyright on behalf of a member&lt;br /&gt;
of the society. -&lt;br /&gt;
&ndash;0&mdash;-&ordm;-0&ndash;&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
I &ordm;&lt;br /&gt;
THE Dramatic Sub-Committee of the Society of&lt;br /&gt;
Authors met at the offices of the society on Tuesday,&lt;br /&gt;
March 22, at 3 o&amp;#039;clock. In the absence of Sir&lt;br /&gt;
Arthur Pinero, Mr. Henry Arthur Jones took the&lt;br /&gt;
chair. After the minutes of the last meeting had&lt;br /&gt;
been signed, the first question that came forward&lt;br /&gt;
for discussion was some paragraphs in the Referee&lt;br /&gt;
of March 20 misrepresenting the society and its&lt;br /&gt;
attitude towards dramatic authors. The committee&lt;br /&gt;
settled a short letter which, with the approval of&lt;br /&gt;
Sir Arthur Pinero, was sent to the editor of that&lt;br /&gt;
paper. The following is the text :&mdash;&lt;br /&gt;
March 23, 1910.&lt;br /&gt;
THE EDITOR, The Referee.&lt;br /&gt;
DEAR SIR,--I have been authorised by the Dramatic&lt;br /&gt;
Sub-Committee to send this letter to your columns.&lt;br /&gt;
They have read with some interest the statement&lt;br /&gt;
contained in your dramatic gossip of March 20 in&lt;br /&gt;
regard to the Society of Authors, as it shows entire mis-&lt;br /&gt;
conception of the purposes for which the Society was&lt;br /&gt;
founded and the work it has accomplished and will continue&lt;br /&gt;
to accomplish for dramatic authors. Your correspondent&lt;br /&gt;
states as follows:&ndash;&lt;br /&gt;
&ldquo;The Society of Authors, I believe, has of recent years&lt;br /&gt;
extended its sphere of usefulness with particular reference&lt;br /&gt;
to dramatic authors. But what it has accomplished I&lt;br /&gt;
am sure I do not know.&rdquo;&lt;br /&gt;
Why does not the writer know He could easily have&lt;br /&gt;
found it. If he had referred to the report for 1909 this&lt;br /&gt;
knowledge would have sufficed. During the past twelve&lt;br /&gt;
months the society has spent &pound;500 or &pound;600 on behalf of&lt;br /&gt;
dramatic authors and their cases.&lt;br /&gt;
Your correspondent is again inaccurate in his statement&lt;br /&gt;
that -&lt;br /&gt;
&ldquo;he was told by a responsible journalist who had&lt;br /&gt;
written more than a score of plays in his time that it had&lt;br /&gt;
been intimated to him that he had not been invited to&lt;br /&gt;
enter the ring simply because it was not intended to&lt;br /&gt;
admit any writer for the newspapers to the privileges of&lt;br /&gt;
the Fellowship of Dramatists.&rdquo;&lt;br /&gt;
There is no ring, and there is not, and, in the nature of&lt;br /&gt;
- things, there could not be, any exclusion from the ranks of&lt;br /&gt;
the society of journalists or members of any branch of the&lt;br /&gt;
literary profession. The Society of Authors is only too&lt;br /&gt;
glad to welcome any writer who desires its assistance and&lt;br /&gt;
advice in regard to his dramatic property, whether that&lt;br /&gt;
property has been staged or not. Indeed, in many cases it&lt;br /&gt;
is the dramatist who has not had his pieces performed who&lt;br /&gt;
needs advice more than he who has gained. Some degree of&lt;br /&gt;
experience.&lt;br /&gt;
I remain, Yours &amp;amp;c.,&lt;br /&gt;
(Signed) G. HERBERT THRING,&lt;br /&gt;
Secretary,&lt;br /&gt;
The Incorporated Society of Authors.&lt;br /&gt;
The final settlement of the Repertory Agreement&lt;br /&gt;
by the addition of an account clause was next&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#605) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITFIOR*.&lt;br /&gt;
209&lt;br /&gt;
discussed. The secretary submitted a draft clause,&lt;br /&gt;
which was passed. He was instructed to send the&lt;br /&gt;
agreement to the printers of the society to be set&lt;br /&gt;
up. The final draft of the Agency Agreement was&lt;br /&gt;
then placed before the committee and passed.&lt;br /&gt;
A draft agreement for a run at a West End&lt;br /&gt;
theatre was next laid before the committee, but&lt;br /&gt;
consideration had to be deferred till the next meet-&lt;br /&gt;
ing, as the previous matters had occupied a&lt;br /&gt;
considerable time in discussion. -&lt;br /&gt;
A letter received from the society&rsquo;s Indian&lt;br /&gt;
solicitors was read to the committee with reference&lt;br /&gt;
to a case in which the society had instructed them&lt;br /&gt;
to act, giving information that the defendant in&lt;br /&gt;
the case was about to start for England. It was&lt;br /&gt;
decided to defer taking action till the defendant&lt;br /&gt;
on his arrival could be present and could discuss&lt;br /&gt;
the matter with the secretary.&lt;br /&gt;
Further letters were read to the committee&lt;br /&gt;
dealing with the appointment of agents, and these&lt;br /&gt;
matters were deferred for future consideration.&lt;br /&gt;
II.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee&lt;br /&gt;
was held at the offices of the Society on Tuesday,&lt;br /&gt;
April 12, at 3 o&amp;#039;clock. After the signing of the&lt;br /&gt;
minutes of the previous meeting, the Repertory&lt;br /&gt;
Agreement was again discussed, and in the absence&lt;br /&gt;
of some of the prominent members of the sub-&lt;br /&gt;
committee it was decided to adjourn the matter&lt;br /&gt;
until their presence could be assured. -&lt;br /&gt;
An agreement between a dramatic author and&lt;br /&gt;
agent was considered and settled. All dramatists&lt;br /&gt;
who are members of the Society, and who are&lt;br /&gt;
thinking of appointing dramatic agents, should&lt;br /&gt;
apply to the secretary for advice and for copies of&lt;br /&gt;
the agreement. -&lt;br /&gt;
A letter from a member referring to a section of&lt;br /&gt;
the standing matter was read to the sub-committee,&lt;br /&gt;
who, after due consideration, referred it to the&lt;br /&gt;
Society&amp;#039;s solicitors, so that their opinion, with&lt;br /&gt;
the letter, might be laid before the Committee of&lt;br /&gt;
Management.&lt;br /&gt;
The secretary reported to the Dramatic Sub-&lt;br /&gt;
Committee Capt. Robert Marshall&amp;#039;s resignation, and&lt;br /&gt;
the sub-committee recommended to the Committee&lt;br /&gt;
of Management that Mr. Arthur Shirley be appointed&lt;br /&gt;
to fill the vacancy. -&lt;br /&gt;
The secretary reported the receipt of a large&lt;br /&gt;
number of answers to the recent circular issued by&lt;br /&gt;
the Dramatic Sub-Committee, but asked for a&lt;br /&gt;
definition of &ldquo;dramatist&rsquo; in order that he might&lt;br /&gt;
be able to compile a correct list. The committee&lt;br /&gt;
decided that the author of any play that had been&lt;br /&gt;
represented in a place licensed for public enter-&lt;br /&gt;
tainment should be considered a dramatist, but that&lt;br /&gt;
such performance must be something more than a&lt;br /&gt;
mere performance for copyright purposes.&lt;br /&gt;
The next subject that arose was a matter in&lt;br /&gt;
regard to agents in the Colonies, and it was&lt;br /&gt;
decided to asked Messrs. French to supply, through&lt;br /&gt;
their agents, such information as they could gain&lt;br /&gt;
about the production of plays. The secretary was&lt;br /&gt;
instructed to furnish Messrs. French with the&lt;br /&gt;
list of those dramatists who are members of the&lt;br /&gt;
Society as soon as it is complete and in order.&lt;br /&gt;
With the sanction of the Committee of Management,&lt;br /&gt;
it was decided to pay 10 per cent. on any sums&lt;br /&gt;
recovered by the society through information&lt;br /&gt;
Supplied by the agents, and to pay a small fixed fee&lt;br /&gt;
where an injunction only was obtained.&lt;br /&gt;
A question of the liability of a manager of a&lt;br /&gt;
theatre to pay damages for infringement of copy-&lt;br /&gt;
right was referred to the solicitors of the society,&lt;br /&gt;
and the Secretary was requested to ask the Com-&lt;br /&gt;
mittee of Management whether it would not be&lt;br /&gt;
possible, through the Foreign Office, to get the&lt;br /&gt;
Consular Service to assist in reporting infringe-&lt;br /&gt;
ments of the rights of dramatic authors in foreign&lt;br /&gt;
countries.&lt;br /&gt;
A letter received from the secretary of the Italian&lt;br /&gt;
Society of Authors was then laid before the meeting,&lt;br /&gt;
and the sub-committee decided to ascertain the&lt;br /&gt;
terms for entering that society, and to consider the&lt;br /&gt;
report at their next meeting. -&lt;br /&gt;
A case of infringement of authors&amp;#039; rights in India&lt;br /&gt;
was next considered, and it was decided to invite&lt;br /&gt;
the Committee of Management to press the matter&lt;br /&gt;
with vigour, in order to stop the wholesale piracy&lt;br /&gt;
of dramatic authors&rsquo; works.&lt;br /&gt;
Letters received from the Theatres&rsquo; Alliance were&lt;br /&gt;
carefully considered, and the sub-committee decided&lt;br /&gt;
to ask a representative of that body to attend the&lt;br /&gt;
next meeting, which was fixed for April 26.&lt;br /&gt;
The consideration of the agreement for a run&lt;br /&gt;
was adjourned.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month the secretary has had to&lt;br /&gt;
deal with seventeen cases. Two of these were&lt;br /&gt;
claims for money. One has been settled, but the&lt;br /&gt;
other will most probably have to go into the hands&lt;br /&gt;
of the society&amp;#039;s solicitors. Two dealt with money&lt;br /&gt;
and accounts. These have both been terminated ;&lt;br /&gt;
the money and accounts have been forthcoming&lt;br /&gt;
and been forwarded to the authors. One difficult&lt;br /&gt;
case of settlement of contract is still in course of&lt;br /&gt;
negotiation. There were six claims for accounts.&lt;br /&gt;
Four of these have been settled, one has been&lt;br /&gt;
referred to the publishers&rsquo;solicitors, and the last, after&lt;br /&gt;
reference to the committee, has been placed in the&lt;br /&gt;
hands of an accountant. The accounts will be&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#606) ################################################&lt;br /&gt;
&lt;br /&gt;
210&lt;br /&gt;
TISIE A DITFIOR.&lt;br /&gt;
checked at the society&amp;#039;s expense. There is one&lt;br /&gt;
case of infringement of copyright which is still in&lt;br /&gt;
course of negotiation, but as the defendant has&lt;br /&gt;
acknowledged liability the amount to be paid is the&lt;br /&gt;
only point left in dispute. The secretary&rsquo;s inter-&lt;br /&gt;
ference has been claimed in five cases for the return&lt;br /&gt;
of MSS. In two of these cases the MSS. have been&lt;br /&gt;
returned, but the others have only recently come to&lt;br /&gt;
the office.&lt;br /&gt;
There were four cases left open from last month.&lt;br /&gt;
Three, which dealt with matters outside England,&lt;br /&gt;
are still open ; the fourth will most probably be&lt;br /&gt;
closed shortly, as the offending party is in satis-&lt;br /&gt;
factory negotiations with the secretary.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
April Elections.&lt;br /&gt;
Atkinson, Mabel . . 26, Denning Road,&lt;br /&gt;
Hampstead, N.W.&lt;br /&gt;
Bayliss, Kathleen Jessie. Northend, Tewkesbury,&lt;br /&gt;
Glos.&lt;br /&gt;
Bigelow, Mrs. Poultney . Bay Tree Cottage,&lt;br /&gt;
Aylesbury.&lt;br /&gt;
Belcher, George . 14, Cathcart Studios,&lt;br /&gt;
S.W&lt;br /&gt;
39, Hertford Street, W.&lt;br /&gt;
Compton House, Sher-&lt;br /&gt;
borne, Dorset.&lt;br /&gt;
Dauber, J. H. &bull;&lt;br /&gt;
Goodden, Cecil P. .&lt;br /&gt;
Honey, Frederick H. 10 &mdash; 12, Copthall&lt;br /&gt;
Avenue, E.C.&lt;br /&gt;
Hood, Capt. Basil . 88, St. James Street,&lt;br /&gt;
S.W.&lt;br /&gt;
Lefevre, L. A. Vancouver, British&lt;br /&gt;
Columbia.&lt;br /&gt;
2, Alma Studios, Strat-&lt;br /&gt;
ford Road, Kensing-&lt;br /&gt;
ton, W.&lt;br /&gt;
Morley, Harry&lt;br /&gt;
Patricia Wentworth&lt;br /&gt;
Ross, Madge Wallace 4, Ethel Terrace,&lt;br /&gt;
Morningside Drive,&lt;br /&gt;
Edinburgh.&lt;br /&gt;
Stitt, Rev.S.Stewart, M.A. Stretham Rectory, Isle&lt;br /&gt;
- of Ely.&lt;br /&gt;
Tassinari, Herbert D. . 5, Bolton Studios, Red-&lt;br /&gt;
cliffe Road.&lt;br /&gt;
&mdash;e&mdash;6&ndash;e&mdash;&lt;br /&gt;
B00KS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-o-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
Some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ART.&lt;br /&gt;
100 POPULAR PICTURES IN Colour. Facsimile Repro-&lt;br /&gt;
ductions in Colour of Popular Pictures selected from the&lt;br /&gt;
World&amp;#039;s Great Galleries. With an Introduction by&lt;br /&gt;
; H. SPIELMANN, F.S.A. Part I. 154 &times; 11%. Cassell.&lt;br /&gt;
&bull; Il.&lt;br /&gt;
DANTE GABRIELLE ROSSETTI.&lt;br /&gt;
143 &times; 11%. 59 pp. Fisher Unwin. 5s. n.&lt;br /&gt;
JAPANESE ART. By LAURENCE BINyon. 14%&lt;br /&gt;
59 pp. Fisher Unwin. 5s. n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
MEMORIES OF SIXTY YEARSAT ETON, CAMERIDGE, AND&lt;br /&gt;
ELSEWHERE. By OSCAR BROwnING. 83 &times; 53. 364 pp.&lt;br /&gt;
Lane. 14s. m.&lt;br /&gt;
THE PASSIONS OF THE FRENCH ROMANTICs. By&lt;br /&gt;
FRANCIS GRIBBLE. 9 &times; 6. 304 pp. Chapman &amp;amp; Hali.&lt;br /&gt;
158. In.&lt;br /&gt;
By ARTHUR SYMONS.&lt;br /&gt;
&times; 11}&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
AN ETYMOLOGICAL DICTIONARY OF THE ENGLISH&lt;br /&gt;
LANGUAGE. By the REv. WALTER W. SKEAT, Litt.&lt;br /&gt;
Doc. New edition. Revised and enlarged. IO; x 8.&lt;br /&gt;
780 pp. Oxford: Clarendon Press; London : Frowde.&lt;br /&gt;
38s. n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
WHAT THE PUBLIC WANTs. A Play in Four Acts. By&lt;br /&gt;
ARNOLD BENNETT. 73 x 5, 141 pp. F. Palmer.&lt;br /&gt;
2s. 6d. In.&lt;br /&gt;
THE TRAGEDY OF POMPEY THE GREAT. By JoHN MAs E&lt;br /&gt;
FIELD. 73 &times; 5. 106 pp. Sidgwick &amp;amp; Jackson. 3s.6d. in&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
A COLLECTION OF EASTERN STORIES AND LEGENDs. For&lt;br /&gt;
Narration or Later Reading in Schools. Selected and&lt;br /&gt;
adapted by MARIE L. SHEDLOCK. With a Foreword by&lt;br /&gt;
PROF. T. W. RHYs DAVIDs, 7} x 5. 141 pp.&lt;br /&gt;
Routledge. 1s. 6d. n.&lt;br /&gt;
FICTION.&lt;br /&gt;
OLIVIA L. CAREw. By NETTA SYRETT. 74 &times; 5. 374 pp&lt;br /&gt;
Chatto &amp;amp; Windus. 6s,&lt;br /&gt;
THE WILD HEART. By M. E. FRANCIS. 73 &times; 5. 326 pp.&lt;br /&gt;
Smith, Elder &amp;amp; Co. 63.&lt;br /&gt;
PETTICOAT GOVERNMENT. By BARONESS ORCzy.&lt;br /&gt;
370 pp. Hutchinson. 6s.&lt;br /&gt;
BETTY CAREw. By KATHARINE TYNAN. 73 x 5. 309 pp.&lt;br /&gt;
Smith, Elder &amp;amp; Co. 63.&lt;br /&gt;
A GIRL FROM THE SOUTH. By CHARLEs GARVICE. 73 &times; 5.&lt;br /&gt;
344 pp. Cassell. 63.&lt;br /&gt;
THE SECRET OF ENOCH SEAL. By J. B. HARRIS-BUR-&lt;br /&gt;
LAND. 7# &times; 5. 314 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
HILARY THORNTON. By HUBERT WALEs. Popular&lt;br /&gt;
edition. 7 x 4%. 318 pp. John Long. 1s. n.&lt;br /&gt;
MORNING STAR. By H. RIDER HAGGARD. 74 &times; 5.&lt;br /&gt;
308 pp. Cassell. 6s.&lt;br /&gt;
-&lt;br /&gt;
8 &times; 5.&lt;br /&gt;
TOWER OF Ivory. By GERTRUDE ATHERTON. 73 &times; 5.&lt;br /&gt;
496 pp. Murray. 6s.&lt;br /&gt;
OUT OF THE NIGHT. By MRs. BAILLIE REYNOLDs.;&lt;br /&gt;
8 &times; 5. 344 pp. Hodder &amp;amp; Stoughton. 6s,&lt;br /&gt;
THE SECOND ELOPEMENT. By HERBERT FLOWERDEw.&lt;br /&gt;
7# x 5. 320 pp. Stanley Paul. 6s.&lt;br /&gt;
STAND AND DELIVER, By GERTRUDE WARDEN. 8 x 5.&lt;br /&gt;
312 pp. F. W. White. 6s.&lt;br /&gt;
CANADIAN BORN. By MRs. HUMPHRY WARD. 74 &times; 5.&lt;br /&gt;
346 pp. Smith, Elder. 68.&lt;br /&gt;
THE DEVOURERs. By A. VIVANTI CHARTREs.&lt;br /&gt;
328 pp. Heinemann. 68.&lt;br /&gt;
7# x 5.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#607) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITISIOR,&lt;br /&gt;
211&lt;br /&gt;
ANCIENT PLANTS. Being a Simple Account of the Past&lt;br /&gt;
Vegetation of the Earth and of the Recent Important&lt;br /&gt;
Discoveries made in this Realm of Nature Study. By&lt;br /&gt;
MARIE C. STOPES, D.Sc., Ph.D., F.L.S., Lecturer on&lt;br /&gt;
Fossil Botany, Manchester University. 9&rsquo; x 6, 198 pp.&lt;br /&gt;
Blackie. 4s. 6d. n.&lt;br /&gt;
CAUSAL GEOLOGY. By E. H. L. SCHWARZ. 9 &times; 6.&lt;br /&gt;
248 pp. Blackie. 7s.6d.&lt;br /&gt;
THEOLOGY.&lt;br /&gt;
RITUAL, FAITH, AND MORALs. Being two chapters from&lt;br /&gt;
an Historical Inquiry into the Influence of Religion upon&lt;br /&gt;
Moral Civilisation. By F. H. PERRY COSTE, B.Sc. 73 &times;&lt;br /&gt;
5%. 252 pp. Watts. 3s. 6d. n.&lt;br /&gt;
THE BRITISH CHURCH. A Paper read by MAJOR F.&lt;br /&gt;
SAMUELS before the Church Defence Association, Llan-&lt;br /&gt;
fairfechan, Carnarvonshire. Dover : &ldquo; St. George&amp;#039;s&lt;br /&gt;
Press.&rdquo; 6d.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
DRUMS OF WAR. By H. DE WERE STACPooDE. 7# x 5.&lt;br /&gt;
336 pp. Murray. 6s.&lt;br /&gt;
RAVENSHAW of RIETHOLME. By BERTRAM MITFORD.&lt;br /&gt;
7# &times; 5. 320 pp. Ward, Lock, 63.&lt;br /&gt;
A SAINT IN MUFTI. By CARLTON DAWE.&lt;br /&gt;
331 pp. Eveleigh Nash. 6s.&lt;br /&gt;
TANGLED RELATIONS. By CoIONEL CUTHBERT LARKING.&lt;br /&gt;
73 &times; 5. 300 pp. Nash. 63.&lt;br /&gt;
MARGARET THE PEACEMAKER.&lt;br /&gt;
7# x 5.&lt;br /&gt;
By WALTER WOOD.&lt;br /&gt;
7# &times; 5. 327 pp. Cassell. 68.&lt;br /&gt;
THAT IS To SAY. By &ldquo;RITA.&rdquo; 7; x 5. 318 pp. Stan-&lt;br /&gt;
ley Paul. 6s.&lt;br /&gt;
WITH UNSEEN LIPs. By J. H. BRIGHouse. 153 pp.&lt;br /&gt;
Stockwell. 1s. 6d.&lt;br /&gt;
SECOND STRING. By ANTHONY HoPE. 73 &times; 5. 569 pp.&lt;br /&gt;
Nelson. 2s. n.&lt;br /&gt;
THE HISTORY OF MR. Polly. By H. G. WELLs. 74 &times; 5.&lt;br /&gt;
374 pp. Nelson. 2s. n.&lt;br /&gt;
A WINNow ING. By R. H. BENSON. 73 &times; 5. 323 pp.&lt;br /&gt;
Hutchinson. 6s.&lt;br /&gt;
FORTUNE. By J. C. SNAITH. 74 &times; 5. 447 pp. Nelson.&lt;br /&gt;
28. m.&lt;br /&gt;
A MARRIAGE UNDER THE TERROR. By PATRICIA WENT-&lt;br /&gt;
worTH. 75 &times; 5. 382 pp. Melrose. 6s.&lt;br /&gt;
THE CABINET MINISTER&rsquo;s WIFE. By GEORGE R. SIMS.&lt;br /&gt;
7+ x 4%. 192 pp. Stanley Paul. Is. n.&lt;br /&gt;
BEWARE OF THE DOG. By MRS. BAILLIE REYNOLDS.&lt;br /&gt;
7+ x 4%. 279 pp. Mills &amp;amp; Boon. Is. m.&lt;br /&gt;
TROUBLED WATERs. By HEADON HILL.&lt;br /&gt;
Stanley Paul. 6d.&lt;br /&gt;
THE POWER OF THE KEYs. By S. C. GRIER. Cheap&lt;br /&gt;
edition. 7} x 5. 360 pp. Blackwood. 18. n.&lt;br /&gt;
156 pp.&lt;br /&gt;
LAW.&lt;br /&gt;
PRINCIPLES OF THE ENGLISH LAW OF CONTRACT AND OF&lt;br /&gt;
AGENCY IN ITS RELATION TO CONTRACT. By SIR&lt;br /&gt;
WILLIAM R. ANSON, D.C.L. Twelfth edition. Edited&lt;br /&gt;
by M. L. Gwy ER, B.C.L. 9 &times; 5%. 412 pp. Oxford:&lt;br /&gt;
Clarendon Press; London : Frowde. 10s. n.&lt;br /&gt;
IITERARY.&lt;br /&gt;
DEAD LETTERS. By MAURICE BARING. 7# &times; 5}. 243 pp.&lt;br /&gt;
Constable. 4s. 6d. n.&lt;br /&gt;
ON FADS. By LADY GROVE. 9 &times; 5%. 232 pp. Chapman&lt;br /&gt;
&amp;amp; Hall. 5s. n.&lt;br /&gt;
ORIENTAL,&lt;br /&gt;
TALES OF BENGAL. By G. B. BANERJEA, 7% &times; 5.&lt;br /&gt;
187 pp. Longmans. 3s. n.&lt;br /&gt;
MILITARY.&lt;br /&gt;
THE SECOND AFGHAN WAR, 1878&ndash;79&ndash;80. Its Causes,&lt;br /&gt;
its Conduct and its Consequences. By COL. H. B.&lt;br /&gt;
HANNA. 9 &times; 5%. 583 pp. Constable. 15s. n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
THE ANCIENT THERAPEUTS. By PRINCESS KARADJA.&lt;br /&gt;
19 pp. Wodderson, 4, Great Russell Street, W.C. 6d.&lt;br /&gt;
THE ESOTERIC MEANING OF THE SEVEN SACRAMENTS.&lt;br /&gt;
By PRINCESS KARADJA. 54 pp. Wodderson, 4, Great&lt;br /&gt;
Russell Street, W.C. 2s. Paper covers, 1s.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
FULL FATHOM FIVE. A Sea Anthology in Prose and&lt;br /&gt;
Verse. By HELEN and LEWIS MELVILLE. 63 x 4}.&lt;br /&gt;
263 pp. Bell. 8s. 6d. m.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
SCIENCE FROM AN EASY CHAIR. By SIR RAYLANKESTER,&lt;br /&gt;
K.C.B., F.R.S. 73 x 5. 423 pp. Methuen. 68.&lt;br /&gt;
A JOURNAL FROM JAPAN. A Daily Record of Life as&lt;br /&gt;
seen by a Scientist. By MARIE C. STOPEs, D.Sc., Ph.D.&lt;br /&gt;
8# x 5%. 280 pp. Blackie. 7s. 6d. n.&lt;br /&gt;
THE MANTLE OF THE EAST. . By EDMUND CANDLER.&lt;br /&gt;
7% &times; 5. 321 pp. Blackwood. 6s. n.&lt;br /&gt;
ACROSS YUNNAN. By ARCHIBALD LITTLE. Edited by&lt;br /&gt;
MRS. ARCHIBALD LITTLE. 7# x 5. 164 pp. Sampson&lt;br /&gt;
Low. 3s.6d. n.&lt;br /&gt;
THE BERNESE OBERLAND. Wol. 1. From the Gemmi to&lt;br /&gt;
the M&ouml;nchjoch. Part II. The Groups N. and S. of&lt;br /&gt;
the Main Range. New edition. By W. A. B. CooDIDGE.&lt;br /&gt;
5} x 3%. 214 pp. Fisher Unwin. 10s.&lt;br /&gt;
&ordm; &mdash;0&ndash;Q&ndash;e&mdash;&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
IBOOKS FOR TELE YOUNG.&lt;br /&gt;
BARBARA BELLAMY, A PUBLIC SCHOOL GIRL. By MAY&lt;br /&gt;
BALDWIN, New York: Dutton. 316 pp. $1.50.&lt;br /&gt;
ECONOMICS.&lt;br /&gt;
ENGLISH Poor LAW POLICIES. By SIDNEY and BEATRICE&lt;br /&gt;
WEBB. 379 pp. New York : Longmans, Green &amp;amp; Co.&lt;br /&gt;
$2.50 m.&lt;br /&gt;
THE INDUSTRIAL SYSTEM : An Inquiry into Earned and&lt;br /&gt;
Unearned Income. By J. A. HOBSON. 328 pp. New&lt;br /&gt;
York : Longmans &amp;amp; Co. $2.50.&lt;br /&gt;
E DUCATIONAL.&lt;br /&gt;
HALF THE BATTLE IN BURMESE : A Manual of the Spoken&lt;br /&gt;
Language. By R. GRANT BROWN. 149 pp. New York:&lt;br /&gt;
Oxford University Press. $2.&lt;br /&gt;
FICTION.&lt;br /&gt;
THE RETURN of THE NATIVE. By T. HARDY. 507 pp.&lt;br /&gt;
New York : Harper. $1.25.&lt;br /&gt;
THE PIE AND THE PIRATE. By ALBERT T.E.E. 96 pp.&lt;br /&gt;
New York : P. F. Collier &amp;amp; Son. 50 cents.&lt;br /&gt;
THE CARDINAL&amp;#039;s PAWN. By K. L. MONTGOMERY. 293 pp.&lt;br /&gt;
Chicago : A. C. McClurg &amp;amp; Co. 75 cents.&lt;br /&gt;
THE INTRUDING ANGEL. By CHARLES MARRIOTT.&lt;br /&gt;
316 pp. New York : John Lane Co. $1.50 n.&lt;br /&gt;
THE SCAR. By WARRINGTON DAWSON. 381 pp. Boston :&lt;br /&gt;
Small, Maynard. $1.50.&lt;br /&gt;
EAST LONDON VISIONS. By O&rsquo;DERMID LAWLER. 305 pp.&lt;br /&gt;
New York : Longmans &amp;amp; Co. $1.75 m.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#608) ################################################&lt;br /&gt;
&lt;br /&gt;
212&lt;br /&gt;
TFIE AUTHOR,&lt;br /&gt;
GLORIA. By G. F. TURNER.&lt;br /&gt;
Dodd, Mead. $1.50.&lt;br /&gt;
THE HISTORY OF MR. Polly. By H. G. WELLS.&lt;br /&gt;
New York : Duffield. $1.50.&lt;br /&gt;
THE FASCINATING MRS. HALTON. By E. F. BENSON.&lt;br /&gt;
285 pp. New York: Doubleday, Page &amp;amp; Co. $1.20.&lt;br /&gt;
HISTORY. -&lt;br /&gt;
INDIA THROUGH THE AGES. By FLORA ANNIE STEEL.&lt;br /&gt;
368 pp. New York: Dutton. $1.25 n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
TELEPATHIC HALLUCINATIONS: The New View of Ghosts.&lt;br /&gt;
By FRANK PopMoRE. 128 pp. New York: Fredk. A.&lt;br /&gt;
Stokes Co. 50 cents. n.&lt;br /&gt;
TECHNICAL.&lt;br /&gt;
ENGLISH LEADWORK : Its Art and History. By LAWRENCE&lt;br /&gt;
WEAVER. 268 pp. New York : Scribner. $10 n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
PEAKS AND GLACIERS OF NUN KUN : A Record of Pioneer&lt;br /&gt;
Exploration and Mountaineering in the Punjab Himalaya,&lt;br /&gt;
with a map and 92 illustrations. By FANNY BULLOCK&lt;br /&gt;
355 pp. New York:&lt;br /&gt;
283 pp.&lt;br /&gt;
WORKMAN and W. HuntER WORKMAN. 204 pp. New&lt;br /&gt;
York : Scribner. $4.50.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash; ,&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E understand from the Publishers&rsquo; Weekly&lt;br /&gt;
(New York) that the winner of the &pound;300&lt;br /&gt;
prize in the competition held by the&lt;br /&gt;
Stratford-on-Avon Shakespeare Memorial Theatre,&lt;br /&gt;
on the terms of which we commented in a recent&lt;br /&gt;
issue of The Author, is Josephine Preston Peabody&lt;br /&gt;
(Mrs. Lionel Marks). Mrs. Marks is an American&lt;br /&gt;
lady who has already produced one or two&lt;br /&gt;
plays, including &ldquo;Marlowe, a Tragedy&rdquo; (1905);&lt;br /&gt;
and &ldquo;Her Fortune and Men&amp;#039;s Eyes,&rdquo; the latter a&lt;br /&gt;
play written round Shakespeare. -&lt;br /&gt;
&ldquo;Rita.&rdquo; (Mrs. Desmond Humphreys) is at pre-&lt;br /&gt;
sent in America, where she proposes to stay for two&lt;br /&gt;
or three months and to visit various important&lt;br /&gt;
cities and notable places.&lt;br /&gt;
&ldquo;Winifred Graham &rdquo; has a serial in the Daily&lt;br /&gt;
Express, entitled &ldquo;Can a Man be True 2 &amp;quot; It&lt;br /&gt;
commenced at the close of March.&lt;br /&gt;
Mary L. Pendered, is engaged upon a work deal-&lt;br /&gt;
ing with the Mystery of Hannah Lightfoot, which&lt;br /&gt;
Messrs. Hurst &amp;amp; Blackett announce among their&lt;br /&gt;
forthcoming publications. For nearly a year she&lt;br /&gt;
has been collecting all available information from&lt;br /&gt;
various sources, and claims to have seen the only&lt;br /&gt;
authentic documents relating to the &ldquo;Fair Quaker&rdquo;&lt;br /&gt;
known to be in existence at present.&lt;br /&gt;
The Princess Karadja&amp;#039;s two lectures, &ldquo;The&lt;br /&gt;
Esoteric Meaning of the Seven Sacraments&rdquo; and&lt;br /&gt;
&ldquo;The Ancient Therapeuts,&rdquo; are now obtainable in&lt;br /&gt;
print from Messrs. Wodderson, 4, Great Russell&lt;br /&gt;
Street, W.C.&lt;br /&gt;
The April number of the Celtic Monthly contains&lt;br /&gt;
the first of a series of articles on &ldquo;Gaelic Legends&lt;br /&gt;
in the Light of Old Irish History,&rdquo; from the pen of&lt;br /&gt;
Mr. W. J. Edmonston-Scott.&lt;br /&gt;
Mr. Wynford Dewhurst has presented to the&lt;br /&gt;
Bucks County Council an oil-painting in token of&lt;br /&gt;
his friendship for the Council, on which he served&lt;br /&gt;
from 1907 till the present year. -&lt;br /&gt;
Messrs. Watts have published a new book by&lt;br /&gt;
Mr. F. H. Perry Coste, entitled &ldquo;Ritual, Faith, and&lt;br /&gt;
Morals.&rdquo; It deals mainly with the influence of&lt;br /&gt;
religion upon civilisation considered in its moral&lt;br /&gt;
aspect.&lt;br /&gt;
A shilling edition of Miss Mary C. Rowsell&amp;#039;s&lt;br /&gt;
romance, &ldquo;The Friend of the People,&rdquo; is announced&lt;br /&gt;
by Messrs. Simpkin, Marshall &amp;amp; Co.&lt;br /&gt;
Prof. E. H. L. Schwarz, of the Rhodes University&lt;br /&gt;
College, Grahamstown, has written a book on&lt;br /&gt;
&ldquo;Causal Geology,&rdquo; with special reference to the&lt;br /&gt;
Planetismal Hypothesis of Professor F. T. C.&lt;br /&gt;
Chamberlin, which Messrs. Blackie will shortly&lt;br /&gt;
publish.&lt;br /&gt;
&ldquo;The Way Up,&rdquo; a new novel by Miss M. P.&lt;br /&gt;
Willcocks, author of &ldquo;Widdicombe,&rdquo; &ldquo;The Wingless&lt;br /&gt;
Victory,&rdquo; and &ldquo;A Man of Genius,&rdquo; will be published&lt;br /&gt;
this spring by Mr. John Lane. It deals with the&lt;br /&gt;
question of the conflicting claims between a man&amp;#039;s&lt;br /&gt;
duty to the State and to the individual&mdash;in this&lt;br /&gt;
instance, his wife. The leading figure is an iron-&lt;br /&gt;
master, whose career recalls, in some respects, the&lt;br /&gt;
life of Jean Andr&eacute; Godin, the pioneer in industrial&lt;br /&gt;
co-partnership. - - -&lt;br /&gt;
Mrs. Cherrie (Jane) Rowland, who has lately lost&lt;br /&gt;
her husband, has given up her home in South Wales&lt;br /&gt;
and all her country pursuits in order to devote the&lt;br /&gt;
remainder of her life to literature. She is now&lt;br /&gt;
engaged in her home at Golders Green upon a novel,&lt;br /&gt;
&ldquo;An Understanding Woman,&rdquo; which will be&lt;br /&gt;
published by Mr. John Ouseley.&lt;br /&gt;
The Oxford University Press have just issued the&lt;br /&gt;
new edition of the Rev. Professor Skeat&amp;#039;s (larger)&lt;br /&gt;
Etymological Dictionary. Nearly every article&lt;br /&gt;
has been revised and a large number rewritten.&lt;br /&gt;
Mr. T. Werner Laurie announces &ldquo;The Old&lt;br /&gt;
Testament Story,&rdquo; by Gladys Davidson. In&lt;br /&gt;
writing this story of the Old Testament for young&lt;br /&gt;
readers, Miss Davidson has endeavoured to present&lt;br /&gt;
the stories and incidents in accordance with the&lt;br /&gt;
views of those modern scholars who regard and&lt;br /&gt;
teach the Bible from a wide and reasonable stand-&lt;br /&gt;
point. At the same time, it has been her object,&lt;br /&gt;
whilst avoiding the treatment of legendary and&lt;br /&gt;
allegorical matter as history, to preserve the&lt;br /&gt;
religious character and beauty of these wonderful&lt;br /&gt;
stories of old time, and to set them forth with love&lt;br /&gt;
and reverence. In the preparation of this work&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#609) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
213&lt;br /&gt;
she has been greatly helped and encouraged by the&lt;br /&gt;
Rev. C. A. Goodhart, M.A., of Lambourne&lt;br /&gt;
Rectory, Romford, who has generously given&lt;br /&gt;
her the benefit of advice on many points&lt;br /&gt;
of difficulty. Miss Davidson is also pub-&lt;br /&gt;
lishing, through Sir Isaac Pitman &amp;amp; Sons, a&lt;br /&gt;
children&amp;#039;s natural history story book, which she&lt;br /&gt;
calls &ldquo;A Zoo Book.&rdquo; The animals in the Zoo tell&lt;br /&gt;
their own stories in amusing conversation. All&lt;br /&gt;
are eager to appear in print, and so vie with one&lt;br /&gt;
another in making interesting &ldquo;copy.&rdquo; All the&lt;br /&gt;
principal animals are dealt with.&lt;br /&gt;
In &ldquo;Ruskin and His Circle &amp;quot;Miss Ada Earland&lt;br /&gt;
tells the life story of Ruskin, with special regard&lt;br /&gt;
to the influence of environment on the development&lt;br /&gt;
of his genius. The &ldquo;circle&rdquo; includes Turner,&lt;br /&gt;
Millais, Holman Hunt, Burne-Jones, D. G. Rossetti,&lt;br /&gt;
Kate Greenaway, Coventry Patmore, Carlyle and&lt;br /&gt;
many others. Messrs. Hutchinson &amp;amp; Co. are&lt;br /&gt;
the publishers.&lt;br /&gt;
Messrs. Digby, Long &amp;amp; Co. are publishing,&lt;br /&gt;
early this month, a novel by Francis Bancroft,&lt;br /&gt;
author of &ldquo;Of Like Passions.&rdquo; The title of the&lt;br /&gt;
new volume is &ldquo;Richard Beverley.&rdquo; - -&lt;br /&gt;
The last issue of the Irish Church Quarterly&lt;br /&gt;
contains an article entitled &ldquo;Ethical Foundations,&rdquo;&lt;br /&gt;
by the Rev. J. N. Shearman.&lt;br /&gt;
&ldquo;South African Snapshots for English Girls&rdquo;&lt;br /&gt;
is the title of a little volume appearing early this&lt;br /&gt;
month. It is written specially for &ldquo;superfluous&lt;br /&gt;
daughters&rdquo; by Miss Eleanor Tyrrell, and is illus-&lt;br /&gt;
trated with photographs. Messrs. Gay &amp;amp; Hancock&lt;br /&gt;
are the publishers.&lt;br /&gt;
Messrs. J. M. Dent &amp;amp; Co. have just published&lt;br /&gt;
a volume on &ldquo;Nature Photography for Beginners &rdquo;&lt;br /&gt;
by E. J. Bedford. It contains a coloured frontis-&lt;br /&gt;
piece and one hundred stereoscopic photographs&lt;br /&gt;
taken by the author. The chapters refer to the&lt;br /&gt;
choice of suitable apparatus, developing, printing,&lt;br /&gt;
lantern-slide making, stereoscopic photography,&lt;br /&gt;
photography of birds and their nests, animals,&lt;br /&gt;
insects, and flowers.&lt;br /&gt;
The Dial (Chicago) of April 1st contains an&lt;br /&gt;
article by Lewis Nathaniel Chase on &ldquo;Bernard&lt;br /&gt;
Shaw in France.&rdquo;&lt;br /&gt;
Mr. J. Bloundelle-Burton&amp;#039;s new romance, &ldquo;A&lt;br /&gt;
Fair Martyr,&rdquo; is about to be published by Everett&lt;br /&gt;
&amp;amp; Co. It will have for its mainspring one of&lt;br /&gt;
the numerous incidents to which the great Plague&lt;br /&gt;
of Marseilles gave birth ; a plague which resulted&lt;br /&gt;
in the death, or disappearance in several cases, of&lt;br /&gt;
about 150,000 persons, and the effects of which,&lt;br /&gt;
as regards the subsequent careers of many, were&lt;br /&gt;
very far-reaching. The heroine, &ldquo;the first martyr,&rdquo;&lt;br /&gt;
represents one of these latter, or, rather, many of&lt;br /&gt;
the latter, and her history, though founded more&lt;br /&gt;
or less on fact, lends itself to romance. Mr.&lt;br /&gt;
Bloundelle-Burton dealt with this plague some&lt;br /&gt;
years ago as a feature in his novel &ldquo;Servants of&lt;br /&gt;
Sin,&rdquo; but in this case it serves as a prologue to&lt;br /&gt;
the moving, true story which, with modifications,&lt;br /&gt;
he has now to tell.&lt;br /&gt;
Messrs. Sampson Low &amp;amp; Co. are publishing&lt;br /&gt;
Mr. Archibald Little&amp;#039;s posthumous work &ldquo;Across&lt;br /&gt;
Yunman.&rdquo; The book, which Mrs. Archibald Little&lt;br /&gt;
is editing, is illustrated.&lt;br /&gt;
The Walter Scott Publishing Company are issuing&lt;br /&gt;
a new and enlarged edition of Mr. Havelock Ellis&amp;#039;s&lt;br /&gt;
book &ldquo;The Criminal.&rdquo;&lt;br /&gt;
The same publishers have also added to their&lt;br /&gt;
&ldquo;Great Writers Series &amp;quot; a volume on &ldquo;John&lt;br /&gt;
Ruskin,&rdquo; by Ashmore Wingate.&lt;br /&gt;
Gertrude Warden&amp;#039;s new novel, &ldquo;Stand and&lt;br /&gt;
Deliver,&rdquo; is published by Messrs. F. W. White &amp;amp; Co.,&lt;br /&gt;
and contains a portrait of the author by L. Caswall&lt;br /&gt;
Smith. The tale consists of twelve episodes in&lt;br /&gt;
twelve different towns by which a clever and&lt;br /&gt;
unscrupulous girl gets the better of her dupes while&lt;br /&gt;
steering clear of the law.&lt;br /&gt;
Messrs. Dent &amp;amp; Co. are bringing out in &ldquo;Every&lt;br /&gt;
Man&amp;#039;s Library&rsquo; a new and largely revised edition&lt;br /&gt;
of Lieut.-General Trotter&rsquo;s &ldquo;Life of Warren&lt;br /&gt;
Hastings,&rdquo; published in 1878 by W. H. Allen &amp;amp;&lt;br /&gt;
Co.&lt;br /&gt;
An article by Mr. W. G. Edmonston-Scott on&lt;br /&gt;
&ldquo;The German Basques of Britain&amp;#039;&amp;#039; will appear in&lt;br /&gt;
the May number of Guth na Bliadhna.&lt;br /&gt;
Miss Lily Grant Duff has recently completed a&lt;br /&gt;
novel called &ldquo;Vocation,&rdquo; which will be published&lt;br /&gt;
by Mr. John Murray.&lt;br /&gt;
Under the heading &ldquo;London&amp;#039;s Unwanted&lt;br /&gt;
Women,&rdquo; Mr. Basil Tozer, in an article in&lt;br /&gt;
Chambers&amp;#039;s Journal for May, describes Miss Olive&lt;br /&gt;
Christian Malvery&amp;#039;s philanthropic scheme for&lt;br /&gt;
opening at Charing Cross a night refuge for desti-&lt;br /&gt;
tute women. Our readers will remember that Miss&lt;br /&gt;
Malvery (Mrs. Archibald Mackirdy) is author of&lt;br /&gt;
&ldquo;The Soul Market,&rdquo; &ldquo;Baby Toilers,&rdquo; and other&lt;br /&gt;
works which deal with the underworld of London&lt;br /&gt;
and other great cities.&lt;br /&gt;
Miss Elizabeth Banks, one of our American&lt;br /&gt;
members, has just brought out a volume of short&lt;br /&gt;
stories entitled &ldquo;The Luck of the Black Cat,&rdquo;&lt;br /&gt;
published by Messrs. George Allen &amp;amp; Sons. Miss&lt;br /&gt;
Banks came to London about fifteen years ago and&lt;br /&gt;
has written her experiences in several books. Ilast&lt;br /&gt;
year she published &ldquo;The Mystery of Frances&lt;br /&gt;
Farrington,&rdquo; her first novel, a dual personality story.&lt;br /&gt;
Her latest book is made up of sixteen stories.&lt;br /&gt;
They deal with various subjects and varied emotions.&lt;br /&gt;
We do not know how many of them have appeared&lt;br /&gt;
in magazines, but, apparently, Miss Banks has&lt;br /&gt;
learned to retain her rights of book publication, for&lt;br /&gt;
in her opening &ldquo;mote &rsquo;&rsquo; she seems to have been&lt;br /&gt;
obliged to &ldquo;acknowledge the courtesy&rdquo; of but three&lt;br /&gt;
editors for allowing her to reprint in book form.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#610) ################################################&lt;br /&gt;
&lt;br /&gt;
214&lt;br /&gt;
TISIES A UTEIOR.&lt;br /&gt;
The three acknowledgments deal with the first&lt;br /&gt;
three stories.&lt;br /&gt;
E. Nesbit is publishing this month a book called&lt;br /&gt;
&ldquo;Fear,&rdquo; which deals with various aspects of fear,&lt;br /&gt;
of the supernatural and physical, which confront&lt;br /&gt;
human beings in particular situations. The same&lt;br /&gt;
author is also engaged upon a new novel, and a&lt;br /&gt;
play for children. E. Nesbit&amp;#039;s usual children&amp;#039;s&lt;br /&gt;
serial is now appearing in the Strand Magazine and&lt;br /&gt;
will be published in volume form by Messrs. Mac-&lt;br /&gt;
millan &amp;amp; Co. in the autumn. It is called &ldquo;The&lt;br /&gt;
Magic City.&rdquo; A weekly column for children in&lt;br /&gt;
the Daily Chronicle is also contributed by&lt;br /&gt;
E. Nesbit.&lt;br /&gt;
Mr. E. F. Benson is engaged upon a comedy.&lt;br /&gt;
The same writer has also a serial which will start&lt;br /&gt;
in the Queen next July, prior to its publication in&lt;br /&gt;
book form in the winter.&lt;br /&gt;
&ldquo;The Other Side,&rdquo; a story by Mr. H. A. Wachell,&lt;br /&gt;
which has been running serially, will appear in&lt;br /&gt;
book form on June 1st. During the past year&lt;br /&gt;
Mr. Wachell has been working upon a political&lt;br /&gt;
novel, entitled &ldquo;John Werney,&rdquo; which deals with&lt;br /&gt;
the future of the hero of &ldquo;The Hill.&rdquo;&lt;br /&gt;
Miss A. E. Keeton will give two studies of&lt;br /&gt;
Modern British Song on Thursday afternoon,&lt;br /&gt;
June 2nd, at 3.30, and Thursday evening, June 9th,&lt;br /&gt;
at 8.45, at the Imperial Club, 6, Lexham Gardens,&lt;br /&gt;
S.W. (by kind permission of the management).&lt;br /&gt;
Vocal illustrations by Miss Grainger-Kerr. The&lt;br /&gt;
studies will include songs by Ernest Austin,&lt;br /&gt;
Granville Bantock, Hubert Bath, Dora Bright,&lt;br /&gt;
Josef Holbrooke, Frederick C. Nicholls, Norman&lt;br /&gt;
O&amp;#039;Neill, Roger Quilter, Katherine Ramsay&lt;br /&gt;
(Marchioness of Tullibardine), Percy Rideout,&lt;br /&gt;
Cyril Scott, Ethel Smyth, Ernest Walker, William&lt;br /&gt;
Wallace, R. H. Walthew, and Dalhousie Young.&lt;br /&gt;
Tickets, 5s. each, or 7s. 6d. for the two studies,&lt;br /&gt;
obtainable from Miss Keeton, 84, Redcliffe&lt;br /&gt;
Gardens, S.W., or Miss Grainger - Kerr, 38A,&lt;br /&gt;
Clanricarde Gardens, W.&lt;br /&gt;
A new one-act play by Mr. Leon M. Lion,&lt;br /&gt;
entitled &ldquo;The Touch of the Child,&rdquo; adapted from&lt;br /&gt;
a story by Mr. Tom Gallon, was produced at the&lt;br /&gt;
Grand Theatre, Blackpool, last month.&lt;br /&gt;
&ldquo;Prunella,&rdquo; by Laurence Housman and&lt;br /&gt;
H. Granville Barker, originally produced at the&lt;br /&gt;
Court Theatre, was revived at the Repertory&lt;br /&gt;
Theatre last month. Miss Dorothy Minto was in&lt;br /&gt;
the title part.&lt;br /&gt;
Another revival at the same theatre was Sir&lt;br /&gt;
Arthur Pinero&amp;#039;s early play, &ldquo;Trelawney of &lsquo;the&lt;br /&gt;
Wells.&rsquo;&rdquo; This play has been in the bill for the past&lt;br /&gt;
few weeks.&lt;br /&gt;
We understand that early this month, at the&lt;br /&gt;
same theatre, a comedy in three acts by Anthony&lt;br /&gt;
Hope and Cosmo Gordon Lennox will be produced:&lt;br /&gt;
The cast will include Miss Irene Vanbrugh and&lt;br /&gt;
Miss Mary Barton ; and Mr. J. M. Barrie&amp;#039;s&lt;br /&gt;
&ldquo;Twelve Pound Look&rsquo; still continues in the bill.&lt;br /&gt;
&ldquo;The Naked Truth,&rdquo; by George Paston and&lt;br /&gt;
W. B. Maxwell, is a farcical comedy which was&lt;br /&gt;
produced at Wyndham&amp;#039;s Theatre last month. It&lt;br /&gt;
relates the effect of a ring possessing a property&lt;br /&gt;
compelling the wearer to veracity of statement&lt;br /&gt;
upon an individual hitherto accustomed to deviate&lt;br /&gt;
from the truth. The cast included Mr. Charles&lt;br /&gt;
Hawtrey, Miss Phyllis Embury, Mr. Eric Lewis,&lt;br /&gt;
and Mr. Arthur Playfair.&lt;br /&gt;
Sir Arthur Conan Doyle&amp;#039;s new one-act play, &ldquo;A&lt;br /&gt;
Pot of Caviare,&rdquo; was produced at the Adelphi&lt;br /&gt;
Theatre last month. Mr. Murray Carson played&lt;br /&gt;
the principal part. &bull; *:&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;t-s&ordm;-e&mdash;&lt;br /&gt;
&amp;amp; 6 A BARRIERE&amp;quot; is another novel by Ren&eacute;&lt;br /&gt;
Bazin founded on the subject of religion.&lt;br /&gt;
Marie Limerel is a charming and ex-&lt;br /&gt;
tremely serious French girl who is determined&lt;br /&gt;
never to marry a man whose religious ideas&lt;br /&gt;
are not her own. Her cousin F&eacute;licien, who is&lt;br /&gt;
devoted to her, has lost his faith. She is in&lt;br /&gt;
love with him, but will not risk marriage under&lt;br /&gt;
the circumstances. A young Englishman, who&lt;br /&gt;
has become a Catholic, is also in love with her,&lt;br /&gt;
and confides all his doubts and difficulties to&lt;br /&gt;
her. His father, a rigid Protestant and Church-&lt;br /&gt;
man, disinherits him. Marie is not convinced&lt;br /&gt;
that they are destined for each other, and the&lt;br /&gt;
book ends unsatisfactorily. Marie is left with&lt;br /&gt;
her mother, having refused two men for the&lt;br /&gt;
sake of her religion. She appears to be quite&lt;br /&gt;
satisfied that she has done her duty. Such&lt;br /&gt;
religion does not appear to her at all narrow, and&lt;br /&gt;
the reader is left with more anxiety about the&lt;br /&gt;
fate of the two men than this extremely religious&lt;br /&gt;
girl appears to have.&lt;br /&gt;
&ldquo;L&amp;#039;Ombre de l&rsquo;Amour,&rdquo; by Marcelle Tinayre,&lt;br /&gt;
is of as great literary value as &ldquo;La Maison du&lt;br /&gt;
P&eacute;ch&eacute;.&rdquo; The figure that stands out in the book&lt;br /&gt;
is that of Dr. Cayrol, just as the figure of the&lt;br /&gt;
stern mother stood out in the earlier volume.&lt;br /&gt;
The psychological study and the clever portrait&lt;br /&gt;
of this man are masterful. The analysis, too, of&lt;br /&gt;
the consumptive young man who is sent to be&lt;br /&gt;
under the care of the noted doctor is also very&lt;br /&gt;
clever. But, alas ! the inconsistency of the woman&lt;br /&gt;
betrays itself in the portraiture of the principal&lt;br /&gt;
woman in the story. The greater part of the book&lt;br /&gt;
seems to be written from life, whilst the d&eacute;nouement&lt;br /&gt;
sounds like a mere slander. It seems that so fine&lt;br /&gt;
a character would have remained fine to the end&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#611) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
215&lt;br /&gt;
Otherwise we must have mistaken Denise Cayrol,&lt;br /&gt;
and given her more credit than she deserved. In&lt;br /&gt;
either case this d&eacute;nouement is unsatisfactory and&lt;br /&gt;
improbable. The little serving-girl is delightful&lt;br /&gt;
and perfectly consistent. The book is certainly&lt;br /&gt;
a strong one, the descriptions admirable, and the&lt;br /&gt;
construction faultless.&lt;br /&gt;
M. Ren&eacute; Doumic, who has just succeeded&lt;br /&gt;
M. Gaston Boissier at the French Academy, has&lt;br /&gt;
been elected president of the Soci&eacute;t&eacute; des Gens de&lt;br /&gt;
Lettres in place of M. Georges Lecomte. M. Ren&eacute;&lt;br /&gt;
Doumic has written several remarkable books, and&lt;br /&gt;
he was one of the founders of the Lecture Society,&lt;br /&gt;
which has now become quite an institution in Paris.&lt;br /&gt;
At the general meeting of the Soci&eacute;t&eacute; des Gens de&lt;br /&gt;
Lettres, M. Pierre Decourcelle spoke of its flourish-&lt;br /&gt;
ing state from a financial point of view. It is at&lt;br /&gt;
present worth 5,682,000 francs.&lt;br /&gt;
With a view to getting America to agree to the&lt;br /&gt;
Berne Convention, the Soci&eacute;t&eacute; des Gens de Lettres&lt;br /&gt;
has for some time past been endeavouring to interest&lt;br /&gt;
prominent Americans in the subject. At one of&lt;br /&gt;
the dinners given by the Soci&eacute;t&eacute; Mr. James Hyde&lt;br /&gt;
was invited to preside. Mr. Melville Stone was&lt;br /&gt;
also a guest, and Mr. Bliss Perry. Mr. Hyde is the&lt;br /&gt;
founder of a chair of French literature at Harvard&lt;br /&gt;
College, and of American literature at the&lt;br /&gt;
Sorbonne.&lt;br /&gt;
M. Jean Julien recorded the deaths during the&lt;br /&gt;
past year of the following members of the Soci&eacute;t&eacute;:-&lt;br /&gt;
Albert Pinard, novelist ; Adolphe Pieyre, the&lt;br /&gt;
historian of N&icirc;mes; Adolphe Paban, poet ; Hugo&lt;br /&gt;
Spiller, correspondent of Italian and Austrian&lt;br /&gt;
papers; Paschal Grousset, the ardent revolutionist&lt;br /&gt;
of 1871, afterwards on the staff of the Temps ;&lt;br /&gt;
Henri de Parville, well known for his popular&lt;br /&gt;
science writings; Adolphe Mony, doctor and&lt;br /&gt;
-author&amp;#039;; Charles Diguet, the author of &ldquo;Nos amis&lt;br /&gt;
les b&ecirc;tes&rdquo;; Paul Guirand; Emmanuel Delbousquet;&lt;br /&gt;
Elie Four&eacute;s, who has left his history of the Trouba-&lt;br /&gt;
&amp;#039;dours unfinished ; Ernest Praron ; Adolphe Rosay :&lt;br /&gt;
Charles Joliet ; Armand Lapointe ; Paul Rouget,&lt;br /&gt;
and Charles Louie Philippe. To this long list the&lt;br /&gt;
inames of Edouard Rod, Mme. Jeanne Marni, and&lt;br /&gt;
F&eacute;lix Nadar must also be added.&lt;br /&gt;
Among the new prizes that have been founded&lt;br /&gt;
are those by Jacques Normand, Paul Robiquet,&lt;br /&gt;
Jean Revel, Mme. Barratin, M. Mourrier, M. Frantz&lt;br /&gt;
Jourdain, and M. Rodocamachi. Prince Roland&lt;br /&gt;
Bonaparte has also placed at the disposal of the&lt;br /&gt;
Soci&eacute;t&eacute; five annuities of 3,000 francs. The first&lt;br /&gt;
annuity has already been awarded to M. Rosny,&lt;br /&gt;
the elder of the two authors of that name.&lt;br /&gt;
Four members of the Soci&eacute;t&eacute; have been elected&lt;br /&gt;
Academicians: Jean Aicard, Eug&egrave;ne Brieux, Ren&eacute;&lt;br /&gt;
JDoumic, and Marcel Prevost.&lt;br /&gt;
The national literary prize has been awarded to&lt;br /&gt;
JEdmond Pilon. Among members of the Soci&eacute;t&eacute;&lt;br /&gt;
who have won Academy prizes are the following:&mdash;&lt;br /&gt;
Fortunat Strowski, Ernest Gay, Andr&eacute; Lichtenberger,&lt;br /&gt;
Henri Bordeaux, and Hugues Lapaire.&lt;br /&gt;
The death of Vicomte Melchior de Vogu&eacute; occurred&lt;br /&gt;
after only a few days&rsquo; illness. He was born in 1848,&lt;br /&gt;
and during the war of 1870 he received a medal&lt;br /&gt;
for his fine conduct. In 1871 he was secretary to&lt;br /&gt;
the French Embassy at Constantinople. Later on&lt;br /&gt;
he lived for a time at St. Petersburg, where he&lt;br /&gt;
married a Russian wife. His celebrated book on&lt;br /&gt;
the Russian novel appeared in 1886. Among&lt;br /&gt;
his other volumes are &ldquo;Souvenirs et Visions&amp;quot;;&lt;br /&gt;
&ldquo;Heures d&rsquo;histoire &amp;quot;; &ldquo;Les Morts qui parlent &amp;quot;;&lt;br /&gt;
&ldquo;Le Maitre de la Mer&rdquo;; &ldquo;Sous l&amp;#039;horizon.&rdquo; In&lt;br /&gt;
1888 he was elected a member of the French&lt;br /&gt;
Academy. His articles in the Revue des Deua.&lt;br /&gt;
Mondes, the Journal des D&eacute;bats, and the Figaro&lt;br /&gt;
were always greatly appreciated, and he was himself&lt;br /&gt;
most highly esteemed in French literary circles.&lt;br /&gt;
The poet Jean Mor&eacute;as died on March 30,&lt;br /&gt;
at the age of fifty-four. He was a Greek by birth,&lt;br /&gt;
but had lived in Paris for very many years. His&lt;br /&gt;
first volume dates back to 1884 and was entitled&lt;br /&gt;
&ldquo;Syrtes.&rdquo; This was followed by &ldquo;Cantil&egrave;nes.&rdquo;&lt;br /&gt;
Mor&eacute;as started as a symbolist. In 1891 he pub-&lt;br /&gt;
lished &ldquo;Le Pel&eacute;rin passionn&eacute;&amp;quot; and declared sym-&lt;br /&gt;
bolism dead. His &ldquo;Stances * are his best-known&lt;br /&gt;
and most admired poems.&lt;br /&gt;
A gold medal has just been presented to Henri&lt;br /&gt;
Fabre, the celebrated entomologist, whom Victor&lt;br /&gt;
Hugo called the &ldquo;Homer of the insects,&rdquo; and&lt;br /&gt;
whom Darwin styled the &ldquo;inimitable observer.&rdquo;&lt;br /&gt;
Henri Fabre is now eighty-seven years of age, and&lt;br /&gt;
he has devoted sixty years of his life to the study&lt;br /&gt;
of insects. On the committee which was formed&lt;br /&gt;
to do him honour are the names of Prince Roland&lt;br /&gt;
Bonaparte, W. M. Doumergue, Lord Avebury,&lt;br /&gt;
Maeterlinck, Mistral, H&eacute;brard, Salomon Reinach,&lt;br /&gt;
Professor Pozzi, and many others.&lt;br /&gt;
Mr. Percival Lowell gave a lecture last month&lt;br /&gt;
on &ldquo;Mars and its Vegetation.&rdquo; M. Baillaud,&lt;br /&gt;
Director of the Observatory, took the chair, and&lt;br /&gt;
M. Camille Flammarion also spoke.&lt;br /&gt;
Mr. George Moore also gave a lecture last month&lt;br /&gt;
in Paris.&lt;br /&gt;
In the Revue hebdomadaire there are articles on&lt;br /&gt;
&ldquo;Mlle. Clairon et le Baron de Sta&euml;l,&rdquo; by Comte&lt;br /&gt;
d&amp;#039;Haussonville ; on &ldquo;Les Id&eacute;es de l&rsquo;Alliance&lt;br /&gt;
r&eacute;publicaine d&eacute;mocratique,&rdquo; by M. Paul Deschanel;&lt;br /&gt;
on &ldquo;Th&eacute;odore de Banville,&rdquo; by Jean Richepin ;&lt;br /&gt;
and a curious article entitled &ldquo;Lettre d&amp;#039;un pro-&lt;br /&gt;
testant d&eacute;tach&eacute; &agrave; un catholique anxieux.&rdquo;&lt;br /&gt;
In La Revue Louise Cruppi writes on &ldquo;La&lt;br /&gt;
Duchesse Cajanello&rdquo;; Comtesse de Puliga (Brada)&lt;br /&gt;
on &ldquo;La Maison d&amp;#039;Amour et de Mort &rsquo;&rsquo;; G. Saint-&lt;br /&gt;
Aubin on &ldquo;Le Roman Am&eacute;ricain&rdquo;; and Auguste&lt;br /&gt;
Rodin on &ldquo;La Pens&eacute;e dans l&rsquo;Art.&rdquo;&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#612) ################################################&lt;br /&gt;
&lt;br /&gt;
216&lt;br /&gt;
TISIES A Pr&ordm;TIFIOR.&lt;br /&gt;
THE EDITORIAL ATTITUDE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY AN EDITOR.&lt;br /&gt;
S one who has the temerity to be an editor,&lt;br /&gt;
as well as a member of the Incorporated&lt;br /&gt;
Society of Authors, I hope to be allowed to&lt;br /&gt;
make some reply to the article &ldquo;The Editorial&lt;br /&gt;
Attitude,&rdquo; by &ldquo;A Contributor.&rdquo; With an editorial&lt;br /&gt;
experience of eighteen years, I have yet to meet an&lt;br /&gt;
editor, and I know many, of the discourteous, dis-&lt;br /&gt;
honest, and unbusinesslike species to which, as&lt;br /&gt;
&ldquo;A Contributor&rsquo;&rsquo; courteously alleges, all editors&lt;br /&gt;
belong.&lt;br /&gt;
Let me deal with some points in this amazing&lt;br /&gt;
attack upon those engaged in work which, though&lt;br /&gt;
interesting, is as harassing as that of any other&lt;br /&gt;
calling upon those who have earned their positions&lt;br /&gt;
in a field in which there is much competition, and&lt;br /&gt;
in which fools are not suffered at any price. Why,&lt;br /&gt;
in the name of all that is businesslike, should an&lt;br /&gt;
editor acknowledge the receipt of contributions f&lt;br /&gt;
It would be sheer waste of time and of the pro-&lt;br /&gt;
prietor&amp;#039;s stamps. Even if the precious MS. has&lt;br /&gt;
been lost in the post, what has that to do with an&lt;br /&gt;
editor P With a paper that receives many contri-&lt;br /&gt;
butions it is necessary to number them, though&lt;br /&gt;
personally I have this done on the envelopes. And&lt;br /&gt;
certainly no MS. has ever had to be re-typed&lt;br /&gt;
through my harsh treatment (assuming that it is&lt;br /&gt;
typed, and not in a handwriting which it is an&lt;br /&gt;
insult to expect to be read, even by an editor).&lt;br /&gt;
It is certainly possible that a suitable contribu-&lt;br /&gt;
tion may be rejected on one occasion when it&lt;br /&gt;
would be accepted on another. Last week I&lt;br /&gt;
rejected an excellent story dealing with a high-&lt;br /&gt;
born chauffeur who won the heart of his parvenu&lt;br /&gt;
employer&amp;#039;s daughter. The theme is not particu-&lt;br /&gt;
larly novel&mdash;if only themes for novels were novel&lt;br /&gt;
themes, how happy the lot of the poor editor &mdash;&lt;br /&gt;
but the story was a good one. I refused it because&lt;br /&gt;
only the preceding week I had accepted a story,&lt;br /&gt;
not quite so well written, on the same lines. The&lt;br /&gt;
MS. went back with the usual printed form ; I&lt;br /&gt;
gave no reasons for rejection. Why should I?&lt;br /&gt;
Ilike the curate, I have &ldquo;all the time there is,&rdquo; but&lt;br /&gt;
my periodical has to appear at certain stated&lt;br /&gt;
intervals. As for MSS. of unknown writers not&lt;br /&gt;
being read, that is all nonsense. Naturally writers&lt;br /&gt;
who have &ldquo;won through * are often commissioned,&lt;br /&gt;
and I take it that most writers would like to be&lt;br /&gt;
one of this kind. While on this matter, I may say&lt;br /&gt;
that never a day passes without the receipt of a&lt;br /&gt;
MS. from an &ldquo;unknown &amp;#039;&amp;#039; one that is hopelessly&lt;br /&gt;
unsuitable, either through length, treatment, or&lt;br /&gt;
topic ; yet there is my paper for would-be con-&lt;br /&gt;
tributors at least to glance at before entrusting me&lt;br /&gt;
with their masterpieces.&lt;br /&gt;
The money question is, from the author&amp;#039;s point&lt;br /&gt;
of view, probably the most important one. Now I&lt;br /&gt;
claim that the magazine writer does get his mone&lt;br /&gt;
when it is due, i.e., when his work is published.&lt;br /&gt;
With a big publishing firm no other practice is&lt;br /&gt;
possible, and it would be easy to show that this&lt;br /&gt;
benefits the author. The &ldquo;waiting for years&rdquo;&lt;br /&gt;
notion is far from being anything like the rule,&lt;br /&gt;
sporadic cases notwithstanding, and with it may&lt;br /&gt;
be bracketed the notion that editors publish con-&lt;br /&gt;
tributions and try to wriggle out of paying for&lt;br /&gt;
them. I am writing of responsible editors of&lt;br /&gt;
established journals. Mr. X. Y. Z. seems to&lt;br /&gt;
assume, too, that the editor is, as a rule, the pro-&lt;br /&gt;
prietor; as a matter of fact, this is very rarely the&lt;br /&gt;
case, so that even were the editor willing to&lt;br /&gt;
defraud a contributor it would not benefit his own&lt;br /&gt;
pocket, and I have never come across a proprietor&lt;br /&gt;
who wishes to make money by such means.&lt;br /&gt;
Mr. X. Y. Z. should send his contributions to&lt;br /&gt;
reputable journals, but as he seems to have got in&lt;br /&gt;
with such a queer lot it is possible that his con-&lt;br /&gt;
tributions would be dear even if paid for in cigars&lt;br /&gt;
or whisky. I am judging Mr. X. Y. Z. by his&lt;br /&gt;
experiences as related in his article.&lt;br /&gt;
After all, the editor is more useful to the author&lt;br /&gt;
than the latter is to the former. An editor could&lt;br /&gt;
always fill his journal by commissioning writers of&lt;br /&gt;
proved merit. That so many new writers are&lt;br /&gt;
continually coming along proves that the work of&lt;br /&gt;
the unknown ones is read. But there are too&lt;br /&gt;
many authors, and many of them would do better&lt;br /&gt;
at French gardening&mdash;or paper-making.&lt;br /&gt;
There is much more that I could say with&lt;br /&gt;
regard to editors and authors, and the subject is&lt;br /&gt;
certainly an interesting one. I have been led to&lt;br /&gt;
write these remarks by the continual unjust and&lt;br /&gt;
ignorant diatribes of those who wish to have their&lt;br /&gt;
contributions accepted by editors, and who use&lt;br /&gt;
The Author as a vent to their disappointment.&lt;br /&gt;
And the splenetic attack of courteous Mr. X. Y. Z.&lt;br /&gt;
was the &ldquo;limit&rdquo;&mdash;-if I may be permitted the&lt;br /&gt;
unwonted luxury of using slang in print. As a&lt;br /&gt;
matter of fact, the average writer has most&lt;br /&gt;
extraordinary notions about the production of a&lt;br /&gt;
journal, and entirely overlooks the fact that an&lt;br /&gt;
editor really desires to make his production attrac-&lt;br /&gt;
tive. I could fill a number of The Author with&lt;br /&gt;
examples, and very funny many of them are.&lt;br /&gt;
I withhold my name and that of the journal I&lt;br /&gt;
edit, fearful lest the excellent editorial qualifica-&lt;br /&gt;
tions I have doubtless revealed should induce &ldquo;A&lt;br /&gt;
Contributor&rsquo;&rsquo; to call upon me with a bundle of his&lt;br /&gt;
MSS. I believe I should grudge him even a&lt;br /&gt;
cigarette, and my cup of tea&mdash;the sole refreshment&lt;br /&gt;
I permit myself in the office&mdash;I refuse to give up,&lt;br /&gt;
even in exchange for an appreciation of myself&lt;br /&gt;
from the gifted pen of Mr. X. Y. Z.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#613) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
217&lt;br /&gt;
VICTOR HUGO AND CHARLES DICKENS.&lt;br /&gt;
THEIR MEETING IN PARIs.&lt;br /&gt;
LTHOUGH Dickens made numerous and&lt;br /&gt;
occasionally lengthy sojourns in Paris, and&lt;br /&gt;
Victor Hugo was for twenty years a refugee&lt;br /&gt;
on British soil, the meeting of the two great nine-&lt;br /&gt;
teenth century authors was brief and unique.&lt;br /&gt;
The scene of this interview&mdash;Hugo&amp;#039;s Parisian&lt;br /&gt;
residence of 1846&mdash;is now, so to speak, public&lt;br /&gt;
property, the Municipality of Paris having organ-&lt;br /&gt;
ised and opened a &ldquo;Victor Hugo Museum &rdquo; in this&lt;br /&gt;
fine old mansion in the corner of the Place des&lt;br /&gt;
Vosges. The square itself is worthy of a special&lt;br /&gt;
visit, not only as one of the architectural features&lt;br /&gt;
of Paris&mdash;a spacious quadrangle of Louis XIII.&lt;br /&gt;
houses, with steep slate roofs and cheerful red-and-&lt;br /&gt;
white frontages of intermingled brick and stone&lt;br /&gt;
work&mdash;but as the historical &ldquo;Place Royale.&rdquo; It&lt;br /&gt;
has often been stated that the poet&amp;#039;s house Was&lt;br /&gt;
actually inhabited by the heroine of one of his&lt;br /&gt;
dramas&mdash;Marion de Lorme, but it is probable&lt;br /&gt;
that the real residence of the seventeenth century&lt;br /&gt;
beauty was in the cul-de-sac Guem&eacute;n&eacute;e, just behind&lt;br /&gt;
the mansion, as the house itself seems to have been&lt;br /&gt;
occupied by the de Rohan family at this epoch.&lt;br /&gt;
There is, however, a quaint old-world aspect&lt;br /&gt;
about this charming little corner of Paris which&lt;br /&gt;
may well have tempted the leader of the romantic&lt;br /&gt;
school to take up his residence here in 1832. For&lt;br /&gt;
fifteen years he inhabited the house, only leaving&lt;br /&gt;
it shortly before his exile. Here he wrote &ldquo;Ruy&lt;br /&gt;
Blas&rdquo; and &ldquo;Marie Tudor &rsquo;&rsquo; and several other&lt;br /&gt;
historical dramas, as well as three volumes of poems.&lt;br /&gt;
Here he married his daughter &ldquo;Didine,&rdquo; then a&lt;br /&gt;
girl of eighteen ; here, not many months later, he&lt;br /&gt;
mourned over her premature death, drowned,&lt;br /&gt;
together with her husband, while boating in&lt;br /&gt;
Normandy.&lt;br /&gt;
When Dickens came to spend the Winter of&lt;br /&gt;
1846&ndash;7 at Paris, he rented a house in the rue de&lt;br /&gt;
Courcelles, on the other side of the city, but during&lt;br /&gt;
Forster&amp;#039;s visit (he spent a fortnight in France in&lt;br /&gt;
January) the two made numerous literary and&lt;br /&gt;
historical pilgrimages&mdash;amongst others, an evening&lt;br /&gt;
call on Victor Hugo.&lt;br /&gt;
The French poet of that epoch had little&lt;br /&gt;
resemblance to the hoary-haired bushy-bearded&lt;br /&gt;
idol of more modern Republican France. Author&lt;br /&gt;
of several ultra-Royalist &ldquo;odes,&rdquo; newly created a&lt;br /&gt;
Peer of France, he was then a close-shaven, long-&lt;br /&gt;
haired man of forty-four, and held a veritable little&lt;br /&gt;
literary court in the &ldquo;grand salon&rdquo; hung with&lt;br /&gt;
immense curtains of red damask and adorned with&lt;br /&gt;
the curious mirrors, gilt chandeliers, and the&lt;br /&gt;
mediaeval carved furniture in which he delighted,&lt;br /&gt;
several specimens of which are preserved in the&lt;br /&gt;
Museum. His &ldquo;appartement&rsquo;&rsquo; or flat was on the&lt;br /&gt;
Second floor, where the relics more intimately con-&lt;br /&gt;
nected with the poet&amp;#039;s personalty (including a re-&lt;br /&gt;
constitution of his death chamber) are now gathered.&lt;br /&gt;
Maclise&amp;#039;s drawings have rendered us familiar with&lt;br /&gt;
the personal appearance of the young and beard-&lt;br /&gt;
less Dickens ; he was, of course, Hugo&amp;#039;s junior by&lt;br /&gt;
ten years. His French was never fluent, but&lt;br /&gt;
usually sufficient, and Victor Hugo&amp;#039;s quiet and dis-&lt;br /&gt;
tinct enunciation on this occasion seems to have&lt;br /&gt;
Smoothed over all linguistic difficulties. The&lt;br /&gt;
conversation ran on the theatrical topics dear to&lt;br /&gt;
Dickens, and the recollections of the First Empire&lt;br /&gt;
and his childish souvenirs of Spain, which were ever&lt;br /&gt;
two of Hugo&amp;#039;s favourite themes. Both men had&lt;br /&gt;
now reached a position of comparative fame and&lt;br /&gt;
ease, though neither had gained their latter pinnacle&lt;br /&gt;
of international popularity. Yet each could look&lt;br /&gt;
back on stern trials during youth, for almost at&lt;br /&gt;
the same time that Dickens was odd boy in a&lt;br /&gt;
blacking factory Victor Hugo was living (on &pound;28&lt;br /&gt;
a year or SO) in a garret in the rue du Dragon.&lt;br /&gt;
The gaunt ancient house now bears a gilt inscrip-&lt;br /&gt;
tion recording the date of residence, but naturally&lt;br /&gt;
Omitting these more intimate details,&lt;br /&gt;
Ten years later Dickens made another long stay&lt;br /&gt;
in Paris, but it was then the capital of the Second&lt;br /&gt;
Empire, and Victor Hugo was in exile in the&lt;br /&gt;
Channel Islands. In 1871, when the French poet&lt;br /&gt;
returned in triumph to his native land, the author&lt;br /&gt;
of the &ldquo;Tale of two Cities&rdquo; was already laid to&lt;br /&gt;
his last rest in Westminster Abbey.&lt;br /&gt;
F. ASHFORD WHITE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
Maeterlinck. By Alfred Sutro.&lt;br /&gt;
Maurice Maeterlinck: The Man and His Work.&lt;br /&gt;
Holbrook Jackson.&lt;br /&gt;
The Mysticism of Maeterlinck.&lt;br /&gt;
By&lt;br /&gt;
By Jane T. Stoddart.&lt;br /&gt;
ENGLISH REVIEW.&lt;br /&gt;
A Singer Asleep. A poem by Thomas Hardy.&lt;br /&gt;
Les Dieux asiatiques aux premi&egrave;re Si&egrave;cles de l&rsquo;Ere&lt;br /&gt;
chr&eacute;tienne. By Anatole France.&lt;br /&gt;
Strauss&rsquo;s &ldquo;Elektra,&rdquo; and the Future of Music-Drama.&lt;br /&gt;
By E. A. Baugham.&lt;br /&gt;
Reviews: On Humanism. By R. A. Scott James.&lt;br /&gt;
Two Women Poets. By Edward Storer.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Tragedy of &ldquo;Macbeth.&rdquo; By Maurice Maeterlinck,&lt;br /&gt;
Alfred de Musset, after George Sand. By Francis Gribble.&lt;br /&gt;
The Worship of Beyle. By A. F. Davidson.&lt;br /&gt;
NATIONAL REVIEW.&lt;br /&gt;
Laureate Whitehead. By Austin Dobson.&lt;br /&gt;
Dr. Wallace&amp;#039;s &ldquo;New Shakespeare Discoveries.&rdquo; By George&lt;br /&gt;
Greenwood, M.P.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#614) ################################################&lt;br /&gt;
&lt;br /&gt;
218&lt;br /&gt;
TISIES AICTEIOR-&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society.&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&mdash;e&mdash;&ordm;-0&ndash;&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
Further, the Committee, if they&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
&ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System. -&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four-&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are:&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement.&lt;br /&gt;
In ea.IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong.&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
W Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with any one except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays.&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into .&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the .&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#615) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR.&lt;br /&gt;
219&lt;br /&gt;
(b) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed. &bull;&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary. copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a Very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, OD&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
s&ordm; -*&mdash;a&lt;br /&gt;
w-v- v&ordm;y&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
S forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or &amp;amp; qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
DRAMATIC AUTHORS AND AGENTS,&lt;br /&gt;
RAMATIC authors should seek the advice of the&lt;br /&gt;
Society before putting plays into the hands of&lt;br /&gt;
agents. As the law stands at present, an agent&lt;br /&gt;
who has once had a play in his hands may acquire a&lt;br /&gt;
perpetual claim to a percentage on the author&amp;#039;s fees&lt;br /&gt;
from it. As far as the placing of plays is concerned,&lt;br /&gt;
it may be taken as a general rule that there are only&lt;br /&gt;
very few agents who can do anything for an author&lt;br /&gt;
that he cannot, under the guidance of the Society, do&lt;br /&gt;
equally well or better for himself. The collection of fees&lt;br /&gt;
is also a matter in which in many cases no intermediary is&lt;br /&gt;
required. For certain purposes, such as the collection of&lt;br /&gt;
fees on amateur performances, and in general the trans-&lt;br /&gt;
action of frequent petty authorisations with different&lt;br /&gt;
individuals, and also for the collection of fees in foreign&lt;br /&gt;
countries, almost all dramatic authors employ agents; and&lt;br /&gt;
in these ways the services of agents are real and valuable.&lt;br /&gt;
But the Society warns authors against agents who profess&lt;br /&gt;
to have influence with managers in the placing of plays, or&lt;br /&gt;
who propose to act as principals by offering to purchase&lt;br /&gt;
the author&amp;#039;s rights. In any case, in the present state of&lt;br /&gt;
the law, an agent should not be employed under any&lt;br /&gt;
circumstances without an agreement approved of by the&lt;br /&gt;
Society.&lt;br /&gt;
[NOTE.&mdash;At the request of Mr. W. Morris Colles we&lt;br /&gt;
state that the above notice is framed as the result of a&lt;br /&gt;
general consideration of the present state of the law of&lt;br /&gt;
agency, and without any intention to make particular&lt;br /&gt;
reference to any case or individual. Its sole purpose is to&lt;br /&gt;
give what is deemed useful advice to the dramatic authors&lt;br /&gt;
who are members of the Society.]&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-&ordm;-&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
L assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musica}&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
*&lt;br /&gt;
STAMPING Music.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&rsquo;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
*&mdash;&ordm;-a&lt;br /&gt;
v-u-w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
- EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#616) ################################################&lt;br /&gt;
&lt;br /&gt;
220&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE ANNUAL DINNER.&lt;br /&gt;
THE Annual Dinner of the society will be held&lt;br /&gt;
at the Criterion Restaurant, Piccadilly, W., on&lt;br /&gt;
Thursday, June 9, at 7 for 7.30. The chair will&lt;br /&gt;
be taken by the chairman of the Committee of&lt;br /&gt;
Management. Tickets can be procured at the&lt;br /&gt;
offices of the society, the price being 7s. 6d.&lt;br /&gt;
exclusive of wine. Formal notice of the dinner&lt;br /&gt;
will be sent to all the members early this month.&lt;br /&gt;
THE CHAIRMAN, 1910.&lt;br /&gt;
THE Committee of Management have elected&lt;br /&gt;
Mr. Maurice Hewlett chairman for the current&lt;br /&gt;
ear. We must congratulate the Society on&lt;br /&gt;
Mr. Hewlett&amp;#039;s re-election. The ordinary member&lt;br /&gt;
can have no idea how arduous and exacting&lt;br /&gt;
are the duties of the position. In addition to&lt;br /&gt;
presiding at all the meetings of the Committee&lt;br /&gt;
of Management, the chairman has much work on&lt;br /&gt;
the sub-committees, and the settlement of many&lt;br /&gt;
of the minor questions are left entirely in his&lt;br /&gt;
hands and subject to his authority ; in conse-&lt;br /&gt;
quence the secretary has to be in almost daily&lt;br /&gt;
correspondence with him.&lt;br /&gt;
With a full knowledge&mdash;having conducted the&lt;br /&gt;
affairs of the society successfully through the&lt;br /&gt;
past year&mdash;Mr. Hewlett has consented again to&lt;br /&gt;
undertake the duties.&lt;br /&gt;
Members of the society should be grateful to Mr.&lt;br /&gt;
Hewlett for devoting so much of his attention and&lt;br /&gt;
valuable time towards supporting the aims and&lt;br /&gt;
objects of the society, and maintaining the rights&lt;br /&gt;
and property of its members.&lt;br /&gt;
COLONIAL SALES.&lt;br /&gt;
IN the r&eacute;port of the Publishers&rsquo; Association of&lt;br /&gt;
Great Britain and Ireland we find the following&lt;br /&gt;
paragraph :-&lt;br /&gt;
&ldquo;At the request of the Authors&amp;#039; Society, who complained&lt;br /&gt;
of a great drop in the sale of Colonial editions, a committee&lt;br /&gt;
was appointed to investigate this matter. The Authors&amp;#039;&lt;br /&gt;
Society were, however, unable to substantiate the state-&lt;br /&gt;
ment that there had been an unusual drop or to bring any&lt;br /&gt;
tangible evidence on the subject, though it was suggested&lt;br /&gt;
that the reduction, if any, in Colonial sales was due to&lt;br /&gt;
the production of cheap cloth reprints, and this opinion has&lt;br /&gt;
recently been emphasised by one of our New Zealand&lt;br /&gt;
agents.&rdquo;&lt;br /&gt;
It is not quite true that the Authors&rsquo; Society was&lt;br /&gt;
unable to substantiate the statement mentioned.&lt;br /&gt;
It never endeavoured to do so. The point to&lt;br /&gt;
which it did draw attention was not that there&lt;br /&gt;
was a great drop in the Colonial sales, but that&lt;br /&gt;
there ought to have been a great increase in past&lt;br /&gt;
years, considering the large markets that are&lt;br /&gt;
covered, and that there had been no sign of such&lt;br /&gt;
increase. Many statements of account come to the&lt;br /&gt;
society&amp;#039;s office, and it is curious to notice how small&lt;br /&gt;
are the Colonial Sales compared with the sales in&lt;br /&gt;
England. It is quite evident that something is&lt;br /&gt;
wrong. The publishers are inclined to think that&lt;br /&gt;
the fault does not lie with them, but the result of&lt;br /&gt;
the inquiries made by the society in Australia, New&lt;br /&gt;
Zealand, South Africa, and Canada tends to show&lt;br /&gt;
that the English publishers are exceedingly slack&lt;br /&gt;
in pushing the Colonial sales, while the travelling&lt;br /&gt;
agents of the great American houses are constantly&lt;br /&gt;
present, pushing their wares into all out of the way&lt;br /&gt;
corners as well as in the more familiar places. We&lt;br /&gt;
are inclined to think that it is not the cheap&lt;br /&gt;
reprints so much as the energy of the American&lt;br /&gt;
book agent that accounts for the lack of circulation&lt;br /&gt;
of English books in the Colonial markets.&lt;br /&gt;
We feel bound, however, to give considerable&lt;br /&gt;
weight to the opinion of one of the foremost&lt;br /&gt;
publishers in England. He states distinctly, in a&lt;br /&gt;
letter lying before us, that it is the cheap seven-&lt;br /&gt;
penny editions that are killing the Colonial sales,&lt;br /&gt;
as the Colonial booksellers refuse to stock Colonial&lt;br /&gt;
editions which are liable to be undersold at any&lt;br /&gt;
moment. At the beginning of last year the&lt;br /&gt;
society issued a circular with regard to the seven-&lt;br /&gt;
penny reprints and recommended that their&lt;br /&gt;
publication should be delayed as long as possible,&lt;br /&gt;
if not altogether abandoned, after the publication of&lt;br /&gt;
the six-shilling edition. If the publisher&amp;#039;s opinion&lt;br /&gt;
is correct, it would be as well to insist that the&lt;br /&gt;
sevenpenny reprint should not be exported to the&lt;br /&gt;
Colonies.&lt;br /&gt;
The matter deserves serious consideration from&lt;br /&gt;
all members of the society.&lt;br /&gt;
TRANSLATION RIGHTS.&lt;br /&gt;
WE have often complained in these columns that&lt;br /&gt;
authors will transfer a great many of their subsidiary&lt;br /&gt;
rights to their publishers. We have pointed out&lt;br /&gt;
that by this not only do they lose a large percentage&lt;br /&gt;
on the returns, as the publisher generally claims&lt;br /&gt;
50 per cent. if these rights are placed instead of the&lt;br /&gt;
usual agency, 10 per cent., but they also lose, in&lt;br /&gt;
many cases, the chance of placing these rights&lt;br /&gt;
satisfactorily, as the publisher, not being an agent&lt;br /&gt;
himself, often omits to market these rights, or, if&lt;br /&gt;
he does market them, takes no trouble to keep up&lt;br /&gt;
the authors&rsquo; prices.&lt;br /&gt;
We have just been favoured with a note from a&lt;br /&gt;
gentleman in Sweden, who has, for some time past,&lt;br /&gt;
been endeavouring to keep up the prices of&lt;br /&gt;
English authors, and has very largely succeeded in&lt;br /&gt;
doing so; but he constantly finds the market being&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#617) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
22].&lt;br /&gt;
undersold by English publishers who are offering the&lt;br /&gt;
Swedish rights of English authors at half the price&lt;br /&gt;
he is able to obtain on the Swedish market when&lt;br /&gt;
acting independently.&lt;br /&gt;
He asks us to give publicity to his complaint,&lt;br /&gt;
and we gladly do so, as it is scarcely necessary to&lt;br /&gt;
point out that it is for the authors&amp;#039; benefit not to&lt;br /&gt;
be undersold in their various markets.&lt;br /&gt;
Again, therefore, we would impress upon authors&lt;br /&gt;
never to allow their publishers to control the&lt;br /&gt;
translation rights.&lt;br /&gt;
ſ&ordm;m-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;-&ordm;&ordm; &ordm;m&ordm;m&ordm;n&lt;br /&gt;
TECHNICAL WRITERS.&lt;br /&gt;
A CASE has come before the society recently in&lt;br /&gt;
which a publisher asked a technical writer to write a&lt;br /&gt;
book of 80,000 to 90,000 words for the sum of &pound;50.&lt;br /&gt;
The subject was a difficult one and needed some&lt;br /&gt;
study and could only be written by a specialist.&lt;br /&gt;
The author consulted the society and the secretary&lt;br /&gt;
suggested that &pound;100 was the very lowest that he&lt;br /&gt;
should think of accepting. The letter the author&lt;br /&gt;
received from the publisher was a refusal to accept&lt;br /&gt;
the offer, and the following remarkable sentence&lt;br /&gt;
finished the letter : &ldquo;As a matter of fact it will be&lt;br /&gt;
easy for us to get another competent writer to do&lt;br /&gt;
it for what we had arranged with you.&rdquo; Over and&lt;br /&gt;
over again we have remarked in The Author that&lt;br /&gt;
there is a danger that technical writers will under-&lt;br /&gt;
sell their own markets. Many technical writers do&lt;br /&gt;
not look to live by their writing, but, living by their&lt;br /&gt;
work, like to obtain a slightly increased income by&lt;br /&gt;
their writings. They are, in consequence, ignorant&lt;br /&gt;
of market values, and, further, forget the years it&lt;br /&gt;
has taken them to acquire their special knowledge,&lt;br /&gt;
thinking only of the ease with which it is possible&lt;br /&gt;
for them to write the book required.&lt;br /&gt;
Was the publisher&amp;#039;s statement correct or a mere&lt;br /&gt;
piece of bluff 2 We should be sorry to think that&lt;br /&gt;
it was the former.&lt;br /&gt;
*m&ordm; &ordm;m&ordm;m&ordm;m&ordm;&lt;br /&gt;
MUSICAL COMPOSERS AND THEIR CONTRACTs.&lt;br /&gt;
WE have much pleasure in printing in another&lt;br /&gt;
column of The Author an agreement which has&lt;br /&gt;
been settled by the Copyright Sub-committee and&lt;br /&gt;
approved by the Committee of Management on&lt;br /&gt;
behalf of composers. For many years the society&lt;br /&gt;
has been struggling to gather composers into a&lt;br /&gt;
united body in order that by such a combination&lt;br /&gt;
they may obtain some increased advantages from&lt;br /&gt;
the publication of their compositions, but in every&lt;br /&gt;
attempt the efforts of the society have been frus-&lt;br /&gt;
trated. At length a firm of publishers, Messrs.&lt;br /&gt;
Stainer &amp;amp; Bell, who were anxious to draw up a&lt;br /&gt;
more equitable agreement, approached the Society,&lt;br /&gt;
and, after discussion extending over Some months&lt;br /&gt;
With the Copyright Sub-committee, the agreement&lt;br /&gt;
printed in another column has been finally settled&lt;br /&gt;
and approved.&lt;br /&gt;
While great credit is due to Messrs. Stainer &amp;amp;&lt;br /&gt;
Bell, the Society of Authors must also be con-&lt;br /&gt;
gratulated on the work done by its sub-committee&lt;br /&gt;
for the benefit of that branch of the society with&lt;br /&gt;
Which composers of music are specially concerned.&lt;br /&gt;
We only hope that the composers will recognise&lt;br /&gt;
this, and will come into the society and support&lt;br /&gt;
the work which it has so ably begun.&lt;br /&gt;
WE regret exceedingly that we did not mention&lt;br /&gt;
in the last number of The Author that the photo-&lt;br /&gt;
gravure reproduction of the society&amp;#039;s president,&lt;br /&gt;
Mr. Thomas Hardy, was made from a photograph&lt;br /&gt;
by Messrs. Elliott &amp;amp; Fry. We hasten to correct&lt;br /&gt;
the omission and to give the credit to these photo-&lt;br /&gt;
graphers for the excellent likeness of Mr. Hardy.&lt;br /&gt;
S. L. CLEMENS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
R. S. L. CLEMENS (Mark Twain) has died&lt;br /&gt;
in the fulness of years. From all his work&lt;br /&gt;
as a writer perhaps two books stand out&lt;br /&gt;
beyond the rest as illustrations of his inimitable&lt;br /&gt;
style, that mixture of humour and pathos. We&lt;br /&gt;
refer to &ldquo;Tom Sawyer&amp;quot; and &ldquo; Huck Finn.&rdquo; It is&lt;br /&gt;
no disparagement to the rest of his work to draw&lt;br /&gt;
these two from the bundle. Humour, no doubt,&lt;br /&gt;
there is in abundance in the other works, such as&lt;br /&gt;
&ldquo;The Mississippi Pilot,&rdquo; &ldquo;The Tramp Abroad,&rdquo; and&lt;br /&gt;
&ldquo;The New Pilgrim&amp;#039;s Progress,&rdquo; but in these books&lt;br /&gt;
the humour is not so closely blended with the life.&lt;br /&gt;
as in the two first mentioned. It is needless to&lt;br /&gt;
repeat in these pages the struggle of his early&lt;br /&gt;
years; their history has been fully chronicled in&lt;br /&gt;
all the papers; nor is there need to dwell upon that&lt;br /&gt;
sad time when as a publisher he lost all his money.&lt;br /&gt;
Then well on in years, he refused all aid and assist-&lt;br /&gt;
ance, and with indomitable vitality started work&lt;br /&gt;
again to wipe off his debts. Perhaps his keen&lt;br /&gt;
sense of the ludicrous made him appreciate more&lt;br /&gt;
keenly the irony of fate in his own position.&lt;br /&gt;
Perhaps the same sense helped him to be up and&lt;br /&gt;
doing when others would have thrown up the&lt;br /&gt;
Sponge.&lt;br /&gt;
Every fellow-member of the profession of letters&lt;br /&gt;
must have watched that struggle with interest and&lt;br /&gt;
marked the triumphant issue with pleasure.&lt;br /&gt;
Only once had we the pleasure of meeting Mark&lt;br /&gt;
Twain, but as the occasion was interesting, it may&lt;br /&gt;
be worth while to tell the story. When Sir Walter.&lt;br /&gt;
Besant was alive he brought Mark Twain to one of&lt;br /&gt;
the dinners of the Old Authors&rsquo; Club. The dinner:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#618) ################################################&lt;br /&gt;
&lt;br /&gt;
222&lt;br /&gt;
TISIES A UſTISIOR,&lt;br /&gt;
was crowded, and Mr. Clemens as one of the guests&lt;br /&gt;
was made much of.&lt;br /&gt;
His health was proposed with enthusiasm, and&lt;br /&gt;
in his dry manner, with much sly humour, he&lt;br /&gt;
thanked those present for the welcome he had&lt;br /&gt;
received.&lt;br /&gt;
His speech was finished, and he was about to take&lt;br /&gt;
his seat, but rising again, he stated that, as he had&lt;br /&gt;
been called a humorist, he thought perhaps that&lt;br /&gt;
it was incumbent upon him to maintain his&lt;br /&gt;
reputation and make some kind of joke.&lt;br /&gt;
At that time Mr. Rudyard Kipling was seriously&lt;br /&gt;
ill in America, and the United States papers had&lt;br /&gt;
been full of concern regarding his recovery. It&lt;br /&gt;
is impossible to reproduce either Mark Twains&lt;br /&gt;
exact words or manner. If the story then loses&lt;br /&gt;
point in the telling it is our fault.&lt;br /&gt;
In hesitating voice he said that the American&lt;br /&gt;
people had been seriously concerned about the ill-&lt;br /&gt;
ness of Mr. Kipling, that great English author.&lt;br /&gt;
He hoped that, as the two nations had been joined&lt;br /&gt;
together in Kipling, they would not be sundered in&lt;br /&gt;
Twain.&lt;br /&gt;
The evening will not easily be forgotten by&lt;br /&gt;
those present. No one could look upon Mr.&lt;br /&gt;
Clemens, with his dark eyes and long grey hair,&lt;br /&gt;
without feeling there was a personality before&lt;br /&gt;
him, and no one could speak to him and hear&lt;br /&gt;
his kindly voice without feeling assured that his&lt;br /&gt;
first judgment was confirmed.&lt;br /&gt;
Mr. Clemens was elected to the society in 1897,&lt;br /&gt;
and joined its council in 1908.&lt;br /&gt;
* &mdash;d&ordm;-&lt;br /&gt;
w - w&ordm;&lt;br /&gt;
THE SOCIETY, THE COMPOSER, AND&lt;br /&gt;
MESSRS. STAINER &amp;amp; BELL.&lt;br /&gt;
; HE agreement printed below has been settled&lt;br /&gt;
by the Copyright Sub-committee of the&lt;br /&gt;
Society of Authors in consultation with the&lt;br /&gt;
firm of Messrs. Stainer &amp;amp; Bell.&lt;br /&gt;
The Committee of Management have adopted the&lt;br /&gt;
decision of the sub-committee, and have much&lt;br /&gt;
pleasure in giving their approval and their active&lt;br /&gt;
support to the methods proposed by Messrs. Stainer&lt;br /&gt;
&amp;amp; Bell in the conduct of theirbusiness, as exemplified&lt;br /&gt;
in this agreement. They believe that Messrs.&lt;br /&gt;
Stainer &amp;amp; Bell are the first firm of music publishers&lt;br /&gt;
to make any serious attempt to meet the composer&lt;br /&gt;
on an equitable basis, and the committee consider&lt;br /&gt;
that every credit should be given to the firm on&lt;br /&gt;
that account.&lt;br /&gt;
As we have already stated, the document has&lt;br /&gt;
been settled after consultation between the Copy-&lt;br /&gt;
right Sub-committee and Messrs. Stainer &amp;amp; Bell. It&lt;br /&gt;
is so far ahead of any agreement which has been&lt;br /&gt;
put before composers by responsible firms of music&lt;br /&gt;
publishers that at the present time, at any rate, the&lt;br /&gt;
committee are not only willing to approve it, but&lt;br /&gt;
cordially recommend any composer to sign a contract&lt;br /&gt;
containing these terms. -&lt;br /&gt;
In order to show the contrast between the old&lt;br /&gt;
common form of agreement put forward by other&lt;br /&gt;
houses and the present draft accepted by Messrs.&lt;br /&gt;
Stainer &amp;amp; Bell, and in order to justify the strong&lt;br /&gt;
approval expressed by the Committee of Manage-&lt;br /&gt;
ment, we print a form of agreement (if, indeed,&lt;br /&gt;
it can be called an agreement) which is a common&lt;br /&gt;
form put forward by some of the big publishing&lt;br /&gt;
houses in London. We understand that it was&lt;br /&gt;
drawn up under counsel&rsquo;s advice, that it is con-&lt;br /&gt;
sidered a sufficient safeguard for both parties,&lt;br /&gt;
and that the publishers seldom experience any&lt;br /&gt;
difficulties arising out of its signature. This is&lt;br /&gt;
the document :&mdash;&lt;br /&gt;
I hereby assign to you the whole of my copyright&lt;br /&gt;
(including the right of public performance) for Great&lt;br /&gt;
Britain and Ireland and the Colonies, in my song entitled&lt;br /&gt;
{ % ,&rdquo; in consideration of your paying me a royalty&lt;br /&gt;
of per copy on all sold of the same ; 13 copies to be&lt;br /&gt;
considered as 12, and the first 200 copies not to be subject&lt;br /&gt;
to royalty.&lt;br /&gt;
Members of the society may recollect that when&lt;br /&gt;
publishers of books had a series of agreements&lt;br /&gt;
Settled they made a similar statement ; but it&lt;br /&gt;
is quite clear to any one who knows anything&lt;br /&gt;
about legal matters that if instructions are placed&lt;br /&gt;
before counsel, counsel will only draft an agree-&lt;br /&gt;
ment which is favourable to his clients. The fact&lt;br /&gt;
then that this agreement has been settled by&lt;br /&gt;
counsel, though it may sound of great importance&lt;br /&gt;
to an ignorant composer, is really of no value&lt;br /&gt;
whatever from the composer&amp;#039;s point of view. The&lt;br /&gt;
Statement that it is a sufficient safeguard for both&lt;br /&gt;
parties is too palpably absurd on the face of it to&lt;br /&gt;
need any refutation, and the statement that the&lt;br /&gt;
publishers have never had any difficulties is merely&lt;br /&gt;
an argument in favour of a more strenuous asser-&lt;br /&gt;
tion, on the part of composers, of the rights which&lt;br /&gt;
they possess in their property. Attention should&lt;br /&gt;
first be drawn to the fact that this document is an&lt;br /&gt;
assignment by one party only of all his rights,&lt;br /&gt;
subject to the payment of a royalty, and according&lt;br /&gt;
to this equitable document the publisher, who&lt;br /&gt;
Ought to be the Second party, undertakes no&lt;br /&gt;
responsibilities whatever. Indeed, he could refuse&lt;br /&gt;
to publish and laugh at the composer&amp;#039;s remon-&lt;br /&gt;
strances; he does not bind himself to publish at&lt;br /&gt;
all, but if he had done so it would have been&lt;br /&gt;
necessary that a time should have been fixed when&lt;br /&gt;
the work should be properly dealt with. In fact,&lt;br /&gt;
this document is as equitable as &ldquo;heads I win, tails&lt;br /&gt;
you lose.&rdquo; In other words, the composer gives&lt;br /&gt;
everything and the publisher promises nothing.&lt;br /&gt;
In a musical composition there are two rights:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#619) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UſTISIOR,&lt;br /&gt;
223&lt;br /&gt;
the right of performance and the copyright, or&lt;br /&gt;
the right of reproduction in printed form. In no&lt;br /&gt;
circumstances should the composer assign either of&lt;br /&gt;
these rights. It is, perhaps, needless to refer again&lt;br /&gt;
to the case of Warwick Deeping, which the society&lt;br /&gt;
carried through. This case is sufficient to show&lt;br /&gt;
the danger of the transaction, but it is not the only&lt;br /&gt;
danger for authors who transfer all their rights.&lt;br /&gt;
It is quite sufficient, both for the protection of the&lt;br /&gt;
publisher and of the composer, if the latter grants&lt;br /&gt;
to the publisher a licence to produce the work in a&lt;br /&gt;
certain form only at a certain price only, with&lt;br /&gt;
limitations as to country, and, if necessary, as to&lt;br /&gt;
number. This grant can be made an exclusive&lt;br /&gt;
grant to the publisher, and the publisher can easily&lt;br /&gt;
protect himself against other grants by the com-&lt;br /&gt;
oser. It must be a personal contract with the&lt;br /&gt;
publisher, but it can be made for the whole term&lt;br /&gt;
of copyright, subject to sufficient protection of the&lt;br /&gt;
composer in case the publisher refuses to keep the&lt;br /&gt;
work on the market or advertise it properly in his&lt;br /&gt;
lists. There are other minor points which might&lt;br /&gt;
be urged in order to make the contract equitable&lt;br /&gt;
between the parties, but, in the first instance, we&lt;br /&gt;
should like to impress upon composers this point,&lt;br /&gt;
the most important point of all&mdash;never transfer&lt;br /&gt;
your copyright, never transfer your performing&lt;br /&gt;
right.&lt;br /&gt;
Members of the society can now compare the&lt;br /&gt;
two forms of agreement and study the differences&lt;br /&gt;
carefully. In the agreement proposed after con-&lt;br /&gt;
sultation with Messrs. Stainer &amp;amp; Bell the&lt;br /&gt;
performing right remains the property of the&lt;br /&gt;
composer, subject to certain conditions, and the&lt;br /&gt;
copyright is not assigned. The licence to publish&lt;br /&gt;
applies to certain countries only. If desired by&lt;br /&gt;
both parties, it can be widened to include other&lt;br /&gt;
countries. The publishers use their best endea-&lt;br /&gt;
vours to print and publish. In the other contract&lt;br /&gt;
the publishers do not undertake to do anything.&lt;br /&gt;
Messrs. Stainer &amp;amp; Bell undertake to publish in&lt;br /&gt;
a certain form and at a certain price. In the&lt;br /&gt;
assignment the publishers are free to publish in&lt;br /&gt;
any form and at any price they think fit. Indeed,&lt;br /&gt;
it is hardly necessary to draw further attention to&lt;br /&gt;
the obvious advantages which the composer gains&lt;br /&gt;
under this new form of agreement. We only hope&lt;br /&gt;
that the move made by Messrs. Stainer &amp;amp; Bell in&lt;br /&gt;
this direction will bring them the advantage that&lt;br /&gt;
it deserves. -&lt;br /&gt;
Agreement made this day of , between 5&lt;br /&gt;
hereinafter called the composer, of the One part, and 5&lt;br /&gt;
hereinafter called the publishers, of the other part, in respect&lt;br /&gt;
of a musical composition intituled &ldquo; ,&rdquo; hereinafter&lt;br /&gt;
referred to as the composition the copyright and performing&lt;br /&gt;
right of which belongs to the said composer, whereby it is&lt;br /&gt;
agreed as follows:&ndash;&lt;br /&gt;
1. The copyright and performing right shall remain the&lt;br /&gt;
property of the composer.&lt;br /&gt;
2. Subject to the provisions of paragraphs 9 and 10 of&lt;br /&gt;
this agreement, the publishers shall have for the full term&lt;br /&gt;
of copyright (renewal or future extension included) the&lt;br /&gt;
sole licence to make, print, publish, and sell copies of the&lt;br /&gt;
Said composition in Great Britain and Ireland, her colonies&lt;br /&gt;
and dependencies. During the currency of this agreement&lt;br /&gt;
neither the composer, nor his heirs, executors, or assigns&lt;br /&gt;
shall print, publish, or sell any copies of the said composi-&lt;br /&gt;
tion, or of any part thereof, or of any adaptation or arrange-&lt;br /&gt;
ment thereof within the said limits, and the publishers&lt;br /&gt;
shall not publish any arrangement of, alteration in, or&lt;br /&gt;
Yariation in or of the music of the said composition without&lt;br /&gt;
the consent in writing of the composer.&lt;br /&gt;
3. The publishers shall use their best endeavours to&lt;br /&gt;
print and publish the said composition on or before y&lt;br /&gt;
and to sell copies of the same in accordance with their&lt;br /&gt;
usual course of business.&lt;br /&gt;
4. The composition shall be printed in form, at the&lt;br /&gt;
price of , or, if occasion requires, in such other form,&lt;br /&gt;
or at Such other price as may be mutually agreed between&lt;br /&gt;
the composer and the publishers.&lt;br /&gt;
5. The publishers agree to pay the composer, his heirs&lt;br /&gt;
or assigns, the royalty of in the shilling on the full&lt;br /&gt;
published price of all copies sold (or on all copies sold&lt;br /&gt;
after the sale of copies), 13 copies being counted as&lt;br /&gt;
12 *; it being further agreed that no royalty is to be paid to&lt;br /&gt;
the composer on copies given away for the purpose of&lt;br /&gt;
advertisement, and the publishers undertake to stamp&lt;br /&gt;
&ordm; music with the Words &ldquo;specimen copy presented&lt;br /&gt;
y .&rdquo;&lt;br /&gt;
NOTE. &ndash;&rdquo; This is, at present, the usual custom of the&lt;br /&gt;
trade. Whether it is right or not, it can probably only&lt;br /&gt;
be altered by general agreement between composers and&lt;br /&gt;
publishers.&lt;br /&gt;
6. Should the publishers obtain any fee from the hire of&lt;br /&gt;
copies of the said music, or any parts thereof, then in that&lt;br /&gt;
case the fee shall be divided between the composer and the&lt;br /&gt;
publishers in the following proportions: per cent. to&lt;br /&gt;
the composer, and per cent. to the publishers.&lt;br /&gt;
7... If required in writing by the composer, before the&lt;br /&gt;
signing of this agreement, the publishers shall comply with&lt;br /&gt;
the provisions of the law relating to notice of reservation&lt;br /&gt;
of performing rights.&rdquo;&lt;br /&gt;
NOTE.- Under 45&ndash;46 Vict. ch. 40, if a composer desires&lt;br /&gt;
to retain the right of public representation or perform-&lt;br /&gt;
ance, a notice to that effect must be printed on every&lt;br /&gt;
copy of the composition, as in the absence of such notice&lt;br /&gt;
his exclusive performing right is lost. Composers are&lt;br /&gt;
referred to the Act. In the case of songs public perform-&lt;br /&gt;
ance is usually free.&lt;br /&gt;
In the case of scores and parts it is usual to print the&lt;br /&gt;
notice reserving the right of public performance, together&lt;br /&gt;
with an intimation that the purchase of the scores and&lt;br /&gt;
barts gives the purchaser a licence to perform the music&lt;br /&gt;
of the scores and parts in public. If the parties desire&lt;br /&gt;
to adopt this course, the written notice from the composer&lt;br /&gt;
contemplated by this clause should require the publisher&lt;br /&gt;
to print the notice accordingly. -&lt;br /&gt;
8. The publishers undertake to make up the statement&lt;br /&gt;
of accounts semi-annually to the day of , and&lt;br /&gt;
the day of in each year, and to render the account&lt;br /&gt;
and pay the composer the amount due within three calendar&lt;br /&gt;
months from the said dates.&lt;br /&gt;
9. If at any time during which there is a bond fide&lt;br /&gt;
demand for the composition the publishers allow the same&lt;br /&gt;
to be out of print or off the market, then, if within three&lt;br /&gt;
months after receipt of written notice from the composer&lt;br /&gt;
they do not print an edition of at least Copies, or use&lt;br /&gt;
the ordinary methods for putting the work again on the&lt;br /&gt;
market, the licence hereunder to make, print, publish, and&lt;br /&gt;
sell shall cease, and the composer shall have the option of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#620) ################################################&lt;br /&gt;
&lt;br /&gt;
224&lt;br /&gt;
TISIES A l&ordm;ſſ`ISIOR.&lt;br /&gt;
purchasing the plates of the said composition and all&lt;br /&gt;
unsold copies at a valuation.&lt;br /&gt;
10. In the event of the publishers, or any of them, becom-&lt;br /&gt;
ing bankrupt (in the case of a limited company substitute&lt;br /&gt;
&ldquo;going into liquidation *) the licence hereunder to make,&lt;br /&gt;
print, publish, and sell shall cease from the date of the&lt;br /&gt;
adjudication (or in the case of a limited company substitute&lt;br /&gt;
&ldquo;winding-up order &rsquo;&rsquo;).&lt;br /&gt;
11. The composer undertakes to correct the proofs of his&lt;br /&gt;
work within days of their receipt. Should he fail to&lt;br /&gt;
do so, then the publishers shall be at liberty to make the&lt;br /&gt;
usual proof corrections.&lt;br /&gt;
12. If either party has reasonable cause for believing&lt;br /&gt;
that the copyright in the said composition has been&lt;br /&gt;
infringed, he or they shall give immediate notice to the&lt;br /&gt;
other party. If the composer takes proceedings in respect&lt;br /&gt;
of the infringement and if the publishers desire to be joined&lt;br /&gt;
in the action, they may give written notice to the composer&lt;br /&gt;
to that effect, and on an undertaking on their part to pay&lt;br /&gt;
an equal share in the entire costs of the litigation the com-&lt;br /&gt;
poser shall join them as parties. In such case the composer&lt;br /&gt;
shall diligently prosecute the action, but shall retain control&lt;br /&gt;
of the proceedings, and may make any reasonable Settlement&lt;br /&gt;
with the defendants in the interests of composer and pub-&lt;br /&gt;
lisher, and the damages, if any, recovered shall be firstly&lt;br /&gt;
applied in payment of costs, and if there is any surplus,&lt;br /&gt;
shall be divided equally between composer and publisher.&lt;br /&gt;
If the composer, after the infringement has come to his&lt;br /&gt;
notice, refuses or neglects to take proceedings in respect&lt;br /&gt;
thereof, the publishers shall be entitled to take proceedings,&lt;br /&gt;
and, on giving the composer a sufficient and reasonable&lt;br /&gt;
indemnity against liability for costs, shall be entitled to&lt;br /&gt;
use the composer&amp;#039;s name as a party to such proceedings.&lt;br /&gt;
In such case the publishers shall retain control of the pro-&lt;br /&gt;
ceedings and may make any reasonable settlement in the&lt;br /&gt;
interest of composer and publisher, and the damages, if&lt;br /&gt;
any, recovered shall be firstly applied in payment of costs,&lt;br /&gt;
and if there is any surplus, shall be divided in the propor-&lt;br /&gt;
tion of one-third to the composer and two-thirds to the&lt;br /&gt;
publishers.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-o-&lt;br /&gt;
IDEAS, AND HOW TO PROTECT THEM.&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
BY CRUSADER.&lt;br /&gt;
I.&lt;br /&gt;
HERE are many tragedies in the history of&lt;br /&gt;
letters, and among the greatest is the fact&lt;br /&gt;
that men and women with ideas have seldom&lt;br /&gt;
had that other form of capital which is able to&lt;br /&gt;
write big cheques and to buy brains in the open&lt;br /&gt;
markets of the world. A person with ideas may&lt;br /&gt;
be compared, as a rule, to a piece of common land&lt;br /&gt;
upon which all animals may graze, or to a public&lt;br /&gt;
fountain into which any one may dip a cup and&lt;br /&gt;
drink&mdash;and walk away refreshed. But in these&lt;br /&gt;
times of wild-cat rivalries in trade, none can afford&lt;br /&gt;
to lose any part whatever of a marketable idea with-&lt;br /&gt;
out adding to his or to her means of self-support.&lt;br /&gt;
For it is with ideas alone that authors pay their&lt;br /&gt;
rents, rates, taxes, and other household expenses,&lt;br /&gt;
which constitute the main working costs of a&lt;br /&gt;
literary life. Every writer knows to a penny, the&lt;br /&gt;
minimum supply of money upon which he and his&lt;br /&gt;
family can live for a year, and he knows, too, what&lt;br /&gt;
kind of life is best fitted for his particular outlook&lt;br /&gt;
in literature. It may be essential for him to go&lt;br /&gt;
from place to place, seeking fresh local colour and&lt;br /&gt;
new types of character, but, whatever special call&lt;br /&gt;
may be made upon his purse, he is dependent on&lt;br /&gt;
three forms of capital :&mdash;&lt;br /&gt;
(a) The realised ideas known as books and the&lt;br /&gt;
profits they bring in over a space of time ;&lt;br /&gt;
(b) The ideas that he wants to make real; and&lt;br /&gt;
(c) Health, which at any moment may fail him&lt;br /&gt;
and put a stop to work. Then he becomes depen-&lt;br /&gt;
dent on his old efforts and their financial results;&lt;br /&gt;
and if his realised ideas have not been exploited to&lt;br /&gt;
the utmost of their commercial value, or if he has&lt;br /&gt;
been fooled under profit sharing agreements, his&lt;br /&gt;
lot becomes a terrible one. He is caught in a&lt;br /&gt;
storm, he ought to lie quietly in harbour, but he&lt;br /&gt;
has no anchor nor is he able to command his own&lt;br /&gt;
boat outside in the rough waters.&lt;br /&gt;
These are trite things to say, perhaps, but trite&lt;br /&gt;
things are often neglected truths to the meaning of&lt;br /&gt;
which we are made dull by custom ; and very few&lt;br /&gt;
young authors have a clear conception of any phase&lt;br /&gt;
of business in the perilous calling out of which&lt;br /&gt;
they must earn their bread. It is not usual for&lt;br /&gt;
them to know even the difference between their&lt;br /&gt;
trade outlook and that of a publishing firm. &ldquo;We&lt;br /&gt;
have no capital expenditure,&rdquo; they say, often with&lt;br /&gt;
pride, as if their education counted for nothing ;&lt;br /&gt;
as if their apprenticeship were a thing to be thrust&lt;br /&gt;
aside as of no value ; as if the use of ideas during&lt;br /&gt;
months of hard work were a bagatelle ; and as if,&lt;br /&gt;
by an effort of will, they could escape from all&lt;br /&gt;
household expenses during the writing of a book.&lt;br /&gt;
No capital expenditure indeed It is precisely the&lt;br /&gt;
capital of the world&rsquo;s authors&mdash;their own ideas&lt;br /&gt;
invested day by day in work done&mdash;that keeps&lt;br /&gt;
publishers, newspapers, printers, booksellers, book-&lt;br /&gt;
binders, paper-makers, periodicals, and all other&lt;br /&gt;
trades and traders connected with the literary life.&lt;br /&gt;
Let an edict prevent all authors from writing for&lt;br /&gt;
a year, and this cessation in the flow and circula-&lt;br /&gt;
tion of ideas would stop all contemporary progress&lt;br /&gt;
in the transference of new thought from print&lt;br /&gt;
to mind. None but dead copyrights and work&lt;br /&gt;
already published could be used. Not even the&lt;br /&gt;
day&rsquo;s news could be published, for it has to be&lt;br /&gt;
written, and so made a part of our current traffic&lt;br /&gt;
in literary ideas. Yet authors, for the most part,&lt;br /&gt;
are unaware of their extraordinary power, and&lt;br /&gt;
hesitate to act together in their self-defence. Any&lt;br /&gt;
trading company is able to beat them down, and&lt;br /&gt;
into submission. There is, for example, at this&lt;br /&gt;
moment a steady fall in the prices paid for the&lt;br /&gt;
capital of ideas invested week by Week in short&lt;br /&gt;
stories. And yet, where is the combination of&lt;br /&gt;
active protest against this cruel injustice P Suppose,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#621) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A CITISIOR,&lt;br /&gt;
225&lt;br /&gt;
by way of contrast, that the jerry-furnishers of&lt;br /&gt;
England had set themselves to lower the trade&lt;br /&gt;
union rates for chair-making and cabinet-making,&lt;br /&gt;
a general strike would follow, and those jerry-&lt;br /&gt;
furnishers would be taught a lesson not at all easy&lt;br /&gt;
to forget. Yet the trade unions for furniture-&lt;br /&gt;
making have but a trifling power in comparison&lt;br /&gt;
with that which authors could wield if they united&lt;br /&gt;
and acted together in downright good-fellowship.&lt;br /&gt;
My first point, then, is this&mdash;that ideas rule the&lt;br /&gt;
world, and have done so since men of the Mammoth&lt;br /&gt;
Time made the first great inventions&mdash;pottery,&lt;br /&gt;
engraving, sculpture, wall-painting, and stone&lt;br /&gt;
weapons of self-protection. This was the birth of&lt;br /&gt;
art, and all ideas of value are intimately connected&lt;br /&gt;
with art. Tradesmen have never been anything&lt;br /&gt;
more than servants to the ideas which artists have&lt;br /&gt;
put into circulation ; and as servants have seldom&lt;br /&gt;
loved their masters, tradesmen have generally been&lt;br /&gt;
hostile to the producers of necessary ideas. They&lt;br /&gt;
have formed the big battalions, and, not unlike&lt;br /&gt;
bacteria, have lived by destroying lives infinitely&lt;br /&gt;
more valuable than their own.&lt;br /&gt;
It is true that civilisation has tried to set limits&lt;br /&gt;
to this preying of inferior minds on those whom&lt;br /&gt;
nature has endowed with creative abilities. The&lt;br /&gt;
Church was the first to protect the arts; then&lt;br /&gt;
social pride and rivalries between towns gave birth&lt;br /&gt;
to a lay patronage of ideas; afterwards, but very&lt;br /&gt;
slowly, the law threw into a bemuddled shape its&lt;br /&gt;
Patent Acts and its Copyright Legislation ; but&lt;br /&gt;
during all this halt-footed progress, from the&lt;br /&gt;
earliest time to our own, the tradesman has been a&lt;br /&gt;
watchful outsider, not only waiting to pounce upon&lt;br /&gt;
whatever artist he could catch, but to get that&lt;br /&gt;
artist&amp;#039;s own capital, his ideas, without paying a&lt;br /&gt;
just price. Nor is this game of grab in business&lt;br /&gt;
at all difficult to play with success when the artist,&lt;br /&gt;
the producer of ideas, has no experience of trade,&lt;br /&gt;
and a wide acquaintance with poverty and dis-&lt;br /&gt;
appointment. Any sort of offer for his time and&lt;br /&gt;
work seems good to a starving author. When his&lt;br /&gt;
poverty, not his will, consents, he will sign a&lt;br /&gt;
thievish contract just to help him to buy food for&lt;br /&gt;
a few weeks or months. The bad times passed, he&lt;br /&gt;
understands what he has done, and bemoans&lt;br /&gt;
his servitude. A mere tradesman has got him&lt;br /&gt;
under a cruel contract, and all the laws of the land&lt;br /&gt;
cannot free him while that contract lasts. Perhaps&lt;br /&gt;
he has sold a novel for &pound;15, and arranged to write&lt;br /&gt;
six others for that princely wage apiece. What&lt;br /&gt;
then 2 The law says that he acted as a free agent,&lt;br /&gt;
and must make what he can out of his tragic&lt;br /&gt;
bargain. He has sold cheap what is most dear,&lt;br /&gt;
only to learn that an author may starve and yet be&lt;br /&gt;
very useful to his publisher.&lt;br /&gt;
This privilege, indeed, is one which is forced&lt;br /&gt;
upon authors to-day by business agencies of a very&lt;br /&gt;
powerful kind. I am speaking, of course, about&lt;br /&gt;
authors in the lump, their rank and file. Popular&lt;br /&gt;
favourites are able to defend themselves, but the&lt;br /&gt;
rank and file haven&rsquo;t a chance unless they keep&lt;br /&gt;
shoulder to shoulder and fight in regiments,&lt;br /&gt;
because they have to face the serried ranks of keen&lt;br /&gt;
tradesmen, bound together not only by partnerships&lt;br /&gt;
and companies, but by a routine of business&lt;br /&gt;
trickery and discipline which the practice of&lt;br /&gt;
generations has evolved. Also&mdash;and this has a&lt;br /&gt;
great importance of its own&mdash;a host of outsiders,&lt;br /&gt;
under the title of shareholders, now claim their full&lt;br /&gt;
share of profit on the ideas that authors invent and&lt;br /&gt;
make fit for all the many markets in the trade of&lt;br /&gt;
letters. Once in a way an author alone can face&lt;br /&gt;
all this and yet win his just measure of success and&lt;br /&gt;
reward; but the lottery is so vast, so complex, and&lt;br /&gt;
So uncertain, that it is best to lay down the rule that&lt;br /&gt;
no author ought ever to fight without known&lt;br /&gt;
Support from the whole brotherhood and sisterhood&lt;br /&gt;
of literary workers. For it is impossible ever to&lt;br /&gt;
say what the British public will like or dislike, and&lt;br /&gt;
the British public and its waywardness are the only&lt;br /&gt;
protective force between the mass of authors and&lt;br /&gt;
the tradesmen who exploit their ideas. One of the&lt;br /&gt;
most popular comedies of the last three years was&lt;br /&gt;
laughed at during rehearsals, and another play&lt;br /&gt;
was put in rehearsal to meet the probability of&lt;br /&gt;
failure, for it was considered hopeless. The most&lt;br /&gt;
unlikely things often succeed, while the most&lt;br /&gt;
promising may fall flat and die in a week or two.&lt;br /&gt;
Nor is this at all surprising when we remember how&lt;br /&gt;
the popular mind is fevered by a daily carnival of&lt;br /&gt;
news from all parts of the world. What with the&lt;br /&gt;
yelp of headlines and the shriek of contents bills,&lt;br /&gt;
what with the unfocussed importance given to any&lt;br /&gt;
event that can be made sensational, the people have&lt;br /&gt;
lost all sense of reasoned judgment in their outlook&lt;br /&gt;
on life, and soon find novelties both old and stale.&lt;br /&gt;
An earthquake of Messina attracts them for a day&lt;br /&gt;
or two, like a cricket match, and is then forgotten ;&lt;br /&gt;
and the last South African campaigns now seem&lt;br /&gt;
even more remote from their interest than the&lt;br /&gt;
battles of Trafalgar and Waterloo. The popular&lt;br /&gt;
memory has grown lax and flabby, like india-rubber&lt;br /&gt;
when stretched beyond its reach of elasticity ;&lt;br /&gt;
and all this tells against the appeals made by&lt;br /&gt;
authors in their books. How can novelists and&lt;br /&gt;
dramatists hope to retain the people&amp;#039;s suffrage&lt;br /&gt;
when events of the most vital kind to the nation&lt;br /&gt;
soon fade out of recollection ? As to other authors,&lt;br /&gt;
historians, essayists, art-writers, and so forth, they&lt;br /&gt;
must either unite and help themselves or remain as&lt;br /&gt;
pawns in the game of finance played by publishers.&lt;br /&gt;
A most interesting game&mdash;that. It consists in&lt;br /&gt;
rolling over the same capital three or four times in&lt;br /&gt;
a year, so that it may gather interest with each&lt;br /&gt;
turnover, often without much benefit to writers,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#622) ################################################&lt;br /&gt;
&lt;br /&gt;
226&lt;br /&gt;
TISIES A DITFSIOR,&lt;br /&gt;
For, indeed, that game of finance is in fundamental&lt;br /&gt;
opposition to the just needs of authors, though few&lt;br /&gt;
Writers have had experience enough to enable them to&lt;br /&gt;
understand that this assertion of mind is quite true.&lt;br /&gt;
It seems incredible at a first glance that a&lt;br /&gt;
publisher may be very prosperous while the bulk of&lt;br /&gt;
his authors may not know how to pay for their next&lt;br /&gt;
night&amp;#039;s lodging. Yet, though this looks impossible,&lt;br /&gt;
it is well within the sphere of modern publishing,&lt;br /&gt;
as a little practical thought will make evident.&lt;br /&gt;
Writers, like other artists, when they look at a&lt;br /&gt;
question of business, are handicapped by their&lt;br /&gt;
native honesty in work. &ldquo;We&rsquo;ve done our level&lt;br /&gt;
best,&rdquo; they say ; &ldquo;we&rsquo;ve spared neither time nor&lt;br /&gt;
pains; we wanted to get certain results, and we&lt;br /&gt;
went on trying till those results came, more or&lt;br /&gt;
less. Surely a publisher knows all this, and he,&lt;br /&gt;
like we, stands to lose or gain. Why, then, should&lt;br /&gt;
he be careless in his part of book production ?&lt;br /&gt;
Why should he fail to push our work 2 &deg;&lt;br /&gt;
One hears this run of arguments week after&lt;br /&gt;
week, and recently it appeared in print. An&lt;br /&gt;
author wrote anonymously to a journal and said&lt;br /&gt;
that although he had written and published a long&lt;br /&gt;
row of books, all very well received, he earned less&lt;br /&gt;
than a farm labourer, his subject being one which&lt;br /&gt;
the public did not like, so that the publishers could&lt;br /&gt;
not afford to pay him well. Balderdash There is&lt;br /&gt;
a public for all special subjects if publishers take&lt;br /&gt;
pains to find it ; but they prefer to use authors,&lt;br /&gt;
not as men who must live and pay their debts, but&lt;br /&gt;
as mere items in the game of finance, and, this&lt;br /&gt;
being so, let us look carefully at that game and see&lt;br /&gt;
what it is in its relation to ourselves.&lt;br /&gt;
First, then, a publisher has a certain amount of&lt;br /&gt;
working capital to be rolled over three or four&lt;br /&gt;
times in twelve months. This, of course, presents&lt;br /&gt;
no difficulties when the capital is small, but when&lt;br /&gt;
the capital is vast the difficulties are enormous too,&lt;br /&gt;
and have to be met by starting new sources for the&lt;br /&gt;
investment of money&mdash;new magazines, for example,&lt;br /&gt;
and books and papers on many different subjects.&lt;br /&gt;
As long as you deal personally with a &ldquo; small &rdquo;&lt;br /&gt;
publisher you have some control over him, and&lt;br /&gt;
neither he nor his few assistants will steal your&lt;br /&gt;
ideas and projects ; but no sooner do you begin to&lt;br /&gt;
launch your work in one of those giant companies&lt;br /&gt;
having many departments than you know not pre-&lt;br /&gt;
cisely where you are. The game of finance is now&lt;br /&gt;
So big and so greedy that you are less important to&lt;br /&gt;
it than is a sack of flour to a great mill. Your book&lt;br /&gt;
may have cost a year of hard work as well as many&lt;br /&gt;
years of preparation ; but all that is your affair, and&lt;br /&gt;
has no effect whatever on the routine methods of&lt;br /&gt;
finance. Your book is valuable only because, in&lt;br /&gt;
an edition of 1,000 copies, it will give a single&lt;br /&gt;
turnover to a tiny sum of money. It is a novel of&lt;br /&gt;
ordinary length, let us say, which can be published&lt;br /&gt;
and advertised for about &pound;115. Now, under a just&lt;br /&gt;
agreement, you should earn about &pound;25 if the&lt;br /&gt;
Whole edition of 1,000 copies be sold, while the&lt;br /&gt;
publisher on a single turnover earns about &pound;25&lt;br /&gt;
interest on &pound;115. He has reason to be satisfied,&lt;br /&gt;
While you have hungry days in front of you. And&lt;br /&gt;
there&amp;#039;s no trade reason why he should push to get&lt;br /&gt;
a second edition ; he has got his turnover, and&lt;br /&gt;
another novel is waiting to be treated in the same&lt;br /&gt;
routine Way, and another after that one, and&lt;br /&gt;
perhaps even a fourth before the end of the year.&lt;br /&gt;
Do you understand now 2 If three novels are&lt;br /&gt;
published in twelve months with the same bit of&lt;br /&gt;
capital (i.e., &pound;115), and if the tradesman on each&lt;br /&gt;
turnover gets the same interest (i.e., 4:25), his total&lt;br /&gt;
profits are &pound;75 on a capital of &pound;115, whereas each&lt;br /&gt;
of the three novelists gets only &pound;25. And suppose&lt;br /&gt;
two of the novels run into a second edition ? What&lt;br /&gt;
then * Why, the publisher risks nothing at all,&lt;br /&gt;
for the public has called for the second edition on&lt;br /&gt;
the book&amp;#039;s merits, so your book is now self-support-&lt;br /&gt;
ing and should bring you a higher royalty than&lt;br /&gt;
you get on the first 1,000 copies.&lt;br /&gt;
(To be continued.)&lt;br /&gt;
*-&ordm;-&ordm;-&ordm;-m&ordm;s&lt;br /&gt;
OF THE MAKING OF Books.&lt;br /&gt;
&ldquo;Success is in the silences,&lt;br /&gt;
Though Fame be in the song.&rdquo;&lt;br /&gt;
CCLESIASTES says that of the making&lt;br /&gt;
E many books there is no end. That surely&lt;br /&gt;
would depend on how many ; but I take it&lt;br /&gt;
that he means if once you begin, you can&amp;#039;t stop.&lt;br /&gt;
And the moral of that appears to be, Don&amp;#039;t begin,&lt;br /&gt;
&mdash;since to do anything endlessly, even to draw&lt;br /&gt;
breath, must pall in the long run.&lt;br /&gt;
Personally, I believe the only possible hope of&lt;br /&gt;
stopping people from writing books is to prevent&lt;br /&gt;
them from beginning ; as doubtless Ecclesiastes&lt;br /&gt;
found out too late, hence the note of extreme&lt;br /&gt;
Weariness. -&lt;br /&gt;
Unfortunately, I began ; and I have been going&lt;br /&gt;
On ever since.&lt;br /&gt;
I am one of those in whom Ambition&amp;#039;s gnawing&lt;br /&gt;
tooth doth ever goad to malcontent. I have called&lt;br /&gt;
it ambition for want of a better word ; as a matter&lt;br /&gt;
of fact I believe it is no more that than it is&lt;br /&gt;
ambitious of grass to push, or hens to lay. Certainly&lt;br /&gt;
I want to see my book lying bound (and cut), on&lt;br /&gt;
Somebody else&amp;#039;s table ; certainly I want to open a&lt;br /&gt;
banking account in consequence of that beatific&lt;br /&gt;
vision ; but I have an intuition that if I knew that&lt;br /&gt;
to the end of time I should never be printed, I&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#623) ################################################&lt;br /&gt;
&lt;br /&gt;
REPORT OF THE SUB-COMMITTEE&lt;br /&gt;
ON THE PRICE OF NOVELS,&lt;br /&gt;
PASSED MARCH 11, 1910.&lt;br /&gt;
APPROWED BY THE COMMITTEE OF MANAGEMENT&lt;br /&gt;
APRIL 4, 1910.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#624) ################################################&lt;br /&gt;
&lt;br /&gt;
REPORT OF THE SUB-COMMITTEE ON THE&lt;br /&gt;
PRICE OF NOVELS.&lt;br /&gt;
WE, the Sub-Committee appointed to consider the question of the price at which&lt;br /&gt;
new novels should be issued, beg to submit our conclusions to the Committee. -&lt;br /&gt;
In an interim report made to the Committee on December 6th, 1909, and published in&lt;br /&gt;
The Author in January, 1910, we explained that the collecting of evidence from the booksellers&lt;br /&gt;
would take some time and that its result would require sifting and classification. We also&lt;br /&gt;
alluded to the fact that we were promised the outcome of certain definite experiments in the&lt;br /&gt;
change of price of new novels, which experiments were then being conducted ; and we said that&lt;br /&gt;
we would elicit further information from novelists. For these reasons it was necessary that&lt;br /&gt;
there should be some delay before we could make a final report, but the serious nature of the&lt;br /&gt;
situation appeared to us to warrant the laying before the Committee an interim opinion. We&lt;br /&gt;
have now received the further information for which we were waiting, and are enabled to&lt;br /&gt;
submit our conclusions.&lt;br /&gt;
We have collected since the issue of the interim report evidence from other novelists as to&lt;br /&gt;
the advisability of an initial reduction of their prices from the usual figure of 6s. Twenty&lt;br /&gt;
authors replied. Seventeen were opposed to reduction, two were indefinite, and one thought&lt;br /&gt;
that he would benefit by the lowering of price. In the interim report the figures were thirty&lt;br /&gt;
opposed to reduction and seven more or less in favour of it. Forty-seven, therefore, are opposed&lt;br /&gt;
to reduction and eight in favour.&lt;br /&gt;
Through the courtesy of Mr. H. W. Keay, we have been placed in possession of the&lt;br /&gt;
replies of 243 booksellers to the four questions which he submitted to them. . The questions&lt;br /&gt;
have served to elicit valuable, if doubtful, expressions of opinion. The figures placed beside the&lt;br /&gt;
questions indicate the views taken &mdash;&lt;br /&gt;
Questions. Yes. JW0.&lt;br /&gt;
1. In your opinion would you obtain a larger sale for a new&lt;br /&gt;
copyright novel of the Ordinary length at 2s. Or 38, net&lt;br /&gt;
than for one at 6s. subject &ordm; o e t&ordm;&lt;br /&gt;
. If an author brings out a new copyright novel at 28, or&lt;br /&gt;
3s. net, in your opinion weuld his sale of a subsequent&lt;br /&gt;
novel at 6s. subject be liable to be prejudiced 2 . d&ordm; 156 56&lt;br /&gt;
. Would the increase (if any) in the sales at a cheaper rate -&lt;br /&gt;
compensate for the smaller figure received per copy. In&lt;br /&gt;
other words, would the larger circulation (if that is so)&lt;br /&gt;
149 72&lt;br /&gt;
2&lt;br /&gt;
3&lt;br /&gt;
compensate for the reduction in price 2 &amp;amp; g 111 84&lt;br /&gt;
4. Would you get sufficient return out of which to make a&lt;br /&gt;
good living wage if the author reduced the prices of&lt;br /&gt;
publications 2 . c&ordm; &amp;amp; o e ge t&ordm; t&ordm; 84 93&lt;br /&gt;
The booksellers, therefore, believe that a larger sale would be obtained for a new copyright&lt;br /&gt;
novel of the ordinary length at 2s. or 38. net than for one at 68. Subject to discount ; that the&lt;br /&gt;
issue of a new novel at the lower rate would damage the chances of an author desiring to return&lt;br /&gt;
to 6s. ; and that the bookselling trade would make as much or more under original issues.&lt;br /&gt;
at the lower prices. But the opinion is by no means unanimous, the minority replies being&lt;br /&gt;
substantial in number. The fourth question was answered from such various points of view&lt;br /&gt;
that we are justified in considering that the bookselling trade as a whole has no opinion. The&lt;br /&gt;
conclusion most generally expressed was that for the selling of fiction to be a remunerative&lt;br /&gt;
business to the bookseller it was necessary for him to be able to sell at a profit of at least&lt;br /&gt;
25 per cent, an important point to which further allusion will be made. &ordm;&lt;br /&gt;
Mr. Heinemann has communicated to us the result of his interesting experiment in changing&lt;br /&gt;
the price at which new novels should be issued. He was obviously unable to give us the exact.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#625) ################################################&lt;br /&gt;
&lt;br /&gt;
(, 3 )&lt;br /&gt;
figures in respect of each of the books without the permission of their authors, and it has not&lt;br /&gt;
seemed to us either right or necessary to beg him to obtain the permission. We are satisfied&lt;br /&gt;
that the want of success attending his interesting and enterprising plan of making the price of&lt;br /&gt;
a new novel depend roughly upon its length is a most powerful argument against a general&lt;br /&gt;
change from the hitherto accepted price of 6s. There were circumstances apart from its novelty&lt;br /&gt;
which certainly fought against the plan, but these do not lead us to regard the result as&lt;br /&gt;
anything but a warning to authors not to lower their price of issue. One author, on the other&lt;br /&gt;
hand, whose book was published at a higher price than 6s., but in two volumes, met with con-&lt;br /&gt;
siderable success. The raised price was based on the length of the work, and the success was&lt;br /&gt;
obtained in spite of the refusal of the libraries to supply it. We wish to record our sense of&lt;br /&gt;
Mr. Heinemann&amp;#039;s courtesy in giving us all the assistance that he could, while he respected the&lt;br /&gt;
confidential nature of the relations with his clients.&lt;br /&gt;
Our conclusions, it will be seen, are so close a confirmation of the interim report that we&lt;br /&gt;
have thought it advisable to publish the two reports together.&lt;br /&gt;
Conclusions.&lt;br /&gt;
We find that novelists would be unwise to allow themselves, or their agents for them,&lt;br /&gt;
to enter into any contract whereby it is agreed that the initial price of the new novel should be&lt;br /&gt;
lower than 6s.&lt;br /&gt;
There is no evidence from authors or publishers that the lowering of the initial price leads&lt;br /&gt;
to any substantial increase in circulation ; while there is evidence that in certain circumstances&lt;br /&gt;
the opposite has occurred. The opinion of the booksellers on the question is too inconclusive&lt;br /&gt;
to alter our view. The majority of the booksellers believe that the lowering of the original&lt;br /&gt;
price would lead to a larger sale, but if their profit is to come by an improvement of their terms&lt;br /&gt;
with the publishers, as appears to be their suggestion, the author will have difficulty in main-&lt;br /&gt;
taining his royalties at their proper figure. The booksellers&amp;#039; evidence confirms our previous&lt;br /&gt;
view that where authors lower the original prices of their novels they will not be offered the&lt;br /&gt;
same proportionate royalties as they have hitherto received.&lt;br /&gt;
We strongly advise authors to maintain 6s. as the standard price of issue of new fiction&lt;br /&gt;
save in special cases.&lt;br /&gt;
We feel that these conclusions need be in no way modified by the temporary success of any&lt;br /&gt;
publishing scheme where far lower prices of issue are employed. In one prominent venture of&lt;br /&gt;
this sort the large prices which are understood to have been obtained, are what might have&lt;br /&gt;
been expected from the status of many of the authors.&lt;br /&gt;
We suggest that a certain deterioration in the outward aspect of novels, the cheaper paper&lt;br /&gt;
and the catch-penny cover, often insecurely sewn, is partly responsible for the cry for cheaper&lt;br /&gt;
books. If the 6s. novel, quite apart from its merits as a novel, looked better value for 68, and&lt;br /&gt;
were in fact better &ldquo;turned out &rsquo;&rsquo; than it is possible to turn out a 2s. novel, we are of opinion&lt;br /&gt;
that it would be distinctly easier to maintain the higher price.&lt;br /&gt;
. M. A. BELLOC-LOWNDES.&lt;br /&gt;
CHARLES GARVICE.&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
INTERIM REPORT.&lt;br /&gt;
WE, the sub-committee appointed to consider the question of the price at which new novels should be&lt;br /&gt;
issued, think that we ought to make an interim report, having regard to the serious nature of the present&lt;br /&gt;
situation. We feel, also, that a conclusive and comprehensive report upon the matter can hardly be expected&lt;br /&gt;
from us, remembering the variety of directions in which evidence must be sought, and the distinct understand-&lt;br /&gt;
ing that we have received that the results of certain experiments in the change of price of new novels&mdash;which&lt;br /&gt;
experiments are now being conducted&mdash;will be given to us.&lt;br /&gt;
Our first step was to invite the opinion of seventy-eight novelists, almost all being members of our society,&lt;br /&gt;
who were selected as far as possible because they seemed to us to represent varying degrees of position as men&lt;br /&gt;
and women of letters and greatly different conditions of popularity. Further, we gave preference in our first&lt;br /&gt;
letter of inquiry to those authors whose works we knew had been made the subject of some experiments in the&lt;br /&gt;
lowering of the original price of issue. The result of that inquiry was that thirty authors declared themselves&lt;br /&gt;
uncompromisingly opposed to any systematic reduction of the usual publishing price of the new novel, viz., 6s.,&lt;br /&gt;
believing that the reduction would bring to them, having regard to the reduced royalties offered, no return&lt;br /&gt;
which would compensate them for the loss which they would sustain by not receiving the larger royalty upon&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#626) ################################################&lt;br /&gt;
&lt;br /&gt;
( 4 )&lt;br /&gt;
the larger prices; seven authors believe the reverse of this, but their convictions were not expressed with any&lt;br /&gt;
great force in all instances.&lt;br /&gt;
Of the remaining authors to whom we wrote, fourteen were non-committal in their statements, certain of&lt;br /&gt;
them giving information in answer to our questions, but without expressing opinions and leaving us to make&lt;br /&gt;
deductions from the facts; nine stated that they were unable to give useful information, and from the&lt;br /&gt;
remainder we have not yet heard. Much of this unclassified evidence was informatory to ourselves, and the&lt;br /&gt;
deduction we have drawn from it is that it contains no definite arguments in favour of the lowering of the&lt;br /&gt;
original ſ&ordm; of the new novel from 6s. either for the benefit of the author, the publisher, the bookseller, or&lt;br /&gt;
the public.&lt;br /&gt;
We propose to collect further evidence from novelists during the time that must elapse before we can&lt;br /&gt;
report finally.&lt;br /&gt;
Our interim conclusion, that novelists would be unwise to allow themselves, or their agents for them,&lt;br /&gt;
to enter into any contracts whereby it is agreed that the initial price of the new novel should be lower than 6s,&lt;br /&gt;
is much strengthened by the replies which we have received from the list of publishers to whom we addressed&lt;br /&gt;
a letter asking whether the circulation obtained for novels published originally at a lower price than 6s. would,&lt;br /&gt;
in their opinion, result in a proportionate increase if the price were lowered. The basis on which we asked for&lt;br /&gt;
information was a 6s. novel of the ordinary length of about 80,000 to 100,000 words with a circulation of at&lt;br /&gt;
least 3,000 copies; and, further, we asked if it would be practicable to pay an author royalties on a 2s., a 2s. 6d.&lt;br /&gt;
or a 3s. net book at so high a rate as on a 6s. book; and if it would be practicable to consider raising the Original&lt;br /&gt;
price in certain cases.&lt;br /&gt;
We desire to record our sense of the valuable and courteous manner in which our questions, necessarily of&lt;br /&gt;
a searching nature, were responded to by the publishers.&lt;br /&gt;
Several publishers said that at the present moment they were not prepared to answer definitely, while one,&lt;br /&gt;
who may be mentioned by name, because his position has been made public by his own letter to The Publishers&rsquo;&lt;br /&gt;
Circular, viz., Mr. Heinemann, pointed out to us that he was at the present moment engaged in an important&lt;br /&gt;
experiment in the alteration of the prices at which new novels should be issued, of the results of which he would&lt;br /&gt;
be in a position to inform us in February. Other publishers who have issued new fiction at lower prices than&lt;br /&gt;
6s. have given us details showing that the experiments had failed.&lt;br /&gt;
The consensus of opinion from the publishers is to the effect :&lt;br /&gt;
(1) (a) that from 9,000 copies at least, to 12,000 (the highest figure mentioned) must be sold at 2s. net ;&lt;br /&gt;
(b) that 8,000 must be sold at 2s. 6d. net ; and -&lt;br /&gt;
(c) that 6,000 copies must be sold at 38. net before the author would receive the amount equivalent to that&lt;br /&gt;
which he usually receives on 3,000 copies at 6s., i.e., 4s. 6d. net.&lt;br /&gt;
(2) That leaving exceptional cases out of count, it does not appear probable that the author&amp;#039;s circulation&lt;br /&gt;
would be proportionately enhanced by a reduction in the price of the original issue. On this point figures&lt;br /&gt;
relating to particular cases have been submitted in proof of the opinion.&lt;br /&gt;
(3) That the same proportionate royalty could not be offered upon the lower prices. On this point the&lt;br /&gt;
publishers are all very clear.&lt;br /&gt;
Regarding these publishers, as we do, as thoroughly cognisant of the business side of the publication of&lt;br /&gt;
fiction in the present conditions, and as competent to guide us as to the probable result of modifications or&lt;br /&gt;
developments of those conditions, we think that their opinions constitute a grave warning to authors who may&lt;br /&gt;
be invited to issue new novels of the ordinary length at any price below 68.&lt;br /&gt;
With regard to the issue of new novels in cloth binding at the initial price of 2s., we hope that this&lt;br /&gt;
innovation is not likely to affect any large number of writers. Few publishers will make the attempt to&lt;br /&gt;
produce a new work of fiction in such enormous quantities for a first edition as would be required to pay the&lt;br /&gt;
author and recoup themselves. There can be no guarantee that the large prices which have been offered to&lt;br /&gt;
authors as payment for serial rights and royalties in advance under this system will be maintained.&lt;br /&gt;
We have definite information that, with regard to the 7d. reprints, the publishers are already offering far&lt;br /&gt;
smaller sums in advance than in the first instance ; and that even in the cases of authors whose books have&lt;br /&gt;
practically earned these advances they are not now willing to make new contracts on the old terms.&lt;br /&gt;
We possess a large amount of evidence from the booksellers upon the various questions involved, but this,&lt;br /&gt;
which has only just reached us, requires sifting and classification,&lt;br /&gt;
We have received scattered information from several authors who have actually experienced the results of&lt;br /&gt;
the issue of new novels at prices lower than 6s. In every case the author has suffered.&lt;br /&gt;
Having, then, regard to the weight of opinion from those novelists whom we have consulted, to the&lt;br /&gt;
responsible remarks of leading publishers, and to details which we have received of the actual experience of&lt;br /&gt;
authors, we repeat the recommendation that the novelist should maintain the price of the original production&lt;br /&gt;
of his works at 68. There is no evidence that a low price means a large circulation.&lt;br /&gt;
ADDENDUM.&lt;br /&gt;
One of us, having particular knowledge of the business side of literature in France, wishes to point out&lt;br /&gt;
that even in the days when the regular price of the new novel in France was Fr. 3.50, all the leading French&lt;br /&gt;
novelists, Daudet and Zola among them, greatly regretted the lowering of the standard price to that figure.&lt;br /&gt;
France has since been flooded with new novels at 9%d., and the result has been most disastrous to French&lt;br /&gt;
literature as well as to French authors. It has meant that the great mass of writers have now to produce&lt;br /&gt;
novels that are short and sensational, and dependent for their popularity upon their violent appeal. .&lt;br /&gt;
(Signed) M. A. BELLOC-LOWNDES.&lt;br /&gt;
CHARLES GARVICE.&lt;br /&gt;
E. W. HORNUNG.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
J)ecember 27-d, 1909.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#627) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
227&lt;br /&gt;
should not be able to help going on making&lt;br /&gt;
manuscript.&lt;br /&gt;
Ambition&mdash; most kinds of ambition, it seems to&lt;br /&gt;
me&mdash;is just the push of inherent energy; the&lt;br /&gt;
insistence of the ego on spreading itself. Not until&lt;br /&gt;
those who have storage of this energy have&lt;br /&gt;
expressed themselves in the manner proper to their&lt;br /&gt;
nature can there be peace for them ; and even S0,&lt;br /&gt;
it is peace in snatches. The cosmic energy accu-&lt;br /&gt;
mulates anew, and then there is a fresh explosion,&lt;br /&gt;
and the air is clear again ; but only for a time, and&lt;br /&gt;
times, and half a time.&lt;br /&gt;
This is how motors mote, and birds sing, and&lt;br /&gt;
poets poetise, and musicians make music, and&lt;br /&gt;
painters pictures, and authors books. If some&lt;br /&gt;
artists never cease creating, the theory does not&lt;br /&gt;
break down. It simply means that they have&lt;br /&gt;
terrific and unusual power of accumulating energy,&lt;br /&gt;
and so the explosions are more or less continuous.&lt;br /&gt;
And this is why, when you have made one book,&lt;br /&gt;
there is a blank time, while fresh energy is getting&lt;br /&gt;
stored; and then, at a certain moment, which the&lt;br /&gt;
psychologists of the future will be able exactly to&lt;br /&gt;
predict, by special stations established for the pur-&lt;br /&gt;
pose, the storage bursts bounds, and you make a&lt;br /&gt;
second book&mdash;quite apart from whether you think&lt;br /&gt;
it is good business or not.&lt;br /&gt;
It is about the worst business in the world.&lt;br /&gt;
My heartfelt advice to the literary aspirant is&mdash;&lt;br /&gt;
if his inherent energy be so positive that it must&lt;br /&gt;
up and out&mdash;let him pick from the unlimited choice&lt;br /&gt;
of more hopeful channels into which it can be&lt;br /&gt;
directed. Stone-breaking is a profession which&lt;br /&gt;
requires considerable strength and moral courage,&lt;br /&gt;
and also an element of physical danger which&lt;br /&gt;
goggles do not wholly exclude : the n&eacute;edful dex-&lt;br /&gt;
terity soon becomes mechanical, which is soothing&lt;br /&gt;
to the nerves, and the mind is left free to meditate&lt;br /&gt;
with humble pleasure on the fact that one is smooth-&lt;br /&gt;
ing the path of civilisation. Success in stone-&lt;br /&gt;
breaking, granted moderate ability, is assured ; the&lt;br /&gt;
same cannot be said of the writing of books. And&lt;br /&gt;
surely it is better to make good roads than to pro-&lt;br /&gt;
vide for good bonfires when we go hence and are&lt;br /&gt;
{\O IOOTe S&eacute;&eacute;I).&lt;br /&gt;
But the aspect of the case is altered when you&lt;br /&gt;
have once begun to write. It would be affectation&lt;br /&gt;
on my part to suggest, under these circumstances,&lt;br /&gt;
that the energy should be directed into more hope-&lt;br /&gt;
ful channels. I know that it cannot be. Doggedly,&lt;br /&gt;
dourly, dumbly, with brief spells of sweetness and&lt;br /&gt;
light caused by the nibble of a publisher, you cast&lt;br /&gt;
your bread upon the waters, praying with all your&lt;br /&gt;
might that you will not receive it after many days.&lt;br /&gt;
But the publishers have no idea of swallowing ; the&lt;br /&gt;
bread always comes back, slightly the worse for&lt;br /&gt;
being nibbled.&lt;br /&gt;
One never can tell until things happen to one&amp;#039;s&lt;br /&gt;
Very self; but I have strained imagination to the&lt;br /&gt;
limit, and am positive I could cheerfully contem-&lt;br /&gt;
plate making books without end (which after all is&lt;br /&gt;
a figure of speech, in spite of tales of ghost-worked&lt;br /&gt;
typewriters)&mdash;if only they materialised now and&lt;br /&gt;
then between cardboard covers, with their name&lt;br /&gt;
and mine in gilt letters.&lt;br /&gt;
I should not like to pay anything towards this&lt;br /&gt;
apotheosis; I should not like to have to make up&lt;br /&gt;
publishers&amp;#039; deficits after production ; but barring&lt;br /&gt;
actual loss, even if I did not make one penny profit&lt;br /&gt;
on each book, I should still joyfully continue to&lt;br /&gt;
write them, if only they blossomed into PRINT.&lt;br /&gt;
Articles, short stories, and one poem have so&lt;br /&gt;
blossomed ; but what gardener who has been&lt;br /&gt;
Successful with mustard-and-cress on a flannel&lt;br /&gt;
does not stake his all on pumpkins in a tub 2&lt;br /&gt;
Ye gods,--the secret, warming bliss of finding a&lt;br /&gt;
Copy of one&amp;#039;s own book on someone else&amp;#039;s table,_&lt;br /&gt;
even one&amp;#039;s charwoman&amp;#039;s. . . . As I say, one never&lt;br /&gt;
can tell, and I might still greedily cling to life;&lt;br /&gt;
but I feel that I could see that and never require&lt;br /&gt;
a charwoman again. . . . -&lt;br /&gt;
And then, sitting over the fire in the twilight&lt;br /&gt;
and dreamily wondering how many people had read&lt;br /&gt;
It ; and whether any of them liked It to the extent&lt;br /&gt;
of describing It in letters to friends; or put It&lt;br /&gt;
down, underlined, when someone asked them for a&lt;br /&gt;
list of good &mdash; or even &ldquo;nice&rdquo; books. . . . And&lt;br /&gt;
whether anyone copied anything out of It ; and if&lt;br /&gt;
anybody read it twice ; and how many bought It&lt;br /&gt;
to give away. . . . And if anyone felt they would&lt;br /&gt;
like to know the author. . . . And if they&lt;br /&gt;
thought he was a man or a woman&mdash;or perhaps&lt;br /&gt;
an infant prodigy. . . .&lt;br /&gt;
I am aware that it sounds vain and childish as&lt;br /&gt;
it is set down ; but these, to my mind, are the&lt;br /&gt;
exquisite concomitants of publishing a book.&lt;br /&gt;
After all, one&amp;#039;s thoughts are one&amp;#039;s children ; and&lt;br /&gt;
one does not blame a mother for wondering whether&lt;br /&gt;
people will think her offspring interesting, or clever,&lt;br /&gt;
or pretty, nor for hoping someone will fall in love&lt;br /&gt;
With it.&lt;br /&gt;
Somebody once told me that when a certain&lt;br /&gt;
world-famed English novelist at last made her&lt;br /&gt;
mark, she was a changed woman ; that is to say,&lt;br /&gt;
from not being good to live with, she became the&lt;br /&gt;
reverse; which I suppose is a variant of Becky&lt;br /&gt;
Sharp&amp;#039;s aphorism, &ldquo;It is so easy to be good on a&lt;br /&gt;
thousand a year !&rdquo;&lt;br /&gt;
I have given birth to three thought-children in&lt;br /&gt;
ten locust-eaten years.&lt;br /&gt;
It is not easy to be good when the locusts&lt;br /&gt;
are busy all the time eating off every sprout you&lt;br /&gt;
grow. -&lt;br /&gt;
To spend long months in carefully, lovingly&lt;br /&gt;
fashioning to the best of one&amp;#039;s power a little&lt;br /&gt;
image of Life, and, after hawking it assiduously&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#628) ################################################&lt;br /&gt;
&lt;br /&gt;
228&lt;br /&gt;
TISIES A DITFIOR.&lt;br /&gt;
round the market-place, to have to put it perma-&lt;br /&gt;
&ordm;nently on the shelf, is not conducive to a sunny&lt;br /&gt;
temper. The reflection that possibly one&amp;#039;s little&lt;br /&gt;
image is not very well made is curiously devoid of&lt;br /&gt;
consolation. -&lt;br /&gt;
The literary microbe cannot be hid, and generally&lt;br /&gt;
appears early in life ; with me, the disease, mani-&lt;br /&gt;
fested itself at the tender age of ten. All one&rsquo;s&lt;br /&gt;
relations and friends know when one is writing&lt;br /&gt;
a book ; it &ldquo;outs&rdquo; like murder; and from time&lt;br /&gt;
to time one has to bear up under kindly enquiries&lt;br /&gt;
as to what is happening to the child. Can it run&lt;br /&gt;
alone yet 2 Has it a nice disposition ? What does&lt;br /&gt;
it get its teeth into ? . . . Gradually, after the&lt;br /&gt;
lapse of several locusty years, they learn tact, and&lt;br /&gt;
do not mention it ; and the parent bitterly hopes&lt;br /&gt;
they have forgotten that she is the author of a&lt;br /&gt;
paralysed infant. More hateful far than a Dead&lt;br /&gt;
Sea Apple in the mouth are the reflections which&lt;br /&gt;
this aspect of failure breeds. To continue for ten&lt;br /&gt;
years to batter the doors of publishers and never&lt;br /&gt;
to be let in bears on the face of it the stamp of&lt;br /&gt;
incapacity. . . . And yet, what of the stacks of&lt;br /&gt;
futility which are printed&mdash;aye, and read &ldquo;Dis-&lt;br /&gt;
appointed Mother&rdquo; knows that her own work is as&lt;br /&gt;
a swan to these geese ; but her children remain&lt;br /&gt;
paralytics; and her friends are sorry for her, while&lt;br /&gt;
concluding that the fault is hers. . . . It is this&lt;br /&gt;
crude and humiliating fact&mdash;that you have aimed&lt;br /&gt;
at a mark, and missed&mdash;which cankers like a Worm&lt;br /&gt;
i&rsquo; the bud. It is much worse than being a briefless&lt;br /&gt;
barrister, or a jobless architect, or even a bankrupt&lt;br /&gt;
horse-dealer, for that sort of failure can always be&lt;br /&gt;
entered to Bad Luck. Only a limited number of&lt;br /&gt;
people employ barristers ; a majority prefer to live&lt;br /&gt;
in ready-made houses; and only one person out of&lt;br /&gt;
ten can afford a horse. But everybody in the&lt;br /&gt;
world reads books; so that if you are any good at&lt;br /&gt;
all, there is room for you ; if there is no room, you&lt;br /&gt;
are no good.&lt;br /&gt;
Yes; after ten years&amp;#039; failure to sell a single one&lt;br /&gt;
of your commodities&mdash;otherwise than mustard-and-&lt;br /&gt;
cress&mdash;you get up in the morning, you go about all&lt;br /&gt;
day, and you lie down at night with the realisation&lt;br /&gt;
sitting on your chest like a half-done suet pudding,&lt;br /&gt;
that you are No Good.&lt;br /&gt;
No good at the one thing you have strained&lt;br /&gt;
every nerve to be good at ; at the one thing which&lt;br /&gt;
is the instinctive, imperative expression of yourself,&lt;br /&gt;
at the one thing your soul delights in.&lt;br /&gt;
Realisation, did I say ? Not quite that. If&lt;br /&gt;
the suet pudding once settled down into such&lt;br /&gt;
a bed-rock I, should advertise my typewriter in&lt;br /&gt;
the Exchange and Mart, and found a Society for&lt;br /&gt;
the Suppression of Superfluous Books. It is just&lt;br /&gt;
the indestructible, semi-conscious conviction that&lt;br /&gt;
it is the publishers who are no good which prevents&lt;br /&gt;
the suet pudding from proving fatal.&lt;br /&gt;
After all, I have had something more encouraging&lt;br /&gt;
than native obstinacy to keep me keeping on. It&lt;br /&gt;
is unusual for my &ldquo;works&rdquo; to come back with a&lt;br /&gt;
bare note of refusal. Some publishers would&lt;br /&gt;
evidently take the plunge if they had an ounce&lt;br /&gt;
more of the sporting spirit ; others wish me and&lt;br /&gt;
themselves to share the sporting spirit between&lt;br /&gt;
them ; others again wish me to have it all ; instead&lt;br /&gt;
of which, I am not having any.&lt;br /&gt;
Success may be in the silences, but I am&lt;br /&gt;
beginning to find silence a little monotonous. I&lt;br /&gt;
would barter it for a mere snatch of song&mdash;the song&lt;br /&gt;
of the modest fame of a couple of thousand&lt;br /&gt;
readers.&lt;br /&gt;
But I shall continue to write, whether there is&lt;br /&gt;
silence or song ; firstly, because I cannot help it ;&lt;br /&gt;
and Secondly, on principle.&lt;br /&gt;
The principle is, that to stop trying to do a&lt;br /&gt;
thing because you haven&rsquo;t done it yet is to sink&lt;br /&gt;
below the level of a spider, which always tries&lt;br /&gt;
again. To say that the spider always does it in&lt;br /&gt;
the end is neither here nor there ; it can&rsquo;t know&lt;br /&gt;
it is going to do it.&lt;br /&gt;
Another part of the principle is, that Failure is&lt;br /&gt;
such excellent ethical discipline. I might have&lt;br /&gt;
been nicer to live with if I had published all my&lt;br /&gt;
works, but it would have been no effort to me, and&lt;br /&gt;
therefore of no value. I have had to practise jujitsu&lt;br /&gt;
in order not to be more fractious than I am ; and&lt;br /&gt;
the resiliency which results from bounding up&lt;br /&gt;
again after being hurled to the floor with violence&lt;br /&gt;
is an acquirement only won by becoming the foot-&lt;br /&gt;
ball of fate. The stoical exterior with which one&lt;br /&gt;
learns to receive parcel after parcel of returned&lt;br /&gt;
manuscript as though they were samples of house-&lt;br /&gt;
hold linen is a thing not to be learnt in the School&lt;br /&gt;
of success. The dogged pertinacity with which&lt;br /&gt;
you pour forth stamps like a tape-machine, and&lt;br /&gt;
renew your orders to the Army and Navy Stores&lt;br /&gt;
for foolscap, is a quality akin to that shown by&lt;br /&gt;
arctic explorers of old, who for ever bought pro-&lt;br /&gt;
visions and never found the Pole. The grim and&lt;br /&gt;
secret struggle with the giant whose name is&lt;br /&gt;
Despond, and whose henchmen are the discouraging&lt;br /&gt;
remarks of Those who Don&amp;#039;t Understand, is excellent&lt;br /&gt;
for the moral muscles.&lt;br /&gt;
In fact, I am convinced that success is very&lt;br /&gt;
unwholesome. g&lt;br /&gt;
So are sour grapes, of course.&lt;br /&gt;
Still, if I could reach the grapes, I would risk a&lt;br /&gt;
pain; it can&amp;#039;t be worse than the pain of not having&lt;br /&gt;
amy.&lt;br /&gt;
L. T. BAGNALL.&lt;br /&gt;
&mdash;OP-e&mdash;&ldquo;G-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#629) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
229&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
- E print from a recent number of Le Droit&lt;br /&gt;
V V d&amp;#039;Auteur a statement of the steps which&lt;br /&gt;
are being taken by the different countries&lt;br /&gt;
for the ratification of the revised Convention of&lt;br /&gt;
Berne, better known as the Berlin Convention.&lt;br /&gt;
As far as the United Kingdom of Great Britain&lt;br /&gt;
and Ireland is concerned, Le Droit d&amp;#039;Auteur merely&lt;br /&gt;
republishes a statement taken from a recent issue&lt;br /&gt;
of the Times. This does not give at all a full&lt;br /&gt;
account of the work that has been done by the&lt;br /&gt;
Government to prepare the way for the ratification&lt;br /&gt;
of the Berlin Convention as far as Great Britain is&lt;br /&gt;
concerned. It is unnecessary to repeat in detail&lt;br /&gt;
the steps which have been taken. They have been&lt;br /&gt;
chronicled in past issues of The Author, to which&lt;br /&gt;
we would refer our readers. . .&lt;br /&gt;
GERMANY.&mdash;A Bill respecting the confirmation&lt;br /&gt;
of the revised Convention of Berne was deposited&lt;br /&gt;
with the Reichstag on March 12th. The Association&lt;br /&gt;
of German music dealers had already, on March 2nd,&lt;br /&gt;
addressed a petition to the Reichstag asking for&lt;br /&gt;
the suppression of the modification suggested in&lt;br /&gt;
the Bill dealing with article 14 of the law of 1901.&lt;br /&gt;
In accordance with this article, the rights of trans-&lt;br /&gt;
lation, adaptation, and arrangement are reserved to&lt;br /&gt;
the author in the case of the assignment of his&lt;br /&gt;
rights, and in the absence of provision to the con-&lt;br /&gt;
trary, to which is now added by the Bill the right&lt;br /&gt;
of utilising the workfor reproduction by mechanical&lt;br /&gt;
musical instruments. The Association opines that&lt;br /&gt;
the adaptation of musical works to mechanical&lt;br /&gt;
instruments, in the form of rouleaux, discs, etc.,&lt;br /&gt;
constitutes an integral part of the right of repro-&lt;br /&gt;
duction. According to their view the two kinds&lt;br /&gt;
of reproduction are being continually more and&lt;br /&gt;
more closely assimilated, and they can with difficulty&lt;br /&gt;
be distinguished in principle, constituting a single&lt;br /&gt;
method under different aspects; so that the assign-&lt;br /&gt;
ment of the said rights would comprise one kind of&lt;br /&gt;
reproduction as well as the other.&lt;br /&gt;
The Reichstag discussed the Bill at a first reading&lt;br /&gt;
in its sitting of the 12th of April, and on the&lt;br /&gt;
recommendation of M. Lisco, Secretary of State,&lt;br /&gt;
referred it for examination to a committee of&lt;br /&gt;
fourteen members.&lt;br /&gt;
BELGIUM.&ndash;At the sitting of March 15th, 1910,&lt;br /&gt;
a Bill approving the revised Convention of Berne&lt;br /&gt;
was deposited by the Government with the Chamber&lt;br /&gt;
of Representatives. The text of the Convention&lt;br /&gt;
in French and Flemish accompanied this Bill,&lt;br /&gt;
which is preceded by a report, signed by M.&lt;br /&gt;
Davignon, Minister of Foreign Affairs, and by&lt;br /&gt;
M. Descamp, Minister of Arts and Sciences. The&lt;br /&gt;
Ministers lay particular stress upon &ldquo;the work of&lt;br /&gt;
unification and simplification &rdquo; of the Berlin&lt;br /&gt;
Conference, upon the &ldquo;excellent and lucid provisions&lt;br /&gt;
of the text,&rdquo; which has resulted from the delibera-&lt;br /&gt;
tions of the Conference, and upon the happy results&lt;br /&gt;
obtained, inasmuch as &ldquo;the domain of the inter-&lt;br /&gt;
national protection of intellectual works has been&lt;br /&gt;
extended without rendering more difficult the&lt;br /&gt;
accession to the Berne Convention of States&lt;br /&gt;
which have not hitherto joined it.&rdquo; The report&lt;br /&gt;
shows that the Convention, in the course of its&lt;br /&gt;
progressive evolution, approaches ever more and&lt;br /&gt;
more closely to the work realised by the Belgian&lt;br /&gt;
legislation of 1886 ; as the new Convention does&lt;br /&gt;
not affirm any provision which goes beyond that&lt;br /&gt;
national law, there will be no occasion to make use&lt;br /&gt;
of the reservations permitted by article 27.&lt;br /&gt;
This same fact and these same conclusions are&lt;br /&gt;
asserted in the very full report which the member&lt;br /&gt;
M. P. Wauwermans (one of the Belgian delegates&lt;br /&gt;
at the Conference) deposited with the Chamber at&lt;br /&gt;
the sitting of April 5th, 1910, in the name of the&lt;br /&gt;
preconsultative commission of five members, pre-&lt;br /&gt;
sided over by M. Bernaert. At its conclusion it&lt;br /&gt;
asks that the Government should be authorised to&lt;br /&gt;
adhere to the Convention, also for the Belgian&lt;br /&gt;
Congo ; whilst, at the same time, this declaration&lt;br /&gt;
of adhesion would be deferred until the protection&lt;br /&gt;
of authors&rsquo; rights has been assured by the internal&lt;br /&gt;
legislation of the colony.&lt;br /&gt;
FRANCE.-The explicit report which M. Th&eacute;odore&lt;br /&gt;
Reinach has deposited with the Chamber &ldquo;in the&lt;br /&gt;
name of the commission of instruction and the&lt;br /&gt;
fine arts * charged with the examination of the&lt;br /&gt;
Bill approving the revised Convention of Berne&lt;br /&gt;
has met with warm and universal praises. Whilst&lt;br /&gt;
making several serious critical remarks on the new&lt;br /&gt;
text, the Commission recommends its ratification,&lt;br /&gt;
but invites the Government to enter immediately&lt;br /&gt;
into new negotiations with England and Switzer-&lt;br /&gt;
land to persuade them to withdraw their opposition&lt;br /&gt;
to the obligatory protection of works of art applied&lt;br /&gt;
to industry and thus to bring about at the date of&lt;br /&gt;
the ratifications an exchange of notes, or an addi-&lt;br /&gt;
tional declaration regarding the protection of works&lt;br /&gt;
of art &ldquo;irrespectively of their merit or destination.&rdquo;&lt;br /&gt;
If these negotiations should not lead to a successful&lt;br /&gt;
result, the French Government ought, with respect&lt;br /&gt;
to the last paragraph of article 2 of the new Con-&lt;br /&gt;
vention, to avail itself of the opportunity of making&lt;br /&gt;
reserves provided by article 27. With respect to&lt;br /&gt;
works of industrial art France would then be bound&lt;br /&gt;
by the older texts of the Convention of 1886, revised&lt;br /&gt;
in 1896, including article 2, paragraph 2, respect-&lt;br /&gt;
ing the accomplishment of the conditions and&lt;br /&gt;
formalities required by the country of origin.&lt;br /&gt;
&ldquo;The provisional maintenance of this arrange-&lt;br /&gt;
ment would signify that there would be protected in&lt;br /&gt;
France only works of applied artwhich were protected&lt;br /&gt;
in the country of origin, and that this protection&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#630) ################################################&lt;br /&gt;
&lt;br /&gt;
230&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
would be accorded these works of art only in such&lt;br /&gt;
measure and under such conditions as the foreign&lt;br /&gt;
country itself gave in return protection to our&lt;br /&gt;
artists; that is to say, on terms of an absolute&lt;br /&gt;
reciprocity.&rdquo; The Chamber after ashort deliberation,&lt;br /&gt;
and without opposition, adopted the Bill already&lt;br /&gt;
mentioned at its sitting of April 1st, at which&lt;br /&gt;
sitting M. Louis R&eacute;nault, the eminent reporter&lt;br /&gt;
of the Berlin Conference, assisted in the quality&lt;br /&gt;
of commissioner for the Government. It is in&lt;br /&gt;
consequence of his declarations, in reply to M.&lt;br /&gt;
Prache, that the Government has engaged to&lt;br /&gt;
proceed in the manner indicated below ; that is to&lt;br /&gt;
say, &ldquo;if, as is possible, the Government should not&lt;br /&gt;
succeed, between this and the month of June, in&lt;br /&gt;
obtaining a declaration or something else which&lt;br /&gt;
may place works of art applied to industry on the&lt;br /&gt;
same footing with other works of art, the Govern-&lt;br /&gt;
ment will make use of the power afforded it by&lt;br /&gt;
article 27, and will make a reserve.&rdquo; According&lt;br /&gt;
to M. R&eacute;nault, this article furnishes a safety-valve,&lt;br /&gt;
and there may be occasion to make use of it, but&lt;br /&gt;
only regarding this one particular point ; for an&lt;br /&gt;
absence of reciprocity here will be disadvantageous&lt;br /&gt;
to France. This has occasioned some bitter&lt;br /&gt;
criticisms on the part of &ldquo;art industries and the&lt;br /&gt;
artists who are their auxiliaries.&rdquo;&lt;br /&gt;
GREAT BRITAIN.&mdash;According to the Times of&lt;br /&gt;
April 7th, 1910, the conference of the representa-&lt;br /&gt;
tives of the British Government and of the self-&lt;br /&gt;
governing colonies (Australia, New Zealand, South&lt;br /&gt;
Africa, etc.) will take place in London next month,&lt;br /&gt;
probably on May 18th, under the presidency of&lt;br /&gt;
Mr. Sydney Buxton, President of the Board of&lt;br /&gt;
Trade. This conference will have to examine the&lt;br /&gt;
revised Berne Convention, and the attitude which&lt;br /&gt;
the British Empire will take with regard to the&lt;br /&gt;
rights of authors. The principal question to be&lt;br /&gt;
determined will be to settle whether it is preferable&lt;br /&gt;
to elaborate an Imperial law of copyright, which&lt;br /&gt;
shall be applicable to the whole Empire, which&lt;br /&gt;
the Commission suggests, or an Act dealing only&lt;br /&gt;
with Great Britain (a British domestic Act) to&lt;br /&gt;
which the colonies may ultimately adhere. The&lt;br /&gt;
Times considers it possible that a measure which&lt;br /&gt;
shall permit the adhesion of Great Britain to the&lt;br /&gt;
revised Convention of Berne might be submitted&lt;br /&gt;
to Parliament in the present session, but that, in&lt;br /&gt;
the present situation of public affairs, it can be&lt;br /&gt;
hardly anticipated that any progress could be made&lt;br /&gt;
with this Bill during the present year.&lt;br /&gt;
SWITZERLAND.&mdash;At its sitting of April 14th,&lt;br /&gt;
the Council of the States ratified, as the National&lt;br /&gt;
Council had already in December ratified, the&lt;br /&gt;
revised Convention of Berne. The Federal Council&lt;br /&gt;
will, therefore, be able to give its adhesion to the&lt;br /&gt;
diplomatic act without any reserve.&lt;br /&gt;
* &ndash;&amp;quot;. *.&lt;br /&gt;
y ~-&lt;br /&gt;
THE FEMININE NOTE.3%&lt;br /&gt;
N extract from the preface will best indicate&lt;br /&gt;
A the scope of Miss Whitmore&amp;#039;s work: &ldquo;The&lt;br /&gt;
Writings,&rdquo; she says, &ldquo; of many of the women&lt;br /&gt;
considered in this volume have sunk into an oblivion&lt;br /&gt;
from which their intrinsic merit should have pre-&lt;br /&gt;
served them. This is partly due to the fact that&lt;br /&gt;
nearly all the books on literature have been written&lt;br /&gt;
from a man&amp;#039;s standpoint.&rdquo; Woman&amp;#039;s work in&lt;br /&gt;
fiction, that is to say, has been jealously kept in&lt;br /&gt;
the background by man&amp;#039;s work in criticism. The&lt;br /&gt;
book, it is not unjust to say, is exactly the kind of&lt;br /&gt;
book that one would expect to follow that kind of&lt;br /&gt;
preface. It assembles a good many out-of-the-way&lt;br /&gt;
facts about such forgotten novelists as Mary&lt;br /&gt;
Manley, Sarah Fielding, Eliza Haywood, Charlotte&lt;br /&gt;
Lennox, Clara Reeve, Sophia Lee, Mary Brunton,&lt;br /&gt;
Lady Caroline Lamb, Anna Eliza Bray; but the&lt;br /&gt;
value of the criticism is negligible. The feminine&lt;br /&gt;
note is sounded on a rather shrill instrument; that is&lt;br /&gt;
all that there is to be said. The book, we gather,&lt;br /&gt;
was originally put together as a &ldquo;thesis&rdquo; for an arts&lt;br /&gt;
degree at an American university, and it confirms&lt;br /&gt;
us in our opinion that this system of awarding&lt;br /&gt;
degrees (in Arts at all events, though not neces-&lt;br /&gt;
sarily in all other subjects) is a bad one. It results&lt;br /&gt;
in the production of books which are not wanted&lt;br /&gt;
by persons whose talents better fit them for some&lt;br /&gt;
other occupation. We have noticed the same thing&lt;br /&gt;
in connection with some theses for the doctorate&lt;br /&gt;
at the University of Paris, and the standard of this&lt;br /&gt;
sort of thing is considerably lower in the United&lt;br /&gt;
States than in France.&lt;br /&gt;
*&amp;amp;^*** f tams -&ordm;-&ordm;-e&mdash;&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
- &mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
MAGAZINE EDITORS.&lt;br /&gt;
DEAR SIR,--The suggestion of your contributor&lt;br /&gt;
that a pillory should be set up (in the columns of&lt;br /&gt;
The Author) for inefficient and unconscientious&lt;br /&gt;
editors is a good one enough. It might, however,&lt;br /&gt;
be difficult of realisation. I do not know whether&lt;br /&gt;
it would be libellous or not. Bnt it would be&lt;br /&gt;
hardly just unless both sides were heard, and&lt;br /&gt;
the impugned editors could scarcely be expected to&lt;br /&gt;
attend for cross-examination at 39, Old Queen&lt;br /&gt;
Street. Where correspondence showed the true&lt;br /&gt;
state of the case, some action (at least by way of a&lt;br /&gt;
&ldquo;black list&rdquo;) could perhaps be taken.&lt;br /&gt;
* &ldquo;Woman&amp;#039;s Work in English Fiction,&rdquo; by Clara H&lt;br /&gt;
Whitmore, A.M. Putnam.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#631) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES AUTISIOR.&lt;br /&gt;
231&lt;br /&gt;
Meanwhile a list might be published of the&lt;br /&gt;
literary record of editors of magazines or of&lt;br /&gt;
periodicals that deal in literature. My own experi-&lt;br /&gt;
ence has been that editors who had any claim to&lt;br /&gt;
be called men of letters were nearly always pleasant&lt;br /&gt;
to have to do with. But of some among the&lt;br /&gt;
others I will reserve my knowledge until that&lt;br /&gt;
&ldquo;pillory&rdquo; is in working order.&lt;br /&gt;
Yours truly,&lt;br /&gt;
C. F. KEARY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;-&lt;br /&gt;
REVIEW COPIES.&lt;br /&gt;
SIR,-Might it not be to the advantage of pub-&lt;br /&gt;
lisher and author if the publisher stamped free&lt;br /&gt;
copies of books sent out for Press reviews 2&lt;br /&gt;
While I was in a bookseller&amp;#039;s shop the other day&lt;br /&gt;
a lady came in and handed four books to the&lt;br /&gt;
bookseller. The bookseller read over the titles,&lt;br /&gt;
names of authors and publishers, and consented to&lt;br /&gt;
purchase at a low figure the books for his circulating&lt;br /&gt;
library. The books were review copies, which the&lt;br /&gt;
lady sells at a cheap figure for circulating libraries.&lt;br /&gt;
I have received an account from my publisher&lt;br /&gt;
for a book brought out at Christmas, at 68. net,&lt;br /&gt;
and find that some eighty free copies have been sent&lt;br /&gt;
to the Press for review. I wonder how many of&lt;br /&gt;
these have been sold to libraries P Do those who&lt;br /&gt;
feel how difficult it is to realise a paying circulation&lt;br /&gt;
of their books know of and approve of the above&lt;br /&gt;
system of retailing free Press copies to libraries&lt;br /&gt;
where authors look for the purchase of a copy of&lt;br /&gt;
their books 2 Perhaps some of the readers of The&lt;br /&gt;
Author would answer the question.&lt;br /&gt;
I am, Sir,&lt;br /&gt;
ONE WHO KNOWS.&lt;br /&gt;
P.S.&mdash;I was told this lady sold twenty-one review&lt;br /&gt;
copies to this bookseller for his library.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-e&mdash;&lt;br /&gt;
THE &ldquo;GREAT UNACTED.&rdquo;&lt;br /&gt;
DEAR SIR,-May I take up a small amount of&lt;br /&gt;
your space in order to ventilate the grievances of&lt;br /&gt;
&ldquo;The Great Unacted,&rdquo; which I am sure a great&lt;br /&gt;
number of your members can endorse ?&lt;br /&gt;
The average London manager seems to be&lt;br /&gt;
surrounded by a prickly hedge of conventions, in&lt;br /&gt;
which he dwells serenely unapproachable like the&lt;br /&gt;
Sleeping Beauty, while the unfortunate aspirant to&lt;br /&gt;
his favour loses time and money, and not infre-&lt;br /&gt;
quently his work, vainly trying to penetrate to that&lt;br /&gt;
holy of holies.&lt;br /&gt;
Much is talked and written in the papers that&lt;br /&gt;
every young dramatist has his chance of succeeding&lt;br /&gt;
now, through the assistance of the various play-&lt;br /&gt;
societies. Yet what does it all amount to ? That,&lt;br /&gt;
with one exception, he must pay, and pay heavily,&lt;br /&gt;
for the chance of seeing his work produced, and&lt;br /&gt;
most beginners are unfortunately possessed of more&lt;br /&gt;
brains than money.&lt;br /&gt;
Then, again, the Authors&rsquo; Society warns us ex-&lt;br /&gt;
pressly, and no doubt wisely, against dramatic&lt;br /&gt;
agents, so what remains but our own blundering&lt;br /&gt;
efforts 2 If we are very lucky perhaps this results,&lt;br /&gt;
after many weary months of waiting, in a charming&lt;br /&gt;
letter of praise, regretting only that &ldquo;your play is&lt;br /&gt;
not precisely suited to our requirements, etc.&rdquo;&lt;br /&gt;
Now, Mr. Shaw has said &ldquo;that members should&lt;br /&gt;
use the Society.&rdquo; Would it be &ldquo;abusing &rdquo;it, therefore,&lt;br /&gt;
to suggest that the Readers&rsquo; Department might&lt;br /&gt;
extend its scope and become a sort of Dramatic&lt;br /&gt;
middle-man 2 No doubt some more businesslike&lt;br /&gt;
author than myself could indicate the exact manner;&lt;br /&gt;
the fees and royalties, etc., could be determined by&lt;br /&gt;
the Committee.&lt;br /&gt;
It seems to me that in this way a sort of &ldquo;Labour&lt;br /&gt;
Bureau&rsquo;&rsquo; would be established, putting the right&lt;br /&gt;
authors in touch with the right managers and&lt;br /&gt;
saving years of hopeless waiting.&lt;br /&gt;
I hope the question may be taken up by some of&lt;br /&gt;
your other readers, as I am sure there must be&lt;br /&gt;
many who feel like myself, yet who do not wish to&lt;br /&gt;
advertise their wares in the literary market in the&lt;br /&gt;
same desperate way as the lady who yesterday&lt;br /&gt;
patrolled the West End as a sandwich-man,&lt;br /&gt;
announcing to all and sundry that she had a play&lt;br /&gt;
for sale.&lt;br /&gt;
Apologising for trespassing on your valuable&lt;br /&gt;
space, and trusting that some more able pen than&lt;br /&gt;
mine may continue this vexed question,&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
X. Y. Z.&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;-&lt;br /&gt;
THE REVIEWING OF BOOKS.&lt;br /&gt;
SIR,--The remarks of &ldquo;Authoress&rdquo; on reviewing&lt;br /&gt;
are true. It is becoming rare for reviewers to read&lt;br /&gt;
the books they describe. Perhaps in some cases it&lt;br /&gt;
is really needless, they would not understand&lt;br /&gt;
them.&lt;br /&gt;
Sometimes the critic is an author, who dips his&lt;br /&gt;
critical pen in jealousy. In many other instances&lt;br /&gt;
he may be only an aspirant. Froude complained&lt;br /&gt;
that in literature the raw aspirants sat at once on&lt;br /&gt;
the judicial bench, whereas in law they had to&lt;br /&gt;
serve a long apprenticeship first.&lt;br /&gt;
Properly, a critic should not only read an&lt;br /&gt;
author&rsquo;s work, but also make a genuine attempt to&lt;br /&gt;
find out the author&amp;#039;s point of view. The right of&lt;br /&gt;
a critic even to insist at large on his own opinions&lt;br /&gt;
is doubtful. He may attack style or condemn&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#632) ################################################&lt;br /&gt;
&lt;br /&gt;
232&lt;br /&gt;
THE A DTEIOR.&lt;br /&gt;
conclusions, but a true criticism is not an essay in&lt;br /&gt;
rivalry with the author&amp;#039;s essay. .&lt;br /&gt;
So far, however, have we got from true criticism&lt;br /&gt;
in some quarters that a whole review may be&lt;br /&gt;
devoted to the ridiculing of an author&amp;#039;s style,&lt;br /&gt;
without a word as to what the subject-matter of&lt;br /&gt;
the book is. This may be because the reviewer&lt;br /&gt;
hates the author&amp;#039;s opinions, but dares not try and&lt;br /&gt;
refute them, and therefore ignores them altogether.&lt;br /&gt;
In other cases an amusing method has crept in&lt;br /&gt;
of alleging that the author has imitated various&lt;br /&gt;
other writers (some of whom, perhaps, he has never&lt;br /&gt;
read at all), and ignoring, as before, the matter&lt;br /&gt;
of the book under pretence of dealing with its&lt;br /&gt;
manner. This, perhaps, is not very amusing to the&lt;br /&gt;
author, but even he cannot resist a smile when he&lt;br /&gt;
comes across a notice in the following style :-&lt;br /&gt;
&ldquo;In this book we recognise the outcome of the&lt;br /&gt;
celebrated work of our fellow-townsman Horatio J.&lt;br /&gt;
Jiggins, entitled &lsquo;Down in the Dumps.&rsquo; True,&lt;br /&gt;
the writer of the work before us has missed the&lt;br /&gt;
felicities of Jiggins and has loaded his book with&lt;br /&gt;
mistakes of his own,&rdquo; etc., etc.&lt;br /&gt;
The reviewed one best sees the fun of this sort of&lt;br /&gt;
thing when he has never heard of Jiggins before.&lt;br /&gt;
If your book is reviewed in a paper the function&lt;br /&gt;
of which is to disseminate political or social views&lt;br /&gt;
opposed to your own, you will probably be snubbed.&lt;br /&gt;
This will be done by extracting from your book a&lt;br /&gt;
single line which, taken by itself, has a ludicrous&lt;br /&gt;
aspect, and quoting it, with three lines of comment,&lt;br /&gt;
tending to show that the whole work (which has&lt;br /&gt;
cost you years of toil) is a farce or a piece of&lt;br /&gt;
lunacy.&lt;br /&gt;
Towns, cities, and other collections of possible&lt;br /&gt;
readers of your book, people to whom you are&lt;br /&gt;
especially appealing on matters of the last im-&lt;br /&gt;
portance, are by these ingenious arts prevented&lt;br /&gt;
from buying your book, or learning the truths&lt;br /&gt;
which you wish to convey.&lt;br /&gt;
I am, etc.,&lt;br /&gt;
- AN OBSCURE WRITER.&lt;br /&gt;
e-Q-9&ndash;&lt;br /&gt;
THE LITERARY YEAR-BOOK.&lt;br /&gt;
DEAR SIR,-May I be allowed to draw your&lt;br /&gt;
readers&amp;#039; attention to an error on the part of your&lt;br /&gt;
reviewer in his notice of the &ldquo;Literary Year-Book &amp;#039;&amp;#039;&lt;br /&gt;
in the March issue of The Author, which, in view&lt;br /&gt;
of his criticism, is important. He says: &ldquo;Last&lt;br /&gt;
year&rsquo; (i.e., 1909) &ldquo;343 pages were devoted to&lt;br /&gt;
authors. As the list this year occupies only one&lt;br /&gt;
page more&rdquo; . . . etc. If your reviewer will again&lt;br /&gt;
refer to the 1909 and 1910 issues, he will find that&lt;br /&gt;
this year&amp;#039;s edition contains over 30 pages more in&lt;br /&gt;
the list of authors, equivalent to an increase of&lt;br /&gt;
about 200 new names, allowing for obituaries&lt;br /&gt;
during the past twelve months. This is a larger&lt;br /&gt;
increase than in any other past year, and I can&lt;br /&gt;
assure your reviewer that it is not by any means&lt;br /&gt;
the easy task to get particulars of new writers to&lt;br /&gt;
add to this list that he seems to imply. I can also&lt;br /&gt;
assure him that no large sections are merely&lt;br /&gt;
reprinted from year to year without alterations, but&lt;br /&gt;
are corrected each year as necessary, though I do&lt;br /&gt;
not claim no mistakes appear, as I do not suppose&lt;br /&gt;
any referenge book is quite free in this respect.&lt;br /&gt;
Considering that the Year-Book is nearly double&lt;br /&gt;
in size to What it was when first issued at 5s. net.,&lt;br /&gt;
and that the paper and binding are much better,&lt;br /&gt;
the increase of a shilling in price is, I think,&lt;br /&gt;
justified.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
B. STEWART.&lt;br /&gt;
We are only too glad to have this error pointed&lt;br /&gt;
out by Mr. Basil Stewart. It arose thus:&ndash;In the&lt;br /&gt;
1909 edition &ldquo;Authors&rdquo; extend to p. 345. From&lt;br /&gt;
that two were deducted, giving 343. Unwittingly,&lt;br /&gt;
the forme numeral &ldquo;2 &rdquo; was mistaken for the&lt;br /&gt;
reader&amp;#039;s page number &ldquo;33.&rdquo; But, in the 1910&lt;br /&gt;
edition, in which &ldquo;Authors&rdquo; extend to p. 377,&lt;br /&gt;
the page-number &ldquo;33&rdquo; (at the beginning of&lt;br /&gt;
the list) was correctly subtracted, making 344;&lt;br /&gt;
QI, as We then believed, only one page more.&lt;br /&gt;
While apologising for the mistake, we heartily&lt;br /&gt;
Congratulate him on the additional names inserted.&lt;br /&gt;
Nevertheless, despite this improvement, the list is&lt;br /&gt;
still Sadly inadequate. Dead writers appear as if&lt;br /&gt;
living, and there are numerous omissions of names&lt;br /&gt;
of meritorious living authors. -&lt;br /&gt;
A. R.&lt;br /&gt;
MEMBERSHIP OF THE SOCIETY.&lt;br /&gt;
SIR,--I should like to use your columns in&lt;br /&gt;
order to put forward a suggestion in regard to&lt;br /&gt;
the membership of the Society. I understand that&lt;br /&gt;
there are some five thousand and, perhaps, more&lt;br /&gt;
authors in the United Kingdom of Great Britain&lt;br /&gt;
and Ireland. Would it not be possible for every&lt;br /&gt;
present member of the society to endeavour to&lt;br /&gt;
bring in one of those who stand outside It seems&lt;br /&gt;
to me that there can only be three reasons why the&lt;br /&gt;
profession is not completely represented in the&lt;br /&gt;
society : (1) ignorance of its aims ; (2) extreme&lt;br /&gt;
poverty ; (3) selfishness, or what, perhaps, in a&lt;br /&gt;
more kindly mood I might designate the ungre-&lt;br /&gt;
garious habit. For myself, 1 will certainly under-&lt;br /&gt;
take to bring in my additional member.&lt;br /&gt;
Yours, etc.,&lt;br /&gt;
A WELL-WISHER.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#633) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. W&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
AUTHORS 1&lt;br /&gt;
HAVE YOU A MS.&lt;br /&gt;
TO DISPOSE OF 2&lt;br /&gt;
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The CLASSIFIED INDEX will tell you AT&lt;br /&gt;
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D0 WOU WRITE PLAWSp&lt;br /&gt;
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Gan be of service to you.&lt;br /&gt;
We act as Agents for placing Plays,&lt;br /&gt;
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We have placed Plays with almost all&lt;br /&gt;
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OTHER CONTENTS are :&mdash;Directory and Index&lt;br /&gt;
of Authors; Obituary Notices ; Booksellers;&lt;br /&gt;
z Libraries; Royalty Tables; Societies; Classi-&lt;br /&gt;
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G. ROUTLEDGE &amp;amp; SONS, Ltd., Garter Lang, E.G.&lt;br /&gt;
ERNEST MAYER |&lt;br /&gt;
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ANTHONY L. ELLIS l S&lt;br /&gt;
A Member of the Society of Authors highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENs, S.W.,&lt;br /&gt;
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Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIKEs and SIKES,&lt;br /&gt;
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About 2,000 Books Wanted&lt;br /&gt;
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Which also gives Lists of the New Books published&lt;br /&gt;
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Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
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Sent for 52 weeks, post free, for 10s. 6d. home and&lt;br /&gt;
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ESTABLISHED] The Wessex Press, Tatt&ordm;nton. [XVIII. CENT.&lt;br /&gt;
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ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#634) ################################################&lt;br /&gt;
&lt;br /&gt;
vi&lt;br /&gt;
ADVERTISEMENTs.&lt;br /&gt;
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R&ordm;t&ordm;z&ordm;&ordm; &sect; -&lt;br /&gt;
#N&ordm;. # *t&ordm;rſ: &sect;&lt;br /&gt;
T . : &ordm; 17- -*.*&lt;br /&gt;
ANEE-s&ordm;-&lt;br /&gt;
&atilde;&ordm;&lt;br /&gt;
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&ordm; &sect;&sect; &sect;&sect;&lt;br /&gt;
Prices from 9 Guineas to 13 Guineas-&lt;br /&gt;
N&ordm;&lt;br /&gt;
&ordm;&lt;br /&gt;
35 &sect;&sect;&sect;&lt;br /&gt;
&Eacute;j&scaron;p.&lt;br /&gt;
A. #s &ordm;lſ&ordm; &ordm; N&ordm;&lt;br /&gt;
&sect;&sect;&sect;s&ordm;&lt;br /&gt;
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Write for Booklet No. 84, to&mdash;&lt;br /&gt;
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9 &amp;amp; 1 O, Cheapside, London, E.G.&lt;br /&gt;
Printed by BRADBURy, AGNEw, &amp;amp; Co. LD., and Published by them for T&ordm;&ordm; SoC&ordm;TY 9&deg; AUTHORS&lt;br /&gt;
*W at 10, Bouverie Street, London, E.C.&lt;br /&gt;
(INCORPORATED),</td><td>https://historysoa.com/files/original/5/405/1910-05-02-The-Author-20-8.pdf</td><td>publications, The Author</td></tr><tr><td>406</td><td>https://historysoa.com/items/show/406</td><td>Report of the Sub-Committee on the Price of Novels (1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EReport+of+the+Sub-Committee+on+the+Price+of+Novels%3C%2Fem%3E+%281910%29&quot;&gt;&lt;em&gt;Report of the Sub-Committee on the Price of Novels&lt;/em&gt; (1910)&lt;/a&gt;</td><td>A report from the &lt;a href=&quot;https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=56&amp;amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;amp;advanced%5B0%5D%5Bterms%5D=Price+of+Novels+Sub-Committee&quot;&gt;Sub-Committee on the Price of Novels&lt;/a&gt; (&lt;span&gt;&lt;a href=&quot;https://historysoa.com/people/Lowndes-Marie-Adelaide-Elizabeth-Renee-Julia-Belloc&quot;&gt;Marie Belloc Lowndes&lt;/a&gt;, &lt;a href=&quot;https://historysoa.com/people/Garvice-Charles-Andrew&quot;&gt;Charles Garvice&lt;/a&gt;, &lt;a href=&quot;https://historysoa.com/people/Hornung-Ernest-William&quot;&gt;E. W. Hornung&lt;/a&gt;, &lt;a href=&quot;https://historysoa.com/people/Jacobs-William-Wymark&quot;&gt;W. W. Jacobs&lt;/a&gt; and &lt;a href=&quot;https://historysoa.com/people/Sprigge-Samuel-Squire&quot;&gt;Samuel Squire Sprigge&lt;/a&gt;)&lt;/span&gt; on the feasibility of reducing the price of novels from 6 shillings to 2 or 3 shillings, including a survey of publishers' opinions.</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=39&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Lowndes%2C+Marie+Adelaide+Elizabeth+Ren%C3%A9e+Julia+Belloc&quot;&gt;Lowndes, Marie Adelaide Elizabeth Ren&eacute;e Julia Belloc&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=39&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Garvice%2C+Charles+Andrew&quot;&gt;Garvice, Charles Andrew&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=39&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Hornung%2C+Ernest+William&quot;&gt;Hornung, Ernest William&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=39&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Jacobs%2C+William+Wymark&quot;&gt;Jacobs, William Wymark&lt;/a&gt;; &lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=39&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Sprigge%2C+Samuel+Squire&quot;&gt;Sprigge, Samuel Squire&lt;/a&gt;</td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1910-05-02-The-Author-20-8&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 08&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-05-02-Supplement-20-8-Price-of-Novels-Report</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-05-02&quot;&gt;1910-05-02&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>8</td><td></td><td></td><td>19100502</td><td></td><td>https://historysoa.com/files/original/4/406/1910-05-02-Supplement-20-8-Price-of-Novels-Report.pdf</td><td>finance, publications, publishing, The Author</td></tr><tr><td>407</td><td>https://historysoa.com/items/show/407</td><td>The Author, Vol. 20 Issue 09 (June 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+09+%28June+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 09 (June 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-06-01-The-Author-20-9</td><td></td><td></td><td></td><td></td><td>233&ndash;256</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-06-01&quot;&gt;1910-06-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>9</td><td></td><td></td><td>19100601</td><td>C be t bor.&lt;br /&gt;
The Organ of the Incorporated Society of Authors. Monthly.&lt;br /&gt;
Vol. XX.-No. 9. JUNE 1, 1910. St [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE PAGE&lt;br /&gt;
Notices &ordm; s&ordm; a t&ordm; e - t&ordm; &ordm; &amp;amp; &bull; * * t&ordm; t&ordm; t&ordm; t&ordm; s t&ordm; - t&ordm; &ordm; ..., 233 Dramatic Authors and Agents * * * t&ordm; e e - * * - - - ... 245&lt;br /&gt;
Committee Notes &bull; * * - * * - - - s a - &bull; * - &bull; * * ... 235 Warnings to Musical Composers ... * g &amp;amp; - * * &bull; * - ... 245&lt;br /&gt;
May Elections ... e - t&ordm; t&ordm; e &amp;gt; - - - * - - e s - - * * ... 236 Stamping Music ... - - - * * * 245&lt;br /&gt;
Books published by Members of the Society t&ordm; e q - &ordm; t&ordm; ... 237 The Reading Branch ... * - - t&ordm; &ordm; e * * * - * * * - - ... 245&lt;br /&gt;
Books published in America by Members... - e - - - - ... 238 Remittances - e. e. - - 4 - - - # * - - * * t&ordm; t + - - - ... 245&lt;br /&gt;
Literary, Dramatic and Musical Notes ..., &ordm; s &ordm; - t&ordm; e ... 239 General Notes ..., - - e. e - - &amp;amp; 0 &amp;amp; * * * * - g - - - ... 246&lt;br /&gt;
Paris Notes a * * * * * - e. e. a w s * - - t&ordm; e - - * &amp;gt; ... 240 The Publishers&rsquo; Circle Book Trade Dinner 247&lt;br /&gt;
United States Copyright - * * * - * * - - * * * &bull; * * ... 241 The Editorial Attitude * * * e - - - * * 24S&lt;br /&gt;
Tramatists and the Working Man&amp;#039;s Club and Institute Union 242 Ideas, and How to Protect. Them ... * * * * * * &bull; * * ... 250&lt;br /&gt;
Magazine Contents t&ordm; a t&ordm; - * * - - - e - - * * * - * &ordm; ... 243 The Reproach of Authorship ... e - - a * * - * g. - - - ... 253&lt;br /&gt;
How to Use the Society ... * * * e - - t&ordm; e - &ordm;, &ordm; &ordm; ... 244 1300k Prices Current * - - e t&ordm; - t&ordm; a 4. - * * * - - ... 254&lt;br /&gt;
Warnings to Producers of Books ... e - - e a - - e. e. ... 244 A Life of Bulwer-Lytton - - - * * * &bull; * * - * * * - - ... 255&lt;br /&gt;
Warnings to Dramatic Authors - - - * * * t&ordm; a &ordm; t&ordm; t&ordm; e ... 244 Correspondence ... - - e. * - - * - - * &amp;amp; e -- e. * - - ... 256&lt;br /&gt;
Registration of Scenarios and Original Plays ... - * * ... 245&lt;br /&gt;
&mdash;-s&ordm;&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report for the current year. 1s.&lt;br /&gt;
2. The Author. Published ten months in the year (August and September omitted), devoted especially&lt;br /&gt;
to the protection and maintenance of Literary, Dramatic, and Musical Property: Issued&lt;br /&gt;
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back&lt;br /&gt;
numbers from 1892, at 10s. 6d. per vol.&lt;br /&gt;
3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 38.&lt;br /&gt;
4. The History of the Soci&eacute;t&eacute; des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.&lt;br /&gt;
5. The Cost of Production. (Out of print.)&lt;br /&gt;
6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various forms of agreements proposed by Publishers to&lt;br /&gt;
Authors are examined, and their meaning carefully explained, with an account of the&lt;br /&gt;
various kinds of fraud which have been made possible by the different clauses therein. 38.&lt;br /&gt;
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at&lt;br /&gt;
the office of the Society since the publication of the &ldquo;Methods.&rdquo; With comments and&lt;br /&gt;
advice. 2s.&lt;br /&gt;
7. Copyright Law Reform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill of 1890. With&lt;br /&gt;
Extracts from the Report of the Commission of 1878, the Berne Convention, and the&lt;br /&gt;
American Copyright Bill. By J. M. LELY. 18. 6d.&lt;br /&gt;
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT&lt;br /&gt;
(Chairman of Committee, 1888&ndash;1892). 18. -&lt;br /&gt;
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST&lt;br /&gt;
LUNGE, J.U.D. 28. 6d.&lt;br /&gt;
10. Forms of Agreement issued by the Publishers&amp;#039; Association ; with Comments. By&lt;br /&gt;
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.&lt;br /&gt;
11, Periodicals and their Contributors. Giving the Terms on which the different Magazines&lt;br /&gt;
and Periodicals deal with MSS. and Contributions. 6d.&lt;br /&gt;
12. Society of Authors. List of Members. Published October, 1907, price 6d.&lt;br /&gt;
13. International Copyright Convention as Revised at Berlin, 1909. 18.&lt;br /&gt;
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&amp;#039;s Gate, S. W.]&lt;br /&gt;
&lt;br /&gt;
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## p. (#636) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Ibe &scaron;arietn uf Autburg (ſmrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;AUTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIB ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIRWM.REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
MRS. BELLOC-LOWNDES.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BonREY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYor, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENS (&ldquo;MARK TwAIN&amp;quot;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURZON&lt;br /&gt;
OF KEDLESTON, P.C.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
TIETOINAL_A_S IEEL-A-IERIDTY -&lt;br /&gt;
COUNCIL,&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHEIELD.&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
MRS. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY EIOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG,&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
JEROME K. JEROME.&lt;br /&gt;
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J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD RIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. Lo&szlig;TIE, F.S.A.&lt;br /&gt;
THE RIGHT EoN. SIR ALFRED&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA. L.&lt;br /&gt;
SHAw).&lt;br /&gt;
MRs. MAxw ELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCABTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY NORMAN.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PINERO.&lt;br /&gt;
THE RIGHT HON. SIR. EHORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MBS. HUMPHRY WARD.&lt;br /&gt;
|PERCY WHITE. *&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON&lt;br /&gt;
THE WIscount Wor,SELEY, K. P.&rdquo;&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
H. G. WELLS.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MB8. BELLOC-LOWNDES.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
Chairman&mdash;SIR ARTHUR PINERO.&lt;br /&gt;
H. GRAN VILLE BARKER.&lt;br /&gt;
J. M. BARRIE.&lt;br /&gt;
R. C. CARTON.&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
MISS CICELY HAMILTON.&lt;br /&gt;
CAPT. BASIL HOOD.&lt;br /&gt;
JEROME FC. J.EROME.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
IDRAMATIC SUB-COIMIMITTEE.&lt;br /&gt;
Wice-Chairman&mdash;HENRY ARTHUR JONES.&lt;br /&gt;
CECIL RALEIGH.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
ALFRED SUTRO.&lt;br /&gt;
PENSION FUND COMIMITTEE.&lt;br /&gt;
ANSTEY GUTHRIE.&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
MORLEY ROBERTS.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
COPYRIGHT SUB-CoMMITTEE.&lt;br /&gt;
HAROLD HARDY.&lt;br /&gt;
ANTHONY HOPE HAWKINS.&lt;br /&gt;
E. J. MACGILLIVRAY.&lt;br /&gt;
THE HON. JOHN COLLIER,&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
SIR. GILBERT PARKER, M.P.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
FIELD, Roscoe &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. } Solicitors&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. J.&rdquo; &ordm;&lt;br /&gt;
EIERBERT SULLIVAN.&lt;br /&gt;
SIR JAMES YOXALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. HIERBERT THRING,&lt;br /&gt;
Solicitor in England to&lt;br /&gt;
La Soci&eacute;t&eacute; des Gems de Lettres.&lt;br /&gt;
Legal Adviser in the United States&mdash;JAMES BYRNE, 24, Broad Street, New York, U.S.A.&lt;br /&gt;
OFFICES.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#637) ################################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS. iii&lt;br /&gt;
&lt;br /&gt;
The ROMANCE of a REALMARRIAGE.&lt;br /&gt;
By MINA WALKER-WELBoRN. Printed on thick antique paper, with&lt;br /&gt;
frontispiece on art paper. Handsomely bound. An exceedingly fascina-&lt;br /&gt;
ting story, produced equal to a 6s, novel, but published at 2s. 6d. net&lt;br /&gt;
n] [Now ready.&lt;br /&gt;
A LovE STORY: and other Poems.&lt;br /&gt;
By MARY RICHARDsos., 38. 6d, met. An excellent volume of verse, which&lt;br /&gt;
will be much appreciated by all true lovers of poetry. A varie&auml;selec.&lt;br /&gt;
tion of subjects is excellently treated. A handsome book, ;&lt;br /&gt;
produced in the best style throughout. [Just Pwblished.&lt;br /&gt;
FOILED BY A GIRL: and other Stories.&lt;br /&gt;
By MAX TRotter, M.D.. This book contains eight long stories, each of&lt;br /&gt;
them original and &ordm; from start to finish. The volume is most&lt;br /&gt;
handsomely, produced, and its value is enhanced by the inclusion of&lt;br /&gt;
eight splendid illustrations on art paper, Lovers of fiction will give&lt;br /&gt;
this book a hearty welcome. 2s. 6d. net.&lt;br /&gt;
&ldquo;Very well written, and with considerable merit.&rdquo;&mdash;Nottingham&lt;br /&gt;
Daily Guard&ordm;am.&lt;br /&gt;
INTO THE LIGHT: and other Poems.&lt;br /&gt;
By &ldquo; THISBE.&rdquo; ls. 6d. net. Handsomely bound in cloth, with gold&lt;br /&gt;
lettering. A capital collection of Poems, that will be much appreciated&lt;br /&gt;
by lovers of verse-&lt;br /&gt;
&ldquo;We congratulate the author upon a happy inspiration.&rdquo;&mdash;Baptist.&lt;br /&gt;
WITH UNSEEN LHPS.&lt;br /&gt;
A Novel, by J. H. BRIGHouse. This book, consisting of 148 . OOl&lt;br /&gt;
antique paper, and bound in cloth boards attractively, makes a splendid&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#638) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
There has been a phenomenal demand for this special issue of &ldquo;PUNCH.&rdquo;&lt;br /&gt;
Targe as was the first printing,&lt;br /&gt;
it was all exhausted before publication.&lt;br /&gt;
Further large editions have been called for even more rapidly than&lt;br /&gt;
it has been found possible to produce the required copies.&lt;br /&gt;
This Memorial Number should find a permanent place in every home.&lt;br /&gt;
The hundreds of thousands of our readers who see &lsquo;&lsquo; PUNCH &amp;#039;&amp;#039; at their club or else-&lt;br /&gt;
will be considerable.&lt;br /&gt;
Its historical value in future years&lt;br /&gt;
where should make a point of possessing this Special Number for themselves.&lt;br /&gt;
4- &amp;quot; -&lt;br /&gt;
M &ordm;&lt;br /&gt;
norial&lt;br /&gt;
MAY 18th, 1910.&lt;br /&gt;
Consists of 44 pages chiefly of Pictures and Cartoons, from&lt;br /&gt;
the collection of &ldquo;Mr. Punch,&rdquo; from the late King&amp;#039;s birth&lt;br /&gt;
in 1841 up to the date of his death&lt;br /&gt;
in 1910. With&lt;br /&gt;
Mr. Seaman&amp;#039;s Ode to His Majesty King George.&lt;br /&gt;
The following are selected from Hundreds of Press Wotices F-&lt;br /&gt;
A Pictorial Review of King Edward&amp;#039;s&lt;br /&gt;
Life.&lt;br /&gt;
THE TIMES: &ldquo;It was a happy idea to publish a&lt;br /&gt;
selection of the Cartoons in which his late Majesty&lt;br /&gt;
was represented. The whole number is, in fact, a&lt;br /&gt;
pictorial review of King Edward&amp;#039;s life.&rdquo;&lt;br /&gt;
The Relations between People and&lt;br /&gt;
King.&lt;br /&gt;
DAILY GRAPHIC : &ldquo;No tribute and no col-&lt;br /&gt;
lection could more truly reveal the relations between&lt;br /&gt;
the British people and the Prince who was to become&lt;br /&gt;
their Sovereign ; for from first to last they are&lt;br /&gt;
eloquent of the smiling sympathy, the true affec-&lt;br /&gt;
tion, and the conscious pride in him which his&lt;br /&gt;
people felt. S&ordm;me beautiful lines by &lsquo;O.S.&rsquo; conclude&lt;br /&gt;
a memorable tribute.&rdquo;&lt;br /&gt;
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Memories of the late King.&lt;br /&gt;
DAILY TELEGRAPH &ldquo; The number of&lt;br /&gt;
&lsquo;Punch is mainly devoted to memories of the late&lt;br /&gt;
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artists since its foundations. A stirring Ode to&lt;br /&gt;
|King George from the pen of &lsquo;O.S.&amp;quot; is not the least&lt;br /&gt;
striking feature of a fine number.&rdquo;&lt;br /&gt;
Most interesting of all the illustrated&lt;br /&gt;
memoirs. -&lt;br /&gt;
NOTTINGHAM GUARDIAN : &ldquo;This collection&lt;br /&gt;
from the Cartoons, of which his Majesty has been&lt;br /&gt;
the theme, from 1841 to 1910, is one of the most&lt;br /&gt;
interesting of all the illustrated memoirs which have&lt;br /&gt;
been issued, because of its indications of Contemporary&lt;br /&gt;
sentiment.&rdquo;&lt;br /&gt;
PRICE&lt;br /&gt;
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.* Many of our Readers are order-ſ&ordm;ng half-a-dozer&ordm; copies or more&lt;br /&gt;
to send to their friends at horne and abroad.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#639) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El ut bor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. XX.-No. 9.&lt;br /&gt;
JUNE 1ST, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER :&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
| signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
-&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
E&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;m&ordm;e&lt;br /&gt;
ARTICLES AND CONTRIBUTIONS.&lt;br /&gt;
THE Editor of The Author begs to remind&lt;br /&gt;
members of the Society that, although the paper&lt;br /&gt;
is sent to them free of cost, its production would&lt;br /&gt;
be a very heavy charge on the resources of the&lt;br /&gt;
Society if a great many members did not forward&lt;br /&gt;
to the Secretary the modest 5s. 6d. subscription for&lt;br /&gt;
the year.&lt;br /&gt;
Communications for The Author should be&lt;br /&gt;
addressed to the Offices of the Society, 39, Old&lt;br /&gt;
Queen Street, Storey&amp;#039;s Gate, S.W., and should&lt;br /&gt;
reach the Editor not later than the 21st of each&lt;br /&gt;
month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the&lt;br /&gt;
standpoint of art or business, but on no other&lt;br /&gt;
subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
WOL, XX,&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the Committee are&lt;br /&gt;
personally responsible for the bona fides of the&lt;br /&gt;
advertisers, the Committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the Secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The Committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;-&lt;br /&gt;
LIST of MEMBERs.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7%d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#640) ################################################&lt;br /&gt;
&lt;br /&gt;
234&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N February 1, 1910, the trustees of the&lt;br /&gt;
Pension Fund of the Society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&ndash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Consols 24%.................. i e s t&ordm; e &ordm; e s e &ordm; &amp;#039;&ordm; &amp;amp; &pound;1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 3% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . . ............... 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 3% Stock............... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 24% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4.&lt;br /&gt;
Jamaica. 3%% Stock, 1919&ndash;49 ......... 132 18 6&lt;br /&gt;
Mauritius 4%. 1937 Stock............... 120 12 1&lt;br /&gt;
Dominion of Canada C.P.R. 33% Land&lt;br /&gt;
Grant Stock, 1938..................... 198 3 8&lt;br /&gt;
Total ............... #34,065 6 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1910. &pound; s. d.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine O 7 6&lt;br /&gt;
Jan. 13, Child, Harold H. . () 10 0&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O.&lt;br /&gt;
Jan. 27, Lion, Leon M.&lt;br /&gt;
Feb. 7, Fagan, J. B. . &copy;&lt;br /&gt;
Feb. 10, Newton, Miss A. M.&lt;br /&gt;
March 7, Smith, Bertram .&lt;br /&gt;
April 13, Dillon, Mrs. e &ordm;&lt;br /&gt;
May 6, Inkster, Leonard . &ordm;&lt;br /&gt;
May 17, Truman, Miss Olive Marie&lt;br /&gt;
Donations.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R.&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona:&lt;br /&gt;
tion) s o . -&lt;br /&gt;
1, Northcote, H. {- &ordm;&lt;br /&gt;
3, Watson, Mrs. Herbert A.&lt;br /&gt;
3, Fursdon, Mrs. F. M.&lt;br /&gt;
3, Smith, Miss Edith A.&lt;br /&gt;
4, Pryce, Richard &ordm; e&lt;br /&gt;
4, Wroughton, Miss Cicely.&lt;br /&gt;
6, Kaye-Smith, Miss Sheila&lt;br /&gt;
6, Underdown, Miss E. M. .&lt;br /&gt;
6, Carolin, Mrs. . e&lt;br /&gt;
8, P. H. and M. K.&lt;br /&gt;
8, Crellin, H. R. &ordm;&lt;br /&gt;
10, Tanner, James T..&lt;br /&gt;
10, Miller, Arthur&lt;br /&gt;
10, Bolton, Miss Anna&lt;br /&gt;
10, Parr, Miss Olive K.&lt;br /&gt;
17, Harland, Mrs.&lt;br /&gt;
21, Benecke, Miss Ida&lt;br /&gt;
25, Fradd, Meredith&lt;br /&gt;
29, Stayton, F. .&lt;br /&gt;
1, Wharton, L. C.&lt;br /&gt;
Feb. 4, Bowen, Miss Marjorie&lt;br /&gt;
Feb. 5, Cameron, Mrs. Charlotte&lt;br /&gt;
Feb.7, Pettigrew, W. F. .&lt;br /&gt;
Feb. 7, Church, Sir A. H. .&lt;br /&gt;
Feb. 8, Bland, Mrs. E. Nesbit&lt;br /&gt;
Feb. 8, The XX. Pen Club&lt;br /&gt;
Feb. 10, Greenbank, Percy.&lt;br /&gt;
Feb. 11, Stopford, Francis.&lt;br /&gt;
Feb. 11, Dawson, A. J. . . .&lt;br /&gt;
Feb. 12, Ainslie, Miss Kathleen .&lt;br /&gt;
Feb. 16, W. D. . e e&lt;br /&gt;
Feb. 16, Gibbs, F. L. A.&lt;br /&gt;
Feb. 17, Wintle, H. R. &ordm;&lt;br /&gt;
Feb. 21, Thurston, E. Temple&lt;br /&gt;
Feb. 23, Dawson, Mrs. Frederick&lt;br /&gt;
Feb. 24, Williamson, C. N. o&lt;br /&gt;
Feb. 24, Williamson, Mrs. C. N.&lt;br /&gt;
Feb. 25, Westell, W. P.&lt;br /&gt;
March 2, Toplis, Miss Grace&lt;br /&gt;
March 3, Hawtrey, Miss Valentina&lt;br /&gt;
March 5, Smith, Bertram . . .&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Jan.&lt;br /&gt;
Feb.&lt;br /&gt;
()&lt;br /&gt;
&pound;&lt;br /&gt;
S.&lt;br /&gt;
l&lt;br /&gt;
I&lt;br /&gt;
5&lt;br /&gt;
1&lt;br /&gt;
;&lt;br /&gt;
1&lt;br /&gt;
&amp;amp;;&lt;br /&gt;
1.&lt;br /&gt;
I&lt;br /&gt;
1&lt;br /&gt;
0&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#641) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
235&lt;br /&gt;
March 12, Yould, A. .&lt;br /&gt;
March 16, Loraine, Lady . -&lt;br /&gt;
March 29, Macdonnell, Randall.&lt;br /&gt;
April 6, Blake, J. P. . &amp;amp; &amp;amp;&lt;br /&gt;
April 8, &ldquo;Patricia Wentworth &amp;quot;&lt;br /&gt;
April 14, Hinkson, Mrs. K. Tynan&lt;br /&gt;
May 6, Greenstreet, W. J. . -&lt;br /&gt;
May 7, Cousin, John W.&lt;br /&gt;
May 10, Zangwill, Israel . -&amp;gt;&lt;br /&gt;
May 19, Sprigge, Dr. S. S. (Portion of&lt;br /&gt;
money recovered by the Society as&lt;br /&gt;
damages) e 10 () ()&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
January, 1910, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
*. &mdash;w&ordm;- a&lt;br /&gt;
wr &mdash;w- *&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE May meeting of the Committee of Manage-&lt;br /&gt;
ment of the Society was held on the 2nd ult.,&lt;br /&gt;
at 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.&lt;br /&gt;
In the absence of Mr. Maurice Hewlett, Mr.&lt;br /&gt;
Douglas Freshfield was elected to the chair. Thirty-&lt;br /&gt;
one members and associates were elected, bringing&lt;br /&gt;
the total elections for the current year to 118.&lt;br /&gt;
There was one resignation, bringing the total&lt;br /&gt;
resignations up to 60.&lt;br /&gt;
Cases before the Committee.&mdash;The first case&lt;br /&gt;
was against a company in the United States in&lt;br /&gt;
liquidation. The committee decided to place the&lt;br /&gt;
matter in the hands of the society&amp;#039;s American&lt;br /&gt;
lawyer, with instructions to make full inquiries&lt;br /&gt;
whether the company was in a position to pay any&lt;br /&gt;
dividend; if so, to claim on behalf of the members&lt;br /&gt;
involved. The next case&mdash;relating to infringement&lt;br /&gt;
of an author&amp;#039;s rights by literary libel in Germany&lt;br /&gt;
&mdash;had been before the committee more than once&lt;br /&gt;
previously. As full information was still wanting,&lt;br /&gt;
the committee decided that unless the necessary&lt;br /&gt;
answers to questions put by the German lawyer&lt;br /&gt;
employed were forthcoming before the next meeting,&lt;br /&gt;
the case must be dropped. The Secretary next&lt;br /&gt;
reported details of various cases relating to the&lt;br /&gt;
infringement of dramatic rights and the retention&lt;br /&gt;
of moneys by a theatrical manager in India, and&lt;br /&gt;
instructions were given by the committee that the&lt;br /&gt;
case should be proceeded with at the earliest&lt;br /&gt;
opportunity. In the next case arose a question of&lt;br /&gt;
an infringement of copyright by sales by street&lt;br /&gt;
hawkers, somewhat on the lines of the musical&lt;br /&gt;
piracies which had been strenuously fought by the&lt;br /&gt;
music publishers. The secretary was instructed&lt;br /&gt;
to endeavour to obtain the evidence necessary to a&lt;br /&gt;
successful prosecution of the offending parties.&lt;br /&gt;
He was also instructed to write to the Publishers&amp;#039;&lt;br /&gt;
Association and to the lawful publishers of the&lt;br /&gt;
literary work in question to inquire to what extent&lt;br /&gt;
they would be willing to contribute towards the&lt;br /&gt;
cost of fighting this important question of&lt;br /&gt;
principle.&lt;br /&gt;
Letters from a literary agent and his solicitors,&lt;br /&gt;
taking objection to a paragraph in The Author,&lt;br /&gt;
were considered, and the committee settled upon&lt;br /&gt;
the course they would take in the matter. At the&lt;br /&gt;
Suggestion of the Dramatic Sub-committee, the&lt;br /&gt;
Committee of Management elected Mr. Arthur&lt;br /&gt;
Shirley to the Dramatic Sub-committee, subject to&lt;br /&gt;
his willingness to undertake the duties of the&lt;br /&gt;
position. A proposal for increasing the advertise-&lt;br /&gt;
ment revenue of The Author was laid before the&lt;br /&gt;
committee, who gave it their favourable considera-&lt;br /&gt;
tion. The secretary was instructed to obtain&lt;br /&gt;
further information, and consider and submit the&lt;br /&gt;
terms of a contract. The secretary reported that&lt;br /&gt;
the Dramatic Sub-committee had been negotiating&lt;br /&gt;
with Messrs. Samuel French, in order to obtaininfor-&lt;br /&gt;
mation as to the infringement of performing rights&lt;br /&gt;
of members of the society in the colonies. He&lt;br /&gt;
suggested that, as the publishers also had agents in&lt;br /&gt;
the colonies, it might be possible to obtain similar&lt;br /&gt;
information respecting the piracy of literary works.&lt;br /&gt;
The committee authorised a communication to the&lt;br /&gt;
Publishers&amp;#039; Association on the subject. At the&lt;br /&gt;
suggestion af the Dramatic Sub-committee, the&lt;br /&gt;
secretary submitted that it might be possible,&lt;br /&gt;
through the Foreign Office and Consular Service,&lt;br /&gt;
to obtain information of the piracy of performing&lt;br /&gt;
rights of British authors and their works. Sir&lt;br /&gt;
Alfred Bateman was kind enough to promise to&lt;br /&gt;
make inquiries in order to ascertain whether any&lt;br /&gt;
steps could be taken on the lines suggested, and to&lt;br /&gt;
report to the next meeting. A letter from a&lt;br /&gt;
member in regard to the Pension Fund was laid&lt;br /&gt;
before the committee, as also was a letter from the&lt;br /&gt;
Earl of Wemyss in regard to a scheme for the&lt;br /&gt;
representation of the Society of Authors, together&lt;br /&gt;
with other learned and scientific societies, in the&lt;br /&gt;
House of Lords.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
The Dramatic Sub-committee of the Society of&lt;br /&gt;
Authors met at 39, Old Queen Street, on Monday,&lt;br /&gt;
May 9. After the minutes had been read the&lt;br /&gt;
secretary reported that, in answer to the Dramatic&lt;br /&gt;
Circular, it appeared that there were between 220&lt;br /&gt;
and 230 dramatists on the books of the society.&lt;br /&gt;
The next question before the sub-committee&lt;br /&gt;
was a question which the Theatres Alliance had&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#642) ################################################&lt;br /&gt;
&lt;br /&gt;
236&lt;br /&gt;
TISIE AUTHOR.&lt;br /&gt;
referred to the dramatists, bearing on the perform-&lt;br /&gt;
ance of plays in working men&amp;#039;s clubs. The&lt;br /&gt;
secretary and chairman reported that they had met&lt;br /&gt;
the representatives of the Theatres Alliance and&lt;br /&gt;
the Touring Managers&amp;#039; Association. In that inter-&lt;br /&gt;
view the representatives of these two bodies had&lt;br /&gt;
set out at length the large number of these clubs&lt;br /&gt;
and the extent to which performances were now&lt;br /&gt;
carried on, and complained of the unfair nature of&lt;br /&gt;
the competition which these performances involved.&lt;br /&gt;
After considerable discussion, on the proposal of&lt;br /&gt;
Mr Alfred Sutro it was decided to advise dramatic&lt;br /&gt;
authors, who were members of the society, not to&lt;br /&gt;
license any play to any clubs except the legitimate&lt;br /&gt;
amateur dramatic clubs, until five years from its&lt;br /&gt;
original production in the provinces.&lt;br /&gt;
The question of the responsibility of theatrical&lt;br /&gt;
managers for the infringement of dramatic copy-&lt;br /&gt;
right was then considered, and the secretary read a&lt;br /&gt;
long and detailed opinion he had received from&lt;br /&gt;
the society&rsquo;s solicitors on the subject. The appoint-&lt;br /&gt;
ment of colonial agents was discussed and a letter&lt;br /&gt;
from Messrs. French was read. One of the items in&lt;br /&gt;
the letter related to a series of performances in India,&lt;br /&gt;
which had come to the knowledge of Messrs. French,&lt;br /&gt;
and the sub-committee decided that the secretary&lt;br /&gt;
should ascertain &mdash; Messrs. French had kindly&lt;br /&gt;
offered to supply the information&mdash;whether any of&lt;br /&gt;
these performances were performances of members&rsquo;&lt;br /&gt;
plays, and, if so, whether they had been authorised.&lt;br /&gt;
Two other letters relating to the work of the&lt;br /&gt;
dramatic section of the Society were laid before&lt;br /&gt;
the sub-committee. One, referring to the possi-&lt;br /&gt;
bility of giving further assistance to unacted&lt;br /&gt;
dramatists, was adjourned for maturer consideration.&lt;br /&gt;
Owing to the length of the sitting, the settlement&lt;br /&gt;
of the Repertory Agreement and the Agreement&lt;br /&gt;
for a run was adjourned.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
THE record of the society&amp;#039;s work from month to&lt;br /&gt;
month varies but little. Sometimes more cases&lt;br /&gt;
come into the hands of the secretary and more are&lt;br /&gt;
placed in the hands of the solicitors&mdash;sometimes&lt;br /&gt;
a lesser amount.&lt;br /&gt;
During the past month seventeen cases have&lt;br /&gt;
been in the secretary&amp;#039;s hands. Three dealt with&lt;br /&gt;
disputes on agreements. Onehas been satisfactorily&lt;br /&gt;
settled, but the other two are in the course of&lt;br /&gt;
negotiation.&lt;br /&gt;
It may be as well to state that in a case where a&lt;br /&gt;
dispute arises between two members of the society,&lt;br /&gt;
the society does not necessarily refuse to act, but&lt;br /&gt;
will always maintain the right against the wrong.&lt;br /&gt;
If the dispute becomes very acute the committee&lt;br /&gt;
endeavour to arrange an arbitration between the&lt;br /&gt;
parties.&lt;br /&gt;
In three cases out of seven where money has been&lt;br /&gt;
claimed the amount has been paid on the secretary&amp;#039;s&lt;br /&gt;
demand and forwarded to the members. One has&lt;br /&gt;
been placed in the hands of the society&rsquo;s solicitors,&lt;br /&gt;
one is in the course of Satisfactory settlement, and&lt;br /&gt;
two have only recently come into the office. Four&lt;br /&gt;
uestions have arisen concerning the detention of&lt;br /&gt;
MSS. and in three the MSS., have been returned&lt;br /&gt;
and forwarded to the members. Of two cases&lt;br /&gt;
where the Secretary has demanded accounts, one&lt;br /&gt;
has been settled and in the other the accounts&lt;br /&gt;
have been promised. One curious case of libel on&lt;br /&gt;
title has arisen. As the dispute is with the pro-&lt;br /&gt;
prietor of a foreign magazine it may be some little&lt;br /&gt;
time before a satisfactory issue is arrived at.&lt;br /&gt;
The cases left over from past months are few.&lt;br /&gt;
Indeed, they only amount to three. The others&lt;br /&gt;
have either been settled or placed in the hands of&lt;br /&gt;
the society&amp;#039;s solicitors. Of the three cases left&lt;br /&gt;
open, one, concerning the settlement of contract, is&lt;br /&gt;
delayed owing to the member living in Australia ;&lt;br /&gt;
in case number two the publisher is in America,&lt;br /&gt;
and in the third case negotiations are being carried&lt;br /&gt;
forward satisfactorily.&lt;br /&gt;
The cases in the hands of the society&amp;#039;s solicitors&lt;br /&gt;
are being settled slowly. In the smaller claims for&lt;br /&gt;
moneys due, the cash has either been paid or&lt;br /&gt;
promised, or judgment has been obtained. It is&lt;br /&gt;
only in the more difficult questions, such as disputes&lt;br /&gt;
on agreements, infringement of copyright and&lt;br /&gt;
bankruptcy cases, that delay is bound to occur.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
May Elections.&lt;br /&gt;
Adkins, Frank James 21, Harcourt Road,&lt;br /&gt;
Sheffield.&lt;br /&gt;
Aspinall, Algernon Carlton Club, Pall&lt;br /&gt;
Mall, S.W.&lt;br /&gt;
Baker, Mrs. Elizabeth Dawnside, Berkhamp-&lt;br /&gt;
sted, Herts.&lt;br /&gt;
106, Esmond Road,&lt;br /&gt;
Bedford Park, W.&lt;br /&gt;
(Beth Ellis). c&lt;br /&gt;
Baker, Miss Elizabeth&lt;br /&gt;
Barnett, Mrs. S. A. (Hen- St. Jude&amp;#039;s Cottage,&lt;br /&gt;
rietta O.) ſ&ordm; g Hampstead Heath,&lt;br /&gt;
N.W.&lt;br /&gt;
Campbell-Gilbert, Philip&lt;br /&gt;
E. (Lorde Philip).&lt;br /&gt;
Chadwick, Mrs. Ellis H. West Brae, Enfield,&lt;br /&gt;
Middlesex.&lt;br /&gt;
Chalmers, Dalzell Henry 1, The Mansions,&lt;br /&gt;
John * { } e Earl&amp;#039;s Court Road,&lt;br /&gt;
S.W.&lt;br /&gt;
Cousin, John William, 11, Greenhill Terrace,&lt;br /&gt;
F.F.A. te * ge Edinburgh.&lt;br /&gt;
Fawcett, Major Percy Waterside, Uplyme,&lt;br /&gt;
Harrison g g&ordm; Devon.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#643) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A UTFIOR.&lt;br /&gt;
237&lt;br /&gt;
Ferguson, Miss A. B.&lt;br /&gt;
Dunrowan, Lenzie,&lt;br /&gt;
Ochiltree . e e Lanarkshire.&lt;br /&gt;
Fox, Miss Dorothy . . 28, Garlies Road,&lt;br /&gt;
Forest Hill, S.E.&lt;br /&gt;
Solentia, Yarmouth,&lt;br /&gt;
Isle of Wight.&lt;br /&gt;
Guy, Harry . e&lt;br /&gt;
Greenstreet, W. J., M.A.&lt;br /&gt;
Hinkson, Henry Albert, Greenhurst, Kings&lt;br /&gt;
.A. . &ordm; &ordm; &ordm; Langley.&lt;br /&gt;
Hogarth, David George .&lt;br /&gt;
Inkster, Leonard . . 11, Oaktree Lane,&lt;br /&gt;
Selly Oak, Bir-&lt;br /&gt;
mingham.&lt;br /&gt;
Jeffery, Mrs. C. E. . o&lt;br /&gt;
Jonsdale, Frederick. . 6, Cuthbert Terrace,&lt;br /&gt;
- Westgate-on-Sea.&lt;br /&gt;
17, Banbury Road,&lt;br /&gt;
Oxford.&lt;br /&gt;
6, The Drive, Hove.&lt;br /&gt;
Marshall, H. G. e o&lt;br /&gt;
Nevill, Miss Florence *&lt;br /&gt;
Ole Luk-0ie.&lt;br /&gt;
Sawyer, Capt. Hoaughan . 131, Harley Street,&lt;br /&gt;
W - - -&lt;br /&gt;
Serjeant, Miss C. . . Warboys Rectory,&lt;br /&gt;
Huntingdon.&lt;br /&gt;
Stanfield, G. J. &ordm; . Admiralty (D. W.&lt;br /&gt;
Department), S.W.&lt;br /&gt;
Stephenson, Robert. . 20, Baker Street, W.&lt;br /&gt;
Strachey, Miss Philippa 67, Belsize Park&lt;br /&gt;
Gardens, N.W.&lt;br /&gt;
41, Bath Road, Bed-&lt;br /&gt;
ford Park, W.&lt;br /&gt;
4, Milnthorpe Road,&lt;br /&gt;
Eastbourne.&lt;br /&gt;
c/o Mrs. Mitchell, 106,&lt;br /&gt;
Barcombe Avenue,&lt;br /&gt;
Streatham Hill,&lt;br /&gt;
S.W.&lt;br /&gt;
Thompson, Alex M.&lt;br /&gt;
(Dangle &copy; &ordm; e&lt;br /&gt;
Ward, The Rev. F.W. Orde&lt;br /&gt;
(F. Harald Williams)&lt;br /&gt;
West, Mrs. . &copy; t&ordm;&lt;br /&gt;
&mdash;&ordm;- a&lt;br /&gt;
~-w&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-Q-0&ndash;&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
Some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ART. w&lt;br /&gt;
CHRISTIAN SYMBOLISM. By MRS. HENRY JENNER,&lt;br /&gt;
6 x 4}. 192 pp. Methuen. 2s. 6d. n.&lt;br /&gt;
BIOGRAPHY,&lt;br /&gt;
ROBERT DODSLEY: Poet, Publisher, and Playwright. By&lt;br /&gt;
RALPH STRAU.S. 83 &times; 53. 407 pp. Lane, 21s, n.&lt;br /&gt;
BUBBLES AND TROUBLEs.&lt;br /&gt;
THE LIFE AND LETTERS OF WILLIAM (BECKFORD OF&lt;br /&gt;
FONTHILL. By LEWIS MELVII.L.E. 104 &times; 7. 391 pp.&lt;br /&gt;
Heinemann. 15s.&lt;br /&gt;
A ROYAL CAVALIER. The Romance of Rupert Prince&lt;br /&gt;
Palatine. By MRS. STEUART ERSKINE. 9 &times; 53.&lt;br /&gt;
379 pp. Nash. 15s.&lt;br /&gt;
BISHOP LOVELACE T. STAMER. A. Memoir. By F. D.&lt;br /&gt;
HOW. 83 x 5%. 325 pp. Hutchinson. 7s. 6d. n.&lt;br /&gt;
DRAMA.&lt;br /&gt;
THE QUEST. A Drama of Deliverance in Seven Scenes&lt;br /&gt;
and a Vision. By DOROTHEA. HoDLINs. 73 &times; 5}.&lt;br /&gt;
116 pp. Williams &amp;amp; Norgate. 4s. 6d. n.&lt;br /&gt;
THE EARTH. A Modern Play in Four Acts. By J. B.&lt;br /&gt;
FAGAN. 73 &times; 5}. Fisher Unwin. 2s. 6d. n.&lt;br /&gt;
MONNA WANNA. A Drama in Three Acts. By MAURICE&lt;br /&gt;
MAETERLINCK. Translated by ALFRED SUTRo. 6; x 4}.&lt;br /&gt;
179 pp. Allen. 2s. 6d. n.&lt;br /&gt;
FICTION.&lt;br /&gt;
NOW. By CHARLES MARRIOTT. 8 &times; 5.&lt;br /&gt;
&amp;amp; Blackett. 63.&lt;br /&gt;
312 pp. Hurst&lt;br /&gt;
By MRS. LOCKHART LANG.&lt;br /&gt;
7% x 43. 324 pp. Alston Rivers. 6s.&lt;br /&gt;
THE ILLUSTRIOUS PRINCE. By E. PHILLIPs OPPENHEIM.&lt;br /&gt;
7# &times; 5. 316 pp. Hodder &amp;amp; Stoughton. 6s.&lt;br /&gt;
PLUMAGE. By CORALIE STANTON and HEATH HOSKEN.&lt;br /&gt;
7# &times; 5. 316 pp. Stanley Paul. 6s.&lt;br /&gt;
RICHARD BEVERLEY. By FRANCIS BANCROFT. 7&amp;quot; x 5.&lt;br /&gt;
328 pp. Digby Long. 6s.&lt;br /&gt;
THE BOOK OF A BACHELOR. By DUNCAN SCHWANN.&lt;br /&gt;
7# x 5. 311 pp. Heinemann. 6s.&lt;br /&gt;
THE WIFE OF ALTAMONT. By VIOLET HUNT.&lt;br /&gt;
292 pp. Heinemann. 6s.&lt;br /&gt;
EIYPOCRITES AND SINNERS.&lt;br /&gt;
7# x 5. 350 pp. Long. 63.&lt;br /&gt;
THE SHINA. A Tale of the Isles. By W. C. MACKENZIE.&lt;br /&gt;
7% x 5. 306 pp. Paisley : Gardner. 6s.&lt;br /&gt;
THE LUCK OF THE BLACK CAT, AND OTHER STORIES. By&lt;br /&gt;
ELIZABETH BANKS. 73 &times; 5. 299 pp. Allen. 58.&lt;br /&gt;
-&lt;br /&gt;
7} x 5.&lt;br /&gt;
By VIoLET. Tw&ordm;BDDALE.&lt;br /&gt;
THE GLITTERING DESIR.E. By E. R. PUNSHON. 73 &times; 5.&lt;br /&gt;
320 pp. Ward, Lock. 6s.&lt;br /&gt;
THE CHEERFUL KNAVE. By REBLE HOWARD. S x 5.&lt;br /&gt;
307 pp. Stanley Paul. 68.&lt;br /&gt;
A PRISONER IN SPAIN. By WILLIAM CAIN.E. 73 &times; 5.&lt;br /&gt;
320 pp. Greening. 6s.&lt;br /&gt;
THE MODEL IN GREEN. By HARRY TIGHE. 74 &times; 5.&lt;br /&gt;
320 pp. Greening. 6s.&lt;br /&gt;
PERFIDIOUS LYDIA. By FRANK BARRETT. 73 &times; 4}.&lt;br /&gt;
306 pp. Chatto &amp;amp; Windus. 6s.&lt;br /&gt;
AT THE CALL OF HONOUR. By A. W. MARCHMONT.&lt;br /&gt;
73 &times; 5. 343 pp. Cassell. 6s.&lt;br /&gt;
THE GOLD WORSHIPPERS. By J. B. HARRIS-BURLAND.&lt;br /&gt;
8; x 5%. 152 pp. Greening. 6d.&lt;br /&gt;
SOME EXPERIENCES OF AN IRISH R.M. By E, CE. SOMER-&lt;br /&gt;
VILLE and MARTIN ROSS. 7# x 5%. 309 pp.&lt;br /&gt;
Longmans. 3s. 6d.&lt;br /&gt;
THE DREAM&mdash;AND THE WOMAN. By TOM GALLON.&lt;br /&gt;
74 &times; 4;. 288 pp. Stanley Paul. 1s. n.&lt;br /&gt;
A 1).UET. With an Occasional Chorus. By A. CONAN&lt;br /&gt;
Doy L.E. (Third Edition, newly revised.) 7; x 5. 342 pp.&lt;br /&gt;
Smith, Elder. 3s. 6d.&lt;br /&gt;
THE O&rsquo;FLYNN. By JUSTIN HUNTLY&lt;br /&gt;
S x 5+. 344 pp. Hurst &amp;amp; Blackett. 6s.&lt;br /&gt;
A GENTLEMAN OF VIRGINIA. By PERCY J. BREBNER.&lt;br /&gt;
73 &times; 5+. 372 pp. Macmillan. 6s.&lt;br /&gt;
THE WILL AND THE WAY. By BERNARD CAPES. 73 &times; 5.&lt;br /&gt;
223 pp. Murray. 2s. 6d. n.&lt;br /&gt;
HISTORY.&lt;br /&gt;
THE R SE AND EXPANSION OF THE BRITISH DOMINION&lt;br /&gt;
IN INDIA. By SIR ALFRED LYALL, P.C., K.C.B.&lt;br /&gt;
MCCARTHY,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#644) ################################################&lt;br /&gt;
&lt;br /&gt;
238&lt;br /&gt;
TISIES A UTFIOR.&lt;br /&gt;
(Fifth edition, corrected and enlarged.) With maps.&lt;br /&gt;
9 &times; 53. 397 pp. Murray. 5s. n.&lt;br /&gt;
LAW.&lt;br /&gt;
DRAMATIC AND MUSICAL LAW. By A. A. STRONG, LL.B.&lt;br /&gt;
THE SERVER&amp;#039;s HANDBook. By the REv. PERCY DEARMER.&lt;br /&gt;
(Second Edition, revised and enlarged.) The Parson&amp;#039;s&lt;br /&gt;
Handbook, Series W. 6; &times; 4%. 62 pp. Frowde.&lt;br /&gt;
18. In.&lt;br /&gt;
TOPOGRAPHY.&lt;br /&gt;
THE ROMANCE OF THE OXFORD COLLEGES. By FRANCIS&lt;br /&gt;
GRIBBLE. 7# &times; 5. 324 pp. Mills &amp;amp; Boon. 6s.&lt;br /&gt;
OXFORD. Beautiful England Series. By F. D. How.&lt;br /&gt;
Illustrated by E. HASLEHURST. 56 pp. Blackie. 2s. n.&lt;br /&gt;
RAMBLES WITH AN AMERICAN. By CHRISTIAN TEARLE.&lt;br /&gt;
9 &times; 5%. 376 pp. Mills &amp;amp; Boon. 10s. 6d.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
A CORNER OF SPAIN. By WALTER WOOD. With an&lt;br /&gt;
Introduction by MARTIN HUME. Illustrated by F. H.&lt;br /&gt;
MASON. 7% &times; 5. 203 pp. Nash. 5s. m.&lt;br /&gt;
THE ALPS DESCRIBED BY SIR MARTIN CONWAY. With&lt;br /&gt;
23 Illustrations from Photographs by L. EDNA WATER.&lt;br /&gt;
8 x 5}. 294 pp. Black. 3s.6d. n.&lt;br /&gt;
ON AND OFF DUTY IN ANNAM. By GABRIELLE M.&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#645) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
239&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
HE annual dinner of the Royal Literary Fund&lt;br /&gt;
was held at the Hotel Metropole early last&lt;br /&gt;
month.&lt;br /&gt;
Mr. Anthony Hope Hawkins, who presided,&lt;br /&gt;
reminded the company that, although the Fund had&lt;br /&gt;
a substantial permanent income, it was necessary&lt;br /&gt;
to double that income if they were to carry on the&lt;br /&gt;
work before them. The chances of a large income&lt;br /&gt;
in the literary profession were very small, compared&lt;br /&gt;
with other professions of corresponding rank, and&lt;br /&gt;
whoever deliberately decided to devote his life to&lt;br /&gt;
authorship was bound to give the prospect of&lt;br /&gt;
pecuniary gain a very secondary place in his&lt;br /&gt;
scheme of life. The committee of the Fund had to&lt;br /&gt;
decide whether applicants indisputably in need of&lt;br /&gt;
assistance were, from their positions as authors,&lt;br /&gt;
entitled to it. The toast of &ldquo;Literature&rdquo; was pro-&lt;br /&gt;
posed by Sir George Reid and responded to by Mr.&lt;br /&gt;
Henry Newbolt. &amp;amp;&lt;br /&gt;
Preparations are now being made to celebrate the&lt;br /&gt;
centenary of the birth of Thackeray, which will fall&lt;br /&gt;
on July 18, 1911. The Titmarsh Club has appointed&lt;br /&gt;
a committee to consider the form of the celebrations.&lt;br /&gt;
A public dinner will be held on the anniversary&lt;br /&gt;
of the birthday, and it is hoped that many eminent&lt;br /&gt;
literary men will be present. In addition an&lt;br /&gt;
exhibition will be arranged, in a central gallery,&lt;br /&gt;
of pictures, portraits, manuscripts and personal&lt;br /&gt;
belongings of the novelist. Mr. Lewis Melville&lt;br /&gt;
and Mr. Walter Jerrold are acting as hon. secre-&lt;br /&gt;
tary and hon. treasurer respectively.&lt;br /&gt;
&ldquo;Essays Elizabethan and Modern &amp;#039;&amp;#039; is the title&lt;br /&gt;
of Professor Dowden&amp;#039;s latest book, among the&lt;br /&gt;
contents of which are &ldquo;Cowper and William&lt;br /&gt;
Hayley,&rdquo; &ldquo;Heinrich Heine,&rdquo; &ldquo;Some Old Shake-&lt;br /&gt;
speareans&rdquo; and &ldquo;The English Masque.&rdquo; It will&lt;br /&gt;
be issued almost immediately by Messrs. J. M.&lt;br /&gt;
Dent &amp;amp; Sons, Ltd.&lt;br /&gt;
The title of Mr. Hubert Wales&rsquo; new book is&lt;br /&gt;
&ldquo;The Wife of Colonel Hughes.&rdquo; Mr. John Long&lt;br /&gt;
is the publisher.&lt;br /&gt;
Mr. Arnold Bennett has nearly finished a long&lt;br /&gt;
novel, &ldquo;Clayhanger,&rdquo; which Messrs. Methuen &amp;amp;&lt;br /&gt;
Co. are to publish in the autumn. &ldquo;Clayhanger&rdquo; is&lt;br /&gt;
the first of a trilogy of novels dealing with the Five&lt;br /&gt;
Towns. Mr. Bennett is also engaged upon a series of&lt;br /&gt;
impressions of London and Paris, which will appear&lt;br /&gt;
serially in the English Review in the autumn.&lt;br /&gt;
Mr. Arthur Dillon is engaged upon a drama in&lt;br /&gt;
verse in the vein of romance, but it is uncertain&lt;br /&gt;
when it will be ready for publication or production.&lt;br /&gt;
Mr. Dillon has now published, besides two&lt;br /&gt;
volumes of verse and his last play in the Greek&lt;br /&gt;
model, six plays, being three comedies and three&lt;br /&gt;
tragedies, written on the Elizabethan model, suit-&lt;br /&gt;
able to be played on the advanced platform stage,&lt;br /&gt;
before curtain, after the sixteenth century manner.&lt;br /&gt;
Mr. John Ouseley is publishing next month a&lt;br /&gt;
new novel, &ldquo;The Adventures of a Runaway Bride,&rdquo;&lt;br /&gt;
by Isabel Smith, author of &ldquo;The Minister&amp;#039;s Guest &amp;#039;&amp;#039;&lt;br /&gt;
and &ldquo;The Jewel House.&rdquo;&lt;br /&gt;
Dr. Bernard Hollander is publishing this month&lt;br /&gt;
through Sir Isaac Pitman &amp;amp; Sons, Ltd., an&lt;br /&gt;
entirely new work written on popular lines, entitled&lt;br /&gt;
&ldquo;Hypnotism and Suggestion in Daily Life, Educa-&lt;br /&gt;
tion, and Medical Practice.&rdquo; The subject has&lt;br /&gt;
been frequently written about in America and on&lt;br /&gt;
the Continent, but in England the science of&lt;br /&gt;
hypnotism has been largely neglected, and it is a&lt;br /&gt;
great many years since any qualified practitioner&lt;br /&gt;
has given us the results of his original researches.&lt;br /&gt;
Mr. Arthur Beckett, whose &ldquo;Spirit of the&lt;br /&gt;
Downs,&rdquo; published last year, is now in a second&lt;br /&gt;
edition, is engaged in writing an &ldquo;open-air &amp;quot; book&lt;br /&gt;
for Messrs. Mills &amp;amp; Boon. The new volume will&lt;br /&gt;
be illustrated with twenty coloured drawings by&lt;br /&gt;
Mr. Ernest Marillier, the Sussex painter.&lt;br /&gt;
The May issue of the Grand Magazine contains&lt;br /&gt;
a poem entitled &ldquo;A Queen&amp;#039;s Fan,&rdquo; by Miss Kitty&lt;br /&gt;
Everest, who has also had her first song, &ldquo;Little&lt;br /&gt;
Blue Brother,&rdquo; set to music and published by&lt;br /&gt;
Messrs. Stanley Webb, 235, High Holborn, W.C.&lt;br /&gt;
A short complete tale by Miss Everest, entitled&lt;br /&gt;
&ldquo;A Royal Crown,&rdquo; has been accepted for early&lt;br /&gt;
publication in the Woman at Home.&lt;br /&gt;
Among other articles in the May number of&lt;br /&gt;
Travel and Eayloration, mention may be made of&lt;br /&gt;
Mr. Wirt Gerrare&rsquo;s article which contains hints for&lt;br /&gt;
Siberian and Chinese travel. In the same magazine&lt;br /&gt;
Mr. Douglas Sladen describes the romantic cities&lt;br /&gt;
of Provence. He is very severe on the tendency of&lt;br /&gt;
English travellers bound for the Riviera or Egypt&lt;br /&gt;
to &ldquo;scamp&rdquo; the interesting cities of the Rh&ocirc;ne.&lt;br /&gt;
&ldquo;The Lost Halo&rsquo;&rsquo; is the title of Mr. Percy&lt;br /&gt;
White&amp;#039;s new novel, which Messrs. Methuen will&lt;br /&gt;
publish. It is a comedy of character rather than&lt;br /&gt;
of adventure, but will be found full of movement&lt;br /&gt;
and of pictures of contemporary life.&lt;br /&gt;
Mr. Eveleigh Nash has now published Mr. Cullen&lt;br /&gt;
Gouldsbury&amp;#039;s new novel, &ldquo;The Tree of Bitter Fruit.&rdquo;&lt;br /&gt;
The book deals in the main with the vicissitudes which&lt;br /&gt;
befell a Central African native who returned to primi-&lt;br /&gt;
tive surroundings after his education in Europe had&lt;br /&gt;
been half completed. The scene is laid, for the most&lt;br /&gt;
part, upon the Tanganyika Plateau, where the author&lt;br /&gt;
has for some time been collecting material.&lt;br /&gt;
&ldquo;Vera of the Strong Heart,&rdquo; by Marion Mole,&lt;br /&gt;
is announced for publication early this month by&lt;br /&gt;
Mr. Andrew Melrose. Messrs. Putnams&rsquo; Sons are&lt;br /&gt;
publishing the book (which was awarded the&lt;br /&gt;
second place in Mr. Melrose&amp;#039;s recent Novel&lt;br /&gt;
Competition) in America.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#646) ################################################&lt;br /&gt;
&lt;br /&gt;
240&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
A long serial fairy story, entitled &ldquo;The Adven-&lt;br /&gt;
tures of Shoon and Robe,&rdquo; from the pen of Miss&lt;br /&gt;
M. E. F. Hyland, is running in the Derbyshire&lt;br /&gt;
Courter, a paper for which the same writer conducts&lt;br /&gt;
Weekly a children&amp;#039;s column, as well as a &ldquo;House-&lt;br /&gt;
wifery&amp;quot; column. Miss Hyland is also article&lt;br /&gt;
Writer to The Table, the organ of Marshall&amp;#039;s School&lt;br /&gt;
of Cookery. Home Notes have in hand two sets of&lt;br /&gt;
articles by this writer, which may appear shortly :&lt;br /&gt;
while The Schoolmistress, the educational organ for&lt;br /&gt;
Women teachers, will publish shortly a series of&lt;br /&gt;
articles on &ldquo;Games for Girls,&rdquo; which Miss Hyland&lt;br /&gt;
has written.&lt;br /&gt;
Messrs. Madgwick, Houlston &amp;amp; Co., have pub-&lt;br /&gt;
lished Mrs. de Courcy Laffan&amp;#039;s story of &ldquo;The&lt;br /&gt;
Brotherhood of Hero Dogs,&rdquo; in which she gives a&lt;br /&gt;
very sympathetic account of twelve living and three&lt;br /&gt;
dead dogs, whose heroic deeds deserve to be&lt;br /&gt;
recorded. The book is sold for the benefit of the&lt;br /&gt;
Animals&amp;#039; Hospital, High Street, Eccleston Square,&lt;br /&gt;
at the price of 1s. net.&lt;br /&gt;
&ldquo;Helena&amp;#039;s Path,&rdquo; a comedy in three acts, by&lt;br /&gt;
Anthony Hope and Cosmo Gordon-Lennox, having&lt;br /&gt;
for its theme a dispute as to a right of way, was&lt;br /&gt;
produced at the Repertory Theatre on May 3. In&lt;br /&gt;
the cast were Miss Irene Vanbrugh, Mr. Charles&lt;br /&gt;
Bryant, and Miss Mary Barton.&lt;br /&gt;
Mr. G. G. Coulton has published through Messrs.&lt;br /&gt;
Constable &amp;amp; Co. a work entitled &ldquo;A Medieval&lt;br /&gt;
Gainer,&rdquo; which comprises human documents from&lt;br /&gt;
the four centuries preceding the Reformation,&lt;br /&gt;
which he has selected and translated with intro-&lt;br /&gt;
ductions, notes, and glossary. Mr. Coulton has&lt;br /&gt;
aimed at compiling a catena of such documents,&lt;br /&gt;
each more or less complete in itself, but mostly too&lt;br /&gt;
long for full quotation by historians. The records&lt;br /&gt;
have been chosen as specially characteristic of the&lt;br /&gt;
period, and treat of clergy and laity, spiritual&lt;br /&gt;
experiences, loves, battles, pageants, and occasionally&lt;br /&gt;
the small things of everyday life.&lt;br /&gt;
Mr. A. C. Fifield has published, under the title&lt;br /&gt;
of &ldquo;Bernard Shaw as Artist-Philosopher,&rdquo; an&lt;br /&gt;
exposition of Shawianism by Ren&eacute;e M. Deacon.&lt;br /&gt;
Miss Deacon considers Mr. Shaw&amp;#039;s work in&lt;br /&gt;
seven different aspects, among which are included&lt;br /&gt;
his dramatic theory, his revolt against romance, his&lt;br /&gt;
dramatic consciousness and his philosophy of life.&lt;br /&gt;
Miss Wentworth Oliver&amp;#039;s new book, &ldquo;Defiance,&rdquo;&lt;br /&gt;
has just been published by the Camden Publishing&lt;br /&gt;
Co., 323, Upper Street, Islington.&lt;br /&gt;
&ldquo;The Silent Isle &amp;#039;&amp;#039; is the title of Mr. A. C.&lt;br /&gt;
Benson&amp;#039;s forthcoming new book.&lt;br /&gt;
The Oxford University Press have re-issued the&lt;br /&gt;
poems of Lord Tennyson, which were first included&lt;br /&gt;
in the &ldquo;World&amp;#039;s Classics&rdquo; in April, 1901, and&lt;br /&gt;
reprinted in 1902, 1903, 1905, and 1906.&lt;br /&gt;
The present re-issue has an Introduction by Mr.&lt;br /&gt;
T. Herbert Warren.&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
N returning to Paris from London on Friday,&lt;br /&gt;
() April 20, the flags of all nations draped&lt;br /&gt;
with cr&ecirc;pe were to be seen on the public.&lt;br /&gt;
buildings and at very many windows here.&lt;br /&gt;
The French Press has been most sympathetic.&lt;br /&gt;
Everyone looked upon King Edward as a true friend&lt;br /&gt;
to this country. All classes have expressed their&lt;br /&gt;
sincere grief and sympathy. The following is the&lt;br /&gt;
translation of a letter I received from a French&lt;br /&gt;
working man, who is at the head of a group of&lt;br /&gt;
workers for the public welfare :&mdash;&lt;br /&gt;
&ldquo;Just a few lines to tell you how deeply the&lt;br /&gt;
French workman sympathises with the English&lt;br /&gt;
nation in its grief. I know that the newspapers&lt;br /&gt;
here have expressed the sympathy of the public, that&lt;br /&gt;
our statesmen and politicians have done the same.&lt;br /&gt;
What has not been mentioned, though, is the real&lt;br /&gt;
sorrow of the French workman on learning of the&lt;br /&gt;
sad event which he considers grievous and heart-&lt;br /&gt;
rending for all humanity, and particularly so for&lt;br /&gt;
himself, whom your worthy King liked so much.&lt;br /&gt;
Rinowing the Parisian working class as I know it,&lt;br /&gt;
I can assure you that, if a Parisian manifestation&lt;br /&gt;
were organised, it would certainly equal in grandeux&lt;br /&gt;
and sincere sorrow those which accompanied the&lt;br /&gt;
funerals of our Victor Hugo and Carnot. . .&lt;br /&gt;
&mdash;Respectfully, F. BOULET.&rdquo;&lt;br /&gt;
In an article in the Figaro of May 20, Pierre&lt;br /&gt;
Loti gives an account of his visit to Buckingham&lt;br /&gt;
Palace in 1909, and his impressions of Queen&lt;br /&gt;
Alexandra and of the late King.&lt;br /&gt;
At the same hour as the funeral procession of&lt;br /&gt;
Ring Edward set out in London, another funeral&lt;br /&gt;
was taking place in Paris&mdash;that of Madame Pauline&lt;br /&gt;
Wiardot, daughter of the celebrated Garcia, and&lt;br /&gt;
sister of Malibran. Madame Wiardot was born in&lt;br /&gt;
1821; her first great triumph was in the r&ocirc;le of&lt;br /&gt;
Desdemona at the King&amp;#039;s Theatre, London. After&lt;br /&gt;
that her name was soon on all lips, and she sang in&lt;br /&gt;
France, Spain, Russia, Italy and Germany. Her&lt;br /&gt;
name will for ever be associated with Orpheus and&lt;br /&gt;
with the Leonora of Beethoven&amp;#039;s Fidelio. Among&lt;br /&gt;
her friends she reckoned Alfred de Musset and&lt;br /&gt;
Chopin, and her salon was frequented by George&lt;br /&gt;
Sand, Tourg&eacute;nieff, Flaubert, Renan, Liszt, and alb&lt;br /&gt;
the celebrities of her day. She was a remarkable&lt;br /&gt;
pianist, an unequalled vocalist, a musical composer&lt;br /&gt;
of great merit, and a most accomplished linguist,&lt;br /&gt;
speaking seven or eight languages with absolute&lt;br /&gt;
ease and fluency. She leaves a very large circle of&lt;br /&gt;
friends and admirers, and with the closing of her&lt;br /&gt;
salon another landmark of artistic and literary&lt;br /&gt;
Paris has passed away.&lt;br /&gt;
The fourth volume of the &ldquo;Chronique de la&lt;br /&gt;
Duchesse de Dino &amp;quot; takes us on from 1331 to 1862.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#647) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
241&lt;br /&gt;
The r&ocirc;le of the Duchesse d&rsquo;Orl&eacute;ans and the attitude&lt;br /&gt;
of the Comte de Chambord are clearly indicated.&lt;br /&gt;
Talleyrand&amp;#039;s niece also gives us an excellent idea of&lt;br /&gt;
the character of the Emperor.&lt;br /&gt;
&ldquo;Tous H&eacute;ros&rdquo; is the title of Andr&eacute; Lichten-&lt;br /&gt;
berger&amp;#039;s latest book, a volume of short stories, all&lt;br /&gt;
of which are founded on military episodes. As the&lt;br /&gt;
title infers, the chief characters are all heroes. The&lt;br /&gt;
first story gives its name to the volume, but the&lt;br /&gt;
title would be equally suitable to the other stories.&lt;br /&gt;
They are all extremely patriotic, written with the&lt;br /&gt;
same ease and delicacy as the psychological studies&lt;br /&gt;
of children by which Andr&eacute; Lichtenberger has made&lt;br /&gt;
his name in France. Three of this author&amp;#039;s books&lt;br /&gt;
have been specially noticed by the French Academy,&lt;br /&gt;
and for &ldquo;Mon petit Trott,&rdquo; &ldquo;La Petite Soeur de&lt;br /&gt;
Trott,&rdquo; and &ldquo;La Mort de Corinthe &rdquo; the Prix&lt;br /&gt;
Montyon has been awarded.&lt;br /&gt;
&ldquo;Les Dames du Palais,&rdquo; by Colette Yver, is&lt;br /&gt;
another novel by this authoress showing the danger&lt;br /&gt;
to which a wife is exposed when she becomes the&lt;br /&gt;
rival of her husband. In &ldquo;Princesses de Science,&rdquo;&lt;br /&gt;
we saw a woman doctor whose husband was jealous&lt;br /&gt;
of his wife&amp;#039;s celebrity in his own profession. In&lt;br /&gt;
the present volume we see the woman barrister who&lt;br /&gt;
renounces her professional glory in order to retain&lt;br /&gt;
her husband&amp;#039;s love.&lt;br /&gt;
&ldquo;La Faiblesse humaine&rdquo; is the title of M. Paul&lt;br /&gt;
Margueritte&amp;#039;s latest novel.&lt;br /&gt;
M. Jules Huret is bringing out his book, entitled&lt;br /&gt;
&ldquo;L&rsquo;Am&eacute;rique moderne,&rdquo; in an illustrated edition&lt;br /&gt;
and in fortnightly parts. M. Huret is always so&lt;br /&gt;
conscientious in his work that every book from his&lt;br /&gt;
pen is read with eager interest. His volumes on&lt;br /&gt;
Germany are the most complete works of this kind&lt;br /&gt;
which have appeared here.&lt;br /&gt;
&ldquo;Les Anciennes D&eacute;mocraties des Pays-Bas &amp;#039;&amp;#039; is a&lt;br /&gt;
curious book by M. Henri Pirenne. The Pays-Bas&lt;br /&gt;
is taken in its former meaning, and includes the&lt;br /&gt;
d&eacute;partements of the Nord and of the Pas-de-Calais,&lt;br /&gt;
as well as the kingdoms of Belgium and Holland.&lt;br /&gt;
In these days of travel by land and Sea, all books&lt;br /&gt;
introducing us to fresh places are very welcome.&lt;br /&gt;
&ldquo;Trois Mois en Portugal,&rdquo; by G. Le Roy Liberge,&lt;br /&gt;
is a volume taking us to various Portuguese places&lt;br /&gt;
of interest. The writer has strayed away at times&lt;br /&gt;
from the route in order to study more closely the&lt;br /&gt;
manners and customs of the people. The book is&lt;br /&gt;
illustrated, so that the reader has a very fair idea&lt;br /&gt;
of the places visited. -&lt;br /&gt;
Among translations are the following: &ldquo;L&amp;#039;ombre&lt;br /&gt;
myst&eacute;rieuse,&rdquo; by Fergus_Hume, translated by&lt;br /&gt;
M. Ren&eacute; Lecuyer ; &ldquo;La Trag&eacute;die de Macbeth,&rdquo;&lt;br /&gt;
by M. Maurice Maeterlinck,&lt;br /&gt;
Se&ntilde;ora Piedad de Bobadilla, wife of the cele-&lt;br /&gt;
brated Spanish writer, Fray Candil, has just&lt;br /&gt;
commenced in Paris a series of lectures, illus-&lt;br /&gt;
trated by dissolving views, on the great Spanish&lt;br /&gt;
painters of the seventeenth century, commencing&lt;br /&gt;
with El Greco, Velasquez and Murillo. Madame&lt;br /&gt;
de Bobadilla&amp;#039;s idea is to give these lectures in the&lt;br /&gt;
Various capitals of the world, and, as she is an&lt;br /&gt;
excellent linguist, she speaks equally well in&lt;br /&gt;
French, Spanish, and English. The King and&lt;br /&gt;
Queen of Spain received Madame de Bobadilla&lt;br /&gt;
during her recent visit to Madrid and have&lt;br /&gt;
requested the Marquis del Muni, Spanish Ambas-&lt;br /&gt;
sador in Paris, to do his utmost to facilitate the&lt;br /&gt;
task which the intrepid lecturer has set herself.&lt;br /&gt;
She will go to Brussels, London, probably to Italy,&lt;br /&gt;
and then on a tour through the United States and&lt;br /&gt;
South America.&lt;br /&gt;
At the close of her lecture on Velasquez in Paris,&lt;br /&gt;
Mlle. Madeleine Roch, of the Com&eacute;die fran&ccedil;aise,&lt;br /&gt;
recited Emilio de Bobadilla&amp;#039;s exquisite poem on&lt;br /&gt;
Velasquez.&lt;br /&gt;
In recent numbers of La Revue hebdomadaire&lt;br /&gt;
are the following articles: &ldquo;Force et faiblesse de&lt;br /&gt;
la Jeune Turquie,&rdquo; by Ren&eacute; Moulin ; &ldquo;La Com&egrave;te&lt;br /&gt;
de Halley,&rdquo; by M. L. Pervingui&egrave;re ; &ldquo;Le Berceau&lt;br /&gt;
du Parlement d&rsquo;Angleterre,&rdquo; by Germain Lef&egrave;vre-&lt;br /&gt;
Pontalis. In the D&eacute;bats M. Jacques Bardoux has&lt;br /&gt;
published an excellent article on the r&ocirc;le of&lt;br /&gt;
Edward VII. with regard to home policy, and in&lt;br /&gt;
the Figaro M. Raymond Recouley has written&lt;br /&gt;
several articles on England and the late King.&lt;br /&gt;
In Le Temps M. Andr&eacute; Tardieu has also written on&lt;br /&gt;
King Edward&rsquo;s policy.&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Chronique de la Duchesse de Dino&amp;#039; (Plon-Nourrit).&lt;br /&gt;
&ldquo;Tous H&eacute;ros&rdquo; (Librairie des Annales).&lt;br /&gt;
&ldquo;Les Dames du Palais ? (Calmann L&eacute;vy).&lt;br /&gt;
&ldquo;Les Anciennes D&eacute;mocraties des Pays-Bas&rdquo; (Flam-&lt;br /&gt;
marion).&lt;br /&gt;
&ldquo;Trois Mois en Portugal&rdquo; (Bernard Grasset).&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
E have received the proclamation printed&lt;br /&gt;
below from the Copyright Office at&lt;br /&gt;
Washington, U.S.A.&lt;br /&gt;
&ldquo;Whereas it is provided by the Act of Congress&lt;br /&gt;
of March 4, 1909, entitled &ldquo;An Act to amend and&lt;br /&gt;
consolidate the Acts respecting copyright,&rsquo; that&lt;br /&gt;
the benefits of said Act, excepting the benefits&lt;br /&gt;
under section 1 (e) thereof, as to which special&lt;br /&gt;
conditions are imposed, shall extend to the work&lt;br /&gt;
of an author or proprietor who is a citizen or subject&lt;br /&gt;
of a foreign State or nation, only upon certain&lt;br /&gt;
conditions set forth in section 8 of said Act, to&lt;br /&gt;
Wit:&lt;br /&gt;
&ldquo;(a) When an alien author or proprietor shall&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#648) ################################################&lt;br /&gt;
&lt;br /&gt;
242&lt;br /&gt;
TISIES A UTFIOR.&lt;br /&gt;
be domiciled within the United States at the time&lt;br /&gt;
of the first publication of his work; or&lt;br /&gt;
&ldquo;(b) When the foreign State or nation of which&lt;br /&gt;
such author or proprietor is a citizen or subject&lt;br /&gt;
grants, either by treaty, convention, agreement, or&lt;br /&gt;
law, to citizens of the United States the benefit of&lt;br /&gt;
copyright on substantially the same basis as to its&lt;br /&gt;
own citizens, or copyright protection substantially&lt;br /&gt;
equal to the protection secured to such foreign&lt;br /&gt;
author under this Act or by treaty ; or when such&lt;br /&gt;
foreign State or nation is a party to an international&lt;br /&gt;
agreement which provides for reciprocity in the&lt;br /&gt;
granting of copyright, by the terms of which&lt;br /&gt;
agreement the United States may, at its pleasure,&lt;br /&gt;
become a party thereto :&lt;br /&gt;
&ldquo;And whereas it is also provided by said section&lt;br /&gt;
that &lsquo;The existence of the reciprocal conditions&lt;br /&gt;
aforesaid shall be determined by the President of&lt;br /&gt;
the United States, by proclamation made from time&lt;br /&gt;
to time as the purposes of this Act may require &amp;#039;:&lt;br /&gt;
&ldquo;And whereas satisfactory evidence has been&lt;br /&gt;
received that in Austria, Belgium, Chile, Costa&lt;br /&gt;
Rica, Cuba, Denmark, France, Germany, Great&lt;br /&gt;
Britain and her possessions, Italy, Mexico, the&lt;br /&gt;
Netherlands and possessions, Norway, Portugal,&lt;br /&gt;
Spain, and Switzerland the law permits and since&lt;br /&gt;
July 1, 1909, has permitted to citizens of the&lt;br /&gt;
United States the benefit of copyright on sub-&lt;br /&gt;
stantially the same basis as to citizens of those&lt;br /&gt;
countries :&lt;br /&gt;
&ldquo;Now, therefore, I, WILLIAM HowARD TAFT,&lt;br /&gt;
President of the United States of America, do&lt;br /&gt;
declare and proclaim that one of the alternative&lt;br /&gt;
conditions specified in section 8, of the Act of&lt;br /&gt;
March 4, 1909, is now fulfilled, and since July 1,&lt;br /&gt;
1909, has continuously been fulfilled, in respect to&lt;br /&gt;
the citizens or subjects of Austria, Belgium, Chile,&lt;br /&gt;
Costa Rica, Cuba, Denmark, France, Germany,&lt;br /&gt;
Great Britain and her possessions, Italy, Mexico,&lt;br /&gt;
the Netherlands and possessions, Norway, Portugal,&lt;br /&gt;
Spain, and Switzerland, and that the citizens or&lt;br /&gt;
subjects of the aforementioned countries are and&lt;br /&gt;
since July 1, 1909, have been entitled to all of the&lt;br /&gt;
benefits of the said Act other than the benefits under&lt;br /&gt;
section 1 (e) thereof, as to which the inquiry is&lt;br /&gt;
still pending.&lt;br /&gt;
&ldquo;IN TESTIMONY WHEREOF, I have hereunto Set&lt;br /&gt;
my hand and caused the seal of the United States&lt;br /&gt;
to be affixed.&lt;br /&gt;
&ldquo;Done at the city of Washington this ninth day&lt;br /&gt;
of April, in the year of our Lord one thousand&lt;br /&gt;
nine hundred and ten, and of the Independence of&lt;br /&gt;
the United States of America the one hundred and&lt;br /&gt;
thirty-fourth.&lt;br /&gt;
&ldquo;WM. H. TAFT.&lt;br /&gt;
&ldquo;By the President :&lt;br /&gt;
&ldquo;P. C. KNOX,&lt;br /&gt;
&ldquo;Secretary of State.&rdquo;&lt;br /&gt;
DRAMATISTS AND THE WORKING MEN&amp;#039;S&lt;br /&gt;
CLUB AND INSTITUTE UNION.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
O all those dramatists who are members of&lt;br /&gt;
the society, the question of the performance&lt;br /&gt;
of their plays is a matter of vital importance.&lt;br /&gt;
At any moment they may be asked to grant a&lt;br /&gt;
licence to perform to the Working Men&amp;#039;s Club and&lt;br /&gt;
Institute Union. As a general rule, when the&lt;br /&gt;
suggestion is put before them, they are asked&lt;br /&gt;
to take a nominal fee only as the clubs are&lt;br /&gt;
unable to pay high fees.&lt;br /&gt;
Two points then arise for consideration. First,&lt;br /&gt;
is the plea of poverty a fair one 2 Secondly, is the&lt;br /&gt;
granting of such a licence likely to interfere with&lt;br /&gt;
the legitimate returns from their property 2&lt;br /&gt;
In order to enable the dramatists to come to some&lt;br /&gt;
reasonable conclusion, and satisfy themselves on&lt;br /&gt;
these issues, it is necessary that they should have&lt;br /&gt;
fuller information. With this object in view a&lt;br /&gt;
few facts are set out in this article.&lt;br /&gt;
The Dramatic Sub-committee of the Society has&lt;br /&gt;
also given these facts its serious consideration.&lt;br /&gt;
This Working Men&amp;#039;s Club and Institute Union is&lt;br /&gt;
a union of over 1,100 associations spread all over&lt;br /&gt;
the country, with a membership of over 400,000.&lt;br /&gt;
The subscription, we are informed, is 2s. 6d. a&lt;br /&gt;
quarter.&lt;br /&gt;
The Union issues to its members tickets which&lt;br /&gt;
give the holder power to pass into any of the other&lt;br /&gt;
clubs of the Union in any part of the country, and&lt;br /&gt;
each member has power to introduce two women,&lt;br /&gt;
two children, and one man&mdash;strangers&mdash;into the&lt;br /&gt;
club.&lt;br /&gt;
It will be seen that this is a vast organisation&lt;br /&gt;
and includes an enormous number of people. In&lt;br /&gt;
addition, when attending any performances, the&lt;br /&gt;
member has to buy programmes at the rate of&lt;br /&gt;
2d. each. This entitles the holder to a reserved&lt;br /&gt;
Seat.&lt;br /&gt;
These clubs are immensely popular. It is not&lt;br /&gt;
surprising that they should be so, for they are&lt;br /&gt;
open at all hours and all through Sunday, the&lt;br /&gt;
performances in some cases beginning in the morn-&lt;br /&gt;
ing and continuing throughout the day. Drink&lt;br /&gt;
can be served at any time, and children can be&lt;br /&gt;
taken in when the law forbids that they should&lt;br /&gt;
enter a public-house.&lt;br /&gt;
First, then, let us consider the plea of poverty.&lt;br /&gt;
Could such clubs afford a sum to the authors which&lt;br /&gt;
would bring them into a fair and reasonable&lt;br /&gt;
competition with the suburban and provincial&lt;br /&gt;
theatres 2 In dealing with this point it must be&lt;br /&gt;
remembered that the proprietors of these halls&lt;br /&gt;
have no expensive outlay in order to meet County&lt;br /&gt;
Council regulations. The halls are very often&lt;br /&gt;
built without Solidity, with plain deal stages, the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#649) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
243&lt;br /&gt;
scenery is generally of a most inflammable char-&lt;br /&gt;
acter, the exits are few and in many cases mere&lt;br /&gt;
death-traps, and lastly there is no fireproof&lt;br /&gt;
curtain.&lt;br /&gt;
The amount of capital sunk by the proprietor is&lt;br /&gt;
infinitely small compared with that of the provincial&lt;br /&gt;
or suburban theatre manager. Attention should&lt;br /&gt;
be called to another point&mdash;the companies that&lt;br /&gt;
perform are not highly paid. Their salaries are&lt;br /&gt;
miserable; in some cases, even, the players are paid&lt;br /&gt;
nothing at all and the scenery is of the poorest&lt;br /&gt;
kind.&lt;br /&gt;
Here again the manager&amp;#039;s outlay is reduced to a&lt;br /&gt;
minimum. If anything, therefore, he ought to pay&lt;br /&gt;
greater rather than a smaller fee to the author.&lt;br /&gt;
But still the argument of poverty is a strong one,&lt;br /&gt;
and it may be said that the halls are poor and&lt;br /&gt;
badly secured simply because of the poverty of the&lt;br /&gt;
contributors.&lt;br /&gt;
Let us look to the other side of the question.&lt;br /&gt;
In one statement before us the weekly drink bill&lt;br /&gt;
varies from &pound;90 in the slack season to &pound;150 in&lt;br /&gt;
the good season.&lt;br /&gt;
average this makes the yearly drink bill #6,000.&lt;br /&gt;
In the recent raid by the police on the Willesden&lt;br /&gt;
Radical Club some important facts were forth-&lt;br /&gt;
coming. &pound;10 a day, it was stated in evidence, was&lt;br /&gt;
taken in beer, and the drink bill for the past&lt;br /&gt;
quarter was &pound;936.&lt;br /&gt;
To add to the irony of the situation, when the&lt;br /&gt;
club was raided Sir Arthur Pinero&amp;#039;s well-known&lt;br /&gt;
play, &ldquo;His House in Order,&rdquo; was being performed&lt;br /&gt;
to an audience of 300 members.&lt;br /&gt;
The profits to the proprietor on this enormous&lt;br /&gt;
sale of drinks must be very high, and considering&lt;br /&gt;
how inconsiderable are his other expenses he ought&lt;br /&gt;
to be able to pay above rather than below the fees&lt;br /&gt;
paid by suburban and provincial managers.&lt;br /&gt;
The next point to arise is, whether these perform-&lt;br /&gt;
ances are likely to interfere with legitimate&lt;br /&gt;
business. Nearly all suburban and provincial&lt;br /&gt;
theatres have 6d. galleries but are not allowed to&lt;br /&gt;
sell drink. It is more than probable that the 2d.&lt;br /&gt;
programme and the &pound;10 per week drinks would&lt;br /&gt;
considerably more than cover the 6d. gallery.&lt;br /&gt;
Again, if a piece has been played at these clubs&lt;br /&gt;
by a good, bad, or indifferent company it is not&lt;br /&gt;
likely that the members will go to the local theatres&lt;br /&gt;
immediately after to see the same piece.&lt;br /&gt;
It is not the artistic side, nor the literary side, nor&lt;br /&gt;
the comparison of the actors&amp;#039; methods and styles&lt;br /&gt;
which is likely to appeal to this audience.&lt;br /&gt;
Like the readers of 6d. shockers, they like the&lt;br /&gt;
story, and when once they have a knowledge of the&lt;br /&gt;
plot their interest will cease and the local theatres&lt;br /&gt;
will suffer.&lt;br /&gt;
It must not be thought, however, that it is the&lt;br /&gt;
play merely of the unknown author that is per-&lt;br /&gt;
If &pound;120 a week is taken as an&lt;br /&gt;
formed, or the aged melodrama. The very latest&lt;br /&gt;
plays by the best known dramatists are represented.&lt;br /&gt;
To show also the extent to which the matter is&lt;br /&gt;
carried, it will be sufficient to state that, in the&lt;br /&gt;
slack Season of July, last year, when the suburban&lt;br /&gt;
and provincial theatres were gasping for breath to&lt;br /&gt;
live, twenty-one companies were acting round the&lt;br /&gt;
halls of the Working Men&amp;#039;s Club and Institute&lt;br /&gt;
Union. It seems, therefore, to be clear, taking these&lt;br /&gt;
facts into consideration, that the dramatist is&lt;br /&gt;
underpaid and that these performances come into&lt;br /&gt;
serious competition with his legitimate returns.&lt;br /&gt;
There is one step, then, that should be taken.&lt;br /&gt;
The dramatic author should raise his fee so that the&lt;br /&gt;
competition may be on a fair basis, and should be&lt;br /&gt;
careful, as a corollary, that the contracts for the&lt;br /&gt;
&ordm;nd the legitimate provincial business do not&lt;br /&gt;
C18. SI],&lt;br /&gt;
[The editor thanks the editor of the Era and others for&lt;br /&gt;
kindly supplying some of the data set out in this article.]&lt;br /&gt;
&ndash;OP-e&mdash;4C&mdash;-&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BLACKWOOD&amp;#039;S,&lt;br /&gt;
The Names and Source of Chaucer&amp;#039;s &ldquo;Squieres Tale.&rdquo;&lt;br /&gt;
BOOK MONTHLY.&lt;br /&gt;
The Modern Novel. By Violet Hunt; W. H. Chesson ;&lt;br /&gt;
H. G. Wells; Marriott Watson ; W. L. Courtney : James&lt;br /&gt;
Douglas; W. J. Locke ; Winston Churchill (of America);&lt;br /&gt;
C. E. Lawrence; Hubert Bland ; Miss M. P. Willcocks.&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
&ldquo;The Bookman &ordm;&amp;#039; Portrait Gallery : Mrs. Alfred Sidgwick,&lt;br /&gt;
Sterne. By Prof. Saintsbury.&lt;br /&gt;
G. K. Chesterton. By Henry Murray.&lt;br /&gt;
CONTEMPORARY,&lt;br /&gt;
Melchior de Vog&uuml;&eacute;. By Edmund Gosse.&lt;br /&gt;
Modern Russian Literature.&lt;br /&gt;
ENGLISH REVIEW.&lt;br /&gt;
The Earlier Plays of Beaumont and Fletcher. By&lt;br /&gt;
Algernon Charles Swinburne. e&lt;br /&gt;
The Women of Shakespeare. By Frank Harris.&lt;br /&gt;
Jean Mor&eacute;as. By Lalla Vandervelde.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The King Without Peer. By William Watson.&lt;br /&gt;
Jules Clar&eacute;tie. By Frederick Lawton.&lt;br /&gt;
The American Cheap Magazine. By William Archer,&lt;br /&gt;
NATIONAL.&lt;br /&gt;
* Expert&rdquo; and Performer. By Sir Wm. Richmond,&lt;br /&gt;
K.C.B.&lt;br /&gt;
NINETEENTH CENTURY.&lt;br /&gt;
Shakespeare in Warwickshire. By Rose Kingsley.&lt;br /&gt;
From Art to Social Reform : Ruskin&rsquo;s &ldquo;Nature of&lt;br /&gt;
Gothic.&rdquo; By Wm. Scott Durrant.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#650) ################################################&lt;br /&gt;
&lt;br /&gt;
244&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
The&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
. . . OF BOOKS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash; - *...&amp;quot;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author. -&lt;br /&gt;
&ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights. -&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor | -&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
what the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author. -&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash; -&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General. -&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author,&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
DO &euro;2, D.S.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;o&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EWER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with any one except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#651) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
245&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
S forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
DRAMATIC AUTHORS AND AGENTs.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
RAMATIC authors should seek the advice of the&lt;br /&gt;
Society before putting plays into the hands of&lt;br /&gt;
agents. As the law stands at present, an agent&lt;br /&gt;
who has once had a play in his hands may acquire a&lt;br /&gt;
perpetual claim to a percentage on the author&amp;#039;s fees&lt;br /&gt;
from it. As far as the placing of plays is concerned,&lt;br /&gt;
it may be taken as a general rule that there are only&lt;br /&gt;
very few agents who can do anything for an author&lt;br /&gt;
that he cannot, under the guidance of the Society, do&lt;br /&gt;
equally well or better for himself. The collection of fees&lt;br /&gt;
is also a matter in which in many cases no intermediary is&lt;br /&gt;
required. For certain purposes, such as the collection of&lt;br /&gt;
fees on amateur performances, and in general the trans-&lt;br /&gt;
action of frequent petty authorisations with different&lt;br /&gt;
individuals, and also for the collection of fees in foreign&lt;br /&gt;
Countries, almost all dramatic authors employ agents; and&lt;br /&gt;
in these ways the services of agents are real and valuable.&lt;br /&gt;
But the Society warns authors against agents who profess&lt;br /&gt;
to have influence with managers in the placing of plays, or&lt;br /&gt;
who propose to act as principals by offering to purchase&lt;br /&gt;
the author&amp;#039;s rights. In any case, in the present state of&lt;br /&gt;
the law, an agent should not be employed under any&lt;br /&gt;
circumstances without an agreement approved of by the&lt;br /&gt;
Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works.&lt;br /&gt;
Readers are writers of competence and experience.&lt;br /&gt;
&amp;amp; e The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;t&mdash;&ordm;-t&mdash;&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smiths Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#652) ################################################&lt;br /&gt;
&lt;br /&gt;
246&lt;br /&gt;
TISIE AUTHOR.&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HIS MAJESTY KING EDWARD VII.&lt;br /&gt;
WE record, with great sorrow, the death of His&lt;br /&gt;
Majesty King Edward the Seventh. Though some&lt;br /&gt;
time after the event, this is the first opportunity&lt;br /&gt;
we have had of expressing our sympathy with the&lt;br /&gt;
Royal Family.&lt;br /&gt;
We are glad to remember that one of the first&lt;br /&gt;
Members of the Order of Merit founded by His&lt;br /&gt;
Majesty was our late President, Mr. George&lt;br /&gt;
Meredith, and that, among others, The Right&lt;br /&gt;
Hon. James Bryce, P.C., a member of the&lt;br /&gt;
society&rsquo;s council, was also appointed to that&lt;br /&gt;
distinguished Order.&lt;br /&gt;
a---&lt;br /&gt;
IN MEMORIAM.&lt;br /&gt;
(Friday, May 20, 1910.)&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
(Printed with the permission of the Author, and the&lt;br /&gt;
Editor of the Times.)&lt;br /&gt;
He that was King an hour ago&lt;br /&gt;
Is King no more ; and we that bend&lt;br /&gt;
Beside the bier too surely know&lt;br /&gt;
We lose a Friend.&lt;br /&gt;
His was no &ldquo;blood-and-iron &amp;quot; blend&lt;br /&gt;
To write in tears a ruthless reign :&lt;br /&gt;
Rather he strove to make an end&lt;br /&gt;
Of strife and pain.&lt;br /&gt;
Rather he strove to heal again&lt;br /&gt;
The half-healed wound, to hide the scar,&lt;br /&gt;
To purge away the lingering stain&lt;br /&gt;
Of racial War.&lt;br /&gt;
Thus, though no trophies deck his car&lt;br /&gt;
Of captured guns or banners torn,&lt;br /&gt;
Men hailed him as they hail a star&lt;br /&gt;
That comes with morn;&lt;br /&gt;
A star of brotherhood, not Scorn,&lt;br /&gt;
A morn of loosing and release,&lt;br /&gt;
A fruitful time of oil and corn,--&lt;br /&gt;
An Age of Peace&lt;br /&gt;
Sleep then, O Dead beloved and sleep&lt;br /&gt;
As one who, when his course is run,&lt;br /&gt;
May yet, in slumber, memory keep&lt;br /&gt;
Of duty done ;-&lt;br /&gt;
Sleep then, our England&amp;#039;s King, as one&lt;br /&gt;
Who knows the lofty aim and pure,&lt;br /&gt;
Beyond all din of battles won,&lt;br /&gt;
Must still endure.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
THE SOCIETY&amp;#039;s DINNER.&lt;br /&gt;
OWING to the death of His Majesty King Edward&lt;br /&gt;
the Seventh, it has been decided to postpone the&lt;br /&gt;
dinner of the Society of Authors, which was to&lt;br /&gt;
have taken place on June 9.&lt;br /&gt;
The dinner will, most probably, be held in the&lt;br /&gt;
autumn, but formal notice will be sent round,&lt;br /&gt;
under the authority of the Committee, when the&lt;br /&gt;
date has been settled.&lt;br /&gt;
*--msmas&lt;br /&gt;
To DRAMATISTS.&lt;br /&gt;
MEMBERS of the society will have received a&lt;br /&gt;
circular respecting a list of dramatic authors&lt;br /&gt;
which it is proposed to keep at the society&rsquo;s&lt;br /&gt;
office. So far, the number of answers to the&lt;br /&gt;
questions contained in that circular have been&lt;br /&gt;
very satisfactory, and we hope this shows the&lt;br /&gt;
interest that members are taking in the work of&lt;br /&gt;
the Committee. - -&lt;br /&gt;
There are, no doubt, many members, not dramatic&lt;br /&gt;
authors, who have neglected to answer the circular,&lt;br /&gt;
and others, dramatic authors, who have thought&lt;br /&gt;
an answer unnecessary. 760 answers have been&lt;br /&gt;
received ; of these 220 are from dramatic authors&lt;br /&gt;
whose plays have been publicly performed, and 40&lt;br /&gt;
from those who have written plays but have not&lt;br /&gt;
had a public performance. The remainder do not&lt;br /&gt;
claim to rank as dramatic authors.&lt;br /&gt;
It will add to the usefulness of the list in future&lt;br /&gt;
if those who enter the ranks of dramatic authors&lt;br /&gt;
will acquaint the secretary as soon as they produce&lt;br /&gt;
a play or enter into a contract for production.&lt;br /&gt;
Their names can then be enrolled on the Dramatic&lt;br /&gt;
Register, which is being kept at the office for the&lt;br /&gt;
purpose mentioned in the circular, viz., that in case&lt;br /&gt;
any important question should arise affecting&lt;br /&gt;
dramatic authors only, it may be possible to&lt;br /&gt;
summon together that section of the society.&lt;br /&gt;
COPYRIGHT CASES.&lt;br /&gt;
WE have once again to express our appreciation&lt;br /&gt;
of the courtesy of the Publishers&rsquo; Associatoin in&lt;br /&gt;
forwarding us the Copyright Cases for 1909, by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#653) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
247&lt;br /&gt;
E. J. MacGillivray, a book which is published&lt;br /&gt;
by the Association for private circulation to its&lt;br /&gt;
members.&lt;br /&gt;
From the point of view of the man interested in&lt;br /&gt;
Copyright this is one of the most useful productions&lt;br /&gt;
of the year. In his introduction Mr. MacGillivray&lt;br /&gt;
comments on the case of Scholz v. &ldquo;Amasis,&rdquo; and&lt;br /&gt;
draws attention to the obiter dicta of the Court in&lt;br /&gt;
regard to dramatic infringement, and makes a few&lt;br /&gt;
critical remarks on the other important cases.&lt;br /&gt;
The cases themselves are carefully and clearly&lt;br /&gt;
summarised, as we should expect from one of the&lt;br /&gt;
best authorities now writing on copyright law.&lt;br /&gt;
IMPERIAL COPYRIGHT.&lt;br /&gt;
THE Imperial Copyright Conference has just&lt;br /&gt;
been sitting, and we have much pleasure in giving&lt;br /&gt;
the list of members, with the countries and offices&lt;br /&gt;
they represent.&lt;br /&gt;
We sincerely hope that the deliberations of this&lt;br /&gt;
conference may bring about a practical issue in the&lt;br /&gt;
matter of copyright legislation :-The Right.&lt;br /&gt;
Honourable Sydney Buxton, M.P., Sir Hubert&lt;br /&gt;
Llewellyn Smith, K.C.B., G. R. Askwith, Esq.,&lt;br /&gt;
C.B., K.C. (Board of Trade); W. Temple-Franks,&lt;br /&gt;
Esq. (Patent Office); F. F. Liddell, Esq. (Office&lt;br /&gt;
of Parliamentary Counsel); H. W. Just, Esq.,&lt;br /&gt;
C.B., C.M.G. (Colonial Office); Algernon Law,&lt;br /&gt;
Esq., C.B. (Foreign Office); Sir Thomas Raleigh,&lt;br /&gt;
K.C.S.I. (Member of the Council of India),&lt;br /&gt;
Artillery Mansions, Victoria Street ; The Honour-&lt;br /&gt;
able Sydney Fisher, Hotel Metropole ; P. E.&lt;br /&gt;
Ritchie, Esq., Hotel Metropole (Canada); The&lt;br /&gt;
Right Honourable Lord Tennyson, Aldworth,&lt;br /&gt;
Haslemere (Australia); The Honourable Sir&lt;br /&gt;
R. Solomon, K.C.B., etc., 72, Victoria Street, S.W.&lt;br /&gt;
(South Africa); The Honourable W. Hall Jones,&lt;br /&gt;
13, Victoria Street, S.W. (New Zealand); The&lt;br /&gt;
Honourable Sir E. Morris, K.C., Strand Palace&lt;br /&gt;
Hotel, W.C. (Newfoundland). Joint secretaries:&ndash;&lt;br /&gt;
A. B. Keith, Esq. (Colonial Office), T. W. Phillips.&lt;br /&gt;
Esq. (Board of Trade).&lt;br /&gt;
THE PUBLISHERS, CIRCLE Book TRADE&lt;br /&gt;
DINNER.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE second Book Trade Dinner organised by&lt;br /&gt;
the Publishers&rsquo; Circle, which took place on&lt;br /&gt;
April 13, Was an even greater success&lt;br /&gt;
than the first one held eighteen months before.&lt;br /&gt;
There were not so many present, but the numbers&lt;br /&gt;
had been purposely kept down, and only the&lt;br /&gt;
principals of publishing houses were invited to&lt;br /&gt;
come. Every firm of repute was represented by&lt;br /&gt;
one or more of its members, except in one or two&lt;br /&gt;
instances, where letters of regret were received from&lt;br /&gt;
publishers who were unavoidably absent. Most of&lt;br /&gt;
the Well-known names among booksellers also&lt;br /&gt;
appeared on the table plan, some of those present&lt;br /&gt;
halling from the Far North. Altogether nearly&lt;br /&gt;
two hundred sat down&mdash;a very comfortable number,&lt;br /&gt;
Which gave more elbow-room than was available&lt;br /&gt;
When less rigid limitations prevailed.&lt;br /&gt;
Although the presence of authors was confined&lt;br /&gt;
to those who had received invitations from the&lt;br /&gt;
members of the Publishers&amp;#039; Circle, there was a&lt;br /&gt;
goodly and representative array of literature,&lt;br /&gt;
amongst which one noticed : Anthony Hope,&lt;br /&gt;
W. W. Jacobs, A. E. W. Mason, Dion Clayton&lt;br /&gt;
Calthrop, Douglas Sladen, Max Pemberton, Alfred&lt;br /&gt;
Noyes, and Prince Antomi Biberco.&lt;br /&gt;
The guests of the committee were few in number,&lt;br /&gt;
among them being our own chairman, Mr. Maurice&lt;br /&gt;
Hewlett, representing the society; Dr. F. G.&lt;br /&gt;
Kenyon, of the British Museum ; and Mr. K. J.&lt;br /&gt;
Bohlin, who came all the way from Stockholm to&lt;br /&gt;
represent the publishers of the Continent.&lt;br /&gt;
Mr. George Wyndham, the guest of the evening,&lt;br /&gt;
gave the toast of &ldquo;Literature * in an eloquent&lt;br /&gt;
speech, and Mr. Anthony Hope Hawkins, our&lt;br /&gt;
ex-chairman, responded. Then came Mr. Arthur&lt;br /&gt;
Waugh&mdash;publisher and man of letters&mdash;the chair-&lt;br /&gt;
man of the Circle, who, in a vigorous speech, pro-&lt;br /&gt;
posed the health of the &ldquo;Book Trade,&rdquo; coupling&lt;br /&gt;
with the toast the names of a publisher and a book-&lt;br /&gt;
seller. To this Mr. John Murray and Mr. D. J.&lt;br /&gt;
Knox, of Glasgow, responded, All the speeches&lt;br /&gt;
were of more than usual interest. That by Mr.&lt;br /&gt;
Knox met with special favour, especially from the&lt;br /&gt;
bookselling section of his audience.&lt;br /&gt;
After dinner the company adjourned to another&lt;br /&gt;
room for further refreshment and conversation.&lt;br /&gt;
The latter was kept up till nearly midnight&mdash;a&lt;br /&gt;
fact more eloquent of the success of the evening&lt;br /&gt;
than anything we can say. It was quite evident&lt;br /&gt;
everyone thoroughly enjoyed himself and appre-&lt;br /&gt;
ciated the efforts of the Publishers&amp;#039; Circle to&lt;br /&gt;
provide an evening&amp;#039;s pleasure to a distinguished&lt;br /&gt;
gathering of congenial spirits. For our own&lt;br /&gt;
part, We feel certain that these occasions, when&lt;br /&gt;
creator, producer, and distributor meet together&lt;br /&gt;
in friendly and convivial concert, are all for the&lt;br /&gt;
good, and we trust the Circle will continue to&lt;br /&gt;
Organise, if not every year, at least once in two.&lt;br /&gt;
years, a social function of this kind.&lt;br /&gt;
In fact, already there are signs of activity in&lt;br /&gt;
this direction, and before this number is issued&lt;br /&gt;
authors and publishers will have once more met,&lt;br /&gt;
but this time in friendly rivalry at Lord&amp;#039;s, where it&lt;br /&gt;
is hoped the spectators (notwithstanding Derby&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#654) ################################################&lt;br /&gt;
&lt;br /&gt;
248&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
Day) will outnumber the players, and include lady&lt;br /&gt;
authors and the wives and daughters of their&lt;br /&gt;
publishers.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE EDITORIAL ATTITUDE.&lt;br /&gt;
BY ANOTHER EDITOR.&lt;br /&gt;
N the May number of this magazine an editor&lt;br /&gt;
I gave away his profession by writing without&lt;br /&gt;
thought and judgment on the present subject.&lt;br /&gt;
His &ldquo;editorial experience of eighteen years&rdquo; has&lt;br /&gt;
not taught him to think clearly. &ldquo;Last week,&rdquo; he&lt;br /&gt;
ventures to confess, &ldquo;I rejected an excellent story&lt;br /&gt;
dealing with a high-born chauffeur who won the&lt;br /&gt;
heart of his parvenu employer&amp;#039;s daughter. The&lt;br /&gt;
theme is not particularly novel&mdash;if only themes for&lt;br /&gt;
novels were novel themes, how happy the lot of the&lt;br /&gt;
poor editor &mdash;but the story was a good one. I&lt;br /&gt;
refused it because only the preceding week I had&lt;br /&gt;
accepted a story, not quite so well written, on the&lt;br /&gt;
same lines. The MS. went back with the usual&lt;br /&gt;
printed form ; I gave no reasons for rejection.&lt;br /&gt;
Why should I ?&rdquo;&lt;br /&gt;
It is like a tale told by a schoolboy. Here is an&lt;br /&gt;
editor who refuses &ldquo;an excellent story&rdquo; on a theme&lt;br /&gt;
&ldquo;not particularly novel&rdquo;; but why did he, in the&lt;br /&gt;
preceding week, accept an inferior story on a theme&lt;br /&gt;
not particularly novel ? Did he suppose that his&lt;br /&gt;
reading public would not like two versions of the&lt;br /&gt;
same subject-matter 2 If so, can he explain why&lt;br /&gt;
the British people are loyal to old ideas in&lt;br /&gt;
popular amusements 2 The public, unlike that&lt;br /&gt;
hurried editor, can appreciate many yarns on the&lt;br /&gt;
same subject-matter, just as it can like and trust&lt;br /&gt;
many politicians in the same party. But there is,&lt;br /&gt;
unfortunately, among all magazine editors, an&lt;br /&gt;
inability to distinguish between &ldquo;novel subject-&lt;br /&gt;
matter&rdquo; and &ldquo;novel subjects.&rdquo;&lt;br /&gt;
Goethe said that the first&mdash;new subject-matter&lt;br /&gt;
&mdash;did not exist; and when he passed from plate&lt;br /&gt;
to plate in an illustrated Shakespeare, he added&lt;br /&gt;
that this one poet had discovered and made real all&lt;br /&gt;
that was most dramatic in human character and&lt;br /&gt;
action. A chauffeur, considered as man, is in no&lt;br /&gt;
way more interesting or more useful in a story than&lt;br /&gt;
a postboy of ancient Rome would be ; and a motor&lt;br /&gt;
car, considered as a detail in subject-matter, is not&lt;br /&gt;
a whit more attractive than one of those British&lt;br /&gt;
war-chariots that astonished Julius Caesar. Maga-&lt;br /&gt;
zine editors will now lift us into the air with flying&lt;br /&gt;
men, and will claim for each of their stories a new&lt;br /&gt;
Subject, just because the chauffeur on land is dis-&lt;br /&gt;
placed by a motor-driver in the air. Mere varia-&lt;br /&gt;
tions of subject-matter is to the magazine editor&lt;br /&gt;
a new subject. He is quite unaware of the&lt;br /&gt;
essential fact that subject is an artistic general&lt;br /&gt;
effect achieved by an uncommon treatment of&lt;br /&gt;
subject-matter. One important part of that&lt;br /&gt;
achievement is individuality of style arising from&lt;br /&gt;
self-confidence and from a varied intercourse with&lt;br /&gt;
society and affairs. Experience of life has never&lt;br /&gt;
precisely the same effect on any two minds and&lt;br /&gt;
characters, and the business of every writer is to&lt;br /&gt;
employ his own impressions of life, not only with-&lt;br /&gt;
out hesitation but with all the art of which he is&lt;br /&gt;
master. In this way alone he can arrive at new&lt;br /&gt;
subjects&mdash;his own subjects&mdash;by a selection and&lt;br /&gt;
treatment of material belonging to all the world.&lt;br /&gt;
Subject, then, being a totality of effect in art, a&lt;br /&gt;
chauffeur and &ldquo;his parvenu employer&amp;#039;s daughter&amp;quot;&lt;br /&gt;
may be used in one story with disastrous failure,&lt;br /&gt;
and in a hundred others with complete success.&lt;br /&gt;
That depends on the handling of his chosen&lt;br /&gt;
theme. But questions of this kind are too difficult&lt;br /&gt;
for editors of popular magazines. They refuse an&lt;br /&gt;
&ldquo;excellent story&rdquo; because they have already accepted&lt;br /&gt;
one &ldquo;On the same lines, not so well written,&rdquo; and&lt;br /&gt;
therefore inferior.&lt;br /&gt;
But when an indiscreet man enters the con-&lt;br /&gt;
fessional of his own accord and for the sake of his&lt;br /&gt;
peace of mind, he is sure to pass from one trans- .&lt;br /&gt;
gression to another ; he has many things to say&lt;br /&gt;
against himself, and they all come out. That&lt;br /&gt;
editor, for instance, having refused an excellent&lt;br /&gt;
story, returned the MS. &ldquo;with the usual printed&lt;br /&gt;
form.&rdquo; ; he &ldquo;gave no reasons for rejection.&rdquo; &ldquo;Why&lt;br /&gt;
should I ?&rdquo; he asks. Because, my good sir, it has&lt;br /&gt;
been your privilege to read an excellent story, and&lt;br /&gt;
editors should be courteous to contributors. It is&lt;br /&gt;
with stories, good or bad, accepted by yourself, that&lt;br /&gt;
your magazine grows rich or poor; the writers to&lt;br /&gt;
Whom you send printed slips cannot know what&lt;br /&gt;
you think of their work; and this throws a chill&lt;br /&gt;
on their courage. Do you suppose that soldiers&lt;br /&gt;
would take much interest in rifle-shooting if their&lt;br /&gt;
hits were never recorded ? Contributors send you&lt;br /&gt;
sighting shots to find out the way of the wind,&lt;br /&gt;
and you decline to show your disks. You don&amp;#039;t&lt;br /&gt;
wish to be bothered.&lt;br /&gt;
From first to last your article is full of absurdi-&lt;br /&gt;
ties. You &ldquo;claim that the magazine writer does&lt;br /&gt;
get his money when it is due, i.e., when his work&lt;br /&gt;
is published.&rdquo; If you forget to eat your meat and&lt;br /&gt;
bread, do you decline to pay your butcher and&lt;br /&gt;
baker 2 If you cannot make use of stories and&lt;br /&gt;
articles why do you accept them and keep them 2&lt;br /&gt;
The author has done his work, as you do yours;&lt;br /&gt;
and you have taken his work in a way of business.&lt;br /&gt;
Yet you are paid regularly for your labours, while&lt;br /&gt;
he has to wait for his money until you publish his&lt;br /&gt;
copy. Suppose a cabinet-maker were to say to his&lt;br /&gt;
staff, &ldquo;Your work is not completed until I sell the&lt;br /&gt;
things you make for me, and So I can&rsquo;t pay you at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#655) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTHOR.&lt;br /&gt;
249&lt;br /&gt;
present ; your wages are not yet due.&rdquo; This wild&lt;br /&gt;
argument would breed a revolution if it were&lt;br /&gt;
enforced in any business except that of the literary&lt;br /&gt;
life. All the trade unions would go on strike, and&lt;br /&gt;
every newspaper in the kingdom would be on their&lt;br /&gt;
side.&lt;br /&gt;
It is astonishing that an editor with an experi-&lt;br /&gt;
ence of eighteen years should be unable to speak&lt;br /&gt;
of his contributors without showing a routine&lt;br /&gt;
of injustice.&lt;br /&gt;
&ldquo;After all,&rdquo; the indiscretions run on, &ldquo;the&lt;br /&gt;
editor is more useful to the author than the latter&lt;br /&gt;
is to the former.&rdquo; Indeed . Unless editors fill&lt;br /&gt;
their magazines with their own copy, they must&lt;br /&gt;
needs be dependent on paid contributors; and&lt;br /&gt;
to equal the contributors an editor must write as&lt;br /&gt;
well as they do.&lt;br /&gt;
&ldquo;An editor could always fill his journal by&lt;br /&gt;
commissioning writers of proved merit,&rdquo; we are&lt;br /&gt;
told ; and he could fill a cup by pouring tea into&lt;br /&gt;
it, I daresay. The unknown writer gets a chance&lt;br /&gt;
with magazine editors only because &ldquo;the writers&lt;br /&gt;
of proved merit &rsquo;&rsquo; are able to ask terms that upset&lt;br /&gt;
a balance sheet, annoying the proprietors. More-&lt;br /&gt;
over, the public has no dislike for new recruits in&lt;br /&gt;
magazine literature ; it welcomes them, as it does&lt;br /&gt;
good acting from an understudy. One magazine&lt;br /&gt;
of to-day has earned a world-wide reputation by&lt;br /&gt;
hunting after new-comers in the fine arts. The&lt;br /&gt;
young generation must be treated with fairness ;&lt;br /&gt;
and to think of it properly is the duty of all&lt;br /&gt;
editors.&lt;br /&gt;
Some young writers, with a just spirit, have&lt;br /&gt;
related their own personal experiences in The&lt;br /&gt;
Author. By this means a defensive temper of&lt;br /&gt;
unionism will be encouraged among them, not&lt;br /&gt;
without benefit to many conductors of magazines;&lt;br /&gt;
but there are editors who do not wish to improve&lt;br /&gt;
their routine, and cry out in anger against truth-&lt;br /&gt;
telling. One of them, for example, in that article&lt;br /&gt;
on &ldquo;The Editorial Attitude,&rdquo; complains bitterly&lt;br /&gt;
of &ldquo;the continual unjust and ignorant diatribes&lt;br /&gt;
of those who wish to have their contributions&lt;br /&gt;
accepted by editors, and who use The Author as&lt;br /&gt;
a vent to their disappointment.&rdquo; Talk of this&lt;br /&gt;
kind is childish ; for if the copy published month&lt;br /&gt;
by month in our magazines really is the best that&lt;br /&gt;
editors can choose and the public will accept, then&lt;br /&gt;
Great Britain and her authors are in a decadent&lt;br /&gt;
plight. But the truth is that magazine conductors&lt;br /&gt;
despise the public and fear those very qualities&lt;br /&gt;
that give distinction and personality to the work&lt;br /&gt;
of writers. Many excellent things are rejected&lt;br /&gt;
only because the British people are scorned by&lt;br /&gt;
editors. A little time ago a friend of mine pub-&lt;br /&gt;
lished a charming story that made a hit, and he&lt;br /&gt;
said to me : &ldquo;Well, it went the round of all the&lt;br /&gt;
popular magazines. None would take it.&rdquo; Just&lt;br /&gt;
SO. That is a common experience ; and it accounts&lt;br /&gt;
for the fact that writers of known name, unless&lt;br /&gt;
they are in urgent need of money, decline to write&lt;br /&gt;
On approval for the magazines.&lt;br /&gt;
&ldquo;There are too many authors,&rdquo; we are told, &ldquo; and&lt;br /&gt;
many of them would do better at French gardening&lt;br /&gt;
&mdash;or paper-making.&rdquo; Editors and publishers had&lt;br /&gt;
a very similar opinion of Carlyle when he tried to&lt;br /&gt;
find a market for &ldquo;The French Revolution.&rdquo; &ldquo;I&lt;br /&gt;
fear Carlyle will not do,&rdquo; Jeffrey wrote in 1832;&lt;br /&gt;
&ldquo; that is, if you do not take the liberties and the&lt;br /&gt;
pains with him that I did, by striking out freely,&lt;br /&gt;
and writing in occasionally.&rdquo; Think of that In&lt;br /&gt;
the previous year Carlyle wrote to Mr. Napier,&lt;br /&gt;
Jeffrey&amp;#039;s successor : &ldquo;All manner of perplexities&lt;br /&gt;
have occurred in the publishing of my poor book,&lt;br /&gt;
which perplexities I could only cut asunder, not&lt;br /&gt;
unloose ; so the MS. like an unhappy ghost still&lt;br /&gt;
lingers on the wrong side of Styx. . . . I have&lt;br /&gt;
given up the motion of hawking my little manu-&lt;br /&gt;
Script book about any further ; for a long time it&lt;br /&gt;
has lain quiet in its drawer, waiting for a better&lt;br /&gt;
day.&rdquo; And where now are the business men who&lt;br /&gt;
scoffed at the History of the French Revolution ?&lt;br /&gt;
Are they lingering on the wrong side of Styx P&lt;br /&gt;
Oh, brother editors, be careful and be wise in&lt;br /&gt;
modesty Your judgment is very fallible ; your&lt;br /&gt;
routine is very deadening ; you cannot afford to&lt;br /&gt;
advertise a contempt for the youth of new effort&lt;br /&gt;
pleading at your doors.&lt;br /&gt;
II.&lt;br /&gt;
WE desire to make some remarks on the article&lt;br /&gt;
in the last issue of The Author entitled &ldquo;The&lt;br /&gt;
Editorial Attitude.&rdquo; Several members of the&lt;br /&gt;
society have written on the subject, and with&lt;br /&gt;
pleasure we print an article by an editor. There is&lt;br /&gt;
no need to multiply examples, but we thank those&lt;br /&gt;
for writing on the subject. Our correspondents&lt;br /&gt;
pick out the same points, and deal with the&lt;br /&gt;
editorial attitude on very much the same lines,&lt;br /&gt;
sometimes with more sometimes with less vigour.&lt;br /&gt;
The writer asks: &ldquo;Why in the name of all that&lt;br /&gt;
is businesslike should an editor acknowledge the&lt;br /&gt;
receipt of contributions It would be sheer waste&lt;br /&gt;
of time and of the proprietor&amp;#039;s stamps. Even if&lt;br /&gt;
the precious MS. has been lost in the post, what&lt;br /&gt;
has that to do with the editor 2 &rdquo;&lt;br /&gt;
There appear to be two reasons why editors&lt;br /&gt;
should acknowledge the receipt of MSS. The&lt;br /&gt;
first because it is courteous, and the second&lt;br /&gt;
because it is businesslike. No one desires to hold&lt;br /&gt;
an editor responsible for MSS. lost by the postal&lt;br /&gt;
authorities, but for MSS. lost by his neglect in his&lt;br /&gt;
office he must be held responsible, in spite of the&lt;br /&gt;
disclaimers which so many editors are fond of&lt;br /&gt;
publishing in their papers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#656) ################################################&lt;br /&gt;
&lt;br /&gt;
250&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Indeed, the editorial position of trust is very&lt;br /&gt;
closely connected with another question which is&lt;br /&gt;
put forward in the same article. We quote the&lt;br /&gt;
writer&amp;#039;s words: &ldquo;After all, the editor is more&lt;br /&gt;
useful to the author than the latter is to the&lt;br /&gt;
former. An editor can always fill his journal by&lt;br /&gt;
commissioning writers of proved merit.&rdquo;&lt;br /&gt;
This statement is entirely contrary to fact and&lt;br /&gt;
to custom. The editor, from his position, invites&lt;br /&gt;
contributions from all authors. The reason that&lt;br /&gt;
he does not commission articles from writers of&lt;br /&gt;
proved merit is self-evident. Writers of proved&lt;br /&gt;
merit demand large fees which the editor, desiring&lt;br /&gt;
to run his magazine as cheaply as possible, is&lt;br /&gt;
indisposed to pay. In consequence, although the&lt;br /&gt;
editor may order an article from a writer of proved&lt;br /&gt;
merit with the object of drawing a certain public,&lt;br /&gt;
no editor fills his magazine with such articles. It&lt;br /&gt;
seems, therefore, necessary to repeat that, as a&lt;br /&gt;
matter of courtesy no less than as a matter of&lt;br /&gt;
business, editors should acknowledge the receipt&lt;br /&gt;
of MSS. It is because of this lack of business&lt;br /&gt;
methods that so many disputes arise between&lt;br /&gt;
editors and contributors.&lt;br /&gt;
The final point to which attention should be&lt;br /&gt;
drawn is the money question. In discussing this&lt;br /&gt;
matter the editor seems to be utterly wrong. The&lt;br /&gt;
editor remarks that the money is only due when&lt;br /&gt;
the work is published. It would be much better&lt;br /&gt;
if contracts for literary work provided for payment&lt;br /&gt;
on acceptance. It would be better for the maga-&lt;br /&gt;
zine, it would simplify the business of the office,&lt;br /&gt;
and would prevent many disagreeable disputes.&lt;br /&gt;
We should like to point out that legally the money&lt;br /&gt;
is due when the work is accepted. If a writer&lt;br /&gt;
cares to wait till publication for payment then a&lt;br /&gt;
new term is added to the contract, and not a&lt;br /&gt;
customary term. &ldquo;An Editor &amp;#039;&amp;#039; Scouts the idea&lt;br /&gt;
that authors have to wait for years. From long&lt;br /&gt;
experience at the office of the society we assert&lt;br /&gt;
that the matter is one of constant occurrence.&lt;br /&gt;
We have known some of the most important&lt;br /&gt;
British reviews hold over articles for two, three,&lt;br /&gt;
or even four years before publication. We cannot&lt;br /&gt;
emphasise too strongly that it is important, as&lt;br /&gt;
well as businesslike, to pay for all articles on&lt;br /&gt;
acceptance.&lt;br /&gt;
These points have all to some extent been dealt&lt;br /&gt;
with in article number one, but we desire to add&lt;br /&gt;
this further experience of the editorial attitude.&lt;br /&gt;
G. H. T.&lt;br /&gt;
&copy;&ndash;s&ordm;&lt;br /&gt;
IDEAS, AND HOW TO PROTECT THEM.&lt;br /&gt;
&ndash;0-Q-e-&lt;br /&gt;
BY CRUSADER.&lt;br /&gt;
II.&lt;br /&gt;
recent number of the Referee published some&lt;br /&gt;
remarks on the treatment that writers and&lt;br /&gt;
their ideas often receive from playhouse&lt;br /&gt;
managers. Suppose our society were to advise&lt;br /&gt;
dramatic authors to have nothing to do with a&lt;br /&gt;
given manager. What then It is worth while&lt;br /&gt;
to see what &ldquo;Carados&rdquo; in the Referee has to say in&lt;br /&gt;
answer to that question :-&lt;br /&gt;
&ldquo;That, believe me, would not prevent certain theatrical&lt;br /&gt;
managers from buying outright for a nominal sum of money&lt;br /&gt;
a play by an unknown author who was either too eager for&lt;br /&gt;
production or too hard pressed for cash. Of my own certain&lt;br /&gt;
knowledge, I can speak of more cases than one in which a&lt;br /&gt;
play has been acquired for the price of a song, and not a&lt;br /&gt;
very popular song at that, for the manager has sometimes&lt;br /&gt;
received on account of royalties for American rights a lump&lt;br /&gt;
sum down in advance of ten times the full amount paid to&lt;br /&gt;
the author for all his rights. It is to prevent this sort of&lt;br /&gt;
thing and to obtain fair and honest treatment for the&lt;br /&gt;
struggling dramatist who is not able to protect himself, as&lt;br /&gt;
well as for the successful authors, whose interests, and the&lt;br /&gt;
common interests of the calling, want constantly looking&lt;br /&gt;
after&mdash;it is for such work as this that a Society of Dramatic&lt;br /&gt;
Authors should be established.&rdquo;&lt;br /&gt;
In this short paragraph we get the whole tragedy&lt;br /&gt;
of authorship with its three stereotyped characters.&lt;br /&gt;
First, the young writer with ideas, who, after doing&lt;br /&gt;
good work, has urgent need of money ; next, the&lt;br /&gt;
business shark, who has a rare appetite for young&lt;br /&gt;
men of that type ; and third, the unpractical critic&lt;br /&gt;
armed with a visionary means of killing the shark.&lt;br /&gt;
In this case the justice, swooping to its revenge,&lt;br /&gt;
is a Society of Dramatic Authors&mdash;at present in&lt;br /&gt;
dreamland yet already at variance with the Society&lt;br /&gt;
of Authors, concerning which &ldquo;Carados&rdquo; says:&mdash;&lt;br /&gt;
&ldquo;The Society of Authors, I believe, has of recent years&lt;br /&gt;
extended its sphere of usefulness with particular reference&lt;br /&gt;
to dramatic authors. But what it has accomplished I am&lt;br /&gt;
sure I do not know.&rdquo;&lt;br /&gt;
Yet, it was his business to learn before he ventured&lt;br /&gt;
to write in praise of a rival society. But unprac-&lt;br /&gt;
tical critics are always apt to forget that unity of&lt;br /&gt;
action among authors is essential, and that it cannot&lt;br /&gt;
be got by dividing workmen into small divisions.&lt;br /&gt;
The separated efforts of several little agencies of&lt;br /&gt;
self-defence can never equal the total power of the&lt;br /&gt;
writers of Great Britain acting together for a pur-&lt;br /&gt;
pose at once common and necessary to them all.&lt;br /&gt;
We have had one great writer on work and wages ;&lt;br /&gt;
I refer to the late Professor Thorold Rogers, and I&lt;br /&gt;
wish that many facts in his books were known to&lt;br /&gt;
all authors. It would then be as clear to us as it&lt;br /&gt;
was to him that in the long war which labour has&lt;br /&gt;
to Wage against capital and privilege the principle&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#657) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
251&lt;br /&gt;
of trade unionism must be extended so as to&lt;br /&gt;
embrace every kind of work, asking us to achieve&lt;br /&gt;
the solution of our problems by being loyal to the&lt;br /&gt;
simple motto&mdash;&ldquo;Each for all, all for each.&rdquo;&lt;br /&gt;
That is the ideal. But authors, like artists, as&lt;br /&gt;
Coleridge said, are androgynous by nature, and&lt;br /&gt;
this mixture of female qualities with male is the&lt;br /&gt;
cause of much disunity of action whenever the&lt;br /&gt;
massed discipline of practical warfare becomes&lt;br /&gt;
necessary. I have seen colliers and their families&lt;br /&gt;
strike for weeks because their wages had been&lt;br /&gt;
lowered by five per cent. ; they fought and suffered&lt;br /&gt;
like good soldiers. Would that the same spirit&lt;br /&gt;
were in vogue among writers&lt;br /&gt;
Unfortunately, there&amp;#039;s no end to the caution that&lt;br /&gt;
comes to most authors after undue submission has&lt;br /&gt;
invited further aggression. Legal action is shirked&lt;br /&gt;
at the last moment, lowered prices are accepted&lt;br /&gt;
without a struggle, and the excuse always is the&lt;br /&gt;
same, &ldquo;I can&rsquo;t fight alone. Publishers and editors&lt;br /&gt;
would make a dead set against me, and I should&lt;br /&gt;
be ruined.&rdquo; While this fear exists there will be no&lt;br /&gt;
unity of action. Injustice to one author must be&lt;br /&gt;
followed by a revolt of all his fellows.&lt;br /&gt;
But in what way is this revolt to take place 2&lt;br /&gt;
Given the esprit de corps of trade unionists, there&lt;br /&gt;
would be no difficulty in finding effective ways.&lt;br /&gt;
For example, let us take the present fall in&lt;br /&gt;
magazine rates of payment. In the case of Some&lt;br /&gt;
magazines this cannot be helped, because their&lt;br /&gt;
circulation is small, and, consequently, they don&rsquo;t&lt;br /&gt;
attract advertisers; but in other cases the prices&lt;br /&gt;
paid for copy should go up, not down. Nor is it&lt;br /&gt;
difficult to form a fair working estimate of the&lt;br /&gt;
financial standing of each periodical, because a&lt;br /&gt;
good many data invite public attention. Consider&lt;br /&gt;
these, for instance; -&lt;br /&gt;
(a) The circulation may be judged to-day by the&lt;br /&gt;
number of advertisements ;&lt;br /&gt;
(b) Many advertisements mean a big revenue;&lt;br /&gt;
(c) The capital used during the first three&lt;br /&gt;
months of a year is re-used in the other quarters&lt;br /&gt;
also, so that, when once a magazine has won&lt;br /&gt;
success, the financial outlay is small in comparison&lt;br /&gt;
with its means of gathering profits in four turn-&lt;br /&gt;
overs per annum ; &ordm;:&lt;br /&gt;
(d) And how does a magazine win such a circula-&lt;br /&gt;
tion as advertisers are willing to accept as a&lt;br /&gt;
guarantee of business * This essential work is&lt;br /&gt;
done by authors and maintained by authors. Yet&lt;br /&gt;
we are offered lower prices for Our Work, and if&lt;br /&gt;
need compels us to ask for payment in advance of&lt;br /&gt;
publication, we may invite other aggressions :&lt;br /&gt;
&ldquo;For misery is trodden on by many,&lt;br /&gt;
And being low never relieved by any.&rdquo;&lt;br /&gt;
That is as true now as it was when Shakespeare&lt;br /&gt;
wrote his &ldquo;Venus and Adonis.&rdquo; But since the&lt;br /&gt;
financial position of a magazine is not obscure,&lt;br /&gt;
and since the duty of a magazine to its contribu-&lt;br /&gt;
tors should be insisted upon, how is it that the&lt;br /&gt;
rank and file of authors allow their prices to be&lt;br /&gt;
cut down by wealthy companies 2 A frank and&lt;br /&gt;
fearless trade unionism would soon find out even&lt;br /&gt;
the actual cost of the copy published in a year by&lt;br /&gt;
each periodical, for it would call upon its members&lt;br /&gt;
to state confidentially what they received for their&lt;br /&gt;
stories, and articles, and serials. These data,&lt;br /&gt;
arranged year by year in tables and made known&lt;br /&gt;
to all authors, would put each magazine under&lt;br /&gt;
discipline and cool the ardour of grasping com-&lt;br /&gt;
panies. There is nothing so powerful as detailed&lt;br /&gt;
facts carefully tabulated.&lt;br /&gt;
Recently it came to my knowledge, in a private&lt;br /&gt;
way, that a certain magazine had earned a profit of&lt;br /&gt;
&pound;20,000 in a year. This profit is worth noting&lt;br /&gt;
because it equals an income of 40 per cent. a&lt;br /&gt;
year on a capital of &pound;50,000, and this amount of&lt;br /&gt;
capital is a great deal more than is needed to&lt;br /&gt;
&ldquo;run&rdquo; a popular magazine through the quarterly&lt;br /&gt;
turnover of the same money. It may be doubted,&lt;br /&gt;
I think, whether any magazine uses a working&lt;br /&gt;
capital of &pound;12,000, and when it happens to be&lt;br /&gt;
successful from the first, the cost of launching it&lt;br /&gt;
may be paid off in a year or two, and the profits&lt;br /&gt;
of the next year taken as working capital. But&lt;br /&gt;
the points which authors have to keep constantly&lt;br /&gt;
before their minds are these :&mdash;&lt;br /&gt;
1. That very large fortunes can be made out of&lt;br /&gt;
their work when business speculators collect their&lt;br /&gt;
working capital out of profits and so free their&lt;br /&gt;
own capital for the starting of another paper or&lt;br /&gt;
periodical.&lt;br /&gt;
2. However great the success may be, it is won&lt;br /&gt;
and maintained by those whose copy is published&lt;br /&gt;
month by month, or week by week. It is they&lt;br /&gt;
who attract the public and turn a weekly or a&lt;br /&gt;
monthly into a good field for advertisers, so that&lt;br /&gt;
the rate of payment for contributors should be just&lt;br /&gt;
and businesslike, not starved, and pinched, and&lt;br /&gt;
sweated.&lt;br /&gt;
Yet there are writers on literature who fail to&lt;br /&gt;
understand these quite simple and evident matters&lt;br /&gt;
of common sense. Not long ago, in a Birmingham&lt;br /&gt;
paper, I came upon an article from which a short&lt;br /&gt;
quotation may be given here as an example of&lt;br /&gt;
wrongheaded leadership &mdash;&lt;br /&gt;
&ldquo;The magazine competes at an advantage with&lt;br /&gt;
the ordinary novel for the simple but very powerful&lt;br /&gt;
reason that it offers the purchaser a vast deal more&lt;br /&gt;
for his money. It can do that, and it can provide&lt;br /&gt;
tales which bear the names of the most popular&lt;br /&gt;
authors of the day, simply and solely because of the&lt;br /&gt;
big revenue it draws from advertisers. Whereas&lt;br /&gt;
the ordinary novel represents&mdash;or should represent&lt;br /&gt;
&mdash;literature marketed upon its merits, the Ordinary&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#658) ################################################&lt;br /&gt;
&lt;br /&gt;
252&lt;br /&gt;
TISIES A UTISTOR.&lt;br /&gt;
magazine which specialises in fiction represents litera-&lt;br /&gt;
łure subsidised out of the profits of commerce. The&lt;br /&gt;
magazine publisher is a shrewd practitioner of the&lt;br /&gt;
bounty system.&rdquo;&lt;br /&gt;
Was there ever in this world such nonsense 2&lt;br /&gt;
And why is it that critics of books like to write of&lt;br /&gt;
practical matters a long way outside their experience&lt;br /&gt;
and knowledge P. In that quotation we are told&lt;br /&gt;
that magazine writers are &ldquo;subsidised &amp;quot; out of the&lt;br /&gt;
profits of advertisements, and that magazine pub-&lt;br /&gt;
lishers practise the bounty system | What next,&lt;br /&gt;
please ? If that forlorn critic, an outsider in&lt;br /&gt;
practical publishing, were to try to set on foot a&lt;br /&gt;
new magazine, he would soon write in a very&lt;br /&gt;
different way. After appealing for support to&lt;br /&gt;
advertisers, he would learn that tradesmen before&lt;br /&gt;
they advertise want to know what circulation their&lt;br /&gt;
self praise will have. &ldquo;Is your magazine popular?&rdquo;&lt;br /&gt;
they ask. &ldquo;How many copies are sold month by&lt;br /&gt;
month, and are the sales rising or falling 2 &ordm;&rsquo; And&lt;br /&gt;
these questions mean : &ldquo;Is your literary matter&lt;br /&gt;
accepted by the public P If so, to what extent 2&lt;br /&gt;
People don&rsquo;t buy magazines because of their&lt;br /&gt;
advertisements, but read an uncertain percentage&lt;br /&gt;
of advertisements because they are bound up with&lt;br /&gt;
an appealing kind of literature that they wish to&lt;br /&gt;
have every month, or week, or fortnight.&rdquo; If&lt;br /&gt;
there is any subsidising at all in this affair of busi-&lt;br /&gt;
ness it is the contributor who, by his continued&lt;br /&gt;
success in pleasing the public, subsidises the&lt;br /&gt;
advertiser who cannot win for himself, however&lt;br /&gt;
skilfully his self-praise may be written, a large&lt;br /&gt;
public ever willing to buy announcements of trade&lt;br /&gt;
speculations. Magazine publishers and their&lt;br /&gt;
advertisers are clearly and inevitably dependent&lt;br /&gt;
on the literary contributors. Yet it is always the&lt;br /&gt;
contributors who are treated as if they were Dr.&lt;br /&gt;
Johnsons waiting for a charitable and long-delayed&lt;br /&gt;
patronage from a very protean type of Lord&lt;br /&gt;
Chesterfield.&lt;br /&gt;
A quite wonderful amount of courteous diplomacy&lt;br /&gt;
is spent day by day on efforts to soothe the whims&lt;br /&gt;
of advertisers, while contributors are told bluntly&lt;br /&gt;
that they must mind their p&rsquo;s and q&rsquo;s. Sometimes&lt;br /&gt;
they are warned that rejected copy is not returned;&lt;br /&gt;
in haughty tones they are ordered to have their&lt;br /&gt;
work typewritten, and to send stamped and&lt;br /&gt;
addressed envelopes ; and every now and again&lt;br /&gt;
some magazine publisher, falling from his lofty&lt;br /&gt;
self-assurance, pleads for support from budding&lt;br /&gt;
amateurs. Then his tone becomes as follows:&ndash;&lt;br /&gt;
&ldquo;The first month of a new year is a favourable&lt;br /&gt;
opportunity for reviewing the changes that con-&lt;br /&gt;
tinually are taking place around us. The old&lt;br /&gt;
year&amp;#039;s course is soon run, and a new one comes to&lt;br /&gt;
supplant it. As with the years, so it is with writers&lt;br /&gt;
&mdash;the man who is famous to-day is almost for-&lt;br /&gt;
gotten to-morrow, while he whose work first comes&lt;br /&gt;
before the public gaze to-day is the man who will&lt;br /&gt;
be most appreciated a few years hence.&lt;br /&gt;
&ldquo;The new writer has often been heard to say&lt;br /&gt;
that he is never given a chance of displaying his&lt;br /&gt;
powers. I wish at once to refute that statement.&lt;br /&gt;
Why should we decry the young and unknown&lt;br /&gt;
writer? If he has any ability it will not be long&lt;br /&gt;
before he has ousted from position a rival whose&lt;br /&gt;
name and fame are world-wide. We all have to&lt;br /&gt;
make a start somewhere, and I can assure you that&lt;br /&gt;
editors are much better pleased to discover a man&lt;br /&gt;
of genius than continually to fill their periodicals&lt;br /&gt;
with the work of those who have already attained&lt;br /&gt;
some little literary fame. It is hard, perhaps, for&lt;br /&gt;
the popular favourite of to-day to realise that to-&lt;br /&gt;
morrow he will be supplanted by another, and that&lt;br /&gt;
he will be classed among the &lsquo;old&rsquo;; but, after all,&lt;br /&gt;
that is the way of the world, and for most of us the&lt;br /&gt;
day comes night far too soon.&lt;br /&gt;
&ldquo;I, myself, have a firm belief in the proverb :&lt;br /&gt;
&lsquo;There are as good fish in the sea as ever came&lt;br /&gt;
out of it,&rdquo; and it has always been my aim to&lt;br /&gt;
angle for and catch those &ldquo;fish&rdquo; that are still in&lt;br /&gt;
the sea.&rdquo; -&lt;br /&gt;
Fish, indeed . At what minimum rate per lb. ?&lt;br /&gt;
We are never told. Such outcries for new writers&lt;br /&gt;
are never accompanied by a promise to pay a&lt;br /&gt;
definite sum per thou. for accepted copy. And how&lt;br /&gt;
humiliating it is to see the care with which the&lt;br /&gt;
public is asked to prepare itself for the gradual&lt;br /&gt;
disappearance of those authors &ldquo;who have already&lt;br /&gt;
attained some little literary fame,&rdquo; or who are&lt;br /&gt;
&ldquo; popular favourites to-day&rdquo; Why should such&lt;br /&gt;
men disappear more rapidly than do able lawyers,&lt;br /&gt;
or barristers, or doctors, or magazine publishers ?&lt;br /&gt;
Whatever answer may be given to that question&lt;br /&gt;
by the experience of magazine writers, it is evident&lt;br /&gt;
that contributors have reason to rebel en masse&lt;br /&gt;
against many grievances&mdash;-that is, if they wish&lt;br /&gt;
their ideas to be treated with businesslike fairness&lt;br /&gt;
and without harmful delays. Let them act together&lt;br /&gt;
with full knowledge of the fact that they are the&lt;br /&gt;
principal agents of success in all trade enterprises&lt;br /&gt;
connected with their work; and let them ask with&lt;br /&gt;
one voice for such a regulating of their position as&lt;br /&gt;
will put their efforts on a firm business footing.&lt;br /&gt;
Consider several points:&mdash;&lt;br /&gt;
1. Every magazine should be asked to advertise&lt;br /&gt;
a minumum rate per thousand words.&lt;br /&gt;
2. All magazines should be asked to pay for&lt;br /&gt;
copy within a month of its acceptance. . This&lt;br /&gt;
would prevent editors from buying too much, and&lt;br /&gt;
would stop authors from trusting a market which&lt;br /&gt;
holds purchased work indefinitely and yet declines&lt;br /&gt;
to pay for it when contributors need money for&lt;br /&gt;
their daily bread. Casual work is demoralising&lt;br /&gt;
even when it is paid for as regularly as a labourer&amp;#039;s&lt;br /&gt;
wage; but, under the present system of payment&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#659) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR,&lt;br /&gt;
253&lt;br /&gt;
deferred till after publication, there is something&lt;br /&gt;
horrible in the warfare of literary life. A friend of&lt;br /&gt;
mine had recently to ask for money on an article&lt;br /&gt;
accepted a year ago; the editor himself was quite&lt;br /&gt;
Willing, but he had to consult the directors of a&lt;br /&gt;
company, and they refused. &ldquo;Let the article be&lt;br /&gt;
published first,&rdquo; was their decision, forgetting that&lt;br /&gt;
the author would have to wait at least another&lt;br /&gt;
three months and meet his own just debts week by&lt;br /&gt;
week. There is something hopelessly wrong in the&lt;br /&gt;
unionism of literary workers when they fail to gain&lt;br /&gt;
same business control over the financial methods of&lt;br /&gt;
periodicals.&lt;br /&gt;
3. Further, certain companies are compelled by&lt;br /&gt;
law to publish their financial position year by year&lt;br /&gt;
as a guide to shareholders. But in this important&lt;br /&gt;
matter authors are not considered at all, though&lt;br /&gt;
their work is invested annually in many companies.&lt;br /&gt;
We never know the profits on any particular weekly&lt;br /&gt;
or monthly when those companies have each a good&lt;br /&gt;
many periodicals ; and yet the rates of payment&lt;br /&gt;
which authors are justified in claiming depend on&lt;br /&gt;
the profits which their published work yields.&lt;br /&gt;
Moreover, when a company owning many periodicals&lt;br /&gt;
declares only the total net profit on its business as&lt;br /&gt;
a whole, how are authors to know which maga-&lt;br /&gt;
Zine or paper is unlucky, and therefore a bad&lt;br /&gt;
market 2 -&lt;br /&gt;
4. Not less important is that type of publishing&lt;br /&gt;
firm which is not known as a limited company,&lt;br /&gt;
though it has many partners and is sometimes&lt;br /&gt;
driven to borrow money from &ldquo;backers.&rdquo; There&lt;br /&gt;
is a real danger in firms of this class. Many&lt;br /&gt;
partners add enormously to the working expenses,&lt;br /&gt;
and in times of financial stress unpleasant things&lt;br /&gt;
may happen, not without harm to authors.&lt;br /&gt;
Expensive books may be &ldquo;remaindered &rdquo; before&lt;br /&gt;
they have had a chance to become known ;&lt;br /&gt;
Suggested ideas and schemes may be stolen in&lt;br /&gt;
order to give work to a permanent staff; and&lt;br /&gt;
slow selling books may be neglected, the money&lt;br /&gt;
which ought to be spent on their advertisements&lt;br /&gt;
being used for those books which the public is&lt;br /&gt;
eager to purchase. In brief, a publishing house&lt;br /&gt;
with many partners, looked at from a standpoint&lt;br /&gt;
of business, deserves to be considered as a company&lt;br /&gt;
with limited liabilities, and also with many share-&lt;br /&gt;
holders as represented by authors, each of whom&lt;br /&gt;
has invested a book, the result of much work and&lt;br /&gt;
expense spread over a good many months. And&lt;br /&gt;
all this being so, in what way are the authors to&lt;br /&gt;
defend their interests It is important that they&lt;br /&gt;
should know year by year how that publishing&lt;br /&gt;
house with many partners &ldquo;stands&rdquo; financially.&lt;br /&gt;
Is it in a fit position to launch books with energy,&lt;br /&gt;
or does it treat books as tobacconists treat ounces&lt;br /&gt;
oftobacco, reaping aprofit on the gross sales of a year&lt;br /&gt;
and turning over the same capital as often as they&lt;br /&gt;
can *. These are questions for our society to&lt;br /&gt;
Consider with the greatest care.&lt;br /&gt;
(To be continued.)&lt;br /&gt;
&amp;amp;&lt;br /&gt;
y&lt;br /&gt;
a --&amp;amp;-&lt;br /&gt;
w&mdash;w-&lt;br /&gt;
THE REPROACH OF AUTHORSHIP.&lt;br /&gt;
BY W. HAROLD THOMSON.&lt;br /&gt;
- 0-DAY, when so many intimate details of the&lt;br /&gt;
Writer&amp;#039;s work and life are laid bare&mdash;thanks&lt;br /&gt;
mainly to interviews and the cunning &ldquo;puff&rdquo;&lt;br /&gt;
&mdash;it is a little disconcerting to find the old and alto-&lt;br /&gt;
gether erroneous idea that all writers are slothful,&lt;br /&gt;
not only existing but flourishing prodigiously.&lt;br /&gt;
I suppose that all members of the artistic pro-&lt;br /&gt;
fessions have long since given up hope of being&lt;br /&gt;
understood, save by fellow-craftsmen ; but that this&lt;br /&gt;
should be so seems not only strange but unreason-&lt;br /&gt;
able.&lt;br /&gt;
By the average person the author or the artist is&lt;br /&gt;
still regarded as a species of &ldquo;shirker&rdquo;; as a man&lt;br /&gt;
who has found a hobby which he is pleased to style&lt;br /&gt;
as &ldquo;work,&rdquo; and who, even to his hobby, will give&lt;br /&gt;
just as little time as he conveniently can. Now, it&lt;br /&gt;
is admitted that a man does best that work which&lt;br /&gt;
he likes best, and the young writer is inclined to&lt;br /&gt;
feel aggrieved when he finds that acquaintances&lt;br /&gt;
pooh-pooh his literary labours as nothing more&lt;br /&gt;
strenuous than a mild form of play.&lt;br /&gt;
The young writer, however, does not take very&lt;br /&gt;
long&mdash;if he is as sensible as he ought to be&mdash;to&lt;br /&gt;
crush out of life the sensitiveness which these&lt;br /&gt;
criticisms can stir into being.&lt;br /&gt;
He recognises that, if he is to be otherwise than&lt;br /&gt;
gloom-stricken and self-dissatisfied, he must treat&lt;br /&gt;
these criticisms lightly ; must pass them over as&lt;br /&gt;
babblings having their birth in ignorance allied&lt;br /&gt;
very often with a lack of culture.&lt;br /&gt;
The farm labourer who said cheerily to an artist,&lt;br /&gt;
&ldquo;Work 2 Lor&amp;#039; bless ye, ye never did a day&amp;#039;s work&lt;br /&gt;
in yer life,&rdquo; finds his counterpart in the knowing&lt;br /&gt;
lady who, speaking of some writer, says, &ldquo;But, my&lt;br /&gt;
dear, he is making such a mess of his life you&lt;br /&gt;
know ! He absolutely refuses to do anything&lt;br /&gt;
but scribble those silly stories and things.&rdquo;&lt;br /&gt;
To the young author&ndash;experienced authors are&lt;br /&gt;
impervious to it all&mdash;one might well say : Wear&lt;br /&gt;
neat clothes and a high collar ; go to an office&lt;br /&gt;
every day at ten and come back every night at&lt;br /&gt;
six, and you will be belauded by everyone who&lt;br /&gt;
knows you, as a hard worker&mdash;a man who is taking&lt;br /&gt;
a proper part in life. On the other hand, go to&lt;br /&gt;
your desk at ten in your own house, work all day&lt;br /&gt;
and perhaps half the night at the evolving and&lt;br /&gt;
writing of stories; do this day after day and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#660) ################################################&lt;br /&gt;
&lt;br /&gt;
254&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
month after month, and you will still be dubbed&lt;br /&gt;
lazy by those who have not intimate knowledge of&lt;br /&gt;
your craft.&rdquo;&lt;br /&gt;
I do not contend, of course, that all authors do&lt;br /&gt;
work all day or on every day. It is inevitable&lt;br /&gt;
that there must be occasions on which the fount of&lt;br /&gt;
thought runs temporarily dry ; days on which&lt;br /&gt;
creative work seems impossible. But the writing&lt;br /&gt;
man who loves his work will stay from it no&lt;br /&gt;
longer than he must.&lt;br /&gt;
The successful novelists, the authors whose&lt;br /&gt;
names are for ever in bold type and are spoken&lt;br /&gt;
every day, are accorded, as is but natural, the&lt;br /&gt;
respectful plaudits of all who know of them.&lt;br /&gt;
They publish perhaps a couple of novels per year,&lt;br /&gt;
and the ladies who keep the libraries in life make&lt;br /&gt;
comment upon their energy and diligence.&lt;br /&gt;
But for the writer who has not yet achieved a&lt;br /&gt;
place among the &ldquo;great&amp;quot; ones there is given at&lt;br /&gt;
the best an indulgent smile and a playful rebuke&lt;br /&gt;
to turn his attention to something Serious&mdash;to get&lt;br /&gt;
some &ldquo;work&rsquo;&rsquo; to do.&lt;br /&gt;
It seems to have become almost a creed with&lt;br /&gt;
men or women outside the artistic or literary&lt;br /&gt;
circles, to refuse to admit that painting or writing&lt;br /&gt;
is work. Of course &ldquo;staff&rdquo; men are not subject to&lt;br /&gt;
this criticism ; they are &ldquo;in an office.&rdquo; It may&lt;br /&gt;
well be that they do less work than their free-lance&lt;br /&gt;
brethren. It may well be, too, that they are making&lt;br /&gt;
less money, but they are in &ldquo;steady employment&rsquo;&rsquo;;&lt;br /&gt;
they are in receipt of a stated salary.&lt;br /&gt;
Those who give their views regarding the lives&lt;br /&gt;
which writers lead and the incomes which they&lt;br /&gt;
earn are, for the most part, entirely ignorant of the&lt;br /&gt;
subject. They are either decided in their own&lt;br /&gt;
minds that the author is a lazy but prosperous&lt;br /&gt;
individual who is paid fabulous sums for his books,&lt;br /&gt;
or that he is an ill-fed and poorly-clothed creature&lt;br /&gt;
who is never certain where his next meal is going&lt;br /&gt;
to come from. It depends whether these good&lt;br /&gt;
critics have been reading puffs about popular&lt;br /&gt;
writers or lurid articles about a Grub Street that&lt;br /&gt;
has become a thing of the past.&lt;br /&gt;
Moreover, such folk, having once taken up a&lt;br /&gt;
certain attitude, refuse to abandon it. They will&lt;br /&gt;
listen to those members of the literary craft who&lt;br /&gt;
are patient enough and well meaning enough to&lt;br /&gt;
explain the true state of affairs&mdash;that writing&lt;br /&gt;
to-day has become a business, and that the man&lt;br /&gt;
who can conduct this business properly is no more&lt;br /&gt;
uncertain of his next meal than is the lawyer or&lt;br /&gt;
the doctor&mdash;but though they will listen they will&lt;br /&gt;
not recant their opinions.&lt;br /&gt;
They know&mdash;so they say&mdash;that authors are lazy,&lt;br /&gt;
because they have frequently seen So-and-So out&lt;br /&gt;
walking in the middle of the day, or present at&lt;br /&gt;
some afternoon party; they know also that the&lt;br /&gt;
story-teller&amp;#039;s profession is the most precarious in&lt;br /&gt;
the world&mdash;have they not been repeatedly told so 2&lt;br /&gt;
Probably they have And the fact that their&lt;br /&gt;
informants were persons totally ignorant of the&lt;br /&gt;
matter does not seem to strike them as important.&lt;br /&gt;
In referring thus to the author&amp;#039;s financial&lt;br /&gt;
returns I do not mean to infer that every man or&lt;br /&gt;
woman engaged in writing stories to-day is meet-&lt;br /&gt;
ing with prosperity&mdash;that is not possible when so&lt;br /&gt;
many are thus engaged, who would be well advised&lt;br /&gt;
never to pen a word, save for their own entertain-&lt;br /&gt;
ment. I refer to the capable writer who goes&lt;br /&gt;
about the work in a business-like spirit ; knows&lt;br /&gt;
what the public want, and sets about meeting that&lt;br /&gt;
want. The writer who wishes to make a good&lt;br /&gt;
income is no less business-like in his method than&lt;br /&gt;
any other professional man, and is content to hunt&lt;br /&gt;
for fame in his leisure hours.&lt;br /&gt;
It must be admitted&mdash;a little sorrowfully I&lt;br /&gt;
think&mdash;that the author is but seldom understood,&lt;br /&gt;
and is often grossly misunderstood ; and that is&lt;br /&gt;
just one of the many reasons why he should have&lt;br /&gt;
complete confidence in his own powers, and an&lt;br /&gt;
enthusiasm for the work which he has chosen, or&lt;br /&gt;
perhaps one should say, the work which has chosen&lt;br /&gt;
him.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOK PRICES CURRENT.&rdquo;&lt;br /&gt;
HE second and third parts of Vol. XXIV. of&lt;br /&gt;
&ldquo;Book Prices Current &amp;quot; have reached us.&lt;br /&gt;
The former concludes Sotheby&amp;#039;s sale of&lt;br /&gt;
November 29, 30, 1909, and contains records of&lt;br /&gt;
subsequent sales up to that of the 7th and following&lt;br /&gt;
days of February, 1910, partly recorded in this&lt;br /&gt;
number, and concluded in the third number, which&lt;br /&gt;
records subsequent sales down to that of Puttick&lt;br /&gt;
&amp;amp; Simpson, March 5 and 6, 1910. Sotheby&amp;#039;s sale,&lt;br /&gt;
December 9&ndash;10, 1909, offered an interesting&lt;br /&gt;
collection of MSS., among which were particularly&lt;br /&gt;
deserving of remark an illuminated, &ldquo;Biblia Sacra&lt;br /&gt;
Hebraica,&rdquo; written on wellum in Damascus, 1496&lt;br /&gt;
(&pound;56), and an illuminated &ldquo;Pontificale Gallo&lt;br /&gt;
Romanum,&rdquo; French, 15th cent., on vellum (&pound;45).&lt;br /&gt;
3acon&amp;#039;s copy of &ldquo;Concordantiae Bibliorum,&rdquo; Paris,&lt;br /&gt;
1600, with his autograph, &ldquo;Francis Bacon&amp;#039;s Book,&lt;br /&gt;
pretium 13/4,&rdquo; fetched &pound;30. -&lt;br /&gt;
Sotheby&amp;#039;s sale, December 13&ndash;17, of the library&lt;br /&gt;
of Mr. W. Wheeler Smith, of New York, included&lt;br /&gt;
a collection of thirty-seven different editions of &ldquo;The&lt;br /&gt;
Dance of Death,&rdquo; ranging in date from 1649 to 1889.&lt;br /&gt;
Thirteen of these were Holbeins. The Sale was&lt;br /&gt;
also particularly rich in very choice collections of&lt;br /&gt;
sixteenth and seventeenth century French books,&lt;br /&gt;
* &ldquo;Book Prices Current,&rdquo; Vol. XXIV., Nos. 2 and 3.&lt;br /&gt;
London : Elliot Stock.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#661) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
255&lt;br /&gt;
many of them from the library of Firmin-Didot&lt;br /&gt;
and the Beckford collections.&lt;br /&gt;
The attention of authors is likely to be more&lt;br /&gt;
particularly attracted by the sale (Sotheby Decem-&lt;br /&gt;
ber 20, 1909) of the library of Mr. Shorthouse,&lt;br /&gt;
author of &ldquo;John Inglesant.&rdquo; The library did not,&lt;br /&gt;
however, present any very distinctive features.&lt;br /&gt;
The highest price was for a copy of the first edition&lt;br /&gt;
of Gray&rsquo;s &ldquo;Ode on a Distant Prospect of Eton&lt;br /&gt;
College,&rdquo; 4 leaves, 1747, published at sixpence.&lt;br /&gt;
This was sold for &pound;50. The proof sheets of the&lt;br /&gt;
first edition of &ldquo;John Inglesant,&rdquo; with the author&amp;#039;s&lt;br /&gt;
manuscript additions and corrections, fetched &pound;32.&lt;br /&gt;
An extensive collection of topographical works,&lt;br /&gt;
of which forty-four dealt with London, was a lead-&lt;br /&gt;
ing feature of Puttick &amp;amp; Simpson&amp;#039;s sale of the&lt;br /&gt;
library of Mr. R. Hovenden. -&lt;br /&gt;
On March 1 and 2 Sotheby disposed of the&lt;br /&gt;
stemaining portion of the library of the late Earl of&lt;br /&gt;
Sheffield, the sales of the former portions of which&lt;br /&gt;
are recorded in Vol. XXII. of &ldquo;Book Prices&lt;br /&gt;
Current.&rdquo; A first edition (Vol. I., 3rd edit.) of &ldquo;The&lt;br /&gt;
Decline and Fall of the Roman Empire,&rdquo; a presen-&lt;br /&gt;
tation copy to the Earl of Sheffield with an&lt;br /&gt;
autograph inscription by Gibbon, &ldquo;As a memorial&lt;br /&gt;
of friendship and esteem the six volumes of this&lt;br /&gt;
history are presented to the Right Honourable&lt;br /&gt;
John Lord Sheffield by the Author, E. Gibbon,&rdquo;&lt;br /&gt;
was sold for &pound;60. Four volumes of Gibbon&rsquo;s&lt;br /&gt;
Bocket Diary fetched &pound;38.&lt;br /&gt;
Many lots of a very attractive kind were offered&lt;br /&gt;
in Sotheby&amp;#039;s sale (March 21&mdash;23, 1910) of a&lt;br /&gt;
miscellaneous collection. We much regret that&lt;br /&gt;
space does not permit us to deal at length with this&lt;br /&gt;
particularly interesting sale. It is one of those&lt;br /&gt;
which might be taken as typical of the extremely&lt;br /&gt;
interesting and valuable nature of the records&lt;br /&gt;
contained in &ldquo;Book Prices Current,&rdquo; to which we&lt;br /&gt;
must refer those of our readers who would be more&lt;br /&gt;
fully informed. The prices of the following lots&lt;br /&gt;
are likely to furnish authors with matter for pain-&lt;br /&gt;
ful reflections. Blake, &ldquo;Poetical Sketches&amp;#039;&rsquo;&lt;br /&gt;
(original edition, 1783, containing on fly-leaves&lt;br /&gt;
MSS. of three songs by Blake, and with various&lt;br /&gt;
MSS. alterations, previously disposed of at the&lt;br /&gt;
Heber sale), &pound;11. Blake&amp;#039;s working cabinet of&lt;br /&gt;
mahogany, &pound;30 10s. Burns&amp;#039; bureau, &pound;600. A&lt;br /&gt;
stool and desk, formerly the property of Dickens,&lt;br /&gt;
fetched &pound;10 and &pound;13 respectively. The highest&lt;br /&gt;
price paid for any book was for a copy, not quite&lt;br /&gt;
perfect, of the Editio Princeps, &ldquo;Homerus, Omnia&lt;br /&gt;
&lsquo;Opera, grace, Florence, 1488,&rdquo; &pound;254&mdash;a good deal&lt;br /&gt;
less than was given for Burns&rsquo; bureau. A presen-&lt;br /&gt;
ſtation copy of Morris, &ldquo;The Story of the Glittering&lt;br /&gt;
Plain,&rdquo; the first book issued at the Kelmscott&lt;br /&gt;
Press, with an inscription &ldquo;To Kate Faulkner&lt;br /&gt;
from William Morris, 30th May, 1891,&rdquo; fetched&lt;br /&gt;
&pound;17. Authors should remark how enormously the&lt;br /&gt;
value of copies which they give to their friends&lt;br /&gt;
is enhanced by an autograph. &ldquo;Book Prices&lt;br /&gt;
Current&rdquo; give evidence of this fact in sale after&lt;br /&gt;
Sale.&lt;br /&gt;
&mdash;e&mdash;Q-0&ndash;&lt;br /&gt;
A LIFE OF BULWER-LYTTON.3,&lt;br /&gt;
&mdash;t-&ordm;-&ordm;-&lt;br /&gt;
HE life-story of a distinguished author and&lt;br /&gt;
man of letters, written by a writer so well&lt;br /&gt;
qualified as Mr. Escott, should attract all who&lt;br /&gt;
are interested in the literary life of the early part of&lt;br /&gt;
the nineteenth century. The parts which the first&lt;br /&gt;
Lord Lytton played upon the social and political&lt;br /&gt;
stages of his day were not small ones, but as a&lt;br /&gt;
writer of romances and plays he will be remem-&lt;br /&gt;
bered by those who will have to turn to his&lt;br /&gt;
biography to remind themselves of the incidents&lt;br /&gt;
of his administration of Colonial affairs, or of&lt;br /&gt;
the circumstances of birth and natural gifts&lt;br /&gt;
which would have insured him a welcome in&lt;br /&gt;
London drawing-rooms, if necessity and ambition&lt;br /&gt;
had not combined to lead him further. Mr. Escott&lt;br /&gt;
was personally acquainted with the subject of his&lt;br /&gt;
biography, and has had the advantage of being able&lt;br /&gt;
to draw upon the recollections of Lord Carnarvon,&lt;br /&gt;
who, as Under-Secretary for the Colonies, had an&lt;br /&gt;
intimate personal knowledge of his chief in public&lt;br /&gt;
and private affairs. He has thus been able to go&lt;br /&gt;
beyond the materials already made public by&lt;br /&gt;
Lady Betty Balfour and others, including those&lt;br /&gt;
records of his own life interwoven by the novelist&lt;br /&gt;
in his romances. The literary habit of introducing&lt;br /&gt;
the personal history of the author and his friends&lt;br /&gt;
may not have been peculiar to the Victorian age,&lt;br /&gt;
but surely it prevailed in the days of Lytton,&lt;br /&gt;
Thackeray, Dickens and Disraeli as it never will&lt;br /&gt;
again ; or at all events, writers of their eminence,&lt;br /&gt;
social or literary, will hesitate to make use quite so&lt;br /&gt;
freely of the material nearest to their hands. In the&lt;br /&gt;
story of Bulwer-Lytton and his work as told by&lt;br /&gt;
Mr. Escott there is much food for reflection on the&lt;br /&gt;
points of difference and of resemblance between&lt;br /&gt;
the authorship and the life of an author then and&lt;br /&gt;
now. His boyhood, his opportunities for educa-&lt;br /&gt;
tion at school and at college would hardly be&lt;br /&gt;
envied by the modern youths of his position pre-&lt;br /&gt;
paring for a literary career. His love affairs and&lt;br /&gt;
his marriage with Rosina. Wheeler did not quite&lt;br /&gt;
follow the limes along which modern families pursue&lt;br /&gt;
their more easy-going ways, but they afford ample&lt;br /&gt;
materials for essays on &ldquo;Authorship and Matri-&lt;br /&gt;
mony&rdquo; and &ldquo;Marriage, Mothers and only Sons.&rdquo;&lt;br /&gt;
* Edward Bulwer, First Baron Lytton of Knebworth : a&lt;br /&gt;
Social, Personal, and Political Monograph, by T. H. S.&lt;br /&gt;
Escott, Routledge. 7s. 6d. met.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#662) ################################################&lt;br /&gt;
&lt;br /&gt;
256&lt;br /&gt;
TISIES A UTISTOR.&lt;br /&gt;
A list of other topics which might be illustrated&lt;br /&gt;
from the volume Would include such old ones as&lt;br /&gt;
the relations of authors and publishers and of&lt;br /&gt;
authors and critics, and in particular that old&lt;br /&gt;
question as to the class from which critics should&lt;br /&gt;
be drawn. The reviewer, we are told by some&lt;br /&gt;
whose Work has been reviewed, is himself an&lt;br /&gt;
author who has failed ; the art critic, an artist&lt;br /&gt;
will complain, is a painter Whose pictures no&lt;br /&gt;
one Will buy. Others may declare that a&lt;br /&gt;
particular reviewer or an art critic has never&lt;br /&gt;
even attempted to Write a book or to paint a&lt;br /&gt;
picture. When Mr. Escott reminds us that&lt;br /&gt;
Lamb threw aside the Waverley novels in dis-&lt;br /&gt;
gust and that Hazlitt could not read them ; that&lt;br /&gt;
Hunt was contemptuous of Byron ; when We think&lt;br /&gt;
of the reviews of Lytton for which Thackeray was&lt;br /&gt;
responsible, or recall what Lytton Wrote of&lt;br /&gt;
Tennyson : when we read that among the poets of&lt;br /&gt;
his time * Lytton cared little for Tennyson and&lt;br /&gt;
less $or Browning,&amp;#039;&amp;#039; but that * Hunt praises&lt;br /&gt;
Hazlitt, Hazlitt praises Hunt,&amp;#039;&amp;#039; we do not feel con-&lt;br /&gt;
vinced that eminent authors Would be the best&lt;br /&gt;
qualified persons to review their eminent (or humble)&lt;br /&gt;
contemporaries. In an essay such as that suggested&lt;br /&gt;
it might be however proved that the attitude of the&lt;br /&gt;
modern writer or artist towards his modern rivalis&lt;br /&gt;
altogether one of generous appreciation and admira-&lt;br /&gt;
tion. Before leaving the subjects of discussion&lt;br /&gt;
which arise out of Lytton&amp;#039;s career we may ask&lt;br /&gt;
whether the prolonged popularity of a play or&lt;br /&gt;
of a novel should furnish the better claim for fame&lt;br /&gt;
as an author. Is it a greater feat to have Written&lt;br /&gt;
* The Last Days of Pompeii,&amp;quot; or whichever of the&lt;br /&gt;
author&amp;#039;s works is now most largely sold in a cheap&lt;br /&gt;
edition without profit to his personal representa-&lt;br /&gt;
tives, than to have held the stage with ** The Lady&lt;br /&gt;
of Lyons &amp;quot; and ** Money &amp;quot; ?&lt;br /&gt;
&mdash;e&mdash;&copy;-o-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;e-Q-o--&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
MONSIEUR,&mdash;Nous avons constat&eacute; avec satis-&lt;br /&gt;
faction que le no 8 du 2 mai de votre importante&lt;br /&gt;
revue The Author reproduit en traduction (pp. 229&lt;br /&gt;
et 230) l&amp;#039;article du Droit d&amp;#039;Auteur consacr&eacute; &agrave;&lt;br /&gt;
la Conf&eacute;rence de Berlin (Pr&eacute;paration de la ratifica-&lt;br /&gt;
tion de la Convention de Berne revis&eacute;e). Manifes-&lt;br /&gt;
tations diverses des int&eacute;ress&eacute;s et paru dans le&lt;br /&gt;
num&eacute;ro du 15 avril, 1910 (pp. 55 et 60).&lt;br /&gt;
Toutefois, nous avons &eacute;t&eacute; fort surpris de lire&lt;br /&gt;
dans l&amp;#039;introduction qui pr&eacute;c&egrave;de notre article, la&lt;br /&gt;
phrase suivante : * En ce qui concerne le Royaume-&lt;br /&gt;
Uni de Grande-Bretagne et d&amp;#039;Irlande, Le Droit&lt;br /&gt;
d&amp;#039;Auteur ne fait que reproduire une information&lt;br /&gt;
prise d&amp;#039;un num&eacute;ro r&eacute;cent du Times. Cela ne&lt;br /&gt;
fournit en aucune mani&egrave;re un compte rendu&lt;br /&gt;
complet de l&amp;#039;&oelig;uvre entreprise par le Gouverne-&lt;br /&gt;
ment en Vue de pr&eacute;parer la voie pour la ratification&lt;br /&gt;
de la Convention de Berlin autant que cela concerne&lt;br /&gt;
la Grande-Bretagne,&amp;#039;&amp;#039; etc.&lt;br /&gt;
Or, une note indiquait que notre article du&lt;br /&gt;
Droit d&amp;#039;Auteur formait la suite d&amp;#039;une s&eacute;rie&lt;br /&gt;
d&amp;#039;autres articles que notre organe a d&eacute;j&agrave; publi&eacute;s&lt;br /&gt;
sur la m&ecirc;me mati&egrave;re et sous le m&ecirc;me titre. Ainsi&lt;br /&gt;
que le d&eacute;montre la r&eacute;capitulation contenue dans&lt;br /&gt;
l&amp;#039;&eacute;preuve ci-incluse-cette nouvelle suite para&icirc;tra&lt;br /&gt;
dans le num&eacute;ro du 15 de ce mois-la Grande-&lt;br /&gt;
Bretagne a fait parmi tous les pays trait&eacute;s dans&lt;br /&gt;
cet ordre d&amp;#039;id&eacute;es par notre organe, l&amp;#039;objet du plus&lt;br /&gt;
grand nombre de notices et des informations les&lt;br /&gt;
plus copieuses. Nous avons suivi tous les travaux&lt;br /&gt;
entrepris en Grande-Bretagne, dont nous avons pu&lt;br /&gt;
avoir connaissance, soit par des voies officielles,&lt;br /&gt;
soit par notre service de presse. Le r&ocirc;le jou&eacute; par&lt;br /&gt;
votre soci&eacute;t&eacute; dans la pr&eacute;paration du terrain en vue&lt;br /&gt;
d&amp;#039;une prompte ratification a &eacute;t&eacute; expos&eacute; avec la&lt;br /&gt;
sollicitude qu&amp;#039;il m&eacute;rite et dans cette remarque fort&lt;br /&gt;
juste qu&amp;#039;elle a examin&eacute; avec le plus grand soin et&lt;br /&gt;
d&amp;#039;ampleur les r&eacute;sultats de la Conf&eacute;rence de Berlin&lt;br /&gt;
(v. Droit d&amp;#039;Auteur, 1909, pp. 60, 87, 121 et 137).&lt;br /&gt;
Nous sommes pr&ecirc;ts &agrave; vous envoyer tous les&lt;br /&gt;
articles relatifs &agrave; ce sujet et &agrave; la Grande-Bretagne,&lt;br /&gt;
si les num&eacute;ros de notre journal n&amp;#039;&eacute;taient plus entre&lt;br /&gt;
V0S Iſl8llIlS,&lt;br /&gt;
Vous nous obligeriez donc beaucoup en voulant&lt;br /&gt;
bien rectifier dans votre prochain num&eacute;ro la note&lt;br /&gt;
ci-dessus mentionn&eacute;e, qui contient &eacute;videmment une&lt;br /&gt;
erreur, car il nous serait sensible d&amp;#039;encourir aupr&egrave;s&lt;br /&gt;
des gens de lettres anglais le reproche d&amp;#039;avoir&lt;br /&gt;
n&eacute;glig&eacute; &agrave; un tel degr&eacute; leurs int&eacute;r&ecirc;ts et leurs&lt;br /&gt;
d&eacute;siderata.&lt;br /&gt;
Veuillez agr&eacute;er, Monsieur, l&amp;#039;assurance de notre&lt;br /&gt;
consid&eacute;ration distingu&eacute;e.&lt;br /&gt;
BUREAU DE L&amp;#039;UNION INTERNATIONALE&lt;br /&gt;
LITT&Eacute;RAIRE ET ARTISTIQUE.&lt;br /&gt;
Le Directeur :&lt;br /&gt;
MORE, G.&lt;br /&gt;
BERNE, LE 13 mai, 1910.&lt;br /&gt;
(We have much ple&auml;sure in inserting the letter&lt;br /&gt;
received from the Bureau Internationale de l&amp;#039;Union&lt;br /&gt;
pour la protection des CEuvres litt&eacute;raires et artis-&lt;br /&gt;
tiques. We regret that any mistake should have&lt;br /&gt;
arisen, but we omitted to read the earlier numbers&lt;br /&gt;
the Le Droit d&amp;#039;Auteur to which the secretary refers.&lt;br /&gt;
It seems a pity, however, that when the action of&lt;br /&gt;
other countries was summarised, that of Great&lt;br /&gt;
Britain should not have been included in a Sum-&lt;br /&gt;
mary form in the same article. We have nothing&lt;br /&gt;
but praise, as a rule, for the excellent work carried&lt;br /&gt;
out by the Bureau Internationale.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#663) ################################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS. - W&lt;br /&gt;
&lt;br /&gt;
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OTHER CONTENTs are:&mdash;Directory and Index&lt;br /&gt;
of Authors; Obituary Notices ; Booksellers;&lt;br /&gt;
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fied List of Cheap Reprints, etc.&lt;br /&gt;
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G. ROUTLEDGE &amp;amp; SONS, Ltd., Garter Lane, E.G.&lt;br /&gt;
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We act as Agents for placing Plays,&lt;br /&gt;
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We copyright dramatic property and collect&lt;br /&gt;
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We review, advise upon, and remodel Plays&lt;br /&gt;
and Musical Compositions.&lt;br /&gt;
We undertake translations and adaptations&lt;br /&gt;
from and into all European languages.&lt;br /&gt;
All English Plays submitted to the Bureau&lt;br /&gt;
are read by Mr. A. L. Ellis, so well known as a&lt;br /&gt;
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Directors.&lt;br /&gt;
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About 2,000 Books Wanted&lt;br /&gt;
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## p. (#664) ################################################&lt;br /&gt;
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W1 AD VERTISEMENTS.&lt;br /&gt;
MISS RALLINGi is an&lt;br /&gt;
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&ldquo;Miss Ralling has typed for me on several occasions, and I&lt;br /&gt;
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Limited, to the effect that D. C. Thomson &amp;amp; Company,&lt;br /&gt;
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as the work of &ldquo;Rita&amp;quot; work which was not substantially&lt;br /&gt;
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at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/407/1910-06-01-The-Author-20-9.pdf</td><td>publications, The Author</td></tr><tr><td>408</td><td>https://historysoa.com/items/show/408</td><td>The Author, Vol. 20 Issue 10 (July 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+10+%28July+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 10 (July 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-07-01-The-Author-20-10</td><td></td><td></td><td></td><td></td><td>257&ndash;280</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-07-01&quot;&gt;1910-07-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>10</td><td></td><td></td><td>19100701</td><td>C be El u t b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Wol. XX. &mdash;No. 10. JULY 1, 1910. [PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE - PAGE&lt;br /&gt;
Notices ... t&ordm; - 0 - - - t&ordm; $ t&ordm; t&ordm; g&ordm; t&ordm; t&ordm; a t&ordm; t&ordm; &ordm; t&ordm; 6 &amp;amp; ... 257 Registration of Scenarios and Original Plays ... t&ordm; e t&ordm; ..., 270&lt;br /&gt;
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List of Members... - - - - - e. t&ordm; a &ordm; &bull; * * s e e * - a ... 257 Warnings to Musical Composers ... e - 9 - - e. &copy; &ordm; e ... 270&lt;br /&gt;
The Pension Fund t&ordm; &ordm; is &ordm; g t&ordm; e t&ordm; &ordm; * * * * * * * * * ... 258 Stamping Music ... * * * &amp;amp; &copy; - e - e. e - e. e s t&ordm; &bull; s&ordm; ... 270&lt;br /&gt;
Committee Notes - - - - e. e. - * &amp;gt; t&ordm; e s e s - e - - ... 259 The Reading Branch ... * t&ordm; e t&ordm; e e t&ordm; &ordm; &ordm; t&ordm; &ordm; t&ordm; &amp;amp; t&ordm; e ... 270&lt;br /&gt;
Books published by Members of the Society a t&ordm; - t&ordm; e - ... 261 Remittances - t&ordm; &ordm; t&ordm; e - t&ordm; &ordm; - e - - t&ordm; t&ordm; e t&ordm; t&ordm; a t&ordm; a t&ordm; ..., 270&lt;br /&gt;
Books published in America by Members... s &amp;amp; &copy; e - - ... 263 General Notes ... t&ordm; t&ordm; a t&ordm; e - - - - - a t&ordm; a s t&ordm; * * * ... 271&lt;br /&gt;
Literary, Dramatic and Musical Notes ..., s&ordm; t&ordm; e t&ordm; &ordm; ve ... 264 |United States Notes ... * - - &bull; * * - - e. t&ordm; a t&ordm; * * * ... 271&lt;br /&gt;
Paris Notes - - - -- a - &copy; e. - e t&ordm; t&ordm; 9 t&ordm; e t&ordm; e g&ordm; t&ordm; a ... 265 The Fourteenth International Press Congress ... * * * ... 273&lt;br /&gt;
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Magazine Contents ... t&ordm; e 4 &ordm;, &ordm; ſ&ordm; t&ordm; t&ordm; &ordm; * * * t&ordm; a &ordm; ... 268 The Editorial Attitude &bull; * * - - - -- t&ordm; - e &ordm; * A t&ordm; ..., 278&lt;br /&gt;
How to Use the Society - t&ordm; a &copy; &ordm; &ordm; t&ordm; e - t&ordm; &ordm; &ordm; t&ordm; e &ordm; ... 269 The Works of Sir John Suckling ... &bull; * * &bull; e e * * * ..., 279&lt;br /&gt;
Warnings to the Producers of Books t&ordm; e - e e - &ordm; t&ordm; t&ordm; ... 269 Correspondence ... e e e * - - t&ordm; t&ordm; &ordm; - - - e t&ordm; Q * R 9 ..., 280&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#666) ################################################&lt;br /&gt;
&lt;br /&gt;
ii&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Ulje &Scaron;uriefly uf Autburg (jnrurpurated).&lt;br /&gt;
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SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
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THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
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FRANCIS STORR.&lt;br /&gt;
SIR CHARLES WILLIERS STANFORD,&lt;br /&gt;
Mus. Doc. .&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
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FRANCIS STORB,&lt;br /&gt;
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ALFRED SUTRO.&lt;br /&gt;
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SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
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ART.&lt;br /&gt;
JOHN HASSALL, R.I.&lt;br /&gt;
J. G. MILLAIS.&lt;br /&gt;
FIELD, Roscoe &amp;amp; Co., 36, Lincoln&amp;#039;s Inn Fields, W.C. }s licitor&lt;br /&gt;
G. HERBERT THRING, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W. J. &amp;quot;&ldquo;&rdquo;&lt;br /&gt;
MRS. ALEC TWEEDIE.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
COPYRIGHT SUB.com/MITTEE.&lt;br /&gt;
HERBERT SULLIVAN.&lt;br /&gt;
SIR JAMES YOxALL, M.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
M. H. SPIELMANN.&lt;br /&gt;
Secretary&mdash;G. H. ERBERT THRING,&lt;br /&gt;
Solicitor im England to&lt;br /&gt;
La Soci&eacute;t&eacute; d&eacute;s G&eacute;ms de Lettres.&lt;br /&gt;
Legal Adviser in the United States&mdash;JAMES BYRNE, 24, Broad Street, New York, U.S.A.&lt;br /&gt;
OFFICES.&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&amp;#039;s GATE, S.W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#667) ################################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
iii&lt;br /&gt;
&lt;br /&gt;
TO Authors and Journalists,&lt;br /&gt;
The Writer, whether he aspires to write novels, short stories,&lt;br /&gt;
9x, articles, often spends years in uncongenial work,&lt;br /&gt;
rebuffs and drudgery being the only return for the tim&eacute;&lt;br /&gt;
and labour spent.&lt;br /&gt;
THE COURSE OF LITERARY TRAINING promoted by&lt;br /&gt;
the Literary Correspondence College teaches the&lt;br /&gt;
aspirant to serve his apprenticeship to fliterature in the&lt;br /&gt;
briefest time possible.&lt;br /&gt;
The&ordm;l&ordm;ge also undertakes Literary Agency business of all&lt;br /&gt;
111C.S.&lt;br /&gt;
for full particulars. Write at once for Pamphlet D.M. to the LITERARY&lt;br /&gt;
00RRESPONDENCE COLLEGE, 9, Aru&ntilde;del Street, Strand, W.C.&lt;br /&gt;
&ldquo;First Lessons in Story Writing.&amp;quot;&lt;br /&gt;
By BARRY PAIN.&lt;br /&gt;
2nd Edition. 2s. 6ds net. 2s. 8d., post free,&lt;br /&gt;
Of this work the Westminster Gazette writes:&mdash;&ldquo;The&lt;br /&gt;
beginner who takes these lessons to heart may be quite&lt;br /&gt;
assured of an advantage over his competitors.&rdquo;&lt;br /&gt;
&ldquo;How to become an Author.&rdquo;&lt;br /&gt;
By ARNOLD BENNETT.&lt;br /&gt;
A Practical Guide; full of useful hints,&lt;br /&gt;
2nd Edition. 5s, net. 5s= 4d. post free.&lt;br /&gt;
The Literary Gorrespondence College,&lt;br /&gt;
9, Arundel Street, Strand, W.C.&lt;br /&gt;
THE Editor of a New Popular PENNY&lt;br /&gt;
PERIODICAL requires SHORT,&lt;br /&gt;
BRIGHT ARTICLES of about 2,100&lt;br /&gt;
Words,also HUMOROUS and DETECTIVE&lt;br /&gt;
STORIES, and anything of an Unconventional&lt;br /&gt;
Character. &mdash; Letters only to &ldquo;Editor,&rdquo; clo&lt;br /&gt;
Dawson&amp;#039;s, 121, Cannon Street, London, E.C.&lt;br /&gt;
Authors wishing to make arrange-&lt;br /&gt;
ments for PUBLISHINGi are invited&lt;br /&gt;
to communicate with LYNWOOD &amp;amp; CO.,&lt;br /&gt;
Publishers, 12, Paternoster Row, London,.&lt;br /&gt;
E.C., who will be pleased to consider Mss.&lt;br /&gt;
and advise (free). Please write before&lt;br /&gt;
sending MSS.&lt;br /&gt;
&lt;br /&gt;
TYPE WRITING&lt;br /&gt;
from 10d. per 1,000 words, by experienced&lt;br /&gt;
Typist. Authors&rsquo; MSS. and Technical&lt;br /&gt;
work a speciality.&lt;br /&gt;
ORDERS BY POST PROMPTLY ATTENDED TO.&lt;br /&gt;
MISS LUETCHFORD, 122, LONDON WALL, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
TYPEWRITING OF HIGHEST QUALITY.&lt;br /&gt;
GENERAL MSS., 10d. per 1,000 words.&lt;br /&gt;
DRAMATIC WORK.&lt;br /&gt;
GARBON GOPIES, 3d, per 1,000 words.&lt;br /&gt;
DUPLICATING-&lt;br /&gt;
NORA DICKINSON, I, Sackville Gardens, ILFORD, ESSEX.&lt;br /&gt;
YANTIE D 2&lt;br /&gt;
AUTHORS&amp;#039; MSS., PLAYS, AND GENERAL COPYING.&lt;br /&gt;
Don&amp;#039;t hesitate. Send a trial order now. I guarantee&lt;br /&gt;
satisfaction. One Carbon Duplicate supplied gratis&lt;br /&gt;
with first order. Terms on application&lt;br /&gt;
C. HERBERT CAESAR,&lt;br /&gt;
Homefield, Woodstock Rd., ST. ALBANS, HERTs.&lt;br /&gt;
AUTHORS&amp;#039; TYPEWRITING.&lt;br /&gt;
Novel and Story Work . 9d per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
General Copying * - ... 1/1 3 &ordm; 3 y 3 - 1|3&lt;br /&gt;
Plays, ruled t&ordm; t&ordm; &bull; ... 1)- 9 y 2 3 * x 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
MISS A. B. STEVENSON, Yew Tree Cottage,&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&amp;#039; MSS. neatly and accurately typed, 9d. per&lt;br /&gt;
1,000 words, including Carbon Copy.&lt;br /&gt;
Also General Copying, Plays, Actors&amp;#039; Parts, &amp;amp;c.&lt;br /&gt;
MISS B. KERRY, Rohilla, CARSHALION, Surrey.&lt;br /&gt;
THE OMFORD LITERARY AGENGW&lt;br /&gt;
For Disposal of SHORT STORIES, NOVELS, PLAYS,&lt;br /&gt;
&amp;amp;c. MSS. placed with Publishers. :&lt;br /&gt;
THE 0}(FORD B00K REVIEW AND LITERARY AGENCY,&lt;br /&gt;
235, HIGH HOLBORN, W.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#668) ################################################&lt;br /&gt;
&lt;br /&gt;
iv&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
THE-SIGN.OF-QUALITY&lt;br /&gt;
&lt;br /&gt;
A PARABLE OF THE&lt;br /&gt;
..&amp;quot;. MORNING MAIL. .&rdquo;.&lt;br /&gt;
G| When a man opens his mail, if that&lt;br /&gt;
mail is of any size he first of all sorts it.&lt;br /&gt;
G| He divides the sheep from the goats.&lt;br /&gt;
Q. With the &ldquo;sheep&rdquo; go all the real&lt;br /&gt;
personal letters: with the &ldquo;goats&rdquo; the&lt;br /&gt;
printed circulars and the ordinary &ldquo;imita.&lt;br /&gt;
tion&rdquo; form letters.&lt;br /&gt;
G| The &ldquo;sheep&rdquo; are all read: as a rule&lt;br /&gt;
the &ldquo;goats&rdquo; are not.&lt;br /&gt;
G| If you want your facsimile personal&lt;br /&gt;
letters to be read, in short to resemble&lt;br /&gt;
real personal letters so closely as to be&lt;br /&gt;
indistinguishable from the &ldquo;sheep,&rdquo; there&lt;br /&gt;
is one way to ensure it.&lt;br /&gt;
BRADBURY, AGNEW, &amp;amp; CO.&lt;br /&gt;
LTD.&lt;br /&gt;
10, BOUVERIE STREET, LONDON, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#669) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or .&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR WALTER BESANT.&lt;br /&gt;
WOL. xx-No. 10.&lt;br /&gt;
JULY 1ST, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER:&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&amp;#039; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
ARTICLES AND CONTRIBUTIONS.&lt;br /&gt;
THE Editor of The Author begs to remind&lt;br /&gt;
members of the Society that, although the paper&lt;br /&gt;
is sent to them free of cost, its production would&lt;br /&gt;
be a very heavy charge on the resources of the&lt;br /&gt;
Society if a great many members did not forward&lt;br /&gt;
to the Secretary the modest 5s. 6d. Subscription for&lt;br /&gt;
the year.&lt;br /&gt;
Communications for The Author should be&lt;br /&gt;
addressed to the Offices of the Society, 39, Old&lt;br /&gt;
Queen Street, Storey&amp;#039;s Gate, S.W., and should&lt;br /&gt;
reach the Editor not later than the 21st of each&lt;br /&gt;
month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the&lt;br /&gt;
standpoint of art or business, but on no other&lt;br /&gt;
subjects whatever. Every effort will be made to&lt;br /&gt;
return articles which cannot be accepted.&lt;br /&gt;
WOL. XX.&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the Committee are&lt;br /&gt;
personally responsible for the boma fides of the&lt;br /&gt;
advertisers, the Committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the Secretary for advice&lt;br /&gt;
if special information is desired. :&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The Committee, acting on the suggestion&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds.suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&mdash;e&mdash;-t&ordm;-e&mdash;&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors,&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only. - -&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#670) ################################################&lt;br /&gt;
&lt;br /&gt;
258&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
* - -&ordm;- a&lt;br /&gt;
v-u-v&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;o-&ordm;-&ordm;-&lt;br /&gt;
ON February 1, 1910, the trustees of the&lt;br /&gt;
Pension Fund of the society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&ndash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Consols 2%%.................. ........... #1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 0 ()&lt;br /&gt;
Victorian Government 3% Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291. 19 11&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 0&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4% Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 33% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . ................ 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () 0&lt;br /&gt;
New Zealand 3% Stock............... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 24% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4.&lt;br /&gt;
Jamaica. 3%% Stock, 1919&ndash;49 ......... 132 18 6&lt;br /&gt;
Mauritius 4%. 1937 Stock............... 120 12 I&lt;br /&gt;
Dominion of Canada C.P.R. 3% Land&lt;br /&gt;
Grant Stock, 1938..................... 198 3 8&lt;br /&gt;
Total ............... f4,065 6 0&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1910. &pound; s. d.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine . . 0 7 6&lt;br /&gt;
Jan. 13, Child, Harold H. . 0 10 0&lt;br /&gt;
Feb.&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O.&lt;br /&gt;
Jan. 27, Lion, Leon M.&lt;br /&gt;
Feb. 7, Fagan, J. B. . &ordm;&lt;br /&gt;
Feb. 10, Newton, Miss A. M.&lt;br /&gt;
March 7, Smith, Bertram .&lt;br /&gt;
April 13, Dillon, Mrs. e e&lt;br /&gt;
May 6, Inkster, Leonard . e&lt;br /&gt;
May 17, Truman, Miss Olive Marie&lt;br /&gt;
Donations.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R. . &amp;amp; &ordm;&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
tion) . &bull; * &amp;amp; ſe e&lt;br /&gt;
Jan. 1, Northcote, H. e &amp;amp;&lt;br /&gt;
Jan. 3, Watson, Mrs. Herbert A.&lt;br /&gt;
Jan. 3, Fursdon, Mrs. F. M.&lt;br /&gt;
Jan. 3, Smith, Miss Edith A.&lt;br /&gt;
Jan. 4, Pryce, Richard&lt;br /&gt;
Jan. 4, Wroughton, Miss Cicely .&lt;br /&gt;
Jan. 6, Kaye-Smith, Miss Sheila&lt;br /&gt;
Jan. 6, Underdown, Miss E. M. .&lt;br /&gt;
Jan. 6, Carolin, Mrs. . &ordm;&lt;br /&gt;
Jan. 8, P. H. and M. K.&lt;br /&gt;
Jan. 8, Crellin, H. R. &copy;&lt;br /&gt;
Jan. 10, Tanner, James T..&lt;br /&gt;
Jan. 10, Miller, Arthur .&lt;br /&gt;
Jan. 10, Bolton, Miss Anna&lt;br /&gt;
Jan. 10, Parr, Miss Olive K.&lt;br /&gt;
Jan. 17, Harland, Mrs. e&lt;br /&gt;
Jan. 21, Benecke, Miss Ida e&lt;br /&gt;
Jan. 25, Fradd, Meredith . C&lt;br /&gt;
Jan. 29, Stayton, F. . t&ordm; &ordm;&lt;br /&gt;
Feb. 1, Wharton, L. C.&lt;br /&gt;
4, Bowen, Miss Marjorie&lt;br /&gt;
5, Cameron, Mrs. Charlotte&lt;br /&gt;
7, Pettigrew, W. F. .&lt;br /&gt;
7, Church, Sir A. H. .&lt;br /&gt;
8, Bland, Mrs. E. Nesbit&lt;br /&gt;
8, The XX. Pen Club&lt;br /&gt;
10, Greenbank, Percy.&lt;br /&gt;
11, Stopford, Francis.&lt;br /&gt;
11, Dawson, A. J. . o&lt;br /&gt;
12, Ainslie, Miss Kathleen .&lt;br /&gt;
16, W. D. . &ordm; &ordm; &bull;&lt;br /&gt;
16, Gibbs, F. L. A. . b&lt;br /&gt;
17, Wintle, H. R. e&lt;br /&gt;
21, Thurston, E. Temple&lt;br /&gt;
23, Dawson, Mrs. Frederick&lt;br /&gt;
Feb. 24, Williamson, C. N. &ordm;&lt;br /&gt;
Feb. 24, Williamson, Mrs. C. N. e&lt;br /&gt;
Feb. 25, Westell, W. P. . e &copy;&lt;br /&gt;
March 2, Toplis, Miss Grace o&lt;br /&gt;
March 3, Hawtrey, Miss Valentina&lt;br /&gt;
March 5, Smith, Bertram . *&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
#.&lt;br /&gt;
S.&lt;br /&gt;
1&lt;br /&gt;
O&lt;br /&gt;
I&lt;br /&gt;
1|I&lt;br /&gt;
1&lt;br /&gt;
I&lt;br /&gt;
d.&lt;br /&gt;
:&lt;br /&gt;
O&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#671) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
259&lt;br /&gt;
# S. d.&lt;br /&gt;
March 12, Yould, A. . &copy; e O 5 0&lt;br /&gt;
March 16, Loraine, Lady . &sect; 0 10 0&lt;br /&gt;
March 29, Macdonnell, Randall . 4 0 0&lt;br /&gt;
April 6, Blake, J. P. . &amp;amp; g&ordm; 2 2 0&lt;br /&gt;
April 8, &ldquo;Patricia Wentworth &amp;#039;&amp;#039; 1 1 0&lt;br /&gt;
April 14, Hinkson, Mrs. K. Tynan O IO ()&lt;br /&gt;
May 6, Greenstreet, W. J. . ſ&ordm; O 5 ()&lt;br /&gt;
May 7, Cousin, John W. (), 5 ()&lt;br /&gt;
May 10, Zangwill, Israel . e . 1 1 0&lt;br /&gt;
May 19, Sprigge, Dr. S. S. (Portion of&lt;br /&gt;
money recovered by the Society as&lt;br /&gt;
damages) ſ&ordm; &ordm; &ordm; &copy; . I () () ()&lt;br /&gt;
June 3. Wynne, C. Whitworth . . 3 3 ()&lt;br /&gt;
June 15, Maunder, J. H. . c . 1 1 0&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
January, 1910, have been deleted from the present&lt;br /&gt;
announcement.&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
*. -&ordm;- *&lt;br /&gt;
v&ordm; ~- *&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE June meeting of the committee was&lt;br /&gt;
held at the offices of the Society on the&lt;br /&gt;
6th ult.&lt;br /&gt;
In the absence of Mr. Maurice Hewlett, Mr.&lt;br /&gt;
Douglas Freshfield was, on the proposal of Sir&lt;br /&gt;
Alfred Bateman, invited to take the chair.&lt;br /&gt;
Sixteen new members and associates were added&lt;br /&gt;
to the list, making 134 elections in the current&lt;br /&gt;
year. Four resignations were received, bringing&lt;br /&gt;
the number in the year to 64.&lt;br /&gt;
Cases before the Committee. The first case related&lt;br /&gt;
to the infringement of an author&amp;#039;s rights in&lt;br /&gt;
Germany, and had been discussed at previous&lt;br /&gt;
meetings. Owing to the failure of the author to&lt;br /&gt;
give the necessary information and assistance&lt;br /&gt;
through the committee to the Society&amp;#039;s German&lt;br /&gt;
lawyers, it was decided, with regret, to abandon the&lt;br /&gt;
case, and the secretary was instructed to acquaint&lt;br /&gt;
the author with the committee&amp;#039;s decision. The&lt;br /&gt;
next case was a complaint raised by a member that&lt;br /&gt;
a judgment summons obtained by the society two&lt;br /&gt;
months ago for unpaid contributions to a weekly&lt;br /&gt;
newspaper had not been satisfied, although the&lt;br /&gt;
offending party still continued to publish the paper&lt;br /&gt;
regularly. After consideration of a letter from the&lt;br /&gt;
society&amp;#039;s solicitors, setting out the steps they had&lt;br /&gt;
already taken, the committee authorised more&lt;br /&gt;
stringent measures to be taken in order to obtain&lt;br /&gt;
the amount due to the member. The third case&lt;br /&gt;
engaging the committee&amp;#039;s attention was one in&lt;br /&gt;
which a member of the society had expressed dis-&lt;br /&gt;
satisfaction with a publisher&amp;#039;s accounts. The&lt;br /&gt;
committee authorised the secretary to write to the&lt;br /&gt;
publisher on the matter, and (if needful) to put in&lt;br /&gt;
an accountant to check the accounts. A report&lt;br /&gt;
Was read from the solicitors of the society in regard&lt;br /&gt;
to the piracy of the works of one of its members&lt;br /&gt;
by means of street hawkers, and the secretary&lt;br /&gt;
was instructed to direct the solicitors to take&lt;br /&gt;
active steps on the lines taken by the music&lt;br /&gt;
publishers in somewhat similar circumstances, and&lt;br /&gt;
to hasten to put a stop to the illegal sales and&lt;br /&gt;
bring the parties to book. In another case, owing&lt;br /&gt;
to the sale by one of the members of the copyright&lt;br /&gt;
to a publisher, a difficult question of law had arisen&lt;br /&gt;
on which counsel&amp;#039;s opinion had been obtained.&lt;br /&gt;
The Secretary was instructed to send a copy of the&lt;br /&gt;
Opinion to the member involved. A letter from&lt;br /&gt;
the Solicitors of a literary agent was submitted by&lt;br /&gt;
the secretary and a reply was authorised. The next&lt;br /&gt;
matter related to a serious infringement of the&lt;br /&gt;
rights of dramatists in India. The secretary&lt;br /&gt;
reported the matter from the Dramatic Sub-&lt;br /&gt;
Committee, and the committee sanctioned the&lt;br /&gt;
course suggested by that body, namely, that inquiry&lt;br /&gt;
should be made of the society&amp;#039;s Indian solicitors as&lt;br /&gt;
to the exact position under the Indian law, and as&lt;br /&gt;
to the best course to be adopted.&lt;br /&gt;
From the cases the committee turned their&lt;br /&gt;
attention to other questions of policy. It was&lt;br /&gt;
decided to publish once, in the autumn of the year,&lt;br /&gt;
a full list of the annual subscribers to the Pension&lt;br /&gt;
Fund with the amount of their subscriptions. In&lt;br /&gt;
case any subscriber might object to the publication&lt;br /&gt;
of his or her name, it was resolved, before printing&lt;br /&gt;
the list, to issue a circular in order to ascertain the&lt;br /&gt;
wishes of the individual subscribers on this point.&lt;br /&gt;
A proposal to obtain advertisements for The Author&lt;br /&gt;
was next considered, and, after some discussion, it&lt;br /&gt;
was agreed to accept the proposal subject to some&lt;br /&gt;
modification and to the terms being embodied in a&lt;br /&gt;
contract which should meet with the chairman&rsquo;s&lt;br /&gt;
approval. At the previous meeting a question had&lt;br /&gt;
arisen respecting the appointment of agents in the&lt;br /&gt;
colonies who should keep the society informed of&lt;br /&gt;
infringements of literary and dramatic rights. Sir&lt;br /&gt;
Alfred Bateman reported that he had conferred&lt;br /&gt;
with the officials of the Board of Trade and felt&lt;br /&gt;
that some arrangement could probably be made,&lt;br /&gt;
but that it was too early as yet to give any definite&lt;br /&gt;
assurance. The secretary reported also that he had&lt;br /&gt;
seen the president of the Publishers&amp;#039; Association&lt;br /&gt;
and was instructed to write to him. The question&lt;br /&gt;
of the censorship of novels was again before the&lt;br /&gt;
committee to whom the secretary reported. He&lt;br /&gt;
was instructed to communicate with Mr. Hewlett&lt;br /&gt;
immediately on his return, who had the whole&lt;br /&gt;
matter in hand. A proposal made by a member of the&lt;br /&gt;
Copyright Sub-committee that all copyright cases&lt;br /&gt;
should first be referred to that committee, was&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#672) ################################################&lt;br /&gt;
&lt;br /&gt;
260&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
reconsidered in the light of the opinions of the&lt;br /&gt;
members of the sub-committee. After a perusal&lt;br /&gt;
of these opinions it appeared to the Committee of&lt;br /&gt;
Management that it would be undesirable to carry&lt;br /&gt;
out the suggestion.&lt;br /&gt;
The chairman reported that, as immediate&lt;br /&gt;
decision was necessary, he had taken on himself, in&lt;br /&gt;
Mr. Hewlett&amp;#039;s absence, to postpone the dinner of&lt;br /&gt;
the society. This action was approved and it was&lt;br /&gt;
decided to leave the question of an autumn dinner&lt;br /&gt;
to the committee at their meeting in July, when it&lt;br /&gt;
was hoped Mr. Hewlett would be present.&lt;br /&gt;
The committee sanctioned the expenditure neces-&lt;br /&gt;
sary for the issue of a circular by the Dramatic&lt;br /&gt;
Sub-committee to the dramatists inside the society.&lt;br /&gt;
The Dramatic Sub-committee also referred a&lt;br /&gt;
suggestion as to the reading of dramatic works by&lt;br /&gt;
a staff of readers appointed by the society, with a&lt;br /&gt;
special view to obtaining a market for such plays&lt;br /&gt;
as were favourably reported on by the readers.&lt;br /&gt;
The suggestion did not appear practicable to the&lt;br /&gt;
committee, and the secretary was instructed to&lt;br /&gt;
write to the member who had made the suggestion&lt;br /&gt;
and report to the sub-committee in that sense. A&lt;br /&gt;
proposal that the names of the Nobel Prize Com-&lt;br /&gt;
mittee should be added to the list of committees on&lt;br /&gt;
the society&rsquo;s letter-paper and publications was&lt;br /&gt;
negatived.&lt;br /&gt;
The receipt of a contribution of &pound;2 2s. to the&lt;br /&gt;
Capital Account of the society in acknowledgment&lt;br /&gt;
of work done by the society, was reported to the&lt;br /&gt;
committee, as also was a contribution of &pound;10 to&lt;br /&gt;
the Pension Fund from Dr. S. Squire Sprigge,&lt;br /&gt;
part of moneys recovered by the society on his&lt;br /&gt;
behalf.&lt;br /&gt;
At this, the first meeting of the committee after&lt;br /&gt;
the event, it was decided to send to Mr. Thomas&lt;br /&gt;
Hardy a letter of congratulation on the attain-&lt;br /&gt;
ment of his seventieth birthday, and the secretary&lt;br /&gt;
was instructed to ask Mr. Hewlett, the chairman of&lt;br /&gt;
the committee, to carry out the committee&amp;#039;s wishes&lt;br /&gt;
in this matter. -&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
A MEETING of the Dramatic Sub-committee was&lt;br /&gt;
held on Monday, May 30, at the offices of the&lt;br /&gt;
society, 39, Old Queen Street, Storey&amp;#039;s Gate, S.W.,&lt;br /&gt;
at 3 p.m.&lt;br /&gt;
The first question for the consideration of&lt;br /&gt;
the sub-committee related to the position of&lt;br /&gt;
dramatic authors and their property in the Trans-&lt;br /&gt;
Vaal and Orange River Colony. At the suggestion&lt;br /&gt;
of the secretary, it was decided to write to the&lt;br /&gt;
Colonial Office and to inquire as to the position of&lt;br /&gt;
copyright property of English dramatists in South&lt;br /&gt;
Africa generally.&lt;br /&gt;
The next subject was the appointment of agents&lt;br /&gt;
in the colonies and the larger cities of those&lt;br /&gt;
countries united under the Berne Convention&mdash;&lt;br /&gt;
agents who might be able to give information&lt;br /&gt;
to the Society of infringements. The secretary&lt;br /&gt;
reported that he had seen a gentleman, a native of&lt;br /&gt;
Johannesburg and a lawyer of position, and that&lt;br /&gt;
he had explained to him exactly what the society&lt;br /&gt;
desired. This gentleman had agreed to write a&lt;br /&gt;
letter to be laid before the Dramatic Sub-com-&lt;br /&gt;
mittee, giving references and explaining how far&lt;br /&gt;
he would be able to undertake the duties required.&lt;br /&gt;
The letter not having arrived in time for the&lt;br /&gt;
meeting, the matter was adjourned to the next&lt;br /&gt;
meeting.&lt;br /&gt;
The secretary also reported that Sir Alfred Bate-&lt;br /&gt;
man had seen the authorities at the Board of&lt;br /&gt;
Trade and the Foreign Office in regard to the&lt;br /&gt;
question of the Consuls reporting infringements in&lt;br /&gt;
those countries of Europe bound by the Berne&lt;br /&gt;
Convention and the Trade Commissioners in the&lt;br /&gt;
colonies. Sir Alfred Bateman having intimated a&lt;br /&gt;
desire to have from the Dramatic Sub-committee&lt;br /&gt;
a note of the exact work which it was desired the&lt;br /&gt;
Consuls and the Trade Commissioners should&lt;br /&gt;
undertake, the secretary was instructed to draft&lt;br /&gt;
such a note and to forward it to Sir Alfred.&lt;br /&gt;
Infringements of performing rights in India&lt;br /&gt;
appear to be on the increase, as the secretary had&lt;br /&gt;
to report to the sub-committee a long list of such&lt;br /&gt;
infringements at the Opera House, Calcutta. He&lt;br /&gt;
was instructed, with the consent of the Committee&lt;br /&gt;
of Management, to write to the society&amp;#039;s solicitors&lt;br /&gt;
in India and ask them to see whether it would not&lt;br /&gt;
be possible to put a stop to these infringements&lt;br /&gt;
by communicating with the manager, and also to&lt;br /&gt;
inquire what further steps they would advise. At&lt;br /&gt;
the same time the solicitors should be requested to&lt;br /&gt;
send a formal power of attorney, so that, in the&lt;br /&gt;
event of any action being necessary, they should&lt;br /&gt;
have full authority to take immediate proceedings.&lt;br /&gt;
It was also suggested that the secretary should be&lt;br /&gt;
instructed to write to the Council of the Actors&rsquo;&lt;br /&gt;
Association warning them of these infringements,&lt;br /&gt;
as it might be very unfortunate for members of&lt;br /&gt;
that association who had entered into contracts to&lt;br /&gt;
play in certain pieces in India and the colonies&lt;br /&gt;
suddenly to find that their employment was at an&lt;br /&gt;
end owing to an injunction being obtained for&lt;br /&gt;
infringements of dramatic rights; and the Secretary&lt;br /&gt;
was so instructed.&lt;br /&gt;
A complaint made by one member of the Society&lt;br /&gt;
against another member was laid before the sub-&lt;br /&gt;
committee, but as the full statements were not&lt;br /&gt;
forthcoming it was necessary to adjourn the&lt;br /&gt;
matter.&lt;br /&gt;
The secretary, having called attention to certain&lt;br /&gt;
paragraphs in The Referee, was instructed to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#673) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
261&lt;br /&gt;
forward a reply to the editor for insertion in that&lt;br /&gt;
journal.&lt;br /&gt;
A suggestion, from one of the members of the&lt;br /&gt;
Society to institute a formal reading branch for the&lt;br /&gt;
benefit of unacted dramatists was, after some discus-&lt;br /&gt;
sion, referred to the Committee of Management.&lt;br /&gt;
It was decided that the resolution passed at the&lt;br /&gt;
previous meeting of the sub-committee relating to&lt;br /&gt;
performances in working men&amp;#039;s clubs should be&lt;br /&gt;
sent round to dramatists who were members of the&lt;br /&gt;
society, with a postcard asking whether they would&lt;br /&gt;
be ready to adhere to the resolution then passed.&lt;br /&gt;
The sub-committee authorised the secretary to&lt;br /&gt;
write to those dramatists, if any, still outside the&lt;br /&gt;
Society and call their attention to the work done&lt;br /&gt;
by the society for the benefit of the dramatic&lt;br /&gt;
profession and for the defence of dramatic property.&lt;br /&gt;
The repertory agreement was finally settled, but&lt;br /&gt;
the agreement for a run was deferred till the next&lt;br /&gt;
meeting, which was fixed for Tuesday, June 21.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
DURING the past month the number of cases&lt;br /&gt;
placed in the Secretary&amp;#039;s hands has increased.&lt;br /&gt;
Twenty-three new cases have been brought to&lt;br /&gt;
the society&amp;#039;s office. They may be divided as&lt;br /&gt;
follows:&ndash;Two for accounts. Five for accounts&lt;br /&gt;
and money. Nine for money only. Three for&lt;br /&gt;
MSS. Four relating to settlement of terms of&lt;br /&gt;
agreements. Of the two claims for accounts, one&lt;br /&gt;
has been settled&mdash;the accounts have been handed&lt;br /&gt;
in. In the other case, the society is waiting for&lt;br /&gt;
the accountant&amp;#039;s report, the publishers having&lt;br /&gt;
given every facility for the investigation of their&lt;br /&gt;
books. Of the five claims for accounts and money,&lt;br /&gt;
one has been settled and one is in the course of&lt;br /&gt;
negotiation. The other three accounts have been&lt;br /&gt;
handed in, but the money is not yet to hand ; the&lt;br /&gt;
Secretary is waiting for the member to pass the&lt;br /&gt;
returns, when the demand for the amount shown to&lt;br /&gt;
be due will be made. The three claims for MSS.&lt;br /&gt;
have been satisfied. Out of the nine claims for&lt;br /&gt;
money, one has been satisfied, two have been&lt;br /&gt;
placed in the hands of the society&rsquo;s solicitors as&lt;br /&gt;
no satisfactory reply was forthcoming, two are in&lt;br /&gt;
the course of satisfactory negotiation, and the&lt;br /&gt;
balance have only recently come into the office.&lt;br /&gt;
The cases of disputes on agreements are naturally&lt;br /&gt;
slow in settlement, as a good deal of negotiation is&lt;br /&gt;
necessary, but one has been settled, two are&lt;br /&gt;
progressing. The last one has to await the arrival&lt;br /&gt;
of the member in England. She is at present&lt;br /&gt;
abroad and cannot obtain the necessary documents&lt;br /&gt;
and evidence. -&lt;br /&gt;
There are three cases still remaining over from&lt;br /&gt;
former months. One of these refers to a member&lt;br /&gt;
who lives in the Colonies, and one to a publisher in&lt;br /&gt;
America, and the third is still in the course of&lt;br /&gt;
negotiation. The cases in the solicitor&amp;#039;s hands&lt;br /&gt;
are being carried forward in accordance with the&lt;br /&gt;
legal procedure. None have actually been settled&lt;br /&gt;
during the past month.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
June Elections.&lt;br /&gt;
Alcock, Joseph Crosby 32, Londesborough&lt;br /&gt;
Road, Scarborough.&lt;br /&gt;
Atkinson, Harold W. West View, Eastbury&lt;br /&gt;
Avenue, Northwood,&lt;br /&gt;
Middlesex.&lt;br /&gt;
Yorick Club, 30, Bed-&lt;br /&gt;
Baker, Capt. B. Granville.&lt;br /&gt;
- ford Street, Strand,&lt;br /&gt;
W.C.&lt;br /&gt;
Campbell, Cyril S. Fen Ditton Hall, near&lt;br /&gt;
Cambridge.&lt;br /&gt;
Carey, Miss Winifred Rose. 51, Beaufort Man-&lt;br /&gt;
sions, Chelsea, S.W.&lt;br /&gt;
54, Digby Mansions,&lt;br /&gt;
H a m me r s m it h&lt;br /&gt;
Bridge, London, W.&lt;br /&gt;
Chase, Mrs. Lewis Nathaniel&lt;br /&gt;
Dalziel, James. Taikoo Sugar Refining&lt;br /&gt;
Co., Ltd., Hong-&lt;br /&gt;
Kong.&lt;br /&gt;
Dawson, Frank 17, Bedford Street,&lt;br /&gt;
- Marine Parade,&lt;br /&gt;
Brighton.&lt;br /&gt;
Dixon, Thomas &ordm; . Woodhall Road, Cal-&lt;br /&gt;
verley, near Leeds.&lt;br /&gt;
Eggar, W. D. e . Eton College, Windsor.&lt;br /&gt;
Graham, Mrs. Ethel . Bilston Lodge, Ivan-&lt;br /&gt;
Maxtone head, Midlothian.&lt;br /&gt;
&ldquo;Woodhill,&rdquo; Rhiw-&lt;br /&gt;
Jevons, Herbert Stanley .&lt;br /&gt;
bina, near Cardiff.&lt;br /&gt;
Thomson, Lieut.-Col. S. J., Scuttington Manor,&lt;br /&gt;
C.I.E., J.P. Sittingbourne, Kent.&lt;br /&gt;
Talbot, P. A., B.A., F.L.S., Abbots Morton, Ink-&lt;br /&gt;
&amp;amp;c. berrow, Worcester-&lt;br /&gt;
shire.&lt;br /&gt;
44, Princes Square,&lt;br /&gt;
Hyde Park, W.&lt;br /&gt;
17, Buckley Road,&lt;br /&gt;
N.W.&lt;br /&gt;
Wilson, Mary D.&lt;br /&gt;
Wilson, Mrs. S. Douglas&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;e-&ordm;-&ordm;-&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#674) ################################################&lt;br /&gt;
&lt;br /&gt;
262&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
accurate.&lt;br /&gt;
ART.&lt;br /&gt;
BRITISH PORTRAIT PAINTING. To the opening of the&lt;br /&gt;
Nineteenth Century. By M. H. SPIELMANN. 2 vols.&lt;br /&gt;
16 x 12%. 108 pp. 131 plates. The Berlin Photo-&lt;br /&gt;
graphic Co. &pound;26 5s. n.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE LIFE OF MARIE AMELIE. Last Queen of the French.&lt;br /&gt;
1782&ndash;1866. By C. C. Dyson. 83 &times; 5%. 318 pp. John&lt;br /&gt;
Long. 12s. 6d. n.&lt;br /&gt;
LIFE OF JOHN RUSKIN. By ASHMORE WINGATE. 63 &times; 4}.&lt;br /&gt;
203 pp. (Great Writers Series.) Walter Scott Publishing&lt;br /&gt;
Co. 1s. 6d.&lt;br /&gt;
GEORGE SAND AND HER LOVERS. By FRANCIS GRIBBLE.&lt;br /&gt;
73 x 5. 303 pp. Nash. 28. n.&lt;br /&gt;
EDUCATIONAL.&lt;br /&gt;
LES FRAN&Ccedil;AIS D&rsquo;AUJourd&rsquo;HUI. By JETTA. S. Wolf F.&lt;br /&gt;
7 x 5. 156 pp. Arnold. 1s. 6d.&lt;br /&gt;
NATURE STUDY ON THE BLACKBOARD. By W. P. PYCRAFT,&lt;br /&gt;
F.Z.S., AND JANET HARVEY KELMAN. Vol. I. : PLANT&lt;br /&gt;
LIFE. 12 x 9. 134 pp. Caxton Publishing Co.&lt;br /&gt;
7s. 6d. In. -&lt;br /&gt;
FICTION.&lt;br /&gt;
ToLD IN THE DAY WATCHES. By FRANK T. BULLEN. 73&lt;br /&gt;
&times; 5. 332 pp. Smith, Elder. 68.&lt;br /&gt;
CUTHBERT LEARMONT. By J. A. REVERMORT. 73 &times; 5.&lt;br /&gt;
354 pp. Constable. 63.&lt;br /&gt;
FoRBIDDEN GROUND. By GILBERT WATson. William&lt;br /&gt;
Heinemann. 6s.&lt;br /&gt;
A MOTLEY. By JOHN GALsworth Y.&lt;br /&gt;
Heinemann. 6s.&lt;br /&gt;
DAISY&amp;#039;S AUNT.&lt;br /&gt;
Nelson. 28. n.&lt;br /&gt;
THE PORTRAIT. By FORD MADox HUEFFER. 8 &times; 5.&lt;br /&gt;
307 pp. Methuen. 68.&lt;br /&gt;
THE GIRL witH THE RED HAIR. By MAx PEMBERTON.&lt;br /&gt;
7# &times; 5. 336 pp. CASSELL. 6s.&lt;br /&gt;
FREDA. By KATHERINE TYNAN. 73&lt;br /&gt;
Cassell. 63.&lt;br /&gt;
WERA OF THE STRONG HEART. By MARION MOLE.&lt;br /&gt;
73 &times; 4%. 312 pp. Melrose. 6s.&lt;br /&gt;
THE HEART OF NoFL. By FRED WHISHAw. 8 &times; 5.&lt;br /&gt;
320 pp. Everett. 63.&lt;br /&gt;
ToI.D IN THE DOG WATCHES. By FRANK. T. BULLEN.&lt;br /&gt;
7; x 5. 332 pp. Smith, Elder. 68.&lt;br /&gt;
IN THE BALANCE. By L. G. MOBERLY. 73 &times; 5.&lt;br /&gt;
Ward, Lock. 6s.&lt;br /&gt;
SIMON THE JESTER. By W. J. LOCKE. 7} x 5. 348 pp.&lt;br /&gt;
Lane. 6s.&lt;br /&gt;
A FAIR MARTYR. By J. BLOUNDELLE-BURTON. 8 x 5.&lt;br /&gt;
317 pp. Everett. 68. -&lt;br /&gt;
THE ROD OF JUSTICE. By ALICE AND CLAUDE ASKEW.&lt;br /&gt;
7# &times; 5}. 256 pp.&lt;br /&gt;
By E. F. BENSON. 74 x 5. 375 pp.&lt;br /&gt;
&times; 5. 336 pp.&lt;br /&gt;
320 pp.&lt;br /&gt;
73 &times; 5. 350 pp. Fisher Unwin. 6s.&lt;br /&gt;
THE SILENT WATCHES. By IZA DUFFUS HARDY. 73 &times;&lt;br /&gt;
5. 320 pp. Digby Long. 68.&lt;br /&gt;
MARQUESS SPLENDID. By ANNIE O. TIBBITS.&lt;br /&gt;
320 pp. Digby Long. 68.&lt;br /&gt;
To-MoRRow 7 By VICTORIA CROSS. (Cheap Edition.) 7%&lt;br /&gt;
7% x 5.&lt;br /&gt;
&times; 5. 302 pp. The Walter Scott Publishing Co. 1s. n.&lt;br /&gt;
SEA DOG.S. A Set of Sea Comedies. By MoRLEY&lt;br /&gt;
ROBERTS. 73 x 5. 256 pp. Nash. 28. n.&lt;br /&gt;
FURTHER EXPERIENCES OF AN IRISH R.M. By E. CE.&lt;br /&gt;
SOMERVILLE AND MARTIN Ross. 73 &times; 53. 315 pp.&lt;br /&gt;
Longmans. 3s. 6d. n.&lt;br /&gt;
THE CALL OF THE SOUTH. By LouTSE BECKE. 74 &times;&lt;br /&gt;
4}. 320 pp. Milne. 1s. In.&lt;br /&gt;
HISTORY.&lt;br /&gt;
A MEDIAEVAL GARNER. Human Documents from the Four&lt;br /&gt;
Centuries preceding the Reformation. Selected, trans-&lt;br /&gt;
lated, and annotated by G. G. CouTTON, 94 &times; 6.&lt;br /&gt;
727 pp. Constable. 21s. n. -&lt;br /&gt;
THE WALLS OF CONSTANTINOPLE. By CAPTAIN B.&lt;br /&gt;
GRAN VILLE BAKER, 73 &times; 6%. 262 pp. Milnes.&lt;br /&gt;
16s. n.&lt;br /&gt;
THE SECOND AFGHAN WAR, 1878-79-80 : its Causes, its&lt;br /&gt;
Conduct, and its Consequences. By COL. H. B. HANNA,&lt;br /&gt;
late Commanding at Delhi. Wol. III. Constable. 15s. n.&lt;br /&gt;
CALENDAR OF STATE PAPERS, COLONIAL SERIES,&lt;br /&gt;
AMERICA AND THE WEST INDIES, 1700, PRESERVED IN&lt;br /&gt;
THE PUBLIC RECORD OFFICE. Edited by CECIL HEAD-&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
## p. (#675) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTISIOR.&lt;br /&gt;
263&lt;br /&gt;
THE CAxTon SHAKESPEARE. Wols. W. and VI. With&lt;br /&gt;
Annotations and General Introduction. By SIDNEY&lt;br /&gt;
LEE. 83 &times; 64. Caxton Publishing Co. 6s. 6d. n.&lt;br /&gt;
THoughT GEMs For DAILY USE. Compiled by J. C.&lt;br /&gt;
WRIGHT. 6 &times; 4}. 143 pp. R.T.S. 18.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
THE LAws of HEREDITY. By G. ARCHDALL REID.&lt;br /&gt;
With a diagrammatic representation by HERBERT HALL&lt;br /&gt;
TURNER, Savilian Professor of Astronomy, Oxford. 9 &times;&lt;br /&gt;
5#. 548 pp. Methuen. 218. n.&lt;br /&gt;
SCIENTIFIC.&lt;br /&gt;
THE POCKET CLINICAL GUIDE. By JAMES BURNET,&lt;br /&gt;
M.D., M.R.C.P., E. (Illustrated.) Cloth, 1s. 6d. n.&lt;br /&gt;
Leather, 2s. 6d. n. Of the Author, 6, Glengyle Terrace,&lt;br /&gt;
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HINTS ON PRESCRIPTION WRITING. By JAMES BURNET.&lt;br /&gt;
(Second Edition.) 1s. n. Of the Author, 6, Glengyle&lt;br /&gt;
Terrace, Edinburgh.&lt;br /&gt;
SOCIOLOGY.&lt;br /&gt;
THE WAGRANCY PROBLEM : The Case for Measures of&lt;br /&gt;
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By W. H. D.Awson. 73 &times; 5. 270 pp. P. S. King.&lt;br /&gt;
58. In.&lt;br /&gt;
SPORT.&lt;br /&gt;
LETTERs of A MoDERN GOLFER. To HIS GRANDFATHER.&lt;br /&gt;
By HENRY LEACH. 73 x 5. 309 pp. Mills &amp;amp; Boon.&lt;br /&gt;
6s.&lt;br /&gt;
THE POCKET GUIDE TO SOLO WHIST.&lt;br /&gt;
3# x 23. 23 pp. De La Rue. 6d.&lt;br /&gt;
TEIEOLOGY.&lt;br /&gt;
BUDDHISM. By T. W. RHYs DAVIDs, PH.D. Twenty-&lt;br /&gt;
second Thousand. (A New and Revised Edition.) 63 &times;&lt;br /&gt;
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MY QUEST FOR GOD. By JoHN TREvoR. (Second Revised&lt;br /&gt;
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Edition.) 8 &times; 53. 247 pp. Fifield. 58. n.&lt;br /&gt;
TRAVEL.&lt;br /&gt;
STUDIES OF INDIAN LIFE AND SENTIMENT. By SIR&lt;br /&gt;
BAMPFYLDE FULLER, K.C.S.I. 8 &times; 5}. 360 pp.&lt;br /&gt;
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AUTUMN IMPRESSIONS OF THE GIRONDE. By J. G. SIEVE-&lt;br /&gt;
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BIOGRAPHY.&lt;br /&gt;
RUSKIN AND HIS CIRCLE. By ADA EARLAND. With 20&lt;br /&gt;
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York : Putnam. $1.75 m.&lt;br /&gt;
ACCIDENTS OF AN ANTIQUARY&amp;#039;S LIFE. With 40 illustra-&lt;br /&gt;
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HoGARTH. New York: Macmillan. $2.50 n.&lt;br /&gt;
ROBERT DoDSLEY, POET, PUBLISHER AND PLAYWRIGHT.&lt;br /&gt;
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MORNING STAR. By H. RIDER HAGGARD. New York :&lt;br /&gt;
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New&lt;br /&gt;
THE WIFE OF ALTAMONT. By VIoIET HUNT. New&lt;br /&gt;
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LETTER TO SANCHIA UPON THINGS AS THEY ARE :&lt;br /&gt;
Extracted from the Correspondence of MR. JOHN MAx-&lt;br /&gt;
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ton : Houghton Mifflin. $1.25 n.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
BROKEN EARTHENWARE. A Footnote in Narrative to&lt;br /&gt;
Professor William James&amp;#039;s &ldquo;The Varieties of Religious&lt;br /&gt;
Experience.&rdquo; By HAROLD BEGBIE. New York and&lt;br /&gt;
Chicago : Revell. $1.25.&lt;br /&gt;
THE SINGING WOICE AND ITS TRAINING. By STIRLING&lt;br /&gt;
MACKINLAY. New York : Dutton. $1.25 m.&lt;br /&gt;
NATURAL HISTORY.&lt;br /&gt;
INSECT Won DERLAND. By CONSTANCE FOOT. With&lt;br /&gt;
illustrations by W. Q. ALLEN. New York : John Lane.&lt;br /&gt;
$1.25 m. .&lt;br /&gt;
POLICITAL.&lt;br /&gt;
THROUGH AFRO-AMERICA. By WILLIAM ARCHER. An&lt;br /&gt;
English reading of the race problem. New York :&lt;br /&gt;
Dutton. $3 m. - -&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#676) ################################################&lt;br /&gt;
&lt;br /&gt;
264&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
&euro; $ YPNOTISM and Suggestion in Daily Life,&lt;br /&gt;
. Education, and Medical Practice,&rdquo; is the&lt;br /&gt;
title of a new work by Dr. Bernard&lt;br /&gt;
Hollander, who has studied these subjects for&lt;br /&gt;
many years, both for purposes of scientific investi-&lt;br /&gt;
gation and for their practical utility in the&lt;br /&gt;
treatment of various diseases. Messrs. Pitman &amp;amp;&lt;br /&gt;
Sons, Ltd., are the publishers.&lt;br /&gt;
Miss N. Smith Dampier&amp;#039;s book, &ldquo;Ballads from&lt;br /&gt;
the Danish and Original Verses,&rdquo; was published&lt;br /&gt;
last month by Mr. Andrew Melrose.&lt;br /&gt;
There is shortly to be published in a popular&lt;br /&gt;
edition in America, by Messrs. Mitchell Kennerley,&lt;br /&gt;
Miss Winifred Graham&amp;#039;s novel, &ldquo;Mary,&rdquo; a 1s.&lt;br /&gt;
edition of which has recently been published in&lt;br /&gt;
England by Messrs. Mills &amp;amp; Boon, who are pub-&lt;br /&gt;
lishing, early in July, Miss Graham&amp;#039;s new novel,&lt;br /&gt;
&ldquo;The Enemy of Woman.&rdquo;&lt;br /&gt;
Mr. Arthur H. Stockwell has published a new&lt;br /&gt;
novel by Mr. J. H. Brighouse, entitled, &ldquo;With&lt;br /&gt;
Unseen Lips,&rdquo; a tale of mystery and humour.&lt;br /&gt;
Miss Jetta S. Wolff, author of &ldquo;Le Fran&ccedil;ais en&lt;br /&gt;
M&eacute;nage,&rdquo; and &ldquo;Le Fran&ccedil;ais en Voyage,&rdquo; is&lt;br /&gt;
publishing a volume entitled &ldquo;Pour la Patrie, et&lt;br /&gt;
autres Contes d&amp;#039;Enfants.&rdquo; Mr. Edward Arnold&lt;br /&gt;
announces, also, the publication of Miss Wolff&amp;#039;s&lt;br /&gt;
&ldquo;Les Fran&ccedil;ais d&rsquo;Aujourd&rsquo;hui.&rdquo;&lt;br /&gt;
Mr. Michael Barrington, the author of &ldquo;The&lt;br /&gt;
King&amp;#039;s Fool,&rdquo; whose last novel, &ldquo;The Knight of&lt;br /&gt;
the Golden Sword,&rdquo; was no mediaeval tale of&lt;br /&gt;
hazardous adventure, but a study of the political&lt;br /&gt;
conditions of England and Scotland at the time of&lt;br /&gt;
the Restoration and Revolution, has returned once&lt;br /&gt;
more to the Middle Ages; and Messrs. Chatto &amp;amp;&lt;br /&gt;
Windus will publish in October his new romance,&lt;br /&gt;
&ldquo;The Lady of Tripoli,&rdquo; which portrays the soul&amp;#039;s&lt;br /&gt;
history of a famous Troubadour Prince.&lt;br /&gt;
Mr. Richard Steel has just published a second&lt;br /&gt;
and revised edition of his book, &ldquo;Imitation : The&lt;br /&gt;
Mimetic Function in Human Nature and in&lt;br /&gt;
Nature.&rdquo; The writer approaches the subject from&lt;br /&gt;
many sides, starting with imitation in infant and&lt;br /&gt;
child life, continuing in education, in later youthful&lt;br /&gt;
life and early maturity. Other chapters deal with&lt;br /&gt;
imitation in ethics, religion and politics, in&lt;br /&gt;
language, poetry and the fine arts, in economics,&lt;br /&gt;
in heredity and inorganic matter, while in an&lt;br /&gt;
appendix the writer refers to imitation in the&lt;br /&gt;
reasoning process. Messrs. Young &amp;amp; Sons in&lt;br /&gt;
Liverpool, and Messrs. Simpkin, Marshall &amp;amp; Co.&lt;br /&gt;
in London, publish the book.&lt;br /&gt;
Mr. S. B. Banerjea is shortly publishing a serial&lt;br /&gt;
story, entitled &ldquo;Miss Ray of Krishnagar,&rdquo; which&lt;br /&gt;
will appear in a Madras paper. It will deal with&lt;br /&gt;
the Indian unrest, and point out wherein, in the&lt;br /&gt;
author&amp;#039;s judgment, India&rsquo;s peril lies.&lt;br /&gt;
Dr. A. K. Coomaraswaney has an article on&lt;br /&gt;
Indian Bronzes in the May number of the&lt;br /&gt;
Burlington Magazine.&lt;br /&gt;
Miss K. Everest&amp;#039;s new song, &ldquo;Wake up, Eng-&lt;br /&gt;
land l&rsquo;&rsquo; (a copy of which was graciously accepted&lt;br /&gt;
by H.M. the King) is now published by Stanley&lt;br /&gt;
Webb, 10, Museum Street, W.C.&lt;br /&gt;
We have just received Wol. III. of &ldquo;Travel and&lt;br /&gt;
Exploration,&rdquo; comprising the monthly issues from&lt;br /&gt;
January to June, 1900. The volume is copiously&lt;br /&gt;
illustrated from photographs which are well repro-&lt;br /&gt;
duced, and contains many articles scarcely less&lt;br /&gt;
interesting to the &ldquo;home-bird&rdquo; than to the&lt;br /&gt;
traveller. Messrs. Witherby &amp;amp; Co., of 326, High&lt;br /&gt;
Holborn, W.C., are the publishers, and Mr. E. A.&lt;br /&gt;
Reynolds-Ball the Editor of this volume.&lt;br /&gt;
Messrs. Methuen &amp;amp; Co. are just issuing a book&lt;br /&gt;
of Anecdotes of Big Cats and other Beasts, by&lt;br /&gt;
Mr. David Wilson.&lt;br /&gt;
Mrs. Champion de Crespigny&rsquo;s new book is to&lt;br /&gt;
be published by Messrs. Mills and Boon in August.&lt;br /&gt;
It is called &ldquo;The Walley of Achor,&rdquo; and deals with&lt;br /&gt;
modern life. The scene of the story is laid in&lt;br /&gt;
England.&lt;br /&gt;
Rev. Telford Warley, B.Sc., who wrote the text&lt;br /&gt;
of &ldquo;Hampshire&amp;quot; for Messrs. Black&amp;#039;s series of&lt;br /&gt;
&ldquo;Colour-Books,&rdquo; has expanded the section in the&lt;br /&gt;
book dealing with Winchester and its immediate&lt;br /&gt;
surroundings, and it will be published in separate&lt;br /&gt;
form with a scene of Mr. Wilfrid Balls&amp;#039; illustra-&lt;br /&gt;
tions from &ldquo;Hampshire.&rdquo;&lt;br /&gt;
During the past month, the Abbey Theatre&lt;br /&gt;
Company, under the management of Lady Gregory&lt;br /&gt;
and Mr. W. B. Yeats, has been on a visit to&lt;br /&gt;
London. Among the members of the society&lt;br /&gt;
whose plays have been staged at the Court Theatre&lt;br /&gt;
are Mr. William Boyle, Lord Dunsany, Lady&lt;br /&gt;
Gregory, and Mr. W. B. Yeats.&lt;br /&gt;
Mr. Boyle&amp;#039;s comedy, &ldquo;The Eloquent Dempsy,&rdquo;&lt;br /&gt;
and Lord Dunsany&amp;#039;s piece, &ldquo;The Glittering Gate,&rdquo;&lt;br /&gt;
were produced on June 6; Lady Gregory&amp;#039;s three-&lt;br /&gt;
act play, &ldquo;The Image,&rdquo; on June 1, followed&lt;br /&gt;
by her one-act play, &ldquo;The Rising of the Moon&rdquo;;&lt;br /&gt;
while Mr. Yeats&rsquo; &ldquo; Kathleen ni Houlihan,&rdquo;&lt;br /&gt;
followed Lady Gregory&rsquo;s &ldquo;Workhouse Ward,&rdquo; on&lt;br /&gt;
June 3.&lt;br /&gt;
The late Mr. J. M. Synge&amp;#039;s &ldquo;Playboy of the&lt;br /&gt;
Western World&rdquo; was also included in the com-&lt;br /&gt;
pany&amp;#039;s r&eacute;pertoire. The company&amp;#039;s cast includes&lt;br /&gt;
Miss Sarah Allgood, Mr. J. A. O&rsquo;Rouke, Miss&lt;br /&gt;
Eileen O&amp;#039;Doherty, and Mr. Sydney J. Morgan.&lt;br /&gt;
Mrs. Angelo Savi&amp;#039;s little sketch, &ldquo;Love is&lt;br /&gt;
Passing,&rdquo; was produced for the first time by Mr.&lt;br /&gt;
Clive Currie at the Rehearsal Theatre, Maiden&lt;br /&gt;
Lane, on May 23, before a crowded house.&lt;br /&gt;
&ldquo;The Image,&rdquo; a new play in three acts by Lady&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#677) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
265&lt;br /&gt;
Gregory, was produced at the Court. Theatre, on&lt;br /&gt;
June 1. In the cast were Arthur Sinclair, Fred&lt;br /&gt;
O&amp;#039;Donovan, and Miss Sara Allgood.&lt;br /&gt;
Mr. Henry Arthur Jones&amp;#039;s comedy, &ldquo;The Case of&lt;br /&gt;
Rebellious Susan,&rdquo; was revived at the Criterion&lt;br /&gt;
Theatre early last month. Sir Charles Wyndham,&lt;br /&gt;
Miss Mary Moore, Miss Ellis Jeffreys, and Mr.&lt;br /&gt;
Sam Sothern were in the cast.&lt;br /&gt;
Miss Myra Swan appeared at the Grand Opera&lt;br /&gt;
House, Middlesbrough, on May 9, as Kitty in&lt;br /&gt;
&ldquo;The Marriage of Kitty,&rdquo; with Mr. C. W.&lt;br /&gt;
Standing and Miss Winifred Pearson, and is now&lt;br /&gt;
On tour. -&lt;br /&gt;
&amp;amp; &mdash;&ordm;- a&lt;br /&gt;
w &mdash;s&ordm;- -&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE late Jules Renard was a member of the&lt;br /&gt;
Goncourt Academy. He was a comparatively&lt;br /&gt;
young man, so that the news of his death&lt;br /&gt;
came as a surprise to all, but his intimate friends.&lt;br /&gt;
He was a literary man in the best sense of that&lt;br /&gt;
term. His originality consisted in transcribing&lt;br /&gt;
life as he saw it. With Jules Renard there was no&lt;br /&gt;
seeking for effect, no novels written for the sake of&lt;br /&gt;
preaching a theory. He saw nature as it is, and&lt;br /&gt;
human beings as they are, and he endeavoured to&lt;br /&gt;
show them to us. He was a great lover of the&lt;br /&gt;
country and of the simple life.&lt;br /&gt;
In England, Jules Renard was known by his&lt;br /&gt;
famous play, Carrots. He painted the peasants&lt;br /&gt;
of Central France admirably. He was essentially&lt;br /&gt;
a realist, but there was poetry in his realism. One&lt;br /&gt;
of his critics very aptly calls him the Bastien&lt;br /&gt;
Lepage of literature.&lt;br /&gt;
The second volume of the &ldquo;Correspondance du&lt;br /&gt;
duc d&amp;#039;Aumale et de Cuvillier Fleury&amp;#039; has just&lt;br /&gt;
appeared. It has been compiled by M. Limbourg,&lt;br /&gt;
and has a preface by M. Ren&eacute; Wallery-Radot. It&lt;br /&gt;
commences in 1848, when the Duc d&amp;#039;Aumale and&lt;br /&gt;
the Prince de Joinville join the exiled royal family.&lt;br /&gt;
In a series of letters we have an account of many&lt;br /&gt;
tragic events. In 1850 there is the death of the king;&lt;br /&gt;
then the Crimean War ; the death of the Duchesse&lt;br /&gt;
de Nemours and of the Duchesse d&rsquo;Orl&eacute;ans, and&lt;br /&gt;
the Italian war.&lt;br /&gt;
Pierre Mille has accustomed us to expect from&lt;br /&gt;
his pen true pictures of colonial life, and of the&lt;br /&gt;
difficulties of the Westerner in his dealings with&lt;br /&gt;
the extreme Orient. His stories are tragic and&lt;br /&gt;
pathetic, with a fine vein of humour running&lt;br /&gt;
through them. Barnavaux is a very living&lt;br /&gt;
personage to all who have read Pierre Mille&amp;#039;s last&lt;br /&gt;
volumes. &ldquo;La Biche &eacute;cras&eacute;e &amp;#039;&amp;#039; is the title of this&lt;br /&gt;
new book of short stories. The author shows&lt;br /&gt;
himself here in a new light. He is a keen observer&lt;br /&gt;
always, and he handles his subjects with delicacy,&lt;br /&gt;
but he paints his pictures in this volume wherever&lt;br /&gt;
he finds a good subject. &ldquo;La Biche &eacute;cras&eacute;e,&rdquo;&lt;br /&gt;
which gives its title to the volume, is merely an&lt;br /&gt;
episode, too slight even to be called a story. There&lt;br /&gt;
is no attempt at criticism of the things described,&lt;br /&gt;
no moral given to us in words, but just a touch&lt;br /&gt;
with the brush of an artist, showing up in a&lt;br /&gt;
few strokes all the cruelty and the pity of the&lt;br /&gt;
incidents described, the crushing of the weak by the&lt;br /&gt;
strong, the barbarism of our vaunted civilisation.&lt;br /&gt;
&ldquo;Le Bon P&egrave;re,&rdquo; in the same book, is veiled satire&lt;br /&gt;
on our social system. &ldquo;Repos hebdomadaire &lsquo;&rsquo;&lt;br /&gt;
shows us the utility of voting laws. &ldquo;Le Secret &rsquo;&rsquo;&lt;br /&gt;
is a tragic domestic episode, and &ldquo;La Peur&rdquo; a&lt;br /&gt;
weird story told by a sculptor. There are in all&lt;br /&gt;
about twenty of these short stories, all told in the&lt;br /&gt;
concise, dramatic way which is the secret of Pierre&lt;br /&gt;
Mille.&lt;br /&gt;
&ldquo;Trois amies de Chateaubriand &rdquo; is the title of&lt;br /&gt;
a charming book by Andr&eacute; Beaunier. It is both.&lt;br /&gt;
historical and romantic. The three principal&lt;br /&gt;
persons of whom the author writes are Pauline de&lt;br /&gt;
Beaumont, Juliette R&eacute;camier and Hortense Allard.&lt;br /&gt;
The other friends are Delphine de Custine, Nathalie&lt;br /&gt;
de Noailles and Madame de C. The love affairs of&lt;br /&gt;
Chateaubriand have tempted the pen of many&lt;br /&gt;
writers but there is always something fresh to tell,&lt;br /&gt;
and Andr&eacute; Beaumier has obtained fresh information&lt;br /&gt;
from many sources.&lt;br /&gt;
&ldquo;La Br&egrave;che,&rdquo; by Bradais one of the most dramatic&lt;br /&gt;
of this popular author&amp;#039;s novels. The story is based&lt;br /&gt;
on one of those cruel problems so difficult for mere&lt;br /&gt;
on-lookers to solve. The characters immediately&lt;br /&gt;
concerned in this problem solve it for themselves&lt;br /&gt;
in Brada&amp;#039;s story, knowing full well the sacrifices&lt;br /&gt;
that they must be prepared to make. Their life is&lt;br /&gt;
one long effort to bear the burden themselves,&lt;br /&gt;
silently and uncomplainingly. Circumstances&lt;br /&gt;
occur which make it necessary for others to share&lt;br /&gt;
their secret. They pay to the uttermost farthing&lt;br /&gt;
the penalty of what by some people would be&lt;br /&gt;
deemed a sin and by others the only natural solu-&lt;br /&gt;
tion to their problem. The story is admirably&lt;br /&gt;
told and each character is a living personage.&lt;br /&gt;
There is atmosphere in every scene, common sense&lt;br /&gt;
mingled with romance, and a fine robust philosophy&lt;br /&gt;
of life pervading the whole story.&lt;br /&gt;
Madame Emilio de Bobadillo, the wife of the cele-&lt;br /&gt;
brated Spanish writer (Fray Candil), has completed&lt;br /&gt;
her series of lectures in Paris on Spanish art. She&lt;br /&gt;
has spoken of Velasquez, Murillo and Zurbaran,&lt;br /&gt;
and her lectures have been illustrated by dissolving&lt;br /&gt;
views of the pictures of which she has spoken. She&lt;br /&gt;
is to repeat these lectures at Brussels in French,&lt;br /&gt;
and she will give them later on in London in&lt;br /&gt;
English.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#678) ################################################&lt;br /&gt;
&lt;br /&gt;
266&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
In the Revue des Deua, Mondes there is an&lt;br /&gt;
extremely interesting article by M. Georges Goyau&lt;br /&gt;
on &ldquo;Bismarck et la Papaut&eacute;.&rdquo;&lt;br /&gt;
A number of articles on Roosevelt have appeared&lt;br /&gt;
in the various French reviews. &ldquo;Th&eacute;odore Roose-&lt;br /&gt;
velt et la Constitution am&eacute;ricaine,&rdquo; by M. Ren&eacute;&lt;br /&gt;
Millet, French Ambassador, in L&amp;#039;Opinion&lt;br /&gt;
(April 23). &ldquo;Le Pr&eacute;sident Roosevelt,&rdquo; by M.&lt;br /&gt;
Fanin Roy, in the April number of France-&lt;br /&gt;
Am&eacute;rique. &ldquo;Le vrai Roosevelt,&rdquo; by M. Gulglielmo&lt;br /&gt;
Ferrero, in Le Figaro.&lt;br /&gt;
In La Revue hebdomadaire M. Ren&eacute; Moulin has&lt;br /&gt;
been writing some articles on &ldquo;Force et Faiblesse&lt;br /&gt;
de la Jeune Turquie.&rdquo; M. Frantz Funck-Brentano&lt;br /&gt;
on &ldquo;L&rsquo;Eglise de France et la R&eacute;volution.&rdquo;&lt;br /&gt;
ALYS HALLARD.&lt;br /&gt;
&ldquo;Correspondance du duc d&amp;#039;Aumale et de Cuvillier&lt;br /&gt;
Fleury&rdquo; (Plon).&lt;br /&gt;
&ldquo;La Biche &eacute;cras&eacute;e&amp;quot; (Calmann-L&eacute;vy).&lt;br /&gt;
&ldquo;La Br&egrave;che&amp;quot; (Plon).&lt;br /&gt;
a&mdash;&ordm;- a&lt;br /&gt;
w-v-w&lt;br /&gt;
PUBLISHERS&rsquo; AGREEMENTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
I.&lt;br /&gt;
HE offer that we print below was made&lt;br /&gt;
| recently by Mr. John Long to a member of&lt;br /&gt;
our society.&lt;br /&gt;
Dear 5&lt;br /&gt;
It is much to be regretted that the sales of your&lt;br /&gt;
two novels have not come up to our expectations,&lt;br /&gt;
and, in the over-crowded state of the fiction market,&lt;br /&gt;
it is difficult to know what to do with the above.&lt;br /&gt;
The tale is certainly well written, but then, on the other&lt;br /&gt;
hand, there is always a large number of well-written tales&lt;br /&gt;
before the public. Its publication must, therefore, be&lt;br /&gt;
attended with the greatest risk, but, as I have already&lt;br /&gt;
published two of your books, I should like to try a third,&lt;br /&gt;
only, however, on the clear and distinct understanding&lt;br /&gt;
that I have the first refusal of your next nine new novels,&lt;br /&gt;
which, if accepted, shall be published on the terms set out&lt;br /&gt;
below.&lt;br /&gt;
I understand you are not prepared to further finance&lt;br /&gt;
your literary work. Therefore I am willing to buy the&lt;br /&gt;
copyright of the present one for &pound;15, and, over and above&lt;br /&gt;
that sum, find all the money for publishing it. I should&lt;br /&gt;
also find all the money for publishing the other nine new&lt;br /&gt;
novels.&lt;br /&gt;
TERMS FOR THE SAID NINE Nov FLS.&lt;br /&gt;
NOS. 1, 2, and 3.&lt;br /&gt;
6s. Edition 1s. per copy, after the sale of the first nine&lt;br /&gt;
hundred copies.&lt;br /&gt;
Colonial Edition 2d. per copy, after the sale of the&lt;br /&gt;
first four hundred copies.&lt;br /&gt;
Sevenpenny Cloth Edition (if any) 3d. per copy on all&lt;br /&gt;
Sales.&lt;br /&gt;
Siapenny Edition (if any) 15s. per thousand Sales.&lt;br /&gt;
Cheaper Edition or Editions, except above (if any) 5&lt;br /&gt;
per cent. of the nominal published price on all&lt;br /&gt;
copies sold.&lt;br /&gt;
American, Foreign, and Serial Rights (if any) 25 per&lt;br /&gt;
cent. of the net sum received.&lt;br /&gt;
NOS. 4, 5, and 6.&lt;br /&gt;
68. Edition Is. per copy, after the sale of the first five&lt;br /&gt;
hundred copies.&lt;br /&gt;
Colonial Editions 2d. per copy, after the sale of the&lt;br /&gt;
first three hundred copies.&lt;br /&gt;
Other Royalties as for Nos. 1, 2, and 3.&lt;br /&gt;
Nos. 7, 8, and 9.&lt;br /&gt;
68. Edition 18, per copy, after the sale of the first four&lt;br /&gt;
hundred copies.&lt;br /&gt;
Colonial Edition 2d. per copy, after the sale of the&lt;br /&gt;
first two hundred copies.&lt;br /&gt;
Other Royalties as for Nos. 1, 2, and 3.&lt;br /&gt;
It must be clearly understood that the royalties on the&lt;br /&gt;
68. edition of each of the above nine novels are to be paid&lt;br /&gt;
only if the book is to be published at the outset at this&lt;br /&gt;
price. If not, then as regards Nos. 1, 2, and 3 the royalty&lt;br /&gt;
to be 10 per cent. after the sale of the first 1,750. As to&lt;br /&gt;
Nos. 4, 5, and 6, 10 per cent. after the sale of the first 1,000,&lt;br /&gt;
and, as regards Nos. 7, 8, and 9, 10 per cent. after the sale&lt;br /&gt;
of the first 750 copies.&lt;br /&gt;
I am bitterly opposed to novels being published at less&lt;br /&gt;
than 68, at the commencement, but we must provide for all&lt;br /&gt;
eventualities in the publishing world, where, undoubtedly,&lt;br /&gt;
the trend is for cheapness. -&lt;br /&gt;
Each tale to be of present day life, with plenty of love&lt;br /&gt;
. incident, and to contain not less than 80,000 words&lt;br /&gt;
&euro;2,CIl.&lt;br /&gt;
Two novels of yours to be published yearly about January&lt;br /&gt;
#. J&ordm; and delivery to take place during September and&lt;br /&gt;
2.TCI). -&lt;br /&gt;
On hearing favourably from you I will send you the&lt;br /&gt;
cheque for &pound;15, also the agreement.&lt;br /&gt;
Faithfully Yours,&lt;br /&gt;
(Signed) JOHN LONG.&lt;br /&gt;
We have printed previously in The Author&lt;br /&gt;
somewhat similar offers from the same publisher.&lt;br /&gt;
In order to put the case clearly before the members&lt;br /&gt;
of our society, we will consider the case of a single&lt;br /&gt;
book, and assume that an edition of 1,500 copies&lt;br /&gt;
is printed and that 900 of these are sold in the&lt;br /&gt;
English edition, 400 are sold in the Colonial&lt;br /&gt;
edition, and 100 are given away for review and other&lt;br /&gt;
purposes, leaving an unsold remainder of 100&lt;br /&gt;
copies. The result from the financial point of&lt;br /&gt;
view would then be roughly as follows: the sale of&lt;br /&gt;
900 copies would bring the publisher about &pound;150 ;&lt;br /&gt;
the sale of 400 copies to the colonies in sheets might&lt;br /&gt;
bring the publisher, say, another &pound;20, so that, if the&lt;br /&gt;
first edition was sold out, the publisher would have&lt;br /&gt;
obtained &pound;170 and the author nothing. The pub-&lt;br /&gt;
lisher would, after covering the cost of production&lt;br /&gt;
and advertising, have been able to put from &pound;40&lt;br /&gt;
to &pound;50 into his own pocket. Probably he would&lt;br /&gt;
make this sum in six months, and thus have the&lt;br /&gt;
opportunity of turning over his capital at a hand:&lt;br /&gt;
some profit twice in the year. It will be noticed&lt;br /&gt;
that, even with a sale of much smaller numbers,&lt;br /&gt;
the percentage on his capital is ample. This, then,&lt;br /&gt;
if the book has a fair sale, is a good bargain for&lt;br /&gt;
the publisher but a very bad one for the author.&lt;br /&gt;
We would only add that, while it is a mistake&lt;br /&gt;
for an author to bind himself to a publisher for&lt;br /&gt;
more than one book, to bind himself for nine&lt;br /&gt;
books is disastrous. An author should make his&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#679) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
267&lt;br /&gt;
publisher an agent for the publication of the work&lt;br /&gt;
in book form only, subject to limitations of time,&lt;br /&gt;
price, country, and number of edition. To hand&lt;br /&gt;
over to a publisher other rights may be as&lt;br /&gt;
disastrous as handing over the publication of more&lt;br /&gt;
than one volume.&lt;br /&gt;
II.&lt;br /&gt;
The next agreement, to which we desire to draw&lt;br /&gt;
attention, is a common form of agreement issued&lt;br /&gt;
by Messrs. George Allen &amp;amp; Sons. We print this&lt;br /&gt;
document at length :&mdash;&lt;br /&gt;
MEMORANDUM OF AGREEMENT made the day of&lt;br /&gt;
19 , between , hereinafter referred to as the&lt;br /&gt;
author of the one part and , hereinafter referred to&lt;br /&gt;
as the publishers of the other part, whereby it is mutually&lt;br /&gt;
agreed between the parties thereto for themselves and&lt;br /&gt;
their respective heirs, successors, executors, and assigns, as&lt;br /&gt;
follows:&ndash;&lt;br /&gt;
1. The publishers will, at their own expense, produce&lt;br /&gt;
and publish the author&amp;#039;s work at present entitled&lt;br /&gt;
consisting of about thousand words.&lt;br /&gt;
2. The author will deliver the complete manuscript to&lt;br /&gt;
the publishers on or before next. (This is of the&lt;br /&gt;
essence of the contract.) And the publishers undertake to&lt;br /&gt;
issue the work not later than &ordm;&lt;br /&gt;
3. The copyright is hereby vested in the publishers, who&lt;br /&gt;
shall have the entire control of the publication and terms&lt;br /&gt;
of sale of the work, and the author shall not, without the&lt;br /&gt;
consent of the publishers, publish any abridgment, trans-&lt;br /&gt;
lation, or dramatised version of the work.&lt;br /&gt;
4. The publishing price in England of the first edition of&lt;br /&gt;
the work shall not be less than , and the publishers&lt;br /&gt;
shall pay the following royalties, i.e.,&lt;br /&gt;
The author shall be entitled during the continuance of&lt;br /&gt;
the copyright to a royalty of per cent. of the pub-&lt;br /&gt;
lished price of all copies sold in Great Britain up to&lt;br /&gt;
copies. -&lt;br /&gt;
A royalty of&lt;br /&gt;
British Colonies.&lt;br /&gt;
A royalty of per cent. of the published price of all&lt;br /&gt;
copies exported to America, or, if the book be copyrighted&lt;br /&gt;
there, to one half the total amount received from the&lt;br /&gt;
American publishers.&lt;br /&gt;
A royalty of 10 per cent. on the amount realised in the&lt;br /&gt;
event of the book being sold as remainders.&lt;br /&gt;
5. Accounts shall be made up annually as on the 31st&lt;br /&gt;
December and shall be settled on or before the 30th April&lt;br /&gt;
following. In taking the accounts thirteen copies shall be&lt;br /&gt;
reckoned as twelve (or twenty-five as twenty-four, as the&lt;br /&gt;
case may be); copies supplied for review and presentation&lt;br /&gt;
shall not be subject to royalty; and author&amp;#039;s corrections&lt;br /&gt;
exceeding an average cost of shillings per sheet of&lt;br /&gt;
thirty-two pages shall be at the author&amp;#039;s expense and be&lt;br /&gt;
deducted from the author&amp;#039;s royalty. The author shall be&lt;br /&gt;
entitled to copies of the work free of charge.&lt;br /&gt;
6. The author guarantees that the work does not infringe&lt;br /&gt;
the copyright of any other person, and that it contains&lt;br /&gt;
nothing of a Scandalous character, and will indemnify the&lt;br /&gt;
publishers from all loss, costs, and damages for actual or&lt;br /&gt;
alleged infringement of copyright, libel, or otherwise, in&lt;br /&gt;
consequence of or arising out of the publication of the&lt;br /&gt;
work.&lt;br /&gt;
7. The author during his life shall, on the publishers&amp;#039;&lt;br /&gt;
request, Tevise, and if necessary edit, and prepare for the&lt;br /&gt;
press all future editions which the publishers shall decide&lt;br /&gt;
to publish, and from time to time supply any new matter&lt;br /&gt;
that may be needful to keep the work up to date. In the&lt;br /&gt;
event of the author&amp;#039;s death, or of his inability, by reason of&lt;br /&gt;
}&lt;br /&gt;
pence per copy on all sold in the&lt;br /&gt;
illness, absence from England, or otherwise, to do so, the&lt;br /&gt;
cost of such revision and preparation shall be borne&lt;br /&gt;
equally by the author or his representatives, and the pub-&lt;br /&gt;
lishers and the author&amp;#039;s share of such cost shall be a charge&lt;br /&gt;
upon and be deducted from the author&amp;#039;s royalty.&lt;br /&gt;
8. If the publishers shall, after the whole of the first or&lt;br /&gt;
any later edition shall have been sold, and after not less&lt;br /&gt;
than six months&amp;#039; notice in writing from the author,&lt;br /&gt;
decline or neglect to publish a new edition, they shall at&lt;br /&gt;
the author&amp;#039;s cost assign the copyright to the author ; and&lt;br /&gt;
in case of such assignment the author shall take over all&lt;br /&gt;
plates, stones, blocks, moulds, etc., specially made for the&lt;br /&gt;
work and which could be used for the production of&lt;br /&gt;
another edition, at two-thirds of the original cost.&lt;br /&gt;
9. The expression &ldquo;the publishers&rdquo; shall be deemed to&lt;br /&gt;
include, where the context so admits, the person or persons&lt;br /&gt;
for the time being constituting the firm of e&lt;br /&gt;
AS WITNESS the hands of the author and of the said firm&lt;br /&gt;
Of by two of its members.&lt;br /&gt;
No author can be recommended to sign this&lt;br /&gt;
agreement as it stands. Many publishing firms&lt;br /&gt;
issue agreements drawn distinctly in their favour,&lt;br /&gt;
but when they find that the author has full know-&lt;br /&gt;
ledge of the clauses likely to prove oppressive,&lt;br /&gt;
they are generally willing to make modifications&lt;br /&gt;
and not infrequently to accept all or most of the&lt;br /&gt;
author&amp;#039;s emendations and alterations.&lt;br /&gt;
In this particular case the firm which issued&lt;br /&gt;
this agreement stated, so we are informed, that no&lt;br /&gt;
publisher nowadays thinks of entering into an&lt;br /&gt;
agreement with an author unless the author con-&lt;br /&gt;
sents to transfer his copyright. In actual fact the&lt;br /&gt;
exact opposite is the case.&lt;br /&gt;
In the first instance let us consider the parties.&lt;br /&gt;
The agreement should be made between the author&lt;br /&gt;
and the publisher only. The contract should be&lt;br /&gt;
personal to the publisher and should not be with&lt;br /&gt;
his respective heirs, executors, successors and&lt;br /&gt;
assigns. Clause 1 does not call for any particular&lt;br /&gt;
comment, but in clause 2 the inequality of the&lt;br /&gt;
agreement is immediately evident. The publisher&lt;br /&gt;
seeks to bind the author to deliver the MS. by a&lt;br /&gt;
fixed date and to make time the essence of the&lt;br /&gt;
contract, but there is no corresponding obligation&lt;br /&gt;
on his part to make time the essence of the&lt;br /&gt;
contract when the question arises as to the&lt;br /&gt;
date of publication. If it is important for&lt;br /&gt;
the publisher that time should be made the&lt;br /&gt;
essence of the contract it is even more important&lt;br /&gt;
for the author. Clause 3 is a clause to which&lt;br /&gt;
particular attention should be drawn. The author&lt;br /&gt;
should never transfer his copyright to a publisher.&lt;br /&gt;
How often has this statement been made in these&lt;br /&gt;
columns ! But so long as publishers insist upon&lt;br /&gt;
inserting clauses of this kind in their agreements,&lt;br /&gt;
so long must the repetition of the formula be&lt;br /&gt;
printed : &ldquo;The author must never transfer his&lt;br /&gt;
copyright to the publisher.&rdquo; The reasons for&lt;br /&gt;
this are manifold, but it is not necessary to&lt;br /&gt;
repeat them at the present time. The author&lt;br /&gt;
should grant to the publisher a licence to publish&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#680) ################################################&lt;br /&gt;
&lt;br /&gt;
268&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
the work in book form only, at a fixed price and&lt;br /&gt;
in a form to be mutually agreed between the parties.&lt;br /&gt;
The latter part of clause 3 we have met in other&lt;br /&gt;
agreements. It may be reasonable that the author&lt;br /&gt;
should not be permitted to publish an abridgment of&lt;br /&gt;
his work without the consent of the publisher, if&lt;br /&gt;
such abridgment is likely to detract from the&lt;br /&gt;
value to the publisher of his contract, but that the&lt;br /&gt;
author should not be allowed to publish a trans-&lt;br /&gt;
lation or dramatised version of his work is an absurd&lt;br /&gt;
prohibition. To the ordinary author, who trusts&lt;br /&gt;
his publisher, it might appear that he had merely to&lt;br /&gt;
inform the publisher that he had received an offer&lt;br /&gt;
for such translation or dramatisation, and the pub-&lt;br /&gt;
lisher would, as a matter of course, without any&lt;br /&gt;
demur, grant his consent. We have, however, met&lt;br /&gt;
a publisher&mdash;not the one whose agreement is before&lt;br /&gt;
us&mdash;who has, in such circumstances, withheld his&lt;br /&gt;
consent until the author agreed to give him 50 per&lt;br /&gt;
cent. of the profits. The words must, therefore, be&lt;br /&gt;
struck out of the clause. In clause 4 it is quite&lt;br /&gt;
right that the published price should be settled, but&lt;br /&gt;
not for the first edition only. The publisher should&lt;br /&gt;
only be granted a licence to publish at agreed&lt;br /&gt;
prices. It will be noticed in clause 4 that although&lt;br /&gt;
the author has sold the copyright to the publisher,&lt;br /&gt;
there is no stipulation made for any payment to&lt;br /&gt;
the author if the work is placed serially, or if the&lt;br /&gt;
publisher chooses to sell translation rights. The&lt;br /&gt;
royalties to be paid are only on the English,&lt;br /&gt;
Colonial, and American editions, and in the last-&lt;br /&gt;
mentioned case, supposing the author, by his own&lt;br /&gt;
unaided efforts, succeeds in obtaining American&lt;br /&gt;
copyright, he will have to pay half the total amount&lt;br /&gt;
to the publishers. In the last paragraph of the&lt;br /&gt;
clause the author should be given a larger measure&lt;br /&gt;
of control. The publisher should not be allowed to&lt;br /&gt;
remainder when he likes without considering the&lt;br /&gt;
author&amp;#039;s position. The account clause, again, is&lt;br /&gt;
very unsatisfactory, for if the book were published in&lt;br /&gt;
January&mdash;a not uncommon month in which to pub-&lt;br /&gt;
lish books&mdash;the author would not receive any money&lt;br /&gt;
until the following April year. As the largest sales&lt;br /&gt;
of a book occur during the first three or four&lt;br /&gt;
months, the publisher would hold the author&amp;#039;s&lt;br /&gt;
money for twelve months. One enterprising&lt;br /&gt;
author has worked out an interesting mathematical&lt;br /&gt;
sum by which he shows how a publisher, by means&lt;br /&gt;
of an account clause drawn on these lines, could&lt;br /&gt;
run the expenses of his business on moneys belong-&lt;br /&gt;
ing to authors which he had in hand. . The ques-&lt;br /&gt;
tion of thirteen copies being reckoned as twelve&lt;br /&gt;
in the rendering of accounts has been explained&lt;br /&gt;
over and over again in these columns. We do&lt;br /&gt;
not desire to repeat the warning. Clause 7 should&lt;br /&gt;
be deleted entirely. The author of the work alone&lt;br /&gt;
should have the right of revision. The clause as to&lt;br /&gt;
revision refers only to technical books and Scientific&lt;br /&gt;
works et hoc genus omne which necessarily require&lt;br /&gt;
to be re-edited with the development of knowledge&lt;br /&gt;
or the alteration of methods. If the author desires&lt;br /&gt;
to retain control as to revision, then he should&lt;br /&gt;
limit the publisher, in the first clause, not only to&lt;br /&gt;
the right of publication in book form at a fixed&lt;br /&gt;
price but also to a limited edition. He can always&lt;br /&gt;
offer the publisher the option of producing further&lt;br /&gt;
editions, subject to any revisions or alterations he&lt;br /&gt;
may desire incorporated. The clause as it stands&lt;br /&gt;
must, as we have remarked, be deleted. Clause 8&lt;br /&gt;
would be unnecessary if the agreement were drawn&lt;br /&gt;
on the lines we have suggested, but if the author&lt;br /&gt;
has sold the copyright to the publisher, and the&lt;br /&gt;
latter chooses to assign it to some other house, it&lt;br /&gt;
is not likely that the assignee will be bound by&lt;br /&gt;
clause 8, and, in any event, that the book should&lt;br /&gt;
be out of print for six months is very unsatisfactory&lt;br /&gt;
to the author. The publisher should be bound,&lt;br /&gt;
in order to show his bona fides, to publish a new&lt;br /&gt;
edition of at least five hundred copies, and the&lt;br /&gt;
author should not be bound to take over the&lt;br /&gt;
moulds, stones, etc. He might have the option of&lt;br /&gt;
taking them over at a valuation. If he takes&lt;br /&gt;
them over at two-thirds cost, first, they may not&lt;br /&gt;
be in good condition, and secondly, he is practically&lt;br /&gt;
insuring the publisher against any loss from the&lt;br /&gt;
publication of the book. Clause 9 should be&lt;br /&gt;
deleted for the reason given at the beginning of&lt;br /&gt;
this article.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTS.&lt;br /&gt;
&mdash;e-&ordm;-e&mdash;&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
The Humour of Mark Twain. By Barry Pain. *&lt;br /&gt;
Mark Twain, The Man and The Jester. By Walter&lt;br /&gt;
Jerrold. - .&lt;br /&gt;
Thomas Hardy.&lt;br /&gt;
ENGLISH REVIEW.&lt;br /&gt;
The Handling of Words : Meredith. Henry James&lt;br /&gt;
By Vernon Lee. - -&lt;br /&gt;
The Dramatic Sense. By Gilbert Cannan.&lt;br /&gt;
Through the French Salons. By C. F. Keary.&lt;br /&gt;
The Women of Shakespeare. By Frank Harris.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
Tourguenieff. By Francis Gribble.&lt;br /&gt;
Tourguenieff and the Life Illusion.&lt;br /&gt;
Curle.&lt;br /&gt;
A Philosophic Emperor.&lt;br /&gt;
Wm. Quiller Orchardson.&lt;br /&gt;
Walt Whitman&mdash;the Poet of Nature.&lt;br /&gt;
M.D.&lt;br /&gt;
Sterne&amp;#039;s Eliza. By Lewis Melville.&lt;br /&gt;
The Last Meeting with Bjornson.&lt;br /&gt;
NATIONAL.&lt;br /&gt;
Lyttelton as a Man of Letters. By Austin Dobson.&lt;br /&gt;
A King of Manuscript Collectors. By W. Roberts.&lt;br /&gt;
A Poet&rsquo;s Prose. By Mrs. T. A. Trollope.&lt;br /&gt;
By Richard H. P.&lt;br /&gt;
By W. L. Courtney.&lt;br /&gt;
By Mrs. Alec Tweedie.&lt;br /&gt;
By J. Johnston,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#681) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
269&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e-C-0&ndash;&lt;br /&gt;
1. WERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
- lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus.&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
Members are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution.&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
a &ndash;a&ndash; a&lt;br /&gt;
v-v-w&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
- OF BOOKS,&lt;br /&gt;
&mdash;e-Q-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property :&mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a preper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1.) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2.) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
(4.) Not to give up American, Colonial, or Continental&lt;br /&gt;
rights. -&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
As well bind yourself for the future to any one solicitor or&lt;br /&gt;
doctor |&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
What the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author,&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :-&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In 62, DS. -&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with any one except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#682) ################################################&lt;br /&gt;
&lt;br /&gt;
270&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties. (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event.&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time, This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;A- a&lt;br /&gt;
~~&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&ndash;0-s&ordm;-0&ndash;&lt;br /&gt;
It is extremely&lt;br /&gt;
DRAMATIC AUTHORS AND AGENTS.&lt;br /&gt;
S&ordm; typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario, thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 28. 6d. per act.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
RAMATIC authors should seek the advice of the&lt;br /&gt;
Society before putting plays into the hands of&lt;br /&gt;
agents. . As the law stands at present, an agent&lt;br /&gt;
who has once had a play in his hands may acquire a&lt;br /&gt;
perpetual claim to a percentage on the author&amp;#039;s fees&lt;br /&gt;
from it. As far as the placing of plays is concerned,&lt;br /&gt;
it may be taken as a general rule that there are only&lt;br /&gt;
very few agents who can do anything for an author&lt;br /&gt;
that he cannot, under the guidance of the Society, do&lt;br /&gt;
equally well or better for himself. The collection of fees&lt;br /&gt;
is also a matter in which in many cases no intermediary is&lt;br /&gt;
required. For certain purposes, such as the collection of&lt;br /&gt;
fees on amateur performances, and in general the trans-&lt;br /&gt;
action of frequent petty authorisations with different&lt;br /&gt;
individuals, and also for the collection of fees in foreign&lt;br /&gt;
countries, almost all dramatic authors employ agents; and&lt;br /&gt;
in these ways the services of agents are real and valuable.&lt;br /&gt;
But the Society warns authors against agents who profess&lt;br /&gt;
to have influence with managers in the placing of plays, or&lt;br /&gt;
who propose to act as principals by offering to purchase&lt;br /&gt;
the author&amp;#039;s rights. In any case, in the present state of&lt;br /&gt;
the law, an agent should not be employed under any&lt;br /&gt;
circumstances without an agreement approved of by the&lt;br /&gt;
Society.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musica)&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
&mdash;e&mdash;s&ordm;-0&ndash;&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&rsquo; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;e&mdash;Q-e&mdash;&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&mdash;e-e&mdash;&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic works, and when it is possible, under&lt;br /&gt;
special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;&ordm;-&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smiths Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#683) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
271&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
MEMBERS are reminded that The Author is not&lt;br /&gt;
published in August or September. The next issue&lt;br /&gt;
will appear in October.&lt;br /&gt;
GOGOL CENTENARY, 1909.&lt;br /&gt;
THE Russian &ldquo;Society of the Friends of Russian&lt;br /&gt;
Iliterature&amp;quot; has very courteously sent us the&lt;br /&gt;
Official Report of the Centenary of Gogol. The&lt;br /&gt;
volume contains a very full record of the pro-&lt;br /&gt;
ceedings on the actual centenary of the birth of&lt;br /&gt;
Gogol, March 29, and on the three days of the&lt;br /&gt;
festivities, April 26, 27, and 28, 1909. The&lt;br /&gt;
unveiling of the Gogol Memorial Statue at Moscow&lt;br /&gt;
took place on April 26, having been preceded by a&lt;br /&gt;
solemn requiem mass in the Cathedral of the&lt;br /&gt;
Saviour. A considerable number of papers on&lt;br /&gt;
Gogol were read during the festivities, and will be&lt;br /&gt;
welcomed by the students of Russian literature as&lt;br /&gt;
substantial additions to what has been hitherto&lt;br /&gt;
known of the celebrated novelist. After a com-&lt;br /&gt;
plete record of all the letters of congratulation and&lt;br /&gt;
sympathy (accompanied in the case of those in&lt;br /&gt;
foreign languages by Russian translations) received&lt;br /&gt;
by the committee, the volume concludes with a list&lt;br /&gt;
of the memorial wreaths offered. Two illustrations&lt;br /&gt;
present a portrait of Gogol and a view of the&lt;br /&gt;
Gogol Memorial Statue. The letter of the &ldquo;Society&lt;br /&gt;
of Authors&rdquo; will be found on page 245.&lt;br /&gt;
AUTHORS AND PUBLISHERS.&lt;br /&gt;
WE are interested to see that authors and pub-&lt;br /&gt;
lishers met in friendly rivalry on Lord&amp;#039;s Cricket&lt;br /&gt;
Field on Derby Day, June 1. The match was&lt;br /&gt;
just too late to chronicle in the June number, but&lt;br /&gt;
we must even at this late date congratulate the&lt;br /&gt;
authors who were successful, though the match was&lt;br /&gt;
an exciting one. Mr. Snaith and Mr. Hesketh&lt;br /&gt;
Prichard made the highest scores for the authors ;&lt;br /&gt;
Mr. Dene and Mr. Longman for the publishers.&lt;br /&gt;
As far as the bowling was concerned, Mr. Hesketh&lt;br /&gt;
Prichard and Mr. Irwin divided the honours for&lt;br /&gt;
the authors, and Mr. Longman took the largest&lt;br /&gt;
number of wickets for the publishers.&lt;br /&gt;
In the second innings, there was one century&lt;br /&gt;
scored on behalf of the authors by Mr. R. B. J.&lt;br /&gt;
Scott, but the match had to be decided on the&lt;br /&gt;
first innings.&lt;br /&gt;
So accustomed is the public to give precedence&lt;br /&gt;
to the publishers that we note with some amuse-&lt;br /&gt;
ment that the heading of the cricket cards issued&lt;br /&gt;
on the ground runs &ldquo;Publishers and Authors.&rdquo;&lt;br /&gt;
We are glad that the authors upset this position as&lt;br /&gt;
far as the result of the match is concerned.&lt;br /&gt;
THE PRESIDENT OF THE SOCIETY&lt;br /&gt;
AT the first meeting of the Committee after the&lt;br /&gt;
seventieth birthday of the President of the Society,&lt;br /&gt;
Mr. Thomas Hardy, the Committee, as representing&lt;br /&gt;
the members of the Society, decided to send Mr.&lt;br /&gt;
Hardy a letter of congratulation. We have much&lt;br /&gt;
pleasure in printing below the letter that has been&lt;br /&gt;
forwarded under the signature of the Chairman of&lt;br /&gt;
the Committee, Mr. Maurice Hewlett, in accordance&lt;br /&gt;
with this resolution :-&lt;br /&gt;
&ldquo;10th June, 1910.&lt;br /&gt;
&ldquo;MY DEAR HARDY,--I find that the Committee of our&lt;br /&gt;
Society, in my absence, has laid upon me the happy duty&lt;br /&gt;
of congratulating you upon your recent seventieth birthday.&lt;br /&gt;
This I do now, and heartily, in the name of us all. It is a&lt;br /&gt;
matter of pride to me that it has fallen within my term of&lt;br /&gt;
office to invite you to the Presidency of the Authors&rsquo;&lt;br /&gt;
Society and to have received your acceptance of the post.&lt;br /&gt;
Collectively now, as individually always, we writers are&lt;br /&gt;
able to follow and rejoice in your successes. You have set&lt;br /&gt;
us from the very outset an example of literary sincerity and&lt;br /&gt;
honour which, apart from your genius, cannot have failed&lt;br /&gt;
to inspire and enhearten every one of us. It is a great&lt;br /&gt;
matter for us, and for those who yet remain outside our&lt;br /&gt;
body, that you should celebrate your seventieth year of life&lt;br /&gt;
by the publication of a book of beautiful and stirring&lt;br /&gt;
poetry. We look forward with confidence to further&lt;br /&gt;
volumes, and sincerely wish you the health and vigour to&lt;br /&gt;
accomplish what your mind may conceive.&lt;br /&gt;
&ldquo;Believe me to be, my dear Hardy,&lt;br /&gt;
&ldquo;Yours ever sincerely,&lt;br /&gt;
&ldquo;(Signed) MAURICE HEWLETT.&rdquo;&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
UNITED STATES NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE death of Mark Twain on April 21 over-&lt;br /&gt;
shadows everything else in the recent&lt;br /&gt;
annals of American literature, for Mr.&lt;br /&gt;
Clemens was a national institution like Abraham&lt;br /&gt;
Lincoln and Mr. Roosevelt, and was a typical&lt;br /&gt;
American in other ways as well as a humorist.&lt;br /&gt;
Before he commenced writing he had been painter,&lt;br /&gt;
able editor, a pilot on the Mississippi, a confederate&lt;br /&gt;
soldier, a miner. &ldquo;Huckleberry Finn,&rdquo;, &ldquo; Tom&lt;br /&gt;
Sawyer,&rdquo; &ldquo;Roughing It,&rdquo; and the travel books,&lt;br /&gt;
long ago anticipated that &ldquo;Autobiography&rdquo; which&lt;br /&gt;
is yet to come. It must also be said that if he&lt;br /&gt;
was American in energy, versatility, acuteness, and&lt;br /&gt;
humour, he was also American in superficiality&lt;br /&gt;
and deficiency in the aesthetic sense. He was not&lt;br /&gt;
content to hate humbug, he must&amp;quot;also contemn&lt;br /&gt;
what he could not appreciate ; he had but little&lt;br /&gt;
power of self-criticism.&lt;br /&gt;
But if he was not precisely a great man, or even&lt;br /&gt;
perhaps a great writer, he had elements of greatness&lt;br /&gt;
both in his life and his work.&lt;br /&gt;
The spontaneity of his humour by itselfgave him&lt;br /&gt;
high rank amongst men of letters ; whilst the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#684) ################################################&lt;br /&gt;
&lt;br /&gt;
272&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
noble struggle which he made when entering upon&lt;br /&gt;
old age to retrieve the failure of the Webster&lt;br /&gt;
fiasco justifies a comparison with that of a great&lt;br /&gt;
British author a century before. But Mark Twain&lt;br /&gt;
was in this respect even more successful than&lt;br /&gt;
Scott ; for he lived to see the fruit of his labours,&lt;br /&gt;
and to enjoy an abundantly honoured old age. It is&lt;br /&gt;
highly satisfactory to have the statement of the&lt;br /&gt;
Harpers that his daughter is amply provided for.&lt;br /&gt;
His other literary executor, besides Mrs.&lt;br /&gt;
Gabrilowitsch, is Mr. Albert Bigelow Paine.&lt;br /&gt;
We take this somewhat tardy opportunity of&lt;br /&gt;
congratulating the Dial on its thirtieth birthday.&lt;br /&gt;
The chorus of good wishes which came from east&lt;br /&gt;
and west, old and young, must have been very&lt;br /&gt;
pleasant to our contemporary to print ; it formed&lt;br /&gt;
the best of all possible testimonials to the apprecia-&lt;br /&gt;
tion which is felt for the Chicago organ as a force&lt;br /&gt;
in literature.&lt;br /&gt;
Mr. Charles Leonard Moore, in the anniversary&lt;br /&gt;
number of the paper, has an interesting article&lt;br /&gt;
upon &ldquo;The Interregnum of American Literature.&rdquo;&lt;br /&gt;
He traces the existing &ldquo;comparative dulness and&lt;br /&gt;
poverty&amp;quot; more to an appetite for the didactic than&lt;br /&gt;
to &ldquo;the preaching and practice of the dogma of&lt;br /&gt;
realism &amp;quot;; blames the magazines (justly, in our&lt;br /&gt;
opinion) for their levelling-down tendencies; but&lt;br /&gt;
makes his &ldquo;last indictment &amp;quot; the fact that of&lt;br /&gt;
late literature &ldquo;has been edited for women.&rdquo; He&lt;br /&gt;
but&lt;br /&gt;
finds signs of improvement in our prose ;&lt;br /&gt;
concludes wisely that &ldquo;until we believe in poetry&lt;br /&gt;
again, we shall not be saved.&rdquo;&lt;br /&gt;
Meanwhile there comes a wail from Boston over&lt;br /&gt;
the way editors get hold of promising fiction-&lt;br /&gt;
writers and turn them on to other and more lucra-&lt;br /&gt;
tive tasks, filling up their places with the detective&lt;br /&gt;
story and &ldquo;the frankly farcical adventures of&lt;br /&gt;
missionaries in cannibal lands.&rdquo; But the Wation&lt;br /&gt;
leader-writer, like Mr. Moore, discerns indications&lt;br /&gt;
of a return to better things; and we trust that he&lt;br /&gt;
will prove right.&lt;br /&gt;
New York, through the Bookman, contributes&lt;br /&gt;
&ldquo;The Confessions of a Literary Drummer,&rdquo; who&lt;br /&gt;
relates his efforts to sell books by describing them&lt;br /&gt;
according to the methods of Walter Pater and&lt;br /&gt;
Henry James. He tells how he heard a fellow-&lt;br /&gt;
traveller give &ldquo;the straight dope &rsquo;&rsquo; to a customer&lt;br /&gt;
and beheld the latter&amp;#039;s nodding assent. &ldquo;This&lt;br /&gt;
novel here is merchandise, and you want a hundred&lt;br /&gt;
copies; this is literature, and one will about do&lt;br /&gt;
you.&rdquo; The testimony of a buyer in a big depart-&lt;br /&gt;
ment store, one Hammelstein, was to the same&lt;br /&gt;
effect ; he bought &ldquo;novels of genuine literary&lt;br /&gt;
merit&rdquo; one at a time, and this Hammelstein was&lt;br /&gt;
one whose aim was &ldquo;to pick the winners.&rdquo;&lt;br /&gt;
Another customer, who was discovered in his&lt;br /&gt;
cellar, allowed &ldquo;there was quite a movement among&lt;br /&gt;
some of the married ladies of the town to get their&lt;br /&gt;
husbands to stay at home and read novels instead&lt;br /&gt;
of playing poker down at the Elks&amp;#039; Club &amp;quot;; but,&lt;br /&gt;
he added, &ldquo;that&amp;#039;s sorter died out.&rdquo;&lt;br /&gt;
And at the last, we are told how the poor&lt;br /&gt;
&ldquo;drummer&rsquo;&rsquo; capitulates to commercialism and&lt;br /&gt;
drops Pater and Mr. James.&lt;br /&gt;
It has been announced that Booth Tarkington&amp;#039;s&lt;br /&gt;
father is also among the authors, he being identical&lt;br /&gt;
with John Steventon, author of &ldquo;The Hermit of&lt;br /&gt;
Capri,&rdquo; issued some time since by the Harpers.&lt;br /&gt;
Two books by sailors stand out among spring&lt;br /&gt;
publications. Rear-Admiral Chadwick has written&lt;br /&gt;
a useful account of &ldquo;The Relations of the United&lt;br /&gt;
States and Spain,&rdquo; which has historical merit,&lt;br /&gt;
though it is naturally based chiefly on American&lt;br /&gt;
material and requires supplementing from the other&lt;br /&gt;
side.&lt;br /&gt;
In his &ldquo;Admiral&rsquo;s Log,&rdquo; Robley D. Evans con-&lt;br /&gt;
tinues his breezy Recollections. Amongst other&lt;br /&gt;
things, he tells how, before he set out for his&lt;br /&gt;
Eastern cruise, President Roosevelt said that he&lt;br /&gt;
sailed &ldquo;with the confidence of the President more&lt;br /&gt;
completely than any admiral ever did before,&rdquo; and&lt;br /&gt;
bade him realise his responsibility if the cruise&lt;br /&gt;
should not turn out peaceful. The Admiral&amp;#039;s account&lt;br /&gt;
of his interview with the Dowager Empress of&lt;br /&gt;
China is still more remarkable.&lt;br /&gt;
In his &ldquo;Recollections of a Varied Life &amp;quot; George&lt;br /&gt;
Cary Eggleston draws a very attractive picture of&lt;br /&gt;
Virginian life before the war, and later on narrates&lt;br /&gt;
many anecdotes of his literary and journalistic&lt;br /&gt;
career. An interesting feature is the more favour-&lt;br /&gt;
able estimate than that usually current which is&lt;br /&gt;
given of Bryant, to whom the author was assistant&lt;br /&gt;
on the New York Evening Post.&lt;br /&gt;
Miss Lois Kimball Matthews&amp;#039;s book, &ldquo;The&lt;br /&gt;
Expansion of New England&rdquo; is a substantial con-&lt;br /&gt;
tribution to history, written in a clear and unpre-&lt;br /&gt;
tending style, and illustrated by numerous excellent&lt;br /&gt;
maps. -&lt;br /&gt;
Winston Churchill, like so many other novelists,&lt;br /&gt;
has attacked the American marriage question. His&lt;br /&gt;
latest work, &ldquo;A Modern Chronicle,&rdquo; is admitted on&lt;br /&gt;
all hands to show an advance in literary power.&lt;br /&gt;
On the other hand, Marion Crawford&amp;#039;s posthum-&lt;br /&gt;
ous book, &ldquo;The Undesirable Governess,&rdquo; can hardly&lt;br /&gt;
be said to show him at his best, though it has&lt;br /&gt;
much undeniable cleverness.&lt;br /&gt;
Prof. Brander Matthews, in &ldquo;A Study of the&lt;br /&gt;
Drama,&rdquo; has crystallised the contents of much&lt;br /&gt;
periodical writing. Whilst his grasp of the subject&lt;br /&gt;
will be very generally conceded, not everyone will&lt;br /&gt;
accept his views on the parochialism of Ibsen, or&lt;br /&gt;
his defence of the practice of writing plays to fit&lt;br /&gt;
players.&lt;br /&gt;
A historical novel of rather unusual quality is&lt;br /&gt;
&ldquo;Nathan Burke,&rdquo; by Mary S. Watts. It purports&lt;br /&gt;
to be the autobiography of General Nathan Burke,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#685) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
273&lt;br /&gt;
a hero of the Mexican war and afterwards a mem-&lt;br /&gt;
ber of the Ohio bar.&lt;br /&gt;
Jack London&amp;#039;s latest volume, a collection of&lt;br /&gt;
stories entitled &ldquo;Lost Face,&rdquo; will please a very&lt;br /&gt;
different set of readers, the hunters after &ldquo;realism.&rdquo;&lt;br /&gt;
&ldquo;The Life of Daniel Coit Gilman,&rdquo; by Dr.&lt;br /&gt;
Fabian Franklin, will be of interest to all educa-&lt;br /&gt;
tionalists. The author was Dr. Gilman&amp;#039;s colleague&lt;br /&gt;
at Johns Hopkins, which was the chief but by no&lt;br /&gt;
means the only field of his achievements.&lt;br /&gt;
Our obituary list includes Prof. Alexander&lt;br /&gt;
Agassiz, the well-known Zoologist, and President&lt;br /&gt;
of the Calumet and Hecla Mining Company,&lt;br /&gt;
who, born in Switzerland, graduated from Harvard&lt;br /&gt;
in 1855 ; Orville Victor, who wrote much upon&lt;br /&gt;
the Civil War ; Dr. Borden Parker Bowne,&lt;br /&gt;
Dean of the Graduate School of Arts and Science,&lt;br /&gt;
Boston University, and author of some excel-&lt;br /&gt;
lent works on Philosophy and Ethics, several of&lt;br /&gt;
which have been translated into various European&lt;br /&gt;
languages; Myra Kelly (Mrs. Allan Macnaughton),&lt;br /&gt;
a popular writer of short stories; William Graham&lt;br /&gt;
Sumner, Professor of Political Science at Yale, and&lt;br /&gt;
author of &ldquo;A History of Banking, in the United&lt;br /&gt;
States,&rdquo; lives of Andrew Jackson, Alexander&lt;br /&gt;
Hamilton, Robert Morris, and other works.&lt;br /&gt;
THE FOURTEENTH INTERNATIONAL&lt;br /&gt;
PRESS CONGRESS.&lt;br /&gt;
&mdash;0-0-0&ndash;&lt;br /&gt;
N writing in The Author for November, 1909,&lt;br /&gt;
the account of the International Conference&lt;br /&gt;
of the Press held in London, I had to say I&lt;br /&gt;
could not follow the sequence, as the Thirteenth&lt;br /&gt;
Congress of the Press would take place in Rome ;&lt;br /&gt;
but as the Bureau Central has adopted the title of&lt;br /&gt;
the Fourteenth Congress, for the one just held on&lt;br /&gt;
board a liner on the Adriatic, presumably the Rome&lt;br /&gt;
Congress will be the Fifteenth : by calling the&lt;br /&gt;
London Congress an intervening Conference, did&lt;br /&gt;
they wish to avoid the supposed evil number of&lt;br /&gt;
thirteen P&lt;br /&gt;
It was a most happy idea of President Wilhelm&lt;br /&gt;
Singer to hold the Conference, at the end of May&lt;br /&gt;
in 1910, on board a liner. The rendezvous was at&lt;br /&gt;
Trieste, where the International Press men were&lt;br /&gt;
cordially received. His Serene Highness the&lt;br /&gt;
Governor of the Province, Prince Hohenlohe, His&lt;br /&gt;
Excellency Dr. von Derschatta, the President of&lt;br /&gt;
the Austrian Lloyds (upon whose liner, the Thalia,&lt;br /&gt;
the Conference was to be held), the President of&lt;br /&gt;
the Trieste Chamber of Commerce, the Mayor of&lt;br /&gt;
Trieste, and other notables received the members&lt;br /&gt;
in the great Hall of the Lloyds.&lt;br /&gt;
As in the case of the London Conference the&lt;br /&gt;
representatives were limited to two for each&lt;br /&gt;
association, and as both the President, Mr.&lt;br /&gt;
Arthur Spurgeon, and the Bureau representative,&lt;br /&gt;
Mr. D. A. Louis, were out of England, Major&lt;br /&gt;
Gratwicke represented the association, and Mr.&lt;br /&gt;
James Baker took Mr. Louis&amp;#039; place on the Com-&lt;br /&gt;
mittee of Direction. After a drive round the&lt;br /&gt;
town, a banquet was held in the Hall of the&lt;br /&gt;
Chamber of Commerce. Then, on the return to&lt;br /&gt;
Trieste after a delightful run by boat to Capo&lt;br /&gt;
d&rsquo;Istria, a reception was given by Prince and&lt;br /&gt;
Princess Hohenlohe at their official residence.&lt;br /&gt;
The business of the Conference began at 9.30 a.m.&lt;br /&gt;
on board the Thalia. The assembly was presided over&lt;br /&gt;
by President Singer, supported by Prince Hohen-&lt;br /&gt;
lohe, and the members of the Committee of Direction,&lt;br /&gt;
including the General Secretary, M. Taunay, and&lt;br /&gt;
Herr Schweitzer, the Hon. Treasurer. There were&lt;br /&gt;
about 200 journalists present. The President,&lt;br /&gt;
after the usual word of respectful reference to His&lt;br /&gt;
Imperial and Apostolic Majesty Franz Joseph I.,&lt;br /&gt;
at which the whole assembly stood, went on to&lt;br /&gt;
speak of the historical event that had put the&lt;br /&gt;
whole of the great English nation in mourning,&lt;br /&gt;
the death of King Edward the VII. Their thanks,&lt;br /&gt;
he continued, were due to their colleagues for the&lt;br /&gt;
success of the London Conference. Prince&lt;br /&gt;
Hohenlohe, in the name of the Austrian Govern-&lt;br /&gt;
ment, then welcomed the members from the&lt;br /&gt;
various nations. His words were emphatic upon&lt;br /&gt;
the value of an open and free Press, for he said a&lt;br /&gt;
Government that was enforced to work without&lt;br /&gt;
the concurrence of the Press was like a deaf and&lt;br /&gt;
dumb man cut off from the outer world and con-&lt;br /&gt;
demned to an unfruitful life. After the general&lt;br /&gt;
meeting was over the Committee of Direction met,&lt;br /&gt;
and the statutes debated and passed at London&lt;br /&gt;
were declared en vigeur, and the officers for five&lt;br /&gt;
years, as by the new statutes, were elected.&lt;br /&gt;
The President, Herr Singer : Vice-Presidents,&lt;br /&gt;
M. M. Schweitzer, Berlin ; Hebrard, Paris;&lt;br /&gt;
Ralmondi, Rome ; Secretan, Switzerland. General&lt;br /&gt;
Secretaries, Taunay and Janzon. Signor Ralmondi,&lt;br /&gt;
thus taking the place of Signor Cantalupi. Herr&lt;br /&gt;
Schweitzer, of Berlin, was re-elected Treasurer.&lt;br /&gt;
A telegram of homage and good wishes from the&lt;br /&gt;
Conference was despatched to His Imperial&lt;br /&gt;
Majesty, Francis Joseph I., which was acknowledged&lt;br /&gt;
by a marconigram from Buda Pest, the Emperor&lt;br /&gt;
wishing the Conference a pleasant sojourn in his&lt;br /&gt;
dominions. This was read at the next business&lt;br /&gt;
sitting of the Congress, which was held on board,&lt;br /&gt;
on May 20, after a visit to the fantastic and&lt;br /&gt;
fascinating Blue Grotto of the Island of Busi.&lt;br /&gt;
The discussion at the meeting was upon the&lt;br /&gt;
power and right of judges to enforce a journalist&lt;br /&gt;
to divulge professional Secrets. The state of the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#686) ################################################&lt;br /&gt;
&lt;br /&gt;
274&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
law being so different in other countries from that of&lt;br /&gt;
England, during the discussion, which was very&lt;br /&gt;
animated, and at which the delegates of Italy,&lt;br /&gt;
Switzerland, France, Germany spoke, Mr. James&lt;br /&gt;
Baker explained that the English delegates had at&lt;br /&gt;
the Berlin Conference, through Mr. J. R. Fisher, one&lt;br /&gt;
of their members, put forward the English position&lt;br /&gt;
in this matter : and by his statement the English&lt;br /&gt;
delegates must abide. *.&lt;br /&gt;
It was decided that international propaganda be&lt;br /&gt;
adopted in favour of the preservation of professional&lt;br /&gt;
secrecy for journalists, and a general inquiry be&lt;br /&gt;
instituted with the view of discovering a general&lt;br /&gt;
formula towards the realisation of which the dele-&lt;br /&gt;
gates of each nation should work.&lt;br /&gt;
Major Gratwicke drew the president&amp;#039;s attention&lt;br /&gt;
to the fact that the English delegates did not vote&lt;br /&gt;
upon this matter. -&lt;br /&gt;
The third sitting of the Congress took place on&lt;br /&gt;
the morning of May 22, and, as the heat was very&lt;br /&gt;
great, this time under the upper, awning-enclosed&lt;br /&gt;
deck of the Thalia, which made a very good&lt;br /&gt;
Congress Hall.&lt;br /&gt;
The first subject debated was the professional&lt;br /&gt;
tribunals and the election of judges for each&lt;br /&gt;
country for arranging international disputes upon&lt;br /&gt;
professional matters. Mr. D. A. Louis, who had&lt;br /&gt;
been re-elected as bureau representative, had&lt;br /&gt;
already been elected to act in this capacity by the&lt;br /&gt;
English association, and other countries made&lt;br /&gt;
their elections. The question of &ldquo;Conseils de&lt;br /&gt;
Prudhommes,&rdquo; as in vogue in Italy where these&lt;br /&gt;
trade judges had given compensation which had&lt;br /&gt;
been accepted as legal, was debated, and the&lt;br /&gt;
question of provident societies was decided to be&lt;br /&gt;
brought up at Rome.&lt;br /&gt;
The subject that caused the most ardent debate&lt;br /&gt;
was that of the relations between Parliament and&lt;br /&gt;
the Press.&lt;br /&gt;
This was brought forward under two heads:&lt;br /&gt;
first, as to the right of Members of Parliament,&lt;br /&gt;
under the protection of their immunity, to slander&lt;br /&gt;
and revile, not in a political sense, but even upon&lt;br /&gt;
personal matters, individuals and associations, and&lt;br /&gt;
especially pressmen. Signor Wittoria suggested&lt;br /&gt;
this matter should be left alone, and the writer&lt;br /&gt;
suggested the Press had the power by adopting&lt;br /&gt;
absolute silence upon such calumnies. Men who&lt;br /&gt;
uttered them did it for notoriety, and silence killed&lt;br /&gt;
that.&lt;br /&gt;
The second part of the question turned upon&lt;br /&gt;
the facilities given to journalists for carrying out&lt;br /&gt;
their work in the parliaments. In some countries&lt;br /&gt;
the journalist is only admitted with the public,&lt;br /&gt;
and gets a seat where he can ; and it was proposed&lt;br /&gt;
that the delegates of each country should bring the&lt;br /&gt;
matter before their parliamentary members, to&lt;br /&gt;
secure proper facilities for journalists for their&lt;br /&gt;
work and for means of communication with M.P.&amp;#039;s.&lt;br /&gt;
Mr. James Baker referred to the gallery and&lt;br /&gt;
lobby facilities afforded to English pressmen, and&lt;br /&gt;
recent developments of these facilities. He was&lt;br /&gt;
asked to prepare a report of the English arrange-&lt;br /&gt;
ments for the Rome Congress, M. Taunay remark-&lt;br /&gt;
ing that, if British journalists were satisfied,&lt;br /&gt;
perhaps some foreign journalists living in England&lt;br /&gt;
might have something to say.&lt;br /&gt;
M. Taunay then brought up the point that&lt;br /&gt;
questions to be considered at the Congress were&lt;br /&gt;
to be sent in by December 31 of each year, but&lt;br /&gt;
they did not come, and he appealed to members&lt;br /&gt;
to send to their presidents subjects to be con-&lt;br /&gt;
sidered by the Bureau Central.&lt;br /&gt;
The place where the next Congress should be&lt;br /&gt;
held was then discussed, and the invitation from&lt;br /&gt;
Rome repeated in an enthusiastic manner by&lt;br /&gt;
Signor Cohen. After some discussion the place&lt;br /&gt;
of the next Congress was then put and Rome&lt;br /&gt;
was carried unanimously.&lt;br /&gt;
The holding of this Congress on board ship,&lt;br /&gt;
instead of lessening the debates and opportunities&lt;br /&gt;
of intimate conversation, really increased these&lt;br /&gt;
opportunities. And the excursions and banquets&lt;br /&gt;
did not occupy so much time as usual. But the&lt;br /&gt;
views of the coast of Dalmatia, the scenes at Pola&lt;br /&gt;
and Brioni, and above all the entrance to the&lt;br /&gt;
Bocche di Cattaro, and the drive up to the frontier&lt;br /&gt;
of Montenegro were much enjoyed, as also was the&lt;br /&gt;
visit to lovely Ragusa.&lt;br /&gt;
At Abbazia an illuminated concert was given,&lt;br /&gt;
and the final banquet held. The writer, having&lt;br /&gt;
been before on the Istrian coast with the British&lt;br /&gt;
journalists, was asked to speak. He expressed&lt;br /&gt;
the wish that Austria, the country so full of&lt;br /&gt;
marvels, of glorious scenery, and of such varied&lt;br /&gt;
peoples whose history was so full of romance and&lt;br /&gt;
dramatic interest, might be more widely known and&lt;br /&gt;
better understood by all English-speaking people.&lt;br /&gt;
After the official close of the Congress many of&lt;br /&gt;
the members visited the astounding Stalactite&lt;br /&gt;
Caverns of Adelsberg, and halted at the interest-&lt;br /&gt;
ing towns of Laibach and Graz en route for&lt;br /&gt;
Vienna.&lt;br /&gt;
JAMES BAKER.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
IDEAS, AND HOW TO PROTECT THEM.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY CRUSADER.&lt;br /&gt;
III.&lt;br /&gt;
E pass on now to a question concerning&lt;br /&gt;
which no man is able to write at his&lt;br /&gt;
ease, because he is sure to provoke&lt;br /&gt;
criticism from chivalrous-minded readers. What&lt;br /&gt;
is the position of women writers ? Is it not&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#687) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTHOR.&lt;br /&gt;
275&lt;br /&gt;
true that women lower the market value of all&lt;br /&gt;
Workmanship 2 This fact is indisputable, and&lt;br /&gt;
too often it is discreditable to their sex. Some&lt;br /&gt;
Women can afford to write for one thing only&mdash;the&lt;br /&gt;
pleasure of seeing their copy in print ; they forget&lt;br /&gt;
that their competition is a dastardly flanking attack&lt;br /&gt;
On the professional authoress who has to earn her&lt;br /&gt;
bread by her pen. Other lady amateurs write for&lt;br /&gt;
pin-money because they are able to live in comfort&lt;br /&gt;
at home with their parents; and all this hateful&lt;br /&gt;
dilettantism gives encouragement to the old business&lt;br /&gt;
custom of paying women a dwindled price for their&lt;br /&gt;
labour. These matters, and a good many others,&lt;br /&gt;
need patient and thorough consideration from a&lt;br /&gt;
sub-committee of women writers, with special&lt;br /&gt;
reference to their effects on the profession of&lt;br /&gt;
letters and to the means by which our society may&lt;br /&gt;
check their bad influence. In this inquiry atten-&lt;br /&gt;
tion would be given of course to those magazines&lt;br /&gt;
and weekly papers which appeal to women. What&lt;br /&gt;
are their rates of payment, and what their probable&lt;br /&gt;
revenue from advertisements 2 What influences&lt;br /&gt;
are brought to bear on contributors ? It is neces-&lt;br /&gt;
sary to gather full information on all points of&lt;br /&gt;
business; then the long struggle which women&lt;br /&gt;
writers have to encounter can be made less&lt;br /&gt;
hazardous for themselves and less harmful by its&lt;br /&gt;
action on the market prices offered to men. Far&lt;br /&gt;
too often their position has a tendency to debase&lt;br /&gt;
their character. A recent book on &ldquo; Modern&lt;br /&gt;
Journalism &amp;quot; says, in cowardly language, that lady&lt;br /&gt;
journalists are &ldquo;exceedingly deficient in honour-&lt;br /&gt;
able instincts,&rdquo; and &ldquo;try to foist on you articles&lt;br /&gt;
which you had never commissioned&rdquo;; that &ldquo;the&lt;br /&gt;
amount of jealousy which they will exhibit is not&lt;br /&gt;
creditable to their sex,&rdquo; and that their style is full&lt;br /&gt;
of &ldquo;truisms&rdquo; and &ldquo;base journalese conventionali-&lt;br /&gt;
ties.&rdquo; Wrong produces wrong invariably, and&lt;br /&gt;
women start work handicapped by the sweating&lt;br /&gt;
system which they inherit from age to age.&lt;br /&gt;
It is only by collecting facts, to be shown to the&lt;br /&gt;
general public, that urgent matters of this sort can&lt;br /&gt;
be bettered. Very little can be done without help&lt;br /&gt;
from public opinion. Yet authors are not at all&lt;br /&gt;
eager to win that help in a speedy manner. This&lt;br /&gt;
magazine, for instance, ought to be something&lt;br /&gt;
much more than the official organ of our society;&lt;br /&gt;
it should be at the head of literary papers, with a&lt;br /&gt;
household suffrage of its own in all parts of the&lt;br /&gt;
British Isles. Then there would be a jury of&lt;br /&gt;
public opinion between us and the many grievances&lt;br /&gt;
and injustices that make a literary life of ups and&lt;br /&gt;
downs far more precarious and Onerous than it&lt;br /&gt;
need be and should be. Yet, somehow, we hang&lt;br /&gt;
back from the duty of making The Author a maga-&lt;br /&gt;
zine which the public would gladly buy.&lt;br /&gt;
A financier once said to me : &ldquo;It is impossible&lt;br /&gt;
to understand the wasteful philanthropies of&lt;br /&gt;
authors. If they had any business common&lt;br /&gt;
sense at all they would see that they have the&lt;br /&gt;
power to own and run all the publishing that the&lt;br /&gt;
public is able to support. Publishers are quite&lt;br /&gt;
unnecessary ; their profits, and all the profits on&lt;br /&gt;
magazines, ought to flow into the exchequer of a&lt;br /&gt;
Vast trade managed by authors for their common&lt;br /&gt;
good. Instead of this organisation writers prefer&lt;br /&gt;
a never-ending dispute for ordinary justice at the&lt;br /&gt;
hands of the thousand traders who at the present&lt;br /&gt;
time treat authors with no more respect than mine-&lt;br /&gt;
Owners used to show to colliers. There are mines&lt;br /&gt;
of gold and of silver in literary ideas. Why aren&amp;#039;t&lt;br /&gt;
they worked by authors for their profession as a&lt;br /&gt;
whole 2 Don&amp;#039;t you need the profits of publishing&lt;br /&gt;
for pension funds and for the encouragement of&lt;br /&gt;
those types of literature which have never appealed&lt;br /&gt;
to the great public 2 Authors cannot escape from&lt;br /&gt;
the commercial side of their profession ; each must&lt;br /&gt;
understand publishing methods if he feels called&lt;br /&gt;
upon to get fair treatment for his work; and this&lt;br /&gt;
being so, why not use this necessary knowledge in&lt;br /&gt;
the actual work of publishing 2 What do authors&lt;br /&gt;
gain by employing so many grasping agents that&lt;br /&gt;
even a Dickens and a Thackeray had to go on&lt;br /&gt;
lecturing tours before they felt safe financially P&rdquo;&lt;br /&gt;
These questions provoke the same astonishment&lt;br /&gt;
among many persons. Authors do not know their&lt;br /&gt;
power. Each feels isolated from his fellows, and&lt;br /&gt;
stumbles alone up an old and ill-kept road, with&lt;br /&gt;
many pitfalls lying about his feet. For all that,&lt;br /&gt;
logic rules the world, and the day will come when&lt;br /&gt;
the pitiless logic of events will compel authors to&lt;br /&gt;
unite and to publish their own work. Every&lt;br /&gt;
increase of competition brings this day nearer and&lt;br /&gt;
nearer, as authors are always the first to suffer&lt;br /&gt;
from the waywardness of misfortune in trade. For&lt;br /&gt;
a long time writers of fiction were exempt, more or&lt;br /&gt;
less, from the dire hardships that pressed upon&lt;br /&gt;
other writers, essayists, historians, and students of&lt;br /&gt;
the past in many other kinds of research ; but now&lt;br /&gt;
that novels and stories are carried along in the&lt;br /&gt;
usual course of modern trade through over-produc-&lt;br /&gt;
tion into the cesspool of cheapness, our society, as a&lt;br /&gt;
whole, has a very simple question to consider.&lt;br /&gt;
Whither are we going 2 Can we at the same&lt;br /&gt;
moment support ourselves and our homes and&lt;br /&gt;
yet encourage an insane competition among&lt;br /&gt;
tradesmen 2 We are subject to the law that the&lt;br /&gt;
fittest survive ; but among which class connected&lt;br /&gt;
with literature are we to look for the fittest ?&lt;br /&gt;
Among ourselves, or among publishing speculators,&lt;br /&gt;
booksellers, printers, dealers in &ldquo;remainder &rsquo;&rsquo; copies,&lt;br /&gt;
and the owners of circulating libraries 2 Can we,&lt;br /&gt;
under the conditions of modern trade and subject&lt;br /&gt;
to the demon of mad gambling, support all those&lt;br /&gt;
agents and yet be sure that we are doing the best&lt;br /&gt;
we can to pay our debts and be useful citizens 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#688) ################################################&lt;br /&gt;
&lt;br /&gt;
276&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
I have proved beyond all question that publishers&lt;br /&gt;
could thrive while authors starved, owing to their&lt;br /&gt;
system of finance, which consists in using the same&lt;br /&gt;
money three or four times in a year, with the result&lt;br /&gt;
that even a small profit per cent. On each turnover&lt;br /&gt;
becomes a very handsome profit per cent. On the&lt;br /&gt;
several turnovers. There are publishers who aim&lt;br /&gt;
deliberately at little editions, just because little&lt;br /&gt;
editions are friendly to this rolling finance which&lt;br /&gt;
gathers profit as a snowball gains in size when you&lt;br /&gt;
turn it over and over in the Snow. It is not on&lt;br /&gt;
small editions that authors can live, and the few&lt;br /&gt;
popular favourites whose sales are large must not&lt;br /&gt;
forget the less fortunate many who share, with our&lt;br /&gt;
late president, the difficulty of waiting till a tiny&lt;br /&gt;
circle of readers grows slowly into a bigger one.&lt;br /&gt;
These facts alone call upon us to consider with&lt;br /&gt;
care and pluck the expediency of publishing our&lt;br /&gt;
own work instead of tossing it into the ma&euml;lstrom&lt;br /&gt;
of speculation and competition that now swallows&lt;br /&gt;
up and destroys a huge percentage of books.&lt;br /&gt;
But there are other facts every whit as important.&lt;br /&gt;
There is, for example, that dishonesty which at the&lt;br /&gt;
present time &ldquo;remainders&rdquo; expensive books long&lt;br /&gt;
before they have had a chance to find their public.&lt;br /&gt;
One publisher, in revolt against this vile custom,&lt;br /&gt;
has appealed for help to the booksellers, but book-&lt;br /&gt;
sellers, of course, are able to protect themselves&lt;br /&gt;
from it, since they can refuse to buy any expensive&lt;br /&gt;
work which is issued by a tradesman whose name&lt;br /&gt;
is connected with remaindering tactics. &ldquo;Once&lt;br /&gt;
bitten, twice shy,&rdquo; is the motto of careful book-&lt;br /&gt;
sellers in this matter. From certain publishers,&lt;br /&gt;
all well known, they are willing to take expensive&lt;br /&gt;
books &ldquo;on sale or return,&rdquo; a lamentable system of&lt;br /&gt;
trade for authors, because booksellers are not in&lt;br /&gt;
the least likely to push the sale of a borrowed book&lt;br /&gt;
when they have their own purchased stock to turn&lt;br /&gt;
into profit. That is of no consequence to the&lt;br /&gt;
publisher who is able to tell his authors that he&lt;br /&gt;
has done the very best he could for them. &ldquo;I gave&lt;br /&gt;
you a good display in the shops,&rdquo; he writes or says,&lt;br /&gt;
&ldquo;advertised you in my lists of books, got out&lt;br /&gt;
circulars, but you know what the public is to-day&lt;br /&gt;
&mdash;quite incalculable.&rdquo; As a rule he adds that his&lt;br /&gt;
loss has not been &ldquo;wiped off&rdquo; by the remainder-&lt;br /&gt;
ing, and this has a great effect on the minds of&lt;br /&gt;
authors, who, somehow, are usually prepared to&lt;br /&gt;
take sides against their own interests.&lt;br /&gt;
Let us then see what aims the &ldquo;remainder&lt;br /&gt;
system&rdquo; tries to make real. In the first place, an&lt;br /&gt;
expensive book&mdash;that is, a book that costs much in&lt;br /&gt;
its production&mdash;is at standing odds with the&lt;br /&gt;
routine of a publisher&amp;#039;s finance. It does not&lt;br /&gt;
attract the circulating libraries, its appeal is&lt;br /&gt;
addressed to a small section of the public, and the&lt;br /&gt;
chances are that the money invested in it would be&lt;br /&gt;
used more safely in novels written by men who&lt;br /&gt;
have a Sale of a thousand copies each. Six or&lt;br /&gt;
Seven novels of this type can be issued at about&lt;br /&gt;
the same cost as one book with many good illus-&lt;br /&gt;
trations and 85,000 words of text. Every publisher&lt;br /&gt;
knows this, and yet there is a growing competition&lt;br /&gt;
in illustrated work of many kinds, all costly and&lt;br /&gt;
hazardous. Why? The reasons are many &mdash;&lt;br /&gt;
1. A publisher&rsquo;s &ldquo;novelties&rdquo; must have variety.&lt;br /&gt;
2. A good many illustrated books have had a&lt;br /&gt;
huge sale, the largest known being more than&lt;br /&gt;
27,000 copies.&lt;br /&gt;
3. There is thus a chance that a bold experiment&lt;br /&gt;
in a high cost of production may bring a large&lt;br /&gt;
profit and enhance the publisher&amp;#039;s reputation.&lt;br /&gt;
4. It is often easy to sell good editions in sheets&lt;br /&gt;
to the U.S.A., as well as other editions to the&lt;br /&gt;
British Colonies ; and&lt;br /&gt;
5. A good book with illustrations fetches a&lt;br /&gt;
better price in the remainder market than any&lt;br /&gt;
other book, so that this fact is from the first a&lt;br /&gt;
comfort to the publisher. When the price per&lt;br /&gt;
copy is high, above &pound;1, he is able with tact and&lt;br /&gt;
skill to cover a good deal of his cost by his first sales&lt;br /&gt;
outside Great Britain ; then come the second sales,&lt;br /&gt;
to a bookseller here and there who happens to know&lt;br /&gt;
a few certain buyers ; next, the third sales,&lt;br /&gt;
gathered by circulars, which are usually distributed&lt;br /&gt;
more or less at random ; and then the reviews in&lt;br /&gt;
important journals, when good, find some pur-&lt;br /&gt;
chasers also, though not many as a rule. The&lt;br /&gt;
publisher now feels that he has done his routine&lt;br /&gt;
duty towards his author; and his methods being&lt;br /&gt;
Stereotyped he is certain that good sense cannot&lt;br /&gt;
with justice ask him to do more. Why should he&lt;br /&gt;
compile address books of those readers and students&lt;br /&gt;
who take delight in special subjects P Why should&lt;br /&gt;
he write to them and send attractive circulars not&lt;br /&gt;
once, but many times over a period of at least two&lt;br /&gt;
years ? All this ought to be done, but it would&lt;br /&gt;
upset his system of finance and add greatly to his&lt;br /&gt;
work. He would have to become a thorough sales-&lt;br /&gt;
man as well as a publisher, and give personal and&lt;br /&gt;
prolonged attention to each author&amp;#039;s work and&lt;br /&gt;
interests. It is far simpler to job his stock into the&lt;br /&gt;
remainder market ; then booksellers and second-&lt;br /&gt;
hand dealers will in course of time find buyers.&lt;br /&gt;
Many a book by this means has come by its own,&lt;br /&gt;
and is sold to-day for more than its published&lt;br /&gt;
price. Its author benefits not one farthing ; he is&lt;br /&gt;
just a benefactor to the second-hand tradesmen and&lt;br /&gt;
their customers.&lt;br /&gt;
So, then, the follies of remaindering are very&lt;br /&gt;
harmful. They discredit authors in the opinion&lt;br /&gt;
both of booksellers and of private buyers; they&lt;br /&gt;
give rise to a belief that publishing methods ought&lt;br /&gt;
never to be trusted ; and they discourage the pur-&lt;br /&gt;
chasing of expensive books, since they betray&lt;br /&gt;
everybody who buys at the full net price.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#689) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
277&lt;br /&gt;
At a time when the great majority of persons&lt;br /&gt;
either hire books from libraries or borrow them&lt;br /&gt;
from reading clubs, it is fatal to strike at the con-&lt;br /&gt;
fidence of those who do buy new work from authors.&lt;br /&gt;
Free libraries, circulating libraries, reading clubs,&lt;br /&gt;
and other agencies to turn us into borrowers and&lt;br /&gt;
hirers, are surely enough for any author to com-&lt;br /&gt;
pete against. Yet any one who has a good book&lt;br /&gt;
is sure to be asked to lend it to his friends. People&lt;br /&gt;
who would be ashamed to borrow knives and forks,&lt;br /&gt;
or boots and umbrellas, thank their lucky stars&lt;br /&gt;
when they are able to get books without paying a&lt;br /&gt;
penny for a day&rsquo;s reading. It never seems to them&lt;br /&gt;
that they are defrauding authors. To enjoy a book&lt;br /&gt;
without paying for that enjoyment is as mean as it&lt;br /&gt;
would be to beg for a free dinner at a public&lt;br /&gt;
eating-house. A little time ago a friend wrote&lt;br /&gt;
to a novelist and said: &ldquo;Your books are having a&lt;br /&gt;
splendid success. I hope your average sales have&lt;br /&gt;
now reached 10,000 copies, for then you will be&lt;br /&gt;
able to demand a royalty of 25 per cent. On the&lt;br /&gt;
published price.&rdquo; The novelist, writing from the&lt;br /&gt;
Continent, said in reply: &ldquo;Ten thousand copies&lt;br /&gt;
Good heavens ! Well do I know my public. There&amp;#039;s&lt;br /&gt;
an English colony in this town, and one poor,&lt;br /&gt;
draggled, battered copy of my last book has proved&lt;br /&gt;
enough. Everyone here has thumbed it and read&lt;br /&gt;
it. A single copy has a long life.&rdquo;&lt;br /&gt;
Yet, into this hurly-burly of borrowing the&lt;br /&gt;
remainderer hurls his bombshells, as if publishers&lt;br /&gt;
were eager to stop all private buying. What are&lt;br /&gt;
authors to do 2 If they controlled the market as&lt;br /&gt;
publishers of their own work their position would&lt;br /&gt;
be easy. As it is, let us grumble and be unpractical.&lt;br /&gt;
The end comes at last, and wasted lives don&rsquo;t count&lt;br /&gt;
for much, after all, in the brief season of our&lt;br /&gt;
overcrowded days.&lt;br /&gt;
Still, there&amp;#039;s one more grievance to be considered&lt;br /&gt;
in this drama of disenchantments. Literary ideas&lt;br /&gt;
are often stolen, as if they belonged to everybody,&lt;br /&gt;
like expired copyrights. To suggest an idea or&lt;br /&gt;
a scheme of work is often like offering money to a&lt;br /&gt;
tramp ; it goes, and you gain nothing. Publisher&lt;br /&gt;
cribs from publisher, and says that competition&lt;br /&gt;
drives him to the act ; no new idea is safe, either&lt;br /&gt;
before or after publication. Again and again five&lt;br /&gt;
or six books on the same topic appear at the same&lt;br /&gt;
time, showing how hard it is for an author to get&lt;br /&gt;
commissions by submitting projects. He is far&lt;br /&gt;
more likely to set tradesmen thinking about&lt;br /&gt;
variants of his planned treatment. This, unluckily,&lt;br /&gt;
is ever a risk. You have an idea for a book and&lt;br /&gt;
think out your plan, putting aside many other&lt;br /&gt;
ways in which it could be treated. This done, you&lt;br /&gt;
try to find a market, and you cannot foresee by&lt;br /&gt;
whom your letter will be opened. It may be the&lt;br /&gt;
chief of a great business, or perhaps his secretary,&lt;br /&gt;
or perhaps a subordinate in some department ;&lt;br /&gt;
but, anyhow, your scheme is certain to suggest&lt;br /&gt;
many variations to any mind having practical&lt;br /&gt;
intelligence. Those variations, again, though&lt;br /&gt;
springing from your idea, have often no evident&lt;br /&gt;
likeness to your proposal, yet they cancel what&lt;br /&gt;
you wish to do. Consider, then, your risk. You&lt;br /&gt;
ask business minds to think for themselves ; you&lt;br /&gt;
invite them to modify your ideas into new forms;&lt;br /&gt;
and yet you expect to succeed. Why?&lt;br /&gt;
Novelists are not troubled in this way, but many&lt;br /&gt;
writers are all the year round. Have you ever&lt;br /&gt;
received a letter beginning thus:&lt;br /&gt;
&ldquo;Curiously enough, we have already in hand a&lt;br /&gt;
Scheme very similar to yours, but more popular in&lt;br /&gt;
its treatment . . .&rdquo; P -&lt;br /&gt;
But the matter does not end here. Short stories&lt;br /&gt;
run many dangers, for I&rsquo;m not aware that any&lt;br /&gt;
publishing office binds its staff on oath never to&lt;br /&gt;
mention a plot which is read in the course of&lt;br /&gt;
business. It is also a fact that good plots, good&lt;br /&gt;
ideas, once read, have a habit of finding their way&lt;br /&gt;
into the reader&amp;#039;s conversation. And so I believ&lt;br /&gt;
that a great many literary thefts are unintentional,&lt;br /&gt;
like a great many plagiarisms; but, in any case,&lt;br /&gt;
We must do what we can to set limits to their&lt;br /&gt;
harmfulness. Our society, by its registration of&lt;br /&gt;
plays, has taken one step in a right direction, and&lt;br /&gt;
I think that another as useful may be suggested.&lt;br /&gt;
Indeed, why should not our society issue for its&lt;br /&gt;
members a counterfoil book for projects, bearing&lt;br /&gt;
the official stamp of the society, and of a largish&lt;br /&gt;
size 2 For it would need&mdash;&lt;br /&gt;
(a) A line for the publisher or editor to whom&lt;br /&gt;
the project is submitted;&lt;br /&gt;
(b) another line for the author&amp;#039;s address ;&lt;br /&gt;
(c) and another for the date ;&lt;br /&gt;
(d) seven or eight lines, perhaps ten, for the&lt;br /&gt;
project and its planned treatment;&lt;br /&gt;
(e) three lines for variants of the suggested&lt;br /&gt;
title ;&lt;br /&gt;
(f) six or seven lines to show that the subject&lt;br /&gt;
can be treated in other ways. This, of course, is&lt;br /&gt;
very important, if an author wants to protect his&lt;br /&gt;
idea ;&lt;br /&gt;
(g) a final line for the author&amp;#039;s signature.&lt;br /&gt;
An official book of this kind would have a very&lt;br /&gt;
useful moral effect, for it would prove to men of&lt;br /&gt;
business that authors, like owners of patents, value&lt;br /&gt;
their ideas and wish that fact to be known. It&lt;br /&gt;
would prove, also, that authors, whom business&lt;br /&gt;
men regard as incurably unpractical, have an easy&lt;br /&gt;
means of keeping counterfoils of all their business&lt;br /&gt;
transactions. Writers of short stories, for instance,&lt;br /&gt;
would be able to give in brief the main outlines of&lt;br /&gt;
their plots, and this would help them at any&lt;br /&gt;
moment to find out whether any magazine had&lt;br /&gt;
used their ideas after rejecting their copy.&lt;br /&gt;
I do not suppose that a counterfoil book of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#690) ################################################&lt;br /&gt;
&lt;br /&gt;
27S&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
projects would be anything more than a deterrent&lt;br /&gt;
influence, because, as a judge once said in court,&lt;br /&gt;
there is no honour in trade. Business life is a war,&lt;br /&gt;
pitiless and relentless, and the utmost we can do is&lt;br /&gt;
to scheme some protection for our work and our-&lt;br /&gt;
selves. And everybody knows what happens when&lt;br /&gt;
an author tries to follow the business routine of&lt;br /&gt;
copied letters and the rest of it. He cannot as a&lt;br /&gt;
rule afford a clerk ; his writing requires incessant&lt;br /&gt;
patience and concentration ; and although, as&lt;br /&gt;
Balzac said, to dream over literary projects is like&lt;br /&gt;
smoking enchanted cigarettes, the projects, when&lt;br /&gt;
realised, are often exceedingly difficult to sell. So,&lt;br /&gt;
absorbed by some things and harassed by others, a&lt;br /&gt;
writer soon gets tired of adding to his day&rsquo;s work&lt;br /&gt;
a system of business routine, which clerks carry out&lt;br /&gt;
in offices. Publishers and editors know all this.&lt;br /&gt;
What they call business has no relation at all to&lt;br /&gt;
work as authors know work. Yet authors are&lt;br /&gt;
expected to be their own clerks. They are advised&lt;br /&gt;
to copy all their letters, to keep an exact record of&lt;br /&gt;
all their transactions, and what not besides ; but&lt;br /&gt;
this advice will never be followed for more than a&lt;br /&gt;
few weeks. That is why I suggest this counter-&lt;br /&gt;
foil book for projects&mdash;a simple means of doing&lt;br /&gt;
much in little. It would save a great deal of letter&lt;br /&gt;
writing ; it would give some real protection to&lt;br /&gt;
ideas; and it would not be more troublesome than&lt;br /&gt;
a cheque-book of a size unusually large.&lt;br /&gt;
Ideas, and how to protect them . That is author-&lt;br /&gt;
ship in its long and tragic history. I think some-&lt;br /&gt;
times of a Parliament of the Dead, and see in it the&lt;br /&gt;
ghosts of all the simple great ones gone, from&lt;br /&gt;
Chaucer to Meredith. Who can estimate the total&lt;br /&gt;
sorrows of their lives? And, since we who love their&lt;br /&gt;
work are their children, let us remember that we&lt;br /&gt;
have yet to gain what they so often needed&mdash;just&lt;br /&gt;
control over the use made of literary work by&lt;br /&gt;
speculative tradesmen.&lt;br /&gt;
&mdash;OP-e&mdash;&ldquo;[O&mdash;&lt;br /&gt;
THE EDITORIAL ATTITUDE.&lt;br /&gt;
S a reader of The Author and a member of the&lt;br /&gt;
literary and editorial staff of a magazine,&lt;br /&gt;
will you extend to me the hospitality of your&lt;br /&gt;
columns to say a few words regarding the&lt;br /&gt;
&ldquo;Editorial Attitude &amp;quot; ? And being neither an&lt;br /&gt;
author nor an editor, but one occupying a position&lt;br /&gt;
affording facilities for obtaining reliable data&lt;br /&gt;
respecting the relations subsisting between editors&lt;br /&gt;
and contributors, any remarks I make will be of a&lt;br /&gt;
purely disinterested character. -&lt;br /&gt;
Your correspondent, &ldquo;An Editor,&rdquo; impugns the&lt;br /&gt;
assertion of &ldquo;A Contributor&rsquo;&rsquo; that editors do not&lt;br /&gt;
read the manuscripts of unknown men, and&lt;br /&gt;
characterises the accusation as &ldquo;all nonsense.&rdquo; . If&lt;br /&gt;
from this we are to believe &ldquo;An Editor &rsquo;&rsquo; does&lt;br /&gt;
read all the manuscripts sent in to his paper,&lt;br /&gt;
&ldquo;which is there for would-be contributors,&rdquo; and&lt;br /&gt;
accepts or rejects same entirely on their merits,&lt;br /&gt;
then he must constitute that exception which&lt;br /&gt;
proves the rule, and is certainly a curiosity well&lt;br /&gt;
worth paying a considerable sum to look at.&lt;br /&gt;
In order to test the value of his opinion on this&lt;br /&gt;
matter, I will give &ldquo;An Editor&rsquo;&rsquo; a few examples of&lt;br /&gt;
the discourteous treatment accorded contributors&lt;br /&gt;
which have come under my own personal know-&lt;br /&gt;
ledge, and these not in connection with papers or&lt;br /&gt;
magazines of the type that can be stigmatised as&lt;br /&gt;
&ldquo;a queer lot,&rdquo; while the matter could not by the&lt;br /&gt;
widest expansion of imagination be said to be of&lt;br /&gt;
such a character as to justify payment by &ldquo;whisky&lt;br /&gt;
and cigars.&rdquo;&lt;br /&gt;
To this end, I will not take the case of new&lt;br /&gt;
writers but men of established reputation, in&lt;br /&gt;
which case it will be seen that the editorial false-&lt;br /&gt;
hood, with regard to the incapability of new&lt;br /&gt;
writers, is as finished and perfect with regard to&lt;br /&gt;
the writings of men who command the ear of the&lt;br /&gt;
public, when their writings are submitted under&lt;br /&gt;
other names, as was revealed by means of a ruse de&lt;br /&gt;
guerre. A new writer complained to me of the&lt;br /&gt;
hopelessness of any one unknown Securing fair&lt;br /&gt;
treatment ; I expressed great surprise, and was as&lt;br /&gt;
confident in my denial of the accusation as &ldquo;An&lt;br /&gt;
Editor&rdquo;; whereupon the writer replied, &ldquo;I will&lt;br /&gt;
prove what I say to be the absolute truth if you&lt;br /&gt;
form one of the party and agree to the experi-&lt;br /&gt;
ment being tried on the editor of the paper with&lt;br /&gt;
which you are connected.&rdquo; I assented, and an&lt;br /&gt;
article from an early number of the paper was&lt;br /&gt;
copied and duly sent in, with the result that it&lt;br /&gt;
was rejected. A further attempt was made on the&lt;br /&gt;
same editor ; this time an article also taken from&lt;br /&gt;
a back number, but from the pen of one of the&lt;br /&gt;
editor&amp;#039;s most gifted contributors. I happened&lt;br /&gt;
to be present when the editor rejected it, and&lt;br /&gt;
ventured to point out to him his inconsistency in&lt;br /&gt;
rejecting it on the plea that &ldquo;it was not up to his&lt;br /&gt;
standard,&rdquo; considering it had already appeared in&lt;br /&gt;
his paper&mdash;an assertion that not only met with an&lt;br /&gt;
emphatic denial but brought about fervens difficil;&lt;br /&gt;
bile jocur, for he asserted with extreme acerbity&lt;br /&gt;
&ldquo;that it was preposterous on my part to say that&lt;br /&gt;
such unadulterated rubbish could ever have been&lt;br /&gt;
accepted by him.&rdquo; As my veracity was questioned&lt;br /&gt;
I asked him to compare an article on a certain&lt;br /&gt;
page of his paper of a specific date with that&lt;br /&gt;
which he was rejecting. On this being done he&lt;br /&gt;
lost all control of his temper&mdash;which was not the&lt;br /&gt;
sweetest at the best of times&mdash;threw the article&lt;br /&gt;
and magazine on the floor, snapped his fingers&lt;br /&gt;
wildly, paced the room in a state of high dudgeon,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#691) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
279&lt;br /&gt;
and, addressing me, employed language which was&lt;br /&gt;
entirely neological, since it was well, I won&amp;#039;t&lt;br /&gt;
disgrace the columns of The Author by even saying&lt;br /&gt;
What it was&mdash;while a snapshot of his face would&lt;br /&gt;
have furnished Darwin with an excellent plate for&lt;br /&gt;
his &ldquo;Expression of the Emotions.&rdquo; Another&lt;br /&gt;
editor, who is just a little bit too well known in&lt;br /&gt;
the literary world, was similarly tested. In&lt;br /&gt;
returning an article which had been sent him&lt;br /&gt;
(Written by himself many years previously) he did&lt;br /&gt;
so likewise on the plea of its not reaching his&lt;br /&gt;
standard, and added the consoling words t&ordm; that&lt;br /&gt;
it would do the writer no harm to continue writing&lt;br /&gt;
such articles, but it was clear from his work he&lt;br /&gt;
did not possess the ability necessary to secure&lt;br /&gt;
acceptance.&rdquo; Could anything more calculated to&lt;br /&gt;
produce rigation of the eyes, in consequence of the&lt;br /&gt;
excessive laughter it produced among those who&lt;br /&gt;
knew of the ruse, be conceived 2 and surely never&lt;br /&gt;
did presumptuous pride and didactic ignorance&lt;br /&gt;
inspire a man to the commission of a more in-&lt;br /&gt;
expiable crime 2 Here was a man, the darling of&lt;br /&gt;
a University, unconsciously passing a verdict on the&lt;br /&gt;
Value of his own work and declaring it to be so low&lt;br /&gt;
that it was absurd ever to expect it to be accepted,&lt;br /&gt;
yet, at the same time, arrogantly setting himself up&lt;br /&gt;
as an authority on the works of other men. Surely&lt;br /&gt;
these examples explode the arrogant contention of&lt;br /&gt;
the literary critic of a certain illustrated weekly&lt;br /&gt;
that an editor can, by glancing precipitately over&lt;br /&gt;
the first page, determine the writer&amp;#039;s capability&lt;br /&gt;
or incapability. Arrogance is often a shield of&lt;br /&gt;
Ignorance.&lt;br /&gt;
These episodes certainly deserve to be placed&lt;br /&gt;
alongside that of the editor of the Atlantic Monthly.&lt;br /&gt;
The Hon. Russell Lowell desiring to find out the&lt;br /&gt;
real worth of his work, wrote a prefulgent article&lt;br /&gt;
on the &ldquo;Essence of American Humour,&rdquo; had it&lt;br /&gt;
copied in an unfamiliar handwriting and forwarded&lt;br /&gt;
to the Atlantic Monthly, to which paper he was an&lt;br /&gt;
esteemed contributor. Not making its appearance&lt;br /&gt;
in due time, and anxious to know the fate of his&lt;br /&gt;
literary offspring, he called upon the editor, Mr.&lt;br /&gt;
James F. Fields, and adroitly turned the conversa-&lt;br /&gt;
tion to the subject of humour, expressed great&lt;br /&gt;
Surprise no one had ever written upon it, to which&lt;br /&gt;
the editor replied: &ldquo;No one ever written upon&lt;br /&gt;
it ! ...We receive a large amount of articles treating&lt;br /&gt;
on that subject, but they are so desperately poor&lt;br /&gt;
stuff that they cannot be used. Here (pulling&lt;br /&gt;
a MS. from the waste-paper, basket) is a long&lt;br /&gt;
Screed we received christened &lsquo;The Essence of&lt;br /&gt;
American Humour, which would be more appro-&lt;br /&gt;
priately termed &lsquo;The Essence of Nonsense,&rdquo; for a&lt;br /&gt;
more absurd farrago I have never seen.&rdquo; On&lt;br /&gt;
Lowell acknowledging the paternity of the article,&lt;br /&gt;
Field&amp;#039;s wrath was greater than his astonishment.&lt;br /&gt;
If this does not prove that articles by unknown&lt;br /&gt;
men do not receive the treatment they deserve, I&lt;br /&gt;
do not know what more is required, unless all&lt;br /&gt;
the editors suffer from acrisy. If not, how also&lt;br /&gt;
was it that the late James Payn, as editor of the&lt;br /&gt;
Cornhill, rejected &ldquo;John Inglesant &amp;quot; ? or did&lt;br /&gt;
reject it&mdash;after the manner of the sapient editor of&lt;br /&gt;
a Greenock paper, which enjoyed the distinction&lt;br /&gt;
of dying twice, with regard to Campbell&amp;#039;s &ldquo;Pleasures&lt;br /&gt;
of Hope&rdquo; (now included in the Classics)&mdash;that it&lt;br /&gt;
was &ldquo;destitute of merit, &amp;quot; ?&lt;br /&gt;
With regard to the question of payment, I think&lt;br /&gt;
the following will prove that editors desire to&lt;br /&gt;
evade paying for contributions:&mdash;An article &ldquo;not&lt;br /&gt;
negligent in style, the matter good,&rdquo; was sent to a&lt;br /&gt;
prominent editor and rejected, on the plea that&lt;br /&gt;
it was not &ldquo;up to the standard.&rdquo; It was then&lt;br /&gt;
Sent to another editor and accepted. On its&lt;br /&gt;
appearance, the editor to whom it had been offered&lt;br /&gt;
first, lifted it holus-bolus and printed it in his own&lt;br /&gt;
paper without acknowledgment. Now, if an&lt;br /&gt;
article, when sent for payment, is not up to the&lt;br /&gt;
standard, how comes it to be possessed of merit&lt;br /&gt;
when it can be used without having to pay, if it&lt;br /&gt;
is not to avoid payment&lt;br /&gt;
AN ONLOOKER.&lt;br /&gt;
* *-** - -e-Q-6&ndash;&lt;br /&gt;
THE WORKS OF SIR JOHN SUCKLING.&amp;lt;&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE editor who presents the world with a&lt;br /&gt;
complete critical edition of the works of&lt;br /&gt;
any author, even if the author is not one&lt;br /&gt;
whose name is written very large in the book of&lt;br /&gt;
fame, is a man to whom at all times a great grati-&lt;br /&gt;
tude is due. In these latter days of anthologies,&lt;br /&gt;
abridgments, boudlerizations, and no one knows&lt;br /&gt;
how many other inventions for the corruption of&lt;br /&gt;
texts (which time and human fallibility corrupt&lt;br /&gt;
only too rapidly without any barbarian&amp;#039;s deliberately&lt;br /&gt;
setting a destroyer&amp;#039;s hand to the work), and for&lt;br /&gt;
the propagation of superficiality, those who still&lt;br /&gt;
retain a solid affection for letters must feel always&lt;br /&gt;
more than ordinarily grateful to any worker who&lt;br /&gt;
will embark upon the laborious task involved in a&lt;br /&gt;
complete and critical edition of any author&amp;#039;s works ;&lt;br /&gt;
the only kind of edition from which it is possible&lt;br /&gt;
to gather a right conception of the man and of his&lt;br /&gt;
place in the history of literature. Publications of&lt;br /&gt;
this kind are rare in comparison with the multitude&lt;br /&gt;
of other books which fall in torrents from the press;&lt;br /&gt;
but it is not only on this account, but on account&lt;br /&gt;
also of the excellent manner in which the work has&lt;br /&gt;
been accomplished, that we tender our sincere&lt;br /&gt;
* &ldquo;The Works of Sir John Suckling in Prose and&lt;br /&gt;
Werse,&rdquo; edited, with introduction and notes, by A.&lt;br /&gt;
Hamilton Thompson. London : George Routledge &amp;amp; Sons.&lt;br /&gt;
1910, 8vo.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#692) ################################################&lt;br /&gt;
&lt;br /&gt;
280&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
congratulations to Mr. Hamilton Thompson on the&lt;br /&gt;
appearance of his edition of Sir John Suckling.&lt;br /&gt;
One or two, or a few, of Suckling&amp;#039;s poems are to be&lt;br /&gt;
found in every anthology; all the rest of his works&lt;br /&gt;
are more or less difficult of access. Here everything&lt;br /&gt;
will be found, as well as all that is known about&lt;br /&gt;
Sir John Suckling. In an admirable introduction&lt;br /&gt;
Mr. Hamilton Thompson unfolds lucidly whatever&lt;br /&gt;
remains to us of Sir John Suckling&amp;#039;s story, and at&lt;br /&gt;
the same time shows the extent of his indebtedness&lt;br /&gt;
to his contemporaries and to his age. The various&lt;br /&gt;
works of Sir John Suckling (with reproductions of&lt;br /&gt;
the original title-pages) then follow : The &ldquo;Frag-&lt;br /&gt;
menta Aurea,&rdquo; &ldquo;The Last Remains of Sir John&lt;br /&gt;
Suckling,&rdquo; the four plays, and the letters including&lt;br /&gt;
&ldquo;An Account of Religion and Reason.&rdquo; The&lt;br /&gt;
Volume is concluded by some excellent notes, in&lt;br /&gt;
which, as in his preface, Mr. Hamilton Thompson&lt;br /&gt;
exhibits the sound good taste (not always to be&lt;br /&gt;
observed in editors) of being content to record&lt;br /&gt;
the truth, without labouring to represent the author&lt;br /&gt;
as a greater man than he was. It may be confessed&lt;br /&gt;
that a careful perusal of all Sir John Suckling&amp;#039;s&lt;br /&gt;
Works may result in a disappointment for the&lt;br /&gt;
reader who has founded his expectations upon the&lt;br /&gt;
few very excellent things of Suckling&amp;#039;s that are&lt;br /&gt;
known to all; but it will certainly convince him&lt;br /&gt;
of the truth of the remarks with which Mr.&lt;br /&gt;
Hamilton Thompson concludes his introduction:&lt;br /&gt;
&ldquo;It is impossible to doubt that beneath a gay&lt;br /&gt;
and careless exterior he [Suckling] possessed sound&lt;br /&gt;
practical sense, and that his ambition to excel as&lt;br /&gt;
an amateur wit only too often concealed a high,&lt;br /&gt;
if somewhat fragile, poetic gift, which on happy&lt;br /&gt;
occasions rose superior to an atmosphere not a&lt;br /&gt;
little hostile to its development.&rdquo; We have&lt;br /&gt;
pleasure in heartily recommending this work to all&lt;br /&gt;
lovers of English literature.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
THE STORY OF A REVIEW COPY.&lt;br /&gt;
SIR,-At a certain seaside circulating library, I&lt;br /&gt;
paid twopence for three days&rsquo; use of a six shilling&lt;br /&gt;
novel. From entries therein, I found that eighty-&lt;br /&gt;
five other persons had made like payments, making&lt;br /&gt;
a total of fourteen shillings and fourpence for the&lt;br /&gt;
use of a book which was still in active circulation.&lt;br /&gt;
I also discovered that the borrowed book was a&lt;br /&gt;
Review Copy, evidently purchased by the proprietor&lt;br /&gt;
of the circulating library for &ldquo;a mere song &rdquo; from&lt;br /&gt;
the editor of a newspaper, who had received it&lt;br /&gt;
gratis from the publisher.&lt;br /&gt;
Usually at least sixty copies of a six shilling&lt;br /&gt;
novel are sent out for review. If only half of&lt;br /&gt;
these are sold to second-rate circulating libraries,&lt;br /&gt;
and each of them is perused by eighty-six persons,&lt;br /&gt;
this means that the author of the book secures&lt;br /&gt;
2,580 readers who do not bring a single farthing&lt;br /&gt;
&amp;amp;nto his eachequer.&lt;br /&gt;
In provincial towns I have noticed that the&lt;br /&gt;
roprietor of a circulating library is frequently a&lt;br /&gt;
bookseller, printer, and editor of a local newspaper.&lt;br /&gt;
If he can get a six shilling novel for nothing, or&lt;br /&gt;
next to nothing, and make fourteen shillings and&lt;br /&gt;
fourpence by lending it to eighty-six persons&mdash;as in&lt;br /&gt;
the case I have noticed&mdash;he &ldquo;takes the biscuit&rdquo;&lt;br /&gt;
from publisher and author, and no mistake&lt;br /&gt;
I have long contended that authors might&lt;br /&gt;
become their own publishers, and distribute their&lt;br /&gt;
own books by establishing bookstalls at hotels, as&lt;br /&gt;
in America, if they had a sufficiency of co-operative&lt;br /&gt;
enterprise. .&lt;br /&gt;
It is simply a case of &ldquo;Wake up, Authors I&rdquo;&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
HENRY J. SWALLOW.&lt;br /&gt;
THE &ldquo; GREAT UNACTED.&rdquo;&lt;br /&gt;
DEAR SIR,--In a recent issue &ldquo;X. Y. Z.&rdquo; drew&lt;br /&gt;
attention to the extremely unsatisfactory conditions&lt;br /&gt;
which exist for those dramatic authors whose work&lt;br /&gt;
has not yet been produced.&lt;br /&gt;
As one of these much-to-be-pitied individuals, I&lt;br /&gt;
should like to convey my thanks to &ldquo;X. Y. Z.&rdquo; for&lt;br /&gt;
having opened this subject. Taking into considera-&lt;br /&gt;
tion the very rare exception who proves the rule,&lt;br /&gt;
one may say that for an unknown author to get&lt;br /&gt;
his play produced amounts to something very near&lt;br /&gt;
an impossibility. The Societies specially organised&lt;br /&gt;
to help new dramatists are, from a practical point&lt;br /&gt;
of view, as unsatisfactory as the established manage-&lt;br /&gt;
ments. The first play I sent to one of these&lt;br /&gt;
societies was promptly accepted, although a short&lt;br /&gt;
while afterwards I was asked to make a slight&lt;br /&gt;
alteration, which I did, to the satisfaction of those&lt;br /&gt;
concerned. I was then told that my play would&lt;br /&gt;
be running at a West End theatre by the middle&lt;br /&gt;
of May&mdash;provided the society could raise sufficient&lt;br /&gt;
funds. The middle of May has now been post-&lt;br /&gt;
poned to the middle of September, and without&lt;br /&gt;
doubt when September comes it will be delayed&lt;br /&gt;
until the spring, and so on 1 The difficulty for&lt;br /&gt;
new authors to get their plays considered, or even&lt;br /&gt;
read by established managers, is so well-known&lt;br /&gt;
that I need not go into it. As a struggling&lt;br /&gt;
dramatic author I can testify to a bundle of com-&lt;br /&gt;
plimentary letters, promises of production if&lt;br /&gt;
alteration is made, and then&mdash;nothing more. If&lt;br /&gt;
the Society of Authors could help us, in the manner&lt;br /&gt;
suggested by &ldquo;X. Y. Z.,&rdquo; it would be doing an act of&lt;br /&gt;
profound charity, with the ghost of a chance of&lt;br /&gt;
doing something for the Drama as well !&lt;br /&gt;
C. W.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#693) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. V&lt;br /&gt;
&lt;br /&gt;
Crown 8vo, 966 pages, 6s. net.&lt;br /&gt;
PRINCIPAL ContFNTs:&mdash;Authors&rsquo; Directory and Index&lt;br /&gt;
of Authors; Obituary Notices; Literary and Press&lt;br /&gt;
Agents ; Typists and Indexers, etc. ; Booksellers&lt;br /&gt;
(town and country); Law and Letters; Libraries ;&lt;br /&gt;
British, American, and Colonial Periodicals, with&lt;br /&gt;
particulars for contributors, and a very complete&lt;br /&gt;
Classified Index ; Publishers (British, Colonial,&lt;br /&gt;
Foreign, and American); Royalty Tables; Societies&lt;br /&gt;
and Literary Clubs (British, Colonial, and Foreign);&lt;br /&gt;
List of Cheap Reprints, etc.&lt;br /&gt;
&ldquo;An indispensable book of reference for authors and&lt;br /&gt;
journalists.&rdquo;&mdash;Daily Graphic.&lt;br /&gt;
&ldquo;Has been so excellently devised as to leave no room&lt;br /&gt;
for improvement.&rdquo;&mdash;Birmingham Post.&lt;br /&gt;
&ldquo;The editor is to be congratulated on an excellent and&lt;br /&gt;
useful production.&rdquo;&mdash;Queen.&lt;br /&gt;
&ldquo;Carefully edited and thoroughly accurate and up-to-&lt;br /&gt;
date.&rdquo;&mdash;Dundee Advertiser.&lt;br /&gt;
Authors are invited to send their nannes and&lt;br /&gt;
particulars of their publications to the Editor&lt;br /&gt;
for insertion in the 1911 volume. Forms may be&lt;br /&gt;
had from the Editor.&lt;br /&gt;
*...* G. ROUTLEDGE &amp;amp; SONS, Ltd.,&lt;br /&gt;
68, CARTER LANE,&lt;br /&gt;
E.C.&lt;br /&gt;
IHF IIIHRWWER book.&lt;br /&gt;
DD YOU WRITE PLAY39&lt;br /&gt;
The International Copyright Bureau, Ltd.,&lt;br /&gt;
Gan be of service to you.&lt;br /&gt;
We act as Agents for placing Plays,&lt;br /&gt;
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We copyright dramatic property and collect&lt;br /&gt;
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All English Plays submitted to the Bureau&lt;br /&gt;
are read by Mr. A. L. Ellis, so well known as a&lt;br /&gt;
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The INTERNATIONAL COPYRIGHT BUREAU, Ltd.,&lt;br /&gt;
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Directors.&lt;br /&gt;
ANTHONY L. ELLIS ſ&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
Are advertised for weekly in&lt;br /&gt;
THE PUBLISHERS&rsquo; CIRCULAR&lt;br /&gt;
AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
(ESTABLISHED 1837),&lt;br /&gt;
Which also gives Lists of the New Books published&lt;br /&gt;
during the Week, Announcements of Forthcoming&lt;br /&gt;
- Books, &amp;amp;c.&lt;br /&gt;
Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
in the Books Wanted Columns.&lt;br /&gt;
Sent for 52 weeks, post free, for 10S. 6d. home and&lt;br /&gt;
138. 6d. foreign.&lt;br /&gt;
Specimen Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
Office : 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
A Member of the Society of Authors highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENS, S.W.,&lt;br /&gt;
as a Residence for Women Workers and Students. It is a&lt;br /&gt;
quiet comfortable house ; the number of boarders is limited&lt;br /&gt;
to 14, and references are required. Terms from 25s, a week.&lt;br /&gt;
Redcliffe Gardens is five minutes&amp;#039; walk from Earl&amp;#039;s Court&lt;br /&gt;
District and Tube Stations.&lt;br /&gt;
Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIPKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting Offices,&lt;br /&gt;
(Established 1893),&lt;br /&gt;
223a, HAMMERSMITH ROAD, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MSS. 1s. 1,000 words; over 40,000, 10d. No unfair&lt;br /&gt;
&ldquo;cutting&rdquo; of prices.&lt;br /&gt;
Educated Operators, GOOD PAPER, Standard Machines.&lt;br /&gt;
REFERENCES.&lt;br /&gt;
AUTHORs &amp;amp; PLAYWRIGHTs.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Department,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNE BUILDING, NEW YORK.&lt;br /&gt;
E8TABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Tazz&ordm;tton. [XVIII. cent.&lt;br /&gt;
BARNICOTT &amp;amp; PEARCE&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#694) ################################################&lt;br /&gt;
&lt;br /&gt;
Wi - - AD VERTISEMENTS.&lt;br /&gt;
TYPEWRITING!&lt;br /&gt;
WITH BRAINS.&lt;br /&gt;
ANOTHER TESTIMONIAL.&lt;br /&gt;
An AUTHOR has sent me the following:&lt;br /&gt;
&ldquo;Cricklewood, N. W.&lt;br /&gt;
&ldquo;I am exceedingly pleased with the type-&lt;br /&gt;
written copies. I have read them carefully&lt;br /&gt;
through and consider you have taken great&lt;br /&gt;
pains with the work. Also the type is excel-&lt;br /&gt;
lent. I have had 5 MSS. done and YOURS&lt;br /&gt;
IS FAR THE BEST.&lt;br /&gt;
&ldquo;I shall certainly remember you when I want&lt;br /&gt;
anything typed.&rdquo;&lt;br /&gt;
MW WORK IS ALWAYS OF THE BEST.&lt;br /&gt;
| USE MY BRAINS as well as my HANDS on&lt;br /&gt;
all the work | do.&lt;br /&gt;
AUTHORS are respectfully requested&lt;br /&gt;
to NOTE MY GHARGES ARE WERW LOW.&lt;br /&gt;
G0RREGT. Send a Sample Order NOW to&lt;br /&gt;
GHEAP. MISS RALLING,&lt;br /&gt;
T 76, Loughborough Road,&lt;br /&gt;
LONDON, S.W.&lt;br /&gt;
Q&lt;br /&gt;
Ul&lt;br /&gt;
G&lt;br /&gt;
QUICK.&lt;br /&gt;
TWO popular Hotels in Gentral London,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Opposite the British Museum. -&lt;br /&gt;
THAGKERAY HOTEL.&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL.&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
Passenger Lifts. Bathrooms on every Floor. Lounges&lt;br /&gt;
and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors, Perfect Sanita-&lt;br /&gt;
tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance), single, from&lt;br /&gt;
3/6 to 6|=.&lt;br /&gt;
Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote,&lt;br /&gt;
Breakfast and Dinner, from 816 to 10|6 per day.&lt;br /&gt;
Full Tariff and Testimonials on application.&lt;br /&gt;
Telegraphic Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo; !&lt;br /&gt;
Ringsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
MRS. GILL, Typetoriting Cffice,&lt;br /&gt;
(Established 1883.) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 8464 Central.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&rsquo; MSS. copied from 9d. per 1,000&lt;br /&gt;
words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation.&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HoRNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words. I have nothing&lt;br /&gt;
but praise for the accuracy, speed and neatness with which she&lt;br /&gt;
does her work.-FRANK SAVILE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDLESEX.&lt;br /&gt;
&lsquo;&lsquo;TEIE AUTIEIOE.&rdquo;&lt;br /&gt;
SOALE FOR A D VERTISEMENTS.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
Front Page ...e4 0 0&lt;br /&gt;
Other Pages t&ordm; e &ordm; e - - t&ordm; G &amp;amp; &copy; t&ordm; t&ordm; t&ordm; a &ordm;n &bull;,&bull; e - &copy; ... 3 0 0&lt;br /&gt;
Half of a Page .., t&ordm; t&ordm; 4 t&ordm; t&ordm; &ordm; &amp;amp; s&ordm; t&ordm; &ordm; ſ&ordm; s to e * &amp;amp; &copy; ... 1 10 0&lt;br /&gt;
Quarter of a Page t&ordm; a t&ordm; &copy; &ordm; is t&ordm; t&ordm; a y &amp;amp; O * G t&ordm; e - G ... 0 15 0&lt;br /&gt;
Eighth of a Page &bull; 6 t&ordm; t&ordm; e is t&ordm; w - t&ordm; &ordm; &ordm; t&ordm; e t&ordm; t&ordm; - - ... 0 7 6&lt;br /&gt;
Single Column Advertisements per inch 0 6 0&lt;br /&gt;
Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for&lt;br /&gt;
Twelve Insertions.&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
All letters respecting Advertisements should be addressed to the&lt;br /&gt;
AdvKRTISEMENT MANAGER, The Author Office, 39, Old Queen Street,&lt;br /&gt;
Storey&amp;#039;s Gate, S.W&lt;br /&gt;
Printed by BRADBURY, AGNEw, &amp;amp; Co. L.D., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#695) ################################################&lt;br /&gt;
&lt;br /&gt;
SUPPLEMENT I.&lt;br /&gt;
AUSTRALIAN COPYRIGHT ACT.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#696) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#697) ################################################&lt;br /&gt;
&lt;br /&gt;
AUSTRALIAN COPYRIGHT ACT.&lt;br /&gt;
[AssBNTED TO 21ST DECEMBER, 1905.]&lt;br /&gt;
E it enacted by the King&amp;#039;s Most Excellent&lt;br /&gt;
Majesty, the Senate, and the House of&lt;br /&gt;
Representatives of the Commonwealth of&lt;br /&gt;
Australia as follows:&mdash;&lt;br /&gt;
| PART I.-PRELIMINARY.&lt;br /&gt;
1. Short Title.&mdash;This Act may be cited as the&lt;br /&gt;
Copyright Act, 1905.&lt;br /&gt;
2. Commencement.&mdash;This Act shall commence on&lt;br /&gt;
a day to be fixed by Proclamation.&lt;br /&gt;
3. Paris.--This Act is divided as follows:&ndash;&lt;br /&gt;
Part I. &mdash; Preliminary.&lt;br /&gt;
Part II.-Administration.&lt;br /&gt;
Part III.-Literary, Musical, and Dra-&lt;br /&gt;
matic Copyright.&lt;br /&gt;
IV.-Artistic Copyright.&lt;br /&gt;
W.&mdash;Infringement of Copyright.&lt;br /&gt;
VI.-International and State copy-&lt;br /&gt;
right.&lt;br /&gt;
Part VII-Registration of Copyrights.&lt;br /&gt;
- Part VIII.-Miscellaneous.&lt;br /&gt;
4. Interpretation.&mdash;In this Act, unless the Con-&lt;br /&gt;
trary intention appears&mdash;&lt;br /&gt;
&ldquo;Artistic work&rsquo; includes&mdash;&lt;br /&gt;
(a) Any painting, drawing, or sculpture; and&lt;br /&gt;
(b) Any engraving, etching, print, lithograph,&lt;br /&gt;
Woodcut, photograph, or other work of&lt;br /&gt;
art produced by any process, mechanical&lt;br /&gt;
or otherwise, by which impressions or&lt;br /&gt;
representations of works of art can be&lt;br /&gt;
taken or multiplied:&lt;br /&gt;
&ldquo;Author&rsquo;&rsquo; includes the personal representatives&lt;br /&gt;
of an author :&lt;br /&gt;
&ldquo;Book&rdquo; includes any book or volume, and any&lt;br /&gt;
part or division of a book or volume, and any&lt;br /&gt;
article in a book or volume, and any pamphlet,&lt;br /&gt;
periodical, sheet of letterpress, sheet of music,&lt;br /&gt;
map, chart, diagram, or plan separately pub-&lt;br /&gt;
lished, and any illustration therein :&lt;br /&gt;
&ldquo;Dramatic work,&rdquo; in addition to being included&lt;br /&gt;
in the definition of book, means any tragedy,&lt;br /&gt;
comedy, play, drama, farce, burlesque, libretto,&lt;br /&gt;
of an opera, entertainment, or other work of&lt;br /&gt;
a like nature, whether set to music or other-&lt;br /&gt;
Part&lt;br /&gt;
Part&lt;br /&gt;
Part&lt;br /&gt;
Wise, lyrical work set to music, or other scenic&lt;br /&gt;
or dramatic composition :&lt;br /&gt;
&ldquo;Lecture&rsquo;&rsquo; includes a sermon :&lt;br /&gt;
&ldquo;Musical work&rsquo; in addition to being included&lt;br /&gt;
in the definition of book, includes any com-&lt;br /&gt;
bination of melody and harmony, or either of&lt;br /&gt;
them, printed, reduced to writing, or other-&lt;br /&gt;
wise graphically produced or reproduced :&lt;br /&gt;
&ldquo;Periodical&amp;quot; means a review, magazine, news-&lt;br /&gt;
paper, or other periodicai work of a like&lt;br /&gt;
Inature :&lt;br /&gt;
&ldquo;Pirated artistic work&rsquo; means a reproduction&lt;br /&gt;
of an artistic work made in any manner with-&lt;br /&gt;
out the authority of the owner of the copyright&lt;br /&gt;
in the artistic work :&lt;br /&gt;
&ldquo;Pirated book&rdquo; means a reproduction of a book&lt;br /&gt;
made in any manner without the authority of&lt;br /&gt;
the owner of the copyright in the book:&lt;br /&gt;
&ldquo;Portrait &rsquo;&rsquo; includes any work the principal&lt;br /&gt;
object of which is the representation of a per-&lt;br /&gt;
Son by painting, drawing, engraving, photo-&lt;br /&gt;
graphy, sculpture, or any form of art:&lt;br /&gt;
&ldquo;Publish &rsquo;&rsquo; and &ldquo;Publication &rdquo; in relation to a&lt;br /&gt;
book refer to offer for sale or distribution, in&lt;br /&gt;
each case with the privity of the author, so as&lt;br /&gt;
to make the book accessible to the public :&lt;br /&gt;
&ldquo;The Registrar&rsquo; means the Registrar of Copy-&lt;br /&gt;
rights or a Deputy Registrar of Copyrights:&lt;br /&gt;
&ldquo;State Copyright Act&rdquo; means any State Act&lt;br /&gt;
relating to the registration of the copyright&lt;br /&gt;
or performing right, or lecturing right in&lt;br /&gt;
books, or dramatic or musical works, or in&lt;br /&gt;
artistic works, or fine art works, or in lectures.&lt;br /&gt;
5. What is simultaneous publication or perform-&lt;br /&gt;
ance.&mdash;For the purposes of this Act publication,&lt;br /&gt;
performance, or delivery in the Commonwealth&lt;br /&gt;
shall be deemed to be simultaneous with publica-&lt;br /&gt;
tion, performance, or delivery elsewhere if the&lt;br /&gt;
period between the publications, performances, or&lt;br /&gt;
deliveries does not exceed fourteen days.&lt;br /&gt;
6. Blasphemous, &amp;amp;c., matter not projected.&mdash;No&lt;br /&gt;
copyright, performing right, or lecturing right&lt;br /&gt;
shall subsist under this Act in any blasphemous,&lt;br /&gt;
indecent, seditious, or libellous work or matter.&lt;br /&gt;
7. Application of the Common Law.&mdash;Subject to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#698) ################################################&lt;br /&gt;
&lt;br /&gt;
this and any other Acts of the Parliament, the&lt;br /&gt;
Common Law of England relating to proprietary&lt;br /&gt;
rights in unpublished literary compositions shall,&lt;br /&gt;
after the commencement of this Act, apply&lt;br /&gt;
throughout the Commonwealth.&lt;br /&gt;
8. State Copyright Acts not to apply to copyright&lt;br /&gt;
under this Act.&mdash;-(1.) The State Copyright Acts so&lt;br /&gt;
far as they relate to the copyright in any book,&lt;br /&gt;
the performing right in any musical or dramatic&lt;br /&gt;
work, the lecturing right in any lecture, or the&lt;br /&gt;
copyright in any artistic or fine art work shall not&lt;br /&gt;
apply to any book, dramatic or musical work,&lt;br /&gt;
lecture, or artistic work in which copyright, per-&lt;br /&gt;
forming right, or lecturing right, subsists under&lt;br /&gt;
this Act.&lt;br /&gt;
Saving of rights under State laws.-(2.) Subject&lt;br /&gt;
to Part II. of this Act, nothing in this Act shall&lt;br /&gt;
affect the application of the laws in force in any&lt;br /&gt;
State at the commencement of this Act to any&lt;br /&gt;
copyright or other right in relation to books or&lt;br /&gt;
dramatic or musical works or lectures or artistic&lt;br /&gt;
or fine art works acquired under or protected by&lt;br /&gt;
those laws before the commencement of this Act.&lt;br /&gt;
PART II.-ADMINISTRATION.&lt;br /&gt;
Division 1.&mdash;77te Registrar and the Copyright&lt;br /&gt;
Office.&lt;br /&gt;
9. Registrar.&mdash;(1.) There shall be a Registrar of&lt;br /&gt;
Copyrights.&lt;br /&gt;
(2.) The Governor-General may appoint one or&lt;br /&gt;
more Deputy Registrars of Copyrights who shall,&lt;br /&gt;
subject to the control of the Registrar of Copyrights,&lt;br /&gt;
have all the powers conferred by this Act on the&lt;br /&gt;
Registrar.&lt;br /&gt;
10. Copyright Office.&mdash;For the purposes of this&lt;br /&gt;
Act an office shall be established which shall be&lt;br /&gt;
called the Copyright Office.&lt;br /&gt;
11. Seal of Copyright Office.&mdash;There shall be a&lt;br /&gt;
seal of the Copyright Office, and impressions thereof&lt;br /&gt;
shall be judicially noticed.&lt;br /&gt;
Division 2. &mdash;7%e Transfer of the Administration&lt;br /&gt;
of the Slate Copyright Acts.&lt;br /&gt;
12. Transfer of adminisfration.&mdash;The Governor-&lt;br /&gt;
General may, by proclamation, declare that, from&lt;br /&gt;
and after a date specified in the proclamation, the&lt;br /&gt;
administration of the State Copyright Acts of any&lt;br /&gt;
State so far as they relate to the registration of the&lt;br /&gt;
copyright in any book, the performing right in any&lt;br /&gt;
musical or dramatic work, the lecturing right in&lt;br /&gt;
any lecture, and the copyright in any artistic or&lt;br /&gt;
fine art work, or to the registration of any assign-&lt;br /&gt;
ment or grant of, or licence in relation to, any such&lt;br /&gt;
right, shall be transferred to the Commonwealth&lt;br /&gt;
and thereupon, so far as is necessary for the pur-&lt;br /&gt;
poses of this section&mdash;&lt;br /&gt;
(a) Effect of transfer of administration. Cf.&lt;br /&gt;
Patents Act, 1903, ss. 18 and 19. The&lt;br /&gt;
State Copyright Acts of the State shall&lt;br /&gt;
cease to be administered by the State,&lt;br /&gt;
and shall thereafter be administered by&lt;br /&gt;
the Commonwealth so far as is necessary&lt;br /&gt;
for the purpose of completing then pending&lt;br /&gt;
proceedings and of giving effect to then&lt;br /&gt;
existing rights, and the Registrar shall&lt;br /&gt;
Collect for the State all fees which become&lt;br /&gt;
payable thereunder ; and&lt;br /&gt;
(b) all powers and functions under any State&lt;br /&gt;
Copyright Act vested in the Governor&lt;br /&gt;
of the State or in the Governor with the&lt;br /&gt;
advice of the Executive Council of the&lt;br /&gt;
State or in any Minister officer or&lt;br /&gt;
authority of the State shall vest in the&lt;br /&gt;
Governor-General or in the Governor-&lt;br /&gt;
General in Council or in the Minister&lt;br /&gt;
officer or authority exercising similar&lt;br /&gt;
powers under the Commonwealth as the&lt;br /&gt;
Case requires or as is prescribed ; and&lt;br /&gt;
(6) all records registers deeds and documents of&lt;br /&gt;
the Copyright Office of the State vested&lt;br /&gt;
in or subject to the control of the State&lt;br /&gt;
shall, by force of this Act, be vested in&lt;br /&gt;
and made subject to the control of the&lt;br /&gt;
Commonwealth.&lt;br /&gt;
PART III.-LITERARY, MUSICAL, AND DRAMATIC&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
13. Copyright in books.--(1.) The copyright in&lt;br /&gt;
a book means the exclusive right to do, or authorize&lt;br /&gt;
another person to do, all or any of the following&lt;br /&gt;
things in respect of it :&mdash;&lt;br /&gt;
(a) To make copies of it :&lt;br /&gt;
(b) To abridge it :&lt;br /&gt;
(c) To translate it :&lt;br /&gt;
(d) In the case of a dramatic work, to convert&lt;br /&gt;
it into a novel or other non-dramatic&lt;br /&gt;
work :&lt;br /&gt;
(e) In the case of a novel or other non-dramatic&lt;br /&gt;
Work, to convert it into a dramatic work :&lt;br /&gt;
and&lt;br /&gt;
(f) In the case of a musical work, to make&lt;br /&gt;
any new adaptation, transposition, arrange-&lt;br /&gt;
ment, or setting of it, or of any part of it,&lt;br /&gt;
in any notation.&lt;br /&gt;
(2.) Copyright shall subsist in every book,&lt;br /&gt;
whether the author is a British subject or not,&lt;br /&gt;
which has been printed from type set up in&lt;br /&gt;
Australia, or plates made therefrom, or from plates&lt;br /&gt;
or negatives made in Australia in cases where type&lt;br /&gt;
is not necessarily used, and has, after the com-&lt;br /&gt;
mencement of this Act, been published in Australia,&lt;br /&gt;
before or simultaneously with its first publication&lt;br /&gt;
elsewhere.&lt;br /&gt;
14. Performing right in dramatic and musical&lt;br /&gt;
100%s.&mdash;(1.) The performing right in a dramatic&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#699) ################################################&lt;br /&gt;
&lt;br /&gt;
or musical work means the exclusive right to per-&lt;br /&gt;
form it, or authorise its performance, in public.&lt;br /&gt;
(2.) Performing right shall subsist in every&lt;br /&gt;
dramatic or musical work, whether the author is a&lt;br /&gt;
British subject or not, which has, after the com-&lt;br /&gt;
mencement of this Act, been performed in public&lt;br /&gt;
in Australia, before or simultaneously with its first&lt;br /&gt;
performance in public elsewhere.&lt;br /&gt;
15. Lecturing right in lectures.&mdash;(1.) The lectur-&lt;br /&gt;
ing right in a lecture means the exclusive right to&lt;br /&gt;
deliver it, or authorise its delivery, in public, and,&lt;br /&gt;
except as hereinafter provided, to report it.&lt;br /&gt;
(2.) Lecturing right shall subsist in every&lt;br /&gt;
lecture, whether the author is a British subject or&lt;br /&gt;
not, which has, after the commencement of this&lt;br /&gt;
Act, been delivered in public in Australia, before&lt;br /&gt;
or simultaneously with its first delivery in public&lt;br /&gt;
elsewhere.&lt;br /&gt;
16. Commencement of copyright performing right,&lt;br /&gt;
and lecturing right.&mdash;(1.) The copyright in a book&lt;br /&gt;
shall begin with its first publication in Australia.&lt;br /&gt;
(2.) The performing right in a dramatic or&lt;br /&gt;
musical work shall begin with its first performance&lt;br /&gt;
in public in Australia.&lt;br /&gt;
(3.) The lecturing right in a lecture shall begin&lt;br /&gt;
with its first delivery in public in Australia.&lt;br /&gt;
17. Term of copyright, performing right, and&lt;br /&gt;
lecturing right.&mdash;(1.) The copyright in a book, the&lt;br /&gt;
performing right in a dramatic or musical work,&lt;br /&gt;
and the lecturing right in a lecture, shall subsist&lt;br /&gt;
for the term of forty-two years or for the author&amp;#039;s&lt;br /&gt;
life and seven years whichever shall last the longer.&lt;br /&gt;
(2.) Where the first publication of a book, the&lt;br /&gt;
first performance in public of a musical or dramatic&lt;br /&gt;
work, or the first delivery in public of a lecture&lt;br /&gt;
takes place after the death of the author, the copy-&lt;br /&gt;
right, performing right, or lecturing right, as the&lt;br /&gt;
case may be, shall subsist for the term of forty-two&lt;br /&gt;
&euro;8] S. -&lt;br /&gt;
(3.) Where a book or a dramatic or musical work&lt;br /&gt;
is written by joint authors the copyright and the&lt;br /&gt;
performing right shall subsist for the term of&lt;br /&gt;
forty-two years or their joint lives and the life of&lt;br /&gt;
the survivor of them, and seven years, whichever&lt;br /&gt;
shall last the longer.&lt;br /&gt;
(4.) If a lecture is published as a book with the&lt;br /&gt;
consent in writing of the owner of the lecturing&lt;br /&gt;
right, the lecturing right shall cease.&lt;br /&gt;
18. Ownership in copyright, performing right, and&lt;br /&gt;
lecturing right.&mdash;(1). The author of a book shall be&lt;br /&gt;
the first owner of the copyright in the book.&lt;br /&gt;
(2.) The author of a dramatic work or musical&lt;br /&gt;
work shall be the first owner of the performing&lt;br /&gt;
right in the dramatic or musical Work.&lt;br /&gt;
(3.) The author of a lecture shall be first owner&lt;br /&gt;
of the lecturing right in the lecture.&lt;br /&gt;
19. Ownership in the case of joint authors.-&lt;br /&gt;
Where there are joint authors of a book, or of a&lt;br /&gt;
dramatic or musical work, or of a lecture, the copy-&lt;br /&gt;
right or the performing right, or the lecturing&lt;br /&gt;
right, as the case may be, shall be the property of&lt;br /&gt;
the authors.&lt;br /&gt;
20. Separate authors.--Where a book is written&lt;br /&gt;
in distinct parts by separate authors and the name&lt;br /&gt;
of each author is attached to the portion written&lt;br /&gt;
by him, each author shall be entitled to copyright&lt;br /&gt;
in the portion written by him in the same manner&lt;br /&gt;
as if it were a separate book.&lt;br /&gt;
21. Encyclop&aelig;dia and similar works.-The pro-&lt;br /&gt;
prietor or projector of an encyclop&aelig;dia or other&lt;br /&gt;
similar permanent work of reference who employs&lt;br /&gt;
Some other person for valuable consideration in the&lt;br /&gt;
composition of the whole or any part of the work&lt;br /&gt;
shall be entitled to the copyright in the work in the&lt;br /&gt;
same manner as if he were the author thereof.&lt;br /&gt;
22. Copyright in articles published in periodicals.&lt;br /&gt;
&mdash;(1.) The author of any article, contributed for&lt;br /&gt;
valuable consideration to and first published in a&lt;br /&gt;
periodical, shall be entitled to copyright in the&lt;br /&gt;
article as a separate work, but so that&mdash;&lt;br /&gt;
(a) he shall not be entitled to publish the article&lt;br /&gt;
or authorise its publication until one year&lt;br /&gt;
after the end of the year in which the&lt;br /&gt;
article was first published, and&lt;br /&gt;
(b) his right shall not exclude the right of th&lt;br /&gt;
proprietor of the periodical under this&lt;br /&gt;
section.&lt;br /&gt;
(2.) The proprietor of a periodical in which an&lt;br /&gt;
article, which has been contributed for valuable&lt;br /&gt;
consideration, is first published shall be entitled to&lt;br /&gt;
copyright in the article, but so that&mdash;&lt;br /&gt;
(a) he shall not be entitled to publish the article&lt;br /&gt;
or authorise its publication except in the&lt;br /&gt;
periodical in its original form of publication,&lt;br /&gt;
and -&lt;br /&gt;
(b) his right shall not exclude the right of the&lt;br /&gt;
author of the article, under this section.&lt;br /&gt;
23. Copyright in articles published in periodicals&lt;br /&gt;
without valuable consideration.&mdash;The author of any&lt;br /&gt;
article contributed without valuable consideration&lt;br /&gt;
to, and first published in, a periodical, shall be&lt;br /&gt;
entitled to copyright in the article as a separate&lt;br /&gt;
work.&lt;br /&gt;
24. Copyright, &amp;amp;c., to be personal property.&mdash;The&lt;br /&gt;
copyright in a book, the performing right in a&lt;br /&gt;
dramatic or musical work, and the lecturing right&lt;br /&gt;
in a lecture shall be personal property, and shall be&lt;br /&gt;
capable of assignment and of transmission by&lt;br /&gt;
operation of law.&lt;br /&gt;
25. Copyright and other rights to be separate&lt;br /&gt;
properties.&mdash;The copyright in a book, and the per-&lt;br /&gt;
forming right in a dramatic or musical work and the&lt;br /&gt;
lecturing right in a lecture shall be deemed to be&lt;br /&gt;
distinct properties for the purposes of ownership,&lt;br /&gt;
assignment, licence, transmission, and all other&lt;br /&gt;
purposes.&lt;br /&gt;
&amp;gt;};&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#700) ################################################&lt;br /&gt;
&lt;br /&gt;
26. Assignment of copyright.&mdash;The owner of the&lt;br /&gt;
copyright in a book, or of the performing right in&lt;br /&gt;
a dramatic or musical work, or of the lecturing&lt;br /&gt;
right in a lecture, may assign his right either&lt;br /&gt;
wholly or partially and either generally or limited&lt;br /&gt;
to any particular place or period, and may grant&lt;br /&gt;
any interest therein by licence ; but an assignment&lt;br /&gt;
or grant shall not be valid unless it is in writing&lt;br /&gt;
signed by the owner of the right in respect of&lt;br /&gt;
which it is made or granted.&lt;br /&gt;
27. Welſ&amp;#039; editions.&mdash;Any second or subsequent&lt;br /&gt;
edition of a book containing material or substan-&lt;br /&gt;
tial alterations or additions shall be deemed to be&lt;br /&gt;
a new book, but so as not to prejudice the right of&lt;br /&gt;
any person to reproduce a former edition of the&lt;br /&gt;
book or any part thereof after the expiration of the&lt;br /&gt;
copyright in the former edition.&lt;br /&gt;
Provided that while the copyright in a book&lt;br /&gt;
Subsists no person, other than the owner of the&lt;br /&gt;
copyright in the book or a person authorised by&lt;br /&gt;
him, shall be entitled to publish a second or&lt;br /&gt;
Subsequent edition thereof.&lt;br /&gt;
28. Making of abridgment, &amp;amp;c., for private use.&mdash;&lt;br /&gt;
Copyright in a book shall not be infringed by a&lt;br /&gt;
person making an abridgment or translation of the&lt;br /&gt;
book for his private use (unless he uses it publicly&lt;br /&gt;
or allows it to be used publicly by some other&lt;br /&gt;
person), or by a person making fair extracts from&lt;br /&gt;
or otherwise fairly dealing with the contents of the&lt;br /&gt;
book for the purpose of a new work, or for the&lt;br /&gt;
purposes of criticism, review, or refutation, or&lt;br /&gt;
in the ordinary course of reporting scientific in-&lt;br /&gt;
formation.&lt;br /&gt;
29. Translations or abridgments.--Where the&lt;br /&gt;
author has parted with the copyright in his&lt;br /&gt;
book and a translation or abridgment of the book&lt;br /&gt;
is made with the consent of the owner of the copy-&lt;br /&gt;
right by some person other than the author, notice&lt;br /&gt;
shall be given in the title-page of every copy of the&lt;br /&gt;
translation or abridgment that it has been made by&lt;br /&gt;
some person other than the author.&lt;br /&gt;
30. Failure of author to make or cause translation&lt;br /&gt;
of book.--Where a translation of a book into a par-&lt;br /&gt;
ticular language is not made within ten years from&lt;br /&gt;
the date of the publication of the book by the&lt;br /&gt;
owner of the copyright or by some person by his&lt;br /&gt;
authority&mdash;&lt;br /&gt;
(a) Any person desirous of translating the&lt;br /&gt;
book into that language may make an&lt;br /&gt;
application in writing to the Minister&lt;br /&gt;
for permission so to do :&lt;br /&gt;
(b) The Minister may thereupon by notice in&lt;br /&gt;
writing inform the owner of the copy-&lt;br /&gt;
right of such application and request&lt;br /&gt;
him to make or cause to be made a&lt;br /&gt;
translation of the book into that lan-&lt;br /&gt;
guage within such time as the Minister&lt;br /&gt;
deems reasonable or to show cause why&lt;br /&gt;
such application should not be granted :&lt;br /&gt;
(c) If the owner of the copyright fails to&lt;br /&gt;
comply with such notice the Minister&lt;br /&gt;
may grant such application.&lt;br /&gt;
31. Copyright in translations.&mdash;Copyright shall&lt;br /&gt;
subsist in a lawfully-produced translation or&lt;br /&gt;
abridgment of a book in like manner as if it&lt;br /&gt;
were an original work.&lt;br /&gt;
32. Notice of reservation of performing right.&mdash;&lt;br /&gt;
(1.) Where a dramatic or musical work is pub-&lt;br /&gt;
lished as a book, and it is intended that the&lt;br /&gt;
performing right is to be reserved, the owner of&lt;br /&gt;
copyright, whether he has parted with the per-&lt;br /&gt;
forming right or not, shall cause notice of the&lt;br /&gt;
reservation of the performing right to be printed&lt;br /&gt;
on the title page or in a conspicuous part of every&lt;br /&gt;
copy of the book.&lt;br /&gt;
(2.) Defendant&amp;#039;s rights where no notice of reserva-&lt;br /&gt;
tion of performing right.&mdash;Where&mdash;&lt;br /&gt;
(a) proceedings are taken for the infringe-&lt;br /&gt;
ment of the performing right in a&lt;br /&gt;
dramatic or musical work published as a&lt;br /&gt;
book, and&lt;br /&gt;
(b) the defendant proves to the satisfaction&lt;br /&gt;
of the Court that he has in his posses-&lt;br /&gt;
sion a copy of the book containing the&lt;br /&gt;
dramatic or musical work and that that&lt;br /&gt;
copy was published with the consent of&lt;br /&gt;
the owner of the copyright, and does&lt;br /&gt;
not contain the notice required by this&lt;br /&gt;
Act of the reservation of the performing&lt;br /&gt;
right,&lt;br /&gt;
judgment may be given in his favour either with&lt;br /&gt;
or without costs as the Court, in its discretion,&lt;br /&gt;
thinks fit; but in any such case the owner of&lt;br /&gt;
the performing right (if he is not the owner of the&lt;br /&gt;
copyright) shall be entitled to recover from the&lt;br /&gt;
owner of the copyright damages in respect of the&lt;br /&gt;
injury he has incurred by the neglect of the owner&lt;br /&gt;
of the copyright to cause due notice to be given of&lt;br /&gt;
the reservation of the performing right.&lt;br /&gt;
33. Report of lecture in a newspaper.&mdash;(1.) Unless&lt;br /&gt;
the reporting of a lecture is prohibited by a notice&lt;br /&gt;
as in this section mentioned, the lecturing right in&lt;br /&gt;
a lecture shall not be infringed by a report of the&lt;br /&gt;
lecture in a newspaper.&lt;br /&gt;
(2.) The notice prohibiting the reporting of a&lt;br /&gt;
lecture may be given&mdash;&lt;br /&gt;
(a) orally at the beginning of the lecture ; or&lt;br /&gt;
(b) by a conspicuous written notice affixed,&lt;br /&gt;
before the lecture is given, on the&lt;br /&gt;
entrance doors of the building in which&lt;br /&gt;
it is given or in a place in the room&lt;br /&gt;
in which it is given.&lt;br /&gt;
(3.) When a series of lectures is intended to be&lt;br /&gt;
given by the same lecturer on the same subject,&lt;br /&gt;
one notice only need be given in respect of the&lt;br /&gt;
whole series.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#701) ################################################&lt;br /&gt;
&lt;br /&gt;
PART IV.--ARTISTIC CoPYRIGHT.&lt;br /&gt;
34. Meaning of copyright.&mdash;The copyright in an&lt;br /&gt;
artistic work means the exclusive right of the&lt;br /&gt;
Owner of the copyright to reproduce or authorise&lt;br /&gt;
another person to reproduce the artistic work, or&lt;br /&gt;
any material part of it, in any manner, form, or&lt;br /&gt;
size, in any material, or by any process, or for&lt;br /&gt;
any purpose.&lt;br /&gt;
35. Copyright in artistic works.-Copyright shall&lt;br /&gt;
Subsist in every artistic work whether the author&lt;br /&gt;
is a British subject or not, which is made in&lt;br /&gt;
Australia after the commencement of this Act.&lt;br /&gt;
36. Commencement and term of artistic copyright.&lt;br /&gt;
&mdash;The copyright in an artistic work shall begin&lt;br /&gt;
with the making of the work, and shall subsist for&lt;br /&gt;
the term of forty-two years or for the author&amp;#039;s&lt;br /&gt;
life and seven years whichever shall last the&lt;br /&gt;
longer.&lt;br /&gt;
37. Ownership of copyright in artistic work.&mdash;The&lt;br /&gt;
author of an artistic work shall be the first owner&lt;br /&gt;
of the copyright in the work.&lt;br /&gt;
38. Copyright in portraits.--When an artistic&lt;br /&gt;
work, being a portrait, is made to order for valuable&lt;br /&gt;
consideration, the person to whose order it is made&lt;br /&gt;
shall be entitled to the copyright therein as if he&lt;br /&gt;
were the author thereof.&lt;br /&gt;
39. Copyright in photographs.-(1.) When a&lt;br /&gt;
photograph is made to order for valuable con-&lt;br /&gt;
sideration the person to whose order it is made&lt;br /&gt;
shall be entitled to the copyright therein as if he&lt;br /&gt;
were the author thereof.&lt;br /&gt;
(2.) Subject to sub-section (1) of this section,&lt;br /&gt;
when a photograph is made by an employee on&lt;br /&gt;
behalf of his employer the employer shall be&lt;br /&gt;
deemed to be the author of the photograph.&lt;br /&gt;
40. Engravings and prints.--(1.) Subject to&lt;br /&gt;
section thirty-four of this Act the engraver or&lt;br /&gt;
other person who makes the plate or other instru-&lt;br /&gt;
ment by which copies of an artistic work are&lt;br /&gt;
multipled shall be deemed to be the author of&lt;br /&gt;
the copies produceed by means of the plate or&lt;br /&gt;
instrument.&lt;br /&gt;
(2.) When the plate or other instrument men-&lt;br /&gt;
tioned in this section is made by an employee on&lt;br /&gt;
behalf of his employer the employer shall be deemed&lt;br /&gt;
to be the author of the copies produced by means&lt;br /&gt;
of the plate or instrument.&lt;br /&gt;
41. Copyright in case of sale of painting, statue,&lt;br /&gt;
or bust. (1.)&mdash;When the owner of the copyright in&lt;br /&gt;
any artistic work being a painting, or a statue, bust,&lt;br /&gt;
or other like work, disposes of such work for valu-&lt;br /&gt;
able consideration, but does not assign the copy-&lt;br /&gt;
right therein, the owner of the copyright (except&lt;br /&gt;
as in this section mentioned) may in the absence&lt;br /&gt;
of any agreement in writing to the contrary make&lt;br /&gt;
a replica of such work.&lt;br /&gt;
Right of author to make replicas of statues, etc., in&lt;br /&gt;
public places. (2.)&mdash;When a statue, bust, or other&lt;br /&gt;
like work, whether made to order or not, is placed&lt;br /&gt;
or is intended to be placed in a street or other like&lt;br /&gt;
public place, the author may, in the absence of any&lt;br /&gt;
agreement to the contrary, make replicas thereof.&lt;br /&gt;
42. Artistic copyright is personal property.&mdash;The&lt;br /&gt;
copyright in an artistic work shall be personal&lt;br /&gt;
property, and shall be capable of assignment and&lt;br /&gt;
of transmission by operation of law.&lt;br /&gt;
43. Copyright and ownership in artistic works.-&lt;br /&gt;
The copyright in an artistic work and the owner-&lt;br /&gt;
ship of the artistic work shall be deemed to be&lt;br /&gt;
distinct properties for the purposes of ownership,&lt;br /&gt;
assignment, licence, transmission, and all other&lt;br /&gt;
purposes.&lt;br /&gt;
44. Assignment of copyright.&mdash;The owner of the&lt;br /&gt;
copyright in an artistic work may assign his right&lt;br /&gt;
wholly or partially and either generally or limited&lt;br /&gt;
to any particular place or period and may grant&lt;br /&gt;
any interest therein by licence ; but an assignment&lt;br /&gt;
or grant shall not be valid unless it is in writing&lt;br /&gt;
signed by the owner of the copyright.&lt;br /&gt;
PART W.-INFRINGEMENT OF COPYRIGHT.&lt;br /&gt;
45. Infringement of rights under Act.&mdash;If any&lt;br /&gt;
person infringes any right conferred by this Act&lt;br /&gt;
in respect of the copyright in a book, the perform-&lt;br /&gt;
ing right in dramatic or musical work, the lecturing&lt;br /&gt;
right in a lecture, or the copyright in an artistic&lt;br /&gt;
work, the owner of the right infringed may maintain&lt;br /&gt;
an action for damages or penalties or profits, and&lt;br /&gt;
for an injunction, or for any of those remedies.&lt;br /&gt;
46. Damages in case of performing right or lectur-&lt;br /&gt;
ing right.&mdash;In assessing the damages in respect of&lt;br /&gt;
the infringement of the performing right in a&lt;br /&gt;
dramatic or musical work or the lecturing right in&lt;br /&gt;
a lecture, regard shall be had to the amount of&lt;br /&gt;
profit made by the infringer by reason of the&lt;br /&gt;
infringement, and to the amount of actual damage&lt;br /&gt;
incurred by the owner of the performing or&lt;br /&gt;
lecturing right.&lt;br /&gt;
47. Notice of objection to title.&mdash;The plaintiff in&lt;br /&gt;
any action for the infringement of a right con-&lt;br /&gt;
ferred by this Act shall be presumed to be the&lt;br /&gt;
owner of the right which he claims, unless the&lt;br /&gt;
defendant in his pleadings in defence pleads that&lt;br /&gt;
the defendant disputes the title of the plaintiff,&lt;br /&gt;
and states the grounds on which the plea is&lt;br /&gt;
founded, and the name of the person, if any, whom&lt;br /&gt;
the defendant alleges to be the owner of the right.&lt;br /&gt;
48. Limitation of actions. (Cf. 5-6 Vict. c. 45,&lt;br /&gt;
s. 26.).-No action for any infringement of copy-&lt;br /&gt;
right, performing right, or lecturing right under&lt;br /&gt;
this Act shall be maintainable unless it is com-&lt;br /&gt;
menced within two years next after the infringement&lt;br /&gt;
is committed.&lt;br /&gt;
49. Property in pirated books or artistic work.--&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#702) ################################################&lt;br /&gt;
&lt;br /&gt;
All pirated books and all pirated artistic works&lt;br /&gt;
shall be deemed to be the property of the owner of&lt;br /&gt;
the copyright in the book or work and may,&lt;br /&gt;
together with the plates, blocks, stone, matrix,&lt;br /&gt;
negative, or thing, if any, from which they are&lt;br /&gt;
rinted or made, be recovered by him by action or&lt;br /&gt;
other lawful method.&lt;br /&gt;
50. Penalties for dealing with pirated books.-&lt;br /&gt;
If any person&mdash;&lt;br /&gt;
(a) sells, or lets for hire, or exposes offers or&lt;br /&gt;
keeps for sale or hire, any pirated book or&lt;br /&gt;
any pirated artistic work; or&lt;br /&gt;
(b) distributes, or exhibits in public, any pirated&lt;br /&gt;
book or any pirated artistic work ; or&lt;br /&gt;
(c) imports into Australia any pirated book or&lt;br /&gt;
any pirated artistic work,&lt;br /&gt;
he shall be guilty of an offence against this Act,&lt;br /&gt;
and shall be liable to a penalty not exceeding Five&lt;br /&gt;
pounds for each copy of such pirated book or&lt;br /&gt;
pirated artistic work dealt with in contravention&lt;br /&gt;
of this section, and also to forfeit to the owner of&lt;br /&gt;
the copyright every such copy so dealt with, and&lt;br /&gt;
also to forfeit the plates, blocks, stone, matrix,&lt;br /&gt;
negative, or thing, if any, from which the pirated&lt;br /&gt;
book or pirated artistic work was printed or made.&lt;br /&gt;
Provided that the whole penalties inflicted on&lt;br /&gt;
any one offender in respect of the same transaction&lt;br /&gt;
shall not exceed Fifty pounds.&lt;br /&gt;
Provided also that no person shall be convicted&lt;br /&gt;
of an offence under this section if he proves to the&lt;br /&gt;
satisfaction of the court at the hearing that he did&lt;br /&gt;
not know, and could not with reasonable care have&lt;br /&gt;
ascertained, that the book was a pirated book or&lt;br /&gt;
the work was a pirated artistic work.&lt;br /&gt;
51. Liability in respect of use of theatre.&mdash;Where&lt;br /&gt;
a dramatic or musical work is performed in a theatre&lt;br /&gt;
or other place in infringement of the performing&lt;br /&gt;
right of the owner of that right, the proprietor&lt;br /&gt;
tenant or occupier who permitted the theatre or&lt;br /&gt;
place to be used for the performance shall be&lt;br /&gt;
deemed to have infringed the performing right and&lt;br /&gt;
shall be guilty of an offence against this Act, and&lt;br /&gt;
shall be liable to a penalty not exceeding Five&lt;br /&gt;
pounds for each such offence and the court may, in&lt;br /&gt;
addition to the penalty, Order the defendant to pay&lt;br /&gt;
to the owner of the performing right in respect of&lt;br /&gt;
each such infringement a sum by way of damages&lt;br /&gt;
to the amount or Ten pounds, or to such amount&lt;br /&gt;
as the court deems equal to the profits made by&lt;br /&gt;
the performance of the work, whichever sum is&lt;br /&gt;
greater.&lt;br /&gt;
Provided that no person shall be convicted of an&lt;br /&gt;
offence under this section if he proves to the&lt;br /&gt;
satisfaction of the court at the hearing that he did&lt;br /&gt;
not know and could not with reasonable care have&lt;br /&gt;
ascertained that the dramatic or musical work was&lt;br /&gt;
performed in infringement of the performing right&lt;br /&gt;
of the owner of that right.&lt;br /&gt;
52. Search warrant and seizure of pirated copies.&mdash;&lt;br /&gt;
(1.) A Justice of the Peace may upon the applica-&lt;br /&gt;
tion of the owner of the copyright in any book&lt;br /&gt;
or in any artistic work or of the agent of such&lt;br /&gt;
owner appointed in writing :&mdash;&lt;br /&gt;
(a) If satisfied by evidence that there is reason-&lt;br /&gt;
able ground for believing that pirated&lt;br /&gt;
books or pirated artistic works are being&lt;br /&gt;
sold, or offered for sale&mdash;issue a warrant,&lt;br /&gt;
in accordance with the form prescribed,&lt;br /&gt;
authorising any constable to seize the&lt;br /&gt;
pirated books or pirated artistic works&lt;br /&gt;
and to bring them before a court of&lt;br /&gt;
summary jurisdiction.&lt;br /&gt;
(b) If satisfied by evidence that there is&lt;br /&gt;
reasonable ground for believing that&lt;br /&gt;
pirated books or pirated artistic works&lt;br /&gt;
are to be found in any house, shop, or&lt;br /&gt;
other place&mdash;issue a warrant, in accord-&lt;br /&gt;
ance with the form prescribed, authoris-&lt;br /&gt;
ing any constable to search, between&lt;br /&gt;
sunrise and sunset, the place where the&lt;br /&gt;
pirated books or pirated artistic works&lt;br /&gt;
are supposed to be, and to seize and&lt;br /&gt;
bring them or any books or artistic works&lt;br /&gt;
reasonably suspected to be pirated books&lt;br /&gt;
or pirated artistic works before a court of&lt;br /&gt;
summary jurisdiction. -&lt;br /&gt;
(2.) A court of summary jurisdiction may, on&lt;br /&gt;
proof that any books or artistic works brought&lt;br /&gt;
before it in pursuance of this section are pirated&lt;br /&gt;
books or pirated artistic works, order them to be&lt;br /&gt;
destroyed or to be delivered up, subject to such con-&lt;br /&gt;
ditions, if any, as the court thinks fit, to the owner&lt;br /&gt;
of the copyright in the book or artistic work.&lt;br /&gt;
53. Power of owner of copyright to require&lt;br /&gt;
delivery to him of pirated books and works.&mdash; .&lt;br /&gt;
(1.) The owner of the copyright in any-book&lt;br /&gt;
or artistic work, or the agent of such owner&lt;br /&gt;
appointed in writing, may by notice, in accordance&lt;br /&gt;
with the prescribed form, require any person to&lt;br /&gt;
deliver up to him any pirated reproduction of the&lt;br /&gt;
book or work, and every person to whom such&lt;br /&gt;
notice has been given, and who has any pirated&lt;br /&gt;
reproduction of the book or work in his possession&lt;br /&gt;
or power, shall deliver up the pirated reproduction&lt;br /&gt;
of the book or work in accordance with the notice.&lt;br /&gt;
Penalty : Ten pounds.&lt;br /&gt;
(2.) A person shall not give any notice in&lt;br /&gt;
accordance with this section without just cause.&lt;br /&gt;
Penalty : Twenty pounds.&lt;br /&gt;
(3.) In any prosecution under sub-section (2) of&lt;br /&gt;
this section the defendant shall be deemed to have&lt;br /&gt;
given the notice without just cause unless he proves,&lt;br /&gt;
to the satisfaction of the court at the hearing, that&lt;br /&gt;
at the time of giving the notice he was the owner&lt;br /&gt;
of the copyright in the book or artistic work or&lt;br /&gt;
was the agent of such owner appointed in writing,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#703) ################################################&lt;br /&gt;
&lt;br /&gt;
and had reasonable ground to believe that the&lt;br /&gt;
person to whom the notice was given had pirated&lt;br /&gt;
reproductions of the book or work in his possession&lt;br /&gt;
or power.&lt;br /&gt;
54.&mdash;Power of owner of performing right to forbid&lt;br /&gt;
performance in infringement of his right.&mdash;(1.) The&lt;br /&gt;
owner of the performing right in a musical or&lt;br /&gt;
dramatic work, or the agent of the owner appointed&lt;br /&gt;
in Writing, may, by notice in writing in accordance&lt;br /&gt;
with the prescribed form, forbid the performance&lt;br /&gt;
of the musical or dramatic work in infringement&lt;br /&gt;
of his right, and require any person to refrain&lt;br /&gt;
from performing or taking part in the performance&lt;br /&gt;
of the musical or dramatic work, and every person&lt;br /&gt;
to whom a notice has been given in accordance with&lt;br /&gt;
this section shall refrain from performing or taking&lt;br /&gt;
part in the performance of the musical or dramatic&lt;br /&gt;
Work specified in the notice in infringement of the&lt;br /&gt;
performing right of such owner.&lt;br /&gt;
Penalty : Ten pounds.&lt;br /&gt;
(2.) A person shall not give any notice in pur-&lt;br /&gt;
Suance of this section without just cause.&lt;br /&gt;
Penalty : Twenty pounds.&lt;br /&gt;
(3.) In any prosecution under sub-section (2) of&lt;br /&gt;
this section, the defendant shall be deemed to have&lt;br /&gt;
given the notice without just cause unless he proves,&lt;br /&gt;
to the satisfaction of the court at the hearing, that&lt;br /&gt;
at the time of giving the notice he was the owner&lt;br /&gt;
of the performing right in the musical or dramatic&lt;br /&gt;
work, or the agent of the owner appointed in&lt;br /&gt;
writing, and had reasonable ground to believe that&lt;br /&gt;
the person to whom the notice was given was about&lt;br /&gt;
to perform or take part in the performance of the&lt;br /&gt;
musical or dramatic work in infringement of the&lt;br /&gt;
performing right of the owner.&lt;br /&gt;
55. Penalty for false representations in notices.&mdash;&lt;br /&gt;
Any person, who in any notice given in pursuance&lt;br /&gt;
of this Act, makes a representation, which is false&lt;br /&gt;
in fact and which he knows to be false or does not&lt;br /&gt;
believe to be true, that he is&lt;br /&gt;
(a) the owner of the copyright in any book or&lt;br /&gt;
artistic work, or&lt;br /&gt;
(b) the owner of the performing right in a&lt;br /&gt;
musical or dramatic work, or&lt;br /&gt;
(c) the agent of any such owner,&lt;br /&gt;
shall be guilty of an offence against this Act.&lt;br /&gt;
Penalty : Two years&amp;#039; imprisonment.&lt;br /&gt;
56. Request to police to seize pirated books and&lt;br /&gt;
works.--(1.) The owner of the copyright in any&lt;br /&gt;
book or artistic work or the agent of such owner&lt;br /&gt;
appointed in writing may, in accordance with the&lt;br /&gt;
prescribed form, request that any pirated reproduc-&lt;br /&gt;
tions of the book or work be seized by the police,&lt;br /&gt;
and may lodge the request at any police station.&lt;br /&gt;
(2.) Any police constable in the town or district&lt;br /&gt;
in which the police station is situated (whether in&lt;br /&gt;
the service of the Commonwealth or a State), may,&lt;br /&gt;
at any time in the day time within seven days&lt;br /&gt;
after the request was so lodged, seize all pirated&lt;br /&gt;
reproductions of the book or work mentioned in&lt;br /&gt;
the notice, and all reproductions of the book or&lt;br /&gt;
work which he has reasonable ground to believe&lt;br /&gt;
are pirated reproductions, found by him in the&lt;br /&gt;
possession of any person other than the owner of&lt;br /&gt;
the copyright in the book or work.&lt;br /&gt;
(3.) Every police constable who seizes any books&lt;br /&gt;
or works in pursuance of this section shall forth-&lt;br /&gt;
with bring all such books or works before a court&lt;br /&gt;
of summary jurisdiction.&lt;br /&gt;
(4.) A court of summary jurisdiction may, on&lt;br /&gt;
the application of any person interested, make such&lt;br /&gt;
order for the disposal of the books or works as he&lt;br /&gt;
thinks just.&lt;br /&gt;
(5.) A person shall not lodge any request at any&lt;br /&gt;
police station in accordance with this section with-&lt;br /&gt;
just cause.&lt;br /&gt;
Penalty : Twenty pounds.&lt;br /&gt;
(6.) In any prosecution under sub-section (5) of&lt;br /&gt;
this section the defendant shall be deemed to have&lt;br /&gt;
lodged the request without just cause unless he&lt;br /&gt;
proves, to the satisfaction of the court at the&lt;br /&gt;
hearing, that at the time of lodging the request&lt;br /&gt;
he was the owner of the copyright in the book or&lt;br /&gt;
artistic work, or was the agent of such owner&lt;br /&gt;
appointed in writing and had reasonable ground&lt;br /&gt;
to believe that pirated reproductions of the book&lt;br /&gt;
or work were being unlawfully sold, or let for hire,&lt;br /&gt;
or exposed or offered or kept for sale or hire, or dis-&lt;br /&gt;
tributed, or exhibited in public, in the town or&lt;br /&gt;
district in which the police station is situated.&lt;br /&gt;
57. Application of penalties.&mdash;Where proceedings&lt;br /&gt;
for any penalty under this Act are instituted by&lt;br /&gt;
the owner of the copyright in any book or in any&lt;br /&gt;
artistic work or by the owner of the artistic work,&lt;br /&gt;
the penalty shall be paid to him by way of com-&lt;br /&gt;
pensation for the injury he has sustained. In any&lt;br /&gt;
other case the penalty shall be paid to the Consoli-&lt;br /&gt;
dated Revenue Fund.&lt;br /&gt;
58. Aiders and abetfors.-Whoever aids, abets,&lt;br /&gt;
counsels, or procures, or by act or omission is in&lt;br /&gt;
any way, directly or indirectly, knowingly concerned&lt;br /&gt;
in the commission of any offence against this Act,&lt;br /&gt;
shall be deemed to have committed that offence,&lt;br /&gt;
and shall be punishable accordingly.&lt;br /&gt;
59. Limitation of actions in court of summary&lt;br /&gt;
jurisdiction.&mdash;Proceedings may be instituted in any&lt;br /&gt;
court of summary jurisdiction for the recovery of&lt;br /&gt;
any penalty under this Act, but no such proceed-&lt;br /&gt;
ings shall be instituted after the expiration of six&lt;br /&gt;
months from the date of the offence in respect of&lt;br /&gt;
which the penalty is imposed.&lt;br /&gt;
60. Appeal from courts of summary jurisdiction.&lt;br /&gt;
&ndash;An appeal shall lie from any conviction or Order&lt;br /&gt;
(including any dismissal of any information,&lt;br /&gt;
complaint, or application) of a court of sum-&lt;br /&gt;
mary jurisdiction, exercising jurisdiction with&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#704) ################################################&lt;br /&gt;
&lt;br /&gt;
10&lt;br /&gt;
respect to any offence or matter under this Act, to&lt;br /&gt;
the court and in the manner and time provided by&lt;br /&gt;
the law of the State in which the proceedings were&lt;br /&gt;
instituted in the case of appeals from courts of&lt;br /&gt;
summary jurisdiction in that State.&lt;br /&gt;
61. Importafion of pirated works. &ndash; (1.) The&lt;br /&gt;
following goods are prohibited to be imported :&mdash;&lt;br /&gt;
(a) All pirated books in which copyright is&lt;br /&gt;
subsisting in Australia (whether under&lt;br /&gt;
this Act or otherwise): and&lt;br /&gt;
(b) All pirated artistic works in which copyright&lt;br /&gt;
is subsisting in Australia (whether under&lt;br /&gt;
this Act or otherwise).&lt;br /&gt;
(2.) All pirated books and pirated artistic works&lt;br /&gt;
imported into Australia contrary to this section&lt;br /&gt;
shall be forfeited and may be seized by any officer&lt;br /&gt;
of Customs.&lt;br /&gt;
3.) Subject to this Act the provisions of the&lt;br /&gt;
Customs Act, 1901, shall apply to the seizure and&lt;br /&gt;
forfeiture of pirated books and artistic works under&lt;br /&gt;
this section to the same extent as if they were&lt;br /&gt;
prohibited imports under that Act.&lt;br /&gt;
(4.) The provisions of this section shall not&lt;br /&gt;
apply to any book or artistic work unless the&lt;br /&gt;
owner of the copyright therein or his agent has&lt;br /&gt;
given written notice to the Minister of the existence&lt;br /&gt;
of the copyright and of its term.&lt;br /&gt;
(5.) A notice given to the Commissioners of&lt;br /&gt;
Customs of the United Kingdom, by the owner of&lt;br /&gt;
the copyright or his agent, of the existence of the&lt;br /&gt;
copyright in a book or artistic work and of its&lt;br /&gt;
term, and communicated by the said Commissioners&lt;br /&gt;
to the Minister shall be deemed to have been given&lt;br /&gt;
by the owner to the Minister.&lt;br /&gt;
PART VI.-INTERNATIONAL AND STATE&lt;br /&gt;
COPYRIGHT.&lt;br /&gt;
62. Protection in Australia of International and&lt;br /&gt;
State Copyright.&mdash;The owner of any copyright or&lt;br /&gt;
performing right in any literary, musical, or&lt;br /&gt;
dramatic work or artistic work entitled to protection&lt;br /&gt;
in Australia by virtue of any Act of the Parliament&lt;br /&gt;
of the United Kingdom or entitled to protection&lt;br /&gt;
in any State by virtue of any State Copyright Act in&lt;br /&gt;
force at the commencement of this Act shall on&lt;br /&gt;
obtaining a certificate of the registration of his&lt;br /&gt;
Copyright or performing right under this part&lt;br /&gt;
of this Act have the same protection in the&lt;br /&gt;
Commonwealth against the infringement of his&lt;br /&gt;
copyright or performing right as the owner of any&lt;br /&gt;
Copyright or performing right under this Act.&lt;br /&gt;
63. Registration of International copyright.&mdash;&lt;br /&gt;
(1.) The owner of any copyright or performing&lt;br /&gt;
right who desires to obtain the benefit of this part&lt;br /&gt;
of this Act may, in manner and in accordance with&lt;br /&gt;
the form prescribed, make application to the&lt;br /&gt;
Registrar for the registration of his copyright or&lt;br /&gt;
performing right.&lt;br /&gt;
(2.)&mdash;The Registrar may thereupon, and on&lt;br /&gt;
being satisfied by proof of the prescribed particu-&lt;br /&gt;
lars and on payment of the prescribed fee, register&lt;br /&gt;
the copyright or performing right and issue to the&lt;br /&gt;
applicant a certificate of registration in accordance&lt;br /&gt;
with the prescribed form.&lt;br /&gt;
PART WII.-REGISTRATION OF COPYRIGHTS.&lt;br /&gt;
64. Copyright Registers.--The following Registers&lt;br /&gt;
of copyrights shall be kept by the Registrar at the&lt;br /&gt;
Copyright Office:&ndash;&lt;br /&gt;
The Register of Literary Copyrights.&lt;br /&gt;
The Register of Fine Arts Copyrights.&lt;br /&gt;
The Register of International and State Copy-&lt;br /&gt;
rights.&lt;br /&gt;
65. Method of registration.&mdash;The owner of any&lt;br /&gt;
copyright performing right or lecturing right&lt;br /&gt;
under this Act may obtain registration of his right&lt;br /&gt;
in the manner prescribed.&lt;br /&gt;
66. Registration of assignments and transmis-&lt;br /&gt;
Sions.&mdash;When any person becomes entitled to any&lt;br /&gt;
copyright performing right or lecturing right under&lt;br /&gt;
this Act by virtue of any assignment or trans-&lt;br /&gt;
mission, or to any interest therein by licence, he&lt;br /&gt;
may obtain registration of the assignment, trans-&lt;br /&gt;
mission, or licence in the manner prescribed.&lt;br /&gt;
67. How registration effected.&mdash;The registration&lt;br /&gt;
of any copyright performing right or lecturing&lt;br /&gt;
right under this Act, or of any assignment or trans-&lt;br /&gt;
mission thereof or of any interest therein by licence,&lt;br /&gt;
shall be effected by entering in the proper register&lt;br /&gt;
the prescribed particulars relating to the right,&lt;br /&gt;
assignment, transmission, or licence.&lt;br /&gt;
68. Trusts not registered.&mdash;(1.) No notice of any&lt;br /&gt;
trust expressed, implied, or constructive shall be&lt;br /&gt;
entered in any Register of Copyrights under this&lt;br /&gt;
Act or be receivable by the Registrar.&lt;br /&gt;
(2.) Subject to this section, equities in respect&lt;br /&gt;
of any copyright performing right or lecturing&lt;br /&gt;
right under this Act may be enforced in the same&lt;br /&gt;
manner as equities in respect of other personal&lt;br /&gt;
property.&lt;br /&gt;
69. Register to be evidence.&mdash;Every Register of&lt;br /&gt;
copyrights under this Act shall be prima facie evi-&lt;br /&gt;
dence of the particulars entered therein and docu-&lt;br /&gt;
ments purporting to be copies of any entry therein or&lt;br /&gt;
extracts therefrom certified by the Registrar and&lt;br /&gt;
sealed with the seal of the Copyrights Office shall be&lt;br /&gt;
admissible in evidence in all Federal or State&lt;br /&gt;
courts without further proof or production of the&lt;br /&gt;
Originals.&lt;br /&gt;
70. Certified copies.&mdash;Certified copies of entries&lt;br /&gt;
in any register under this Act or of extracts there-&lt;br /&gt;
from shall, on payment of the prescribed fee, be&lt;br /&gt;
given to any person applying for them.&lt;br /&gt;
71. Inspection of register.&mdash;Each register under&lt;br /&gt;
this Act shall be open to public inspection at all&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#705) ################################################&lt;br /&gt;
&lt;br /&gt;
11&lt;br /&gt;
convenient times on&lt;br /&gt;
fee.&lt;br /&gt;
72. Correction of register.&mdash;The registrar may, in&lt;br /&gt;
prescribed cases and subject to the prescribed&lt;br /&gt;
conditions, amend or alter any register under this&lt;br /&gt;
Act by&mdash;&lt;br /&gt;
(a) correcting any error in any name, address, or&lt;br /&gt;
particular ; and&lt;br /&gt;
(b) entering any prescribed memorandum or&lt;br /&gt;
particular relating to copyright or other&lt;br /&gt;
right under this Act.&lt;br /&gt;
73. Rectification of Register by the Court.&mdash;(1.)&lt;br /&gt;
Subject to this Act the Supreme Court of any State&lt;br /&gt;
or a judge thereof may, on the application of the&lt;br /&gt;
Registrar or of any person aggrieved, order the&lt;br /&gt;
rectification of any register under this Act by&mdash;&lt;br /&gt;
(a) the making of any entry wrongly omitted to&lt;br /&gt;
be made in the register ; or&lt;br /&gt;
(b) the expunging of any entry wrongly made in&lt;br /&gt;
- or remaining on the register; or&lt;br /&gt;
(c) the correction of any error or defect in the&lt;br /&gt;
register.&lt;br /&gt;
(2.) An appeal shall lie to the High Court from&lt;br /&gt;
any order for the rectification of any register&lt;br /&gt;
made by a Supreme Court or a Judge under this&lt;br /&gt;
section.&lt;br /&gt;
74. Owner cannot sue before registration.&mdash;(1.)&lt;br /&gt;
The owner of any copyright or performing right&lt;br /&gt;
under this Act or of any interest therein by licence&lt;br /&gt;
shall not be entitled to bring any action or suit or&lt;br /&gt;
institute any proceedings for any infringement&lt;br /&gt;
of the copyright or performing right unless such&lt;br /&gt;
right or interest has been registered in pursuance&lt;br /&gt;
of this Act. \&lt;br /&gt;
(2.) When such right or interest has been&lt;br /&gt;
registered the owner thereof may, subject to this&lt;br /&gt;
Act, bring actions or suits or institute proceedings&lt;br /&gt;
for infringements of the copyright or performing&lt;br /&gt;
right, whether those infringements happened before&lt;br /&gt;
or after the registration. -&lt;br /&gt;
(3.) This section shall not affect the right of the&lt;br /&gt;
owner of the lecturing right in a lecture to bring&lt;br /&gt;
actions or suits or institute proceedings for&lt;br /&gt;
infringements of his lecturing right.&lt;br /&gt;
75. Delivery of books to registrar.&mdash;(1.) Every&lt;br /&gt;
person applying for the registration of the copyright&lt;br /&gt;
in any book shall deliver to the Registrar two copies&lt;br /&gt;
of the whole book with all maps and illustrations&lt;br /&gt;
belonging thereto, finished and coloured in the&lt;br /&gt;
same manner as the best copies of the book are&lt;br /&gt;
payment of the prescribed&lt;br /&gt;
published and bound, sewed, or stitched together,&lt;br /&gt;
and on the best paper on which the book is&lt;br /&gt;
printed.&lt;br /&gt;
(2) Every person applying for the registration&lt;br /&gt;
of the copyright in any work of art shall deliver to&lt;br /&gt;
the Registrar one copy of the work of art or a&lt;br /&gt;
photograph of it.&lt;br /&gt;
(3.) The Registrar shall refuse to register the&lt;br /&gt;
Copyright in any book or work of art until sub-&lt;br /&gt;
Sections (1) and (2) of this section have been&lt;br /&gt;
complied with.&lt;br /&gt;
(4.) One copy of each book delivered to the&lt;br /&gt;
Registrar in pursuance of this section shall be&lt;br /&gt;
forwarded by him to the librarian of the Parlia-&lt;br /&gt;
ment, and the other copy shall be retained by the&lt;br /&gt;
Registrar, until otherwise prescribed.&lt;br /&gt;
76. False representation to registrar. Patents&lt;br /&gt;
Act, 1903, S. 112.&mdash;No person shall wilfully make&lt;br /&gt;
any false statement or representation to deceive&lt;br /&gt;
the Registrar or any officer in the execution of this&lt;br /&gt;
part of this Act, or to procure or influence the&lt;br /&gt;
doing or omission of anything in relation to this&lt;br /&gt;
part of this Act or any matter thereunder.&lt;br /&gt;
Penalty : Three years&amp;#039; imprisonment.&lt;br /&gt;
PART VIII.-MISCELLANEOUS.&lt;br /&gt;
77. Provision against suppression of books.--If&lt;br /&gt;
the Governor-General is satisfied that the owner of&lt;br /&gt;
the copyright in any book, or of the performing&lt;br /&gt;
right in any dramatic work or musical work, or of&lt;br /&gt;
the lecturing right in any lecture, has refused,&lt;br /&gt;
after the death of the author, to republish or allow&lt;br /&gt;
republication of the book, or the public perform-&lt;br /&gt;
ance of the dramatic or musical work, or the&lt;br /&gt;
publication as a book of the lecture, and that by&lt;br /&gt;
reason thereof the book, dramatic work, musical&lt;br /&gt;
work, or lecture is withheld from the public, he may&lt;br /&gt;
grant any person applying for it a licence to&lt;br /&gt;
republish the book, or to perform the dramatic&lt;br /&gt;
Wolk, or musical work, or to publish the lecture as&lt;br /&gt;
a book, in such manner and subject to such&lt;br /&gt;
conditions as to the Governor-General seem fit.&lt;br /&gt;
78. Power to award costs.-In any action or&lt;br /&gt;
proceeding taken in any court under this Act, the&lt;br /&gt;
court shall have power to award costs at its&lt;br /&gt;
discretion.&lt;br /&gt;
79. Regulations.&mdash;The Governor-General may&lt;br /&gt;
make regulations, not inconsistent with this Act,&lt;br /&gt;
prescribing all matters which by this Act are&lt;br /&gt;
required or permitted to be prescribed, or which&lt;br /&gt;
are necessary or convenient to be prescribed for&lt;br /&gt;
giving effect to this Act, or for the conduct of any&lt;br /&gt;
business relating to the Copyrights Office.&lt;br /&gt;
BRADBURY, AGNEW, &amp;amp; Co. LD., PRINTERs, LONDON AND TONBRIDGE.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#706) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#707) ################################################&lt;br /&gt;
&lt;br /&gt;
SUPBLEMENT II&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#708) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#709) ################################################&lt;br /&gt;
&lt;br /&gt;
A BILL&lt;br /&gt;
TO AMEND AND CONSOLIDATE THE ACTS&lt;br /&gt;
RESPECTING COPYRIGHT.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGES&lt;br /&gt;
NATURE OF COPYRIGHT (Secs. 1&ndash;3).................................................................. 5&lt;br /&gt;
SUBJECT-MATTER OF COPYRIGHT (Secs. 4&ndash;7) ................................................... ... 5.&lt;br /&gt;
WHO MAY OBTAIN COPYRIGHT (Sec. 8) ............................................................ 6&ndash;7&lt;br /&gt;
HOW TO SECURE COPYRIGHT (Secs. 9&ndash;17) ......................................................... 7&ndash;9&lt;br /&gt;
DURATION OF COPYRIGHT (Secs. 18&ndash;20) ............................................................ 9&ndash;10&lt;br /&gt;
Protection of CopyRIGHT (Secs, 21&ndash;36) ......................................................... 10&ndash;15&lt;br /&gt;
TRANSFER OF COPYRIGHT (Secs. 37&ndash;45) .................. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 15&ndash;16&lt;br /&gt;
COPYRIGHT OFFICE (Secs. 46&ndash;60)..................................................................... 16&ndash;19&lt;br /&gt;
MISOELLANEOUs PROVISIONs (Secs. 61&ndash;64) ......................................................... 19&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#710) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#711) ################################################&lt;br /&gt;
&lt;br /&gt;
A B | LL&lt;br /&gt;
TO AMEND AND CONSOLIDATE THE ACTS&lt;br /&gt;
RESPECTING COPYRIG HT.&lt;br /&gt;
Be it enacted by the Senate and House of Representatives of the United&lt;br /&gt;
States of America in Congress assembled, That the copyright secured by&lt;br /&gt;
this Act shall include the sole and exclusive right :-&lt;br /&gt;
(a) For the purposes set forth in subsection (b) hereof, to make&lt;br /&gt;
any copy of any work or part thereof the subject of copyright&lt;br /&gt;
under the provisions of this Act, or to abridge, adapt, or translate&lt;br /&gt;
into another language or dialect any such work, or make any other&lt;br /&gt;
version thereof;&lt;br /&gt;
(b) To sell, distribute, exhibit, or let for hire, or offer or keep&lt;br /&gt;
for sale, distribution, exhibition, or hire any copy of such work ;&lt;br /&gt;
(c) To deliver, or authorize the delivery of, in public for profit,&lt;br /&gt;
any copyrighted lecture, sermon, address, or similar production&lt;br /&gt;
prepared for oral delivery :&lt;br /&gt;
(d) To publicly perform or represent a copyrighted dramatic&lt;br /&gt;
work, or to convert it into a novel or other non-dramatic work ;&lt;br /&gt;
(e) To dramatize any copyrighted non-dramatic work and&lt;br /&gt;
produce the same either by publication or performance ;&lt;br /&gt;
(f) To publicly perform a copyrighted musical work, or any&lt;br /&gt;
part thereof, or for purpose of public performance or the purposes&lt;br /&gt;
set forth in subsection (b) hereof to make any arrangement or&lt;br /&gt;
setting of such work, or of the melody thereof, in any system of&lt;br /&gt;
notation ;&lt;br /&gt;
(g) To make, sell, distribute or let for hire any device, contri-&lt;br /&gt;
Vance or appliance especially adapted in any manner whatsoever to&lt;br /&gt;
reproduce to the ear the whole or any material part of any&lt;br /&gt;
work published and copyrighted after this Act shall have gone into&lt;br /&gt;
effect, or by means of any such device or appliance publicly to&lt;br /&gt;
reproduce to the ear the whole or any material part of such work ;&lt;br /&gt;
(h) To produce any abridgment, variation, adaptation, or&lt;br /&gt;
arrangement of a copyrighted work of art.&lt;br /&gt;
SEC. 2. That nothing in this Act shall be construed to annul or limit&lt;br /&gt;
the right of the author or proprietor of an unpublished work, at&lt;br /&gt;
common law or in equity, to prevent the copying, publication, or use&lt;br /&gt;
of such unpublished work without his consent, or to obtain damages&lt;br /&gt;
therefor.&lt;br /&gt;
SEC. 3. That the copyright provided by this Act shall extend to and&lt;br /&gt;
protect all the copyrightable component parts of the work copyrighted,&lt;br /&gt;
any and all reproductions or copies thereof, in whatever form, style or&lt;br /&gt;
size, and all matter reproduced therein in which copyright is already&lt;br /&gt;
subsisting, but without extending the duration of such copyright.&lt;br /&gt;
SEC. 4. That the works for which copyright may be secured under&lt;br /&gt;
this Act shall include all the works of an author.&lt;br /&gt;
SEC. 5. That the application for registration shall specify to which of&lt;br /&gt;
the following classes the work in which copyright is claimed belongs:&lt;br /&gt;
(a) Books, including composite and cyclop&aelig;dic works, direc-&lt;br /&gt;
tories, gazetteers, and other compilations, and new matter contained&lt;br /&gt;
5&lt;br /&gt;
Nature and Extent of Copy-&lt;br /&gt;
right.&lt;br /&gt;
Subject Matter of Copyright.&lt;br /&gt;
Comp. Constitution, Art. 1, sec. 8 ;&lt;br /&gt;
Rev. Stat., sec. 4952.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#712) ################################################&lt;br /&gt;
&lt;br /&gt;
6&lt;br /&gt;
Comp. Act of June 18, 1874, Sec. 3&lt;br /&gt;
(18 Stat. at L., part III, p. 79).&lt;br /&gt;
Comp. Rev. Stat., sec. 4959; Act&lt;br /&gt;
of March 3, 1891, sec. 5 (26 Stat.&lt;br /&gt;
at L., p. 1108).&lt;br /&gt;
Not subject&lt;br /&gt;
matter of copy-&lt;br /&gt;
right.&lt;br /&gt;
who May obtain Copyright&lt;br /&gt;
Comp. Constitution, 1787, Art. 1,&lt;br /&gt;
Sec. 8 ; Rev. Stat., sec. 4952;&lt;br /&gt;
Act of March 3, 1891, sec. 13&lt;br /&gt;
(26 Stat. at L., p. 1110).&lt;br /&gt;
Comp. Act of March 3, 1891, Sec. 13&lt;br /&gt;
(26 Stat. at L., p. 1110).&lt;br /&gt;
in new editions; but not including works specified in other sub-&lt;br /&gt;
sections hereunder ;&lt;br /&gt;
(b) Periodicals, including newspapers;&lt;br /&gt;
(c) Oral lectures, sermons, addresses;&lt;br /&gt;
(d) Dramatic compositions;&lt;br /&gt;
(e) Musical compositions;&lt;br /&gt;
(f) Maps ;&lt;br /&gt;
g) Works of art; models or designs for works of art ;&lt;br /&gt;
(h) Reproductions of a work of art ;&lt;br /&gt;
(i) Drawings or plastic works of a scientific or technical&lt;br /&gt;
character;&lt;br /&gt;
(j) Photographs;&lt;br /&gt;
(k) Prints and pictorial illustrations;&lt;br /&gt;
(1) Labels and prints relating to articles of manufacture, as&lt;br /&gt;
heretofore registered in the Patent Office under the Act of June 18,&lt;br /&gt;
1874 :&lt;br /&gt;
Provided, nevertheless, That the above specifications shall not be held&lt;br /&gt;
to limit the subject matter of copyright as defined in section four of&lt;br /&gt;
this Act, nor shall any error in classification invalidate or impair the&lt;br /&gt;
copyright protection secured under this Act.&lt;br /&gt;
SEC. 6. That additions to copyrighted works and alterations, re-&lt;br /&gt;
visions, abridgments, dramatizations, translations, compilations,&lt;br /&gt;
arrangements, or other versions of works, whether copyrighted or in&lt;br /&gt;
the public domain, shall be regarded as new works subject to copyright&lt;br /&gt;
under the provisions of this Act ; but no such copyright shall affect the&lt;br /&gt;
force or validity of any subsisting copyright upon the matter employed&lt;br /&gt;
or any part thereof, or be construed to grant an exclusive right to such&lt;br /&gt;
use of the original works.&lt;br /&gt;
SEC. 7. That no copyright shall subsist &ndash;&lt;br /&gt;
(a) In any publication of the United States government or any&lt;br /&gt;
reprint, in whole or in part, thereof: Provided, however, That the&lt;br /&gt;
publication or republication by the government, either separately&lt;br /&gt;
or in a public document, of any material in which copyright is&lt;br /&gt;
subsisting shall not be taken to cause any abridgment or annul-&lt;br /&gt;
ment of the copyright or to authorize any use or appropriation of&lt;br /&gt;
Such copyright material, without the consent of the copyright&lt;br /&gt;
proprietor;&lt;br /&gt;
(b) In the original text of a work by any author not a citizen&lt;br /&gt;
of the United States first published without the limits of the&lt;br /&gt;
United States prior to July first, eighteen hundred and ninety-one ;&lt;br /&gt;
or in the original text of any work which has fallen into the&lt;br /&gt;
public domain.&lt;br /&gt;
SEC. 8. That the author or proprietor of any work made the subject&lt;br /&gt;
of copyright by this Act, or his executors, administrators, or assigns,&lt;br /&gt;
shall have copyright for such work under the conditions and for the&lt;br /&gt;
terms specified in this Act: Provided, however, That the copyright&lt;br /&gt;
secured by this Act shall extend to the work of an author or proprietor&lt;br /&gt;
who is a citizen or subject of a foreign state or nation, only when such&lt;br /&gt;
foreign author or proprietor,&lt;br /&gt;
(a) Shall be living within the United States at the time of the&lt;br /&gt;
making and first publication of his work, or shall first or cotem-&lt;br /&gt;
poraneously publish his work within the limits of the United&lt;br /&gt;
States ; or&lt;br /&gt;
(b) When the foreign state or nation of which such author or&lt;br /&gt;
proprietor is a citizen or subject grants&mdash;either by treaty, conven-&lt;br /&gt;
tion, agreement, or law&mdash;to citizens of the United States the&lt;br /&gt;
benefit of copyright on substantially the same basis as to its own&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#713) ################################################&lt;br /&gt;
&lt;br /&gt;
7&lt;br /&gt;
citizens, or copyright protection substantially equal to the protec-&lt;br /&gt;
tion Secured to such foreign author under this Act ; or when such&lt;br /&gt;
foreign state or nation is a party to an international agreement&lt;br /&gt;
which provides for reciprocity in the granting of copyright, by the&lt;br /&gt;
terms of which agreement the United States may at its pleasure&lt;br /&gt;
become a party thereto. -&lt;br /&gt;
The existence of the reciprocal conditions aforesaid shall be&lt;br /&gt;
determined by the President of the United States, by proclamation&lt;br /&gt;
made from time to time, as the purposes of this Act may require.&lt;br /&gt;
SEC. 9. That any person entitled thereto by this Act may secure&lt;br /&gt;
copyright for his work by publication thereof with the notice of copy-&lt;br /&gt;
right required by this Act ; and such notice shall be affixed to each&lt;br /&gt;
copy thereof published or offered for sale in the United States by&lt;br /&gt;
authority of the copyright proprietor. In the case of a work of art or&lt;br /&gt;
a plastic work or drawing, such notice shall be affixed to the original&lt;br /&gt;
also before publication thereof. In the case of a lecture or similar work&lt;br /&gt;
intended only for oral delivery, notice of copyright shall be given at&lt;br /&gt;
each public delivery thereof.&lt;br /&gt;
SEC. 10. That such person may obtain registration of his claim to&lt;br /&gt;
copyright by complying with the requirements prescribed in this Act ;&lt;br /&gt;
and such registration shall be prim&aacute; facie evidence of ownership.&lt;br /&gt;
Registration may also be had of works of which copies are not repro-&lt;br /&gt;
duced for sale, by the deposit, with claim of copyright, of the title and&lt;br /&gt;
one complete printed or manuscript copy of such work, if it be a&lt;br /&gt;
lecture or similar production, or a dramatic or musical composition; of&lt;br /&gt;
a photographic print, if the work be a photograph ; or of a photograph&lt;br /&gt;
or other identifying reproduction thereof, if it be a work of art, or a&lt;br /&gt;
plastic work or drawing ; the notice of copyright in these latter&lt;br /&gt;
cases being affixed to the original before publication as required by&lt;br /&gt;
section nine above. But the privilege of registration secured hereunder&lt;br /&gt;
shall not exempt the copyright proprietor from the requirement of&lt;br /&gt;
deposit of copies under section eleven herein where the work is later&lt;br /&gt;
reproduced in copies for sale.&lt;br /&gt;
SEC. 11. That not later than thirty days (but in the case of a&lt;br /&gt;
periodical not later than ten days) after the publication of the work&lt;br /&gt;
upon which copyright is claimed, there shall be deposited in the Copy-&lt;br /&gt;
right Office or in the United States mail addressed to the Register of&lt;br /&gt;
Copyrights, Washington, District of Columbia, two complete copies of&lt;br /&gt;
the best edition ; or if the work be a label or print relating to an article&lt;br /&gt;
of manufacture, one such copy ; or if a contribution to a periodical for&lt;br /&gt;
which contribution special registration is requested, one copy of the&lt;br /&gt;
issue or issues of the periodical containing such contribution, to be&lt;br /&gt;
deposited not later than ten days after publication ; or if the work is&lt;br /&gt;
not reproduced in copies for sale, there shall be deposited the copy,&lt;br /&gt;
print, photograph or other identifying reproduction required by section&lt;br /&gt;
ten above: such copies or copy, print, photograph or other reproduction&lt;br /&gt;
to be accompanied in each case by a claim of copyright.&lt;br /&gt;
SEC. 12. That the postmaster to whom are delivered the articles&lt;br /&gt;
required to be deposited under section eleven above shall, if requested,&lt;br /&gt;
give a receipt therefor; and shall mail them to their destination&lt;br /&gt;
without cost to the copyright claimant.&lt;br /&gt;
SEC. 13. That of a printed book or periodical the text of the copies&lt;br /&gt;
deposited under section eleven above shall be printed from type set&lt;br /&gt;
How to Secure Copyright.&lt;br /&gt;
Comp. Rev. Stat., Sec. 4956, as&lt;br /&gt;
amended by the Act of March 3,&lt;br /&gt;
1891, sec. 3 (26 Stat. at L.,&lt;br /&gt;
p. 1107).&lt;br /&gt;
Comp. Rev. Stat., Sec. 4961.&lt;br /&gt;
U. S. type-set-&lt;br /&gt;
ting and litho-&lt;br /&gt;
within the limits of the United States, either by hand or by the aid of graphi&ordm; P&ordm;&lt;br /&gt;
any kind of typesetting machine, or from plates made from type set&lt;br /&gt;
within the limits of the United States, or if the text be produced by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#714) ################################################&lt;br /&gt;
&lt;br /&gt;
8&lt;br /&gt;
Comp. Act of March 3, 1891, sec. 3&lt;br /&gt;
(26 Stat. at L., p. 1107); H. R.&lt;br /&gt;
bill no. 13355, March 2, 1904,&lt;br /&gt;
passed by the House of Repre-&lt;br /&gt;
sentatives April 26, 1904 (58th&lt;br /&gt;
Cong., 2d Sess.).&lt;br /&gt;
Comp. Act of March 3, 1905.&lt;br /&gt;
Notice of copy-&lt;br /&gt;
right,&lt;br /&gt;
Comp. Rev. Stat., sec., 4962; Act&lt;br /&gt;
of June 18, 1874, sec. 1 (18 Stat.&lt;br /&gt;
at L., part III, p. 79); Act of&lt;br /&gt;
March 3, 1905.&lt;br /&gt;
lithographic process, then by a process wholly performed within the&lt;br /&gt;
limits of the United States: which requirements shall extend also to&lt;br /&gt;
the illustrations produced by lithographic process within a printed book&lt;br /&gt;
consisting of text and illustrations, and also to separate lithographs,&lt;br /&gt;
except where in either case the subjects represented are located in a&lt;br /&gt;
foreign country ; but they shall not apply to works in raised characters&lt;br /&gt;
for the use of the blind, and they shall be subject to the provisions of&lt;br /&gt;
section sixteen with reference to books published abroad seeking&lt;br /&gt;
ad interim protection under this Act.&lt;br /&gt;
In the case of the book the copies so deposited shall be accompanied&lt;br /&gt;
by an affidavit, under the official seal of any officer authorized to&lt;br /&gt;
administer oaths within the United States, duly made by the person&lt;br /&gt;
claiming copyright or by his duly authorized agent or representative&lt;br /&gt;
residing in the United States or by the printer who has printed the&lt;br /&gt;
book, setting forth that the copies deposited have been printed from&lt;br /&gt;
type set within the limits of the United States or from plates made from&lt;br /&gt;
type set within the limits of the United States, or, if the text be pro-&lt;br /&gt;
duced by lithographic process, that such process was wholly performed&lt;br /&gt;
within the limits of the United States.&lt;br /&gt;
Any person who for the purpose of obtaining a copyright shall&lt;br /&gt;
knowingly be guilty of making a false affidavit as to his having&lt;br /&gt;
complied with the above conditions shall be deemed guilty of a&lt;br /&gt;
misdemeanor, and upon conviction thereof shall be punished by a fine&lt;br /&gt;
of not more than one thousand dollars, and all of his rights and&lt;br /&gt;
privileges under said copyright shall thereafter be forfeited.&lt;br /&gt;
Such affidavit shall state also the place within the United States, and&lt;br /&gt;
the establishment, in which such type was set or plates were made or&lt;br /&gt;
lithographic process was performed and the date of the completion of&lt;br /&gt;
the printing of the book or the date of publication.&lt;br /&gt;
SEC. 14. That the notice of copyright required by section nine shall&lt;br /&gt;
consist either of the word &ldquo;Copyright&amp;quot; or the abbreviation &ldquo;Copr.&rdquo;&lt;br /&gt;
or, in the case of any of the works specified in sub-sections (f) to (l)&lt;br /&gt;
inclusive, of section five of this Act, the letter C enclosed within a&lt;br /&gt;
circle, thus: (G), accompanied in every case by the name of the author&lt;br /&gt;
or copyright proprietor as registered in the Copyright Office ; or, in the&lt;br /&gt;
case of works specified in subsections (f) to (l), inclusive, of Section&lt;br /&gt;
five of this Act, by his initials, monogram, mark, or symbol, provided&lt;br /&gt;
that on some accessible portion of the work or of the margin, back,&lt;br /&gt;
permanent base or pedestal thereof or of the substance on which the&lt;br /&gt;
work shall be mounted his name shall appear. But in the case of Works&lt;br /&gt;
in which copyright is subsisting when this Act shall go into effect the&lt;br /&gt;
notice of copyright may be either in one of the forms prescribed herein&lt;br /&gt;
or in one of those prescribed by the Act of June 18, 1874.&lt;br /&gt;
The notice of copyright shall be applied, in the case of a book or&lt;br /&gt;
other printed publication, upon its title-page or the page immediately&lt;br /&gt;
following, or if a periodical, either upon the title-page or upon the first&lt;br /&gt;
page of text of each separate number or under the title heading ; or if&lt;br /&gt;
a work specified in subsections (f) to (l), inclusive, of section five of this&lt;br /&gt;
Act, upon some accessible portion of the work itself or of the margin,&lt;br /&gt;
back, permanent base or pedestal thereof, or of the substance on which&lt;br /&gt;
the work shall be mounted.&lt;br /&gt;
In a composite work one notice of copyright shall suffice.&lt;br /&gt;
Upon every copy of a published musical composition in which the&lt;br /&gt;
right of public performance is reserved there shall be imprinted under&lt;br /&gt;
the notice of copyright the words &ldquo;Right of public performance&lt;br /&gt;
reserved ; &rdquo; in default of which no action shall be maintained nor&lt;br /&gt;
recovery be had for any such performance although without the consent&lt;br /&gt;
of the copyright proprietor.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#715) ################################################&lt;br /&gt;
&lt;br /&gt;
9&lt;br /&gt;
SEC. 15. That if, by reason of any error or omission, the requirements&lt;br /&gt;
prescribed above in section eleven have not been complied with within&lt;br /&gt;
the time therein specified, or if failure to make registration has occurred&lt;br /&gt;
by the error or omission of any administrative officer or employee of the&lt;br /&gt;
United States, it shall be permissible for the author or proprietor to&lt;br /&gt;
make the required deposit and secure the necessary registration within&lt;br /&gt;
a period of one year after the first publication of the work: Provided,&lt;br /&gt;
That in such case no action shall be brought for infringement of the&lt;br /&gt;
Copyright until such requirements have been fully complied with : And&lt;br /&gt;
provided further, That the privilege above afforded of completing the&lt;br /&gt;
registration and deposit after the expiration of the period prescribed in&lt;br /&gt;
Section eleven shall not exempt the proprietor of any article which bears&lt;br /&gt;
a notice of copyright from depositing the required copy or copies upon&lt;br /&gt;
Specific written demand therefor by the Register of Copyrights, who&lt;br /&gt;
may make such demand at any time subsequent to the expiration of&lt;br /&gt;
such period ; and after the said demand shall have been made, in default&lt;br /&gt;
of the deposit of the copies of the work within one month from any&lt;br /&gt;
part of the United States except an outlying territorial possession of&lt;br /&gt;
the United States, or within three months from any outlying territorial&lt;br /&gt;
possession of the United States or from any foreign country, the&lt;br /&gt;
&ordm; of the copyright shall be liable to a fine of one hundred&lt;br /&gt;
ollars.&lt;br /&gt;
Where the copyright proprietor has sought to comply with the&lt;br /&gt;
requirements of this Act as to notice and the notice has been duly&lt;br /&gt;
affixed to the bulk of the edition published, its omission by inadvertence&lt;br /&gt;
from a particular copy or copies, though preventing recourse against an&lt;br /&gt;
innocent infringer without notice, shall not invalidate the copyright&lt;br /&gt;
nor prevent recovery for infringement against any person who after&lt;br /&gt;
actual notification of the copyright begins an undertaking to infringe it.&lt;br /&gt;
SEC. 16. That in the case of a book published in a foreign country&lt;br /&gt;
before publication in this country the deposit in the Copyright Office&lt;br /&gt;
not later than thirty days after its publication abroad of one complete&lt;br /&gt;
copy of the foreign edition with a request for the reservation of the&lt;br /&gt;
copyright, and a statement of the name and nationality of the author&lt;br /&gt;
and of the copyright proprietor, and of the date of publication of the&lt;br /&gt;
said book shall secure to the author or proprietor an ad interim copy-&lt;br /&gt;
right. Except as otherwise provided, the ad interim copyright thus&lt;br /&gt;
secured shall have all the force and effect given to copyright by this&lt;br /&gt;
Act, and shall endure as follows:&ndash;&lt;br /&gt;
(a) In the case of a book printed abroad in a foreign language,&lt;br /&gt;
for a period of two years after the first publication of the book in&lt;br /&gt;
the foreign country;&lt;br /&gt;
(b) In the case of a book printed abroad in the English language&lt;br /&gt;
or in English and one or more foreign languages, for a period of&lt;br /&gt;
thirty days after such deposit in the Copyright Office.&lt;br /&gt;
SEC. 17. That whenever within the period of such ad interim pro-&lt;br /&gt;
tection an authorized edition shall be produced and published from type&lt;br /&gt;
set within the limits of the United States or from plates made there-&lt;br /&gt;
from, (a) of a book in the English language, or (b) of a book in a foreign&lt;br /&gt;
language, either in the original language or in an English translation&lt;br /&gt;
thereof, and whenever the requirements prescribed by this Act as to&lt;br /&gt;
deposit of copies, registration, filing of affidavit and the printing of the&lt;br /&gt;
copyright notice shall have been duly complied with, the copyright shall&lt;br /&gt;
be extended to endure in such original book for the full terms elsewhere&lt;br /&gt;
provided in this Act.&lt;br /&gt;
SEC. 18. That the copyright secured by this Act shall endure,&lt;br /&gt;
(a) For twenty-eight years after the date of first publication in&lt;br /&gt;
&amp;gt;{&amp;lt;&lt;br /&gt;
Failure to com-&lt;br /&gt;
ply with formali-&lt;br /&gt;
ties.&lt;br /&gt;
Comp. Rev. Stat., sec. 4962.&lt;br /&gt;
Comp. Act of March 3, 1865, sec. 3&lt;br /&gt;
(13 Stat. at L., p. 540).&lt;br /&gt;
Ad interim pro-&lt;br /&gt;
tection,&lt;br /&gt;
Comp. Act of March 3, 1905.&lt;br /&gt;
Duration of the Copyright.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#716) ################################################&lt;br /&gt;
&lt;br /&gt;
1()&lt;br /&gt;
Comp, as to prints or labels, the&lt;br /&gt;
Act of June 18, 1874, sec. 3 (18&lt;br /&gt;
Stat. at L., part III, p. 79).&lt;br /&gt;
Comp. Rev. Stat., secs. 4953 and&lt;br /&gt;
4954.&lt;br /&gt;
Extension of&lt;br /&gt;
term of subsist-&lt;br /&gt;
ing copyright,&lt;br /&gt;
Comp. Act of Feb. 3, 1831, Sec. 16&lt;br /&gt;
(4 Stat. at L., p. 439).&lt;br /&gt;
Right of trans-&lt;br /&gt;
lation.&lt;br /&gt;
Comp. Act. of March 3, 1891, sec. 1&lt;br /&gt;
(26 Stat. at L., p. 1107).&lt;br /&gt;
Protection of the Copyright.&lt;br /&gt;
Protection for&lt;br /&gt;
un pub l is he d&lt;br /&gt;
Works.&lt;br /&gt;
In fringement&lt;br /&gt;
of copyright,&lt;br /&gt;
Comp. Rev. Stat., sec. 3082.&lt;br /&gt;
the case of any print or label relating to articles of manufacture :&lt;br /&gt;
Provided, That the copyright which at the time of the passing of&lt;br /&gt;
this Act may be subsisting in any article named in this section&lt;br /&gt;
shall endure for the balance of the term of copyright fixed by the&lt;br /&gt;
laws then in force;&lt;br /&gt;
(b) For fifty years after the date of first publication in the case&lt;br /&gt;
of any composite or collective work; any work copyrighted by a&lt;br /&gt;
corporate body or by the employer of the author or authors; any&lt;br /&gt;
abridgment, compilation, dramatization, or translation ; any post-&lt;br /&gt;
humous work; any arrangement or reproduction in some new form&lt;br /&gt;
of a musical composition ; any photograph ; any reproduction of&lt;br /&gt;
a work of art ; any print or pictorial illustration ; the copyrightable&lt;br /&gt;
contents of any newspaper or other periodical ; and the additions&lt;br /&gt;
or annotations to works previously published. *&lt;br /&gt;
(c) For the lifetime of the author and for fifty years after his&lt;br /&gt;
death, in the case of his original book, lecture, dramatic or musical&lt;br /&gt;
composition, map, work of art, drawing or plastic work of a&lt;br /&gt;
scientific or technical character, or other original work, but not&lt;br /&gt;
including any work specified in subsections (a) or (b) hereof; and&lt;br /&gt;
in the case of joint authors, during their joint lives and for fifty&lt;br /&gt;
ears after the death of the last survivor of them.&lt;br /&gt;
In all of the above cases the term shall extend to the end of the&lt;br /&gt;
calendar year of expiration.&lt;br /&gt;
The copyright in a work published anonymously or under an assumed&lt;br /&gt;
name shall subsist for the same period as if the work had been produced&lt;br /&gt;
bearing the author&amp;#039;s true name.&lt;br /&gt;
SEC. 19. That the copyright subsisting in any work at the time when&lt;br /&gt;
this Act goes into effect may, at the expiration of the renewal term pro-&lt;br /&gt;
vided for under existing law, be further renewed and extended by the&lt;br /&gt;
author, if he be still living, or if he be dead, leaving a widow, by his&lt;br /&gt;
widow, or in her default, or if no widow survive him, by his children, if&lt;br /&gt;
any survive him, for a further period such that the entire term shall be&lt;br /&gt;
equal to that secured by this Act : Provided, That application for such&lt;br /&gt;
renewal and extension shall be made to the Copyright Office and duly&lt;br /&gt;
registered therein within one year prior to the expiration of the existing&lt;br /&gt;
term : And provided further, That, should such subsisting copyright&lt;br /&gt;
have been assigned, or a license granted therein for publication upon&lt;br /&gt;
payment of royalty, the copyright shall be renewed and extended only&lt;br /&gt;
in case the assignee or licensee shall join in the application for such&lt;br /&gt;
renewal and extension.&lt;br /&gt;
SEC. 20. That the author&rsquo;s exclusive right to dramatize or translate&lt;br /&gt;
any one of his works in which copyright is subsisting shall, after the&lt;br /&gt;
expiration of ten years from the day on which the work was registered&lt;br /&gt;
in the Copyright Office, continue effective only in case a dramatization&lt;br /&gt;
or translation thereof has been produced within that period by his&lt;br /&gt;
consent or that of his assigns, and in the case of translations shall be&lt;br /&gt;
confined to the language of any translation so produced.&lt;br /&gt;
SEC. 21. That every person who, without the consent of the author&lt;br /&gt;
or proprietor first obtained, shall publish or reproduce in any manner&lt;br /&gt;
whatsoever any unpublished copyrightable work shall be liable to the&lt;br /&gt;
author or proprietor for all damages occasioned by such injury, and to&lt;br /&gt;
an injunction restraining such unauthorized publication, as hereinafter&lt;br /&gt;
provided.&lt;br /&gt;
SEC. 22. That any reproduction, without the consent of the author&lt;br /&gt;
or copyright proprietor, of any work or any material part of any work&lt;br /&gt;
in which copyright is subsisting shall be illegal and is hereby prohibited.&lt;br /&gt;
The provisions of section thirty-eight hundred and ninety-three of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#717) ################################################&lt;br /&gt;
&lt;br /&gt;
11&lt;br /&gt;
the Revised Statutes, prohibiting the use of the mails in certain cases,&lt;br /&gt;
and also the provision of section thirty-eight hundred and ninety-five&lt;br /&gt;
of the Revised Statutes, shall apply, and the importation into the&lt;br /&gt;
United States of any such fraudulent copies or reproductions is hereby&lt;br /&gt;
prohibited.&lt;br /&gt;
SEC. 23. That if any person shall infringe the copyright in any&lt;br /&gt;
work protected under the copyright laws of the United States by doing&lt;br /&gt;
or causing to be done, without the consent of the copyright proprietor&lt;br /&gt;
first obtained in writing, any act the exclusive right to do or authorize&lt;br /&gt;
which is by such laws reserved to such proprietor, such person shall be&lt;br /&gt;
liable :&lt;br /&gt;
a) To an injunction restraining such infringement ;&lt;br /&gt;
&sect; To pay to the copyright proprietor such damages as the&lt;br /&gt;
copyright proprietor may have suffered due to the infringement,&lt;br /&gt;
as well as all the profits which the infringer may have made from&lt;br /&gt;
such infringement, and in proving profits the plaintiff shall be&lt;br /&gt;
required to prove sales only and defendant shall be required to&lt;br /&gt;
prove every element of cost which he claims; or in lieu of actual&lt;br /&gt;
damages and profits, such damages as to the court shall appear&lt;br /&gt;
just, to be assessed upon the following basis, but such damages&lt;br /&gt;
shall in no case exceed the sum of five thousand dollars nor be less&lt;br /&gt;
than the sum of two hundred and fifty dollars, and shall not be&lt;br /&gt;
regarded as a penalty :&lt;br /&gt;
(1) In the case of a painting, statue or sculpture or any&lt;br /&gt;
device especially adapted to reproduce to the ear any copy-&lt;br /&gt;
righted work, not less than ten dollars for every infringing&lt;br /&gt;
copy made or sold by or found in the possession of the infringer&lt;br /&gt;
or his agents or employees;&lt;br /&gt;
(2) In the case of a lecture, sermon, or address, not less&lt;br /&gt;
than fifty dollars for every infringing delivery;&lt;br /&gt;
(3) In the case of a dramatic or musical composition, not&lt;br /&gt;
less than one hundred dollars for the first and not less than&lt;br /&gt;
fifty dollars for every subsequent infringing performance ;&lt;br /&gt;
(4) In the case of all other works enumerated in section five&lt;br /&gt;
of this Act, not less than one dollar for every infringing copy&lt;br /&gt;
made or sold by or found in the possession of the infringer or&lt;br /&gt;
his agents or employees.&lt;br /&gt;
(c) To deliver up on oath to be impounded during the pendency&lt;br /&gt;
of the action, upon such terms and conditions as the court may&lt;br /&gt;
prescribe, all goods alleged to infringe a copyright :&lt;br /&gt;
(d) To deliver up on oath for destruction all the infringing&lt;br /&gt;
copies or devices, as well as all plates, molds, matrices or other&lt;br /&gt;
means for making such infringing copies.&lt;br /&gt;
Any court given jurisdiction under section thirty-two of this Act may&lt;br /&gt;
proceed in any action instituted for violation of any provision hereof to&lt;br /&gt;
enter a judgment or decree enforcing any of the remedies herein&lt;br /&gt;
provided.&lt;br /&gt;
SEC, 24. That the proceedings for an injunction, damages and profits,&lt;br /&gt;
and those for the Seizure of infringing copies, plates, molds, matrices,&lt;br /&gt;
etc., aforementioned, may be united in One action.&lt;br /&gt;
SEC. 25. That any person who wilfully and for profit shall infringe&lt;br /&gt;
any copyright secured by this Act, or who shall knowingly and&lt;br /&gt;
wilfully aid or abet such infringement or in any wise knowingly and&lt;br /&gt;
wilfully take part in any such infringement, shall be deemed guilty of&lt;br /&gt;
a misdemeanor, and upon conviction thereof shall be punished by&lt;br /&gt;
imprisonment for not exceeding one year or by a fine of not less than&lt;br /&gt;
Remedies,&lt;br /&gt;
Comp. Rev. Stat., sec. 4964 (as&lt;br /&gt;
amended by Act of March 3,&lt;br /&gt;
1891, Sec. 7, 26 Stat. at L.,&lt;br /&gt;
p. 1109) and Rev. Stat., sec. 4965&lt;br /&gt;
(as amended by Act of March 2,&lt;br /&gt;
1895, 28 Stat, at L., p. 965).&lt;br /&gt;
Comp. Rev. Stat., sec. 4966 (as&lt;br /&gt;
amended by Act of Jan. 6, 1897,&lt;br /&gt;
29 Stat. at L., p. 481).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#718) ################################################&lt;br /&gt;
&lt;br /&gt;
12&lt;br /&gt;
one hundred dollars nor more than one thousand dollars, or both, in&lt;br /&gt;
the discretion of the court.&lt;br /&gt;
False notice of &amp;amp; Any person who, with fraudulent intent, shall insert or impress any&lt;br /&gt;
copyright.&lt;br /&gt;
Prohibition of&lt;br /&gt;
importation.&lt;br /&gt;
Comp. Rev. Stat., Sec. 3076.&lt;br /&gt;
Comp. Rev. Stat., Sec. 838&lt;br /&gt;
notice of copyright required by this Act, or words of the same purport,&lt;br /&gt;
in or upon any article for which he has not obtained copyright, or with&lt;br /&gt;
fraudulent intent shall remove or alter the copyright notice upon an&lt;br /&gt;
article duly copyrighted, shall be guilty of a misdemeanor, punishable&lt;br /&gt;
by a fine of not less than one hundred dollars and not more than one&lt;br /&gt;
thousand dollars. Any person who shall knowingly issue or sell any&lt;br /&gt;
article bearing a notice of United States copyright which has not been&lt;br /&gt;
copyrighted in this country, or who shall knowingly import any article&lt;br /&gt;
bearing such notice, or words of the same purport, which has not been&lt;br /&gt;
copyrighted in this country, shall be liable to a fine of one hundred&lt;br /&gt;
dollars.&lt;br /&gt;
The importation into the United States of any article bearing such&lt;br /&gt;
notice of copyright when there is no existing copyright thereon in the&lt;br /&gt;
United States is prohibited, and such importations shall be proceeded&lt;br /&gt;
against as provided by sections twenty-six to twenty-nine, inclusive, of&lt;br /&gt;
this Act. ... . . ;&lt;br /&gt;
SEC. 26. That any and all such fraudulent copies prohibited importa-&lt;br /&gt;
tion by this Act which are brought into the United States from any&lt;br /&gt;
foreign country shall be seized by the collector, surveyor or other&lt;br /&gt;
officer of the customs, or any person authorized in writing to make&lt;br /&gt;
seizures under the customs revenue laws, in the district in which they&lt;br /&gt;
are found; and the copies so seized shall without delay be delivered&lt;br /&gt;
into the custody of the principal customs officer of the collection&lt;br /&gt;
district in which the seizure is made ; whereupon the said officer shall&lt;br /&gt;
(except in cases of importation by mail) publish a notice of such&lt;br /&gt;
seizure once a week for three successive weeks in some newspaper of the&lt;br /&gt;
county or place where such seizure shall have been made. If no news-&lt;br /&gt;
paper is published in such county, then such notice shall be published&lt;br /&gt;
in some newspaper of the county in which the principal customs office&lt;br /&gt;
of the district is situated ; and if no newspaper is published in such&lt;br /&gt;
county, then notices shall be posted in proper public places, which&lt;br /&gt;
notices shall describe the articles seized and state the time, cause, and&lt;br /&gt;
place of seizure, and shall require any person claiming such articles to&lt;br /&gt;
appear and file with such customs officer his claim to such articles&lt;br /&gt;
within twenty days from the date of the first publication of such notice.&lt;br /&gt;
SEC. 27. That any person claiming the property so seized may, at&lt;br /&gt;
any time within twenty days from the date of such first publication of&lt;br /&gt;
notice, file with the collector, or other proper officer, a claim, stating&lt;br /&gt;
his interest in the articles seized, and deposit with such collector, or&lt;br /&gt;
other proper officer, a bond to the United States as now prescribed by&lt;br /&gt;
law, in the penal sum of two hundred and fifty dollars, with two sure-&lt;br /&gt;
ties, to be approved by said collector, or other proper officer, conditioned&lt;br /&gt;
that in case of the condemnation of the articles so claimed the obligors&lt;br /&gt;
shall pay all the costs and expenses of the proceedings to obtain such&lt;br /&gt;
condemnation.&lt;br /&gt;
Such collector, or other proper officer, shall transmit the said bond&lt;br /&gt;
with a duplicate list and description of the articles seized and claimed&lt;br /&gt;
to the United States Attorney for the proper district, who shall proceed&lt;br /&gt;
for a condemnation of the property by information as in customs revenue&lt;br /&gt;
Ca,S&eacute;S.&lt;br /&gt;
SEC. 28. That in case the property shall be condemned it shall be&lt;br /&gt;
delivered into the custody of the United States Marshal and destroyed&lt;br /&gt;
in such manner as the court may direct. If not condemned the said&lt;br /&gt;
articles shall be delivered to the importer on payment of the duty, if&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#719) ################################################&lt;br /&gt;
&lt;br /&gt;
13&lt;br /&gt;
any be due. If probable cause is found by the court as an existing&lt;br /&gt;
fact connected with the seizure, the officer or other person making the&lt;br /&gt;
seizure shall be entitled to a certificate affording him an absolute&lt;br /&gt;
defense to any action on account of seizure. If no such claim shall be&lt;br /&gt;
filed, or bond given, within the twenty days above specified, the&lt;br /&gt;
collector, or other proper officer of the customs who has custody of the&lt;br /&gt;
property, shall declare the same forfeited, and it shall be destroyed in&lt;br /&gt;
such manner as shall be prescribed by the Secretary of the Treasury.&lt;br /&gt;
SEC. 29. That mails from foreign countries shall be carefully&lt;br /&gt;
examined by postmasters, who shall forward to the principal customs&lt;br /&gt;
officer of the district in which the post office is situated any foreign&lt;br /&gt;
mail package supposed to contain any article imported in violation of&lt;br /&gt;
the provisions of this Act. Upon receipt of such package the customs&lt;br /&gt;
officer shall detain the same in his custody and notify by mail the&lt;br /&gt;
addressee of the package of its detention, and require him to show&lt;br /&gt;
cause within thirty days why the supposed prohibited articles should&lt;br /&gt;
not be destroyed. If the person so addressed shall not appear and&lt;br /&gt;
show cause to the contrary, the customs officer shall make formal&lt;br /&gt;
seizure of the articles contained in the package supposed to be pro-&lt;br /&gt;
hibited importation, and if the package contains any prohibited articles&lt;br /&gt;
shall declare the same forfeited, whereupon said articles shall be&lt;br /&gt;
destroyed in such manner as the Secretary of the Treasury shall direct.&lt;br /&gt;
If upon examination the articles prove to be innocent of any violation&lt;br /&gt;
of law the package shall be forwarded to the addressee in regular&lt;br /&gt;
course of mail, subject to the payment of customs duty, if any be due.&lt;br /&gt;
If the addressee appears and shows to the satisfaction of the said&lt;br /&gt;
officer that the importation of the articles is not prohibited, the said&lt;br /&gt;
articles shall be delivered to the addressee upon payment of the customs&lt;br /&gt;
duty, if any be due.&lt;br /&gt;
SEC. 30. That during the existence of the American copyright in any&lt;br /&gt;
book the importation into the United States of any foreign edition or&lt;br /&gt;
editions thereof (although authorized by the author or proprietor) not&lt;br /&gt;
printed from type set within the limits of the United States or from&lt;br /&gt;
plates made therefrom, or any plates of the same not made from type&lt;br /&gt;
set within the limits of the United States, or any editions thereof pro-&lt;br /&gt;
duced by lithographic process not performed within the limits of the&lt;br /&gt;
United States, in accordance with the requirements of section thirteen&lt;br /&gt;
of this Act, shall be and is hereby prohibited : Provided, however, That&lt;br /&gt;
such prohibition shall not apply&mdash;&lt;br /&gt;
(a) To works in raised characters for the use of the blind;&lt;br /&gt;
(b) To a foreign newspaper or magazine, although containing&lt;br /&gt;
matter copyrighted in the United States printed or reprinted by&lt;br /&gt;
authority of the copyright proprietor, unless such newspaper or&lt;br /&gt;
magazine contains also copyright matter printed or reprinted&lt;br /&gt;
without such authorization ;&lt;br /&gt;
(c) To the authorized edition of a book in a foreign language or&lt;br /&gt;
languages, of which only a translation into English has been copy-&lt;br /&gt;
righted in this country :&lt;br /&gt;
(d) To books in a foreign language or languages, published&lt;br /&gt;
without the limits of the United States, but deposited and&lt;br /&gt;
registered for an ad interim copyright under the provisions of this&lt;br /&gt;
Act : in which case importation of copies of an authorized foreign&lt;br /&gt;
edition shall be permitted during the ad interim term of two years,&lt;br /&gt;
or until such time within this period as an edition shall have&lt;br /&gt;
been produced from type set within the limits of the United&lt;br /&gt;
States, or from plates made therefrom, or by a lithographic process&lt;br /&gt;
performed therein as above provided ;&lt;br /&gt;
Comp. Act of March 3, 1891, sec. 3&lt;br /&gt;
(26 Stat. at L., p. 1107).&lt;br /&gt;
Comp. Act of Oct. 1, 1890, Free&lt;br /&gt;
List, sec. 513.&lt;br /&gt;
Comp. Act of March 3, 1891, sec. 3&lt;br /&gt;
(26 Stat. at L., p. 1108).&lt;br /&gt;
Comp. Act of March 3, 1891, sec. 3&lt;br /&gt;
(26 Stat. at L., p. 1107).&lt;br /&gt;
Comp. Act of March 3, 1905,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#720) ################################################&lt;br /&gt;
&lt;br /&gt;
14&lt;br /&gt;
Suits :&lt;br /&gt;
diction.&lt;br /&gt;
Juris-&lt;br /&gt;
(e) To any book published abroad with the authorization of the&lt;br /&gt;
author or copyright proprietor when imported under the circum-&lt;br /&gt;
stances stated in one of the four sub-divisions following, that is to say:&lt;br /&gt;
(1) When imported, not more than one copy at one time&lt;br /&gt;
for use and not for sale, under permission given by the pro-&lt;br /&gt;
prietor of the American copyright :&lt;br /&gt;
(2) When imported, not more than one copy at one time,&lt;br /&gt;
by the authority or for the use of the United States;&lt;br /&gt;
(3) When specially imported, for use and not for sale, not&lt;br /&gt;
more than one copy of any such book in any one invoice, in&lt;br /&gt;
good faith, by or for any society or institution incorporated&lt;br /&gt;
for educational, literary, philosophical, scientific or religious&lt;br /&gt;
purposes, or for the encouragement of the fine arts, or for any&lt;br /&gt;
college, academy, school or Seminary of learning, or for any&lt;br /&gt;
State, school, college, university or free public library in the&lt;br /&gt;
United States: but such privilege of importation without the&lt;br /&gt;
consent of the American copyright proprietor shall not extend&lt;br /&gt;
to a foreign reprint of a book by an American author copy-&lt;br /&gt;
righted in the United States unless copies of the American&lt;br /&gt;
edition can not be supplied by the American publisher&lt;br /&gt;
or copyright proprietor ;&lt;br /&gt;
(4) When such books form parts of libraries or collections&lt;br /&gt;
purchased en bloc for the use of societies, institutions or&lt;br /&gt;
libraries designated in the foregoing paragraph ; or form&lt;br /&gt;
parts of the libraries or personal baggage belonging to persons&lt;br /&gt;
or families arriving from foreign countries, and are not&lt;br /&gt;
intended for sale :&lt;br /&gt;
Provided, That copies imported as above may not lawfully&lt;br /&gt;
be used in any way to violate the rights of the American&lt;br /&gt;
copyright proprietor or annul or limit the copyright protection&lt;br /&gt;
secured by this Act ; and such unlawful use shall be deemed&lt;br /&gt;
an infringement of copyright.&lt;br /&gt;
SEC. 31. That all copies of authorized editions of copyright books&lt;br /&gt;
imported in violation of the above provisions of this Act may be&lt;br /&gt;
exported and returned to the country of export, provided it be shown&lt;br /&gt;
to the satisfaction of the Secretary of the Treasury upon written&lt;br /&gt;
application that such importation does not involve wilful negligence or&lt;br /&gt;
fraud. If absence of wilful negligence or fraud be not established to&lt;br /&gt;
the satisfaction of the Secretary of the Treasury, the importation shall&lt;br /&gt;
be proceeded against as in the case of fraudulent copies in the manner&lt;br /&gt;
prescribed by sections twenty-six to twenty-nine, inclusive, of this Act.&lt;br /&gt;
SEC. 32. That all actions arising under the copyright laws of the&lt;br /&gt;
United States shall be originally cognizable by the circuit courts of&lt;br /&gt;
the United States, the district court of any Territory, the Supreme&lt;br /&gt;
Court of the District of Columbia, the district courts of Alaska, Hawaii&lt;br /&gt;
and Porto Rico, and the courts of first instance of the Philipine&lt;br /&gt;
Islands. -&lt;br /&gt;
Actions arising under this Act may be instituted in the district of&lt;br /&gt;
which the defendant is an inhabitant, or in the district where the&lt;br /&gt;
violation of any provision of this Act has occurred.&lt;br /&gt;
Any such court, or judge thereof, shall have power, upon bill in&lt;br /&gt;
equity filed by any party aggrieved, to grant an injunction to prevent&lt;br /&gt;
the violation of any right secured by said laws, according to the course&lt;br /&gt;
and principles of courts of equity, on such terms as said court or judge&lt;br /&gt;
may deem reasonable. Any injunction that may be granted, restraining&lt;br /&gt;
and enjoining the doing of anything forbidden by this Act may be&lt;br /&gt;
served on the parties against whom such injunction may be granted&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#721) ################################################&lt;br /&gt;
&lt;br /&gt;
15&lt;br /&gt;
anywhere in the United States, and shall be operative throughout the&lt;br /&gt;
United States and be enforceable by proceedings in contempt, or other-&lt;br /&gt;
Wise, by any other court or judge possessing jurisdiction of the&lt;br /&gt;
defendant ; but the defendants, or any or either of them, may make a&lt;br /&gt;
motion in the proper court of any other district where such a violation&lt;br /&gt;
is alleged, to dissolve said injunction upon such reasonable notice to&lt;br /&gt;
the plaintiff as the court or judge before whom said motion shall be&lt;br /&gt;
made shall deem proper; service of said motion to be made on the&lt;br /&gt;
plaintiff in person or on his attorney in the action. Said courts or&lt;br /&gt;
judges shall have authority to enforce said injunction and to hear and&lt;br /&gt;
determine a motion to dissolve the same, as herein provided, as fully as&lt;br /&gt;
if the action were pending or brought in the district in which said&lt;br /&gt;
motion is made.&lt;br /&gt;
The clerk of the court, or judge granting the injunction, shall, when&lt;br /&gt;
required so to do by the court hearing the application to dissolve or&lt;br /&gt;
enforce said injunction, transmit without delay to said court a certified&lt;br /&gt;
copy of all the papers on which the said injunction was granted that are&lt;br /&gt;
on file in his office.&lt;br /&gt;
When any action is brought in any place whereof the defendant is&lt;br /&gt;
not an inhabitant, service of process shall be made by the marshal of&lt;br /&gt;
the district of which the defendant is an inhabitant, or of the district&lt;br /&gt;
where he may be found, upon receiving a certified copy of the process&lt;br /&gt;
from the clerk of the court where the suit was brought, and return shall&lt;br /&gt;
be made by said marshal to said court.&lt;br /&gt;
SEC. 33. That the final orders, judgments or decrees of any court&lt;br /&gt;
mentioned in section thirty-two of this Act arising under the copyright&lt;br /&gt;
laws of the United States may be reviewed on appeal or writ of error in&lt;br /&gt;
the manner and to the extent now provided by law for the review of&lt;br /&gt;
cases finally determined in said courts respectively.&lt;br /&gt;
SEC. 34. That no action shall be maintained under the provisions of&lt;br /&gt;
this Act unless the same is commenced within three years after the&lt;br /&gt;
Cause of action arose.&lt;br /&gt;
SEC. 35. That in all recoveries under this Act full costs shall be&lt;br /&gt;
allowed.&lt;br /&gt;
SEC. 36. That nothing in this Act shall prevent, lessen, impeach, or&lt;br /&gt;
avoid any remedy at law or in equity which any party aggrieved by any&lt;br /&gt;
infringement of a copyright might have had if this Act had not been&lt;br /&gt;
passed.&lt;br /&gt;
SEC. 37. That the copyright is distinct from the property in the&lt;br /&gt;
material object which is the subject of copyright, and the sale or con-&lt;br /&gt;
veyance, by gift or otherwise, of the original object shall not of itself&lt;br /&gt;
imply the cession of the copyright ; nor shall the assignment of the&lt;br /&gt;
copyright imply the transfer of the material object.&lt;br /&gt;
SEC. 38. That the right of translation, the right of dramatization, the&lt;br /&gt;
right of oral delivery of a lecture, the right of representation in the&lt;br /&gt;
case of a dramatic composition, the right of performance in the case of&lt;br /&gt;
a musical composition, where the latter is reserved as provided in&lt;br /&gt;
section fourteen hereof, the right to make any mechanical device by&lt;br /&gt;
which music may be reproduced to the ear, and the right of repro-&lt;br /&gt;
duction of a work of art or of a drawing or plastic work of a scientific&lt;br /&gt;
or technical character shall each be deemed a separate estate subject to&lt;br /&gt;
assignment, lease, license, gift, bequest, or inheritance.&lt;br /&gt;
SEC. 39. That the copyright in a work of art and the ownership of&lt;br /&gt;
the work shall be deemed to be distinct properties, and, except as pro-&lt;br /&gt;
Comp. Rev. Stat., sec. 972.&lt;br /&gt;
Transfer of Copyright.&lt;br /&gt;
vided for in this Act, the copyright in any artistic work shall remain&lt;br /&gt;
in the author of the work, even if such work be sold or disposed of by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#722) ################################################&lt;br /&gt;
&lt;br /&gt;
16&lt;br /&gt;
Assignment of&lt;br /&gt;
copyright.&lt;br /&gt;
For eign a s-&lt;br /&gt;
signment.&lt;br /&gt;
Comp. Patent Act of March 3, 1897,&lt;br /&gt;
sec. 5 (29 Stat. at L., p. 693).&lt;br /&gt;
Comp. Rev. Stat., sec. 4955.&lt;br /&gt;
Comp. Act of June 18, 1874, sec. 2&lt;br /&gt;
(18 Stat. at L., part III, p. 79).&lt;br /&gt;
The Copyright Office,&lt;br /&gt;
Comp. Rev. Stat., sec. 4948 ; Act of&lt;br /&gt;
Feb. 19, 1897 (29 Stat. at L.,&lt;br /&gt;
p. 545).&lt;br /&gt;
Comp. Act of Feb. 19, 1897 (29&lt;br /&gt;
Stat. at L., p. 545).&lt;br /&gt;
Comp. Act of Feb. 19, 1897 (29&lt;br /&gt;
Stat. at L., p. 545).&lt;br /&gt;
such author, unless the copyright therein be expressly assigned or&lt;br /&gt;
disposed of in writing by him, or pass by operation of law or testamentary&lt;br /&gt;
disposition.&lt;br /&gt;
SEC. 40. That every assignment of copyright under this Act shall be&lt;br /&gt;
by an instrument of writing signed by the assignor.&lt;br /&gt;
SEC. 41. That every assignment of copyright executed in a foreign&lt;br /&gt;
country shall be acknowledged by the assignor before a consular officer&lt;br /&gt;
or secretary of legation of the United States authorized by law to&lt;br /&gt;
administer oaths or perform notarial acts. The certificate of such&lt;br /&gt;
acknowledgment under the hand and official seal of such consular officer&lt;br /&gt;
or secretary of legation shall be prim&aacute; facie evidence of the execution&lt;br /&gt;
of the instrument.&lt;br /&gt;
SEC. 42. That every assignment of copyright shall be recorded in the&lt;br /&gt;
Copyright Office within ninety days after its execution in the United&lt;br /&gt;
States or within six calendar months after its execution without the&lt;br /&gt;
limits of the United States, in default of which it shall be void as&lt;br /&gt;
against any subsequent purchaser or mortgagee for a valuable con-&lt;br /&gt;
sideration, without notice, whose assignment has been duly recorded.&lt;br /&gt;
SEC. 43. That in place of the original instrument of assignment there&lt;br /&gt;
may be sent for record a true copy of the same duly certified as such by&lt;br /&gt;
any official authorized to take an acknowledgment to a deed.&lt;br /&gt;
SEC. 44. That the Register of Copyrights shall, upon payment of&lt;br /&gt;
the prescribed fee, record such assignment, and shall return to the&lt;br /&gt;
Sender, with a certificate of record attached, under seal, the original&lt;br /&gt;
instrument or the copy of the same so filed for record; and upon the&lt;br /&gt;
payment of the fee prescribed by this Act he shall furnish to any person&lt;br /&gt;
requesting the same a certified copy thereof, under the seal of the&lt;br /&gt;
Copyright Office.&lt;br /&gt;
SEC. 45. That when an assignment of the copyright in a specified&lt;br /&gt;
book or other work has been recorded, the assignee shall have the&lt;br /&gt;
privilege of Substituting his name for that of the assignor in the&lt;br /&gt;
statutory notice of copyright prescribed by this Act.&lt;br /&gt;
SEC. 46. That all records and other things relating to copyrights,&lt;br /&gt;
required by law to be preserved, shall be kept and preserved in the&lt;br /&gt;
Copyright Office, Library of Congress, District of Columbia, and shall&lt;br /&gt;
be under the control of the Register of Copyrights, who shall, under&lt;br /&gt;
the direction and supervision of the Librarian of Congress, perform all&lt;br /&gt;
the duties relating to the registration of copyrights.&lt;br /&gt;
SEC. 47. That there shall be appointed by the Librarian of Congress&lt;br /&gt;
a Register of Copyrights, at a salary of&lt;br /&gt;
dollars per annum, and one Assistant Register of Copyrights, at a salary&lt;br /&gt;
Of dollars per annum, who shall have&lt;br /&gt;
authority during the absence of the Register of Copyrights to attach&lt;br /&gt;
the Copyright Office seal to all papers issued from the said office, and&lt;br /&gt;
to sign such certificates and other papers as may be necessary. There&lt;br /&gt;
shall also be appointed by the Librarian such subordinate assistants to&lt;br /&gt;
the Register as may from time to time be authorized by law.&lt;br /&gt;
SEC. 48. That the Register of Copyrights shall make daily deposits&lt;br /&gt;
in some bank in the District of Columbia, designated for this purpose&lt;br /&gt;
by the Secretary of the Treasury as a national depository, of all moneys&lt;br /&gt;
received to be applied as copyright fees, and shall make weekly deposits&lt;br /&gt;
with the Secretary of the Treasury, in such manner as the latter shall&lt;br /&gt;
direct, of all copyright fees actually applied under the provisions of this&lt;br /&gt;
Act, and annual deposits of sums received which it has not been&lt;br /&gt;
possible to apply as copyright fees or to return to the remitters, and&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#723) ################################################&lt;br /&gt;
&lt;br /&gt;
17&lt;br /&gt;
shall also make monthly reports to the Secretary of the Treasury and to&lt;br /&gt;
the Librarian of Congress of the applied copyright fees for each calendar&lt;br /&gt;
month, together with a statement of all remittances received, trust&lt;br /&gt;
funds on hand, moneys refunded, and unapplied balances.&lt;br /&gt;
SEC. 49. That the Register of Copyrights shall give bond to the&lt;br /&gt;
United States in the sum of twenty thousand dollars, in form to be&lt;br /&gt;
approved by the Solicitor of the Treasury, and with sureties satisfactory&lt;br /&gt;
to the Secretary of the Treasury, for the faithful discharge of his duties.&lt;br /&gt;
SEC. 50. That the Register of Copyrights shall make an annual&lt;br /&gt;
report to the Librarian of Congress, to be printed in the Annual Report&lt;br /&gt;
on the Library of Congress, of all copyright business for the previous&lt;br /&gt;
fiscal year, including the number and kind of works which have been&lt;br /&gt;
deposited in the Copyright Office during the fiscal year, under the&lt;br /&gt;
provisions of this Act.&lt;br /&gt;
SEC. 51. That the seal provided under the Act of July eighth,&lt;br /&gt;
eighteen hundred and seventy, and at present used in the Copyright&lt;br /&gt;
Office, shall continue to be the seal thereof, and by it all papers issued&lt;br /&gt;
from the Copyright Office requiring authentication shall be authenticated.&lt;br /&gt;
SEC. 52. That, subject to the approval of the Librarian of Congress,&lt;br /&gt;
the Register of Copyrights shall be authorized to make reasonable rules&lt;br /&gt;
and regulations, not inconsistent with the provisions of this Act, for the&lt;br /&gt;
conduct of proceedings with reference to the registration of claims to&lt;br /&gt;
copyright as provided by this Act: Provided, That no breach of such&lt;br /&gt;
rules or regulations shall affect the validity of the copyright.&lt;br /&gt;
SEC. 53. That the Register of Copyrights shall provide and keep such&lt;br /&gt;
record books in the Copyright Office as are required to carry out the&lt;br /&gt;
provisions of this Act, and whenever deposit has been made in the&lt;br /&gt;
Copyright Office of a title or copy of any work under the provisions of&lt;br /&gt;
this Act he shall make entry thereof.&lt;br /&gt;
SEC. 54. That in the case of each entry the person recorded as the&lt;br /&gt;
claimant of the copyright shall be entitled to a certificate under seal of&lt;br /&gt;
copyright registration, to contain his name and address, the title of the&lt;br /&gt;
work upon which copyright is claimed, the date of the deposit of the&lt;br /&gt;
required copies of such work, and such marks as to class designation&lt;br /&gt;
and entry number as shall fully identify the entry. In the case of a&lt;br /&gt;
book the certificate shall also state the receipt of the affidavit required&lt;br /&gt;
by section thirteen of this Act, and the date of the completion of the&lt;br /&gt;
printing, or the date of the publication of the book, as stated in the&lt;br /&gt;
said affidavit. The Register of Copyrights shall prepare a printed form&lt;br /&gt;
for the said certificate to be filled out in each case as above provided&lt;br /&gt;
for, which certificate sealed with the seal of the Copyright Office shall,&lt;br /&gt;
upon payment of the prescribed fee, be given to any person making&lt;br /&gt;
application for the same, and the said certificate shall be admitted in&lt;br /&gt;
any court as prim&aacute; facie evidence of the facts stated therein.&lt;br /&gt;
SEC. 55. That the Register of Copyrights shall fully index all copy-&lt;br /&gt;
right registrations, and shall print at periodic intervals a catalogue of&lt;br /&gt;
the titles of articles deposited and registered for copyright, together&lt;br /&gt;
with suitable indexes, and at stated intervals shall print complete and&lt;br /&gt;
indexed catalogues for each class of copyright entries, and thereupon&lt;br /&gt;
shall have authority to destroy the original manuscript catalogue cards&lt;br /&gt;
containing the titles included in such printed volumes and representing&lt;br /&gt;
the entries made during such intervals. The current catalogues of&lt;br /&gt;
copyright entries and the index volumes herein provided for shall be&lt;br /&gt;
admitted in any court as prim&aacute; facie evidence of the facts stated therein&lt;br /&gt;
as regards any copyright registration.&lt;br /&gt;
Comp. Act of Feb. 19, 1897 (29&lt;br /&gt;
Stat. at L., p. 545).&lt;br /&gt;
Comp. Rev. Stat., sec. 4951.&lt;br /&gt;
Comp. Rev. Stat., sec. 4949.&lt;br /&gt;
Comp. Trade-mark Act of Feb. 20,&lt;br /&gt;
1905, sec. 26.&lt;br /&gt;
Comp. Rev. Stat., sec. 4957.&lt;br /&gt;
Comp. Trade-mark Act of Feb. 20,&lt;br /&gt;
1905, sec. 16.&lt;br /&gt;
C a t a log u e of&lt;br /&gt;
copyright entries.&lt;br /&gt;
Comp. Act of March 3, 1891, Sec. 4&lt;br /&gt;
(26 Stat. at L., p. 1108).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#724) ################################################&lt;br /&gt;
&lt;br /&gt;
18&lt;br /&gt;
Comp. Act. of March 3, 1891, Sec. 4&lt;br /&gt;
(26 Stat. at L., p. 1108).&lt;br /&gt;
Disposal of ac-&lt;br /&gt;
Cumulated copy-&lt;br /&gt;
right deposits.&lt;br /&gt;
Copyright fees,&lt;br /&gt;
Comp. Rev. Stat., sec. 4958; Act of&lt;br /&gt;
June 18, 1874, sec. 2 (18 Stat. at&lt;br /&gt;
L., part III, p. 79); Act of&lt;br /&gt;
March 3, 1891, sec. 4 (26 Stat.&lt;br /&gt;
at L., p. 1108).&lt;br /&gt;
SEC. 56. That the said printed current catalogues as they are issued&lt;br /&gt;
shall be promptly distributed by the Copyright Office to the collectors&lt;br /&gt;
of customs of the United States and to the postmasters of all exchange&lt;br /&gt;
offices of receipt of foreign mails, in accordance with revised lists of&lt;br /&gt;
such collectors of customs and postmasters prepared by the Secretary&lt;br /&gt;
of the Treasury and the Postmaster-General, and they shall also be&lt;br /&gt;
furnished to all parties desiring them at a price to be determined by&lt;br /&gt;
the Register of Copyrights not exceeding five dollars per annum for the&lt;br /&gt;
complete catalogue of copyright entries and not exceeding one dollar&lt;br /&gt;
per annum for the catalogues issued during the year for any one class&lt;br /&gt;
of subjects. The consolidated catalogues and indexes shall also be&lt;br /&gt;
Supplied to all persons ordering them at such prices as may be deter-&lt;br /&gt;
mined to be reasonable, and all subscriptions for the catalogues shall be&lt;br /&gt;
received by the Superintendent of Public Documents, who shall forward&lt;br /&gt;
the said publications; and the moneys thus received shall be paid into&lt;br /&gt;
the Treasury of the United States and accounted for under such laws&lt;br /&gt;
and Treasury regulations as shall be in force at the time.&lt;br /&gt;
SEC. 57. That the record books of the Copyright Office, together&lt;br /&gt;
with the indexes to such record books, and all works deposited and&lt;br /&gt;
retained in the Copyright Office, shall be open to public inspection at&lt;br /&gt;
convenient times; and copies may be taken of the copyright entries&lt;br /&gt;
actually made in such record books, subject to such safeguards and&lt;br /&gt;
regulations as shall be prescribed by the Register of Copyrights and&lt;br /&gt;
approved by the Librarian of Congress.&lt;br /&gt;
SEC. 58. That of the articles deposited in the Copyright Office under&lt;br /&gt;
the provisions of the copyright laws of the United States or of this Act,&lt;br /&gt;
the Librarian of Congress shall determine what books and other articles&lt;br /&gt;
shall be transferred to the permanent collections of the Library of&lt;br /&gt;
Congress, including the Law Library, and what other books or articles&lt;br /&gt;
shall be placed in the reserve collections of the Library of Congress for&lt;br /&gt;
sale or exchange, or be transferred to other governmental libraries in&lt;br /&gt;
the District of Columbia for use therein.&lt;br /&gt;
SEC. 59. That of any articles undisposed of as above provided,&lt;br /&gt;
together with all titles and correspondence relating thereto, the&lt;br /&gt;
Librarian of Congress and the Register of Copyrights jointly shall at&lt;br /&gt;
suitable intervals determine what of these received during any period&lt;br /&gt;
of years it is desirable or useful to preserve in the permanent files of the&lt;br /&gt;
Copyright Office, and, after due notice as hereinafter provided, may&lt;br /&gt;
Within their discretion cause the remaining articles and other things to&lt;br /&gt;
be destroyed : Provided, That there shall be printed in the Catalogue&lt;br /&gt;
of Copyright Entries from February to November, inclusive, a statement&lt;br /&gt;
of the years of receipt of such articles and a notice to permit any author,&lt;br /&gt;
Copyright proprietor, or other lawful claimant to claim and remove&lt;br /&gt;
before the expiration of the month of November of that year anything&lt;br /&gt;
found which relates to any of his productions deposited or registered&lt;br /&gt;
for copyright within the period of years stated, not reserved or disposed&lt;br /&gt;
of as provided for in sections fifty-eight and fifty-nine of this Act :&lt;br /&gt;
And provided further, That no manuscript of an unpublished work shall&lt;br /&gt;
be destroyed during the term of its copyright without specific notice to&lt;br /&gt;
the author, copyright proprietor, or other lawful claimant, permitting&lt;br /&gt;
him to claim and remove it.&lt;br /&gt;
SEC. 60. That the Register of Copyrights shall receive, and the&lt;br /&gt;
persons to whom the services designated are rendered shall pay, the&lt;br /&gt;
following fees: For the registration of any work subject to copyright&lt;br /&gt;
deposited under the provisions of this Act, one dollar, which sum is to&lt;br /&gt;
include a certificate under seal. For every additional certificate under&lt;br /&gt;
Seal of registration made, fifty cents. For recording and certifying any&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#725) ################################################&lt;br /&gt;
&lt;br /&gt;
19&lt;br /&gt;
instrument of writing for the assignment of copyright, or for any copy&lt;br /&gt;
of an assignment, duly certified, if not over three hundred words in&lt;br /&gt;
length, one dollar; if more than three hundred and less than one&lt;br /&gt;
thousand words in length, two dollars; if more than one thousand&lt;br /&gt;
words in length, one dollar for each one thousand words and fraction&lt;br /&gt;
thereof over three hundred words. For comparing any copy of an&lt;br /&gt;
assignment with the record of such document in the Copyright Office&lt;br /&gt;
and certifying the same under seal, one dollar. For recording the&lt;br /&gt;
transfer of the proprietorship of copyrighted articles, ten cents for each&lt;br /&gt;
title of a book or other article in addition to the fee prescribed for&lt;br /&gt;
recording the instrument of assignment. For any requested search of&lt;br /&gt;
Copyright Office records, indexes, or deposits, fifty cents for each full&lt;br /&gt;
hour of time consumed in making such search. For the personal&lt;br /&gt;
inspection of copyright record books, indexes, applications, or any article&lt;br /&gt;
deposited, including the copying of an entry actually made in any such&lt;br /&gt;
record book, ten cents in the case of each book or other article:&lt;br /&gt;
Provided, That for such inspection or copying, or both, if made by or on&lt;br /&gt;
behalf of any person party to a copyright suit already begun or if the&lt;br /&gt;
inspection and use of a book or other deposited article is made in the&lt;br /&gt;
reading-room of the Library of Congress, or in any division of the&lt;br /&gt;
Library to which the said article would naturally pertain, no charge&lt;br /&gt;
shall be made : Provided further, That only one registration at one fee&lt;br /&gt;
shall be required in the case of several volumes of the same book&lt;br /&gt;
or periodical deposited at the same time or of a numbered series of any&lt;br /&gt;
work specified in subsections (h), (j), (k), and (l) of section five&lt;br /&gt;
of this Act, where such series represents the same subject with variances&lt;br /&gt;
only in pose or composition and the items composing it are deposited&lt;br /&gt;
at the same time under one title with a view to a single registration.&lt;br /&gt;
SEC. 61. That in the interpretation and construction of this Act the&lt;br /&gt;
words &ldquo;United States&rsquo;&rsquo; shall be construed to mean the United States&lt;br /&gt;
and its territorial possessions, and to include and embrace all territory&lt;br /&gt;
which is now or may hereafter be under the jurisdiction and control of&lt;br /&gt;
the United States.&lt;br /&gt;
SEC. 62. That in the interpretation and construction of this Act&lt;br /&gt;
words importing the singular number shall be held to include the&lt;br /&gt;
plural, and vice versd, except where such construction would be&lt;br /&gt;
unreasonable, and words importing the masculine gender shall be held&lt;br /&gt;
to include all genders, except where such construction would be absurd&lt;br /&gt;
or unreasonable.&lt;br /&gt;
SEC. 63. That in the interpretation and construction of this Act&lt;br /&gt;
&ldquo; the date of publication &rdquo; shall in the case of a work of which copies&lt;br /&gt;
are reproduced for sale or distribution be held to be the earliest date&lt;br /&gt;
when copies of the first authorized edition were sold or placed on sale ;&lt;br /&gt;
and the word &ldquo;author&rsquo;&rdquo; shall include an employer in the case of works&lt;br /&gt;
made for hire.&lt;br /&gt;
SEC. 64. That all acts and parts of acts inconsistent herewith are&lt;br /&gt;
hereby repealed, save and except section 4966 of the Revised Statutes,&lt;br /&gt;
the provisions of which are hereby confirmed and continued in force,&lt;br /&gt;
anything to the contrary in this Act notwithstanding.&lt;br /&gt;
BRADBURY, AGNEW, &amp;amp; Co. LD., PRINTERS, LONDON AND TONBRIDGE.&lt;br /&gt;
Miscellaneous Provisions.&lt;br /&gt;
Repealing clause.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#726) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#727) ################################################&lt;br /&gt;
&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
AN ACT TO AMEND AND CONSOLIDATE THE ACTS&lt;br /&gt;
RESPECTING COPYRIGHT.&lt;br /&gt;
Be it enacted by the Senate and House of Representatives of the United States of&lt;br /&gt;
America in Congress assembled, That any person entitled thereto, upon complying&lt;br /&gt;
with the provisions of this Act, shall have the exclusive right:&lt;br /&gt;
(a) To print, reprint, publish, copy, and vend the copyrighted work;&lt;br /&gt;
(b.) To translate the copyrighted work into other languages or dialects, or&lt;br /&gt;
make any other version thereof, if it be a literary work; to dramatize it if it be&lt;br /&gt;
a nondramatic work ; to convert it into a novel or other nondramatic work if it be&lt;br /&gt;
a drama; to arrange or adapt it if it be a musical work; to complete, execute, and&lt;br /&gt;
finish it if it be a model or design for a work of art ;&lt;br /&gt;
(c.) To deliver or authorize the delivery of the copyrighted work in public&lt;br /&gt;
for profit if it be a lecture, sermon, address, or similar production ;&lt;br /&gt;
(d.) To perform or represent the copyrighted work publicly if it be a drama&lt;br /&gt;
or, if it be a dramatic work and not reproduced in copies for sale, to vend any&lt;br /&gt;
manuscript or any record whatsoever thereof; to make or to procure the making&lt;br /&gt;
of any transcription or record thereof by or from which, in whole or in part, it&lt;br /&gt;
may in any manner or by any method be exhibited, performed, represented, pro-&lt;br /&gt;
duced, or reproduced ; and to exhibit, perform, represent, produce, or reproduce it&lt;br /&gt;
in any manner or by any method whatsoever;&lt;br /&gt;
(e.) To perform the copyrighted work publicly for profit if it be a musical&lt;br /&gt;
composition and for the purpose of public performance for profit ; and for the&lt;br /&gt;
purposes set forth in subsection (a) hereof, to make any arrangement or setting of it&lt;br /&gt;
or of the melody of it in any system of notation or any form of record in which&lt;br /&gt;
the thought of an author may be recorded and from which it may be read or&lt;br /&gt;
reproduced: Provided, That the provisions of this Act, so far as they secure copy-&lt;br /&gt;
right controlling the parts of instruments serving to reproduce mechanically the&lt;br /&gt;
musical work, shall include old compositions published and copyrighted after&lt;br /&gt;
this Act goes into effect, and shall not include the works of a foreign author&lt;br /&gt;
or composer unless the foreign state or nation of which such author or com-&lt;br /&gt;
poser is a citizen or subject grants, either by treaty, convention, agreement, or&lt;br /&gt;
law, to citizens of the United States similar rights : And provided further, and&lt;br /&gt;
as a condition of extending the copyright control to such mechanical reproductions, That&lt;br /&gt;
whenever the owner of a musical copyright has used or permitted or knowingly&lt;br /&gt;
Exclusive right to print,&lt;br /&gt;
publish and vend.&lt;br /&gt;
Exclusive right to translate,&lt;br /&gt;
dramatize, arrange and&lt;br /&gt;
adapt, etc.&lt;br /&gt;
Exclusive right to deliver&lt;br /&gt;
lectures, sermons, etc.&lt;br /&gt;
To represent dramatic&lt;br /&gt;
works, or make record, or&lt;br /&gt;
exhibit or perform, etc.&lt;br /&gt;
To perform music and make&lt;br /&gt;
arrangement, Setting, or&lt;br /&gt;
record.&lt;br /&gt;
Act not retroactive.&lt;br /&gt;
Music by foreign author.&lt;br /&gt;
Control of mechanical&lt;br /&gt;
musical reproduction.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#728) ################################################&lt;br /&gt;
&lt;br /&gt;
( 2 )&lt;br /&gt;
Iłoyalty for&lt;br /&gt;
use of music&lt;br /&gt;
on records,&lt;br /&gt;
etC.&lt;br /&gt;
Notice of use&lt;br /&gt;
of music on&lt;br /&gt;
records.&lt;br /&gt;
Licence to&lt;br /&gt;
use music. On&lt;br /&gt;
records.&lt;br /&gt;
Failure to&lt;br /&gt;
pay royalties.&lt;br /&gt;
Reproduction&lt;br /&gt;
of music on&lt;br /&gt;
coin-operated&lt;br /&gt;
machines.&lt;br /&gt;
Right at&lt;br /&gt;
common law&lt;br /&gt;
or in equity.&lt;br /&gt;
Component&lt;br /&gt;
parts of copy-&lt;br /&gt;
rightable&lt;br /&gt;
work.&lt;br /&gt;
Composite&lt;br /&gt;
works or&lt;br /&gt;
periodicals.&lt;br /&gt;
Works pro-&lt;br /&gt;
tected.&lt;br /&gt;
Classification&lt;br /&gt;
of copyright&lt;br /&gt;
works.&lt;br /&gt;
Books, com-&lt;br /&gt;
posite, cyclo-&lt;br /&gt;
paedic works;&lt;br /&gt;
directories,&lt;br /&gt;
gazetteers,&lt;br /&gt;
etc.&lt;br /&gt;
acquiesced in the use of the copyrighted work upon the parts of instruments serving to&lt;br /&gt;
reproduce mechanically the musical work, any other person may make similar use of the&lt;br /&gt;
copyrighted work upon the payment to the copyright proprietor of a royalty of two cents&lt;br /&gt;
on each such part manufactured, to be paid by the manufacturer thereof; and the&lt;br /&gt;
copyright proprietor may require, and if so the manufacturer shall furnish, a report&lt;br /&gt;
under oath on the twentieth day of each month on the number of parts of instruments&lt;br /&gt;
manufactured during the previous month serving to reproduce mechanically said musical&lt;br /&gt;
work, and royalties shall be due on the parts manufactured during any month upon the&lt;br /&gt;
twentieth of the next succeeding month. The payment of the royalty provided for by&lt;br /&gt;
this section shall free the articles or devices for which such royalty has been paid from&lt;br /&gt;
further contribution to the copyright except in case of public performance for profit :&lt;br /&gt;
And provided further, That it shall be the duty of the copyright owner, if he uses the&lt;br /&gt;
musical composition himself for the manufacture of parts of instruments serving to&lt;br /&gt;
reproduce mechanically the musical work, or licenses others to do so, to file notice thereof,&lt;br /&gt;
accompanied by a recording fee, in the copyright office, and any failure to file such notice&lt;br /&gt;
shall be a complete defense to any suit, action, or proceeding for any infringement of such&lt;br /&gt;
copyright. -&lt;br /&gt;
In case of the failure of such manufacturer to pay to the copyright proprietor within&lt;br /&gt;
thirty days after demand in writing the full sum of royalties due at said rate at the date&lt;br /&gt;
of such demand the court may award taxable costs to the plaintiff and a reasonable&lt;br /&gt;
counsel fee, and the court may, in its discretion, enter judgment therein for any sum in&lt;br /&gt;
addition over the amount found to be due as royalty in accordance with the terms of this&lt;br /&gt;
Act, not exceeding three times such amount.&lt;br /&gt;
The reproduction or rendition of a musical composition by or upon coin-operated&lt;br /&gt;
machines shall not be deemed a public performance for profit unless a fee is charged for&lt;br /&gt;
admission to the place where such reproduction or rendition occurs.&lt;br /&gt;
SECT. 2. That nothing in this Act shall be construed to annul or limit the right of the&lt;br /&gt;
author or proprietor of an unpublished work, at common law or in equity, to prevent the&lt;br /&gt;
copying, publication, or use of such unpublished work without his consent, and to obtain&lt;br /&gt;
damages therefor.&lt;br /&gt;
SECT. 3. That the copyright provided by this Act shall protect all the copyrightable&lt;br /&gt;
component parts of the work copyrighted, and all matter therein in which copyright is&lt;br /&gt;
already subsisting, but without extending the duration or scope of such copyright. The&lt;br /&gt;
copyright upon composite works or periodicals shall give to the proprietor thereof all the&lt;br /&gt;
rights in respect thereto which he would have if each part were individually copyrighted&lt;br /&gt;
under this Act.&lt;br /&gt;
Spot. 4. That the works for which copyright may be secured under this Act shall&lt;br /&gt;
include all the writings of an author.&lt;br /&gt;
Spor. 5. That the application for r gistration shall specify to which of the following&lt;br /&gt;
classes the work in which copyright is claimed belongs :&lt;br /&gt;
(a.) Books, including composite and cyclopaedic works, directories, gazetteers, and&lt;br /&gt;
other compilations;&lt;br /&gt;
(b.) Periodicals, including newspapers; ſe&lt;br /&gt;
(c.) Lectures, sermons, addresses, prepared for oral delivery :&lt;br /&gt;
(d) Dramatic or dramatico-musical compositions;&lt;br /&gt;
(e.) Musical compositions;&lt;br /&gt;
(f) Maps;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#729) ################################################&lt;br /&gt;
&lt;br /&gt;
( 3 )&lt;br /&gt;
(g.) Works of art; models or designs for works of art;&lt;br /&gt;
(h.) Reproductions of a work of art ;&lt;br /&gt;
(...) Drawings or plastic works of a scientific or technical character;&lt;br /&gt;
(j.) Photographs;&lt;br /&gt;
(k.) Prints and pictorial illustrations:&lt;br /&gt;
Provided, nevertheless, That the above specifications shall not be held to limit&lt;br /&gt;
the subject-matter of copyright as defined in section four of this Act, nor shall any&lt;br /&gt;
error in classification invalidate or impair the copyright protection secured under&lt;br /&gt;
this Act.&lt;br /&gt;
SECT. 6. That compilations or abridgements, adaptations, arrangements,&lt;br /&gt;
dramatizations, translations, or other versions of works in the public domain, or of&lt;br /&gt;
Copyrighted works when produced with the consent of the proprietor of the copy-&lt;br /&gt;
right in such work, or works republished with new matter, shall be regarded as new&lt;br /&gt;
works subject to copyright under the provisions of this Act; but the publication of&lt;br /&gt;
any such new works shall not affect the force or validity of any subsisting copyright&lt;br /&gt;
upon the matter employed or any part thereof, or be construed to imply an exclusive&lt;br /&gt;
right to such use of the original works, or to secure or extend copyright in such&lt;br /&gt;
original works.&lt;br /&gt;
SECT. 7. That no copyright shall subsist in the original text of any work which&lt;br /&gt;
is in the public domain, or in any work which was published in this country or&lt;br /&gt;
any foreign country prior to the going into effect of this Act and has not been&lt;br /&gt;
already copyrighted in the United States, or in any publication of the United States&lt;br /&gt;
Government, or any reprint, in whole or in part thereof: Provided, however, That&lt;br /&gt;
the publication or republication by the Government, either separately or in a public&lt;br /&gt;
document, of any material in which copyright is subsisting shall not be taken to&lt;br /&gt;
cause any abridgement or annulment of the copyright or to authorize any use or appro-&lt;br /&gt;
priation of such copyright material without the consent of the copyright proprietor.&lt;br /&gt;
SECT. 8. That the author or proprietor of any work made the subject of copy-&lt;br /&gt;
right by this Act, or his executors, administrators, or assigns, shall have copyright&lt;br /&gt;
for such work under the conditions and for the terms specified in this Act : Provided,&lt;br /&gt;
however, That the copyright secured by this Act shall extend to the work of an&lt;br /&gt;
author or proprietor who is a citizen or subject of a foreign state or nation, only :&lt;br /&gt;
(a.) When an alien author or proprietor shall be domiciled within the United&lt;br /&gt;
States at the time of the first publication of his work ; or&lt;br /&gt;
(b.) When the foreign state or nation of which such author or proprietor is a&lt;br /&gt;
citizen or subject grants, either by treaty, convention, agreement, or law, to citizens&lt;br /&gt;
of the United States the benefit of copyright on substantially the same basis as to&lt;br /&gt;
its own citizens, or copyright protection substantially equal to the protection secured&lt;br /&gt;
to such foreign author under this Act or by treaty ; or when such foreign state or&lt;br /&gt;
nation is a party to an international agreement which provides for reciprocity in&lt;br /&gt;
the granting of copyright by the terms of which agreement the United States may,&lt;br /&gt;
at its pleasure, become a party thereto.&lt;br /&gt;
The existence of the reciprocal conditions aforesaid shall be determined by the&lt;br /&gt;
President of the United States, by proclamation made from time to time, as the&lt;br /&gt;
purposes of this Act may require.&lt;br /&gt;
SECT. 9. That any person entitled thereto by this Act may secure copyright&lt;br /&gt;
for his work by publication thereof with the notice of copyright required by this&lt;br /&gt;
Classification does not limit&lt;br /&gt;
Copyright.&lt;br /&gt;
Compilations, abridgments,&lt;br /&gt;
dramatizations, transla-&lt;br /&gt;
tions, new editions.&lt;br /&gt;
Subsisting copyright not&lt;br /&gt;
affected.&lt;br /&gt;
Not subject-matter of copy-&lt;br /&gt;
right ; works in public&lt;br /&gt;
domain ; government pub-&lt;br /&gt;
lications.&lt;br /&gt;
Copyright to author or pro-&lt;br /&gt;
prietor for terms specified&lt;br /&gt;
in Act.&lt;br /&gt;
Foreign authors who may&lt;br /&gt;
secure copyright protection.&lt;br /&gt;
Alien authors domiciled in&lt;br /&gt;
U.S.&lt;br /&gt;
Authors, when citizens of&lt;br /&gt;
countries granting reci-&lt;br /&gt;
procal rights.&lt;br /&gt;
International agreement,&lt;br /&gt;
Presidential proclamation.&lt;br /&gt;
Publication with notice&lt;br /&gt;
initiates copyright.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#730) ################################################&lt;br /&gt;
&lt;br /&gt;
( 4 )&lt;br /&gt;
Registration&lt;br /&gt;
Of copyright.&lt;br /&gt;
Copyright&lt;br /&gt;
certificate.&lt;br /&gt;
Copyright&lt;br /&gt;
protection of&lt;br /&gt;
unpublished&lt;br /&gt;
works :&lt;br /&gt;
lectures,&lt;br /&gt;
dramas,&lt;br /&gt;
music, etc.&lt;br /&gt;
Deposit of&lt;br /&gt;
copies after&lt;br /&gt;
publication.&lt;br /&gt;
Two complete&lt;br /&gt;
copies of best&lt;br /&gt;
edition.&lt;br /&gt;
Periodical&lt;br /&gt;
contributions.&lt;br /&gt;
Work not&lt;br /&gt;
reproduced in&lt;br /&gt;
copies for&lt;br /&gt;
sale.&lt;br /&gt;
No action for&lt;br /&gt;
infringement&lt;br /&gt;
until deposit&lt;br /&gt;
of copies.&lt;br /&gt;
- Failure to&lt;br /&gt;
deposit copies.&lt;br /&gt;
Register of&lt;br /&gt;
copyrights&lt;br /&gt;
may demand&lt;br /&gt;
copies.&lt;br /&gt;
Failure to&lt;br /&gt;
deposit on&lt;br /&gt;
demand.&lt;br /&gt;
Fine, $100&lt;br /&gt;
and retail&lt;br /&gt;
price of 2&lt;br /&gt;
copies, best&lt;br /&gt;
edition.&lt;br /&gt;
Forfeiture of&lt;br /&gt;
copyright.&lt;br /&gt;
. . Postmaster&amp;#039;s&lt;br /&gt;
receipt.&lt;br /&gt;
Printed from&lt;br /&gt;
type.set&lt;br /&gt;
within the&lt;br /&gt;
United States.&lt;br /&gt;
Act ; and such notice shall be affixed to each copy thereof published or offered for sale&lt;br /&gt;
in the United States by authority of the copyright proprietor, except in the case of&lt;br /&gt;
books seeking ad interim protection under section twenty-one of this Act.&lt;br /&gt;
SECT, 10. That such person may obtain registration of his claim to copyright by&lt;br /&gt;
complying with the provisions of this Act, including the deposit of copies, and upon such&lt;br /&gt;
compliance the register of copyrights shall issue to him the certificate provided for in&lt;br /&gt;
section fifty-five of this Act. - .&lt;br /&gt;
SECT. 11. That copyright may also be had of the works of an author of which copies&lt;br /&gt;
are not reproduced for sale, by the deposit, with claim of copyright, of one complete copy&lt;br /&gt;
of such work if it be a lecture or similar production or a dramatic or musical composition;&lt;br /&gt;
of a photographic print if the work be a photograph ; or of a photograph or other&lt;br /&gt;
identifying reproduction thereof if it be a work of art or a plastic work or drawing. But&lt;br /&gt;
the privilege of registration of copyright secured hereunder shall not exempt the copyright&lt;br /&gt;
proprietor from the deposit of copies under sections twelve and thirteen of this Act where&lt;br /&gt;
the work is later reproduced in copies for sale.&lt;br /&gt;
SECT. 12. That after copyright has been secured by publication of the work with the&lt;br /&gt;
notice of copyright as provided in section nine of this Act, there shall be promptly&lt;br /&gt;
deposited in the copyright office or in the mail addressed to the register of copyrights,&lt;br /&gt;
Washington, District of Columbia, two complete copies of the best edition thereof then&lt;br /&gt;
published, which copies, if the work be a book or periodical, shall have been produced in&lt;br /&gt;
accordance with the manufacturing provisions specified in section fifteen of this Act ; or&lt;br /&gt;
if such work be a contribution to a periodical, for which contribution special registration&lt;br /&gt;
is requested, one copy of the issue or issues containing such contribution ; or if the work&lt;br /&gt;
is not reproduced in copies for sale, there shall be deposited the copy, print, photograph,&lt;br /&gt;
or other identifying reproduction provided by section eleven of this Act, such copies or&lt;br /&gt;
copy, print, photograph, or other reproduction to be accompanied in each case by a claim&lt;br /&gt;
of copyright. No action or proceeding shall be maintained for infringement of copyright&lt;br /&gt;
in any work until the provisions of this Act with respect to the deposit of copies and&lt;br /&gt;
registration of such work shall have been complied with. -&lt;br /&gt;
SECT. 13. That should the copies called for by section twelve of this Act not be&lt;br /&gt;
promptly deposited as herein provided, the register of copyrights may at any time after&lt;br /&gt;
the publication of the work, upon actual notice, require the proprietor of the copyright to&lt;br /&gt;
deposit them, and after the said demand shall have been made, in deſault of the deposit&lt;br /&gt;
of copies of the work within three months from any part of the United States, except an&lt;br /&gt;
outlying territorial possession of the United States, or within six months from any&lt;br /&gt;
outlying territorial possession of the United States, or from any foreign country, the&lt;br /&gt;
proprietor of the copyright shall be liable to a fine of one hundred dollars and to pay to&lt;br /&gt;
the Library of Congress twice the amount of the retail price of the best edition of the&lt;br /&gt;
work, and the copyright shall become void. . . . . . . . -&lt;br /&gt;
SECT. 14. That the postmaster to whom are delivered the articles deposited as&lt;br /&gt;
provided in sections eleven and twelve of this Act shall, if requested, give a receipt&lt;br /&gt;
therefor and shall mail them to their destination without cost to the copyright&lt;br /&gt;
claimant. &bull; * *&lt;br /&gt;
SECT. 15. That of the printed book or periodical specified in section five, subsections&lt;br /&gt;
(a) and (b) of this Act, except the original text of a book of foreign origin in a language&lt;br /&gt;
or languages other than English, the text of all copies accorded protection under this Act,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#731) ################################################&lt;br /&gt;
&lt;br /&gt;
( 5 )&lt;br /&gt;
except as below provided, shall be printed from type set within the limits of the&lt;br /&gt;
United States, either by hand or by the aid of any kind of typesetting machine, or&lt;br /&gt;
from plates made within the limits of the United States from type set therein, or,&lt;br /&gt;
if the text be produced by lithographic process, or photo-engraving process, then&lt;br /&gt;
by a process wholly performed within the limits of the United States, and the&lt;br /&gt;
printing of the text and binding of the said book shall be performed within the&lt;br /&gt;
limits of the United States; which requirements shall extend also to the illus-&lt;br /&gt;
trations within a book consisting of printed text and illustrations produced by&lt;br /&gt;
lithographic process, or photo-engraving process, and also to separate lithographs or&lt;br /&gt;
photo-engravings, except where in either case the subjects represented are located in&lt;br /&gt;
a foreign country and illustrate a scientific work or reproduce a work of art; but&lt;br /&gt;
they shall not apply to works in raised characters for the use of the blind, or to&lt;br /&gt;
books of foreign origin in a language or languages other than English, or to books&lt;br /&gt;
published abroad in the English language seeking ad interim protection under this Act.&lt;br /&gt;
SECT. 16. That in the case of the book the copies so deposited shall be accom-&lt;br /&gt;
panied by an affidavit, under the official seal of any officer authorized to administer&lt;br /&gt;
oaths within the United States, duly made by the person claiming copyright or by&lt;br /&gt;
his duly authorized agent or representative residing in the United States, or by the&lt;br /&gt;
printer who has printed the book, setting forth that the copies deposited have been&lt;br /&gt;
printed from type set within the limits of the United States or from plates made&lt;br /&gt;
within the limits of the United States from type set therein ; or, if the text be&lt;br /&gt;
produced by lithographic process, or photo-engraving process, that such process was&lt;br /&gt;
wholly performed within the limits of the United States, and that the printing of&lt;br /&gt;
the text and binding of the said book have also been performed within the limits of&lt;br /&gt;
the United States. Such affidavit shall state also the place where and the establish-&lt;br /&gt;
ment or establishments in which such type was set or plates were made or litho-&lt;br /&gt;
graphic process, or photo-engraving process or printing and binding were performed&lt;br /&gt;
and the date of the completion of the printing of the book or the date of publication.&lt;br /&gt;
SECT. 17. That any person who, for the purpose of obtaining registration of a&lt;br /&gt;
claim to copyright, shall knowingly make a false affidavit as to his having complied&lt;br /&gt;
with the above conditions shall be deemed guilty of a misdemeanor, and upon con-&lt;br /&gt;
viction thereof shall be punished by a fine of not more than one thousand dollars,&lt;br /&gt;
and all of his rights and privileges under said copyright shall thereafter be forfeited.&lt;br /&gt;
SECT. 18. That the notice of copyright required by section nine of this Act&lt;br /&gt;
shall consist either of the word &ldquo;Copyright&amp;quot; or the abbreviation &ldquo;Copr.&rdquo;, accom-&lt;br /&gt;
Danied by the name of the copyright proprietor, and if the work be a printed literary,&lt;br /&gt;
musical, or dramatic work, the notice shall include also the year in which the copy-&lt;br /&gt;
right was secured by publication. In the case, however, of copies of works specified&lt;br /&gt;
in subsections (f) to (%), inclusive, of section five of this Act, the notice may consist&lt;br /&gt;
of the letter C inclosed within a circle thus : (C), accompanied by the initials,&lt;br /&gt;
monogram, mark, or symbol of the copyright proprietor: Provided, That on some&lt;br /&gt;
accessible portion of such copies or of the margin, back, permanent base, or&lt;br /&gt;
pedestal, or of the substance on which such copies shall be mounted, his name&lt;br /&gt;
shall appear. But in the case of works in which copyright is subsisting when this&lt;br /&gt;
Act shall go into effect, the notice of copyright may be either in one of the forms&lt;br /&gt;
prescribed herein or in one of those prescribed by the Act of June eighteenth,&lt;br /&gt;
eighteen hundred and seventy-four.&lt;br /&gt;
Book in foreign language&lt;br /&gt;
excepted.&lt;br /&gt;
Lithographic or photo-&lt;br /&gt;
engraving process.&lt;br /&gt;
Printing and binding of the&lt;br /&gt;
book.&lt;br /&gt;
Illustrations in a book.&lt;br /&gt;
Separate lithographs and&lt;br /&gt;
photo-engravings.&lt;br /&gt;
Books for blind excepted.&lt;br /&gt;
Books in foreign languages&lt;br /&gt;
excepted.&lt;br /&gt;
Affidavit of American&lt;br /&gt;
manufacture.&lt;br /&gt;
Printing and binding of the&lt;br /&gt;
book.&lt;br /&gt;
Establishment where print-&lt;br /&gt;
ing was done.&lt;br /&gt;
Date of publication.&lt;br /&gt;
False affidavit, a misde-&lt;br /&gt;
meanor; fine, $1,000 and&lt;br /&gt;
forfeiture of copyright.&lt;br /&gt;
Notice of copyright.&lt;br /&gt;
Notice on maps, copies of&lt;br /&gt;
works of art, photographs,&lt;br /&gt;
and prints. -&lt;br /&gt;
Notice on accessible por-&lt;br /&gt;
tion.&lt;br /&gt;
Notice on existing copy-&lt;br /&gt;
right works.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#732) ################################################&lt;br /&gt;
&lt;br /&gt;
( 6 ) -&lt;br /&gt;
Notice of&lt;br /&gt;
copyright On&lt;br /&gt;
book.&lt;br /&gt;
On periodical.&lt;br /&gt;
One notice in&lt;br /&gt;
each volume&lt;br /&gt;
or periodical.&lt;br /&gt;
Omission of&lt;br /&gt;
notice by&lt;br /&gt;
accident or&lt;br /&gt;
mistake.&lt;br /&gt;
Innocent&lt;br /&gt;
infringement.&lt;br /&gt;
Book pub-&lt;br /&gt;
lished abroad&lt;br /&gt;
in the English&lt;br /&gt;
language.&lt;br /&gt;
Ad interim&lt;br /&gt;
copyright for&lt;br /&gt;
30 days.&lt;br /&gt;
Extension to&lt;br /&gt;
full term.&lt;br /&gt;
Deposit of&lt;br /&gt;
copies, filing&lt;br /&gt;
of affidavit.&lt;br /&gt;
Duration of&lt;br /&gt;
copyright :&lt;br /&gt;
1st term, 28&lt;br /&gt;
years.&lt;br /&gt;
Posthumous&lt;br /&gt;
works,&lt;br /&gt;
periodicals,&lt;br /&gt;
cyclopaedic&lt;br /&gt;
or composite&lt;br /&gt;
works.&lt;br /&gt;
Renewal term&lt;br /&gt;
28 years.&lt;br /&gt;
Other copy-&lt;br /&gt;
righted&lt;br /&gt;
works, first&lt;br /&gt;
term 28 years.&lt;br /&gt;
Żenewal term&lt;br /&gt;
28 years; to&lt;br /&gt;
author,&lt;br /&gt;
widow, chil-&lt;br /&gt;
dren, heirs or&lt;br /&gt;
next of kin.&lt;br /&gt;
SECT. 19. That the notice of copyright shall be applied, in the case of a book or&lt;br /&gt;
other printed publication, upon its title-page or the page immediately following, or if a&lt;br /&gt;
periodical either upon the title-page or upon the first page of text of each separate number&lt;br /&gt;
or under the title heading, or if a musical work either upon its title-page or the first page&lt;br /&gt;
of music : Provided, That one notice of copyright in each volume or in each number of&lt;br /&gt;
a newspaper or periodical published shall suffice.&lt;br /&gt;
SECT. 20. That where the copyright proprietor has sought to comply with the&lt;br /&gt;
provisions of this Act with respect to notice, the omission by accident or mistake of the&lt;br /&gt;
prescribed notice from a particular copy or copies shall not invalidate the copyright or&lt;br /&gt;
prevent recovery for infringement against any person who, after actual notice of the&lt;br /&gt;
copyright, begins an undertaking to infringe it, but shall prevent the recovery of damages&lt;br /&gt;
against an innocent infringer who has been misled by the omission of the notice ; and in&lt;br /&gt;
a suit for infringement no permanent injunction shall be had unless the copyright&lt;br /&gt;
proprietor shall reimburse to the innocent infringer his reasonable outlay innocently&lt;br /&gt;
incurred if the court, in its discretion, shall so direct.&lt;br /&gt;
SECT. 21. That in the case of a book published abroad in the English language&lt;br /&gt;
before publication in this country, the deposit in the copyright office, not later than thirty&lt;br /&gt;
days after its publication abroad, of one complete copy of the foreign edition, with a&lt;br /&gt;
request for the reservation of the copyright and a statement of the name and&lt;br /&gt;
nationality of the author and of the copyright proprietor and of the date of publication&lt;br /&gt;
of the said book, shall secure to the author or proprietor an ad interim copyright, which&lt;br /&gt;
shall have all the force and effect given to copyright by this Act, and shall endure until&lt;br /&gt;
the expiration of thirty days after such deposit in the copyright office.&lt;br /&gt;
SECT. 22. That whenever within the period of such ad interim protection an authorized&lt;br /&gt;
edition of such book shall be published within the United States, in accordance with the&lt;br /&gt;
manufacturing provisions specified in section fifteen of this Acty and whenever the&lt;br /&gt;
provisions of this Act as to deposit of copies, registration, filing of affidavit, and the&lt;br /&gt;
printing of the copyright notice shall have been duly complied with, the copyright&lt;br /&gt;
shall be extended to endure in such book for the full term elsewhere provided in&lt;br /&gt;
this Act. -&lt;br /&gt;
SECT. 23. That the copyright secured by this Act shall endure for twenty-eight&lt;br /&gt;
years from the date of first publication, whether the copyrighted work bears the author&amp;#039;s&lt;br /&gt;
true name or is published anonymously or under an assumed name : Provided, That in the&lt;br /&gt;
case of any posthumous work or of any periodical, cyclop&aelig;dic, or other composite work&lt;br /&gt;
upon which the copyright was originally secured by the proprietor thereof, or of any work&lt;br /&gt;
copyrighted by a corporate body (otherwise than as assignee or licensee of the individual&lt;br /&gt;
author) or by an employer for whom such work is made for hire, the proprietor of such&lt;br /&gt;
copyright shall be entitled to a renewal and extension of the copyright in such work for&lt;br /&gt;
the further term of twenty-eight years when application for such renewal and extension&lt;br /&gt;
shall have been made to the copyright office and duly registered therein within one year&lt;br /&gt;
prior to the expiration of the original term of copyright : And provided further, That in&lt;br /&gt;
the case of any other copyrighted work, including a contribution by an individual author&lt;br /&gt;
to a periodical or cyclopaedic or other composite work when such contribution has been&lt;br /&gt;
separately registered, the author of such work, if still living, or the widow, widower, or&lt;br /&gt;
children of the author, if the author be not living, or if such author, widow, Widower, or&lt;br /&gt;
children be not living, then the author&amp;#039;s executors, or in the absence of a will, his next of&lt;br /&gt;
kin shall be entitled to a renewal and extension of the copyright in such work for a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#733) ################################################&lt;br /&gt;
&lt;br /&gt;
( 7 )&lt;br /&gt;
further term of twenty-eight years when application for such renewal and extension&lt;br /&gt;
shall have been made to the copyright office and duly registered therein within one&lt;br /&gt;
year prior to the expiration of the original term of copyright: And provided further,&lt;br /&gt;
That in default of the registration of such application for renewal and extension,&lt;br /&gt;
the copyright in any work shall determine at the expiration of twenty-eight years&lt;br /&gt;
from first publication.&lt;br /&gt;
&amp;amp;&lt;br /&gt;
SECT. 24. That the copyright subsisting in any work at the time when this Act&lt;br /&gt;
goes into effect may, at the expiration of the term provided for under existing law,&lt;br /&gt;
be renewed and extended by the author of such work if still living, or the widow,&lt;br /&gt;
widower, or children of the author, if the author be not living, or if such author,&lt;br /&gt;
widow, widower, or children be not living, then by the author&amp;#039;s executors, or in the&lt;br /&gt;
absence of a will, his next of kin, for a further period such that the entire term&lt;br /&gt;
shall be equal to that secured by this Act, including the renewal period : Provided,&lt;br /&gt;
however, That if the work be a composite work upon which copyright was originally&lt;br /&gt;
secured by the proprietor thereof, then such proprietor shall be entitled to the&lt;br /&gt;
privilege of renewal and extension granted under this section : Provided, That&lt;br /&gt;
application for such renewal and extension shall be made to the copyright office and&lt;br /&gt;
duly registered therein within one year prior to the expiration of the existing term.&lt;br /&gt;
SECT. 25. That if any person shall infringe the copyright in any work protected&lt;br /&gt;
under the copyright laws of the United States such persons shall be liable :&lt;br /&gt;
(a.) To an injunction restraining such infringement ;&lt;br /&gt;
(b.) To pay to the copyright proprietor such damages as the copyright proprietor&lt;br /&gt;
may have suffered due to the infringement, as well as all the profits which the&lt;br /&gt;
infringer shall have made from such infringement, and in proving profits the&lt;br /&gt;
plaintiff shall be required to prove sales only and the defendant shall be required&lt;br /&gt;
to prove every element of cost which he claims, or in lieu of actual damages and&lt;br /&gt;
profits such damages as to the court shall appear to be just, and in assessing such&lt;br /&gt;
damages the court may, in its discretion, allow the amounts as hereinafter stated,&lt;br /&gt;
but in the case of a newspaper reproduction of a copyrighted photograph such&lt;br /&gt;
damages shall not exceed the sum of two hundred dollars nor be less than the sum of&lt;br /&gt;
fifty dollars, and such damages shall in no other case exceed the sum of five thousand&lt;br /&gt;
dollars nor be less than the sum of two hundred and fifty dollars, and shall not be&lt;br /&gt;
regarded as a penalty:&lt;br /&gt;
First. In the case of a painting, statue, or sculpture, ten dollars for every&lt;br /&gt;
infringing copy made or sold by or found in the possession of the infringer or&lt;br /&gt;
his agents or employees;&lt;br /&gt;
Second. In the case of any work enumerated in section five of this Act, except&lt;br /&gt;
a painting, statue, or sculpture, one dollar for every infringing copy made or&lt;br /&gt;
sold by or found in the possession of the infringer or his agents or employees;&lt;br /&gt;
Third. In the case of a lecture, sermon, or address, fifty dollars for every&lt;br /&gt;
infringing delivery :&lt;br /&gt;
Fourth. In the case of dramatic or dramatico-musical or a choral or orchestral&lt;br /&gt;
composition, one hundred dollars for the first and fifty dollars for every subse-&lt;br /&gt;
quent infringing performance ; in the case of other musical compositions, ten&lt;br /&gt;
dollars for every infringing performance;&lt;br /&gt;
Notice that renewal term is&lt;br /&gt;
desired.&lt;br /&gt;
Copyright ends in 28 years&lt;br /&gt;
unless renewed.&lt;br /&gt;
Extension of subsisting&lt;br /&gt;
copyrights.&lt;br /&gt;
Proprietor entitled to re-&lt;br /&gt;
newal for composite work.&lt;br /&gt;
Renewal application.&lt;br /&gt;
Infringement of copyright.&lt;br /&gt;
Injunction.&lt;br /&gt;
Damages.&lt;br /&gt;
Proving sales.&lt;br /&gt;
Newspaper reproduction of&lt;br /&gt;
photograph ; recovery,&lt;br /&gt;
$50&ndash;$200.&lt;br /&gt;
Maximum recovery, $5,000.&lt;br /&gt;
Minimum recovery, $250.&lt;br /&gt;
Painting, statue, or sculp-&lt;br /&gt;
ture, $10 for every in-&lt;br /&gt;
fringing Copy.&lt;br /&gt;
Other works $1 for every&lt;br /&gt;
infringing copy.&lt;br /&gt;
Lectures, $50 for every&lt;br /&gt;
infringing delivery.&lt;br /&gt;
Dramatic or musical works,&lt;br /&gt;
$100 for first and $50 for&lt;br /&gt;
subsequent infringing per-&lt;br /&gt;
formance.&lt;br /&gt;
Other musical compositions,&lt;br /&gt;
$10 for every infringing&lt;br /&gt;
performance.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#734) ################################################&lt;br /&gt;
&lt;br /&gt;
( 8 )&lt;br /&gt;
Delivering up&lt;br /&gt;
infringing&lt;br /&gt;
articles.&lt;br /&gt;
Destruction&lt;br /&gt;
of infringing&lt;br /&gt;
copies, etc.&lt;br /&gt;
Infringement&lt;br /&gt;
by mechani-&lt;br /&gt;
cal musical&lt;br /&gt;
instrumentS.&lt;br /&gt;
Injunction .&lt;br /&gt;
may be&lt;br /&gt;
grant &amp;#039;d.&lt;br /&gt;
Recovery of&lt;br /&gt;
royalty.&lt;br /&gt;
Notice to pro-&lt;br /&gt;
prietor of&lt;br /&gt;
intention to&lt;br /&gt;
TLS62.&lt;br /&gt;
Damages,&lt;br /&gt;
three times&lt;br /&gt;
amount pro-&lt;br /&gt;
vided.&lt;br /&gt;
Temporary&lt;br /&gt;
injunction.&lt;br /&gt;
Rules for&lt;br /&gt;
practice and&lt;br /&gt;
procedure.&lt;br /&gt;
Judgment&lt;br /&gt;
enforcing&lt;br /&gt;
remedies.&lt;br /&gt;
|Proceedings,&lt;br /&gt;
injunction,&lt;br /&gt;
etc., may be&lt;br /&gt;
united in One&lt;br /&gt;
action.&lt;br /&gt;
Penalty for&lt;br /&gt;
wilful in-&lt;br /&gt;
fringement.&lt;br /&gt;
Oratorios,&lt;br /&gt;
cantatas, etc.,&lt;br /&gt;
may be per-&lt;br /&gt;
formed.&lt;br /&gt;
False notice&lt;br /&gt;
of copyright&lt;br /&gt;
(penalty for).&lt;br /&gt;
Fraudulent&lt;br /&gt;
removal of&lt;br /&gt;
notice ; fine,&lt;br /&gt;
$100&ndash;$1,000.&lt;br /&gt;
(c.) To deliver up on oath, to be impounded during the pendency of the action,&lt;br /&gt;
upon such terms and conditions as the court may prescribe, all articles alleged to infringe&lt;br /&gt;
a copyright : -&lt;br /&gt;
(d) To deliver up on oath for destruction all the infringing copies or devices, as well&lt;br /&gt;
as all plates, moulds, matrices, or other means for making such infringing copies as the&lt;br /&gt;
court may order ; &ordm;t&lt;br /&gt;
(e.) Whenever the owner of a musical copyright&amp;#039; has used or permitted the use of&lt;br /&gt;
the copyright work upon the parts of musical instruments serving to reproduce&lt;br /&gt;
mechanically the musical work, then in case of infringement of such copyright by the&lt;br /&gt;
unauthorized manufacture, use, or sale of interchangeable parts, such as disks, rolls,&lt;br /&gt;
bands, or cylinders for use in mechanical music-producing machines adapted to&lt;br /&gt;
reproduce the copyrighted music, no criminal action shall be brought, but in a civil action&lt;br /&gt;
an injunction may be granted upon such terms as the court may impose, and the plaintiff&lt;br /&gt;
shall be entitled to recover in lieu of profits and damages a royalty as provided in&lt;br /&gt;
section one, subsection (e), of this Act : Provided also, That whenever any person, in the&lt;br /&gt;
absence of a licence agreement, intends to use a copyrighted musical composition upon&lt;br /&gt;
the parts of instruments Serving to reproduce mechanically the musical work, relying&lt;br /&gt;
upon the compulsory licence provision of this Act, he shall serve notice of such intention,&lt;br /&gt;
by registered mail, upon the copyright proprietor at his last address disclosed by the&lt;br /&gt;
records of the copyright office, sending to the copyright office a duplicate of such notice;&lt;br /&gt;
and in case of his failure so to do the court may, in its discretion, in addition to sums&lt;br /&gt;
hereinabove mentioned, award the complainant a further sum, not to exceed three times&lt;br /&gt;
the amount provided by section one, subsection (e), by Way of damages, and not as a&lt;br /&gt;
penalty, and also a temporary injunction until the full award is paid.&lt;br /&gt;
- Rules and regulations for practice and procedure under this section shall be prescribed&lt;br /&gt;
by the Supreme Court of the United States.&lt;br /&gt;
SECT. 26. That any court given jurisdiction under section thirty-four of this Act may&lt;br /&gt;
proceed in any action, suit, or proceeding instituted for violation of any provision hereof&lt;br /&gt;
to enter a judgment or decree enforcing the remedies herein provided.&lt;br /&gt;
SECT. 27. That the proceedings for an injunction, damages, and profits, and those&lt;br /&gt;
for the seizure of infringing copies, plates, moulds, matrices, and so forth, aforementioned,&lt;br /&gt;
may be united in one action. .&lt;br /&gt;
SECT. 28. That any person who wilfully and for profit shall infringe any copyright&lt;br /&gt;
secured by this Act, or who shall knowingly and wilfully aid or abet such infringement,&lt;br /&gt;
shall be deemed guilty of a misdemeanor, and upon conviction thereof shall be punished&lt;br /&gt;
by imprisonment for not exceeding one year or by a fine of not less than one hundred&lt;br /&gt;
dollars nor more than one thousand dollars, or both, in the discretion of the court :&lt;br /&gt;
Provided, however, That nothing in this Act shall be so construed as to prevent the per-&lt;br /&gt;
formance of religious or secular works, such as oratorios, Cantatas, masses, or octavo&lt;br /&gt;
choruses by public schools, church choirs, or vocal societies, rented, borrowed, or obtained&lt;br /&gt;
from some public library, public school, church choir, school choir, or vocal Society, pro-&lt;br /&gt;
vided the performance is given for charitable or educational purposes and not for profit.&lt;br /&gt;
SECT. 29. That any person who, with fraudulent intent, shall insert or impress&lt;br /&gt;
any notice of copyright required by this Act, or words of the same purport, in or upon&lt;br /&gt;
any uncopyrighted article, or with fraudulent intent shall remove or alter the copyright&lt;br /&gt;
notice upon any article duly copyrighted shall be guilty of a misdemeanor, punishable by&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#735) ################################################&lt;br /&gt;
&lt;br /&gt;
( 9 )&lt;br /&gt;
a fine of not less than one hundred dollars and not more than one thousand dollars.&lt;br /&gt;
Any person who shall knowingly issue or sell any article bearing a notice of United&lt;br /&gt;
States coypright which has not been copyrighted in this country, or who shall know-&lt;br /&gt;
ingly import any article bearing such notice or words of the same purport, which has&lt;br /&gt;
not been copyrighted in this country, shall be liable to a fine of one hnndred dollars.&lt;br /&gt;
SECT. 30. That the importation into the United States of any article bearing a&lt;br /&gt;
false notice of copyright when there is no existing copyright thereon in the United&lt;br /&gt;
States, or of any piratical copies of any work copyrighted in the United States, is&lt;br /&gt;
prohibited.&lt;br /&gt;
SECT. 31. That during the existence of the American copyright in any book&lt;br /&gt;
the importation into the United States of any piratical copies thereof or of any copies&lt;br /&gt;
thereof (although authorized by the author or proprietor) which have not been pro-&lt;br /&gt;
duced in accordance with the manufacturing provisions specified in section fifteen of&lt;br /&gt;
this Act, or any plates of the same not made from type set within the limits of the&lt;br /&gt;
United States, or any copies thereof produced by lithographic or photo-engraving&lt;br /&gt;
process not performed within the limits of the United States, in accordance with&lt;br /&gt;
the provisions of section fifteen of this Act, shall be, and is hereby, prohibited :&lt;br /&gt;
Provided, however, That, except as regards piratical copies, such prohibtion shall not&lt;br /&gt;
apply :&lt;br /&gt;
(a.) To works in raised characters for the use of the blind ;&lt;br /&gt;
(b.) To a foreign newspaper or magazine, although containing matter copy-&lt;br /&gt;
righted in the United States printed or reprinted by authority of the copyright&lt;br /&gt;
proprietor, unless such newspaper or magazine contains also copyright matter&lt;br /&gt;
printed or reprinted without such authorization ; t&lt;br /&gt;
(c.) To the authorized edition of a book in a foreign language or languages of&lt;br /&gt;
which only a translation into English has been copyrighted in this country :&lt;br /&gt;
(d) To any book published abroad with the authorization of the author or&lt;br /&gt;
copyright proprietor when imported under the circumstances stated in one of the&lt;br /&gt;
four subdivisions following, that is to say :&lt;br /&gt;
First. When imported, not more than one copy at one time, for individual use&lt;br /&gt;
and not for sale; but such privilege of importation shall not extend to a foreign&lt;br /&gt;
reprint of a book by an American author copyrighted in the United States;&lt;br /&gt;
Second. When imported by the authority or for the use of the United States;&lt;br /&gt;
Third. When imported, for use and not for sale, not more than one copy of&lt;br /&gt;
any such book in any one invoice, in good faith, by or for any society or&lt;br /&gt;
institution incorporated for educational, literary, philosophical, scientific, or&lt;br /&gt;
religious purposes, or for the encouragement of the fine arts, or for any college,&lt;br /&gt;
academy, school, or seminary of learning, or for any State, school, college,&lt;br /&gt;
university, or free public library in the United States :&lt;br /&gt;
Fourth. When such books form parts of libraries or collections purchased&lt;br /&gt;
en bloc for the use of societies, institutions, or libraries designated in the fore-&lt;br /&gt;
going paragraph, or form parts of the libraries or personal baggage belonging&lt;br /&gt;
to persons or families arriving from foreign countries and are not intended&lt;br /&gt;
for sale: Provided, That copies imported as above may not lawfully be used&lt;br /&gt;
in any way to violate the rights of the proprietor of the American copyright or&lt;br /&gt;
annul or limit the copyright protection secured by this Act, and such unlawful&lt;br /&gt;
use shall be deemed an infringement of copyright.&lt;br /&gt;
Issuing, selling, or import-&lt;br /&gt;
ing article bearing false&lt;br /&gt;
notice; fine, $100.&lt;br /&gt;
Importation prohibited of&lt;br /&gt;
articles bearing false notice&lt;br /&gt;
and piratical copies.&lt;br /&gt;
Prohibition of importation&lt;br /&gt;
of books.&lt;br /&gt;
Exceptions to prohibition&lt;br /&gt;
of importation :&lt;br /&gt;
Works for the blind.&lt;br /&gt;
Foreign newspapers or&lt;br /&gt;
magazines.&lt;br /&gt;
Books in foreign languages&lt;br /&gt;
of which only translations&lt;br /&gt;
are copyrighted.&lt;br /&gt;
Importation of authorized&lt;br /&gt;
foreign books permitted.&lt;br /&gt;
For individual use and not&lt;br /&gt;
for sale.&lt;br /&gt;
For the use of the United&lt;br /&gt;
States.&lt;br /&gt;
For the use of societies,&lt;br /&gt;
libraries, etc.&lt;br /&gt;
Libraries purchased en bloc.&lt;br /&gt;
Books brought personally&lt;br /&gt;
into the United States.&lt;br /&gt;
Imported copies not to be&lt;br /&gt;
used to violate copyright.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#736) ################################################&lt;br /&gt;
&lt;br /&gt;
( 10 )&lt;br /&gt;
Seizure of un-&lt;br /&gt;
lawfully im-&lt;br /&gt;
ported copies.&lt;br /&gt;
Copies of&lt;br /&gt;
authorized&lt;br /&gt;
books im-&lt;br /&gt;
ported may&lt;br /&gt;
be returned.&lt;br /&gt;
Secretary of&lt;br /&gt;
Treasury and&lt;br /&gt;
Postmaster-&lt;br /&gt;
General to&lt;br /&gt;
make rules to&lt;br /&gt;
prevent un-&lt;br /&gt;
lawful im-&lt;br /&gt;
portation.&lt;br /&gt;
Jurisdiction&lt;br /&gt;
of courts in&lt;br /&gt;
copyright&lt;br /&gt;
C&agrave;SČS.&lt;br /&gt;
T)istrict in&lt;br /&gt;
which suit&lt;br /&gt;
may be&lt;br /&gt;
brought.&lt;br /&gt;
Injunctions&lt;br /&gt;
may be&lt;br /&gt;
granted.&lt;br /&gt;
Certified copy&lt;br /&gt;
of papers&lt;br /&gt;
filed.&lt;br /&gt;
Judgments,&lt;br /&gt;
etc., may be&lt;br /&gt;
reviewed on&lt;br /&gt;
appeal or writ&lt;br /&gt;
of error.&lt;br /&gt;
No criminal&lt;br /&gt;
proceedings&lt;br /&gt;
shall be main-&lt;br /&gt;
tained after&lt;br /&gt;
three years.&lt;br /&gt;
SECT. 32. That any and all articles prohibited importation by this Act which are&lt;br /&gt;
brought into the United States from any foreign country (except in the mails) shall be&lt;br /&gt;
seized and forfeited by like proceedings as those provided by law for the seizure and&lt;br /&gt;
condemnation of property imported into the United States in violation of the customs&lt;br /&gt;
revenue laws. Such articles when forfeited shall be destroyed in such manner as the&lt;br /&gt;
Secretary of the Treasury or the court, as the case may be, shall direct : Provided,&lt;br /&gt;
however, That all copies of authorized editions of copyright books imported in the mails&lt;br /&gt;
or otherwise in violation of the provisions of this Act may be exported and returned to&lt;br /&gt;
the country of export whenever it is shown to the satisfaction of the Secretary of the&lt;br /&gt;
Treasury, in a written application, that such importation does not involve wilful negligence&lt;br /&gt;
or fraud. -&lt;br /&gt;
SECT. 33. That the Secretary of the Treasury and the Postmaster-General are hereby&lt;br /&gt;
empowered and required to make and enforce such joint rules and regulations as shall&lt;br /&gt;
prevent the importation into the United States in the mails of articles prohibited&lt;br /&gt;
importation by this Act, and may require notice to be given to the Treasury Department&lt;br /&gt;
or Post-Office Department, as the case may be, by copyright proprietors or injured parties,&lt;br /&gt;
of the actual or contemplated importation of articles prohibited importation by this Act,&lt;br /&gt;
and which infringe the rights of such copyright proprietors or injured parties.&lt;br /&gt;
SECT. 34. That all actions, suits, or proceedings arising under the copyright laws of&lt;br /&gt;
the United States shall be originally cognizable by the circuit courts of the United States,&lt;br /&gt;
the district court of any Territory, the Supreme court of the District of Columbia, the&lt;br /&gt;
district courts of Alaska, Hawaii, and Porto Rico, and the courts of first instance of the&lt;br /&gt;
Philippine Islands.&lt;br /&gt;
SECT. 35. That civil actions, suits, or proceedings arising under this Act may be&lt;br /&gt;
instituted in the district of which the defendant or his agent is an inhabitant, or in which&lt;br /&gt;
he may be found.&lt;br /&gt;
SECT. 36. That any such court or judge thereof shall have power, upon bill in equity&lt;br /&gt;
filed by any party aggrieved, to grant injunctions to prevent and restrain the violation of&lt;br /&gt;
any right secured by said laws, according to the course and principles of courts of equity,&lt;br /&gt;
on such terms as said court or judge may deem reasonable. Any injunction that may be&lt;br /&gt;
granted restraining and enjoining the doing of anything forbidden by this Act may be&lt;br /&gt;
served on the parties against whom such injunction may be granted anywhere in the&lt;br /&gt;
United States, and shall be operative throughout the United States and be enforceable&lt;br /&gt;
by proceedings in contempt or otherwise by any other court or judge possessing jurisdiction&lt;br /&gt;
of the defendants.&lt;br /&gt;
SECT. 37. That the clerk of the court, or judge granting the injunction, shall, when&lt;br /&gt;
required so to do by the court hearing the application to enforce said injunction, transmit&lt;br /&gt;
without delay to said court a certified copy of all the papers in said cause that are on file&lt;br /&gt;
in his office.&lt;br /&gt;
SECT. 38. That the orders, judgments, or decrees of any court mentioned in section&lt;br /&gt;
thirty-four of this Act arising under the copyright laws of the United States may be&lt;br /&gt;
reviewed on appeal or writ of error in the manner and to the extent now provided by law&lt;br /&gt;
for the review of cases determined in said courts, respectively.&lt;br /&gt;
SECT. 39. That no criminal proceeding shall be maintained under the provisions of&lt;br /&gt;
this Act unless the same is commenced within three years after the cause of action&lt;br /&gt;
3.TOS&eacute;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#737) ################################################&lt;br /&gt;
&lt;br /&gt;
( 11 )&lt;br /&gt;
- SECT. 40. That in all actions, suits, or proceedings under this Act, except when&lt;br /&gt;
brought by or against the United States or any officer thereof, full costs shall be&lt;br /&gt;
allowed, and the court may award to the prevailing party a reasonable attorney&amp;#039;s&lt;br /&gt;
fee as part of the costs. - *&lt;br /&gt;
SECT. 41. That the copyright is distinct from the property in the material&lt;br /&gt;
object copyrighted, and the sale or conveyance, by gift or otherwise, of the material&lt;br /&gt;
Object shall not of itself constitute a transfer of the copyright, nor shall the assign-&lt;br /&gt;
ment of the copyright constitute a transfer of the title to the material object ; but&lt;br /&gt;
nothing in this Act shall be deemed to forbid, prevent, or restrict the transfer of&lt;br /&gt;
any copy of a copyrighted work the possession of which has been lawfully obtained.&lt;br /&gt;
SECT. 42. That copyright secured under this or previous Acts of the United&lt;br /&gt;
States may be assigned, granted, or mortgaged by an instrument in writing signed&lt;br /&gt;
by the proprietor of the copyright, or may be bequeathed by will.&lt;br /&gt;
SECT. 43. That every assignment of copyright executed in a foreign country&lt;br /&gt;
shall be acknowledged by the assignor before a consular officer or secretary of&lt;br /&gt;
legation of the United States authorized by law to administer oaths or perform&lt;br /&gt;
notarial acts. The certificate of such acknowledgement under the hand and&lt;br /&gt;
official seal of such consular officer or secretary of legation shall be prima facie&lt;br /&gt;
evidence of the execution of the instrument.&lt;br /&gt;
SECT. 44. That every assignment of copyright shall be recorded in the copy-&lt;br /&gt;
right office within three calendar months after its execution in the United States or&lt;br /&gt;
within six calendar months after its execution without the limits of the United States,&lt;br /&gt;
in default of which it shall be void as against any subsequent purchaser or mortgagee&lt;br /&gt;
for a valuable consideration, without notice, whose assignment has been duly recorded.&lt;br /&gt;
. SECT. 45. That the register of copyrights shall, upon payment of the prescribed&lt;br /&gt;
fee, record such assignment, and shall return it to the sender with a certificate of&lt;br /&gt;
record attached under seal of the copyright office, and upon the payment of the fee&lt;br /&gt;
prescribed by this Act he shall furnish to any person requesting the same a certified&lt;br /&gt;
copy thereof under the said seal.&lt;br /&gt;
SECT. 46. That when an assignment of the copyright in a specified book or&lt;br /&gt;
other work has been recorded the assignee may substitute his name for that of the&lt;br /&gt;
assignor in the statutory notice of copyright prescribed by this Act.&lt;br /&gt;
SECT. 47. That all records and other things relating to copyrights required&lt;br /&gt;
by law to be preserved shall be kept and preserved in the copyright office, Library&lt;br /&gt;
of Congress, District of Columbia, and shall be under the control of the register&lt;br /&gt;
of copyrights, who shall, under the direction and supervision of the Librarian of&lt;br /&gt;
Congress, perform all the duties relating to the registration of copyrights.&lt;br /&gt;
SECT. 48. That there shall be appointed by the Librarian of Congress a register&lt;br /&gt;
of copyrights, at a salary of four thousand dollars per annum, and one assistant&lt;br /&gt;
register of copyrights, at a salary of three thousand dollars per annum, who shall&lt;br /&gt;
have authority during the absence of the register of copyrights to attach the copy-&lt;br /&gt;
right office seal to all papers issued from the said office and to sign such certificates&lt;br /&gt;
and other papers as may be necessary. There shall also be appointed by the Librarian&lt;br /&gt;
such subordinate assistants to the register as may from time to time be authorized&lt;br /&gt;
by law. .&lt;br /&gt;
Full costs shall be allowed.&lt;br /&gt;
Copyright distinct from&lt;br /&gt;
property in material object.&lt;br /&gt;
Transfer of any copy of&lt;br /&gt;
copyrighted work permitted.&lt;br /&gt;
Copyright may be assigned,&lt;br /&gt;
mortgaged, or bequeathed&lt;br /&gt;
by will.&lt;br /&gt;
Assignment executed in&lt;br /&gt;
foreign country to be&lt;br /&gt;
acknowledged.&lt;br /&gt;
Assignments to be recorded.&lt;br /&gt;
Register of copyrights to&lt;br /&gt;
record assignments.&lt;br /&gt;
Assignee&amp;#039;s name may be&lt;br /&gt;
substituted in copyright&lt;br /&gt;
notice.&lt;br /&gt;
Copyright records.&lt;br /&gt;
Tegister of copyrights and&lt;br /&gt;
assistant register of copy-&lt;br /&gt;
rights.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#738) ################################################&lt;br /&gt;
&lt;br /&gt;
Register of&lt;br /&gt;
copyrights to&lt;br /&gt;
deposit and&lt;br /&gt;
account for&lt;br /&gt;
fees.&lt;br /&gt;
Shall make&lt;br /&gt;
monthly re-&lt;br /&gt;
port of fees.&lt;br /&gt;
Bond of&lt;br /&gt;
register of&lt;br /&gt;
copyrights.&lt;br /&gt;
Annual re-&lt;br /&gt;
port of&lt;br /&gt;
register of&lt;br /&gt;
CQpyrights.&lt;br /&gt;
Seal of copy-&lt;br /&gt;
right office.&lt;br /&gt;
Rules for the&lt;br /&gt;
registration of&lt;br /&gt;
copyrights.&lt;br /&gt;
Record books.&lt;br /&gt;
Entry of&lt;br /&gt;
copyright,&lt;br /&gt;
Certificate of&lt;br /&gt;
registration.&lt;br /&gt;
Certificate for&lt;br /&gt;
book to state&lt;br /&gt;
receipt of&lt;br /&gt;
affidavit.&lt;br /&gt;
Certificate&lt;br /&gt;
may be given&lt;br /&gt;
to any person.&lt;br /&gt;
Receipt for&lt;br /&gt;
copies de-&lt;br /&gt;
posited.&lt;br /&gt;
Index to&lt;br /&gt;
copyright&lt;br /&gt;
registrations.&lt;br /&gt;
SECT. 49. That the register of copyrights shall make daily deposits in some bank in&lt;br /&gt;
the District of Columbia, designated for this purpose by the Secretary of the Treasury as&lt;br /&gt;
a national depository, of all moneys received to be applied as copyright fees, and shall&lt;br /&gt;
make weekly deposits with the Secretary of the Treasury, in such manner as the latter&lt;br /&gt;
shall direct, of all copyright fees actually applied under the provisions of this Act, and&lt;br /&gt;
annual deposits of sums received which it has not been possible to apply as copyright fees.&lt;br /&gt;
or to return to the remitters, and shall also make monthly reports to the Secretary of the&lt;br /&gt;
Treasury and to the Librarian of Congress of the applied copyright fees for each calendar&lt;br /&gt;
month, together with a statement of all remittances received, trust funds on hand, moneys&lt;br /&gt;
refunded, and unapplied balances,&lt;br /&gt;
SECT, 50. That the register of copyrights shall give bond to the United States in the&lt;br /&gt;
sum of twenty thousand dollars, in form to be approved by the Solicitor of the Treasury&lt;br /&gt;
and with sureties satisfactory to the Secretary of the Treasury, for the faithful discharge&lt;br /&gt;
of his duties.&lt;br /&gt;
SECT. 51. That the register of copyrights shall make an annual report to the&lt;br /&gt;
Librarian of Congress, to be printed in the annual report on the Library of Congress, of&lt;br /&gt;
all copyright business for the previous fiscal year, including the number and kind of&lt;br /&gt;
works which have been deposited in the copyright office during the fiscal year, under the&lt;br /&gt;
provisions of this Act.&lt;br /&gt;
SECT, 52. That the seal provided under the Act of July eighth, eighteen hundred&lt;br /&gt;
and seventy, and at present used in the copyright office, shall continue to be the seal&lt;br /&gt;
thereof, and by it all papers issued from the copyright office requiring authentication&lt;br /&gt;
shall be authenticated.&lt;br /&gt;
SECT. 53. That, subject to the approval of the Librarian of Congress, the register of&lt;br /&gt;
copyrights shall be authorized to make rules and regulations for the registration of claims.&lt;br /&gt;
to copyright as provided by this Act.&lt;br /&gt;
SECT. 54. That the register of copyrights shall provide and keep such record books&lt;br /&gt;
in the copyright office as are required to carry out the provisions of this Act, and when-&lt;br /&gt;
ever deposit has been made in the copyright office of a copy of any work under the&lt;br /&gt;
porvisions of this Act he shall make entry thereof.&lt;br /&gt;
SECT. 55. That in the case of each entry the person recorded as the claimant of the&lt;br /&gt;
copyright shall be entitled to a certificate of registration under seal of the copyright office,&lt;br /&gt;
to contain his name and address, the title of the work upon which copyright is claimed,&lt;br /&gt;
the date of the deposit of the copies of such work, and such marks as to class designation&lt;br /&gt;
and entry number as shall fully identify the entry. In the case of a book the certificate&lt;br /&gt;
shall also state the receipt of the affidavit as provided by section sixteen of this Act, and the&lt;br /&gt;
date of the completion of the printing, or the date of the publication of the book, as stated&lt;br /&gt;
in the said affidavit. The register of copyrights shall prepare a printed form for the said&lt;br /&gt;
certificate, to be filled out in each case as above provided for, which certificate, sealed with&lt;br /&gt;
the seal of the copyright office, shall, upon payment of the prescribed fee, be given to any&lt;br /&gt;
person making application for the same, and the said certificate shall be admitted in any&lt;br /&gt;
court as prim&aacute; facie evidence of the facts stated therein. In addition to such certificate&lt;br /&gt;
the register of copyrights shall furnish, upon request, without additional fee, a receipt for&lt;br /&gt;
the copies of the work deposited to complete the registration.&lt;br /&gt;
SECT. 56. That the register of copyrights shall fully index all copyright registrations&lt;br /&gt;
and assignments and shall print at periodic intervals a catalogue of the titles of articles&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#739) ################################################&lt;br /&gt;
&lt;br /&gt;
( . 13 )&lt;br /&gt;
deposited and registered for copyright, together with suitable indexes, and at stated&lt;br /&gt;
intervals shall print complete and indexed catalogues for each class of copyright entries,&lt;br /&gt;
and may thereupon, if expedient, destroy the original manuscript catalogue cards containing&lt;br /&gt;
the titles included in such printed volumes and representing the entries made during such&lt;br /&gt;
intervals. The current catalogues of copyright entries and the index volumes herein&lt;br /&gt;
provided for shall be admitted in any court as prim&aacute; facie evidence of the facts stated&lt;br /&gt;
therein as regards any copyright registration.&lt;br /&gt;
SECT. 57. That the said printed current catalogues as they are issued shall be&lt;br /&gt;
promptly distributed by the copyright office to the collectors of customs of the United&lt;br /&gt;
States and to the postmasters of all exchange offices of receipt of foreign mails, in accor-&lt;br /&gt;
dance with revised lists of such collectors of customs and postmasters prepared by the&lt;br /&gt;
Secretary of the Treasury and the Postmaster-General, and they shall also be furnished to&lt;br /&gt;
all parties desiring them at a price to be determined by the register of copyrights, not&lt;br /&gt;
exceeding five dollars per annum for the complete catalogue of copyright entries and not&lt;br /&gt;
exceeding one dollar per annum for the catalogues issued during the year for any one&lt;br /&gt;
class of subjects. The consolidated catalogues and indexes shall also be supplied to all&lt;br /&gt;
persons ordering them at such prices as may be determined to be reasonable, and all&lt;br /&gt;
subscriptions for the catalogues shall be received by the Superintendent of Public&lt;br /&gt;
Documents, who shall forward the said publications; and the moneys thus received shall&lt;br /&gt;
be paid into the Treasury of the United States and accounted for under such laws and&lt;br /&gt;
Treasury regulations as shall be in force at the time.&lt;br /&gt;
SECT. 58. That the record books of the copyright office, together with the indexes to&lt;br /&gt;
such record books, and all works deposited and retained in the copyright office, shall be&lt;br /&gt;
open to public inspection ; and copies may be taken of the copyright entries actually&lt;br /&gt;
made in such record books, subject to such safeguards and regulations as shall be&lt;br /&gt;
prescribed by the register of copyrights and approved by the Librarian of Congress.&lt;br /&gt;
SECT, 59. That of the articles deposited in the copyright office under the provisions&lt;br /&gt;
of the copyright laws of the United States or of this Act, the Librarian of Congress shall&lt;br /&gt;
determine what books and other articles shall be transferred to the permanent collections&lt;br /&gt;
of the Library of Congress, including the law library, and what other books or articles&lt;br /&gt;
shall be placed in the reserve collections of the Library of Congress for sale or exchange,&lt;br /&gt;
or be transferred to other governmental libraries in the District of Columbia for use&lt;br /&gt;
therein. *&lt;br /&gt;
SECT. 60. That of any articles undisposed of as above provided, together with all&lt;br /&gt;
titles and correspondence relating thereto, the Librarian of Congress and the register of&lt;br /&gt;
copyrights jointly shall, at suitable intervals, determine what of these received during&lt;br /&gt;
any period of years it is desirable or useful to preserve in the permanent files of the&lt;br /&gt;
copyright office, and, after due notice as hereinafter provided, may within their discretion&lt;br /&gt;
cause the remaining articles and other things to be destroyed: Provided, That there&lt;br /&gt;
shall be printed in the Catalogue of Copyright Entries from February to November,&lt;br /&gt;
inclusive, a statement of the years of receipt of such articles and a notice to permit any&lt;br /&gt;
author, copyright proprietor, or other lawful claimant to claim and remove before the&lt;br /&gt;
expiration of the month of December of that year anything found which relates to any of&lt;br /&gt;
his productions deposited or registered for copyright within the period of years stated,&lt;br /&gt;
not reserved or disposed of as provided for in this Act: And provided further, That no&lt;br /&gt;
manuscript of an unpublished, work shall be destroyed during its term of copyright&lt;br /&gt;
Catalogue of&lt;br /&gt;
copyright.&lt;br /&gt;
entries.&lt;br /&gt;
Catalogue&lt;br /&gt;
cards.&lt;br /&gt;
Catalogues&lt;br /&gt;
and indexes&lt;br /&gt;
prim&acirc; facie&lt;br /&gt;
evidence.&lt;br /&gt;
Distribution&lt;br /&gt;
of catalogue&lt;br /&gt;
of copyright&lt;br /&gt;
entries.&lt;br /&gt;
Subscription&lt;br /&gt;
price.&lt;br /&gt;
Superin-&lt;br /&gt;
tendent of&lt;br /&gt;
documents to&lt;br /&gt;
receive sub-&lt;br /&gt;
Scriptions.&lt;br /&gt;
Record books,&lt;br /&gt;
etc., open to&lt;br /&gt;
inspection.&lt;br /&gt;
Copies may&lt;br /&gt;
be taken of&lt;br /&gt;
entries in&lt;br /&gt;
record books.&lt;br /&gt;
Disposition of&lt;br /&gt;
Copyright&lt;br /&gt;
deposits.&lt;br /&gt;
Preservation&lt;br /&gt;
of copyright&lt;br /&gt;
deposits.&lt;br /&gt;
Disposal of&lt;br /&gt;
copyright&lt;br /&gt;
deposits.&lt;br /&gt;
Manuscript&lt;br /&gt;
copies to be&lt;br /&gt;
preserved.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#740) ################################################&lt;br /&gt;
&lt;br /&gt;
( 14 )&lt;br /&gt;
Fees.&lt;br /&gt;
Fee for registration.&lt;br /&gt;
Fee for certificate.&lt;br /&gt;
Fee for recording assign-&lt;br /&gt;
ment.&lt;br /&gt;
Fee for copy of assignment.&lt;br /&gt;
Fee for recording notice of&lt;br /&gt;
user upon mechanical&lt;br /&gt;
musical instruments.&lt;br /&gt;
Fee for comparing copy of&lt;br /&gt;
assignment.&lt;br /&gt;
Fee for recording renewal&lt;br /&gt;
of copyright.&lt;br /&gt;
Fee for recording transfer&lt;br /&gt;
of proprietorship.&lt;br /&gt;
Fee for search.&lt;br /&gt;
Only one registration re-&lt;br /&gt;
quired for work in several&lt;br /&gt;
volumes.&lt;br /&gt;
Definitions :&lt;br /&gt;
&ldquo;Date of publication.&rdquo;&lt;br /&gt;
&ldquo;Author.&rdquo;&lt;br /&gt;
Repealing clause.&lt;br /&gt;
Date of enforcement.&lt;br /&gt;
without specific notice to the copyright proprietor of record, permitting him to&lt;br /&gt;
claim and remove it.&lt;br /&gt;
SECT. 61. That the register of copyrights shall receive, and the persons to whom&lt;br /&gt;
the services designated are rendered shall pay, the following fees: For the regis-&lt;br /&gt;
tration of any work subject to copyright, deposited under the provisions of this&lt;br /&gt;
Act, one dollar, which sum is to include a certificate of registration under seal:&lt;br /&gt;
Provided, That in the case of photographs the fee shall be fifty cents where a&lt;br /&gt;
certificate is not demanded. For every additional certificate of registration made,&lt;br /&gt;
fifty cents. For recording and certifying any instrument of writing for the assign-&lt;br /&gt;
ment of copyright, or any such licence specified in section one, subsection (e), or&lt;br /&gt;
for any copy of such assignment or licence, duly certified, if not over three hundred&lt;br /&gt;
words in length, one dollar; if more than three hundred and less than one thousand&lt;br /&gt;
words in length, two dollars; if more than one thousand words in length, one dollar&lt;br /&gt;
additional for each one thousand words or fraction thereof over three hundred&lt;br /&gt;
Words. For recording the notice of user or acquiescence specified in section one,&lt;br /&gt;
subsection (e), twenty-five cents for each notice if not over fifty words, and an&lt;br /&gt;
additional twenty-five cents for each additional one hundred words. For comparing&lt;br /&gt;
any copy of an assignment with the record of such document in the copyright office&lt;br /&gt;
and certifying the same under seal, one dollar. For recording the extension or&lt;br /&gt;
renewal of copyright provided for in sections twenty-three and twenty-four of this&lt;br /&gt;
Act, fifty cents. For recording the transfer of the proprietorship of copyrighted&lt;br /&gt;
articles, ten cents for each title of a book or other article, in addition to the fee&lt;br /&gt;
prescribed for recording the instrument of assignment. For any requested search&lt;br /&gt;
of copyright office records, indexes, or deposits, fifty cents for each full hour of&lt;br /&gt;
time consumed in making such search : Provided, That only one registration at&lt;br /&gt;
one fee shall be required in the case of several volumes of the same book deposited&lt;br /&gt;
at the same time.&lt;br /&gt;
SECT. 62. That in the interpretation and construction of this Act &ldquo;the date&lt;br /&gt;
of publication &rdquo; shall in the case of a work of which copies are reproduced for&lt;br /&gt;
sale or distribution be held to be the earliest date when copies of the first&lt;br /&gt;
authorized edition were placed on sale, sold, or publicly distributed by the proprietor&lt;br /&gt;
of the copyright or under his authority, and the word &ldquo;author&rsquo;&rdquo; shall include an&lt;br /&gt;
employer in the case of works made for hire.&lt;br /&gt;
SECT. 63. That all laws or parts of laws in conflict with the provisions of this&lt;br /&gt;
Act are hereby repealed, but nothing in this Act shall affect causes of action for&lt;br /&gt;
infringement of copyright heretofore committed now pending in courts of the&lt;br /&gt;
United States, or which may hereafter be instituted ; but such causes shall be&lt;br /&gt;
prosecuted to a conclusion in the manner heretofore provided by law.&lt;br /&gt;
SECT. 64. That this Act shall go into effect on the first day of July, nineteen&lt;br /&gt;
hundred and nine.&lt;br /&gt;
Approved, March 4, 1909.&lt;br /&gt;
This Act goes into effect July 1, 1909,&lt;br /&gt;
BRADBURY, AGNEW, &amp;amp; Co. LD., PRINTERs, LonDON AND TONBRIDGE,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#741) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#742) ################################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#743) ################################################&lt;br /&gt;
&lt;br /&gt;
IMPERIAL COPYRIGHT CONFERENCE.&lt;br /&gt;
- - 1910.&lt;br /&gt;
MEMORANDUM OF THE PROCEEDINGS,&lt;br /&gt;
PRESENTED To BOTH HOUSES OF PARLIAMENT BY COMMAND OF HIS MAJESTY,&lt;br /&gt;
July, 1910,&lt;br /&gt;
As long ago as 1878 a Royal Commission reported that the British Copyright Law stood in&lt;br /&gt;
urgent need of revision and amendment. It has not hitherto been possible to give full effect to the&lt;br /&gt;
recommendations of the Royal Commission, owing to the difficulty of the questions involved, but a&lt;br /&gt;
new importance has been given to the matter by the revision of the International Copyright&lt;br /&gt;
Convention, carried out by the International Conference held at Berlin in October and November&lt;br /&gt;
1908.&lt;br /&gt;
The revised Convention, which was signed ad referendum by the British delegates on behalf of&lt;br /&gt;
His Majesty&amp;#039;s Government, embodies certain alterations which cannot be put into force in the British&lt;br /&gt;
Empire without a change in the existing law. The revised Convention was examined, from the point&lt;br /&gt;
of view of the interests of the United Kingdom, by a strong Departmental Committee, presided over&lt;br /&gt;
by Lord Gorell, which reported in December, 1909, substantially in favour of the ratification of the&lt;br /&gt;
Convention. Before, however, any action could be taken to carry out the recommendations of the&lt;br /&gt;
Committee it was necessary to ascert&agrave;in the views of the other parts of the Empire.&lt;br /&gt;
A Conference of representatives of all the self-governing Dominions, convened as a subsidiary&lt;br /&gt;
Conference of the Imperial Conference, and comprising also a representative of the India Office,&lt;br /&gt;
accordingly met to consider in what manner the existing uniformity of law on copyright could best&lt;br /&gt;
be maintained and in what respects the existing law should be modified, the basis for discussion&lt;br /&gt;
being the revised Copyright Convention.&lt;br /&gt;
This Conference met on May 18, 1910, at the Foreign Office. The Right Honourable Sydney&lt;br /&gt;
Buxton, M.P., President of the Board of Trade, was in the chair, and was assisted by Sir H. Llewellyn&lt;br /&gt;
Smith, K.C.B., Permanent Secretary, Mr. G. R. Askwith, C.B., K.C., and Mr. W. Temple Franks,&lt;br /&gt;
representing the Board of Trade; Mr. H. W. Just, C.B., C.M.G., Secretary to the Imperial Conference,&lt;br /&gt;
representing the Colonial Office; Mr. A. Law, C.B., representing the Foreign Office ; Sir Thomas&lt;br /&gt;
Raleigh, K.C.S.I., Member of the Council of India, representing the India Office; and Mr. F. F.&lt;br /&gt;
Iiddell, of the Office of the Parliamentary Counsel.&lt;br /&gt;
The representatives of the self-governing Dominions were : the Hon. Sydney Fisher, Minister of&lt;br /&gt;
Agriculture, accompanied by Mr. P. E. Ritchie (Dominion of Canada); the Right Hon. Lord&lt;br /&gt;
Tennyson, G.C.M.G. (Commonwealth of Australia); the Hon. Sir W. Hall Jones, K.C.M.G.&lt;br /&gt;
(Dominion of New Zealand); the Hon. Sir Richard Solomon, K.C.B., K.C.M.G., K.C.V.O., K.C.&lt;br /&gt;
(Union of South Africa); and the Hon. Sir Edward Morris, K.C. (Newfoundland).&lt;br /&gt;
Mr. A. B. Keith, of the Colonial Office, and Mr. T. W. Phillips, of the Board of Trade, acted as&lt;br /&gt;
Joint Secretaries of the Conference, .&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#744) ################################################&lt;br /&gt;
&lt;br /&gt;
( 2 )&lt;br /&gt;
At the opening meeting the President, briefly outlined the reasons which had led to the&lt;br /&gt;
&ordm; of the Conference, and indicated the chief points to which attention should be directed,&lt;br /&gt;
as follows:&mdash;&lt;br /&gt;
&ldquo;GENTLEMEN,&lt;br /&gt;
&ldquo;The immediate reason for our meeting here is the Berlin Copyright Conference of two&lt;br /&gt;
years ago, in which many of the great nations took part. The outcome of the Conference was the&lt;br /&gt;
Revised Convention which was signed at Berlin on behalf of the British Government&mdash;signed, I&lt;br /&gt;
desire to say, ad referendum, with full liberty to ratify or not, or to make reservations to the&lt;br /&gt;
Convention, if it were subsequently thought advisable.&lt;br /&gt;
&ldquo;The first International Copyright Convention was that of Berne in 1887, when for the first&lt;br /&gt;
time an attempt was made to form an International Union for the reciprocal protection of authors&lt;br /&gt;
among the various nations which were party to it. I take it that the fundamental basis of that&lt;br /&gt;
Convention was that all the nations joining the Union should reciprocally give the advantage of their&lt;br /&gt;
various local Copyright Acts to other members of the Union. The Berne Convention did not go very&lt;br /&gt;
much further than that in the direction of providing a code of International Copyright Law owing&lt;br /&gt;
to the great divergencies which then existed between the various local Copyright Acts. There was a&lt;br /&gt;
further Conference in Paris in 1896 in which some amendments were made. A considerable time&lt;br /&gt;
then passed, and during that interval, with the exception of the United Kingdom, where, I am sorry&lt;br /&gt;
to say, we have not for very many years past made any progress in copyright reform, nearly every other&lt;br /&gt;
nation belonging to the Union, influenced partly, we may suppose, by the Berne Convention, remodelled&lt;br /&gt;
its Copyright Acts, and brought them more into accord with present-day requirements and present-&lt;br /&gt;
day views. Some of them, in anticipation of the revision of the Convention, made reciprocal Treaties&lt;br /&gt;
with regard to these matters, in order to give each other the advantages which accrued from their&lt;br /&gt;
local legislation. In consequence, a desire sprang up on the Continent to have a further Conference&lt;br /&gt;
with a view to framing a revised and more complete Convention. This Conference took place in&lt;br /&gt;
Berlin in 1908, and was of a very representative character. Perhaps, in that connection, I may just&lt;br /&gt;
refer to the great loss we all feel the copyright question has sustained by the death of Sir Henry&lt;br /&gt;
Bergne, who was the chief British delegate at that Conference.&lt;br /&gt;
&ldquo;The result of that Conference was the drafting of a revised Convention which it is proposed&lt;br /&gt;
shall supersede the various other Agreements and Conventions which are now in force. The British&lt;br /&gt;
delegates were authorised to sign that Convention subject to subsequent ratification, if, after&lt;br /&gt;
consideration by His Majesty&amp;#039;s Government and by those representing the Dominions, it was thought&lt;br /&gt;
advisable to ratify, or to ratify subject to certain reservations.&lt;br /&gt;
&ldquo;The advance which was made in the Berlin Convention was partly to provide a single document&lt;br /&gt;
instead of the three that previously existed, and partly to embody a number of important amendments.&lt;br /&gt;
The result was that, as regards the United Kingdom especially, various proposals were adopted which&lt;br /&gt;
are somewhat new to our laws. One of the principal alterations which is proposed in the Berlin&lt;br /&gt;
Convention&mdash;indeed, many of its proposals are dependent on it&mdash;is the entire abolition, in Inter-&lt;br /&gt;
national relations, of what are called &lsquo;formalities,&rsquo; that is to say, that there should be no necessity&lt;br /&gt;
for registration or other formalities in order to obtain or retain copyright.&lt;br /&gt;
&ldquo;The Convention dealt also with the question of the date from which copyright should run,&lt;br /&gt;
whether from the end of the author&amp;#039;s life or from publication, and with the question of the period of&lt;br /&gt;
copyright. The proposal made was that copyright should run for life and for fifty years afterwards.&lt;br /&gt;
This proposal, as you know, differs to a considerable extent from our existing system of copyright.&lt;br /&gt;
&ldquo;There are also proposals to grant a wider copyright to literary works, and to give the protection&lt;br /&gt;
of copyright to, for instance, music against its reproduction without payment by mechanical means.&lt;br /&gt;
Some of these points are new, so far as we are concerned, or are differently treated under our law.&lt;br /&gt;
&ldquo;All these points, and others to which I need not now refer, were very carefully examined by a&lt;br /&gt;
strong Departmental Committee appointed by the Board of Trade and presided over by Lord Gorell.&lt;br /&gt;
This Committee came unanimously to the conclusion that the Berlin Convention should be ratified ;&lt;br /&gt;
and, further, they came to substantial agreement on very nearly every point, I think, with regard to&lt;br /&gt;
these various questions connected with the proposals of the Convention.&lt;br /&gt;
&ldquo;That is the International position. With the Imperial position you are familiar ; and you are&lt;br /&gt;
aware of the very great difficulties which, up to now, have beset the path, and which have rendered&lt;br /&gt;
it difficult or impossible to deal with the reform of the Copyright Law.&lt;br /&gt;
&ldquo;But there is another strong reason for dealing with the question. As long ago as 1878 a&lt;br /&gt;
Royal Commission reported that the British Copyright Law stood in urgent need of reform, but,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#745) ################################################&lt;br /&gt;
&lt;br /&gt;
( 3 )&lt;br /&gt;
owing to the difficulties of the question&mdash;inherent, International and Imperial&mdash;scarcely anything&lt;br /&gt;
has been done to carry their recommendations into effect.&lt;br /&gt;
&ldquo;The Berlin Convention has shown further defects, and the examination by the Gorell Committee&lt;br /&gt;
has further proved that the question is of great importance and of great urgency. Indeed, I feel&lt;br /&gt;
sure that anyone who has studied the question of copyright must admit that the time has fully come&lt;br /&gt;
when, quite apart from any question of the Berlin Convention, or the Imperial aspect of the question,&lt;br /&gt;
the question of copyright really ought to be dealt with afresh.&lt;br /&gt;
&ldquo;When I came to examine the copyright question in view of this Conference, I found, as I think&lt;br /&gt;
everybody who has had to deal with it has found, that it abounds in questions of the utmost com-&lt;br /&gt;
plexity. I think it was the Commission of 1878 who reported that &lsquo;the law &amp;#039; (that is, the Copyright&lt;br /&gt;
Law) &ldquo;is wholly destitute of any sort of arrangement, incomplete, often obscure, and even when it is&lt;br /&gt;
intelligible upon long study, it is in many parts so ill-expressed that no one who does not give such&lt;br /&gt;
study to it can expect to understand it&rsquo;; and they go on to make other observations of the same sort&lt;br /&gt;
with regard to our Copyright Law, and urge strongly that it requires amendment, simplification and&lt;br /&gt;
codification, and should be placed on a systematic and uniform basis.&lt;br /&gt;
&ldquo;It is clear from what I have said that adherence to the Berlin Convention would involve in some&lt;br /&gt;
respects a considerable departure from our copyright system and our Copyright Acts here, and would&lt;br /&gt;
involve, therefore, an Act of Parliament. That being so, it became necessary for His Majesty&amp;#039;s&lt;br /&gt;
Government to consider what should be their attitude in reference to the Berlin Convention, and they&lt;br /&gt;
recognised, of course, as they have always done with regard to these copyright matters, that it was an&lt;br /&gt;
Imperial as well as a United Kingdom question, and that it was necessary, therefore, to take into&lt;br /&gt;
consultation those representing the Self-governing Dominions over the seas. That is the reason, as&lt;br /&gt;
you are aware, why delegates representative of the self-governing Dominions, of the Dependency of&lt;br /&gt;
India, and of the Home Government are met this morning.&lt;br /&gt;
&ldquo;In regard to the general position, His Majesty&amp;#039;s Government have come to the conclusion, in&lt;br /&gt;
the first place, that it is of the highest importance, both from the point of view of efficiency and from&lt;br /&gt;
the point of view of the Imperial connection, to obtain uniformity of legislation as regards copyright&lt;br /&gt;
throughout the British Empire. That is the first proposition they desire to place before the&lt;br /&gt;
Conference.&lt;br /&gt;
&ldquo;In the second place, they consider it highly important to attain as great a degree of uniformity&lt;br /&gt;
as is reasonably practicable among the principal nations of the world with regard to International&lt;br /&gt;
copyright. Taking those two points together, they consider it desirable, therefore, to ratify the&lt;br /&gt;
Berlin Convention, if this course is practicable without any undue sacrifice of any important British&lt;br /&gt;
interests.&lt;br /&gt;
&ldquo;In examining this matter we shall, of course, have to consider the details on their merits and&lt;br /&gt;
what they involve. His Majesty&amp;#039;s Government are of opinion that it is important that, if we ratify&lt;br /&gt;
the Berlin Convention at all, we should ratify with as few alterations and reservations as possible. I&lt;br /&gt;
desire, however, to say with regard to the detailed provisions of the Convention that we are not com-&lt;br /&gt;
mitted in any sense to their terms, and that they will be fully open to discussion by the Conference,&lt;br /&gt;
in order to see how far they may be applicable to us here or to the Dominions, and how far we may&lt;br /&gt;
wish to modify them or to reserve points in connection with them.&rdquo;&lt;br /&gt;
The Conference then resolved itself into Committee for the discussion of the subject in detail.&lt;br /&gt;
Seven meetings were held, and after full discussion the following Resolutions were agreed to :&mdash;&lt;br /&gt;
RATIFICATION OF REVISED CONVENTION.&lt;br /&gt;
1. &ldquo;The Conference, having considered in substance the revised Copyright Convention, recom-&lt;br /&gt;
mends that the Convention should be ratified by the Imperial Government on behalf of the various&lt;br /&gt;
parts of the Empire; and that with a view to uniformity of International Copyright any reservations&lt;br /&gt;
made should be confined to as few points as possible. No ratification should, however, be made on&lt;br /&gt;
behalf of a self-governing Dominion until its assent to ratification has been received ; and provision&lt;br /&gt;
should be made for the separate withdrawal of each self-governing Dominion.&lt;br /&gt;
IMPERIAL COPYRIGHT LAW.&lt;br /&gt;
2.--(a) &ldquo;The Conference recognises the urgent need of a new and uniform Law of Copyright&lt;br /&gt;
throughout the Empire, and recommends that an Act dealing with all the essentials of Imperial Copy-&lt;br /&gt;
right Law should be passed by the Imperial Parliament, and that this Act, except such of its provisions&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#746) ################################################&lt;br /&gt;
&lt;br /&gt;
( 4 )&lt;br /&gt;
as are expressly restricted to the United Kingdom, should be expressed to extend to all the British&lt;br /&gt;
possessions: Provided that the Act shall not extend to a self-governing Dominion unless declared by&lt;br /&gt;
the Legislature of that Dominion to be in force therein, either without any modifications or additions,&lt;br /&gt;
or with such modifications and additions relating exclusively to procedure and remedies as may be&lt;br /&gt;
enacted by such Legislature. s&lt;br /&gt;
(b) &ldquo;Any self-governing Dominion which adopts the new Act should be at liberty subsequently&lt;br /&gt;
to withdraw from the Act, and for that purpose to repeal it so far as it is operative in that Dominion,&lt;br /&gt;
subject always to treaty obligations and respect for existing rights.&lt;br /&gt;
(c) &ldquo;Where a self-governing Dominion has passed legislation substantially identical with the new&lt;br /&gt;
Imperial Act, except for the omission of any provisions which are expressly restricted to the United&lt;br /&gt;
Ringdom, or for such modifications as are verbal only, or are necessary to adapt the Act to the circum-&lt;br /&gt;
stances of the Dominion, or relate exclusively to procedure or remedies or to works first published&lt;br /&gt;
within or the authors whereof are resident in the Dominion, the Dominion should, for the purposes&lt;br /&gt;
of the rights conferred by the Act, be treated as if it were a Dominion to which the Act extends.&lt;br /&gt;
(d) &ldquo;A self-governing Dominion which neither adopts the Imperial Act nor passes substantially&lt;br /&gt;
identical legislation, should not enjoy in other parts of the Empire any rights except such as may be&lt;br /&gt;
conferred by Order in Council, or, within a self-governing Dominion, by Order of the Governor in&lt;br /&gt;
Council.&lt;br /&gt;
(e) &ldquo;The Legislature of any British Possession (whether a self-governing Dominion or not) to&lt;br /&gt;
which the new Imperial Act extends, should have power to modify or add to any of its provisions in&lt;br /&gt;
its application to the Possession ; but, except so far as such modifications and additions relate to pro-&lt;br /&gt;
cedure and remedies, they should apply only to works the authors whereof are resident in the Possession&lt;br /&gt;
and to works first published therein.&lt;br /&gt;
REPEAL OF EXISTING COPYRIGHT ACTS.&lt;br /&gt;
3. &ldquo;The Conference is of opinion that as from the date on which the new Imperial Act takes&lt;br /&gt;
effect, the existing Imperial Copyright Acts should be repealed so far as regards the parts of the&lt;br /&gt;
Empire to which the new Act extends. In any self-governing Dominion to which the new Imperial&lt;br /&gt;
Act does not extend the existing Imperial Acts should, so far as they are operative in that Dominion,&lt;br /&gt;
continue in force until repealed by the Legislature of that Dominion.&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
4.&mdash;(a) &ldquo;The Conference is of opinion that, saye in so far as it may be extended by Orders in&lt;br /&gt;
Council, copyright under the new Imperial Act should subsist only in works of which the author is a&lt;br /&gt;
British subject, or is bon&aacute;, fide resident in one of the parts of the British Empire to which the Act&lt;br /&gt;
extends; and that copyright should cease if the work be first published elsewhere than in such parts&lt;br /&gt;
of the Empire.&lt;br /&gt;
(b) &ldquo;The Conference is of opinion that, if possible, it should be made clear on ratification that&lt;br /&gt;
the obligations imposed by the Convention on the British Empire should relate solely to works the&lt;br /&gt;
authors of which are subjects or citizens of a country of the Union, or bom&aacute; fide resident therein; and&lt;br /&gt;
that in any case it is essential that the above reservation should be made in regard to any self-governing&lt;br /&gt;
T}ominion which so desires.&lt;br /&gt;
5. &ldquo;His Majesty should have power to direct by Order in Council that the benefits of the new&lt;br /&gt;
Imperial Act, or any part thereof, shall be granted, with or without conditions, to the works of authors,&lt;br /&gt;
being subjects or citizens of, or residents in a foreign country, and to works first published in that&lt;br /&gt;
country, conditionally on the foreign country in question making proper provision for the protection&lt;br /&gt;
of British subjects entitled to copyright ; provided that Orders granting the benefits of the Act to a&lt;br /&gt;
foreign country within any self-governing Dominion should be made by the Governor in Council of&lt;br /&gt;
that Dominion. w&lt;br /&gt;
DEFINITION OF COPYRIGHT.&lt;br /&gt;
6. &ldquo;The Conference is of opinion that, subject to proper qualifications, copyright should&lt;br /&gt;
include the sole right to produce or reproduce a work, or any substantial part thereof, in any material&lt;br /&gt;
form whatsoever and in any language, to perform, or in the case of a lecture to deliver, the Work or&lt;br /&gt;
any substantial part thereof in public, and, if the work is unpublished, to publish the work, and&lt;br /&gt;
should include the sole right to dramatise novels and vice vers&aacute;, and to make records, &amp;amp;c., by means&lt;br /&gt;
of which a work may be mechanically performed.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#747) ################################################&lt;br /&gt;
&lt;br /&gt;
( 5 )&lt;br /&gt;
TERM OF COPYRIGHT.&lt;br /&gt;
7.&mdash;(a) &ldquo;The Conference is of opinion that, in order to dispense with formalities as a condition&lt;br /&gt;
of copyright, and to ensure that the whole of an author&amp;#039;s works fall into the public domain simul-&lt;br /&gt;
taneously, the term of copyright ought to be based on the life of the author with the addition of a&lt;br /&gt;
certain number of years,&lt;br /&gt;
(b) &ldquo;The Conference understands that it would be impossible to obtain International uniformity&lt;br /&gt;
on the basis of any other term of copyright than one of life and fifty years, and attaches great&lt;br /&gt;
importance to the attainment of such uniformity. -&lt;br /&gt;
(c) &ldquo;The Conference further understands that the enactment of a term of copyright which in&lt;br /&gt;
many cases would be less than that which at present subsists would introduce grave complications in&lt;br /&gt;
applying the new Act to existing works.&lt;br /&gt;
(d) &ldquo;Having regard to these considerations, and especially to the importance of securing&lt;br /&gt;
International uniformity, the Conference is of opinion that, subject to the conditions hereafter&lt;br /&gt;
indicated, the term of copyright should be life and fifty years ; but that in the case of a work of&lt;br /&gt;
joint authorship the term of copyright should be the life of the author who first dies and fifty years&lt;br /&gt;
after his death, or the life of the author who dies last, whichever period is the longer.&lt;br /&gt;
(e) &ldquo;The Conference is of opinion that, if a term of life and fifty years is granted to literary,&lt;br /&gt;
dramatic, musical and aristic works, it is essential that, in the case of published works, effective&lt;br /&gt;
provision should be made to secure that after the death of the author the reasonable requirements of&lt;br /&gt;
the public be met as regards the supply and the terms of publication of the work, and permission to&lt;br /&gt;
perform it in public. The recommendation of the Conference as to the term of copyright is&lt;br /&gt;
conditional on the enactment of some provision of this nature.&lt;br /&gt;
ABOLITION OF FORMALITIES.&lt;br /&gt;
8. &ldquo;The Conference is of opinion that no formalities, such as registration, should be imposed&lt;br /&gt;
as a condition of the existence or the exercise of the rights granted by the new Act.&lt;br /&gt;
&ldquo;For the purpose, however, of the protection of an innocent infringer no damages should be&lt;br /&gt;
recoverable if the infringer proves that he was not aware, and had no reasonable means of making&lt;br /&gt;
himself aware, that copyright subsisted in the work; but every person would be deemed to be&lt;br /&gt;
effected with notice of the existence of copyright if the proper particulars have been entered in a&lt;br /&gt;
register established for the purpose. Registration, however, should be optional merely. -&lt;br /&gt;
INCLUSION OF ARCHITECTURE AND ARTISTIC CRAFTs.&lt;br /&gt;
9. &ldquo;The Conference is of opinion that an original Work of art should not lose the protection of&lt;br /&gt;
artistic copyright solely because it consists of, or is embodied in, a work of architecture or craftsman-&lt;br /&gt;
ship ; but that it should be clearly understood that such protection is confined to its artistic form&lt;br /&gt;
and does not extend to the processes or methods of production, or to an industrial design capable of&lt;br /&gt;
registration under the law relating to designs and destined to be multiplied by way of manufacture&lt;br /&gt;
or trade.&lt;br /&gt;
APPLICATION TO ExISTING WORKS.&lt;br /&gt;
10. &ldquo;The Conference is of opinion that existing works in which copyright actually subsists at&lt;br /&gt;
the commencement of the Act (but no others) should enjoy, subject to existing rights, the same&lt;br /&gt;
protection as future works, but the benefit of any extension of terms should belong to the author of&lt;br /&gt;
the work, subject, in the case where he has assigned his existing rights, to a power on the part of the&lt;br /&gt;
assignee at his option either to purchase the full benefit of the copyright during the extended term or,&lt;br /&gt;
without acquiring the full copyright, to continue to publish the work on payment of royalties, the&lt;br /&gt;
payments in either case to be fixed by arbitration if necessary.&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
11. &ldquo;The Conference is of opinion that provision should be made to stop the importation of&lt;br /&gt;
pirated copies of a copyright work into any part of His Majesty&amp;#039;s Dominions to which the Imperial&lt;br /&gt;
Act extends.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#748) ################################################&lt;br /&gt;
&lt;br /&gt;
( 6 )&lt;br /&gt;
&ldquo;The Conference is further of opinion that it is not desirable to continue the special provisions&lt;br /&gt;
of the Foreign Reprints Act, at least so far as regards self-governing Dominions. 4.&lt;br /&gt;
12. &ldquo;The Conference is of opinion that it is undesirable expressly to confer rights on the&lt;br /&gt;
authors of works which themselves infringe the copyright in other works, and that if necessary a&lt;br /&gt;
reservation to this effect should be made when the revised Convention is ratified.&rdquo; -&lt;br /&gt;
A draft Bill for the consolidation and amendment of the Law of Copyright embodying the above&lt;br /&gt;
conclusions was submitted to the Conference, and generally approved, after discussion in detail.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#749) ################################################&lt;br /&gt;
&lt;br /&gt;
COPYRIGHT BILL.&lt;br /&gt;
ARRANGEMENT OF CLAUSES.&lt;br /&gt;
PART I.&lt;br /&gt;
IMPERIAL COPYRIGHT.&lt;br /&gt;
Clause. Rights.&lt;br /&gt;
1.&lt;br /&gt;
2.&lt;br /&gt;
3.&lt;br /&gt;
i&lt;br /&gt;
12.&lt;br /&gt;
13.&lt;br /&gt;
14.&lt;br /&gt;
i5.&lt;br /&gt;
- 16.&lt;br /&gt;
25.&lt;br /&gt;
26.&lt;br /&gt;
27.&lt;br /&gt;
28.&lt;br /&gt;
Copyright.&lt;br /&gt;
Term of copyright.&lt;br /&gt;
Ownership of copyright, &amp;amp;c.&lt;br /&gt;
Civil Remedies.&lt;br /&gt;
. Rights of owner against persons possessing or dealing with pirated copies, &amp;amp;c.&lt;br /&gt;
. Infringement by sale, &amp;amp;c.&lt;br /&gt;
Exemption of innocent infringer from liability to pay damages, &amp;amp;c.&lt;br /&gt;
Remedies in the case of architecture.&lt;br /&gt;
. Limitation of actions.&lt;br /&gt;
Summary Remedies.&lt;br /&gt;
. Penalties for dealing with pirated copies, &amp;amp;c.&lt;br /&gt;
10.&lt;br /&gt;
. Power to seize copies of works on hawkers.&lt;br /&gt;
Search warrant and hawking of pirated copies of works.&lt;br /&gt;
Power to arrest without warrant persons selling, &amp;amp;c., pirated copies of works.&lt;br /&gt;
Appeals to quarter sessions.&lt;br /&gt;
Extent of provisions as to summary remedies.&lt;br /&gt;
Importalion of Copies.&lt;br /&gt;
Importation of copies.&lt;br /&gt;
Delivery of Books to Libraries.&lt;br /&gt;
Delivery of copies to British Museum and other libraries.&lt;br /&gt;
Registration.&lt;br /&gt;
. Registration.&lt;br /&gt;
Special Provisions as to certain Works.&lt;br /&gt;
. Posthumous works.&lt;br /&gt;
. Works of joint authors.&lt;br /&gt;
. Collective works.&lt;br /&gt;
. Provisions as to newspapers.&lt;br /&gt;
. Provisions as to photographs.&lt;br /&gt;
. Provisions as to designs registrable under 7 Edw.7, c. 29.&lt;br /&gt;
. Existing works.&lt;br /&gt;
Application to British Possessions.&lt;br /&gt;
Application of Act to British Dominions.&lt;br /&gt;
Legislative powers of self-governing Dominions.&lt;br /&gt;
Power of Legislatures of British possessions to pass supplemental legislation.&lt;br /&gt;
Application to protectorates.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#750) ################################################&lt;br /&gt;
&lt;br /&gt;
( 8 )&lt;br /&gt;
Copyright.&lt;br /&gt;
PART II.&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
Clause.&lt;br /&gt;
29. Power to extend Act to foreign works.&lt;br /&gt;
30. Evidence of foreign copyright.&lt;br /&gt;
31. Application of Part II. to British possessions.&lt;br /&gt;
PART III.&lt;br /&gt;
SUPPLEMENTAL PROVISIONS.&lt;br /&gt;
32. Abrogation of common law rights.&lt;br /&gt;
33. Provisions as to Orders in Council.&lt;br /&gt;
34. Saving of university copyright.&lt;br /&gt;
35. Saving of compensation to certain libraries.&lt;br /&gt;
36. Interpretation.&lt;br /&gt;
37. Repeal.&lt;br /&gt;
38. Short title and commencement.&lt;br /&gt;
SCHEDULES.&lt;br /&gt;
A BILL TO AMEND AND CONSOLIDATE THE LAW RELATING&lt;br /&gt;
TO COPYRIGHT. A.D. 1910. -&lt;br /&gt;
BE it enacted by the King&amp;#039;s most Excellent Majesty, by and with the advice and&lt;br /&gt;
consent of the Lords Spiritual and Temporal, and Commons, in this present Parliament&lt;br /&gt;
assembled, and by the authority of the same, as follows:&ndash;&lt;br /&gt;
PART I.&lt;br /&gt;
IMPERIAL COPYRIGHT.&lt;br /&gt;
Rights,&lt;br /&gt;
1.&mdash;(1) Subject to the provisions of this Act, copyright shall subsist throughout the&lt;br /&gt;
parts of His Majesty&amp;#039;s dominions to which this Act extends for the term hereinafter&lt;br /&gt;
mentioned in every original literary, dramatic, musical and artistic work the author&lt;br /&gt;
whereof was at the date of the making of the work a British subject, or a resident within&lt;br /&gt;
such parts of His Majesty&amp;#039;s dominions as aforesaid:&lt;br /&gt;
Provided that if any work in which copyright subsists is first published elsewhere than&lt;br /&gt;
in the parts of His Majesty&amp;#039;s dominions to which this Act extends, then, except as other-&lt;br /&gt;
wise provided by this Act, the copyright in the work shall cease on such publication.&lt;br /&gt;
(2) For the purposes of this Act &ldquo;copyright &amp;quot; means the sole right to produce or&lt;br /&gt;
reproduce the work or any substantial part thereof in any material form whatsoever and in&lt;br /&gt;
any language ; to perform, or in the case of a lecture to deliver, the work or any sub-&lt;br /&gt;
stantial part thereof in public ; if the work is unpublished, to publish the work; and&lt;br /&gt;
shall include the sole right,&lt;br /&gt;
(a) in the case of a dramatic work, to convert it into a novel or other non-dramatic&lt;br /&gt;
work;&lt;br /&gt;
(b) in the case of a novel or other non-dramatic work, to convert it into a dramatic&lt;br /&gt;
work, either by way of multiplication of copies or by way of performance in&lt;br /&gt;
public ;&lt;br /&gt;
(c) in the case of a literary, dramatic, or musical work, to make any record, perforated&lt;br /&gt;
roll, or other contrivance by means of which the work may be mechanically&lt;br /&gt;
performed,&lt;br /&gt;
and to authorise any such acts as aforesaid :&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#751) ################################################&lt;br /&gt;
&lt;br /&gt;
( 9 )&lt;br /&gt;
Provided that&mdash;&lt;br /&gt;
(i) copyright shall not be infringed by making for private use an abridgment or&lt;br /&gt;
a translation of a literary or dramatic work, or an adaptation, transposition,&lt;br /&gt;
arrangement or setting of a musical work, or studies or sketches from an&lt;br /&gt;
artistic work, or by making fair extracts from or otherwise fairly dealing with&lt;br /&gt;
the contents of any such work for the purposes of criticism or review ;&lt;br /&gt;
(ii) nothing in this Act shall prevent the author of an artistic work who is not the&lt;br /&gt;
owner of the copyright therein from using any mould, cast, sketches, or studies&lt;br /&gt;
made by him for the purpose of the work, provided that he does not thereby&lt;br /&gt;
repeat or imitate the main design of the work;&lt;br /&gt;
(iii) copyright in a work of sculpture or artistic craftsmanship, if situate in a public&lt;br /&gt;
place or building, and copyright in an architectural work of art, shall not be&lt;br /&gt;
infringed by making paintings, drawings, engravings, or photographs thereof;&lt;br /&gt;
(iv) copyright in a lecture delivered in public shall not be infringed by a report of&lt;br /&gt;
&ordm; lecture in a newspaper unless the report is prohibited by notice given&lt;br /&gt;
Clther&rsquo;&mdash;&lt;br /&gt;
(a) orally, at the beginning of the lecture, or, if the lecture is one of a&lt;br /&gt;
series of lectures given by the same lecturer on the same subject at the same&lt;br /&gt;
place, at the beginning of the first lecture of the series; or&lt;br /&gt;
(b) by a written or printed notice affixed, before the lecture, or the first&lt;br /&gt;
lecture of the series, is given, on the entrance doors of the building in which&lt;br /&gt;
the lecture or series of lectures is given, or in a conspicuous place near&lt;br /&gt;
the lecturer, in letters not less than an inch in height.&lt;br /&gt;
2.&mdash;(1) Subject to the provisions of this Act the term for which copyright shall Term of copy-&lt;br /&gt;
subsist shall be the life of the author and a period of fifty years after his death : right.&lt;br /&gt;
Provided that if at any time after the death of the author of a work which has been&lt;br /&gt;
published or performed in public a petition is presented by any person interested to the&lt;br /&gt;
Comptroller-General of Patents, Designs, and Trade Marks alleging that, by reason of the&lt;br /&gt;
withholding of the work from the public or of the price charged for copies of the work or&lt;br /&gt;
for the right to perform the work in public, the reasonable requirements of the public with&lt;br /&gt;
respect to the Work are not satisfied, and praying for the grant of a licence to reproduce&lt;br /&gt;
the work or perform the work in public, the Comptroller shall consider the petition, and&lt;br /&gt;
if, after inquiry, he is satisfied that the allegations contained therein are correct may grant&lt;br /&gt;
to the petitioner a licence to reproduce or perform the work in public on such terms as&lt;br /&gt;
respects price and payment of royalties to the owner of the copyright in the work, and&lt;br /&gt;
otherwise, as he may think fit.&lt;br /&gt;
2) Any decision of the Comptroller under this section shall be subject to appeal to a&lt;br /&gt;
judge of the High Court, and the decision of that judge shall be final.&lt;br /&gt;
(3) A licence granted by the Comptroller under this section shall not apply to any&lt;br /&gt;
Self-governing dominion, but the provisions of this Act with respect to the grant of&lt;br /&gt;
licences shall apply to every self-governing dominion to which this Act extends, subject to&lt;br /&gt;
such necessary modifications as the Legislature of that dominion may determine.&lt;br /&gt;
3.&mdash;(1) Subject to the provisions of this Act, the first owner of the copyright in any Ownership of&lt;br /&gt;
work shall be the author of the work : Copyright, &amp;amp;c.&lt;br /&gt;
Provided that&mdash;&lt;br /&gt;
(a) where the work was ordered by some other person and was made for valuable&lt;br /&gt;
consideration in pursuance of that order, then, in the absence of any agree-&lt;br /&gt;
ment in writing to the contrary, the person by whom the work was ordered&lt;br /&gt;
shall be the first owner of the copyright, unless the work is an architectural&lt;br /&gt;
work of art, or is an artistic work intended for a public place or building, in&lt;br /&gt;
which case the author shall be the first owner of the copyright, but shall not&lt;br /&gt;
be entitled to make, or authorise the making of, reproductions of the work&lt;br /&gt;
except with the consent of that other person, and that other person shall be&lt;br /&gt;
entitled to the same remedies in respect of the infringement of the copyright&lt;br /&gt;
in the work, as if he were the owner of the copyright ; and&lt;br /&gt;
(b) where the author was in the employment of some other person and the work&lt;br /&gt;
was made in the course of his employment by that person, the first owner of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#752) ################################################&lt;br /&gt;
&lt;br /&gt;
( 10 )&lt;br /&gt;
the copyright shall, in the absence of any agreement to the contrary, be the&lt;br /&gt;
person by whom the author was employed.&lt;br /&gt;
(2) The transfer on sale or otherwise of an artistic work, other than an engraving or&lt;br /&gt;
photograph, by the owner of the copyright therein shall, in the absence of an express&lt;br /&gt;
agreement to the contrary, be deemed to transfer the copyright in the work in any case&lt;br /&gt;
where the transferor is not the author of the work.&lt;br /&gt;
(3) The owner of the copyright in any work may assign the right either wholly or&lt;br /&gt;
partially, and either generally or subject to limitations to any particular country or place,&lt;br /&gt;
and either for the whole term of the copyright or any part thereof, and may grant any&lt;br /&gt;
interest in the right by licence, but subject to the foregoing provisions of this section as&lt;br /&gt;
to the effect of the transfers of certain works, any such assignment or grant shall not be&lt;br /&gt;
valid unless it is in writing signed by the owner of the right in respect of which the&lt;br /&gt;
assignment or grant is made, or by his duly authorised agent.&lt;br /&gt;
Civil Remedies.&lt;br /&gt;
Rights of 4. In addition to any remedies otherwise conferred by law, the owner of the copyright&lt;br /&gt;
owner against in any work shall have the same remedies against a person having in his possession for&lt;br /&gt;
P.P.9&deg; sale or dealing with any pirated copies of the work, or any plate used or intended to be&lt;br /&gt;
sessing or g &ordm; * - e g *&lt;br /&gt;
...ith used for the production of pirated copies of the work, as if the copies or plate were his&lt;br /&gt;
pirated copies, property, and accordingly may take proceedings for the recovery of the possession thereof&lt;br /&gt;
&amp;amp;c. or in respect of the conversion thereof.&lt;br /&gt;
Infringement 5. Copyright in a work shall be deemed to be infringed by any person who sells or&lt;br /&gt;
by sale, &amp;amp; lets for hire, or exposes, offers, or has in his possession for sale or hire, or distributes or&lt;br /&gt;
exhibits in public, or imports for sale or hire into any part of His Majesty&amp;#039;s dominions to&lt;br /&gt;
which this Act extends any work which to his knowledge infringes copyright or would&lt;br /&gt;
infringe copyright if it had been made within such parts of His Majesty&amp;#039;s dominions as&lt;br /&gt;
aforesaid.&lt;br /&gt;
Exemption of 6. Where proceedings are taken in respect of the infringement of the copyright in&lt;br /&gt;
innocent any work and the defendant in his defence alleges that he was not aware of the existence&lt;br /&gt;
i&ordm;n of the copyright in the work, the plaintiff shall not be entitled to any remedy other than&lt;br /&gt;
iability to g &amp;amp; ... --&amp;gt; &ordm; * , g&ordm; :-- ſ--&amp;gt; * f :&lt;br /&gt;
&ordm;nages, an injunction or interdict in respect of the infringement if the defendant proves that at&lt;br /&gt;
&amp;amp;c. the date of the infringement he was not aware and had not reasonable means of making&lt;br /&gt;
himself aware that copyright subsisted in the work :&lt;br /&gt;
Provided that if the proper particulars were before the date of the infringement&lt;br /&gt;
correctly entered in a register established under this Act, or, in the case of a work first&lt;br /&gt;
published in, or the author whereof was a resident in, a British possession under the law&lt;br /&gt;
of which a register has been established within that possession, if similar particulars have&lt;br /&gt;
been correctly entered in that register, the defendant shall be deemed to have had means&lt;br /&gt;
of making himself aware that copyright subsisted in the work.&lt;br /&gt;
Remedies in 7.&mdash;(1) Where the copyright in any work is infringed by the construction of a&lt;br /&gt;
the case of building or other structure, the owner of the copyright shall not be entitled to obtain an&lt;br /&gt;
architecture injunction or interdict to restrain the construction of such other building or structure or&lt;br /&gt;
to order its demolition when constructed.&lt;br /&gt;
(2) Such of the other provisions of this Act as confer on the owner of the copyright&lt;br /&gt;
in any work the same remedies against a person having in his possession for sale or&lt;br /&gt;
dealing with a pirated copy of the work as if it were his property, or as impose summary&lt;br /&gt;
penalties, shall not apply in any case to which this section applies.&lt;br /&gt;
Limitation of 8. An action in respect of infringement of copyright shall not be commenced after&lt;br /&gt;
actions. the expiration of twelve months next after the infringement.&lt;br /&gt;
Summary Remedies.&lt;br /&gt;
Penalties for 9.&mdash;(1) If any person commits any of the following offences&mdash; &amp;amp;&lt;br /&gt;
dealing with (a) makes for sale any pirated copy of a work in which copyright subsists , or , .&lt;br /&gt;
p&ordm;teacopies (b) sells or lets for hire, or exposes, offers, or has in his possession for sale or hire&lt;br /&gt;
any pirated copy of any such work ; or&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#753) ################################################&lt;br /&gt;
&lt;br /&gt;
( 11 )&lt;br /&gt;
(e) distributes or exhibits in public any pirated copy of any such work ; or&lt;br /&gt;
(d) imports into the United Kingdom any pirated copy of any such work :&lt;br /&gt;
he shall, unless he proves that he acted innocently, be guilty of an offence under this Act&lt;br /&gt;
and be liable on summary conviction to a fine not exceeding forty shillings for every copy&lt;br /&gt;
dealt with in contravention of this section, but not exceeding fifty pounds in respect of&lt;br /&gt;
the same transaction :&lt;br /&gt;
Provided that a person convicted of an offence under paragraph (b) of this subsection&lt;br /&gt;
who has not been previously convicted of any such offence, and who proves that the&lt;br /&gt;
copies of the work in respect of which the offence was committed had printed or marked&lt;br /&gt;
thereon in some conspicuous place, a name and address purporting to be that of the&lt;br /&gt;
printer or publisher, shall not be liable to any penalty under this section unless it is&lt;br /&gt;
proved that the copies were to his knowledge pirated copies.&lt;br /&gt;
(2) If any person makes or has in his possession any plate for the purpose of making&lt;br /&gt;
pirated copies of any work in which copyright subsists, he shall, unless he proves that he&lt;br /&gt;
acted innocently, be guilty of an offence under this Act, and be liable on summary&lt;br /&gt;
conviction to a fine not exceeding fifty pounds.&lt;br /&gt;
(3) The court before which any such proceedings are taken may in addition order&lt;br /&gt;
that all copies of the work or all plates in the possession of the offender, which appear to&lt;br /&gt;
it to be pirated copies or plates for the purpose of making pirated copies, be destroyed&lt;br /&gt;
or delivered up to the owner of the copyright.&lt;br /&gt;
10. A court of summary jurisdiction upon the application of the apparent owner Search war-&lt;br /&gt;
of the copyright in any work may act as follows:&ndash; rant and&lt;br /&gt;
(a) if satisfied by evidence that there is reasonable ground for believing that pirated &ordm; of&lt;br /&gt;
copies of the work are being hawked, carried about, sold, or offered for sale, &ordm;ple&lt;br /&gt;
may by Order authorise a constable to seize the copies without warrant and to&lt;br /&gt;
bring them before the court, and, on proof that the copies are pirated, may&lt;br /&gt;
order that they be destroyed or delivered up to the owner of the copyright ;&lt;br /&gt;
(b) if satisfied by information on oath that there is reasonable ground for believing&lt;br /&gt;
that an offence under this Act is being committed on any premises, may grant&lt;br /&gt;
a search warrant authorising the constable named therein to enter the premises&lt;br /&gt;
between the hours of six of the clock in the morning and nine of the clock in&lt;br /&gt;
the evening (and, if necessary, to use force in making such entry, whether by&lt;br /&gt;
breaking open doors or otherwise) and to seize any copies of any work or any&lt;br /&gt;
plates in respect of which he has reasonable ground for suspecting that an&lt;br /&gt;
offence under this Act is being committed, and may, on proof that the copies or&lt;br /&gt;
plates brought before the court in pursuance of the warrant are pirated copies&lt;br /&gt;
or plates intended to be used for the purpose of making pirated copies, order&lt;br /&gt;
that they be destroyed or delivered up to the owner of the copyright.&lt;br /&gt;
11.-(1) A constable may, without warrant, on the request in writing of the Power to seize&lt;br /&gt;
apparent owner of the copyright in a work, or of his agent thereto authorised in writing, . *&lt;br /&gt;
and at the risk of that owner, seize any pirated copy of the work which is being hawked, ...&lt;br /&gt;
carried about, sold, or offered for sale. -&lt;br /&gt;
(2) Every copy so seized shall be conveyed by the constable before a court of&lt;br /&gt;
summary jurisdiction, and, on proof that it is a pirated copy, shall be destroyed or&lt;br /&gt;
delivered up to the owner of the copyright.&lt;br /&gt;
12.-(1) Any constable may take into custody without warrant any person who in Power to&lt;br /&gt;
any street or public place sells or exposes, offers, or has in his possession for sale any l&ordm;st Wit&ordm;&amp;quot;&lt;br /&gt;
pirated copies of any such work as may be specified in any general written authority l&ordm;&lt;br /&gt;
addressed to the chief officer of police, and signed by the apparent owner of the copyright &ordm;pi&ordm;&lt;br /&gt;
in such work or his agent thereto authorised in writing, requesting the arrest, at the copies of&lt;br /&gt;
risk of such owner, of all persons found committing offences under this Act in respect to Works.&lt;br /&gt;
such work, or who offers for sale any pirated copies of any such specified work by personal&lt;br /&gt;
canvass or by personally delivering advertisements or circulars.&lt;br /&gt;
(2) A copy of every written authority addressed to a chief officer of police under&lt;br /&gt;
this section shall be open to inspection at all reasonable hours by any person without&lt;br /&gt;
payment of any fee, and any person may take copies of or make extracts from any such&lt;br /&gt;
authority.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#754) ################################################&lt;br /&gt;
&lt;br /&gt;
( 12 )&lt;br /&gt;
53 &amp;amp; 54 Vict.&lt;br /&gt;
c. 45.&lt;br /&gt;
53 &amp;amp; 54 Vict.&lt;br /&gt;
C. 67.&lt;br /&gt;
Appeals to&lt;br /&gt;
quarter&lt;br /&gt;
sessions.&lt;br /&gt;
Extent of&lt;br /&gt;
provisions as&lt;br /&gt;
to Summary&lt;br /&gt;
remedies.&lt;br /&gt;
Importation&lt;br /&gt;
of copies.&lt;br /&gt;
Delivery of&lt;br /&gt;
copies to&lt;br /&gt;
British&lt;br /&gt;
Museum and&lt;br /&gt;
Other&lt;br /&gt;
libraries.&lt;br /&gt;
(3) For the purposes of this section the expression &ldquo;chief officer of police&amp;quot;&mdash;&lt;br /&gt;
(a) with respect to the City of London, means the Commissioner of City Police ;&lt;br /&gt;
(b) elsewhere in England has the same meaning as in the Police Act, 1890 :&lt;br /&gt;
(c) in Scotland has the same meaning as in the Police (Scotland) Act, 1890;&lt;br /&gt;
(d) in the police district of Dublin metropolis means either of the Commissioners&lt;br /&gt;
of Police for the said district ;&lt;br /&gt;
(e) elsewhere in Ireland means the District Inspector of the Royal Irish&lt;br /&gt;
Constabulary.&lt;br /&gt;
13. Any person aggrieved by a summary conviction in England or Ireland of an&lt;br /&gt;
offence under the foregoing provisions of this Act may appeal to a court of quarter&lt;br /&gt;
S&eacute;SSIOI].S. -&lt;br /&gt;
14. The provisions of this Act with respect to summary remedies shall extend only&lt;br /&gt;
to the United Kingdom.&lt;br /&gt;
Importation of Copies.&lt;br /&gt;
15.-(1) Copies made out of the United Kingdom of any work in which copyright&lt;br /&gt;
subsists as to which the owner of the copyright gives notice in writing by himself or his&lt;br /&gt;
agent to the Commissioners of Customs and Excise, that he is desirous that such copies&lt;br /&gt;
should not be imported into the United Kingdom, shall not be so imported, and shall,&lt;br /&gt;
subject to the provisions of this section, be deemed to be included in the table of&lt;br /&gt;
prohibitions and restrictions contained in section forty-two of the Customs Consolidation&lt;br /&gt;
Act, 1876, and that section shall apply accordingly. *&lt;br /&gt;
(2) Before detaining any such copies or taking any further proceedings with a view&lt;br /&gt;
to the forfeiture thereof under the law relating to the Customs, the Commissioners of&lt;br /&gt;
Customs and Excise may require the regulations under this section, whether as to informa-&lt;br /&gt;
tion, conditions, or other matters, to be complied with, and may satisfy themselves in&lt;br /&gt;
accordance with those regulations that the copies are such as are prohibited by this section&lt;br /&gt;
to be imported.&lt;br /&gt;
(3) The Commissioners of Customs and Excise may make regulations, either general&lt;br /&gt;
or special, respecting the detention and forfeiture of copies the importation of which is&lt;br /&gt;
prohibited by this section, and the conditions, if any, to be fulfilled before such detention&lt;br /&gt;
and forfeiture, and may by such regulations determine the information, notices, and&lt;br /&gt;
security to be given, and the evidence requisite for any of the purposes of this section, and&lt;br /&gt;
the mode of verification of such evidence.&lt;br /&gt;
(4) The regulations may apply to copies of all works the importation of which is&lt;br /&gt;
prohibited by this section, or different regulations may be made respecting different classes&lt;br /&gt;
of such works.&lt;br /&gt;
(5) The regulations may provide for the informant reimbursing the Commissioners&lt;br /&gt;
of Customs and Excise all expenses and damages incurred in respect of any detention&lt;br /&gt;
made on his information, and of any proceedings consequent on such detention.&lt;br /&gt;
(6) The foregoing provisions of this section shall have effect as if they were part of&lt;br /&gt;
the Customs Consolidation Act, 1876.&lt;br /&gt;
(7) This section shall, with the necessary modifications, apply to the importation into&lt;br /&gt;
a British possession to which this Act extends of copies of works made out of that&lt;br /&gt;
possession.&lt;br /&gt;
Delivery of Books to Libraries.&lt;br /&gt;
16.-(1) The publisher of every book published in the United Kingdom shall within&lt;br /&gt;
one month after the publication deliver, at his own expense, a copy of the book to the&lt;br /&gt;
trustees of the British Museum, who shall give a written receipt for it.&lt;br /&gt;
(2) He shall also, after written demand if made within three months after publication,&lt;br /&gt;
deliver within one month after receipt of that written demand to some dep&ocirc;t in London&lt;br /&gt;
named in the demand a copy of the book for, or in accordance with the directions of, the&lt;br /&gt;
authority having the control of each of the following libraries, namely: the Bodleian&lt;br /&gt;
Library, Oxford, the University Library, Cambridge, the Library of the Faculty of&lt;br /&gt;
Advocates at Edinburgh, and the Library of Trinity College, Dublin.&lt;br /&gt;
(3) The copy delivered to the trustees of the British Museum shall be a copy of the&lt;br /&gt;
whole book with all maps and illustrations belonging thereto, finished and coloured in the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#755) ################################################&lt;br /&gt;
&lt;br /&gt;
( 13 )&lt;br /&gt;
same manner as the best copies of the book are published, and shall be bound, sewed, or&lt;br /&gt;
Stitched together, and on the best paper on which the book is printed.&lt;br /&gt;
(4) The copy delivered for the other authorities mentioned in this section shall be on&lt;br /&gt;
the paper on which the largest number of copies of the book is printed for sale, and shall&lt;br /&gt;
be in the like condition as the books prepared for sale.&lt;br /&gt;
(5) If a publisher fails to comply with this section, he shall be liable on summary&lt;br /&gt;
conviction to a fine not exceeding five pounds and the value of the book, and the fine shall&lt;br /&gt;
be paid to the trustees or authority to whom the book ought to have been delivered.&lt;br /&gt;
(6) For the purposes of this section the expression &ldquo;book&rdquo; includes every part or&lt;br /&gt;
division of a book, pamphlet, sheet of letter-press, sheet of music, map, plan, chart or table&lt;br /&gt;
relative to geography, topography, or science.&lt;br /&gt;
Registration.&lt;br /&gt;
17.--(1) There shall be kept in the Hall of the Stationers&amp;#039; Company by an officer Registration.&lt;br /&gt;
(hereinafter called the registrar) to be appointed by the Stationers&amp;#039; Company subject to&lt;br /&gt;
the approval of the Board of Trade such one or more registers as may be prescribed, in&lt;br /&gt;
which shall be entered the names or titles of works and the names of authors, and such&lt;br /&gt;
other particulars as may be prescribed.&lt;br /&gt;
(2) The author or publisher of, or the owner of or other person interested in the copy-&lt;br /&gt;
right in, any work may at any time cause the particulars respecting the work to be entered&lt;br /&gt;
in the register, but it shall not be obligatory on him to do so.&lt;br /&gt;
(3) In the case of an encyclop&aelig;dia, newspaper, review, magazine, or other periodical&lt;br /&gt;
Work or work published in a series of books or parts, it shall not be necessary to make a&lt;br /&gt;
&ordm; entry for each number or part, but a single entry for the whole work shall&lt;br /&gt;
Sll IIICe.&lt;br /&gt;
(4) There shall also be kept in the Hall of the Stationers&amp;#039; Company by the registrar&lt;br /&gt;
such indexes of the registers established under this section as may be prescribed.&lt;br /&gt;
5) The registers and indexes established under this section shall be in the prescribed&lt;br /&gt;
form, and shall at all reasonable times be open to inspection, and any person shall be&lt;br /&gt;
entitled to take copies of or make extracts from any such register, and the registrar&lt;br /&gt;
shall, if so required, give a copy of any entry in any such register certified by him to be a&lt;br /&gt;
true copy, and any such certificate shall be prima facie evidence of the matters thereby&lt;br /&gt;
certified.&lt;br /&gt;
(6) There shall be charged in respect of entries in registers, the inspection of registers,&lt;br /&gt;
taking copies of or making extracts from registers, and certificates by the registrar under&lt;br /&gt;
this section, such fees as may be prescribed.&lt;br /&gt;
(7) The Stationers&amp;#039; Company shall annually render to the Board of Trade such&lt;br /&gt;
accounts of their receipts and expenditure under this section as may be prescribed.&lt;br /&gt;
(8) The Board of Trade may make regulations prescribing any matters which under&lt;br /&gt;
this section are to be prescribed, and generally for carrying this section into effect, and&lt;br /&gt;
any such regulations may require that, in the case of an artistic work desired to be&lt;br /&gt;
registered, there shall be furnished a representation of the work sufficient for the&lt;br /&gt;
identification thereof.&lt;br /&gt;
Special Provisions as to certain Works.&lt;br /&gt;
18. In the case of a literary, dramatic, or musical work or engraving not published, Posthumous&lt;br /&gt;
nor, in the case of a dramatic or musical work, performed in public, nor, in the case of a Works.&lt;br /&gt;
lecture, delivered in public, in the lifetime of the author, copyright shall, subject to the&lt;br /&gt;
provisions of this Act as to first publication elsewhere than in the parts of His Majesty&amp;#039;s&lt;br /&gt;
dominions to which this Act extends, subsist till publication, or performance or delivery&lt;br /&gt;
in public, whichever may first happen, and for a term of fifty years thereafter.&lt;br /&gt;
19.-(1) In the case of a work of joint authorship copyright shall subsist during the Works of&lt;br /&gt;
life of the author who first dies and for a term of fifty years after his death, or during the joint authors.&lt;br /&gt;
life of the author who dies last, whichever period is the longer.&lt;br /&gt;
(2) Where in the case of a work of joint authorship some one or more of the joint&lt;br /&gt;
authors do not satisfy the conditions conferring copyright laid down by this Act, the Work&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#756) ################################################&lt;br /&gt;
&lt;br /&gt;
( 14 )&lt;br /&gt;
Collective&lt;br /&gt;
works.&lt;br /&gt;
Provisions as&lt;br /&gt;
to newS-&lt;br /&gt;
papers.&lt;br /&gt;
Provisions as&lt;br /&gt;
to photo-&lt;br /&gt;
graphs.&lt;br /&gt;
Provisions as&lt;br /&gt;
to designs&lt;br /&gt;
registrable&lt;br /&gt;
under&lt;br /&gt;
7 Edw. 7,&lt;br /&gt;
c. 29.&lt;br /&gt;
Existing&lt;br /&gt;
works.&lt;br /&gt;
shall be treated for the purposes of this Act as if the other author or authors had been the&lt;br /&gt;
Sole author or authors thereof.&lt;br /&gt;
. 20. Where the work of an author is first published as an article or other contribution&lt;br /&gt;
in a collective work (that is to say):&mdash;&lt;br /&gt;
(a) an encyclop&aelig;dia, dictionary, year book, or similar work ;&lt;br /&gt;
(b) a newspaper, review, magazine, or other similar periodical :&lt;br /&gt;
(c) a work written in distinct parts by different authors;&lt;br /&gt;
and the proprietor of the collective work is not by virtue of this Act or any assignment&lt;br /&gt;
thereunder the owner of the copyright in the article or contribution, then, subject to any&lt;br /&gt;
agreement to the contrary, the owner of the copyright in each article or contribution shall&lt;br /&gt;
retain his copyright therein, but the proprietor of the collective work shall at all times&lt;br /&gt;
have the right of reproducing and authorising the reproduction of the work as a whole, and&lt;br /&gt;
for a period of fifty years from the date of first publication of the collective work shall&lt;br /&gt;
have the sole right of reproducing and authorising the reproduction of the work as a&lt;br /&gt;
Whole, and shall be entitled to the same remedies in respect of the infringement of the&lt;br /&gt;
copyright in any part of the work as if he were the owner of the copyright. -&lt;br /&gt;
21. Notwithstanding anything in this Act, an article, not being a tale or serial story,&lt;br /&gt;
first published in a newspaper, may be reproduced in another newspaper if notice expressly&lt;br /&gt;
forbidding reproduction is not published in some conspicuous part of the newspaper in&lt;br /&gt;
which it is so first published, and if the source from which it is taken is acknowledged in&lt;br /&gt;
Such other newspaper.&lt;br /&gt;
22. The person who superintends and directs the taking of a photograph shall for&lt;br /&gt;
the purposes of this Act be deemed to be the author of the photograph.&lt;br /&gt;
23.&minus;(1) This Act shall not apply to designs capable of being registered under the&lt;br /&gt;
Patents and Designs Act, 1907, except designs which, though capable of being so&lt;br /&gt;
registered, are not used or intended to be used as models or patterns to be multiplied by&lt;br /&gt;
any industrial process.&lt;br /&gt;
(2) General rules under section eighty-six of the Patents and Designs Act, 1907, may&lt;br /&gt;
be made for determining the conditions under which a design shall be deemed to be used&lt;br /&gt;
for such purposes as aforesaid.&lt;br /&gt;
24.&mdash;(1) Where any person is immediately before the commencement of this Act&lt;br /&gt;
entitled to any right in any work specified in the first column of the First Schedule to this&lt;br /&gt;
Act, or to any interest in such a right, he shall as from that date be entitled to the&lt;br /&gt;
Corresponding right set forth in the second column of that Schedule, or to the same interest&lt;br /&gt;
in such a corresponding right, and to no other right or interest, and such corresponding&lt;br /&gt;
right shall subsist for the term for which it would have subsisted if this Act had been in&lt;br /&gt;
force at the date when the work was made, and the work had been one entitled to copyright&lt;br /&gt;
thereunder :&lt;br /&gt;
Provided that&mdash;&lt;br /&gt;
(a) if the author of any work in which any right specified in the first column of&lt;br /&gt;
the First Schedule to this Act subsists at the commencement of this Act has&lt;br /&gt;
before that date assigned the right or granted any interest therein for the&lt;br /&gt;
whole term of the right, then at the date when but for the passing of this&lt;br /&gt;
Act the right would have expired the corresponding right conferred by this&lt;br /&gt;
section shall, in the absence of express agreement, pass to the author of the&lt;br /&gt;
work, and any interest therein created before the commencement of this Act&lt;br /&gt;
and then subsisting shall determine ; but the person who immediately before&lt;br /&gt;
the date at which the right would so have expired was the owner of the right&lt;br /&gt;
or interest shall be entitled at his option (to be signified in writing not more&lt;br /&gt;
than one year nor less than six months before the last-mentioned date)&lt;br /&gt;
either&mdash;&lt;br /&gt;
(i) to an assignment of the right or the grant of a similar interest&lt;br /&gt;
therein for the remainder of the term of the right for such consideration&lt;br /&gt;
as, failing agreement, may be determined by arbitration ; or&lt;br /&gt;
(ii) without any such assignment or grant, to continue to reproduce or&lt;br /&gt;
perform the work in like manner as theretofore on the payment of such&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#757) ################################################&lt;br /&gt;
&lt;br /&gt;
( 15 )&lt;br /&gt;
royalties to the author as, failing agreement, may be determined by&lt;br /&gt;
arbitration :&lt;br /&gt;
(b) nothing in this section shall affect anything done before the commencement of&lt;br /&gt;
this Act :&lt;br /&gt;
(c) where any person has, before the twenty-sixth day of July nineteen hundred&lt;br /&gt;
and ten, taken any action or incurred any expenditure for the purpose of or&lt;br /&gt;
with a view to the reproduction or performance of a work at a time when&lt;br /&gt;
such reproduction or performance would, but for the passing of this Act,&lt;br /&gt;
have been lawful, nothing in this section shall diminish or prejudice any&lt;br /&gt;
rights or interest arising from or in connexion with such action or expenditure&lt;br /&gt;
which are subsisting and valuable at the said date, unless the person who by&lt;br /&gt;
virtue of this section becomes entitled to restrain such reproduction or&lt;br /&gt;
performance agrees to pay such compensation as, failing agreement, may be&lt;br /&gt;
determined by arbitration :&lt;br /&gt;
(d) the sole right of making and authorising the making of records, perforated&lt;br /&gt;
rolls, or other contrivances by means of which literary, dramatic, or musical&lt;br /&gt;
works may be mechanically performed shall not be enjoyed by the owner of&lt;br /&gt;
the copyright in any literary, dramatic, or musical work for the mechanical&lt;br /&gt;
performance of which any such contrivances have been lawfully made within&lt;br /&gt;
the parts of His Majesty&amp;#039;s dominions to which this Act extends by any person&lt;br /&gt;
before the twenty-sixth day of July nineteen hundred and ten.&lt;br /&gt;
(2) Subject to the provisions of this Act as to copyright under the Copyright Act,&lt;br /&gt;
1775, copyright shall not subsist in any work made before the commencement of this&lt;br /&gt;
Act, otherwise than under and in accordance with the provisions of this section.&lt;br /&gt;
Application to British Possessions.&lt;br /&gt;
25.-(1) This Act, except such of the provisions thereof as are expressly restricted Application&lt;br /&gt;
to the United Kingdom, shall extend throughout His Majesty&amp;#039;s dominions: Provided &ordm;f Act to&lt;br /&gt;
that it shall not extend to a self-governing Dominion, unless declared by the Legislature *.&lt;br /&gt;
of that Dominion to be in force therein either without any modifications or additions, or &ldquo;&rdquo;&lt;br /&gt;
with such modifications and additions relating exclusively to procedure and remedies or&lt;br /&gt;
..necessary to adapt this Act to the circumstances of the Dominion as may be enacted by&lt;br /&gt;
such Legislature.&lt;br /&gt;
(2) If the Secretary of State certifies by notice published in the London Gazette&lt;br /&gt;
that any self-governing Dominion has passed legislation substantially identical with this&lt;br /&gt;
Act, except for the omission of any provisions which are expressly restricted to the&lt;br /&gt;
United Kingdom, or for such modifications as are verbal only, or are necessary to adapt&lt;br /&gt;
the Act to the circumstances of the Dominion, or relate exclusively to procedure or&lt;br /&gt;
remedies or to works first published within or the authors whereof are residents in the&lt;br /&gt;
Dominion, then whilst such legislation continues in force, the Dominion shall for the&lt;br /&gt;
purposes of the rights conferred by this Act be treated as if it were a Dominion to which&lt;br /&gt;
this Act extends.&lt;br /&gt;
26.&mdash;(1) The Legislature of any self-governing Dominion may at any time repeal Legislative&lt;br /&gt;
all or any of the enactments relating to copyright passed by Parliament (including this powers of self-&lt;br /&gt;
Act) so far as they are operative within that Dominion : Provided that no such repeal .&lt;br /&gt;
shall prejudicially affect any legal rights existing at the time of the repeal. e&lt;br /&gt;
(2) In any self-governing Dominion to which this Act does not extend, the&lt;br /&gt;
enactments repealed by this Act shall, so far as they are operative in that Dominion,&lt;br /&gt;
continue in force until repealed by the Legislature of that Dominion.&lt;br /&gt;
(3) Where His Majesty in Council is satisfied that the law of a self-governing&lt;br /&gt;
Dominion to which this Act does not extend, and which has not passed legislation&lt;br /&gt;
substantially identical with this Act, provides adequate protection within the Dominion&lt;br /&gt;
for the works of authors who at the time of the making of the work were British&lt;br /&gt;
subjects resident elsewhere than in that Dominion, or who, not being British subjects,&lt;br /&gt;
were at such time residents within the parts of His Majesty&amp;#039;s dominions to which this&lt;br /&gt;
Act extends, His Majesty, may, by Order in Council, direct that this Act, except such&lt;br /&gt;
parts (if any) thereof as may be specified in the Order, and subject to any conditions&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#758) ################################################&lt;br /&gt;
&lt;br /&gt;
( 16 )&lt;br /&gt;
contained therein, shall, within the parts of His Majesty&amp;#039;s dominions to which this Act&lt;br /&gt;
extends, apply to works the authors whereof were at the time of the making of the work&lt;br /&gt;
residents within the first-mentioned Dominion, and that copyright subsisting by virtue&lt;br /&gt;
of this Act in any work shall not cease by reason of the work being first published in&lt;br /&gt;
that Dominion ; but, save as provided by such an order, works the authors whereof were&lt;br /&gt;
residents in a Dominion to which this Act does not extend, and which has not passed&lt;br /&gt;
legislation substantially identical with this Act, shall not, whether they are British&lt;br /&gt;
Subjects or not, be entitled to any protection under this Act :&lt;br /&gt;
Provided that no such Order shall confer any rights within a self-governing&lt;br /&gt;
Dominion, but the Governor in Council of any self-governing Dominion to which this&lt;br /&gt;
Act extends, may by Order, confer within that Dominion the like rights as His Majesty&lt;br /&gt;
in Council is under the foregoing provisions of this subsection authorised to confer&lt;br /&gt;
within other parts of His Majesty&amp;#039;s dominions.&lt;br /&gt;
Power of 27. The Legislature of any British possession to which this Act extends may modify&lt;br /&gt;
P&ordm;sl&ordm;es or add to any of the provisions of this Act in its application to the possession, but,&lt;br /&gt;
*. except so far as such modifications and additions relate to procedure and remedies, they&lt;br /&gt;
to pass supple shall apply only to works the authors whereof were at the time of the making of the&lt;br /&gt;
mental legis- work residents in the possession and to works first published in the possession.&lt;br /&gt;
lation.&lt;br /&gt;
Application 28. His Majesty may by Order in Council extend this Act to any territories under&lt;br /&gt;
to protec- his protection and to Cyprus, and on the making of any such Order this Act shall have&lt;br /&gt;
torates. effect as if the territories to which it applies or Cyprus were part of His Majesty&amp;#039;s&lt;br /&gt;
dominions to which this Act extends.&lt;br /&gt;
PART II.&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
Power to 29.&mdash;(1) His Majesty may by Order in Council direct that this Act (except such&lt;br /&gt;
extend Act to parts, if any, thereof as may be specified in the Order) shall apply&mdash; y&lt;br /&gt;
foreign works. (a) to literary, dramatic, musical, and artistic works, or any class thereof, the&lt;br /&gt;
authors whereof were at the time of the making of the work subjects or citizens.&lt;br /&gt;
of a foreign country to which the order relates, in like manner as if the&lt;br /&gt;
authors were British subjects ; and&lt;br /&gt;
(b) in respect of residence in a foreign country to which the Order relates in like&lt;br /&gt;
manner as if such residence were residence in the parts of His Majesty&rsquo;s&lt;br /&gt;
dominions to which this Act extends ; and&lt;br /&gt;
(c) to works first published in a foreign country to which the Order relates, in like&lt;br /&gt;
manner as if they were first published within the parts of His Majesty&rsquo;s&lt;br /&gt;
dominions to which this Act extends ;&lt;br /&gt;
and thereupon, subject to the provisions of this Part of this Act, and of the Order, this&lt;br /&gt;
Act shall apply accordingly :&lt;br /&gt;
Provided that&mdash;&lt;br /&gt;
(i) before making an Order in Council under this section in respect of any foreign&lt;br /&gt;
country His Majesty shall be satisfied that that foreign country has made, or&lt;br /&gt;
has undertaken to make, such provisions, if any, as it appears to His Majesty&lt;br /&gt;
expedient to require for the protection of persons entitled to copyright under&lt;br /&gt;
the provisions of Part I. of this Act:&lt;br /&gt;
(ii) the Order in Council may provide that the term of copyright within such parts&lt;br /&gt;
of His Majesty&amp;#039;s dominions as aforesaid shall not exceed that conferred by the&lt;br /&gt;
law of the country to which the Order relates:&lt;br /&gt;
(iii) the provisions of this Act as to the delivery of copies of books shall not apply&lt;br /&gt;
to works first published in such country, except so far as is provided by the&lt;br /&gt;
Order: - -&lt;br /&gt;
(iv) the Order in Council may provide that the enjoyment of the rights conferred&lt;br /&gt;
by this Act shall be subject to the accomplishment of such conditions and&lt;br /&gt;
formalities (if any) as may be prescribed by the Order:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#759) ################################################&lt;br /&gt;
&lt;br /&gt;
( 17 )&lt;br /&gt;
(v) in applying the provisions of this Act as to existing works the Order in Council&lt;br /&gt;
may make such modifications as appear necessary, and may provide that&lt;br /&gt;
nothing in those provisions as so applied shall be construed as reviving any&lt;br /&gt;
right of preventing the production or importation of any translation in any&lt;br /&gt;
case where the right has ceased by virtue of section five of the International&lt;br /&gt;
Copyright Act, 1886. -&lt;br /&gt;
(2) An Order in Council under this section may extend to all the several countries&lt;br /&gt;
named or described therein.&lt;br /&gt;
30. Where it is necessary to prove the existence in a foreign country to which an Evidence of&lt;br /&gt;
Order in Council under this Part of this Act applies of the copyright in any work, or the &ordm;n copy-&lt;br /&gt;
ownership of such right, an extract from a register, or a certificate, or other document *&lt;br /&gt;
stating the existence of such right, or the person who is the owner of such right, if&lt;br /&gt;
authenticated by the official seal of a Minister of State of the said foreign country, or by&lt;br /&gt;
the official seal or the signature of a British diplomatic or consular officer acting in such&lt;br /&gt;
country, shall be admissible as evidence of the facts named therein, and all courts shall&lt;br /&gt;
take judicial notice of every such official seal and signature as is in this section mentioned,&lt;br /&gt;
and shall admit in evidence, without proof, the documents authenticated by it.&lt;br /&gt;
31-(1) An Order in Council under this Part of this Act shall apply to all His Application&lt;br /&gt;
Majesty&amp;#039;s dominions to which this Act extends except self-governing Dominions and any ...&rdquo;&lt;br /&gt;
other possession specified in the order with respect to which it appears to His Majesty ...&rdquo;&lt;br /&gt;
expedient that the Order should not apply. - e&lt;br /&gt;
(2) The Governor in Council of any self-governing Dominion to which this Act&lt;br /&gt;
extends may, as respects that Dominion, make the like orders as under this Part of this&lt;br /&gt;
Act His Majesty in Council is authorised to make with respect to His Majesty&amp;#039;s dominions&lt;br /&gt;
other than self-governing Dominions, and the provisions of this Part of this Act shall,&lt;br /&gt;
with the necessary modifications, apply accordingly.&lt;br /&gt;
(3) Where it appears to His Majesty expedient to except from the provisions of any&lt;br /&gt;
order any part of his dominions not being a self-governing Dominion it shall be lawful&lt;br /&gt;
for His Majesty by the same or any other Order in Council to declare that such order and&lt;br /&gt;
this Part of this Act shall not, and the same shall not, apply to such part, except so far&lt;br /&gt;
as is necessary for preventing any prejudice to any rights acquired previously to the date&lt;br /&gt;
of such Order. -&lt;br /&gt;
PART III.&lt;br /&gt;
SUPPLEMENTAL PROVISIONS.&lt;br /&gt;
32. No person shall be entitled to copyright or any similar right in any literary, Abrogation of&lt;br /&gt;
dramatic, musical, or artistic work otherwise than under and in accordance with the &ordm;mon law&lt;br /&gt;
provisions of this Act, or of any other statutory enactment for the time being in force. *&lt;br /&gt;
33.--(1) His Majesty in Council may make Orders for altering, revoking, or varying Provisions as&lt;br /&gt;
any Order in Council made under this Act, or under any enactments repealed by this Act, 9 &ordm; 1Il&lt;br /&gt;
but any Order made under this section shall not affect prejudicially any rights or interests &ldquo;&lt;br /&gt;
acquired or accrued at the date when the Order comes into operation, and shall provide&lt;br /&gt;
for the protection of such rights and interests. -&lt;br /&gt;
(2) Every Order in Council made under this Act shall be published in the London&lt;br /&gt;
Gazette and shall be laid before both Houses of Parliament as soon as may be after it is&lt;br /&gt;
made, and shall have effect as if enacted in this Act.&lt;br /&gt;
34. Nothing in this Act shall deprive any of the universities and colleges mentioned Saving of&lt;br /&gt;
in the Copyright Act, 1775, of any copyright they already possess or may hereafter &ordm;y&lt;br /&gt;
acquire under that Act, but the remedies and penalties for infringement of any such t&ordm;&ordm;.&lt;br /&gt;
copyright shall be under this Act and not under that Act. 53 &amp;#039;&amp;#039;&lt;br /&gt;
35. There shall continue to be charged on and paid out of the Consolidated Fund of Saving of&lt;br /&gt;
the United Kingdom such annual compensation as is at the commencement of this Act &ordm;ompensation&lt;br /&gt;
payable in pursuance of any Act as compensation to a library for the loss of the right to ...&amp;quot;&lt;br /&gt;
receive gratuitous copies of books: *&lt;br /&gt;
Provided that this compensation shall not be paid to a library in any year unless the&lt;br /&gt;
Treasury are satisfied that the compensation for the previous year has been applied in the&lt;br /&gt;
purchase of books for the use of and to be preserved in the library.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#760) ################################################&lt;br /&gt;
&lt;br /&gt;
( 18 )&lt;br /&gt;
Interpreta-&lt;br /&gt;
tion.&lt;br /&gt;
36,-(1) In this Act, unless the context otherwise requires,-&lt;br /&gt;
&ldquo;Literary work&rdquo; includes maps, charts, plans, and tables relative to geography,&lt;br /&gt;
topography, and science ;&lt;br /&gt;
&ldquo;Dramatic work&rdquo; includes any piece for recitation, choreographic work or&lt;br /&gt;
entertainment in dumb show the scenic arrangement or acting form of which is&lt;br /&gt;
fixed in Writing or otherwise, and any cinematograph production where the&lt;br /&gt;
arrangement or acting form or the combination of incidents represented give&lt;br /&gt;
the work an original character ;&lt;br /&gt;
&ldquo;Literary work,&rdquo; &ldquo;dramatic work,&rdquo; and &ldquo;musical work&rdquo; include records,&lt;br /&gt;
perforated rolls, or other contrivances intended for use in connexion with, or to&lt;br /&gt;
form part of, instruments by means of which a work may be mechanically&lt;br /&gt;
performed ;&lt;br /&gt;
&ldquo;Artistic work&rdquo; includes works of painting, drawing, sculpture and artistic&lt;br /&gt;
craftsmanship, and architectural works of art and engravings and photographs;&lt;br /&gt;
&ldquo;Architectural work of art&rdquo; means any building or structure having an artistic&lt;br /&gt;
character or design, in respect of such character or design, but not in respect of&lt;br /&gt;
the processes or methods of its construction ;&lt;br /&gt;
&ldquo;Engravings &rsquo;&rsquo; include etchings, lithographs, wood-cuts, prints, and other similar&lt;br /&gt;
works, not being photographs ;&lt;br /&gt;
&ldquo;Photograph&rdquo; includes photo-lithograph and any work produced by any process&lt;br /&gt;
analogous to photography ; .&lt;br /&gt;
&ldquo;Cinematograph &amp;quot; includes any work produced by any process analogous to&lt;br /&gt;
cinematography : -&lt;br /&gt;
&ldquo;Pirated,&rdquo; when applied to a copy of a work in which copyright subsists, means&lt;br /&gt;
any copy made without the consent or acquiescence of the owner of the copyright,&lt;br /&gt;
or imported in contravention of the provisions of this Act ;&lt;br /&gt;
&ldquo;Publication&rdquo; means the issue of copies to the public and does not include the&lt;br /&gt;
performance in public of a dramatic or musical work, the exhibition of an artistic&lt;br /&gt;
work, or the construction of a work of architecture;&lt;br /&gt;
&ldquo;Performance&rdquo; means any acoustic representation of a work and any visual&lt;br /&gt;
representation of any dramatic action in a work, including such a representation&lt;br /&gt;
made by means of any mechanical instrument ;&lt;br /&gt;
&ldquo;Delivery,&rdquo; in relation to a lecture, includes delivery by means of any mechanical&lt;br /&gt;
instrument ;&lt;br /&gt;
&ldquo;Plate &rsquo;&rsquo; includes any stereotype or other plate, stone, matrix, transfer, or negative&lt;br /&gt;
used or intended to be used for printing or reproducing copies of any work,&lt;br /&gt;
and any matrix or other appliance by which records, perforated rolls or other&lt;br /&gt;
contrivances for the acoustic representation of the work are or are intended to&lt;br /&gt;
be made ;&lt;br /&gt;
&ldquo;Lecture * includes address, speech, and sermon ;&lt;br /&gt;
&ldquo;Self-governing Dominion &rdquo; means the Dominion of Canada, the Commonwealth&lt;br /&gt;
of Australia, the Dominion of New Zealand, the Union of South Africa, and&lt;br /&gt;
Newfoundland.&lt;br /&gt;
(2) For the purposes of this Act (other than those relating to infringements of&lt;br /&gt;
copyright), a work shall not be deemed to be published or performed in public, and a&lt;br /&gt;
lecture shall not be deemed to be delivered in public, if published, performed in public,&lt;br /&gt;
or delivered in public, without the consent or acquiescence of the person entitled to&lt;br /&gt;
authorise its publication, performance in public, or delivery in public. -&lt;br /&gt;
(3) For the purposes of this Act a work shall be deemed to be first published within&lt;br /&gt;
the parts of His Majesty&amp;#039;s dominions to which this Act extends, notwithstanding that it&lt;br /&gt;
has been published simultaneously in some other place, unless the publication in such&lt;br /&gt;
parts of His Majesty&amp;#039;s dominions as aforesaid is colourable only and is not intended to&lt;br /&gt;
satisfy the reasonable requirements of the public, and a work shall be deemed to be&lt;br /&gt;
published simultaneously in two countries if the time between the publication in one&lt;br /&gt;
such country and the publication in the other country does not exceed fourteen days.&lt;br /&gt;
(4) Where the making of a work has extended over a considerable period the&lt;br /&gt;
conditions of this Act conferring copyright shall be deemed to have been complied with&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#761) ################################################&lt;br /&gt;
&lt;br /&gt;
( 19 )&lt;br /&gt;
if the author was during any substantial part of that period a British Subject or a&lt;br /&gt;
resident within the parts of His Majesty&amp;#039;s dominions to which this Act extends.&lt;br /&gt;
(5) For the purposes of the provisions of this Act as to residence, an author of a&lt;br /&gt;
work shall be deemed to be a resident in the parts of His Majesty&amp;#039;s dominions to which&lt;br /&gt;
this Act extends if he is domiciled within any such part.&lt;br /&gt;
37. Subject to the provisions of this Act, the enactments mentioned in the Second Repeal.&lt;br /&gt;
Schedule to this Act are hereby repealed to the extent specified in the third column of&lt;br /&gt;
that Schedule. -&lt;br /&gt;
38.-(1) This Act may be cited as the Copyright Act, 1910. Short title&lt;br /&gt;
(2) This Act shall come into operation&mdash; &ordm;&lt;br /&gt;
(a) in the United Kingdom, on the first day of January nineteen hundred and &ldquo;&rdquo;&lt;br /&gt;
twelve or such earlier date as may be fixed by order in council :&lt;br /&gt;
(b) in a self-governing Dominion to which this Act extends, at such date as may&lt;br /&gt;
be fixed by the Legislature of that Dominion ; -&lt;br /&gt;
(c) in any other British possession to which this Act extends, on the proclamation&lt;br /&gt;
thereof within the possession by the Governor. -&lt;br /&gt;
SCHEDULES.&lt;br /&gt;
EIRST SCHEDUILE.&lt;br /&gt;
EXISTING RIGHTS.&lt;br /&gt;
b&ordm;und Right. Corresponding Right.&lt;br /&gt;
(a) In the case of Works other than Dramatic and Musical Works.&lt;br /&gt;
Copyright. | Copyright as defined by this Act.&lt;br /&gt;
(b) In the case of Musical and Dramatic Works.&lt;br /&gt;
Both copyright and performing right &ndash; - || Copyright as defined by this Act.&lt;br /&gt;
Copyright, but not performing right - - Copyright as defined by this Act, except the&lt;br /&gt;
sole right to perform the work or any&lt;br /&gt;
&amp;#039;&bull; -- substantial part thereof in public.&lt;br /&gt;
Performing right, but not copyright - - The sole right to perform the work in public,&lt;br /&gt;
but none of the other rights comprised in&lt;br /&gt;
copyright as defined by this Act.&lt;br /&gt;
For the purposes of this Schedule the following expressions, where used in the first&lt;br /&gt;
column thereof, have the following meanings :&mdash; -&lt;br /&gt;
&ldquo;Copyright,&rdquo; in the case of a work which according to the law in force immediately&lt;br /&gt;
before the commencement of this Act has not been published before that date and ,&lt;br /&gt;
statutory copyright wherein depends on publication, includes the right at common&lt;br /&gt;
law (if any) to restrain publication ;&lt;br /&gt;
&ldquo;Performing right,&rdquo; in the case of a work which has not been performed in public&lt;br /&gt;
before the commencement of this Act, includes the right at common law (if any)&lt;br /&gt;
to restrain the performance thereof in public,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#762) ################################################&lt;br /&gt;
&lt;br /&gt;
( 20 )&lt;br /&gt;
SECOND SCHEDUILE.&lt;br /&gt;
ENACTMENTS REPEALED.&lt;br /&gt;
Session and&lt;br /&gt;
Chapter.&lt;br /&gt;
Short Title.&lt;br /&gt;
Extent of Repeal.&lt;br /&gt;
8 Geo. 2, c. 18.&lt;br /&gt;
7 Geo. 3, c. 38.&lt;br /&gt;
15 Geo. 3, c. 53.&lt;br /&gt;
17 Geo. 3, c. 57.&lt;br /&gt;
54 Geo. 3, c. 56.&lt;br /&gt;
3 Geo. 4, c. 15.&lt;br /&gt;
5 &amp;amp; 6 Will. 4,&lt;br /&gt;
c. 65.&lt;br /&gt;
6 &amp;amp; 7 Will. 4,&lt;br /&gt;
c. 59.&lt;br /&gt;
6 &amp;amp; 7 Will. 4,&lt;br /&gt;
c. 110.&lt;br /&gt;
5 &amp;amp; 6 Wict. c. 45.&lt;br /&gt;
7 &amp;amp; 8 Vict, c. 12.&lt;br /&gt;
Vict,&lt;br /&gt;
Wict.&lt;br /&gt;
Wict.&lt;br /&gt;
10 &amp;amp; 11&lt;br /&gt;
c. 95.&lt;br /&gt;
15 &amp;amp; 16&lt;br /&gt;
c. 12.&lt;br /&gt;
25 &amp;amp; 26&lt;br /&gt;
C. 68.&lt;br /&gt;
38 &amp;amp; 39 Wict.&lt;br /&gt;
c. 12.&lt;br /&gt;
39 &amp;amp; 40&lt;br /&gt;
c. 36.&lt;br /&gt;
Vict.&lt;br /&gt;
45 &amp;amp; 46 Vict.&lt;br /&gt;
c. 40.&lt;br /&gt;
49 &amp;amp; 50&lt;br /&gt;
c. 33. . . .&lt;br /&gt;
51 &amp;amp; 52&lt;br /&gt;
c. 17.&lt;br /&gt;
Vict.&lt;br /&gt;
Vict,&lt;br /&gt;
*&lt;br /&gt;
53 Vict.&lt;br /&gt;
t&lt;br /&gt;
2 &amp;amp;&lt;br /&gt;
c. 42.&lt;br /&gt;
2 Edw. 7, c. 15.&lt;br /&gt;
The Engraving Copyright Act, 1734 w&ordm;&lt;br /&gt;
The Engraving Copyright Act, 1767 &ndash;&lt;br /&gt;
The Copyright Act, 1775 - * &ordm;m 4-&lt;br /&gt;
The Prints Copyright Act, 1777 - &mdash;&lt;br /&gt;
The Sculpture Copyright Act, 1814 - g&ordm;s&lt;br /&gt;
The Dramatic Copyright Act, 1833 - -&lt;br /&gt;
The Lectures Copyright Act, 1835 - t&ordm;-&lt;br /&gt;
The Prints and Engravings Copyright&lt;br /&gt;
(Ireland) Act, 1836. -&lt;br /&gt;
The Copyright Act, 1836 - - &amp;amp;=&lt;br /&gt;
The Copyright Act, 1842 - s&ordm; ſ&ordm;-&lt;br /&gt;
The International Copyright Act, 1844 &ndash;&lt;br /&gt;
The Colonial-Copyright Act, 1847 &ndash; c&ordm;-&lt;br /&gt;
The International Copyright Act, 1852 &ndash;&lt;br /&gt;
The Fine Arts Copyright Act, 1862 - *E*&lt;br /&gt;
The International Copyright Act, 1875 -&lt;br /&gt;
The Customs Consolidation Act, 1876&lt;br /&gt;
The Copyright (Musical Compositions)&lt;br /&gt;
Act, 1882.&lt;br /&gt;
The International Copyright Act, 1886 -&lt;br /&gt;
The Copyright&lt;br /&gt;
Act, 18SS.&lt;br /&gt;
The Revenue Act, 1889 &ndash; * - s&ordm;&lt;br /&gt;
(Musical Compositions)&lt;br /&gt;
The Musical (Summary l&rsquo;roceedings) Copy-&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
Sections two, four, and five.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
Sections one to six. In section&lt;br /&gt;
eight the words &ldquo;and pur-&lt;br /&gt;
&ldquo;suant to any Act for the&lt;br /&gt;
&ldquo;protection of copyright&lt;br /&gt;
&ldquo;engravings.&rdquo; Sections nine&lt;br /&gt;
to twelve.&lt;br /&gt;
The whole Act.&lt;br /&gt;
Section forty-two, from &ldquo;Books&lt;br /&gt;
wherein &amp;#039;&amp;#039; to &ldquo;such copy-&lt;br /&gt;
right will expire.&rdquo; Sec-&lt;br /&gt;
tions forty-four, forty-five,&lt;br /&gt;
and one hundred and fifty-&lt;br /&gt;
two.&lt;br /&gt;
6 Edw. 7, c. 36.&lt;br /&gt;
right Act, 1902.&lt;br /&gt;
The Musical Copyright Act, 1906 - -&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.&lt;br /&gt;
Section one, from &ldquo;Books first&lt;br /&gt;
published &rdquo; to &ldquo;as provided&lt;br /&gt;
in that section.&rdquo;&lt;br /&gt;
The whole Act.&lt;br /&gt;
The whole Act.</td><td>https://historysoa.com/files/original/5/408/1910-07-01-The-Author-20-10.pdf</td><td>publications, The Author</td></tr><tr><td>409</td><td>https://historysoa.com/items/show/409</td><td>Australian Copyright Act (1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EAustralian+Copyright+Act%3C%2Fem%3E+%281910%29&quot;&gt;&lt;em&gt;Australian Copyright Act&lt;/em&gt; (1910)&lt;/a&gt;</td><td>The Australian Copyright Act as assented to on 21 December 1905.</td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1910-07-01-The-Author-20-10&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 10&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-07-01-Supplement-20-10-Australian-Copyright-Act</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-07-01&quot;&gt;1910-07-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>10</td><td></td><td></td><td>19100701</td><td></td><td>https://historysoa.com/files/original/4/409/1910-07-01-Supplement-20-10-Australian-Copyright-Act.pdf</td><td>Australia, copyright, international, publications, The Author</td></tr><tr><td>410</td><td>https://historysoa.com/items/show/410</td><td>Imperial Copyright Conference 1910: Memorandum of the Proceedings (1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EImperial+Copyright+Conference+1910%3A+Memorandum+of+the+Proceedings%3C%2Fem%3E+%281910%29&quot;&gt;&lt;em&gt;Imperial Copyright Conference 1910: Memorandum of the Proceedings&lt;/em&gt; (1910)&lt;/a&gt;</td><td>As presented to both Houses of Parliament in July 1910.</td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1910-07-01-The-Author-20-10&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 10&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-07-01-Supplement-20-10-Imperial-Copyright-Conference-Report</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-07-01&quot;&gt;1910-07-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>10</td><td></td><td></td><td>19100701</td><td></td><td>https://historysoa.com/files/original/4/410/1910-07-01-Supplement-20-10-Imperial-Copyright-Conference-Report.pdf</td><td>copyright, international, publications, The Author</td></tr><tr><td>411</td><td>https://historysoa.com/items/show/411</td><td>United States Copyright (1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EUnited+States+Copyright%3C%2Fem%3E+%281910%29&quot;&gt;&lt;em&gt;United States Copyright&lt;/em&gt; (1910)&lt;/a&gt;</td><td>The US Copyright Bill as amended in March 1905.</td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;https://historysoa.com/The-Author-Issues/1910-07-01-The-Author-20-10&quot;&gt;Supplement to &lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 10&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-07-01-Supplement-20-10-US-Copyright</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-07-01&quot;&gt;1910-07-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>10</td><td></td><td></td><td>19100701</td><td></td><td>https://historysoa.com/files/original/4/411/1910-07-01-Supplement-20-10-US-Copyright.pdf</td><td>America, copyright, international, publications, The Author</td></tr></table>