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531	https://historysoa.com/items/show/531	Index to The Author, Vol. 24 (1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+%281914%29">Index to <em>The Author</em>, Vol. 24 (1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index">Index</a>	1914-The-Author-24-index		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew &amp; Co.</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors">The Society of Authors</a>																					<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914">1914</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>				https://historysoa.com/files/original/4/531/1914-The-Author-24-index.pdf	publications, The Author
532	https://historysoa.com/items/show/532	The Author, Vol. 24 Issue 01 (October 1913)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+01+%28October+1913%29"><em>The Author</em>, Vol. 24 Issue 01 (October 1913)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1913-10-01-The-Author-24-1					1–32																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-10-01">1913-10-01</a>							1			19131001	Che HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authers. Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. XXIV.—No. 1.<br /> <br /> OcToBER 1, 1913.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> <br /> —_____+——__—___<br /> <br /> NOTICES.<br /> <br /> —_—-—+—<br /> <br /> 7 the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> <br /> ‘Author are cases that have come before the-<br /> <br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou, XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> On and after June 13 Messrs. Matthews’<br /> Advertising Service, Staple Inn Buildings,<br /> High Holborn, W.C., will act as agents for<br /> advertisements for “The Author.” All<br /> communications respecting advertisements<br /> after that date should be addressed to them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> —______——__—___<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> — ++<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> 79<br />  <br /> <br /> 2<br /> <br /> matter closely connected with the work of the<br /> Society. oe ‘<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> ee<br /> <br /> THE PENSION FUND.<br /> <br /> oo<br /> <br /> ‘N January, the secretary of the Society<br /> laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> <br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £10 fully paid. The number of shares pur-<br /> chased at the eurrent price was twenty-five<br /> and the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule ;—<br /> <br /> Nominal Value.<br /> <br /> 8<br /> Deca L0ans 2.5.2.2... 665. 500 0 0<br /> Victoria Government 3% Consoli-<br /> dated Inscribed Stock ........ 291 19 11<br /> London and North-Western 3%<br /> Debenture Stock .........&lt;.; 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certifieates ........ 200 0 0<br /> ‘Cape of Good Hope 34% Inscribed<br /> UOC os oc eee 200 0 0<br /> Glasgow and South-Western Rail-<br /> way 4% Preference Stock 228 0 0<br /> New Zealand 34% Stock ....... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> stock, 1927-57 ............. 438 2 4<br /> Jamaica 34% Stock, 1919—49 .. 18218 6<br /> Mauritius 4% 1987 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 34%<br /> Land Grant Stock, 1988 ...... 198 3 8<br /> Antofagasta and Bolivian Railway<br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or- .<br /> dinaty St0ck = ......-.e:c001. Be OG<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> 2 28<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........... 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares .........:; 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4°% Extension Shares,<br /> 1914 (fully paid) ..........-. 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 80 0 6<br /> <br /> Total<br /> <br /> PENSION FUND.<br /> <br /> ee<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (t.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> January 3, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913, - #8<br /> Jan. 8, Toynbee, William (in addi-<br /> <br /> tion to his present sub-<br /> <br /> scription). . . ~ O16 0<br /> Jan. 9, Gibson, Frank . 0 6 8<br /> Jan. 29, Blaikley, Miss E. L. Oo Ss 6<br /> Jan. 31, Annesley, Miss Maude 010 6<br /> Feb. 6, Rothenstein, Albert . 0 7 &amp;<br /> Feb. 10, Bradshaw, Percy V. 010 6<br /> April 8, Caulfield-Stoker, T. . 0 5 0<br /> June 12, Wimperis, Arthur . fg<br /> June 16, Ballantyne, J.W. . » 0.5 0<br /> June 16, Thorold, Rupert 1 @ 0<br /> <br /> Donations.<br /> <br /> 1913. :<br /> Jan. 1, Risque, W. H. ‘ . 910 8<br /> Jan. 1, Rankin, Mrs. F. M. . . @ 6 06<br /> Jan. 2, Short, Miss L. M. 05 0<br /> Jan, 2, Mackenzie, Miss J. 0 5 0<br /> Jan. 2, Webling, Miss Peggy . O15 0<br /> Jan. 8, Harris, Mrs. E. H. . 0 5 0<br /> Jan. 3, Church, Sir Arthur,<br /> <br /> K.C.V.O., ete. ~ Fo 2 ©<br /> Jan. 4, Douglas, James A. . - 8 8 0<br /> Jan. 4, Grant, Lady Sybil . ~* 2.2 8<br /> Jan. 6, Haultain, Arnold é ~ ok 21 6<br /> Jan. 6, Beveridge, Mrs. : &lt;0 8 6<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan,<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Mar. 7, Keating,<br /> Lloyd ;<br /> Mar. 7, Tharp, Robert C.<br /> Mar. 10, Hall, H. Fielding<br /> Mar. 18, Moffatt, Miss Beatrice<br /> Mar. 14, Bennett, Arnold<br /> <br /> 6, Clark, The Rev. Henry<br /> 6, Ralli, C. Scaramanija .<br /> 6, Lathbury, Miss Eva .<br /> 6, Pryce, Richard<br /> <br /> 7, Gibson, Miss L. S.<br /> <br /> 10, K. : :<br /> <br /> 10, Ford, Miss May<br /> <br /> 12, Greenstreet, W. J. .<br /> 14, Anon : :<br /> 15, Maude, Aylmer<br /> <br /> 16, Price, Miss Eleanor .<br /> 17, Blouet, Madame<br /> 20,P.H.andM.K. .<br /> 22, Smith, Herbert W. .<br /> 25, Anon. . . :<br /> 27, Vernede, R. E. .<br /> 29, Plowman, Miss Mary<br /> <br /> 81, Jacobs, W. W.<br /> <br /> 1, Davy, Mrs. E. M.<br /> <br /> 8, Abraham, J. J.<br /> <br /> 4, Gibbs, F. L. A.<br /> <br /> 4, Buckrose, J. E. ‘<br /> 4, Balme, Mrs. Nettleton<br /> <br /> 6, Machen, Arthur<br /> 6, Romane-James, Mrs.<br /> 6, Weston, Miss Lydia .<br /> <br /> 14, Maunsell, A. E. Lloyd<br /> 14, O&#039;Higgins, H. J...<br /> 15, Stephens, Dr. Ricardo<br /> 15, Jones, Miss E. H.<br /> <br /> 17, Whibley, Charles<br /> <br /> 22, Probert, W. S.<br /> <br /> 24, S. F. G. ;<br /> <br /> 27, XX. Pen Club<br /> <br /> Mar. 17, Michell, The Right Hon.<br /> <br /> Sir Lewis, K.C.V.O.<br /> <br /> Mar. 17, Travers®Miss Rosalind<br /> <br /> Mar. 26, Anon. . . .<br /> April 2, Daniel, E. H. .<br /> April 2, Hain, H. M.<br /> <br /> April 7, Taylor, Miss Susette M.<br /> <br /> April 7, Harding, Newman .<br /> April 9, Strachey, Miss Amabel<br /> April 10, Aspinall, Algernon .<br /> April 15, Craig, Gordon<br /> <br /> June 12, Peel, Mrs.<br /> <br /> 29, Todd, Miss Margaret, M.D.<br /> <br /> 6, Coleridge, The Hon. Gilbert<br /> <br /> 14, Saies, Mrs. F. H. (in addi-<br /> tion to her subscription)<br /> <br /> Phe Hev. «3:<br /> <br /> THE. AUTHOR.<br /> <br /> .<br /> <br /> waoroo Ormmoooooo CORRE OF OH ONHFOCOCOCOBRHOHFOGCOCOCOROWO<br /> <br /> SOmocoooourore<br /> <br /> n<br /> <br /> _<br /> <br /> _<br /> <br /> ht<br /> OO HK OH OR ONE NEF OOREKF OF GUM OUR aw Oo:<br /> <br /> _<br /> <br /> i<br /> <br /> bt fen<br /> <br /> _<br /> BOF CUNO O,<br /> <br /> OS Ore or Or<br /> <br /> Com Om Oa O OH Ore<br /> <br /> SSSCSTSTOSOHMASOARSCSOHASOAASCSOSCSOSOCOCOCOSCOSCOOCOe<br /> <br /> SOS ACAaARSS<br /> <br /> QOooscoescoaoceceo oooce<br /> <br /> oo<br /> <br /> =<br /> <br /> June 13, Barlow, Miss Hilairé :<br /> June 13, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert :<br /> July 11, Broadbent, D. R. .<br /> <br /> July 22, Cameron, Mrs. Charlotte .<br /> <br /> Hae ooctk<br /> _~<br /> <br /> bet eet Ot Oe<br /> <br /> escooo™<br /> <br /> Oi<br /> <br /> COMMITTEE NOTES.<br /> <br /> —+-——+-—_<br /> <br /> HE last meeting of the Committee of<br /> Management before the vacation was<br /> held on Monday, July 7, at 1, Central<br /> <br /> Buildings, Tothill Street, S.W.<br /> <br /> Following the reading of the minutes, the<br /> committee proceeded with the elections. Eigh-<br /> teen members were elected, bringing the total<br /> for the year up to 207. The committee<br /> received, with regret, three resignations.<br /> <br /> The solicitors then reported the cases to the<br /> committee.<br /> <br /> In regard to two cases tried during the<br /> month of June, they reported that in the<br /> case of Corelli and Gray, the defendants had<br /> appealed, and in the case of Pett Ridge and<br /> The English Illustrated, that the defendants<br /> had gone into liquidation. Two claims, one<br /> against a publisher, and the other for infringe-<br /> ment of performing rights, they stated had<br /> been satisfactorily settled, the amount of<br /> the debt and costs being paid in both cases.<br /> They then gave a detailed report concerning<br /> the investigation of accounts on behalf. of<br /> one of the members, which had become<br /> rather a complicated matter, owing to the<br /> business of the defendants lying to a great<br /> extent in Germany. They hoped to carry the<br /> case through without any serious expense to<br /> the Society. There were three cases of infringe-<br /> ment of copyright. In two of these, which<br /> referred to dramatic rights, the amount to be<br /> paid had been settled, and the payment by the<br /> defendants was to be made by instalments.<br /> In the other case, an infringement of literary<br /> copyright, the solicitors stated they were<br /> awaiting a report from an expert reader,<br /> which report had to be carefully considered<br /> before any action could be taken. The com-<br /> mittee authorised the expenditure of £5 on this<br /> report. The solicitors then reported on three<br /> small County Court cases that were being<br /> carried through.<br /> <br /> The secretary then drew the committee’s<br /> attention to some serious questions which had<br /> arisen between authors and agents. It was<br /> decided that the secretary should draft an<br />  <br /> <br /> 4<br /> <br /> article to appear in T&#039;he Author, setting out in<br /> full the facts of the case, which article should<br /> be considered at the October meeting. :<br /> <br /> The secretary reported two cases In which,<br /> during the month, he had obtained the chair-<br /> man’s leave to act. In the first, the chairman<br /> had sanctioned an application for an injunction<br /> (if necessary) for a copyright infringement.<br /> The secretary was glad to report that the<br /> infringement had been acknowledged, and that<br /> the matter would be settled without legal<br /> action. The second case arose owing to non-<br /> delivery of accounts by an American publisher.<br /> The committee confirmed the chairman’s<br /> decision to place the matter in the hands of<br /> the Society’s American lawyers. Another case,<br /> relating to copyright infringement in the<br /> United States, was laid before the committee,<br /> and they agreed that action should be taken if<br /> necessary. In a case of arbitration between<br /> author and publisher, which had been referred<br /> to the Committee of Management, the com-<br /> mittee nominated an arbitrator to act in the<br /> matter.<br /> <br /> The question of Canadian copyright was then<br /> raised on one or two important points con-<br /> nected with colonial copyright which had come<br /> before the Society. The secretary was in-<br /> structed to communicate with the Board of<br /> Trade on the matter, and to report to the next<br /> meeting.<br /> <br /> Owing to the resignation of the present<br /> lawyers of the Society in the United States,<br /> the secretary submitted the names of others,<br /> who were elected subject to a satisfactory<br /> report being received.<br /> <br /> A vacancy on the committee having occurred<br /> owing to the regretted illness of Mr. J. W.<br /> Comyns Carr, Mr. Charles Garvice was nomi-<br /> nated to fill the vacancy, subject to his willing-<br /> ness to serve,<br /> <br /> The secretary then made a full statement<br /> concerning the office management and<br /> expenses, and was instructed by the com-<br /> mittee thereon.<br /> <br /> The committee’s attention was drawn by<br /> the secretary to Mr. H. G. Wells’ lette#in The<br /> Author on the subject of model agreements.<br /> He was instructed to draft a model form of<br /> royalty agreement during the vacation. This<br /> form was to be laid before the committee in<br /> October.<br /> <br /> A legal question was next placed before the<br /> committee arising out of the mechanical<br /> reproduction clauses of the new Copyright Act.<br /> After hearing the report of the solicitors, the<br /> committee decided that no action could be<br /> taken. The committee delegated its powers,<br /> <br /> t cat ovh a vol ¥¥Ir<br /> <br /> THE AUTHOR.<br /> <br /> during the vacation, to the Chairman, to act<br /> in case of emergency, and finally passed votes<br /> of thanks to Mr. Alfred Sutro for a donation<br /> of £5, and to Miss Jeanette Marks, for a dona-<br /> tion of $5 to the Society’s Capital Fund.<br /> <br /> Dramatic SuB-COMMITTEE.,<br /> <br /> Tue Dramatic Sub-Committee held its July<br /> meeting on Friday, July 11, at the offices of<br /> the Society, 1, Central Buildings, Tothill Street,<br /> Westminster.<br /> <br /> After the reading of the minutes, the seere-<br /> tary reported that he had forwarded to Mr.<br /> Vedrenne, secretary to the Society of West End<br /> Managers, the Managerial Treaty, setting out<br /> the alterations made at the meeting between<br /> delegates of that society and delegates of the<br /> sub-committee. He read to the sub-committee<br /> Mr. Vedrenne’s letter acknowledging receipt of<br /> the document, and stating that he would show<br /> the agreement to his colleagues.<br /> <br /> The secretary then reported what had passed<br /> at a meeting he had attended of the Dramatic<br /> Clubs’ Association as delegate of the Society.<br /> He was instructed to write to the secretary<br /> and express the hope of the sub-committee,<br /> that it would be possible for delegates of<br /> the association to attend a meeting of the<br /> Dramatic Sub-Committee in the autumn.<br /> <br /> The question of foreign agents was then<br /> discussed, and the Dramatie Sub-Committee,<br /> subject to the approval of the Committee of<br /> Management, elected Mrs. Pogson, the agent<br /> of the Society in Germany.<br /> <br /> Various cases dealing with dramatists’<br /> matters were brought before the sub-committee.<br /> The first case referred to a difficulty which had<br /> arisen between members of the Society and<br /> their agents. The secretary was instructed to<br /> write an article for The Author, setting out the<br /> points in dispute, but first to submit the article<br /> to the members concerned. In another case<br /> the sub-committee regretted they were unable<br /> to take any action, and fhe secretary was<br /> instructed to advise the member accordingly.<br /> <br /> The last case was a question of appropriation<br /> of title. The Chairman was instructed to write<br /> a letter on the subject to the member con-<br /> cerned pointing out the serious difficulties, legal<br /> and otherwise, that might follow from such<br /> appropriation.<br /> <br /> It was finally decided to adjourn the con-<br /> sideration of the ‘‘ Draft Dramatic Agreement<br /> for a term of years’? to the autumn meeting.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 5<br /> <br /> ComposErs’ SuB-COMMITTEE.<br /> <br /> Tue Composers’ Sub-Committee met at the<br /> offices of the Society, 1, Central Buildings,<br /> Tothill Street, Westminster, S.W., on Saturday<br /> July 12.<br /> <br /> Following the reading of the minutes of the<br /> previous meeting, the arrangements for the<br /> general meeting of composers in the autumn<br /> were discussed. It was decided to call the<br /> meeting for Saturday, October 11, at 2 o’clock.<br /> The terms of the circular were settled, and the<br /> names of certain speakers were suggested and<br /> approved.<br /> <br /> The question of the price to be paid by the<br /> mechanical instrument trade on records repro-<br /> ducing selections from certain works was fully<br /> discussed. The secretary read the opinion of<br /> the Society’s solicitors, and the sub-committee<br /> came to the same conclusion as the Committee<br /> of Management, viz., that it would be im-<br /> possible to argue that a symphony, concerto,<br /> or opera did not form one musical work,<br /> although the different movements or parts<br /> could be dealt with independently. The<br /> secretary was instructed in sending out stamps<br /> to act in accordance with this opinion.<br /> <br /> The question of foreign agents was brought<br /> forward, and the secretary was instructed to<br /> write again to the French Society, and to<br /> obtain further particulars from the German<br /> Society.<br /> <br /> On a further question as to the assignment<br /> of mechanical rights, it was decided to refer the<br /> matter to the general meeting in October.<br /> <br /> —<br /> <br /> Cases.<br /> <br /> Durinc the vacation the secretary has dealt<br /> with forty-four cases. This keeps the monthly<br /> number at about the usual average.<br /> <br /> Seventeen of the claims put in his hands were<br /> claims for money. Of these eleven have ter-<br /> minated successfully ; the money has been<br /> obtained and forwarded to the authors in-<br /> volved. Five have been placed in the hands<br /> of the Society’s solicitors, and will be dealt with<br /> in due course; one it has been impossible to<br /> carry further, as the defendant cannot be<br /> found, and one has only recently come to the<br /> office.<br /> <br /> The claims for MSS., of which eleven cases<br /> have been dealt with, come next in number.<br /> Six, that is over half, have been successful ;<br /> the editors have returned the MSS. and<br /> the MSS. .have been forwarded to the<br /> authors. In one case it was impossible to<br /> <br /> —~Bax, Clifford . ;<br /> <br /> find the defendant and the matter had to be<br /> dropped. One ease is still unsettled, and three<br /> cases have only come into the office on the<br /> verge of going to press.<br /> <br /> Of seven cases of accounts four have ter-<br /> minated successfully, two have been placed in<br /> the hands of the solicitors, and one has only<br /> recently come to hand.<br /> <br /> There have been six disputes on agreements.<br /> Four of these have been settled, and the<br /> remaining two are in the hands of the solicitors<br /> to be dealt with.<br /> <br /> In two claims for infringement of copyright<br /> the damages claimed have been obtained, and<br /> the matters have been concluded.<br /> <br /> There was one case of unauthorised use of an<br /> author’s name, but, as the matter lies in the<br /> United States, the issues are still pending.<br /> <br /> The Society has obtained counsel’s opinion<br /> on an important dramatic case dealing with<br /> cinematograph rights, and the cases the<br /> solicitors have had in hand during the vacation<br /> will be reported at length in the November<br /> issue. But little court work is carried on in<br /> the summer either in the high courts or in the<br /> county courts.<br /> <br /> —_+—&lt;—+ —_<br /> <br /> Elections.<br /> <br /> Ball, W. Valentine - ft; Brick Court,<br /> <br /> Temple, E.C.<br /> <br /> The Manor House,<br /> Broughton-Gif-<br /> ford, Wilts.<br /> <br /> Royal Societies’<br /> Club, London ;<br /> and The Cross<br /> Roads, Mt. Kisco,<br /> New York, U.S.A.<br /> <br /> 2, Porchester Gar-<br /> dens, W.<br /> <br /> 7, Old Deer Park<br /> Gardens, Rich-<br /> mond, S.W.<br /> <br /> 40, Tregunter Road,<br /> W.<br /> <br /> Chagford House,<br /> 209, North End<br /> Road, West Ken-<br /> sington, W.<br /> <br /> William 62, Station<br /> Colchester.<br /> <br /> Swan Hill Court,<br /> Shrewsbury.<br /> <br /> Matron, Salford<br /> Maternity Train-<br /> ing School.<br /> <br /> Davis, Richard Harding<br /> <br /> Farquharson, R.<br /> Ganthony, Richard<br /> <br /> Ganz, Wilhelm<br /> <br /> Harvey, Henry Leslie .<br /> <br /> Harwood, Road,<br /> Henry.<br /> <br /> Humphreys,<br /> Rachel.<br /> <br /> Macdonald, Sarah<br /> <br /> Miss<br /> 6 THE AUTHOR.<br /> <br /> Makgill, Sir George,<br /> Bt. (‘‘ Victor Waite”<br /> and ‘“‘ Francis Grant ’’).<br /> <br /> Maude, Graham K.<br /> <br /> Yaxley Hall,<br /> Suffolk.<br /> <br /> Eye,<br /> <br /> 56, Stanwick Man-<br /> sions, W. Kensing-<br /> ton, W.<br /> <br /> Forest Hill, West<br /> Kirby, Cheshire.<br /> “Invergordon,”<br /> Warrior Gardens,<br /> St. Leonards-on-<br /> <br /> Menzies, Mrs. M. I. :<br /> Moodie, Walter Wolston<br /> <br /> Sea.<br /> Richardson, Leslie . ‘Ker Avelek,’’ Con-<br /> carneau, Finis-<br /> <br /> tere, France.<br /> <br /> 15, Sloane Gardens,<br /> S.W.<br /> <br /> 57, Gwendwr Road,<br /> W. = Kensington,<br /> W.<br /> <br /> Whinyates, Miss Amy .<br /> Whitley, William T.<br /> <br /> ——_———_1+—— &gt; —__——_-<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as pomille, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> ARCH AXOLOGY.<br /> <br /> Tue XIrn Dynasty Tremere at Derr EL-BaHart.<br /> Part III. By E. Navmie and H. R. Harr. (32nd<br /> Memoir of the Egypt Exploration Fund.) 124 x 10.<br /> 36 pp. xxxvi. Plates. Kegan Paul.<br /> <br /> Inscriptions From Swiss Cuaxets. A collection of<br /> Inscriptions found outside and inside Swiss Chalets,<br /> Storehouses and Sheds. By W. LarprEn. 8} x 5}.<br /> 208 pp. Milford. 15s. n.<br /> <br /> IntustRATIVE Descriptive Account oF THE MUSEUM OF<br /> ANDALUSIAN PorreRy AND Lacr. Antique and<br /> Modern, with notes on Pre-Roman Seville and Lost City<br /> of Tharsis. By B. and M. ELLEN WuisHaw. 8} x 53.<br /> 43 pp. Smith, Elder. Is.<br /> <br /> ART.<br /> CHuronoLocicaL List, with Notes oF PAINTINGS AND<br /> DRAWINGS FROM DANTE BY DANTE GABRIEL ROSSETTI.<br /> By Pacet ToynBer. 12} x 84. Pp. 135—166. Turin<br /> <br /> Fratelli Bocca.<br /> BIOGRAPHY.<br /> <br /> Tue Lire AND WRITINGS oF Puitip, DUKE oF WHARTON.<br /> By Lewis MELVILLE. 8} x 5}. xx. + 336 pp. Lane.<br /> 168. n.<br /> <br /> Tue Lire or Jonn Goopwin. By Henry W. Cuark, D.D.<br /> 7} x 43. 68 pp. Congregational Union of England<br /> and Wales. 6d. n.<br /> <br /> IncipENTS IN THE LirE or MADAME BLAVATSKY.<br /> piled and edited by A. P. Srynett.<br /> The Theosophical Publishing Co.<br /> <br /> Com-<br /> 74 x 5. 256 pp.<br /> 2s. 6d. .<br /> <br /> Lire or Kircnener. By Frepk. Wm. Hacxwoopn.<br /> Author of ‘‘ William Hone: His Life and Times,” ete.<br /> Anew pocket volume of Collins’ “‘ Wide World” Library.<br /> William Collins, Sons, &amp; Co., Ltd. 7d. n.<br /> <br /> VINCENT DE Pav, PRrest AnD PHILANTHROPIST, 1576—<br /> 1660. By E. W.Sanpers. 9 x 54. 419 pp. Heath,<br /> Cranton &amp; Ouseley. 16s. n.<br /> <br /> A Court PaInTER AND His CrrcLe: Francois BoucHER<br /> (1703—1770). By Mrs. BEarng. 9 x 53. 388 pp.<br /> Fisher Unwin. 15s. n.<br /> <br /> My Days with THE Farries. By Mrs. Ropotpn STawE LL.<br /> 8} x 6. 169 pp. Hodder &amp; Stoughton. 6s. n.<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tue Cracsmen. A Story of Smuggling Days. By<br /> Dl _ Cooxr. 84 x 53. 316 pp. Cassell.<br /> 8. 6d.<br /> <br /> Piays CoMPILED By Girt GuipEs. Suitable for Perform-<br /> ance by Girl Guides. Edited by Miss A. BapEN<br /> <br /> PowrELtt. 5} x 4}. 137 pp. Brown. 6d. n.<br /> <br /> Kine or THE Arr. By Herpert Strange. 272 pp.<br /> <br /> Jack Harpy. By Herperr Strang. 232 pp.<br /> <br /> THE Lost Istanp. By Capt. Girson. 288 pp.<br /> <br /> Lorp or THE SEAs. By Herpert Stranc. 238 pp.<br /> (The Boys’ New Sevenpenny Library.) 62 x 44.<br /> Frowde &amp; Hodder &amp; Stoughton. 7d. n. each. :<br /> <br /> LirtLe Wars. A Game for Boys. By H. G. WELLS.<br /> <br /> 9 x 62. 111 pp. F. Palmer.<br /> <br /> DIVINITY.<br /> <br /> Tue FourroLp GosreL. Section 1. Introduction. By<br /> Epwix A. Assotr. Cambridge University Press.<br /> 2s. 6d. n.<br /> <br /> 2s. 6d. n.<br /> <br /> DRAMA.<br /> <br /> Apvent. A Play in Five Acts. By Aveust StRinDBERG.<br /> Translated by CraupE Fretp. 7 x 4}. 110 pp.<br /> Holden &amp; Hardingham. ls. n. ,<br /> <br /> Tue Emancipation. A Playin Three Acts. By LEoNaRD<br /> Inkster. 7} X 4}. xii. + 95 pp. . Sidgwick &amp; Jack-<br /> son. ls. 6d. n.<br /> <br /> Tue Divine Girt. A Play in Three Acts. By H. A.<br /> Jones. 74x 5. 178 pp. Duckworth. 3s. 6d. n.<br /> <br /> Tur Harpy Kryapom. A Comedy in Three Acts, written<br /> in blank verse and prose. By ArruuR MaQvuaRIE.<br /> <br /> 74 x 54. 150 pp. Bickers. 5s. n.<br /> JosEPH AND His BReTHREN. By Lovis N. Parker.<br /> 74 x 5. 154 pp. Lane. 2s. 6d. n.<br /> <br /> Eicut o’CLtock AND OTHER STUDIES.<br /> Ervine. 7} X 5.<br /> <br /> EDUCATIONAL,<br /> <br /> Tue Tracepy or Epvucation. By E. G. A. Hormzs.<br /> 74 x 5. 100 pp. Constable. 2s. 6d. n.<br /> <br /> By Sr. Joun G.<br /> 128 pp. Maunsell. 2s. 6d. n.<br /> <br /> ENGINEERING.<br /> <br /> FurTHER PROBLEMS IN THE THEORY AND DESIGN OF<br /> Srrucrures. An advanced text-book for the use of<br /> Students, Draughtsmen and Engineers engaged in con-<br /> structional work. By Ewart §. AnpRrews, Lecturer in<br /> Theory and Design of Structures at the Goldsmiths’<br /> <br /> College, New Cross. 8} x 54. viii. + 236 pp. Chap-<br /> man. 7s. 6d. n.<br /> Irniagation Works. By E. 8. Beruasts. M.Inst.C.E.<br /> 8% x 54. vii. + 195 pp. Spon.<br /> FICTION.<br /> Jenny: A Novel. By Roy Horniman. 7} x 5.<br /> <br /> 335 pp. Hurst &amp; Blackett. 6s.<br /> Swrrting Waters. By Max RitrEenBerc.<br /> 312 pp. Methuen. 6s.<br /> <br /> 2<br /> :<br /> |<br /> %<br /> 4<br /> :<br /> :<br /> 3<br /> a<br /> ao<br /> 2<br /> |<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 7<br /> <br /> Tue Hour-Guass Mystery.<br /> 320 pp. Ward, Lock. 6s.<br /> <br /> CLeopaTRA. By H. Riper Hacearp. 259 pp. Havoc.<br /> By E. Pumurms Opprennem. 258 pp. 6} x 44.<br /> Hodder &amp; Stoughton. 7d. n. each.<br /> <br /> THE Cockatoo. A Novel of Public School Life. By Max<br /> Rirrenserc. 7} 5. 309 pp. Sidgwick &amp; Jack-<br /> son. 5s.<br /> <br /> A Marssar, Haut. By Joun MaAsEriep.<br /> 189 pp. Elkin Mathews. 3s. 6d. n.<br /> <br /> THE Sty or Jasper Stanpisn. By “Rrra.”<br /> 318 pp. Long. 7d. n. each.<br /> <br /> Furze THE Cruret. By JoHN TREVENA.<br /> 391 pp. (Popular Edition.) Alston Rivers.<br /> <br /> THE GARDEN or Mystery. By RicHarp<br /> 316 pp. Long. 7d. n.<br /> <br /> THe Rep Hovsz. By E. Nessir.<br /> Methuen. 7d. n.<br /> <br /> THe Patapry. As beheld by a Woman of Temperament.<br /> By H. Annestey Vacuett. 64x 4. 474 pp. Nelson.<br /> 1a. 1.<br /> <br /> A Son of THE Peopite. 340 pp. Tau Tancuep SKEIN.<br /> 332 pp. By Baroness Orczy. 7} x 4}. Hodder.<br /> Is. n. each.<br /> <br /> THe Patchwork Papers. By E. Tempte Tuurston.<br /> (New and Cheaper Edition.) 7} x 43. 268 pp. Chap-<br /> man. 2s. n.<br /> <br /> By Srroke or Sworp. By A. Batrovr.<br /> 319 pp. (Cheap Reprint.) Methuen. 7d. n.<br /> <br /> A Bep or Roses. By W.L. Grorer. 7 x 43.<br /> Palmer. ls. n.<br /> <br /> THE OLD Man IN THE CorNER. 340 pp. By THE Gops<br /> BeLoveD. 310 pp. 7} x 44. By Baronzss Orczy.<br /> (Cheap Reprint.) Hodder. 1s. n.<br /> <br /> FEviciry iy France.<br /> 377 pp. Ils. n.<br /> <br /> THE Wipow’s Neckiacr. By Ernust Davies.<br /> 315 pp. Duckworth. 6s.<br /> <br /> Tue Por or Bast. By BrERNarD Capss.<br /> Constable. 6s.<br /> <br /> Lity Macic. By Mary L. Penperep.<br /> Mills &amp; Boon. 6s.<br /> <br /> Raven, V.C. By Coratre Stanton and Heatu Hosken.<br /> 7s x 5. 400 pp. Nash. 6s.<br /> <br /> THe Vieer or Minan. A Romance of Lombardy. By<br /> Margorie BowEn. (Cheap Reprint.) 7k X 5. 348 pp.<br /> Alston Rivers. Is. n.<br /> <br /> PeTer, A Parasitre. By E. Marra ALBANESI.<br /> Reprint.) 6} x 4}. 224 pp. 7d.n.<br /> <br /> Tue Mystery or HetmMstey Grane. By Aice and<br /> CraupE Askew. 7} x 5. 254 pp. Pearson. ls. n.<br /> Tue CounTrY oF THE BLIND AND OTHER STORIES. By<br /> H. G. Wxis. 6} x 4. 574 pp. (Cheap Reprint.)<br /> <br /> Nelson. 7d. n.<br /> <br /> THE Woman Tuov Gavest Mz.<br /> O&#039;Neill. By Haun Carne.<br /> mann. 6s,<br /> <br /> Evporapo. A Story of the Scarlet Pimpernel. By<br /> Baroness Onczy. 73 x 5. 374 pp. Hodder &amp;<br /> Stoughton. 6s.<br /> <br /> Tue Stricrty Trarnep Motuer. By F. F. Monrresor.<br /> 73 x 5. 221 pp. Murray. 3s. 6d.<br /> <br /> Tue CLup oF QuEER TRADES. By G. K. Cuesrrerron.<br /> 192 pp. Hodder &amp; Stoughton. Is. n.<br /> <br /> THE Way oF Ampition. By Ropert Hicuens. 7% x 54.<br /> 476 pp. Methuen. 6s.<br /> <br /> Tue Reminaton Sentence. By W. Pzrr Ruivaz.<br /> 7% x 5. 300 pp. Methuen. 6s.<br /> <br /> Tue Miscuter-Maxrer. By E. Pamurs OppenneErm.<br /> 7% x 5. 332 pp. Hodder &amp; Stoughton. 6s.<br /> <br /> Tue SHapow or Evi. By Cartron Dawe. TE x 5.<br /> 312 pp. Werner Laurie. 6s.<br /> <br /> By Heapon Hm. 7? x 5.<br /> <br /> 7% x 54.<br /> 64 x 4.<br /> 74 X 5.<br /> ls. n.<br /> <br /> Marsa.<br /> <br /> 64 x 4}. 212 pp.<br /> <br /> 64 x 4.<br /> <br /> 384 pp.<br /> <br /> 75 X 43.<br /> 320 pp.<br /> <br /> 7k X 5. 372 pp.<br /> <br /> (Cheap<br /> <br /> Being a Story of Mary<br /> 73 x 5. 586 pp. Heine-<br /> <br /> By Constance ExizaBeru Mavp..<br /> <br /> THE Grey Countess. By Tuzo Dovanas (Mrs. H. D.<br /> Everett). 73 x 5. 311 pp. Cassell. 6s.<br /> Tue Netuer Mitztstone. By G. Lrrruestons.<br /> 380 pp. Ward, Lock. 6s.<br /> <br /> Gov’s Pray. By Atice and CLaupEe AsKEw.<br /> 31l pp. Fisher Unwin. 6s.<br /> <br /> A Mrxep Marriace. By Mrs. Frank Penny.<br /> 263 pp. (Cheap Reprint.) Methuen. 7d. n.<br /> <br /> Tue Brass Borrte. By F. Anstey. 256 pp.<br /> Reprint.) Hodder &amp; Stoughton. 7d. n.<br /> <br /> PrerRE AND His Propte. By Smr Gmsert ParKeEr.<br /> = pp. (Cheap Reprint.) Hodder &amp; Stoughton.<br /> 7d. n.<br /> <br /> Hypocrites AND SINNERS. By Vioter TWrEbDALe.<br /> 63 x 4. 318 pp. (Cheap Reprint.) John Long. 7d. n.<br /> <br /> A Woman Perrectep. By R. Marsu. 318 pp. 63x 4.<br /> (Cheap Reprint.) John Long. 7d. n.<br /> <br /> THe Fourrow on tHE Hutz. By Ftorence Bore.<br /> 83 x 53. 128 pp. (The “Leisure Hour” Library.)<br /> <br /> OLIVER SaAnpys.<br /> <br /> Cutcanzn. By 74k x 42.<br /> (Cheap Reprint.) John Long.<br /> <br /> An AvERAGE Man. By R. H. Benson.<br /> 380 pp. Hutchinson. 6s.<br /> <br /> THane BRANDON. By Francis BANCROFT. it xX 43.<br /> 326 pp. Hutchinson. 6s.<br /> <br /> THE SWASHBUCKLER AND OTHER TALES. By Mrs.<br /> Baim Reynoups. 8 x 5. 343 pp. Mills &amp; Boon.<br /> 6s.<br /> <br /> Mrs. Murpyy. By Barry Pain.<br /> Werner Laurie. Is. n.<br /> THe ParaDIsE or Foots.<br /> <br /> Everett &amp; Co. 6s.<br /> <br /> THE Man Wuo Par. By Rearyatp C. Borsrer and<br /> <br /> Mason Ausrey O’Brign, C.I.E. 74 x 43. 332 pp.<br /> <br /> Alston Rivers. 6s.<br /> THortEy Weir. By E. F. Benson. 73 x 5}. 336 pp.<br /> <br /> Smith, Elder. 6s.<br /> <br /> BaRBARA OF THE THORN.<br /> <br /> 314 pp. Chatto &amp; Windus. 6s.<br /> <br /> Brtow Srams. By Mrs. Atrrep Smewicx. 72 x 6.<br /> 304 pp. Methuen. 6s.<br /> <br /> THE GOVERNOR or Encuanp. By Margorrz Bowen.<br /> 72 x 5. 376 pp. Methuen. 6s.<br /> <br /> Tipe Marks. By MarcarutT WESTRUP. 7% x 5. 380 pp.<br /> Methuen. 6s.<br /> <br /> THe CHars or Harton. A Tale of Frolic, Sport and<br /> Mystery at Public School, By Benrypa Biiypers.<br /> Edited by Desmonp Coxz. 7} x 43. 159 pp. Chap-<br /> man &amp; Hall. 2s. 6d. n.<br /> <br /> Winns or Gop. By Hammron Drummonp.<br /> 321 pp. Stanley Paul. 6s.<br /> <br /> One WonpeErFuL Nicut. By Lovis Tracy. 74 X 5.<br /> 321 pp. Ward, Lock. 6s.<br /> <br /> THRovcH Wat AND THrovaH Wor. By Err Apz-<br /> LAIDE Rowxanps. 74 x 5. 317 pp. Ward, Lock. 6s.<br /> <br /> Hieas anp Porrer. By Brarp FRANCIS. 74 xX 5.<br /> 296 pp. Drane. 3s. 6d.<br /> <br /> Tse Crry or Brautirut Nonsense. By E. Tempe<br /> Tuurston. (New and Cheaper Edition.) 6} x 4}.<br /> 360 pp. Chapman &amp; Hall. ls.<br /> <br /> A Prizstess or Humanity. By Mrs. Stanuey WRENCH.<br /> 7% X 43. 319 pp. (Popular Edition.) John Long.<br /> ls. n.<br /> <br /> Links in tue Cuarn. By Heapon Hu.<br /> John Long. 7d. n.<br /> <br /> Tur Ossornes. By E. F. Benson. 6} x 4}. 378 pp.<br /> Nelson. 7d, n.<br /> <br /> ALLAN QuaTEeRMAIN. By H. Riper Haccarp.<br /> Hodder &amp; Stoughton. 7d. n.<br /> <br /> ASERVANT or THE Pustic. By ANTHONY Hops.<br /> Hodder &amp; Stoughton. 7d. n.<br /> <br /> 72 x 5.<br /> 7% X 5.<br /> 64 x 44.<br /> (Cheap<br /> <br /> 287 pp.<br /> 7k xX 43.<br /> <br /> 74 x 43. 114 pp.<br /> <br /> By Derrek Vane. 320 pp.<br /> <br /> 7} x 5.<br /> <br /> 72 Xx 5.<br /> <br /> 256 pp.<br /> <br /> 320 pp.<br /> 317 pp.<br /> 8 THER AUTHOR.<br /> <br /> ASENATH OF THE Forp. By “ Riva.” 83 x 53.<br /> <br /> Stanley Paul. 6d.<br /> <br /> 196 pp.<br /> <br /> HISTORY.<br /> <br /> Sures aND Ways or OTHER Days. By E. KeBLEe CHATTER-<br /> TON, 9% xX 7. 308 pp. Sidgwick &amp; Jackson. 16s. n.<br /> <br /> JorRQUEMADA AND THE SpanisH_ INQuIsiTION. By R.<br /> SaBATINI. 9 X 53. 404 pp. Stanley Paul. 16s, n.<br /> <br /> LITERARY.<br /> Tae Story or THE ALPHABET. By E. Ciopp. Revised<br /> Edition. 63 x 4}. 234 pp. (Useful Knowledge Series.)<br /> Hodder &amp; Stoughton. ls. n.<br /> <br /> Unxiversity and HisroricaL AppREssEs. By JAMES<br /> Bryce. 8 x 54. 433 pp. Macmillan. 8s. 6d. n.<br /> MATHEMATICS.<br /> <br /> PROCEEDINGS OF THE FrerH INTERNATIONAL CONGRESS OF<br /> Maruematicrans (Cambridge, August 22, 28, 1912).<br /> Edited by E. W. Hopson and A. E. H. Love. Two<br /> vols. 104 x 7. 500 x 657 pp. Cambridge University<br /> <br /> Press. 30s. n.<br /> MEDICAL.<br /> <br /> Tur Huarruy Marrracse. A Medical and Psychological<br /> Guide for Wives. By G. T. Wrencu, M.D., B.S.<br /> 74 x 5.<br /> <br /> Tur Nervous AND CHEMICAL ReauLaTions oF Mura-<br /> BoLIsM. Lectures by D. Norn Paton, M.D., B.Sc.,<br /> Professor of Physiology in the University of Glasgow.<br /> 9 x 54. 217 pp. Macmillan. 6s. n.<br /> <br /> NATURAL HISTORY.<br /> <br /> Tue Birpsor Avstratia. By G.M.Maruews. Vol. III.<br /> <br /> Part Ill. 144 x 10}. Pp. 205—300. Witherby.<br /> NAVAL.<br /> <br /> Turn Krye’s Sutres. Together with the important His-<br /> <br /> torical Episodes connected with the successive ships of<br /> <br /> the same name from remote times, and a list of names and<br /> services of some ancient war vessels. By H. 8. Lzoxy.<br /> <br /> In six volumes. Vol. I. 11} x 8}. 327 pp. H.<br /> Muirhead. £3 n. each volume.<br /> <br /> POETRY.<br /> My Lapy’s Boox. By Greratp Goutp, 7} x 5. 54 pp.<br /> <br /> Sidgwick. 2s. 6d. n.<br /> <br /> Sart Water Batyaps. By JoHN MasEFIELD. 112 pp.<br /> 73 x 5}. Elkin, Matthews. 3s. 6d. n.<br /> <br /> Rasmie’s Buppre: Porms iN THE SHETLANDIC. By<br /> J. J. HAtpaNE Buresss. 74 x 5. 129 pp. Manson.<br /> <br /> A SELECTION FRoM THE Love PorTry or WILLIAM<br /> Burter Years. 8} x 6. 30 pp. The Cuala Press,<br /> 2 Dundrum, Co. Dublin. To subscribers,<br /> 7s. 6d.<br /> <br /> Maytime Sones. By ANNIE MATHESON.<br /> Max Goschen. 2s. 6d. n.<br /> <br /> Prers THE Plowman. An English Poem of the Fourteenth<br /> Century. Translated into Modern Prose, with an Intro-<br /> duction, by Kare M. Warren, Lecturer in English<br /> Language and Literature at Westfield College (University<br /> of London). Arnold. 2s. 6d.<br /> <br /> SOCIOLOGY.<br /> <br /> A PLEA FoR THE YOUNGER GENERATION.<br /> Hamirton. 7? X 5.<br /> 2s. 6d. n.<br /> <br /> Woman, Marrtace AND MotHernoop. By ELiIzaBETH<br /> <br /> 8 x 5h. 67 pp.<br /> <br /> By Cosmo<br /> 63 pp. Chatto &amp; Windus.<br /> <br /> Stoan CHESSER. 8} x 5}. 287 pp. Cassell. 6s. n.<br /> SPORT.<br /> Women tn THE Huntina Frevp. By Mrs. Sruart<br /> <br /> Menzizs. 734 x 5. 269 pp. Vinton. 7s. 6d. n.<br /> <br /> THEOLOGY.<br /> <br /> Hymns,&quot; Lirantes AND PRAYERS FOR A VILLAGE. By<br /> J. Hunrutey Sxrre. 63 x 4}. 85 pp. Mowbray.<br /> Tene \<br /> <br /> Tur Porr at Home. By Doveras StapEN. 7} X 43.<br /> 222 pp. Hurst &amp; Blackett. Is. n.<br /> <br /> Lessons ror THE CuuRcH’s CHILDREN. Book I. By<br /> Tne Rey. J. Hastocn Potter and Tue Rev. A. E. W.<br /> <br /> Suearp. 74 x 5. 262 pp: Skeffington, 1s. 6d, n.<br /> TOPOGRAPHY.<br /> Tur New Foresters. By Witttam Carne. 8} x 5}?<br /> <br /> 248 pp. Nisbet. 5s. n.<br /> <br /> Quiet Roaps anp Suenpy Vittaces. By ALLen FEa.<br /> <br /> 9 x 53. 292 pp. Nash. 7s. 6d. n.<br /> TRAVEL,<br /> A Tourn Touramr. By Raymonp NEEDHAM. Second<br /> Edition. 7} x 4}. 300 pp. 5s. n.<br /> From a PunsavuB PomrGranate Grove. By C. C.<br /> Dyson. 9 x 54. 289pp. Mills&amp; Boon. 10s. 6d. n.<br /> <br /> Tue LanD oF VEILED WOMEN.<br /> Algeria, Tunisia and Morocco.<br /> 7k x 5. 288 pp. Cassell.<br /> <br /> Some Wanderings in<br /> By J. Foster Fraser.<br /> ls. 6d. n.<br /> <br /> —_—_—_—_——_+——_+-_—_—_—__<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> —+— +<br /> <br /> HE novel-publishing season is now in<br /> full swing. Mr. Maurice Hewlett’s<br /> ‘“‘Bendish: a Study in Prodigality,”<br /> <br /> appeared on September 19, through Messrs.<br /> Macmillan &amp; Co. Mr. H. G. Wells’s “ The<br /> Passionate Friends” was published by the<br /> same house.<br /> <br /> Mr. Hall Caine, with his ‘“‘ Woman Thou<br /> Gavest Me” (Heinemann), has had _ the<br /> distinction of being the first author this season<br /> to come into conflict with the Circulating<br /> Libraries’ Association, The matter is referred<br /> to in another column.<br /> <br /> Sir Arthur Conan Doyle’s “‘ The Poison<br /> Belt’ is published by Messrs. Hodder &amp;<br /> Stoughton.<br /> <br /> Mr. Robert Hichens’s new novel, ‘‘ The Way<br /> of Ambition,” has been published by Messrs.<br /> Methuen &amp; Co.<br /> <br /> The same firm has produced Mr, Arnold<br /> Bennett’s “‘ The Regent” (re-introducing the<br /> reader to “* The Card ’’); Sir Gilbert Parker’s<br /> “The Judgment House”’; Mr. Pett Ridge’s<br /> “The Remington Sentence’; Miss Marjorie<br /> Bowen’s ‘‘ The Governor of England”; Mrs.<br /> Belloc Lowndes’s ‘‘The Lodger’’; Miss<br /> Dorothea Conyers’s ‘‘ Sandy Married”; Mr.<br /> Putnam Weale’s ‘“‘ Romance of a Few Days ”’ ;<br /> and Mrs. A. Sidgwick’s “‘ Below Stairs.”<br /> <br /> Mr. W. B. Maxwell has brought out “* The<br /> Devil’s Garden,” through Messrs. Hutchinson<br /> <br /> <br /> <br /> |<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> HAR ENO SRS<br /> <br /> THE AUTHOR. 9<br /> <br /> &amp; Co. This firm publishes also Mrs. Wilfrid<br /> Ward’s ‘ Horace Blake.”<br /> <br /> From the same publishers come “ The Power<br /> Behind,” by Miss M. P. Willcocks; “An<br /> Average Man,” by Mr. R. H. Benson; “ Sandy’s<br /> Love Affair,” by Mr. S. R. Crockett; and<br /> * Thane Brandon,” by Mr. F. Bancroft.<br /> <br /> Messrs. Chatto &amp; Windus publish ‘“ The<br /> Door that has no Key,” by Mr. Cosmo<br /> Hamilton; ‘Love in the Hills,” by Mrs.<br /> F. E. Penny; ‘ Barbara of the Thorn,” by<br /> Miss Netta Syrett ; “‘ Prodigals and Sons,” by<br /> Mr. John Ayscough; and “ The Price Paid,”<br /> by Miss Effie Adelaide Rowlands.<br /> <br /> Mrs. Florence L. Barclay’s “The Broken<br /> Halo,”” was published by Messrs. G. P. Put-<br /> nam’s Sons, on September 16.<br /> <br /> “Anne of the Marshlands,’’ by the Hon.<br /> Mrs. Julian Byng, and “ Daffodil’s Love<br /> Affairs,” by Mrs. L. M. Stacpoole Kenny, are<br /> published by Messrs. Holden &amp; Hardingham.<br /> <br /> Major Aubrey O’Brien, C.I.E., and Mr.<br /> Reginald Bolster, authors of ‘Cupid and<br /> Cartridges,” have collaborated again in a novel<br /> entitled “‘ The Man Who Paid” (Messrs. Alston<br /> Rivers).<br /> <br /> Miss Florence Bone’s autumn novels are,<br /> “The Valley of Delight,” and “‘ A Burden of<br /> Roses.” Her new serial, ‘‘ The Golden String,”’<br /> commences in the October number of The<br /> Sunday at Home.<br /> <br /> Mr. Frankfort Moore has had two novels<br /> published since our last issue—‘‘ The Narrow<br /> Escape of Lady Hardwell ” (Constable) ; and<br /> “The Rescue of Martha ” (Hutchinson).<br /> <br /> Mrs. L. Allen Harker’s new novel is ‘‘ The<br /> Ffolliots of Redmarley.”” Mr. John Murray<br /> is the publisher of this, and also of ‘“ The<br /> Strictly Trained Mother,” by Miss F. F.<br /> Montresor.<br /> <br /> “ Myles Calthorpe, I.D.B.,” by Mr. F. E.<br /> Mills Young, is announced by The Bodley<br /> Head as already in its seventh edition.<br /> <br /> The Baroness Orezy’s “‘ Eldorado,” another<br /> story of the Scarlet Pimpernel, is published by<br /> Messrs. Hodder &amp; Stoughton.<br /> <br /> Miss Edith C. Kenyon’s historical tale,<br /> “ Christine the Huguenot,” is being published<br /> by the Religious Tract Society. The same<br /> author’s “Ashes of Honour,” and ‘“ The<br /> Mystery of Blackstone Mine,” have been<br /> brought out by Messrs. Holden &amp; Hardingham<br /> in sixpenny form.<br /> <br /> Messrs, Greening &amp; Co. have brought out a<br /> sixpenny edition of Miss May Wynne’s “ Henry<br /> of Navarre,”’ the novel adapted from the play<br /> by Mr. William Devereux.<br /> <br /> “The Old Time before Them,” is Mr. Eden<br /> <br /> Phillpott’s title for a new collection of West<br /> Country stories, which Mr. John Murray<br /> publishes.<br /> <br /> Miss Edith L. Blaikley’s new novel, ‘ Alone<br /> in a Crowd,” will appear early this autumn<br /> through Messrs. Heath, Cranton &amp; Ouseley,<br /> who published the same author’s “ Dorothy<br /> Eayle ” last October.<br /> <br /> Messrs. Stanley Paul &amp; Co. are the pub-<br /> lishers of ‘‘ The Watered Garden,” by Mrs.<br /> Stepney Rawson; ‘ Winds of God,” by Mr.<br /> Hamilton Drummond; ‘ The Eyes of Alicia,”’<br /> by Mr. Charles E. Pearce; ‘‘ Youth will be<br /> Served,” by Miss Dolf Wyllarde: “The<br /> Cloak of St. Martin,” by Miss Armine Grace<br /> (sister of Miss Dolf Wyllarde); ‘The<br /> Adventures of Mortimer Dixon,” by Mrs.<br /> Alicia Ramsey ; and ‘“‘ The Painted Lady,” by<br /> Miss Arabella Kenealy.<br /> <br /> Miss Constance Serjeant’s ‘‘ Where the Saints<br /> are Gone’ has been republished by Mr. W.<br /> Nicholson.<br /> <br /> “The Sentence of the Judge,” by Miss<br /> Hilaré Barlow, is published by Messrs. Lyn-<br /> wood &amp; Co.<br /> <br /> E. M. Channon (Mrs, Francis Channon) calls<br /> her new novel “Miss King’s Profession.”<br /> Messrs. Mills &amp; Boon are the publishers of this,<br /> and of Mrs. H. H. Penrose’s ‘t The Brat.”<br /> <br /> “The Call of the Past,” by Fflorens Roch,<br /> is published by Messrs. Sands &amp; Co.<br /> <br /> “The Pot of Basil,” by Mr. Bernard Capes,<br /> is published by Messrs. Constable &amp; Co., as also<br /> are “No Place Like Home,” by Mr. John<br /> Trevena; and ‘‘ The Judgment of the Sword ”<br /> (previously announced as “‘ Retribution *), by<br /> Mrs. Maud Diver.<br /> <br /> Shilling editions of Mr. Clive Holland’s<br /> stories, “My Japanese Wife,” ‘‘ The Spell of<br /> Isis,” and ‘‘ Marcelle of the Latin Quarter,”’<br /> are issued by Messrs. Lynwood.<br /> <br /> Mr. Roy Horniman’s “‘ Jenny ”’ is published<br /> by Messrs. Hurst &amp; Blackett.<br /> <br /> Miss Mary B. Sandford’s story for young<br /> people, *‘ The Young Gordons in Canada,” was<br /> published last month by the Religious Tract<br /> Society.<br /> <br /> Miss Violet A. Simpson’s new novel, ‘‘ Flower<br /> of the Golden Heart,” will be published by<br /> Messrs. Chapman &amp; Hall this autumn. This<br /> story deals with life and manners in London<br /> immediately preceding the Great Fire of 1666.<br /> <br /> We regret an error in the chronicling of<br /> Miss Marriott Hodgkins’ tragedy, “ Cyrus,”’<br /> in the July issue of the Books published by<br /> Members, which was erroneously described<br /> under the title “‘ Cyprus.”<br /> <br /> Messrs. Macmillan &amp; Co. are about to<br /> 10<br /> <br /> publish the second of Mr. Douglas Ainslie’s<br /> translations of Senatore Benedetto Croce’s<br /> system of the Philosophy of the Spirit. This<br /> volume will deal with the will in its various<br /> manifestations, and notably with its two<br /> forms of ethic and economic, showing how the<br /> former depends upon and is developed from<br /> the latter. The chief title of this work is<br /> ‘“‘ Philosophy of the Practical.’’ Mr. Ainslie’s<br /> next translation will be that of Croce’s profound<br /> and creative critique of Hegel, and will be<br /> entitled, ‘‘ What is Living and what is Dead<br /> of the Philosophy of Hegel.” The third<br /> and last volume of the Crocian system will<br /> be the ‘‘ Logic,” to be issued next year. The<br /> introduction to the ‘‘ Philosophy of the<br /> Practical’ appears in the October number<br /> of the North American Review.<br /> <br /> Mr. Douglas Ainslie’s last volume of poems,<br /> ‘“‘ Mirage,” has now been transferred to<br /> Messrs. Constable &amp; Co., who have also<br /> published his “Moments,” “John of<br /> Damascus,” and ‘‘ Song of the Stewarts.”<br /> <br /> Mr. Havelock Ellis writes the introduction to<br /> Miss Ellen Key’s life of Rabel Varnhagen, who<br /> has been described as the greatest woman<br /> genius that Germany has produced (Putnam,<br /> 6s. net).<br /> <br /> Mr. Lewis Melville’s new biography is<br /> ‘“* Philip, Duke of Wharton ”’ (John Lane, 16s.).<br /> <br /> Messrs. Hutchinson &amp; Co. are on the point<br /> of producing Mr. Philip W. Sergeant’s ‘* Mrs.<br /> Jordan, Child of Nature,” a new attempt to<br /> pierce the mystery surrounding the unfortu-<br /> <br /> nate actress. There will be twenty-one<br /> illustrations.<br /> Mrs. Edith Cuthell’s ‘A Vagabond<br /> <br /> Courtier ’’—a biography in two volumes of the<br /> Baron von Polnitz, of whom a rather acid<br /> portrait appears in Thackeray’s ‘‘ Virginians ”’<br /> —is announced by Messrs. Stanley Paul &amp; Co.<br /> <br /> Mr. Yoshio Markino, the Japanese artist, is<br /> producing through Messrs. Chatto &amp; Windus<br /> ‘““ My Recollections and Reflections,’’ with nine<br /> illustrations in colour and several in mono-<br /> chrome.<br /> <br /> Messrs. Chatto &amp; Windus’s autumn cata-<br /> logue includes also ‘‘ Browning’s Heroines,”<br /> by Miss E. C. Mayne (6s. net); “* Under the<br /> Greenwood Tree,” an edition, illustrated by<br /> Mr. Keith Henderson, of Mr. Thomas Hardy’s<br /> novel (6s. net); and ‘‘ A Plea for the Younger<br /> Generation,’’ by Mr. Cosmo Hamilton (2s. 6d.<br /> net). f<br /> <br /> *“ Quiet Roads and Sleepy Villages,’’ pub-<br /> lished recently by Eveleigh Nash, is another<br /> of Mr. Allan Fea’s touring rambles in search<br /> of the picturesque. Like last year’s volume<br /> <br /> THE AUTHOR.<br /> <br /> several counties are included in these rambles.<br /> Again Barnet is taken as a starting-point,<br /> but this time we journey across Herts into<br /> Bedfordshire, and thence to south Northants,<br /> through Oxfordshire and eastern Gloucester-<br /> shire to northern Wilts, and thence by Berks<br /> again to the narrow “ waist’ of Oxon. As<br /> before, there are several views of old-world<br /> villages.<br /> <br /> Messrs. Chapman &amp; Hall have published a<br /> new book by Mr. C. E. Gouldsbury, author of<br /> “Life in the Indian Police,” ete.. It is<br /> entitled “ Tiger Land: or Reminiscences of<br /> Forty Years’ Sport and Adventure in Bengal.”<br /> There are twenty-four illustrations, and an<br /> introductory chapter deals with big game<br /> shooting in India.<br /> <br /> Mr. Archibald B. Spens and has lately been<br /> travelling across India, and writing an account<br /> of his trip. This is to be published by Messrs.<br /> Stanley Paul &amp; Co., under the title “‘ A Winter<br /> in India.” The book contains 100 photographs<br /> by the author.<br /> <br /> A book is to be published this month by<br /> Messrs. Stanley Paul &amp; Co., under the title<br /> ‘“More about Collecting,” by Sir James<br /> Yoxall, M.P., the author of ‘“‘ The A. B. C.<br /> about Collecting.”” His new work, which is<br /> very thoroughly illustrated, gives many<br /> practical hints about books, glass, pictures,<br /> porcelain, lace, clocks, and furniture, among<br /> other subjects, and is written ‘ for the help of<br /> amateurs smitten with the passion for picking<br /> up things which are odd, pretty or rare.”’<br /> <br /> ‘Ships and Ways of Other Days,” is the<br /> name of Mr. E. Keble Chatterton’s new book<br /> (Sidgwick, 16s. net).<br /> <br /> Mr. Wynford Dewhurst has _ written<br /> “Wanted: A Ministry of the Fine Arts,”<br /> attacking the national attitude toward art<br /> (Rees, 1s. net).<br /> <br /> Miss Jeanette Marks’s “‘ Vacation Camping<br /> for Girls” is a practical manual issued by<br /> Messrs. Appleton of New York at $1 net.<br /> <br /> The Rev. F. W. Coulter has republished in<br /> pamphlet form his articles on ‘“‘Some Causes<br /> of Modern Unbelief,’’ which appeared serially<br /> in the Lancaster Guardian. ‘The price of the<br /> pamphlet is 1d.<br /> <br /> Mr. S. M. Franklin and Miss Alice Henry,<br /> both Australian members of the Society of<br /> Authors, are the joint editors of Life and Labor,<br /> which is published in Chicago by the National<br /> Women’s Trade Union League of America.<br /> <br /> Mr. and Mrs. Bernhard Whishaw, authors of<br /> ‘** Arabic Spain,” have published through<br /> Messrs. Smith, Elder &amp; Co., at the price of Is.,<br /> an illustrated descriptive account of the<br /> <br /> <br /> <br /> <br />  <br /> <br /> 7<br /> <br /> <br /> <br /> THE AUTHOR. 11<br /> <br /> Museum of Andalusian Pottery and Lace at<br /> Seville.<br /> <br /> Mr. Francis Gribble’s ‘‘ Romance of the<br /> Oxford Colleges,’ with twelve illustrations, is<br /> published by Messrs. Mills &amp; Boon, 2s. 6d. net.<br /> <br /> Mr. George Grossmith’s “‘ Gaiety and George<br /> Grossmith: The Random Reflections of an<br /> Apostle of Pleasure,’’ will be issued this month<br /> by Messrs. Stanley Paul.<br /> <br /> A new edition has appeared of Mr. J. J.<br /> Haldane Burgess’s “‘ Rasmie’s Biiddie,’’ poems<br /> in the Shetlandic dialect (T. &amp; J. Manson,<br /> Lerwick, 2s. 6d. net).<br /> <br /> Dr. Elizabeth Sloan Chesser, M.B., has<br /> produced a work entitled ‘‘ Woman, Marriage,<br /> and Motherhood ’’—dealing with her subject<br /> from all points of view, sexual, hygienic, legal,<br /> political, social, economic, industrial. The<br /> price is 6s. net.<br /> <br /> “*Goldwin Smith: A Study,” is the name of<br /> a biographical sketch of the late Professor by<br /> Mr. Arnold Haultain. The publisher will be<br /> Mr. T. Werner Laurie.<br /> <br /> Captain J. Stuart has published, through<br /> <br /> Messrs. Macmillan, ‘‘ A History of the Zulu .<br /> <br /> Rebellion, 1906, with maps, and<br /> illustrations. The price is 15s.<br /> <br /> Messrs. J. D. Symon and S. L. Bensusan<br /> together are the authors of ‘‘ The Renaissance<br /> and its Makers” (T. C. &amp; E. C. Jack, 10s. 6d. net).<br /> <br /> “Women in the Hunting Field,” by Mrs.<br /> Stuart Menzies, is published by Messrs.<br /> Vinton &amp; Co. at two prices, 7s. 6d. net, cloth ;<br /> and 10s. 6d., leather.<br /> <br /> The volume of *‘ Reminiscent Gossip of Men<br /> and Matters,’’ announced by Messrs. Chapman<br /> &amp; Hall, is by Mr. James Baker, who for over<br /> forty years has travelled widely, coming in<br /> contact with many famous men and women.<br /> <br /> Mr. E. M. Beardsley is the author of ‘‘ Rome<br /> versus Jesus ’’—described as an indictment of<br /> the Papacy from a new point of view (Andrew<br /> Melrose, 6s. net).<br /> <br /> _Mr. Wilfrid C. Thorley has just published,<br /> through Messrs. Macmillan, an ‘English<br /> Reader for Foreign Students.” It is an<br /> attempt to give, by means of selections from<br /> about fifty of the best writers of the nineteenth<br /> century, a microcosm of Anglo-Saxon life and<br /> thought during that period.<br /> <br /> “The Rainbow Book,’ by Mrs. M. H.<br /> Spielmann, was issued in a third edition last<br /> month. Although published at a cheaper<br /> price, this collection of stories for children<br /> retains its original format, and has all the<br /> illustrations (by Mr. Hugh Thomson, Mr.<br /> Arthur Rackham, and others) that distin-<br /> guished the first edition, issued in 1909. The<br /> <br /> plans,<br /> <br /> new issue forms a companion volume to<br /> “ Littledom Castle,’’ of which a third edition<br /> appeared last year, when it was placed upon<br /> the prize-list of the London County Council.<br /> <br /> Mrs. Charlotte Cameron, author and traveller,<br /> has returned recently from a 26,000-mile trip.<br /> Not only has she circumnayigated the entire<br /> East and West Coast of #Africa, but traversed<br /> that continent as well with the exception of a<br /> few hundred miles. The story of her adven-<br /> tures in Logoland, Cameroons, Liberia, French<br /> Congo, as well as in our own colonies, entitled<br /> ““A Woman’s Winter in Africa,” will appear<br /> this autumn.<br /> <br /> Mr. E. A. Reynolds-Ball edits ‘“‘ Bradshaw’s<br /> Through Routes to the Chief Cities, Bathing<br /> and Health Resorts of the World” (Henry<br /> Blacklock &amp; Co., 6s. net).<br /> <br /> Mr. S. Leonard Bastin has _ published,<br /> through Messrs. Cassell, a book upon “‘ Flower-<br /> less Plants.”<br /> <br /> Mr. John Masefield’s new long poem, “‘ The<br /> River,”’ will appear in next month’s issue of the<br /> English Review.<br /> <br /> Mr. William Watson’s ‘‘ The Muse in Exile ”’<br /> is issued by Mr. H. Jenkins at 3s. 6d. net.<br /> <br /> ‘**In Arcady, and Other Poems”’ is the title<br /> of a volume by Mr. W. J. Cameron (Erskine<br /> Macdonald, 3s. 6d. net).<br /> <br /> Mr. H. Cooper Pugh calls his volume of verse<br /> ““Les Chausans d’un Ingénu” (J. &amp; J.<br /> Bennett).<br /> <br /> In the September number of the West-<br /> minster Review appeared a new poem by Mr.<br /> Alfred Smythe, ‘Our Royal Betrothal,”’<br /> commemorating the announcement of the<br /> marriage of Prince Arthur of Connaught and<br /> the Princess Alexandra.<br /> <br /> Mr. K. C. Spiers has had a book ‘‘ The Soul<br /> of a Doll, and Other Poems” published by<br /> Messrs. Chapman &amp; Hall, at 2s. 6d. net. ::<br /> <br /> DrRamMatTIc.<br /> <br /> On September 1, at the St. James’s Theatre,<br /> there were seen for the first time, Mr. Bernard<br /> Shaw’s ‘“‘ Androcles andthe Lion,”’ and ‘‘ The<br /> Harlequinade,” in which Mr. Dion Clayton<br /> Calthrop collaborated with Mr. Granville Barker.<br /> <br /> On September 2 Mr. Louis Parker’s “‘ Joseph<br /> and His Brethren”’ was staged by Sir Herbert<br /> Tree at His Majesty’s Theatre.<br /> <br /> On September 3 ‘‘ Love and Laughter,” a<br /> comic opera by Messrs. Frederick Fenn and<br /> Arthur Wimperis, with music by Oscar Strauss,<br /> began a season at the Lyric Theatre.<br /> <br /> September 4 was the first night, at the Duk<br /> of York’s, of ‘‘ The Will”? and ‘* The Adored<br /> One,” both by Mr. J. M. Barrie.<br /> 12 THE AUTHOR.<br /> <br /> At Drury Lane, on September 11, Messrs.<br /> Cecil Raleigh and Henry Hamilton produced<br /> a new melodrama entitled ‘‘ Sealed Orders.”<br /> <br /> “The Fugitive,” by Mr. John Galsworthy,<br /> made its appearance in the matinee bill at<br /> the Court Theatre on September 15, under the<br /> management of Messrs. Greig &amp; Rosmer.<br /> <br /> Mr. Henry Arthur Jones’s new play, “ Mary<br /> Goes First,” was put on at the Playhouse on<br /> September 18, with Miss Marie Tempest as the<br /> heroine.<br /> <br /> On the evening of September 22 Miss<br /> Horniman opened a short season at the Court<br /> Theatre with Mr. Stanley Houghton’s “‘ Hindle<br /> Wakes.”<br /> <br /> Mr. Forbes Dawson has been spending a<br /> fortnight in New York, in order to arrange for<br /> the production of a play there.<br /> <br /> In the July number of The Author<br /> Mrs. Florence Eaton was described as the<br /> author of ‘‘ The Triumph.” She should have<br /> been called part-author, Mr. William Crossing<br /> having collaborated with her in that play.<br /> <br /> Mrs. Irene Osgood’s drama, ‘“‘ Une Aventure<br /> du Capitaine Lebrun,” was published in Paris<br /> by the Comedia—the last two pieces in that<br /> paper having been by Hauptmann and Balzac<br /> respectively.<br /> <br /> Mr. Anthony P. Wharton’s idyll in three<br /> acts, “‘ At the Barn” (produced for the first<br /> time at the Prince of Wales’s Theatre on<br /> August 11, 1912), has appeared in book form,<br /> published by Messrs. Joseph Williams at<br /> 2s. 6d. net.<br /> <br /> Under the title of ‘‘ A Living Theatre,” a 1s.<br /> booklet has been published in Florence to set<br /> forth Mr. Gordon Craig’s aims as prosecuted at<br /> his school and in his journal.<br /> <br /> M. Lugné-Poe’s Théatre Subventionné de<br /> 1CEuvre, Paris, will re-open in November with<br /> M. Maurice Bourgeois’s sole authorised French<br /> translation of the late J. M. Synge’s “ The<br /> Playboy of the Western World.’’ The French<br /> title will be ‘“‘ Le Baladin du Monde Occiden-<br /> tal.” M. Bourgeois’s ‘‘ John Millington Synge<br /> and the Irish Theatre’ is being published<br /> immediately by Messrs. Constable &amp; Co.<br /> <br /> $$$.<br /> <br /> PARIS NOTES.<br /> <br /> se<br /> <br /> ARELY has any woman writer had the<br /> world-wide appreciation and success<br /> of the late Pierre de Coulevain. The<br /> <br /> announcement of her death has caused real<br /> grief to thousands of her readers in many<br /> <br /> countries. To those of us who had the great<br /> privilege of knowing her intimately, her loss<br /> is irreparable. Her five novels were all<br /> written after her fiftieth year. Her last one,<br /> “Au Coeur de la Vie,” is in its 85th edition<br /> in French, “‘ L’le inconnue” in its 1381st<br /> edition, and “Sur la Branche,” in its 179th.<br /> Translations of her books have been published<br /> in Dutch, English, German, Italian, Norwe-<br /> gian, Portuguese, Spanish, Swedish and Tchek.<br /> <br /> One of the finest articles written on Pierre<br /> de Coulevain comes to us from Constantinople.<br /> <br /> ‘All her works,” says the writer of this<br /> article, ‘‘ the outcome of individual energy put<br /> forth with the sole object of endeavouring to<br /> comprehend the true meaning of life, are so<br /> many sources of energy for those who consult<br /> them attentively... . / According to her, moral<br /> strength took higher rank than all the other<br /> advantages an individual might have.”<br /> <br /> Fortunately she had completed her last<br /> book, ‘‘ Le Roman merveilleux,” in June. She<br /> was at work on another one, for her brain<br /> was ever active and the problems of life were<br /> of absorbing interest to her. Her whole life<br /> had been noble and dignified, and she faced<br /> death consciously and unflinchingly.<br /> <br /> The French literary world has lost another<br /> woman writer of great value in Lucie Felix-<br /> Faure Goyau, the daughter of the late Presi-<br /> dent. Madame Goyau’s books were all on<br /> subjects that would appeal to intellectual men<br /> and women of any nationality. The writer<br /> of them was an extremely cultured woman and<br /> a great linguist. In her “ Ames _ paiennes,<br /> Ames chrétiennes,”’ she studied the psychology<br /> of Christina Rossetti, of Eugénie de Guérin,<br /> and of Catherine de Sienne. Her book on<br /> the life and works of Cardinal Newman has<br /> been very widely read. ‘‘ Les Femmes dans<br /> l’GEuvre de Dante,” ‘‘ Méditérranée ”’ and *‘ La<br /> Vie et la Mort des Fées ”’ all represent years of<br /> patient research, thoughtand work. Besides<br /> all this literary activity and her social obliga-<br /> tions, Madame Goyau was deeply interested<br /> in all social problems. She founded the<br /> Children’s League and was on the committee<br /> of many philanthropic associations. Her<br /> lectures on literary and sociological subjects<br /> were always crowded. Fortunately her<br /> husband, Georges Goyau, the well-known<br /> sociological author, had kindred tastes, so<br /> that their home was the rendezvous of the<br /> intellectual élite of Paris. Independently of<br /> her literary and public work, Madame Goyau<br /> will be sincerely regretted, as her charm of<br /> manner and her wide sympathies made her<br /> a great favourite in Parisian society.<br /> <br /> <br /> <br /> <br /> <br /> 4 +<br /> *<br /> 1<br /> |<br /> |<br />  <br /> <br /> THE AUTHOR.<br /> <br /> The Autumn publishing season is now<br /> commencing and there seems to be no dearth<br /> of books ready for publication. A volume<br /> compiled by O. G. de Heidenstam, entitled<br /> ** Marie-Antoinette, Fersen et Barnave—Leur<br /> Correspondance,”’ will, no doubt, be much<br /> read, as there is always some fresh light to be<br /> thrown on the great revolutionary period of<br /> French history.<br /> <br /> A book has been written by Daniel<br /> Chenneviére on ‘“‘Claude Debussy et son<br /> Chuvre.”” The publisher who is bringing this<br /> out has given us a volume on Vincent d’Indy<br /> and on Paul Dukas.<br /> <br /> All who have been following the Balkan<br /> question closely will, probably, be glad to<br /> read a volume just published, entitled “‘ La<br /> Conférence de Constantinople et la Question<br /> Egyptienne en 1882,” by Sayed Kamel.<br /> <br /> The theatres are beginning to announce<br /> their programmes for the winter. M. Antoine<br /> intends putting on some of the French classical<br /> plays at the Odéon, with the staging of the<br /> epoch to which they belong. At the Athénée<br /> ““La Bourgeon’”’ is being given; at the<br /> Vaudeville, ‘‘ Le Menuisier ’’ and ‘‘ La Dame<br /> du Louvre’; and at the Gymnase, “ La<br /> Demoiselle de Magasin.”’<br /> <br /> Atys HAuuarp.<br /> <br /> <br /> <br /> **Le Roman meryeilleux.” (Calmann-Lévy.)<br /> <br /> “ Ames paiennes, Ames chrétiennes.” (Perrin.)<br /> <br /> “ Marie-Antoinette, Fersen et Barnave—Leur Corres-<br /> pondance.” (Calmann-Lévy.)<br /> <br /> * Claude Debussy et son (Euvre.” (Durand.)<br /> <br /> “Ta Conférence de Constantinople et la Question<br /> Egyptienne en 1882.” (Alcan.)<br /> <br /> — se<br /> <br /> AUTHORS AND EDITORS.<br /> <br /> te<br /> <br /> . the July issue a resolution was published<br /> passed at a meeting of the Committee of<br /> Management and Editors. This resolution<br /> was subscribed to by the editors of ten papers.<br /> Since then the Society has issued a circular<br /> to those who did not happen to be present<br /> when the resolution was passed, and is pleased<br /> to state that the following have allowed their<br /> names to be added to the list :—<br /> Mr. John Stead, of Review of Reviews.<br /> Mr. James Parmerlee, of Vanity Fair.<br /> Mr. J. E. Harold Terry, of the Onlooker and<br /> Throne.<br /> Mr. C. R. Simpson, of the Weekly Telegraph,<br /> who, however, agrees with the editor of the<br /> Quarterly Review (see note to list appended).<br /> <br /> <br /> <br /> 13<br /> <br /> Mr. St. Loe Strachey, of the Spectator.<br /> <br /> Mr. J. S. Wood, of the Gentlewoman.<br /> <br /> The Society has also had answers from the<br /> Fortnightly .Review—Mr. Courtney is kind<br /> enough to state that he is unable to give his<br /> sanction without the approval of the board,<br /> and it is hoped that that approval may be<br /> obtained—from Mr. E. M. Bunting, of the<br /> Contemporary Review, who has been kind<br /> enough to write expressing his interest in the<br /> action that has been taken, and stating that he<br /> will be glad to hear what goes on further, and<br /> from Mr. Arthur Hutchinson, editor of the<br /> Windsor Magazine. We have pleasure in quoting<br /> Mr. Hutchinson’s letter in full, as the Windsor<br /> Magazine appears to. be one of the few<br /> magazines in England that follows the<br /> recognised American custom :<br /> <br /> <br /> <br /> Dear Sir,—In repiy to your request that<br /> we should add our name to the list which you<br /> are preparing for your October number, of<br /> those who wish to establish the new rule for<br /> the date of payment for articles or illustra-<br /> tions, I write to point out that as our custom<br /> is to pay on the Saturday of each week for all<br /> work accepted or delivered to us, if previously<br /> commissioned, within that week, it would be<br /> very retrograde on our part to support any<br /> rule which establishes so long postponed a<br /> date for payment as either of those suggested<br /> in your resolution. We cannot help thinking<br /> that our method is much fairer to authors and<br /> artists than any such postponement, even<br /> though the latter may be an improvement on<br /> older customs of deferred payment in the<br /> ease of offices whose methods you may be<br /> considering.<br /> <br /> Yours truly,<br /> ARTHUR HUTCHINSON,<br /> Editor, the Windsor Magazine.<br /> <br /> The editor of Punch is in favour of the more<br /> elastic resolution, and in order that this<br /> reference may be clear to the readers, we append<br /> the original resolution with the signatures as<br /> they at present stand and repeat the rest of the<br /> article as it appeared in the July issue.<br /> <br /> Resolution.<br /> <br /> “The authors and artists whose articles,<br /> stories, or drawings may have been accepted,<br /> shall be paid for those accepted articles,<br /> stories, or drawings, at the next official pay-<br /> day after the publication, or within six<br /> months from the date of acceptance of such<br /> articles, stories, or drawings, whichever is<br /> the shorter period.”<br /> <br /> <br /> 14 THE AUTHOR.<br /> <br /> In favour.<br /> <br /> J. I. Bailey, The Connoisseur.<br /> <br /> Vivian Carter, The Bystander.<br /> <br /> F. Chalmers Dixon, English Review.<br /> <br /> L. J. Maxse, National Review.<br /> <br /> *G. W. Prothero, Quarterly Review.<br /> <br /> Harold Cox, Edinburgh Review.<br /> <br /> C. E. S. Chambers, Chambers’s Journal.<br /> <br /> F. H. Fisher, Literary World.<br /> <br /> Chas. Hyatt-Woolfe, Science Siftings.<br /> <br /> G. Binney Diblee, The Field ; The Queen.<br /> <br /> John Stead, Review of Reviews.<br /> <br /> James Parmerlee, Vanity Fair.<br /> <br /> J. E. Harold Terry, Onlooker and Throne.<br /> <br /> *C. R. Simpson, Weekly Telegraph.<br /> <br /> Mr. St. Loe Strachey, Spectator.<br /> <br /> J. S. Wood, Gentlewoman.<br /> <br /> * There was a reservation by the editor of the Quarterly<br /> Review that the word “shall” should be altered to<br /> “should.” With this reservation the editor of the<br /> Weekly Telegraph agrees.<br /> <br /> The rest of the article is as follows :—<br /> <br /> “ After this resolution had been put forward,<br /> it was proposed—owing to the fact that many<br /> editors, while approving the spirit of the<br /> resolution, objected to the letter, and that no<br /> voice was raised in opposition to the principle<br /> of obtaining a more uniform and businesslike<br /> practice—to discuss, either by circular or by<br /> means of an adjourned meeting later in the<br /> year, the following :-—<br /> <br /> ‘“¢* We consider that it should be under-<br /> stood by all authors and artists whose con-<br /> tributions have been accepted, that they<br /> shall be entitled to make requisition for pay-<br /> ment at any period six months after such<br /> acceptance, and that such requisition shall<br /> not be considered in any way contrary to<br /> established precedent.’<br /> <br /> “It is hoped by the committee that it will be<br /> possible to get a still larger number of editors<br /> to consent to this more elastic resolution,<br /> which will give great relief to contributors,<br /> Many editors are quite willing to pay within a<br /> reasonable time if they are asked, but they fail<br /> to understand the author’s point of view. It<br /> is not so much natural modesty, as a fear—<br /> in many cases, we regret to say, well-founded—<br /> that any step they may take to disturb the<br /> equanimity of the editor will result in their<br /> future contributions being set aside.<br /> <br /> ‘“‘ Another point was put forward, which the<br /> committee hope to deal with in the autumn,<br /> namely, the possibility of arranging between<br /> authors and editors some form of conditional<br /> acceptance in those cases where editors feel they<br /> could not give an immediate and unconditional<br /> decision.”<br /> <br /> <br /> <br /> COPYRIGHT AND BANKRUPTCY.<br /> <br /> ——<br /> <br /> he of The Author may call to mind<br /> the case of Deeping v. Grant Richards#of<br /> which a report appeared in our May,<br /> <br /> 1907, issue.<br /> <br /> Judgment delivered in that case demon-<br /> strated that if an author transferred his copy-<br /> right to a publisher subject to the payment of<br /> royalty his only remedy if the publisher went<br /> bankrupt was for damages for breach of agree-<br /> ment against a bankrupt estate. Briefly, it<br /> was laid down that in cases of bankruptcy the<br /> agreement could be assigned by the trustee in<br /> bankruptcy without the assignee being respon-<br /> sible to the author for payment of royalties.<br /> The result of subsequent cases of a similar<br /> character served to confirm the ruling given<br /> in Deeping v. Grant Richards.<br /> <br /> An attempt was made to get this grievance<br /> of authors, dramatists and composers removed<br /> while the Copyright Act of 1911 was being<br /> discussed in Parliament, but the Government,<br /> whilst sympathetic, regretted they could not<br /> deal with the matter in a Copyright Bill,<br /> stating it could only be dealt with as an<br /> amendment to the Bankruptcy Laws.<br /> <br /> Accordingly, for the time the matter was<br /> dropped.<br /> <br /> In the spring of this year, however, the<br /> attention of the Society was called by Mr.<br /> Mackinder to the fact that Amending Bills<br /> dealing with bankruptcy were before Parlia-<br /> ment, and he suggested that they afforded the<br /> Society an opportunity of attaining a removal<br /> of the peculiar hardships inflicted upon authors,<br /> dramatists and composers by the Warwick<br /> Deeping decisions. Mr. Mackinder called upon<br /> the secretary and had a long conversation with<br /> him, with the result that, with the sanction of<br /> the chairman, counsel was instructed to draft<br /> certain clauses designed to protect authors not<br /> only from the results of the judgments referred<br /> to above, but also from the losses arising out<br /> of the bankruptcy of magazines and other<br /> periodical publications. Mr. Mackinder very<br /> kindly undertook to take charge of these clauses<br /> on behalf of the Society and to use every effort<br /> to get them accepted by the Government. As<br /> it was found impossible to get the clauses<br /> affecting contributions to magazines accepted,<br /> these clauses had, perforce, to be dropped.<br /> <br /> The committee, however, are pleased to<br /> report that the clause relating to the transfer<br /> of copyright under royalty agreements was<br /> accepted by the Government and that the Bills<br /> which have now become law each contain this<br /> <br /> - Sfb Peeprns v. Mora (Be Trnotee )<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> clause. Inthe English amendment of the<br /> bankruptcy law it runs as follows :—<br /> <br /> “Where the property of a bankrupt comprises the<br /> copyright in any work or any interest in such copyright,<br /> and he is liable to pay to the author of the work royalties<br /> or a share of the profits in respect thereof, the trustee in<br /> bankruptcy shall not be entitled to sell, or authorise the<br /> sale of, any copies of the work, or to perform or authorise<br /> the performance of the work, except on the terms of pay-<br /> ing to the author such sums by way of royalty or share<br /> of the profits as would have been payable by the bankrupt,<br /> nor shall he, without the consent of the author or of the<br /> court, be entitled to assign the right or transfer the<br /> interest or to grant any interest in the right by licence<br /> except upon terms which will secure to the author pay-<br /> ments by way of royalty or share of profits at a rate not<br /> less than that which the bankrupt was liable to pay.”<br /> <br /> It appears with a slight modification in the<br /> amendment of the bankruptcy law for Scotland,<br /> but the effect is the same in both cases.<br /> <br /> The Society must thank Mr. Mackinder most<br /> heartily for drawing the attention of the Com-<br /> mittee of Management to the point, and for the<br /> energy and care with which he piloted the<br /> clauses through to a triumphant success.<br /> <br /> The issues are perhaps of more importance<br /> to composers than to authors or dramatists.<br /> Nowadays authors very seldom assign their<br /> copyright. They have been taught by the<br /> work of the Society through the past twenty-<br /> five years ; but composers still suffer severely,<br /> and there are but few who do not recklessly<br /> assign their copyright. This is no doubt partly<br /> due to the composers’ ignorance and partly to<br /> the yoke that music publishers have for many<br /> years past thrown on their shoulders.<br /> <br /> It is the duty of composers to move shoulder<br /> to shoulder with a view to overcoming the<br /> difficulties that surround them and prevent<br /> them from getting a fair return for their life’s<br /> work.<br /> <br /> In the meantime all members of the Society<br /> must join in thanking Mr. Mackinder for the<br /> work he has done on their behalf.<br /> <br /> —_—_———__+—&gt;—_+____—_-<br /> <br /> STOCK COMPANY RIGHTS.<br /> <br /> HE attention of the Dramatic Sub-Com-<br /> mittee has been called to the value of<br /> the stock rights in the United States.<br /> <br /> Mr. Walter C. Jordan, the agent of the Society<br /> in New York, was the first to impress upon the<br /> members the importance of retaining their<br /> rights, and he has reiterated his warning at<br /> every opportunity.<br /> <br /> Every member who has dramatic rights of<br /> value in the U.S.A. should take special note,<br /> because there are companies existing ready to<br /> purchase stock rights, and the author in his<br /> ignorance may be willing to sell for a lump sum<br /> <br /> <br /> <br /> <br /> <br /> 15<br /> <br /> —a sum which may appear to him to be large—<br /> rights which, if retained, might through the<br /> years bring him many times the amount.<br /> <br /> It would appear that managers in the U.S.<br /> try very hard to get control of stock rights<br /> in the original contract. This they do by<br /> obtaining the sole right of performance which<br /> the author often conveys in ignorance of the<br /> existence of stock rights ; but, even if he knows,<br /> the manager puts forward the argument—<br /> sometimes with success—that he contributes<br /> towards the establishing of the play and<br /> creating a demand for. it by stock companies.<br /> <br /> It is, therefore, advisable either that the<br /> author should withhold all rights whatever to<br /> lease out his plays for stock company purposes,<br /> and should grant to the producing manager<br /> only the right to produce and perform the piece<br /> under his own management (not including any<br /> right to the producing manager to lease out the<br /> play at any time for stock company purposes) :<br /> or should he think the manager’s argument, set<br /> out above, of any value, should stipulate in the<br /> original contract that after the producing<br /> manager has produced and performed the piece<br /> under his own management for not less than<br /> 100 performances, that for a specified period<br /> the manager shall be entitled to receive a<br /> fixed share of the net royalties earned by the<br /> play being leased out—by the author—for stock<br /> purposes, but that the play shall be handled<br /> for stock purposes by the author himself, or by<br /> his authorised agent without the intervention<br /> of the manager.<br /> <br /> The author had better place his work for all<br /> stock purposes in the hands of an agent<br /> exclusively, who should be thoroughly reliable,<br /> and the agent should proceed to lease out the<br /> play for stock companies for the best royalty<br /> terms obtainable, according to the size of the<br /> cities, the season of the year, the size of the<br /> theatre, and the prices charged at the theatre.<br /> <br /> What can be obtained for stock engage-<br /> ments must vary under these different circum-<br /> stances.<br /> <br /> It is most important also that while the<br /> author employs an agent, that agent should<br /> have exclusive power to act. This not only<br /> stimulates the agent but prevents two agents<br /> crossing one another in the same market,<br /> prejudicing the author’s position, and perhaps<br /> losing the contract.<br /> <br /> It will be seen, therefore, how important it<br /> is that the agent should be thoroughly reliable<br /> and trustworthy; that he should have no<br /> interest as principal in other joint stock rights,<br /> that he should be agent pure and simple, honest<br /> and above all with a full knowledge of his work<br /> <br /> <br /> 16<br /> <br /> Over and over again in these columns the<br /> position of agents has been referred to. In<br /> many cases it is safest for the author to do his<br /> own work, backed with the advice and help of<br /> the Society, but in the placing of stock rights<br /> in the U.S.A. an agent is no doubt essential.<br /> <br /> There is one other important point that it<br /> is necessary to put before authors. It has<br /> already been mentioned that the managers in<br /> the U.S.A. make every effort to obtain the<br /> stock rights from the author in the original<br /> contract. If the author parts with these<br /> through ignorance or for any other reason, he<br /> should not be paid the same fees on the per-<br /> formances as he is paid in the ordinary contract.<br /> There are two reasons why he should not be<br /> paid in this manner. To begin with, if, as an<br /> <br /> -author, he is in a position to claim a high<br /> percentage, then his stock rights are con-<br /> siderably prejudiced, because the American<br /> manager won’t let out to stock companies unless<br /> he can make something himself by the trans-<br /> action. Therefore, if he is paying to the author<br /> a very high percentage, he would have to ask<br /> the stock companies a percentage so high that<br /> they would not be able to pay it—therefore the<br /> author would lose the chance of gaining a large<br /> sum which he might otherwise obtain.<br /> <br /> If, however, the manager is paying the author<br /> a small percentage, then it is essential also that<br /> a different system should obtain for the stock<br /> rights, and it is important that the author<br /> should receive a certain fixed share of not less<br /> than half of the royalties accruing from the use<br /> of his play in stock. The following example<br /> will suffice to show the reason of this :—<br /> <br /> When a producing manager has established a<br /> certain play by producing it for a certain<br /> number of weeks, and has the authority to<br /> sub-lease the play subject only to the author’s<br /> percentage, if that percentage is small then the<br /> manager frequently not only gets double the<br /> amount from the stock company, but also<br /> exacts from the manager a minimum guarantee.<br /> The matter works out as follows: The pro-<br /> ducing manager controlling a certain play<br /> leases to a stock company the play for one<br /> week for royalty terms of 10 per cent. of the<br /> gross receipts, with a minimum guarantee to be<br /> paid by the stock company to the producing<br /> manager of $500. If, then, the producing<br /> manager is paying the author only 5 per cent.<br /> on the first $3,000 gross receipts,, and the stock<br /> company plays the said play for one week to<br /> gross receipts of $2,500 (which would be very<br /> fairly good business to the average stock com-<br /> pany) the producing manager would only have<br /> to pay the author $125, and he would retain<br /> <br /> THE AUTHOR.<br /> <br /> for himself the balance of $375 as his share<br /> from the said engagement. But if the author’s<br /> agreement was that he should receive at least<br /> half of all the royalties accruing from stock<br /> company engagements, the author would get<br /> just double the amount out of the week’s stock<br /> engagement. Very successful plays often com-<br /> mand weekly guarantees of more than $500 a<br /> week, and the less successful plays which lease<br /> to the smaller stock companies command<br /> minimum weekly guarantees of from $200 to<br /> $400. It is clear, therefore, that in the<br /> majority of cases the author’s best interest lies<br /> firstly in holding the entire stock company<br /> rights himself, and secondly, if he is foolish<br /> enough to transferthem to a producing manager,<br /> that he shall receive a certain percentage of the<br /> total amount received, rather than accept his<br /> ordinary percentage royalties on the gross<br /> receipts on the stock company engagement,<br /> as on the gross receipts of other engage-<br /> ments. The advantage is two-fold, first, that<br /> in most cases the author would get more, and<br /> secondly, that it gives the producing manager<br /> a freer hand with which to contract.<br /> <br /> We are indebted for the substance of this<br /> article to the information forwarded to the<br /> Society by Mr. Walter C. Jordan, the Society’s<br /> agent in America,<br /> <br /> —_+——o —_____<br /> <br /> WHAT IS A VALUABLE RIGHT OR<br /> INTEREST ?<br /> <br /> <br /> <br /> Crauz v. SHEARD.<br /> <br /> N this case an important question arose as to<br /> whether a right or interest in a musical<br /> composition was ‘valuable and sub-<br /> <br /> sisting ’’ at a certain date, when the Order in<br /> Council relating to Austria-Hungary came into<br /> operation.<br /> <br /> The plaintiffs, a firm of music publishers in<br /> Vienna, sued the defendants, an old-established<br /> firm of music publishers in London, for damages<br /> for infringement of the copyright in “ Die<br /> Fledermaus”? waltz by Johann Strauss, the<br /> Austrian composer. The waltz, which was<br /> written in 1874, was first published in Austria,<br /> and the plaintiffs became the owners of the<br /> copyright. No steps were taken to secure<br /> copyright in the United Kingdom, and in 1877 .<br /> the defendants published the waltz in London ;<br /> but after a year or two, the sales diminished,<br /> and there was little or no demand for the work,<br /> although the defendants kept a small number<br /> of copies in stock.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 17<br /> <br /> In 1893 a copyright treaty was concluded<br /> between Great Britain and Austria-Hungary,<br /> and under the Order in Council, which came<br /> into operation on May 11, 1894, the plaintiffs<br /> became entitled to the copyright in the waltz<br /> in the United Kingdom. But owing to a<br /> proviso in the Order in Council, the plaintiffs’<br /> copyright was subject to any right or interest<br /> of the defendants, which was “‘ valuable and<br /> subsisting ” in May, 1894.<br /> <br /> In 1912, when “ The Nightbirds ” was pro-<br /> duced at the Lyric Theatre, the waltz was<br /> introduced into the piece, and there was a<br /> new demand for the music. The defendants<br /> accordingly republished the waltz, and it was<br /> contended on their behalf, that they were<br /> entitled to do so, because they had originally<br /> produced it in the United Kingdom, and had<br /> a right or interest which was valuable and<br /> subsisting in May, 1894, and were therefore<br /> protected by the proviso in the Order in<br /> Council.<br /> <br /> On the other hand, it was urged that in May,<br /> 1894, the sale of the waltz by the defendants<br /> was practically dead, and that the defendants’<br /> right or interest in the work had no market<br /> value, and could not be described as “‘ valuable.”<br /> <br /> Mr. Justice Scrutton held that although the<br /> defendants had a right or interest in the waltz<br /> which was “‘ subsisting ”’ in May, 1894, it could<br /> not be regarded as “ valuable,’ because it<br /> would not have been marketable at that time.<br /> The music had become saleable again in<br /> England owing to the production of ‘“ The<br /> Nightbirds’’ in 1912, but the defendants<br /> could not have obtained a price for their right<br /> or interest in the work in May, 1894.<br /> <br /> On these grounds, his Lordship granted an<br /> injunction, and gave judgment for the plain-<br /> tiffs for £5 damages and costs.<br /> <br /> Haroutp Harpy.<br /> <br /> a<br /> <br /> “A. M. BURGHES.”<br /> <br /> a<br /> <br /> N The Author for December, 1912, we<br /> reported the result of the prosecution,<br /> undertaken by the Society, of C. M.<br /> <br /> Burghes, who carried on business ‘under the<br /> style of “ A. M. Burghes ”’ as a literary agent<br /> at 34, Paternoster Row, E.C. C. M. Burghes<br /> was convicted by the jury of obtaining money<br /> by false pretences, but, for some reason which<br /> we did not appreciate, the judge only bound<br /> him over to come up for sentence when called<br /> upon. The result has been unfortunate.<br /> &lt;, M. Burghes continued to carry on business<br /> <br /> at the same address, and, probably in ignorance<br /> of what had happened, various authors<br /> entrusted him with MSS. and, we believe, paid<br /> him fees. In a number of cases the Society<br /> were successful, through their solicitors, in<br /> getting back the MSS., although in no case was<br /> a MS. delivered up until proceedings had been<br /> taken. Now, however, things have taken a<br /> fresh turn. An author (not a member of the<br /> Society) not only sent Burghes certain MSS.,<br /> but paid him sums amounting to £70—as to £50<br /> for payment over to a publisher in fulfilment<br /> of an arrangement Burghes stated he had made,<br /> and as to the remainder for fees. Hearing<br /> nothing further he became alarmed, and<br /> inquiry then revealed the fact that C. M.<br /> Burghes was not to be found at his place of<br /> business and that his address was unknown.<br /> He had not paid over the £50 to the publisher<br /> nor, in fact, had he ever made any arrange-<br /> ment with the publisher under which £50 or<br /> any other sum was payable. The copy letter-<br /> book found at the offices showed no business<br /> letters since June, and Burghes had not for a<br /> considerable time come to the office at all,<br /> though he had sent a messenger for letters, and<br /> had thus, it would seem, obtained possession<br /> of the cheques for £70 which the author had<br /> sent to him. Comment is needless. The<br /> money has gone, and not even the MSS. in this<br /> case can be found. The landlords have dis-<br /> trained for their rent and sold the contents of the<br /> office. The Society’s solicitors, being aware of<br /> the position, arranged with the landlords for<br /> any MSS. in the safe and elsewhere to be kept<br /> back when the premises were emptied, and at<br /> present a considerable number are lying there.<br /> They cannot, of course, be kept indefinitely,<br /> and if any members of the Society have left<br /> MSS. with Burghes they should give particulars<br /> to the secretary without loss of time, so that<br /> inquiry may be made for them. We cannot<br /> but think that if the judge had given effect to<br /> the verdict of the jury at the trial last year by<br /> passing a sentence of imprisonment the sub-<br /> sequent losses would have been avoided.<br /> <br /> <br /> <br /> SCALE FOR ADVERTISEMENTS,<br /> <br /> <br /> <br /> [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br /> Frout Page aes ide = . «24 0 0<br /> Other Pages ae as agi eae see axe sie<br /> Half of a Page ... aay ie wes ie ais wie ee<br /> Quarter of a Page : ow. 016<br /> Eighth of a Page ie ce 0 70<br /> perinuch 0 6 O<br /> <br /> Single Column “Advertisements<br /> Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for<br /> Twelve Insertions.<br /> <br /> 0 0<br /> <br /> 1<br /> 15 6<br /> <br /> All letters respecting Advertisements ,should be addressed to<br /> Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High<br /> Holborn, W.C.<br /> 18 THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> Ase<br /> <br /> L, VERY member has a right toask for and to receive<br /> EK advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them, (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 7. Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9, The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ope<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —+—&lt; +<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continenta)<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights,<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor |!<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> — es<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> a ee<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> <br /> vetent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :-— :<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters inte<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name-on the<br /> play-bills. : : 4<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> (b.) Sale of performing right or of a licence te<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent, An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> («.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (7.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> s highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> ———__+—&lt;&gt;_—_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> +<br /> <br /> ere typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> _at the price of 22. 6d. per act.<br /> <br /> 19<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> ee oe ee<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, de<br /> equally well or better for himself, The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> ——_—__—_+— 0<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> ees<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ee<br /> <br /> STAMPING MUSIC.<br /> <br /> ee<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> <br /> members, who are thus saved much unnecessary trouble,<br /> <br /> ——$$§$§_— —e_____<br /> THE READING BRANCH.<br /> —1—~o—+ —<br /> EMBERS will greatly assist the Society in this<br /> M branch of its work by jnforming young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea,<br /> —————_ «&gt; ¢<br /> <br /> REMITTANCES.<br /> <br /> oo<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> 20 THE AUTHOR.<br /> <br /> COLLECTION BUREAU.<br /> <br /> — a<br /> <br /> f | \HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> an! amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> vecords.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> of! ce, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission,<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Amsterdam ‘ ; . A. REYDING.<br /> New York : ‘* WALTER C. JORDAN.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> — to<br /> <br /> Liprary CENSORSHIP.<br /> <br /> WE have pleasure in publishing herewith a<br /> letter addressed by the chairman of the Com-<br /> mittee of Management to the editor. The<br /> contents of the letter set out the reason for<br /> its publication. The members of the Society<br /> are entitled to know the action that is being<br /> taken by the Committee of Management. The<br /> chairman, in consequence, has put forward<br /> this statement for the perusal of all members.<br /> Why the committee have not thought fit to<br /> write to the papers and join in the public<br /> controversy is here fully explained.<br /> <br /> To the Editor, “‘ The Author.”<br /> <br /> Dear Sitr,—As I understand that various<br /> letters have been received by the secretary of<br /> the Society with regard to the attitude of the<br /> ‘Committee of Management on the question of<br /> library censorship, I think it well, as chairman<br /> -of the Society, to give the members the follow-<br /> ing information :—<br /> <br /> The library censorship, as at present con-<br /> ‘ducted, has on several occasions in past years<br /> been very seriously considered, not only by<br /> the Committee of Management of the Society,<br /> <br /> but also by sub-committees especially ap-<br /> pointed for that purpose.<br /> <br /> The Committee of Management feel that it<br /> is not a question of this book or that book,<br /> written by this author or that author, but that<br /> the question involved is an important question<br /> of principle which stands above all books and<br /> all authors.<br /> <br /> The reason why the Committee of Manage-<br /> ment have not on this or on former occasions<br /> written letters to the papers, is because they<br /> appreciate that, in a matter of this kind, letters<br /> to the papers are of little permanent value,<br /> though such letters may draw attention to<br /> some particular book and regain for it a cir-<br /> culation to which it was no doubt entitled, but<br /> which it had lost by the action of the libraries.<br /> <br /> The practical issue is the only issue with<br /> which the Committee of the Society intend to<br /> deal. In every case in time past they have<br /> asked the authors concerned to make any<br /> proposals or suggestions that might seem good<br /> to them, and such proposals as have been<br /> made have received consideration. In the<br /> same way at the present time any proposals<br /> put forward by the authors concerned, or any<br /> suggestions made by any member with a view<br /> to bringing about a practical issue, will be<br /> most carefully and gratefully considered.<br /> <br /> I understand from the secretary that he<br /> suggests that there shall be a small permanent<br /> council of authors, publishers, librarians and<br /> booksellers, which should sit once or twice a<br /> year to consider any important questions<br /> which may arise in this connection. If the<br /> Committee of Management could organise<br /> such a council, the question of library censor-<br /> ship would no doubt then be adequately dealt<br /> with, and it is possible that the combination of<br /> the four bodies referred to might find a solution<br /> which would be satisfactory to all parties.<br /> <br /> Because the Committee have not entered<br /> the arena of newspaper discussion, it does not<br /> mean that they have not the whole matter<br /> very much at heart.<br /> <br /> Yours, etc.<br /> (Signed) HeEskeTH Pricnarp,<br /> Chairman of the Committee of Management.<br /> <br /> AUTHORS AND EDITORS.<br /> <br /> In the article under the same title, printed<br /> in this month’s issue, in the last paragraph but<br /> one, it is pointed out that many authors have<br /> a fear (in many cases well founded) that if they<br /> make a demand for money, their future con-<br /> tributions to a paper may be set aside. This<br /> remark was made apropos of contributions<br /> <br /> j<br /> ;<br /> i<br /> i<br /> ‘<br /> i<br /> j<br /> ;<br /> 4<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> a<br /> <br /> ro LESSEE ES.<br /> <br /> THE AUTHOR. 21<br /> <br /> which have been accepted and not published.<br /> The ordinary editor and the ordinary author<br /> would hardly think that the same fear would<br /> be justified in the case of a MS. which had<br /> actually been published, but in support of the<br /> contention the following example is quoted :<br /> <br /> A member of the Society sent some verses to<br /> a paper called The Literary Monthly. The<br /> poem was accepted, and printed in the July<br /> issue of that paper. During the month the<br /> author wrote to inquire the terms on which<br /> contributors were paid, and the editor replied<br /> stating that all contributions were paid for in<br /> the month in which they appeared. As the<br /> author did not receive the amount in accord-<br /> ance with this statement, a letter was written<br /> to the editor, drawing attention to the fact<br /> that payment had not been made, and saying<br /> a remittance would be esteemed a favour. To<br /> this no reply was received, and ultimately the<br /> author wrote pressing for payment, and that<br /> unless a cheque was received within seven days,<br /> the matter would have to go into the hands of<br /> the Society of Authors. In answer to that<br /> letter the contributor obtained a reply, dated<br /> September 1—that is a month after the time<br /> when the editor said he would pay for contri-<br /> butions—which ran as follows :—<br /> <br /> “The editor encloses cheque for , for<br /> poem published in July issue. No further<br /> contributions will be received from Hes<br /> <br /> The fair deduction to make from this letter<br /> is that because the author refused to wait<br /> longer than the time mentioned by the editor<br /> himself for the payment of contributions, and<br /> because, in consequence, the author threatened<br /> to put the matter into the hands of the Society,<br /> the editor refused to take any further contri-<br /> butions. It is quite clear that the refusal did<br /> not arise from the fact that the author’s work<br /> was not sufficiently good, otherwise the first<br /> poem would not have been printed, It would<br /> be interesting to know whether the editor has<br /> got any other explanation that he would like<br /> to put forward.<br /> <br /> INTERNATIONAL CONGRESS OF PUBLISHERS.<br /> <br /> AN interesting paper was read by Mr.<br /> William Heinemann before the International<br /> Congress, of Publishers at Budapest. It<br /> dealt with the danger to the maintenance of<br /> the published price of books arising out of<br /> excessive discounts to the retail trade which<br /> were frequently offered by certain publishers<br /> as an inducement to the bookseller to stock<br /> their publications to the exclusion of the works<br /> of their competitors. The matter, as Mr.<br /> <br /> Heinemann stated, concerns authors equally<br /> with publishers, for it is clear that, in the end,<br /> if the retailer is given an excessive discount,<br /> the royalties paid to the author will be reduced<br /> in proportion. Obviously, if one publishing<br /> house yields to the pressure of the bookseller,<br /> others will, in sheer self-defence, be bound to<br /> follow, with the inevitable result that the<br /> author will lose what the bookseller gains.<br /> The only possible action is for the Publishers’<br /> Association to bind themselves to take joint<br /> action on the lines taken by the United States<br /> publishers. What sometimes happens when<br /> the publisher goes to the bookseller is best<br /> told in Mr. Heinemann’s own words :—<br /> <br /> ** Who of us has not been told that Mr. X.<br /> gives better terms than we do, and that unless<br /> equal terms are conceded the bookseller in<br /> question must give preference to Mr. X.’s<br /> books ?. Who of us has never yielded to such<br /> pressure ? Who of us has never found such<br /> a statement inaccurate? And who of us,<br /> having yielded to untruthful representation,<br /> has not afterwards heard the same argument<br /> used against the very rival who was described<br /> as so much more liberal than ourselves ? Such<br /> demands may go on ad infinitum: demands<br /> which seem to me, even if they are honestly<br /> made, contemptuous towards ourselves and<br /> our goods.”<br /> <br /> Reverting, however, to the position of the<br /> author in this matter, we should like to<br /> drawt he attention of authors to the prac-<br /> tice of one of the publishing houses and to<br /> its form of contract. This house provides<br /> in its contract with the author for the pay-<br /> ment of a certain royalty on the published<br /> price. So far, so good. But in a subsequent<br /> clause it also provides for the payment of a<br /> reduced percentage on those sales at less than<br /> half the published price, and a still further<br /> reduced percentage on sales at a quarter of the<br /> published price. Moreover, the percentage is<br /> paid, not on the published price, but on the<br /> nett returns. As we have shown in a previous<br /> issue of The Author, it often happens that it<br /> pays the publisher better to give a large dis-<br /> count to the bookseller, paying less to the<br /> author, than to keep the price to the book-<br /> seller up to the normal standard, paying the<br /> author the agreed royalty on the published<br /> price.<br /> <br /> Here there is a conerete case demonstrating<br /> that the special terms allowed to booksellers<br /> result in very material loss to the author.<br /> Even if an increased sale results, the author<br /> gains nothing under these conditions by the<br /> increase. And, as we have already stated, we<br /> 22<br /> <br /> do not think, in the last resort, authors gene-<br /> rally would gain by these improved terms to<br /> the retailers. While it is improbable that<br /> their royalties would be reduced in_ the<br /> manner favoured by the publisher referred to,<br /> it is certain that their royalties would tend<br /> to be reduced on the published price, and the<br /> whole book trade would be upset and finally<br /> ruined.<br /> <br /> We notice that at the same Congress a<br /> reference was made to the question of copy-<br /> right and cinematographs, and that pub-<br /> lishers were advised to provide for cinemato-<br /> graph rights in their agreements with authors ;<br /> further, that an association of authors and<br /> publishers should be founded to protect these<br /> rights from infringement.<br /> <br /> In the absence of more definite information<br /> on this matter we defer detailed criticism of<br /> the proposal till a later issue. We would,<br /> however, counsel all authors to keep very<br /> close control of the cinematograph rights of<br /> their stories, as these rights are likely soon to<br /> become valuable, and there is no more reason<br /> why they should be given to the publisher<br /> than that the dramatic rights should be given<br /> to him. The publisher’s work should begin<br /> and end with the publication of the author’s<br /> MS. in book form.<br /> <br /> THE NEW POET LAUREATE.<br /> <br /> -\INCE the last issue of The Author appeared<br /> the much-discussed vacancy in the office<br /> of Poet Laureate has been filled up.<br /> <br /> The appointment of Dr. Robert Bridges<br /> took the general public by surprise. His<br /> name had, indeed, been mentioned in the<br /> literary press as that of a possible candidate,<br /> and the July number of the Quarterly Review<br /> contained a warm recommendation of his<br /> claims, from the pen of Mr. John Bailey.<br /> But to the man-in-the-street he was unknown,<br /> and probably the ordinary comment on his<br /> appointment was, “I’ve never read a line<br /> of him!” Now publicity has been given<br /> to the facts that Dr. Bridges is sixty-nine<br /> years old, was educated at Eton and Corpus<br /> College, Oxford, has been a practising physician<br /> and has produced a body of poetry which<br /> includes plays and masques, metrical experi-<br /> ments, lyrics, and even a few hymns, which<br /> appear in the “ English Hymnal.”<br /> <br /> If, however, the man-in-the-street has only<br /> just been helped to the discovery of Dr. Bridges,<br /> <br /> THE AUTHOR.<br /> <br /> among his fellow-poets he has long been<br /> honoured. He may certainly be called “a<br /> poet’s poet.” It is remarkable that the<br /> contributors to the volume entitled “‘ Georgian<br /> Poetry, 1911—12,” unanimously inscribed<br /> it with the name of Robert Bridges.<br /> Mr. Asquith’s selection of a Laureate, there-<br /> fore, may certainly claim the approval of an<br /> influential band of artists ; for the ‘* Georgian<br /> poets’ included more than one who was<br /> looked on as a possible Laureate himself, and<br /> not one who had not done something worthy<br /> of note.<br /> <br /> Before the appointment there was an agita-<br /> tion, on the part of a few revolutionary folk,<br /> that the Poet Laureateship should be abolished<br /> as obsolete and meaningless. In resisting this<br /> demand and choosing for the office a man with<br /> whom the public was practically unacquainted<br /> the Premier has taken an interesting step.<br /> <br /> ————— &lt;&gt; —____—_<br /> <br /> AUTHORS AND AGENTS.<br /> <br /> — +<br /> I.—FrEES AND ACCOUNTS.<br /> <br /> ISPUTES between authors and their<br /> agents are constantly coming before<br /> the secretary of the Society. These<br /> <br /> disputes are of many different kinds, but<br /> attention should be called to one serious<br /> difficulty which is of frequent occurrence.<br /> After an agent has placed a work, either a<br /> dramatic piece with a manager, or a novel with<br /> a publisher, all that remains to be done in the<br /> future is to see that the accounts are regularly<br /> rendered, to check them when they are re-<br /> ceived to see that they agree with the former<br /> accounts and are in accordance with the<br /> agreement which has been fixed up between<br /> the author and the party of the other part.<br /> <br /> For this he draws 10 per cent. on the moneys |<br /> <br /> received under the contract during the life |<br /> <br /> of the author and fifty years afterwards. |<br /> <br /> As, however, he is entitled under the form of<br /> agreement on which he usually insists, from<br /> which it is impossible for the author or drama-<br /> tist to get free, to this 10 per cent. as soon as<br /> he has placed the work, he often takes but little<br /> trouble with the rest of his duties. In many<br /> cases where the publisher delays sending in<br /> the accounts, the agent does not push the<br /> publisher for an immediate delivery, but makes<br /> one or other excuse to the author. If he was<br /> too exacting with the publishers, he might<br /> prejudice his position so far as placing other<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ~ for the author.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> contracts is concerned. It seems unfair that<br /> the author should suffer because of this, as<br /> the agent is, after all, the agent of the author<br /> and not the agent of the publisher, though<br /> from some of the agreements that are made,<br /> the opposite deduction might be possible.<br /> <br /> But when the accounts do come in the agent<br /> has still no need to trouble. His 10 per cent.<br /> is safe. So, as it would appear, he sends<br /> them on to the author without any comment<br /> whatever, whether they are right or wrong,<br /> whether they are in accordance with the<br /> agreement or opposed to it. Sometimes, in<br /> fact, the agent sends on copies of his own<br /> accounts without allowing the author to vouch<br /> them by the sight of the accounts which have<br /> been forwarded to him by the publisher or<br /> manager.<br /> <br /> It would have been unnecessary to draw<br /> attention to these points if many and serious<br /> difficulties had not arisen owing to the fact<br /> that an author by his own insight has dis-<br /> covered lapses and mistakes in the accounts<br /> which ought to have been checked by the<br /> agent. If the author has continuously to<br /> watch the agent’s accounts to see that they<br /> are rendered on the proper dates, to see when<br /> they are rendered they are in accordance with<br /> the agreement, he might as well not employ an<br /> agent at all.<br /> <br /> It seems, therefore, that there ought to be<br /> two distinct transactions and two distinct fees<br /> _in order that an agent’s position might be<br /> | clear and unsullied ; to confuse the placing of<br /> the work with the collection of monies may be<br /> a good business for the agent but disastrous<br /> The agent should receive:<br /> (1) a certain fee for placing the work, and he<br /> should be paid this fee by say, a slightly raised<br /> percentage on the returns until the fee is<br /> reached ; (2) after the fee has been covered,<br /> he should receive a continuing percentage so<br /> long as the author gives him the authority to<br /> collect the money under the contract. For<br /> this his percentage should not exceed 5 per<br /> cent. ; but the second part, that is the authority<br /> for collection of monies, should be able to be<br /> terminated immediately by the author if<br /> he found the agent was careless with the<br /> accounts or indifferent to his interests, playing<br /> for the hand of the publisher rather than for<br /> the hand of the author. It should not be<br /> possible for an agent to benefit by an action<br /> which would be likely to prejudice the author<br /> for whom he is working.<br /> <br /> If some such arrangement as the one sug-<br /> gested could be come to, then the agent would<br /> not be taking 10 per cent. during the whole term<br /> <br /> 23<br /> <br /> of copyright for merely placing the play or<br /> making a contract for the production of a<br /> book. Such terms are clearly extravagant ;<br /> but if he continued, with the author’s authority,<br /> to collect the moneys, and in collecting the<br /> monies, to check the accounts carefully, he<br /> would be, no doubt, saving the author from<br /> a great deal of trouble and would be entitled<br /> to his percentage so long as the author felt<br /> it was worth paying for the protection.<br /> <br /> At the present the agent, once secure in his<br /> 10 per cent., is inclined to neglect his future<br /> duties.<br /> <br /> II.—WuoseE SERVANT.<br /> <br /> Tue author’s agent is constantly appearing<br /> under a new character and in a new part.<br /> We have had reason to complain that on<br /> some occasions he acts as principal, on some<br /> occasions for editors and on some occasions<br /> for publishers when he ought to act solely for<br /> those from whom he takes his percentage.<br /> <br /> It is as well to draw attention to the<br /> difficulties that may arise from this complex<br /> action. First, when the agent acts as<br /> principal. When he does so even in the purest<br /> good faith he is taking away from the author<br /> that very advice and assistance for which he<br /> is being paid and causing the author a great<br /> deal of extra trouble. But it has been known<br /> that the agent has acted as principal without<br /> letting the author know either that he is the<br /> purchaser, or, if not the purchaser directly,<br /> is interested in the purchase. Again, an<br /> agent who is interested as principal will natu-<br /> rally be more interested in pushing forward<br /> those works in which he has sunk his capital<br /> than those on which he merely gets a percen-<br /> tage. This position is unfair to the other<br /> authors who employ him. There are still<br /> worse possibilities, but as they seldom occur<br /> it is perhaps unnecessary to mention them.<br /> <br /> Secondly, when the agent acts for editors.<br /> Editors sometimes come to agents and ask<br /> them if they can supply a story by a certain<br /> author. If the author is not on the agent’s<br /> books it not infrequently happens that the<br /> agent does not say so, but tries to draw the<br /> author into his net by holding before him<br /> tempting offers.<br /> <br /> This occurs more frequently when the agent<br /> himself goes round to editors and asks them<br /> whether they want a story from Mr. or<br /> Mr. If the answer is in the affirmative<br /> the author is pestered with letters and worried<br /> <br /> <br /> <br /> <br /> 24<br /> <br /> till he finally yields, often to find that the con-<br /> tract cannot be obtained.<br /> <br /> Thirdly, when the agent acts for publishers.<br /> There are certain agents who act for publishers<br /> in selling those rights beyond the book rights<br /> which the latter have taken from the author.<br /> No wonder it pays the agent in settling a<br /> contract to allow the author to give away his<br /> minor rights to the publisher if the publisher<br /> immediately hands them back to the agent to<br /> place. In addition to making it easier for the<br /> agent to settle with the publisher it enables<br /> him to obtain a double fee. Again, there are<br /> agents who appear to give certain publishers<br /> the first refusal of the good work that comes<br /> to their hands and in other ways to hamper<br /> the freedom of the author.<br /> <br /> The following example appears to represent<br /> the very latest development. An author offers<br /> a book to a publisher. The publisher inquires<br /> when making a proposal for the acceptance<br /> whether the author is employing a certain<br /> agent whom he names. Resenting somewhat<br /> the inquiry, the author replies that if an agent<br /> were necessary the choice would be with<br /> himself. The publisher then informs the<br /> author that in that case he will be unable to<br /> handle the book.<br /> <br /> It is an interesting question whether the<br /> publisher receives any consideration for his<br /> sturdy championship. But one point is certain<br /> —that such a position increases the author’s<br /> servitude to the agent.<br /> <br /> There are no doubt good agents and bad<br /> agents, but no agent is good for all his authors<br /> if he is employed by many and does not limit<br /> his scope. Such an agent is bound to bring<br /> his authors into competition and to assist one<br /> at the expense of another. This has been<br /> clearly pointed out by another hand in these<br /> columns, but while in many cases an agent’s<br /> livelihood depends upon his not being an ideal<br /> agent, authors should be strongly warned<br /> against many of the practices indulged in<br /> which tend to make an agent a bad agent.<br /> <br /> <br /> <br /> BOOK PUBLISHING IN THE U.S.A.<br /> <br /> ——_—— +<br /> <br /> E have received a letter from a well-<br /> known American author dealing with<br /> <br /> ; some points put forward in an article<br /> in the June number on “ Book Publishing in<br /> the United States,” and we have much pleasure<br /> in putting forward his views. We regret<br /> that it was impossible to insert it in the July<br /> <br /> THE AUTHOR.<br /> <br /> issue, and in consequence have had to hold<br /> it over to the autumn.<br /> <br /> He rather smiles at Mr. Brett falling back<br /> on the old excuse ‘‘ that all the fault is due to<br /> <br /> the rapacity of those derned authors ... .!”<br /> and continues :—<br /> <br /> “Mr. Brett points out that too many books are being<br /> published and too few being sold; that the methods of<br /> distribution employed by publishers are crude and anti-<br /> quated, and that no improvement in conditions is possible<br /> without improvement in those methods. And _ then,<br /> appalled by his candour in confessing his incapacity for the<br /> job he holds, and in deadly fear lest he be drawn into<br /> adding something incriminating or degrading on the<br /> subject of over-production, he lights hastily across the<br /> street, and slams the unhappy author over the head for<br /> wanting to make money enough to pay for his typewriter’s<br /> ribbons—both kinds ! ”’<br /> <br /> And he goes on to explain that the real fault<br /> is with the publishers and not the authors, and<br /> we think that these remarks may well apply<br /> to the same conditions at present standing in<br /> the English market. He says :—<br /> <br /> “The public never kicks about paying $1.50 or thereabout<br /> for a novel it thinks it really wants to read, but it is getting<br /> awtully sick of being fed with novels (and works of general<br /> literature—at a higher price, usually) which it has been<br /> misled into purchasing by the imprint of a respectable<br /> publishing concern, a flashy make-up, or the appetite for<br /> something to read coupled with sheer human inability to<br /> discriminate between one book and another of the thou-<br /> sands that are annually shoved under its poor nose.<br /> And this is so because the publisher, in his wild anxiety to<br /> miss no bets, publishes three or four times as many books<br /> as he ought to, simply on the off-chance that one or two of<br /> them may pick up and prove winners; and then he<br /> advertises them all (if he does advertise at all) in terms of<br /> the most glowing praise, overprints in order that he may<br /> fill the bookseller’s show-windows with “ displays,” and<br /> make a respectable showing in quantity alongside the<br /> output of other publishers on the bookseller’s shelves ;<br /> thereby confusing the public until it can’t tell one book<br /> from another, and stops buying through weariness of the<br /> lottery.<br /> <br /> ‘* Several years ago Mr. Brett’s concern boasted that it<br /> was publishing 365 books in the calendar year. Two years<br /> ago (circa) another old-time firm announced (but not<br /> publicly) that they had finished with being conservative<br /> and were hereafter going to publish a great many books<br /> per annum, regardless of merit, with small first editions<br /> and no advertising to speak of, simply in order not to miss<br /> any winners that might chance their way in disguise. Not<br /> that this was any new thing; Appleton’s had been doing<br /> the same thing for years, to their own profit, but unhappily<br /> for authors, and to the confusion of the public. At the<br /> same time Doubleday, Page &amp; Co. were fomenting a<br /> project, through the medium of the future ambassador to<br /> England, to induce publishers to band together and agree<br /> to publish fewer books, under the slogan ‘ Fewer books and<br /> better!’ They even gave a luncheon to boost the project—<br /> and the next season came forward with a list of fiction<br /> longer than any they had ever fathered previously !<br /> <br /> “The point of this business (of publishing a great many<br /> books of small editions and with scanty advertising) is<br /> as follows: The publisher doesn’t do it altogether because he<br /> is afraid of losing a winner, but because it really pays him.<br /> It works out this way: the average publisher puts out<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> upwards of twenty or thirty books every- spring and<br /> autumn—I mean novels. He spends as little as he can—<br /> naturally—on their make-up, advertises the titles, along<br /> with a dozen others, only meagrely, and prints a first<br /> edition of each that seldom exceeds 1,500 copies. Of this<br /> edition he is almost sure of disposing among the several<br /> thousand booksellers of the United States. He has a<br /> mighty poor book salesman if he can’t induce each book-<br /> seller to take a chance on at least one copy. All of which<br /> nets the publisher a modest profit on each book, and a<br /> comfortable one on the season’s output, with the minimum<br /> of risk. And there is always the chance that one book out<br /> of his score or so per season will on its own merits forge<br /> ahead, make a hit with the public, and by word of mouth<br /> advertising—one reader passing it on to another—create<br /> a demand which will warrant the publisher in spending a<br /> little more money giving it individual advertising, to push<br /> it into the best-selling list. If this doesn’t happen, he<br /> hopes it will next season; and meantime he hasn’t lost<br /> anything—the authors are the only losers in this game.”<br /> <br /> Thestatement contained in this last paragraph<br /> is very interesting as it demonstrates so clearly<br /> that what is happening in America has been<br /> going on for a long time in the English market,<br /> owing to the curse of the publishers demanding<br /> in their contracts a series of books, and authors<br /> being foolish enough to bind themselves to the<br /> publishers for a series. The publisher puts<br /> the book on the market. He does not take<br /> much trouble in the matter except to push it<br /> through sufficiently to cover his expenses and<br /> to bring him in a profit ; he then lets the book<br /> drop because he knows he is quite safe as the<br /> author is bound to him for several more books.<br /> If, as suggested by our correspondent, the book<br /> looks like going, then he takes it up as a winner<br /> and gives it individual advertising and turns<br /> round and says to the author: ‘ Look what<br /> I have done for you!” The fault is a very<br /> serious one ; whether the publishers will make<br /> any effort to remedy it, or whether the authors<br /> will take any united action by refusing to bind<br /> themselves in this absurd manner remains to<br /> be seen.<br /> <br /> Our correspondent<br /> follows :—<br /> <br /> “The truth of the matter is that two-thirds of us<br /> haven&#039;t any right to be writing at all—we do it so poorly—<br /> and would long since have turned, in warranted discourage-<br /> ment, our abilities to some more profitable field of endea-<br /> vour, if it were not for the rapacity of the publisher who<br /> leads us on to believe we have some excuse for sticking to<br /> the game simply that he may make his insignificant<br /> profit per book and so swell his handsome profit per<br /> annum.”<br /> <br /> He seems to sum up the position so far by<br /> saying :—<br /> <br /> “The solution is not cheaper books. Brett had only<br /> to investigate the conditions here and in France and<br /> Germany to find that out ; assuming that he was ingenuous<br /> in making the suggestion on the basis of conditions in those<br /> countries as he understood them. The real solution is<br /> <br /> that of Doubleday, Page &amp; Co., ‘ Fewer books and better,<br /> and a revolution in the method of attacking the public.’ ”<br /> <br /> then continues as<br /> <br /> 25<br /> <br /> He then gives an example of a certain pub-<br /> lisher in Chicago who devotes himself exclu-<br /> sively to selling the books of one man and with<br /> unexampled success, both for the author and for<br /> the company. American publishers, he says,<br /> know of this thing, but they seem unable to<br /> profit by the lesson it teaches, that even a<br /> second-rate book at $1.50 can be unloaded by<br /> the hundreds of thousands by concentration<br /> and the employment of available, if new to the<br /> publishing trade, avenues of distribution.<br /> <br /> And he finally sums up by repeating what he<br /> has already stated, that the cheap book is<br /> not what is wanted in America any more than<br /> it is wanted in England or in France, and that<br /> after a time it is impossible to unload the<br /> numbers of cheap books which it is necessary<br /> should be unloaded in order to make a profit<br /> for the publisher, for the author and for the<br /> bookseller. And he points out by example,<br /> that those American publishers who have<br /> already endeavoured to make a success of the<br /> cheap book have produced nothing but<br /> failure. Perhaps it is as well to add that he<br /> ends up his letter in the following words:<br /> <br /> «These tumultuous thoughts are now beginning to sub-<br /> side and it is nearly time for me to break off and chew<br /> three Pepsin and Bismuth tablets and drink a bucket of<br /> hot water and sit down at the luncheon table and hat&gt; a<br /> piece of dry toast, but if any of the stuff is useful, I allow<br /> you to make free use of it.”<br /> <br /> We have quoted his letter at some length<br /> as the writer is not merely a person who writes<br /> and then, leaving the work, places it in the<br /> hands of an agent, but he writes as one in<br /> authority with full knowledge of the trade n<br /> the United States and the capacities of th»<br /> publishers to endeavour, though unsuccess-<br /> fully, to meet the real demands of the public.<br /> <br /> ——_—_1+—&gt; +___<br /> <br /> ARTISTS AND THEIR CRITICS.<br /> <br /> —_—<br /> <br /> FTER the correspondence which took<br /> place last summer in the Morning Post<br /> and other newspapers, or, indeed, with-<br /> <br /> out reference to it, it is not necessary to prove<br /> laboriously that artists at the present time, or a<br /> large proportion of them, are discontented with<br /> the conditions of art criticism, or rather with<br /> the criticism which is produced under those<br /> conditions, and that, on the other hand, a<br /> certain number of art critics are profoundly<br /> contemptuous with regard to the productions<br /> of the artists who thus express their discon-<br /> tent. The term artists is here used to include<br /> all who earn, or try to earn, a living by painting,<br /> 26<br /> <br /> sculpture, engraving and other similar arts,<br /> without any attempt to define an “ artist,”<br /> or to draw invidious distinctions between those<br /> whose art is of the highest order, and those not<br /> so gifted—mere academicians, perhaps, who<br /> are just what they are, with no hope or perhaps<br /> ambition for better things. It is not proposed<br /> to discuss here the basic essence of art, or<br /> whatever it may be, which should inspire the<br /> artist before he is worthy of the name. It is<br /> enough to say that if reviewers are sometimes<br /> not altogether beloved by the reviewed, the<br /> art critic, or art journalist, as some one has<br /> recently labelled him, has even fewer admirers<br /> in proportion to his enemies among those to<br /> whom (according to some of them) he should<br /> be guide, philosopher and _ friend. Why is<br /> this ? - Is it possible to point out a reason—<br /> an easier task than to suggest a remedy ?<br /> <br /> It is a feature of art criticism, or art jour-<br /> nalism, distinguishing it from book criticism,<br /> that it is in very few hands. Dramatic<br /> criticism, to some extent, resembles it in this,<br /> but is produced under different conditions,<br /> to which reference may be made hereafter.<br /> Book criticism on most newspapers is entrusted<br /> to a variety of reviewers. The author in a<br /> particular instance may believe that his work<br /> has been foredoomed by the selection of a<br /> critic known to be hostile to the opinions likely<br /> to be found in it, or may ascribe a lack of<br /> appreciation of his virile style to the prejudices<br /> of the editor’s, or proprietor’s, lady relatives<br /> and friends. This, however, should be in<br /> exceptional instances. On the whole, books<br /> are distributed with a desire to discriminate<br /> among persons believed to be suited by taste<br /> and capacity to the task of reviewing them.<br /> The same person would not be likely to review<br /> for a leading daily or weekly paper a work on<br /> military history, a novel written to prove<br /> marriage superfluous, and a volume of rhymes<br /> for the nursery. On most newspapers, how-<br /> ever, in which art criticism is published, there<br /> is but one art critic. On some there is not<br /> quite so much—there is only part of one. The<br /> same gentleman, or, possibly, lady, ‘‘ does the<br /> art notices ”’ for two or possibly more papers,<br /> and it may be insisted upon, though it should<br /> hardly be necessary to labour the point.<br /> that the fact of several criticisms of the same<br /> work being written by one critic, whether in<br /> art or literature, tends to create the idea that<br /> there is a consensus of well-informed opinion<br /> with regard to that work. That is to say, if<br /> the critic writes to the same intent in two or<br /> more papers he gives an impression of un-<br /> animity that does not exist. . If he writes quite<br /> <br /> THE AUTHOR.<br /> <br /> differently in two or more articles, he must<br /> almost necessarily be insincere in some of his<br /> observations.<br /> <br /> Apart, however, from this multiplication of<br /> one man’s opinion, the fact of there being but<br /> one art critic on a newspaper, and conse-<br /> quently a very limited number of critics<br /> writing on art topics, must have its effect.<br /> It is not intended to discuss here whether such<br /> a system is necessary, or desirable, or con-<br /> venient, or conducive to consistent criticism.<br /> It may be all of these, but at the same time it<br /> may be responsible for much of the discontent<br /> with art criticism certainly felt by many who,<br /> whether it would be right to apply to them the<br /> term “artist” in a laudatory sense or not, are<br /> trying to make a living by art, and in the<br /> popular meaning of the word are artists. The<br /> art critic may be an acknowledged authority<br /> on old masters, and he may be very much<br /> more interested in them than in any modern<br /> work. He may be warmly in sympathy with<br /> the methods of our senior Royal Academicians,<br /> or may have grasped and clasped to his<br /> bosom the inner inwardness of Post-Impres-<br /> sionism. The exhibitions of the Royal Water<br /> Colour Society may be his ideal of what such<br /> exhibitions should be, or he may find nothing<br /> really to please him outside the new English<br /> Art Club. Anyhow, he has got to have a<br /> pretty catholic taste if he can assimilate them<br /> all with enjoyment, and the cards for press<br /> views that are showered upon him from the<br /> editorial office will take him to more than<br /> these. Bond Street and Regent Street, Pall<br /> Mall, Piccadilly and the by-streets of St. James’s<br /> are full of one-man shows, and the exhibitions<br /> of minor clubs and societies. It is not sug-<br /> gested that all are worthy of praise, or, indeed,<br /> of notice at all. It is, however, submitted<br /> that the works shown differ quite as widely<br /> among themselves—in their aims, and in their<br /> claims to public attention—as do the works<br /> put upon the market by publishers, and that<br /> to hand over all varieties for comment to one<br /> critic is not very different from sending all<br /> varieties of books to one reviewer.<br /> <br /> The practice, no doubt, is due in part to<br /> convenience, and in part to different concep-<br /> tions of the functions of an art critic and those<br /> of a literary critic—or should they be called<br /> an art journalist and a book journalist? As<br /> a rule, it is apparently thought that the book<br /> journalist should be able and willing to accord<br /> praise or blame to a book judged by the stan-<br /> dard of books of its class; but that the art<br /> journalist should judge all art productions by<br /> canons of art formulated by him and others<br /> <br /> <br /> <br /> <br /> <br /> <br /> no<br /> 16<br /> rid<br /> uq<br /> od<br /> te<br /> ue<br /> dé<br /> ud<br /> on<br /> ue<br /> 3<br /> 1 d<br /> <br /> slg<br /> <br /> sd<br /> ad.<br /> sd<br /> 0%<br /> og<br /> dd<br /> oe<br /> ak<br /> dd<br /> 03<br /> ry<br /> Or<br /> si<br /> Te<br /> ad<br /> 96<br /> 1h<br /> as |<br /> BL<br /> ie<br /> te<br /> Te<br /> fe<br /> lye<br /> te<br /> tw<br /> yi |<br /> ad<br /> he<br /> 1G<br /> a<br /> <br /> A<br /> <br /> ob<br /> <br /> through the assiduous study and appreciation<br /> of masterpieces. He may judge everything<br /> that is submitted to him for criticism in the<br /> public press according to standards which he<br /> honestly believes are of universal application,<br /> and may accord nothing but contempt,<br /> outspoken or silent, to everything. which falls<br /> Short of them. He is quite entitled to do so,<br /> but at the same time men and women who make<br /> no extravagant pretence of -conforming to<br /> such lofty standards, but who are merely<br /> trying to earn a living, perhaps. successfully<br /> by selling pictures to persons who are quite<br /> pleased to buy them, may think it a little<br /> hard that: their admirers should be informed<br /> that they are incompetent and futile charla-<br /> tans. An artist of this class may say with<br /> some show of reason that he does not pretend<br /> to be a Rembrandt or a Turner, not to mention<br /> the names of members of the newest art<br /> societies of to-day, and that all he asks for<br /> is to be judged according to the standard of<br /> those with whom he obviously enters into<br /> competition. Of course, he may be quite<br /> wrong in this, but the point is worth putting<br /> forward on his behalf. Dramatic criticism<br /> has been referred to, and, no doubt, there is<br /> on most papers one dramatic critic, Just as<br /> there is one art critic. Something, however,<br /> Seems to temper the wind in the matter of<br /> dramatic ciiticism ; perhaps the comparative<br /> importance of dramatic advertising, or the<br /> fact that first nights clash and that thus very<br /> often a variety of criticism and an allocation<br /> of plays to the persons most likely to be in<br /> Sympathy with them are brought about. At<br /> any rate, one of the causes of the ill-feeling<br /> which exists between a large body of artists<br /> and a large proportion of the gentlemen<br /> writing (often very ably) modern art criticism<br /> has been suggested. One of its results has<br /> been that recently an important society of<br /> artists sent out no invitations to art critics for<br /> one of its exhibitions, and another did not<br /> assign the usual special day for the press view.<br /> Recent outbursts of acrimonious correspon-<br /> dence in newspapers have already been<br /> referred to. Of course, a good deal may be<br /> <br /> ‘“e said in favour of art criticism being conducted<br /> on from the point of view of the loftiest ideals in<br /> “™% art, but would it not be equally right to say<br /> <br /> <br /> <br /> <br /> <br /> no right to complain of critics who more or less<br /> <br /> the same with regard to literature? It may<br /> be said that a great many persons are trying<br /> to make a living by art who had much better<br /> be otherwise employed, and that these have<br /> <br /> plainly tell them so. But might not the same<br /> <br /> be said of many who live, or. try to live, by<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 27<br /> <br /> literature, if similar principles of criticism<br /> were applied to their works under a similar<br /> system ?<br /> <br /> Se ase<br /> <br /> AUTHORS AND FREE LIBRARIES.<br /> <br /> a<br /> <br /> N UCH advance has been made of late<br /> in the matter of protecting authors’<br /> copyright. But that is not the same<br /> thing as protecting the rights of authors. At<br /> least one other form of much-needed protection<br /> seems to have been overlooked: protection<br /> from free libraries. Perhaps a case in point<br /> will make this clearer.<br /> <br /> A work of fiction was published in April of<br /> the current year. It was in the free library of<br /> a certain manufacturing. town within a month<br /> of publication. Enquiries elicited the fact<br /> that the library copy was in eager demand,<br /> though the book was not selling in that par-<br /> ticular town. It is easy to see that a librarian<br /> promotes his own popularity by promptly<br /> securing the newest fiction for free circulation,<br /> but is such action fair to the writer? I sub-<br /> mit that it is neither fair to author nor pub-<br /> lisher. The money which pays for the books<br /> in free libraries, is public money, raised by<br /> local taxation. This differentiates the case of<br /> the free lending library from that of private<br /> lending. Now as things are, there is nothing<br /> to prevent an enterprising free librarian, by<br /> the clever use of a few copies of a book, and a<br /> shortened time limit, from absolutely barring<br /> the sale of that particular book in his particular<br /> area. This is not as it ought to be.<br /> <br /> A rule in force in the library of the British<br /> Museum bars access to fiction within a certain<br /> space of time after publication. A similar<br /> rule should be legally in force in every free<br /> library ; and the time limit should be so fixed,<br /> that a book should be kept out of free circula-<br /> tion for two years after publication. A book<br /> is printed to sell. Supposing the author is so<br /> full of the lofty aim of setting right a perverted<br /> universe, as to be quite indifferent to remunera-<br /> tion for his labours! Is it reasonable to expect<br /> a publisher to take that point of view? I<br /> think not. Unlike the plutocratic author, the<br /> publisher has to eke out a precarious livelihood<br /> by selling books. When he can no longer sell<br /> books, he has finished with publishing. I<br /> believe I could demonstrate—given time<br /> that a book which cannot be published, had<br /> better not be written.<br /> <br /> This is a question of the public sense of<br /> <br /> <br /> <br /> <br /> 28<br /> <br /> <br /> <br /> justice—concerted action on the part of<br /> authors and publishers, and a small measure<br /> passed through Parliament. Planting trees<br /> on your own sand heap is a noble and soul-<br /> lifting amusement. But the law does not<br /> support you when you plant trees to shut out<br /> the light from your neighbour’s window. It<br /> is a fine thing to supply the free citizen with<br /> taxed literature; but to do that, the dis-<br /> bursers of public money have first to take<br /> scisin of the regular meals which might other-<br /> wise fall to the lot of a number of authors.<br /> This legal gap in that fine old mandate “ Thou<br /> shalt not steal ” ought to be filled up.<br /> <br /> C. KE. S.<br /> ——————_-—~&gt;— &gt; —____<br /> <br /> A ROMANCE OF WORDS.*<br /> <br /> ——»—+ —.<br /> <br /> HETHER highly gratifying instances<br /> of the rapid sale of works of real<br /> merit are common is a question that<br /> <br /> it might be dangerous to put before a body of<br /> authors. The reply would be only too likely<br /> to be some equivalent of the parliamentary<br /> circumlocution “The answer is in the nega-<br /> tive.” Indeed, it is difficult in the present<br /> days not to be troubled with many misgivings<br /> respecting the relations of popularity and real<br /> value in the case of a book. All the more<br /> cheering, therefore, is the prompt welcome<br /> which has been given to Mr. Weekley’s<br /> “Romance of Words.” Published first in<br /> March, it reappeared in a second edition in<br /> May, a most welcome indication of a sound<br /> taste for work of substantial value, and of a<br /> distinctly cultivated kind. The author has<br /> been at great pains to make his treatment of<br /> his subject appeal to those to whom it may be<br /> new, and has been in this respect completely<br /> successful, but he has, at the same time, had<br /> the courage to treat his subject as it ought to<br /> be treated, and we may say frankly that new<br /> hope for the English reader has been inspired<br /> into us by the revelation that a book about<br /> words (of strictly philological value) can so<br /> readily find itself a market. The experienced<br /> philologist will not expect to mect here any-<br /> thing that is new to him. What are to him<br /> familiar words, familiar ‘‘ laws,” and familiar<br /> phenomena occur on every page; but he will<br /> be none the less delighted to think that an<br /> author has had the courage, and the ability,<br /> so to handle the history of words as to make“it<br /> <br /> <br /> <br /> * «The Romance of Words,” London. Murray.<br /> <br /> THE AUTHOR.<br /> <br /> popular. To all who are not philologists the<br /> book will prove full of novelties, and must<br /> be recommended as one of the very best of<br /> its kind. The various phenomena of word-<br /> wanderings, word-manufacture, and so forth,<br /> are explained in ‘several chapters, amongst<br /> which by no means the least interesting will<br /> be found to be the chapters on “ Semanties,”’<br /> though the name may seem a strange one, and<br /> that on Family names. The introduction of<br /> a chapter on semantics is particularly laudable,<br /> as the subject is of primary importance, and<br /> in all teaching of languages generally over-<br /> looked. In conclusion, amongst the many<br /> merits of the book, must be mentioned this<br /> one, that it lends itself readily to perusal in<br /> odd moments, whilst no one can scan a page<br /> <br /> of it without becoming better acquainted with<br /> his own language.<br /> <br /> ————p---~«e<br /> <br /> <br /> <br /> BOOK-PRICES CURRENT,*<br /> <br /> ——<br /> <br /> Ne T., II. and III. of Book-Prices<br /> 7 | Current for 1913 are lying before us.<br /> It is unnecessary to say that the pub-<br /> lication maintains its high level of accuracy<br /> and interest ; but most necessary to add that<br /> no notice of the publication can convey an<br /> adequate idea of the amount of valuable<br /> information and the mass of interesting<br /> matter to be discovered in these volumes.<br /> Our practice has been always to select for<br /> notice some of the more striking “lots,”<br /> or such as seem most likely to be of more<br /> immediate interest to authors; but this<br /> amounts to merely skimming over the surface<br /> of the subject, and looking out for what may<br /> be of general interest, whilst the publication<br /> is one that appeals essentially to individual<br /> tastes. The book lover is very seldom bent<br /> upon hearing of what is popular alone; he has<br /> his own tastes and his own interests, often of a<br /> very special and uncommon kind, and it is<br /> these that he will find gratified if he will<br /> for himself peruse the pages of Book-Prices<br /> Current, where the enormous diversity of the<br /> entries provides matter of the greatest interest<br /> for every serious bookman whatsoever his<br /> speciality may be.<br /> Numbers IL., II. and III. for 1913 contain<br /> records of the book sales for October 8, 1912,<br /> <br /> <br /> <br /> * A bi-monthly record of the prices at which books<br /> have been sold at auction. Vol. XXVII. » London:<br /> Elliot Stock. 1913.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> of<br /> <br /> <br /> <br /> THE AUTHOR. 29<br /> <br /> to March 13, 1913. At the sale of a selection<br /> from the libraries of Mr. S. R. Crockett and<br /> Mr. G. E. Cower (Sotheby), first editions of<br /> Borrow’s works fetched prices running as high<br /> as £125 (‘The Zincali”’). In the same sale<br /> was offered Lewis’ ‘“‘ Tales of Wonder,” 1801,<br /> containing the first poems published by Sir<br /> Walter Scott (12s.). Lady Napier’s library,<br /> sold on November 11, 12, 18 (Sotheby), con-<br /> tained, among a number of interesting lots,<br /> twenty-eight different works (art books and<br /> others) by Stirling Maxwell, among which were<br /> many privately printed or presentation copies.<br /> In a miscellaneous sale (Sotheby, November 20,<br /> 21) “ Poliphili Hypnerotomachia,” 1499, sold<br /> for £111. A few days later the same salesman<br /> sold the “* Kelmscott Chawcer,’’ 1896, for £61.<br /> The library of Mr. H. J. Adams, of Enfield<br /> (Sotheby, December 2, 3, 4), exhibited a highly<br /> interesting collection of works on_ natural<br /> history. On December 16 Christie sold a first<br /> edition of Charlotte Bronté’s ‘‘ Jane Eyre ”’ for<br /> £27. Another particularly interesting collec-<br /> tion of books was that of Mr. H. Clutton<br /> (Puttick, December 17). It comprised a<br /> number of first and rare editions of Dickens,<br /> and the first English translation of ‘ Don<br /> Quixote,” by Thomas Shelton; the latter<br /> fetched £300. In a “Miscellaneous Collec-<br /> tion” sold by Sotheby on December 20, were<br /> included the rare second edition of ‘‘ Othello,”<br /> 1630 (£85), and Lord Byron’s “ Fugitive<br /> Pieces,” 1806. Of this work only three other<br /> copies (one of them imperfect) are known, and<br /> the present copy must have been one of the<br /> earliest printed, for it contains words that have<br /> been altered in the others; it sold for £445.<br /> This high price was exceeded by that paid for<br /> the first edition of Walton’s ‘‘ Compleat<br /> Angler,” 1635 (£500). Original drawings by<br /> various artists for ‘‘ Nicholas Nickleby,”<br /> “Old Curiosity Shop,” “‘ Our Mutual Friend,”<br /> were sold by Puttick (January 23, 24, 1913) for<br /> prices ranging from £4 15s. to £21. On<br /> February 13 the same firm sold other original<br /> drawings for the ‘“ Household Edition” of<br /> “Old Curiosity Shop,” ‘‘ Our Mutual Friend,”<br /> and “ Little Dorrit,’ at prices ranging from<br /> £1 7s. 6d. to £9 10s. On February 11 and the<br /> following days the very remarkable library of<br /> Mr. M. G. Dunn was sold (Sotheby), consisting<br /> of 684 lots of early manuscripts, incunabula,<br /> and old bindings. Here we can only regret<br /> that space does not permit of our quoting many<br /> of the entries at full length. On February 24<br /> Messrs. Sotheby sold a large collection of books<br /> illustrating British and foreign military cos-<br /> tumes formed by Mr. S. M. Milne. The collec-<br /> <br /> tion sold for £2,759 14s. 6d. Another collection<br /> abounding in interesting books was a miscel-<br /> laneous collection sold by Messrs. Sotheby,<br /> March 5, 6, 7. Among them is the very<br /> noticeable entry, ‘‘ Erasmus Alphabetum<br /> Hebraicum et Grecum. Gaza (Theodore) de<br /> lingue Greece institutione liber secundus<br /> Erasmo Roterodami interprete,”’ 1518; a<br /> work that is apparently hitherto unknown.<br /> From the prices paid at various sales it is<br /> evident that among the works of recent authors<br /> first editions of books by Kate Greenaway,<br /> Andrew Lang, R. L. Stevenson, and Oscar<br /> Wilde, are much sought for and command high<br /> prices. The owners of such works should<br /> treasure them, as they are certainly valuable.<br /> Here, however, it may be added that Book-<br /> Prices Current is the only work from which<br /> any man can learn which of his books are<br /> valuable and which are not, and what is the<br /> actual value of those which are precious.<br /> Prices vary capriciously, and reliance can be<br /> placed only on this record, which is carefully<br /> brought up to date.<br /> <br /> ———__+-—.—_ ——_<br /> <br /> THE STAGE CENSOR.*<br /> <br /> a<br /> <br /> &quot; ESSRS. FOWELL AND PALMER have<br /> 7 produced a book which is at once<br /> <br /> entertaining and instructive. With<br /> the entertaining side of it we are not concerned<br /> here. Of the instructive side we shall attempt<br /> to give an idea by sketching, after the picture<br /> drawn by our authors, the origin of the Stage<br /> Censor. (Although the book is called simply<br /> “Censorship in England,” it deals only with<br /> the stage censorship.) We shall not follow<br /> the story down to the present day, but stop<br /> short when the historical merges into the<br /> modern and controversial.<br /> <br /> The Censor of Plays is a descendant of the<br /> old Lords of Misrule, who figured prominently<br /> in the Christmas festivities of medizeval times,<br /> both at Court and in the houses of the nobility.<br /> The earliest reference which can be traced to<br /> such a personage under the title of ‘** Master<br /> of the Revels ” isin a document of Edward III.,<br /> dated 1347. Such a title did not at first imply<br /> permanence of office. In an account written<br /> in Elizabeth’s reign we read as follows: ‘* The<br /> Office of the Revels, as it shoulde seeme by<br /> reporte, hath in tymes past bene in that order<br /> that the prince beinge disposed to pastyme<br /> woulde at one tyme appoynte one persone, at<br /> <br /> <br /> <br /> * “Censorship in England,” by Frank Fowell and Frank<br /> Palmer. London: Frank Palmer.<br /> 30<br /> <br /> sometyme an other, suche as for creditte,<br /> pleasaunte witte, and habilitye in learnynge<br /> he thought meete to be the master of the<br /> Revelles for that tyme, to sett fourthe suche<br /> devises as might be most agreable to the<br /> princes expectacion.”’ Since, however, people<br /> as eminent as the Earl of Essex acted as<br /> superintendent of the revels, we may, as<br /> Messrs. Fowell and Palmer say, be sure that<br /> it was not long before a minor, and possibly<br /> permanent, official was appointed by the<br /> superintendent, ‘‘ bothe to his own ease and<br /> the prince’s good service’; and, as the work<br /> of the office increased, several subordinate<br /> posts were created. The love of the Court<br /> for masquing provided the Master and his<br /> assistants with a good deal of drudgery, for<br /> ““masks, dresses, stuffs, and ornaments had<br /> to be obtained, architects, builders, carpenters,<br /> tailors, and embroiderers to be engaged, and<br /> the actual performances chosen and_ piloted<br /> to an acceptable conclusion.”” So far we can<br /> scarcely discern the germ of the censor.<br /> With the appointment in 1544 of Sir Thomas<br /> Cawarden as Master, the office became more<br /> important. Cawarden was appointed for life,<br /> his patent styling him Magister Iocorum<br /> Revelorum et Mascorum-omnium et singularium<br /> nostrorum vulgariter nuncupatorum Revells and<br /> Masks. His jurisdiction did not extend<br /> beyond the Court, though he tried to stretch<br /> his powers, and the terms of the patent (which<br /> were adopted as a model) were interpreted by<br /> one of his successors, Sir Henry Herbert,<br /> Master from 1623 to 1642 and from 1660 to<br /> 1663, as giving him a licensing authority over<br /> shows and performances generally. Both under<br /> Mary and under Elizabeth proclamations had<br /> been issued against the too great freedom of<br /> the stage, but the Revels office had not been<br /> specially associated with such action. The<br /> Masters exercised their selective and censorial<br /> rights with regard to entertainments pre-<br /> sented to the Sovereign. In 1574, however,<br /> a definite extension of authority was made<br /> necessary, when Elizabeth granted a patent<br /> to the Earl of Leicester’s players to act in all<br /> towns of the realm without molestation from<br /> the local magistrates. As a check on possible<br /> abuse of this privilege, the players were to have<br /> their plays “ seen and allowed ”’ by the Master<br /> of the Revels. Tilney, who became Master in<br /> 1579, seems to have given similar licences to<br /> other companies, but thereby brought himself<br /> into conflict with the Lord Mayor of London,<br /> who claimed, and indeed exercised, a censorial<br /> power within the City limits. So arose “a<br /> struggle between the Court and the representa-<br /> <br /> THE AUTHOR. :<br /> <br /> tives of the people for the control of the<br /> popular stage.”<br /> <br /> In this struggle the Court prevailed. A<br /> commission was appointed in 1589, the Arch-<br /> bishop of Canterbury and the Lord Mayor<br /> -being asked to nominate a representative each<br /> to act with Tilney. Before these three all<br /> companies of players were compelled to come<br /> and submit their books. The result was to<br /> make Tilney Licenser of Plays, his two co-<br /> adjutors soon ceasing to take an active share<br /> in the work. His successor, Sir George Buck,<br /> continued the process of magnifying the office,<br /> beginning tentatively to issue licences for the<br /> printing of plays in 1606. But it was Sir<br /> Henry Herbert who saw the real possibilities<br /> of the job. Acquiring the Mastership by<br /> purchase in 1623, he determined to interpret<br /> the vague wording of the Cawarden patent to<br /> the utmost personal advantage. He began to<br /> claim the right to license every form of public<br /> show or performance, including ‘‘ two droma-<br /> daries,” ‘‘a show of pictures in wax,” “a<br /> musical organ with divers motions in it,” ete.,<br /> etc. He raised the fee for reading a play, once<br /> only 7s. per play, to £1 and sometimes £2.<br /> That this was a reading, not a licensing, fee is<br /> shown by an entry made by Herbert himself<br /> in his diary : ‘‘ Received from Kirke for a new<br /> play which I burnte for the ribaldry and offence<br /> that was in it, £2.” He revived Buck’s plan<br /> for printing licences ; and in every way grasped<br /> at what money could be made out of authors<br /> and actors, so that previously to the Civil War<br /> his income as Master was £4,000 a year. He<br /> bought the office, we may add, for £150 a year.<br /> <br /> After the Restoration, Herbert only<br /> nominally resumed his old position. The<br /> practical control of the stage passed by Royal<br /> warrant to Sir William Davenant and Tom<br /> Killigrew. Herbert fought against this usurpa-<br /> tion, as it seemed to him, for a time, but finally<br /> compounded with Killigrew and in 1663<br /> abandoned his office to deputies of no import-<br /> ance. When he died, ten years later, Killigrew<br /> became Master of the Revels—‘ though it is<br /> doubtful if his authority was in any way<br /> increased by the appointment ’’—and_ con-<br /> tinued in the post till his own death in 1683,<br /> exercising his duties with extraordinary laxity.<br /> His son Charles succeeded him, and under<br /> William and Mary was obliged to be a very<br /> different kind of Censor. It was the era of<br /> Jeremy Collier’s “Short View of the Profane-<br /> ness and Immorality of the English Stage”;<br /> and the rake Tom Killigrew’s son “ assisted<br /> the reforming movement with embarrassing<br /> <br /> energy,’ indeed with oppressive austerity.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 31<br /> <br /> On his death in 1725 he was succeeded by<br /> Charles Henry Lee, who “during nineteen<br /> years exercised such authority as was not<br /> opposed, and received such fees as were<br /> willingly paid.” The tendency was for the<br /> authority 1 in connection with the general con-<br /> trol of the theatre to revert to the Lord<br /> Chamberlain (who was all along the real power<br /> behind the Censor), and the Revels Office was<br /> discredited. The last Master seems to have<br /> been Lee’s successor, Solomon Dayrolle; but<br /> in 1737 the ancient jurisdiction of the office<br /> was transferred to a legally appointed Stage<br /> Licenser—who, by the Theatres Act of 2<br /> George II., was ““the Lord Chamberlain of<br /> the King’s household for the time being.”<br /> <br /> The Duke of Grafton was Lord nee<br /> at the time, and he, in February, 1738,<br /> appointed W illiam Chetwynd as eae of<br /> the Stage, with a salary of £400 a year, and<br /> with a ‘deputy to assist him at £200 a year.<br /> And so, through Larpent, Colman, Charles<br /> Kemble, J. M. Kemble, Donne, Piggott, and<br /> G. A. Redford, we arrive to-day at the<br /> censorship of Charles Brookfield.<br /> <br /> <br /> <br /> +8<br /> ++<br /> <br /> CORRESPONDENCE.<br /> <br /> — +<br /> AUTHORS AND AGENTS.<br /> I.<br /> <br /> Dear Mr. WEtts,—I write to say that after<br /> thirty years of authorship, I find myself in<br /> agreement with you, rather than with Mr.<br /> Bennett, on the subject of the likely agent.<br /> <br /> I have never employed but one, once, and I<br /> think I could show that I have not lost by<br /> doing my business myself.<br /> <br /> The essential informity of the position of the<br /> agent as the representative of the author, is<br /> admirably shown in the paragraph of your<br /> Jetter in The Author, beginning, ‘“ Also let me<br /> assure the beginner.”<br /> <br /> It is the beginner who does not (perhaps may<br /> not) see that it is the necessity “ for keeping<br /> in’’ with the publishers, which makes the<br /> agent indifferent as to whose 19 per cent. he<br /> takes, except when the capital sum is going to<br /> be a large one, and then it is the beginner who<br /> suffers. If an author could have an agent<br /> entirely to himself, the situation would be<br /> quite different.<br /> <br /> My experience (on the whole) has been, that<br /> the agent is apt to become the servant of the<br /> other man, though he is paid by you—and that<br /> he is not generally of much use to you until<br /> you can do without him.<br /> <br /> At the same time I was well served by my<br /> one agent in my single transaction, and have<br /> on two occasions been truly well served by a<br /> dramatic agent.<br /> <br /> With kind regards,<br /> Hau Carne.<br /> <br /> P.S.—I can, however, very easily talk of<br /> circumstances in which an intermediary may<br /> do better for a man than he can do for himself.<br /> But the handing of yourself over, body and<br /> bones, in all the literary affairs of life, seems<br /> to me, with all respects for Mr. B.’s opinion, a<br /> childish absurdity.<br /> <br /> [We have much pleasure, with Mr. Hall<br /> Caine’s consent, in printing the above letter,<br /> in continuance of the correspondence that<br /> appeared in the July issue.—Ep1rTor. |<br /> <br /> at<br /> <br /> IL,<br /> <br /> Sir,—Since the stars of the first magnitude<br /> in the literary firmament have had their say,<br /> the views of one that is scarcely visible may<br /> be of interest.<br /> <br /> Before I was so fortunate as to get into the<br /> hands of one of the leading, if not the leading,<br /> agents, I did my own business, and was<br /> hundreds of pounds out of pocket thereby ;<br /> indeed, I have paid somewhat heavily to buy<br /> back rights I should never have signed away.<br /> Since that time, my income has trebled, and<br /> all business worries have been lifted from my<br /> shoulders.<br /> <br /> And this is the experience of most authors I<br /> have spoken with who are in the hands of good<br /> agents.<br /> <br /> Quite as a matter of curiosity, it would be<br /> interesting to know which of Mr. Wells’ books<br /> was mishandled by an agent and valuable<br /> rights parted with.<br /> <br /> Yours, etc.,<br /> <br /> Horace W. C. NEwrtme.<br /> <br /> <br /> <br /> UNREVIEWED Books.<br /> <br /> Dear S1r,—Mr. Herbert Jenkins takes up<br /> the cudgels so valiantly for ‘ distressed<br /> literary editors”? that one would almost<br /> imagine him more at home in the editorial<br /> office of a popular daily than on the turf—as<br /> his closing paragraph implies! I do not think<br /> that literary editors have so hy been very<br /> mercilessly attacked in The Author, but<br /> perhaps Mr. Jenkins feels himself vulnerable<br /> in this matter and has haunting visions of piles<br /> of neglected and unreviewed books—for I<br /> prefer to look upon him as a littérateur (in spite<br /> 32<br /> <br /> of his letter) and not as a “‘ bookie”! But, to<br /> be serious, I don’t think his letter throws much<br /> light on the vexed question, and I consider a<br /> great deal of what he says is beside the mark<br /> altogether. I like to think that literary<br /> editors are guided by principles of sanity,<br /> commonsense, and justice, and Mr. Jenkins’<br /> remarks anent such incline one to infer that<br /> those he alludes to are hardly qualified for their<br /> responsible posts. But there are literary<br /> editors and literary editors, and the class<br /> that would be demoralised, and sit agape<br /> when confronted with problematical ‘‘ Golden<br /> Agates ’? by obscure authors, are outside the<br /> ale.<br /> <br /> Editors have their rules, customs, and prece-<br /> dents, but the question is whether some of<br /> these cannot be improved upon. But so many<br /> aspects of the subject of reviews of books have<br /> been already dealt with in The Author that I<br /> suppose it leaves nothing fresh to Mr. Jenkins<br /> to suggest, or he would point out a satisfactory<br /> solution. I do not see why literary editors<br /> should be singled out from among all members<br /> of the human race for special care and con-<br /> sideration; if they do their work conscientiously<br /> and methodically, why in the name of all that’s<br /> wonderful cannot they deal seriatim, day by<br /> day, in a businesslike spirit, with their share<br /> of the 18,000 books—a matter that comes<br /> within their province? If the staff, or the<br /> auciliary staff, is not adequate, the sooner<br /> things are readjusted the better. Surely, if<br /> 13,000 books are published, a publisher has to<br /> deal annually with a very large percentage of<br /> a much bigger number of MSS. ? and publishers<br /> either publish, or return unavailable manu-<br /> scripts at their own expense. The “ sorting out<br /> of ten thousand lots of stamps ”’ is too trivial<br /> a point to dwell on, though it suggests straining<br /> at a gnat and swallowing a camel !—for,<br /> somebody’s conscience is elastic over the<br /> volumes which have been perverted to some<br /> mythical, though no doubt praiseworthy,<br /> purpose ! It is refreshing to be told that books<br /> sent in are acknowledged under the heading of<br /> “Books Received,” but Mr. Jenkins should<br /> not take ‘‘ Reviews” too seriously, and<br /> imagine that in all cases they are inspired ;<br /> neither should he confound a few inches of<br /> space in a periodical with the winning post at<br /> Epsom! for there are other tests, and if a<br /> book is temporarily disqualified by non-<br /> recognition in a certain number, or section of<br /> august journals, it may yet win in the race of<br /> Time. :<br /> <br /> Yours faithfully,<br /> F. R. M. Furspon.<br /> <br /> THE AUTHOR.<br /> <br /> Epirors AND THEIR CONTRIBUTORS.<br /> <br /> Str,—Is there no unwritten law, no code of<br /> manners for editors with regard to their<br /> treatment of manuscripts? Have they no<br /> rules for, no authority over the menials to<br /> whom they entrust the task of returning the<br /> work they cannot or will not use? These<br /> emphatic queries have been engendered in me<br /> by receiving in a torn, soiled, or disfigured<br /> condition many a manuscript I had sent out<br /> in an immaculate state. Sometimes when<br /> the manuscript is too thick, it escapes the<br /> maltreatment of being folded in new places,<br /> but almost invariably when a thin new<br /> manuscript of one or two pages, all crisp and<br /> clean, is submitted, it is returned (when not<br /> accepted) in a crumpled condition and folded,<br /> with malice prepense, into a new shape. This<br /> occurs even when envelopes of the proper size<br /> are enclosed. What diabolical wantonness<br /> actuates the office factotum needlessly to<br /> fold an innocent manuscript into new and tell-<br /> tale creases—thus ruining or debasing the<br /> copy for use elsewhere—is beyond me.<br /> <br /> Perhaps an author’s black list might do<br /> something towards enforcing the rules of the<br /> game ?<br /> <br /> Editors have a certain right to refuse to<br /> consider or read manuscripts, but in the light of<br /> modern journalism and fair play they have no<br /> right to damage, destroy, or confiscate the<br /> property of others.<br /> <br /> Another rank abuse which cries aloud for<br /> regulation is the interminable length of time<br /> a manuscript is sometimes retained before<br /> publication. One of my own was held over<br /> for more than six years. Then there are the<br /> pericdicals which keep the author waiting for<br /> weeks and months after publication ere they<br /> deign to send him payment.<br /> <br /> Lance-HEab.<br /> EEG<br /> REVIEWS IN FRANCE.<br /> <br /> Srr,—If any authors who read this care to<br /> receive notices of their books in La Nouvelle<br /> Revue, will they ask their publishers to send a<br /> review copy to the Editor, Monsieur Paul<br /> Louis Hervier, 23, Rue de Beaumont, Bourges.<br /> (Cher), France? He takes a great interest in<br /> English literature, and gives interesting and<br /> painstaking reviews. He cannot give space<br /> to novels, but welcomes all other kind of books.<br /> La Nouvelle Revue is one of the best known<br /> reviews in France.<br /> <br /> Yours truly,<br /> <br /> Paris, MauprE ANNESLEY.<br /> <br /> September 16.	https://historysoa.com/files/original/5/532/1913-10-01-The-Author-24-1.pdf	publications, The Author
533	https://historysoa.com/items/show/533	The Author, Vol. 24 Issue 02 (November 1913)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+02+%28November+1913%29"><em>The Author</em>, Vol. 24 Issue 02 (November 1913)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1913-11-01-The-Author-24-2					33–62																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-11-01">1913-11-01</a>							2			19131101	Che HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> VoL. XXIV.—No. 2.<br /> <br /> NOVEMBER 1, 1913.<br /> <br /> <br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> —_______+—~&lt;&gt;__<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> OR the opinions expressed in papers that<br /> K are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou. XXIV,<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> ees<br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> ——— ++<br /> <br /> &quot;T\ROM time to time members of the Society<br /> K desire to make donations to its funds in<br /> <br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> #2<br /> 34<br /> <br /> matter closely connected with the work of the<br /> Society.<br /> <br /> (2) The Pension Fund _ This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> i<br /> <br /> THE PENSION FUND.<br /> <br /> —1—~&gt;— + —_<br /> <br /> N January, the secretary of the Society<br /> laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> <br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £1C fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> anc the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £ $d:<br /> Wocal Loans 9. ....5.....60... 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ........ 291 19 11<br /> London and North-Western 3%<br /> <br /> Debenture Stock ............ 250 0 0<br /> Egvptian Government Irrigation<br /> <br /> Trust 4% Certificates ........ 200 0 0<br /> Caze of Good Hope 34% Inscribed<br /> <br /> SOCK i ieee oie sa 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% PreferenceStock .... 228 0 0<br /> New Zealand 83% Stock ....... 247 9 6<br /> Irish Land 23% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927-57... a. oc: 438 2 4<br /> Jamaica 34% Stock, 1919—49 .. 182 18 6<br /> Mauritius 4% 1937 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ...... 198 8 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ..5..6.....050.5, 232.0 0<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> s. d.<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........... 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares ........... 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) ............ 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 380 0 O<br /> <br /> PENSION FUND.<br /> <br /> —_—— +<br /> <br /> THE list printed below includes all fresh dona-<br /> tions and subscriptions (7.¢., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> January 3, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913. £ sda<br /> <br /> Jan. 8, Toynbee, William (in addi-<br /> tion to his present sub-<br /> scription).<br /> <br /> Jan. 9, Gibson, Frank .<br /> Jan. 29, Blaikley, Miss E. L.<br /> Jan. 31, Annesley, Miss Maude<br /> Feb. 6, Rothenstein, Albert .<br /> Feb. 10, Bradshaw, Percy V.<br /> April 8, Caulfield-Stoker, T. .<br /> June 12,,Wimperis, Arthur .<br /> June 16, Ballantyne, J. W.<br /> June 16, Thorold, Rupert<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry ;<br /> Oct. 21, Buchanan, Miss Meriel<br /> <br /> _<br /> <br /> ~<br /> <br /> ~<br /> Ae Aaocannoewraocwonnse<br /> <br /> GOrococooccr orm ooococo<br /> Sooooocoocoeoooaances<br /> <br /> Donations.<br /> 1913.<br /> Jan. 1, Risque, W. H. j :<br /> Jan. 1, Rankin, Mrs. F. M. . ;<br /> Jan. 2, Short, Miss L.M. . :<br /> Jan. 2, Mackenzie, Miss J. . :<br /> Jan. 2, Webling, Miss Peggy .<br /> <br /> ecooco<br /> eooooso<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> oo<br /> Or<br /> <br /> THE AUTHOR.<br /> <br /> S 6 @<br /> Jan. 8, Harris, Mrs. E. H. . 20 0 April 2, Hain, H. M.<br /> <br /> H<br /> <br /> or<br /> <br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> _ Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> _ Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> _ Feb.<br /> Feb.<br /> Feb.<br /> &#039; Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> _ Feb.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> - Feb.<br /> Feb.<br /> . Mar.<br /> <br /> Mar.<br /> Mar.<br /> <br /> Mar.<br /> Mar.<br /> Mar.<br /> <br /> 8, Church, Sir Arthur,<br /> K.C.V.O., ete.<br /> <br /> 4, Douglas, James A.<br /> <br /> 4, Grant, Lady Sybil<br /> <br /> 6, Haultain, Arnold. 2<br /> <br /> 6, Beveridge, Mrs. : :<br /> <br /> 6, Clark, The Rev. Henry .<br /> <br /> 6, Ralli, C. Scaramanja . £<br /> <br /> 6, Lathbury, Miss Eva . :<br /> <br /> 6, Pryce, Richard :<br /> <br /> 7, Gibson, Miss L. S.<br /> <br /> 10, K. :<br /> <br /> 10, Ford, Miss May : ‘<br /> <br /> 1. Greenstreet, W.J.. :<br /> <br /> 14, Anon 2 .<br /> <br /> 15, Maude, Aylmer<br /> <br /> 16, Price, Miss Eleanor .<br /> <br /> 17, Blouet, Madame<br /> <br /> 20,P.H.andM.K. . :<br /> <br /> 22, Smith, Herbert W. . :<br /> <br /> 25, Anon. . ‘ x<br /> <br /> 27, Vernede, R. E. :<br /> <br /> 29, Plowman, Miss Mary .<br /> <br /> 29, Todd, Miss Margaret, M.D.<br /> <br /> 81, Jacobs, W. W. : x<br /> <br /> 1, Davy, Mrs. E. M.. . A<br /> <br /> 8, Abraham, J. J. : :<br /> <br /> 4, Gibbs, F. L. A.<br /> <br /> 4, Buckrose, J. E. :<br /> <br /> 4, Balme, Mrs. Nettleton :<br /> <br /> 6, Coleridge, The Hon. Gilbert<br /> <br /> 6, Machen, Arthur<br /> <br /> 6, Romane-J. ames, Mrs.<br /> <br /> 6, Weston, Miss Lydia : :<br /> <br /> 14, Saies, Mrs. F. H. (in addi-<br /> tion to her subscription)<br /> <br /> 14, Maunsell, A. E. Lloyd.<br /> <br /> 14, O’Higgins, HJ. ‘<br /> <br /> 15, Stephens, Dr. Ricardo<br /> <br /> 15, Jones, Miss E. H.<br /> <br /> 17, Whibley, Charles<br /> <br /> 22, Probert, W. S.<br /> <br /> 24, S. F. G. :<br /> <br /> 27, XX. Pen Club<br /> <br /> 7, Keating, The<br /> Lloyd ;<br /> <br /> 7, Tharp, Robert C.<br /> <br /> 10, Hall, H. Fielding .<br /> <br /> 13, Moffatt, Miss Beatrice<br /> <br /> 14, Bennett, Arnold.<br /> <br /> 17, Michell, The Right Hon.<br /> Sir Lewis, K.C.V.O.<br /> <br /> Rev. J.<br /> <br /> Mar. 17, Travers, Miss Rosalind<br /> <br /> Mar. 26, Hinkson, H. A. ‘ :<br /> Mar. 26, Anon. . : ‘<br /> . April 2, Daniel, E. H. 2 :<br /> <br /> naoroe Orroeococods SOM MOF OF ONKF OCOCOCOCKRH OFM OCOCOCOCOOCBRO WO OFN WH<br /> <br /> ocouaror<br /> <br /> rt<br /> <br /> et et<br /> <br /> bot<br /> anette OH OM ONE NB OOR EF OF Or orore Oe Or OOH bo Oe<br /> <br /> _<br /> <br /> a et<br /> <br /> _<br /> SPOOF CAND OF<br /> <br /> S ore Or Or<br /> <br /> cooruMTt~<br /> <br /> acoce ooooo CSCoocacaace coooooaoaooenoanacoooooocooececeocoo<br /> <br /> April 7, Taylor, Miss Susette M.<br /> April 7, Harding, Newman .<br /> April 9, Strachey, Miss Amabel<br /> April 10, Aspinall, Algernon .<br /> <br /> April 15, Craig, Gordon<br /> <br /> April, Robbins, Miss Alice<br /> <br /> June 12, Peel, Mrs...<br /> <br /> June 13, Barlow, Miss Hilaré<br /> June 18, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert . 3<br /> July 11, Broadbent, D. R. . :<br /> July 22, Cameron, Mrs. Charlotte .<br /> Sept. 29, Peacock, Mrs. F. M.<br /> Sept. 30, Healy, Wallis 3 et<br /> Oct. 7, Darwin, Sir Francis . 5 0<br /> Oct. 9, Carroll, Sy dney Wentw orth 0 10<br /> Oct. 21, Troubetskoy, ‘The Princess 1 0<br /> <br /> We regret that a donation from Miss Alice<br /> Robbins of £1 1s., made in April last, was<br /> not chronicled in this list. We take this<br /> opportunity of correcting the mistake.<br /> <br /> NEE OCOORFROCOCOOM<br /> —<br /> <br /> NN eH eH OO OCC Oe ooo:<br /> SAHeSnRCOCOCOCDONSC COSCO COOF<br /> <br /> —<br /> <br /> COMMITTEE NOTES.<br /> a<br /> <br /> HE October meeting of the committee—<br /> the first meeting after the vacation<br /> —was held on the 6th, at 1, Central<br /> <br /> Buildings, Tothill Street, Westminster, S.W.<br /> There was a very long list of agenda before<br /> the meeting. After the signing of the minutes<br /> of the previous meeting, the committee<br /> proceeded with the election of members and<br /> associates. The committee have pleasure in<br /> reporting that the rate of election is still<br /> steadily maintained, and that seventy-one<br /> elections were recorded. These are chronicled<br /> elsewhere in The Author. This brings the total<br /> number for the current year up to “278. The<br /> committee accepted, with regret, six resigna-<br /> tions.<br /> <br /> The seeretary and the solicitor of the Society<br /> then reported on the cases taken. in hand<br /> during the vacation, and also the progress that<br /> had been made in those matters with which the<br /> Society was already dealing. There were five<br /> cases of infringement of copyright. The first,<br /> Corelli v. Gray had been mentioned in former<br /> issues of The Author. The solicitor reported<br /> that the costs of the first action had been paid<br /> into, court and that the matter was now<br /> awaiting appeal. Two cases had been settled<br /> after considerable negotiation.. In one case,<br /> it appeared from the solicitor’s report that the<br /> <br /> <br />  <br /> <br /> 36<br /> <br /> editor of a magazine had been deceived by his<br /> contributor. ‘lhe fourth case, which had been<br /> before the committee at previous meetings, but<br /> which had been adjourned owing to lack of<br /> evidence on certain material facts, the com-<br /> mittee regretted, after consideration of the<br /> solicitor’s opinion, that they were unable to<br /> take up as the evidence was insufficient.<br /> Should, however, the ‘member be able to<br /> produce the evidence required, the committee<br /> expressed their willingness to reconsider the<br /> issues. The secretary reported that he had<br /> heard from the lawyers in Switzerland respect-<br /> ing a ease which had been proceeding for some<br /> time in that country. The matter had now<br /> been referred to the Highest Court of Appeal.<br /> So far, the committee regret to report, the<br /> decisions have gone against the Society.<br /> There were five claims for moneys due to<br /> members. Two of these had been settled<br /> during the vacation. In a third case a<br /> summons was pending, and with the two<br /> remaining claims which had not been dealt<br /> with previously, the committee instructed the<br /> solicitors to proceed.<br /> <br /> There were three cases in which accounts<br /> had either not been delivered or were disputed.<br /> In two cases against the same firm in England<br /> the solicitors were instructed, as they had been<br /> unable to get any satisfactory answer to their<br /> questions, to issue the necessary summonses.<br /> The third case dealt with a publisher in the<br /> United States. The secretary reported that<br /> it was being handled by the United States<br /> lawyer. The next matter for consideration<br /> referred to the liquidation of a firm of<br /> publishers. As usual, the Society was taking<br /> up the matter on behalf of the members<br /> involved. The committee are pleased to<br /> receive the report that it had been possible,<br /> as in two previous liquidation cases this<br /> year, to obtain the election of a member of<br /> the Society on the Board of Inspection, to<br /> look after the interests of authors. The next<br /> matter had reference to a question of libel :<br /> it is hoped it will be settled without any<br /> further difficulty.<br /> <br /> There were disputes arising out of the<br /> interpretation of agreements. In the first,<br /> which had been taken up some time ago, the<br /> solicitor reported that, as no settlement had<br /> been come to, he was now taking the necessary<br /> steps to obtain an injunction to prevent the<br /> further publication of the book contrary to<br /> the terms of the contract. This case, if it<br /> comes into court will be fully reported in The<br /> Author. The second, relating to a contract<br /> for publication, the committee regretted they<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> were unable to take up. Although the matter<br /> was one involving undoubted hardship to the<br /> composer it appeared in the circumstances<br /> there was no legal remedy to justify the<br /> committee in taking action on behalf of the<br /> member. The details of the last case were<br /> laid before the committee and fully discussed.<br /> They found it impossible to take action. It<br /> appeared clear that the contract was binding<br /> and there was no reason why any court should<br /> set it aside. The committee decided to take<br /> counsel’s opinion on a difficult case of Inter-<br /> national law referring to the reproduction of<br /> music on mechanical instruments, and the<br /> secretary reported that, with the sanction of<br /> the chairman, counsel’s opinion had been<br /> taken on a question relating to film rights<br /> under a dramatic contract.<br /> <br /> In a dispute between a member and an<br /> agent, the chairman of the committee was<br /> requested to write to the member concerned,<br /> setting out the views of the committee.<br /> <br /> The committee decided to take up a difficult<br /> question of accounts in order to establish the<br /> Society’s right to a formal investigation. In<br /> former disputes on accounts the Society had,<br /> without taking the matter into court, always<br /> obtained the necessary statement from pub-<br /> lishers, but for some reason, in this special<br /> case, the publishers, through their solicitors,<br /> repudiated liability. In consequence, the com-<br /> mittee decided that the point must be clearly<br /> established that an author, composer or<br /> dramatist has full rights to investigate the<br /> accounts, and to have them properly vouched<br /> if necessary.<br /> <br /> Another case of the construction of an<br /> agreement was considered. The secretary was<br /> instructed to obtain further particulars, as the<br /> matter was one of serious importance, but one,<br /> also, in which it was difficult for the committee<br /> to act without fuller information. The case<br /> was adjourned to the next meeting.<br /> <br /> After the consideration of the cases, the<br /> committee proceeded to confirm the appoint-<br /> ment of Mr. Arthur Train, as the lawyer of the<br /> Society in the United States in place of Messrs.<br /> Byrne and Cutcheon, resigned. Mr. Train is<br /> counsel to the newly-formed Authors’ League<br /> of America, and the committee hope that his<br /> appointment to represent the Society as lawyer<br /> in the United States may be the means of<br /> bringing the two Societies into closer union.<br /> <br /> Two important questions connected with<br /> International copyright were then put forward<br /> —one relating to the United States and one<br /> relating to Russia. The secretary received<br /> instructions to write to the Board of Trade,<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 37<br /> <br /> drawing the President’s attention to the<br /> matters. At the suggestion of the Dramatic<br /> Sub-Committee, Mrs. Pogson was appointed<br /> the Society’s dramatic agent in Germany.<br /> Her name is chronicled elsewhere in The Author<br /> with the names of the other dramatic agents<br /> of the Society.<br /> <br /> The committee decided unanimously to<br /> increase the secretary’s salary, and to grant<br /> him a gratuity for past services. They further<br /> expressed their very high appreciation of<br /> Mr. Thring’s self-sacrificing services in the<br /> interests of the Society. It was decided to ask<br /> the Poet Laureate to join the ranks of the<br /> Society of Authors by accepting his election<br /> as a member of the Council.<br /> <br /> The secretary drew attention to an article<br /> in Phe Author dealing with the clauses which,<br /> owing to the energy of Mr. H. J. Mackinder,<br /> M.P., had been inserted in the Bankruptcy<br /> Acts of England and Scotland. The committee<br /> unanimously passed a vote of thanks to Mr.<br /> Mackinder for his interest in the matter. The<br /> secretary drew the attention of the committee<br /> to an article in The Author dealing with the<br /> question of editors and contributors. He<br /> reported, as stated in that article, that various<br /> names of editors willing to subscribe to the<br /> resolution there set forth had been added to<br /> the list during the vacation. The committee<br /> decided that it was unnecessary to call<br /> another meeting of editors at the present time,<br /> and adjourned the matter for later con-<br /> sideration.<br /> <br /> Certain quotations are allowed from copy-<br /> right books under section 2, sub-section 4,<br /> of the Copyright Law. The Publishers’<br /> Association thought that much vexatious<br /> litigation might be avoided if some general<br /> understanding was arrived at as to how ‘a<br /> short passage ”’ should be defined under that<br /> section. They put forward for the approval<br /> of the committee of the Society of Authors the<br /> following resolution, which resolution, after<br /> careful consideration, was approved by the<br /> Committee of Management.<br /> <br /> “The council of the Publishers’ Associa-<br /> tion is of opinion that it will be to the<br /> interest of everyone concerned if any<br /> publisher proposing to make use of copyright<br /> matter in a school book in accordance with<br /> the provisions of the Copyright Act, 1911,<br /> section 2 (iv.),* gives notice of his intention<br /> to the owner of the copyright.<br /> <br /> <br /> <br /> * The section referred to provides that the following<br /> shall not be an infringement of copyright :—<br /> <br /> “The publication in a collection, mainly composed of<br /> non-copyright matter, bona fide intended for the use of<br /> <br /> **2. The council considers that vexatious<br /> litigation may be avoided if some general<br /> understanding is arrived at as to what<br /> constitutes ‘a short passage’ from a<br /> published literary work, and they beg to<br /> suggest the following :—<br /> <br /> ““(a) ‘A short passage’ from a_ prose<br /> work should not exceed one thousand<br /> words.<br /> <br /> ‘““(b) ‘A short passage’ from a poetical<br /> work should not exceed one hundred<br /> lines.<br /> <br /> ** Provided that ‘a short passage ’ should<br /> not in either case contain more than one<br /> third of the complete poem, essay, address,<br /> story or other literary work from which it<br /> is extracted.”<br /> <br /> The secretary then reported that a conference<br /> of composers had been called for Saturday,<br /> October 11.<br /> <br /> - The draft circular which it was proposed to<br /> <br /> send round to members, dealing with the<br /> Collection Bureau, had to be adjourned to the<br /> November meeting owing to the mass of<br /> business on hand. The committee approved<br /> an article to appear in The Author on the<br /> question of agents and stock rights in<br /> America.<br /> <br /> The date of the Society’s Dinner was fixed<br /> for November 27. Due notice, with full<br /> particulars, will be sent out. It is hoped there<br /> will be a large gathering.<br /> <br /> A question of loans to authors and dramatists<br /> on contracts was adjourned, as well as the<br /> question of the International meeting of<br /> authors to take place in San Francisco in 1915.<br /> <br /> A draft royalty agreement which had been<br /> sent round to members of the committee was<br /> approved, subject to one or two slight<br /> alterations. It was decided to set it up in<br /> time for a final reading at the next meeting of<br /> the committee.<br /> <br /> The most important question before the<br /> committee is chronicled here, at the end of<br /> the notes, although it was discussed earlier at<br /> the meeting, the question of the difficulties<br /> connected with the policy of the libraries in the<br /> matter of book circulation. The committee<br /> decided to invite a conference composed of<br /> two authors, two publishers, two members of<br /> <br /> <br /> <br /> schools, and so described in the title and in any adver-<br /> tisements issued by the publisher, of short passages from<br /> published literary works, not themselves published for the<br /> use of schools in which copyright subsists: Provided that<br /> not more than two of such passages from works by the<br /> same author are published by the same publisher within<br /> five years, and that the source from which such passages<br /> are taken is acknowledged.”<br /> 38<br /> <br /> the Libraries’ Association and two booksellers.<br /> The conference so invited to discuss the whole<br /> question with a view to bringing about some<br /> solution of the present difficulty. Before,<br /> however, the committee proceed they proposed<br /> to call a meeting of the Council of the Society<br /> to approve the course suggested. This meeting<br /> is reported below. In order to elucidate the<br /> position and to put clearly before the committee<br /> before any decision was arrived at the<br /> difficulties with which various authors have<br /> had to contend, and the suggestions put<br /> forward by members of the Society, the<br /> secretary read letters he had received from<br /> Messrs. Hall Caine, W. B. Maxwell, Eden<br /> Phillpotts, John Galsworthy, and others,<br /> and reported in detail the result of various<br /> interviews with members of the Publishers’<br /> Association, Mr. Acland of Messrs. Smith &amp;<br /> Son, and other parties interested in the<br /> solution of the difficulties. The action of<br /> the members of the conference if summoned<br /> will be chronicled in due course and referred<br /> back to the committees of the various associa-<br /> tions represented. The committee feel that<br /> the question is one of great importance,<br /> surrounded by great difficulty, and one to be<br /> dealt with as a matter of principle apart from<br /> any individual book or any individual author.<br /> <br /> +<br /> <br /> Counci, MEETING.<br /> <br /> A meetING of the Council was held at<br /> No. 1, Central Buildings, Tothill Street, West-<br /> minster, S.W., on Thursday, October 16,<br /> at four o’clock, for the members to consider,<br /> and, if thought fit, to approve a suggestion<br /> of the committee in regard to the position of<br /> the library question.<br /> <br /> The committee’s proposals ran as follows :—<br /> <br /> 1. To invite a conference composed of two<br /> authors, two publishers, two members of the<br /> Libraries’ Association, and two booksellers ;<br /> the representatives of such conference to be<br /> appointed by the standing committees of their<br /> respective associations.<br /> <br /> 2. The conference so invited to take counsel<br /> with a view to solving the existing difficulties.<br /> <br /> The chairman explained in a few words the<br /> reason why the committee had made these<br /> suggestions and the reason why they referred<br /> them to the Council.<br /> <br /> Mr. Maurice Hewlett moved the following<br /> <br /> ynendment :—<br /> <br /> “That this question (that is, the question<br /> on the agenda) be referred back to the<br /> <br /> THE AUTHOR.<br /> <br /> committee, with a full report of what takes,<br /> place at this meeting of the Council.”<br /> <br /> He stated, at full length, his reasons for<br /> putting forward his amendment, and expressed,<br /> very strongly, his feelings in regard to the<br /> question generally. He also made a suggestion<br /> which he desired should be placed before the<br /> committee.<br /> <br /> Mrs. Belloc Lowndes seconded the amend-<br /> ment. ‘<br /> <br /> The question was fully discussed in all its<br /> phases. Mr. Hewlett’s amendment was then<br /> put and carried. With, the fresh information<br /> thus obtained which will be reported to the<br /> committee, the whole matter will be re-<br /> discussed at their next meeting.<br /> <br /> It is impossible to make a more detailed<br /> statement of the proceedings until the final<br /> discussion by the committee of the fresh issues<br /> raised.<br /> <br /> ee<br /> <br /> DraMAtic SUB-COMMITTEE.<br /> <br /> Tue first meeting of the Dramatic Sub-<br /> Committee after the Vacation was held at the<br /> offices of the Society, No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W.<br /> <br /> The first matter dealt with was the dramatic<br /> cases.<br /> <br /> The attention of the sub-committee was<br /> called to the first case by members of the<br /> Dramatists’ Club, and the secretary was<br /> instructed to deal with the matter by a note<br /> in The Author. The second related to the:<br /> infringement of copyright of a member&#039;s play<br /> by a London manager. The sub-committee:<br /> asked the secretary to convey to the<br /> Committee of Management a recommenda-<br /> tion that the member be given the best’<br /> assistance possible, as the infrimgement ap-<br /> peared to them to be a very serious one. The<br /> secretary then reported the successful termina-<br /> tion of a case undertaken by the Society in<br /> Winnipeg, Canada, on behalf of a member.<br /> He explained that damages had been obtained.<br /> and the matter settled. A dispute with a<br /> dramatic agent for non-delivery of accounts<br /> was next referred to the sub-committee and<br /> the secretary was instructed to recommend to<br /> the Committee of Management to take up<br /> the action.<br /> <br /> The Managerial Treaty next came before<br /> the committee, and a letter received from<br /> Mr. J. E. Vedrenne, secretary to the Society<br /> of West-End Managers was read. After<br /> careful consideration of the letter, the secretary<br /> was instructed to write to Mr. Vedrenne<br /> suggesting another meeting of the delegates:<br /> <br /> \<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> of the West-End Managers’ Association, with<br /> a view to careful consideration of the points<br /> raised.<br /> <br /> A letter from the Dramatic Clubs’ Associa-<br /> tion was laid before the committee, and the<br /> committee decided, in accordance with a<br /> promise made before the vacation, to ask<br /> delegates from the Association to meet the<br /> sub-committee at their next meeting.<br /> <br /> Counsel’s opinion which had been taken on<br /> behalf of one of the members, dealing with<br /> film rights under a dramatic contract made<br /> before the passing of the new Copyright Act,<br /> was read to the sub-committee, and a dis-<br /> cussion arose as to the present value of film<br /> rights. It was decided to ask Mr. Cecil<br /> Raleigh whether he would not write another<br /> article on the question for the benefit of<br /> members of the Society, from the new evidence<br /> and particulars of terms of contracts which<br /> had been gathered.<br /> <br /> A series of letters that had been received by<br /> Mr. Shaw from an American dramatic agent,<br /> and by Mr. Louis J. Vance, from a representa-<br /> tive of the same firm, were laid before the<br /> sub-committee. The letter received by the<br /> secretary from the German Society of Authors<br /> and also terms of a proposed contract were<br /> considered. The secretary was instructed to<br /> write to the German Society, pointing out<br /> that the Constitution of the Society of Authors<br /> would not permit of its making a contract on<br /> the lines proposed, but that they hoped the<br /> German Society would, outside a formal con-<br /> tract, work with the English Society with a<br /> view to mutual assistance in dramatic matters.<br /> <br /> A letter received by one of the members of<br /> the sub-committee, from Mr. F. H, Dickinson,<br /> of New York, in regard to the publication of<br /> a work entitled ‘Chief Contemporary Dra-<br /> matists,’’ with the terms offered to Authors,<br /> was read, as also was a series of letters<br /> received by the secretary of the Society from<br /> members whose works it had been proposed<br /> to issue.<br /> <br /> The next matter was one of considerable<br /> importance, and dealt with the question of<br /> stopping piracies in the colonies and foreign<br /> countries. The secretary stated that during<br /> the vacation he had thought that the existing<br /> ‘difficulty of giving prompt instructions to<br /> lawyers abroad might be overcome by using<br /> powers of attorney, drafted in such a way<br /> that they could not be operated without a<br /> cablegram from the Society’s office. He<br /> suggested that Dramatist members of the<br /> Society who thought fit, should have three or<br /> four powers of attorney, one for each foreign<br /> <br /> <br /> <br /> THB AUTHOR. 39<br /> <br /> country, and that these should be placed in the<br /> hands of the Society’s lawyers in the countries<br /> concerned. If, then, the lawyers heard of a<br /> piracy they would communicate with the<br /> Society, and if the member thought fit, the<br /> lawyer would receive cabled authority to take<br /> immediate action. Thus it would be possible<br /> to overcome the great drawback in these<br /> cases of delay. The sub-committee considered<br /> the suggestion and instructed the secretary<br /> to obtain a draft settled by counsel for the<br /> members.<br /> <br /> Mr. Justin McCarthy, Mr. Jerome K.<br /> Jerome, and Mr. G. Herbert Thring, the<br /> secretary, were voted a sub-committee to deal<br /> with the question of a draft agreement, and<br /> it was decided that the agreement, when so<br /> settled, should not be referred back to the<br /> sub-committee. The sub-committee, however,<br /> indicated certain lines along which the contract<br /> should be drafted, and added that the con-<br /> tract should be accompanied by a statement<br /> explanatory of the clauses and of the rights<br /> with which it was proposed to deal.<br /> <br /> The question of the dramatic contract in<br /> Holland was also discussed.<br /> <br /> The secretary was instructed to thank<br /> Mr. Reyding, the agent of the Society in<br /> Holland for his letter, and to express the desira<br /> of the sub-committee that in future contracts<br /> for Holland the name of the author should be<br /> substituted for that of the agent, as principal.<br /> <br /> —<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> A MEETING of the Composers’ Sub-Committee<br /> was held on Wednesday, October 8, at the<br /> offices of the Society at eleven o’clock in the<br /> morning. The meeting discussed fully the line<br /> of procedure to be followed at the Conference<br /> of Composers which was held on Saturday,<br /> the 11th of the same month.<br /> <br /> The next question before the meeting was<br /> the Evening News competition, and the<br /> secretary was instructed to write an article<br /> on the subject which, with the chairman’s<br /> consent, should appear in the next issue of<br /> The Author.<br /> <br /> II.<br /> <br /> The second meeting of the sub-committee<br /> was held at the Society’s offices, No. 1, Central<br /> Buildings, Tothill Street, Westminster, S.W.,<br /> on Saturday, October 18, at eleven o’clock.<br /> <br /> The first matter under discussion was what<br /> should be made to the<br /> <br /> recommendation<br /> <br /> <br /> 40<br /> <br /> Committee of Management in order to assist<br /> them to deal with the Resolutions passed by<br /> the Conference of Composers on October 11,<br /> and the sub-committee passed the following<br /> resolution :—<br /> <br /> “That the Committee of Management be<br /> asked to appoint delegates in accordance with<br /> the resolution unanimously passed at the<br /> meeting on October 11, and to confer as to<br /> the best means of reaching those composers<br /> who were not members of any Society.”<br /> <br /> Mr. Cecil Forsyth’s name was suggested as<br /> one of the delegates, and Mr. Forsyth consented<br /> to act if appointed. It was decided that<br /> paragraphs should be inserted in the daily<br /> papers setting out the fact that the Society<br /> of Authors dealt with the works of composers<br /> as well as with those of dramatists and writers,<br /> and that composers were entitled to the same<br /> benefits as were accorded to other members.<br /> The sub-committee felt that this course was<br /> perhaps the best means to bring the work the<br /> Society did for composers to the notice of<br /> those who were members of no organization.<br /> It was decided, also, with Mr. MacGillivray’s<br /> sanction, to publish, in pamphlet form, his<br /> speech delivered at the Conference of Com-<br /> posers setting out in detail the rights held by<br /> coon and how best they could be dealt<br /> with.<br /> <br /> The next question brought forward was the<br /> question of settling a draft agreement, and the<br /> secretary was instructed to draft an ideal form<br /> to be submitted to the next meeting of the<br /> sub-committee.<br /> <br /> A question having arisen respecting the sale<br /> of stamps to reproducers of music by mechani-<br /> eal instruments, on “sale or return,’ the<br /> sub-committee considered the matter, but came<br /> to the conclusion that the suggestion made by<br /> the companies was not one they could support,<br /> as it would be likely to lead to much confusion<br /> in the minds of composers. At the same time<br /> they were willing to give their serious<br /> or to any arguments brought before<br /> them.<br /> <br /> The secretary read correspondence with the<br /> Ammre, and was instructed to ask whether<br /> the German Society could not give some<br /> guidance as to the kind of music they would<br /> like submitted to them with a view to<br /> reproduction on mechanical instruments.<br /> <br /> Finally, the question of the collection of<br /> fees in France was discussed, and the secretary<br /> was instructed to write to his correspondents<br /> with a view to ascertaining what steps could<br /> be taken to collect members’ fees on mechanical<br /> reproductions in that country.<br /> <br /> THE AUTHOR.<br /> <br /> Cases.<br /> <br /> Durine the past month twenty-two cases<br /> have passed through the secretary’s hands.<br /> Of these, eight were for overdue accounts.<br /> Four of this number have been settled and<br /> the accounts delivered to the authors. Of<br /> the remaining four, one is a Canadian ease,<br /> one against a publisher notoriously unbusiness-<br /> like in delivery of these statements, in the<br /> third delivery has been promised, and the last<br /> will also, it is hoped, be settled without<br /> difficulty. There have been three claims for<br /> money. In one of these—against a magazine<br /> —the editor has promised to forward a cheque<br /> in advance of publication; the second is in<br /> the United States and sufficient time has not<br /> yet elapsed for an answer to the secretary’s<br /> letter, while the last has only just come into<br /> the office.<br /> <br /> Four claims have been put forward for MSS.<br /> retained by editors and others. In one ease<br /> the MS. has been returned. In the second<br /> some of the MSS. have been returned. In the<br /> third it has not been possible, so far, to get.<br /> a response to the secretary’s letters, but the<br /> matter is still proceeding. In the fourth it has<br /> been impossible to locate the defendant,<br /> although there is some hope of finding him<br /> eventually.<br /> <br /> There have been two cases in which the<br /> authors demanded fuller particulars of accounts<br /> rendered. In one case the information has<br /> been given and the author is satisfied with<br /> the explanation. In the other the publisher<br /> has, so far, failed to respond and the matter is<br /> being pressed.<br /> <br /> Disputes on agreements account for three<br /> cases. In the first the dispute was settled by<br /> the author making part payment of the sum<br /> claimed. This payment was made, not because<br /> of any legal liability attaching to the author,<br /> but because the author wished to meet the<br /> other side. In the second an offer has been<br /> made to the publisher, but at the time of<br /> going to press the time fixed for acceptance<br /> had not expired. The matter will be dealt<br /> with further next month. In the third the<br /> defendants gave way and adopted the view<br /> of the contract put forward by the secretary<br /> on behalf of the member.<br /> <br /> There were two cases relating to copyright.<br /> In one an American magazine had made use<br /> of a member’s work, altered it, and re-published<br /> it contrary to the arrangement with the author,<br /> The secretary has written to the magazine, but<br /> sufficient time has not yet elapsed’ for the<br /> answer to come through. The second : case<br /> relates to a threat by a foreign author to make<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> So far,<br /> <br /> no actual infringement has occurred, and the<br /> secretary has written to the solicitor of the<br /> foreign author warning him that the action<br /> contemplated by his client will amount to an<br /> infringement of the member’s rights.<br /> <br /> There is one claim open from the former<br /> month. This relates to a claim for money<br /> <br /> against a magazine.<br /> <br /> The editor has admitted<br /> <br /> liability, but has delayed fulfilling his promise<br /> <br /> to make the necessary payment.<br /> <br /> It is hoped<br /> <br /> to report, next month, that the money has<br /> <br /> been paid.<br /> <br /> ———+—__<br /> <br /> October Elections.<br /> <br /> Baker, Ernest A., M.A.,<br /> D.Litt.<br /> <br /> Bennett, T. Armitage<br /> (“ T. Armitage ’’).<br /> <br /> “* Blakeney Cley’’.<br /> Buchanan, Miss Meriel<br /> <br /> Byars, Gilbert . .<br /> <br /> Carr, Sydney Herbert .<br /> <br /> ~~ Carroll, Sydney Went-<br /> <br /> worth.<br /> ‘Chute, Miss Margaret .<br /> <br /> Coulter, The<br /> Frederic W.<br /> de Castro, J. Paul<br /> <br /> Rev.<br /> <br /> Douglas, Mrs.<br /> Drummond, Miss Flo-<br /> rence.<br /> <br /> - Elgar, Sir Edward, O.M.<br /> Frankish, Harold<br /> <br /> , Gardiner, H. Balfour .<br /> Gregory, Mrs. Octavia .<br /> ‘Greves,<br /> <br /> Hyla.<br /> Guise, Major Henry<br /> <br /> Miss Barbara<br /> <br /> 3, H. R., MA.<br /> F.S.A,.<br /> <br /> <br /> <br /> St. James’s Lodge,<br /> Kidbrook Park<br /> Road, S.E.<br /> <br /> Church House, Wal-<br /> singham, Norfolk.<br /> <br /> British Embassy,<br /> St. Petersburg,<br /> Russia.<br /> <br /> C/o. Messrs. Rey-<br /> nolds &amp; Co., 13,<br /> Berners Street, W.<br /> <br /> Linden Lodge, Teign-<br /> mouth, S. Devon.<br /> <br /> 22, Dorset Square,<br /> N.W.<br /> <br /> 173, Lisburn Lane,<br /> Liverpool, E.<br /> <br /> 1, Essex Court,<br /> Temple, E.C.<br /> <br /> 6, Spencer<br /> Wimbledon.<br /> <br /> 4, Learmouth Ter-<br /> race, Edinburgh.<br /> <br /> Severn House,<br /> Hampstead, N.W.<br /> <br /> The Laurels, Aikley,<br /> Barnet, Hertford-<br /> shire.<br /> 7, Pembroke Villas,<br /> Kensington, W.<br /> Melville, Parkstone,<br /> Dorset.<br /> <br /> Rodney House,<br /> Bournemouth.<br /> <br /> Royal Societies’<br /> Club, St. James’<br /> Street, S.W.<br /> <br /> 22, King Henry’s<br /> Road, N.W.<br /> <br /> Hill,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> use of the work of an English writer.<br /> <br /> Hardinge, Henry<br /> Charles Maurice.<br /> Harris, Miss Vera A.<br /> <br /> Hodgkinson, Ivan T. .<br /> Hodson, Henry Edward<br /> <br /> “Jan Paulus” .<br /> Jones, Daniel, M.A.<br /> <br /> Leonard, Miss Emma<br /> <br /> Hill.<br /> Little, Philip Francis .<br /> Liversedge, Alfred John<br /> <br /> Lofting, Miss Kitty<br /> MacGill, Patrick .<br /> <br /> _. Malloch, George Reston<br /> <br /> Mason, Stuart<br /> <br /> Maude, G. H. ; 5<br /> <br /> Milburn, Mrs. G. Hart-<br /> ley.<br /> <br /> Muspratt, Horace<br /> <br /> Nepean, Mrs. A. Evan .<br /> Pearce, John<br /> <br /> Phillips, Mrs. Alfred<br /> (“ Blanch Eryl’’).<br /> Pinder, Miss Eva<br /> <br /> Price, Julius M. . :<br /> <br /> Pugh, Capt. George<br /> Farrer.<br /> <br /> Rees, Rosemary .<br /> <br /> Robertson-Scott, Mrs.<br /> (“* Elspet Keith ’’).<br /> <br /> Rombach, John George<br /> Rumbold, Hugo .<br /> Sellon, The Rev. M. St.<br /> <br /> Juste.<br /> <br /> Seton, Walter Warren .<br /> <br /> _Shaw, Martin<br /> <br /> 41<br /> <br /> 184, Ebury Street,<br /> S.W.<br /> <br /> 6, Oaklands Road,<br /> Bedford.<br /> <br /> Kingston,<br /> Somerset.<br /> <br /> The Moors, Church-<br /> down, Cheltenham.<br /> <br /> Wells,<br /> <br /> University<br /> <br /> W.C.<br /> <br /> College,<br /> <br /> 85, Eccles<br /> Dublin.<br /> 63, Northampton<br /> Road, Croydon.<br /> <br /> Street,<br /> <br /> The Cloisters, Wind-<br /> sor Castle.<br /> <br /> The White Cottage,<br /> Chingford, Essex.<br /> <br /> 6, Molyneux House,<br /> Molyneux Street,<br /> W.<br /> <br /> Broom Hall, Horsell,<br /> Surrey.<br /> <br /> 15, Alexandra Drive,<br /> Sefton Park, Liver-<br /> pool.<br /> <br /> Berners, St. Albans.<br /> 57, Carlton Mansions<br /> Maida Vale, W.<br /> Lyceum Club, 128,<br /> <br /> Piccadilly, W.<br /> <br /> C/o. H. G. Hale, Esq.<br /> 144, Cromwell<br /> Road, S.W.<br /> <br /> 22,Golden Square, W.<br /> <br /> 20, Monmouth Road,<br /> East Ham.<br /> <br /> 19, The Mansions,<br /> Hillfield Road,<br /> West Hampstead,<br /> London.<br /> <br /> 68, Fonthill Road,<br /> Aberdeen.<br /> <br /> Bachelors’<br /> S.W.<br /> <br /> North Finchley, N.<br /> <br /> Club,<br /> <br /> University College<br /> Hall, Ealing, W.<br /> 72, Haverstock Hill,<br /> <br /> N.W.<br /> 42<br /> <br /> N.<br /> <br /> Sidgwick, Blanche<br /> <br /> Simpson, James Young,<br /> <br /> D.Sce., F.R.S.E.<br /> <br /> Singer, Ignatius .<br /> <br /> Spencer, The<br /> Frederick, A. M.<br /> Spiers, K. C.<br /> <br /> ®<br /> <br /> Shearman, The Rev. J.<br /> <br /> Rev.<br /> <br /> Staley, Alfred Emlyn<br /> <br /> Standen, Bertha P.<br /> <br /> Stevens, Percy .<br /> <br /> Terry, J. E. Harold<br /> <br /> Thompson , Harold<br /> Stuart.<br /> Tillard, Miss Irene<br /> <br /> Venton, Horace William<br /> <br /> , Walpole, Hugh Seymour<br /> <br /> Walsh, Miss<br /> Donegan.<br /> <br /> Whitelaw, David<br /> <br /> Wile, Frederic William<br /> <br /> Wilkinson, The Hon.<br /> Mrs.<br /> <br /> Wilson, C. Carus<br /> <br /> Wood, Mrs. Fanny<br /> Morris.<br /> <br /> Wyndham, Percy<br /> Wynne, Harry .<br /> <br /> Yetts, W. Percival<br /> <br /> Marie<br /> <br /> fe<br /> <br /> THE AUTHOR.<br /> <br /> Shankill Rectory,<br /> Ballygomartin<br /> Road, Belfast.<br /> <br /> 25, Collingham Road,<br /> S.W.<br /> <br /> 25, Chester Street,<br /> Edinburgh.<br /> <br /> 3, Parkfield Road,<br /> Bradford.<br /> <br /> Brasenose College,<br /> Oxford.<br /> <br /> Newlyn, Romsey,<br /> Hants.<br /> <br /> Highfield, Bishop’s<br /> Taunton, Barn-<br /> staple.<br /> <br /> Savage Club, Adel-<br /> phi, W.C.<br /> <br /> 69, Norton Road,<br /> Letchworth.<br /> <br /> 115, Albert Palace<br /> Mansions, Batter-<br /> sea Park, S.W.<br /> <br /> « Elia,’ Lansdowne<br /> <br /> Road, Hands-<br /> worth, Birming-<br /> ham.<br /> <br /> 16, Hallam Street,<br /> Portland Place,<br /> W.<br /> <br /> C/o. Messrs. Sebasti<br /> and Reali, 20,<br /> Piazza di Spagna,<br /> Rome.<br /> <br /> The Cliff, Brighton.<br /> <br /> Helmstedterstrasse<br /> 6, Wilmersdorff,<br /> Berlin.<br /> <br /> Dringhouses Manor,<br /> York.<br /> <br /> 54, Worcester Street,<br /> Wolverhampton.<br /> 13, Wharncliffe<br /> Road, Sheffield.<br /> Clouds, Hast Knoyle<br /> <br /> Salisbury.<br /> <br /> Beaconsfield Road,<br /> Weston-super-<br /> Mare.<br /> <br /> Junior United Ser-<br /> vice Club, S.W.<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —_+—+<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have,<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> ART.<br /> <br /> Tue ART oF SILHOUETTE. By Desmonp Coxe. 9 x 5}.<br /> 231 pp. Martin Secker. 10s. 6d. n.<br /> <br /> “Tue ANGELS APPEARING TO THE SHEPHERDS.” By<br /> Veasquez. A Critical Study. By M. H. Spre:many.<br /> 10} x 73. 34 pp. The Medici Society. 2s. 6d. n.<br /> <br /> Tur Watuace Coutection. By J. Rutrer. 6} x 44.<br /> 166 pp. (National Treasures.) 2s. n.<br /> <br /> Oxtp Eneuise Furniturn. By F. Fenn and B. WYLLIE.<br /> 91 pp. xciv. plates. Batsford’s Collectors’ Library.<br /> 9 x 52. 6s. n.<br /> <br /> BIOGRAPHY.<br /> <br /> Mrs. Jorpan, Cuitp or Naturs. By Purp W. Szr-<br /> qaeant, B.A. With photogravure plate and 20 other<br /> illustrations. Hutchinson &amp; Co. 16s. n.<br /> <br /> Mary QurEn or Scots. By WatteR Woop. Illustrated<br /> in Colour by Sir Jamus Linton, R.I.,and JAMES ORROCH.<br /> R.I. Edited by W.Saaw Sparrow. 8} x 6. 151 pp.<br /> Hodder and Stoughton. 6s. n.<br /> <br /> Rusxiy. A Study in Personality. By A. C. Buyson,<br /> 7k . 5. 264 pp. (Cheaper Re-issue.) Smith Elder.<br /> 3s. 6d. n.<br /> <br /> Tur RoMANCE oF AN ExpreRLy Port. A Hitherto Un-<br /> known Chapter in the Life of George Crabbe, revealed<br /> by His Ten Years’ Correspondence with Elizabeth<br /> Charter, 1815—1825. By A. M. Broapiny and W.<br /> JERROLD. 9 xX 53. 309pp. Stanley Paul. 10s. 6d.n.<br /> <br /> A VagaBonp Courtirer. From the Memoirs and Letters<br /> of Baron Charles Louis von Pollnitz. By Eprrn E.<br /> CuTHEtt. 2 Vols. 9 Xx 53. 688 pp. : Stanley Paul.<br /> 24s. n.<br /> <br /> Spnenpip Farurns. By Harry Grawam. 9 X 53.<br /> 268 pp. Arnold. 10s. 6d. n.<br /> <br /> Tue Court oF CHRISTINA OF SWEDEN AND THE LATER<br /> ADVENTURES OF THE QUEENIN Exite. By F. 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Brarpstzy, 7} X<br /> 54. 186 pp. Melrose. 6s. n.<br /> <br /> Tur New Testament 1n MopERNn Spercu. By the late<br /> Ricuarp Francis WrymourH. Edited and Partly<br /> Revised by E. Hampprn-Coox. (Pocket Edition.)<br /> 5% X 3%. 638 pp. Clarke. ls. 9d. n.<br /> <br /> Tur Brste anp Moprrn Criticism. By Sir Ropert<br /> Anperson, K.C.B., LL.D. With a Preface by the<br /> Ricat Rev. Hanptey C. G. Moutz, D.D. (Seventh<br /> Edition.) 84 x 54. 281 pp. Nisbet. 2s. 6d.<br /> <br /> Human Destiny. Arrer Drarp—Wuat? By Sir<br /> Rozpert Anprrson, K.C.B., LL.D. (Seventh Edition.)<br /> 1% x 54. 226 pp. Nisbet. 2s. 6d.<br /> <br /> PaRADOXES OF CaTHOoLIcIsM. By Rosert HucH BEnson.<br /> 8 x 54. 174 pp. Longmans. 3s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> RAMBLES IN THE Nortu Yorxsuire Dates. By J. EF.<br /> Bucxrosr. 73x 5. 192pp. Millsand Boon. 3s. éd.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 45<br /> <br /> Tue Pitcrim From Cuicaco. Being more rambles with<br /> an American. By Curistian THAaRLE. 9} xX 653.<br /> 349 pp. Longmans. 7s. 6d. n.<br /> <br /> THE Romance or THE CAMBRIDGE COLLEGES. By<br /> Francis GRIBBLE. 7} X 5. 268 pp. Mills and Boon.<br /> <br /> 6s.<br /> TRAVEL.<br /> <br /> AMERICA AS I saw IT, oR AMERICA REVisITED. By Mrs.<br /> <br /> pg TweEepiz. 82 x 654. 395 pp. Hutchinson.<br /> s. 0.<br /> <br /> UmpriA, Past AND PRESENT. By Mary Lovett CAMERON<br /> 7% x 5. 324 pp. Sidgwick and Jackson. 6s. n.<br /> <br /> THE CITIES OF RoMAGNA AND THE Marcues. By Epwarp<br /> Hutton. 7} x 5. 309 pp. Methuen. 6s.<br /> <br /> Tue DotomitEs: Kina LAvRIN’s GARDEN. Painted by<br /> E. Harrison Compton. Described by REGINALD<br /> FaRRER. 9 X 64. 207pp. A.andC. Black. 7s. 6d.n.<br /> <br /> ee<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> ba<br /> <br /> N October 3 there was published by<br /> () Messrs. Macmillan &amp; Co. a practically<br /> complete collection of the poems and<br /> chapter-headings in verse scattered throughout<br /> Mr. Rudyard Kipling’s prose works. The<br /> volume is entitled ‘“‘ Songs from Books.”’<br /> <br /> Mr. Thomas Hardy’s new volume of prose<br /> fiction, *“* A Changed Man, The Waiting Supper,<br /> and other Tales, concluding with The Romantic<br /> Adventures of a Milkmaid,” appeared on<br /> October 24, the publishers being Messrs.<br /> Macmillan.<br /> <br /> H.M. the King has been pleased to accept a<br /> copy of ‘‘ On the Track of the Abor,” by Major<br /> Mark Synge (Powell Millington).<br /> <br /> A copy of Sir James Yoxall’s “‘ A.B.C. about<br /> Collecting,’ the predecessor of the volume,<br /> ‘* More about Collecting,” mentioned in these<br /> Notes last month, has been graciously accepted<br /> by H.M. the Queen. The publishers are<br /> Messrs. Stanley Paul &amp; Co.<br /> <br /> ‘“* Turkey in Agony,” translated by Bedwin<br /> Sands (Mr. George Raffalovich) from the 37th<br /> edition of M. Pierre Loti’s ‘‘ Turquie Agoni-<br /> sante,’’ has been published for the Ottoman<br /> Committee by the African Times and Orient<br /> Review, Ltd.<br /> <br /> Mr. Alfred Perceval Graves has brought out<br /> a volume called ‘‘ Irish Literary and Musical<br /> Studies ”’ (Elkin Mathews, 6s. net).<br /> <br /> The Gresham Publishing Co. announce<br /> ‘* Leaders and Landmarks in European His-<br /> tory,’? by Mr. A. R. Hope Moncrieff and the<br /> Rev. H. J. Chaytor. This work presents a<br /> gallery of biographical sketches illustrating<br /> the course of European history by the lives<br /> of men and women who have made that<br /> history what it is.<br /> <br /> <br /> 46<br /> <br /> Captain Harry Graham’s “ Splendid Fail-<br /> ures,” a volume of biographical essays which<br /> Mr. Edward Arnold is issuing, takes for its<br /> subjects people well known by name, though<br /> few are acquainted with their personal his-<br /> tories. Among them will be found Wolfe<br /> Tone, “the first of the Fenians”; George<br /> Smythe, whom Disraeli took as his model for<br /> the hero of ‘‘ Coningsby ” ; Hartley Coleridge ;<br /> and the ill-fated Archduke Maximilian.<br /> <br /> Mr. Philip W. Sergeant’s * Mrs. Jordan,<br /> Child of Nature”? (Hutchinson &amp; Co., 16s.<br /> net), was published on October 29.<br /> <br /> Miss Alice E. Robbins’ “‘ Book of Duchesses”<br /> has been published by Andrew Melrose.<br /> <br /> Messrs. J. J. Bennett, Ltd., are the publishers<br /> of Mr. Charles F. Moxon’s ‘‘ On the Track of<br /> Truth,” a book of essays dealing with person-<br /> ality, heredity, free-will, and kindred topics.<br /> The price is 6s. net.<br /> <br /> Miss Myra Swan had in the October number<br /> of the Empire Review an article in eulogy of<br /> Shakespeare, the title being ‘‘ England’s<br /> Birthday.”<br /> <br /> Mr. M. D. Haviland’s ‘‘ Wild Life on the<br /> Wing,” with illustrations by Mr. Patten<br /> Wilson, is announced for early publication by<br /> Messrs. Black. These stories of bird-life by<br /> field, wood, and moor, by a close observer,<br /> are intended for all nature-lovers.<br /> <br /> Under the title of ‘“‘ America as I saw It:<br /> or America Revisited,’’ Messrs. Hutchinson<br /> have brought out in this country Mrs. Alec<br /> Tweedie’s impressions of her third visit to the<br /> United States, with a coloured frontispiece<br /> by Mr. Perey Anderson, and some cartoons<br /> by Mr. W. K. Haselden. The Macmillan Co.<br /> are the New York publishers of the work.<br /> ‘“‘ Busy Days ” is the name of a birthday-book<br /> containing quotations from Mrs. Tweedie’s<br /> fourteen volumes, issued by Messrs. Routledge<br /> at 1s., or, bound in grey suéde as a Christmas<br /> gift-book, 3s. Mrs. Alec Tweedie also con-<br /> tributes a preface to Mrs. Beattie Crozier’s<br /> “‘ Children’s Games and Parties,’’ a collection<br /> of forty-eight articles on entertaining children,<br /> illustrated with over 100 photographs by the<br /> author (Routledge, 3s. 6d.).<br /> <br /> “‘ Social Worship—for use in Families,<br /> Schools, and Churches,” is the title of two<br /> quarto volumes (about 1,000 pages), which<br /> will be published this month by George Allen.<br /> They contain Ethical Scriptures compiled and<br /> edited by Dr. Stanton Coit ; while the musical<br /> editor is Mr. C. Kennedy Scott. The selections<br /> have been made from the point of view that<br /> ‘true religion is history and law transfigured<br /> by moral idealism or, rather, it is moral<br /> <br /> THE AUTHOR.<br /> <br /> idealism made real and potent by an infusion<br /> of the nation-building powers of the universe.”<br /> The price is £2 2s. net.<br /> <br /> We are informed that 300 copies of “‘ Russian<br /> Flashlights,’ by Mr. Jaakoff Prelooker (Chap-<br /> man and Hall, 10s. 6d. net), have been placed<br /> at the disposal of public libraries in the<br /> poorer districts of the United Kingdom by an<br /> anonymous “friend of public instruction.”<br /> Libraries desiring free copies should, when<br /> applying to the Spriggs Publishing Agency,<br /> indicate their annual income and enclose 5d.<br /> in stamps for postage.<br /> <br /> Mr. E. S. Bellasis, M.I.C.E., has published<br /> during the year, through Messrs. E. and F. N.<br /> Spon, ‘‘ River and Canal Engineering ” and<br /> “Irrigation Works,” the prices being 8s. 6d.<br /> and 8s., net, respectively.<br /> <br /> Mr. Rowland Kenney’s ‘‘ Men and Rails,”<br /> dealing specially with the railway problem in<br /> relation to the workers, is issued by Mr. T.<br /> Fisher Unwin at 6s. net.<br /> <br /> Mr. George Ford, author of ‘‘ The Larramys,””<br /> has brought out a new novel, “ The Hoop of<br /> Gold,” published by Messrs Allen &amp; Co.<br /> <br /> Captain Charles Gilson has contributed<br /> throughout the past year to Blackwood’s, the<br /> Dublin Review, and other magazines. Messrs.<br /> William Blackwood &amp; Sons, of Edinburgh, have<br /> published his “Scenes from a Subaltern’s<br /> Life,” a selection of sketches of very varied<br /> interest. Captain Gilson still continues to<br /> produce a number of stories for boys. Messrs.<br /> Nisbet have just published ‘‘ The Sword of<br /> Deliverance,” a tale of the Balkan War,<br /> illustrated with drawings and photographs by<br /> Mr. H. C. Seppings Wright, the war corre-<br /> spondent (6s.) ; and Messrs. Henry Frowde and<br /> Hodder and Stoughton, ‘‘ The Race Round the<br /> World,” an aeroplane story for younger boys,<br /> <br /> illustrated by Mr. Cyrus Cuneo (3s. 6d.).<br /> <br /> Captain Gilson has also a serial running in<br /> The Captain, entitled ‘‘ The Fire-Gods ”’—a<br /> tale of the West Coast of Africa.<br /> <br /> Miss Grace Ellison translates and edits a<br /> story by Melek Hanoum, heroine of Pierre<br /> Loti’s “‘ Désenchantées,”’ lifting the veil from<br /> harem life in Constantinople under the old<br /> régime (Methuen &amp; Co.)<br /> <br /> Messrs. John Long, Ltd., will shortly publish<br /> a new novel entitled, ‘‘ The Eurasian,” by<br /> Mr. Henry Bruce, author of “ The Native<br /> Wife,” ete. This is a study of the unhappy<br /> sub-race which has resulted from our two<br /> centuries’ possession of India.<br /> <br /> Mr. Archibald B. Spens is engaged on a<br /> novel of Indian life, a further outcome. of the<br /> <br /> trip to the Peninsula already described in<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> £ “Mr. Spens’ “A Winter in India” (Stanley<br /> f Paul &amp; Co.)<br /> <br /> Among the novels announced by Messrs.<br /> Herbert Jenkins are “‘ Sheila Intervenes,” by<br /> Mr. Stephen McKenna ; and “ The Bewildered<br /> Benedict : the Story of a Superfluous Uncle,”<br /> | by Mr. Edward Burke.<br /> <br /> Mr. John Bloundelle Burton’s new romance,<br /> * * Fortune’s Frown,” is concerned largely with<br /> &#039; the Spanish Fury in Antwerp and the continued<br /> © oppression of the Netherlands for some time<br /> . after that terrible event. But for the book-<br /> ¢.. binders’ strike this novel would have appeared<br /> before now.<br /> The title of Miss Editha L. Blaikley’s novel<br /> ‘of mentioned in last month’s issue should have<br /> -od been ‘‘ Dorothy Gayle.”<br /> Mr. A. R. Hope’s new book for prizes, school<br /> - tf libraries, etc., is “‘ Half and Half Tragedy ”’<br /> ) (A. &amp;. C. Black, 5s.)<br /> [ Messrs. C. Arthur Pearson, Ltd., publish<br /> = at 2s. 6d. Mr. Christopher Beck’s ‘‘ The<br /> : ) ‘Crimson Aeroplane.”<br /> } Owing to the sustained demand for ‘“‘ The<br /> Twins in Ceylon ’’ and “* More about the Twins<br /> in Ceylon,” by Bella Sidney-Woolf (Mrs. R.<br /> H. Lock), Messrs Duckworth &amp; Co. have<br /> «i brought out a combined edition of the two<br /> -o! books in one volume at 3s. 6d. The books<br /> of have been placed upon the prize-list of the<br /> sf London County Council.<br /> Mr: Charles T. Jacobi, managing partner of<br /> 4% the Chiswick Press, has issued a fourth edition<br /> <br /> ‘9. of ‘*Some Notes on Books and Printing”<br /> <br /> )} (6s. net.). A sixteen-page pamphlet, extracted<br /> .if from this, instructs authors how to correct<br /> = aproof. Copies of this are lying at the Society’s<br /> 4 office and may be obtained by members on<br /> 8 application.<br /> <br /> 1 4 We understand that Messrs.. W. and G.<br /> | Foyle have opened a Foreign Book Department<br /> « at 5, Manette Street, next to their headquarters<br /> &#039; in Charing Cross Road. In this new depart-<br /> &#039; ment they propose to furnish their customers<br /> * with books in every language on every<br /> <br /> * conceivable subject. The books will be ar-<br /> “| ranged in strictly classified order. Messrs.<br /> _ Foyle inform us that they have the largest<br /> <br /> @ stock of second-hand foreign books in this<br /> °°9 country, and they invite readers of The Author<br /> to inspect this collection.<br /> <br /> The Daily Express announces that it has<br /> * arranged with Messrs. Stanley Paul that they<br /> % shall acquire the book rights of the story<br /> which wins the prize in the Express serial<br /> competition, provided that it is the work of<br /> _ an author who has never had a story published<br /> ) 1£ in book form before. Stories by new authors<br /> <br /> <br /> <br /> <br /> <br /> 47<br /> <br /> must therefore be submitted on the distinct<br /> understanding that the work considered by<br /> the judges to be the best will be bought as to<br /> the serial rights by the Express for £200, and<br /> as to the book rights by Messrs. Stanley Paul<br /> for £100.<br /> <br /> Mr. Ernest Whatson sends us a copy of his<br /> novel, ‘‘ Pauline,’”’ of which he personally has<br /> undertaken the whole burden of publication,<br /> in the belief that “the six-shilling novel is<br /> out of date,” that ‘the libraries merely buy<br /> just sufficient copies to spoil the sales amongst<br /> the general public,” and that ‘the royalties<br /> offered to the author are, as a rule, absurdly<br /> disproportionate to the time and toil which he<br /> must spend on his work.’’ He is selling<br /> ** Pauline ’’ at 1s., in paper covers, and proposes<br /> to issue others of his novels in the same way.<br /> ** We hope,”’ he says, ‘‘ to be able to produce a<br /> readable book at a popular price, which will<br /> tempt the public to buy instead of borrowing,<br /> which will at the same time allow a reasonable<br /> margin of profit to the writer and retailer.”<br /> We shall be interested to hear the financial<br /> result of Mr. Whatson’s venture.<br /> <br /> DRAMATIC.<br /> <br /> At the Ambassador’s Theatre on October<br /> 17, Madame Lydia Yavorika presented a new<br /> four-act play by the late Pierre Berton, “A<br /> Daughter of France.”? Miss Constance Maud<br /> was the author of the English version of<br /> this.<br /> <br /> At the Court Theatre on October 20,<br /> Miss Horniman put on for a short run<br /> Mr. Eden Phillpotts’ ‘‘ The Shadow,’’ which<br /> was previously seen at the Gaiety Theatre,<br /> Manchester. Another play by Mr. Phillpotts,<br /> “The Mother,” was seen at the Liverpool<br /> Repertory Theatre on October 22.<br /> <br /> Mr. G. K. Chesterton’s fantastic comedy,<br /> “Magic,” will be produced at the Little<br /> Theatre.<br /> <br /> During the Christmas holidays The<br /> Children Theatre will produce three plays<br /> by Miss Netta Syrett, entitled ‘The<br /> Fairy Doll,” ‘The Strange Boy,” and<br /> ‘*The Enchanted Garden,” and one by<br /> Mrs. Percy Dearmer, entitled “‘ Kit and the<br /> Cockyolly Bird.”<br /> <br /> “The Sea Power of England” is the<br /> name of a play for a village audience, by<br /> Amabel Strachey. The play has been pub-<br /> lished in book form by A. C. Curtis, Ltd.,<br /> and Humphrey Milford, Oxford University<br /> Press, Mrs. St. Loe Strachey contributing an<br /> introduction.<br /> 48 THE AUTHOR.<br /> <br /> PARIS NOTES.<br /> <br /> —oaee —<br /> <br /> a ES CHOSES NOIENT,” by Edouard<br /> Estaunié, is one of the most original<br /> novels. The author tells us a-story<br /> <br /> which, in itself, is an admirable psychological<br /> study. Each individual lives and has a<br /> strongly defined personality. The house in<br /> which the various scenes take place is in Dijon,<br /> and the atmosphere of the provincial town<br /> pervades the whole story. The author has<br /> heard everything he tells us from the house<br /> itself. The furniture and the very walls have<br /> witnessed all that has taken place, so that,<br /> with an artist’s intuition, the writer has only<br /> had to tell us what he has gathered from the<br /> apparently silent habitation. Some years ago<br /> this author gave us ‘“ La Vie Secréte,’’ and he<br /> was awarded an Academy prize for his earlier<br /> novel, “‘ L’Empreinte.”<br /> <br /> “Le Chemin de la Victoire,” by Emile Nolly,<br /> might be called a colonial novel. A former<br /> book by this author won an Academy prize,<br /> and the prize given by La Vie Heureuse this<br /> year has been awarded to Emile Nolly for his<br /> admirable book, ‘“‘ Gens de Guerre au Maroc.”<br /> The present novel is dedicated to the author&#039;s<br /> comrades, ‘‘ The officers of the French Colonial<br /> Army.” The story is more or less the diary<br /> (not written as a diary) of a certain officer who<br /> takes part in active service in the French<br /> colonies. It is a story very true to life, told<br /> simply, showing both the prosaic and poetical<br /> side of a soldier’s existence.<br /> <br /> “‘ Billes Nobles et Magiciennes,”” by Humbert<br /> de Gallier, is the third volume of the curious<br /> series entitled ‘‘ Les Moeurs et la Vie privée<br /> d’Autrefois.”” From this study of the women<br /> of the old aristocracy, we understand how it<br /> comes about that modern Frenchwomen, as a<br /> rule, are such excellent housekeepers and<br /> hostesses. Going back to the sixteenth cen-<br /> tury, the author introduces us to the convents<br /> in which so many women of good society lived.<br /> In many of these convents, or cloisters, it was<br /> not necessary to take religious vows. Many<br /> women and girls of good family lived there for<br /> a certain time, paying a certain sum of money<br /> annually, just as in our modern boarding-<br /> houses. The girls were trained for their<br /> future réle in the world, and no details of<br /> household management were considered un-<br /> important. We see the daughters of the oldest<br /> families in France keeping the accounts,<br /> attending to the house linen, the sweeping of<br /> the rooms, the trimming of the lamps, etc.<br /> They were also expected to be efficient in the<br /> <br /> sick-room and in the drawing-room. In another<br /> chapter, speaking of the Frenchwoman of<br /> to-day, M. de Gallier says that the future alone<br /> can decide whether the woman of to-day (with<br /> her appeals to the law for a certain authority<br /> which she evidently fears she ean no longer<br /> obtain by means of her husband’s affection and<br /> the respect of her children)is in a better position<br /> than her grandmother, who knew how to obtain,<br /> thanks to her own hands, and without any<br /> uproar, the place that was her due.<br /> <br /> ‘““Marie Antoinette, Fersen and Barnave<br /> (Leur Correspondance), published by O. G. de<br /> Heidenstam, is a delightful addition to the<br /> Marie Antoinette litérature. In the old castle<br /> of Léfstad (belonging at present to the Countess<br /> Emilie Piper, a descendant of Fersen’s sister)<br /> are two packets of letters. The one contains<br /> <br /> be)<br /> <br /> those written by Fersen to his sister, acknow- ’ -<br /> <br /> ledging to her his chivalrous love for the<br /> unfortunate queen. The other packet con-<br /> tains the political correspondence between<br /> Marie Antoinette and Barnave. Thanks to<br /> the permission of the present owner of these<br /> letters, M. de Heidenstam has been able to give<br /> us a volume of immense interest.<br /> <br /> The great event in the theatrical world has<br /> been the resignation of the Director of the<br /> Comédie Francaise, Jules Claretie, after so<br /> many years of arduous work. M. Claretie is<br /> well known to the English public as an author,<br /> and, on looking at the long list of his novels<br /> and other books, one wonders how he could<br /> have found time for the absorbing task of<br /> administrating the affairs of a State theatre.<br /> <br /> Mr. Albert Carré succeeds M. Claretie as<br /> director of the ThéAtre Francais. M. Carré<br /> began his career as theatrical manager at<br /> Nancy. In 1885 he came to Paris as manager<br /> of the Vaudeville. His next theatre was the<br /> Gymnase, and in 1898 he was appointed<br /> director of the Opéra Comique.<br /> <br /> Another event in the theatrical world this<br /> season was the inauguration of the marvellous<br /> ceiling painting at the Comédie Frangaise, on<br /> which Albert Besnard has been at work for<br /> some eight or nine years. It is indeed a<br /> wonderful piece of work, with all the boldness<br /> and delicacy and the exquisite harmony of<br /> colouring of which Albert Besnard alone has<br /> the secret.<br /> <br /> Atys HAiarD.<br /> <br /> <br /> <br /> ‘Les Choses Noient.” (Perrin.)<br /> <br /> “ Wjlles Nobles et Magiciennes.”’ (Calmann-Lévy.)<br /> <br /> “Marie Antoinette, Fersen and Barnave (Leur Corres-<br /> pondance).” (Calmann-Lévy.)<br /> <br /> —_——_+ &lt;&gt;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> )@: agreement.<br /> <br /> |. pieces,<br /> <br /> <br /> <br /> UNITED STATES STOCK RIGHTS AND<br /> AGENTS.<br /> <br /> — +<br /> <br /> a HE Dramatic Sub-Committee again desire<br /> <br /> to eall the attention of members to the<br /> value of stock rights in the United States.<br /> { The number of towns in the United States<br /> 4) that have stock companies is very large as<br /> <br /> ‘6 anyone can see from the lists issued by the<br /> <br /> J United States dramatic agents. Favourite<br /> running generally for a week at a<br /> © time, are being revived again and again.<br /> <br /> To obtain the full advantage | from the<br /> + leasing of these stock rights it is almost<br /> » essential that an author should have an<br /> agent in the United States to guard his<br /> interests.<br /> <br /> This is the course adopted by most of the<br /> ‘} dramatists who have a market for their work<br /> ai in the United States. It is of the utmost im-<br /> “ portance, however, that authors should be<br /> <br /> » careful in their choice of agents. There are<br /> ag agents who think their sole duty lies in taking<br /> any fees that come their way, and in passing on<br /> ‘the accounts without ever checking them or<br /> &gt; seeing that they are in accord with the<br /> One agent who was held up for his<br /> <br /> =<br /> <br /> 1s carelessness stated that all he had to do was<br /> <br /> » to forward all the fees. This kind of agent is<br /> <br /> / &gt;. very unsatisfactory as he forces the author to<br /> <br /> <br /> <br /> Bok RY<br /> <br /> a, undertake work for which the agent receives<br /> <br /> ® commission; besides, it is often impossible for<br /> 4) the author to check the accounts as the agent<br /> “4 usually holds the agreement.<br /> Again, there are.agents who act as principals.<br /> f These are also very unsatisfactory. They<br /> may make an offer of a capital sum for the<br /> stock rights. They may do so stating openly<br /> _ that they are purchasing for themselves. They<br /> may do so without making such a statement,<br /> leaving the author to deduce that the offer<br /> has come from someone else.<br /> <br /> In either case the position is unsatisfactory<br /> as the agent is using his special knowledge for<br /> his own advantage, which should be wholly at<br /> ‘J the service of his principal.<br /> <br /> _ However upright or straightforward an<br /> 1% agent may desire to be, if he acts as principal<br /> if he always runs the risk of having the charge<br /> @ brought against him that his advice is not<br /> <br /> BR<br /> <br /> ies<br /> <br /> ial disinterested and that his statements are<br /> <br /> sh tainted.<br /> <br /> In no circumstances, therefore, should an<br /> ‘® author employ an agent who at any time acts<br /> ‘&amp; 2S principal or is interested as principal in<br /> ® others’ work.<br /> <br /> The committee of the Society consider it<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 49<br /> <br /> necessary to put forward this warning owing to<br /> certain information which has been laid before<br /> them, not only with regard to agents in the<br /> United States but also with regard to agents<br /> this side of the water.<br /> <br /> &lt;&gt; — ____.<br /> <br /> A PRIZE COMPETITION.<br /> <br /> <br /> <br /> All songs must be forwarded on or before November 15,<br /> addressed to the Editor of the Evening News, Carmelite<br /> Street, E.C., and marked outside, ‘‘ Song Competition.”<br /> <br /> Competitors must write pen-names only on _ their<br /> manuscript and enclose their own names and addresses,<br /> with the pen-names, in separate envelopes.<br /> <br /> A number of the best songs will be chosen by a com-<br /> mittee of well-known singers, who will act in conjunction<br /> with the Editor of the Evening News.<br /> <br /> These songs will be submitted to the vote of the audience<br /> at a great concert to be organised by the Evening News,<br /> and the decision then reached as to which is the best song<br /> in each class will be final.<br /> <br /> £100 will be the prize for the best song for male voices,<br /> and £100 for the best song for female voices.<br /> <br /> If collaborators have sent in a winning song, they must<br /> arrange between themselves as to the proportion of prize<br /> money each one takes. The Hvening News will not accept<br /> any responsibility as to the division of the money.<br /> <br /> The winning compositions will become the property of<br /> the Evening News, which is to make arrangements for their<br /> publication. Royalties at a rate to be agreed upon will be<br /> paid to the successful competitors on the sale of the songs.<br /> Where the song is by collaborators, they must arrange<br /> between themselves the proportion of the royalty proceeds<br /> each is to take.<br /> <br /> The Evening News is to have the right to publish any<br /> song sent in, upon the same royalty terms (and, of course,<br /> without any £100 prize) that are paid in the case of the<br /> prize songs.<br /> <br /> ROM time to time The Author has had<br /> <br /> 4 reason to draw the attention of members<br /> <br /> to the unsatisfactory and _ indefinite<br /> drafting of the terms set out by proprietors of<br /> papers “when they offer prizes for literary or<br /> other copyright work. The rules printed<br /> above comprise the rules as issued by the<br /> Evening News for a song competition.<br /> <br /> There are several points to which the atten-<br /> tion of our members should be drawn. It<br /> would be very interesting to know who are<br /> the committee of well-known singers about to<br /> act in conjunction with the editor of the<br /> Evening News. This is not a matter of vital<br /> importance, but such knowledge would no<br /> doubt inspire confidence in those who are<br /> <br /> sending up their works, although—the editor<br /> might consider this point—it is very doubtful<br /> if any self-respecting composer would care to<br /> submit his work to the judgment of a com-<br /> mittee of singers and the general public. It<br /> would also be interesting to know whether this<br /> <br /> <br />  <br /> <br /> 50<br /> <br /> <br /> <br /> competition emanates from some publishing<br /> house, or is merely a money-making suggestion<br /> arising from the proprietors of the Evening<br /> News. This point also is not a matter of vital<br /> importance, but again it would inspire con-<br /> fidence if it was distinctly understood that the<br /> offer came from the Evening News and that no<br /> music publisher was at the back of it. —<br /> <br /> There are, however, other points which are<br /> of very vital importance. Although the date<br /> is fixed when the compositions should be sent<br /> in to the Evening News, no date is fixed when<br /> the great concert is to be given ; no statement<br /> is made as to how the votes of the audience are<br /> to be taken, and no date is given when the<br /> prize money is to be paid. It is clear from the<br /> tules printed above that royalties are to be<br /> paid on the winning compositions in addition<br /> to the £100 which the winners receive, but the<br /> royalties are “at a rate to be agreed upon.”<br /> Does this mean agreed upon between the<br /> editor of the Evening News and the prize<br /> winners, or merely agreed upon by the editor<br /> of the Evening News? If the royalty “ to be<br /> agreed upon” is to be settled between the<br /> composer and the editor of the Evening News,<br /> this may give rise to great difficulty. If the<br /> parties cannot agree, what solution of the<br /> difficulty does the editor suggest ?. This point<br /> should have been clearly dealt with. It<br /> would have been much better if the editor had<br /> clearly stated what royalty he was willing to<br /> pay on the publication of the winning songs.<br /> Then each composer would have had a fair<br /> chance of judging whether it was worth his<br /> while to compete for the prize, receiving £100<br /> for the sale of the full copyright, and in addition<br /> a royalty on the sale of each copy of the songs.<br /> It would appear, however, that if the song was<br /> converted into a valse, or dealt with in any<br /> other fashion, no royalty would be payable.<br /> There is no undertaking that the songs will be<br /> published by a certain date, or that the com-<br /> posers’ names will be attached to the songs<br /> when they are put on the market. All these<br /> points should have been definitely and clearly<br /> set forth. It would then be a matter for the<br /> composer to decide whether it would be worth<br /> his while to compete on the chance of winning<br /> the prize,<br /> <br /> We desire to draw the special attention of<br /> members to the last paragraph. Though it<br /> might be worth while for a composer to com-<br /> pete and win the prize, he would have to<br /> consider very carefully whether it would be<br /> worth his while, in case he did not win<br /> the prize, to be bound by the last para-<br /> graph. Here again no statement is made as to<br /> <br /> THE AUTHOR.<br /> <br /> the date when the songs are to be published.<br /> No statement is made as to what royalty is to:<br /> be paid, except that it is to be the same<br /> royalty as is paid in the case of the prize songs.<br /> If the rate of royalty had been fixed by the<br /> rules, every competitor would know how he<br /> stood, but the rate of royalty which a composer<br /> who receives £100 down might be willing to<br /> accept may prove very inadequate and unfair<br /> to the other composers who have not got the<br /> prize.<br /> <br /> Again, though it is clear that “the pro-<br /> perty,” z.e., the whole copyright of the prize<br /> songs, belongs to the Evening News, it would.<br /> seem from the rules that ‘“‘ the property ” in<br /> the other songs would not belong to the<br /> Evening News, but the proprietors would<br /> merely have “ the right to publish the song,”<br /> and would have no further rights in the matter.<br /> If this deduction is not correct, then the pro-<br /> position as put forward seems open to doubt,<br /> and in that case the editor should have set<br /> forth the terms much more accurately for the<br /> benefit of those composers who are competing.<br /> <br /> We do not desire to discuss the amount that<br /> is given, for it must lie entirely with the com-<br /> poser to decide whether it is worth his while to-<br /> accept the financial side as it stands, but we do-<br /> desire to lay stress upon the point that in<br /> many ways the offer is too indefinite, and that<br /> it would be much better if the Evening News,<br /> before setting out the terms, had taken pains<br /> <br /> to see that no mistake or misunderstanding: .<br /> <br /> could possibly be made by those who are<br /> desiring to enter the competition.<br /> <br /> We feel quite sure that the proprietors of the<br /> Evening News desire to do everything that is.<br /> fair and right by the composers, but it is clear<br /> that, from the terms set out, misunderstand-<br /> ings and dissatisfaction may arise. This<br /> might easily have been avoided with a little<br /> care.<br /> <br /> Te<br /> <br /> LITERARY TREATY BETWEEN<br /> GERMANY AND RUSSIA.<br /> <br /> —-—&gt;———<br /> <br /> ERMANY has not long delayed following<br /> <br /> the example of France and arriving at<br /> <br /> a treaty with Russia for the reciprocal<br /> protection of copyright property in the two<br /> empires. The new treaty came into force on<br /> <br /> August 14 last, and has a duration of five<br /> years, after which it remains in force year by<br /> year for one year until it is denounced by one<br /> of the contracting parties.<br /> <br /> <br /> <br /> <br /> i<br /> it @<br /> <br /> THE AUTHOR.<br /> <br /> On the whole the terms of agreement<br /> <br /> «»- resemble those between Russia and France.<br /> <br /> <br /> <br /> <br /> <br /> Citizens of both countries now enjoy in both<br /> countries the rights accorded them by law;<br /> and the stipulations apply equally to authors<br /> of any nationality who publish in either<br /> country. The term ‘“‘literary or artistic<br /> works ”’ is interpreted in the wide sense given<br /> to it in modern copyright enactments, and<br /> embraces architectural, choreographic, panto-<br /> mimic works, etc., and every production of any<br /> <br /> literary, scientific, or artistic character whatso-<br /> <br /> ever, no matter what may be the form of<br /> reproduction, or the merits or demerits of the<br /> work. Photographs, or works produced by<br /> any process similar to photography, are<br /> included. Authors have an exclusive right of<br /> translation for ten years, on condition that<br /> this right is reserved on the title-leaf (on either<br /> side of the leaf), a particular to which the<br /> German publishers attach importance, or in<br /> the preface. This exclusive right of translation<br /> is, however, lost if the author does not make<br /> use of it within five years, and, in the case of<br /> translation of scientific, technical, or educa-<br /> tional works, within three years. In this last<br /> particular the Russians have been far from<br /> generous, and we gather from the columns of<br /> our valuable contemporary Le Droit d’ Auteur<br /> (September, 1913), to which we are indebted<br /> for our information, that it was not without<br /> a struggle that the German delegates secured<br /> even this very scanty protection. The Russian<br /> Government was indisposed to grant German<br /> Scientific, technical, and educational works<br /> any protection at all, desiring that they should<br /> remain entirely at the disposal of Russian<br /> translators. The right of translation of un-<br /> published works will be calculated from<br /> January 1 of the year of publication; and<br /> which day is January 1, will be determined in<br /> accordance with the calendar of the country<br /> in which the work is published.<br /> <br /> The following are explicitly enumerated as<br /> illicit reproductions—unauthorised transfor-<br /> mations, adaptions, and arrangements of<br /> music, transformations of novels or poems<br /> into dramatic pieces, and vice versa.<br /> <br /> Excepting serials and_ stories, articles<br /> appearing in journals are not protected, either<br /> in the original or in translations, unless their<br /> reproduction has been expressly forbidden.<br /> Mere news is not protected.<br /> <br /> Dramatic authors, whether their works are<br /> published or not, enjoy, in the original, pro-<br /> tection during the whole period of copyright ;<br /> in a translation, only during the period accorded<br /> to translation. Composers are protected if<br /> <br /> 51<br /> <br /> the inhibition of public performance of their<br /> works is mentioned on every copy. In the<br /> cases of discs, etc., for the mechanical perfor-<br /> mance of music, and in the case of photographs<br /> it is necessary that every copy should indicate<br /> the name of the firm or author and the date<br /> of publication. It suffices that the inhibi-<br /> tion of reproduction should be expressed<br /> in the language of the country of manu-<br /> facture. It will be here perceived that<br /> the protection accorded is thus not absolutely<br /> unconditional,<br /> <br /> The agreement is not retro-active, but<br /> applies to all the territories of the signa-<br /> tories.<br /> <br /> Le Droit d Auteur, at the conclusion of am<br /> exhaustive article on the new treaty remarks<br /> with great reason :—<br /> <br /> ““The new agreement is a document<br /> elaborated with methodical care and with a<br /> constant attention to defining and ameliorating<br /> international relations. In this respect it<br /> deserves not only the praises which have been<br /> bestowed upon it by German authorities and<br /> the German press (which anticipates as a<br /> consequence of the new treaty the suppression<br /> of many abuses and a future increase of<br /> intellectual exchange between the two nations),<br /> but has also a right to the approbation of the<br /> more extended group of countries either<br /> already bound up, or about to be bound up<br /> with Russia in the domain of reciprocal<br /> protection of writers and artists. Finally,<br /> it will be noted with satisfaction by the republic<br /> of letters which acclaims all drawing together<br /> of civilised nations on the pacific grounds of<br /> the defence of common interests of a higher<br /> order.”<br /> <br /> re<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> ao<br /> <br /> British REVIEW.<br /> The Poetry of Francis Thomson.<br /> <br /> CoNTEMPORARY.<br /> Shakespeare and Public Affairs. By Sir Sidney Lee.<br /> <br /> EneuisH REVIEW.<br /> The Poetry of Chaucer. By Henry Newbolt.<br /> <br /> FortNIGHTLY.<br /> The Plays of Granville Barker. By P. P. Howe.<br /> Emile Verhaeren. By Horace B. Samuel.<br /> Charlotte Bronté. By Augustus Ralli.<br /> Mussorgsky’s Operas. By E. A. Baughan.<br /> Drama for the Common Man. By W. L. George-<br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> oo<br /> <br /> t, VERY member has a right toask for and to receive<br /> K advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. | The<br /> Secretary of the Society is a solicitor ; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel 8<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination,<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of thesafe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members,<br /> <br /> This<br /> The<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society ; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s.<br /> <br /> er<br /> annum, or £10 10s. for life membership.<br /> <br /> et<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —1— +<br /> <br /> : ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to :*<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for ‘office expenses,&quot;<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement, It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth, From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :-—<br /> <br /> (1.) Be careful to obtain a fair cost of production,<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous te the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> C1.) That both sides shall know what an agreement<br /> means,<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> a eee ney ceniennenieany<br /> <br /> WARNINGS TO DRAMATIC AUTHORS. |<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> <br /> such a contract should stipulate in the contract<br /> <br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> (2.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (#.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (}.) apply<br /> also in this case.<br /> <br /> <br /> <br /> <br /> . 4, Plays in one act are often sold outright, but it is<br /> 6, better to obtain a small nightly fee if possible, and a sum<br /> “® paid in advance of such fees in any event. It is extremely<br /> ‘/@\ important that the amateur rights of one-act plays should<br /> <br /> i be reserved.<br /> <br /> * 5, Authors should remember that performing rights can<br /> uit @ be limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> aE 6. Authors should not assign performing rights, but<br /> <br /> «@ should grant a licence to perform. The legal distinction<br /> got @ is of great importance,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 7. Authors should remember that performing rights in a<br /> ale pisy are distinct from literary copyright. A manager<br /> ‘6 holding the performing right or licence to perform cannot<br /> ( print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> <br /> ® ingly valuable. They should never be included in English<br /> ~@ agreements without the author obtaining a substantial<br /> «1@; consideration,<br /> <br /> 9, Agreements for collaboration should be carefully<br /> seu) drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of ed<br /> © is highly speculative: that he runs a very great risk of<br /> : “a delay and a breakdown in the fulfilment of his contract.<br /> re He should therefore guard himself all the more carefully in<br /> oo6e the beginning,<br /> 11. An author must remember that the dramatic market<br /> » is exceedingly limited, and that for a novice the first object<br /> &amp; is to obtain adequate publication.<br /> ee As these warnings must necessarily be incomplete, on<br /> 4u3S @ecount of the wide range of the subject of dramatic con-<br /> \@°e@ tracts, those authors desirous of further information<br /> \ @&amp; are referred to the Secretary of the Society.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ——— Or 2<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> 1<br /> <br /> oe. typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> ‘the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> <br /> rules, with the exception that a play will be charged for<br /> at the price of 2a. 6d. per act.<br /> <br /> 53<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author’s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> <br /> <br /> <br /> ee<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> eas<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> —_—————_—&gt;—e- —___<br /> <br /> STAMPING MUSIC.<br /> <br /> —_———+ —<br /> <br /> The Society undertakes to stamp copies of music om<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,””<br /> <br /> ———<br /> <br /> THE READING BRANCH.<br /> <br /> —_—<br /> <br /> EMBERS will greatly assist the Society in this.<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> <br /> treated as a composition is treated by a coach, The term<br /> MSS, includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The:<br /> Readers are writers of competence and experience, The<br /> fee is one guinea,<br /> <br /> So<br /> <br /> REMITTANCES.<br /> <br /> 4<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Vain of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> COLLECTION BUREAU.<br /> <br /> —<br /> a Society undertakes to collect accounts and money<br /> <br /> <br /> <br /> due to authors, composers and dramatists. :<br /> 1. Under contracts for the publication of their<br /> <br /> works. :<br /> 2. Under contracts for the performance of their works<br /> <br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> ‘books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1, Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> ‘of Management will discuss the possibility of reducing the<br /> commission. oe<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland ; é . A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> ——<br /> THE ANNUAL DINNER.<br /> <br /> THE annual dinner of the Society of Authors<br /> is fixed to take place on November 27,<br /> at the Criterion Restaurant. Mr. Hesketh<br /> Prichard, the chairman of the Committee of<br /> Management, will take the chair. Notices to<br /> this effect have already been circulated.<br /> <br /> NOVELISTS AND Fitm Ricurts.<br /> <br /> THE importance of the moving picture<br /> rights in novels must be apparent to all<br /> frequenters of picture palaces. Manufac-<br /> turers are increasingly utilising the work of<br /> the novelist in order to make their entertain-<br /> ments more attractive to the public. All the<br /> signs point to a distinct future for the novel<br /> easily adaptable to the cinematograph.<br /> <br /> We feel it is necessary therefore to impress<br /> upon our members the necessity for guarding<br /> very carefully the picture rights in their<br /> novels, and to sign no contract with a publisher<br /> which contains any provision relating to these<br /> rights without first referring to the Society.<br /> <br /> Already it is apparent that the publishers<br /> of books are anxious to gain control of this<br /> <br /> THE AUTHOR.<br /> <br /> new right, just:as the publishers of music have<br /> been anxious to gain control of the mechanical<br /> instrument rights in music. The author must,<br /> therefore, be sure not to part with any right<br /> beyond the licence to publish in book form<br /> properly limited.<br /> <br /> Properly marketed, the moving picture<br /> rights of a novel may be extremely valuable to<br /> the author. In the hands of the publisher<br /> there is a very real danger of their being<br /> treated as a useful source of a little additional<br /> revenue, but hardly worth any very strenuous<br /> effort to place on a profitable basis.<br /> <br /> Morratr v. MAuUDE.<br /> <br /> THE question of how far a dramatist has<br /> power under a clause in his contract to dictate<br /> <br /> <br /> <br /> <br /> to the manager on the choice of his cast must =<br /> <br /> in all circumstances depend upon the wording +<br /> <br /> of the clause; and the question how far a<br /> dramatist is entitled to damages for breach of<br /> such a clause by the manager must in all<br /> circumstances depend upon the facts of each<br /> case, and the interpretation the judge and<br /> jury place upon the facts.<br /> <br /> This doctrine has been fully exemplified by<br /> the judgment in the case of Moffat v. Maude.<br /> The point has been laboriously considered in<br /> the Dramatic Sub-committee. It has again<br /> been raised by the Dramatists’ Club. The<br /> sub-committee desire to impress upon the<br /> dramatist members of the Society the necessity<br /> for insisting on a clause in their contracts<br /> giving them, if they can obtain it, the virtual<br /> control of the casting of the chief parts; if<br /> they cannot ‘insist so far, then a contract<br /> subject to a mutual right of veto.<br /> <br /> The sub-committee consider the matter is<br /> of great importance to Dramatists, and while<br /> they regret the decision in the case mentioned,<br /> they do not think that it upsets in any way<br /> the general recognised principles of law by<br /> which these questions are determined, nor is<br /> it likely to modify the value of such a clause<br /> as the one which they recommend.<br /> <br /> “Mary Goes First.”<br /> In the Observer of October 19 appeared an<br /> <br /> <br /> <br /> qe *<br /> ita<br /> <br /> fis b<br /> dhe igs<br /> <br /> ape<br /> <br /> at<br /> wea<br /> aE<br /> oe]<br /> and<br /> <br /> amusing letter, nearly two columns long, »<br /> <br /> written by Mr. Henry Arthur Jones, through<br /> his secretary, on the subject of ‘‘ Names in<br /> Plays.” It is stated that the letter is in<br /> <br /> answer to a threat of an action for libel if<br /> Mr. Jones’s play, ‘‘ Mary Goes First,” is<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> published without certain revisions. As we<br /> junderstand the matter to be sub judice still,<br /> i we are precluded from comment upon it. But<br /> ve cannot refrain from registering our opinion<br /> hat the present condition of the law of libel<br /> s very serious for authors and urgently<br /> equires attention. Cases which have been<br /> ecided in court more or less recently have<br /> made this painfully clear, and authors cannot,<br /> n justice to themselves, remain apathetic.<br /> <br /> Tue U.S.A. AuTHors’ LEAGUE.<br /> <br /> __ WE read with interest the Bulletin of the<br /> Authors’ League of America, as it comes to<br /> us regularly, and we are exceedingly interested<br /> o see the gradual increase of the League, and<br /> ope to hear of its membership reaching<br /> |,000 very shortly. At present we find the<br /> members at 518, but fresh names are being<br /> dded steadily from month to month. There<br /> _. 31s not the least doubt that the Authors’ League,<br /> _. aithrough its executive, may be able to give the<br /> _ aAuthors’ Society very valuable information<br /> Mifrom time to time, and our committee have<br /> &gt; gexpressed their willingness to give the Authors’<br /> -o League every help and assistance that is in<br /> heir power. We hope that the two societies<br /> will be drawn closer together by the fact that<br /> ‘Hour Society has asked Mr. A. Train, the<br /> 9% General Counsel, to act as the Society’s legal<br /> “&gt; = representative in the United States.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ANTHOLOGIES.<br /> <br /> _ Our attention has been drawn to the Preface<br /> of a book entitled ‘‘ Lyric Masterpieces by<br /> i Living Authors,”’ which is published by Gowans<br /> and Gray, Ltd., Glasgow and London.<br /> <br /> From this Preface it appears that the editor<br /> who made the selection thinks it a mistaken<br /> plicy that certain living authors object to<br /> <br /> aving their works reproduced in other books<br /> without payment. This attitude seems to<br /> have annoyed him, and in carefully expressed<br /> phrases he has shown his annoyance. It is<br /> impossible, of course, to know whether the<br /> compiler of the selection has been paid for such<br /> compilation. Most probably he did not do the<br /> work for his own pleasure. But it may fairly<br /> be deduced that the publishers would not have<br /> put the book on the market unless they hoped<br /> to make it a commercial success and to profit<br /> by the sales. The Author has on former<br /> occasions dealt with this question of Antholo-<br /> gies. It does seem unfair that a publisher<br /> should make a profit out of the use of other<br /> <br /> é<br /> <br /> THE AUTHOR.<br /> <br /> 5<br /> <br /> people’s property without paying for it. Why<br /> should. ‘‘some poets and _ publishers” . be<br /> generous in a matter of this kind, which is a<br /> matter purely of business.<br /> <br /> Many well-known writers have very strong<br /> objections to allowing the product of their<br /> brains to be taken from them for the financial<br /> benefit of others in whom they are not in the<br /> least interested.<br /> <br /> The editor of the book, as we have pointed<br /> out, thinks that the demand for payment by<br /> the poet is a mistaken policy. We wonder<br /> whether, having made the selection, he would<br /> like another publisher to produce the same<br /> selection without any payment whatever to<br /> himself for the work undertaken.<br /> <br /> ——_————_+—&gt;——_-—__—_<br /> <br /> PUTTING A NOVEL ON THE<br /> MARKET.<br /> <br /> +<br /> <br /> By F. G. Browne or F. G. Browne Co.<br /> <br /> [From the ‘‘ Bookseller, Newsdealer and<br /> <br /> Stationer,’ New York.]<br /> <br /> S HE author has made a very attractive<br /> book of this.”<br /> <br /> A reviewer on a western newspaper<br /> wound up his review of one of our latest<br /> publications with these words. The sentence<br /> well illustrates something of the confusion that<br /> obtains in the public mind regarding the art of<br /> book making. 2<br /> <br /> Few persons reading the latest book of<br /> fiction ever give a thought as to how the book<br /> has been put into their possession. To the<br /> average readers a novel is a novel; they read.<br /> it, enjoy it, or condemn it, as an expression of<br /> individual taste, and put it aside. Its mission<br /> has been fulfilled.<br /> <br /> Beyond knowing the names of perhaps a<br /> half dozen of the ‘‘ stars,” probably nine out of<br /> ten persons do not give a thought to the<br /> personality behind the writing of a book, much,<br /> less the making of it... The work and planning<br /> and execution of the myriad details which have<br /> made it possible to put this latest volume in<br /> their hands for $1 or $1.25 rarely are<br /> considered. :<br /> <br /> The production of a book of fiction involves<br /> many personalities. First, the author, who<br /> conceives and writes the story; second, the<br /> publisher, who selects the story from among<br /> many, many manuscripts and decides to stake<br /> a portion of his capital and energy in making it<br />  <br /> <br /> 56<br /> <br /> <br /> <br /> into a book; third, the artist, whose talents<br /> and imagination must be devoted for perhaps<br /> several months to the task of visualising<br /> characters and situations so that the man who<br /> runs may be attracted to read ; fourth, the<br /> printer, who, following the specifications of the<br /> publisher, converts the manuscript into type,<br /> and the type into electrotype plates, and on his<br /> presses prints the sheets that are to be the basis<br /> of the book ; fifth, the engraver, who places his<br /> technical skill at the disposal of the artist and<br /> <br /> ublisher in reproducing the illustrations in<br /> heautifal multicolour plates or simple black<br /> and white halftones, as the case may demand ;<br /> sixth, the paper maker, who must have his<br /> product finished and in the printer’s hands<br /> when the book is ready to print ; seventh, the<br /> binder, who takes the printed sheets and sews<br /> and stitches and trims them and incases them<br /> in the permanent cloth cover.<br /> <br /> SALE AND DISTRIBUTION.<br /> <br /> These and others are concerned in the<br /> making of the book. Its sale and distribution<br /> require the labour of another set of craftsmen—<br /> the publisher’s travelling representative, who<br /> lays the book before the bookseller and<br /> unblushingly asks for an order for it of twice<br /> the quantity he dares expect ; the bookseller,<br /> who gives the book a chance of reaching the<br /> eye of the public by tying up sundry dollars<br /> of his capital in an order usually one-fourth the<br /> size suggested (for he likely has looked at<br /> twenty new stories that morning and listened<br /> to glowing statements of the potential qualities<br /> of all as ‘best sellers ”); the newspaper,<br /> through whose advertising columns the enthu-<br /> siastic publisher announces the story as a<br /> discovery peculiar to the century, in order to<br /> anticipate and discount the judicial statements<br /> later of the same newspaper’s literary editor<br /> as to the book’s real value and reason for<br /> being.<br /> <br /> The finished typewritten manuscript _ is,<br /> therefore, but the beginning. The author has<br /> done his part. The labour of those who must<br /> contribute to the book’s success is just opening<br /> up, and in fact the publisher’s work began<br /> before the manuscript was submitted.<br /> <br /> First of all, the publisher must read hundreds<br /> of manuscripts. It is one of the routine<br /> labours of his day’s (and night’s) work. From<br /> a mass of a hundred manuscripts he selects<br /> perhaps one that he believes has “ the punch ”<br /> and may become a good “seller.” For the<br /> <br /> publication of fiction no longer is considered<br /> from the literary standpoint: it is published<br /> <br /> THE AUTHOR.<br /> <br /> from the viewpoint of dollars and cents, what<br /> it will make for the author and what it will net<br /> the publisher. It has developed into a § ©:<br /> commercial proposition pure and simple—the 61%<br /> merchandising of literature. :<br /> <br /> The recording, reading, considering, packing, |<br /> and returning of unavailable manuscripts alone Sic!<br /> involve work on the part of the publisher and Bus *<br /> his assistants which represents a large actual [jit<br /> loss of time and money. But it is all a part of To ww<br /> the game, for the publisher who lands one good Bue!<br /> seller out of a hundred manuscripts counts<br /> himself fortunate. :<br /> <br /> I am constantly reading manuscripts at all<br /> manner of odd times outside of my business ©<br /> hours. I wouldn’t, under any circumstances, |<br /> publish a volume of fiction unless I personally<br /> had read it through. I think most successful<br /> publishers follow the same rule. That means<br /> that the manuscripts I read have been “ sifted ”<br /> by regular ‘‘ readers,” and those that have any<br /> promise at all laid aside for me. It is done on<br /> somewhat the same principle that a man ©<br /> follows in buying horses—others may recom- _<br /> mend, but he must examine the animal himself é4<br /> and try him out before he invests his money |.<br /> in him.<br /> <br /> The manuscript accepted for publication, the 4<br /> next point to be determined is, what kind of a -<br /> book shall be made of it ? This means the selec- -— ©<br /> tion of type, the size of the volume, the choice OF<br /> of artist to illustrate it, and so on. Book<br /> manufacturing details are usually worked out<br /> carefully and nothing left to chance. The<br /> number of words is estimated, the size of type<br /> is decided upon—this being regulated by the<br /> number of words the manuscript contains and<br /> the number of pages the book is to have—the<br /> kind of paper, the style of illustration, the<br /> scheme for cover design and paper ‘“ jacket,”<br /> and the size of the edition.<br /> <br /> <br /> <br /> .....,<br /> ati re<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> From a MercuaNDISE STANDPOINT.<br /> <br /> Nowadays, as I have said, fiction is treated ms<br /> from a merchandise standpoint. A story that<br /> can be made into a book of 400 pages can be<br /> retailed for about $1.25; a book of 500 pages<br /> for $1.85. In the manufacturing of the book [ele<br /> there must be a fixed relation between what the | = i)<br /> book is going to cost and what the probable |e<br /> returns from the sale will be. A margin of [%.<br /> profit must be set by the publisher below which s#@* °<br /> he cannot safely operate. :<br /> <br /> The number of copies ordered for the first pe<br /> edition varies, of course, according to the pet<br /> prominence of the author. My experience is | % °<br /> <br /> that a minimum first edition of at least 3,500 7a<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> i copies is necessary, or the cost per copy will be<br /> <br /> too high to yield any profit. The manufac-<br /> turing cost naturally is affected by the number<br /> <br /> | of copies printed, because the cost of the<br /> <br /> plant ’’—typesetting, the making of electro-<br /> <br /> | type plates, the artist’s fee, the engraving, and<br /> <br /> the other items in getting the book ready to<br /> print—is just the same whether 1,000 or 10,000<br /> copies of the book are printed.<br /> <br /> A 400-page book consumes about a pound<br /> and a quarter of paper. Our fiction is printed<br /> <br /> &quot;on sheets of paper measuring 303 by 41 inches.<br /> “|. A sheet that size will print sixty-four pages of<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> the book, thirty-two pages on each side, giving<br /> a volume 54 by 72 inches, which now is the<br /> popular fiction size.<br /> <br /> The revision of a manuscript and_ the<br /> <br /> 4 reading of the printers’ proofs often involve a<br /> <br /> heavy labour. I have known cases where as<br /> many as a thousand changes of individual<br /> words and phrases in a single manuscript have<br /> been made after its acceptance. As a rule,<br /> three proofs of the type are pulled. One of<br /> these is read by the printers to see that it con-<br /> forms to the manuscript copy, another set is<br /> read by the author himself in order that he may<br /> improve the work if possible, and the third set<br /> is read in the publisher’s office, and final<br /> changes made as necessary. All these changes<br /> cost money, and usually the publisher has to<br /> defray this expense himself.<br /> <br /> I have mentioned the paper “ jacket,” or<br /> wrapper. This theoretically is for the purpose<br /> of protecting the cloth cover, but really is<br /> treated purely from the advertising standpoint<br /> —that is, it is artistically printed and decorated<br /> attractively in order to catch the eye of the<br /> buyer looking over a table of new novels.<br /> <br /> These are some of the more essential details<br /> and problems involved in producing a volume<br /> of fiction. The author has, to be sure, made<br /> the volume possible, but his share in its produc-<br /> tion is not so burdensome as that of the<br /> publisher nor does he risk so much. The<br /> publisher risks his capital and his experience<br /> and energy, and for a time he must LIVE that<br /> book until he can feel that it is going to repay<br /> his investment by its sale. ,<br /> <br /> The publisher, of course, has to attend to all<br /> the details of selling. Books are sold by means<br /> of advance samples which are carried by<br /> travelling representatives direct to the book<br /> trade. It is not an unusual thing for the<br /> <br /> publisher to secure, in advance, orders for an<br /> <br /> entire edition of a volume that is not yet off the<br /> press. The size of these advance sales, how-<br /> ever, depends a great deal upon the reputation<br /> and popularity of the author, but energy and<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 57<br /> <br /> confidence can make a successful sale for the<br /> first book of an unknown author. For the use<br /> of his own travelling representatives and the<br /> travellers of the book jobbing houses the<br /> publisher has to have made up at considerable<br /> expense a number of “dummy” books—<br /> showing the cover, properly die stamped, a<br /> sample picture, and a few sample pages of the<br /> contents—and this often months before the<br /> actual printing of the book has begun.<br /> <br /> Review Copies BEFORE PUBLICATION.<br /> <br /> The review copies for the newspapers and<br /> periodicals must be distributed shortly before<br /> the book is published. This work falls to the<br /> lot of the publisher. Some publishers give<br /> away a good many copies to men identified with<br /> the book trade—clerks, buyers, store managers,<br /> etc. These are sent out in advance in order<br /> that the persons who receive them may<br /> familiarise themselves with the volume before<br /> it is displayed on their counters. Every story<br /> has its own individual problems. They are<br /> problems which the publisher alone can<br /> unravel. Sometimes he sends out a thousand<br /> free copies of a new volume, and a fair average<br /> for books of fiction might be about 500 copies.<br /> <br /> The matter of advertising is and always will<br /> be the big problem with the publisher. He<br /> must decide in advance how much he is<br /> warranted in spending in promotion and<br /> publicity, and he must decide how and where<br /> to spend it. Certain trade journals that<br /> circulate chiefly among book dealers and<br /> librarians are necessary mediums. Adver-<br /> tising announcements are printed in these<br /> periodicals as a matter of routine. Cosmopo-<br /> litan newspapers of wide circulation in the<br /> territory in which they are published are the<br /> mediums relied upon to attract the buyer<br /> personally. Trade advertising also includes<br /> posters, circulars and window cards. Every<br /> book of fiction must be provided with an<br /> attractive poster, and these posters represent<br /> the outlay of considerable money, often<br /> being printed in several colours.<br /> <br /> The publisher must plan his newspaper<br /> advertising campaign so that he can assure the<br /> book trade in the different sections of the<br /> country that the book will be brought to the<br /> attention of consumers in those sections on the<br /> day of publication. Then he must judge from<br /> <br /> the advance orders he receives from different<br /> sections just how much he can afford to con-<br /> tinue to spend in each section, for he must,<br /> above all things, guard against the expenditure<br /> of a lot of money in a field which will yield only<br />  <br /> <br /> 58<br /> <br /> small comparative returns. The usual method<br /> in exploiting a new book of fiction is to concen-<br /> trate on a few large cities. The representative<br /> papers of these big cities reach a multitude of<br /> small towns in and about them, as most of them<br /> circulate in a wide territory.<br /> <br /> EsTIMATES ON EXPENSE.<br /> <br /> The publisher must have a pretty good idea<br /> of the various proportions of the different items<br /> .of expense in publishing a book of fiction. For<br /> instance, if a volume wholesales at 75 cents—<br /> the publisher’s estimates always are based on<br /> the wholesale price of a book, not on the retail<br /> price—he must know how much of that amount<br /> should go for manufacture, how much for<br /> advertising, how much to general overhead<br /> expense—in other words, the book’s share of<br /> the firm’s expense of doing business—how<br /> much to the author and how much should be<br /> left for himself.<br /> <br /> An author receives anywhere from 10 to<br /> 20 per cent. of the retail price, and the usual<br /> royalty is 10 per cent. up to 5,000 copies and<br /> then 124 per cent. This is a fair royalty, and,<br /> as a matter of fact, a firm’s authors will receive<br /> a larger share of money returns in the year’s<br /> business than the publisher can make for<br /> himself. This statement may be challenged,<br /> ‘but the fact remains, nevertheless.<br /> <br /> To sum up, the successful publisher must be<br /> something of a Jack of all trades. He must<br /> have literary and artistic instincts sufficient to<br /> enable him to know the real from the false ; he<br /> must know something of the mechanical<br /> ‘processes by which a book is made—printing,<br /> engraving, paper making, binding; he must<br /> have the ability to invent advertising, he must<br /> have the selling ability; and, last and not<br /> least, he must have the courage to risk money<br /> on a gamble, for the publishing of popular<br /> <br /> “fiction nowadays is a great deal of a gamble.<br /> <br /> —_——_+-—~»—+ —____<br /> <br /> PLAYS AND THE RIGHT TO A TITLE.<br /> , —— oe<br /> <br /> L. The Author of October, 1906, I was<br /> 4 allowed to make some observations upon<br /> the conditions which arise when an author<br /> <br /> -uses a title which has been applied to a work<br /> previously published by some one else, upon<br /> the law applicable to the situation and upon<br /> the remedies which, from time to time, have<br /> been proposed. Everyone knows that there<br /> as no copyright in a title, and I endeavoured to<br /> show that the proposal to give something in<br /> the nature of copyright was not likely to be<br /> granted by the legislature, and that protection<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> by some form of registration akin to that of a<br /> trade mark would be attended by practical<br /> <br /> difficulties disproportionate to the advantages — :<br /> <br /> which it might be expected to secure for those<br /> interested. It will be found also, by anyone<br /> <br /> who can refer to the back-number in which |<br /> <br /> my article appeared, that I made the further<br /> <br /> suggestion that anyone who differed from me ~ er<br /> <br /> and who thought that special protection for |<br /> titles might be granted by the legislature —<br /> <br /> should not merely make his proposals in outline<br /> but should give them a definite form by drafting<br /> <br /> the clauses in which he would like to see them ~ / r<br /> <br /> submitted to the House of Commons. I do<br /> <br /> not remember reading in The Author anything<br /> <br /> upon the lines suggested, so I am inclined to<br /> conclude that either what I wrote met with<br /> <br /> general acceptance or that those who differed | ~<br /> <br /> from me as to the practical possibilities of the — |<br /> <br /> ease did not consider the matter of sufficient<br /> <br /> importance for the discussion to be carried ©<br /> It has, however, been suggested to ~<br /> <br /> further.<br /> me recently, that in the case of dramatic<br /> compositions there should be less difficulty<br /> than in that of books in securing titles from<br /> <br /> infringement, voluntary or involuntary, and _<br /> <br /> that there is more opportunity for the author of<br /> <br /> a play to be damaged by a subsequent author *<br /> <br /> taking his title. That is to say, there should be<br /> less danger of the writer of a play taking a title<br /> already used because there are comparatively<br /> <br /> few plays, so that investigation should more *<br /> <br /> easily discover a previous user, but on the<br /> other hand, plays are liable to be revived and<br /> re-acted long after they are first produced, so<br /> <br /> that there is considerable difference between —<br /> <br /> their “‘ lives ’’ and the “ lives ”’ of novels.<br /> <br /> This matter of comparative longevity is,<br /> As the law stands —<br /> <br /> perhaps, worth considering.<br /> the writer of a book which has been published<br /> <br /> can prevent a second writer from using his—<br /> title if he can show that the second use of the<br /> title is injurious to him or is likely to be so,<br /> <br /> If he can prove that he has suffered damage<br /> by such use he can recover compensation.<br /> <br /> In practice this means that the author of a_<br /> <br /> book which is being sold can prevent the<br /> offering of another book under the same title<br /> <br /> on the ground that it would be likely to be ~<br /> mistaken for his, and that money intended to *<br /> be spent on his book might thus be spent on _<br /> A great many .<br /> <br /> the work of another writer.<br /> <br /> books, however, when a few years have<br /> <br /> elapsed since their publication, are not being —<br /> sold any longer, and are, to all intents and —<br /> purposes, dead. There may be a possibility —<br /> of recovery, but, as a rule, the book that dies _<br /> remains dead, particularly when it is a novel, &gt;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> and its author suffers no damage and is likely<br /> to suffer none if another writer uses his title.<br /> i A play, however, which has been acted and<br /> laid aside, so far as London is concerned, may<br /> continue to be played, perhaps at intervals,<br /> in the provinces, and may be acted here and<br /> £ there by amateurs—let us hope with the<br /> knowledge and to the profit of its author.<br /> ) Or, again, when it has seemed almost forgotten<br /> in London, it may be revived there and again<br /> i win success. ‘‘ Diplomacy’? and “ Jim the<br /> ,|.. Penman” are recent revivals which may be<br /> “given as instances of a surprising kind of<br /> vitality and longevity in dramatic works.<br /> Robertson’s plays would supply a long list<br /> of revivals, and there is no reason why they<br /> should not continue to be acted at intervals<br /> in the Metropolis and elsewhere. All these,<br /> however, have no doubt enjoyed a steady and<br /> more or less continuous existence on the boards<br /> . elsewhere, apart from their appearances in<br /> “+ London. I do not know whether a really<br /> “ys unsuccessful play, laid aside and, in fact,<br /> |. forgotten by managers and audiences alike,<br /> has ever been revived and made successful<br /> some time afterwards, but it is conceivable<br /> that some might so recover, having owed their<br /> premature inanition to lack of capital on the<br /> part of their produccrs, want of advertising,<br /> and, more important still, to inadequate acting.<br /> It may, therefore, be submitted for considera-<br /> tion that infringement of the title of a play<br /> should be treated with greater stringency than<br /> is necessary in the case of books, and that the<br /> infringer should give way when he possibly<br /> ‘’ «an in order to prevent injuring a fellow<br /> writer. To give way in all cases where it is<br /> 0G possible must always be the more courteous<br /> “ig .and considerate course to adopt.<br /> i The comparatively smaller number of plays<br /> suggests the possibility of a register of all<br /> licensed plays being made capable of inspection<br /> 14 by dramatic authors, in order that they may<br /> see whether their titles have already been used.<br /> They should, however, still endeavour to<br /> ascertain whether they are adopting titles<br /> l@ already used by novelists as whether they can<br /> _ be prevented legally from doing so or not,<br /> no one should lay himself open to the charge<br /> of plagiarism or of lack of originality.<br /> E. A. A.<br /> <br /> <br /> <br /> eS op Ey<br /> Rost mm Rue ot ee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> A MORAL SENSE.<br /> SBCET ae<br /> N looking through almost any popular<br /> periodical, one must notice that<br /> authors and artists are having their<br /> work exploited for the benefit of the<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 59<br /> <br /> advertisers. The general tendency is for the<br /> articles, stories and pictures to improve, and<br /> for the advertisements to become worse.<br /> What the reading public gains in one way it<br /> loses in another, and, of late, it is taking<br /> greater risks of being deluded by the adver-<br /> tisers than of being uplifted by the work of<br /> the artists. Some periodicals are notorious,<br /> in that they admit to their advertising pages<br /> announcements which any person of average<br /> intelligence can identify as unfit for public<br /> perusal. Yet these periodicals contain con-<br /> tributions from some of the most eminent<br /> writers of the day. There is a certain<br /> incongruity between the printed words of the<br /> distinguished novelists and the invitations of<br /> notorious advertisers contained within the<br /> same covers. It is unlikely that the authors,<br /> whose work is bought, would care to be seen<br /> in the company of advertising quacks and<br /> get-rich-quicks, but authors seem to think it<br /> does no one any harm for the pearls of wisdom<br /> they produce to be used as the vehicle for<br /> getting known to the public various noxious<br /> drugs, opium, and alcohol disguised under<br /> trade names. It is as though the authors<br /> were too particular and respectable to be seen<br /> in the company of cheap-jacks, bucket-shop<br /> proprietors, quacks and gamblers, but, for a<br /> consideration, would allow themselves to be<br /> used for the purpose of introducing the public<br /> generally to these harpies. For, of course,<br /> the periodicals are bought and read for what<br /> the authors have contributed; and what the<br /> authors have written is bought by the owners of<br /> the periodicals only in order that the circulation<br /> may be increased and a larger revenue be<br /> derived from the advertisers.<br /> <br /> In former days a writer often knew his<br /> editor and publisher personally, and had<br /> sufficient confidence in character to under-<br /> stand that his ‘‘ effusion’? would not appear<br /> amidst matter which would harm either<br /> himself or the public. Now, with some agent<br /> as middleman, price is everything ; a “* good ”<br /> publisher or editor is one who can be depended<br /> upon to pay at the date named ; where, how,<br /> when, with what or without what, the “‘ stuf -<br /> shall appear is not the concern of the author.<br /> Divided responsibility is no responsibility.<br /> The author will contend that his responsibility<br /> is confined to his own work, and if that satisfies<br /> him, what the buyer does with it is no practical<br /> concern of his.<br /> <br /> In short, one may contend that an author is<br /> indifferent to the use made of his product.<br /> It may serve as a lure for innocents, it may<br /> lead the guileless into a trap from which<br />  <br /> <br /> 60<br /> <br /> escape is impossible, it may be printed in the<br /> worst company, but the author 1s not respon-<br /> sible. He has parted with all control an<br /> exchange for a cheap-jack’s money. His<br /> such an author any moral sense ? :<br /> <br /> There is no necessity to uphold any particular<br /> morality, or the lack of it, except that it 1s<br /> inconsistent for the authors whose professed<br /> purpose it is to inculeate morality, to become<br /> a vehicle for advancing what is the opposite.<br /> It is no excuse to say that the newspapers are<br /> as bad, and that “‘ everybody’s doing ite<br /> —-most authors are ; but though they may lead<br /> the world in thought they are laggards in<br /> action. Some men still act in accordance<br /> with their principles. In a Tacoma gaol a<br /> prisoner went to the punishment cells rather<br /> than help in repairing the gallows ; in Mantova<br /> many bricklayers refused to work in building<br /> a gaol; in Milan, in Paris, and in Rome,<br /> compositors and press-men refused to produce<br /> papers containing comments which might<br /> prejudice the cause of workpeople on strike.<br /> These humble people had convictions, and<br /> acted upon them. With them any honest<br /> man would be proud to shake hands. They<br /> are the real leaders of to-day and to-morrow.<br /> The author is going to be relegated to a rear<br /> rank, having shown already that he is willing<br /> to go anywhere an “ agent ’’ recommends, or<br /> wherever pay is highest.<br /> <br /> WILuiAM GREENER.<br /> <br /> —___—_+~&gt; +<br /> <br /> PROFESSIONAL JOURNALISM.<br /> <br /> ———<br /> <br /> [T may prove to be somewhat difficult to<br /> eliminate the personal element in the<br /> discussion of the fine line which deline-<br /> ates the professional journalist and literary<br /> ** dilettante’; but the little that I have to say<br /> on the subject must perforce ring truer if the<br /> abstract and composite scribe is conscien-<br /> tiously substituted for the concrete and, per-<br /> haps, disappointed dweller in ‘‘ Grub Street.”<br /> <br /> The topic was suggested to me by a pro-<br /> fessional journalist, employed in the office of a<br /> big provincial newspaper, who holds, with me,<br /> that while the routine work of the newspaper<br /> office is well left exclusively to the regular<br /> staff, there should be no editorial or pro-<br /> fessional jealousy of literary competitors out-<br /> side. If my informant is correct, there exists<br /> in many offices some ill-defined but well-<br /> understood _ test of who is, and who is not, a<br /> professional author and journalist. Member-<br /> <br /> <br /> <br /> hip of this Society, or of the Institute of<br /> <br /> THE AUTHOR.<br /> <br /> Journalists, does not necessarily carry weight,<br /> and, indeed, the ‘‘ rose would smell as sweet a<br /> by any other name, if one could make sure of<br /> culling it.<br /> <br /> Over and over again we have been told, in<br /> this and other literary periodicals, that intro-<br /> ductions do not count, and over and over<br /> again the inexorable logic of facts, in concrete,<br /> cases, disproves the assertion, that only merit<br /> wins in the long run. And the “‘ run ” may be<br /> so very long that it culminates in the dead-<br /> stop that comes sooner or later to all workers<br /> in all vineyards, for we all constantly meet<br /> with or hear of mediocrities, as well as truly<br /> talented men and women, whose introduction<br /> to a big literary syndicate has resulted in<br /> regular work and a more or less calculable<br /> salary.<br /> <br /> Is there, therefore, no ‘‘ media via,” no<br /> “golden mean,” between the arbitrary label-<br /> ling of a writer, who joins a literary society or<br /> association as a ‘‘ dilettante’? man of letters,<br /> and the classifying of those who, having<br /> graduated in ‘‘ Grub Street ” and acquired or<br /> improved their gift, are worthy of the title<br /> ‘ professional journalists ” ?<br /> <br /> I should hardly advocate diploma work after<br /> <br /> the fashion of the Royal Academy, following |<br /> <br /> election, which neither there nor here would be |<br /> an all-sufficing test of efficiency, but it would |<br /> appear that, without lowering the status of |<br /> this Society or the Institute of Journalists,<br /> some form of declaration, based upon pub- —<br /> lished work, might assist in the legitimate<br /> introduction of competent writers to editors<br /> and publishers. And in this connection I<br /> would comment upon the enormous amount of<br /> unsigned work which, for various reasons,<br /> finds its way into print and into really high-<br /> class papers and periodicals, for we all know —<br /> and appreciate the value of the advertisement —<br /> <br /> which connotes the duly attested signature.<br /> <br /> Proof, then, of the various types of contri-<br /> butions to newspapers and periodicals might<br /> be either published in this organ of the Society,<br /> or furnished to editors, as desired, by members,<br /> who should have qualified by ‘bona fide” —<br /> work for this advertisement of their com-<br /> petency. B<br /> <br /> I do not suggest that such a policy would<br /> break down cliques and “ rings,”’ if such there —<br /> be; but, if a good understanding should thus —<br /> be established between members of the Society —<br /> and the purchasers of intellectual wares, it 15 _<br /> more than likely that the beneficent action of<br /> <br /> <br /> <br /> the council would tend to open doors for ~~<br /> <br /> eligible suitors. Nor would such a new depar- :<br /> <br /> <br /> <br /> ture transform the Society into a literary — Me<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> agency, as all that the responsible officials<br /> could affirm would be, that such and such a<br /> writer, being a member of the Society, had<br /> i tendered proof of having contributed to such<br /> and such newspapers and periodicals, and, on<br /> that basis alone, was forthwith recommended<br /> to editors in the monthly or quarterly list of<br /> u approved contributors. The Society would<br /> not force its opinions on any syndicate, firm<br /> ; or editor, but would merely advance adequate<br /> ~ . proof of the competency of the writer named,<br /> or otherwise dealt with, as a candidate for<br /> tr employment.<br /> r This suggestion may serve to recall Marshal<br /> Le Boeuf’s notorious ‘ dernier bouton,” but<br /> &#039;» even a button or a label, aptly applied, may<br /> have their uses.<br /> F. C. Ormspy-JOHNSON.<br /> <br /> <br /> <br /> THE PUBLISHERS’ DICTIONARY.”<br /> <br /> TPFNHIS is a lexicon, in seven languages, of<br /> terms used in the publishing trade, and<br /> a work whose exhaustiveness, accuracy,<br /> Me and lucid composition assure its being of the<br /> very greatest value.<br /> <br /> The present volume replaces the ‘‘ Vocabu-<br /> laire International Technique de 1|’Editeur ”’<br /> published, in accordance with a resolution of<br /> / the congress of publishers, in 1910, and will be<br /> v°. found to represent a great advance. The plan<br /> adopted is to give the key words, in French, in<br /> the first column, accompanied by the necessary<br /> definitions of the various meanings which are<br /> indicated by numbers, the same numbers<br /> accompanying the equivalents in the six other<br /> languages, placed in parallel columns. At the<br /> end are added appéndices containing the<br /> duration of copyright in different countries,<br /> an index of copyright enactments, a summary<br /> of the extension and limitations of the Berne<br /> Convention, the various formats of books, the<br /> names of the different founts of type, sizes of<br /> paper, examples of correction of proofs in the<br /> different languages, and alphabetical indexes<br /> of words in languages other than French, with<br /> cross references. We have tested both the<br /> text of the seven-fold lexicon, and the cross<br /> references of the indexes, and have in every<br /> <br /> <br /> <br /> * “Vocabulaire Technique de I’Editeur en Sept<br /> Langues: Francais, Deutsch, English, Espafiol, Hol-<br /> &#039; landisch, Italiano, Magyar.” Berne. Congres Inter-<br /> “ national des Editeurs. 1913. 4°.<br /> <br /> <br /> <br /> 61<br /> <br /> ease found the results completely satisfactory.<br /> As the labour of compilation, of which very<br /> modest mention is made in the preface, must<br /> have been enormous, it is difficult to express<br /> adequate admiration of the excellence of the<br /> work. We regret only that the editors in the<br /> case of Magyar should have permitted them-<br /> selves the modern vulgarity of printing c for<br /> cz, a practice most justly condemned by the<br /> Hungarian Academy.<br /> <br /> The work is printed in London, by the<br /> Ballantyne Press, and no notice of the book<br /> would be adequate which did not mention that<br /> the volume is a marvel of exquisite typography.<br /> <br /> ——— +o<br /> <br /> CORRESPONDENCE.<br /> <br /> np<br /> UNREVIEWED Books.<br /> <br /> S1r,—I have read with interest Mr. Fursdon’s<br /> rejoinder. to my letter, not in praise of literary<br /> editors, as he implies, but in justice to them.<br /> The suggestion that I should be ‘‘ more at<br /> home in the editorial office of a popular daily ”<br /> I will pass as a pleasantry, remembering that<br /> Dr. Johnson once said that ‘the reciprocal<br /> civility of authors is one of the most risible<br /> things in the farce of life.”’<br /> <br /> Mr. Fursdon is obviously vexed, first with<br /> literary editors and later with me. He says,<br /> ‘“There are literary editors and _ literary<br /> editors’; just so, as with eggs. Can Mr.<br /> Fursdon imagine himself the unhappy victim<br /> at whom is hurled some 13,000 volumes during<br /> the year’s 365 days? I fear it is not Reviews,<br /> but Mr. Fursdon that I err in taking “ too<br /> seriously.”” For any man seriously to expect<br /> an editor to indulge in what is obviously an<br /> unnecessary correspondence is scarcely reason-<br /> able. It is no argument to say that he must<br /> increase his staff. First of all his paper has<br /> to be made a commercial success, and increased<br /> staffs mean increased expenses.<br /> <br /> I quite agree with Mr. Fursdon, and I confess<br /> that the sensation is refreshing, that ‘ there<br /> are other tests, and if a book is temporarily<br /> disqualified by non-recognition in a certain<br /> number or section of august journals, it may<br /> yet win in the race of time.” I have no doubt<br /> that literary editors will be quite content to<br /> leave the verdict with posterity—the ever and<br /> overburdened.<br /> <br /> I am, Sir,<br /> Your obedient servant,<br /> HERBERT JENKINS.<br />  <br /> <br /> <br /> <br /> 62<br /> <br /> * ONLY.”<br /> <br /> Sir,—There is a common use of the word<br /> “only,” scarcely less irritating than the split<br /> infinitive, to which I would politely draw the<br /> attention of writers, in the hope that they may<br /> be practical enough to profit by the hint. On<br /> my holidays I usually read a good many<br /> novels, and I find the fault to which I refer<br /> almost universal. For instance (and I purposely<br /> select my example from the work of a well-<br /> known writer), in “‘ The Last Hope,” which I<br /> am now reading, Mr. Henry Seton Merriman—<br /> may his shadow never grow less !—perpetrates<br /> the following, on page 213 (Smith, Elder,<br /> 1904): ‘‘. . . the tide had only turned half an<br /> hour ago.” Of course Mr. Merriman means<br /> nothing of the kind. He does not wish to tell<br /> the reader that ‘‘ the tide had only turned,”<br /> but that the tide had turned only “ half an<br /> hour ago.” And since he means this, why does<br /> he not say so?<br /> <br /> «= 1 am,<br /> Your obedient servant,<br /> RicHarD FREE.<br /> <br /> ee ee<br /> <br /> AutHuors AND FrEE LIBRARIES.<br /> <br /> Your correspondent ‘“‘ C. E. S.” has formed<br /> an extraordinary opinion about what he (or<br /> she) designates “ free librarians.” I say this<br /> after an intimate relationship with many<br /> librarians of so-called “‘ free ”’ libraries extend-<br /> ing to nearly half a century, and I emphatically<br /> rebut the suggestion that these gentlemen and<br /> ladies are actuated by the petty motives<br /> suggested by “ C. E. S.”<br /> <br /> Your correspondent gives his case away<br /> when he states that a certain book was unknown<br /> in a certain town until the fact of its existence<br /> was made known by the public library<br /> authorities. This was a grand advertisement<br /> for the book, and a cheap one, too.<br /> <br /> I venture to assert that rate-supported<br /> libraries give an impetus to general reading,<br /> and make it possible, through their support,<br /> for some books to prove a financial success.<br /> Does ‘“C. E. S.” know how many “ free ”’<br /> libraries there are in the United Kingdom ;<br /> and has he thought about the enormous<br /> number of new books, including novels, that<br /> are purchased for them during any year?<br /> Then novelists are assisted through the con-<br /> stant renewals of soiled copies, ,<br /> <br /> No, “C. E. D.,” libraries assist novelists<br /> very considerably.<br /> <br /> J. P. B.<br /> <br /> THE AUTHOR.<br /> <br /> CARRARA,<br /> <br /> Dear Avutuor,—In Mr. Wells’ letter in<br /> your last July number he writes: “T had<br /> to live—and so I learnt to write before I<br /> thought of a book.” According to Aristotle also,<br /> “To learn to play the lyre we must play the<br /> lyre.”<br /> ae. the bone of contention between<br /> author and publisher plus agent is—<br /> <br /> 1. That it is always superevident to the<br /> author, obscure or otherwise, that those who<br /> profess to be his allies won’t see to it that, as.<br /> Emerson says, ‘‘ He who does the work has the<br /> power, but he who does not the work has not<br /> the power.”<br /> <br /> 2. That between buying kitchen utensils.<br /> or a motor, for instance, and exchanging (?)<br /> “crim brains’? for lucre (that, chiefly, the<br /> author doesn’t get) there is a distinction with<br /> the difference. The one is mercantile. The<br /> other—vicarious.<br /> <br /> When Michael Angelo received orders from<br /> Lorenzo de Medicis he set off on foot from<br /> Florence to Carrara to select his own marble.<br /> At Carrara he personally supervised its quarry-<br /> ing so as to secure as far as possible a flawless<br /> block. Sometimes this took a year, some-<br /> times only six months. Having secured it,<br /> Michael Angelo trudged doggedly on foot again<br /> all the way home from Carrara to Florence so<br /> as to steady his precious purchase every inch<br /> of the way with his own hands to keep it from<br /> getting broken.<br /> <br /> There could be an amicable point of contact<br /> between author and publisher plus agent,<br /> that is, the exercise of conscience.<br /> <br /> We authors “‘ have to live.” We “ play the<br /> lyre.” We laboriously trudge every inch of<br /> the way to Carrara and back to supervise the<br /> perfecting of our tools. We don’t (save the<br /> mark !) fatten on the results of others’ labour.<br /> We don’t sweat anyone knowingly, for two<br /> reasons: (1) because to renounce one iota of<br /> our privilege we should damage our secret<br /> ideal; (2) because to walk every inch of<br /> the way ourselves is the only real way not<br /> to fail.<br /> <br /> Won&#039;t The Author adopt two devices for its<br /> escutcheon—the first, “‘ To learn to play the<br /> <br /> lyre we must play the lyre;’ the second, “ f<br /> had to live—and so I learnt to write before I<br /> wrote a book ’’ (the italics this time are not<br /> Mr. Wells’)}—and have authors, publishers<br /> and agents repeat them every night of their<br /> lives in unison with the Lord’s Prayer on their<br /> bended knees ?<br /> <br /> <br /> <br /> JUSTICE.	https://historysoa.com/files/original/5/533/1913-11-01-The-Author-24-2.pdf	publications, The Author
534	https://historysoa.com/items/show/534	The Author, Vol. 24 Issue 03 (December 1913)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+03+%28December+1913%29"><em>The Author</em>, Vol. 24 Issue 03 (December 1913)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1913-12-01-The-Author-24-3					63–92																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-12-01">1913-12-01</a>							3			19131201	Che Butbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vor. XXIV.—No. 3.<br /> <br /> DECEMBER 1, 1913.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ge<br /> <br /> NOTICES.<br /> <br /> 4<br /> <br /> | ae the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be.<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> ——_—_——_——_+—_—___—_<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> —— ++<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> “9<br />  <br /> <br /> 64<br /> <br /> matter closely connected with the work of the<br /> Society. . : 8<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> ————__+—&gt;—_+—___—_<br /> <br /> THE PENSION FUND.<br /> <br /> —<br /> <br /> N January, the secretary of the Society<br /> I laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £16 fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> and the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £8. dk:<br /> Bocsl Loans. 2.6.0.6 boss chien 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ........ 291 19 11<br /> London and North-Western 3%<br /> <br /> Debenture Stock ............ 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates ........ 200 0 0<br /> Cape of Good Hope 34% Inscribed<br /> <br /> StOCk = 0.6, 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock .... 228 0 0<br /> New Zealand 34% Stock ....... 247 9 6<br /> Irish Land 23% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927—57 ..1......5.... 438 2 4<br /> Jamaica 34% Stock, 1919—49 .. 18218 6<br /> Mauritius 4% 1987 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ...... 198 3 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ,........ 0... -. 282 0 0<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value<br /> <br /> £ sd.<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........... 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares .........+. 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) ............ 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue... 80 0 0<br /> <br /> PENSION FUND.<br /> <br /> +<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> January 8, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913.<br /> <br /> April 8, Caulfield-Stoker, T. . ;<br /> June 12, Wimperis, Arthur . :<br /> June 16, Ballantyne, J. W.<br /> June 16, Thorold, Rupert<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : ; :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry :<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. .<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Novy. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> <br /> OR et Or<br /> <br /> MOCO COOOHO OOO OHOHOM<br /> coceoococooscoosooooooOF®<br /> <br /> OM Or Or OL OT OLS Or OLS<br /> <br /> Donations.<br /> <br /> 19138.<br /> April 2, Daniel, E. H. .<br /> April 2, Hain, H.M. . : :<br /> April 7, Taylor, Miss Susette M. .<br /> April 7, Harding, Newman . .<br /> April 9, Strachey, Miss Amabel_ .<br /> April 10, Aspinall, Algernon .<br /> <br /> ecocoeooo<br /> <br /> Arana<br /> oooooom<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> DH<br /> <br /> RON OOOO OO ON DN &amp; et OO Or OTe ee<br /> <br /> April 15, Craig, Gordon : .<br /> April, Robbins, Miss Alice . .<br /> June 12, Peel, Mrs. . :<br /> June 13, Barlow, Miss Hilaré .<br /> June 13, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert . :<br /> July 11, Broadbent, D. R. . :<br /> July 22, Cameron, Mrs. Charlotte .<br /> Sept. 29, Peacock, Mrs. F. M. :<br /> Sept. 30, Healy, Wallis : :<br /> Oct. 7, Darwin, Sir Francis . :<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetskoy, The Princess<br /> Oct. 27, Frankish, Harold :<br /> Oct. 30, Rossman, Miss . :<br /> Nov. 3, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce ‘<br /> <br /> Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elvington, Miss Helen<br /> Noy. 10, Waterbury, Mrs.<br /> <br /> _<br /> <br /> -_<br /> <br /> MOSS SOSOSHOMNON HEH COCO Eh<br /> pat<br /> <br /> SmMASSSSCORSOARGCOCCOCOOOCCO®<br /> <br /> —— a<br /> <br /> ComPpLETE List or ANNUAL SUBSCRIBERS.<br /> <br /> Ir is the custom of the Committee of<br /> Management of the Society to publish, once a<br /> year, the full list of subscribers to the Pension<br /> Fund. Owing to an oversight, the list was<br /> not published in the October issue. As from<br /> time to time members of the Society complain<br /> that the list doesn’t contain the names of<br /> many well-known authors, the Committee<br /> desire to point out that when the Fund was<br /> started and since its foundation, there have<br /> been many liberal donations by well-known<br /> authors, which donations have been chronicled<br /> from time to time in these columns. It does<br /> not follow, therefore, that because an author’s<br /> name is not down as an annual subscriber,<br /> that he has not on previous occasions been a<br /> liberal donor.<br /> <br /> i}<br /> <br /> AMonocnononkKH aoe.<br /> <br /> Abbott, The Rev. E.<br /> <br /> Acland, Mrs. C. D.<br /> <br /> Allen, Mrs. Grant .<br /> <br /> Anderson, Arthur<br /> <br /> Andrews, Miss C. C.<br /> <br /> Annesley, Miss M.<br /> <br /> Anonymous .<br /> <br /> Anonymous<br /> <br /> Armstrong, Frances<br /> <br /> Arnold, Mrs. J. O.<br /> <br /> Askew, Claude<br /> <br /> Avery, Harold. ; . :<br /> Baden-Powell, Miss ; : &gt;<br /> Bagnall, Miss L. T. :<br /> <br /> _<br /> <br /> —<br /> <br /> —_<br /> ecaccoooaococo®<br /> <br /> ecoeoorSoorooerth<br /> <br /> Baker, E. A. :<br /> Baldwin, Mrs. Alfred _.<br /> Ballantyne, J. W.<br /> Banks, Mrs. M. M.<br /> Barne, Miss M. C.<br /> Barnett, P. A.<br /> <br /> Barrie, Sir J. M.<br /> Barrington, Mrs. R.<br /> Bashford, H. H.<br /> <br /> Beale, Lady . :<br /> Bedford, Miss Jessie<br /> Begbie, Harold _.<br /> <br /> Bell, Lady . .<br /> Benecke, Miss Ida<br /> Benjamin, Lewis .<br /> Bennett, Arnold .<br /> Berkeley, Mrs. F.R.<br /> Blaikley, Miss Editha L.<br /> Bland, J.O.P. . :<br /> Bland, Mrs. Nesbit<br /> Blow, Frederick<br /> <br /> Bolton, Miss Anna<br /> Bond, R. Warwick<br /> Bosanquet, E. F. .<br /> Bowen, Miss Marjorie<br /> Bradshaw, Percy...<br /> Brandon, Miss D. .<br /> Breakell, Miss Mary 5<br /> Brend, C. Cunningham .<br /> Brinton, Selwyn<br /> Brodhurst, Spencer<br /> Broster, Miss D. K.<br /> Brown, R. Grant .<br /> Buchanan, Miss Meriel .<br /> Buckley, Reginald<br /> Budgen, Miss ;<br /> Bungey, E. Newton<br /> Burmester, Miss F.<br /> Burton, J. B. :<br /> Caillard, Miss E. M.<br /> Caine, William<br /> Calderon, George .<br /> Cannan, Gilbert<br /> <br /> Capes, Bernard<br /> <br /> Capes, Mrs. . :<br /> Carlyle, ‘Rev. A. J.<br /> <br /> Carr, Miss M. E. . :<br /> Caulfield, Kathleen M. .<br /> Caulfield-Stoker, T.<br /> ‘Channon, Mrs. Frances .<br /> <br /> Chase, Mr. and Mrs. L. N. -<br /> <br /> Chesterton, G. K.<br /> Child, Harold H. .<br /> Clifford, Lady<br /> Clifton, Mrs.<br /> Clodd, Edward .<br /> Clough, Miss B. A.<br /> <br /> . —<br /> SMSMSSSSSSSSSSSSOHSSOHMSSSSSSSSSOS OOH SH SCOOC OO OmMHHN HOS O OOOO CO OHOHm<br /> <br /> bt<br /> <br /> —<br /> <br /> _ ht<br /> SCOTKM NOH OCOAAAANAonaan<br /> <br /> _<br /> Aonra1onn<br /> <br /> ee<br /> cooorocso<br /> <br /> o&gt;<br /> Or<br /> <br /> MoooeoresoesooooacooacsososooSoOAaSoSoOORaSASSOAS OOOO OOOO ONO SOC OSC CSO O®<br />  <br /> <br /> <br /> 66 THE AUTHOR.<br /> <br /> Q<br /> <br /> Q<br /> SS SSS SO SS SBS OO SB OS SOS SSS SSS SSS SSSOSOAMSS SS SSS SSS SSOSSSSSSO.S S*<br /> <br /> jul<br /> aooocooooooeocoooscooaoooooosoooscooeoeoe:<br /> <br /> Freshfield, Douglas<br /> Fuller, Sir Bamfylde<br /> Galsworthy, John<br /> Garvice, Charles<br /> <br /> Gay, Mrs. Florence<br /> Geddes, Mrs,<br /> <br /> George, W. L.<br /> <br /> Gibb, A. :<br /> <br /> Gibson, Frank ;<br /> Gidley, Miss.E. C..<br /> Giles, Miss Edith J. F.<br /> Gilliat, The Rev. E.<br /> Gilson, Capt. Charles<br /> Glenconner, Lady<br /> Gonne, Capt, C.<br /> Gosse, Edmund<br /> Graham, Capt. Harry<br /> Graves, A. P. :<br /> Greig, James<br /> <br /> Gribble, Francis<br /> Grier, Miss Julia M.<br /> Griffin, Miss V. C.<br /> Grogan, W. E.<br /> Guthrie, Anstey<br /> Haggard, Mrs.<br /> <br /> Hain, H. M.<br /> <br /> Halford, F. M.<br /> Hamilton, Henry .<br /> Hands, Mrs. Morris :<br /> Hannay, The Rey. Canon J. O.<br /> <br /> mos<br /> <br /> ooo eH oreo HH oo oro &amp; Oe Oe<br /> <br /> Cohen, Mrs. Herbert ;<br /> Collier, The Hon. John .<br /> Colquhoun, A. R.<br /> Cooke, W. B.<br /> Cooper, Miss Marjorie<br /> Cotesworth, Miss L. E.<br /> Coulton, G. G. :<br /> Cox, Miss M. Roalfe<br /> Cromartie, Countess of .<br /> Crommelin, Miss May<br /> Crozier, Dr. J. Beattie<br /> Cuming, E. D.<br /> Curwen, Miss Maud<br /> Dailley, R. H. ;<br /> Dale, Miss Nellie .<br /> Darbishire, Otto .<br /> Davy, Mrs. E. M..<br /> Dawson, Forbes<br /> Dawson, Warrington<br /> De Brath, Stanley<br /> De Morgan, William<br /> Desborough, The Lerd .<br /> Dillon, Mrs. .<br /> Dixon, A. F.<br /> Dixon, Miss H. M.<br /> Dixon, W. Scarth<br /> Dobson, Austin<br /> Drake, Maurice F.<br /> Drummond, Miss F. :<br /> Dummelow, Rev. J. R..<br /> Dunsany, The Lord Harland, Mrs.<br /> Durand, Ralph —. Harraden, Miss B.<br /> Durand, The Right Hon. Sir Henzy Harris, Miss Jessie<br /> <br /> Mortimer . Harrison, Austin .<br /> Diiring, Mrs. Harrison, Mrs. Darent .<br /> Edgington, Miss May Haultain, Arnold .<br /> Ellis, Miss M. A. Hawkes-Cornock, Mrs. . é<br /> Escott, T. H. S. Hawkins, A. Hope : j ia<br /> Esmond, H. Vv. . Heath, Miss E. : :<br /> Eyre-Matcham, Mrs. Heath, Miss H.<br /> Fagan, J. B. Heath, Sidney<br /> Felkin, A.L. Hecht, Mrs. Arthur<br /> Felkin, The Hon. Mrs. Hedgecock, FOAL :<br /> Fenwick, Miss Sik. Heming, Lieut.-Col. D. :<br /> Festing, Miss Henderson, R. W. Wright .<br /> Fiamingo, Carlo. . Henley, Mrs. Z<br /> Field, The Rev. Claude . Hepburn Thomas<br /> Fieldhouse, Arthur Hills, Mrs. M. :<br /> Fitzgerald, Colin . Hitchens, Robert .<br /> Fitzgerald, Mrs. E. A. Hitchings, F. W. .<br /> Fleming, Mrs. A. D. Hollins, Miss D.<br /> Forbes, Lady Helen Holme, Miss.<br /> <br /> ‘at<br /> So<br /> one ooNneooc:<br /> <br /> _<br /> <br /> —_<br /> Oe = ON OF oOo<br /> <br /> Meer OOC OCC OCC OF OOrHSCOCOCSOHOFSOmK<br /> fon<br /> <br /> — ee<br /> <br /> o<br /> OunNnouwraww1c OS 1S Ct<br /> <br /> cCoocooconow<br /> bo Gt Or Or OTN OUD Or et Rt eR Or Or<br /> COMNSCOCCOCOCOHHONOHOSOSOOSOHOCONH OMI<br /> fool<br /> <br /> Oo<br /> <br /> fml<br /> ood Ho<br /> <br /> _<br /> <br /> <br /> <br /> CSOmMeOMNMOoOUNorFonannadauH<br /> <br /> —<br /> <br /> oroooooowmoororossooooorewownecore<br /> _<br /> Oe WOOO O OW OO RY Orr Or © Or Or<br /> <br /> COMKCNH NH OOOO SCORMRFrOUMSoOOC oF<br /> cosoceosoacooaososeooscsessesce<br /> <br /> Forrest, Sir G. W. 2 Holmes, Miss E. -<br /> Forrester, J. Cliffe 5 Hood, Miss Agnes J acomb 1 :<br /> Forster, R. H. 1 Hughes-Gibb, “Mrs. ‘ e<br /> Fox, A. Dd. : 5 Hutchinson, Rev. H. N.<br /> <br /> Francis, René 10 Hutton, Edward . :<br /> <br /> <br />  <br /> <br /> <br /> <br /> HOC.<br /> <br /> Inkster, C. L<br /> Jackson, €.S:<br /> James, Henry<br /> James, Miss S. Boucher<br /> Jane, i. Cecil<br /> Jerome, Jerome K.<br /> Jessup, A. E.<br /> <br /> Jones, Henry Arthur<br /> Jones, W. Braunston<br /> Keene, Mrs.<br /> <br /> Kelly, W. P. :<br /> Kennaway, Miss E.<br /> <br /> Kenny, Mrs. L. M. Stacpoole .<br /> <br /> Kersey; W.H. . . :<br /> Kilmarnock, The Lord .<br /> Kupling, Rudyard<br /> Kitcat, Mrs.<br /> <br /> Lambe, J. Laurence<br /> Larden, Walter<br /> <br /> Larken, E. P.<br /> <br /> Laurance, Lionel .<br /> Laws, T. C. . :<br /> <br /> Lee, Rev. Albert .<br /> Letts, Miss W. M. :<br /> Lewis, The Rev. Arthur.<br /> Lewis, T. C. :<br /> Liddle, S<br /> <br /> Lincoln, C. .<br /> <br /> Lion, Leon M. :<br /> Little, Mrs. Archibald<br /> Locke, W. J.<br /> <br /> Longe, Miss Julia .<br /> Lueas, E. V.<br /> <br /> Macdonald, Greville<br /> Mackenzie, Miss H.<br /> Macnamara, Margaret<br /> Macnaughton-Jones, Dr. H.<br /> Macpherson, J. F.. ;<br /> MacRitchie, David<br /> Madison, Miss G. R.<br /> Malcolm, Mrs. Ian<br /> Malet, Lucas :<br /> Mann, Mrs. Mary E.<br /> Maquarie, Arthur .<br /> Marchmont, A. W.<br /> Markino, Yoshio<br /> <br /> Marks, Mrs. M.. .<br /> Marriott, Charles .<br /> Martin, Miss Violet<br /> Masefield, John E.<br /> Matheson, Miss Annie<br /> McCormick, E. B.<br /> Meredith, Mark<br /> Middlemas, Miss Jean<br /> Miller, Mrs. .<br /> <br /> Miniken, Miss B. M. M.<br /> <br /> THE AUTHOR.<br /> <br /> HOSCCOSHH OSHS OONSCOSSOOOHHONNOSSOOH OOOO OOCOHH UMS OCOO OO OHH MOHNOOH<br /> <br /> me<br /> <br /> _<br /> <br /> od bot bee<br /> <br /> bh<br /> <br /> ht<br /> <br /> _ ee low<br /> MOOSCNSCAMOAH TH SON SOLO OTH OOOO OTOH RK OOOUN OOOH HK OMEN OO<br /> <br /> pen<br /> ouaunnotroonr<br /> <br /> cocooscoossoooaesesosessesescosesssoescsesessooscosoosceososeosooacoesoosescsoosoeo®<br /> <br /> Moffat, ‘Miss B.<br /> Montgomery, Miss K. i<br /> Montresor, Miss F. F.<br /> Morton, Michael<br /> Mulliken, Mrs. :<br /> Murdock, W. G. Barn.<br /> M. W. :<br /> Narramore, William<br /> Nembhard, Miss M.<br /> Newton, Miss A. M.<br /> Nicholls, F. C.<br /> Niven, Frederick .<br /> Northeote, The Rev. H<br /> O’Brien, Rev. G. E. :<br /> O’Donnell, Miss Petronella<br /> Orezy, Baroness :<br /> Osgood, Irene<br /> Owen, Charles :<br /> Pakington, Hon. Mary .<br /> Parr, Miss O. K. . ‘<br /> Parry, Sir Hubert<br /> Paull, H. M.<br /> Pearce, John<br /> Pearson, Mrs. Conny<br /> Pendered, Miss M. L.<br /> Pettigrew, W. F. .<br /> Phillipps-Wolley, C.<br /> Phillpotts, Eden<br /> Phipson, Miss Emma<br /> Pickthall, M. W.<br /> Pinero, Sir Arthur<br /> Plunkett, G. N., Count .<br /> Pollock, Miss E. . :<br /> Pollock, The Right<br /> Frederick, P.C. . :<br /> Pope, Miss Jessie .<br /> Portman, Lionel<br /> Prelooker, ad:<br /> Prideaux, Miss S. T.<br /> Probert, W. S.<br /> Pryor, Francis<br /> Punshon, E. R.<br /> Rawlings, Burford<br /> Rees, Miss R. :<br /> Reynolds, Mrs. Baillie<br /> Reynolds, Mrs. Fred<br /> Rhys, Ernest :<br /> Richardson, Mrs. A.<br /> Riley, Miss Josephine<br /> Rittenberg, Max<br /> Roberts, D. G.<br /> Roberts, Morley<br /> Roe, Mrs. Harcourt<br /> Romanes, Mrs.<br /> Ropes, A. R.<br /> Rorison, Miss E.<br /> <br /> ‘Rossetti, W. M.<br /> <br /> _<br /> SeOMNocoKooneoocorooooreooceooooooroorroch<br /> <br /> Hon.<br /> <br /> Ceormrococooocoooooorw oe eH eH OH OHM<br /> <br /> a<br /> <br /> _ _<br /> HOSS OH SON O&amp;O &amp; Or Or Ot OS HH Ot OS &amp; OF Or OF OU OU Ot OU et Or ts<br /> <br /> —_ Lal<br /> <br /> —<br /> <br /> te<br /> <br /> 7<br /> oS<br /> <br /> _<br /> AoAanraoanrnawie ake Onc uae<br /> <br /> Sete<br /> aaEKtoce<br /> <br /> oD<br /> J<br /> <br /> eoococeocoooacecsooooooroo Sceooaecsoeseoooscsesesescosaceoosseesescoooe<br />  <br /> <br /> 68<br /> <br /> Rotherstein, A. D.<br /> Rumble, Mrs.<br /> <br /> Russell, G. H.<br /> <br /> Rutter, Frank<br /> <br /> Sabatini, Raphael<br /> <br /> Saies, Mrs. . :<br /> Salmond, Mrs. .<br /> Salter, Miss E. K.<br /> Salway, Reginald .<br /> Sanders, Miss E. K.<br /> Schwartz, Prof. E. H.<br /> Scott, G. Forrester<br /> Scott, Mrs. C.<br /> <br /> Seaman, Owen<br /> Sedgwick, Prof. A.<br /> Sedgwick, W. : 2<br /> Selincourt, Mrs. Basil de<br /> Sergeant, Miss Constance<br /> Seton-Karr, H. W.<br /> Sharp, Miss E.<br /> <br /> Shaw, Fred G.<br /> <br /> Shaw, Mrs. Bernard<br /> Shepherd, George H.<br /> Shera, Miss B. M.<br /> Sherwood, Miss A.<br /> Shiers-Mason, Mrs.<br /> Shipley, Miss Mary<br /> Simpson, Miss Gaynor .<br /> Simpson, W. J. .<br /> Sinclair, Miss Edith<br /> Sinclair, Miss May<br /> Skrine, Mrs. J. H..<br /> Skrine, Rev. J. H.<br /> Slaughter, Miss F.<br /> Smith, Bertram<br /> Smythe, A. .<br /> Snell, Miss Olive<br /> Somers, John : :<br /> Somerville, Miss E. Ck. .<br /> Speed, Lancelot<br /> <br /> Spens, A. B.<br /> <br /> Spiers, Victor :<br /> Sproston, Samuel, Junr.<br /> Spurrell, Herbert . ‘<br /> Stanton, Miss H. M. E. .<br /> Stawell, Mrs. R. :<br /> Stayton, Frank<br /> <br /> Stein, Sir M. Aurel<br /> Steveni, W. Barnes :<br /> Stewart, J. C. McDougal<br /> Stockley, Mrs. ‘ ‘<br /> Stott, M. D. :<br /> Sturt, Geo... ;<br /> Sullivan, Herbert .<br /> Summers, J. ‘ ‘<br /> Sutherland, The Duchess of<br /> Sutro, Alfred.<br /> <br /> THE AUTHOR.<br /> <br /> £<br /> <br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> <br /> 0<br /> 0<br /> 0<br /> 0<br /> 1<br /> 1<br /> 1<br /> 0<br /> 0<br /> 0<br /> i<br /> 0<br /> 3<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 2<br /> 0<br /> 1<br /> 0<br /> 5<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 1<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 1<br /> 0<br /> 1<br /> 0<br /> 2<br /> 2<br /> <br /> ~D<br /> <br /> f=<br /> or Or OF OF O OF OT OL OL OL GT OTT<br /> <br /> Or O &amp; Ore Or or Ore<br /> <br /> I —<br /> eH or or O Or Or OF 01 O OF OD ON SO Or Or Or Or<br /> <br /> _<br /> <br /> _<br /> DD Oe Oe SO Orr O OVS OV<br /> <br /> Q<br /> <br /> oo eee Seo esses ooaccoesssasoosoosssoosessonecs**<br /> <br /> Taylor, Mrs. Basil.<br /> Tearle, Christian . ;<br /> Teixeira-de-Mattos, Alex<br /> Tharp, Robt. C. . :<br /> Thomson, Lieut.-Col. J..<br /> Thurston, E. Temple<br /> Todd, Miss Margaret, M.D.<br /> Todhunter, Dr. J. :<br /> Toynbee, Paget<br /> Toynbee, William<br /> Travers, Miss Rosalind .<br /> Trench, Herbert<br /> Trevelyan, G. M. .<br /> Trevor, Major P. .<br /> Truman, Miss Olivia<br /> Tuckett, F. F. :<br /> Turner, G. F. é<br /> Turner, Reginald .<br /> Tuttiett, Miss M. G.<br /> Twycross, Miss M.<br /> Tyrrell, Miss Eleanor<br /> Underdown, Miss E.<br /> Vachell, H. A.<br /> <br /> Vacher, Francis<br /> Vernede, R. E.. .<br /> <br /> Von Holst, Gustav<br /> Voynich, Mrs. E.L. .<br /> Waldstein, Sir Charles .<br /> Walkley, T. . ; :<br /> Walshe, Douglas .<br /> Ward, Mrs. Humphry.<br /> <br /> Ward, The Rev. F. W. Orde .<br /> <br /> Warden, Miss Gertrude .<br /> Watt, A. P.. Z :<br /> Weaver, Mrs. Baillie<br /> Weston, Miss J. L.<br /> Westrup, Miss M. .<br /> Weyman, Stanley J.<br /> Wheelhouse, Mrs. . :<br /> Whishaw, Mrs. Bernhard<br /> Whiteing, Richard<br /> Willard, Mrs. ‘<br /> Williams, W. Wynn<br /> Wills, The Rev. Freeman<br /> Wilton, Margaret W.<br /> Wimperis,.Arthur<br /> <br /> Winchelsea, The Countess of .<br /> <br /> Woods, Miss Mary A..<br /> Worsley, Miss A. .<br /> Wright, E. Fondi .<br /> Wynne, Miss May<br /> Yolland, Miss E. .<br /> Young, Ernest<br /> <br /> OK<br /> <br /> HMOOH NOH OH HOH OOCOOOHOHHUSOON SH<br /> <br /> (oer oocooee cero osc oueceroeoso<br /> <br /> aw<br /> <br /> put<br /> Ce OnNwon oy,<br /> <br /> _<br /> <br /> a<br /> Me HOM OT HH OAH OM O OUMNH S<br /> <br /> _<br /> <br /> ~<br /> <br /> bt et<br /> NOAA TNOM AHH ODMAMOMMOH AMON<br /> <br /> <br /> <br /> &amp;<br /> <br /> a ee esc e seco o coe o ooo sooooosoosesoSSssoeeee**<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> COMMITTEE NOTES.<br /> <br /> aed<br /> <br /> HE Committee of Management held their<br /> November meeting on Monday, Novem-<br /> ber 8, at 1, Central Buildings, Tothill<br /> <br /> Street. After the reading of the minutes of the<br /> previous meeting, the committee proceeded<br /> with the election of members and associates.<br /> They are glad to record the election of thirty-<br /> eight members and associates. The full list<br /> appears elsewhere. The total elections for the<br /> year number 315. The committee accepted,<br /> with regret, three resignations.<br /> <br /> The solicitors reported on the cases passing<br /> <br /> through their hands during the month.<br /> <br /> In a ease of breach of agreement by a pub-<br /> <br /> lisher, the matter had been settled when the<br /> solicitors of the Society had given notice of an<br /> injunction. In the second case, against the<br /> proprietor of a magazine, the amount and costs<br /> paid into court had been accepted, and the<br /> matter was ended satisfactorily for the author.<br /> In two claims against a music publisher, the<br /> accounts had been delivered and the moneys<br /> paid. In a case against a magazine, an agreed<br /> sum had been paid and handed over to the<br /> author. There were two very small cases in<br /> which arrangements had been made for pay-<br /> ment by instalments. This statement will<br /> show that many of the cases open from the<br /> former month have now been closed. The<br /> solicitor reported on a serious question which<br /> had been mentioned at the former meeting,<br /> where a publisher had refused facilities for<br /> vouching his accounts. The publisher had<br /> 2 since withdrawn his objection, and the solicitor<br /> VE was instructed to see that the accounts were<br /> &#039;y duly vouched. Two cases were reported in<br /> ‘+ which no final decision had been arrived at.<br /> One related to the infringement of authors’<br /> rights in America, and the other dealt with<br /> the rights of publication in England. The<br /> solicitor explained that it was necessary to wait<br /> for fuller information before any practical<br /> decision could be come to, and the matters<br /> were accordingly adjourned to the next<br /> meeting.<br /> <br /> A dispute between a member of the Society<br /> and her publisher respecting the publication<br /> of a book was fully discussed by the committee.<br /> The solicitor explained the details. The<br /> committee regretted that it was impossible to<br /> take any further steps than those which had<br /> already been taken, and instructed the solicitor<br /> that the member concerned should be informed<br /> of this decision. The last case mentioned by<br /> the solicitors was a dispute between author and<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 69<br /> <br /> publisher as to the fulfilment of a contract<br /> commissioned by the publisher. After full<br /> consideration of the evidence, the committee<br /> decided it was not possible to proceed further,<br /> as it appeared that the author had no ground<br /> of action.<br /> <br /> The secretary then reported one or two cases<br /> in his hands.<br /> <br /> He stated that an action for infringement of<br /> dramatic copyright in Winnipeg had_ been<br /> settled, and the author had offered to pay the<br /> Society’s expenses. The committee thanked<br /> the author for his generous acknowledgement<br /> of the Society’s work by the offer that he<br /> had made. A serious question of alleged<br /> infringement of dramatic copyright came<br /> before the committee, and after due considera-<br /> tion it was decided to give the member all<br /> possible assistance and to guarantee a sum<br /> towards counsel’s fees on certain conditions<br /> laid down by the committee. The next four<br /> eases related to complaints in America and<br /> Canada. In the first, against a dramatic<br /> agent, the secretary was empowered, if he did<br /> not receive satisfaction, to place the matter into<br /> the hands of the Society’s American lawyers.<br /> <br /> The second, against an American magazine<br /> for breach of an author’s rights, it was decided<br /> to place into the hands of the Society’s Ameri-<br /> can lawyers immediately. In the third case<br /> the secretary reported that a_ satisfactory<br /> arrangement had been made by the American<br /> publishers for the payment of the debt by<br /> instalments each month, which arrangement<br /> had been accepted by the author. In the<br /> fourth case—against a Canadian publisher—<br /> the secretary was instructed to place the matter<br /> in the hands of the Society’s lawyers in Toronto,<br /> <br /> A case against an English publisher con-<br /> cerning an agreement was discussed at full<br /> length, and the committee decided to instruct<br /> the Society’s lawyers to proceed, as it appeared<br /> to them that the agreement was wholly unfair<br /> and unreasonable. The secretary reported<br /> that, during the past month, on the authority<br /> of the chairman, an important case had been<br /> placed before counsel with reference to<br /> dramatic contracts, cinematograph rights, and<br /> international law. The committee confirmed<br /> the action taken. Another case, referring to<br /> the infringement of rights in Australia was<br /> deferred for further consideration.<br /> <br /> Counsel’s opinion bearing on a difficult<br /> question of mechanical rights in Germany was<br /> placed before the committee. As that opinion<br /> was in favour of the member, it was decided to<br /> accept counsel’s advice and to commence<br /> action.<br /> <br /> <br />  <br /> <br /> 70<br /> <br /> Lastly, the secretary was instructed to write<br /> to a publisher with reference to the alleged<br /> publication of an author’s books contrary to<br /> an existing agreement, and to ask for an exX-<br /> planation from the publisher.<br /> <br /> The committee then proceeded to consider<br /> the question of the appointment of their<br /> nominees for the committee election at the end<br /> of the year. The names will appear in The<br /> Author in accordance with the Articles of<br /> Association. :<br /> <br /> The secretary reported on the question of<br /> the appointment of nominees to mect the<br /> Societies of Composers with a view to obtaining<br /> their adhesion to the Society of Authors. At<br /> the suggestion of the Composers’ Sub-Com-<br /> mittee, Mr. Cecil Forsyth was elected a<br /> delegate, and Mr. Stanley Leathes was<br /> suggested as a second delegate to accompany<br /> Mr. Forsyth. Failing him, the secretary was<br /> instructed, in conjunction with the chairman,<br /> to choose some other member, and when the<br /> delegates had been finally settled to make<br /> arrangements to meet the Society of British<br /> Composers or any other Society acting for<br /> composers.<br /> <br /> The proposals put forward by the com-<br /> mittee in the matter of the banning of books<br /> by the libraries and referred back to that body<br /> next came forward for consideration. Mr.<br /> Maurice Hewlett kindly attended, and put<br /> before the committee one or two important<br /> points. The matter was then discussed at<br /> great length, and all the points raised by the<br /> Council were fully considered. The committee<br /> decided, after careful deliberation, to abandon<br /> the proposal which had been made to call a<br /> conference, as such proposals appeared con-<br /> trary to the desires and wishes of the Council<br /> of the Society.<br /> <br /> A draft circular respecting the Collection<br /> Bureau, which the committee propose to issue,<br /> was left for settlement between the chairman<br /> and the secretary. It will be sent to all<br /> members of the Society in due course.<br /> <br /> A royalty agreement was finally settled,<br /> subject to one small question which it was<br /> decided to refer to the solicitors of the Society.<br /> The agreement is now ready for those members<br /> who desire a copy. The question of the dinner<br /> guests was left to the chairman and ‘secretary.<br /> <br /> A proposition to bring the Society’s work to<br /> the notice of the younger members of the pro-<br /> fession was considered, and the secretary was<br /> instructed to make arrangements with a view<br /> to obtaining their names and addresses if<br /> <br /> ossible.<br /> <br /> The Publishers’ Association drew the atten-<br /> <br /> THER AUTHOR.<br /> <br /> tion of the committee to the Copyright Bill now<br /> before the Indian Legislative Council, with<br /> special reference to the Clause dealing with<br /> translation rights. It was decided to act with<br /> the Publishers’ Association, with a view to<br /> strengthening the rights of translators, and, if<br /> possible, to obtain for authors the same rights<br /> over their translation as are enjoyed under the<br /> Berne Convention.<br /> <br /> Certain letters from members were placed<br /> before the committee and the secretary was<br /> instructed to answer those that required<br /> answering.<br /> <br /> Two matters—loans to authors on contracts,<br /> and the International Gathering of Authors at<br /> San Francisco, 1915—were adjourned to the<br /> next meeting.<br /> <br /> The committee thanked Miss Annesley<br /> Kenealy for a donation of £1 1s. towards the<br /> Capital Fund of the Society.<br /> <br /> <br /> <br /> DRAMATIC SuB-COMMITTEE.<br /> <br /> A MEETING of the Dramatic Sub-Committee<br /> was held at the offices of the Society on Friday,<br /> November 21, at three o’clock.<br /> <br /> After reading the minutes certain dramatic<br /> cages were considered. In the first case the<br /> secretary reported the action the Committee<br /> of Management had taken on the sub-<br /> committee’s recommendation, and he was<br /> instructed to try to obtain further witnesses<br /> for the plaintiff. Consideration of the second<br /> case—an infringement of copyright—was<br /> adjourned as the report necessary to lay before<br /> the sub-committee had not been received by<br /> the secretary. The third case, which raised<br /> the question of cinematograph reproduction,<br /> was fully discussed, but the sub-committee<br /> considered that, at present, any action would<br /> be premature, as the member concerned had<br /> no clear evidence to lay before the sub-<br /> committee that action had been taken against;<br /> him. The sub-committee decided to re-<br /> consider the case should the member’s fears<br /> be realised that his rights were being challenged.<br /> <br /> The question of providing powers of attor-<br /> ney in favour of lawyers in foreign countries<br /> to assist the Society in stopping infringements,<br /> which had been raised at the former meeting,<br /> was discussed, and it was decided, with the<br /> approval of the Committee of Management, to<br /> obtain powers of attorney which could be sent<br /> out with a carefully worded covering letter<br /> conveying the information that the . powers<br /> were not to be acted upon until cabled<br /> instructions were given from the Society’s<br /> office.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 71<br /> <br /> The secretary placed before the sub-com-<br /> mittee an agreement which had been submitted<br /> to certain members of the Society, and it was<br /> decided, with the approval of the Committee<br /> of Management, that an article should be<br /> published in The Author on the terms of this<br /> agreement.<br /> <br /> The sub-committee regretted that the<br /> delegates from the Dramatic Clubs Association<br /> were unable to attend the meeting, but they<br /> discussed the resolutions that had been<br /> submitted to them, and the secretary was<br /> instructed to draft and to forward a reply.<br /> <br /> As the sub-committee understood from the<br /> Society of West End Managers that it was<br /> impossible to call a meeting at the present<br /> time, owing to the absence of Sir George<br /> Alexander, one of the delegates, the matter<br /> was adjourned pending the receipt of a further<br /> communication from the Society.<br /> <br /> The secretary was instructed to write to the<br /> members of the sub-committee in regard to<br /> <br /> the election of the sub-committee for 1914.<br /> <br /> The sub-committee decided to appoint their<br /> nominees at the December meeting to be held<br /> on the 19th of that month.<br /> <br /> ES OPES<br /> <br /> Composers’ Sup-CoMMITTEE.<br /> <br /> Tue November meeting of the Composers’<br /> Sub-Committee was held at the offices of the<br /> Society, 1, Central Buildings, Tothill Street,<br /> Westminster, S.W.<br /> <br /> After reading the minutes of the pre-<br /> vious meeting, the secretary reported that<br /> the Committee of Management had confirmed<br /> the appointment of Mr. Cecil Forsyth as a<br /> delegate to meet the Society of British Com-<br /> posers with a view to conferring with that<br /> Society as to the best means of drawing into<br /> the Society of Authors, Composers not members<br /> of any existing Societies. He reported also<br /> that the Committee of Management had<br /> appointed Mr. Stanley Leathes to act with Mr.<br /> Forsyth, and that Mr. Leathes had expressed<br /> his willingness to serve. It was decided that<br /> the two delegates should meet at the Society’s<br /> office in order to discuss the preliminary steps<br /> to be taken.<br /> <br /> The sub-committee then considered a para-<br /> graph to be inserted in the papers calling the<br /> attention of composers to the work the Society<br /> was willing to undertake on their behalf, and<br /> inviting them to join its ranks. Mr. Forsyth<br /> agreed to draft the paragraph according to the<br /> sub-committee’s wishes. It was decided that<br /> the paragraph, when drafted, should be sent to<br /> <br /> all the members of the sub-committee, and,<br /> when finally approved, inserted in the papers.<br /> <br /> Letters from the Ammre and _ the<br /> Société des Auteurs et Compositeurs, referring<br /> to the collection of mechanical instrument fees,<br /> were read. The consideration of the letter<br /> from the Ammre was adjourned. It was<br /> decided to accept the invitation contained in<br /> the letter from the Société des Auteurs et<br /> Compositeurs to send a representative to<br /> discuss the matter with the secretary of that<br /> Society, in the event of enquiries which the<br /> Society of Authors had already instituted<br /> producing no satisfactory result.<br /> <br /> The attention of the sub-committee having<br /> been called to the fact that stamps affixed to<br /> records under the Mechanical Instrument<br /> Clauses of the Copyright Act very often fell<br /> off the records when in the hands of the retailers,<br /> it was decided to collect all possible evidence<br /> on the matter, and to bring it to the notice of<br /> the Board of Trade.<br /> <br /> The prospectus of the Copyright Protection<br /> Society was considered by the sub-committee,<br /> The secretary was instructed to draft an article<br /> dealing with the Prospectus and to submit it to<br /> the members at their next meeting, when the<br /> article, as well as the position of composers in<br /> relation to that Society, would be re-discussed.<br /> <br /> A letter from Mr. J. B. McEwen was received<br /> by the sub-committee, in which Mr. McEwen<br /> regretted he was forced to resign owing to his<br /> inability to attend the meetings. The resigna-<br /> tion was accepted with regret.<br /> <br /> pep<br /> <br /> Cases.<br /> <br /> THE even roll of cases goes on from month<br /> to month. In spite of the monotony of the<br /> proceeding, they are chronicled in order that<br /> members may see the steady work the Society<br /> continues to perform on their behalf. To some,<br /> this chronicle may appear of little importance,<br /> but this is not so; all members should have<br /> an opportunity of seeing that the work is<br /> carefully and accurately attended to.<br /> <br /> The cases during the past month in the<br /> secretary’s hands number twenty-one, and<br /> there has been a considerable increase. in the<br /> number of those in foreign countries. We<br /> chronicle five claims for the return of MSS. ;<br /> one of these lies in the United States, another<br /> in South Africa. It has not, of course, been<br /> possible to complete these two within the<br /> month. In two other cases, the MSS. have<br /> been returned and forwarded to the authors.<br /> In the final case, as the Society could not<br />  <br /> <br /> responsible f<br /> <br /> all of which have<br /> Following this<br /> <br /> for money ;<br /> <br /> into the han<br /> <br /> on agreements.<br /> considerable amoun<br /> negotiations are being<br /> <br /> referring to t<br /> by degrees, as t<br /> <br /> on fixed dates.<br /> <br /> Bagley, Miss L. .<br /> Bentley, Edmund Cleri-<br /> <br /> ‘<br /> <br /> Bridges, Robert .<br /> Burdett, Osbert .<br /> <br /> Calthrop, Dion Clayton<br /> Carter, Huntly .<br /> <br /> THE AUTHOR.<br /> <br /> in the courtesy of a reply, formal notice<br /> es to the lier that he would be held<br /> or any wrongful use of the MSS.<br /> There have been three claims for accounts,<br /> been successfully dealt with.<br /> there have been six claims<br /> f these have been transferred<br /> ds of the Society’s solicitors ; one<br /> has been settled and the money has been<br /> forwarded to the author ;<br /> so far that a definite date has been fixed for<br /> payment, and the last ha<br /> to the office. :<br /> There have been two claims for accounts and<br /> money, one of these lies in the United States,<br /> the other has been satisfactorily ended.<br /> estions arising<br /> copyright are bei<br /> <br /> one has been settled<br /> <br /> s only recently come<br /> <br /> from infringements of<br /> <br /> ng dealt with. One in<br /> Austria is in course of negotiation. It is hoped<br /> that the remaining one in England will be<br /> settled shortly.<br /> <br /> There were three cases arising from disputes<br /> These involve necessarily a<br /> t of correspondence, and<br /> carried on in two cases,<br /> while the third has only recently come to hand.<br /> <br /> The cases from former months are being<br /> closed up. One with a literary agent<br /> he return of MSS. is being settled<br /> he agent has to call in the MSS.<br /> that have been sent out to editors. There will<br /> be no difficulty.<br /> <br /> There is a claim for money from the United<br /> States, and this is being settled by payments<br /> Two instalments have already<br /> <br /> A third case dealing with a dispute over an<br /> agreement is still in the course of negotiation.<br /> The remaining cases have been settled, save<br /> those which had to be transferred to the<br /> Society’s lawyers.<br /> <br /> —— 4 —<br /> <br /> November Elections.<br /> Bagenol, Miss Violet E. Benekerry, Carlow,<br /> <br /> Ireland.<br /> <br /> Rock Bank, Whaley<br /> Bridge.<br /> <br /> 28, Lymington Road<br /> N.W<br /> <br /> Chilswell, Oxford.<br /> <br /> Shotwick, Vernon<br /> Road, Bushey,<br /> Herts.<br /> <br /> 7, Oakwood Court,<br /> Kensington, W..:<br /> Waverton Street,<br /> <br /> Mayfair.<br /> <br /> Clarke, Madame Emilie<br /> <br /> Down, W. Oliphant<br /> <br /> Elrington, Helen<br /> <br /> Foy, Slieve.<br /> <br /> Garland, A. P.<br /> <br /> Grogan, Gerald<br /> <br /> Hadath, Gunby, M.A.<br /> <br /> -Hemmerde,<br /> <br /> Hendley, Mrs.<br /> (I. E. Dawson)<br /> <br /> Hill, Walter (Adelphos)<br /> <br /> Howell, T. Francis<br /> <br /> Lancaster, G. B.<br /> <br /> Lang, Mrs. John<br /> <br /> Lauzerte Raymond<br /> <br /> Lawson, Lucy S. .<br /> <br /> Lounsbery, G. Constant<br /> <br /> Lulham, P. Habberton<br /> <br /> Mackenzie, Compton<br /> Nellen, Amy E. .<br /> Norton, Robert Doug-<br /> Peterson, Miss Margaret<br /> Roberts, Helen C.<br /> Robertson, H. R.<br /> Russell, E. 8.<br /> <br /> Sarmento, Vicomte de<br /> <br /> Steane, Bruce<br /> <br /> <br /> <br /> 24, Biddulph Man-<br /> sions, Maida Vale,<br /> W.<br /> <br /> Elmcroft, Gilling-<br /> ham, Dorset.<br /> <br /> 6, Eaton Square<br /> Monkstown, Co,<br /> Dublin.<br /> <br /> 70, Danecroft Road<br /> Herne Hill,<br /> <br /> S.E.<br /> Toorvagh, St. An-<br /> drews, N.B.<br /> <br /> 12, Hallam Street,<br /> W.<br /> <br /> 4, Loudoun Road,<br /> N.W.<br /> <br /> Trafalgar House,<br /> Leeds.<br /> <br /> 22, Stafford Terrace,<br /> Kensington, W.<br /> C/o. Bank of New<br /> Zealand, London.<br /> 2, Salisbury Road,<br /> <br /> Edinburgh.<br /> <br /> 14, St. James’s Place,<br /> S.W.<br /> <br /> 254, Albion Road,<br /> Stoke Newington,<br /> N.<br /> <br /> 18, Rue Boissonade,<br /> Paris.<br /> <br /> 11, Prince Albert<br /> Street, Brigh-<br /> ton.<br /> <br /> La Caterola, Capri,<br /> Italy.<br /> <br /> 9, Clifton Road,<br /> Brighton.<br /> <br /> Argyll House, Chel-<br /> sea.<br /> <br /> 3, Markham Square,<br /> Chelsea, S.W.<br /> <br /> Tudor Lodge, Wor-<br /> thing, Sussex.<br /> <br /> 1, Steele’s Studios,<br /> N.W.<br /> <br /> Bryan’s Ground,<br /> Presteign, Rads.<br /> <br /> Lisbon.<br /> <br /> ‘Prospect House,”<br /> <br /> Sundridge, Seven- _<br /> <br /> oaks Kent.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Taylor, G. R. Stirling . 1, Pump Court,<br /> Temple, E.C.<br /> <br /> Spondon, Derby.<br /> <br /> Volta House, Wind-<br /> mill Hill, Hamp-<br /> stead, N.W.<br /> <br /> Minsmere, Dunwich,<br /> Suffolk.<br /> <br /> Topham, Miss Anne .,<br /> Wanklyn, William Mce-<br /> Connel.<br /> <br /> Webb, W. Trego.<br /> <br /> ee<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> <br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate. .<br /> ART.<br /> <br /> Tue Art or Borricenii1. An Essay in Pictorial Criticism.<br /> By Laurence Bixyon. 144 x 104. 167 pp. Twenty-<br /> three Plates. Macmillan. £12 12s. n.<br /> <br /> Tue Arts anp Crarts or INDIA AND CEYLON. By<br /> Ananpa K. Coomaraswamy. 8 x 53. 252 pp. Foulis,<br /> 6s. n.<br /> <br /> BIOGRAPHY.<br /> <br /> Lapy Hester LucySrannorn. By ¥.Hamer. 9} x 6}<br /> 348 pp. Cassell. 15s. n.<br /> <br /> A Book or Ducuzsszs. By<br /> Auice E. Rossrys. Melrose.<br /> 10s. 6d. n.<br /> <br /> Tae Lire or Firorence Nicutincatz. By E. T. Coox.<br /> Two Vols. 9 x 53. xxxi.+507+ 510 pp. Mac-<br /> millan. 30s. n.<br /> <br /> Twenty-Five YEARS’ REMINISCENCES.<br /> Tynan (Mrs. H. A. Hinkson). 9 x 53. 355 pp.<br /> Smith, Elder. 10s. 6d. n.<br /> <br /> My. ReEcotuections aND REFLECTIONS. Written and<br /> Illustrated by Yosuto Marxrno. 73 x 5. 262 pp.<br /> Chatto and Windus. 6s. n.<br /> <br /> Tax Beavtirut Lapy Craven. The Original Memoirs of<br /> Elizabeth Baroness Craven, afterwards Margravine of<br /> Anspach and Bayreuth and Princess Berkeley of the<br /> Holy Roman Empire (1750—1828). Edited by A. M.<br /> Broapiey and Lewis Metvitte. Two Vols. 8} x 5h.<br /> exliii. + 141 + 306 pp. Lane. 25s. n.<br /> <br /> ANDREW Jamuson, LoRD ARDWALL. By J. Bucwan.<br /> 7% Xx 5. 155 pp. Blackwood. 38. 6d. n.<br /> <br /> Tau Story or THE NorTHuMBRIAN SAINTS. By Exiza-<br /> Birth W. Grierson. 8 x 6. 131 pp. Mowbray.<br /> 28. 6d. n.<br /> <br /> Gotpwin Smita. His Life and Opinions. By A. Havt-<br /> TAIN. 9 X 52. 304 pp. Werner Laurie. 18s. n.<br /> <br /> Ganrie, Harvey’s Marornaia. Collected and Edited<br /> by G. C. Moorr Smrru. 94 x 6. xvi. + 327 pp.<br /> Shakespeare Head Press. 16s. n.<br /> <br /> Curistins or DENMARK. Duchess of Milan and Lorraine,<br /> 1522—1590. By Juria Cartwricut (Mrs. Ady).<br /> 9 x 5}. 562 pp. Murray. 18s, n.<br /> <br /> BOOKS FOR THE YOUNG;<br /> <br /> Warty: A Wurtz Pupry. By Mrs. Ernest AMES.<br /> 8 x 8. Duckworth. 1s. n.<br /> <br /> Studies in Personality.<br /> 9 x 54. 339 pp.<br /> <br /> By KatHARINE<br /> <br /> 73<br /> <br /> Boy Kryes anp Grrt QuEENs. By H. E. Marswaup<br /> 83 x 53. 467 pp. Grafton. 5s. n.<br /> <br /> THE Bree Story AND Ts TEACHING FOR CHILDREN. By<br /> Baroness Frepa Dr Kwnoop. 82 x 64. 392 pp.<br /> Dent. 6s. n.<br /> <br /> THE WIND IN THE WILLows. By Kenneruo GRAHAME,<br /> Illustrated by G. P. Bransom. 72 X 6. 302 pp.<br /> Methuen. 7s. 6d. n.<br /> <br /> THE CAMPBELLS oF ARGYLL. By<br /> 144 pp. Nelson. Is.<br /> <br /> THe Great Arrsutp. A Tale of Adventure. By CapPrain<br /> F.S. Brereton. 73 x 5}. 360 pp. Blackie. 5s.<br /> SERGEANT Sixx. The Prairie Scout. By R. Leteuton.<br /> <br /> 7% xX 5. 239 pp. Jarrold. 2s. 6d.<br /> <br /> Masterman’s Mistake. By Tuomas Coss.<br /> 240 pp. Wells Gardner. 2s,<br /> <br /> Brrp Cay. By H. Dr Vere Sracpoors.<br /> <br /> 316 pp. Wells Gardner. 5s. n.<br /> <br /> Kine or Ranxeicu. A School Story. By Carrarn F. 8.<br /> BRERETON. 8} x 53. 416 pp. Partridge. 6s.<br /> <br /> Rover: Tur Story or a Doc. 96 pp. A Lrrrie<br /> Norman Map. 96 pp. Our Great ADVENTURE.<br /> 96 pp. Brave Mareer. 96 pp. &lt;A Srrrcn rm Tre.<br /> 96 pp. CERDIC THE Saxon. 96 pp. (The Children’s<br /> Hour.) Edited by Herserr Srranc. Frowde and<br /> Hodder and Stoughton. 1s. n. each.<br /> <br /> Princess Bapours. A Tale from the Arabian Nights.<br /> Retold by Laurence Housman. [Illustrated by E.<br /> Dutac. 10} x 74. 113 pp. Hodder and Stoughton.<br /> 10s. 6d. n.<br /> <br /> Derrick Ormn’s Scoot Days. By Epriru C. Kenyon.<br /> 8 x 54. 382 pp. R.T.S. 35. 6d.<br /> <br /> HEROES oF THE EvRopEAN Nations. By A. RB. Hopz<br /> Moncreirr. 7} x 5}. 194 pp. Blackie. 2s. 6d.<br /> <br /> Wir Hunter, TRAPPER, AND ScouT IN CAMP AND FIELD.<br /> Edited by A.H.Mimms. 8 x 53. 382pp. Holdenand<br /> Hardingham. 5s.<br /> <br /> Tue Story or AncELIna Wacks. By Mrs. CuayTon<br /> Patmer. Illustrated by Sypm Baruam. 8} x 63.<br /> 71 pp. Wells Gardner. 2s. 6d. n.<br /> <br /> My Boox anout THE Post OFFICE.<br /> Illustrated by T. Somerriexp.<br /> Blackie. 1s. 6d.<br /> <br /> STORIES FROM THE BILE.<br /> Wutson. Illustrated by A.<br /> Blackie. 3s. 6d.<br /> <br /> Buacxre’s Porputar Nursery Ruymas. Illustrated by<br /> JoHN Hassatt. 10} x 8. Blackie. 2s. 6d.<br /> <br /> Buackre’s YELLow Picture-Book or Nursery RuyMEs.<br /> Illustrated by Joun Hassan, 101 x 8. Blackie.<br /> ls. 6d.<br /> <br /> Just so Srorrms. For Little Children. By Rupyarp<br /> Kretine. With Illustrations by the Author and<br /> Coloured Plates by J. M. Gurmson. 94 x 7. 249 pp.<br /> Macmillan. 6s.<br /> <br /> Heimer anp Cowz. Stories of Monastic and Military<br /> Orders. By W.M.Lurts and M.F.S.Lerrs. 11 x 83.<br /> 121 pp. Wells Gardner. 5s. n.<br /> <br /> Hitpa’s Exprrtences. By May Batpwin. 7} x 54.<br /> 386 pp. Chambers. 5s.<br /> <br /> CHRISTINE, THE Hucurnot. By Enpitn ©. Kanyon.<br /> 8 x 54. 31lpp. R.T.S. 3s. 6d.<br /> <br /> Tue Daveuter or THE Manor. By Katuarine TYNAN.<br /> 7% x 5. 400 pp. Blackie. 6s.<br /> <br /> Cousins in Camp. A Lakeland Tale.<br /> Witson - Wirson. 7} X 5.<br /> 2s. 6d.<br /> <br /> Tom Kenyon, Scnootpoy. By M. Harpine KELLY.<br /> 7%} x 5. 320 pp. R.T.S. Is. 6d.<br /> <br /> Moruzr Goosz. The Old Nursery Rhymes.<br /> by A. Racxnam. 8} x 6.<br /> 68. n.<br /> <br /> Hitpa T. Sxanr,<br /> <br /> 7k Xx 5h.<br /> <br /> 8i x 5B.<br /> <br /> By Eprru Rorarrs.<br /> 103 x 73. 80 pp.<br /> <br /> Told by THropora Witson-<br /> A.. 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The publishers were Messrs.<br /> Macmillan &amp; Co.<br /> <br /> Mr. Edward Arnold is publishing a new and<br /> revised edition of Mr. Laurence Binyon’s<br /> “ Painting in the Far East,” in the preparation<br /> of which the author has been able to utilise a<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> variety of new sources of information, while<br /> a fuller and more representative selection of<br /> illustrations is now possible. Mr. Binyon has<br /> also brought out, through Messrs. Macmillan,<br /> a work entitled “‘ The Art of Botticelli: an<br /> Essay in Interpretation ’’—a quarto volume<br /> with twenty-three collotype reproductions in<br /> colour and, as frontispiece, an original etching<br /> by Mr. Muirhead Bone. 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Yeats, R.H.A., Jack B.<br /> Yeats, James Paterson, R.S.A., John Currie,<br /> and others, and the price is 7s. 6d. net.<br /> <br /> “The Western Rebellion of 1549” is the<br /> title of an account of the insurrections in<br /> Devonshire and Cornwall in the reign of<br /> Edward VI., by Frances Rose-Troup,<br /> E.R. Hist. S. (Smith Elder, 14s. net).<br /> <br /> Mrs. A. M. W. Stirling’s ‘‘ Macdonald of the<br /> Isles ” was published on November 25 (John<br /> Murray, 12s. net).<br /> <br /> Mr. W. H. Koebel is the author of the history<br /> of South America in Messrs. Black’s “ Making<br /> of the Nations ”’ series.<br /> <br /> Lady Dunbar is bringing out a book called<br /> “The Chow-Chow,” dealing with that breed<br /> of dog from the point of view of one who has<br /> had long and intimate acquaintance with its<br /> habits (Pitman).<br /> <br /> Mr. and Mrs. Aylmer Maude edit a new<br /> edition of Tolstoy’s ‘“ Plays,’’ which contains<br /> for the first time all the six plays written<br /> by Tolstoy, including the posthumous ones<br /> (Constable, 5s. net).<br /> <br /> Mrs. Willoughby Hodgson’s ‘‘ Old English<br /> China,” with sixteen coloured plates and<br /> sixty-four half-tone illustrations from photo-<br /> graphs, is published by Messrs. G. Bell &amp; Sons<br /> at 25s. net.<br /> <br /> Her Majesty the Queen has been graciously<br /> pleased to accept a copy of Mrs. Charlotte<br /> Cameron’s travel-book ‘* A Woman’s Winter<br /> in Africa’ (Stanley Paul). .<br /> <br /> In connection with the new cinematograph<br /> film ‘“‘ Sixty Years a Queen,’’ which portrays<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 77<br /> <br /> the reign of Queen Victoria, Messrs. Stanley<br /> Paul &amp; Co. published on November 10 a<br /> volume consisting of an account of the Queen’s<br /> reign specially written by Miss May Wynne,<br /> illustrated with fifty-five photographs taken<br /> from the film. The price is 1s. net.<br /> <br /> The first number of Mackirdy’s Weekly is to<br /> be published on the third Saturday of the New<br /> Year, January 24. The moving spirit of this<br /> new weekly is Mrs. Mackirdy, née Olive<br /> Christian Malvery, author of ‘The Soul<br /> Market.”<br /> <br /> Mrs. Irene Osgood publishes, through the<br /> firm of John Richmond, ‘‘ Where Pharaoh<br /> Dreams,” with illustrations by W. Gordon<br /> Mein. The same firm has issued ‘“‘ The Irene<br /> Osgood Thought Book ” and ‘“ An Anthology<br /> of Verse of Butterflies, Birds, and other W inged<br /> Things,” compiled by Irene Osgood and<br /> Horace Wyndham.<br /> <br /> Mrs. Edghill’s “‘ Is it Well with the Child ? ”<br /> —a book for mothers and for speakers to<br /> mothers—is published, with an introduction<br /> by the Bishop of Edinburgh, by Messrs. Wells,<br /> Gardner, Darton &amp; Co.<br /> <br /> His Majesty the King has been graciously<br /> pleased to accept a copy of Mr. C. E.<br /> Gouldsbury’s new book, “ Tiger Land,” now<br /> in its second edition (Chapman &amp; Hall).<br /> <br /> Mr. Rafael Sabatini’s “Life of Cesare<br /> Borgia ”’ is one of the first volumes of Messrs.<br /> Stanley Paul’s new Essex Library, a series<br /> which is to include ‘‘ recently published works<br /> that have attracted special attention as dealing<br /> authoritatively with subjects of serious in-<br /> terest,” and is to be issued, with illustrations,<br /> at a price convenient to all purses.<br /> <br /> Major P. T. Godsal brings out his ‘‘ Woden’s,<br /> Grim’s, and Offa’s Dykes,” through Messrs.<br /> Harrison &amp; Sons. A map illustrating the<br /> conquest of the Dee valley accompanies the<br /> pamphlet.<br /> <br /> Mr. John B. C. Kershaw, F.I.C., is the author<br /> of a book on “ Electro-Thermal Methods of<br /> fron and Steel Production,” to which Professor<br /> Fleming, F.R.S., contributes an introduction<br /> (Constable, 8s. 6d. net).<br /> <br /> Messrs. Sidgwick and Jackson published last<br /> month a new novel called ‘* The Unconscious<br /> Quest,” by E. Reid Matheson. The scene of<br /> the story is laid in Egypt.<br /> <br /> The Burlington Magazine for October and<br /> November contains an article by Ethel Ross<br /> Barker, entitled ‘‘ The Symbolism of Certain<br /> Catacomb Frescoes.”’<br /> <br /> Miss Gladys Davidson has out a volume of<br /> original stories about birds, fully illustrated<br /> (David Nutt, 2s. 6d.).<br /> <br /> Mrs. C. Irwin Smart has a serial running in<br /> The Lady, entitled ‘The Long Lane.” She<br /> was the author of the “ Novel in a Nutshell ”<br /> in the Sketch of August 13.<br /> <br /> Mrs. Edith Wharton’s new novel is “The<br /> Custom of the Country,” of which Messrs.<br /> Macmillan are the publishers.<br /> <br /> The same firm has issued Mr. James<br /> Stephens’s new volume of fiction, “ Here are<br /> Ladies.”<br /> <br /> Wet Magic,” by E. Nesbit, author of “ The<br /> Treasure Seekers,” is published by Mr. Werner<br /> Laurie.<br /> <br /> H.M. the Queen has been graciously pleased<br /> to accept a copy of “ Weeds,”’ by Miss Olave<br /> Potter and Mr. Douglas Sladen.—A new 7s. 6d.<br /> edition is appearing of Mr. Sladen’s “‘ Oriental<br /> Cairo” (Hurst &amp; Blackett).<br /> <br /> Messrs. Alston Rivers publish Miss Leslie<br /> Moore’s “The Peacock Feather”; and<br /> Mrs. Steuart Erskine’s “The Ring of<br /> Necessity.”<br /> <br /> Messrs. Duckworth &amp; Co. have published<br /> “The Happy-Go-Lucky Morgans,” a story in<br /> the essay manner, by Mr. Edward Thomas ;<br /> and Mr. George Bourne’s volume of village<br /> studies, ‘‘ Lucy Bettesworth.”’<br /> <br /> Mabel King’s ‘‘ The People of Ebenezer,”<br /> thirteen stories reprinted from The United<br /> Methodist, is published by Messrs. Drummond<br /> of Stirling, price 1s. The same author will<br /> have two serials appearing shortly, “‘ A Modern<br /> Midas,” in The British Messenger, and “‘ The<br /> Work God Gave Her,” in Wings, the organ of<br /> the Woman’s Total Abstinence Society.<br /> <br /> Mr. Albert Dorrington’s novel, ‘‘ The Radium<br /> Terrors,” has just finished its serial publication<br /> in the well-known Spanish journal La Ilustra-<br /> cion Artistica. The illustrations were by A. C.<br /> Michael. Two books by the same author,<br /> “The Half-God” and ‘‘A South Sea Buc-<br /> caneer,” will appear in a German edition<br /> early in 1914,<br /> <br /> “The Tale of a Shipwreck, a Brownie, and<br /> a Baby; and other Stories ” is Miss Amy Hale<br /> Rankin’s book for children (Cornish Bros.,<br /> Birmingham, 1s. net, illustrated).<br /> <br /> Miss Caecilia Moore’s novel, ‘‘ The Shadow<br /> of the Dragon,” is published by Messrs.<br /> Chapman &amp; Hall.<br /> <br /> Miss Theodora Wilson-Wilson is publishing<br /> with Messrs. Blackie two books for children,<br /> one entitled ‘‘ Cousins in Camp ”’ (2s. 6d.), and<br /> the other a series of ‘‘ Stories from the Bible,”<br /> illustrated in colour by Arthur A. Dixon (8s. 6d.).<br /> She has also sold a children’s story to Messrs.<br /> Nelson &amp; Son for publication next year. In<br /> the spring The Christian Age will serialise<br />  <br /> <br /> <br /> <br /> 78<br /> <br /> one of her novels entitled “A Navvy from<br /> <br /> King’s.”<br /> <br /> Mrs. T. P. O’Connor’s story, “ Little Thank<br /> You,” has a novel feature in the end-papers,<br /> which take the form of music and reproduce<br /> Little Thank You’s lullaby, “ Captain Kidd,”<br /> written and composed by Mr. Frederick<br /> Norton, composer of “ Pinkie and the Fairies.”<br /> <br /> Charlotte Mansfield’s story, ‘The Girl<br /> and the Gods,” is to be reissued by Messrs.<br /> Greening &amp; Co. in their new Shilling Net<br /> series.<br /> <br /> The Westminster Review for November<br /> contained a poem by Mr. Alfred Smythe<br /> entitled “The Sentinel.’”” There was also a<br /> poem by Mr. Smythe, called ‘* A Yarn of the<br /> River,” in the Poetry Review.<br /> <br /> Mr. Erskine MacDonald is publishing at<br /> once in a shilling Christmas booklet, an<br /> “ Anthology of Little Poems,” compiled by<br /> E. Crosby-Heath, and including a_ critical<br /> essay.<br /> <br /> The same publisher has brought out “* Dreams<br /> of Arcady,” by Octavia Gregory, author of<br /> “The Garden Enclosed.”<br /> <br /> Mr. Erskine MacDonald further announces<br /> that he is publishing a poetic drama, “ The<br /> Master,” by Mr. W. G. Hole, with an intro-<br /> duction by Stephen Phillips, at 2s. 6d. net ;<br /> and Miss Maude Goldring’s new novel, ‘* The<br /> Wonder Year,”’ which deals with the effect of<br /> modern thought on country life.<br /> <br /> “ June ” is the title of the first poem, which<br /> gives its name to the book of verse by<br /> Miss Cicely Marshall, published by Arthur<br /> Stockwell.<br /> <br /> Jean Roberts, author of ‘‘ Musings on the<br /> Magnificat,’ etc, has out a new volume,<br /> entitled ‘‘ Hope: and Other Verses” (A. R.<br /> Mowbray, ls. 6d. net).<br /> <br /> ““Songs Satanic and Celestial,” by Mr.<br /> Lewis Spence, is published by Mr. Elkin<br /> Mathews at 1s. net (cloth, 1s. 6d. net).<br /> <br /> Mr. K. C. Spiers brings out in one volume<br /> his play, ‘‘ The Soul of a Doll,” and a number<br /> of poems, of which “ The Madness of Lancelot ”’<br /> and two of the lyrics appeared originally in the<br /> Fortnightly Review. Messrs. Chapman &amp; Hall<br /> publish the book at 2s. 6d. net.<br /> <br /> Miss Nora C. Usher issues, under the title<br /> of ‘‘ Swallow-Flights,”’ a collection of thirty-<br /> seven of her poems, some of which have<br /> appeared in The Queen, Chambers’s Journal,<br /> ete. The price is 1s., or 1s. 1}d., post<br /> free.<br /> <br /> _ “ Lone Age Epics,” by Mr. James Saunders,<br /> is published by Whitehead Bros., Wolver-<br /> hampton, at 2s. net.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> DRAMATIC.<br /> <br /> Mr. Bernard Shaw’s ‘‘ Great Catherine ’’ was<br /> produced at the Vaudeville Theatre for the<br /> first time on November 18.<br /> <br /> On November 21 Mr. Thomas Hardy’s ‘‘ The<br /> Three Wayfarers,” originally seen at Terry’s<br /> Theatre in 1898, was revived as a curtain-raiser<br /> before Mr. G. K. Chesterton’s ‘‘ Magic” at the<br /> Little Theatre.<br /> <br /> Sir J. M. Barrie’s “Quality Street” was<br /> revived at the Duke of York’s Theatre on<br /> November 25.<br /> <br /> It is announced that a new three-act play<br /> by Mr. Israel Zangwill, entitled «Plaster<br /> Saints,” will be produced at a West end<br /> theatre early in the New Year.<br /> <br /> Mr. Bernard Shaw’s ‘‘ Doctors’ Dilemma,”<br /> and Mr. John Galsworthy’s ‘Silver Box,” are<br /> among the plays which Mr. and Mrs. Granville<br /> Barker are to revive before the end of their<br /> repertory season just commencing at the<br /> St. James’s Theatre.<br /> <br /> M. Maurice Bourgeois’s French version of<br /> Synge’s ‘‘ Playboy of the Western World ”’ is<br /> being performed at the Théatre Antoine by<br /> M. Lugné-Poe’s Théatre Subventionné. The<br /> title of the play in French is “‘ Le Baladin du<br /> Monde Occidental.”<br /> <br /> Among the five one-act pieces produced by<br /> the Leverton Players at the Court Theatre, on<br /> the afternoon of November 21, was “‘ England<br /> Expects,” by Mr. F. Leonard A Gibbs, to<br /> which the Navy League has extended its<br /> patronage.<br /> <br /> ———__+——_+—___—_<br /> <br /> PARIS NOTES.<br /> <br /> +<br /> <br /> o HRETIENNE ” is the title of the new<br /> novel by Madame Adam (Juliette<br /> Lamber), whose salon has been the<br /> <br /> favourite rendezvous of the Parisian literary<br /> <br /> and political élite for very many years.<br /> <br /> Madame Adam’s own evolution has been<br /> <br /> shown by her recently published memoirs.<br /> <br /> Years ago she wrote her novel * Paienne,”’<br /> <br /> and this present volume is a fitting epilogue to<br /> <br /> the former novel.<br /> <br /> The key to ‘“‘ Le Roman Merveilleux ” by<br /> the late Pierre de Coulevain is given by the<br /> author in her preface. ‘“ The Wonderful<br /> Romance,” she says, “‘ is not one of those that<br /> the human brain produces. It is the romance<br /> which the Divine Powers are elaboratirig in the<br /> depths of the Infinite. It is the romance<br /> which we are all living, from morning to night<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> and from night to morning; the one in which<br /> we are the heroes and the martyrs. It is the<br /> romance of this earth of ours. . Thanks<br /> <br /> to my age, I now find myself on the boundary<br /> line of two worlds. My impressions on leav-<br /> ing the one world, and my intuitions with<br /> regard to the world beyond, may, thanks to<br /> their absolute sincerity, have some value. . . .”<br /> This author’s works have had phenomenal<br /> success in France, and have been translated<br /> into nine languages. “Sur la Branche”’<br /> <br /> i is now in its 179th edition. The present<br /> <br /> -y volume has been awaited with impatience<br /> <br /> |. for the last three years and was completed<br /> | just two months before the author’s death.<br /> <br /> : The book now published in volume form by<br /> ) Camille Piton, entitled ‘‘ Le Costume Civil en<br /> | France,” will be invaluable to artists. It<br /> » contains over 700 illustrations from authentic<br /> <br /> sources.<br /> ‘“‘ Napoléonette ” is quite a new departure<br /> ot for Gyp. It is a kind of historical novel, in<br /> <br /> *. which the author allows herself plenty of<br /> ~{- latitude as regards local colour, probability, etc.<br /> -| Napoléonette is a girl who has been brought<br /> up by her military father as a boy. She has<br /> accompanied her father everywhere and is<br /> quite at home on the battle-fields. Napoleon<br /> is her god-father and she is a devoted admirer<br /> of ‘‘ The Emperor.” Her father is killed and<br /> she is compelled to accept the hospitality of<br /> her aunt and uncle, who hold high office at the<br /> Tuileries Palace under Louis XVIII. The<br /> description of Napoléonette’s various escapades<br /> and of her friendship with the king is highly<br /> entertaining, but the dialogue is distinctly in<br /> twentieth century style.<br /> <br /> ‘Pour l’Empereur”’ (Pages d’histoire na-<br /> tionale) is the title of Frédéric Masson’s latest<br /> volume. The volume treats of events from<br /> 1796 to 1821.<br /> <br /> The second volume of “Souvenirs” by<br /> Ch. de Freycinet has just been published. It<br /> takes in the years 1878 to 1893, and treats,<br /> among other subjects, of the Resignation of<br /> Marshal MacMahon, of the death of Gambetta,<br /> Boulangism, the Egyptian question, etc.<br /> <br /> The first volume of these Souvenirs takes in<br /> the years from 1848 to 1898.<br /> <br /> “Henri Rochefort (1831-19138) ” by Camille<br /> Ducray gives some idea of the agitated life<br /> of the celebrated journalist and _ politician<br /> about whom so much has been written.<br /> Ernest La Jeunesse has written the preface.<br /> <br /> At the Variétés, Alfred Capus is having his<br /> customary success with his new play<br /> “L’ Institut de Beauté.” It is distinctly<br /> amusing, and, as usual with this author, the<br /> <br /> &gt;<br /> <br /> FD ets a ey gh br<br /> <br /> spate Nah la fa<br /> <br /> E<br /> <br /> <br /> <br /> <br /> &gt;<br /> <br /> <br /> <br /> 79<br /> <br /> piece is the result of shrewd observation and<br /> great knowledge of life.<br /> <br /> Mr. Philip Carr’s idea to start a_ Little<br /> English Theatre in Paris, bringing over English<br /> plays and English artistes once a month, is<br /> welcomed by the French as well as by the<br /> English and American colonies. Two meetings<br /> have been held and a large number of sub-<br /> scribers has been the result.<br /> <br /> <br /> <br /> “ Chrétienne.” (Plon.)<br /> <br /> “ Le Costume Civil en France.’’ (Flammarion.)<br /> <br /> “ Napoléonette.” (Calmann-Lévy.)}<br /> <br /> “ Pour ’Empereur.”’ (Ollendorff.)<br /> <br /> “Souvenirs.” (Delagrave. )<br /> <br /> “ Henri Rochefort (1831-1913).” (L’Edition Moderne.)<br /> <br /> —___—__+—&lt;&gt;—_—______<br /> <br /> CORELLI v. GRAY.<br /> <br /> —~&lt;—<br /> <br /> EFORE the Master of the Rolls, Lord<br /> Justice Swinfen Eady and _ Lord<br /> Justice Phillimore; this was an appeal<br /> <br /> by the defendant from an order by Mr.<br /> Justice Sargant, granting an injunction: re-<br /> straining him from performing a play called<br /> “The People’s King,” which the plaintiff<br /> claimed was an infringement of the copyright<br /> in her novel “‘ Temporal Power.”<br /> <br /> In his judgment given in the lower court<br /> Mr. Justice Sargant took the view that the<br /> similarities in the play and the book were not<br /> due to coincidence, but must be taken to have<br /> resulted from appropriation or copying by the<br /> defendant from the plaintiff.<br /> <br /> The Master of the Rolls in the course of his<br /> judgment expressed his concurrence with the<br /> judgment of Mr. Justice Sargant, stating that<br /> he thought they must approach the case on<br /> the footing that the defendant Gray had the<br /> plaintiff&#039;s book either under his eyes or in his<br /> memory when he wrote the sketch.<br /> <br /> Dealing with a possible suggestion that the<br /> matter alleged to have been taken from the<br /> plaintiff&#039;s book was not matter which could be<br /> held to be the subject of copyright, his Lordship<br /> stated that when, as in the present case, it<br /> appeared that not merely one or two stock<br /> incidents, but that a number of such incidents<br /> had been taken, it would be an unreasonable<br /> view of the law to say that the plaintiff was<br /> not entitled to succeed.<br /> <br /> The new copyright law gave protection not<br /> merely to the form of words in a novel but to<br /> the situations contained in it. In this case,<br /> however, his Lordship did not accept the view<br /> that the situations were stock situations :<br /> some of them were distinctly original.<br /> <br /> <br /> 80<br /> <br /> The Lord Justices delivered judgments to<br /> the same effect, and the appeal was dismissed<br /> with costs.<br /> <br /> ————“7——o—___—_<br /> <br /> UNITED STATES LAW.<br /> <br /> —-—~o—+<br /> <br /> N interesting matter touching the<br /> A validity of copyright in the United<br /> States is being at present heard in<br /> the courts of that country. We are informed<br /> that there is little probability of the case being<br /> decided before the expiration of seven or eight<br /> months, but as the facts must of necessity be<br /> of great interest to English as well as to<br /> American authors, it may be as well to put<br /> forward some details.<br /> <br /> Mr. Jack London entered into a contract<br /> with the Balboa Amusement Co., of Los<br /> Angeles, California, by which that company<br /> acquired the right to produce in moving<br /> pictures all of Mr. London’s past work and all<br /> his work up to and including 1915. In that<br /> contract there was a clause providing that the<br /> contract should be forfeited if the company<br /> took no steps to fulfil their part before a fixed<br /> date. This they failed to do, and Mr. London<br /> declared the contract forfeited. In spite of<br /> forfeiture, the company proceeded to produce<br /> in moving-picture form his novel entitled<br /> ““The Sea Wolf,” and Mr. London thereupon<br /> brought suit in Los Angeles against the<br /> company in the Federal Court of that district,<br /> for breach of contract and infringement of his<br /> copyright. His next step was to apply for a<br /> preliminary injunction. Upon the hearing of<br /> this application, the defence has been set up<br /> on the suggestion of the lawyers—copyright<br /> specialists—that Mr. London’s copyright is<br /> invalid, that his work, having appeared in<br /> magazine form, is thereby dedicated to the<br /> public so far as subsequent rights are concerned.<br /> This defence appears to be based upon the<br /> case of Dam v. Kirk La Shelle Company, which<br /> indirectly, apparently laid down the doctrine<br /> that, if an author sells his serial rights in his<br /> story to a magazine, reserving to himself all<br /> other rights, and the magazine copyrights the<br /> issues, that is, the magazine rights, then all<br /> other rights must be unprotected and aban-<br /> doned to the public. It is also claimed that the<br /> copyright notices in some of Mr. London’s<br /> books are insufficient, and misleading, and that,<br /> therefore, the books are not properly copy-<br /> righted. Mr. London’s preliminary application<br /> for an injunction was denied, after the court<br /> had heard the objections advanced against<br /> <br /> THE AUTHOR.<br /> <br /> his copyright on the ground that Mr. London<br /> has insufficiently established his ownership.<br /> The court, however, granted permission to<br /> Mr. London to renew his application after he<br /> had obtained more definite information about<br /> his copyrights. Ifthe theory is upheld that<br /> the publication in a magazine in America<br /> <br /> only covers the editor’s rights, the position — :<br /> <br /> is very serious, both to American and<br /> English authors, as it would leave those<br /> authors that publish in serial form absolutely<br /> unprotected, and book publishers would have<br /> no rights in their books whatsoever. It does<br /> not appear probable, after a careful reading of<br /> the Act, that this theory can be maintained.<br /> The second point of the defence, namely, the<br /> inadequacy of the copyright notices calls for<br /> special comment. It has always been the<br /> case when any technicalities are required under<br /> <br /> <br /> <br /> i”<br /> U<br /> <br /> <br /> <br /> a copyright law, that the first point at which — | ser<br /> <br /> the defendants strike is the technical defi- —<br /> We are glad to think that in the ©<br /> present English Act, technicalities have been ~<br /> abandoned, but the position is still very serious —<br /> in the United States, and we trust that Mr. —<br /> Jack London will not lose his copyrights owing _<br /> <br /> ciencies.<br /> <br /> to these deficiencies.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The former question is by far the most : i ah<br /> <br /> important. Technical difficulties can be over-<br /> <br /> come with care, but legal difficulties can only<br /> be overcome by an amendment to the Act. -<br /> We wait with anxiety to hear the final result<br /> If it should go against Mr. —<br /> <br /> of the action.<br /> London, the American Copyright Act migh<br /> almost, as far as the writers in magazines ar<br /> concerned, be torn up.<br /> <br /> 9<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> te<br /> <br /> British REVIEW.<br /> <br /> Dramatists of To-day. I. H. Granville<br /> II. John Galsworthy. By Edward Storer.<br /> Leeds Musical Festival. By Sir Home Gordon, Bart.<br /> <br /> CoNTEMPORARY.<br /> <br /> Christina Rossetti. By George Lowther.<br /> Poetry in Drama. By William Poél. &#039;<br /> <br /> 6 a Child and Education in Shakespeare. By Hubert<br /> rd.<br /> <br /> Barker.<br /> <br /> EneuisH REVIEW.<br /> <br /> Art in America. By Aleister Crowley.<br /> Editorial Amenities. By The Editor.<br /> <br /> FoRTNIGHTLY.<br /> <br /> A Literary Cham and His Court. By T. H.-S. Escott.<br /> Trish Dramatists and Their Countrymen. By H. M.<br /> Walbrook.<br /> <br /> An Apostle of Melodrama. By George Paston.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Sees<br />  <br /> <br /> 3%<br /> on<br /> b<br /> <br /> Ba<br /> <br /> <br /> <br /> THE AUTHOR. 81<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —<br /> <br /> 1, VERY member has a right toask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where counsel’s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors, Therefore, do not scruple to use<br /> the Society.<br /> <br /> 8. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 7. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society ; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £4 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> 2<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> et<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement, There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> obtained, But the transaction should be managed by a<br /> <br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (to Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> ae well bind yourself for the future to any one solicitor or<br /> <br /> octor |<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production,<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> —__—_t_&gt;e_—_<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> 8<br /> <br /> EVER sign an agreement without submitting it to the<br /> N Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br />  <br /> <br /> 82<br /> <br /> (&gt;.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. :<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (6.) apply<br /> also in this case.<br /> <br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5, Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘&#039;hey should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should-remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> —_——$_-——e—__<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> eo<br /> <br /> ne typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subj<br /> ( ject to the same<br /> rules, with the exception that a pl ill<br /> at the price of 22. 6d. per act. Ve cee eee ie<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> ee<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, de<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> —————_+—~&gt;——_—__<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> er Ss<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the twe<br /> tights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ae<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> —<br /> THE READING BRANCH.<br /> <br /> a<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach, The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea,<br /> ——-—&gt;—<br /> <br /> REMITTANCES.<br /> <br /> —<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Taio of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only. .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> Bt<br /> <br /> <br /> <br /> THE AUTHOR. 83<br /> <br /> COLLECTION BUREAU.<br /> <br /> + &lt;4<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland ; . A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany . Mrs PoeGson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> <br /> <br /> PUBLISHERS’ AGENTS.<br /> <br /> Ir is the practice of certain agents to act<br /> both for publishers and authors. In many<br /> of these cases, there is no attempt at conceal-<br /> ment from the author. Indeed, the agents,<br /> not infrequently, boast that the author’s<br /> chances of a market are increased by the fact<br /> that the publisher is also a client of them.<br /> As agent of the publisher, the literary agent<br /> claims to have unique opportunities of placing<br /> the works of his authors. This is the excuse<br /> invariably made by the agent who is found in<br /> the service of two masters.<br /> <br /> Here is a possible example.<br /> <br /> The publisher comes to his agent and asks<br /> him, say, to find a writer to undertake<br /> work for a series which he, the publisher, is<br /> issuing. The agent has on his books an author<br /> who is quite capable of undertaking the work,<br /> but, in many cases, the author is given no<br /> opportunity, the agent preferring to use the<br /> offer in order to attract another writer—not on<br /> his books—to place his literary work in the<br /> agent’s hands. Having succeeded in drawing<br /> in the new writer, that writer, when the next<br /> <br /> opportunity “of placing the works of his<br /> authors ” occurs, is forgotten, while the agent<br /> goes in search of the fresh client.<br /> <br /> But the real objection to the agent acting<br /> for the publisher and the author is not merely<br /> that the author seldom gains anything by the<br /> process, but that it is impossible, however<br /> honest and straightforward the agent may be,<br /> for him to act fairly to both parties.<br /> <br /> If the agent does his duty to the author, his<br /> second principal, the publisher, must suffer.<br /> If the publisher’s interests are looked after,<br /> then the author suffers.<br /> <br /> In a recent case brought to the notice of the<br /> Society, a literary agent refused to take any<br /> payment from the author, stating that he, the<br /> agent, was paid by the publisher.<br /> <br /> If every literary agent acted in this way, we<br /> should not so much object to the position, so<br /> long as the agent made his position clear before<br /> attempting to advise the author; but we<br /> should still have to warn authors against the<br /> danger of treating with publishers’ agents—<br /> especially if the author were paying for the<br /> production of his book. In such a case it is<br /> almost inevitable that the publisher’s estimate<br /> would be increased by the amount which the<br /> agent would receive.<br /> <br /> UNITED STATES Dramatic RIGHTS.<br /> <br /> SomME time ago we printed in The Author<br /> instructions from the Library of Congress,<br /> Washington, as to the filing of copies for<br /> registration (1) when a dramatic work is for<br /> sale in the U.S.A.; (2) when it is not for sale.<br /> <br /> The registrar was kind enough when the<br /> notice was printed to forward a number of<br /> copies for the benefit of members of the<br /> Society, and whenever a requisition is made, a<br /> copy is handed out.<br /> <br /> Mr. Maquarie, a member of the Society, has<br /> drawn attention to the fact that it might be<br /> useful not only to have the forms of instructions<br /> from the registrar at this office, but also the<br /> actual forms under which various works are<br /> registered ; as he has received a number from<br /> Washington, he has kindly deposited them at<br /> the offices of the Society. The secretary has<br /> written to the registrar on the matter, and it<br /> is hoped that in future a good: supply will be<br /> ready to hand.<br /> <br /> _Piays AND THE Ricut TO TITLE.<br /> <br /> Wirth reference to this article which appeared!<br /> in last month’s Author, one of the members has,<br />  <br /> <br /> 84<br /> <br /> been kind enough to draw attention to the<br /> fact that in 1910, “The Stage Cyclopedia of<br /> Plays,” containing an alphabetical list of<br /> 50,000 play-titles, was published, and that in<br /> addition, every year “‘ The Stage Year Book ’<br /> publishes an alphabetical list of pieces pro-<br /> duced in all the principal foreign countries as<br /> well as in England and America. It would<br /> appear, therefore, that with a little research it<br /> would not be difficult for dramatists to avoid<br /> trespassing on the property of other dramatists<br /> as regards the question of title. We hope this<br /> information may be of use to members of the<br /> Society.<br /> ———_———1—&lt; &gt; —_—-<br /> <br /> THE DINNER.<br /> <br /> eo<br /> <br /> YHE annual dinner of the Society of<br /> Authors was held at the Criterion<br /> Restaurant on Thursday, November<br /> <br /> 27, Mr. H. Hesketh Prichard, the chairman,<br /> presiding over a gathering of about 250<br /> members and friends. The guest of the<br /> evening, Field-Marshal the Karl Roberts,<br /> V.C., K.G., ete., sat on the chairman’s right,<br /> and the others seated at the high table were<br /> Mrs. Humphry Ward, Mr. Anthony Hope<br /> Hawkins, Lady Elizabeth Hesketh Prichard,<br /> Miss Marie Corelli, Major Lewin, R.A., Mr.<br /> and Mrs. Reginald Smith, Mr. and Mrs. P. W.<br /> Everett, Sir George Forrest, K.C.1E., Sir<br /> Donald Mackenzie Wallace, K.C.V.O., Mr.<br /> W. W. Jacobs, Lady Florence Bourke, Mr.<br /> Ernest Davies, Mr. Thomas Marlowe, Sir James<br /> and Lady A. C. Wilson, General Wilson, C.B.,<br /> D.S.O., and Mrs. Wilson, Mr. A. Cherry<br /> Garrard, Mrs. Jopling Rowe, Mr. and Mrs.<br /> Temple Thurston, Major-General and Mrs.<br /> Saward, Mr. and Mrs. Charles Garvice, Mr.<br /> R. D. Blumenfeld, and the Rev. P. H.<br /> Ditchfield. At the seven lower tables Mr.<br /> E. W. Hornung, Mr. Francis Gribble, Dr. S.<br /> Squire Sprigge, Sir Arthur Conan Doyle, Sir<br /> Frederick Hewett, Mr. Phillips Oppenheim, and<br /> Mr. G. H. Thring presided.<br /> <br /> At the conclusion of the dinner the usual<br /> loyal toasts were given by the chairman, who<br /> then rose again to propose the health of ‘‘ The<br /> Society of Authors.” He drew attention to<br /> the fact that their numbers were increasing,<br /> and there were now 2,500 members and<br /> associates. Last year 345 had joined the<br /> Society, and this year, so far, 338, so that<br /> there were hopes of breaking the record. He<br /> would like to mention one or two points about<br /> their progress apart from numbers. Their<br /> <br /> THE AUTHOR.<br /> <br /> relations with publishers and editors were<br /> excellent. It was noteworthy that this year<br /> one publisher, having a dispute with an author,<br /> had offered to submit the case to the committee<br /> of the Society, which showed in what estima-<br /> tion he held the Society’s sense of fairness.<br /> Things had changed since the days of George<br /> Borrow. ‘‘ What, do you eat meat, sir?”<br /> asked the publisher then. ‘‘ Yes,” said the<br /> author. ‘‘ You should eat bread !’’ was the<br /> reply.<br /> <br /> There had been a round-table conference<br /> this year between the committee and_ the<br /> editors in connection with the question of the<br /> prompter payment for magazine articles, and<br /> most of the editors had agreed to a resolution<br /> that payment should be made on acceptance<br /> or within six months’ time.<br /> <br /> Then there was the matter of the library<br /> censorship. The committee had heard several<br /> schemes proposed, but none of them promised<br /> great success. He regretted that the sugges-<br /> tion of a round-table conference between<br /> delegates of the Publishers’ Association, the<br /> booksellers, the Library Association, and the<br /> Society, though brought up before the council,<br /> had been referred back for further considera-<br /> tion, and that therefore nothing had yet been<br /> done. A certain number of members wanted<br /> the question of the ban upon books to be taken<br /> up, but it was impossible for the Society to<br /> deal with individual cases. Its duty was to<br /> look at the question broadly, from the point<br /> of view of all its members. He, as chairman,<br /> had even been obliged to deny himself the<br /> pleasure of reading the censored books !<br /> <br /> He mentioned that letters of regret at<br /> inability to be present had been received from<br /> Mr. Rudyard Kipling, Sir Rider Haggard,<br /> Mr. Owen Seaman, Mr. Egerton Castle, Mr.<br /> Gathorne Hardy, and Mr. Sydney Holland ;<br /> and that Lord Roberts had, during the<br /> dinner, received a telegram from Yorkshiremen<br /> gathered at Skipton Town Hall that evening,<br /> wishing him all success in his great patriotic<br /> work. :<br /> <br /> In conclusion, the chairman congratulated<br /> the Society on the possession of one of the best<br /> —if not the best—of secretaries in the world.<br /> <br /> Sir Arthur Conan Doyle then proposed the<br /> health of “The Guests.” It was a pleasant<br /> duty, he said, when they had with them so<br /> numerous and distinguished a company, among<br /> them Mr. Cherry Garrard, who was with the<br /> lamented Captain Scott in the Antarctic, and<br /> Mr. Reginald Smith, the publisher, who came<br /> to show that the lion could lie down with the<br /> lamb. There was, however, one guest who,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> short of Royalty, must always take the first<br /> place in any gathering of their countrymen, the<br /> first, not only in rank and in distinction, but in<br /> the grateful love and veneration of Englishmen.<br /> The qualities of Earl Roberts were well known.<br /> He had given in youth the strength of his right<br /> arm to his country, in middle life the genius of<br /> his generalship, and in later years the matured<br /> wisdom of his whole life. Now that he had<br /> earned his rest, he had thrown it aside and<br /> embarked on a most difficult and arduous task<br /> for purely unselfish and patriotic motives—a<br /> campaign in which, whether they agreed with<br /> him or not, they must admit there had been a<br /> dignity and restraint and moderation of<br /> utterance which was an example for all time.<br /> Since, at the age of 19, he joined the Indian<br /> Army, his life might be looked on, if one could<br /> visualise it, as a sort of cinematograph proces-<br /> sion of British history. There was first the<br /> Indian Mutiny; then the Afghan War; and<br /> they all had seen his work in South Africa—<br /> work not only as a soldier, but as a statesman<br /> and diplomatist. Lord Roberts had had a<br /> great deal to do with the reconciliation of South<br /> Africa. The speaker himself well recalled how,<br /> when he was in Bloemfontein, they were not<br /> <br /> &#039;s . allowed to loot the villas of the Boers around<br /> <br /> them. Those houses would have made nice<br /> little cribs, and at the time they chafed at the<br /> prohibition, but as he looked back he saw how<br /> at every point of that great crisis Lord Roberts<br /> prevented just those things that would have<br /> left a rankling feeling which might have<br /> retarded the reconciliation of the two races.<br /> <br /> As an author, it might be said of Lord<br /> Roberts that his ‘‘ Forty-one Years in India ”’<br /> was an unique record. His style was that of<br /> aman of action. The book was an index of<br /> its writer’s thoughts, so infused throughout<br /> with gallantry, fine spirit, and patriotism<br /> that all who had sons must be glad that they<br /> could read such a book as that.<br /> <br /> Earl Roberts, rising to respond, said that he<br /> was highly honoured by being invited to<br /> become the guest of the Society, and it was a<br /> great pleasure to him to find himself weleomed<br /> by such a distinguished gathering of men and<br /> women. His own claim to be an author was<br /> very small, and he could not imagine himself<br /> being in the slightest degree representative of<br /> literature. He was nearly sixty years of age<br /> <br /> -when the idea entered his head that he might<br /> some day at his leisure write an account of his<br /> Indian experiences. The idea was suggested<br /> to him, while walking on the Maidan at Cal-<br /> eutta, by a friend to whom he had been talking<br /> of the Mutiny and the second Afghan War.<br /> <br /> 85<br /> <br /> He had never kept a regular diary, and he had<br /> no record of events except what he put down in<br /> letters to his father and mother in the Indian<br /> Mutiny, and later to his wife. He had not,<br /> therefore, at the time, responded to the invita-<br /> tion to write a book. But not long after that<br /> his service in India came to an end, and he had<br /> to bid farewell to a country in which he had<br /> spent forty-one most interesting and happy<br /> years. It was a sad parting, not only because<br /> of the innumerable friends he left behind, but<br /> because it looked as if his career as a soldier was<br /> coming to an end—a thought which was most<br /> distressing to any soldier. It was with a heavy<br /> heart that he left the land that he had learned<br /> to love so well. When he arrived in England<br /> he found himself unemployed for a considerable<br /> time, and as the days hung rather heavily on<br /> his hands he bethought himself of theidea which<br /> his friend in Calcutta had put before him.<br /> Looking over his letters he found that they<br /> were more numerous and more comprehensive<br /> than he had expected, and it seemed that the<br /> task of writing his life would, perhaps not be<br /> so formidable. His wife, who had been with<br /> him for thirty-three of his forty-one years in<br /> India, was blessed, like himself, with a good<br /> memory, and was able to help him. He there-<br /> fore set to work to produce the book to which<br /> he supposed he must attribute the honour they<br /> had paid him that evening. In spite of his<br /> small claim to that honour, he returned his<br /> sincere thanks, and was much touched by the<br /> way in which they had received him.<br /> <br /> He had not intended to say more; but the<br /> chairman had called upon him that evening as<br /> he was dressing for the dinner and had told<br /> him that he hoped he would not confine him-<br /> self in his speech to the returning of thanks.<br /> So, though he had previously not the slightest<br /> idea of talking—especially on a festive occa-<br /> sion like this—about a subject in which they<br /> knew him to be deeply interested, he would<br /> endeavour briefly to explain to them and<br /> place before them what he thought was the<br /> remedy for the danger in which this country<br /> stood. He hoped that those who were<br /> opposed to his views would not object to his<br /> expressing these now.<br /> <br /> It was difficult to begin and difficult to<br /> end. But they had as a starting-point the<br /> report of the deputation which waited on Mr.<br /> Asquith the day before. That clearly showed<br /> the opinion of those men who had spent four<br /> or five years working very hard to make the<br /> Territorial Force a success. It was greatly<br /> to their honour and credit though the majority<br /> of those men were not of the same political<br /> <br /> <br /> 86<br /> <br /> opinions as Lord Haldane and the Government.<br /> They had worked for it as if it had been their<br /> own child. He himself had even at_ times<br /> expostulated with them. He had said: “I<br /> can hardly conceive why you should take the<br /> trouble to support a Force with which you<br /> have nothing to do at the start. You have<br /> certainly carried out this duty in a manly<br /> manner, but are you quite right in supporting<br /> a Force which you yourselves know can never<br /> be of any use?” They had read what the<br /> deputation said before Mr. Asquith the day<br /> before—how they had pointed out that the<br /> Territorial Force which now existed was of no<br /> use. They asked that some more money<br /> might be given them. It was a very difficult<br /> thing indeed for men to forego their pleasure,<br /> to give up their time, and wear out their boots<br /> and clothes for the public good, although the<br /> numbers who came forward were comparatively<br /> few, and, as Mr. Asquith said, the burden was<br /> not equally borne. But the remedy which<br /> they proposed was not sufficient. More money<br /> would not do what was required. More money<br /> might possibly fill up the number of officers<br /> and men that Lord Haldane laid down, but<br /> it would not make them efficient. If they<br /> doubled or trebled the money that was given,<br /> and doubled or trebled the number of men who<br /> came forward, those men would not be of the<br /> slightest use in war unless they were trained<br /> as soldiers. He would tell all those among<br /> them who did not agree with what he was<br /> saying that, if they were patriots, if they loved<br /> their country and desired it to remain the<br /> great country that it was, and if they desired<br /> to maintain the integrity of that great country,<br /> they should not trust to men who were not<br /> trained to fight. Untrained men were no<br /> better than a body of schoolboys. Panic<br /> would spread among them on the shortest<br /> notice. They could not be trusted, no matter<br /> what their individual courage might be, to<br /> fight a trained enemy unless they too were<br /> trained. He could give them many instances<br /> of what could be done by a very few trained<br /> soldiers, men who believed in their own skill<br /> with their arms and who trusted their comrades<br /> alongside them, or even at great distances<br /> apart. Fighting in modern days was quite a<br /> different thing from what it was even in the<br /> days of the Crimean War, the Indian Mutiny,<br /> or the Peninsular War. The first battle he<br /> was in was under the walls of Delhi. At that<br /> time they were in close order, touching each<br /> other in fact. The non-commissioned officers<br /> and men were shoulder to shoulder, and the<br /> firing commenced, as at Waterloo, at forty or<br /> <br /> THE AUTHOR.<br /> <br /> fifty yards’ distance.~On the Heights of<br /> Abraham, Wolfe did not give the word until<br /> the French were within forty yards. Now<br /> they came within the fire-zone at 2,000 yards,<br /> and from that time until he came to close<br /> quarters every man was going along, not in<br /> close order, nor constantly advancing, but<br /> lying down to take cover, getting up again,<br /> and so on. The strain on each individual<br /> soldier, knowing every moment that he was<br /> being fired at, was enormous, and could only<br /> be borne by trained men. He would defy the<br /> whole of the Ministry and the Army council<br /> to assert that untrained could fight against<br /> trained men in modern times, and unless the<br /> country insisted on some system being devised<br /> by which the men, however few in numbers,<br /> could be properly trained, and by which, they<br /> could be made to have confidence in their<br /> comrades, and more particularly reliance on<br /> their officers, the Territorial Force might just<br /> as well be disbanded.<br /> <br /> One could always trust trained men, if only<br /> a few thousand in number, to hold their own<br /> against hundreds of thousands. He had him-<br /> self felt no anxiety lest defeat should occur in<br /> Afghanistan, because he knew that his men<br /> could be trusted. They never showed the<br /> least sign of alarm at the hordes around them.<br /> He remembered four or five days’ hard fighting<br /> among the hills once, when he could not see<br /> into the valley beyond the highest hill in front<br /> of them. He signalled to the officer in charge<br /> of the outpost on the height, asking for the<br /> number of the enemy in the valley, and the<br /> answer came back by signal—it was in the days<br /> long before the field telephone—* They are like<br /> Epsom on Derby Day!” He had with him<br /> only 6,000 or 7,000 men, but those few were<br /> perfectly willing to stand up against any num-<br /> ber, because they had been properly trained.<br /> This was the necessary point, which he wanted<br /> the country to realise. For defence we want<br /> trained men, who can be trusted to hold their<br /> own against any number.<br /> <br /> Mr. E. W. Hornung gave the toast of “‘ The<br /> Chairman.” He had accepted the task pro-<br /> posed to him by Mr. Thring, he said, with a<br /> certain indecent alacrity, because his old friend,<br /> Mr. Hesketh-Prichard, was a man who re-<br /> commended himself to them all in various and<br /> romantic ways. He recalled the first story he<br /> had read in Cornhill, years ago, over the signa-<br /> ture of E. and H. Heron, and how he had been<br /> told that it was from the pen of “‘ a young giant<br /> who writes in collaboration with his mother ”—<br /> a fact in itself sufficient to impress the heart.<br /> Then he had played on cricket fields terrorised<br /> <br /> <br /> <br /> <br /> <br /> <br /> os<br /> <br /> <br /> <br /> THE AUTHOR. 87<br /> <br /> by the prowess of a certain fast bowler—their<br /> chairman. Then again, there was a mighty<br /> hunter ; and it was in this capacity that Mr.<br /> Hesketh Prichard was most famous to-day. He<br /> wondered whether he would be able as chair-<br /> man of the Society, to add to his trophies of the<br /> hunt the scalp of one wicked publisher; but<br /> perhaps that would not be considered hand-<br /> some enough to figure among the antlers and<br /> heads.<br /> <br /> The chairman replied briefly, thanking<br /> Mr. Hornung for the kind way in which he had<br /> proposed his health. However long he lived,<br /> he said, no honour would ever befall him equal<br /> to that of sitting next to Lord Roberts that<br /> night.<br /> <br /> After the speeches had come to an end, the<br /> members and their guests moved to the adjoin-<br /> ing room for the conversazione, at which a num-<br /> ber of members of the Society were present who<br /> had not taken part in the dinner.<br /> <br /> ee<br /> <br /> THE NOBEL PRIZE.<br /> <br /> <br /> <br /> ABINDRANATH TAGORE, who has<br /> R lately been awarded the Nobel prize<br /> for literature, came to England in the<br /> summer of 1912, and, at Mr. William Rothen-<br /> stein’s suggestion, translated during the voyage<br /> some of his lyrics into English. During the<br /> summer he worked hard at these, and the<br /> result was the book which he called “‘Gitanjali”’<br /> (Song Offerings), of which a small edition was<br /> published by the India Society in November.<br /> This was received with a chorus of approval,<br /> and Messrs. Macmillan published a second<br /> edition last spring which has gone through<br /> several impressions. The ‘‘ Gardener,”’ a col-<br /> lection of love poems dating from an earlier<br /> period, appeared this autumn, as well as some<br /> lectures entitled ‘“‘ Sadhana,” which Mr. Tagore<br /> had delivered at the Caxton Hall. &lt;A book of<br /> child’s poems, ‘‘ The Crescent Moon,” with<br /> illustrations, has just appeared.<br /> <br /> Mr. Tagore comes of a literary and artistic<br /> family who have lived for generations in<br /> Calcutta. He has for many years been<br /> recognised as the foremost poet of Bengal,<br /> perhaps of India. His advice is eagerly<br /> sought and followed by many of his fellow-<br /> countrymen. He superintends, and himself<br /> largely supports, at Bolpur, in Bengal, a<br /> school which has made a name for itself<br /> as turning out boys of strong character.<br /> He has returned there now to his home at<br /> <br /> Shantiniketan (the abode of peace), a little<br /> tired after a most interesting year of foreign<br /> travel, and not altogether sorry to be at rest<br /> again.<br /> <br /> COPYRIGHT AND ‘‘THE LADY.”<br /> <br /> —+—&lt;—9<br /> <br /> ie the May issue of The Author in the<br /> <br /> current year an article was printed<br /> <br /> under the above title setting out a form<br /> of receipt issued from the office of The Lady.<br /> A special covering letter from the editor was<br /> sent with the receipt. The following is a<br /> reprint of the letter and the form of the<br /> receipt :—<br /> <br /> 39 and 40, BepForpD STREET,<br /> Srranp, W.C.<br /> March 13, 1913.<br /> <br /> Dear Mapam,—The manager has requested me to send<br /> you the enclosed for your signature. The idea, so I<br /> understand, is to save contributors the trouble of sending<br /> him a special form of acknowledgment on receipt of each<br /> cheque. Once the enclosed has been signed, the endorse-<br /> ment on the cheque will be the only receipt required by<br /> the manager.<br /> <br /> Yours truly,<br /> Tue Epiror.<br /> [ENCLOSURE]<br /> <br /> To the Proprietor of ‘‘ The Lady’’ Newspaper.<br /> <br /> In consideration of your publishing in your newspaper<br /> or purchasing any article or drawing written or made by<br /> me, I hereby assign and transfer to you the original and<br /> the copy therein and also agree to assign and transfer to<br /> you the original of and the copyright in all future articles<br /> and drawings written or made by me which may hereafter<br /> be purchased by you or published in your newspaper.<br /> <br /> Signature<br /> <br /> Date<br /> <br /> There is really no need to pass fresh<br /> comment. Those who know will only need to<br /> be reminded. Those who do not know can<br /> easily refer to the article.<br /> <br /> The proprietor of The Lady has now taken<br /> a fresh line, perhaps as a result of that<br /> article. It may be that many contributors<br /> <br /> reading the article altered the receipt and’<br /> <br /> cashed whatever cheque they may have<br /> received. But it is of the utmost importance<br /> to set before members and others the newer<br /> methods which the proprietary of The Lady<br /> has adopted. On the back of the cheques<br /> runs the following story :—<br /> <br /> Received from the Proprietors of The Lady newspaper<br /> the sum written on the face of this cheque in payment for<br /> my contributions or drawings and copyright thereof<br /> published in The Lady newspaper up to and including the<br /> <br /> issue dated ;<br /> Signature<br /> <br /> The signature is intended to be an indorsement of the<br /> cheque as well as a receipt for the amount.<br />  <br /> <br /> 88<br /> <br /> Under the Copyright Act, 1911, any assign-<br /> ment of copyright must be in writing. Whether<br /> the endorsement of the cheque amounts to<br /> such an assignment in writing the proprietors<br /> of The Lady must find out for themselves.<br /> But it is a fair deduction to make that they<br /> intend it to be so.<br /> <br /> On other occasions articles have appeared in<br /> The Author explaining this insidious method<br /> adopted by proprietors of magazines to obtain<br /> rights from authors.* Sometimes, where the<br /> contract has been completed before publication,<br /> these rights have never been conveyed.<br /> Sometimes they were never intended to be<br /> conveyed.<br /> <br /> What is the reason that editors and pro-<br /> prietors cannot deal in a more reasonable and<br /> businesslike spirit with their contributors ?<br /> <br /> Why cannot they say before they print the<br /> article (a stereotyped letter is all that is<br /> required): The editor accepts the article<br /> <br /> at the price of £ per thousand<br /> words, subject to the transfer of all the<br /> copyright ?<br /> <br /> Or why cannot they, if they desire to print<br /> the article, and have no time to communicate<br /> with the author, claim only that which it is in<br /> the mind of the author to give, and which is<br /> the only real value to themselves—the first<br /> serial use ?<br /> <br /> The answer is plain. No author when<br /> sending an article to a monthly or weekly paper<br /> intends to sell the copyright. Nor does the<br /> editor or proprietor desire to use the article<br /> except in one issue of the magazine. If in<br /> exceptional cases he should desire more, then<br /> he should state so before and not after pub-<br /> lication.<br /> <br /> It would seem, therefore, that he endeavours<br /> to obtain control of the copyright only in order<br /> that, sitting as a dog in the manger, he may<br /> obtain a return of part of the moneys from the<br /> author should the author desire to republish<br /> in other form.<br /> <br /> This position, from the author’s standpoint,<br /> is very serious, especially if he is a technical<br /> writer, or happens to have specialised in any<br /> subject.<br /> <br /> The position is unfair to the author and a<br /> great hardship, because, as a rule, the bankers<br /> have directions not to cash the cheque if the<br /> endorsement is altered.<br /> <br /> The author, in many cases, either being in<br /> need of the money or being unwilling to offend<br /> the editor signs the document.<br /> <br /> If all authors refused to sign these endorse-<br /> <br /> <br /> <br /> * June, 1913.<br /> <br /> THE AUTHOR.<br /> <br /> ments, however trivial the amount in dispute,<br /> the matter would be remedied almost immedi-<br /> ately, but in many cases, when the article is of<br /> ephemeral value, it is not worth the author’s<br /> while, and in other cases an author may not<br /> care to appear in a county court.<br /> <br /> The solution of the difficulty lies, however,<br /> to a great extent in the author’s hand. He<br /> must send a formal letter—keeping a copy—<br /> with his article stating exactly what he is<br /> willing to licence—generally first serial use in<br /> a ‘“‘mentioned” magazine. If, then, the article<br /> is published without further reference to the<br /> author it will be held to be published on the<br /> terms of his letter of which the editor has had<br /> notice. If, then, the cheque is sent with the<br /> endorsement referred to it would be as well<br /> to return the cheque at once and, if the editor<br /> disputes the position, to take immediate action<br /> by placing the case before the Committee of<br /> Management of the Society.<br /> <br /> ———————_1—-1+—_—_—_<br /> <br /> PENS, PAST AND PRESENT.<br /> <br /> oe<br /> (Reprinted by kind permission of the Family Herald.)<br /> <br /> HE earliest kind of pen known is that used by<br /> the ancients—a style of bone or metal, with<br /> which letters were sketched on a_ tablet<br /> <br /> covered with wax. When the use of coloured<br /> liquids was adopted, a reed took the place of the<br /> bodkin, giving place afterwards to the quill. Egypt<br /> was famous for the most beautiful reeds ; there were<br /> fine reeds to be obtained near Cnidus, in Caria, Asia<br /> Minor ; the marshes of Persia also furnished a good<br /> supply. They grew to the height of a man, and<br /> were filled with a pith which could be removed<br /> when dry, so as to allow of a point being cut. Had<br /> the old Greeks known of goose quills they might<br /> perhaps have dedicated the goose instead of the owl<br /> to Minerva. ‘There is indeed a portrait of Aristotle<br /> in a manuscript in the Vienna Library, showing<br /> him with a book and quill before him, but the<br /> manuscript was not written until 1457, and the<br /> writer drew largely on his imagination.<br /> <br /> But the use of the quill seems to date from not<br /> earlier than the sixth century. It is related that<br /> Theodoric, King of the Ostrogoths, could not learn<br /> to write four letters at the bottom of his edicts, so<br /> four letters were cut out for him in a plate of gold,<br /> which was laid on the paper, and he traced out the<br /> letters with a quill. The Emperor Justin used a<br /> plate of wood, but his case was so much worse that<br /> one of his secretaries had to guide his hand. The<br /> oldest certain account is, however, that of St. Isidore,<br /> who died A.D. 636, wherein he mentions reeds and<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> feathers.<br /> <br /> <br /> <br /> THE AUTHOR. 89<br /> <br /> In the same century St. Aldhelm, the<br /> English pioneer of Latin verse, wrote a small poem<br /> on a quill pen. The gospel manuscripts of the<br /> ninth century depict the evangelists with quills in<br /> their hands.<br /> <br /> When the Romans were in what is known to-day<br /> as the Netherlands they are said to have paid special<br /> attention to the catching of geese ; an old poet said<br /> that this was because they could not get Egyptian<br /> reeds and wanted to procure goose quills, but Pliny<br /> says that it was because they wanted to eat roast<br /> goose and lie on feather beds.<br /> <br /> REEDS AND QUILLS.<br /> <br /> Reeds and quills were both used in the eighth<br /> <br /> century in the French diplomatic documents, while<br /> the papal Acts and those of the synods were written<br /> with reeds until much later. The monks used<br /> reeds for text and initials, while they preferred<br /> quills for smaller writing. Johann Reuchlin, a<br /> great light in the Reformation and Renaissance,<br /> was so severely attacked and persecuted that he had<br /> to flee for safety, leaving all his writing materials<br /> behind him; a letter is extant in which he asks a<br /> friend, Porkheimer, to send him some good paper,<br /> pen-knives, and peacock feathers. His letter of<br /> acknowledgment says :—<br /> . “J asked you for peacock feathers for writing ;<br /> you have presented me with the choicest swan<br /> quills, and, that nothing might be wanting to your<br /> friendly offices, you sent also reeds from the Nile,<br /> or, a8 | rather think, from Cnidus—more easy for<br /> writing—and the most excellent paper-knives.”<br /> <br /> Reuchlin sent three of these reeds to Erasmus,<br /> who writes full of gratitude for such a desirable<br /> present, saying that such is the most acceptable<br /> gift possible, adding the request that if Reuchlin<br /> has any more he will send some to a mutual friend<br /> in England, with a hint that more would be welcome<br /> sent to himself.<br /> <br /> _ For some reason writing quills were very scarce<br /> in Vienna in 1433; Ambrosius Traversarius, a<br /> monk of Carmaldule, sent a bunch of quills to his<br /> brother from Vienna, saying :—<br /> <br /> _ “They are not the best, but such as I received<br /> im a present. Show the whole bunch to friend<br /> Nicholas that he may choose a quill ; for they are<br /> éven scarcer in this city than in Florence.”<br /> <br /> The feathers of various birds have been used for<br /> pens, but in this respect the goose has always been<br /> the main contributor to literature. The swan,<br /> crow, eagle, owl, hawk, turkey, and peacock have<br /> all supplied the pen market to some extent. Swan<br /> quills are better and more costly than goose quills,<br /> while those of the crow are more suitable for fine<br /> lines. The only useful feathers of the goose are the<br /> five on the outer part of the wing, and of these the<br /> Second and third are the best. Quills from the left<br /> <br /> wing are more suitable than those of the right wing,<br /> because they curve outwards and away from the<br /> writer.<br /> <br /> How QUILLS ARE PREPARED.<br /> <br /> Preference is always given to quills secured in<br /> the spring from living birds, but those taken from<br /> dead geese, especially if fattened, are comparatively<br /> worthless. The quills are greasy and covered with<br /> little pellicles of skin ; this is removed by heating<br /> them in a fine sand-bath to one hundred and thirty<br /> to one hundred and eighty degrees Fahrenheit.<br /> They are then scraped, and while they are still soft<br /> and hot can be stamped with designs and names.<br /> Care must be taken that they are finished hard and<br /> elastic.<br /> <br /> Joseph Bramab, the lock inventor, in 1809, made<br /> and patented a machine for manufacturing quill<br /> nibs ; the barrel of the quill was slit into three or<br /> four parts and then cut across into two, three, four,<br /> and even five lengths. The nibs were used in a<br /> holder something similar to the present holder.<br /> Dickens, it will be remembered, speaks of the time<br /> when quill feathers were cut and cut again by the<br /> writer ; Miss Squeers, in her anxiety to see the<br /> new usher of Dotheboys Hall, enters the schoolroom<br /> on the pretext of wanting her pen mended.<br /> <br /> Nine years after Bramah’s patent Charles Watt<br /> obtained a patent for gilding nibs, thereby antici-<br /> patiug the gold pen. But in 1822 a step further<br /> was made; Hawkins and Mordan patented the<br /> application of horn and tortoiseshell to the forma-<br /> tion of nibs, making the points durable by impress-<br /> ing them into small pieces of diamond and ruby ;<br /> another part of the process was lapping a small<br /> piece of thin sheet gold over the tip of the tortoise-<br /> shell, and there were other ways of hardening the<br /> point.<br /> <br /> Merauic PEns.<br /> <br /> Metallic pens appear to have been slightly known<br /> to the Romans, but it is certain that they were not<br /> in use, nor were they at all common until after the<br /> meeting of the British Association at Birmingham<br /> in 1839. A steel pen was made and sold in London<br /> in 1803, but it cost five shillings, and was not a<br /> success. Bryan Donkin brought out another<br /> metallic pen in 1808. Doctor Priestley had had a<br /> steel pen made at the end of the previous century<br /> by a manufacturer of split-rings, named Harrison,<br /> who was eventually associated with Sir Josiah<br /> Mason in the industry ; but it was not until after<br /> Perry’s invention in 1830 and Gillott’s in 1831<br /> that pen-making became a paying industry. —<br /> <br /> Pens were made of silver, zinc, German silver,<br /> aluminium, and aluminium bronze. Doctor<br /> Wollaston, the celebrated physicist, whose advice<br /> was so useful to Herschel, used the first gold<br /> iridium-tipped pe on record.<br />  <br /> <br /> 90<br /> <br /> Joseph Bramah again was in the forefront with<br /> his fountain-pen. He had several designs ; one<br /> was a tube of soft silver that could be pressed to<br /> allow a flow to the nib, and another was a tube<br /> with a piston sliding down the ink-barrel. John<br /> Scheffer, in 1819, made a pen with a button, which<br /> the writer pressed when he wanted more ink at the<br /> nib.’ The Americans were the pioneers of stylo-<br /> graphs, with iridium points, but Birmingham took<br /> and retains the lead for good ordinary pens.<br /> <br /> A few words on the actual making will not be<br /> out of place. The finest quality of cast steel in<br /> rolled sheets is used, this being the product of<br /> Swedish charcoal iron. The sheets are cut into<br /> strips and then tempered in a furnace before being<br /> pickled in weak sulphuric acid to remove the<br /> oxidised scale. The strips are again rolled, and<br /> then cut, stamped, and embossed by band fly-<br /> presses with the trade-mark and perforated. Until<br /> pow the embryo pen is flat; next follows the<br /> rounding into a semi-circular shape.<br /> <br /> After once more being heated the pens are<br /> plunged into oil and then polished by mixing with<br /> sand in rotating cylinders. Small emery-wheels<br /> then grind the point, and the slit from the perfora-<br /> tion to the tip is made ; on this depends the whole<br /> perfection of the pen, the desired flexibility being a<br /> sine quad non. ‘The surface of the pen is then<br /> coloured in a revolving cylinder over a charcoal<br /> fire, and finally varnished with a solution of shellac.<br /> And the result is—a pen at less than a farthing<br /> infinitely superior to one formerly sold at five<br /> shillings.<br /> <br /> A. Kirxuam HaMILton.<br /> <br /> <br /> <br /> &gt;&lt;<br /> <br /> <br /> <br /> THE REAL “MOTHER DAMNABLE.”<br /> <br /> <br /> <br /> N a case in the law-courts some months ago<br /> the allegation was made—though it was<br /> contradicted at the time and has since<br /> <br /> been strongly denied—that Roman Catholics,<br /> or at least members of the Jesuit order,<br /> sometimes speak of the Church of England as<br /> ‘¢ Qld Mother Damnable.”’ (A correspondent<br /> in the Observer claims that ‘‘ the epithet was<br /> first brought into prominence, if not actually<br /> invented, by one of the early Tractarian<br /> seceders to Rome, and a friend of Newman’s,<br /> namely, the Rev. John Pye, who married a<br /> daughter of Bishop Samuel Wilberforce ”’.)<br /> It would be curious if the name were ever<br /> used in this connection, for it once had very<br /> different, and by no means religious, associa-<br /> tions. Whether one is justified in speaking<br /> of a real Mother Damnable is perhaps open to<br /> <br /> THE AUTHOR.<br /> <br /> dispute ; but, at any rate, there is a traditional<br /> personage who bears the stigma of the title and<br /> lingers on as a faint memory in a far from<br /> romantic quarter of London as we now know it.<br /> <br /> Near the end of the eighteenth century that<br /> industrious combination of author, print-<br /> collector, and print-seller, James Caulfield,<br /> published his “ Portraits, Memoirs, and<br /> Characters of Remarkable Persons from the<br /> Reign of Edward the Third to the Revolution.”<br /> To this work we owe some details, of doubtful<br /> authenticity, concerning the career of ‘‘ Beau ”<br /> Feilding, for a brief while the second husband<br /> of Barbara Villiers, Duchess of Cleveland.<br /> Another of the memoirs deals with Mother<br /> Damunable.<br /> <br /> ‘“Of the shrew thus denominated,” says<br /> Caulfield, ‘‘ whose real name has not reached<br /> posterity, nothing farther is known than the<br /> following lines annexed to her portrait—<br /> ‘London, printed in the year 1676 ’—inform<br /> us. ... It is perhaps not unreasonable to<br /> conjecture that she might be the original<br /> Mother Red Cap and kept the public-house<br /> near Kentish Town, known for a century past<br /> by the sign of her head ; in rivalship of which<br /> a Mother Black Cap appeared nearly opposite :<br /> which ale-houses were, within these few years,<br /> almost the only dwellings on that spot, now<br /> covered with extensive piles of building.”<br /> <br /> We may for the present leave the lines<br /> quoted by Caulfield, while we follow the<br /> identification suggested by him. This is<br /> supported by a statement in a valuable and<br /> entertaining collection of reminiscences called<br /> ‘““A Book for a Rainy Day.’ The author,<br /> John Thomas Smith, up to his death in 1833,<br /> keeper of the prints and drawings in the British<br /> Museum, preserved in this much antiquarian<br /> information which might otherwise have been<br /> lost. Writing of the year 1778, he mentions<br /> the Mother Red Cap, “‘a house of no small<br /> terror to travellers in former times,’’ and adds :<br /> “Tt has been stated that Mother Red Cap was<br /> the ‘ Mother Damnable’ of Kentish Town in<br /> early days; and that it was at her house the<br /> notorious ‘Moll Cutpurse,’ the highway-<br /> woman of the time of Oliver Cromwell,<br /> dismounted and frequently lodged.”<br /> <br /> Those who go to Camden Town nowadays<br /> by the Underground Railway may see “ The<br /> Mother Red Cap” over against the station,<br /> at the corner of the Camden Road. There is<br /> nothing ancient, however, about the house<br /> to-day, except its name. It was rebuilt in the<br /> late eighteenth century, according to J. a:<br /> Smith. An old gentleman with whom the<br /> present writer is acquainted remembers it fifty<br /> <br /> <br /> <br /> <br /> <br /> <br /> She<br /> <br /> THE AUTHOR. 91<br /> <br /> years ago, when it was one of the most<br /> picturesque inns in the London neighbourhood,<br /> celebrated for its old ale and Welsh rarebits,<br /> with a parlour where every seat was conse-<br /> erated to a regular customer, and with a paved<br /> space in front which could accommodate thirty<br /> or forty coaches. Since then it has_ been<br /> rebuilt at least once, and it is now almost<br /> aggressively modern. In this respect it is at<br /> least in harmony with its surroundings ; for,<br /> where once highwaymen resorted, the chief<br /> danger to life at the present day arises from the<br /> unceasing streams of motor-omnibuses and<br /> trams which run in all directions. Of the<br /> ““Mother Black Cap” there is no _ trace,<br /> although two public-houses—the authorities<br /> have been prodigal with licences hereabouts—<br /> may be described as standing nearly opposite.<br /> It is a rather strange coincidence that a<br /> newspaper of 1776, mentioned in Besant’s<br /> Survey of London, states that the space facing<br /> the ‘“‘Mother Red Cap” was at one time<br /> designed for a second Tyburn. This is sugges-<br /> tive of the black cap, it must be admitted.<br /> <br /> Another of the community of witches is<br /> obviously the heroine of a pantomime produced<br /> at the Sans Pareil Theatre in the Strand in<br /> March, 1809—‘‘ Mother White Cap, or Hey<br /> up the Chimney !”’ But she was perhaps only<br /> a parody of her red and black sisters.<br /> <br /> There appears to be little local tradition of<br /> Mother Red Cap surviving in Camden Town,<br /> beyond that she was “‘ a witch-sort-of-thing.”’<br /> Mother Damnable’s portrait, reproduced by<br /> Caulfield, is an unpleasing representation of an<br /> old hag kneeling down by her grate, in a much<br /> soiled or patched skirt and shawl, stick in hand,<br /> with a spilt pot of ale and a clay pipe on the<br /> floor behind her, while on the wall hangs a<br /> scutcheon with a black and a white cat sus-<br /> pended by their tails. In the modern ‘‘ Mother<br /> Red Cap ”’ a picture presents the dame quite<br /> otherwise, as only of middle age, in a red dress<br /> and a red hat with peaked crown. Across it<br /> is pasted the legend, “Champagne, 6d. a<br /> glass’?! But it is red wine which stands in a<br /> decanter at her side, and a glass of it is in her<br /> hand.<br /> <br /> The story, though its origin is difficult to<br /> trace, is that Mother Red Cap, or Damnable,<br /> was a brickmaker’s daughter in Kentish Town,<br /> very wild in her girlhood—like Mary Frith,<br /> alias Moll Cutpurse, according to her earliest<br /> biographer, “‘a very tomrig or rumpscuttle,”’<br /> “delighting only in boys’ play and pastime,<br /> not minding or companying with the girls ””—<br /> who, when she grew up followed Marlborough’s<br /> army to the wars, and ended by becoming a<br /> <br /> witch, as well as an inn-keeper, and being<br /> carried off by the Devil.<br /> <br /> The verses saved from oblivion by Caulfield<br /> are plainly directed against an unpopular<br /> landlady and do not allude to any traffic with<br /> the Black Art. They run as follows :—<br /> <br /> *Y° have often seen (from Oxford tippling house)<br /> Th’ effigies of Shipton-faced Mother Louse,<br /> Whose petty pranks (though some they might excel)<br /> With this old trot’s ne’er galloped parallel.<br /> *Tis Mother Damnable! that monstrous thing,<br /> Unmatched by Mackbeth’s wayward women’s ring,<br /> For cursing, scolding, fuming, flinging fire<br /> I’th face of madam, lord, knight, cit, gent, squire :<br /> Who (when but ruffled into the least pet)<br /> Will cellar door-key into pocket get.<br /> Then no more ale: and now the fray begins !<br /> *Ware heads, wigs, hoods, scarfs, shoulders, sides, and<br /> <br /> shins !<br /> <br /> While these dried bones, in a Westphalian bag,<br /> (Through th’ wrinkled weasan of her shapeless crag)<br /> Sends forth such dismal shrieks and uncouth noise<br /> As fills the town with din, the streets with boys ;<br /> Which makes some think this fierce she-dragon fell<br /> Yan scarce be matched by any this side hell.<br /> So famed, both far and near, is the renown<br /> Of Mother Damnable, of Kentish Town.<br /> Wherefore this symbol of the cats we’ll give her,<br /> Because, so curst, a dog would not dwell with her.”<br /> <br /> “Mother Louse,” it may be noted, is<br /> described in another of Caulfield’s memoirs<br /> as the keeper of an ale-house near Oxford,<br /> called Louse Hall. She was ‘ well known to<br /> the gentlemen of that university, who called<br /> her Mother Louse, and a portrait of her was<br /> engraved from the life by David Loggan,<br /> engraver to the University and friend of<br /> Antony Wood. It represents her with a ruff,<br /> which she was said to be the last woman in<br /> England to wear. Oddly, the picture of<br /> Mother Red Cap in the modern house gives<br /> her a ruff about her neck.<br /> <br /> Probably there is no reason to doubt the<br /> existence, once upon a time, of these two<br /> shrewish landladies. George Savile, Marquess<br /> of Halifax, speaks, in his essay upon the choice<br /> of Parliament-men, of ‘“‘a wet popularity ”<br /> as a frail title to fame. An alehouse-keeper,<br /> on the other hand,<br /> <br /> *“ Who (when but ruffled into the least pet)<br /> Will cellar door-key into pocket get—<br /> Then no more ale,”<br /> <br /> was sure of a dry unpopularity, which,<br /> embalmed in verse, might last centuries when<br /> there was a collector about with Caulficld’s<br /> <br /> love for the quaint.<br /> Puitre W. SERGEANT.<br /> <br /> —_——_1—<br /> <br /> <br /> THE AUTHOR.<br /> <br /> MR. GOSSE’S ESSAYS.*<br /> eae<br /> <br /> HE second volume of Mr. Gosse’s<br /> <br /> collected essays will be welcomed<br /> <br /> alike by those who made the ac-<br /> quaintance of these particular essays when<br /> they first appeared, and by those to whom they<br /> are new. Few writers, past or present, can<br /> invest with so much charm the critical and<br /> anecdotal saunter round the shelves of a<br /> book-room as our author. Few, too, have such<br /> sane views of what a library should be—“ a<br /> small one, where the books are carefully<br /> selected and thoughtfully arranged in accord-<br /> ance with one central code of taste, and intended<br /> to be respectfully consulted at any moment by<br /> the master of their destinies.”’ If fortune made<br /> him possessor of one book of excessive value,<br /> Mr. Gosse tells us, he would hasten to part<br /> with it. This is true wisdom. The first<br /> quarto of ‘‘ Hamlet” may be left to the<br /> Transatlantic millionaire.<br /> <br /> The essays before us range over a vast<br /> period of literary history. From Camden’s<br /> ‘‘ Britannia,”’ early in the sixteenth century,<br /> they travel by degrees to Meredith’s “ Shaving<br /> of Shagpat.’? The first and the last, it will be<br /> seen, deal with well-known works. Perhaps<br /> the most pleasing, however, are those which<br /> take as their subject obscure or forgotten<br /> books — such as Wither’s ‘‘ Shepheards<br /> Hunting,” Lady Winchilsea’s “ Miscellany<br /> Poems,” Farquhar’s ‘“‘ Love and Business,”<br /> and that extraordinary panegyric on prize-<br /> fighting, “‘ The Fancy,” of which the author<br /> was Keats’s friend, John Hamilton Reynolds,<br /> disguised under the alias of Peter Corcoran.<br /> The last-named essay—for it takes its title<br /> from the title of .Reynold’s book—is an<br /> admirable example of the man of letters at the<br /> ring-side. With what gusto does Mr. Gosse<br /> quote Corcoran’s apology to his lady-love :—<br /> <br /> “‘ Forgive me, and never, oh never again,<br /> <br /> T’&#039;ll cultivate light blue or brown inebriety ;<br /> <br /> Tl give up all chance of a fracture or sprain,<br /> <br /> And part, worst of all, with Pierce Egan’s society.”<br /> and explain that ‘“‘ heavy brown with a dash<br /> of blue in it”? was the fancy phrase for stout<br /> mixed with gin !<br /> <br /> There may be those to whom it seems<br /> grotesque to turn the pen to discourse of such<br /> things as these. To them may be commended<br /> the lines from Samuel Daniel’s “* Musophilus,”<br /> which Mr. Gosse quotes as the motto of his<br /> book, beginning<br /> <br /> *O blessed Letters, that combine in one<br /> <br /> All ages past, and.make one live with all. . . .”<br /> <br /> * “Gossip in a Library,” by Edmund Gosse, C.B.<br /> London; William Heinemann.<br /> <br /> CORRESPONDENCE.<br /> <br /> —_-—&lt; 2 —<br /> “* ONLY.”<br /> <br /> Srr,—The irritating misuse of the word<br /> “only ’’ to which your correspondent “ Richard<br /> Free ” called attention in your last issue, is by<br /> no means confined to careless writers. Many<br /> who denounce the split infinitive have not yet<br /> had their grammatical consciousness awakened<br /> to this solecism. For example, I have culled<br /> the following three passages from the latest<br /> edition of “‘The King’s English,” the best<br /> book we have on the ill-treatment of English.<br /> <br /> ‘“ We shall now only make three general<br /> remarks before proceeding to details.”<br /> <br /> “The mistakes are nearly always on one<br /> side, the infinitive being the form that should<br /> only be used with caution.”<br /> <br /> “ For a person’s name can only require a<br /> defining cause to distinguish him from others<br /> of the same name.”<br /> <br /> The intended meanings are certainly not<br /> ‘only make,” “ only require,’ or ‘“ only be<br /> <br /> used,” as a moment’s analysis shows.<br /> This is perhaps the commonest error in both<br /> spoken and written English at the present day ;<br /> <br /> once perceived, it is undoubtedly one of the<br /> most irritating, and your correspondent<br /> deserves thanks for calling attention to it.<br /> I am,<br /> Your obedient servant,<br /> Ernest A. Baker.<br /> <br /> —1+——+—_<br /> <br /> New AND AMUSING TRICK OF THE<br /> LITERARY AGENT.<br /> <br /> Dear Sir,—The literary agent has found a<br /> new way of amusing his authors. He has a<br /> special cheque printed with a receipt upon the<br /> back which requires a penny stamp. He pays<br /> his author with one of these cheques and of<br /> course does not stamp his receipt. The author<br /> is abroad, or he has only embossed envelopes<br /> upon his desk, and the fun begins. Publishers<br /> are taking up this delightful little novelty.<br /> <br /> ‘The author finds on the back of the publisher’s<br /> <br /> cheque a printed receipt, in which he is invited<br /> to make over to the publisher all sorts of rights<br /> he never sold’ when the. bargain was made.<br /> Any alteration of the receipt invalidates the<br /> cheque. Letters, explanations, recriminations.<br /> What an infernal nuisance all this<br /> smartness is ! |<br /> <br /> X.	https://historysoa.com/files/original/5/534/1913-12-01-The-Author-24-3.pdf	publications, The Author
535	https://historysoa.com/items/show/535	The Author, Vol. 24 Issue 04 (January 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+04+%28January+1914%29"><em>The Author</em>, Vol. 24 Issue 04 (January 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-01-01-The-Author-24-4					93–122																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-01-01">1914-01-01</a>							4			19140101	Che HMuthbor.<br /> <br /> <br /> <br /> <br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> Vor. XXIV.—No. 4.<br /> <br /> JANUARY 1, 1914.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> —<br /> <br /> NOTICES.<br /> <br /> —+—~&lt;9+—_<br /> <br /> RR the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> <br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> ed Editor on all literary matters treated from<br /> <br /> on. X IV,<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS,<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> +—&gt; +<br /> <br /> <br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> gg<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> * 3 i<br /> THE AUTHOR.<br /> <br /> MR. GOSSE’S ESSAYS.*<br /> <br /> oe<br /> volume of Mr. Gosse’s<br /> <br /> collected essays will be welcomed<br /> <br /> alike by those who made the ac-<br /> quaintance of these particular essays when<br /> they first appeared, and by those to whom they<br /> are new. Few writers, past or present, can<br /> invest with so much charm the critical and<br /> anecdotal saunter round the shelves of a<br /> book-room as our author. Few, too, have such<br /> sane views of what a library should be—“ a<br /> small one, where the books are carefully<br /> selected and thoughtfully arranged in accord-<br /> ance with one central code of taste, and intended<br /> to be respectfully consulted at any moment by<br /> the master of their destinies.”’ If fortune made<br /> him possessor of one book of excessive value,<br /> Mr. Gosse tells us, he would hasten to part<br /> with it. This is true wisdom. The first<br /> quarto of “Hamlet” may be left to the<br /> Transatlantic millionaire.<br /> <br /> The essays before us range over a vast<br /> period of literary history. From Camden’s<br /> ‘“‘ Britannia,” early in the sixteenth century,<br /> they travel by degrees to Meredith’s “‘ Shaving<br /> of Shagpat.” The first and the last, it will be<br /> seen, deal with well-known works. Perhaps<br /> the most pleasing, however, are those which<br /> take as their subject obscure or forgotten<br /> books —such as Wither’s ‘‘ Shepheards<br /> Hunting,” Lady Winchilsea’s “ Miscellany<br /> Poems,” Farquhar’s ‘“‘ Love and Business,”<br /> and that extraordinary panegyric on prize-<br /> fighting, “‘ The Fancy,” of which the author<br /> was Keats’s friend, John Hamilton Reynolds,<br /> disguised under the alias of Peter Corcoran.<br /> The last-named essay—for it takes its title<br /> from the title of _Reynold’s book—is an<br /> admirable example of the man of letters at the<br /> ring-side. With what gusto does Mr. Gosse<br /> quote Corcoran’s apology to his lady-love :-—<br /> <br /> “ Forgive me, and never, oh never again,<br /> <br /> Tl cultivate light blue or brown inebriety ;<br /> <br /> Tl give up all chance of a fracture or sprain,<br /> <br /> And part, worst of all, with Pierce Egan’s society.”<br /> and explain that “heavy brown with a dash<br /> of blue in it’ was the fancy phrase for stout<br /> mixed with gin !<br /> <br /> There may be those to whom it seems<br /> grotesque to turn the pen to discourse of such<br /> things as these. To them may be commended<br /> the lines from Samuel Daniel’s “* Musophilus,”<br /> which Mr. Gosse quotes as the motto of his<br /> book, beginning<br /> <br /> **O blessed Letters, that combine in one<br /> <br /> All ages past, and make one live with all. . . .”<br /> <br /> * “Gossip in a Library,” by Edmund Gosse, C.B.<br /> London; William Heinemann.<br /> <br /> HE second<br /> <br /> CORRESPONDENCE.<br /> <br /> —~&gt; + ——<br /> ** ONLY.”’<br /> <br /> Sir,—The irritating misuse of the word<br /> ‘only ’? to which your correspondent “ Richard<br /> Free ” called attention in your last issue, is by<br /> no means confined to careless writers. Many<br /> who denounce the split infinitive have not yet<br /> had their grammatical consciousness awakened<br /> to this solecism. For example, I have culled<br /> the following three passages from the latest<br /> edition of ‘“‘ The King’s English,” the best<br /> book we have on the ill-treatment of English.<br /> <br /> ‘“ We shall now only make three general<br /> remarks before proceeding to details.”’<br /> <br /> ‘““The mistakes are nearly always on one<br /> side, the infinitive being the form that should<br /> only be used with caution.”<br /> <br /> “For a person’s name can only require a<br /> defining cause to distinguish him from others<br /> of the same name.”<br /> <br /> The intended meanings are certainly not<br /> “only make,’ ‘“‘ only require,”’ or “ only be<br /> <br /> used,’’ as a moment’s analysis shows.<br /> This is perhaps the commonest error in both<br /> spoken and written English at the present day ;<br /> <br /> once perceived, it is undoubtedly one of the<br /> most irritating, and your correspondent<br /> deserves thanks for calling attention to it.<br /> I am,<br /> Your obedient servant,<br /> Ernest A. Baker.<br /> <br /> SE ann a a<br /> <br /> New anp AMUSING TRICK OF THE<br /> Lirersary AGENT.<br /> <br /> Dear S1r,—The literary agent has found a<br /> new way of amusing his authors. He has a<br /> special cheque printed with a receipt upon the<br /> back which requires a penny stamp. He pays<br /> his author with one of these cheques and of<br /> course does not stamp his receipt. The author<br /> is abroad, or he has only embossed envelopes<br /> upon his desk, and the fun begins. Publishers<br /> are taking up this delightful little novelty.<br /> <br /> The author finds on the back of the publisher’s<br /> <br /> cheque a printed receipt, in which he is invited<br /> to make over to the publisher all sorts of rights<br /> he never sold when the. bargain was made.<br /> Any alteration of the receipt invalidates the<br /> cheque. Letters, explanations, recriminations.<br /> What an infernal nuisance all this<br /> <br /> smartness is!<br /> X,<br /> <br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> Che Author.<br /> <br /> <br /> <br /> FOUNDED BY SIR<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> VoL. XXIV.—No. 4.<br /> <br /> JANUARY 1, 1914.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> <br /> <br /> TELEPHONE NuMBER:<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ———<br /> <br /> NOTICES.<br /> <br /> a<br /> <br /> RR the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> Tue Editor of The Author begs to remind<br /> <br /> &#039; members of the Society that, although the<br /> <br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> ~ Editor on all literary matters treated from<br /> ou. X IV,<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ps advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> <br /> <br /> —- +<br /> <br /> THE SOCIETY’S FUNDS.<br /> Seg<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds aatable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> * 2 ;<br />  <br /> <br /> 94<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> (2) The Pension Fund This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> —_———_+ &lt;&gt; —___——__<br /> <br /> THE PENSION FUND.<br /> <br /> — 1<br /> <br /> N January, the secretary of the Society<br /> I laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £10 fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> and the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> 6.1 d<br /> Local LOANS: ..........-¢-s.--- 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ........ 291 19 11<br /> London and North-Western 3%<br /> <br /> Debenture Stock ............ 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates ........ 200 0 0<br /> Cape of Good Hope 33% Inscribed<br /> <br /> StoGk, $3 occ lice ots dn 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock 228 0 0<br /> New Zealand 34% Stock ....... 247 9 6<br /> Trish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 23%<br /> <br /> Stock, 1927-57). 0.5 scenes cus 438. 2 4<br /> Jamaica 34% Stock, 1919—49 .. 182 18 6<br /> Mauritius 4% 1987 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 84%<br /> <br /> Land Grant Stock, 1988 ...... 198 8 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ....... veavcan. &amp;. 282:.0..0<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> £ &amp;@<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........--. 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares ........+.-- 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) ............ 550 0 0 &amp;<br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 30 0 0<br /> Total 2. i263 ce £4,764 6 0<br /> <br /> PENSION FUND.<br /> <br /> —+~&gt; +<br /> <br /> Tue list printed below includes all fresh dona-<br /> <br /> tions and subscriptions (i.e., donations and |<br /> <br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> April, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 19138.<br /> <br /> April 8, Caulfield-Stoker, T. .<br /> June 12, Wimperis, Arthur .<br /> June 16, Ballantyne, J. W.<br /> June 16, Thorold, Rupert<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. 2 : :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 13, Knowles, Miss<br /> Oct. 20, Collison, Harry :<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. . ;<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert<br /> Dec. 4, Lunn, Arnold . :<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry, Miss Ana<br /> Dec. 4, Vallois, Miss Grace<br /> Dec. 17, Beresford, J. D.<br /> <br /> 1913.<br /> <br /> CUMANOAH As<br /> <br /> —<br /> <br /> _<br /> <br /> SOHO Ot OS OS Or Or Or Or St Or Oc Or<br /> cococacocosososcoscooossoooooF®<br /> <br /> ecocoooreoccoocoosorososooororoth<br /> <br /> —<br /> <br /> Donations.<br /> <br /> April 2, Daniel, E. H. . ; .<br /> April 2, Hain, H.M. . : » 0 45<br /> <br /> oon<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 95<br /> <br /> th<br /> ~%<br /> <br /> April 7, Taylor, Miss Sueties M. .<br /> April 7, Harding, Newman . ‘<br /> April 9, Strachey, Miss Amabel .<br /> April 10, Aspinall, Algernon.<br /> <br /> April 15, Craig, Gordon ; .<br /> April, Robbins, Miss Alice<br /> <br /> June 12, Peel, Mrs... :<br /> <br /> June 18, Barlow, Miss Hilaré :<br /> June 13, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert . .<br /> July 11, Broadbent, D. R. . ‘<br /> July 22, Cameron, Mrs. Charlotte .<br /> Sept. 29, Peacock, Mrs. F. M.<br /> Sept. 30, Wallis-Healy, F. &lt;<br /> Oct. 7, Darwin, Sir Francis . :<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold ;<br /> Oct. 30, Rossman, Miss<br /> <br /> Nov. 3, Holland, Theodore<br /> <br /> Noy. 3, Steane, Bruce<br /> <br /> Noy. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elvington, Miss Helen<br /> Nov. 10, Waterbury, Mrs. . &lt;<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia :<br /> Dec. 11, Little, Mrs. Archibald. . 1<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> _<br /> <br /> _<br /> CSOT RK ON OLOTOO CONN EH OOOOH ae Ok OO:<br /> <br /> —<br /> <br /> _<br /> ececoeocoaancoocoonocacocooooonoooocSe<br /> <br /> COCFrFSOOCOCOCOOCOSOHOCOUOCONKE RK OCOCSCOoFrEoooSO<br /> <br /> eg eg<br /> <br /> COMMITTEE NOTES.<br /> <br /> <br /> <br /> | last meeting of the Committee of<br /> Management for 1913 was held at the<br /> offices of the Society on December 1.<br /> After the reading of the minutes of the previous<br /> meeting, the committee proceeded with the<br /> election of members. Thirty-three members<br /> and associates were elected. The committee<br /> are pleased to state that the elections this year<br /> have exceeded the number elected in 1912, and<br /> give the Society another record, 349 members<br /> and associates having been elected. The<br /> committee then accepted with regret eight<br /> resignations, bringing the resignations for the<br /> year up to ninety-one. Here, again, the com-<br /> mittee may congratulate the members. The<br /> resignations are slightly fewer than in 1912,<br /> when the number was ninety-nine. It must<br /> be remembered that in proportion to the size<br /> of the Society the decrease is even more marked<br /> than might, at first sight, seem apparent.<br /> The solicitor of the Society then reported on<br /> the cases with which he had been dealing during<br /> the month.<br /> <br /> The first, which has been running on for<br /> some time, arose out of a dispute on accounts.<br /> It is possible this matter may be settled by<br /> the purchase outright by the publisher of<br /> the member’s copyright.<br /> <br /> The next matter referred to a dispute as to<br /> the payment by a certain publisher of an<br /> amount due, the publisher having disclaimed<br /> the full liability owing to non-fulfilment of<br /> part of the contract by the author. A sum<br /> has now been agreed in settlement.<br /> <br /> In the last issue, reference was made to<br /> a difficult case. An agent had sold certain<br /> rights in an article to an American magazine<br /> without referring the question of price to the<br /> author. The American magazine insisted on<br /> its strict legal rights, in spite of the author’s<br /> wishes to the contrary. It appeared, after<br /> investigation, that the agent had exceeded his<br /> instructions, and, in consequence, that the<br /> editor of the American paper, from his point of<br /> view, had acted within his rights, the only<br /> claim open to the author being against the<br /> agent for exceeding his authority. Another<br /> question arose out of a dispute between author<br /> and publisher, dealing with the publication<br /> of a book. At the author’s suggestion, she<br /> attended personally and explained the full<br /> details to the committee. The committee<br /> carefully considered the rights of the matter<br /> from every point of view, the Society’s solicitor<br /> setting out the legal position. After full dis-<br /> cussion, the committee came to the conclusion<br /> that the publisher had not broken or exceeded<br /> his contract, and there was no legal claim<br /> enforceable by the member against him. The<br /> solicitor was instructed to report to the member<br /> accordingly.<br /> <br /> The solicitors then reported that the Society’s<br /> case, Corelli v. Gray, taken to the Court of<br /> Appeal at the instance of the defendant, had<br /> been heard, and that judgment had been given<br /> in that Court in confirmation of the judgment<br /> given in the court below. A report of the case<br /> appeared in the December issue of The Author.<br /> <br /> In a dispute between author and publisher<br /> on the terms of a contract the committee<br /> decided to go ahead.<br /> <br /> The next question dealt with the delay in<br /> publication of a book. The solicitors had<br /> already received instructions to bring pressure<br /> on the publisher, and the committee decided<br /> that whatever steps might be necessary to<br /> ensure early publication should be taken.<br /> <br /> In a dispute arising between an author and a<br /> magazine relating to infringement of copyright,<br /> the solicitors reported that a settlement had<br /> been reached on the basis that the editor had<br />  <br /> <br /> 96<br /> <br /> agrecd to publish an apology drafted on behalf<br /> of the member.<br /> <br /> A member of the Society appealed to the<br /> committee in the following circumstances :—<br /> <br /> A book had been published by a certain<br /> firm for the member, but had been adver-<br /> tised in the publisher’s lists as by another<br /> author. The matter had been taken in hand<br /> at once. The publisher had expressed his<br /> regret and had undertaken to do what he could<br /> to remedy the mistake. This settlement had<br /> been agreed to by the author.<br /> <br /> A dispute on one of the unsatisfactory con-<br /> tracts which authors so often make, binding<br /> themselves in respect of future books, had<br /> arisen. The question at issue was the number<br /> of books which had been offered to the pub-<br /> lisher and the royalties payable on those<br /> accepted. The matter was one of importance,<br /> as the amount of the author’s royalty depended<br /> upon the correct interpretation of the agree-<br /> ment. The solicitors advised that they con-<br /> sidered the author had a sound case, and<br /> the matter will be submitted to arbitration<br /> under a clause in the agreement to that<br /> effect.<br /> <br /> In three small claims for moneys due the<br /> solicitor reported that in the first case he had<br /> signed judgment. -In the second case he had<br /> issued a summons, and in the third he<br /> proposed now to take steps to commit the<br /> defendant for contempt of court as he had<br /> failed to attend an appointment to be examined<br /> before the Master. The committee authorised<br /> these proceedings.<br /> <br /> A difficult case arose under an agreement<br /> executed some years ago, in which it was<br /> claimed that the acting rights in a play included<br /> the cinematograph rights. It was decided to<br /> await further developments and the committee<br /> instructed the solicitors to report fully when<br /> further information was to hand.<br /> <br /> The next matter related to a dispute between<br /> two members of the Society as to whether one<br /> member had infringed the other’s copyright.<br /> The solicitor was given instructions, having<br /> heard statements from both parties, to<br /> endeavour to arrange a settlement, and if<br /> unsuccessful, to offer to have the matter<br /> settled by an arbitrator appointed by the<br /> Society’s committee. The result will be<br /> reported to the next meeting.<br /> <br /> The secretary then reported to the committee<br /> certain eases which had arisen, which had not<br /> been in the hands of the solicitors.<br /> <br /> The first was an alleged breach of contract<br /> by an Australian editor. It was decided to<br /> place the matter in the hands of a lawyer in<br /> <br /> THE AUTHOR.<br /> <br /> Australia if the solicitors of the Society advised<br /> the claim was a sound one.<br /> <br /> In a case of dispute between a member of the<br /> Society and‘an agent which had been placed<br /> before the Society by the agent, the committee<br /> decided it was impossible for them to advise<br /> the agent as to the course to be pursued, the<br /> advice, if any, only being available to the<br /> member and at his request.<br /> <br /> The secretary reported that in a case which<br /> the committee had agreed to take in Germany<br /> subject to the approval of the member con-<br /> cerned—for whom counsel’s opinion had been<br /> taken—the member, after consideration, had<br /> decided not to trouble the Society any further.<br /> <br /> An important case being fought out in<br /> America—important to all authors—English<br /> <br /> and American—had been brought to the notice’<br /> <br /> of the Society, not only by the American<br /> Authors’ League, but by an American member<br /> of the Society. The committee decided to<br /> assist the Authors’ League of America to fight<br /> the case as they considered a judgment on the<br /> issues of vital importance to all authors.<br /> Another American case involving questions as<br /> to the international arrangements between the<br /> United States and England was brought to<br /> the notice of the committee, and the committee<br /> decided to put the full details before the Board<br /> of Trade or whatever Government office might<br /> be competent to deal with the details.<br /> <br /> In another case in the United States—a<br /> dispute between an author and an agent—it<br /> was decided, on the author’s statement that<br /> he did not wish to press the matter, to write<br /> to the agent to draw his attention to the<br /> unsatisfactory nature of the explanation given.<br /> <br /> The question of the right of the Income Tax<br /> Commissioners to demand from publishers<br /> detailed statements of the sums paid in<br /> royalties to their authors was considered, and<br /> it was decided to obtain counsel’s opinion on a<br /> matter which was of such vital importance to<br /> authors.<br /> <br /> The secretary reported that, owing to the<br /> pressure of work at the office, it had been found<br /> absolutely essential to engage a new clerk.<br /> The engagement was confirmed by the com-<br /> mittee.<br /> <br /> A letter from Sir Alfred Bateman, who was<br /> unable to attend the meeting, was read. It<br /> dealt with certain important questions of<br /> international copyright in which he had been<br /> working for the benefit of the Society. The<br /> committee expressed their thanks to Sir Alfred<br /> for his labours.<br /> <br /> The committee sanctioned the drawing of a<br /> cheque for Christmas boxes for the clerks of<br /> <br /> <br /> <br /> <br /> nesinematerer mn<br /> <br /> alg<br /> ue |<br /> <br /> fe |<br /> <br /> <br /> <br /> THER AUTHOR.<br /> <br /> the Society as the work of the Society had been<br /> successful during the year. They also sanc-<br /> tioned the purchase of certain office furniture.<br /> <br /> Mr. Rann Kennedy received the thanks of<br /> the committee for his generous action in paying<br /> costs ineurred by the Society in a copyright<br /> ease in Winnipeg. The amount—£15—was<br /> paid into the capital account.<br /> <br /> The committee also thanked Mr. Banister<br /> Fletcher for a donation of £5 5s. to the same<br /> fund.<br /> <br /> The questions of loans to authors and the<br /> International Gathering of 1915 were adjourned<br /> to the next meeting.<br /> <br /> te<br /> <br /> Dramatic SuB-CoMMITTEE.<br /> <br /> Tue December meeting of the Dramatic<br /> Sub-Committee was held on Friday, Decem-<br /> ber 19, at three o’clock.<br /> <br /> After the reading of the minutes, the<br /> secretary reported that the draft Royalty<br /> Agreement, with notes and comments, had not<br /> yet been finally settled, but that the delegates<br /> appointed to settle it hoped to be able to lay it<br /> before the sub-committee at the next meeting.<br /> <br /> The secretary read some very interesting<br /> letters he had received from the secretary of<br /> the Société des Auteurs et Compositeurs<br /> Dramatiques in regard to cinema rights in<br /> France, and laid on the table an agreement<br /> which had been settled for the marketing of<br /> these rights. He was instructed to make<br /> further enquiries of the French society, and to<br /> inform the society that the sub-committee<br /> would be ready to consider any proposal for an<br /> international conference.<br /> <br /> The secretary also read a letter on the same<br /> matter from Mr. Rex Beach, who was acting<br /> for the United States Author’s League, and he<br /> was requested to thank Mr. Beach for his<br /> letter.<br /> <br /> The sub-committee then settled their<br /> nominees for the coming year, and a notice will<br /> be sent round to the dramatic section in due<br /> course.<br /> <br /> The question of placing powers of attorney<br /> in the hands of foreign lawyers was again con-<br /> sidered, and a draft power of attorney was laid<br /> on the table. The matter was referred to the<br /> Committee of Management for their sanction.<br /> <br /> An interesting letter from an American<br /> lawyer to Mr, Charles Frohman, setting out the<br /> method by which dramatic copyright could be<br /> secured in Canada, was read to the sub-<br /> committee, and the secretary was instructed<br /> to enquire of Mr, Frohman whether he would<br /> <br /> 97<br /> <br /> have any objection to its being published in<br /> The Author.<br /> <br /> Mr. Jerome put before the sub-committee<br /> an important case in which he was involved,<br /> and the sub-committee referred the matter to<br /> the Committee of Management for their favour-<br /> able consideration.<br /> <br /> The secretary then pointed out the necessity<br /> for dramatists to register their plays in<br /> Australia, in order that they might obtain the<br /> benefit of the summary proceedings under the<br /> Australian Act. He was instructed to write to<br /> the Registrar in Australia to obtain full details,<br /> with registration forms, if possible, so that the<br /> Society might carry through such registration<br /> on behalf of its members.<br /> <br /> One of the members of the sub-committee<br /> raised the question of the interference of<br /> middlemen between dramatic authors and<br /> managers, and the secretary was instructed to<br /> write a paragraph on the point for insertion in<br /> The Author. —<br /> <br /> —&gt;<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> Tue December meeting of the Composers’<br /> Sub-Committee was held on Saturday,<br /> December 18, at No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W., at 11 a.m.<br /> <br /> After the minutes of the former meeting<br /> were read and signed, the sub-committee<br /> considered the following questions :—<br /> <br /> The secretary reported that a paragraph<br /> had been sent to the papers, and also men-<br /> tioned the papers in which it had appeared.<br /> It was hoped that this paragraph might have<br /> some effect in bringing composers more<br /> closely together,<br /> <br /> Arising out of this it was suggested that an<br /> article should be written in one of the papers<br /> dealing with mechanical reproduction and<br /> composers’ rights, and the secretary was<br /> instructed to see whether he could get such an<br /> article inserted in one of the London papers.<br /> <br /> The sub-committee next considered the<br /> question of stamps on mechanical instruments.<br /> It appeared that the stamps which, under the<br /> Board of Trade regulations, had been affixed<br /> to mechanical reproductions, were often falling<br /> off. The companies whose duty it was to<br /> affix the stamps, stated that all they had to<br /> prove was that the stamps were affixed, and<br /> that if the stamps dropped off, the fault was<br /> due to the copyright owners who had supplied<br /> stamps inadequately gummed. The sub-<br /> committee thought the matter of serious<br /> importance, as it was very difficult to check<br /> piracies unless the matter was carried out<br />  <br /> <br /> 98<br /> <br /> according to the spirit of the Act. It was<br /> decided to write to other collecting agencies<br /> with a view to joint action being taken in<br /> submitting the matter to the Board of Trade.<br /> <br /> Another question arose as to the supplying<br /> of stamps in foreign countries, and the sub-<br /> committee decided to accept a proposal at<br /> any rate, for one year, put forward by one of<br /> the foreign collecting socicties, in order to test<br /> a suggestion that they had made.<br /> <br /> The question of the loaning of orchestral<br /> parts and works by certain lending libraries<br /> attached to music publishing houses was con-<br /> sidered. The arrangement frequently left the<br /> composer with no monetary reward, and it<br /> appeared clear that if the idea was carried<br /> forward to any great extent, it would be<br /> possible for the publishers to avoid paying<br /> any very large sums in royalties, owing to the<br /> fact that the publishers need not sell, but<br /> might only loan the composers’ works.<br /> <br /> The next question had reference to the<br /> prices which the composers of comic songs<br /> received for their performing rights and<br /> mechanical instrument rights. The secretary<br /> was instructed to obtain further information.<br /> Members of the Committee, also, promised to<br /> obtain information and report.<br /> <br /> An article written on instructions given by the<br /> sub-committee at their former meeting, deal-<br /> ing with the collection of mechanical fees, was<br /> read, and the sub-committee decided, with<br /> the approval of the Committee of Management,<br /> that the article should appear in The Author.<br /> They also decided, with the approval of the<br /> committee of Management, that the com-<br /> poser’s pamphlet should be printed, containing<br /> the secretary’s article on The Commercial<br /> Side of Music, the article by Mr. E. J. Mac-<br /> Gillivray on Composers’ Rights, and a Com-<br /> posers’ Royalty Agreement, when it is settled.<br /> It is hoped these matters will be carried through<br /> in the beginning of the year.<br /> <br /> The arrangements for the meeting with the<br /> delegates of the Society of British Composers<br /> were finally settled, and a report will be sub-<br /> mitted to the next meeting of the sub-<br /> committee.<br /> <br /> The question of agents’ fees in foreign<br /> countries was considered and adjourned,<br /> pending the arrival of further information<br /> which was expected before the next meeting<br /> of the sub-committee. The consideration of<br /> the royalty agreement was also adjourned.<br /> <br /> oe<br /> <br /> THE AUTHOR.<br /> <br /> Cases.<br /> <br /> Durine the past month there have been<br /> eighteen cases in the hands of the secretary.<br /> There were four cases, disputes on agree-<br /> ments, two of which have been negotiated ;<br /> one has been placed in the hands of the<br /> Society’s solicitors and one has only recently<br /> come to the office.<br /> <br /> In two claims for MSS. from editors, the<br /> MSS. have been returned and forwarded to the<br /> authors.<br /> <br /> There has been one application for accounts<br /> and money, but as the matter lies in the<br /> United States, it will be some time before it<br /> is possible to report the result.<br /> <br /> There have been ten applications on behalf<br /> of members for default of payment; four of<br /> these have been successfully carried through ;<br /> three have had to be placed in the hands of the<br /> Society’s solicitors, and of the remaining three,<br /> two have only recently come to the office, and<br /> the last one is in course of negotiation.<br /> <br /> In one case of infringement of copyright, the<br /> infringement has been acknowledged and the<br /> matter has been settled.<br /> <br /> Of the eighteen cases three were in foreign<br /> countries. It is useful to note that the<br /> number of complaints which the Society is<br /> asked to settle outside the British Isles<br /> increases monthly.<br /> <br /> There are three cases open from former<br /> months, not counting those which have had<br /> to be placed in the hands of the Society’s<br /> solicitors. Of these two are in the United<br /> States and one is in Canada. It is hoped,<br /> however, that negotiations will be carried<br /> through successfully, indeed in one case the<br /> matter seems almost to be at an end.<br /> <br /> ——<br /> <br /> December Elections.<br /> Armstrong, Cecil Ferard 164, Ebury Street,<br /> S.W.<br /> Smith Street,<br /> <br /> Barnby, Miss. ;<br /> Westminster, S.W.<br /> <br /> Berry, Ana M. . . 8, Sloane Court,<br /> S.W.<br /> <br /> Bradley, Miss Edith Greenway Court,<br /> Hollingbourne,<br /> Kent.<br /> <br /> Coales, H. G. (“‘ Market<br /> Harborough ’’).<br /> Coats-Bush, W. . :<br /> <br /> Market Harborough.<br /> <br /> Villa Vecchia, Davos<br /> Dorg, Switzerland.<br /> <br /> 6, Pembroke Walk<br /> Studios, Kensing-<br /> ton, W.<br /> <br /> Cook, Miss Margaret C.<br /> <br /> <br /> <br /> -<br /> q<br /> fi<br /> <br /> hp ea<br /> <br /> <br /> Comper,<br /> <br /> Cotes,<br /> <br /> Miss Frances<br /> M. M.<br /> <br /> Cory, Mrs. Theodore .<br /> <br /> Mrs.<br /> (“* Sara<br /> Duncan ’’).<br /> <br /> Everard<br /> Jeannette<br /> <br /> Cross, Miss May . ‘<br /> <br /> Davies, Emil<br /> <br /> tr<br /> <br /> “. 7 JONES,<br /> <br /> Fraser,<br /> <br /> Hampden-Cook,<br /> <br /> Deane, Sara ‘ ‘<br /> <br /> Dymock, R. G. Vaugh-<br /> <br /> ton (““ R. Penley’’).<br /> Maj.-Gen. Sir<br /> Thomas, K.C.B.,<br /> <br /> C.M.G.<br /> <br /> Gaul, Miss Lilian J. .<br /> <br /> Rev.<br /> ‘Ernest, M.A.<br /> <br /> Horn, Miss Kate (‘‘ Mrs.<br /> <br /> Weigall”).<br /> <br /> Ernest, M.D.,<br /> <br /> M.R.C.P.<br /> <br /> * King, Cecil<br /> <br /> Lubbock, Basil<br /> <br /> i Lunn, Arnold<br /> <br /> rity<br /> <br /> ph Meese<br /> <br /> 3 ¢<br /> <br /> <br /> <br /> <br /> <br /> Mitford, E.<br /> <br /> | Vavasour-Earle,<br /> <br /> Watson,<br /> <br /> Bruce,<br /> <br /> F.R.G.S.<br /> <br /> Roberts, Dr. C. G. D..<br /> Smyth, Dr. Ethel<br /> <br /> Steuart, Maria S. .<br /> Vallois, Grace Mary.<br /> <br /> a &#039; -Vansittart, Robert :<br /> Vaughan Miss Evelyn<br /> <br /> Goode.<br /> Miss<br /> Aimée.<br /> <br /> Alex. C.<br /> (“ Alexander Camp-<br /> bell”) —_(** Campbell<br /> Watson’’).<br /> <br /> Watson, Augusta Gor-<br /> <br /> don,<br /> <br /> THE AUTHOR.<br /> <br /> 1, Stratford Street,<br /> Oxford.<br /> <br /> The White House,<br /> Hampton Court.<br /> 36, Buckingham<br /> <br /> Gate, S.W.<br /> <br /> 86, Worple Road,<br /> Wimbledon, S.W.<br /> <br /> 65, 66, Chancery<br /> Lane, W.C.<br /> <br /> 28, Wellington Court,<br /> Knightsbridge,<br /> S.W.<br /> <br /> Prestfelde,<br /> bury.<br /> <br /> 83, Onslow Square,<br /> S.W.<br /> <br /> Shrews-<br /> <br /> Gillott Lodge, Gillott<br /> Road, Edgbaston.<br /> <br /> Methlic, Brentwood,<br /> Essex.<br /> <br /> 391, Upper Rich-<br /> mond Road, Put-<br /> ney, S.W.<br /> <br /> 69, Portland Court,<br /> W.<br /> <br /> 225, Goldhurst Ter-<br /> race, South Hamp-<br /> stead, N.W.<br /> <br /> The Manor House,<br /> Hamble, Hants.<br /> 8, Upper Woburn<br /> <br /> Place, W.C.<br /> <br /> 29, Sternhold<br /> Avenue, Streat-<br /> ham, S.W.<br /> <br /> 8,Sergeants Inn, W.C.<br /> <br /> Coign, Hook Heath,<br /> Woking.<br /> <br /> 79, Great King<br /> Street, Edinburgh.<br /> <br /> 59, Cambridge Road,<br /> Kilburn, N.W.<br /> <br /> 31, Princes Gate,S.W.<br /> <br /> Fullarton, Adelaide,<br /> S. Australia.<br /> <br /> The Haven, 53,<br /> Queen’s Road,<br /> St. John’s Wood,<br /> N.W.<br /> <br /> 4, Queen<br /> Edinburgh.<br /> <br /> Street,<br /> <br /> 8, Cadogan Gardens,<br /> S.W.<br /> <br /> 99<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> ——— +<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> <br /> ARCH ZOLOGICAL.<br /> <br /> Norres oN THE CHURCHES IN THE DEANERY OF KeEnn,<br /> Devon. By Bearrix F. CResswetn. 9 x 6. 91 pp.<br /> Exeter: J. J. Commins and Son.<br /> <br /> ARCHITECTURE.<br /> <br /> An Intropvuction to Enciise CHurcH ARCHITECTURE<br /> FROM THE ELEVENTH To THE SIXTEENTH CENTURY. By<br /> Francis Bonn, M.A., F.G.S., Hon. A.R.1.B.A. Two<br /> Vols. xxxv + vi+ 986pp. Milford. Two guineas n.<br /> <br /> ART.<br /> <br /> PAINTING IN THE Far East. An INTRODUCTION TO THE<br /> Hisrory oF Picrortan ArT IN ASIA, ESPECIALLY CHINA<br /> AND Japan. By Laurence Bryyon. Second edition<br /> revised throughout. 10} x 8. xviii + 295 pp. Edward<br /> Arnold. 21s. n.<br /> <br /> More asout Cottectinc. By Sir James Yoxatt, M.P.<br /> 8} x 6. 339 pp. Stanley Paul. 5s. n.<br /> <br /> VisvakaRMA: Examples of Indian Architecture, Sculp-<br /> ture, Painting, Handicraft. Chosen by Ananpa K.<br /> Coomaraswamy, D.Sc. Part VI. 11 x 8%. 100 pp.<br /> 2s. 6d. (Rs. 2).<br /> <br /> BIOGRAPHY.<br /> <br /> MacponaLp or THE Isues. By A. M. W. Srra.ina.<br /> 9 x 5}, xii + 295 pp. John Murray. 12s. n.<br /> <br /> Memories oF A Musician: REMINISCENCES OF SEVENTY<br /> Years or Musicat Lire. By WinetmMGanz. 9 x 5h.<br /> xiv + 357 pp. John Murray. 12s. n.<br /> <br /> My Betovep Sour. By Mrs. T. P. O&#039;Connor. 9 x 53.<br /> vili + 427 pp. G.P. Putnam’s Sons. 10s. 6d. n.<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> SHAKESPEARE’S Srorres. By Constance and Mary<br /> Maup. 73 x 5. 346 pp. Edward Arnold. 5s. n.<br /> Marcarer’s Boox. By H. Frenpinc-Harn. 9 x 6}.<br /> <br /> 284 pp. Hutchinson. 7s. 6d. n.<br /> <br /> DRAMA.<br /> <br /> LANDED Gentry: A Comepy In Four Acts. By W.S.<br /> Mavecuam. 7 x 5. vii+ 168 pp. Heinemann. 1s. 6d.n.<br /> <br /> EDUCATIONAL.<br /> <br /> WINGS AND THE CHILD, oR THE Bur~pine or Maarc Ciriss.<br /> By E. Nesprr. 8 x 5}. xiv +197 pp. Hodder and<br /> <br /> Stoughton. 6s, eg owen %<br /> FICTION. 7 #3 Ta&quot; |S] We!<br /> <br /> THE Epvucation or Oriver Hyp. By Rezcrnatp E.<br /> Satwey. Digby, Long &amp; Co.<br /> <br /> Five Years anp 4 Monto. By Fanny Morris Woop.<br /> Duckworth &amp; Co.<br /> <br /> Loor yrom tHe Tremere or Fortuns. By Horacu<br /> Awnestey Vacuetn. 74 x 5. 310 pp. Murray. 6s.<br /> <br /> StmPLe Smmon. His Adventures in the Thistle Patch. By<br /> A. Nem Lyons. Illustrated by G. E. Pero. Lane<br /> 6s.<br /> <br /> <br />  <br /> <br /> 100<br /> <br /> FOLK-LORE.<br /> By Rev. 8. Barinc-Goutp, M.A.<br /> <br /> K oF FOLK-LORE. ee<br /> i (The Nation’s Library.) Collins<br /> <br /> 6% x 44. 264 pp.<br /> <br /> Clear Type Press. 1s. n.<br /> HISTORY.<br /> [mpErtaLisM AND Mr. GLADSTONE, 1876-1888. Compiled<br /> by R. H. GRETTON. 7k x 43. 120 pp. Bell. le. n,<br /> LITERARY.<br /> <br /> Joun Muurncton SYNGE AND THE Trish THEATRE. By<br /> Maurice Bovrexois. Demy 8vo. xvi-+ 338 pp.<br /> Buckram. With 16 full page illustrations by Joun B.<br /> Yuats, R.H.A., Jack B. Yuats, JAMES PATERSON,<br /> R.8.A., JoHN CURRIE and others. Constable &amp; Co.<br /> <br /> Tue LIGHTER SIDE oF ENGLISH Lrrs. By F. FraNxrort<br /> Moors. With Illustrations in Colour by GORGE<br /> BeLcuer. 8 x 5}. 284 pp. Foulis. 5s. n.<br /> <br /> Tur KIRRIEMUIR EDITION OF THE Works or J. M. BaRRIE.<br /> ‘Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s.<br /> the set.<br /> <br /> Reminiscent Gosstr oF MEN AND MATTERS.<br /> Baker, F.R.G.S. 7} x 5}. viii + 246 pp.<br /> man and Hall. 6s.<br /> <br /> MISCELLANEOUS.<br /> <br /> Our Wrésr. A Collection of Sketches of Life in the<br /> Canadian West. Illustrated with photographs. Thomas<br /> Murby &amp; Co., 6, Bouverie Street, E.C. 6d. n.<br /> <br /> NATURAL HISTORY.<br /> <br /> Wiup Anmats aT Home. By Ernest THOMSON SETON.<br /> 8} x 5B}. xvi+ 224pp. Hodder and Stoughton. 6s. n.<br /> <br /> Tu BopLey HeAD NaTuRAL HisTORY. By E. D. CuMING.<br /> With Illustrations by J. A. SHEPHERD. Vol. Il. British<br /> Birds. Passeres. 6} x 5. 122 pp. Lane. 28. n.<br /> <br /> POETRY.<br /> <br /> Tar Porms oF Francois VILLON. Translated by H. Dr<br /> Vere STacroonn. 9 xX 6}. xii + 300 pp. Hutchin-<br /> son.<br /> <br /> POLITICS.<br /> <br /> War anp THE Workers. By Norman ANGELL.<br /> <br /> 63 pp. The National Labour Press. ls.<br /> REPRINTS.<br /> <br /> A Selection from Irish Poetry. By<br /> 93 x 6}. xxvi + 160 pp. Sidg-<br /> ls. 6d. n.<br /> <br /> By JAMES<br /> Chap-<br /> <br /> 7k x 5.<br /> <br /> THe Wimp Harp.<br /> KATHARINE TYNAN.<br /> wick and Jackson.<br /> <br /> A Century oF Paropy anp Imitation. Edited by<br /> Water Jerrotp and R, M. Leonarp. 1k XG:<br /> xv + 429 pp. Humphrey Milford. 1s. 6d. n<br /> <br /> Tue Hus or Home. By L. MactEan Watt. With the<br /> Pentland Essays of Robert Louis STEVENSON. 8) x 5h.<br /> 259 pp. Foulis. 5s. n.<br /> <br /> SCIENCE.<br /> <br /> “ Wuo&#039;s Wuo IN Scrence” (International). Edited by<br /> Hl. H. Sreruenson. 9} X 6. 667 pp. J. and A.<br /> Churchill. 10s. n.<br /> <br /> Continurry, THE PRESIDENTIAL ADDRESS TO THE BRITISH<br /> ASSOCIATION, BIRMINGHAM, MCMXIII. By Sm Oxtver<br /> <br /> Loven. Printed in full, and supplemented by Explana-<br /> tory Notes. 7} x 5. 118 pp. Dent. 1s. n.<br /> SOCIOLOGY.<br /> <br /> Conriictine IpEats! Two Sikes OF THE Woman’s<br /> Qumstion. By B. L. Hurcutns. 74 x 5. vii + 83 pp.<br /> Murby. ls. 6d. n.<br /> <br /> THE AUTHOR.<br /> <br /> THEOLOGY.<br /> <br /> L’Imrration ps Jesus CHRIST. Introduction par Mer.<br /> R. H. Benson. 6} x 4. xiii + 374 pp. (Collection<br /> Gallia.) Paris: Georges Cres et Cie. London: Dent-<br /> <br /> i te. n., eel ay<br /> (lem igettee op avert.<br /> <br /> A Woman’s Wrxter my Arrica. By Mrs. CHARLOTTE<br /> Cameron. Demy 8vo. Printed throughout on_ art<br /> paper, with 155 illustrations. 403 pp. Stanley Paul<br /> &amp; Co. 18s. 6d. n.<br /> <br /> Tur Guipe To SouTH AND East AFRICA. For the use of<br /> Tourists, Sportsmen, Invalids, and Settlers. Edited<br /> annually by A. SAMLER Brown and G. Gorpon Brown,<br /> ¥.R.GS., for the Union Castle Mail Steamship Company.<br /> Twentieth edition, 1914. 74 x 4%. liv+ 695 pp.<br /> Sampson, Low.<br /> <br /> +<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> E are asked by the executive officers of<br /> the Alfred Russel Wallace Memorial<br /> Fund to state that, if a sufficient sum<br /> can be raised, the following memorials to the<br /> late Dr. A. R. Wallace are proposed : (1) A<br /> medallion to be offered to the Dean and<br /> Chapter of Westminster Abbey ; (2) a portrait,<br /> for presentation to the Royal Society, to be<br /> painted by Mr. J. Seymour Lucas, RA. to<br /> whom Dr. Wallace had, within the last few<br /> months of his life, consented to sit ; (3) a copy<br /> of the portrait for presentation to the nation ;<br /> and (4) a statue to be offered to the trustees<br /> of the British Museum for erection in the<br /> Natural History Museum. It is estimated<br /> that £350 will cover all expenses connected<br /> with the portrait by Mr. Lucas, including a<br /> hotogravure reproduction, signed by the<br /> artist, for each subscriber of one guinea and<br /> upwards; and that an additional £750 will<br /> permit the scheme being carried out in its<br /> entirety. Subscriptions will be received and<br /> acknowledged by Professor R. Meldola, 6,<br /> Brunswick Square, London, W.C.; Professor<br /> E. B. Poulton, Wykeham House, Oxford ;<br /> Sir Wm. Barrett, Kingstown, Co. Dublin ;<br /> and the Manager, Union of London &amp; Smith’s<br /> Bank, Holborn Circus, London, E.C. Direct<br /> payments to the Manager will be the most<br /> convenient course.<br /> <br /> A. shilling pamphlet entitled ‘“* National<br /> Principles and ational Duty.” by the author<br /> of ‘National Revival,” with a preface by<br /> the Rt. Hon. the Earl of Selborne, K.G., has<br /> been issued by the Women’s Printing Society,<br /> Ltd., Brick Street, Piccadilly.<br /> <br /> A. Swedish translation of Mr. Francis.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> uk<br /> <br /> <br /> eS ae aS<br /> . . @<br /> <br /> THE AUTHOR. 101<br /> <br /> Gribble’s ‘‘ Court of Christina of Sweden ”’ will<br /> be published by Messrs. Walstrom and<br /> Widstrand.<br /> <br /> Among the Fellowship Books published by<br /> Messrs. Batsford, at 2s. net, are “ A Spark<br /> Divine,”’ a book for animal lovers, by Mr. R. C.<br /> Lehmann ; “* Romance,” by Mr. Ernest Rhys ;<br /> * Friendship,”” by Mr. Clifford Bax; ‘* The<br /> Joy of the Theatre,’’ by Mr. Gilbert Cannan :<br /> and “ The Country,” by Mr. Edward Thomas.<br /> <br /> A revised and cheaper edition of Mr.<br /> Frederick A. M. Spencer’s ‘“ Meaning of<br /> Christianity’? has now appeared (Fisher Unwin,<br /> 2s. 6d. net).<br /> <br /> Viscount Esher, G.C.B., contributes a pre-<br /> face to Mrs. St. Clair Stobart’s ‘‘ War and<br /> Women from Experiences in the Balkans and<br /> Elsewhere ” (G. Bell &amp; Sons, 3s. 6d. net).<br /> <br /> Mr. R. A. Scott-James’s “‘ Influence of the<br /> Press” is published by Partridge &amp; Co. at<br /> 3s. 6d. net.<br /> <br /> Mr. James Baker’s new work is ‘“‘ Reminis-<br /> cent Gossip of Men and Matters ” (Chapman<br /> &amp; Hall, 6s.).<br /> <br /> Mr. A. R. Haig Brown, in “‘ My Game-Book,”’<br /> deals not only with sport in Surrey, Sussex,<br /> Norfolk, ete., but also with early adventures<br /> at Charterhouse and later days at Lancing<br /> (Witherby, 5s. net).<br /> <br /> H.M. the Queen and H.M. Queen Alexandra<br /> have both been graciously pleased to accept<br /> copies of “ A Woman’s Winter in Africa,”’ of<br /> which the publishers are Messrs. Stanley Paul.<br /> ‘The author, Mrs. Charlotte Cameron, has been<br /> elected a Fellow of the Royal Geographical<br /> Society.<br /> <br /> Messrs. S. Paul announce the issue, in due<br /> course, of ‘‘ Napoleon in Exile at Elba ” and<br /> “Napoleon in Exile at St. Helena,” by<br /> Mr. Norwood Young, who sails this month on<br /> his second trip to the two islands to complete<br /> his study of local Napoleonic history. Mr.<br /> A. M. Broadley will be responsible for the<br /> illustrations to the books.<br /> <br /> Mr. E. Pearse Wheatley’s ‘“ Out West ?—<br /> according to the Times, “short and breezy<br /> descriptions of life in the Canadian West,<br /> illustrated with photographs ”—is published<br /> in paper covers at 6d., by Thomas Murby &amp;<br /> Co.<br /> <br /> A volume on “ Practical Pathology, includ-<br /> ing Morbid Anatomy and Post Mortem<br /> Technique,” by Dr. James Miller, Assistant in<br /> Pathology to the Edinburgh Royal Infirmary,<br /> is shortly to be added to Messrs. Black’s<br /> Edinburgh Medical Series.<br /> <br /> Mr. Julius Price’s ‘‘ My Bohemian Days in<br /> Paris” was published on November 25<br /> <br /> ([T. Werner Laurie, 10s. 6d. net, with 32<br /> drawings by the author, and a frontispiece<br /> portrait).<br /> <br /> Miss Gladys Davidson’s “ Stories from the<br /> Operas”? is now issued in one complete<br /> volume, combining the three previous series<br /> of plots of the most popular grand operas<br /> performed in England during recent years<br /> (Laurie, 6s. net).<br /> <br /> Mr. J. Stanley Little contributed an article<br /> entitled “ Insurgent Women ”’ to the November<br /> issue of Hast and West.<br /> <br /> “A Manor Book of Ottery Saint Mary ”’ is<br /> edited by Mrs. Catherine Durning Whetham<br /> and her daughter Margaret, with a note on the<br /> history of the dependent manor of Cadhay,<br /> by Mr. W. C. D. Whetham, F.R.S. (Longmans,<br /> Green &amp; Co.).<br /> <br /> “ The Early Weights and Measures of Man-<br /> kind,” by General Sir Charles Warren,<br /> G.C.M.G., K.C.B., F.R.S., R.E., is published<br /> by the Committee of the Palestine Exploration<br /> Fund.<br /> <br /> Mr. Herbert W. Smith has written “A<br /> Trip on _a Trader, or Holidays Afloat ”<br /> (Madgwick).<br /> <br /> The Clarendon Press publishes, under the<br /> title of ‘* Robert Bridges, Poet Laureate,<br /> Readings from his Poems,” a public lecture<br /> delivered in November last in the Examination<br /> Schools, Oxford, by Professor T. Herbert<br /> Warren, President of Magdalen College.<br /> <br /> In “ The Birthright of Grimaldi ” (Kegan<br /> Paul, 4s. 6d.), Mrs. Hope Huntley claims as<br /> the birthright of the animal exemption from<br /> torture, on the plea that the essence of its life<br /> is one with the human, however greatly it may<br /> differ in degree. The right of scientific experi-<br /> ment upon living animals is questioned from<br /> the moral standpoint only, quite irrespective<br /> of medical benefits believed to be acquired<br /> thereby. H.M. Queen Alexandra has been<br /> graciously pleased to accept a copy of this<br /> book.<br /> <br /> Mr. W. L. George’s new novel, ‘The<br /> Making of an Englishman,” will be published<br /> this month by Messrs. Constable in England,<br /> and Messrs. Dodd, Mead, in the United Statcs,<br /> <br /> Mr. Reginald E. Salwey’s novel, “ The<br /> Education of Oliver Hyde,” is being pub-<br /> lished by Digby, Long &amp; Co.<br /> <br /> A new 2s. 6d. edition has appeared of Mrs.<br /> H. M. Watson’s ‘ When the King came<br /> South ” (Religious Tract Society).<br /> <br /> “Tom Kenyon, Schoolboy,” is the name of<br /> a story by Mrs. M. Harding Kelly (Religious<br /> Tract Society). The same author has brought<br /> out “ When ?” and ‘“‘ Then,” described respec-<br /> 100<br /> <br /> FOLK-LORE.<br /> <br /> A Boox or Foix-Lore. By Rev. §. Barrxa-Govrp, M.A.<br /> Collins’<br /> <br /> 6% x 44. 264 pp. (The Nation’s Library.)<br /> Clear Type Press. 1s. n.<br /> HISTORY.<br /> <br /> [mprriatisM AND Mr. GLADSTONE, 1876-1888. Compiled<br /> by R. H. GRETTON. 74 x 43. 120 pp. Bell. 1s. n,<br /> <br /> LITERARY.<br /> <br /> Joun MILLINGTON SYNGE AND THE Trish THEATRE. By<br /> Mavriczk Bovrenos. Demy 8vo. xvi-+ 338 pp.<br /> Buckram. With 16 full page illustrations by Joun B.<br /> Yrats, R.H.A., Jack B. Yuats, JAMES PATERSON,<br /> R.S.A., JoHN CURRIE and others. Constable &amp; Co.<br /> <br /> Tur LIGHTER SIDE oF ENGLISH Lirz. By F. FRANKFORT<br /> Moore. With Illustrations in Colour by GEORGE<br /> BrLcHER. 84 x 5}. 284 pp. Foulis. 5s. n.<br /> <br /> Tur KIRRIEMUIR EDITION OF THE Works or J. M. BARRIE.<br /> Ten Vols. 9% x 6%. Hodder and Stoughton. £6 6s.<br /> the set.<br /> <br /> Reminiscent Gossip oF MEN AND Marrers. By JAMES<br /> <br /> Baker, F.R.G.S. 7} X 54. viii + 246 pp. Chap-<br /> man and Hall. 6s.<br /> MISCELLANEOUS.<br /> Ovr Weér. A Collection of Sketches of Life in the<br /> Canadian West. Illustrated with photographs. Thomas<br /> <br /> Murby &amp; Co., 6, Bouverie Street, E.C. 6d. n.<br /> <br /> NATURAL HISTORY.<br /> <br /> Wiup Anmats at Homr. By ERNEST THoMsoN SETON.<br /> 8} X Bh. xvi+ 224 pp. Hodder and Stoughton. 6s. n.<br /> <br /> Tas BopLey Heap Naturat History. By EK. D. CuMINe.<br /> With Illustrations by J. A. SHEPHERD. Vol. Il. British<br /> Birds. Passeres. 6} x 5. 122 pp. Lane. 2s. n.<br /> <br /> POETRY.<br /> Tue Porms oF Francois VILLON. Translated by H. Dz<br /> <br /> VERE STACPOOLE. 9 X 6}. xii + 300 pp. Hutchin-<br /> son.<br /> POLITICS.<br /> Waranp THE Workers. By Norman ANGELL. 7% X 5.<br /> <br /> 63 pp. The National Labour Press. ls.<br /> <br /> REPRINTS.<br /> A Selection from Irish Poetry. By<br /> 93 x 6}. xxvi + 160 pp. Sidg-<br /> 1s. 6d. n.<br /> <br /> THe Witp Harp.<br /> KATHARINE TYNAN.<br /> wick and Jackson.<br /> <br /> A Century or Paropy anp Inrration. Edited by<br /> Water JERRoLD and R. M. Lxeonarp. 7 x 5.<br /> xv + 429 pp. Humphrey Milford. 1s. 6d. n.<br /> <br /> Tas Hitts or Home. By L. Macuzan Watt. With the<br /> <br /> Pentland Essays of Robert Lovis STEVENSON. 8} x 5}.<br /> 259 pp. Foulis. 5s. n.<br /> <br /> SCIENCE.<br /> <br /> “ Wuo’s Wuxo IN Science” (International). Edited by<br /> H. H. Srepnenson. 9} x 6. 667 pp. J. and A.<br /> Churchill. 10s. n.<br /> <br /> ContTINvrry, THE PRESIDENTIAL ADDRESS TO THE British<br /> Association, Brruincuam, MCMXIII. By Sm OLrver<br /> Loven. Printed in full, and supplemented by Explana-<br /> tory Notes. 7} x 5. 118 pp. Dent. Is. n.<br /> <br /> SOCIOLOGY.<br /> Conruictinc pears! Two Sips oF THE Woman&#039;s<br /> Quzstion. By B. L. Hurcuis. 73 X 5. vii + 83 pp.<br /> Murby. ls. 6d. n.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THEOLOGY.<br /> <br /> LIanration pz Jesus Curist. Introduction par Mer.<br /> BR. H. Benson. 64 x 4. xiii +374 pp. (Collection if<br /> Gallia.) Paris: Georges Cres et Cie. London: Dent. i<br /> <br /> Fo ols. n. Atte bem ya ao<br /> ee Raver.<br /> <br /> A Womay’s Wrxter my Arrica. By Mrs. CHARLOTTE 0)<br /> Cameron. Demy 8vo. Printed throughout on art %<br /> paper, with 155 illustrations. 403 pp. Stanley Paul |<br /> &amp; Co. 183. 6d. n.<br /> <br /> Tun GuipE To SouUTH AND East Arrica. For the use of<br /> Tourists, Sportsmen, Invalids, and Settlers. Edited basit<br /> annually by A. SAMLER BRowN and G. Gorpon Brown, ue<br /> F.RB.G.S., for the Union Castle Mail Steamship Company. a<br /> Twentieth edition, 1914. 74 x 4}. liv + 695 pp. a:<br /> Sampson, Low.<br /> <br /> ————_0 &lt;&gt; —_____<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL shi<br /> NOTES.<br /> <br /> ——<br /> <br /> E are asked by the executive officers of<br /> the Alfred Russel Wallace Memorial<br /> Fund to state that, if a sufficient sum<br /> can be raised, the following memorials to the<br /> late Dr. A. R. Wallace are proposed: (1) A<br /> medallion to be offered to the Dean and<br /> Chapter of Westminster Abbey ; (2) a portrait,<br /> for presentation to the Royal Society, to be<br /> painted by Mr. J. Seymour Lucas, R.A., to<br /> whom Dr. Wallace had, within the last few<br /> months of his life, consented to sit ; (3) a copy<br /> of the portrait for presentation to the nation ;<br /> and (4) a statue to be offered to the trustees<br /> of the British Museum for erection in the<br /> Natural History Museum. It is estimated<br /> that £3850 will cover all expenses connected<br /> with the portrait by Mr. Lucas, including a<br /> photogravure reproduction, signed by the<br /> artist, for each subscriber of one guinea and<br /> upwards ; and that an additional £750 will<br /> permit the scheme being carried out in its<br /> entirety. Subscriptions will be received and<br /> acknowledged by Professor R. Meldola, 6,<br /> Brunswick Square, London, W.C.; Professor<br /> KE. B. Poulton, Wykeham House, Oxford ;<br /> Sir Wm. Barrett, Kingstown, Co. Dublin ;<br /> and the Manager, Union of London &amp; Smith’s<br /> Bank, Holborn Circus, London, E.C. Direct<br /> payments to the Manager will be the most<br /> convenient course.<br /> <br /> A. shilling pamphlet entitled “ National<br /> Principles and National Duty.” by the author<br /> of “National Revival,” with a preface by<br /> the Rt. Hon. the Earl of Selborne, K.G., has<br /> been issued by the Women’s Printing Society,<br /> Ltd., Brick Street, Piccadilly.<br /> <br /> A. Swedish translation of Mr. Francis.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Gribble’s “ Court of Christina of Sweden ”’ will<br /> be published by Messrs. Walstrom and<br /> Widstrand.<br /> <br /> Among the Fellowship Books published by<br /> Messrs. Batsford, at 2s. net, are “A Spark<br /> Divine,” a book for animal lovers, by Mr. R. C.<br /> Lehmann ; “* Romance,” by Mr. Ernest Rhys ;<br /> ** Friendship,” by Mr. Clifford Bax; ‘‘ The<br /> Joy of the Theatre,” by Mr. Gilbert Cannan :<br /> and “ The Country,” by Mr. Edward Thomas.<br /> <br /> A revised and cheaper edition of Mr.<br /> Frederick A. M. Spencer’s ‘‘ Meaning of<br /> Christianity ’’ has now appeared (Fisher Unwin,<br /> 2s. 6d. net).<br /> <br /> Viscount Esher, G.C,B., contributes a pre-<br /> face to Mrs. St. Clair Stobart’s ‘‘ War and<br /> Women from Experiences in the Balkans and<br /> Elsewhere ” (G. Bell &amp; Sons, 3s. 6d. net).<br /> <br /> Mr. R. A. Scott-James’s ‘‘ Influence of the<br /> Press’ is published by Partridge &amp; Co. at<br /> <br /> 3s. 6d. net.<br /> <br /> Mr. James Baker’s new work is ‘‘ Reminis-<br /> cent Gossip of Men and Matters” (Chapman<br /> &amp; Hall, 6s.).<br /> <br /> Mr. A. R. Haig Brown, in “‘ My Game-Book,”’<br /> deals not only with sport in Surrey, Sussex,<br /> Norfolk, ete., but also with early adventures<br /> <br /> at Charterhouse and later days at Lancing<br /> <br /> (Witherby, 5s. net).<br /> <br /> H.M. the Queen and H.M. Queen Alexandra<br /> have both been graciously pleased to accept<br /> copies of “ A Woman’s Winter in Africa,”’ of<br /> which the publishers are Messrs. Stanley Paul.<br /> ‘The author, Mrs. Charlotte Cameron, has been<br /> elected a Fellow of the Royal Geographical<br /> Society.<br /> <br /> Messrs. S. Paul announce the issue, in due<br /> course, of “‘ Napoleon in Exile at Elba” and<br /> “Napoleon in Exile at St. Helena,” by<br /> Mr. Norwood Young, who sails this month on<br /> his second trip to the two islands to complete<br /> his study of local Napoleonic history. Mr.<br /> A. M. Broadley will be responsible for the<br /> illustrations to the books.<br /> <br /> Mr. E. Pearse Wheatley’s ‘‘ Out West ”—<br /> according to the Times, “short and breezy<br /> descriptions of life in the Canadian West,<br /> illustrated with photographs ”—is published<br /> in paper covers at 6d., by Thomas Murby &amp;<br /> Co.<br /> <br /> A volume on “ Practical Pathology, includ-<br /> ing Morbid Anatomy and Post’ Mortem<br /> Technique,” by Dr. James Miller, Assistant in<br /> Pathology to the Edinburgh Royal Infirmary,<br /> is shortly to be added to Messrs. Black’s<br /> Edinburgh Medical Series.<br /> <br /> Mr. Julius Price’s “‘ My Bohemian Days in<br /> Paris” was published on November 25<br /> <br /> 101<br /> <br /> (T. Werner Laurie, 10s. 6d. net, with 82<br /> drawings by the author, and a frontispiece<br /> portrait).<br /> <br /> Miss Gladys Davidson’s “ Stories from the<br /> Operas”? is now issued in one complete<br /> volume, combining the three previous series<br /> of plots of the most popular grand operas<br /> performed in England during recent years<br /> (Laurie, 6s. net).<br /> <br /> Mr. J. Stanley Little contributed an article<br /> entitled ‘‘ Insurgent Women ” to the November<br /> issue of Hast and West.<br /> <br /> “A Manor Book of Ottery Saint Mary ”’ is<br /> edited by Mrs. Catherine Durning Whetham<br /> and her daughter Margaret, with a note on the<br /> history of the dependent manor of Cadhay,<br /> by Mr. W. C. D. Whetham, F.R.S. (Longmans,<br /> Green &amp; Co.).<br /> <br /> “The Early Weights and Measures of Man-<br /> kind,” by General Sir Charles Warren,<br /> G.C.M.G., K.C.B., F.R.S., R.E., is published<br /> by the Committee of the Palestine Exploration<br /> Fund.<br /> <br /> Mr. Herbert W. Smith has written “A<br /> Trip on a Trader, or Holidays Afloat”<br /> (Madegwick).<br /> <br /> The Clarendon Press publishes, under the<br /> title of “Robert Bridges, Poet Laureate,<br /> Readings from his Poems,” a public lecture<br /> delivered in November last in the Examination<br /> Schools, Oxford, by Professor T. Herbert<br /> Warren, President of Magdalen College.<br /> <br /> In “ The Birthright of Grimaldi ” (Kegan<br /> Paul, 4s. 6d.), Mrs. Hope Huntley claims as<br /> the birthright of the animal exemption from<br /> torture, on the plea that the essence of its life<br /> is one with the human, however greatly it may<br /> differ in degree. The right of scientific experi-<br /> ment upon living animals is questioned from<br /> the moral standpoint only, quite irrespective<br /> of medical benefits believed to be acquired<br /> thereby. H.M. Queen Alexandra has been<br /> graciously pleased to accept a copy of this<br /> book.<br /> <br /> Mr. W. L. George’s new novel, “The<br /> Making of an Englishman,” will be published<br /> this month by Messrs. Constable in England,<br /> and Messrs. Dodd, Mead, in the United States,<br /> <br /> Mr. Reginald E. Salwey’s novel, ‘“ The<br /> Education of Oliver Hyde,” is being pub-<br /> lished by Digby, Long &amp; Co.<br /> <br /> A new 2s. 6d. edition has appeared of Mrs.<br /> H. M. Watson’s “When the King came<br /> South ” (Religious Tract Society).<br /> <br /> “Tom Kenyon, Schoolboy,” is the name of<br /> a story by Mrs. M. Harding Kelly (Religious<br /> Tract Society). The same author has brought<br /> out “ When ?” and “‘ Then,” described respec-<br /> 102<br /> <br /> tively as a story of to-day and a tale of to-<br /> morrow (Marshall Brothers).<br /> <br /> Early in February will appear a new novel<br /> by Mr. Frederick Arthur, callec “The Great<br /> Attempt,” dealing with the aspirations and<br /> sufferings of the losing side in the political<br /> struggle which ended at the battle of Culloden<br /> (John Murray).<br /> <br /> Count Plunkett, K.C.H.S., has been elected<br /> an honorary member of the Danish Society<br /> “Det Kongelige Nordiske Oldskriftselskab,”<br /> better known throughout Europe as the<br /> Société Royale des Antiquaires du Nord.<br /> <br /> Mr. Herbert Flowerdew’s new romance,<br /> “Love and a Title,” will be published by<br /> Greening &amp; Co. early in the year. The serial<br /> rights of Mr. Flowerdew’s latest sensational<br /> story, ‘“‘ The Motor Ku-klux,”’ have been pur-<br /> chased in America by the Frank A. Munsey<br /> Co., and in England by Messrs. Leng, of<br /> Sheffield, the latter of whom are also bringing<br /> out in their Weekly Telegraph series of novels<br /> “The Love of Women,” which has _ not<br /> hitherto appeared in book form. In addition<br /> to his short stories in Hulton’s Christmas<br /> Magazine and the Christmas number of the<br /> Weekly Telegraph, Mr. Flowerdew has com-<br /> plete stories to appear in the Red Magazine,<br /> the Novel Magazine, and Pearson&#039;s Weekly.<br /> Mr. Flowerdew’s last published novel, “ Mrs.<br /> Gray’s Past,” is being published serially in<br /> Germany, following the example of his “‘ Ways<br /> of Men,” ‘“ The Third Wife,” and “ The Villa<br /> Mystery.”<br /> <br /> E. Reid Matheson (Mrs. E. Midgley) has a new<br /> novel entitled ‘‘The Unconscious Quest,” of<br /> which the publishers are Sidgwick and Jackson.<br /> <br /> Messrs. Walter Jerrold and R. M. Leonard<br /> are the editors of ‘“‘ A Century of Parody and<br /> Imitation ” (Humphrey Milford, Oxford Uni-<br /> versity Press, 1s. 6d. net), in which they<br /> endeavour to provide a corpus of representa-<br /> tive parodies and imitations, beginning with<br /> ** Rejected Addresses’ in 1812 and coming<br /> down to the present era, though without<br /> including the work of any living writer.<br /> <br /> Miss Sheila Kaye-Smith has just brought<br /> out a volume of verse, partly ballads and partl<br /> lyrics (Erskine Macdonald, 2s. 6d.). The title<br /> is ‘‘ Willow’s Forge, and other Poems.”<br /> <br /> Messrs. John Richmond will publish early<br /> this year ‘“‘ Winged Thoughts,” a collection of<br /> representative poems from 1586 to 1914,<br /> dealing with birds, butterflies, and moths.<br /> The poems have been selected and arranged<br /> by Mrs. Irene Osgood and Mr. Horace<br /> Wyndham.<br /> <br /> Mr. Alex J. Philip has revised and brought<br /> <br /> THE AUTHOR.<br /> <br /> up to date the fourth edition of Greenwood’s<br /> “British Library Year Book,” to which the<br /> title is now given of ‘‘ The Libraries, Museums,<br /> and Art Galleries Year Book, 1914’ (Stanley<br /> Paul).<br /> <br /> “The Young Gordons in Canada,” by Mrs.<br /> Mary Bourchier Sandford, is published by the<br /> Religious Tract Society, uniform with other<br /> volumes in their Every Girl’s Bookshelf series<br /> (1s. 6d.).<br /> <br /> Miss Ethel M. Dell’s new novel is ‘“ The<br /> Rocks of Valpre ”’ (Fisher Unwin).<br /> <br /> Mr. W. Trego Webb, author of ‘“ Indian<br /> Lyrics,”’ ete., issues through Headley Brothers<br /> ‘By Silva’s Brook, or Songs of the Faith,” a<br /> collection of religious verse.<br /> <br /> The Rev. Henry Lansdell, D.D., is bringing<br /> out the fifth part of his work on ‘ Princess<br /> Aelfrida’s Charity ”’ (6d., or 7d. post free).<br /> <br /> The first part of a new illustrated quarterly,<br /> Ancient Egypt, edited by Professor Flinders<br /> Petrie, F.R.S., F.B.A., has just made its<br /> appearance, the price being 2s. per quarterly<br /> part, or 7s. yearly, post free. The publishers<br /> are Messrs. Macmillan and the British School<br /> of Archeology in Egypt.<br /> <br /> Miss Beatrice Chase will shortly have pub-<br /> lished by Mr. Herbert Jenkins, “* The Heart of<br /> the Moor ” the outcome of ten years’ residence<br /> on Dartmoor.<br /> <br /> Mr. Arnold Haultain, Goldwin Smith’s<br /> literary executor, is preparing a second series<br /> of his late chief’s letters, and asks us to be so<br /> kind as to say that he will be grateful to any<br /> friends of Goldwin Smith who would lend him,<br /> or send him, copies of any letters which the<br /> recipients think may or should be made public,<br /> other than those included in the first series<br /> (published last spring by Mr. Werner Laurie,<br /> of Clifford’s Inn). Anything addressed care<br /> of the Bank of Montreal, 47, Threadneedle<br /> <br /> Street, London, E.C., will be thankfully<br /> acknowledged.<br /> DRAMATIC.<br /> <br /> We much regret to have to record the death<br /> last month of Mr. Stanley Houghton, author<br /> of *‘ Hindle Wakes,” ‘‘ The Younger Genera-<br /> tion,” and other plays. He was only thirty-<br /> two years of age when he succumbed to<br /> disease of the lungs at Manchester, the town<br /> of his birth and the scene of his first introduc-<br /> tion to the dramatic public by Miss Horniman.<br /> <br /> At the Globe Theatre on December 6 was<br /> produced ‘‘ The Night Hawk,’ by Messrs.<br /> Lechmere, Worrall and Bernard Merivale.<br /> <br /> “Woman on her Own,” a version by<br /> Mrs. Bernard Shaw of Brieux’s “ La Femme<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Seule,” was seen for the first time at the<br /> Woman’s Theatre (the Coronet, Notting Hill)<br /> on December 8.<br /> <br /> “In and Out,” a version by George Paston<br /> (Miss E. M. Symonds) of Béniére’s ‘ Papillon,<br /> dit Lyonnais le Juste,”” was produced at the<br /> Shaftesbury Theatre on December 16.<br /> <br /> Mr. Jerome K. Jerome’s ‘‘ Robina in Search<br /> of a Father” was produced at the Vaudeville<br /> Theatre on December 16.<br /> <br /> Mr. Winchell Smith’s four-act play, ‘“‘ The<br /> Fortune Hunter,’’ was produced at the Queen’s<br /> Theatre on December 17.<br /> <br /> “The Sleeping Beauty Re-awakened,” a<br /> children’s pantomime by Messrs. G. R. Sims<br /> and Arthur Collins, was produced at Drury<br /> Lane on Boxing Day.<br /> <br /> Among the plays revived by Mr. and Mrs.<br /> Granville Barker during their repertory season<br /> at the St. James’s Theatre, have been ‘‘ The<br /> Doctor’s Dilemma,” by Mr. G. Bernard Shaw,<br /> and “Nan” and “The Silver Box,” -by<br /> Mr. John Galsworthy.<br /> <br /> ** The Passing of the Third Floor Back ”’ was<br /> revived at the Coronet at the beginning of<br /> December, with “A Love Passage,” by<br /> Messrs. W. W. Jacobs and P. E. Hubbard, as<br /> the curtain-raiser.<br /> <br /> Sir Arthur Conan Doyle’s ‘‘ The Speckled<br /> Band ”’ was played at the Kennington Theatre<br /> on December 8.<br /> <br /> On Monday afternoons, December 1 and 8,<br /> dramatic recitations of Mr. John Masefield’s<br /> ** Everlasting Mercy ” were given at the Little<br /> Theatre by Mr. Alexander Watson.<br /> <br /> On December 19 an amateur performance<br /> was given at Felixstowe of a new one-act play<br /> by Mr. G. S. Layard, entitled “The Shirt of<br /> Nessus.”’<br /> <br /> “Courtship, Ancient and Modern,” a two-<br /> scene sketch by Fanny Morris Wood, was<br /> produced for the first time at the Maidenhead<br /> Theatre on November 19.<br /> <br /> Miss Elizabeth Baker’s plays, ‘“‘ The Price<br /> of Thomas Scott ’’ (produced at Manchester<br /> in September last) and ‘‘ Miss Tassey,” have<br /> both been published in book form by Messrs.<br /> Sidgwick &amp; Jackson.<br /> <br /> _ Mrs. Frances Helen Harris has brought out<br /> in book form ‘‘ Eight Plays for the School ”’<br /> (Routledge &amp; Sons).<br /> <br /> A play founded on Mr. Flowerdew’s novel,<br /> “The Realist,”’ is shortly to be produced at<br /> the Longacre Theatre, New York.<br /> <br /> “The Dramatic Author’s Companion,” by a<br /> Theatrical Manager’s Reader, has been pub-<br /> lished by Messrs. Mills &amp; Boon. Mr. Arthur<br /> Bourchier contributes an introductory note.<br /> <br /> 103<br /> <br /> PARIS NOTES.<br /> <br /> — +<br /> <br /> HE “Song Offerings,” by Rabindranath<br /> Tagore, have now been translated into<br /> French by André Gide and are<br /> <br /> published as ‘“‘ L’Offrande Lyrique.”<br /> <br /> The second volume of “Les Mceurs du<br /> Temps,” by Alfred Capus, is as entertaining<br /> as the first volume, published last year. The<br /> celebrated dramatic author is an optimist and<br /> a keen observer. With his never-failing good<br /> humour and delicate irony, he writes on all the<br /> questions of the day, shows up the weak<br /> points, indicates failings, and then passes on<br /> like a true philosopher. The whole volume<br /> is well worth reading.<br /> <br /> ** Les Etats-Unis et la France ”’ is the title<br /> of the third volume published by the Bzblio-<br /> theque du Comité France-Amérique. The book<br /> is written by ten different authors. M. E.<br /> Boutroux, the well-known philosopher, to<br /> whom Bergson owes so much, writes a chapter<br /> on French thought and American thought.<br /> M. James Hyde takes as his subject the<br /> historical intercourse between France and the<br /> United States from 1776 to 1913; M. Léon<br /> Bénédite, M. Louis Gillet, and M. Paul Bartlett<br /> write on painting, sculpture, and architecture.<br /> There are chapters on French and American<br /> society by M. Walter Berry; on public life,<br /> by Baron d’Estournelles de Constant; on<br /> the French and American ideal, by M. Baldwin.<br /> M. Hill and Moreton Fullerton write on<br /> politics and intercourse between the two<br /> nations in the future. There are about<br /> eighteen illustrations bearing on the history<br /> of art in the United States.<br /> <br /> ‘““Les Idées et les Hommes” is the title<br /> of the latest book by André Beaunier. Among<br /> the men he has chosen as subjects for his<br /> studies are Homére, Baudelaire, Edmund<br /> Gosse, and Gabriel Monod.<br /> <br /> ** Les Tribunaux pour Enfants,” by Clément<br /> Griffe. The subject of this book is one that<br /> is being studied with great interest in France.<br /> The idea has been put into practice and the<br /> results are excellent.<br /> <br /> M. René Gillouin has obtained the prize<br /> awarded by the Association des Critiques<br /> littéraires, for his ‘‘ Essais de Critique littéraire<br /> et philosophique.”<br /> <br /> “Du Terreur au Consulat ’’ is the title of<br /> a volume of romantic histories of the revolu-<br /> tionary days, by Ernest Daudet.<br /> <br /> We have had numbers of books on ‘“* Old<br /> Paris.”” We now have one on “ Le Nouveau<br /> Paris,” by Raymond Escholier. The sub-<br /> 104<br /> <br /> title, “‘ La Vie artistique de la Cité Moderne -<br /> explains the object of the author. The<br /> preface is written by Gustave Geffroy.<br /> <br /> Camille Flammarion has just published his<br /> “ Annuaire Astronomique et Meétéorologique<br /> pour 1914.” It is only a small volume of<br /> 132 pages, but it is full of information. It<br /> gives us all the celestial phenomena for the<br /> year and many scientific notices, and it is also<br /> illustrated. :<br /> <br /> Any friends or admirers of George Gissing<br /> will be glad to hear that the scheme proposed<br /> some years ago, and headed by Madame<br /> Lardin de Musset, sister of Alfred de Musset,<br /> is being taken up once more. The idea was to<br /> have a fund for keeping flowers on the grave of<br /> the author of ‘“‘New Grub Street,’ who died<br /> in exile and was buried at St. Jean de Luz.<br /> Hitherto his grave has been tended entirely<br /> by French hands. For the tenth anniversary<br /> of his death, December 28, we have decided<br /> to accept the help of various French and<br /> American friends and, with Madame Lardin<br /> de Musset’s name at the head of our subscrip-<br /> tion list, organise a scheme which will ensure<br /> the tending of George Gissing’s grave in the<br /> future.<br /> <br /> At the Odéon ‘“‘ Rachel”? seems to have<br /> every chance of a long run. At the Théatre<br /> des Arts an excellent adaptation of Balzac’s<br /> ‘“‘ Kugénie Grandet ”’ is being played.<br /> <br /> “TInstitut de Beauté’ continues to be a<br /> success at the Variétés. Madame Sarah Bern-<br /> hardt has found in ‘“‘ Jeanne Doré”’ a play<br /> admirably suited to her.<br /> <br /> Auys HALLarp.<br /> <br /> <br /> <br /> “T?/Offrande Lyrique” (La Nouvelle Revue Francaise).<br /> “Les Meurs du Temps” (Grasset).<br /> <br /> “ Les Idées et les Hommes ”’ (Plon).<br /> <br /> “Les Tribunaux pour Enfants” (Fontenmoing).<br /> <br /> * Annuaire Astronomique et Météorologique pour 1914 ”<br /> (Flammarion).<br /> <br /> tt<br /> <br /> DRAMATIC RIGHTS.<br /> <br /> —_&gt;—-.<br /> <br /> ROM time to time it is necessary to call<br /> the attention of authors to the extent<br /> of their rights. This is especially the<br /> <br /> case since the passing of the recent Act.<br /> Under this Act an author’s rights have been<br /> extended in various ways. The author of a<br /> play, for instance, has the right to convert it<br /> into a novel, the bookright in the play itself,<br /> the performing right, which includes the<br /> reproduction of the play on mechanical<br /> contrivances, either the cinematograph or the<br /> gramophone, and the translation rights.<br /> <br /> THE AUTHOR.<br /> <br /> The right of performance by itself is fre-<br /> quently divided up into many portions.<br /> There is the right of production in a West<br /> End London theatre, there is the right of<br /> production in the suburbs, in the provinces—<br /> this again may be sub-divided according to the<br /> size of the towns: the A list, the B list, the<br /> C list, and fit up—the right in the Colonies,<br /> the right in the United States and Canada, the<br /> amateur rights, and the rights in translation<br /> on the Continent.<br /> <br /> It is the ignorance of all these points and<br /> niceties that makes the author fall readily into<br /> the pitfalls laid for him either by the agent or<br /> the manager.<br /> <br /> The first essential for a dramatic author is<br /> production. He must, therefore, never be led<br /> away by financial consideration to grant a<br /> licence unless production is secured.<br /> <br /> If a manager asks for control over the<br /> provincial rights, he may have the option over<br /> them if production takes place within a<br /> specified time.<br /> <br /> The same rule must apply to the Colonial<br /> and United States rights.<br /> <br /> The author, in neglect of his best interests,<br /> often transfers rights to a manager and then<br /> finds that the manager has no intention of<br /> producing the play outside the walls of his<br /> own West End theatre. It is not only the<br /> novice who makes the mistake; there are<br /> others. When the situation is realised, as it<br /> often is by the requests coming from managers<br /> abroad or in the United States, the author can<br /> do nothing but wish that he had taken more<br /> pains to inquire what rights he had and how<br /> they ought to be controlled.<br /> <br /> There is, however, an increasing danger<br /> against which the young dramatic author must<br /> especially be warned.<br /> <br /> Some middlemen are springing up who are<br /> gambling with the work of the author’s brain ;<br /> they buy up his dramatic effort for a comfort-<br /> able sum in advance of a very small royalty.<br /> They are not producers themselves and have<br /> no intention of producing, but the author is<br /> deceived partly by the sum in advance and<br /> partly by the purchaser’s protestations. The<br /> purchaser then proceeds to market the work<br /> to the highest bidder. In consequence, it<br /> sometimes happens that there are as Many as<br /> three middlemen between the authors and the<br /> manager, each of whom is absorbing part of<br /> the profits that might have been the author&#039;s.<br /> <br /> It is necessary, therefore, to repeat that the<br /> first essential for a dramatic author is produc-<br /> tion. He should never lease out his property<br /> unless production is assured.<br /> <br /> <br /> <br /> aL NII ED PIII TRIESTE STI HGS NTE<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> U.S.A. LEGAL DECISION.<br /> ee<br /> (From the Authors’ League Bulletin, U.S.A.)<br /> <br /> HE case of Dam v. Kirk La Shelle Company<br /> decided in the United States Circuit<br /> Court of Appeals, Second Circuit, in<br /> January, 1910, is of such importance to writers<br /> for magazines and other periodicals as well as<br /> to publishers that it deserves careful attention.<br /> This case may be said to be the last important<br /> decision on the question of what protection the<br /> blanket copyright secured by a magazine pub-<br /> lisher, upon his magazine, affords the authors of<br /> the various stories, articles and poems contained<br /> init. The facts were briefly as follows :—<br /> Henry J. W. Dam wrote a story in 1898,<br /> called ** The Transmogrification of Dan.” In<br /> 1901 he sent the manuscript to the Ess. Ess.<br /> Publishing Company, a corporation publishing<br /> the Smart Set Magazine. The editor accepted<br /> the story and sent a cheque in return for $85,<br /> together with a receipt reading :—<br /> <br /> “Received of the Ess. Ess. Publishing<br /> Company $85 in full payment for story<br /> entitled ‘‘ The Transmogrification of Dan.”<br /> <br /> This Dam signed and mailed back to the editor.<br /> At no time did he have any interview with the<br /> editor or any correspondence bearing on the<br /> understanding with which the story was sold.<br /> <br /> The story came out in the Smart Set for<br /> September, 1901, and the particular number<br /> in question was copyrighted by the Ess. Ess.<br /> Publishing Company, in its own name, and<br /> bearing a notice which read :—<br /> <br /> “ Copyrighted, 1901, by Ess. Ess. Publishing<br /> Company.”<br /> <br /> No steps were taken by the magazine or by Dam to<br /> copyright the story separately from the magazine.<br /> <br /> Some time afterward Paul Armstrong wrote<br /> a play entitled ‘‘The Heir to the Hoorah,”’<br /> which Dam claimed was founded on his story,<br /> “The Transmogrification of Dan.” The defen-<br /> dant, Kirk La Shelle Company, presented the<br /> play by arrangement with Paul Armstrong.<br /> <br /> On October 27, 1905, the Ess. Ess. Publishing<br /> Company assigned to Dam its copyright of the<br /> - number of the Smart Set in which<br /> <br /> is story appeared, in so far as it covered or<br /> protected his story, and all its interest in the<br /> story itself and any claim or demand which it<br /> might have for the infringement of the copy-<br /> right in question.<br /> <br /> In due course Dam sued for a preliminary<br /> injunetion against the defendant, and in his<br /> affidavit swore :—<br /> <br /> _““Thave not at any time parted with any<br /> right or interest in said literary work entitled<br /> <br /> 105<br /> <br /> ‘The Transmogrification of Dan,’ except the<br /> right for publication thereof in said number<br /> of the Smart Set for September, 1901.”<br /> <br /> Later on, the complaint was amended so as<br /> to allege simply that Dam sold and assigned<br /> the story in question to the Ess. Ess. Publishing<br /> Company.<br /> <br /> Among other things in defence the Kirk<br /> La Shelle Company set up the claim that Dam’s<br /> original statement, sworn to in his complaint<br /> to the effect that he had not sold any of his<br /> rights in the story to the Smart Set, except the<br /> right of publication in the particular number<br /> in question, must be taken as true; and<br /> that it followed as a necessary consequence<br /> that the blanket copyright secured by the Ess.<br /> Ess. Publishing Company, on the particular<br /> issue of the magazine, only operated to afford<br /> such protection as the Publishing Company<br /> needed as publishers of the magazine, and did<br /> not operate to protect the rights which Dam<br /> retained, whatever they might have been,<br /> including the right of dramatisation which<br /> Dam claimed had been infringed and for which<br /> he asked an injunction.<br /> <br /> The Cireuit Court of Appeals found as a fact<br /> that Dam’s statement that he had parted with<br /> no right or interest in the story except that of<br /> serial publication was not the case, and (in spite<br /> of Dam’s original allegations to the contrary)<br /> that when he mailed the story to the Smart Set<br /> and the editor sent him a cheque for $85 this<br /> constituted an absolute sale without reserva-<br /> tions, and that the Ess. Ess. Publishing Com-<br /> pany thereby acquired all rights in the story,<br /> including the dramatic rights.<br /> <br /> This, in itself, would have been a decision of<br /> considerable importance, in view of the widely<br /> prevalent belief that when a magazine writer<br /> sends his product to a magazine, without an<br /> accompanying letter specifying the terms under<br /> which the story or article is offered, he is selling<br /> merely the serial rights thereto. But the<br /> Court in discussing the facts in general went<br /> somewhat beyond the precise point in issue and<br /> held that if it had been true that Dam had<br /> offered for sale and sold to the Ess. Ess. Pub-<br /> lishing Company only the right to print the<br /> story in serial form, that probably, as matter of<br /> law, the dramatic rights would never have been<br /> copyrighted at all, since it was a fundamental<br /> proposition that no one could copyright that<br /> which he did not own, and, if the Ess. Ess.<br /> Publishing Company had purchased only the<br /> serial rights in the story, the copyright upon<br /> the particular number of the Smart Set would<br /> have operated to protect only those serial<br /> rights, and that as Dem had taken no further<br /> <br /> <br /> 106<br /> <br /> steps to protect or copyright the rights or<br /> interests in the story which he had reserved,<br /> and as the story had been published, there would<br /> have been an abandonment of it to the public<br /> and no protection for the dramatic rights at all.<br /> <br /> The opinion of the Court is reported in 176<br /> Federal Reporter, page 902, and reads as<br /> follows :—<br /> <br /> “It is claimed, however, that such steps<br /> accomplished no more than to obtain such<br /> protection needed as publishers of the maga-<br /> zine. Assuming that Dam retained the<br /> dramatic rights to the story, there would be<br /> much force in this contention. In such a<br /> case we doubt very much whether the steps<br /> which the publisher took to copyright his<br /> magazine, especially in view of the form of<br /> the copyright notice, would have been<br /> sufficient to protect the dramatic rights.”<br /> After referring to the case of Mifflin v.<br /> <br /> Dutton (190 U. S. 265), the Court continued :—<br /> “In view of this decision by the Supreme<br /> Court, we think that had Dam retained the<br /> dramatic rights to his story, the entry of the<br /> magazine and the notice of copyright would<br /> have been insufficient to protect them. .. .<br /> In the case of the reservation of dramatic<br /> rights, in addition to the notice of the copy-<br /> right of the magazine, it may well be that it<br /> should appear in some distinct way that such<br /> reservation of such rights to the particular<br /> story is made for the benefit of the author.<br /> Indeed, it may be that the author should<br /> contemporaneously take out in his own<br /> name a copyright covering such rights.”<br /> The Court then proceeded to hold that in-<br /> asmuch as the Ess. Ess. Publishing Company<br /> had in fact acquired all rights to the story, the<br /> copyright which they secured on the particular<br /> number of the magazine in question did operate<br /> to protect all rights, including the dramatic<br /> rights; and that, since there had been a<br /> reassignment by the Ess. Ess. Publishing Com-<br /> pany to Dam of the dramatic rights, he could<br /> properly ask for an injunction and an account-<br /> ing, and they thereupon awarded to the com-<br /> plainant, who, at the time the decision was<br /> rendered, was the administratrix of Dam’s<br /> estate, the total profits received by the Kirk<br /> La Shelle Company from its production of the<br /> play. The case was not appealed to the<br /> Supreme Court, but has since been settled and,<br /> therefore, represents the law to-day, which may<br /> be stated as follows :—<br /> <br /> (a) The sale by an author of a story to a<br /> magazine, and the acceptance of a sum of<br /> money in full payment for the story, without<br /> <br /> THB AUTHOR.<br /> <br /> any further agreement, is in legal fact an<br /> absolute sale without reservation, carrying<br /> with it as an incident of ownership the exclusive<br /> right to dramatise the story.<br /> <br /> (b) The copyright of such magazine is<br /> sufficient to secure the copyright of the story<br /> published therein, and protects the right to<br /> dramatise it when the publisher is the owner of<br /> both the story and the dramatic rights.<br /> <br /> (c) (Dictum.) Where the owner of a story<br /> sells the same only for magazine or serial pub-<br /> lication the copyright of the magazine does not<br /> protect those rights which the author retains,<br /> unless he takes some independent steps to<br /> copyright them himself; and since the pub-<br /> lishing of the story in the magazine operates as<br /> an abandonment of such rights, if the story is<br /> thereafter dramatised by a third party the<br /> author can have no redress.<br /> <br /> The action, although a recent one, was brought<br /> under the former copyright law, but there would<br /> not seem to be anything in the present Act<br /> which would qualify or render less significant<br /> the decision. The attorney for the Authors’<br /> League of America doubts seriously whether<br /> the dictum of the Court (c) is the view which<br /> will undoubtedly prevail if the point is<br /> eventually properly raised either before the<br /> Circuit Court of Appeals or the Supreme Court<br /> of the United States. He believes that this<br /> Court could have reached the same decision in<br /> the Dam case by another process of reasoning<br /> more consistent with the general understanding<br /> under which authors are accustomed to submit<br /> their manuscripts to editors and _ publishers.<br /> This he believes to be that, in default of any<br /> written or oral agreement between the parties,<br /> an editor or publisher of a magazine who pur-<br /> chases a manuscript does so on the implied<br /> understanding that he shall copyright the same<br /> and hold the copyright thereof in trust for the<br /> author, thus protecting not only the dramatic<br /> rights, but all other rights for the author’s<br /> benefit. If this be so, the author can compel a<br /> reassignment of the copyright to himself when<br /> necessary, such as Dam secured voluntarily<br /> from the Ess. Ess. Company.<br /> <br /> But, in any event, so long as this and similar<br /> matters remain in doubt, both authors and<br /> publishers should, for their own protection,<br /> agree on some system whereby the dramatic<br /> and all other rights are thoroughly safeguarded.<br /> This can be accomplished in either of two<br /> ways :—<br /> <br /> (a) The editor can copyright each story or<br /> article separately in the author’s name, printing<br /> at the bottom of the first page thereof a proper<br /> <br /> copyright notice, as follows :—<br /> <br /> <br /> <br /> Q<br /> 4<br /> 4<br /> <br /> <br /> <br /> a<br /> a<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> ** Copyright, John Doe, 1913.”<br /> <br /> The author should then immediately on pub-<br /> lication mail ‘one copy of the magazine to the<br /> Registrar of Copyrights in Washington, in con-<br /> formity with the requirements of the present<br /> Act, enclosing the fee of one dollar. This is,<br /> perhaps, the simplest way, although it involves<br /> a separate registration of the magazine for<br /> each story or article so copyrighted.<br /> <br /> (6) Or the author can sell his story outright<br /> to the editor or publisher and safely reserve<br /> his equitable interests in the dramatic or other<br /> rights thereto by attaching to his manuscript<br /> a “‘ rider ” or slip somewhat as follows :—<br /> <br /> “This manuscript is submitted with the<br /> understanding that, if accepted for publication,<br /> the same shall be copyrighted by the publishers<br /> and all rights under said copyright (except that<br /> of magazine publication) shall be held in trust<br /> for the benefit of the writer or his assigns, and<br /> will be reassigned to him upon demand.”<br /> <br /> The writer believes that, under the present<br /> state of the law, only by one of the two methods<br /> outlined above can a magazine writer be sure<br /> that his rights will be properly protected.<br /> <br /> ARTHUR C. TRAIN,<br /> Attorney for Authors’ League of America.<br /> <br /> —_ 9<br /> <br /> ROYALTIES ON GRAMOPHONE RECORDS.<br /> <br /> <br /> <br /> MoNnckKTON v. PaTuk FRERES<br /> PaTHEPHONE, LTD.<br /> <br /> ‘as was an appeal from the decision of<br /> <br /> Mr. Justice Phillimore relating to the.<br /> <br /> payment of royalties on gramophone<br /> records of the ‘‘ Mousmé Waltz,’’ which the<br /> plaintiff, Mr. Lionel Monckton, composed in<br /> 1911 before the new Copyright Acts came into<br /> operation. The defendants, who are manu-<br /> facturers and sellers of gramophone records,<br /> made records of the waltz in Belgium and<br /> imported them into England, as they were<br /> lawfully entitled to do before July 1, 1912,<br /> when the Act came into force; and since that<br /> date they had been selling the records without<br /> the plaintiff&#039;s consent and without paying him<br /> any royalties.<br /> <br /> It was in respect of the sale, after July 1,<br /> 1912, that the plaintiff brought the action,<br /> and claimed an account of the money received<br /> by the defendants from such sales, and an<br /> injunction to restrain them from making or<br /> selling any records without his consent.<br /> <br /> 107<br /> <br /> Mr. Justice Phillimore decided that under<br /> section 19 of the Act, which provides for the<br /> payment of royalties on gramophone records,<br /> the defendants were not liable to pay royalties<br /> on records made before July 1, 1912, but that<br /> if they sold any records made after that date<br /> they would have to pay royalties by the<br /> purchase and affixing of stamps in accord-<br /> ance with the regulations of the Board of<br /> Trade.<br /> <br /> The plaintiff appealed against this decision<br /> and claimed that the defendants had infringed<br /> his copyright by selling after July 1, 1912,<br /> records made before that date without the<br /> payment of royalties.<br /> <br /> There was a cross appeal by the defendants,<br /> who alleged that the regulations of the Board<br /> of Trade as to the mode of payment of royalties<br /> were ultra vires, and that they could not be<br /> compelled to purchase and affix adhesive<br /> stamps to the records.<br /> <br /> The Court of Appeal reversed the decision<br /> of Mr. Justice Phillimore as to the exemption<br /> from payment of royalties, and held that on<br /> all records of the waltz sold by the defendants<br /> after July 1, 1912, the plaintiff would be<br /> entitled to royalties at the rate of 24 per cent.<br /> on the ordinary retail price ; and that the sale<br /> of the records without the plaintiff’s consent<br /> or the payment of royalties was an infringe-<br /> ment of the plaintiff’s copyright.<br /> <br /> In the course of his judgment Lord Justice<br /> Buckley said that the seller of a record autho-<br /> rises the use of the record, and such user is a<br /> performance of a musical work; and as copy-<br /> right includes the sole right to authorise a<br /> performance of the work, an improper sale of<br /> the record would constitute an infringement<br /> of the copyright. The right of the plaintiff,<br /> however, was qualified by the provisions in<br /> the Act relating to the payment of royalties,<br /> for if these were duly paid the sale of the records<br /> would not be an infringement.<br /> <br /> The argument advanced on behalf of the<br /> defendants had reference to section 24, and<br /> particularly the proviso (b), which gives pro-<br /> tection to any person who has incurred expense<br /> before July 26, 1910, in the reproduction of a<br /> work then lawfully made, unless he is paid<br /> compensation for his rights which were sub-<br /> sisting and valuable at that date. It is<br /> difficult, however, to understand how section 24.<br /> could afford any protection to the defendants<br /> upon the facts before the Court. There was<br /> no dispute as to the circumstances. The<br /> records made by the defendants were not made<br /> before the year 1911, when the waltz was<br /> composed, and the Court of Appeal held that<br /> <br /> <br /> 108 THE AUTHOR.<br /> <br /> the contention of the defendants could not be<br /> maintained. :<br /> <br /> The plaintiff, therefore, was entitled _to<br /> royalties unless the defendants could bring<br /> themselves within the exemption mentioned<br /> in section 19 (7) (0). :<br /> <br /> The provisions of section 19 as to the pay-<br /> ment of royalties may be generally stated as<br /> follows :— : :<br /> <br /> (A) On records of musical works published<br /> before July 1, 1912.<br /> <br /> (1) If records have been lawfully made<br /> before July 1, 1910, no royalties are pay-<br /> able on records sold before July 1, 1913.<br /> <br /> (2) If otherwise, royalties at 24 per cent.<br /> are payable.<br /> <br /> (B) On records of musical works published<br /> <br /> after July 1, 1912 :—<br /> <br /> (1) On sales prior to July 1, 1914, royalties<br /> at 24 per cent. :<br /> <br /> (2) On sales after July 1, 1914, royalties at<br /> 5 per cent. :<br /> <br /> As the defendants could not claim exemption<br /> under (A) (1), they became liable for the pay-<br /> ment of royalties under (A) (2), that is to say,<br /> at 24 per cent. so long as the copyright in the<br /> waltz continues.<br /> <br /> Upon the cross appeal Lord Justice Buckley<br /> in his judgment said that the question turned<br /> upon the meaning of the word “ securing ”<br /> in section 19 (b). Under that section the<br /> Board of Trade might make regulations<br /> prescribing the mode of payment of royalties<br /> requiring payment in advance or otherwise<br /> securing the payment of royalties.” If the<br /> word ‘securing’? meant doing some act by<br /> which the debt for royalties should become<br /> secured, as distinguished from an unsecured<br /> debt, the defendants were right; but if it<br /> meant ‘ensuring or rendering certain” the<br /> payment of royalties, then the defendants<br /> were wrong. The Board of Trade had made<br /> regulations whereby, unless it were otherwise<br /> agreed, royalties were payable by means of<br /> adhesive stamps purchased from the copy-<br /> right owner and affixed to the records. The<br /> royalties were very small amounts payable<br /> upon a large number of records, and there was<br /> obviously a great difficulty in ensuring that<br /> the debt created by the sale of each record<br /> should become known to and paid to the copy-<br /> right owner. In these circumstances the fair<br /> meaning of the word “securing’’ included<br /> ensuring or rendering certain the payment of<br /> the royalties. The regulations of the Board of<br /> Trade, therefore, were not ultra vires, and the<br /> cross appeal failed.<br /> <br /> Haroip Harpy,<br /> <br /> CARD INDEXING THE LITERARY<br /> MARKET.<br /> <br /> (From the ‘“‘ Editor,’’ U.S.A.)<br /> <br /> HERE are so many good things in “ The<br /> Literary Market ” that I must use every<br /> day that I have devised a card index<br /> <br /> system of classifying it. Not all of the informa-<br /> tion is pertinent to the material I write, so I<br /> file only those items in which I am interested.<br /> I use a three by five card index drawer and<br /> enter items under the following heads: Auto-<br /> mobiles, Boys and Girls, Crops, Dairying,<br /> Flowers, Horticulture, Household, Household<br /> Mechanics, Humour, Live Stock, Motor-cycles,<br /> Popular Mechanics, Poultry, Short Stories.<br /> <br /> There is a guide card for each subject, and the<br /> cards on which the information is entered are<br /> prepared like the following sample :—<br /> <br /> Humour.<br /> <br /> Browning’s Magazine, 16, Cooper Square,<br /> N.Y.<br /> <br /> Short burlesques and narrative humour.<br /> <br /> 100 to 500 words.<br /> <br /> Jokes.<br /> <br /> 1 cent a word on acceptance.<br /> <br /> When I have a humorous article to sell, I<br /> look over the cards marked ‘‘ Humour ”’ and<br /> decide which market is most promising.<br /> Supplementing the index is a file of all the<br /> papers in which I am interested. As soon as<br /> T learn of a new paper that offers a market for<br /> the kind of material I write, I send for a sample<br /> and file it with the other papers of like nature.<br /> Unless I am very familiar with the paper I look<br /> it over carefully before submitting anything to<br /> it that differs from something I have sold it<br /> previously. I have something over 200 papers<br /> in my files.<br /> <br /> In addition to the subject index I have a<br /> graveyard—an index in which papers are filed<br /> alphabetically by name. These are only those<br /> papers that have suspended publication. It<br /> is sometimes important to know that these are<br /> no longer published.<br /> <br /> <br /> <br /> Joun Y. Brary.<br /> —_—_‘_ oo<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> eee<br /> BriTIsH.<br /> <br /> The Exclusiveness of Journalists. By G. K. Chesterton.<br /> <br /> Religious Drama. By W. L. George.<br /> <br /> Our Conventional Press. By Scriptor.<br /> <br /> Dramatists of To-day : III. John Masefield ; IV. Stan-<br /> ley Houghton.<br /> <br /> ConTEMPORARY.<br /> The Ballad—English and Scotch. By E. R. Montague.<br /> Literary Supplement: Saint Nicholas.<br /> <br /> <br /> <br /> <br /> <br /> +i<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> ——<br /> <br /> 1, VERY member has a right toask for and to receive<br /> EK advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> apecial reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel’s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society,<br /> <br /> 2, Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination,<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> jars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> q. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> —~ &gt;<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —_1—~&lt;——_<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement, There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> 109<br /> <br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society,<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to :<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights,<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author.<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> &lt;&gt; —____—_<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> ae<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2, 1t is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory, An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> 110<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent, An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum inadvyance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. :<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform, on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case,<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> tetter to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in anyevent. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> <br /> 7, Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10, An author should remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> pe ge<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> _—<br /> <br /> haar typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant, One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s, 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> <br /> <br /> <br /> REE AG a Se<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> oe<br /> <br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> <br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ———__+—&gt;—_e—____—_-<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble.<br /> <br /> Se<br /> <br /> THE READING BRANCH.<br /> ae<br /> EMBERS will greatly assist the Society in this<br /> Mi branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea,<br /> —_—_—__.-&lt;—e___<br /> <br /> REMITTANCES.<br /> <br /> _——<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> <br /> <br /> ESE<br /> <br /> <br /> <br /> Su<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> COLLECTION BUREAU.<br /> <br /> —_—~—+<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland : : A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> ——-—-e——<br /> AUSTRALIAN CoPyRIGHT REGISTRATION.<br /> <br /> Ir is very important that the attention of<br /> dramatic authors should be called to the<br /> clauses in the Australian Copyright Act, 1912,<br /> dealing with summary proceedings and regis-<br /> tration.<br /> <br /> This Act was printed as a supplement to<br /> the April number of The Author, and gives<br /> some very powerful Summary Remedies, but<br /> the advantages to be gained by the special<br /> remedies provided under Sections 15, 16,<br /> and 17, can only be taken by those whose<br /> copyright is registered. Under the Act<br /> registration is optional. All those dramatists<br /> who have had their works infringed in the<br /> Colonies know how exceedingly difficult it<br /> is to stop an infringement in a distant<br /> country. Indeed, it is almost impossible to<br /> do so if a civil action has to be taken against<br /> the manager of a travelling company.<br /> <br /> Under the United States Act, where criminal<br /> proceedings are allowed, great advance has<br /> been made in stopping infringements, in the<br /> different States, and the same advance will,<br /> no doubt, take place through the summary pro-<br /> <br /> iit<br /> <br /> ceedings allowed under the Australian Act ; but<br /> it is essential, in order that dramatists may<br /> obtain the full value of the powers given them,<br /> that they should register their plays. We<br /> advise all dramatists, therefore, without delay,<br /> to take steps to see that their works are regis-<br /> tered in due course under the Australian Act<br /> in that country.<br /> <br /> AUSTRALIAN Boox NOovreEs.<br /> <br /> A MEMBER of the Society has been kind<br /> enough to forward some notes on the sale of<br /> books in Australia. He has taken the trouble<br /> to make certain pointed inquiries from<br /> Australian booksellers, and finds the complaint<br /> which has been put before the Society in past<br /> numbers of The Author has been amply con-<br /> firmed, namely, that the American publisher is<br /> much more enterprising and pliable and is<br /> willing to meet the Australian bookseller on<br /> better terms and is altogether a better man<br /> of business than the English publisher. He<br /> informs us that one or two publishers in<br /> England show some enterprise, but the<br /> majority do not do so.<br /> <br /> In Melbourne it appears that novels are<br /> mostly in vogue, and that, outside novels, the<br /> more important books are difficult to get and<br /> in many cases cannot be secured without much<br /> delay. This is no doubt a good deal the fault<br /> of the publisher, as the Australian bookseller<br /> seems willing to take the more expensive books<br /> for a moderate sale could he secure them<br /> readily.<br /> <br /> In the Melbourne lending libraries, just as in<br /> the English libraries, there is a certain amount<br /> of censorship. Of novels the most popular are<br /> certainly not the best written, but the advan-<br /> tage of cheaper cables will probably bring about<br /> a readier sale. A bookseller in Sydney, how-<br /> ever, one of the largest in Australia, does not<br /> welcome the cheaper cables as it would<br /> encourage the smaller firms, but the author<br /> and the public will, of course, welcome the<br /> increasing competition.<br /> <br /> Enquiry at the minor shops both in Australia<br /> and New Zealand, confirms the same points.<br /> That there is a ready sale for novels if the<br /> English publisher would only take advantage<br /> of that sale; that the American publisher has<br /> taken advantage of it, and is doing good<br /> business.<br /> <br /> Finally, a point of interest to dramatic<br /> authors was noticed; that several English<br /> playwrights have agents and that the piracy<br /> in Australia has almost died out.<br /> <br /> <br /> 112 THE AUTHOR.<br /> <br /> AGENTS’ CLAUSES IN PUBLISHERS’<br /> AGREEMENTS,<br /> <br /> Ir has become necessary to mention once<br /> again the danger that may result from the<br /> insertion of the agency clause in an agreement<br /> between a publisher and an author, that is<br /> the clause enabling the agent to collect, to<br /> give valid receipts and sometimes even to<br /> have the control when disputes arise. This is,<br /> to use a legal phrase, an authority coupled<br /> with an interest, and cannot be cancelled as<br /> between the author and the publisher. Even<br /> the best agents in London are in the habit of<br /> inserting the clause in publishers’ agreements,<br /> and to this we very strongly object. If, how-<br /> ever, the agent, who is supposed to be acting<br /> on behalf of the author—not only draws the<br /> author’s attention to the fact that he is insert-<br /> ing this clause, but explains to him fully the<br /> dangers of the clause when it is inserted, and if<br /> when the full explanation has been laid before<br /> the author the author is still willing to sign the<br /> agreement, then nothing can be said against<br /> the agent or his methods of doing business ; but<br /> if he inserts the clause without calling the<br /> author’s attention specially to it, or if he does<br /> call the author’s attention to it, doing so in an<br /> off-hand manner, then he is acting unfairly by<br /> the author, and without due sense of the<br /> responsibilities of his position as author’s<br /> agent. We do not desire to use any stronger<br /> term as to his conduct, but think it essential<br /> that the author should be warned of the posi-<br /> tion.<br /> <br /> U.S.A. Ricuts.<br /> <br /> WE are reprinting from the Bulletin of the<br /> Author’s League of America a case which was<br /> tried some time ago, because the points then<br /> settled have been raised again in an important<br /> case which Mr. Jack London is carrying<br /> through the American Courts. A short state-<br /> ment of this appeared in the November issue<br /> of The Author. It is as well that members of<br /> the Society should understand some of the<br /> dangers which may be ahead of them as far as<br /> the United States copyright law is concerned,<br /> in order that, in the future, they may be able<br /> to safeguard themselves.<br /> <br /> <br /> <br /> REGISTRATION AT WASHINGTON,<br /> <br /> THE secretary has had a courteous reply<br /> from the registrar of copyrights at Washington,<br /> who has forwarded to him not only the<br /> <br /> circulars issued from the library with regard to<br /> the filing of dramatic pieces, but also copies of<br /> the forms which it is necessary to fill up. The<br /> registrar has also kindly forwarded samples of<br /> the other forms, and the Society will be ready<br /> to supply members should they wish to have<br /> them for the purposes of registration.<br /> <br /> The Society is deeply indebted to Mr.<br /> Solberg for his kindness.<br /> <br /> REMAINDER SALES.<br /> <br /> Durinc the last two or three months some<br /> serious questions have arisen with regard to<br /> remainder sales. In one or two agreements<br /> dealing with the publication of expensive books<br /> —from 15s. to 30s.—no clause has been in-<br /> serted covering the right of the publisher<br /> to sell remainders. In the cases referred to<br /> the publishers have remaindered the books<br /> without any notice to the authors. As no<br /> clause has been inserted in the agreements<br /> with regard to remainder sales, or the amount<br /> of royalty to be paid on such sales, a very<br /> difficult position is the result. Under the<br /> agreement the publisher would be bound to<br /> pay a certain percentage on the full published<br /> price. Under the usual clause for the sale of<br /> remainders the publisher generally pays a<br /> certain percentage on the net amount received.<br /> It is difficult to know what the legal decision<br /> would be if the author should bring an<br /> action for the full royalty on the published<br /> price. He would have to show that his damage<br /> amounted to that sum; whereas a publisher<br /> might maintain that, as the book was not<br /> selling, his damage really amounted only to<br /> the sum paid as a percentage on the remainder<br /> sales. We put the matter forward as a warning<br /> to authors. In almost every agreement there<br /> is a clause which deals with remainders; if<br /> there is no such clause, then we think, as a<br /> matter of courtesy, quite apart from the right,<br /> the publisher should give the author notice<br /> before he effects a sale. It would be interesting<br /> to take a case into court where a remainder<br /> sale had been made without any clause lying<br /> in the agreement dealing with the matter, in<br /> order to test the author&#039;s rights. Perhaps<br /> some. day such a case may be tried.<br /> <br /> CANON SHEEHAN MEMorRIAL.<br /> <br /> Ir has been proposed that a memorial should<br /> be set up in Doneraile, to Canon Sheehan,<br /> who died recently, and the secretary of the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> fund has written to the Society of Authors to<br /> enquire whether any member of the Society<br /> would be willing to subscribe. Canon<br /> Sheehan must be well known to the members<br /> of the Society as the writer of a large number<br /> of books and novels. He was a member of<br /> the Society for many years, and has been a<br /> warm supporter of the Society throughout<br /> his membership. The patrons of the fund are<br /> the following :—<br /> The Right Hon. Lord Castletown, of Upper<br /> Ossory.<br /> The Right Hon. Alderman O’Shea, Lord<br /> Mayor of Cork.<br /> Sir John Arnott, Bart.<br /> Sir Bertram Windle, President University<br /> College, Cork.<br /> Colonel Grove White.<br /> Langley Brasier-Creagh, M.C.C.<br /> Lieutenant-Colonel Cuming.<br /> Captain Nichols.<br /> Should any member desire to subscribe,<br /> subscriptions should be sent to Rev. Br. P. A.<br /> Mulhall, Hon. Secretary, Doneraile.<br /> <br /> 1<br /> <br /> COMMITTEE ELECTION.<br /> <br /> 4<br /> <br /> N pursuance of Article 19 of the Articles of<br /> <br /> I Association of the Society, the committee<br /> <br /> give notice that the election of members<br /> <br /> of the Committee of Management will be pro-<br /> ceeded with in the following manner :—<br /> <br /> (1) One-third of the members of the present<br /> Committee of Management retire from office in<br /> accordance with Article 17.<br /> <br /> (2) The names of the retiring members are:—<br /> <br /> Sir Alfred Bateman,<br /> W. W. Jacobs,<br /> Stanley Leathes,<br /> Aylmer Maude.<br /> <br /> (3) The date fixed by the committee up to<br /> which nominations by the subscribing members<br /> of candidates for clection to the new committee<br /> may be made is January 31.<br /> <br /> (4) The committee nominate the following<br /> candidates, being subscribing members of the<br /> Society, to fill the vacancies caused by the<br /> retirement of one-third of the committee,<br /> according to the constitution :—<br /> <br /> Sir Alfred Bateman,<br /> W. W. Jacobs,<br /> Stanley Leathes,<br /> Aylmer Maude.<br /> <br /> The committee remind the members that,<br /> under Article 19 of the amended Articles of<br /> Association ‘‘ any two subscribing members of<br /> <br /> 1138<br /> <br /> the Society may nominate one or more sub-<br /> scribing members other than themselves, not<br /> exceeding the number of vacancies to be filled<br /> up, by notice in writing sent to the secretary,<br /> accompanied by a letter signed by the candi-<br /> date or candidates expressing willingness to<br /> accept the duties of the post.<br /> <br /> The complete list of candidates will be<br /> printed in the March issue of The Author.<br /> <br /> —_———+ &gt;_&gt; —___——_-<br /> <br /> THE PENSION FUND COMMITTEE.<br /> <br /> pe<br /> <br /> N order to give members of the Society,<br /> I should they desire to appoint a fresh<br /> member to the Pension Fund Committee,<br /> full time to act, it has been the custom to place<br /> in The Author a complete statement of the<br /> method of election under the scheme for<br /> administration of the Pension Fund. Under<br /> that scheme the committee is composed of<br /> three members elected by the committee of the<br /> Society, three members elected by the Society<br /> at the general meeting, and the chairman of the<br /> Society for the time being ew officio. The three<br /> members elected by the Society are Mr. Owen<br /> Seaman, Mr. M. H. Spielmann, and Mrs. Alec<br /> Tweedie. This year Mrs. Alec Tweedie retires<br /> under the scheme and submits her name for<br /> re-election.<br /> The members have, however, power to put<br /> forward other names under clause 9, which runs<br /> as follows :—<br /> <br /> “ Any candidate for election to the Pension Fund Com-<br /> mittee by the members of the society (not being a retiring<br /> member of such committee) shall be nominated in writing<br /> to the secretary at least three weeks prior to the general<br /> meeting at which such candidate isto be proposed, and the<br /> nomination of each such candidate shall be subscribed by<br /> at least three members of the society. A list of the names<br /> of the candidates so nominated shall be sent to the members<br /> of the society, with the annual report of the managing<br /> committee, and those candidates obtaining the most votes<br /> at the general meeting shall be elected to serve on the<br /> Pension Fund Committee.”<br /> <br /> In case any member should desire to refer to<br /> the list of members he can do so if he gives<br /> notice to the secretary, or if he prefers he can<br /> forward the name of his proposed candidate or<br /> candidates and the secretary will inform him<br /> if they are members.<br /> <br /> It will be as well, therefore, should any mem-<br /> ber desire to put forward a candidate, to take<br /> the matter within his immediate considera-<br /> tion. The general mecting of the Society is<br /> usually held in March. It is desirable that all<br /> nominations should be in the hands of the secre<br /> tary before January 31.<br /> <br /> <br /> 114<br /> M. ANATOLE FRANCE IN LONDON.<br /> <br /> —— +<br /> <br /> ANATOLE FRANCE has been on a<br /> visit to London during the past month<br /> and on December 10, a dinner was<br /> given in his honour at the Savoy Hotel. Lord<br /> Redesdale presided at the dinner, among those<br /> present at which were the Earl of Cromer,<br /> Viscount Goschen, Mrs. Humphry Ward, Mr.<br /> H. G. Wells, Miss Marie Corelli, Mr. Alfred<br /> Sutro, Mr. Israel Zangwill, Mr. W. J. Locke,<br /> Mr. John Galsworthy, Madame Sarah Grand,<br /> Mr. C. Lewis Hind, Mr. Jerome K. Jerome,<br /> Mr. W. W. Jacobs, Sir Frederick Pollock, Mr.<br /> T. P. O&#039;Connor, M.P., Sir D. Mackenzie Wallace<br /> <br /> and Sir James Yoxall, M.P. Apologies for.<br /> <br /> inability to attend were sent by Mr. Asquith,<br /> Mr. Balfour, and Mr. Thomas Hardy.<br /> <br /> The chairman, in proposing the toast of the<br /> guest of the evening, said that he might have<br /> referred to him as one who has distinguished<br /> himself in many capacities, one who was an<br /> antiquary, a scholar, a man of science, an<br /> artist ; but he preferred to speak of him in a<br /> capacity which included all those qualifications,<br /> the capacity of an illustrious novelist. The<br /> novel was the champagne of prose literature—<br /> and it was a Yorkshire parson, Sterne, who<br /> invented the novel, as it exists to-day. He<br /> hoped he would not be charged with boasting<br /> if he weleomed M. France to the home of the<br /> novel.<br /> <br /> M. France, in the course of his reply, said<br /> that it was fitting the chairman should have<br /> spoken of the novel, both because he was the<br /> admirable writer who had made known in<br /> Europe the heroic tales of Japan, and because<br /> he was an Englishman. During two centuries<br /> English writers had produced masterpieces in<br /> this genre. Need he recall the names of<br /> Richardson and Fielding, Swift and Defoe,<br /> Seott, Dickens, Thackeray, George Eliot ?<br /> There he pulled up, in order not to confer on<br /> the living a premature apotheosis! England<br /> was the native home of the novel, as was<br /> Normandy of the apple or Valencia of the<br /> orange. ‘Why? That question could be<br /> answered only in a large volume or in a single<br /> word. He would answer it in a word. The<br /> novel was in its nature intimate, cordial, and<br /> homely, and the spirit of the Englishman was<br /> homely, intimate, and cordial. What was<br /> infinitely precious to him as their guest, he<br /> gontinued, was the opportunity which was<br /> given to him now to express his respectful and<br /> tender affection for England, and to pay<br /> <br /> THE AUTHOR.<br /> <br /> homage to all there who represented the<br /> essential English genius, to all of them who,<br /> after a long series of robust generations,<br /> conveyed the vast and profound spirit of<br /> Shakespeare and Bacon. In this English<br /> genius there was a vigorous continuity which<br /> provoked wonder and compelled admiration.<br /> Its gravity, wedded to a perfect good humour,<br /> its happy combination of realism with a<br /> sublime idealism, its patient effort after justice,<br /> its virile energy and constancy in virtue, made<br /> it a perpetual homage to human liberty and<br /> human dignity. It had won the esteem of the<br /> whole world and had nowhere been better<br /> known nor more esteemed than in France.<br /> <br /> ———_+— + —_—___<br /> <br /> UNITED STATES NOTES.<br /> <br /> ——<br /> <br /> HERE still continues to be discussion<br /> about the relative quantity and quality<br /> of books produced in the United States ;<br /> <br /> and the: Publishers’ Weekly, in whose columns<br /> the matter has been amply debated, has<br /> recently expressed the hope that ‘‘ the much-<br /> abused slogan ‘ fewer and better books’ is at<br /> last being heard.” Figures do not, indeed,<br /> support the idea that the output of books (of<br /> all kinds) is decreasing at the moment, since<br /> the Fall Announcement List shows an increase<br /> in titles of 5 per cent. over last year’s—itself<br /> nearly 29 per cent. larger than that of 1911.<br /> But it is thought that, on the whole, there will<br /> prove to have been a numerical decline in<br /> book-production for two years past, accom-<br /> panied by an improvement in quality in the<br /> non-fiction class. One Boston publisher has<br /> ventured on the opinion that the ery ought<br /> now to be changed to ‘‘ more and better books.”<br /> It is noteworthy that the publishers profess<br /> the most vivid interest in the question. The<br /> authors are comparatively silent.<br /> <br /> Biographical works have been unusually<br /> numerous since I last wrote. First place may<br /> be given to ex-President Roosevelt’s and<br /> Admiral Dewey’s autobiographies. Then there<br /> are Senator H. Cabot Lodge’s “ Early<br /> Memories ” ; Amelia Barr’s ‘“ All the Days of<br /> My Life”; Mrs. John A. Logan’s ‘‘ Reminis-<br /> cences of a Soldier’s Wife ’? ; and F. T. Martin’s<br /> “Things I Remember.” ‘Harrison Gray<br /> Otis”’ is portrayed by S. E. Morrison, a<br /> descendant. W.J. Johnson writes of “ Lincoln<br /> the Christian,” Dr. W. Elliot Griffis of “‘ Hep-<br /> burn of Japan,’’ Caroline Ticknor of ‘‘ Haw-<br /> thorne and his Publisher.’’ W. E. Ford edits<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> “The Writings of John Quincey Adams,”<br /> Frederick Bancroft ‘‘The Speeches, Corre-<br /> spondence, and Political Papers of Carl<br /> Schurz,’ and Sara Norton and M. A. de Wolfe<br /> Howe, conjointly, ‘‘ The Letters of Charles<br /> Eliot Norton.”<br /> <br /> Among the historical works are Senator<br /> J. H. Lewis’s ‘‘ Two Great Republics—Rome<br /> and the United States’; J. Spencer Bassett’s<br /> “‘ Short History of the United States”; G. L.<br /> Rives’s “‘The United States and Mexico,<br /> 1821-1848’; Rear-Admiral Fiske’s ‘‘ War<br /> Time in Manila”; J. A. Le Roy’s “ The<br /> Americans in the Philippines’; R. M. John-<br /> ston’s ‘ Bull Run: Its Strategy and Tactics ” ;<br /> and R. F. Guardia’s ‘‘ Discovery and Conquest<br /> of Costa Rica.”<br /> <br /> Two notable Anglo-American books are<br /> Senator Lodge’s “‘One Hundred Years of<br /> Peace’’; and Mr. Whitelaw Reid’s ‘“* American<br /> and English Studies.”<br /> <br /> Ex-President Taft has a work to his credit—<br /> “Popular Government: Its Essence, its<br /> Permanence, and its Perils.” Somewhat<br /> similar in the suggestion of its title is H. C.<br /> Emery’s ‘‘ The Politician, the Party, and the<br /> People.”’ Political also are ‘‘ The Theory of<br /> Social Revolution,’ by Brooks Adams ; ‘‘ The<br /> Monroe Doctrine, an Obsolete Shibboleth,” by<br /> H. Bingham ; and “‘ A Preface to Politics,”’ by<br /> Walter Lippmann. The feminist question is<br /> considered in ‘‘Sex Antagonism,” by W.<br /> Heape; ‘‘ Woman in Science,” by H. J.<br /> Mozens; and “A Survey of the Woman<br /> Problem,” by Rosa Mayreder. “ Present<br /> Forces in Negro Progress,” is by Dr. W. D.<br /> Weatherford. C. O. Gill and G. Pinchot<br /> discuss ‘‘ The Country Church: Its Decline<br /> and the Remedy.”<br /> <br /> Professor W. G. Bleyer is the author of<br /> “Newspaper Writing and Editing,” and Pro-<br /> fessor F. P. Graves of ‘‘ A History of Education<br /> in Modern Times.”<br /> <br /> Literature and art do not claim a long list<br /> of recent books. Among them, however, is<br /> ex-President Roosevelt’s “‘ History as Litera-<br /> ture, and other Essays.” ‘“‘ The Book of the<br /> Epic,” is by H. A. Guerber ; ‘‘ Art and Common<br /> Sense,” by Royal Cortissoz; ‘‘ London in<br /> English Literature,” by P. H. Boynton. In<br /> “The Wallet of Time,’’ William Winter deals<br /> with the American stage between 1791 and<br /> 1812, while Dr. R. E. Burton writes about<br /> ‘* The New American Drama.”’<br /> <br /> Travel books and the like are fairly numerous.<br /> “The Panama Gateway,’ by J. B. Bishop ;<br /> “The Panama Canal,” by Earle Harrison ;<br /> “The Story of the Panama Canal,” by Logan<br /> <br /> 115<br /> <br /> Marshall ; and “‘ Pacific Shores from Panama,”<br /> by E. C. Peixotto, all derive their inspiration<br /> from one source. Home is dealt with in R. H.<br /> Schauffler’s ‘‘ Romantic America,”’ Caroline<br /> Richards’s ‘‘ Village Life in America (1852-<br /> 72), and Belmore Brown’s ‘‘ Conquest of<br /> Mount McKinley.” P. J. Eder, with ‘‘ Colom-<br /> bia,” and D. R. Williams, with ‘“‘ The Odyssey<br /> of the Philippine Commission,” go further<br /> afield; and further still, Theodore Dreiser’s<br /> ** A Traveler Abroad,’ C.S. Oleott’s ‘‘ Country<br /> of Sir Walter Scott,” and A. H. Exner’s<br /> ** Japan as I Saw It.”<br /> <br /> By exercising a discrimination,, which .may<br /> not be entirely just, it is possible to reduce the<br /> army of new novels to reasonable dimensions.<br /> Undoubtedly the most popular of the autumn<br /> volumes were Gene Stratton-Porter’s ‘‘ Laddie”’<br /> and Rex Beach’s ‘“‘ The Iron Trail.’ The best<br /> sellers’ lists have also included ‘‘ The Way<br /> Home,” by Basil King; ‘A Fool and his<br /> Money,” by G. B. McCutcheon; “ Otherwise<br /> Phyllis,’ by Meredith Nicholson; ‘The<br /> Business of Life,” by R. W. Chambers ; “ The<br /> Lady and the Pirate,” by Emerson Hough ;<br /> and ‘“‘ The White Linen Nurse,”’ by Eleanor<br /> Hallowell Abbott. Richard Harding Davis’s<br /> new novel is ‘‘The Lost Road”; Payne<br /> Erskine’s ‘“‘ The Eye of Dread ”’ ; R. W. Kauff-<br /> mann’s ‘‘ The Spider’s Web ”; G. R. Chester’s<br /> “Wallingford and Blackie Daw”; Kate<br /> Douglas Wiggin’s ‘‘ The Story of Waitstill<br /> Baxter”; L. J. Vance’s “ Joan Thursday ”’ ;<br /> Ridgewell Cullum’s “‘ The Twins of Suffering<br /> Creek’; Edith Wharton’s “‘ The Custom of<br /> the Country’; Stewart Edward White’s<br /> ** Gold ” ; F. H. Spearman’s ‘“‘ Merrilie Dawes ”<br /> Harriet Hobson’s “‘ Sis Within ’?; and Harold<br /> Bell Wright’s ‘‘The Eyes of the World.”<br /> Margaret Deland has brought out “ Partners ” ;<br /> Samuel Blythe, ‘‘ The Price of Place” ; Anne<br /> Elliott, ‘‘ The Memoirs of Mimosa ”’ ; Marjorie<br /> Patterson, ‘‘ The Dust of the Road”; David<br /> Potter, “‘ The Streak’; Anne Wharton, “A<br /> Rose of Old Quebec’’; Laura E. Richards,<br /> “The Little Master’?; Mrs. Corra Harris,<br /> “In Search of a Husband’; Will Levington<br /> Comfort, ‘‘Down among Men”; Harold<br /> MacGrath, ‘‘ Deuces Wild’; Mary Johnston,<br /> ‘Hagar’; Gouverneur Morris, “If You<br /> Touch Them They Vanish”; J. B. Ellis,<br /> ‘“‘TLahoma’’; and W. M. Harvey and J. C.<br /> Harvey, ‘“‘The Hills o’ Hampshire.” Mrs.<br /> R. C. Sheffield’s novel, ‘‘ The Golden Hollow,”<br /> sprang into immediate fame owing to an<br /> attempt by the lady’s husband to prevent<br /> its publication, on the ground that he was<br /> libelled in it !<br />  <br /> <br /> Finally, mention must not be omitted of<br /> two posthumous works of fiction—Myrtle<br /> Reed’s “Threads of Grey and Gold,” and<br /> Vaughan Kester’s ‘‘ The Hand of the Mighty,<br /> and other stories.” :<br /> <br /> The obituary of the past half-year contains<br /> many names of writers, though perhaps the<br /> majority of them are but little known in<br /> England. In June, too late for inclusion in<br /> the last issue of these notes, occurred the deaths<br /> of Lucius Harwood Foote, a poet who was once<br /> U.S. Minister to Korea; of the Rev. Dr. C. A.<br /> Briggs, hero of a Presbyterian heresy-trial<br /> eleven years ago, and a prolific religious writer ;<br /> of M. M. Muhleman, author of a number of<br /> financial works; of T. A. Janvier, editor,<br /> novelist, ete., and friend of Frédéric Mistral ;<br /> of the Rev. E. G. Murphy, a southern philan-<br /> thropist ; and of Judge T. M. Norwood, ex-<br /> Confederate and Senator. Early in July died<br /> Mrs. Mary Harrison Seymour, a writer of<br /> children’s books. Miss Nell Speed, another<br /> worker in the same line, followed her at the<br /> beginning of August. Professor J. C. Coney,<br /> of Princeton University, died on July 25.<br /> September saw the deaths of Professor A. G.<br /> Newcomer ; of the Kentuckian, R. T. Durrett ;<br /> of the Rev. Dr. James Orr; and of Eliakum<br /> Zunser, the Yiddish poet. In October died<br /> Stanley Waterlow; Stephen Jenkins; the<br /> Rev. Dr. J. I. Mombert; Professor C. F.<br /> Richardson ; Mrs. Sara Andrew Schafer; W.<br /> Garrott Brown; Mrs. M. B. Crowninshield,<br /> widow of the Admiral; and Reuben Gold<br /> Thwaites, of Wisconsin University. Price<br /> Collier died on November 8, when on a visit to<br /> the Baltic. The writings of the last named are,<br /> of course, as well known in the Old World as<br /> in the New.<br /> <br /> Puitie WALSH.<br /> <br /> —————p-~&lt;¢—___<br /> <br /> ARTISTS, CRITICS, AND EXHIBITIONS.<br /> <br /> —-— +<br /> <br /> A” interesting article in a recent issue<br /> of The Author on artists and critics<br /> <br /> prompts me to offer a few remarks on<br /> the subject; my excuse being that I have<br /> been writing about art for more years than I<br /> care to recall, and that during that time I have<br /> had considerable opportunity, not merely of<br /> thinking about the vexed question of the<br /> legitimate limits and province of art criticism,<br /> but what is more to the point, of learning<br /> from all sorts and conditions of artists, their<br /> views thereon.<br /> <br /> <br /> <br /> 116 THE AUTHOR.<br /> <br /> I would like to epitomise, as briefly as<br /> possible, these views with which, I confess,<br /> I have a large measure of sympathy. Artists<br /> generally hold, as your contributor hints,<br /> that it is absurd, speaking generally, to suppose<br /> that one man can be competent to tackle<br /> every phase of artistic thought and expression :<br /> every school of art. They hold that the critic<br /> is lacking, commonly, in catholicity of taste,<br /> <br /> and that his knowledge of painting and ~<br /> <br /> sculpture is necessarily limited, in a technical<br /> sense and in other regards. In most cases the<br /> critic has a strong bias toward a particular<br /> school of painting, so that he is apt to judge<br /> everything that comes under his review from<br /> the standpoint of its approximation to, or<br /> deviation from, the preconceived standard<br /> he has set up in his mind, The literary<br /> man is in a much happier case in regard<br /> to the newspaper judgment of his work,<br /> because, in the first place, his critic is<br /> another literary man and consequently knows<br /> something about the technical difficulties of<br /> the literary vehicle of expression. Moreover,<br /> as your contributor remarks, the editor sees<br /> that a book coming to him for review is sent<br /> out to the critic who has made, or is supposed<br /> to have made, a special study of the subject<br /> treated in that particular book. Editors know<br /> that such and such a reviewer on their list is<br /> incompetent to judge, say, a theological work,<br /> though he may be trusted not to make a fool<br /> of himself in dealing with a treatise on the<br /> arts and crafts.<br /> <br /> Artists maintain that the language of art<br /> is art, and that although Ruskin and others<br /> have tried to translate it, put it into words,<br /> that is to say, it remains a thing apart, to be<br /> understood fully by the practitioners of art<br /> only. A writer can only tell you what is<br /> wrong with a picture, whereas he should he<br /> able both to point out a fault and tell you<br /> how to correct it.<br /> <br /> If a critic should tell a writer that his book<br /> is full of split infinitives; that the meaning is<br /> often obscured by the too free and too com-<br /> plicated use of parenthesis, that its facts are<br /> faulty; its opinions based on insecure or<br /> fallacious grounds ; its style loose, or what not,<br /> he has not only pointed out definite faults,<br /> but in doing so has suggested remedies. The<br /> assumption is that the literary critic knows<br /> how to write well enough to improve the book<br /> he criticises, and this he either proves or the<br /> reverse by the quality of his own literary style<br /> and the character of his criticism; whereas<br /> an art critic is not called upon to prove his<br /> power to improve a picture in writing about it.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 117<br /> <br /> In view of these and cognate considerations,<br /> it is held by artists that they are to be pardoned<br /> if they look upon art criticism generally in<br /> the light of “notices,” rather than as a<br /> guide to aid and correct performance. Conse-<br /> quently, it is not unnatural that when a<br /> notice becomes offensive they commonly<br /> resent it.<br /> <br /> &#039; If a painter should come into another<br /> painter’s studio and say bluntly, ‘‘ That arm’s<br /> too long,”’ or ‘‘ That nose is too short,” indicat-<br /> ing the alteration necessitated with a piece of<br /> chalk, he is in fair way to prove himself right<br /> or wrong; the matter can be determined one<br /> way or the other. The like applies to much<br /> more subtile criticisms. Whereas, when a<br /> critic arbitrarily declares that a picture is<br /> ‘too degraded in tone,” that it lacks distinc-<br /> tion, that the artist needs to take lessons in<br /> perspective, that his colour gradations are in<br /> defiance of truth, or too truthful to be<br /> beautiful, and so forth, he merely makes<br /> assertions upon which no onus of proof rests.<br /> <br /> To come from the general to the particular.<br /> It is undeniable that mixed exhibitions in<br /> London and other great cities are, generally<br /> speaking, arranged with the design to attract<br /> attention, to draw the town, so to speak; to<br /> express and take advantage of any new theory<br /> that may have ‘“‘ caught on.” The result is<br /> that pictures not painted with these aims are<br /> fairly certain to be overlooked by the critic<br /> whose one preoccupation frequently is to make<br /> “copy.” So that in recent days, truth to<br /> nature no longer counts, and the indirect<br /> result is that too many artists, rather than<br /> run the risk, amounting almost to a certainty,<br /> of being left behind, throw nature and truth<br /> overboard. They become frantically eager to be<br /> in the movement, to assert their “individuality ”’<br /> and so secure notice. To-day, moreover,<br /> pictures are more and more regarded as mere<br /> wall decorations, and this being so any new<br /> convention pleases for the moment, so long, that<br /> is to say, as the particular scheme of colour<br /> and design is in the mode. To this scheme<br /> pictures must accord. The result is lament-<br /> able for the landscape painter ; for what does or<br /> can the average fashionable Londoner know<br /> about the country, which he merely resorts to<br /> in the holiday-maker’s spirit? As the town<br /> continually increases its boundaries, this must<br /> be more and more the spirit in which the<br /> country is regarded and tolerated. Despite<br /> the fact that motors take Londoners from<br /> centre to centre, their view of the country<br /> must be merely panoramic, and their apprecia-<br /> tion of it must become increasingly super-<br /> <br /> ficial and artificial.* The real life and soul of<br /> nature, the real meaning of the countryman’s<br /> life and habit of |thought become less and less<br /> understood. Hence, if a landscape painter in<br /> any case is to attract a wide public his work<br /> must become more and more decorative and<br /> conventional: it must be painted to supply<br /> a@ want.<br /> <br /> The time has already arrived, speaking in<br /> the social sense, when London exists solely for<br /> those who follow fashion and resort to it to be<br /> tickled with the latest novelty. Its exhibitions<br /> of pictures must, if they are to pay their way,<br /> conform to the inexorable necessity of tickling<br /> the palates of the groundlings. Consequently<br /> the true artist is returning to that happier<br /> and far more gracious state when exhibitions<br /> and critics were factors outside his considera-<br /> tion. He is becoming content to paint for<br /> those few whom the good God gives him; for<br /> appreciative folk of his own neighbourhood,<br /> folk familiar with and loving the scenes he<br /> depicts. He works, as all great artists of old<br /> worked, to please those with whom he comes<br /> into direct contact, leaving his fame now and<br /> hereafter, in a more extended sense, to take<br /> care of itself. The artists who have arrived at<br /> this sensible and dignified resolve are much<br /> happier in themselves and in their work than<br /> those to whom exhibitions and newspaper<br /> notices are necessities.<br /> <br /> Jas. STANLEY LITTLE.<br /> ——_——_ + —~&gt;—__+-—______—__<br /> <br /> WHO’S WHO, 1914.*<br /> eg<br /> <br /> 2 HO’S Who” is so well known as<br /> hardly to stand in need of recom-<br /> ‘ mendation. There is in any year<br /> very little to be said about this valuable annual<br /> except that it has again grown larger, and will<br /> so be more helpful than heretofore. We have<br /> only to remark that the new volume maintains<br /> its traditional level, which is giving it the<br /> <br /> highest praise that can be bestowed upon it.<br /> ae<br /> <br /> WHO&#039;S WHO YEAR-BOOK FOR 1914—15.¢<br /> <br /> ne<br /> <br /> N a few words contained in his preface, the<br /> editor of ‘‘ Who’s Who” very justly draws<br /> attention to the assistance which all<br /> <br /> possessors of that work will derive from this<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> * “Who&#039;s Who, 1914.” Sixty-sixth year of Issue.<br /> London: Adam and Charles Black.<br /> <br /> + ‘“Who’s Who Year-Book for 1914—15.” London :<br /> Adam and Charles Black.<br /> 118<br /> <br /> <br /> <br /> fellow-volume, the ‘‘ Who’s Who Year-Book.”’<br /> The commodious alphabetical arrangement of<br /> the larger volume necessarily precludes any<br /> grouping of the vast amount of information<br /> which it contains. This grouping of infor-<br /> mation is, at the same time, indispensable<br /> when a name has to be sought; and 1s<br /> immediately provided by the exhaustive<br /> indexes under various headings presented in<br /> the ‘‘ Year-Book.’’ We therefore entirely<br /> agree with the editor that “it can be truly<br /> said that no one who does not spend an extra<br /> shilling on the lesser work can reap the full<br /> advantage of the larger one.’”’” Among new<br /> tables included for the first time in the present<br /> edition are: A list of the Heads of Universities,<br /> of General Officers and Admirals on the Active<br /> List, of Premiers of Colonies, and Members of<br /> Royal Commissions now sitting. While recom-<br /> mending the work generally, we must add that<br /> it is one likely to be particularly useful to<br /> journalists as well as to other literary men.<br /> <br /> ——_+ + —___<br /> <br /> THE WRITERS’ AND ARTISTS’ YEAR-<br /> BOOK.*<br /> <br /> 1<br /> <br /> S there any occasion to say that ‘‘ The<br /> Writers’ and Artists’ Year-Book ”’ ought<br /> to be in the hands of every author? We<br /> <br /> hope that there is not, for no manual of equal<br /> value exists, whilst its price puts it within the<br /> easy reach of all. Among the new features of<br /> the volume of 1914 are an article on cinema-<br /> play writing by an expert, a detailed list of<br /> cinema companies and their requirements, and<br /> an article on press photography. In addition<br /> to this the book has been this year greatly<br /> enlarged by the inclusion of fresh matter;<br /> whilst a last but most happily invented<br /> novelty is, at the end of the volume, the<br /> provision of blank pages, duly ruled, on which<br /> authors may record where MSS. are sent and<br /> when, and with what results. The conve-<br /> nience of this will be instantly apparent to<br /> all contributors to periodicals, and ought alone<br /> widely to increase the popularity of this<br /> valuable little book.<br /> <br /> * “The Writers’ and Artists’ Year-Book, 1914,” Iondon:<br /> am and Charles Black.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> **BOOK PRICES CURRENT.” *<br /> <br /> oo<br /> <br /> HE numbers of Book Prices Current lying<br /> aL before us complete the twenty-seventh<br /> volume; and record the sales from<br /> March 18 to August 1, 1918. We learn from<br /> the preface that the auction season has been<br /> ‘*one of the busiest on record, as well as one<br /> of the most successful.”” The total amount<br /> realised, in more than sixty high-class sales,<br /> has closely approached £200,000, a sum exceed-<br /> ing any previously on record for a corresponding<br /> period; whilst the average sum realised<br /> throughout the season has been £5 Os. 7d. ;<br /> also the highest on record; 1911, 1912,<br /> previously the highest average recorded, gave<br /> an average of £5 Os. 2d. This remarkable<br /> record has not been due to the Huth sale alone.<br /> During the last two years a very large number<br /> of rare and valuable books have come into the<br /> auction rooms, and they have fetched there<br /> higher prices than at any previous date. On<br /> the other hand, other books, of value, but not<br /> such as are sought by the book collector have<br /> sold for sums considerably smaller than they<br /> fetched a fewyears ago. Here the scholar, as<br /> distinct from the book collector enjoys an<br /> advantage, and may hope to purchase volumes<br /> <br /> required for working purposes at somewhat -<br /> <br /> diminished prices. The editor of Book Prices<br /> Current speaks of the impression that ‘“ all<br /> sorts and conditions of owners desire to dispose<br /> of their possessions as quickly as possible ’’ as<br /> an. “‘ illusion,”” but we must confess to wishing<br /> that we could be quite sure of that ; or even sure<br /> that authors at least paid as much attention as<br /> their calling demands to the possession of<br /> books—and to reading them. A depreciation<br /> in the value of books that are not collectors’<br /> books has a sinister appearance of being of one<br /> piece with a good many other phenomena of<br /> “the advance of education,” or what at present<br /> passes for such.<br /> <br /> We have, unfortunately, space for picking<br /> out only a very few plums from the widely<br /> interesting details of the new numbers of this<br /> always entertaining periodical. Those who<br /> like to read of strange books, of the most<br /> varied description, should turn to the pages<br /> <br /> recording the sale (April 3, 4, Sotheby) of the ©<br /> <br /> first portion of a book-lover’s library. Authors<br /> are likely to be particularly interested in such<br /> lots as (April 3, Hodgson) Meredith ‘‘ Ordeal<br /> of Richard Feverel,”’ first edition, 8 vols.,<br /> original cloth, 1859, £8 15s. The same price<br /> <br /> * “ Book Prices Current,” Vol. XXVII., Nos. 4 and 5,<br /> 1913. 2s<br /> <br /> London : -Elliot Stock.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> te het Sg a ES<br /> <br /> THE AUTHOR. 119<br /> <br /> was paid (April 23, Sotheby) for two works by<br /> Gissing (“Workers in the Dawn,” “ The<br /> Unelassed’’), both similarly first editions in<br /> three volumes in the original cloth. Very<br /> striking were the prices fetched at the sale of<br /> the Browning Collections (May 2, MSS. ;<br /> May 5—7, printed books, Sotheby). Particu-<br /> larly the prices paid for the MSS., should be<br /> noted. Every one of them would be worth<br /> quotation if we had space ;_ but we can record<br /> here only such things as pairs of small manu-<br /> script note-books selling for £33, £50, and £52 ;<br /> and the autograph of “* Sonnets from the Portu-<br /> guese” for £1,130. The printed books also<br /> fetched quite fancy prices on account of<br /> ownership, autographs and manuscript notes.<br /> Eleven volumes of the Tauchnitz classics sold<br /> for £24. On June 2 Messrs. Sotheby began the<br /> sale of the fourth portion of the Huth library.<br /> It will be needless to say that, as on previous<br /> occasions, no notice could possibly do justice<br /> to the rarities offered for sale. Mr. Bram<br /> Stoker’s Library was sold by Sotheby on<br /> July 7 and 8. The original MSS. of “ Personal<br /> Reminiscences of Henry Irving ”’ sold for £1 4s.<br /> <br /> <br /> <br /> THE PUBLISHING TRADE FROM<br /> WITHIN.*<br /> <br /> ——_— +<br /> <br /> HIS is really an American book, though it<br /> comes to us from an English house ; and<br /> it is solely of the transatlantic conditions<br /> <br /> of the book trade that it treats. The author,<br /> it must be added, writes from the publisher’s<br /> point of view, and fails to perceive a good many<br /> things which are conspicuous from the view-<br /> point of this Society. He writes, for instance,<br /> as if 10 per cent. were the royalty fixed by<br /> the laws of nature, and does not seem-to see<br /> the abandonment of those costly advertising<br /> methods which, in America at all events,<br /> once afforded some justification for the<br /> doctrine warrants the appropriation to the<br /> writer of a larger share of the returns. Nor<br /> does he take sound views of the functions of<br /> literary agents; and, indeed, it is not quite<br /> clear what his views on that branch of the<br /> subject really are. On one and the same page<br /> he writes that the agent “‘ is often a beneficence<br /> to publisher as well as author,” and that,<br /> ‘depending equally upon author and publisher<br /> for his livelihood, he is always at odds with one<br /> <br /> <br /> <br /> _ * “The Publisher,” by Robert Sterling Yard. Constable.<br /> 4s, 6d. net.<br /> <br /> of them.’ Why either publisher or author<br /> should always be ‘‘ at odds” with one who is<br /> labouring successfully for his advantage we<br /> have some difficulty in understanding ;_ but,<br /> perhaps, the key to the mystery is contained<br /> in the following sentence :—<br /> <br /> ‘** It is only when slack business or exces-<br /> sive zeal drives him into forcing royalties or<br /> luring authors from their natural publishers<br /> in order to win a commission by placing<br /> them with others that he becomes the devil.”<br /> <br /> The implication here seems to be that the<br /> agent is all right as long as he does no work for<br /> his commission beyond the packing up of<br /> parcels, and that, when he does any other<br /> work, he does it, not in the interest of his<br /> client, but in the interest of the new firm to<br /> which he allures his client, and is entitled to be,<br /> and commonly is, paid a commission by that<br /> firm for his services. That is a view of literary<br /> agency against which we have often had occa-<br /> sion to protest. In England, at all events, it is<br /> illegal as well as immoral; and it is doubly<br /> important to emphasise its impropriety when<br /> we find a publisher’s representative writing<br /> as if he thought it a legitimate proceeding,<br /> offensive to no one except the publisher who<br /> suffered by it.<br /> <br /> Still, though we often disagree with Mr. Yard,<br /> we are glad to have read his book. It is<br /> desirable that the author should know what is<br /> in the publisher’s mind; and Mr. Yard not<br /> only tells him this, but tells it in a light<br /> and entertaining manner, and with a real<br /> enthusiasm for literature as well as for success.<br /> <br /> —__+.—_o—._<br /> <br /> “PICTURES” AND PICTURE-PLAYS.*<br /> <br /> <br /> <br /> ag does not, at first sight, seem to be<br /> <br /> much that concerns authors, as authors,<br /> <br /> in the subject which gives its title to<br /> Mr. Talbot’s book. Nevertheless, even those<br /> who are not attracted by the idea that they<br /> may read therein something about the<br /> practical side of the art or industry which<br /> provides us with ‘“‘ the pictures’? on every<br /> vacant spot where it is possible to erect a<br /> ‘* palace ’’—even those may turn with interest<br /> to the eighteenth chapter of the book and see<br /> what Mr. Talbot has to say about picture-<br /> <br /> <br /> <br /> * ‘ Practical Cinematography and its Applications,” by<br /> Frederick A. Talbot. London: Wm. Heinemann,<br /> 120<br /> <br /> plays and the writing of them. The vogue of<br /> the picture-palace, he points out, has created<br /> a new profession ; and, while at the start the<br /> public was not exacting as to the quality of<br /> the drama shown upon the screen, content with<br /> the mere novelty of the exhibition, now the<br /> state of affairs is quite different. Better fare,<br /> stronger plots (coupled with improved mount-<br /> ing and acting) are demanded, and the un-<br /> known struggling dramatist, foiled hitherto by<br /> the lack of enterprise on the part of the<br /> theatrical managers, has a golden opportunity.<br /> Mr. Talbot speaks enthusiastically :—<br /> <br /> To-day the embryo dramatist never bestows a thought<br /> upon writing for the stage ; the cinematograph will absorb<br /> all that he can produce, and as rapidly as he can complete<br /> it. No longer need a budding genius starve unknown and<br /> unappreciated in a garret. If his work possesses any merit<br /> the cinematograph will turn it to profitable account.<br /> About 300 picture-plays are placed upon the world’s<br /> market every week, and consequently the consumption of<br /> plots is enormous. What is more important from the<br /> author’s point of view is the expanding nature of this<br /> market, where supply cannot keep pace with demand, and<br /> the proportionate improvement that is manifest in the<br /> scale of remuneration. Ten years ago a plot seldom<br /> fetched more than five shillings ; to-day the same material<br /> will command anything between £5 and £50. In this field<br /> of activity reputation counts for nothing. The play, and<br /> the play only, is the thing.<br /> <br /> We could quote much more, but it is un-<br /> necessary, to show what a boon Mr. Talbot<br /> considers that the development of cinemato-<br /> graphy has bestowed upon the author with<br /> dramatic talent. We must add that he finds<br /> the British producing firms lagging behind the<br /> times, though signs of awakening are becoming<br /> evident, and one or two of the most pro-<br /> gressive establishments now pay up to £10 for<br /> a play. Further, we are told that so much is<br /> the standard of excellence rising that ‘‘ the<br /> highest work only now stands a chance of<br /> being accepted.’ It must not, therefore, be<br /> thought that anyone can write a picture-play,<br /> nor must we trust the “ advertisements freely<br /> inserted in the various periodicals offering to<br /> teach the art of writing plays for the cinemato-<br /> graph and to submit the plots to the various<br /> producers in the manner of a literary agency.”<br /> The author should submit his work directly to<br /> the producer and deal with him alone, while<br /> the art of writing cannot be taught by schools,<br /> but can only be acquired by experience.<br /> <br /> In a way the title of the chapter, “‘ How to<br /> write photo-plays,” is misleading. Mr. Talbot<br /> is not so foolish as to attempt to supply the<br /> place of the experience which he declares<br /> essential. Tis chapter, however, is suggestive,<br /> and gives additional value to a book which can<br /> be thoroughly commended on other grounds.<br /> <br /> THE AUTHOR.<br /> <br /> A large number of illustrations accompany the<br /> text, showing both the apparatus by which<br /> moving-pictures are taken and some most<br /> instructive results.<br /> <br /> -_-<br /> <br /> A MODERN ENGLISH DICTIONARY,*<br /> <br /> y VERY dictionary must be written from a<br /> special view-point. Even Sir J. A. H.<br /> Murray’s world-famed production, ex-<br /> haustive as it is, cannot contain everything.<br /> In a dictionary the general get-up is a matter<br /> of vital importance. It must not be too large,<br /> it must not be too heavy, the printing must be<br /> clear, the paper good. In these essentials<br /> the ‘Modern English Dictionary’? must be<br /> commended.<br /> <br /> One feature is a series of glossaries con-<br /> taining comprehensive lists of technical terms<br /> referring to certain sports. These lists are<br /> compiled by such well-known authorities as<br /> Lord Hawke on cricket, James Brady on golf,<br /> Claude Grahame White on aviation, and J. E.<br /> Raphael on Rugby football.<br /> <br /> We are not so satisfied with the illustrations.<br /> It is really an impossible thing to illustrate a<br /> dictionary, and though the examples of aero-<br /> planes may give to the reader of 1913 some<br /> interest, yet the examples of marine engines,<br /> p. 284, seem to be quite hopeless, and unable<br /> to suggest anything even to the mind of an<br /> engineer, certainly nothing to the lay mind.<br /> <br /> The coloured illustrations also are not very<br /> satisfactory. The standard cattle, p. 158, to<br /> give but one example, afford little real infor-<br /> mation to those who search the dictionary for<br /> knowledge on the subject.<br /> <br /> The illustrations in a dictionary are bound<br /> to be so limited that it were better to omit<br /> them.<br /> <br /> For the dictionary itself, as far as it has been<br /> possible to peruse it, there is nothing but com-<br /> mendation. Indeed, the names of the editorial<br /> contributors on the front page, Sir James<br /> Yoxhall, Professor Gollanez, Professor Walter<br /> Rippmann, Henry R. Tedder, H. J. L. J. Masse,<br /> at once carry conviction that the work has<br /> been satisfactorily done. There are, in addi-<br /> tion to the glossaries, some useful appendices.<br /> The book should prove of value to those who.<br /> want a dictionary which attempts to bring<br /> the outstanding interests of life into its<br /> compass.<br /> <br /> <br /> <br /> * “The British Empire Universities Modern English<br /> <br /> Dictionary.” Published by the Syndicate Publishing<br /> Company, 41, Southampton Row, W.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> +<br /> * Onxy.”<br /> I.<br /> <br /> Sr1r,—It was high time that protest should<br /> be made against the misplacement of “ only.”<br /> My books are crammed with marginal cor-<br /> rections of examples; to cull them would fill<br /> columns. But I will give only one, and that<br /> from Lord Morley’s “ Diderot” (Vol. L., ii.,<br /> p- 77), ‘‘ He only speaks as one brooding,” etc.<br /> A writer in the current number of 7. P.’s<br /> Weekly flatters Lord Morley by imitation,<br /> ‘when he says of a bookseller that “* of twenty<br /> novels submitted to him he only ordered two.”<br /> <br /> Yours faithfully,<br /> Epwarp CLopp.<br /> <br /> <br /> <br /> II.<br /> <br /> Sir,—Your last issues contain letters in<br /> which exception is taken to such sentences as<br /> “the tide had only turned two hours before,”<br /> ‘“* T shall now only add three remarks for your<br /> consideration,” ete. So far from being a<br /> ‘* vulgar error,” this throwing forward of the<br /> ‘only ” is a natural and instinctive action of<br /> the mind by which the hearer is warned as<br /> early as possible of the nature of the statement<br /> asa whole. Of possibilities of various degrees,<br /> a minor one is to be put forward as the predi-<br /> cate. A colour and a force is thus often given<br /> to what would be otherwise a mere correct<br /> verbal statement. If a man asks me to give<br /> him a book I have in my hand, I reply: “I<br /> bought it only yesterday,” I am giving him a<br /> formal verbally correct piece of information.<br /> But if I say: “I only bought it yesterday,”<br /> I am also making a protest. The “only”<br /> represents my chief emotion and must come<br /> out at once. Personally, I prefer living<br /> language to dead formalism.<br /> <br /> Yours obediently,<br /> Louis ZANGWILL.<br /> <br /> <br /> <br /> Boox Covers.<br /> <br /> S1r,—I should like to utter a protest—I fear<br /> a futile protest, for vulgarity is the order of<br /> the day—against the paper covers, not only<br /> with startling but with misleading pictures on<br /> them which even respectable publishers give<br /> to the books they issue. Has the author any<br /> centrol over these? Reviews had _ lately<br /> attracted me to a certain book but I was<br /> inclined to think I must have been mistaken<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 121<br /> <br /> as to its character when I saw the wrapper.<br /> The pictorial decoration, however, proved to<br /> be a gross exaggeration of an incident in the<br /> novel—a noble book. The dodge, in order to<br /> attract readers who would not be in sympathy<br /> with the contents, was like to alienate those<br /> <br /> who would be. It struck me as being bad<br /> business as well as insulting to the writer.<br /> Faithfully yours,<br /> IsosEL Fitzroy Hecur.<br /> <br /> THE LATE Dr. ALFRED RussEL WALLACE.<br /> <br /> Dear S1r,—The family of the late Dr. Alfred<br /> Russel Wallace having invited me to arrange<br /> and edit a volume of letters and reminiscences,<br /> they would be thankful if those of your<br /> readers who have letters or reminiscences<br /> would kindly send them to me for this purpose.<br /> The letters would be safely and promptly<br /> returned.<br /> <br /> Will provincial, American, colonial and<br /> foreign newspapers kindly republish this letter.<br /> <br /> Yours faithfully,<br /> JAMES MARCHANT.<br /> <br /> BROWNING RELICs.<br /> <br /> Dear Srr,—Will you kindly permit me to<br /> interest some of the readers of The Author in<br /> the following facts ?<br /> <br /> It has been my privilege to purchase the<br /> wonderful oak bookcase of that great poet—<br /> and great man—Robert Browning. My object<br /> in doing so was to save it to our own land,<br /> as there was imminent danger of its leaving<br /> the country.<br /> <br /> I wish to give any and every lover of<br /> Browning’s memory and poetry, an oppor-<br /> tunity of subscribing his or her coin, as he or<br /> she is able, towards the £250 required to secure<br /> the bookcase a permanent resting place in<br /> England as a national heirloom.<br /> <br /> I am told that it would easily fetch from<br /> two to three thousand pounds from America.<br /> But that, of course, is unthinkable to fellow-<br /> countrymen and women of the Brownings.<br /> The insignificant sum of £250 should be easily<br /> forthcoming within the three months for which<br /> the offer remains open, if each sympathiser<br /> will contribute his or her coin promptly and<br /> endeavour to interest others. Would it not<br /> be a shame and a national disgrace were we<br /> to permit this precious relic to go abroad ?<br /> <br /> The bookcase is of fine old carved oak,<br /> gathered together by the poct himself, as he<br /> wandered about Italy. Some of it is fifteenth<br /> <br /> <br /> 122 THE AUTHOR.<br /> <br /> century oak; other pieces are of early<br /> sixteenth and seventeenth centuries. The<br /> bookcase is 11 feet high by 7 feet broad. It<br /> stood in the drawing room at Casa Guidi, and<br /> later in Browning’s London home. It is<br /> mentioned in Mrs. Browning’s letters to<br /> Miss Mitford, July 4, 1848. And there is a<br /> very’ interesting allusion to it in “ Bishop<br /> Blougram’s Apology,” which, if read in con-<br /> junction with Mrs. Browning’s letter, sheds a<br /> very pretty light on a personal matter in the<br /> Brownings’ history.<br /> <br /> Many of the poet’s MSS. must have been<br /> locked up in the fine cupboard at the base of<br /> the bookecase—probably ‘“‘ The Little Yellow<br /> Book” itself found here a_ resting-place.<br /> If any of your readers would care to see the<br /> bookease, I should be glad to send them<br /> permits to view it, which, thanks to the kind-<br /> ness and hospitality of Mr. J. R. Thomas, is<br /> now housed in the Georgian Galleries belong-<br /> ing to that gentleman, and situated at 10, King<br /> Street, St. James’s, S.W.<br /> <br /> I am, dear sir, faithfully yours,<br /> (Mrs.) E. M. Story.<br /> Orchard House,<br /> Whelton Road,<br /> Twickenham.<br /> <br /> <br /> <br /> Dear Srr,—I am suffering from a dis-<br /> agreeable emotion—regret for having tried to<br /> do a kind action for my fellow authors. I have<br /> just received the following letter :—<br /> <br /> *“DEar Mapam,—Acting on the sugges-<br /> tion in your letter in The Author dated<br /> September 16, I directed my publisher to<br /> send a copy. of my (name of book) to<br /> Monsieur Paul Louis Hervier, 28, Rue de<br /> Beaumont, Bourges, France. He has not<br /> acknowledged the book, nor taken any<br /> notice whatever of a second application<br /> asking him to do so—to return the book—<br /> or give the review for which purpose now so<br /> long ago it was sent. To my thinking, such<br /> conduct reflects discreditably on the recom-<br /> mendation, or . . . A brief acknowledgment<br /> would have met the need—one cannot<br /> afford to give books away in this way. I<br /> shall feel obliged if you will bring the<br /> omission to his notice, as my pen fails to<br /> have any effect.”<br /> <br /> “Yours truly,”<br /> <br /> ee o&gt;<br /> <br /> The ellipsis represents a libellous suggestion<br /> which The Author would not print,<br /> I do not know when the book referred to<br /> <br /> was published, but my letter appeared in<br /> October’s Author, and La Nouvelle Revue is<br /> published only twice each month; so, even<br /> if the book was sent to the French editor<br /> immediately, but four numbers have made<br /> their appearance since.<br /> <br /> I am writing to Monsieur Hervier, but not<br /> quite in the way my correspondent suggests.<br /> I am writing to apologise for a compatriot,<br /> and to express the hope that he will not be<br /> disgusted with his work of helping with a kind<br /> and clever brain the English authors whose<br /> books are sent to him.<br /> <br /> By the way, this lady and her publisher<br /> have evidently had the unique experience of<br /> having every ‘“‘review copy” noticed gor<br /> ** acknowledged ”’—wonderful !<br /> <br /> Yours truly,<br /> <br /> Maup ANNESLEY.<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> Srr,—It frequently is the misfortune of<br /> those who read the daily papers to find after<br /> wading through half a column of chatty gossip<br /> that it all ends in advertisement—a recommen-<br /> dation to buy some patent medicine, or to<br /> dine at some special restaurant. All this is<br /> bad enough; but it is my desire to call the<br /> attention of my fellow members to an editorial<br /> liberty that has been taken twice to my know-<br /> ledge and, probably, much more often.<br /> <br /> The editor of a young magazine—the name<br /> can be obtained from the secretary—altered<br /> the locale of a short story he had bought<br /> by changing the name of one well-known<br /> restaurant inserted by the author to that of<br /> another whose advertisement he held.<br /> <br /> The matter would have been of less import-<br /> ance if only the description, somewhat detailed<br /> of the former, applied to the latter. It did not.<br /> <br /> Interested by this little incident I forgot<br /> myself so far as to purchase another copy of<br /> the magazine some months later. There I<br /> found the heroine “* daintily throwing away the<br /> end of her cigarette.”” I immediately<br /> turned to the advertisement pages and found<br /> ’s cigarettes being advertised. If the<br /> author desires to advertise some special<br /> abnormity, let him do so.<br /> his taste or his art. But it is not fair that he<br /> should be at the mercy of the editor. I should<br /> like very much to see an action brought.<br /> What damages would the British jury award,<br /> I wonder.<br /> <br /> <br /> <br /> <br /> <br /> Yours truly,<br /> AGGRIEVED.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> I do not admire .	https://historysoa.com/files/original/5/535/1914-01-01-The-Author-24-4.pdf	publications, The Author
536	https://historysoa.com/items/show/536	The Author, Vol. 24 Issue 05 (February 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+05+%28February+1914%29"><em>The Author</em>, Vol. 24 Issue 05 (February 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-02-02-The-Author-24-5					123–152																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-02-02">1914-02-02</a>							5			19140202	The Futhor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> <br /> <br /> FOUNDED BY SIR<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> Vou. XXTV.—No. 5.<br /> <br /> FEBRUARY 2, 1914.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ——___+——_+____-<br /> <br /> NOTICES.<br /> <br /> ++<br /> <br /> a the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> <br /> paragraphs must be taken as expressing the<br /> <br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> _ ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> ‘Vou. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> Bee ee<br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> —_—<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> 2<br /> 124<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> ——__+—__+#—___—_<br /> <br /> THE PENSION_ FUND.<br /> <br /> —_+——<br /> <br /> N January, 1918, the secretary of the Society<br /> I laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £10 fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> and the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> Local Loans<br /> Victoria Government 8% Consoli-<br /> dated Inscribed Stock ........<br /> London and North-Western 3%<br /> Debenture Stock ............<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates ........<br /> Cape of Good Hope 84% Inscribed<br /> ‘ Stock<br /> Glasgow and South-Western Rail-<br /> way 4% Preference Stock ...<br /> New Zealand 34% Stock .......<br /> Trish Land 22% Guaranteed Stock<br /> Corporation of London 21%<br /> Stock, 1927-57 ... 6s ee:<br /> Jamaica 384% Stock, 1919—49 .,<br /> Mauritius 4% 1937 Stock .......<br /> Dominion of Canada, C.P.R. 34%<br /> Land Grant Stock, 1938 ......<br /> Antofagasta and Bolivian Railway<br /> 5% Preferred Stock ..........<br /> Central Argentine Railway Or-<br /> dinary Stock 2. 2.5.6...4..0. 232<br /> <br /> 250<br /> 200<br /> 200<br /> 228<br /> 247<br /> 258<br /> 438<br /> <br /> 1382<br /> 120<br /> <br /> bot bet<br /> So o oo bo 0 bo oof &gt;) (&lt;&gt;)<br /> <br /> 198<br /> 237<br /> <br /> &gt; o oo =O &gt; oao o o o<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> £ 8. a,<br /> <br /> $2,000 Consolidated Gas and<br /> <br /> Electric Company of Baltimore<br /> 44% Gold Bonds<br /> <br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares<br /> <br /> 55 Buenos Ayres Great Southern<br /> <br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) ....... ates<br /> <br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue..<br /> <br /> 400<br /> 250<br /> <br /> PENSION FUND.<br /> <br /> —_—+-—&gt;—+<br /> <br /> THE list printed below includes all fresh dona-<br /> tions and subscriptions (i.e, donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1913.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. ‘: : ;<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. .<br /> Nov. 6, Bentley, E. C. ‘<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert<br /> Dec. 4, Lunn, Arnold . :<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry, Miss Ana<br /> Dec. 4, Vallois, Miss Grace<br /> Dec. 17, Beresford, J. D.<br /> Dec. 29, Inge, Charles .<br /> Dec. 29, Cross, Miss May .<br /> Dec. 29, Hardy, Thomas, O.M.<br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> Jan. 16, Singer, I.<br /> <br /> _<br /> <br /> mt _<br /> Or Or Or NOS SHUM MHS S OO OO Ot OO OL<br /> <br /> 4<br /> <br /> oco meooooococrmooococoooroocoocoocom<br /> SSS SSR2SSSONSOSCOSOSOSOSCSCOOCSO SCOOP<br /> <br /> <br /> ee ae:<br /> <br /> <br /> <br /> THE AUTHOR. 125<br /> <br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M.<br /> <br /> 1913. Donations.<br /> <br /> Oct. 7, Darwin, Sir Francis .<br /> <br /> Oct. 9, Carroll, Sydney Wentworth<br /> <br /> Oct. 21, Troubetzkoy, The Princess<br /> <br /> Oct. 27. Frankish, Harold<br /> <br /> Oct. 30, Rossman, Miss<br /> <br /> Nov. 8, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce ‘<br /> <br /> Nov. 3, Batty, Mrs. Braithwaite .<br /> <br /> Nov. 10, Elrington, Miss Helen<br /> <br /> Nov. 10, Waterbury, Mrs. . :<br /> <br /> Dec. 5, Dymock, R. G. Vaughton .<br /> <br /> Dec. 6, Macdonald, Miss Julia<br /> <br /> Dee. 11, Little, Mrs. Archibald<br /> <br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J.<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> Dec. 21, Church, Sir Arthur .<br /> <br /> 1914,<br /> <br /> Jan. 5, Anon :<br /> <br /> Jan. 5, Joseph, L. S<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E.<br /> <br /> Jan. 6, De Crespigny, Mrs. Champion<br /> <br /> Jan. 6, Rankin, Miss F. M. .<br /> <br /> Jan. 7, Sneyd- Kynnesley, E. M.<br /> <br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace .<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> <br /> Jan. 9, Mackenzie, Miss J.<br /> <br /> Jan. 10, Daniell, Mrs. E. H. .<br /> <br /> Jan. 12, Avery, Harold<br /> <br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullemn, Miss Catherine<br /> <br /> Jan. 15, Thomas, Mrs. Fanny<br /> <br /> Jan. 16, James, Mrs. Romane<br /> <br /> Jan. 19, P. H. and M. K.<br /> <br /> Jan. 19, Greenstreet, W. J. .<br /> <br /> Jan. 19, Gibbs, F. Leonard A.<br /> <br /> Jan. 23, Campbell, Mrs. L. A. R. .<br /> <br /> Jan, 23, Cameron, Mrs. Charlotte,<br /> PRES . :<br /> <br /> Jan. 23, Blunt, Reginald.<br /> <br /> Jan, 24, Raphael, Mrs. Mary.<br /> <br /> oom<br /> oo?<br /> oo<br /> <br /> _<br /> <br /> i<br /> Koro OH HK ON OOo o OO<br /> <br /> _<br /> Moocoocormrocoocoooorwon<br /> <br /> _<br /> <br /> 1<br /> <br /> bt te<br /> one AOAAInowinrocoeawmnanrnonowonuned<br /> <br /> _<br /> ooo Samococcoeocoonacaocoooooaace eecoeoceocoaaooeocooeoaoo<br /> <br /> _<br /> oS<br /> ore eceoomoocoocoece|ceocecoeocoscs<br /> <br /> _<br /> <br /> Or<br /> <br /> COMMITTEE NOTES.<br /> <br /> a<br /> <br /> ee first meeting of the Committee of<br /> Management for 1914 was held at the<br /> <br /> offices of the Society, 1, Central<br /> Buildings, Tothill Street, Westminster, on<br /> <br /> Monday, January 12, at 8 o’clock. Owing -<br /> <br /> to the great pressure of business the committee<br /> have found it necessary to call the meetings at<br /> 3 instead of 4, as hitherto.<br /> <br /> After reading the minutes the committee<br /> proceeded with the election of members. The<br /> full list is set out on another page. The<br /> committee are pleased to state that the year<br /> has started very favourably, with an election<br /> of forty-four members and associates, the<br /> resignations only amounting to twenty-seven.<br /> At the beginning of the year resignations are<br /> always considerable—this happens inevitably<br /> in all similar bodies. The number, this year,<br /> is less than that for the corresponding period<br /> of 1913. This is very satisfactory in view of<br /> the much increased membership.<br /> <br /> The solicitor then reported on the cases<br /> during the month.<br /> <br /> In the first case, against a well-known<br /> Magazine, judgment was obtained, but it was<br /> not till execution had been levied that the<br /> sum was recovered. In the second case,<br /> judgment was recovered but execution failed<br /> to produce payment, and the solicitor is afraid<br /> that the judgment will prove abortive. ‘This<br /> is the more to be regretted because, before the<br /> proceedings were taken, an offer of settlement<br /> was made which, contrary to the solicitor’s<br /> advice, the member refused. In a claim<br /> against a paper for articles supplied, the<br /> money has been paid, and in two small cases<br /> against another paper the solicitors have been<br /> forced to take proceedings, as no notice has<br /> been taken of their preliminary letters. The<br /> Elysian Press, which owned the Onlooker and<br /> Throne, has gone into liquidation. There<br /> were two claims against this limited company<br /> which will not now, it is feared, be satisfied.<br /> Another paper has gone into liquidation,<br /> against which there is, at present, one claim<br /> outstanding. Ina claim by a member against<br /> a publishing firm the claim has been settled<br /> by payment of the royalties due. Another<br /> claim against an agent for exceeding his<br /> instructions is being considered, and if no<br /> satisfactory explanation is forthcoming will be<br /> taken up on behalf of the member. The<br /> solicitor reported a case against a pub-<br /> lisher, who, after repudiating the construction<br /> of his agreement, put forward, when an arbi-<br /> tration was suggested, accepted the Society’s<br /> view, and sent a cheque for the sum in<br /> dispute. A small dispute between one of the<br /> members and a firm which had been in<br /> liquidation has now been settled,’ and the<br /> member has accepted the legal view of the<br /> contract as set out by the solicitors.<br /> <br /> An important case respecting property in a<br /> 126<br /> <br /> title was laid before the committee and very<br /> fully discussed. The matter appeared to the<br /> committee to be of such importance that they<br /> instructed the secretary to write a letter to the<br /> member concerned with a view of the Society<br /> taking immediate action in the matter. Ina<br /> question of alleged copyright infringement,<br /> which turned upon complicated questions of<br /> facts, the solicitors were instructed to write<br /> to the infringers for a statement of the<br /> circumstances in which they became possessed<br /> of the rights they claimed to hold. :<br /> <br /> In a case of infringement of a dramatist’s<br /> copyright, considered by the committee, the<br /> solicitors were instructed to take action on<br /> the member’s behalf. :<br /> <br /> The secretary then reported certain cases<br /> which had come into his hands. A case of<br /> infringement of dramatic rights in America<br /> was considered. The committee decided to<br /> send the papers to the Society’s American<br /> lawyer, and if assured that the author’s title<br /> was good, and that he had complied with the<br /> technicalities of the American law, instructed<br /> the lawyer to proceed in the matter. Ina<br /> case of dispute between author and publisher<br /> on the contract for publication, the com-<br /> mittee regretted they were unable to assist the<br /> author as he had not completed his part<br /> of the contract. The secretary was in-<br /> structed to write a letter to the member<br /> advising him to complete the contract as<br /> soon as possible, in which case the com-<br /> mittee would be willing to reconsider the<br /> _ matter.<br /> <br /> A request from a member that an accoun-<br /> tant should be placed in to inspect a publisher’s<br /> books the committee were obliged to decline,<br /> in the absence of any evidence of inaccuracy<br /> on the face of the statement of sales delivered.<br /> In a dispute between a member of the Society<br /> and an agent, the secretary was instructed to<br /> write to the agent that the committee were<br /> unable to accept his view of the position.<br /> <br /> Questions put forward by the Dramatic<br /> Sub-Committee were then considered by the<br /> committee. The committee adjourned the<br /> consideration of a request for a list of drama-<br /> tists from the Society’s New York agent,<br /> pending information respecting the purpose<br /> for which the list was required.<br /> <br /> The committee sanctioned an arrangement<br /> by which powers of attorney should be<br /> despatched to the Society’s lawyers in all<br /> parts of the world, with a view to facilitate<br /> their action in the event of copyright infringe-<br /> ments coming to their notice. The secretary<br /> was instructed to put matters in train, such<br /> <br /> THE AUTHOR.<br /> <br /> action having been approved by the Dramatic<br /> Sub-Committee.<br /> <br /> The question of the insertion in The Author<br /> of an article dealing with certain agreements<br /> was referred to the next meeting for considera-<br /> tion, in order that the Committee of Manage-<br /> ment might see the form of the article.<br /> <br /> Matters referred to the Committee of<br /> Management by the Composers’ Sub-Committee<br /> were then considered. The committee passed<br /> an article for insertion in The Author, and<br /> agreed to issue a pamphlet for the information<br /> of those composers who were members or<br /> desirous of joining. A proposal to alter the<br /> name of the Society was passed, subject to a<br /> discussion at the next meeting of the com-<br /> mittee as to a suitable title.<br /> <br /> A sub-committee was then appointed to<br /> settle the Annual Report, and it was agreed<br /> that the report, when finally settled, should be<br /> placed before the next meeting of the full<br /> committee. The appointment of an arbitrator<br /> made at the last meeting was confirmed in a<br /> case of dispute between. two members of the<br /> Society.<br /> <br /> The date of the General Meeting was left<br /> to be settled by the chairman of the Committee<br /> of Management. It was agreed that it should<br /> be held some time in April.<br /> <br /> The report of the meeting of the delegates<br /> of the Society with the Society of British<br /> Composers was then read, and the committee<br /> decided to follow out the suggestions of the<br /> Composers’ Sub-Committee thereon.<br /> <br /> Counsel’s opinion, which had been taken<br /> since the last meeting, in regard to the right<br /> of income tax collectors to demand from<br /> publishers information respecting the royalties<br /> paid to authors, was read, and it was decided<br /> to write to the publisher who had brought<br /> the matter to the committee’s notice, and also<br /> to write to the Publishers’ Association.<br /> <br /> The consideration of the draft guarantee<br /> form was adjourned to the next meeting, when<br /> the form will be finally settled.<br /> <br /> The secretary drew the attention of the<br /> committee to the fact that important questions<br /> often arose which affected writers of fiction<br /> only, and it was essential in these matters<br /> that the novelists should be consulted, just<br /> as the dramatists are consulted on matters<br /> specially affecting their interests. It was<br /> decided to keep a ecard index of the novelist<br /> members of the Society.<br /> <br /> A question of United States Copyright Law,<br /> laid before the committee by a correspondent<br /> in the United States, was considered, and the<br /> secretary was instructed to enquire of the<br /> <br /> <br /> <br /> <br /> <br /> | a<br /> ae<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Society’s United States lawyer, as well as of<br /> the correspondent referred to, their views as<br /> to the best course to be pursued in the matter.<br /> <br /> An important case in regard to copyright in<br /> Canada was also laid before the committee.<br /> The committee decided that a notice should be<br /> printed in The Author, and instructed the<br /> secretary to take what steps were possible to<br /> draw the attention of the Government to the<br /> present difficult position.<br /> <br /> A proposal made by a member that a list<br /> of authors should be periodically printed in<br /> the Society’s magazine, giving particulars of<br /> the subjects on which they would write as<br /> experts, was negatived by the committee.<br /> <br /> After some discussion, the committee decided<br /> it was impossible to arrange for loans to authors<br /> on their contracts, not only because it was<br /> outside the work of the Society, but also<br /> because of the many difficulties that surrounded<br /> the proposal.<br /> <br /> The question of sending representatives to<br /> the International Congress in San Francisco<br /> in 1915 was considered, and the secretary was<br /> instructed to express the committee’s thanks<br /> for the invitation extended to them, and to add<br /> that arrangements would be made to send<br /> delegates, whose names would be communi-<br /> <br /> 127<br /> <br /> the clauses had been finally settled ; that the<br /> remainder of the Treaty would be discussed<br /> at a subsequent meeting. He was pleased to add<br /> that many of the remaining clauses had been<br /> approved, and that the matter was practically<br /> finished. At the next meeting he hoped to<br /> be able to report a final settlement.<br /> <br /> The agreement for a run in a West End<br /> theatre which had been settled by a duly<br /> appointed sub-committee of the Dramatic<br /> Sub-Committee was finally approved, subject<br /> to two or three small alterations. The agree-<br /> ment will, in the course of a few days, be ready<br /> for any member of the Society desiring a copy.<br /> <br /> An important question of infringement of<br /> the property in a title by a cinema film was<br /> then brought forward, and the secretary was<br /> instructed to get the leave of the chairman of<br /> the Committee of Management to take action,<br /> as immediate action was necessary to carry<br /> the matter forward. It was decided to refer<br /> the whole question to the Committee of<br /> Management with a view to taking action, if<br /> necessary, to prevent similar infringements by<br /> asking the Government to legislate on the<br /> issues.<br /> <br /> Another important case of copyright in-<br /> fringement was laid before the sub-committee,<br /> <br /> aks |<br /> ys Letters from a member concerning Lending<br /> <br /> cated later, when the date approached. and the secretary was instructed to write to the<br /> <br /> member concerned thereon.<br /> <br /> The secretary laid before the sub-committee<br /> a letter received from the secretary of the<br /> Société des Auteurs et Compositeurs Drama-<br /> tiques on the question of film fees.<br /> <br /> enue<br /> 43 OE<br /> <br /> Libraries and the methods of the loaning of<br /> books were very carefully considered, but the<br /> suggestion appeared impracticable. The secre-<br /> tary was instructed to write to the member to<br /> thank him for his action in the matter.<br /> <br /> reas |<br /> an |<br /> <br /> ef intl | A letter dealing with the Library Censorship<br /> <br /> was adjourned to the next meeting.<br /> <br /> The committee instructed the secretary to<br /> convey their thanks to Mr. James T. Tanner<br /> for a donation of five guineas and to Mr.<br /> H. C. Davidson for a donation of ten shillings<br /> to the Capital Fund of the Society.<br /> <br /> —_—<br /> <br /> Dramatic SuB-COMMITTEE.<br /> <br /> Tur Dramatic Sub-Committee of the Society<br /> met at No. 1, Central Buildings, Tothill Street,<br /> Westminster, S.W., on Friday, January 16,<br /> at three o’clock.<br /> <br /> After the minutes of the previous meeting<br /> had been signed, the chairman, as one of the<br /> delegates appointed to meet the delegates of<br /> the Society of West End Managers, gave a<br /> report of the meeting which had been held the<br /> beet afternoon. He stated that the<br /> <br /> anagerial Treaty had been taken clause by<br /> clause and very fully discussed; that six of<br /> <br /> —_——+<br /> <br /> ComposERS’ SuB-COMMITTEE.<br /> <br /> Tue first meeting of the Composers’ Sub-<br /> Committee for 1914 was held on Saturday,<br /> January 10, at the Society’s offices.<br /> <br /> After the reading of the minutes of the<br /> previous meeting, the question of the Board<br /> of Trade Regulations for the stamping of<br /> mechanical contrivances was again considered.<br /> It appears that in some cases the stamps fall<br /> off after being affixed, and that in other ways<br /> the arrangement is a source of annoyance to<br /> the manufacturers. The sub-committee con-<br /> sidered whether it would not be possible to<br /> make some suggestion to the Board of Trade<br /> which, whilst adequately protecting the com-<br /> posers, will, at the same time, in no way<br /> hamper the reproducers. When full con-<br /> sideration has been given the composers will,<br /> if necessary, make a suggestion to the Board<br /> of Trade.<br /> <br /> <br /> 128<br /> <br /> The report of the meeting “of the delegates<br /> of the Society with the delegates of the Society<br /> of British Composers was read, and after some<br /> discussion it was decided to take no action at<br /> present, but the sub-committee decided to<br /> press the Committee of Management again<br /> on the question of the alteration of the title<br /> of the Society. The secretary informed the<br /> sub-committee that the matter would be laid<br /> before the Committee of Management at their<br /> meeting on the 12th.<br /> <br /> The Royalty Agreement which had been<br /> drafted for the publication of sheet music<br /> was gone into clause by clause, considered<br /> carefully, and finally passed.<br /> <br /> The Agreement will be set up in type and<br /> be at the office of the Society for those members<br /> who desire a copy.<br /> <br /> oo<br /> <br /> Cases.<br /> <br /> Durine the past month sixteen cases have<br /> been in the hands of the secretary. At<br /> present the number of those carried through<br /> to a successful issue is very small. This, no<br /> doubt, arises from the fact that during the<br /> end of December, and the first two or three<br /> weeks in January, there was a lull in business,<br /> and little came to the Society’s office. Now<br /> that the Christmas festivities are over, work<br /> is again being taken in hand, so that half<br /> at least of the cases submitted have only just<br /> come to the Society’s office.<br /> <br /> There were six cases for the return of MSS.;<br /> one has been placed in the hands of the solici-<br /> tors, and the other five are in the course of<br /> negotiation.<br /> <br /> A question of infringement of copyright<br /> has been settled and the amount claimed<br /> paid as damages.<br /> <br /> One claim for money has also been settled,<br /> the sum due having been forwarded to the<br /> author.<br /> <br /> Of three claims for accounts one has been<br /> closed, the other two are still open.<br /> <br /> Two claims for monies and accounts are<br /> still unsettled, and one dispute with an agent<br /> is still being negotiated, as also is one dispute<br /> on the interpretation of an agreement.<br /> <br /> No foreign cases have come in during the<br /> past month. Of the cases which were still<br /> left open at the end of the year three alone<br /> remain unsatisfied, but they are all cases<br /> outside Great Britain, and the delay has<br /> occurred owing to the necessary time which<br /> must elapse between writing a letter and<br /> receiving a reply.<br /> <br /> THE AUTHOR.<br /> <br /> January Elections.<br /> <br /> Aberdeen, The Rt. Hon.<br /> PC,<br /> <br /> The Earl of,<br /> K.C.M.G., ete.<br /> Aikin, W. A., M.D.<br /> <br /> Allen, Charles Edward.<br /> <br /> Anderson, Arthur<br /> <br /> James.<br /> <br /> Astle-Allam, Mrs. Agnes<br /> <br /> Mary.<br /> Bunting, Freeman<br /> <br /> Byng, Miss N. W.<br /> <br /> Campbell, H. R. .<br /> <br /> Cannéll, H. Skipwith<br /> <br /> Cohn, Miss Phoebe<br /> <br /> Cooke, Arthur Owens .<br /> <br /> Daviel, Leon<br /> <br /> Elson, Robert .<br /> <br /> Enthoven,<br /> Gabrielle.<br /> Esdaile, Ernest<br /> <br /> Hanrahan, Mrs. Agnes<br /> <br /> I<br /> <br /> Haworth, George K.<br /> <br /> Hixton, Madelline<br /> Hope, G. L. N.<br /> Hudson, H. Lindsay<br /> <br /> _Jackson, Holbrook<br /> <br /> °<br /> <br /> Mrs.<br /> <br /> Levick, Dr. G. Murray<br /> <br /> Light, Miss Tipara<br /> <br /> Lynch, J. G. Bohun<br /> <br /> Vice-Regal Lodge,<br /> Dublin.<br /> <br /> 66, Bedford Gardens,<br /> Kensington, W.<br /> <br /> 4, Bis Passage, St.<br /> Charles, Tunis,<br /> North Africa.<br /> <br /> North Gate Cottage,<br /> Launceston.<br /> <br /> 127, Rotherhithe<br /> New Road, Lon-<br /> don, S.E.<br /> <br /> New Westminster,<br /> British Columbia.<br /> <br /> Wydford, Ryde, Isle<br /> of Wight.<br /> <br /> Holmer Court,<br /> Amersham.<br /> <br /> c/o American Stu-<br /> dents’ Club, 4,<br /> Rue Joseph Bara,<br /> Paris, France.<br /> <br /> 14, Sussex Place,<br /> N.W.<br /> <br /> 388, Dublin<br /> Edinburgh.<br /> <br /> 2, Albert Studios,<br /> Albert Bridge<br /> Road, S.W.<br /> <br /> Whittington,<br /> westry.<br /> <br /> 97,Cadogan Gardens,<br /> Chelsea, S.W. :<br /> <br /> 7, Carlton Parade,<br /> Herne Hill, S.E.<br /> <br /> 28, Highfield Road,<br /> Rathgar, Dublin.<br /> <br /> Irwell View, Rams-<br /> bottom.<br /> <br /> Hollinhurst, Edger-<br /> ton, Huddersfield.<br /> <br /> Park View House,<br /> Dartmouth.<br /> <br /> Avonlwyd, North<br /> Road, Glossop.<br /> <br /> Mill Hill, N.W.<br /> <br /> 19, Dewhurst Road,<br /> Brook Green, W.<br /> <br /> c/o Messrs. Hom-<br /> burg and Melrose,<br /> Grenfell Street, -<br /> Adelaide, | South<br /> Australia.<br /> <br /> 207, Lauderdale<br /> Mansions, Maida<br /> Vale, W.<br /> <br /> Street,<br /> <br /> Os-<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Macdonald, Frederika,<br /> D.Litt.<br /> <br /> 12, St. George’s<br /> Square, Primrose<br /> Hill, N.W.<br /> <br /> No. 1719, Isamian<br /> Bazars, Hydera-<br /> bad (Deccan),<br /> India.<br /> <br /> Mangiah, Jayanti, B.A.,<br /> LT,<br /> <br /> Merrick, Mrs. Hope .<br /> Millard, C. Killick ‘<br /> <br /> Miller, Mrs. E. Olive<br /> (‘‘ Olive Chancellor ’’)<br /> <br /> Moor, Lady : ,<br /> <br /> Town Hall, Leices-<br /> ter.<br /> <br /> The Old Vicarage,<br /> Brixton, Ply-<br /> mouth.<br /> <br /> Greystone, Estcourt,<br /> Natal.<br /> <br /> Author’s Club, 2,<br /> Whitehall Court,<br /> S.W.<br /> <br /> Schloss Felsegg<br /> Wiltenberg, Inns-<br /> bruck, Tirol,<br /> Austria.<br /> <br /> Miigge, Maximilian A. .<br /> <br /> Oliver, John Rathbone.<br /> <br /> Philmar, Arthur J. :<br /> <br /> Pullein, Miss Catharine.<br /> <br /> Redfern, Miss Joan Lyceum Club, 128,<br /> Piccadilly, W.<br /> <br /> 60, The Groton<br /> Building, Cincin-<br /> nati, Ohio, U.S.A.<br /> <br /> Grey Friars, Ascot.<br /> <br /> Reed, Dr. Charles A. L.<br /> M.A., M.D., F.C.S.<br /> <br /> Sarawak, Her Highness<br /> the Ranee of.<br /> <br /> Saunders, John G. ‘¢ Eissendon,’’ Wood-<br /> ville Road, New<br /> Barnet, N.<br /> <br /> 8, Portland Man-<br /> sions, Clapham,<br /> <br /> S.W.<br /> <br /> Standing, Percy Cross .<br /> <br /> (i<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> a<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> <br /> accurate,<br /> ARCHASOLOGICAL.<br /> <br /> Norzs on Taz CHurcHEes IN THE DEANERY OF Kann,<br /> Dzvon. By Beatrix F.Cresswett. 9 x 6. 191 pp.<br /> Exeter: J. E. Commin and Son.<br /> <br /> ARCHITECTURE.<br /> <br /> VALUATION AND Comprnsations. A Text Book on THE<br /> Practice or VALUING PROPERTY AND ON COMPENSA-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 129<br /> <br /> <br /> <br /> TIONS IN RELATION THERETO, FOR THE USE OF ARCHI-<br /> <br /> TECTS, SURVEYORS AND OTHERS. By PRoFEssoR<br /> BanisTeR Fiercuer. A fourth Edition. Revised,<br /> Rewritten and greatly enlarged by BanistER FLIGHT<br /> Fietcuer and Hrrsert Pumiies FuutcuEr. 7} x 43.<br /> 446 pp. Batsford. 7s. 6d. n.<br /> <br /> BIOGRAPHY.<br /> <br /> Paun VERLAINE. By Witrrm TuHorRLeY.<br /> <br /> (Modern<br /> Biographies.) 62 x 43.<br /> <br /> 107 pp. Constable. 1s. n.<br /> <br /> DRAMA.<br /> <br /> Puaxpra. A Tragedy in Five Acts, from the French of<br /> Racine. By S. Cuaupr Tickert. 8} x 52. 79 pp.<br /> J. Richmond, 14, Conduit Street, W. 2s. n.<br /> <br /> ECONOMICS.<br /> <br /> Tue Earty WEIGHTS AND MEASURES OF MANKIND. By<br /> GENERAL Srr CHARLES WARREN, G.C.M.G. 82 x 53.<br /> 135 pp. Palestine Exploration Fund. 7s. 6d.<br /> <br /> La GRanpeE Ittuston Park NoRMAN ANGELL. Translated<br /> by S. Ruesrrers. 64 x 4}. 498 pp. (Collection<br /> Espafiola.) Nelson. 1s. n.<br /> <br /> 7% x 5. 316 pp.<br /> <br /> Jacop BatTeman’s LappEerR. By Asnitry L. Barnzs-<br /> Mattory’s Tryst. By Mrs. Pumie CuHamrion DB<br /> Crespicny. 74 xX 5. 306 pp. Mills and Boon. 6s.<br /> 314 pp. Lane. 6s.<br /> Love anpATittr. By HerpertFLrowerprew. 73 x 43.<br /> Cauuista IN Revott. By Onivia Ramsny. 72 x 6.<br /> 321 pp. John Long. 6s.<br /> 7% x 5. 320 pp. Everett. 6s.<br /> Lats in Lire. By Aticze Prrrin. 64 x 43. 254 pp.<br /> Ex Misterio pr LA VitLa Rosa Por A. E. W. Mason.<br /> Translated by F. Battv#. 308 pp. 64 x 4}. (Collec-<br /> JemMMY ABERCRAW. By BERNARD CAPES.<br /> Library.) Cheap Edition. Nelson. 7d. n.<br /> 7% x 6.<br /> 301 pp. Methuen. 6s.<br /> Ont Kinp anp AnotHEeR. By Barry Parn. 73 x 5.<br /> Gay Mornina. By J. E, Buckrose.<br /> Mills and Boon. 6s.<br /> 73 x 5. 320 pp. Stanley Paul. 6s.<br /> Tue Master or Merripir. By Epen Poiiwporrs. 72 x 5.<br /> Dust rrom tox Loom. By Epwarp Nopin, 7} x 65.<br /> Constable. 6s.<br /> 303 pp. Melrose. 6s.<br /> Tue Decoy. By Tau Countrss or CRoMARTIn. 7} X 5}.<br /> Terms or Surrenper. By Lovis Tracy. 7% x 43.<br /> 346 pp. Cassell. 6s.<br /> 320 pp. John Long. 6s.<br /> Otp Motn’s Nover. Revised and Expurgated by<br /> 6d. n. i<br /> <br /> Lawrence. Illustrated in Colours. §.P.C.K.<br /> Somepopy’s Lucaace. By F. F. Ranpau. 72 x 5.<br /> 320 pp. Greening. 6s.<br /> Tue Curtain. By Gertie DE S. WENTWoRTH JAMES.<br /> (Re-issue.) Methuen. 7d. n.<br /> tion Espafiola Nelson.) Nelson. Is. n.<br /> (The Nelson<br /> Tue Friyine Inn. By G. K. CHesterton.<br /> 308 pp. Martin Secker. 6s.<br /> Tue Waters or Letun. By Dorotuea GERARD.<br /> 304 pp. Ward Lock. 6s.<br /> Buryp Eyrs. By Marcarret Puterson. 7% x 5.<br /> 176 pp. Erskine Macdonald. 3s. 6d. n.<br /> A Brspoxen Bripz. By Frep Wuisuaw. 72 x 5.<br /> GILBERT Cannan. 6} x 4}. 63 pp. Martin Secker,<br /> (Cheap Reprint.) 63 x 44. 247pp. Methuen. 7d. n.<br /> 130<br /> <br /> HISTORY.<br /> <br /> ANNALS AND Memorrs or THE Court or Pexine. From<br /> the Sixteenth to the Twentieth Century. By E. Back-<br /> Housr. J. O. P. Buanp. 10 x 6}. 531 pp. Heine-<br /> mann. 16s. n.<br /> <br /> POETRY.<br /> <br /> Wittow’s Forar anp Orner Porms. By SHemma Kaye-<br /> Suiru. 73 x 5}. 52 pp. Erskine Macdonald.<br /> <br /> LITERARY.<br /> <br /> S’Amusr. By W. Wurrem Bram Fisu.<br /> Blackwell. 3s. 6d.<br /> <br /> Sa Muss<br /> OXFORD :<br /> <br /> —_——_—_ + o—___—_-<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> — + —<br /> <br /> e HE SCHOOLMASTER,” by Mr. A. C.<br /> Benson, C.V.O., President of Mag-<br /> dalene College, Cambridge, is the<br /> <br /> new volume in Murray’s Shilling Library. It<br /> is described as a commentary upon the aims<br /> and methods of the public-schoo] master, in<br /> relation to the boys in his house, his pupils, and<br /> his classes.<br /> <br /> In ‘“‘ Ancient and Medieval Indian Archi-<br /> tecture,” Mr. E. B. Havell completes the<br /> previous survey of the subject, and traces the<br /> history from the earliest times to the Moham-<br /> madan conquest. The book is announced for<br /> publication by Mr. John Murray.<br /> <br /> The new publications of the same firm<br /> include ‘‘ Buddhist China,” by Mr. R. F.<br /> Johnston, of the Weihaiwei Government (15s.<br /> net); ‘‘ Christina of Denmark, Duchess of<br /> Milan and Lorraine,” by Julia Cartwright (Mrs.<br /> Ady), (18s. net); ‘‘ The Mounted Police of<br /> Natal,” by Mr. H. P. Holt, with an introduc-<br /> tion by General Sir George Dartnell (10s. 6d.<br /> net); ‘‘ Memories of a Musician,” by Wilhelm<br /> Ganz (12s. net); and a second edition of ** Law<br /> and Politics in the Middle Ages,’ by Edward<br /> Jenks, M.A., B.C.L.<br /> <br /> Mrs. Ellis H. Chadwick’s ‘‘ In the Footsteps<br /> of the Brontes ”’ is published by Sir Isaac Pit-<br /> man &amp; Sons, at 16s. net.<br /> <br /> The Canadian publishers of Mr. Arnold<br /> Haultain’s “ Goldwin Smith: His Life and<br /> Correspondence,”’ are McClelland and Good-<br /> child, of Toronto.<br /> <br /> A book of ‘‘ Reminiscences, Social and<br /> Political,” by the Lady Southwark, has been<br /> published by Williams &amp; Norgate, at the<br /> price of 12s. 6d. The book contains glimpses<br /> of Queen Victoria, Prince Albert and the Royal<br /> children, and other celebrities of the Victorian<br /> <br /> THE AUTHOR.<br /> <br /> era. The volume is illustrated by many por-<br /> traits drawn by the pencil of the author.<br /> <br /> Mr. Herman Scheffauer’s translation of<br /> Heine’s “‘ Atta Troll,’’ with an introduction by<br /> Dr. Oscar Levy and illustrations by Mr. Willy<br /> Pogany, has been published by Sidgwick &amp;<br /> Jackson.<br /> <br /> ‘* Busy Days ”’ is the title of a collection of<br /> extracts from the fourteen previous works of<br /> Mrs. Alec Tweedie, whose ‘‘ America as I Saw<br /> it’? is in its second edition.<br /> <br /> The sub-title of E. Nesbit’s ‘‘ Wings and the<br /> Child,’’ gives some idea of its scope—‘‘a Plea<br /> for the Culture of Imagination” (Hodder &amp;<br /> Stoughton, 6s.).<br /> <br /> Dr. Marie Stopes is bringing out in the first<br /> week of February a volume of original verse<br /> called ‘“‘ Man, other Poems, and a Preface.”<br /> Messrs. Heinemann are publishers of this, as<br /> well as of ‘‘ Plays of Old Japan: The No,” by<br /> Dr. Marie Stopes and Professor Sukurai, to<br /> which the Japanese Ambassador, Baron Kato,<br /> contributed a congratulatory preface.<br /> <br /> Mr. Walter M. Gallichan’s new book will be<br /> published in the spring by Holden &amp; Harding-<br /> ham. It is an illustrated volume dealing with<br /> the position of women under plural marriage in<br /> the Eastern nations. The title is ‘““ Women<br /> under Polygamy.”<br /> <br /> ‘* A Moralist’s Birthday Book ”’ is the title<br /> of a little volume in which the quotations are<br /> selected and edited by Mr. Mark Meredith.<br /> <br /> ‘** Behind the Veil,” by Mr. George R. Sims,<br /> figures among the spring announcements of<br /> Greening &amp; Co.<br /> <br /> Mr. Horace A. Vachell’s new novel is<br /> ‘** Quinneys.” This and Mr. Eden Phillpott’s<br /> latest volume of Dartmoor stories, ‘‘ The<br /> Judge’s Chair,’ are announced by Mr. John<br /> Murray.<br /> <br /> Other works of fiction from the same house<br /> are ‘“‘ Cake,” by Mr. Bohun Lynch; “ The<br /> Race of Castlebar,” by the Hon. Emily Lawless<br /> and Mr. Shan F. Bullock; ‘‘ Through Other<br /> Eyes,”’ by Miss Amy McLaren; ‘ The Vision<br /> Splendid,” by Messrs. D. K. Broster and G. W.<br /> Taylor; and ‘“‘ Loot,” a collection of Mr. H. A.<br /> Vachell’s short stories.<br /> <br /> Miss Jeanette Marks’s ‘‘ Leviathan,”’ a novel<br /> dealing with the drug habit, is published by the -<br /> George H. Doran Co., of New York.<br /> <br /> Mrs. Alice Perrin’s story, ‘The Happy<br /> Hunting Ground,” which has appeared serially<br /> in the Daily Telegraph, is coming out in volume<br /> form on the 19th inst. (Methuen).<br /> <br /> Mr. Frank Savile’s ‘‘ The Red Wall’ (Nelson),<br /> appeared in the Pall Mall Magazine under the<br /> title of ‘‘ The Secret,” but a change was<br /> <br /> ?<br /> <br /> <br /> THE AUTHOR.<br /> <br /> necessary owing to the latter name having<br /> already been used for a novel by another<br /> author. Mr. Savile’s ‘‘ The Pursuit ”’ is coming<br /> out in a cheap edition (Hutchinson &amp; Co.).<br /> <br /> In “ Square Pegs,”’ Mr. Charles Inge, author<br /> of “ The Unknown Quantity,”’ raises again the<br /> question what is failure and what is success,<br /> as illustrated by the careers of a big man from<br /> South Africa and a little solicitor, each of whom<br /> both succeeds and fails.<br /> <br /> Mr. Max Rittenberg has two novels for 1914,<br /> “The Modern Chesterfield ” and “* Every Man<br /> His Price.” The former is in the nature of a<br /> Fleet Street satire, and is described in the sub-<br /> title as ‘‘ being a series of letters from a self-<br /> made baronet to his son, imparting counsel<br /> and an occasional grilling, through the latter’s<br /> career in philanthropy, halfpenny journalism,<br /> politics, &amp; marriage.” Hurst and Blackett<br /> are to publish this during March. The second<br /> novel projects into the future, and deals with a<br /> young scientist’s career in the development of<br /> wireless telephony. Methuen in London and<br /> Dillingham in New York will publish this in<br /> August next.<br /> <br /> Among the novels appearing through John<br /> Long, Ltd., are ‘‘ Faith and Unfaith,” by Mr.<br /> James Blyth; ‘‘ Mary’s Marriage,” by Mr.<br /> Edmund Bosanquet ; and ‘“‘A Bespoken Bride,”<br /> by Mr. Fred Wishaw.<br /> <br /> Miss Ivy Low’s “‘ The Questing Beast ’’—<br /> the title of which recalls both the ‘‘ Morte<br /> d’Arthur’”’ and the ‘‘ Faery Queen ’’—deals<br /> largely with the life of girl-clerks, of which the<br /> author has intimate knowledge.<br /> <br /> Mr. Ralph Stock’s “‘ Marama ”’ is a novel of<br /> the South Seas (Hutchinson). The dramatic<br /> rights have been secured by the Leibler Co., of<br /> New York, for production in March.<br /> <br /> “‘ Drum’s House,” by Ida Wild (Mrs. Meynell<br /> Pearson), was published by Constable &amp; Co.<br /> last year.<br /> <br /> E. W. Savi’s “ Baba and the Black Sheep,”<br /> an Anglo-Indian love story, is to be published<br /> early in the spring by Hurst &amp; Blackett.<br /> The same author’s ‘“‘ The Daughter-in-law ”’ is<br /> now in its third edition.<br /> <br /> Stanley Paul &amp; Co. are the publishers of<br /> ““The Twin Soul of O Take San,” by the<br /> Baroness d’Anethan, sister of Sir Rider<br /> Haggard; of ‘The Split Peas,” by Mr.<br /> Headon Hill; and of ‘‘ Cupid’s Caterers,”’ by<br /> Mr. Ward Muir. The two last-named are<br /> included in Stanley Paul’s Empire Library.<br /> In the same firm’s 2s. net series Miss Dorothea<br /> Gerard’s ‘“‘ The Unworthy Pact ”’ is to appear.<br /> <br /> &#039; Stanley Paul &amp; Co. are also producing * Jill<br /> All Alone,” by Rita (Mrs. Desmond Hum-<br /> <br /> 131<br /> <br /> phreys). A 7d. edition of this author’s novel,<br /> ‘** A Man of No Importance,” has been issued<br /> by Hurst &amp; Blackett.<br /> <br /> The most recent of Mr. Ascott Hope’s books<br /> for prizes, school libraries, ete., is ‘“‘ Half and<br /> Half Tragedy ” (A. &amp; C. Black, 5s.).<br /> <br /> Mrs. Fred Reynolds’s new book, to be pub-<br /> lished shortly by Mills &amp; Boon, is entitled<br /> **An Absent Hero.’ It owes its interest to<br /> the rather unusual fact that the hero never<br /> appears on the scene at all; his character and<br /> personality being entirely worked out in the<br /> conversation of those who are his friends or<br /> otherwise.<br /> <br /> Mrs. Charlotte Mansfield’s novel, ‘‘ Red<br /> Pearls,”’ introduces the great strike of last year<br /> in South Africa (Holden &amp; Hardingham).<br /> <br /> Mr. Dugald Ferguson’s ‘“‘ Mates” is pub-<br /> lished by Hurst and Blackett.<br /> <br /> “ At the Back of the World,” by George and<br /> Jennie Pugh, is published by Lynwood &amp; Co.<br /> <br /> Miss Constancia Serjeant is the author of<br /> ‘“ A Christmas Rose: a Story of the Christ<br /> Child.”<br /> <br /> The late Mr. H. D. Lowry left an unfinished<br /> Cornish story, ‘‘ Wheal Darkness.” This was<br /> completed by his cousin, Mr. C. A. Dawson<br /> Scott, and is now running serially in the Cornish<br /> Post, Cornish Telegraph, and Redruth Efficient<br /> Advertiser.<br /> <br /> In the December number of Health and<br /> Vitality, the organ of the International Health<br /> League, appeared a complete Christmas story<br /> by Miss Annabel Gray, entitled “A Bitter<br /> Cup; or, Jack’s Yarn.”<br /> <br /> An article on ‘‘ Differences in Animal and<br /> Plant Life,” by Mr. F. Carrel, appeared in the<br /> January number of Science Progress.<br /> <br /> In the letter from Mr. James Marchant in<br /> the January Author, concerning the late Dr.<br /> Alfred Russel Wallace, the address—Loch-<br /> nagar, Edenbridge—was omitted. As a result<br /> Mr. Marchant fears that those who would have<br /> responded to the letter did not know whither<br /> to send their reminiscences.<br /> <br /> In the same Correspondence column the<br /> address of Mrs. E. M. Story, who wrote con-<br /> cerning ‘‘ Browning Relics,” should have<br /> appeared as Orchard House, Whitton Road,<br /> Twickenham.<br /> <br /> On the front page of the January Author the<br /> advertisement of Mackirdy’s ‘Veekly stated<br /> that the circulation of the paper was “10,000<br /> weekly.” Mrs. Archibald Mackirdy (Olive<br /> Christian Malvery) writes to say that this<br /> should have been ‘‘ 100,000 weekly,” and that<br /> the standing orders are now far over that<br /> figure.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 132<br /> <br /> <br /> <br /> The fourth number of€Poeiry and Drama<br /> (published at the Poetry Bookshop, 2s. 6d. net,<br /> or 10s. 6d. per annum, post free) completes<br /> the first volume of this quarterly. The editor<br /> announces a new departure in the section of the<br /> magazine devoted to criticism. ‘‘ We have<br /> decided, with certain exceptions, to represent<br /> the volumes which come before us in 1914<br /> solely by quotation, without comment.”<br /> <br /> Mr. S. B. Banerjea, author of ‘Tales of<br /> Bengal,” etc., is publishing a volume of<br /> “JIndian Tales” with the Oxford University<br /> Press, Bombay, immediately. Though mainly<br /> intended for young people, the book will<br /> interest and entertain their parents also.<br /> <br /> Mrs. Philip de Crespigny’s new novel,<br /> “Mallory’s Tryst,”’ was publi hed last month<br /> by Messrs. Mills &amp; Boon. It is a modern-<br /> day story. Mrs. de Crespigny has also a short<br /> story coming out in the Storyteller.<br /> <br /> DRAMATIC.<br /> <br /> Mrs. Leonard Merrick’s new four-act play,<br /> ‘* Mary-Girl,”” was produced at the Vaudeville<br /> Theatre on January 13.<br /> <br /> After the 150th performance of Mr. Louis N.<br /> Parker’s “‘ Joseph and His Brethren,’ ‘‘ The<br /> <br /> Darling of the Gods’’ was revived by Sir<br /> <br /> Herbert Tree at His Majesty’s Theatre on<br /> January 17, under the supervision of Mr.<br /> Yoshio Markino.<br /> <br /> The Play Actors produced at the Court<br /> Theatre on January 25, Mr. Israel Zangwill’s<br /> “The Melting Pot,” which has been played<br /> many thousand times in the United States,<br /> but has only been seen in London in a Yiddish<br /> version. The play is published in book form<br /> by Heinemann, with an afterword by the<br /> author, dealing with the problems involved in<br /> the play.<br /> <br /> Mr. Paul Rubens contributes the book and<br /> the music to the new musical comedy, ‘“ After<br /> the Girl,”’ at the Gaiety Theatre.<br /> <br /> “The Ladies’ Comedy,” by Mr. Maurice<br /> Hewlett, is to be seen at a matinee at the Little<br /> Theatre on February 8.<br /> <br /> A dramatic version of Mr. H. de Vere<br /> Stacpoole’s romance, ‘‘ The Blue Lagoon,”’ is<br /> among the ventures contemplated by Sir<br /> Herbert Tree.<br /> <br /> A dramatic version of Sir Rider Haggard’s<br /> “ A Child of Storm ”’ will be seen at the Globe<br /> ea with Miss Lily Brayton in the title-<br /> role.<br /> <br /> At the Comedy Theatre on the 5th inst. ‘‘ The<br /> <br /> Tyranny of Tears,’”’ by Mr. C. Haddon Cham-<br /> bers, is being revived.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> On the termination of the matinee season of<br /> ‘** Peter Pan” at the Duke of York’s Theatre<br /> this month, Sir J. M. Barrie’s “‘ Quality Street ”’<br /> will be seen at Thursday and Saturday matinees<br /> as well as in the evening bill.<br /> <br /> A German version of Mr. Herman Scheffauer’s<br /> play, “‘ The New Shylock,” has been given at<br /> the Stadt Theatre, Dantzig.<br /> <br /> Miss Cicely Hamilton lectured to the Gallery<br /> First Nighters’ Club on January 18.<br /> <br /> The post of Examiner of Plays, vacant on<br /> the death of Mr. Charles Brookfield, has been<br /> given to Mr. G. S. Street.<br /> <br /> Some of the work of Rita (Mrs. Desmond<br /> Humphreys) has been purchased for the Kinema<br /> by the Edison Co. and by Pathé Fréres.<br /> <br /> Mr. W. Percival Westell, F.Z.S., gave four<br /> “cinema nature lectures”? at the Playhouse,<br /> Hitchin, last month.<br /> <br /> Mustc.<br /> <br /> Mr. Theodore Holland’s new violin pieces,<br /> “* Poéme ” and “‘ Fireflies,’ were introduced by<br /> Mr. Horace Fellowes at his recital in the<br /> AKolian Hall on January 28, accompanied by<br /> the composer.<br /> <br /> &gt; —_____—_<br /> <br /> PARIS NOTES.<br /> <br /> <br /> <br /> VY ““La Perception du Changement,” M.<br /> Henri Bergson explains to us, with his<br /> usual simplicity and wonderful clearness,<br /> some of the essential points of his theories.<br /> ““L’Appel des Armes ”’ is the title of a novel<br /> by Ernest Psichari, a grandson of Ernest<br /> Renan. The author tells us the story of the<br /> son of an anti-militarist Professor, who, against<br /> the wishes of his father, enlists for five years’<br /> service in Africa. We see the influence of his<br /> Captain, who, having no high ideals, can only<br /> teach him his profession. As a psychological<br /> study the book is extremely interesting, and<br /> from a literary point of view we see with the<br /> greatest pleasure that something of that<br /> exquisite writer, Renan, lives again in his<br /> grandson.<br /> ** Vivre la Vie,”” by Jacques des Gachons, is<br /> a sequel to that clever psychological study<br /> entitled “ La Vallée Bleue.’ Each of the two<br /> books is a complete story in itself. In the<br /> <br /> - first, we see the influence of surroundings on<br /> <br /> two brothers, one of whom lives in Paris and<br /> the other in the country. In the second story<br /> we have the history of the descendants of the<br /> two brothers. This novelist’s books are<br /> greatly appreciated in France and have already<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> won, for their author, two of the French<br /> Academy prizes.<br /> <br /> “La Ville Assiégée,” by Guy Chantepleure,<br /> is not a novel, but a story of real life. Madame<br /> Guy Chantepleure was at Janina in October,<br /> 1912, just as war was declared with Turkey,<br /> and she describes the town to us, in November,<br /> when all the schools were transformed into<br /> ambulances. On December 26, in the very<br /> midst of the horrors of warfare, she had<br /> organised a féte for the Greek children, who<br /> danced around the Christmas tree and forgot<br /> for a short time, at any rate, the privations and<br /> miseries they were enduring.<br /> <br /> An excellent translation of the well-known<br /> novel by the Swedish author, Gustaf af<br /> Geijerstam, has been made by Wilhelm Bauer<br /> under the title of ‘‘ Le Livre du Petit Sven.”<br /> It is merely a story of family life, but told with<br /> such delicacy and refinement that the reader<br /> is held spell-bound by it. Little Sven and his<br /> dog Fox, his mother, father, and the other<br /> members of the family, become real, living<br /> individuals, and as one reads the father’s diary<br /> one sympathises with him in his great grief,<br /> after the death of his little boy and his wife.<br /> <br /> To all lovers of Old Paris we would recom-<br /> mend the volume by André Hallays, entitled<br /> + Bn flanant a travers la France, Paris.”” The<br /> author tells us of the Auteuil of the seventeenth<br /> century, of the history of the Hotel Biron,<br /> and also of the house in the Rue Saint-Jacques,<br /> in which Mdlle. de la Valliére took refuge.<br /> <br /> After Old Paris comes ‘‘ Le Nouveau Paris<br /> {la vie artistique de la Cité moderne),” by Ray-<br /> mond Escholier. The preface is written by<br /> M. Gustave Geffroy.<br /> <br /> The book entitled ‘“‘ Espagne et Portugal,”<br /> by Marcel Dieulafoy, can now be read either in<br /> French or English. No better informed writer<br /> could have been chosen for this volume of the<br /> collection : Historie générale de ’ Art than the<br /> celebrated explorer and archzxologist whose<br /> travels in Persia resulted in the interesting<br /> collection now to be seen in the Louvre<br /> Museum. M. Dieculafoy has travelled a great<br /> deal in Portugal and in Spain, and he gives us,<br /> in this volume, his theories with regard to<br /> architectural origins and the influence of the<br /> various styles. About 700 illustrations are<br /> given in this work.<br /> <br /> Rabindranath Tagore’s Gitanjali has been<br /> translated into French by André Gide and is<br /> <br /> entitled ‘‘ L’Offrande Lyrique.”<br /> <br /> “Les Lettres, les Sciences, les Arts, la<br /> Philosophie et la Religion des Anglo-Saxons,”<br /> by H. Pierquin, seems to us rather a vast<br /> subject to treat in one volume.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 183<br /> <br /> “La Résistance legale en Finlande ”’ by J. J.<br /> Caspar, Avocat a la Cour d’Appel a Paris, may<br /> interest the Society of Friends of Finland. The<br /> preface is written by Pierre Mille.<br /> <br /> ‘‘Visages de Femmes” is another of the<br /> volumes of excellent studies by André Beaunier.<br /> He tells us of Lucile de Chateaubriand, of Mme.<br /> de Staél and of Mme. de Beaumont, of Adéle<br /> Schopenhauer and of Eugénie de Guérin<br /> among others.<br /> <br /> The Abbé Blandin gives us another volume<br /> to add to those already written on “J. K.<br /> Huysmans.”’ As he knew him intimately, he<br /> tells us of his life, his first books, his evolution<br /> and his conversion. He endeavours to explain<br /> many things which have always appeared<br /> unexplainable.<br /> <br /> M. Paul Leprieur, Curator of the Louvre<br /> Museum, gives us a volume with illustrations<br /> entitled ‘‘ Millet.” It is an excellent bio-<br /> graphical study and criticism of the celebrated<br /> painter of ‘‘ The Angelus.”<br /> <br /> ‘“‘TImpét sur le Revenu,” by M. Joseph<br /> Caillaux, is certainly the book of the moment.<br /> <br /> M. J. Combaricu now gives us the second<br /> volume of his ‘‘ Histoire de la Musique.” For<br /> the first volume the sub-title was ‘ Des<br /> origines 4 la fin du XVI.™°siécle,” and for the<br /> second volume: ‘‘ Du XVII.™ siécle ala mort<br /> de Beethoven.”<br /> <br /> To all interested in scouting, a book entitled<br /> “‘ Les Eclaireurs de France et le Réle social du<br /> Scoutisme frangais,” by Captain Royet, may<br /> throw some light on the progress of the move-<br /> ment in France. The preface is written by<br /> Gaston Deschamps.<br /> <br /> M. Couturier who was for many years<br /> Frangois Coppée’s secretary, has published a<br /> volume entitled ‘‘ Chez Frangois Coppée.”’<br /> He tells us of the simple and beautiful life of<br /> the “‘ people’s poet ” and of the fine character<br /> of that Parisian of Paris, whose absolute<br /> sincerity and kindliness won all hearts.<br /> <br /> At the Theatre Frangais, Henry Bataille’s<br /> play ‘‘ La Marche Nuptiale”’ is being played,<br /> and at the Odéon “Rachel” fills the<br /> house.<br /> <br /> Sarah Bernhardt may be congratulated on<br /> having found, in ‘‘ Jeanne Doré,” a play which<br /> the public hope may have a very long run.<br /> Everyone is genuinely delighted that the<br /> great French tragedian should, at last, receive<br /> the recognition which she ought to have had<br /> years ago. Her promotion to Chevalier of the<br /> Legion of Honour was the occasion of a special<br /> fete. At present, the indefatigable artiste is<br /> giving a series of lectures at the request of the<br /> University of Les Annales.<br /> <br /> <br /> <br /> <br /> 134<br /> <br /> Among theatrical enterprises, it seems likely<br /> that ‘The Little English Theatre,” organised<br /> by Mr. Philip Carr, will be welcomed enthusias-<br /> tically. For some years, it has been proposed<br /> to have a theatre here of comparative ltera-<br /> ture, and it seems now quite possible to realise<br /> this plan. M. Camille de Sainte Croix,<br /> director of the Compagnie frangaise du Theatre<br /> Shakespeare, is putting on in French “ Le<br /> Marchand de Venise,”’ and almost immediately<br /> afterwards, Mr. Philip Carr will produce ‘‘ The<br /> Merchant of Venice ’’ here in English. Other<br /> plays will be given in the same way by these<br /> two directors, who, with separate organisations,<br /> will work together to carry out this idea. On<br /> his honorary committee, M. de Sainte Croix<br /> has some of the best names in France, including<br /> those of the Duchess of Rohan, Professor<br /> Charles Richet, Princess Lucien Murat, M.<br /> d’Estournelles de Constant, Jean Finot, whilst<br /> Mr. Carr has on his honorary committee, The<br /> British Ambassador, the Ambassador of the<br /> United States, the Dowager Duchess of Uzes,<br /> Duchess of Guiches, Anatole France, Auguste<br /> Rodin, M. and Mme. Albert Besnard, M. and<br /> Mme. Emile Boutroux and many others.<br /> <br /> Atys HALuarp.<br /> Oo<br /> <br /> COPYRIGHT IN A TRANSLATION.<br /> <br /> ——4+—&lt;— 4 ‘<br /> Byrne v. THE Statist Co., Lrp.<br /> <br /> HE decision of Mr. Justice Bailhache in<br /> this case is important to authors and<br /> journalists because it determines several<br /> <br /> interesting questions relating to copyright in a<br /> translation of a non-copyright work, the rights<br /> of an author who is in the employment of a<br /> newspaper, and the new defence to an action<br /> for damages in respect of an infringement for<br /> copyright, wherein the defendant alleges that<br /> he was not aware and had no reasonable<br /> grounds for suspecting that copyright subsisted<br /> in the plaintiff’s work.<br /> <br /> The plaintiff, Mr. F. D. Byrme, who is<br /> employed on the editorial staff of the Financial<br /> Times, and has an extensive knowledge of<br /> foreign languages, including Portuguese, sued<br /> the defendant company for damages for the<br /> infringement of his copyright in a translation<br /> of a speech dealing with financial matters,<br /> which was delivered in the General Legislative<br /> Assembly of the State of Bahia by the governor<br /> of that State. The speech, which was in<br /> Portuguese, was published in a Bahian news-<br /> paper ; and the plaintiff was asked by the<br /> business manager of the Financial Times to<br /> quote a price for making a translation of the<br /> <br /> THE AUTHOR.<br /> <br /> speech for publication in that paper as an<br /> advertisement. ‘The plaintiff agreed to do the<br /> work for twenty guineas and asked that his<br /> name should appear as the translator. The<br /> work was done by the plaintiff out of office<br /> hours and the English translation of the<br /> speech appeared in the Financial Times with<br /> the note, ‘‘ Translated from the Portuguese by<br /> F. D. Byrne.”<br /> <br /> This advertisement in the Financial Times<br /> was seen by the business manager of the<br /> Statist, who obtained permission from the<br /> Bahian Government to reproduce the speech,<br /> as an advertisement in the Statist. The<br /> defendants published the plaintiff&#039;s English<br /> translation in the Statist and this was the<br /> infringement of copyright for which the<br /> plaintiff claimed damages.<br /> <br /> It was contended on behalf of the defendants<br /> that the plaintiff&#039;s translation was not an<br /> ‘*‘ original literary work’’ and was not the<br /> subject of copyright; and that if it was<br /> capable of copyright, the translation was made<br /> by the plaintiff when he was in the employ-<br /> ment of the Financial Times and in the course<br /> of his employment, so that the copyright, if<br /> it existed, would belong to his employers. It<br /> was further pleaded that the defendants were<br /> not liable for damages, because they were not<br /> aware and had no reasonable grounds for<br /> suspecting that copyright subsisted in the<br /> work. It was upon this latter point that the<br /> defendants most strongly relied. Evidence<br /> was given that the practice of the managers of<br /> newspapers with regard to advertisements is<br /> that when they see an advertisement in a<br /> paper, which they would like to have the profit<br /> of publishing, they apply to the advertiser or<br /> his agent for leave to print the advertisement<br /> in their paper; and having arranged a price<br /> they print a verbatim copy of the advertise-<br /> ment, apparently relying upon the supposition<br /> that there is no copyright in the advertisement<br /> or that the copyright belongs to the advertiser.<br /> <br /> The points raised on behalf of the defendants<br /> are dealt with in the judgment of Mr. Justice<br /> Bailhache, who said that he thought the words<br /> ‘*‘ original literary work’? meant a literary<br /> work of which the person in whom the copy- |<br /> right was laid: or through whom the title to<br /> the copyright was traced was the author. A<br /> translator of a literary work had for many<br /> years been held to be the author of his transla-<br /> tion. The plaintiff’s translation was not<br /> merely mechanical. The plaintiff had com-<br /> pressed the speech and edited it by omitting<br /> the less material parts. He had divided it into<br /> suitable paragraphs and supplied appropriate<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> headlines. The plaintiff&#039;s translation was<br /> therefore an original literary work.<br /> <br /> As to the question of employment, the judge<br /> pointed out that the plaintiff did not make the<br /> translation in pursuance of any duty owed by<br /> him to the Financial Times as one of their<br /> staff, or in the course of his employment as<br /> such, but his employment to make the trans-<br /> lation was an independent engagement quite<br /> outside his ordinary duties, and the work was<br /> done entirely in his spare time.<br /> <br /> The last point raised on behalf of the<br /> defendant company also failed. The adver-<br /> tisement in the Financial Times contained an<br /> intimation that it had been translated by the<br /> plaintiff. The evidence showed that such a<br /> notice was unusual, and in the judge’s opinion<br /> there was reasonable ground for suspecting<br /> that there was copyright in the plaintiff&#039;s<br /> translation. The position of the defendants in<br /> truth was not so much that they did not<br /> suspect the translation was the subject of<br /> copyright as that they supposed that the<br /> copyright belonged to the governor of Bahia,<br /> whose permission to reproduce it had been<br /> obtained. This merely amounted to saying<br /> that they supposed they had the authority of<br /> the owner of the copyright, which was a very<br /> different thing from not suspecting that any<br /> copyright existed. The Act does not give<br /> protection to a person who, knowing or<br /> suspecting that copyright exists, makes a<br /> mistake as to the owner of the copyright and<br /> under that mistake obtains authority to pub-<br /> lish the work from a person who is not in fact<br /> the owner of the copyright.<br /> <br /> The defence therefore failed and judgment<br /> was given for the plaintiff for £150 damages and<br /> costs.<br /> <br /> Haroitp Harpy.<br /> <br /> i<br /> <br /> COPYRIGHT TITLE AND TRADE MARK.<br /> <br /> 9<br /> <br /> U.S.A. Law Case,<br /> <br /> aS. of space has prevented our quoting<br /> sooner the opinion of the Circuit Court<br /> of Appeals at St. Louis in the case of<br /> <br /> Atlas Manufacturing Co., et al. v. Street and<br /> Smith, which involved several very interesting<br /> questions of the protection of the name of a<br /> fictitious character by trade mark or copy-<br /> right or both, this though questions of copy-<br /> ag per se, were not presented by the case.<br /> T e name involved was “Nick Carter,”<br /> which Street and Smith were attempting to<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 135<br /> <br /> protect against moving picture piracy. The<br /> decision rendered was a divided one and will,<br /> it is understood, be appealed to the U.S.<br /> Supreme Court.<br /> <br /> Van Valkeburgh, District Judge :—<br /> <br /> ‘* Appellees, complainants below, are citizens<br /> of the State of New York, and are the members<br /> of a co-partnership known and styled as<br /> Street &amp; Smith. This firm is engaged in the<br /> business of publishing detective _ stories<br /> characterised by the general name of ‘ Nick<br /> Carter.’ Its publications are issued weekly<br /> and consist, exclusive of cover, of 32 pages,<br /> 11 by 8 inches in size. Of these pages, 26 are<br /> devoted to a detective story complete in<br /> itself ; 5 pages to space-filling items under the<br /> heading ‘ News of All Nations’; and 1 page to<br /> advertising other publications issued by the<br /> same firm. The cover is in colours and pre-<br /> sents in order the serial number, date, price,<br /> general title ‘ Nick Carter,’ the specific title of<br /> the detective story, as ‘The Red Button,’<br /> contained in that issue, and an illustration<br /> characteristic of the story, or depicting some<br /> incident in it. Slight modifications of interior<br /> make-up have since been made, but this<br /> description applies to complainants’ exhibit,<br /> filed with their bill July 1, 1913. The func-<br /> tion of the weekly issue is the publication of<br /> the single detective story contained therein.<br /> A different story under a distinct title is pub-<br /> lished each week. These stories are complete<br /> in themselves. The only connection between<br /> them is that the detective character, Nick<br /> Carter, is the central figure in each. On April<br /> 19, 1910, complainants registered the name<br /> ‘ Nick Carter’ as a trade mark for ‘ a weekly<br /> publication devoted to fiction,’ alleging that it<br /> had been used in their business and that of<br /> their predecessors since March 30, 1885.<br /> <br /> “The appellant, Atlas Manufacturing Com-<br /> pany, is a Missouri corporation domiciled in<br /> the city of St. Louis. Its business includes<br /> the manufacture and sale of moving-picture<br /> films. Appellant Crawford is its president.<br /> In January or February, 1912, said Atlas<br /> Manufacturing Company employed certain<br /> persons, named, respectively, Wolcott and<br /> Hamilton, to write a scenario or memorandum<br /> of the series of events in a detective story,<br /> This story was then acted with appropriate<br /> stage setting and the performance photo-<br /> graphed in sequence. From _ these photo-<br /> graphs a film was prepared, and it is the pur-<br /> pose of appellants to sell, rent, or lease this<br /> film to such persons as may desire to display<br /> it in moving-picture theatres. As advertised‘<br /> the story presents ‘Nick Carter, the Great<br /> <br /> <br /> 136<br /> <br /> &#039; American Detective, Solving the $100,000<br /> Jewel Mystery.’ It appropriates neither<br /> title, plot, nor situations of any story pub-<br /> lished by complainants: The name Nick<br /> Carter is used and a detective story portrayed.<br /> The name of the appellant corporation, a<br /> manufacturer, is displayed upon the screen.<br /> Complainants, claiming the ‘ exclusive right<br /> to make, sell, print, publish, and display to the<br /> public detective stories marked with the name<br /> and trade mark ‘ Nick Carter,’’ and called<br /> and known by the trade name “‘ Nick Carter,”’ ’<br /> filed their bill of complaint July 1, 1912, to<br /> restrain defendants from using his name in<br /> any connection or form. A preliminary<br /> injunction was granted, and _ defendants<br /> appealed. Complainants have taken out no<br /> copyright upon any of their publications,<br /> therefore no rights arising under the copyright<br /> law are presented for determination. The<br /> property rights asserted are based (1) upon<br /> registered trade mark; (2) upon long-estab-<br /> lished trade name.<br /> <br /> ““(1) The trade mark registered is ‘ Nick<br /> Carter.’ The law authorising such registra-<br /> <br /> tion provides that the applicant shall specify<br /> ‘the class of merchandise and the particular<br /> description of goods comprised in such class<br /> to which the trade mark is appropriated, . . .<br /> <br /> a description of the trade mark itself,’ and ‘a<br /> statement of the mode in which same is<br /> applied ‘ and affixed to goods... .’ Act,<br /> February 20, 1905, 33 Statutes at Large, pt. 1,<br /> ce, 592, p. 724 (U. S. Comp. St. Supp., 1911,<br /> p- 1,459). In compliance with this requirement<br /> complainants particularly describe their so-<br /> called goods as ‘a weekly periodical devoted<br /> to fiction.’ To entitle this publication to<br /> protection under the trade mark granted it<br /> must conform to the description filed ; it must<br /> be a periodical. In Smith et al. v. Hitchcock,<br /> 226 U.S. 58,33 Sup. Ct. 6, 57 L. Ed.—,decided<br /> November 18, 1912, the Supreme Court held<br /> that the ‘Tip Top Weekly,’ issued by these<br /> same complainants, and practically identical<br /> in structure with the ‘ Nick Carter ’ publica-<br /> tion, is not a periodical, but a book.<br /> <br /> (2) Literary property in a book cannot<br /> be protected by trade mark, nor otherwise<br /> than by copyright. Black v. Ehrich (CC)<br /> 44 Fed. 798 ; Brown on Trade Marks, 116, 117.<br /> This is conceded by complainants’ counsel in<br /> brief and argument ; but it is claimed that<br /> whether the publication be regarded as a<br /> periodical or a book the trade mark protects<br /> it in its character as goods or merchandise.<br /> It is therefore well to determine the exact<br /> nature of the ‘ merchandise’ to which the<br /> <br /> THE AUTHOR.<br /> <br /> trade mark applies. This must be the publica-<br /> tion, as such, whether book or periodical. It<br /> is the form, not the contents. ‘ Nick Carter’<br /> is not the name of the specific story, as, in this<br /> case, ‘The Red Button.’ None of the indi-<br /> vidual stories are covered by the mark. To<br /> publish a little booklet entitled ‘The Red<br /> Button,’ distinct in size, form and dress, not<br /> bearing the imprint ‘ Nick Carter,’ would not<br /> infringe this technical trade mark. Con-<br /> ceding to this registered mark its broadest<br /> application, it can at most protect only against<br /> something in the nature of a periodical publica-<br /> tion of the same class.<br /> <br /> ‘““No exercise of imagination, however<br /> fertile, can transform defendants’ film or its<br /> intermittent exhibitions into anything re-<br /> sembling a periodical publication.<br /> <br /> ‘**(3) Complainants’ chief reliance would<br /> seem to be upon the claim asserted in their<br /> bill that they have possessed for many years,<br /> and still possess, the exclusive right to make,<br /> sell, print, publish, and display to the publie<br /> detective stories called and known by the<br /> trade name ‘ Nick Carter.’ This is a direct<br /> appeal to the law affecting unfair competition<br /> in trade. Because they have long published<br /> detective stories associated with this name and<br /> character, they now assert the exclusive right<br /> to construct and make public in any manner<br /> whatsoever all detective stories involving the<br /> name and character of ‘ Nick Carter.’ It is<br /> the individual story as an article of mer-<br /> chandise, and not the form of publication for<br /> which protection is thus invoked. In the<br /> language of the brief, ‘ the sole question in this<br /> case for the court to decide is whether or not<br /> a moving-picture film is of the same class of<br /> goods as a printed book.’ The claim advanced<br /> is ingenious and decidedly comprehensive in<br /> its scope.<br /> <br /> ““(4, 5) We agree with counsel that ‘ the<br /> fact that appellees’ (complainants’) stories<br /> are not the highest class of literature does not<br /> bar complainants from relief by the courts.’<br /> In other words, this fact does not take from<br /> the stories their essential character as litera-<br /> ture in the eyes of the law. They are subjects<br /> of copyright. And this leads us to inquire<br /> what complainants’ standing would be under<br /> the law of copyrights? The author of a<br /> literary work or composition has, by common<br /> law, the exclusive right of the first publication<br /> of it. He has no exclusive right to multiply<br /> or control the subsequent issues of copies by<br /> others. The right of an author or proprietor<br /> of a literary work to multiply copies of it to<br /> the exclusion_of others is the creature of<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> statute. This is the right secured by the<br /> copyright laws of the different governments.<br /> Palmer v. De Witt, 47 N. Y. 532, 7 Am. Rep.<br /> 480.<br /> <br /> “*(6) Neither author nor proprietor of<br /> <br /> a literary work has any property in its<br /> <br /> name. It is a term of description, which<br /> <br /> serves to identify the work; but any other<br /> person can, with impunity, adopt it and<br /> apply it to any other book, or to any trade<br /> <br /> commodity, provided he does not use it as a<br /> <br /> false token to induce the public to believe<br /> <br /> that the thing to which it is applied is the<br /> identical thing which it originally desig-<br /> nated. If literary property could be pro-<br /> tected under the theory that the name by<br /> <br /> which it is christened is equivalent to a<br /> trade mark, there would be no necessity<br /> for copyright laws.’ Black v. Ehrich<br /> <br /> (C. C.) 44 Fed. 793.<br /> <br /> (7-9) So the copyright of a book does<br /> not prevent others from taking the same title<br /> for another book, though the copyright has<br /> not expired ; and on the expiration of the copy-<br /> right of a novel any person may use the plot<br /> for a play, copy or publish it, or make any<br /> other use of it he sees fit. In such case, where<br /> one writes and copyrights a play based on a<br /> novel, and bearing the same title as the novel,<br /> he cannot prevent another from giving the<br /> same name to an entirely different play which<br /> has been constructed from that novel. Glaser<br /> v. St. Elmo Co. (C. C.) 175 Fed. 276. The<br /> right to use a copyrighted name upon the<br /> expiration of the copyright becomes public<br /> property, subject to the limitation that the<br /> right be so exercised as not to deceive members<br /> of the public and lead them to believe that<br /> they are buying the particular thing which<br /> was produced under the copyright. G. &amp; C.<br /> Merriam Co. v. Ogilvie (C. C. A.) 159 Fed.<br /> 688, 88 C. C. A. 596, 16 L. R. A. (N. S.)<br /> 549, 14 Ann. Cas. 796.<br /> <br /> (10) Original section 4,952, R. S. U. S.,<br /> provided that ‘authors may reserve the<br /> right to dramatise or to translate their own<br /> works.” Unless this reservation was made<br /> the public was free to make such use of them.<br /> By Act of March 8, 1891, c. 565, 26 Stat. 1,107<br /> (U. S. Comp. St. 1901, p. 3,406), it was pro-<br /> vided that * authors or their assigns shall have<br /> exclusive right to dramatise and_ translate<br /> any of their works for which copyright shall<br /> have been obtained under the laws of the<br /> United States.’ This made such exclusive<br /> right an integral part of the copyright itself.<br /> Under this section, so amended, the Supreme<br /> Court has held that an exhibition of a series<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 137<br /> <br /> of photographs of persons and things,<br /> arranged on films as moving pictures and so<br /> depicting the principal scenes of an author’s<br /> work as to tell the story, is a dramatisation<br /> of such work, and the person producing the<br /> films and offering them for sale for exhibitions,<br /> even if not himself exhibiting them, infringes<br /> the copyright of the author. Kalem Co.<br /> v. Harper Bros., 222 U.S. 55, 32 Sup. Ct. 20,<br /> 56 L. Ed. 92, Ann. Cas. 193 A, 1,285. Never-<br /> theless, it is held that the owner of the copy-<br /> right of a novel is not entitled to protection<br /> against the use of that name in connection<br /> with a dramatic composition which does not<br /> present any scenes, plot or dialogue imitated<br /> or adapted from the novel; it being the name<br /> in connection with the novel, and not the<br /> name alone, which the copyright protects.<br /> Harper et al. v. Ranous (C. C.) 67 Fed. 904.<br /> If the copyright has expired, or none has been<br /> taken out, neither the rights and privileges<br /> conferred, nor the limitations and obligations<br /> imposed by that law are present, because,<br /> apart from the statute, none exist.<br /> “Complainants do not rely upon copy-<br /> right. The name ‘ Nick Carter’ is not the<br /> title of any story, nor the name of author or<br /> publisher. But complainants insist that we<br /> shall consider their books, not from the liter-<br /> ary standpoint, but as merchandise, and cite<br /> numerous Cases recognising that the principles<br /> of trade mark law, and the law forbidding<br /> unfair competition in business, may, under<br /> certain conditions, apply to books, magazines,<br /> periodicals and newspapers. That they may<br /> and do apply to magazines, periodicals and<br /> newspapers, as such, we have already seen; to<br /> books the application is more limited. The cases<br /> cited reveal that protection is accorded in con-<br /> nection with specific kinds of books, such as<br /> bibles, dictionaries, and works of a like nature,<br /> where the name has so long been used to desig-<br /> nate the production as to have become identified<br /> with such particular publications as denoting<br /> their origin, and where the use of such name<br /> by another publisher, having no connection<br /> with the place or name, can have no purpose<br /> except to deceive purchasers. Chancellor,<br /> etc., of Oxford University v. Wilmore-Andrews<br /> Pub. Co. (C. C.) 101 Fed. 443; Merriam Co.<br /> v. Straus et al. (C. C.) 186 Fed. 477; Ogilvie<br /> v. Merriam Co. (C. C.) 149 Fed. 858 ; Merriam<br /> v. Holloway Pub. Co. (C. C.) 48 Fed. 450;<br /> Merriam et al. v. Tewvas Siftings Pub. Co.<br /> (C. C.) 49 Fed. 933; Merriam v. Famous<br /> Shoe and Clothing Co. (C. C.) 47 Fed. 811.<br /> In instances where the same method of<br /> selection, illustration and style of binding, as<br /> 138 THE AUTHOR.<br /> <br /> well as name on the cover, have been taken, the<br /> form of publication is the feature of critical<br /> importance. _ Estes et al. v. Williams et al.<br /> (C. C.) 21 Fed. 189 5 Estes et al. v. Leslie et al.<br /> (C. C.) Fed. 22; Estes et al. v. Worthington<br /> (C. C.) 81 Fed. 154. In all cases the courts<br /> have been careful to limit the doctrine<br /> announced to the special circumstances, and<br /> have coupled it with a re-statement of well-<br /> known principles. Thus, In Merriam Vv.<br /> Straus et al., supra, J udge Wallace said :<br /> <br /> ‘““¢ It is proper, however, to say that the<br /> pill is in part an attempt to protect the<br /> literary property in the dictionaries, which<br /> became publict juris upon the expiration<br /> of the copyrights. This attempt must<br /> prove futile.’ :<br /> <br /> “In Ogilvie v. Merriam Co. (C. C.) 149<br /> Fed! 858, it is pointed out that this public<br /> right cannot be taken away or abridged on<br /> any theory of trade mark or unfair competi-<br /> tion, which is only another way of seeking<br /> to perpetuate the monopoly secured by the<br /> copyright. Similar views are expressed in<br /> Merriam v. Texas Siftings Pub. Co. (C. C.)<br /> 49 Fed. 944, and Merriam v. Famous Shoe<br /> and Clothing Co. (C. C.) 47 Fed. 411. In<br /> G. &amp; C. Merriam v. Ogilvie (C. C. A.) 159 Fed.<br /> 638, 88 C. C. A. 596, 16 L. R. A. (N. 8.) 549,<br /> 14 Ann. Cas. 796, the Court of Appeals for the<br /> First Circuit used language still more explicit:—<br /> <br /> ““*Phe name ‘‘ Webster” having been<br /> copyrighted by the Merriams, they were<br /> protected in its use under a statutory right<br /> during an express term of years. The pro-<br /> tection, therefore, in that respect, came by<br /> virtue of the copyright, rather than by<br /> virtue of its use in publication and trade.<br /> The statutory monopoly having expired<br /> under statutory limitation, the word ‘‘ Web-<br /> ster’ used in connection with a dictionary<br /> became public property, and any relief<br /> granted upon the idea of title or proprietor-<br /> ship in the trade name of “* Webster ” would<br /> necessarily involve an unwarrantable con-<br /> tinuance of the statutory monopoly secured<br /> by the copyright.’<br /> <br /> ‘The important principle involved is, per-<br /> haps, most pointedly stated by Mr. Justice<br /> Miller in Merriam et al. v. Holloway Pub. Co.,<br /> supra. He says :—<br /> <br /> “* JT want to say, however, with reference<br /> to the main issue in the case, that it occurs<br /> to me that this proceeding is an attempt to<br /> establish the doctrine that a party who has<br /> had the copyright of a book until it has<br /> expired may continue that monopoly indefi-<br /> nitely, under the pretense that it is pro-<br /> <br /> tected by a trade mark, or something of<br /> that sort. I do not believe in any such<br /> doctrine, nor do my associates. When a<br /> man takes out copyright for any of his<br /> writings or works, he impliedly agrees that<br /> at the expiration of that copyright such<br /> writings or works shall go to the public and<br /> become public property. I may be the first<br /> to announce that doctrine, but I announce<br /> it without any hesitation. If a man is<br /> entitled to an extension of his copyright,<br /> he may obtain it by the mode pointed out<br /> by the law. The law provides a method of<br /> monopoly of the sale of his writings for a<br /> definite period, but the grant of a monopoly<br /> implies that after the monopoly has expired<br /> the public shall be entitled ever afterward<br /> to the unrestricted use of the book. ... I<br /> will say this, however, that the contention<br /> that complainants have any special pro-<br /> perty in ‘‘ Webster’s Dictionary” is all<br /> nonsense, since the copyright has expired.<br /> What do they mean by the expression<br /> ‘“‘ their book,” when they speak of Webster’s<br /> Dictionary ? It may be their book if they<br /> have bought it, as a copy of Webster&#039;s<br /> Dictionary is my book if I have bought it.<br /> But in no other sense than that last indicted<br /> can the complainants say of Webster’s<br /> Dictionary that it is their book.’<br /> <br /> “* In the Chatterbox Cases (Estes v. Williams,<br /> <br /> supra, Estes v. Leslie, supra, and Estes v.<br /> Worthington, supra), emphasis is laid chiefly<br /> upon similarity of form. In Estes et al. v.<br /> Williams, et al., supra, it was said :-—<br /> ““&lt;«There is no question but that the<br /> defendants have the right to reprint the<br /> compositions and illustrations contained<br /> in these books, including the title of the<br /> several pieces and pictures. That does<br /> not settle the question as to the right<br /> claimed here. There is work in these publi-<br /> cations aside from the ideas and concep-<br /> tions. Johnston was not the writer of the<br /> articles nor the designer of the pictures<br /> composing the book, but he brought them<br /> out in this form. The name indicates this<br /> work. The defendants, by putting this<br /> name to their work in bringing out the same<br /> style of book, indicate that their work is<br /> his. This renders his book less remunera-<br /> tive, and while continued is a continuing<br /> <br /> injury which it is the peculiar province of a<br /> <br /> court of equity to prevent.’<br /> <br /> ““In Kalem Co. v. Harper Bros., 222 U. S.<br /> 55, 82 Sup. Ct. 20, 56 L. Ed. 92, Ann. Cas.<br /> 1913 A, 1285, it was suggested by counsel that<br /> to extend the copyright of a case or reproduc-<br /> <br /> <br />  <br /> <br /> r<br /> <br /> <br /> <br /> . THE AUTHOR. 139<br /> <br /> ing scenes from Ben Hur by means of moving<br /> pictures was to extend it to the ideas as<br /> distinguished from the words in which those<br /> ideas are clothed. Mr. Justice Holmes said :—<br /> ““* But there is no attempt to make a<br /> monopoly of the ideas expressed. The law<br /> confines itself to a particular, cognate, and<br /> well-known form of production.’<br /> <br /> ““(11, 12) It may be conceded: That the<br /> law relating to unfair trade has a three-<br /> fold object: First, to protect the honest<br /> trader in the business which fairly belongs to<br /> him ; second, to punish the dishonest trader,<br /> who is taking his competitor’s business away<br /> by unfair means ; third, to protect the public<br /> from deception. Gulden v. Chance (C. C. A.)<br /> 182 Fed. 303, 105 C. C. A. 16. That to sus-<br /> tain a charge of infringement the owner of a<br /> trade mark must have used it on the same<br /> class, but not necessarily on the same species,<br /> of goods as the alleged infringer. Layton<br /> Pure Food Co. v. Church &amp; Dwight Co. (C. C. A.)<br /> 182 Fed. 35, 104 C. C. A. 475, 82 L. R. A.<br /> (N. S.) 274. Of course, defendants’ film<br /> bears no resemblance to complainants’ books.<br /> No one would buy the one in the belief that<br /> he was getting the other. It is the display<br /> that constitutes the infringement, if there<br /> is one; and in such case the producer of<br /> the film is responsible equally with the<br /> exhibitor. Kalem Co. v. Harper Bros., supra.<br /> We do not think a moving-picture show is of<br /> the same class as a written book. One belongs<br /> to the field of literature; the other to the<br /> domain of theatricals. Originally there was<br /> no legal connection between the written novel<br /> and a dramatisation based upon its characters<br /> and incidents. The connection was made by<br /> statute in derogation of the common law. In<br /> the absence of copyright, the situation is as<br /> if no such connection had ever been made.<br /> We are unwilling, indirectly, to extend to<br /> writings a protection beyond that conferred<br /> by statute. Congress created a specific form<br /> of monopoly for literary property in this<br /> country, and made it subject to express limita-<br /> tions. It is for Congress to say whether these<br /> limitations should be relaxed.<br /> <br /> ““(13) Neither trade-mark nor trade-name<br /> can afford protection to, detective stories, as<br /> such, whether published ‘or still unborn, and<br /> much less where neither title nor composition<br /> is pirated, and but a single common character<br /> is used. The suggestion involves an attempt<br /> to make a monopoly of ideas, instead of<br /> confining the application of the law to ‘a<br /> particular cognate and well-known form of<br /> production.’<br /> <br /> **(14) Moving pictures and dramatisations<br /> are cognate forms of production. When<br /> copyright was extended to the latter, it neces-<br /> sarily included the former ; but in the absence<br /> of copyright no such relation exists between<br /> either of these forms and the written book.<br /> It is not thought that the public will be<br /> deceived into belief that it is seeing a produc-<br /> tion of one of complainants’ stories when it<br /> witnesses that displayed from defendants’ film.<br /> But, if so, it is no more deceived than when it<br /> reads a book of the same name as one thereto-<br /> fore published, but unprotected. It may be<br /> that the defendants are profiting by the use<br /> of a name made distinctive by complainants,<br /> but this is true of one who sells a brand of<br /> cigars named after a famous book or a famous<br /> personage. In the absence of some positive<br /> legal right in complainants, these are con-<br /> ditions for which equity cannot undertake to<br /> create a remedy. The decree below must<br /> therefore be reversed and the case remanded,<br /> with directions that the preliminary injunc-<br /> tion be dissolved and the bill dismissed for<br /> want of equity. Mast, Foos &amp; Co. v. Stover<br /> Manufacturing Co., 177 U. S. 485, 20 Sup. Ct.<br /> 708, 44 L. Ed. 856; Castner v. Coffman,<br /> 178 U.S. 168, 20 Sup. Ct. 842, 44 L. Ed. 1021.<br /> <br /> ‘It is so ordered.<br /> <br /> ** Hook, Circuit Judge (dissenting). My<br /> objection to the above conclusion can be<br /> expressed in a sentence: The defendants are<br /> engaged in appropriating the fruits of com-<br /> plainants’ current endeavours, and are deceiv-<br /> ing the public.”<br /> <br /> ———___ +»—~&lt;__-—____—__<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> 8<br /> <br /> BritisH.<br /> <br /> The Writing of Irish History. By Padriac Column.<br /> <br /> The Silence of Journalists. By G. K. Chesterton.<br /> <br /> Language and National Unity. Francis W. Grey.<br /> <br /> Dramatists of To-Day: Synge; St. John Hankin. By<br /> Edward Storer.<br /> <br /> CoNTEMPORARY.<br /> <br /> The “New Way” of Playing Shakespeare.<br /> Scott James.<br /> <br /> Literary Supplement :<br /> <br /> By R. A.<br /> <br /> Traditional Christmas Carols.<br /> <br /> EncuisH REVIEW.<br /> <br /> Yeats, Lady Gregory and Synge. By George Moore.<br /> <br /> Dialect Words. By Logan Pearsall Smith.<br /> <br /> The Bi-Centenary of Laurence Sterne.<br /> Gosse.<br /> <br /> The Piano-Player and the Music of the Futuro. By<br /> E. Newman.<br /> <br /> Stanley Houghton: An Appreciation.<br /> Ellis.<br /> <br /> M. Anatole France Comes to London.<br /> <br /> By Edmund<br /> <br /> By Anthony L.<br /> By 8. 0.<br /> THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —<br /> <br /> VERY member has a right toask for and to receive<br /> 4, advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2, Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not seruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> &amp;1e independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a_fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers;<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> jars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 7, Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members,<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ee<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> a<br /> <br /> “ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property:—<br /> <br /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> e<br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for ‘“‘ office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> So —_—_——<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> ———+ —<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> <br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters inte<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the:<br /> play-bills,<br /> <br /> <br /> THE AUTHOR.<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. :<br /> <br /> (¢.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights‘of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> ———_+—~&gt;—_ ——_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> os<br /> <br /> ne typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> Original Plays may also be filed subject to the same<br /> <br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> <br /> 141<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> ———_—_+—@—+ —__<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> <br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> —— 4 gg<br /> STAMPING MUSIC.<br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> ————-— &gt;&gt; —______<br /> <br /> THE READING BRANCH.<br /> Se<br /> EMBERS will greatly assist the Society in this<br /> VI branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS, includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works, The<br /> Readers are writers of competence and experience, The<br /> fee is one guinea,<br /> —_o1—&gt;—_<br /> <br /> REMITTANCES.<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> <br /> <br />  <br /> <br /> <br /> COLLECTION BUREAU.<br /> <br /> —$— &gt; ——<br /> <br /> HE Society undertakes to collect accounts and money<br /> j due to authors, composers and dramatists. :<br /> 1. Under contracts for the publication of their<br /> <br /> works.<br /> 9. Under contracts for the performance of their works<br /> <br /> and amateur fees.<br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> <br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> <br /> records.<br /> The Bureau is divided into three departments :-—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> <br /> must be made to the Collection Bureau of the Society.<br /> AGENTS.<br /> Holland . ; ; . A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany . Mrs Pogson.<br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> ————————__+—_&gt;—_+—__—_<br /> <br /> GENERAL NOTES.<br /> <br /> + 4<br /> UNITED STATES COPYRIGHT.<br /> <br /> WE print in another part of this issue a very<br /> interesting case dealing with infringement of a<br /> title. The judgment on the point before the<br /> Court is not of much importance, as it was a<br /> question of trade mark under the American<br /> law. But the “ obiter dicta”’ of the judge with<br /> regard to the difference between rights created<br /> by statute and rights under the common law<br /> are worthy of careful consideration. It is, of<br /> course, difficult to say what view an English<br /> judge would take of these points. It is<br /> doubtful whether he would confirm the sayings<br /> of his American brother.<br /> <br /> CANADIAN COPYRIGHT.<br /> <br /> TuE present unsatisfactory position of an<br /> author as regards copyright in Canada has<br /> been brought to the notice of the Committee<br /> of Management on one or two occasions<br /> recently. The Imperial Act of 1842 still runs<br /> in the Dominion. This Act, as everyone<br /> knows, has been repealed as far as Great<br /> Britain is concerned. In consequence, certain<br /> difficulties arise.<br /> <br /> THE AUTHOR.<br /> <br /> The first deals with dramatic” production.<br /> Under the Act of 1842 a copyright performance<br /> was essential. This performance, as the Act<br /> of 1842 still runs, is still essential in Canada,<br /> if the copyright is to be acquired there.<br /> Dramatists, therefore, who set store by their<br /> Canadian and American rights must be very<br /> careful to see that they are properly protected,<br /> otherwise it might chance that either the<br /> Canadian or United States rights have been<br /> lost.<br /> <br /> The second point arises with regard to book<br /> publication. If the work is published in England<br /> copyright is still obtained in Canada under the<br /> Act of 1842. If the English author places his<br /> Canadian market in the hands of the English<br /> publisher, although the Customs Authorities<br /> in Canada refuse to prevent the importation<br /> of foreign reprints, yet it is possible for the<br /> author to bring an action against the sellers<br /> of the foreign reprints should he care to do so,<br /> and thus preserve his market; but, if the author<br /> is unfortunate enough as to grant the book<br /> rights for the United States and Canada to<br /> the United States publisher, then, although<br /> the United States publisher has the right of<br /> selling the work in Canada, he cannot stop<br /> the importation and sale of books lawfully<br /> printed under the English Copyright Act. In<br /> other words, supposing the English publisher<br /> without knowledge sells thousands of copies<br /> to a middleman, and the middleman chooses<br /> to import and sell them in Canada, the United<br /> States publisher has no remedy.<br /> <br /> These points for the time being are rather<br /> serious, and it is necessary to warn members<br /> of the Society to be exceedingly careful how<br /> they deal with their Canadian rights. It is<br /> hoped that at no distant date they will be set<br /> right by the introduction of an equitable<br /> Canadian law.<br /> <br /> CopyriGHt AND Fitm RIGHTS.<br /> <br /> TuE Daily News in one of its issues pub-<br /> lished an interview with a well-known authoress<br /> upon the question of copyright and film rights.<br /> In case this article may have come to the view<br /> of any members of the Society, and has led<br /> them to make false deductions, it may be of<br /> interest to members to know the exact position<br /> as far as it is possible to diagnose it under the<br /> new law.<br /> <br /> The lady who was interviewed stated that<br /> the copyright acquired by a publisher exists<br /> only in the book as it stands. No publisher,<br /> she says, has ever claimed the right to alter<br /> or adapt novels for either cinematograph or<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> dramatic performances. It is quite clear that<br /> this statement has been made without any<br /> study of the present law. If any unfortunate<br /> author reading the article assigns his copyright<br /> to a publisher on the idea that he is not assign-<br /> ing his dramatic and cinematograph rights, he<br /> may wake up suddenly one day and find him-<br /> self in a very difficult position. Under the<br /> first schedule of the Act of 1911, if a person<br /> before the passing of the Act has acquired the<br /> copyright: (in the case of works other than<br /> dramatic or musical works) he acquires under<br /> the new Act, as a substituted right, copyright<br /> as defined by the Act. Now copyright as<br /> defined by the Act covers dramatic and cine-<br /> matograph rights. Accordingly, to take a<br /> concrete ease, if A., before the Act, has assigned<br /> his copyright in a story or a novel to a pub-<br /> lisher, the publisher, after the passing of the<br /> Act, will hold both the dramatic and cine-<br /> matograph rights. But the publisher will hold<br /> these rights subject to the special provisions of<br /> clause 24 as to duration, ete. It is quite clear<br /> also that if, after the passing of the Act, A.<br /> has assigned his copyright in a story or a<br /> novel, such assignment will cover the dramatic<br /> and cinematograph rights.<br /> <br /> It is a serious matter, therefore, that the<br /> statement printed in the Daily News should be<br /> allowed to pass unchallenged, as it may lead<br /> unfortunate authors into signing away their<br /> rights in total ignorance of what those rights<br /> cover.<br /> <br /> <br /> <br /> Dramatic MIpDDLE-MEN.<br /> <br /> THE attention of the Dramatic Sub-Com-<br /> mittee has been called by one of its members<br /> to a form of speculation that is taking place<br /> in the dramatic world, and the sub-committee<br /> desires members of the Society to be warned.<br /> Certain persons have been approaching authors<br /> with a view to buying up certain portions of<br /> their dramatic rights. They have no prospect<br /> whatever of producing the dramatic rights<br /> themselves, but desire to gamble in these<br /> rights by selling them to. other people.<br /> Members of the Society, therefore, should<br /> make it an essential point of any sale or<br /> licence they may make, that production shall<br /> be ensured within a certain fixed time, and<br /> that the production shall be made by the<br /> people to whom the rights are being sold.<br /> Otherwise the dramatist may find himself<br /> in a*very serious position. Not only that,<br /> he may find he is obtaining a considerably<br /> . smaller amount in royalty than he would<br /> <br /> 143<br /> <br /> be entitled to if he had placed his own wares,<br /> owing to the fact that two or three middle-<br /> men are intervening between himself and the<br /> producing manager.<br /> <br /> AGENTS AND THE Four-Boox CLAUSE.<br /> <br /> THE question that is now so frequently<br /> before authors not only of fiction, but of other<br /> literary works, is the demand made by<br /> publishers to have the control of one, two,<br /> three and in some cases, even as many as six<br /> more books from the author’s pen.<br /> <br /> We have pointed out that the publishers’<br /> argument for making this demand is that by<br /> special advertisement they can push an author’s<br /> books more satisfactorily. We have generally<br /> found that where an author is tied in this<br /> way by his contract, he does not get any special<br /> advantage, indeed, the publisher knowing that<br /> he is entitled to receive future works, generally<br /> pushes the authors to whom he is not so<br /> bound.<br /> <br /> The author’s argument in answer to this<br /> is :—<br /> <br /> 1. If you push my book by special advertise-<br /> ment without my binding myself, I shall be<br /> willing to put my second, my third, and even<br /> my fourth book in your hands.<br /> <br /> 2. If I do bind myself, will you undertake<br /> in the contract to insert a special clause by<br /> which you will carry out your suggestion to<br /> give it special advertisement.<br /> <br /> The publishers’ answer to this is always<br /> in the negative.<br /> <br /> It is not, however, the danger with the<br /> publisher that is so serious, but it is the danger<br /> with the agent who makes the clause for the<br /> author. In a clause of this kind the agent’s<br /> and the author’s interests are not incommon,<br /> and it is essential if the agent should do<br /> his best for the author that their interests<br /> should be in common. It is to the advantage<br /> of the agent to bind the author to a publisher<br /> for a series of books in one agreement, for he<br /> knows that, however dissatisfied the author<br /> may be with the agreement, and with his<br /> methods of doing business, so far as that<br /> contract is concerned, he is entitled to his<br /> commission on the following books, and that<br /> the author cannot take the matter out of his<br /> hands.<br /> <br /> The question has become so serious that it is<br /> necessary to warn authors once again of the<br /> danger of such a clause, not only as between<br /> themselves and the publisher, but as between<br /> themselves and the agent.<br />  <br /> <br /> <br /> <br /> 144<br /> <br /> <br /> <br /> PUBLISHERS AND LENDING LIBRARIES.<br /> <br /> Ir appears that certain publishers have<br /> started a lending library of their own. We<br /> do not refer to publishers of books. There<br /> are subscribers to this lending library who pay<br /> so much per annum, and they are entitled for<br /> this subscription to receive certain orchestral<br /> parts and certain other musical pieces. The<br /> publishers reap the benefit from the annual<br /> subscriptions but the composer, unless he is<br /> aware of the position, does not make any<br /> arrangement in his contract by which he should<br /> be entitled to a share of the profits of the library<br /> and in consequence may possibly lose a circu-<br /> lation which he otherwise would have obtained.<br /> When composers have learned the art of<br /> insisting on reasonable agreements in addition<br /> to the art of writing music, they will cover a<br /> point of this kind and claim a certain fee<br /> each time their music may be lent. It would<br /> be as easy for them to check such a transaction<br /> as it would be if they received a royalty on<br /> every copy sold.<br /> <br /> A Minister oF FINE Arts.<br /> <br /> AutL those who believe—in spite of the<br /> Chancellor of the Exchequer’s statement in<br /> the House of Commons some time ago that<br /> such a thing was “‘ not practical ’’—that the<br /> foundation of a Ministry of Fine Arts in this<br /> country is not only possible, but eminently<br /> desirable, will rejoice to hear, on the authority<br /> of Mr. Wynford Dewhurst in the Journal of the<br /> Imperial Arts League for January, that the<br /> investigations of the large and influential com-<br /> mittee of professional men working to formu-<br /> late a scheme for presentation to Parliament,<br /> are most encouraging to the hope that public<br /> opinion will be able to force the establishment<br /> of such a Ministry in the near future. To Mr.<br /> Dewhurst, indeed, it is manifest that it “ might<br /> have been successfully inaugurated twenty years<br /> ago,” had public opinion been the only body to<br /> be consulted. Elsewhere—in his book entitled<br /> “Wanted: A Ministry of Fine Arts ’’—the<br /> same writer has shown with the aid of the<br /> French Government Yellow Book issued by<br /> the Ministére des Beaux Arts, that, so far from<br /> being an expensive institution, a Ministry of<br /> this kind is a direct means of retrenchment of<br /> expenses, our present method of encouraging<br /> Art being most wasteful and unproductive.<br /> The report of the Committee mentioned above<br /> is expected very shortly.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE NEW YEAR’S HONOURS.<br /> <br /> ——S<br /> <br /> ITERATURE has not been prominent in<br /> + the recent list of New Year’s Honours.<br /> It included, however, the names of two<br /> well-known members of the Society of Authors,<br /> Mr. James Bryce and Mr. Owen Seaman, the<br /> former becoming a viscount and the latter<br /> receiving knighthood. Of all the awards so<br /> made norie has been better deserved than<br /> these, and the hearty congratulations of their<br /> fellow-members will be added to those of<br /> their private friends and of the general public.<br /> The Right Honourable James Bryce, or The<br /> Viscount Bryce of Dechmount in-the county<br /> of Lanark, as he now becomes, enters the<br /> House of Lords as the natural and customary<br /> reward of political and diplomatic service to<br /> his King, rather than in recognition of the<br /> literary ability and encyclopedic learning<br /> which have added distinction to his career.<br /> He is, however, one of the now, alas! dwindling<br /> band who enrolled themselves as_ original<br /> members of the Society when it was founded<br /> in 1884. To him public honours are no new<br /> thing, and if his peerage is political and recalls .<br /> the fact that he was recently British Am-<br /> bassador at Washington, and that so long ago<br /> as 1892 he first had a seat in the Cabinet, he<br /> is not only a Privy Councillor, but also a<br /> Fellow of the Royal Society, and, moreover,<br /> can append to his name initials representing<br /> degrees conferred by about a dozen universities<br /> at home and abroad. He has also received<br /> the high honour, and one independent of<br /> politics, of the Order of Merit, as well as the<br /> Prussian order Pour le Merite. Politics have,<br /> however, no doubt claimed his chief attention<br /> since the year of Liberal triumph at the<br /> polls which gave its name to the Eighty Club,<br /> and the fact that he once practised at the Bar,<br /> and was for twelve years Regius Professor of<br /> Civil Law at Oxford, may fairly have been<br /> forgotten by many who recognise him better<br /> as Under Secretary for Foreign Affairs, as<br /> Chancellor of the Duchy of Lancaster, or as<br /> President of the Board of Trade. Here we<br /> will remember rather that the publications<br /> from his pen commenced in 1859 with a work<br /> on the Flora of Arran, followed in 1862 by<br /> “The Holy Roman Empire,” and by others<br /> covering a wide range in politics, law, juris-<br /> prudence, history and other subjects, down to<br /> a recent date. We will also record our<br /> esteem for one who, being an original member<br /> of our Society and of its council, in more<br /> recent years has assisted its efforts in the<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> cause of copyright in America, and in other<br /> ways, when the occasion has. offered itself,<br /> has rendered to it, and through it to his<br /> fellow-members, practical service and valued<br /> help.<br /> <br /> Thirty years after Mr. James Bryce was<br /> called to the Bar at Lincoln’s Inn Mr. Owen<br /> Seaman took the same step at the Inner<br /> Temple. This was in 1897, after he had been<br /> a master at Rossall School and a prof-ssor<br /> at Newcastle-on-Tyne, and when fourteen<br /> years had elapsed since he took a first class in<br /> the Classical Tripos and captained his college<br /> boat club at Clare. His distinguished talent<br /> for light verse had, however, already attracted<br /> attention. The World and the National<br /> Observer had frequently published his work,<br /> and the editor of Punch had for some little<br /> time recognised the talents of his future<br /> successor, who was to become Sir Owen<br /> Seaman, as he became Sir Francis Burnand.<br /> Journalism, therefore, claimed him from the<br /> law before it had taken a close hold of him, or a<br /> judge now on the bench not unknown for his<br /> talent as a versifier and a humourist might<br /> have had a very dangerous rival. Mr. or Sir<br /> Owen Seaman, as we must now call him, is<br /> recorded to have joined the staff of Punch in<br /> 1897, to have become its assistant editor in<br /> 1902, and editor in 1906. It is hardly necessary<br /> now to recount the volumes in which have<br /> been collected his polished verses upon every<br /> kind of topic, and the gay travesties of the<br /> more serious poems of others which earned<br /> for their author, in a newspaper paragraph<br /> recording his knighthood, the description of<br /> ““the best living exponent of the art of<br /> parody, succeeding to the laurels of Calverley<br /> and H. D. Traill.’”” We may add to this that<br /> the high classical degree mentioned above may<br /> well be recalled by those who appreciate the<br /> scholarly spirit and refined polish of Sir<br /> Owen Seaman’s verses, and that other qualities<br /> both in his verse and in his work as editor<br /> suggest in like manner the mens sana in the<br /> sound frame of one whose athletic distinc-<br /> tions were not confined to the waters of the<br /> Cam,<br /> ryAs a member of the Society of Authors,<br /> the editor of perhaps the most widely known<br /> English periodical occupies a seat upon its<br /> council and finds time to serve upon its Pension<br /> Fund Committee.<br /> <br /> 145<br /> <br /> COMPOSERS’ ROYALTIES AND THE<br /> COPYRIGHT PROTECTION SOCIETY.<br /> <br /> =&lt;<br /> <br /> HE question of the collection of royalties<br /> T&#039; due under the clauses of the new Copy-<br /> right Act is a matter of great importance,<br /> and musical composers, in particular, should<br /> be very careful how they deal with their rights.<br /> They should, if possible, keep full control; but<br /> in any event they should not allow those<br /> agents who collect on their behalf to make<br /> charges which are not clearly defined when<br /> the contract is made. There seem to be three<br /> very important points in the rules of the Copy-<br /> right Protection Society, the body supported<br /> by music publishers, to which it is necessary<br /> to call attention.<br /> <br /> First, the expenses of the society of and<br /> incident to the collection of royalties, and the<br /> carrying out and administration of the business<br /> operations of the society, without any appor-<br /> tionment of such expenses in respect of or<br /> amongst the works of its members individually,<br /> are to be deducted from the aggregate fund<br /> collected.<br /> <br /> Secondly, of the balance remaining after<br /> this indefinite sum has been deducted, 30 per<br /> cent., is to go to the publisher.<br /> <br /> Thirdly, although the member may with-<br /> draw from the society by giving a certain<br /> notice, still, inthe event of his withdrawal or<br /> death, all the rights that he shall have conveyed<br /> shall continue to be vested in and exercisable<br /> by the company.<br /> <br /> It is proposed to discuss these points entirely<br /> from the composer’s standpoint. The com-<br /> mittee of this Copyright Protection Society is<br /> composed of three composers, three authors<br /> and six publishers, and in addition a chair-<br /> man who shall be a composer. Authors in this<br /> connection have very little claim in comparison<br /> with composers and publishers who have pur-<br /> chased copyrights.<br /> <br /> It is right that the original creators, the<br /> composers, even though they may be so foolish<br /> as to transfer their copyright to the publishers,<br /> should have control of any company started<br /> for the collection of their royalties. It is<br /> reasonable that publishers and composers<br /> should both be represented—though the former<br /> in a lesser degree—because both are holders of<br /> copyright. But it is an astonishing thing to<br /> see composers sitting on the board of a company<br /> whose regulations proclaim clearly that com-<br /> posers are expected to surrender the greater<br /> part of their royalties without having control<br /> of the expenditure which is to be deducted,<br />  <br /> <br /> <br /> <br /> <br /> 146<br /> <br /> <br /> <br /> and, after that, to surrender a great part of<br /> the residue to the publishers who ought to<br /> have no claim whatever upon them.<br /> <br /> Dealing with the first point, it should be<br /> stated that there are societies which collect<br /> royalties for composers, deducting a definite per-<br /> centage. From a business point of view this<br /> is no doubt the best method. These societies<br /> do not ask the compdsers to give away<br /> any portion of their royalties to other people.<br /> If a composer likes to give away a certain<br /> portion of his royalty to other people, that is<br /> quite a different thing, but that he should be<br /> bound to do so, seems an astonishing line for<br /> members of the musical profession to advocate.<br /> The composers are bound under the rules of<br /> the Copyright Protection Society by a clause<br /> in which the committee of that society demand<br /> the transfer to the society for the entire<br /> period of membership of the rights of repro-<br /> duction by mechanical instruments of all<br /> works which are or may be published by a<br /> member. This is apparently contradictory to<br /> article 5 already quoted, which states that<br /> such rights shall continue to be vested and<br /> exercisable by the company in the event of a<br /> member’s withdrawal or death. But it would<br /> appear that if a member has once vested his<br /> rights in the company he cannot withdraw them.<br /> <br /> There are other rules, by which the member<br /> is bound to notify the society of all works,<br /> which he writes—rules which compel him to a<br /> sterner slavery, rather than admit him to a<br /> _ freedom. When he has vested all<br /> <br /> is rights in the company, the committee<br /> are allowed to conduct and defend such<br /> legal proceedings as may be sanctioned by<br /> them. Now this is a very serious matter<br /> when it is considered that the general body<br /> of members have no control over the expen-<br /> diture. The committee can take or omit to<br /> take any action they like. They can take<br /> action where a member strongly objects to<br /> any action being taken; they may omit to<br /> take action where a member may strongly<br /> desire action to be taken. The unfortunate<br /> composer whose property is being dealt with,<br /> has no power of control one way or the other.<br /> The only limit to these expenses appears to be<br /> the total amount of royalties collected. It is<br /> possible, of course, under these Rules, that the<br /> members of the committee may be replaced,<br /> but the members of the first committee cannot<br /> be replaced until the general meeting in 1915,<br /> so that there is some time to run before the<br /> members can take any action whatever. And<br /> <br /> whatever they do, the general body cannot be<br /> freed from the tyranny of the rules.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> The second point refers to the division of the<br /> royalties with the publisher. Various reasons<br /> have been given for this division. The music<br /> publisher has claimed that by publishing the<br /> composer’s music, he makes the gramophone<br /> rights valuable. This may or may not be the<br /> case, but it is a matter for the composer to<br /> decide whether or not to give the publisher<br /> any of his rights. The point must not be<br /> settled arbitrarily by the company. As<br /> another reason, it has been stated that the<br /> production of pieces on mechanical instru-<br /> ments has reduced the sale of sheet music enor-<br /> mously. This may indeed be the case; and,<br /> in fact, it is possible that at no distant date<br /> the production by mechanical instruments will<br /> act as an advertisement for the sheet music<br /> rather than the sheet music for the production<br /> on the mechanical instruments. When the<br /> taxi-cab drove the unfortunate hansom off the<br /> streets, the driver of the hansom, however<br /> much he may be regretted, was allowed to die<br /> a natural death, and was not awarded a liberal<br /> pension by those who had _ patronised_ his<br /> vehicle. If the production of mechanical in-<br /> struments has reduced the sale of sheet music,<br /> this is no reason why the composer should be<br /> bound to pay part of his royalties as a pension<br /> to the publisher. The publisher must either<br /> readjust his business or suffer.<br /> <br /> The final point has already been mentioned<br /> when dealing with the first one, namely, that<br /> the composer, when he has once become a<br /> member of this society, and has yielded over<br /> his rights to the society, can never withdraw<br /> those rights again or obtain control of his own<br /> property. It is possible that there may be<br /> some explanation of the two contradictory<br /> clauses referred to, other than the one put for-<br /> ward, but this does not seem probable. No<br /> doubt, after a member has retired, future com-<br /> positions can be dealt with by other firms.<br /> <br /> It would seem, therefore, the best advice to<br /> give to composers is that they should with-<br /> draw from any society that collects their<br /> royalties on an indefinite charge, and that<br /> gives 80 per cent. of the royalties when<br /> collected to the publisher, and should join<br /> some society where, at any rate, they know<br /> that the deductions are limited to a certain<br /> <br /> ercentage. The Mechanical Copyrights<br /> <br /> icensing Company collects for composers on<br /> a 25 per cent. basis, subject to certain condi-<br /> tions; the Authors’ Society collects at 15 per<br /> cent. without any conditions at all except the<br /> payment of an annual subscription of one<br /> guinea, for which very full value is given in<br /> organising and defending the whole body of<br /> <br /> <br /> THE AUTHOR.<br /> <br /> composers’ interests, including those which are<br /> opposed to those of publishers. But even<br /> those composers who have an objection to the<br /> organisation of their own profession might at<br /> least employ a solicitor. A solicitor who gave<br /> 80 per cent. of his client’s royalties to a pub-<br /> lisher would get into serious trouble. Sensible<br /> <br /> composers, by joining the Society of Authors,<br /> get the services of a solicitor and a skilled and<br /> disinterested agent at one stroke.<br /> <br /> ——_—_+-—&lt;—_ 2 —_____—__<br /> <br /> AUTHOR’S CORRECTIONS.<br /> <br /> —— +<br /> <br /> S the question of the charges for correc-<br /> A tions is constantly recurring, and as<br /> the matter is of considerable importance<br /> to all authors, the difficulties connected with<br /> this subject must once again be put before<br /> the members of the Society. In the first<br /> instance sundry clauses collected from<br /> different publishers’ agreements bearing on<br /> the question of corrections are printed below<br /> for consideration. Clauses on the lines of the<br /> following appear in nearly every agreement ;<br /> they are taken at random as examples.<br /> <br /> 1. ‘The said author to correct proof sheets with all<br /> reasonable despatch, and if any alterations or additions<br /> to proofs are made beyond the usual corrections of printer’s<br /> errors he is to pay for such extra work.”<br /> <br /> 2. “The cost of correction of other than the printer’s<br /> errors in the proofs of the said work exceeding 10s. per<br /> sheet of thirty-two pages is to be borne by the said author,<br /> and the amount thereof shall be payable to the publishers<br /> by the said author within one month after the publication<br /> of the book.”<br /> <br /> 3. ‘‘ All alterations in proof sheets made by the author<br /> while the book is passing through the press, the cost of<br /> which shall exceed 16s. per sheet of sixteen pages, shall be<br /> at the expense of the author.”<br /> <br /> 4. ‘That the author shall not be liable for expenses of<br /> author’s proof corrections (exclusive of the correction of<br /> printer’s errors) up to the amount of £5, equivalent to<br /> 100 hours of work, but that should such charges exceed<br /> this amount, the author shall be debited with the excess.”<br /> <br /> The first two are exceedingly dangerous to<br /> the author. In the first clause the author is<br /> bound to pay for all extra work. This is<br /> unfair, for, as will be pointed out later,<br /> some printer’s errors must under the most<br /> favourable circumstances be included in<br /> author’s corrections. In the second clause<br /> the author is allowed 10s. per sheet of thirty-<br /> two pages (this is a low allowance) and is<br /> bound to pay the amount within a month<br /> from the publication of the book. This is not<br /> customary; in a fair contract the amount (if<br /> any) is deducted from the returns. In the third<br /> ‘clause the amount the author has to pay is<br /> <br /> 147<br /> <br /> anything in excess of 16s. per sheet of sixteen<br /> pages. This clause would be a favourable one<br /> for the author if printer’s errors had not been<br /> included. In the fourth clause he is bound to<br /> pay anything over £5, which is equivalent to<br /> one hundred hours’ work; this may be a low<br /> allowance.<br /> <br /> The charge the author has to bear in agree-<br /> ments from the best publishing houses varies<br /> from anything over 7s. 6d. to about 12s. per<br /> sheet of sixteen pages. Let us consider for<br /> a moment what this means.<br /> <br /> The ordinary 6s. book runs to about 320<br /> pages, generally rather over that amount.<br /> This would be twenty sheets of sixteen pages,<br /> and if the author was allowed 7s. 6d. per sheet,<br /> he would be therefore allowed for corrections<br /> an amount of £7 10s., for which he would not<br /> have to pay. It will be seen therefore, that<br /> the amount put forward in the above clauses,<br /> with the exception of clause three would be<br /> exceedingly small ; and in clause four, whether<br /> the amount was reasonable, would of course<br /> depend on the size of the book. In any case,<br /> where a fixed allowance is made, care should<br /> be taken that the amount is reasonable as<br /> compared with the cost of composition. If<br /> the author exceeds the sum of £7 10s., say he<br /> has to pay £10 himself, this would mean there<br /> would be £17 10s. of corrections, or in other<br /> words, would mean 350 hours’ work, or the<br /> work of a man for thirty-five days at the rate<br /> of ten hours a day, reckoned at 1s. per hour,<br /> the ordinary charge. This will give some idea<br /> of the absurdities of some charges made under<br /> the cover of corrections.<br /> <br /> In the draft agreements issued by the<br /> Publishers’ Association we find the following<br /> clause :—<br /> <br /> “The author agrees that if costs of corrections and<br /> alterations in the proof sheets exceed 25 per cent. of the<br /> cost of composition it shall be deducted from the royalties<br /> payable to him.”<br /> <br /> The cost of composition of the ordinary<br /> 6s. book varies between £20 and £80.<br /> Here allowance for the corrections free to<br /> the author is very small, especially as the<br /> clause makes no statement whatever with<br /> regard to printer’s errors. It is a clause to<br /> be avoided therefore. There is one point,<br /> however, on which the clause is reasonable,<br /> namely, that the amount should be deducted<br /> from the royalties and in most publishers’<br /> agreements where it is not expressly stated<br /> this course is generally adopted. There is<br /> one publisher who offers the author 10 per<br /> cent. of the cost of composition, or about<br /> £2 for corrections on the composition of an<br /> <br /> <br /> 148<br /> <br /> ordinary length /novel.{ Special mention is<br /> made of this as the firm is one of the best known<br /> in London. The only redeeming point in the<br /> case is that he does not often’insist on any<br /> charge; but it is not fair that the author<br /> should be dependent on the _ publisher’s<br /> generosity. oe<br /> <br /> The next point for consideration is how the<br /> author’s corrections are to be distinguished<br /> from printer’s errors. Printers will tell you<br /> that the proofs are read over before they are<br /> forwarded to the author, and the author,<br /> therefore, has a clean sheet. Any corrections<br /> made on the clean sheets are author&#039;s cor-<br /> rections. If the author finds many printer’s<br /> errors still in the proofs he should return them<br /> for a clean sheet before he makes any cor-<br /> rections of his own (this may be sometimes<br /> necessary if the author comes across proofs<br /> so corrupt that they have evidently been<br /> in the hands of a young compositor). This<br /> would be an admirable way of ascertaining<br /> the difference if the printer’s reader was<br /> infallible, but not only is such a_ position<br /> impossible, but this further difficulty must<br /> be taken into consideration, that the printer<br /> may make mistakes unnoticeable by the<br /> reader but very clear to the author, and every<br /> author who has been accustomed to read<br /> proofs will know that, as a matter of fact, he<br /> never receives a proof clear of printer’s errors.<br /> He has however, on the printer’s own confes-<br /> sion, to be responsible to the publisher for<br /> more than his own corrections—in the result<br /> this position, however unfair, is almost<br /> unavoidable. An honourable house will, how-<br /> ever, act fairly, but a dishonest publisher not<br /> infrequently takes advantage.<br /> <br /> In case of a dispute is it possible to determine<br /> what are printer’s errors and what are author’s<br /> corrections, and how much time is expended<br /> on one and how much on the other? It is<br /> almost impossible. The author should keep<br /> duplicate proofs and should make his correc-<br /> <br /> - tions. on both, and in both cases should make<br /> the corrections of printer’s errors in different<br /> coloured ink from his own corrections. This<br /> would be the most secure way of ascertaining<br /> the facts of the case correctly. Is all this<br /> trouble worth while ? The following statement<br /> will show the contrary, even if any author<br /> would undertake this pedantic accuracy.<br /> The time necessary for alterations when picked<br /> out by this method is only approximately<br /> ascertainable and tends to make the sugges-<br /> tion valueless. Even when the author has<br /> — the corrections distinct, the fresh difficulty<br /> will arise in determining the time expended on<br /> <br /> THE AUTHOR.<br /> <br /> the re-composition for the correction of<br /> printer’s errors as apart from those of the<br /> author, and if the matter has to be settled<br /> before a judge as the final arbiter expert<br /> evidence can only prevent an_ exorbitant<br /> overcharge, but no expert can reduce the<br /> question to the accuracy of a mathematical<br /> problem. If, then, the printer or publisher<br /> intends to be dishonest to the extent of £5<br /> or so, no power on earth can prove the<br /> dishonesty. On some publishers’ accounts<br /> these few uncheckable pounds are always in<br /> evidence. The safest way, therefore, is to<br /> send in a clean typescript in the first instance<br /> and to know exactly how to correct at the least<br /> cost. The author should be careful to make<br /> such alterations and to such an extent that<br /> the lines should not overrun and necessitate<br /> the carrying forward of the whole type.<br /> Sometimes an exceedingly small correction,<br /> from the author’s point of view, will be an<br /> exceedingly large one from the printer’s.<br /> <br /> The cost of corrections is vouched for by the<br /> printer’s time-sheet showing so much time<br /> spent by the compositor, whose time is<br /> reckoned at 1s. per hour. As a matter of<br /> fact he is not always paid so much, but<br /> it is one of the many plans by which the<br /> printers put a little into their own pockets.<br /> The publisher is bound to produce proper -<br /> vouchers from the printers if called upon to<br /> do so.<br /> <br /> One other point should be mentioned, and<br /> that is the question of corrections in the<br /> American cost of production. It is much<br /> more difficult to settle any disputes with<br /> American publishers than it is with a publisher<br /> in England owing to the distance, and the fact<br /> that if the matter is taken finally into the<br /> courts it is hardly worth while to bring an<br /> action in America unless the amount involved<br /> is very large or the principle very important.<br /> Authors, however, should be much more<br /> particular in dealing in America as to the<br /> position of the publishers and as to the form<br /> of correction clauses, and should be careful<br /> to deal with those houses only of an established<br /> reputation. This further point must also be<br /> noted ; the cost of labour in America is higher<br /> than the cost of labour in England, and there-<br /> fore the cost of corrections is proportionately<br /> greater.<br /> <br /> Finally, it has been suggested that the<br /> author should not in any case be liable to pay<br /> for corrections above a certain fixed amount.<br /> But such an arrangement, it is feared, would<br /> never be agreed to by the publisher, and would<br /> hardly be fair, as the author might involve<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> the publisher in an enormous expense and the<br /> publisher would have no possibility of obtaining<br /> any redress. As the fault of many corrections<br /> must lie with the author it is only fair that the<br /> author should pay a reasonable proportion.<br /> What such reasonable proportion is will adjust<br /> itself by the conditions of the trade when at<br /> last the full details of cost are known to both<br /> author and publisher.<br /> <br /> “THE LITERARY YEAR-BOOK.” *<br /> <br /> —_+—&lt;— + ——<br /> <br /> d.<br /> <br /> HE 1914 issue of ‘‘The Literary Year-<br /> Book” is now to hand. _ This is its<br /> eighteenth annual issue, and the book<br /> <br /> like all good year-books, has been growing<br /> in usefulness and handiness during those<br /> eighteen years.<br /> <br /> In another column of The Author is a review<br /> of the general features of the book. I desire<br /> <br /> only to deal with the Law and Letters.<br /> It is a small portion of the book, about<br /> forty pages out of a total of 650 and more, but<br /> <br /> in some points it is the most important section<br /> of the whole book.<br /> <br /> These forty pages are divided into (1) The<br /> Law of Copyright, which is sub-divided into<br /> Imperial Copyright; Colonial Copyright ;<br /> International Copyright; (2) Author, Pub-<br /> lisher and Agent; (3) Memorandum of<br /> Agreement.<br /> <br /> The Imperial Copyright gives in a short<br /> space a rough outline of the present law,<br /> and quotes the judgments under the new Act<br /> which have been declared during the past<br /> year. It makes special mention of the clauses<br /> in the Bankruptcy Act of 1913 and states as<br /> follows: ‘‘ Owing to the decision in the case of<br /> In re Grant Richards, Ex parteW arwick Deeping,<br /> an author parting with his copyright to a<br /> <br /> ublisher who had the misfortune to become<br /> <br /> ankrupt, might to his dismay find the<br /> trustee in bankruptcy of the publisher within<br /> his legal rights in publishing the author’s<br /> work for the benefit of the creditors without<br /> paying him any royalty, or selling the copy-<br /> right without attaching any condition as to<br /> <br /> <br /> <br /> * “The Literary Year-Book, Authors’ Who’s Who and<br /> Illustrators’ Directory,’ Vol. XVIII. London, Heath,<br /> Cranton and Ousley, 1914.<br /> <br /> 149<br /> <br /> the payment of royalties to the author.”<br /> This was a very serious position, and the<br /> Authors’ Society may be justly proud of<br /> having been instrumental in amending the law<br /> by the insertion of section 15 into this years<br /> <br /> Bankruptcy Act. The clause is quoted at<br /> length.<br /> <br /> The explanation of the law under the Act<br /> of 1911 must of necessity be very curtailed,<br /> but setting this point aside, it is creditably<br /> and carefully done.<br /> <br /> The case of Corelli v. Gray is quoted, and an<br /> important statement of the judge on the new<br /> Act as dealing with that case.<br /> <br /> It is difficult to deal with Colonial Copyright<br /> in the space of a little more than two pages.<br /> The Australian Law of 1912 is explained in<br /> half a page. With regard to the Canadian Law,<br /> which is dealt with in a page and a half, it is.<br /> impossible to be satisfied, but as most probably<br /> the new Canadian Act will be passed in 1914,<br /> it is as well not to lay too heavy a stress on the<br /> present difficult position of copyright property<br /> in Canada. The countries which have been<br /> covered by Orders in Council under the. new<br /> Act are fully set forth and form a very useful<br /> reference for those who desire to know how<br /> far the copyright of a British author ex-<br /> tends.<br /> <br /> The next section on Author, Publisher and<br /> Agent, has an important note at the beginning:<br /> in black clarendon, drawing attention to a<br /> note at the end of the article. To this note<br /> attention should be drawn. The editor states.<br /> ‘It is the object of ‘The Literary Year-Book ’”<br /> to deal with facts as they are. The Authors’<br /> Society is at hand to try and often to succeed<br /> in moulding facts, as perhaps they ought to be.”<br /> Though not entirely agreeing with this state-<br /> ment, the articles which deal with the con-<br /> tracting parties and the terms of their con-<br /> tracts are written carefully and by one who<br /> has considerable knowledge of the intricacies<br /> of marketing literary property. :<br /> <br /> The writer of the articles deals with the<br /> agency clause, but surely in the first line he<br /> should not have stated, ‘‘ The author should be<br /> warned against a clause sometimes intro-<br /> duced into agents’ agreements.” The diffi-<br /> culty of the agency clause lies in its introduc-<br /> tion into the agreement between the author<br /> and the publisher, not into the agent’s agree-<br /> ment, where it is often counteracted by other<br /> clauses. Agents are springing up all round.<br /> There is no standard of knowledge, no standard<br /> of education, and no standard of financia<br /> honesty necessary in order to become a literary<br /> agent. Any person who has placed an articlein,<br /> <br /> <br /> 150 _ “THE AUTHOR.<br /> <br /> a magazine or seen one agreement between an<br /> author and a publisher, thinks he knows<br /> sufficient to take up the work, and the author<br /> suffers accordingly. To many authors a good<br /> literary agent is a necessity ; to no author is<br /> a bad literary agent of any good. It is<br /> essential, therefore, that a note of warning<br /> should be given. The note in the present<br /> instance is hardly strong enough.<br /> <br /> There is no space to criticise the proposed<br /> forms of publication in detail, but, the criticisms<br /> on the whole, are fair. The writer, referring<br /> to the account clause, by which the publisher<br /> renders annual accounts made up to a certain<br /> date and delivered three months afterwards,<br /> states, ‘‘It is better that these accounts<br /> should be rendered semi-annually, but we<br /> print the clause in the form in which it is<br /> commonly found.” This statement we cannot<br /> support. The great majority of publishers<br /> consent now to give semi-annual accounts<br /> and many of the old-fashioned houses that<br /> have annual renderings, consent during the<br /> first two or three years from the _publi-<br /> cation to give approximate semi-annual state-<br /> ments. Though the annual account clause is<br /> bad, that a publisher should make up his<br /> accounts annually and render and pay them six<br /> months after they are made up is much worse<br /> and must never be tolerated. Some publishers<br /> have lost quite good business owing to this<br /> grievous delay.<br /> <br /> The question of prices is dealt with cursorily.<br /> It is almost impossible to give any advice on<br /> this point without an accurate knowledge of<br /> each particular case. Some publishers or editors<br /> will offer figures which would disgrace a sweat-<br /> ing East-end tailor. When it comes to the ques-<br /> tion of figures, as the editor wisely remarks,<br /> it is as well to invoke the opinion of a literary<br /> agent. I think it might be better still to<br /> invoke the opinion of the Society of Authors.<br /> <br /> There is little further to be said about the<br /> forms of agreement, but one or two remarks<br /> might be made. The writer advises never to<br /> hand over the copyright, but to alter this to<br /> “the exclusive right of printing.” The writer<br /> should have gone further and should have<br /> advised the alteration to an exclusive licence<br /> to print and publish in book form, in the<br /> English language. Sometimes it is even<br /> necessary to limit to book form, in the English<br /> language, at a certain price, or again, to a<br /> certain number of copies, or again to a form<br /> to be mutually agreed between the author and<br /> the publisher. But in any event, the publisher<br /> should only have the right of producing the<br /> work in book form in the English language.<br /> <br /> He is not there as the agent of the author to<br /> sell the translation rights, and serial rights,<br /> and many of the minor rights. To give this<br /> larger power is a fatal error.<br /> <br /> II.<br /> <br /> ALTOGETHER “‘ The Literary Year-Book for<br /> 1914’? contains more information, and that<br /> information dealing with a wider field, than<br /> has been given in previous issues. That a<br /> very great deal of interest to authors is col-<br /> lected in the Year-Book is undeniable, but<br /> we are not in a position to bestow upon it<br /> whole-hearted approval. Parts are undeniably<br /> very well done. The public library re-<br /> turns which have been included in the Year-<br /> Book for some years past are this year omitted,<br /> and we think with good reason. Full par-<br /> ticulars still remain respecting libraries likely<br /> to be used by authors for purposes of research.<br /> Certain changes have been made in the list<br /> of periodical publications. Periodicals which<br /> gave no information beyond an address are<br /> now omitted. This also appears to us to<br /> be fully justified; and we may add that the<br /> arrangement of the information in the<br /> ‘Contributors’ Index to Periodicals” and<br /> the hints to contributors are excellent. An<br /> entirely new feature is a section dealing<br /> with photo-playwriting, with an introductory<br /> article on ‘‘ How to Write Photo-plays,” by<br /> Mr. E. A. Dench, and a list of firms which<br /> purchase photo-plays, with notes of their<br /> requirements. Many writers will welcome<br /> this addition, though whether anyone desiring<br /> to write photo-plays will derive much real<br /> assistance from the article devoted to the<br /> subject is a question on which we will not<br /> venture to express an opinion. The Supple-<br /> ment contains a ‘‘ Tabulated List of the<br /> Books contained in Eighty-six different Series<br /> of Cheap Reprints.” So far as it goes this<br /> catalogue is certainly useful; but it must<br /> be understood that a very large number of<br /> reprinted cheap books are not to be found in<br /> <br /> it. Other quite familiar features of the<br /> <br /> Year-Book remain in forms in which they are<br /> already well known, and will require no<br /> mention.<br /> <br /> rf<br /> }<br /> |<br /> <br /> 4<br /> <br /> en ee ee<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> THE ENGLISHWOMAN’S YEAR-BOOK AND<br /> DIRECTORY, 1914.*<br /> <br /> ee<br /> <br /> - HE Englishwoman’s Year-Book and<br /> Directory” again presents the familiar<br /> mass of valuable information, care-<br /> <br /> fully brought up to date, which has made<br /> it indispensable to all women taking any part<br /> in public or social life; but not without<br /> new additions that are certain to be welcomed.<br /> An entirely new feature is a table of ‘‘ Records<br /> for Women,” showing how “ all along the line,<br /> women are breaking new ground in the pro-<br /> fessions previously supposed to be man’s<br /> exclusive privilege.” Another most valuable<br /> new article is that on “‘ Health Centres and<br /> School Clinics.” We are particularly pleased<br /> with the chapter devoted to literature, and<br /> have seldom seen anywhere better advice than<br /> is given at its commencement under the<br /> heading of ‘‘The Author.”” The book naturally<br /> contains, under other headings, subjects of<br /> which we cannot pretend to judge; but we<br /> may say that, if here also the information and<br /> advice is as excellent as that given respecting<br /> literature, the work may claim to be ideal.<br /> Divided into two parts, educational, profes-<br /> sional and social life; and philanthropic and<br /> social work, the volume deals in turn with all<br /> the activities of women ; whilst its information<br /> is so admirably digested as to make reference<br /> extraordinarily easy.<br /> <br /> tot<br /> <br /> FREE-LANCING.+<br /> <br /> 9<br /> <br /> HERE is an insidious, romantic flavour<br /> about the word ‘“ free-lance,’ which is<br /> calculated to attraet the young author<br /> <br /> whom Mr. Percy Vere avowedly writes to help<br /> and encourage (see the cover of this book).<br /> How fast the romance fades is known to nearly<br /> all who set themselves to the task of free-<br /> lancing for a living. Some lucky few there no<br /> doubt are whose talents are of such a kind<br /> that they soon succeed in making a competence<br /> by their hireling profession. But of the rest<br /> it is sad even to think. The writer who<br /> <br /> <br /> <br /> * “The Englishwoman’s Year-Book and Directory,<br /> 1914.” Thirty-third year of Issue. London: Adam and<br /> Charles Black.<br /> <br /> + ‘The Confessions of a Literary Free-Lance,” by Percy<br /> Vere. Edinburgh: Wm. Nimmo &amp; Co, 1s. 6d. net.<br /> <br /> 151<br /> <br /> disguises himself under the cheerful pseudonym<br /> now before our eyes would be doing an ill turn<br /> to the “ earnest literary aspirants ’’ to whom<br /> he dedicates his work, were it not that he<br /> admits from the start that his livelihood never<br /> depended on his writings. He was in an office<br /> from the age of fourteen and a half, and his<br /> salary rose steadily ever afterwards. Writing<br /> for the magazines was a pastime, a hobby, to<br /> him. The phrase “born in the purple of<br /> commerce ”’ flashes across our mind, and we<br /> wonder what right he has to~call himself a<br /> literary free-lance. When he turned his office<br /> experiences into magazine articles, he was<br /> perhaps a bit of a condottiere—but surely only<br /> inanamateurish way. How grateful he should<br /> be to his desk !<br /> <br /> Having made this protest, we may admit<br /> readily that Mr. Percy Vere is both entertaining<br /> and instructive in his account of how by<br /> ‘“‘ pereyverance’’’ he earned the privilege of<br /> describing himself as contributor to the Strand<br /> Magazine, Royal Magazine, Chambers’s Journal,<br /> etc., etc., and that his hints on the writing of<br /> short stories and articles have their value for<br /> those who yearn to give the public what it<br /> wants. Let the yearners, however, keep their<br /> <br /> feet all the time, like their monitors, under the<br /> desk.<br /> <br /> ————_o_xca—_——_<br /> <br /> CORRESPONDENCE.<br /> <br /> +<br /> <br /> A PROTEST.<br /> <br /> Dear Sir,—A book ealled “ Children’s<br /> Stories from English History,”’ purporting to<br /> be by E. Nesbit and Doris Ashley, has been<br /> sent out for review by Messrs. Raphael Tuck<br /> &amp; Sons, and has been reviewed as a new book.<br /> Now I do not know Miss Ashley, and have never<br /> collaborated with her. Those stories, in this<br /> book, which are mine, are very early, immature<br /> stuff, written between twenty and thirty years<br /> ago, and at.that time, unfortunately, sold by<br /> me to Messrs. Raphael Tuck &amp; Sons.<br /> <br /> Authors who part with their copyrights have<br /> to endure the mortification of being unable to<br /> suppress early and unworthy work—and I do<br /> not resent Messrs. Tuck’s continuing to sell<br /> this stuff. It is theirs, and they have a right<br /> to sell it. And it serves me right, for parting<br /> with the copyright. But I think I have just<br /> cause to resent the publication of this early<br /> work—or any other work—in a form which<br /> makes two authors who are strangers to each<br /> other appear to have written a book in col-<br />  <br /> <br /> 152<br /> <br /> laboration. Further, it seems to me that the<br /> publication of old stuff, again and again, year<br /> after year, without any announcement or<br /> admission that the work is old, is an outrage<br /> to the press, the public, and the author. That<br /> such work is sent out in a form which offers no<br /> hint of its being a reprint is proved by the<br /> reviews which treat it as new.<br /> Yours faithfully,<br /> E. Nespir BLAnp.<br /> <br /> ta —<br /> <br /> THE WANDERING JEW.<br /> <br /> Str,—In order to forestall one of those<br /> misunderstandings as to priority of theme and<br /> treatment which so frequently arise between<br /> authors, I should like to say that I have<br /> written a play which, like that announced by<br /> Mr. Temple Thurston, deals with the legend<br /> of the Wandering Jew. This play of mine has<br /> been published in Germany some time ago,<br /> and as it is shortly to be translated by Heiman<br /> Scheffauer, I think it expedient to make this<br /> preliminary announcement.<br /> <br /> G. SIL-VARA,<br /> Literary Correspondent of the<br /> ** Neue Freie Presse,’’ Vienna.<br /> 11, Chester Place,<br /> Regents Park, N.W.<br /> <br /> —_—+—<br /> <br /> ** ONLY.”<br /> <br /> Srtr,—Whilst expressing entire agreement<br /> with Mr. Edward Clodd’s protest against the<br /> all too frequent misplacement of “only,” I<br /> should like to point out in reply to Mr. Louis<br /> Zangwill that his contention applies to col-<br /> loquial rather than to literary language, and<br /> that, in the conversational instance he gives,<br /> the “only” can be correctly placed, and at<br /> the same time fulfil his condition of its coming<br /> out at once and making a pretest, by saying,<br /> “Only Saturday I bought it,” or ‘* T&#039;was<br /> ‘only on Saturday I bought it.”’<br /> <br /> Surely much may be forgiven in the spoken<br /> ‘word which is unpardonable in the written.<br /> <br /> In such discussions as the present, it is<br /> always well to see what the Oxford Dictionary<br /> has to say. This is how it judicially sums up<br /> the matter: ‘‘ Only was formerly often placed<br /> -away from the word or words which it limited ;<br /> this is still frequent in speech where stress and<br /> ‘pauses prevent ambiguity, but is now avoided<br /> <br /> THE AUTHOR.<br /> <br /> by perspicuous writers.” Of such placing<br /> the earliest example given is from Caxton,<br /> and is dated 1483.<br /> <br /> With all due respect, the antithesis of living<br /> language and dead formalism with which<br /> Mr. Zangwill concludes his letter is both vague<br /> and irrelevant.<br /> <br /> Yours faithfully,<br /> T. Francis Howe...<br /> <br /> — 1 —<br /> <br /> On Some EpitroriaAL EcCcENTRICITIES.<br /> <br /> Srr,—I am a somewhat elderly person, who<br /> is perhaps approaching his dotage, and one of<br /> my habits (I hope a harmless one) is to spend a<br /> certain amount of my leisure time in writing to<br /> the newspapers. As a rule my letters are<br /> inserted, but the joy that I naturally feel on<br /> such oceasions is frequently diminished by the<br /> fact that the editor has broken up my letter<br /> into paragraphs on an_ irritating system,<br /> entirely of his own devising. The rule, I<br /> understand, is that a new paragraph indicates<br /> a new subject, and this rule I carefully observe<br /> myself in writing, but there are editors who<br /> appear never even to have heard of it, and<br /> their idea of breaking up a letter is to begin a<br /> new paragraph where a break looks well.<br /> Thus, the other day, I wrote a letter of thirty-<br /> six lines to a well-known daily paper, and began<br /> a new paragraph at the twenty-eighth line ;<br /> when the letter was printed the only para-<br /> graph began at the twenty-fourth line. Surely<br /> the person who writes the letter is the best<br /> judge of its form; he, if he is a fairly com-<br /> petent writer, studies the rhythm, and, if I may<br /> so phrase it, the build of his letter, far more<br /> carefully than any editor is likely to have time<br /> to do.<br /> <br /> Another objectionable practice of editors is<br /> to insert a letter, signed perhaps with the<br /> writer’s proper name, with two or three lines of<br /> matter excised at the end or elsewhere. A<br /> curious tale has been told me of an editor who<br /> cut out all the vital part of a writer’s argument,<br /> so that another correspondent with a well-<br /> known name might triumph over him next<br /> day. All this appears to me to prove that<br /> discussion is not so free as it might be, even in<br /> first-class newspapers, and that the editor, by<br /> tampering with letters or suppressing them,<br /> may give the victory in a discussion to anyone<br /> he likes.<br /> <br /> I am, Sir,<br /> Yours truly,<br /> SENEX.	https://historysoa.com/files/original/5/536/1914-02-02-The-Author-24-5.pdf	publications, The Author
537	https://historysoa.com/items/show/537	The Author, Vol. 24 Issue 06 (March 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+06+%28March+1914%29"><em>The Author</em>, Vol. 24 Issue 06 (March 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-03-02-The-Author-24-6					153–180																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-03-02">1914-03-02</a>							6			19140302	Che Muthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> Vou. XXIV.—No. 6.<br /> <br /> <br /> <br /> Marcu 2, 1914.<br /> <br /> [PrIcE SIXPENCE.<br /> <br /> <br /> <br /> TELEPHONE NUMBER: the standpoint of art or business, but on no<br /> <br /> other subjects whatever. Every effort will be<br /> e74 VICTORIA. made to return articles which cannot be<br /> TELEGRAPHIC ADDRESS: accepted.<br /> <br /> AUTORIDAD, LONDON.<br /> <br /> ADVERTISEMENTS.<br /> <br /> t, 1G<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> <br /> NOTICES. Staple Inn Buildings, High aikorn: W.C.,<br /> <br /> 1 will act as agents for advertisements for<br /> <br /> OR the opinions expressed in papers that “ The Author.” All communications respect-<br /> <br /> K are signed or initialled the authors alone 18 advertisements should be addressed to<br /> are responsible. None of the papers or them.<br /> <br /> paragraphs must be taken as expressing the As there seems to be an impression among<br /> <br /> opinion of the Committee unless such is readers of The Author that the Committee are<br /> <br /> especially stated to be the case. personally responsible for the bona fides of the<br /> <br /> advertisers, the Committee desire it to be stated<br /> <br /> that this is not, and could not possibly be, the<br /> <br /> Tue Editor begs to inform members of the CS¢- | Although care is exercised that no<br /> Authors’ Society and other readers of The undesirable advertisements be inserted, they<br /> Author that the cases which are quoted in The do not accept, and never have accepted, any<br /> Author are cases that have come before the liability.<br /> notice or to the knowledge of the Secretary of Members should apply to the Secretary for<br /> the Society, and that those members of the advice if special information is desired.<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on ee oe<br /> <br /> application. THE SOCIETY’S FUNDS.<br /> <br /> —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS. ROM time to time members of the Society<br /> <br /> Tue Editor of The Author begs to remind desire to make donations to its funds in<br /> members of the Society that, although the recognition of work that has been done<br /> paper is sent to them free of cost, its production for them. The Committee, acting on the<br /> would be a very heavy charge on the resources suggestion of one of these members, have<br /> of the Society if a great many members did not decided to place this permanent paragraph in<br /> forward to the Secretary the modest 5s. 6d. he Author in order that members may be<br /> subscription for the year. cognisant of those funds to which these con-<br /> <br /> Communications for The Author should be tributions may be paid. ;<br /> addressed to the offices of the Society, 1, Cen- The funds suitable for this purpose are:<br /> tral Buildings, Tothill Street, Westminster, (1) The Capital Fund. This fund is kept in<br /> <br /> _ §.W., and should reach the Editor not later reserve in case it is necessary for the Society to<br /> than the 21st of each month. incur heavy expenditure, either in fighting a<br /> <br /> Communications and letters are invited by question of principle, or in assisting to obtain<br /> <br /> the Editor on all literary matters treated from copyright reform, or in dealing with any other<br /> Vou. XXIV,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 154<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> THE PENSION FUND.<br /> <br /> —<br /> <br /> N January, 1914, the secretary of the<br /> Society laid before the trustees of the<br /> Pension Fund the accounts for the year<br /> <br /> 1913, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> have given notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> fos<br /> <br /> : d<br /> 500<br /> <br /> Local Loans... .25-sen pecs esses 0 0<br /> Victoria Government 3% Consoli-<br /> dated Inscribed Stock ............<br /> London and North Western 3%<br /> Debenture Stock ..................<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates.............<br /> Cape of Good Hope 34% Inscribed<br /> Stock<br /> Glasgow and South-Western Rail-<br /> way 4% Preference Stock ......<br /> ‘New Zealand 34% Stock ......... i<br /> Trish Land 22% Guaranteed Stock<br /> Corporation of London 23%<br /> Stock, 1927—57 ............eceees ;<br /> Jamaica 34% Stock, 1919-—49 ...<br /> Mauritius 4% 1937 Stock ..........<br /> Dominion of Canada, C.P.R. 33%<br /> Land Grant Stock, 19388 .........<br /> Antofagasta and Bolivian Railway<br /> 5% Preferred Stock ...............<br /> Central Argentine Railway Or-<br /> dinary Stock 5 2..0....-sc).ieseicisse<br /> <br /> 291 19 11<br /> 250 0 0<br /> 200 0<br /> 200<br /> 228<br /> 247<br /> 258<br /> 438<br /> 1382<br /> 120<br /> 198<br /> 237<br /> <br /> 232<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> £ 8. a.<br /> <br /> $2.000 Consolidated Gas and<br /> <br /> Electric Company of Baltimore<br /> 44% Gold Bonds<br /> <br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shar es<br /> <br /> 55 Buenos Ayres Great Southern<br /> <br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) .-......4..22..<br /> <br /> 3 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue...<br /> <br /> Great Eastern Railway Ordinary<br /> <br /> Stock 20.0<br /> <br /> 409<br /> <br /> 250<br /> <br /> PENSION FUND.<br /> <br /> —+—~&lt; ——<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1913.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it. :<br /> <br /> Subscriptions.<br /> 1913.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. ; : ;<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. . :<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert .<br /> Dec. 4, Lunn, Arnold . :<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry, Miss Ana :<br /> Dec. 4, Vallois, Miss Grace .<br /> Dec. 17, Beresford, J.D. .<br /> Dec. 29, Inge, Charles . ‘<br /> Dec. 29, Cross, Miss May .<br /> Dec. 29, Hardy, Thomas, O.M.<br /> <br /> oe<br /> <br /> ns<br /> S Or or Or<br /> <br /> _<br /> <br /> ee<br /> Nocounnranaod oo Or Or Or Ot OU Or<br /> <br /> weecococooomoocoosocoorsocsom<br /> Secoacocooo op eseoesoooOoSoSO So Om<br /> <br /> <br /> THE AUTHOR.<br /> <br /> 2<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M. ‘<br /> Jan. 26, Sarawak, The Rance of<br /> <br /> Feb. 20, Eden Guy : : :<br /> Feb. 21, Mayne, Miss Ethel Col-<br /> <br /> boura . : :<br /> Feb. 21. K. ‘ e<br /> <br /> coooocow<br /> <br /> ee 9<br /> <br /> 1913. Donations. COMMITTEE NOTES.<br /> <br /> —— +<br /> <br /> BSc February meeting of the Committee<br /> of Management was held at the offices<br /> of the Society, No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W. After the<br /> minutes of the former meeting had been read<br /> and signed, twenty-five new members and<br /> associates were elected. The Committee are<br /> pleased to see that the elections are well<br /> maintained. This gives an election of over<br /> one a day for the first two months of the year.<br /> The total number at present elected being sixty-<br /> nine. Five resignations were laid before the<br /> committee and these were accepted with<br /> Dec. 20, Edwards, Percy J. . regret. The committee then considered the<br /> Dec. 21, Keating, J. Lloyd numerous cases before the Society, the solicitor,<br /> 1914. in the first instance, making his report. In<br /> Jan. 3, Church, Sir Arthur three small cases against papers he was able<br /> Jan.5, Anon. : to report that the money had been recovered.<br /> Jan. 5, Joseph, L. 5 In a ease of dispute on accounts, which has<br /> Jan. 5, Swan, Miss Myr been running on for some time, the solicitor<br /> Jan. 5, Vernede, R. E. ; ‘ reported that the matter had been settled as<br /> Jan. 6, De Crespigny, Mrs. Champion the member had decided to sell the balance<br /> Jan. 6, Rankin, Miss F. M. . . of his interest in the work fora sum down. In<br /> Jan. 7, Sneyd-Kynnesley, E. M. a small claim against a magazine, the solicitor<br /> Jan. 7, Lathbury, Miss Eva . reported that as no notice had been taken of<br /> Jan. 7, Toplis, Miss Grace his first application for money, a summons had<br /> Jan. 8, Palmer, G. Molyneaux been issued. There were two disputes with<br /> Jan. 9, Mackenzie, Miss J. . a certain publisher. In the first, proceedings<br /> Jan. 10, Daniell, Mrs. E. H. . had to be taken but the matter had been<br /> Jan. 12, Avery, Harold : satisfactorily closed. In the second, the<br /> Jan. 12, Douglas, Mrs. F. A. publisher had been to see the solicitor and<br /> Jan. 15, Pullein, Miss Catherine he hoped that the negotiations would result<br /> Jan. 15, Thomas, Mrs. Fanny in a settlement.<br /> Jan. 16, James, Mrs. Romane In a complicated dispute between agent and<br /> Jan. 19, P. H. and M. K. author it was decided not to take the matter<br /> Jan. 19, Greenstreet, W. J. . any further. The committee instructed the<br /> Jan. 19, Gibbs, F. Leonard A. solicitor to write to the complainant setting<br /> Jan. 23, Campbell, Mrs. L. A. R. . out the reasons why the committee had come<br /> Jan. 28, Cameron, Mrs. Charlotte, to this decision. ;<br /> F.RGS. . ; It was brought to the notice of the committee<br /> Jan. 28, Blunt, Reginald that authors and playwrights had been placed<br /> Jan. 24, Raphael, Mrs. Mary. in a very serious position owing to the use<br /> Jan. 25, Plouman, Miss Mary by various film manufacturers of titles which<br /> Jan. 80, Gibson, Miss L. S. . had been used by the authors in respect of their<br /> Feb. 5, Brooker, Lt.-Col. E. P. books or plays. From the evidence before<br /> Feb. 6, Buchrose, J. E. ‘ them the committee, fecling that the matter<br /> Feb. 7, Smith, Herbert W. . was of high importance, decided to take up a<br /> <br /> Oct. 7, Darwin, Sir Francis . :<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold . ;<br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 3, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce ;<br /> ‘Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Nov. 10, Waterbury, Mrs. . :<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> <br /> Dec. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> pent<br /> ecooceorrw cece oocorwon<br /> <br /> oon owirteKEanaaw»soodcso<br /> eooeoooceooaoaceoecsooeoaso<br /> <br /> _<br /> S<br /> <br /> _<br /> <br /> aa ie —<br /> <br /> bt<br /> COMM OoWVWooUInnnouwuowmneucd-<br /> <br /> 1<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 5<br /> 0<br /> 0<br /> 0<br /> <br /> —_<br /> <br /> COneK an one<br /> acocooaocoo Saceocoecoeooonooooooaoacos<br /> <br /> CHE COOHE<br /> <br /> _<br /> <br /> <br /> 156<br /> <br /> case asa testcase. If the result of such a case<br /> was to give no relief, then it was agreed to<br /> approach the Government with a view to the<br /> introduction of remedial legislation. In_ the<br /> meantime, the secretary was instructed to<br /> obtain all the support possible from managers<br /> of theatres who themselves held copyright<br /> plays, and also the cinematograph film manu-<br /> facturers who had suffered and were suffering<br /> equally with authors and playwrights from<br /> similar practices. The matter was adjourned<br /> for further consideration.<br /> <br /> A case of copyright infringement in Burmah<br /> was brought to the notice of the Society. It<br /> appeared very doubtful to the committee<br /> whether under the existing law it would be<br /> possible to take any action. As the claim was<br /> a very small one and it was probable that<br /> at no distant date, the India Council will<br /> have passed fresh copyright legislation, the<br /> committee instructed the secretary to inform<br /> the member that they could not take up the<br /> case.<br /> <br /> In a complicated dispute on an agreement<br /> which had been dealt with at former meetings,<br /> a further complaint from the member was laid<br /> before the committee, and the chairman was<br /> instructed to write to the member putting<br /> forward the work the Society had done and<br /> explaining that it was impossible for the com-<br /> mittee to go any further as the member had<br /> shown no legal ground for the interference of<br /> the Society. It was decided to take up a case<br /> of infringement of the dramatic rights of a<br /> member in Germany.<br /> <br /> One of the members, whose case had been<br /> settled by arbitration, wrote a letter to the<br /> committee suggesting the manner in which she<br /> desired the matter should be dealt with in The<br /> Author.<br /> <br /> The committee requested the secretary to<br /> inform her that she must be content with one<br /> of the two alternative courses : (1) that the full<br /> award with the full letter of apology settled by<br /> the arbitrator as part of the award should be<br /> published, or (2) that the whole statement should<br /> be withdrawn from publication. In a case of<br /> breach of agreement between dramatic author<br /> and manager, the committee decided that the<br /> secretary should write and explain the legal<br /> position to the member concerned, expressing<br /> their regret that they were unable to take the<br /> matter further, and setting out the reasons<br /> for this decision. :<br /> <br /> In a case of infringement of dramatic copy-<br /> right in Canada the secretary was instructed<br /> to obtain the solicitor’s opinion as to the exact<br /> position of the law, and if that opinion was<br /> <br /> THE AUTHOR.<br /> <br /> satisfactory, to write to the Canadian lawyers<br /> to carry the matter further if it was possible<br /> to do so.<br /> <br /> Sir Edward Elgar, O.M., was elected a mem-<br /> ber of the council and a share was allotted to<br /> him.<br /> <br /> It was agreed to change the name of the<br /> Incorporated Society of Authors to the Incor-<br /> porated Society of Authors, Playwrights and<br /> Composers, and the secretary was instructed<br /> to take the necessary legal steps to see that<br /> this matter was carried through.<br /> <br /> A letter from a member on the subject of<br /> the library censorship was read and considered,<br /> and the secretary was instructed to thank the<br /> member concerned on behalf of the committee<br /> for the interest he had shown in the matter.<br /> <br /> The report of the committee for 1913 was<br /> considered and passed. An article for inser-<br /> tion in The Author was also considered and<br /> passed, and instructions were given for the<br /> publication of the same.<br /> <br /> It was decided to invest a sum of £200 from<br /> the Capital Account of the Society. °<br /> <br /> As it has been found that the present form<br /> of guarantee, signature to which the com-<br /> mittee require before action is taken on behalf<br /> of amember, was not quite satisfactory, either.<br /> to the member or to the Society, a revised<br /> form was drafted and placed before the com-<br /> mittee and accepted by them.<br /> <br /> On the recommendation of the Dramatic<br /> Sub-Committee, the Committee of Manage-<br /> ment agreed to send out a list of the names<br /> and addresses of the members of the Dramatic<br /> Section to Mr. Walter Jordan, the Society’s<br /> New York agent. ;<br /> <br /> The secretary reported that the Board of<br /> Trade had conferred with him on the subject<br /> of a book exhibition to be held at Leipzig. It<br /> had been suggested that such an exhibition<br /> might interfere with an author’s copyright.<br /> The secretary pointed out, that some diffi-.<br /> culties might arise on an author’s contract.<br /> when the sales of books by English publishers.<br /> were limited as to country. Notice will be<br /> given in due course in The Author on the<br /> matter.<br /> <br /> The secretary read letters he had received.<br /> in regard to Canadian and New Zealand copy-:<br /> right. It appears that an Act has been passed<br /> in New Zealand which will come into force in.<br /> April of the current year. The Act is printed<br /> in full as a Supplement this month. -<br /> <br /> Two letters from members of the Society.<br /> were laid before the committee. The. com-<br /> mittee regretted they were unable to support.<br /> the suggestions put forward. i<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Dramatic Sus-CoMMITTEE.<br /> <br /> I,<br /> <br /> A SPECIAL meeting of the Dramatic Sub-<br /> Committee was called on Friday, January 30,<br /> at No. 1, Central Buildings, Tothill Street,<br /> Westminster, S.W., at 3 o’clock, to consider<br /> the question of the infringement of rights<br /> in titles as shown in two or three special cases<br /> recently brought to the Society’s notice. It<br /> appeared in three cases that the titles of plays<br /> and books had been taken for films.<br /> <br /> The sub-committee considered the subject<br /> one of importance. There was _ consider-<br /> able discussion as to what action should be<br /> taken.<br /> <br /> Finally, it was decided&#039;to urge the Committee<br /> of Management to take up one case as a test<br /> ease. If the Committee of Management con-<br /> sented to this course, and judgment went<br /> against the Society, it would then be necessary<br /> to decide what further action should be<br /> taken, in order to save dramatists and authors<br /> alike from the serious loss inflicted on their<br /> property.<br /> <br /> It was decided, also, to get into touch with<br /> the film manufacturers, as it was clear that<br /> this appropriation of titles would affect them<br /> in a similar manner.<br /> <br /> It was further decided to ask the Committee<br /> of Management, if it should prove impossible to<br /> obtain any redress under the law as it at<br /> present exists, to consider seriously the advis.-<br /> bility of asking the Government for legislation<br /> on the subject.<br /> <br /> II.<br /> <br /> TueE February mecting of the Dramatic Sub-<br /> Committee was held at the offices of the Society,<br /> 1, Central Buildings, Tothill Street, West-<br /> minster, S.W., on Friday, February 20, at three<br /> o&#039;clock.<br /> <br /> After the reading of the minutes of the<br /> previous meeting the secretary laid before the<br /> sub-committee a report of a dramatic agent’s<br /> transactions with members of the Society.<br /> <br /> Two play-producing societies had submitted<br /> their agreements for the consideration of the<br /> sub-committee, with a view to obtaining, if<br /> possible, from the sub-committee approval of<br /> the forms they proposed to submit to authors<br /> whose plays they accepted. After careful<br /> consideration the sub-committee thought it<br /> inadvisable to give this approval, but instructed<br /> the secretary to write to the societies and inform<br /> <br /> _ them that their agreements were not such as<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 157<br /> <br /> <br /> <br /> <br /> <br /> the sub-committee could advise authors to<br /> accept.<br /> <br /> A suggestion was then made by a member<br /> that a fighting fund for dramatic cases should<br /> be established. The idea was approved by the<br /> sub-committee, but further discussion of the<br /> details was adjourned to the next meeting.<br /> <br /> A letter received from the Society of West<br /> End Managers in regard to the Managerial<br /> Treaty was laid before the sub-committee.<br /> The secretary was instructed to send, as<br /> requested in that letter, a copy of the treaty as<br /> at present settled to the solicitor of the Society<br /> of West End Managers.<br /> <br /> A letter from a member of the Society was<br /> read. It contained a suggestion that the sub-<br /> committee should deal with the plays of<br /> members and assist them in obtaining intro-<br /> ductions to managers and others. The sub-<br /> committee regretted they were unable to adopt<br /> the suggestion and instructed the secretary to<br /> write accordingly.<br /> <br /> A letter from the National Operatic and<br /> Dramatic Association of Worcester was laid<br /> before the sub-committee. It was decided to<br /> give this association the same facilities in<br /> regard to the borrowing of MSS. as are at<br /> present accorded to the Dramatic Clubs’<br /> Association.<br /> <br /> Authority was given to the secretary to write<br /> to one of the agents of the Society who had<br /> failed to reply to letters addressed to him.<br /> The secretary was instructed to request the<br /> agent to give immediate attention to these<br /> letters.<br /> <br /> Mr. Cecil Raleigh was formally appointed to<br /> attend an international meeting of dramatists<br /> in Paris on March 2, when questions were to be<br /> discussed dealing with cinematograph repro-<br /> duction.<br /> <br /> Certain legal cases were next discussed.<br /> <br /> The first matter related to the infringement<br /> of authors’ rights in their titles by cinema pro-<br /> ducers. The secretary reported the steps that<br /> had been taken in the cases which the com-<br /> mittee had decided to take up. He also read<br /> letters he had received from certain associations<br /> in the cinematograph trade. It was decided to<br /> call a conference to which representatives of<br /> the film-producing industries, the Theatrical<br /> Managers’ Association, and the Touring<br /> Managers’ Association should be invited, for a<br /> discussion of the questions at issue.<br /> <br /> The secretary reported e of breach of<br /> contract in Australia which con placed in<br /> the hands of the Society’s s ors in Sydney.<br /> <br /> A dramatic author’s case which had been<br /> placed before the Committee of Management<br /> 158<br /> <br /> (which body had regretted its inability to<br /> support the member) was referred to the<br /> Dramatic Sub-Committee for an expression of<br /> their opinion, as the case had not previously<br /> been before them. The sub-committee re-<br /> gretted they could not do anything further,<br /> and supported the view of the Committee of<br /> Management.<br /> <br /> In the last dispute discussed the sub-com-<br /> mittee regretted they could not recommend<br /> the Committee of Management to take any<br /> further action. This case will be referred<br /> to the Committee of Management in due<br /> <br /> course.<br /> <br /> ——<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> Tur Composers’ Sub-Committee met at the<br /> offices of the Society on Saturday, February 14,<br /> at eleven o&#039;clock. Following the reading of<br /> the minutes of the previous meeting, a question<br /> referred back by the Committee of Manage-<br /> ment was discussed. It dealt with the practice<br /> of loaning composers’ music for performing<br /> purposes. The sub-committee decided to draw<br /> the attention of the Committee of Management<br /> to the fact that, as a rule, speaking broadly,<br /> although the performing rights ought to be<br /> held by the composers, they were, in fact, held<br /> by the publishers.<br /> <br /> The secretary then raised the question of<br /> agreements between publishers and com-<br /> posers. He pointed out that in all agreements<br /> which had any pretensions to being equitable<br /> as between party and party, there were a<br /> certain number of clauses which might be<br /> termed common form clauses; that in most<br /> music publishers’ agreements these clauses<br /> were not to be found. No doubt this was due<br /> to oversight on the part of the publishers. He<br /> suggested it would be as well to approach the<br /> Music Publishers’ Association with a view to<br /> agreeing to certain clauses which should appear<br /> in all contracts. He instanced the account<br /> clause, and pointed out that it was as much for<br /> the benefit of the publisher as for the composer<br /> to have some clause in the contract settling<br /> dates for delivery of accounts. In the absence<br /> of such a clause the publisher was liable to be<br /> called upon to deliver statements at reasonable<br /> times, although such times might be very<br /> inconvenient to him in his business.<br /> <br /> _ A question arose as to the legality of the<br /> importation of records, and the secretary was<br /> instructed to obtain an opinion on the matter<br /> and, if it was clear that the records so imported<br /> <br /> THE AUTHOR.<br /> <br /> infringed copyright, to write to some of the big<br /> collecting agencies to invite them to join with<br /> the Society in taking legal action.<br /> <br /> A composer who was a member of the Society<br /> wrote to the secretary a statement for sub-<br /> mission to the sub-committee in regard to one<br /> of his works, and suggested that an article<br /> should appear on the subject in The Author.<br /> The sub-committee passed an article and<br /> referred the matter to the Committee of<br /> Management.<br /> <br /> A question of the collection of mechanical<br /> instrument fees by publishers and companies<br /> was then discussed. The chairman laid before<br /> the sub-committee a letter he had received<br /> from one of the publishing houses, and the<br /> secretary read a letter to the sub-committee<br /> from a composer on the same subject. It was<br /> decided to invite the composer to discuss the<br /> question with the secretary, and, if he cared to<br /> do so, to attend the next meeting of the sub-<br /> committee.<br /> <br /> The last matter related to the interpretation<br /> of a section of the Copyright Act in regard to<br /> the mechanical reproduction of a composer’s<br /> works, and it was decided that, if a clear<br /> case came forward, to ask the Committee of<br /> Management to take the case into court, so<br /> that the point might be settled finally by case<br /> law.<br /> <br /> Cases.<br /> <br /> Durtnc the past month the secretary has<br /> dealt with nineteen cases. The largest number<br /> was for the return of MSS. In one case only,<br /> so far, has the Society been successful, though<br /> in another some of the MSS. have been<br /> forwarded. There are still five of these<br /> matters waiting settlement.<br /> <br /> There have been four demands for money,<br /> two have been satisfactorily terminated, the<br /> cheques have been received and forwarded to<br /> the authors. In two cases, however, although<br /> answers have been received, the money has not<br /> as yet been paid, one excuse or another being<br /> put forward. It is probable, however, that<br /> cheques will be received in the course of the next<br /> few days, in which event there will be no need to<br /> put the claims into the hands of the Society’s<br /> solicitors.<br /> <br /> There have been two disputes over the<br /> interpretation of agreements, one has been<br /> settled, but one in the United States of<br /> America is still outstanding.<br /> <br /> There have been four cases for accounts and<br /> <br /> <br /> money; one has _ been successful, in one<br /> accounts have been rendered and the money<br /> will be paid in due course, but the other two<br /> are still in the course of negotiation. It is<br /> well to draw the attention of composers, who<br /> are members of the Society, to the fact that<br /> great difficulty is experienced with music<br /> publishers owing to no proper account clause<br /> being inserted in their agreements. No doubt<br /> music publishers think this plan is satisfactory,<br /> but as a matter of fact, it is much more<br /> inconvenient to the publisher than it is to the<br /> author, forif there is no formal account clause<br /> in the agreement, a composer has a right to<br /> make demands at any reasonable time. In<br /> consequence, as the publisher never seems<br /> <br /> ready, considerable difficulty arises when<br /> &#039; demands for accounts, or for accounts and<br /> money are made. No doubt in time the music<br /> publisher will see that his agreements are<br /> properly drawn up.<br /> <br /> There have been two claims for accounts<br /> <br /> only. One has been settled and one is still<br /> open.<br /> From cases reported in former months, three<br /> are still lying open; one it has been impossible<br /> to carry through owing to the fact that the<br /> address of the defendant cannot be found.<br /> Another case of a demand for the return of<br /> a MS. will have to be placed into the hands of<br /> the Society’s solicitors. The last one is a<br /> complicated case of dispute which is still in<br /> course of negotiation. All the other cases have<br /> either been settled or have been placed in our<br /> solicitors’ hands.<br /> <br /> ——-—&lt; +<br /> <br /> February Elections.<br /> <br /> Barker, John Goddard.<br /> <br /> Beeston, L. J. .<br /> <br /> Best, Florence<br /> <br /> “* Stratton Strawless.”<br /> <br /> Bowditch, Miss Lucy<br /> A. M.<br /> <br /> Bradley, R.N. . “<br /> <br /> M.<br /> Gwelo, Rhodesia.<br /> <br /> 61, Temple Fortune<br /> <br /> THE AUTHOR.<br /> <br /> Coventry, R.G.T. .<br /> <br /> Ewing, Montague<br /> Floyer, Mrs. Frederick.<br /> <br /> Hill, Graham : :<br /> Hubert, John<br /> <br /> _ Jacks, L. P.<br /> <br /> Lorimer, Emilia Stuart<br /> Mahoney, Nellie O.<br /> Molesworth, Arthur W.<br /> <br /> Nicholson, Watson<br /> <br /> M.A., Ph.D.<br /> Nicholson, Mrs.<br /> <br /> Florence Emily, B.L.<br /> Petrie, Gerald<br /> <br /> Prendergast, Mrs. T. J.<br /> W.<br /> <br /> Rathbone, R. Le B.<br /> Small, Louisa Watson<br /> (‘* Mary Buckley.’’)<br /> Stroud, D. Aikenhead,<br /> <br /> LL.D. (Lond.).<br /> Vale, W. T., A.R.C.O. .<br /> <br /> Wignacourt, John<br /> <br /> 159<br /> <br /> Sherridge<br /> Malvern.<br /> <br /> Upper Walmer, Kent.<br /> <br /> Holywood Cottage,<br /> Sway, Hants.<br /> <br /> 45, Stanhope Road,<br /> Streatham, S.W.<br /> 12, Victoria Cres-<br /> <br /> cent, Jersey.<br /> <br /> Strete, Shotover,<br /> Oxford.<br /> <br /> 45, Marston’ Street,<br /> Oxford.<br /> <br /> Lyceum Club, 128,<br /> Piccadilly, W.<br /> <br /> 43, Albemarle Street,<br /> W.<br /> <br /> 28, Bedford Place,<br /> W.C.<br /> <br /> 28, Bedford Place,<br /> W.C.<br /> <br /> 20, West End Man-<br /> sions, West End<br /> Lane, N.W.<br /> <br /> cjo Messrs. Cox<br /> &amp; Co., Bankers,<br /> Charing Cross.<br /> <br /> 8, Ravenscourt<br /> Square, Hammer-<br /> smith, W.<br /> <br /> 2, Sicilian House,<br /> Southampton<br /> Row, W.C.<br /> <br /> Solicitors’ Depart-<br /> ment, General<br /> Post Office,<br /> London.<br /> <br /> Pittville, Upper<br /> Duke’s Drive,<br /> Eastbourne.<br /> <br /> Lodge,<br /> <br /> —_—____.——_e-_—__—_<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> <br /> <br /> Brodzky, Miss Beatrice<br /> Brooker, Lt.-Col. E. P.,<br /> <br /> R.E.<br /> Brown, Miss Julia .<br /> <br /> Byles, Charles Edward.<br /> <br /> <br /> <br /> Hill, Hendon,<br /> N.W.<br /> <br /> 22, Hawarden Grove,<br /> Herne Hill, S.E.<br /> <br /> Centinilla, Dene-<br /> wood Road, High-<br /> gate, N.<br /> <br /> 17, Narbonne<br /> Avenue, Clapham,<br /> S.W.<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> BIOGRAPHY.<br /> <br /> In THE Footsteps or THE Brontis. By Mrs. Exvis H.<br /> Cuapwick. 8} x 5}. 502 pp. Sir Isaac Pitman.<br /> 16s. n.<br /> 160<br /> <br /> Tue Memorrs oF Maria Stevia (LADY NEWBOROUGH).<br /> By Hersey. Translated from the original French by<br /> M. Harrier M. Cares. 9 Xx 5}.- 299 pp. Nash.<br /> 10s. 6d. n.<br /> <br /> Paut VeRLaine. By Witrrip Tuortry. (Modern<br /> Biographies.) 63 x 43. 107 pp. Constable. 1s. n.<br /> <br /> REMINISCENCES oF MY Lire. By Henry Hovipay.<br /> 104 x 64. 475 pp. Heinemann. 16s. n.<br /> <br /> DRAMA.<br /> <br /> Tue Pray or THE Fururn. By SypNEY GRUNDY.<br /> 72 x 54. 41 pp. French. 6d.<br /> <br /> ParsIFAL AND Tristan unD Isotpu. The Stories of<br /> Richard Wagner’s Dramas told in English by R. Fynzs<br /> and Lovis N. Parker. 7} 5. 88 pp. Smith,<br /> Elder. Is. 6d. n.<br /> <br /> Tur Mextine Por. By Israry Zanewrtu. A Drama in<br /> Four Acts. 8} x 53. 216pp. Heinemann. 2s. n.<br /> Stories FROM THE OPERAS. By Guapys Davipson.<br /> <br /> 74 x 5}. 559 pp. Werner Laurie. 6s. n.<br /> <br /> ECONOMICS.<br /> <br /> Tue Nature anp Frrst PrrycrPLe oF TAXATION<br /> R. Jones. Witha Preface by SipNey WEBB. 8}<br /> 299 pp. P.S. King. 7s. n.<br /> <br /> MarriaGE oN SMALL MEANs.<br /> 7k x 5. 193 pp. Constable.<br /> <br /> By Mrs. C.<br /> 3s. 6d.<br /> <br /> FICTION.<br /> By Darrett Fieais.<br /> <br /> JacoB ELTHORNE. 7k x 5.<br /> 435 pp. Dent. 6s.<br /> <br /> THe WANDERER’S NeckLAace. By H. Rrper Haaaarp.<br /> 7% x 5. 328 pp. Cassell. 6s.<br /> THe Maxine or AN ENGLISHMAN.<br /> <br /> 74 x 5. 369 pp. Constable. 6s.<br /> <br /> Cuppy YarsorovucH’s Davucuter. By Una _ L.<br /> SmBERRAD. 74 X 5. 350 pp. Constable. 6s.<br /> <br /> Lonpon, 1913. By Maragaret DE VERE STACPOOLE.<br /> 74 x 5. 347 pp. Hutchinson. 6s.<br /> <br /> THE MarriaGEor Ceca. By Maupr Lesson.<br /> 400 pp. Fisher Unwin. 6s.<br /> <br /> Tue Puree Mists. By F. E. Mitus Youna.<br /> 360 pp. Lane. 6s.<br /> <br /> THe Wonprer YEAR. By MauprE GoLpRIne.<br /> 319 pp. Erskine Macdonald. 6s.<br /> <br /> Tue Cockney aT Home. Stories and Studies of London<br /> Life and Character. By Epwix Puan. 7} x 5.<br /> 296 pp. Chapman and Hall. 6s.<br /> <br /> BEHIND THE VEm. True Stories of London Life. By<br /> Gro. R. Sims. 73 x 5. 272 pp. Greening. 2s. n.<br /> THe Turee Trees. By Guy Rawuence. 7} x 5.<br /> 322 pp. Fisher Unwin. 6s.<br /> Tut Icr. By ANNE WEAVER.<br /> <br /> Long. 6s.<br /> <br /> Tue Lost Roap. By Ricuarp Harpine Davis. 7} x 5.<br /> 266 pp. Duckworth. 6s.<br /> <br /> TuroveH OTHER Eyes. By Amy McLaren.<br /> 322 pp. Murray. 6s.<br /> <br /> A Maponna oF THE Poor AND OTHER Stories. By<br /> Cuive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.<br /> Man and Woman. By L. G. Mosuriy. 72 x 5.<br /> <br /> 307 pp. Methuen. 6s.<br /> <br /> Money or Wire. By Erriz ADELAIDE RowLanps.<br /> 7? x 5. 320 pp. Ward, Lock. 6s.<br /> <br /> Wun Guost MEETS Guost. By Witt1am Dr Mora@an.<br /> 7% x 5. 892 pp. Heinemann. 6s.<br /> <br /> Iyitration. By Rozsert Hugo Benson.<br /> 396 pp. Hutchinson. 6s.<br /> <br /> A Lapy- or Letsurz. By Erxen Srpewick.<br /> 420 pp. Sidgwick and Jackson. 6s.<br /> <br /> By W. L. Grorce.<br /> <br /> 7k X 5.<br /> 7} X 5.<br /> <br /> 7% x 5. 320 pp. John<br /> <br /> 72 x 5.<br /> <br /> 74 x 5.<br /> <br /> Tk Xx 5.<br /> <br /> THE AUTHOR.<br /> <br /> Smatt Sours. By Lovis Covuprrus.<br /> ALEXANDER TEIXEIRA DE Marros.<br /> Heinemann. 6s.<br /> <br /> Ten-Minute Stories. By AtaERNON BLAcKWoop.<br /> 7k x 5. 271 pp. Murray. 6s.<br /> <br /> THE Ransom ror Lonpon. ByJ.8. FLErcurEr. 7} &amp; 5.<br /> 296 pp. J. Long. 6s.<br /> <br /> SEHABORNE OF THE BonneT SHop. By R. K. WerExzs.<br /> 7} x 5. 42 pp. Herbert Jenkins. 6s.<br /> <br /> Tue Spirit Peas. By Heapon Hi. 7} x 43. 288 pp.<br /> Stanley Paul. 6s.<br /> <br /> THe Paraway. By GerrrupE Pace. 320 pp.<br /> Ward, Lock. 6s.<br /> <br /> Tue Way or THESE WomEN. By E. Puiviips OPPEN-<br /> HEIM. 73x 5. 316 pp. Methuen. 6s.<br /> <br /> Una and THE Lions. By Constance SMEDLEY. 7} &amp; 43.<br /> 305 pp. Chatto and Windus. 6s.<br /> <br /> TurovucH Fouiy’s Minx. By Avice and CLaupDE ASKEW,<br /> 7% x 5. 319 pp. Ward, Lock. 6s.<br /> <br /> Tue Fryine Inn. By G. K. Cuusrerron.<br /> 301 pp. Methuen. 6s.<br /> <br /> One Krinp anp Anotuer. By Barry Parn.<br /> 308 pp. Martin Secker. 6s.<br /> <br /> Gay Morninc. By J. E. BuckRose.<br /> Mills and Boon. 6s.<br /> <br /> Tue Waters or Letue. By DoroTHEA GERARD. 72 X 5.<br /> 320 pp. Stanley Paul. 6s.<br /> <br /> Tue Master or Merrivitr. By EprEn<br /> 72 x 5. 304pp. Ward, Lock. 6s.<br /> <br /> Dust From THE Loom. By Epwarp Nos Le.<br /> 842 pp. Constable. 6s.<br /> <br /> Buinp Eyres. By Marcarer Peterson. 7} x 5. 303 pp.<br /> Melrose. 6s.<br /> <br /> Tue Decoy. By the CounrEss oF CROMARTIE. 7} x 5.<br /> <br /> 7} x 43.<br /> <br /> Translated by<br /> 72 x 5. 315 pp.<br /> <br /> 7% x 5.<br /> <br /> 72 x 5.<br /> 1 Xx 5.<br /> <br /> id x 5.<br /> <br /> 316 pp.<br /> <br /> PHILLPOTTS.<br /> <br /> 72 X Be<br /> <br /> 176 pp. Erskine Macdonald. 3s. 6d. n.<br /> <br /> TerMsS oF SuRRENDER. By Louis Tracy.<br /> 346 pp. Cassell. 6s.<br /> <br /> THE QuestTine Brast.<br /> Martin Secker. 6s.<br /> <br /> THE GaRDEN oF Dreams. By H. GRAHAME RICHARDS.<br /> 72 x 5. 356 pp. Hutchinson. 6s.<br /> <br /> A Bespoxen Bripe. By Frep WuHiIsHAW.<br /> 320 pp. J. Long. 6s.<br /> <br /> Way Sue tert Him. By Frorence WARDEN.<br /> 320 pp. John Long. 6s.<br /> <br /> Otp Monz’s Nover. Revised and Expurgated by<br /> GILBERT CANNAN. 6} X 4}. 63 pp. Martin Secker.<br /> 6d. n.<br /> <br /> Miser Hoapiey’s Secret. By A. E. Marcumont.<br /> (Cheap Reprint.) 64 x 44. 247pp. Methuen. 7d.n.<br /> <br /> Tue Ducuess oF WrexE: Her DEcLINE anD DEATH.<br /> A Romantic Commentary. By HucH WaLPoLe.<br /> 7k x 5. 421 pp. Martin Secker. 6s.<br /> <br /> Havuntep HicgHways AnD Byways. By E. O’DoNNELL.<br /> 72 x 5}. 220 pp. Nash. 3s. 6d. n.<br /> <br /> Smpson. By Exryor Morpavnt. 332 pp.<br /> Methuen. 6s,<br /> <br /> 7% x 5.<br /> 7k x 43.<br /> <br /> By Ivy Low. 7} x 5. 301 pp.<br /> <br /> 72 x 5.<br /> <br /> 7% x 5.<br /> <br /> 7t X 5.<br /> <br /> One Man Returns. By Harotp SPENDER.<br /> 316 pp. Mills and Boon. 6s.<br /> <br /> Tur Tracy Tussses. By JESSIE Pops.<br /> 246 pp. Millsand Boon. 3s. 6d.<br /> <br /> DistuRBERS. By W. H. Witt1aMson and “‘ CANADIENNE” |<br /> 7% x 5. 316 pp.<br /> <br /> Tue Mayor’s NI&amp;cE.<br /> <br /> ANNE OF THE BARRICADES.<br /> 64 x 44. (Sevenpenny<br /> Stoughton.<br /> <br /> Evrerypopy’s Secret. By Dron Crayton CaLTHROP.<br /> (Popular Edition.) 7$x 5. 344 pp. Alston Rivers. 1s. n,<br /> <br /> Tur ADVENTURES OF SHERLOCK Hommes. By A. ConaN<br /> Doyir. (Nelson’s Library.) 6} x 44. 379 pp.<br /> Nelson. 7d. n.<br /> <br /> By G. A. BirmincHam. 256 pp.<br /> By 8S. R. Crocxert. 323 pp.<br /> Library.) Hodder and<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 161<br /> <br /> HISTORY.<br /> <br /> CALENDAR OF STATE PaPerRs. Colonial Series —America<br /> and West Indies, December 1, 1702-1703. Preserved<br /> in the Public Record Office. Edited by Cec, Hreapiam.<br /> 10$ x 74. 998 pp. Wyman. 15s.<br /> <br /> HISTORY AND GEOGRAPHY.<br /> <br /> Tue Ancrent Roman EMPIRE AND THE BriTIsH EMPIRE<br /> in Inpia. Tue Dirrusion oF RoMAN AND ENGLISH<br /> <br /> _ Law THROUGHOUT THE WorRLD. Two Historical<br /> <br /> Studies. By James Bryce. 84 x 532. 138 pp.<br /> Milford. 6s. n.<br /> <br /> THe Tracutnc oF Inpian History. An Inaugural<br /> Lecture. (January 20, 1914.) By Witt1am HoLpEN<br /> Hutton, B.D., Reader in Indian History in the Univer-<br /> sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon<br /> Press. London: Milford. ls. n.<br /> <br /> LITERARY.<br /> <br /> Men and Martrers. By WitrreD WARD.<br /> 451 pp. Longmans. 12s. 6d. n.<br /> <br /> MEDICAL.<br /> <br /> Exrectant MotHserHoop: Its SUPERVISION AND<br /> Hyaerenr. By J. W. Batuantyne, M.D. 8} x 5}.<br /> 288 pp. Cassell. 6s. n.<br /> <br /> AMBIDEXTERITY AND MentTaL Cuitture. By H.<br /> MacnaucuTon-Jonges. 62 x 44. 102 pp. Heine-<br /> mann. 2s. 6d. n.<br /> <br /> MISCELLANEOUS.<br /> <br /> A Morauist’s Birtupay Boox. Quotations Selected<br /> and Edited by Marx Merepirn. 4} x 34. 256 pp.<br /> 67, Dale Street, Liverpool.<br /> <br /> ORIENTAL.<br /> Apu’. ALA, THe Syrran. By H. Banrvern.<br /> 99 pp. (Widsom of the East Series.) Murray.<br /> <br /> PAMPHLETS.<br /> Waar 1s ‘‘ Womanty’’?? By Laurence Housman. The<br /> Women’s Freedom League. 4d.<br /> POETRY.<br /> <br /> More Ruopestan Ruymes. By CuLLeEN GouLpsBurRyY.<br /> 74 x 5. 136 pp. Bulawayo: Philpott and Collins.<br /> <br /> 9 x 52.<br /> <br /> 62 x 5.<br /> 2s. n.<br /> <br /> Man, OruerR Poems, AND A Prerace. By Marie C.<br /> Storrs, D.Sc., Ph.D., F.L.S., Fellow of University<br /> College, London. 74 x 5. 76 pp. Heinemann.<br /> 3s. 6d. n.<br /> <br /> Wittow’s Force anp OTHER Poems. By SHEA<br /> Kayer-Smitu. 73? x 54. 52 pp. Erskine Macdonald.<br /> <br /> A Batitap oF Men anp OrHer Verses. By WiLiiamM<br /> BuaneE. 73 x 5. 78 pp. Constable. 3s. 6d. n.<br /> <br /> Distrkes. Some Modern Satires. By C. MASEFIELD.<br /> 7k x 54. 48 pp. Fifield. 1s. n.<br /> <br /> POLITICAL.<br /> <br /> Tue GOVERNANCE OF ENGLAND. By Sipney Low. New<br /> Edition, revised and reset, with Introductory Essay.<br /> 8 x 53. 320 pp. Fisher Unwin. 3s. 6d. n.<br /> <br /> SPORT.<br /> <br /> Tue TRAD OF THE SANDHILL Sta.<br /> Naturalist to the Government of Manitoba.<br /> 93 pp. Hodder and Stoughton. 3s. 6d. n.<br /> <br /> THEOLOGY.<br /> <br /> Pastor Fururvs. &lt;A Dramatic Idyll. By Joun<br /> Huntiey Sxrine, D.D. 8 x 54. 295 pp. Longmans,<br /> 5s. n.<br /> <br /> By E. T. Szton,<br /> 72 x 6.<br /> <br /> Toe Tree or Knowieper. A Series of Lessons for<br /> Children on the First Half of the Book of Genesis. By<br /> Sys Smiru. 74 x 5. xiv + 250 pp. Milford. 3s. 6d. n<br /> <br /> THe Meanrne or Curistianity. By F. A. M. Spencer.<br /> (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher<br /> Unwin. 2s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> Iy Cunyne WALK anpD THEREABOUT. Containing Short<br /> Accounts of Some Ingenious People and Famous Places<br /> that were by the Riverside at Chelsea. By REGINALD<br /> Buunt. 9 xX 534. 322 pp. Mills and Boon. 10s. 6d. n.<br /> <br /> A CorNER OF THE CoTswoLps. Through the Nineteenth<br /> Century. By M. Strurar GREeTTon. 9 x 53. 289 pp.<br /> Methuen. 7s. 6d. n.<br /> <br /> TRAVEL.<br /> <br /> Royat Spain or To-pay. By :TrypHosa Bares<br /> BaTcHELLER. 10 Xx 6%. xxiii +614 pp. Longmans.<br /> 25s. n.<br /> <br /> —__+—~&gt;—<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> <br /> <br /> N R. WILLIAM DE MORGAN’S new book<br /> is entitled ‘* When Ghost meets Ghost,”’<br /> and is published by Heinemann at 6s.,<br /> <br /> and, in two volumes (library edition), 10s.<br /> <br /> ‘“‘ Initiation’ is the name of Monsignor<br /> Benson’s novel published last month (Hutchin-<br /> son).<br /> <br /> Mr. Edwin Pugh’s volume of short stories,<br /> ‘“The Cockney at Home,” is published by<br /> Chapman and Hall.<br /> <br /> The same firm publishes Mr. Tighe Hopkins’s<br /> ** Romance of Fraud ”’ (7s. 6d. net); and “‘ The<br /> Trial of John Jasper for the Murder of Edwin<br /> Drood,” in which Mr. G. K. Chesterton was<br /> judge and Mr. Bernard Shaw foreman of the<br /> jury (2s. 6d. net).<br /> <br /> Mr. G. K. Chesterton’s novel “‘ The Flying<br /> Inn,” is published by Methuen &amp; Co., while a<br /> 1s. net edition of his ‘“‘ Bernard Shaw’”’ is<br /> announced by John Lane.<br /> <br /> Mr. Francis Gribble’s ‘‘ Life of the Emperor<br /> Francis Joseph” appeared on February 19<br /> (Nash, 16s. net).<br /> <br /> ““ The Way of These Women ” is a novel by<br /> Mr. E. Phillips Oppenheim (Methuen &amp; Co.).<br /> <br /> Mr. Frederick Arthur in “The Great<br /> Attempt ” deals with the struggle that ended<br /> at Culloden (John Murray).<br /> <br /> “The Strength of a Chain,” by Hester<br /> White, is published by Heath, Cranton and<br /> Ousely. The same firm announces for April<br /> Mrs. Mary F. Raphael’s “ Phoebe Maroon.”<br /> <br /> J. E. Buckrose has just published, through<br /> Mills and Boon, a _ novel entitled ‘“ Gay<br /> Morning,” which is appearing simultaneously<br />  <br /> <br /> 160<br /> <br /> Tue Memorrs or Marra STELLA (LADY NEwsBoRouGH).<br /> By Hersetr. Translated from the original French by<br /> M. Harrrer M. Capes. 9 x 53. 299 pp. Nash.<br /> 10s. 6d. n.<br /> <br /> Paut VERLAINE. By Witrrip THORLEY. (Modern<br /> Biographies.) 63 x 43. 107 pp. Constable. 1s. n.<br /> REMINISCENCES OF MY Lire. By Henry Hovipay.<br /> 10} x 6}. 475 pp. Heinemann. 16s. n.<br /> DRAMA.<br /> THe Pray or THE Foturr. By Sypney Grunpy.<br /> 7} x 54. 41 pp. French. 6d.<br /> <br /> ParsiraAL AND Tristan unD IsotpE. The Stories of<br /> Richard Wagner’s Dramas told in English by R. FynEs<br /> and Louis N. Parker. 7} xX 5. 88 pp. Smith,<br /> Elder. Is. 6d. n.<br /> <br /> Tue Murine Por. By Israrn Zanewityt. A Drama in<br /> Four Acts. 8} x 54. 216 pp. Heinemann. 2s. n.<br /> STORIES FROM THE OpprRAS. By Guiapys Davipson.<br /> <br /> 7s X 5}. 559 pp. Werner Laurie. 6s. n.<br /> <br /> ECONOMICS.<br /> Tue Nature AND First PrincipLe oF TaxaTION. By<br /> <br /> R. Jones. Witha Preface by SipNeY Wess. 8} X 5$.<br /> 299 pp. P.S. King. 7s. n.<br /> Marriage on Smatt Means. By Mrs. C. 8. PEEL.<br /> 7s x 5. 193 pp. Constable. 3s. 6d.<br /> FICTION.<br /> Jacop Exruorne. By Darren Ficais. 7} x 5.<br /> 435 pp. Dent. 6s.<br /> <br /> THE WANDERER’S NeckLAce. By H. Riper Haaaarp.<br /> 7% x 5. 328 pp. Cassell. 6s.<br /> <br /> Tue Maxine of AN Enciisuman. By W. L. Grorae.<br /> <br /> 74 x 5. 369 pp. Constable. 6s.<br /> Cuppy Yarporoucn’s Davucuter. By Una _ L.<br /> SmBERRAD. 7$ Xx 5. 350 pp. Constable. 6s.<br /> Lonpon, 1913. By Marcaret DE VERE STACPOOLE.<br /> 74 x 5. 347 pp. Hutchinson. 6s.<br /> <br /> THe MarriaGe or Crciuia. By Maupr LEEson.<br /> 400 pp. Fisher Unwin. _ 6s.<br /> <br /> THe PurpPLe Mists. By F. E. Mitts Youne. 7} x 5.<br /> 360 pp. Lane. 6s.<br /> <br /> THe Wonprer YEAR. By Mavupr Gouprine. 72 x 5.<br /> 319 pp. Erskine Macdonald. 6s.<br /> <br /> Tue Cockney at Home. Stories and Studies of London<br /> Life and Character. By Epwix Pucn. 72 x 5.<br /> 296 pp. Chapman and Hall. 6s.<br /> <br /> BeninD THE Vem. True Stories of London Life. By<br /> Guo. R. Sms. 7} x 5. 272 pp. Greening. 2s. n. ~<br /> <br /> Tue Turee Trees. By Guy Rawuence. 7} x 5.<br /> 322 pp. Fisher Unwin. 6s.<br /> <br /> Tun Icr. By ANNE WEAVER. 72 X 5. 320pp. John<br /> Long. 6s.<br /> <br /> Tue Lost Roap. By Ricuarp Harpine Davis. 72 x 5.<br /> 266 pp. Duckworth. 6s.<br /> <br /> THrovcH OTHER Eyes. By Amy McLaren. 7? x 5.<br /> <br /> 322 pp. Murray. 6s.<br /> <br /> A Maponna oF THE Poor AND OrHerR Srortrs. By<br /> Crive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.”<br /> <br /> Man and Woman. By L. G. Moperiy. 7} x 5.<br /> 307 pp. Methuen. 6s.<br /> <br /> Monty orn Wire. By Errre AprLarpn Row anps.<br /> 7i &lt; 5. 320 pp. Ward, Lock. 6s.<br /> <br /> Wuen Guost ments Guost. By Wimxiam Dr Moraan.<br /> 72 x 5. 892 pp. Heinemann. 6s.<br /> <br /> Initiation. By Rosert Hvucn Benson.<br /> 396 pp. Hutchinson. 6s.<br /> <br /> A Lapy-or Lutsurz. By Erne. Smewicx.<br /> <br /> 420 pp. Sidgwick and Jackson. 6s.<br /> <br /> 7} x 6.<br /> <br /> 7k X 5.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> SmaLL Sov.s.<br /> <br /> By Lovis Covupsrrus.<br /> ALEXANDER TEIXEIRA DE Marros.<br /> Heinemann. 6s.<br /> <br /> Translated by<br /> 7% x 5. 315 pp.<br /> <br /> Ten-Minute Stories. By ALGERNON<br /> 74 x 5. 271 pp. Murray. 6s.<br /> <br /> Tue Ransom For Lonpon, By J. 8. Frercuer.<br /> 296 pp. J. Long. 6s.<br /> <br /> SEABORNE OF THE Bonnet SuHor. By R. K. Wrexzs.<br /> 7} x 5. 42 pp. Herbert Jenkins. 6s.<br /> <br /> Biackwoop.<br /> <br /> Tk x 6.<br /> <br /> Tue Spirit Peas. By Heapon Hint. 7} x 4}. 288 pp.<br /> Stanley Paul. 6s.<br /> Tue Patuway. By GerTruDE Pace. 7} x 5. 320 pp.<br /> <br /> Ward, Lock. 6s.<br /> <br /> Tur Way or THESE Women. By E. Puitiips Opren-<br /> HEM. 7} x 5. 316 pp. Methuen. 6s.<br /> <br /> Una AnD THE Lions. By Constance SMEDLEY. 7} x 43.<br /> 305 pp. Chatto and Windus. 6s.<br /> <br /> TurovuGH Foiiy’s Mint. By Axicr and CLaupE ASKEW,<br /> <br /> 72 x 5. 319 pp. Ward, Lock. 6s.<br /> Tue Frying Inn. By G. K. Cnuestertron. 7} x 5,<br /> 301 pp. Methuen. 6s.<br /> <br /> One Kinp anp ANOTHER. By Barry Parn. 7% x 5,<br /> 308 pp. Martin Secker. 6s.<br /> <br /> Gay Morninc. By J. E. Buckrosr. 7} x 5.<br /> Mills and Boon. 6s.<br /> <br /> Tue Waters oF LETHE. By DororHea GERARD. 73 X 5.<br /> 320 pp. Stanley Paul. 6s.<br /> <br /> THe Master or Merripir. By Epren Pxrmporrs.<br /> <br /> 72 x 5. 304pp. Ward, Lock. 6s.<br /> <br /> Dust rrom THE Loom. By Epwarp Nose. 7} x 5,<br /> 842 pp. Constable. 6s.<br /> <br /> Buryp Eyres. By Margaret PETERSON. 7? X 5. 303 pp.<br /> Melrose. 6s.<br /> <br /> Tue Decoy. By the CounrEss or CRomarTiE. 7} x 5},<br /> 176 pp. Erskine Macdonald. 3s. 6d. n.<br /> <br /> TERMS OF SURRENDER. By Lovis Tracy. 72 x 4%.<br /> 346 pp. Cassell. 6s.<br /> <br /> Tur Questine Beast. By Ivy Low. 7}? x 5. 301 pp.<br /> <br /> Martin Secker. 6s.<br /> <br /> THE GARDEN OF Dreams. By H. GRAHAME RICHARDS.<br /> 7% x 5. 356 pp. Hutchinson. 6s.<br /> <br /> A Bespoken Bripe. By FrRep WuisHaw. 7? xX 5.<br /> 320 pp. J. Long. 6s.<br /> <br /> Wry Sue tert Him. By Firorence Warpren. 7} x 5.<br /> <br /> 320 pp. John Long. 6s.<br /> <br /> Otp Motn’s Nover. Revised and Expurgated by<br /> GILBERT CANNAN. 64 x 4}. 63 pp. Martin Secker.<br /> 6d. n.<br /> <br /> Secret. By A. E. Marcumont.<br /> 64 x 44. 247pp. Methuen. 7d.n.<br /> Her Dercrine anp DEatTH.<br /> By HucH WALPOLE.<br /> <br /> Miser Hoapiey’s<br /> (Cheap Reprint. )<br /> Ture Ducuess or WREXE:<br /> A Romantic Commentary.<br /> <br /> 74 x 5. 421 pp. Martin Secker. 6s.<br /> <br /> Havuntep Hicuways anp Byways. By E. O’ DoNNELL.<br /> 72 x 54. 220 pp. Nash. 3s. 6d. n.<br /> <br /> Srmpson. By Exinor Morpaunt. 7} x 5. 332 pp.<br /> Methuen. 6s.<br /> <br /> Ont Man Returns. By Harotp SrenpDER. 7} X 5.<br /> 316 pp. Mills and Boon. 6s.<br /> <br /> THe Tracy Tussses. By JxEsste Popr. 7} X 43.<br /> <br /> 246 pp. Mills and Boon. 3s. 6d.<br /> DistuRBERS. By W. H. Wititamson and ‘‘ CANADIENNE”<br /> 7% x 5. 316 pp.<br /> <br /> Tue Mayor’s Niece. By G. A. BrrmincuaM. 256 pp.<br /> <br /> ANNE OF THE Barricapes. By 8S. R. Crockett. 323 pp.<br /> 64 x 44. (Sevenpenny Library.) Hodder and<br /> Stoughton.<br /> <br /> Everypopy’s Secret. By Dron Cuayron CALTHROP,<br /> (Popular Edition.) 7} 5. 344 pp. Alston Rivers. 1s. n.<br /> <br /> THe ADVENTURES OF SHERLOCK HotmEs. By A. Conan<br /> Doyur. (Nelson’s Library.) 6} x 4}. 379 pp.<br /> Nelson. 7d. n.<br /> <br /> <br /> <br /> 316 pp. .<br /> <br /> <br /> <br /> <br /> ALD<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> HISTORY.<br /> <br /> CALENDAR OF STATE PaPerRs. Colonial Series.—America<br /> and West Indies, December 1, 1702-1703. Preserved<br /> in the Public Record Office. Edited by Cec, Hrapiam.<br /> 103 x 74. 998 pp. Wyman. 15s.<br /> <br /> HISTORY AND GEOGRAPHY.<br /> <br /> Tue ANCIENT RoMAN EMPIRE AND THE BritisH EMPIRE<br /> mn Inpra. Tue Dirruston or Roman anv ENGLISH<br /> <br /> Law THROUGHOUT THE WorRLD. Two Historical<br /> <br /> . Studies. By Jamzs Bryce. 8} x 53. 138 pp.<br /> Milford. 6s. n.<br /> <br /> Tue Tracuinc oF Inpran History. An Inaugural<br /> Lecture. (January 20, 1914.) By Witi1am HoLpEN<br /> Hurron, B.D., Reader in Indian History in the Univer-<br /> sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon<br /> Press. London: Milford. ls. n.<br /> <br /> LITERARY.<br /> <br /> Men anp Matters. By WriirreD WARD.<br /> 451 pp. Longmans. 12s. 6d. n.<br /> <br /> MEDICAL.<br /> <br /> Expectant MornerHoop: ITs SUPERVISION AND<br /> Hyoeienr. By J. W. Batxantyne, M.D. 8} X 5}.<br /> 288 pp. Cassell. 6s, n.<br /> <br /> AMBIDEXTERITY AND Mentat Cutture. By UH.<br /> Macnavucuton-Jones. 62 X 4}. 102 pp. Heine-<br /> mann. 2s. 6d. n.<br /> <br /> MISCELLANEOUS.<br /> <br /> A Morauist’s Brrtapay Boox. Quotations Selected<br /> and Edited by Mark Merepiru. 4} x 3}. 256 pp.<br /> 67, Dale Street, Liverpool.<br /> <br /> ORIENTAL.<br /> Asu’t ALA, THe Syrian. By H. Barrer.<br /> 99 pp. (Widsom of the East Series.) Murray.<br /> <br /> PAMPHLETS.<br /> Wuat is “ Womanty”’ ? By LavrENcE HovusMAN.<br /> Women’s Freedom League. 4d.<br /> <br /> POETRY.<br /> <br /> More RuopesiaN Ruymes. By CuLLEN GOULDSBURY.<br /> 7k x 5. 136 pp. Bulawayo: Philpott and Collins.<br /> 5s. n.<br /> <br /> Man, OruerR Poems, AND A Prerace. By Marie C.<br /> Srorzs, D.Sc., Ph.D., F.L.S., Fellow of University<br /> College, London. 74 xX 5. 76 pp. Heinemann.<br /> 3s. 6d. n.<br /> <br /> Wiuow’s Force sanp OrTnEeR Poems. By SHEILA<br /> Kays-Smitu. 73 x 5}. 52 pp. Erskine Macdonald.<br /> <br /> A Battap or Men anp OTHER VersES. By WILLIAM<br /> Buang. 7} x 5. 78 pp. Constable. 3s. 6d. n.<br /> <br /> Distixes. Some Modern Satires. By C. MasFIELp.<br /> 7k x 5}. 48 pp. Fifield. 1s. n.<br /> <br /> POLITICAL.<br /> <br /> Tur Governancn oF ENGLAND. By Sipney Low. New<br /> Edition, revised and reset, with Introductory Essay.<br /> 8 x 5}. 320 pp. Fisher Unwin. 3s. 6d. n.<br /> <br /> SPORT.<br /> <br /> The TRAIL oF THE SANDHILL STAG.<br /> Naturalist to the Government of Manitoba.<br /> 93 pp. Hodder and Stoughton. 3s. 6d. n.<br /> <br /> THEOLOGY. .<br /> A Dramatic Idyll.<br /> <br /> <br /> <br /> 9 x 5B<br /> <br /> 63% x 5.<br /> 2a Ti<br /> <br /> The<br /> <br /> By E. T. Seton,<br /> 7 x 6.<br /> <br /> Pastor Futurvs. By Joun<br /> <br /> Hunriey Sxrivz, D.D. 8 x 5}. 295 pp. Longmans,<br /> 53. ne<br /> <br /> <br /> <br /> <br /> <br /> 161<br /> <br /> Tue TREE or Knowiepcr. A Series of Lessons for<br /> Children on the First Half of the Book of Genesis. By<br /> Sypit Smirn. 74x 5. xiv + 250 pp. Milford. 3s. 6d.n<br /> <br /> THE MEANING OF CHRISTIANITY. By F. A. M. SPENCER.<br /> (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher<br /> Unwin. 2s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> In Curyne WALK AND THEREABOUT. Containing Short<br /> Accounts of Some Ingenious People and Famous Places<br /> that were by the Riverside at Chelsea. By REcrnaLp<br /> Buunt. 9 xX 54. 322 pp. Mills and Boon. 10s. 6d. n.<br /> <br /> A CoRNER oF THE CotswoLps. Through the Nineteenth<br /> Century. By M. Sturcr Grerron. 9 x 5}. 289 pp.<br /> Methuen. 7s. 6d. n.<br /> <br /> TRAVEL.<br /> <br /> Roya Sparn or To-pay. By :TrypHosa BatTEs<br /> BatcHELLER. 10 X 6}. xxiii+ 614 pp. Longmans.<br /> 25s. n.<br /> <br /> —<br /> <br /> <br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> R. WILLIAM DE MORGAN’S new book<br /> is entitled ‘‘ When Ghost meets Ghost,”’<br /> and is published by Heinemann at 6s.,<br /> <br /> and, in two volumes (library edition), 10s.<br /> <br /> “Tnitiation’’ is the name of Monsignor<br /> Benson’s novel published last month (Hutchin-<br /> son).<br /> <br /> Mr. Edwin Pugh’s volume of short stories,<br /> ‘*The Cockney at Home,” is published by<br /> Chapman and Hall.<br /> <br /> The same firm publishes Mr. Tighe Hopkins’s<br /> “ Romance of Fraud ” (7s. 6d. net); and “ The<br /> Trial of John Jasper for the Murder of Edwin<br /> Drood,” in which Mr. G. K. Chesterton was<br /> judge and Mr. Bernard Shaw foreman of the<br /> jury (2s. 6d. net).<br /> <br /> Mr. G. K. Chesterton’s novel ‘‘ The Flying<br /> Inn,” is published by Methuen &amp; Co., while a<br /> 1s. net edition of his ‘“‘ Bernard Shaw’”’ is<br /> announced by John Lane.<br /> <br /> Mr. Francis Gribble’s ‘‘ Life of the Emperor<br /> Francis Joseph” appeared on February 19<br /> (Nash, 16s. net).<br /> <br /> “The Way of These Women ” is a novel by<br /> Mr. E. Phillips Oppenheim (Methuen &amp; Co.).<br /> <br /> Mr. Frederick Arthur in “The Great<br /> Attempt ” deals with the struggle that ended<br /> at Culloden (John Murray).<br /> <br /> ““The Strength of a Chain,” by Hester<br /> White, is published by Heath, Cranton and<br /> Ousely. The same firm announces for April<br /> Mrs. Mary F. Raphael’s “ Phoebe Maroon.”<br /> <br /> J. E. Buckrose has just published, through<br /> Mills and Boon, a novel entitled “ Gay<br /> Morning,” which is appearing simultaneously<br /> <br /> <br />  <br /> <br /> 162<br /> <br /> in the United States. This author’s “ Dewn<br /> Our Strect ” and ‘‘ Love in a Little Town”<br /> are being issued in a new shilling cloth-covered<br /> edition, while a series of sketches called “* Billy<br /> Finding Out” is about to appear in the Pall<br /> Mall Magazine.<br /> <br /> ‘Frances of the Farm,” an Australian<br /> story by an Australian writer, M. Lillian Paten,<br /> is published by Murray and Evenden at 2s.<br /> net.<br /> <br /> Stanley Paul &amp; Co. announce “ The Gates<br /> of Doon,” a new story of England in Georgian<br /> days, by Mr. Rafael Sabatini. The book is<br /> to be included in Stanley Paul’s Empire<br /> Library. :<br /> <br /> The authors of “ Birturbiss,’ a novel<br /> introducing the Iroquois Indians and Pontiac’s<br /> rebellion, are W. H. Williamson and<br /> “Canadienne ”’ (T. Wérner Laurie, 6s.).<br /> <br /> Mr. Clive Holland collects some of his short<br /> stories under the title of ‘‘ A Madonna of the<br /> Poor ” (Lynwood &amp; Co.).<br /> <br /> “The Purple Mists,” by Miss Mills Young,<br /> is published by John Lane.<br /> <br /> Mrs. Agnes E. Jacomb Hood’s new novel,<br /> “The Fruits of the Morrow,” will be brought<br /> out this month by Methuen &amp; Co.<br /> <br /> The first book of the spring publishing<br /> season of Herbert Jenkins, Ltd., was ‘“ Sea-<br /> borne of the Bonnet Shop,” by R. K. Weekes.<br /> <br /> Mrs. Stanley Wrench’s “ Potter and Clay ”<br /> is to appear on March 5.<br /> <br /> Miss Edith C. Kenyon’s Welsh novel,<br /> “The Wooing of Mifanwy,” is to come out<br /> in a sixpenny edition about Easter.<br /> <br /> Only a few months ago the most famous of<br /> English comic actresses in the past was dealt<br /> with by Mr. P. W. Sergeant in his ‘“ Mrs.<br /> Jordan, Child of Nature.’ Now a new<br /> biography of the same lady is announced b<br /> the firm of Nash, the title being “ The Story<br /> of Dorothy Jordan,” and the author Clare<br /> Jerrold. Mrs. Jerrold, we learn, has had<br /> access to important letters and private papers,<br /> which help to solve the numerous doubts and<br /> difficulties connected with the actress’s life.<br /> <br /> Mr. Walter Jerrold has recently completed<br /> the biography of his grandfather Douglas<br /> Jerrold, on which he has long been engaged,<br /> and it will shortly be published by Hodder<br /> and Stoughton.<br /> <br /> “Love in a Thirsty Land,” by Mrs. A. C,<br /> Inchbold, is a romance which begins in<br /> France and is continued in Palestine, the hero<br /> being a young American and the heroine a<br /> French girl of aristocratic family (Chatto and<br /> Windus).<br /> <br /> Mr. John Law, author of “ Glimpses of<br /> <br /> THE AUTHOR.<br /> <br /> Midden India,” has had published through<br /> Thacker Spink, of Calcutta and Simla, a<br /> story entitled “* The Horoscope.’<br /> <br /> “The Chow-chow ” is the name of a work<br /> by Lady Dunbar of Mochrum, which deals<br /> with that breed of dogs in which the author<br /> is so deeply interested, and of which she is a<br /> scientific breeder. The book is illustrated<br /> with many photographs, and is published by<br /> Sir Isaac Pitman &amp; Sons, Ltd.<br /> <br /> Mr. W. L. George’s book of essays upon the<br /> drama will be published by Sidgwick and<br /> Jackson this month, under the title ‘‘ Dramatic<br /> Actualities.”’<br /> <br /> “The Doges of Venice,” by Mrs. Aubrey<br /> Richardson, is published, with 16 illustrations,<br /> at 12s. 6d. net.<br /> <br /> Mr. Adclphe Smith’s new work is ‘‘ Monaco<br /> and Monte Carlo ” (Grant Richards, 15s. net).<br /> <br /> Mr. Reginald Blunt’s “In Cheyne Walk and<br /> Thereabouts ” contains, according to the sub-<br /> title, short accounts of some ingenious people<br /> and famous places that were by the riverside<br /> at Chelsea (Mills and Boon, 10s. 6d. net).<br /> <br /> The Rev. Ashley L. Barnes-Lawrence issues,<br /> through the S.P.C.K., a little work entitled<br /> “The Marriage Vow: a Call to Churchmen.”<br /> The price is 8d.<br /> <br /> Messrs. Methuen &amp; Co. announce a new<br /> work by the Rev. P. H. Ditchfield, F\S.A.,<br /> entitled ‘‘ London Survivals,”’ illustrated by<br /> over 100 drawings by Mr. Wratten. It will<br /> be published in the spring. Mr. Ditchfield<br /> has also finished another book for the same<br /> firm, which will appear in the autumn. He is<br /> writing a series of articles in the Badminton<br /> Magazine on Famous Houses, and contributing<br /> to the Field, the Treasury, the Quiver and<br /> other magazines. He is editing with Mr. W.<br /> Page the Victoria County History of Berk-<br /> shire, in four large quarto volumes, and hopes<br /> <br /> the last two will be issued shortly; the<br /> “Memorials of Old Berkshire,” for the<br /> Memorials of the Counties of England<br /> <br /> Series, of which he is the general editor; and<br /> has undertaken to write a new book for Messrs.<br /> Dent &amp; Co. His article in the Treasury last<br /> month is on “‘ Belgian Pulpits.”<br /> <br /> “Celtic Britain and the Pilgrim Movement,”’<br /> by the Rev. G. Hartwell Jones, M.A., D.D.,<br /> is published by the Hcnourable Society of<br /> Cymmrodorion at the price of one guinea net,<br /> <br /> Mr. James Baker, F.R.Hist.S., gave recently,<br /> at Plymouth, a lecture upon “ R. D. Blackmore,<br /> the man and his work,” in the course of which<br /> special reference was made to the fact that<br /> Blackmore strongly resented being called a<br /> one-book man, The lecturer supported Black-<br />  <br /> <br /> -<br /> <br /> oh.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Jenkins, Ltd.<br /> <br /> THE AUTHOR. 163<br /> <br /> more’s position with quotations from many of<br /> his novels.<br /> <br /> Miss Beatrice Chase, in ‘‘ The Heart of the<br /> Moor,” is enthusiastic about the spell of<br /> Dartmoor, and says that to her the days spent<br /> away from it are irrevocably lost (Herbert<br /> Jenkins, Ltd.).<br /> <br /> Mr. W. Barnes Steveni, formerly St. Peters-<br /> burg correspondent of the Daily Chronicle, has<br /> recently completed a book upon the Volga,<br /> the largest river in Europe. The name is<br /> “The History of the Volga and its Towns.”<br /> Mr. Barnes Steveni has also completed two<br /> books on ‘“‘ Sweden, the Land of the Goths<br /> and Vikings,” one of which will be brought<br /> out by Seely, Service &amp; Co. in the autumn.<br /> <br /> Mr. Charles Rann Kennedy has published in<br /> book-form his new five-act play ‘“ The Idol<br /> Breaker” (Harper and Brothers, New York,<br /> $1.25 net).<br /> <br /> “The Memoirs of Babur”’ is a new trans-<br /> lation by Annable S. Beveridge of the “ Babur-<br /> nama,” incorporating the 1826 translation by<br /> Lagden and Erskine (Luzac &amp; Co., 10s. 6d.<br /> net). The same author has in the Journal of<br /> the Royal Asiatic Society some ‘“* Notes on the<br /> Babur-nama.”’<br /> <br /> A book of stories, sketches, and verse, grave<br /> and gay, dealing with life in Siam, by Mr.<br /> Eric Reid, has been published by the Bangkok<br /> Times Press, Ltd., under the title “‘ Chequered<br /> Leaves from Siam.”<br /> <br /> Mr. W. H. Harwood’s ‘“‘ The Modern Poet,<br /> and other verses” is. published by Constable<br /> &amp; Co. at 3s. 6d. net.<br /> <br /> “‘ The Wheel of Life and Some of its Spokes ”<br /> is a small volume of essays by V. E. M.<br /> Fetherstonehaugh-Frampton, published by<br /> H. G. Commin, of Bournemouth.<br /> <br /> Miss A. M. Everest’s anthology of German<br /> poetry will be published by Erskine Macdonald<br /> on March 2. The same firm will print, shortly,<br /> a second impression of Miss E. Crosby Heath’s<br /> * Little Poems.”<br /> <br /> In the February Cornhill Mr. Gilbert<br /> Coleridge had an article called ‘“‘ Rory of the<br /> Glen,” a character-study and description of<br /> the local surroundings of a Highland keeper<br /> on a Scottish deer-forest—a type of man that<br /> is fast dying out.<br /> <br /> In the February Windsor Mrs. Dawson<br /> Scott has some verses entitled the “ Moving<br /> Finger.’<br /> <br /> Mr. W. H. Dawson is the editor of ‘“‘ The<br /> Year-Book of the Universities of the Empire,<br /> 1918—14,”” published for the Bureau of the<br /> Universities of the Empire by Herbert<br /> <br /> DRAMATIC.<br /> <br /> After its performance by the Play Actors at<br /> the Court Theatre on January 26, Mr. Israel<br /> Zangwill’s four-act drama, “The Melting<br /> Pot,” was put on at the Queen’s Theatre,<br /> where it still occupies the nightly bill.<br /> <br /> On January 28 ‘‘ The Music Cure,” a new<br /> playlet by Mr. Bernard Shaw, was produced,<br /> in front of Mr. G. K. Chesterton’s ‘‘ Magic”’<br /> at the Little Theatre. In the same house on<br /> February 3 ‘‘ The Ladies’ Comedy,” by Mr.<br /> Maurice Hewlett, was seen at a matinée.<br /> <br /> “The Eleventh Hour,” a short comedy by<br /> Mr. Temple Thurston, was put on at the<br /> Coliseum on February 2.<br /> <br /> ‘The Tyranny of Tears,” by Mr. C. Haddon<br /> Chambers, was revived at the Comedy Theatre<br /> on February 5.<br /> <br /> ‘“* A Midsummer Night’s Dream”’ was revived<br /> by Mr. Granville Barker at the Savoy on<br /> February 6.<br /> <br /> Mr. Norreys Connell’s play, “ Thank Your<br /> Ladyship,” was produced at the Playhouse<br /> on February 12.<br /> <br /> On February 16 ‘‘ Damaged Goods,” a<br /> translation by Mr. John Pollock of Brieux’s<br /> “Les Avariés,” was played at a matinée by<br /> the Authors’ Producing Society at the Little<br /> Theatre.<br /> <br /> On February 17 ‘“ Helen with the High<br /> Hand,” an adaptation by Mr. Richard Price<br /> of Mr. Arnold Bennett’s novel, was produced<br /> at the Vaudeville Theatre.<br /> <br /> The run of Sir J. M. Barrie’s “ Quality<br /> Street ? ended on February 21, and its place<br /> at the Duke of York’s Theatre was taken on<br /> February 26 by Mr. Somerset-Maugham’s<br /> new play, ‘“‘ The Land of Promise.” :<br /> <br /> On February 28 Mr. Joseph Keating’s<br /> “‘Pegay and Her Husband” was staged at<br /> the Royalty Theatre.<br /> <br /> “ The Two Virtues,” Mr. Alfred Sutro’s new<br /> comedy, is announced for production by Sir<br /> George Alexander at the St. James’s Theatre<br /> on the 5th instant.<br /> <br /> There was a revival of Mr. Sydney Grundy’s<br /> “A Pair of Spectacles” at the Marlborough<br /> Theatre last month.<br /> <br /> Mr. Norman V. Norman has a new one-act<br /> play by Miss Cicely Hamilton. {<br /> <br /> Among the plays to be expected are Mr.<br /> Louis Parker’s version of “ David Copper-<br /> field,” for Sir Herbert Tree ; and Mr. Bernard<br /> Shaw’s ‘“‘ Pygmalion,” also at His Majesty’s<br /> Theatre. :<br /> <br /> Sara Jeanette Duncan has, in collaboration<br /> with Mr. Forbes Dawson, dramatised her<br /> <br /> <br />  <br /> <br /> 164<br /> <br /> Indian story which was published under the<br /> title ‘‘ Sonny Sahib.” :<br /> <br /> ‘“Consarnin’ Sairey Uggins ” is a one-act<br /> piece by Wilfrid Blair, produced under Miss<br /> Horniman’s management at the Gaiety<br /> Theatre, Manchester. The play deals with<br /> rival claimants to a widow’s hand, and shows<br /> how the attempt of two of the rivals to score<br /> off a third when their own suits have failed<br /> results in the success of the third claimant.<br /> <br /> In the cast were Miss Muriel Pope and Mr.<br /> Leonard Mudie.<br /> <br /> MusiIcat.<br /> <br /> At the Royal Philharmonic Society’s concert<br /> at the Queen’s Hall, on February 19, Sir<br /> Charles Stanford’s ‘‘ Fourth Irish Rhapsody ”<br /> was given for the first time. 2<br /> <br /> Mr. H. E. Hodson’s ‘“ Golden Legend,”<br /> published in 1880, and performed in London<br /> for the first time the following year, was<br /> presented as an opera at the Academy of<br /> Musie on January 29.<br /> <br /> Mr. Cecil Sharp’s songs and incidental music<br /> composed for the “‘ Midsummer Night’s Dream”<br /> at the Savoy, have been published by Simpkin<br /> and Marshall, at 1s. 6d. net.<br /> <br /> Miss Agnes Mary Astle is the composer of<br /> two new songs, “ Brenda” and ‘ Morning-<br /> tide’ (Cary &amp; Co., 2s. net each).<br /> <br /> ———_— 6 +<br /> <br /> PARIS NOTES.<br /> een EEE<br /> <br /> HE literary prize in the form of an<br /> annuity, offered by Prince Roland<br /> Bonaparte, has just been awarded to<br /> Jules Huret and to Pierre Mille. Both these<br /> writers are great favourites with the French<br /> public—Jules Huret for his excellent studies of<br /> foreign countries, and Pierre Mille for his<br /> <br /> colonial studies from life.<br /> <br /> It seems incredible to English and American<br /> readers that the great French philosopher,<br /> M. Emile Bontroux, should only recently have<br /> been elected a member of the French Academy.<br /> It seems just as incredible, it is true, that one<br /> or two members of the French Academy<br /> should ever have been elected members.<br /> <br /> To those who like to see themselves as others<br /> see them, we would recommend a book entitled<br /> ““ Le Socialisme et l’Evolution de l’Angleterre<br /> contemporaine.”<br /> <br /> “Le Sermon sur la Montagne ” is a volume<br /> illustrated by that incomparable artist,<br /> M. Eugéne Burnand. M. Léonce Benedite,<br /> Curator of the Luxembourg Museum, has<br /> written the preface, and there are about forty-<br /> five reproductions in the volume. ~<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> There have been several extrem ely interest-<br /> ing theatrical representations during the past<br /> month. A Turkish play by Miss May de Witt<br /> Hopkins has been produced in Paris under the<br /> title of ‘‘ Ménages Turcs.” It is an extremely<br /> strong play of great dramatic interest repre-<br /> senting life in modern Constantinople. The<br /> leading réle was to have been played by<br /> M. Burhaneddine Bey, but, most unfortunately,<br /> this interesting Turkish actor was wrongfully<br /> arrested under the charge of being implicated<br /> in the attempted political murder last month<br /> in Paris. He was proved to be innocent,<br /> and is to give the play as soon as arrangements<br /> can be made for it to be put on again.<br /> <br /> The Théatré Idéaliste gave a performance<br /> of “ Les Fétes Galantes,” a two-act play by<br /> Paul Verlaine and Adrien Remacle, last month.<br /> The music was by Adrien Remacle.<br /> <br /> Mr. Philip Carr’s venture, ‘‘ The Little<br /> English Theatre,” was inaugurated last month<br /> with the most brilliant success. The ‘‘ Mer-<br /> chant of Venice” was given three times to<br /> crowded houses. The ensemble was admirable,<br /> and the Shylock has probably never been<br /> surpassed. The matinée was given to an<br /> almost entirely French public, and the applause<br /> was so genuine and so enthusiastic that<br /> Mr. Carr has promised to return shortly to<br /> Paris with one of Bernard Shaw’s plays, and<br /> The Little English Theatre may now be<br /> considered one of the institutions of literary<br /> Paris.<br /> <br /> The Paris branch of the Lyceum Club was<br /> honoured this last month by the visit of<br /> Madame Poincaré, wife of the President of the<br /> French Republic. She was received by the<br /> Dowager Duchess of Uzés, who is president<br /> of the Club, and was entertained to tea and<br /> presented with flowers. The entente cordiale<br /> seems to reign supreme in Paris between the<br /> French and English.<br /> <br /> Atys HALLARD.<br /> <br /> a<br /> <br /> A GRAYE FLAW IN INTERNATIONAL<br /> COPYRIGHT LAW. -:<br /> <br /> +<br /> <br /> S? serious is the significance of the judgment<br /> pronounced by the Swiss courts in the<br /> <br /> case of A. Samler-Brown v. J osef Kiinzli,<br /> which was supported by the Soc&#039;ety, that it<br /> appears desirable to record the facts in the<br /> simplest manner possible, so that any one,<br /> without possessing technical legal knowledge,<br /> may perceive the] meaning of what has<br /> happened.<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> _ In 1903 Mr. A. Samler-Brown, a member<br /> of the Society, published in London a work<br /> with the title: “ Madeira, Canary Islands, and<br /> Azores, Practical and Complete Guide for<br /> Tourists, Invalids, and Residents, with Twenty<br /> Coloured Maps and Plans, and many Dia-<br /> grams.”’<br /> <br /> In the summer of 1907 Josef Kiinzli, of<br /> Aadorf, Thurgau, Switzerland, a representa-<br /> tive of the firm of A. G. Kiinzli, of Zurich<br /> {illustrated postal-card publishers), at the<br /> instigation of Joseph Ratschiiler (at the time<br /> manager of the Hotel Quisana, in Santa Cruz,<br /> Tenerife), reproduced, without the author&#039;s<br /> permission, 21,240 copies of maps in Mr.<br /> Samler-Brown’s book, in the form of postal-<br /> cards. Of these cards, Ratschiiler took 5,000.<br /> Josef Kiinzli had to dispose of the others how<br /> he could, and, on the occasion of a visit to<br /> Tenerife, handed them over to an agent,<br /> Richardson, for sale.<br /> <br /> Supported by the Society of Authors, Mr.<br /> Samler-Brown instituted proceedings against<br /> Josef Kiinzli on September 15, 1910, in the<br /> District Court of Zurich; and, as the verdict<br /> of that court was given against him, proceeded<br /> to the High Court of Appeal of the Canton.<br /> This court, on November 12, 1913 confirmed<br /> the sentence of the lower court, and acquitted<br /> the defendant Kiinzli on the ground that—<br /> <br /> No offence had been committed of which the<br /> Swiss courts could take cognizance.<br /> <br /> This was for the following reasons :—<br /> <br /> (1) The cards were not produced in Switzer-<br /> land, but by Emile Pinkau &amp; Co., of Leipzig.<br /> <br /> (2) The cards were not distributed from<br /> Zurich, but were all delivered directly, through<br /> Hamburg, to Tenerife. (The publishing firm<br /> of A. G. Kiinzli had had nothing to do with the<br /> transaction, of which there was no record in<br /> their books.)<br /> <br /> (3) The plea that, although the cards were<br /> not of Swiss production, and had not been<br /> delivered from Switzerland, the correspond-<br /> ence respecting them issued from Zurich, was<br /> declared to be beside the question. Even if<br /> Kiinzli had written to Richardson from<br /> Zurich to place the sale of the cards in Richard-<br /> son’s hands, this would not have been an<br /> actionable act performed in Swiss territory,<br /> because it was not an act of distribution, but<br /> 4 mere preliminary thereto. Nor could any-<br /> thing be gained by proving that a correspond-<br /> ence had been carried on from Zurich as in<br /> the case of offences committed by means of<br /> correspondence the place where the letter is<br /> received and read is regarded by Swiss law<br /> <br /> as the place where the offence is committed.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 165<br /> <br /> <br /> <br /> The receipt of moneys in Zurich, and the corre-<br /> sponding entries in commercial books kept<br /> there, were mere consequences of what had<br /> been done in Tenerife, but not in themselves<br /> infractions of copyright.<br /> <br /> The legal technicalities of the case (into<br /> which we do not here enter) are somewhat<br /> complicated ; but the result is very simple,<br /> and is this :—<br /> <br /> That Josef Kiinzli reproduced, without the<br /> author’s consent, copyright matter, sold his<br /> reproductions, and secured the profits of these<br /> transactions, is not disputed. As, however, he<br /> is domiciled in one country, has reproduced in<br /> another, and sold in a third, he is acquitted of<br /> infringement of copyright, notwithstanding<br /> all the international laws and agreements<br /> respecting copyright which are at present in<br /> existence.<br /> <br /> That this should be possible appears to<br /> show that, up to the present, a grave flaw<br /> exists in international copyright law; or is<br /> the flaw in the domestic law of Switzerland ?<br /> <br /> —$__ +e ______<br /> <br /> DRAMATIC COPYRIGHT.<br /> <br /> a<br /> “Toe Beccar Grru’s WEDDING.”<br /> Rees v. Robbins.<br /> <br /> HE decision of Mr. Justice Warrington<br /> in this action was a finding of fact, but<br /> certain observations of the judge upon<br /> <br /> the law of copyright and his application of it<br /> to the evidence in the case before him cannot<br /> be regarded as satisfactory from an author’s<br /> point of view. The proposition that two per-<br /> sons may arrive at the same results from<br /> independent effort, and that, even if the work<br /> of the one resembles the work of the other,<br /> there may be no infringement of copyright, is<br /> based upon cases under the old law relating to<br /> the making of directories and other compila-<br /> tions. But it is well to bear in mind that<br /> copyright under the new Act does not mean<br /> “* conscious copying ” ; for if a person produces<br /> a play which is in any substantial part a<br /> reproduction of another play, it may be an<br /> infringement of copyright ; and it is no defence<br /> to allege that the later play was written with-<br /> out referring at the time to a copy of the<br /> earlier play. The dramatist may have drawn<br /> from his experience and powers of invention,<br /> but if reading another author’s play is part of<br /> that experience, this may suggest a presump-<br /> tion that he took ideas from that play, even if,<br /> 166<br /> <br /> in fact, he had no copy of the play before him,<br /> and did not consciously copy from it. :<br /> <br /> The plaintiff, Miss Rosemary Rees, claimed<br /> damages against the defendant, who is pro-<br /> fessionally known as Walter Melville, for<br /> infringement of the copyright in her play<br /> entitled “A Beggar Bride.” The plaintiff<br /> wrote her play in 1906 and sent it to the defen-<br /> dant, who asked Mr. Douglas Bruce to read<br /> it. Mr. Bruce expressed a very favourable<br /> opinion and considered that the play was worth<br /> £150, and the defendant bought the play from<br /> the plaintiff for £60. After the defendant<br /> had read the play some type-written copies<br /> were made, but these were put away for a time<br /> as the play was not produced by the defendant.<br /> <br /> The plaintiff, however, was anxious to have<br /> her play performed and eventually bought it<br /> back from the defendant for the sum of £60<br /> which she had received from the defendant.<br /> At the same time the defendant stipulated<br /> that he reserved the right to use the title ““ The<br /> Beggar Girl’s Wedding,’ and_ two_type-<br /> written copies of the play were handed over<br /> to the plaintiff, but one copy remained in<br /> the defendant’s possession.<br /> <br /> Subsequently in March, 1908, the plaintiff&#039;s<br /> <br /> play was produced at Brighton under the title<br /> of “‘ A Desperate Marriage,”’ and the defendant<br /> was present at the performance. In June of<br /> the same year the defendant wrote- his play<br /> “The Beggar Girl’s Wedding,” which was<br /> produced at the Lyceum Theatre and proved<br /> a notable success. The plaintiff saw the<br /> performance at the Lyceum Theatre and was<br /> immediately struck with the similarities in<br /> “The Beggar Girl’s Wedding ’”’ and her own<br /> play.<br /> ; A number of witnesses, including Miss<br /> Cicely Hamilton, Mr. Temple Thurston, and<br /> Mr. Cecil Armstrong gave evidence as to the<br /> similarity in the plot, divers scenes, dramatic<br /> situations and incidents in the two plays, and<br /> Mr. Herbert Lloyd, who had acted in both<br /> plays, expressed the opinion that they were the<br /> same.<br /> <br /> On the other hand, it was contended that<br /> the defendant had had great experience in<br /> writing melodramas and that he drew from the<br /> store of knowledge in his mind.. He dictated<br /> his play, which was original work, and there<br /> was no copying from the plaintiff&#039;s play.<br /> <br /> The defendant in his evidence stated that his<br /> play was written from his dictation within the<br /> period of a week, and that it contained the<br /> common stock incidents and purely conven-<br /> tional characters. He had only read the<br /> plaintiff&#039;s play once and did not refer to it<br /> <br /> THE AUTHOR.<br /> <br /> when writing his play. Other witnesses were<br /> called, including Mr. Douglas Bruce, who<br /> stated that it never occurred to him that there<br /> was any similarity in the two plays.<br /> <br /> Mr. Justice Warrington in his judgment<br /> said that the position of the owner of copy-<br /> right was different from that of an inventor<br /> or owner of a patent. The patentee had the<br /> sole right to use his invention and anyone<br /> who used it, although he made the discovery<br /> by independent investigations, was infringing<br /> the patent. In the case of copyright it was<br /> possible to arrive at the same result from<br /> independent sources, and the fact that a<br /> defendant produced something like the<br /> plaintiff&#039;s work did not constitute an infringe-<br /> ment of copyright.<br /> <br /> After dealing with the characteristic features<br /> of melodrama, his lordship said that he believed<br /> the defendant’s statement that he did not have<br /> the plaintiffs play in material form before him<br /> when he wrote his play. The defendant may<br /> have had some recollection mixed up with his<br /> dramatic experiences of the subject-matter<br /> of the plaintiff&#039;s play, but only as part of a<br /> general dramatic experience ; and he did not<br /> believe for a moment that the defendant<br /> consciously copied from the plaintiff&#039;s play.<br /> It was clear that the defendant had not per-<br /> formed the plaintiff&#039;s play. The two plays,<br /> except for one matter, were as different as two<br /> plays of that class could be. The defendant<br /> had drawn from his own experiences in his.<br /> profession and from his powers of invention,<br /> although it was a fact that the defendant had.<br /> seen and read the plaintiff&#039;s play, and that was.<br /> part of his experience. He came to the con-<br /> clusion that the defendant had not infringed.<br /> the plaintiff&#039;s copyright and therefore the<br /> plaintiff&#039;s action failed.<br /> <br /> Haroip Harpy.<br /> <br /> —_———_+———____—_—__<br /> <br /> AGREEMENT OF THE INTERNATIONAL,<br /> COPYRIGHT BUREAU.<br /> <br /> —+ &lt;&gt;<br /> <br /> HE Committee of Management of the<br /> <br /> Society has found it necessary from<br /> time to time to print agreements in the<br /> columns of The Author, and to make comment<br /> upon them, in order to draw the members’<br /> <br /> attention to points and difficulties that may<br /> <br /> arise if such agreements are accepted without<br /> alteration and without any suggestion on the<br /> part of the author.<br /> the following agreement is printed :—<br /> <br /> With this object in view<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MEMORANDUM OF AGREEMENT made this<br /> , one thousand nine hundred and 2<br /> BETWEEN (hereinafter called ‘‘ the<br /> author’’) of the one part, and Tar INTERNATIONAL<br /> Copyricnut Bureau, Lirrep, of Dewar House,<br /> Haymarkct, London, S.W. (hereinafter called ‘‘ the<br /> company ’’) of the other part, WHEREBY IT IS AGREED<br /> <br /> as follows :—<br /> <br /> 1. The author hereby appoints the company his sole<br /> agents for the placing of his play at present entitled<br /> throughout the United Kingdom of Great Britain and<br /> treland, the British Colonies and Dependencies, the United<br /> States of America, and the Dominion of Canada.<br /> <br /> 2. The company agrees to act as agents for the author,<br /> and shall do its utmost to get the said play accepted. The<br /> company may make any arrangements it may consider<br /> desirable for the assignment or lease of the performing<br /> rights or any part thercof in the said play. It is under-<br /> <br /> must<br /> <br /> stood that the company Sor ae<br /> approval to any such arrangement. The author hereby<br /> gives the company full power to sign and execute on his<br /> behalf any such agreement dealing with the said play in<br /> the countries aforesaid, and to receive all payments for the<br /> sale of such rights, or all fees payable in pursuance of any<br /> such agreement, and to give good receipts therefor, and the<br /> author also hereby agrees to sign, do and execute all such<br /> further documents, acts, deeds and other things as may be<br /> necessary or, in the opinion of the company, expedient to<br /> effectuate any such agreement or arrangement.<br /> <br /> 3. The author shall not himself or by any other agent<br /> negotiate or attempt to negotiate the placing of the said<br /> play in any of the aforesaid countries without the distinct<br /> approval in writing of the company.<br /> <br /> 4. The company shall retain or receive out of all monies<br /> received by them in respect of the said play, or otherwise<br /> payable in respect thereof, a commission of 10 per cent. in<br /> tespect of the business done in the United Kingdom of<br /> Great Britain and Ireland, and of 10 per cent. in respect<br /> of business done in the British Colonies and Dependencies,<br /> and of 15 per cent. in respect of business done for and in<br /> the United States of America and Canada.<br /> <br /> 5. The company shall also have a free hand as to the<br /> producing rights in the play in all foreign countries. The<br /> company shall bear all costs of translation, adaptation,<br /> printing, producing ; the author in fact to be exempt from<br /> all costs in connection therewith. All gross proceeds from<br /> any sale, or lease, or assignment of the performing rights<br /> in all countries, except those mentioned in clauses ] and 4,<br /> shall be divided as to 50 per cent. for the author and 50 per<br /> cent. for the company.<br /> <br /> 6. The company shall be at liberty to employ sub-agents<br /> in any of the aforesaid countries, such sub-agents to have<br /> the rights of the company in respect of the several countries<br /> for which they may be appointed.<br /> <br /> 7. In the event of the company not having succeeded in<br /> placing any of the aforesaid rights in any of the aforesaid<br /> countries by * , the author and the company<br /> shall each have the option, by giving notice in writing, of<br /> declaring this agreement at an end upon such date or any<br /> date thereafter.<br /> <br /> * Eprror’s Norz.—The date inserted is generally from<br /> a year to two years from the date of the agreement.<br /> <br /> 8. The company shall deliver to the author all monies<br /> dlue nereunder within one week from their receipt.<br /> As witness the hands of the said parties.<br /> <br /> In the first clause there is not very much to<br /> Object to.<br /> <br /> The second clause, however, is full of dangers<br /> as it gives the agent much too great powers.<br /> <br /> day of<br /> <br /> <br /> <br /> obtain the author’s<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 167<br /> <br /> <br /> <br /> <br /> <br /> An author must remember when dealing with<br /> an agent that the agent should never have the<br /> power to act as principal.<br /> <br /> No agent can conduct business to the<br /> advantage of an author, if there is a chance<br /> that the author will have to compete with him<br /> acting also as principal.<br /> <br /> One line taken from clause 2 runs as follows :<br /> “It is understood that the ip<br /> <br /> need not<br /> obtain the author’s approval to any such<br /> arrangement.’ The mere fact that this clause<br /> is placed in the alternative tends to lead the<br /> author into great dangers. In no circum-<br /> stances should the agent be allowed to act<br /> without the author’s approval, indeed, every<br /> contract which the agent makes, must be<br /> approved and signed by the author. The<br /> rest of the clause, therefore, is very dangerous.<br /> <br /> In discussing agency agreements, and es-<br /> pecially the dramatic agency agreement which<br /> was settled by the sub-committee, attention has<br /> been drawn to the danger of allowing an agent<br /> to collect fees all through the time that the<br /> contract is running. The agent, no doubt,<br /> would be entitled to fees if his agreement with<br /> the author allows them, but that he should be<br /> allowed to collect in any circumstances is a<br /> most dangerous licence. Should the author<br /> at any time desire to resume the collection<br /> himself, he should be entitied to do so, paying<br /> the agent his fees in due course. As a matter<br /> of fact, authors who employ agents are, as a<br /> rule, quite willing that the agent should collect<br /> subject to the author’s power of resumption if<br /> he is dissatisfied. It has been shown on various<br /> occasions how these dangers arise. An agent<br /> may be in a bad way financially, and it is not<br /> fair that the author should run the risk<br /> of having his fees swept away in the agent’s<br /> bankruptcy. An agent may fail to check<br /> the accounts properly, and otherwise to safe-<br /> guard the author’s interests. It is not fair to<br /> the author that he should run the risk of such<br /> carelessness after it has been detected. The<br /> part of the clause that refers to giving<br /> good receipts only makes the position more<br /> dangerous.<br /> <br /> During the continuance of the agreement, it<br /> is fair to the agent that the author should not<br /> be allowed to negotiate for the play in any of<br /> the countries mentioned without the approval<br /> of the agent, for otherwise the author might,<br /> and probably would, hamper any good agent<br /> who is conducting the business on the proper<br /> lines.<br /> <br /> With regard to the amount to be paid the<br /> agent, this question has also been touched upon<br /> <br /> <br /> 168<br /> <br /> in the agreement which was drafted by the sub-<br /> committee. They consider that it is fair that<br /> an agent should obtain his fee for placing and<br /> negotiating a play by a fixed percentage up to<br /> a certain figure. After that figure has been<br /> reached the agent, if the author is willing to<br /> leave the matter in his hands, should remain<br /> merely as a collector of monies.<br /> <br /> Clause 5 is at once impossible. Here the<br /> agent endeavours to act straight away as<br /> principal, the only condition being that the<br /> author shall receive 50 per cent. of the returns.<br /> This position must be combated at once.<br /> The clause ought to be deleted. If any clause<br /> is to be inserted it must be put on the usual<br /> agency basis, namely, that if during the con-<br /> tinuance of the agreement the agent is success-<br /> ful in negotiating for the production of the<br /> play in any foreign country, under an agree-<br /> ment signed and approved by the author, then<br /> he shall be entitled to 10 per cent. of the<br /> amounts as and when received under the<br /> contract. That he should be entitled to<br /> 50 per cent. is absurd. As the clause stands,<br /> no doubt the agent’s answer would be: “ But I<br /> have to pay all the costs of translation,<br /> adaptation,” etc., but this is in reality no<br /> answer, for the author has the right himself to<br /> determine what costs shall be paid for trans-<br /> lation, adaptation, etc., and it is not for the<br /> agent to act as principal in the matter, or<br /> employ any translator, or adaptor he may<br /> think fit. From another point of view, the<br /> answer is no answer; in some countries<br /> the translation is undertaken by the theatre<br /> that produces the work, and it is not fair in<br /> that case that the agent should be paid<br /> 50 per cent. of the author’s royalties.<br /> <br /> Clause 6, again, is a most dangerous clause,<br /> especially when the former clauses are taken<br /> into consideration, for if the agent has powers<br /> to act as principal in the former clauses, he can<br /> delegate these powers under clause 6, and it is<br /> impossible to say what would be the result.<br /> An agency contract is a very personal contract.<br /> Though the author may fairly trust the person<br /> with whom he is dealing, he should not be in<br /> the position of holding no power whatever over<br /> the sub-agents that may be appointed. The<br /> old legal motto, therefore, ‘ delegatus non<br /> potest delegare,”’ should be sternly adhered to.<br /> <br /> The time limit of one year set out in<br /> clause 7 would not be unreasonable if the<br /> rest of the clause were not so adverse to the<br /> author. Suppose, however, the agent suc-<br /> ceeded, under a contract approved by the<br /> author, in placing the play for a week’s run<br /> in the provinces, then it would appear that<br /> <br /> THE AUTHOR.<br /> <br /> the author would have no power of terminating<br /> this contract. It is possible to conceive the<br /> position where the agent made a contract<br /> which was approved by the author for a<br /> reasonable run at a West End theatre; that<br /> after the run, the agent took no trouble to<br /> place the play in other countries in the Colonies<br /> or in the provinces, and the author being unable<br /> to determine the contract under clause 7, would<br /> be left at the mercy of the agent. Some years<br /> afterwards, perhaps, the author might succeed in<br /> placing the play in America—many plays have<br /> succeeded in America which have failed in<br /> England, and vice versd—the agent might then<br /> turn round and say: “I am entitled to my fees<br /> on your contract,’’ although he had for many<br /> years neglected the play and had not been<br /> instrumental in any way in securing the con-<br /> tract on which he demanded payment. Clause 7,<br /> therefore, is perhaps the most serious in the<br /> whole agreement. If the agent has not<br /> succeeded within the time mentioned in<br /> placing the play, then the author should have<br /> the right of determining the contract in those<br /> countries or limited districts where the agent<br /> has failed. He should not be at the mercy of<br /> the agent in a matter of this kind.<br /> <br /> The main points, therefore, which should be<br /> before an author’s mind when considering this<br /> agreement are: (1) that the powers given to the<br /> agent in the countries named in clause 1 are<br /> far too large; (2) that the power given to the<br /> agent in clause 5 to deal as principal should<br /> never be granted; and (3) that the right of<br /> termination set out in clause 7 should be very<br /> strictly limited.<br /> <br /> eo<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> — +o<br /> BRITISH REVIEW.<br /> <br /> The Unworldliness of Journalists. By G@. K. Chesterton.<br /> <br /> With Dumas in Derbyshire. By Mrs. Andrew Lang.<br /> <br /> Dramatists of To-day: Bernard Shaw. By Edward<br /> Storer.<br /> <br /> The Music of the Novelists,<br /> Harris.<br /> <br /> “ Anna Karenina” at the Ambassador&#039;s Theatre. By<br /> J. E. Harold Terry.<br /> <br /> CONTEMPORARY.<br /> <br /> By Clement Antrobus<br /> <br /> The Recent Dramatic Movement in Germany. By The<br /> <br /> Count de Soissons.<br /> Literary Supplement: The Gentle Art of Teaching<br /> English.<br /> <br /> FORTNIGHTLY,<br /> <br /> Lady Dorothy Nevill. By Edmund Gosse, C.B.<br /> <br /> A Practical Repertory Theatre. By E. A. Baughan.<br /> Feodor Dostoieffsky. By J. A. T. Lloyd.<br /> Wordsworth at Rydal Mount. By John Eglinton.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> — oe —<br /> <br /> 1. VERY member has a right toask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 8. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> This<br /> The<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ———__——— 6 —— 9<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> ap<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 169<br /> <br /> <br /> <br /> <br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for “office expenses,&quot;’<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> te<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> —_+—&gt;—+—<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> <br /> play-bills,<br /> 170<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent, An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. :<br /> <br /> (e.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.c.., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (%.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> etter to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> ‘be reserved,<br /> <br /> 5, Authors should remember that performing rights can<br /> tbe limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform, The legal distinction<br /> is of great importance,<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘hey should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9, Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> ds highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> ‘the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> *is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> ———+—&gt;——-—_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> —+— &gt;<br /> <br /> ie, REE typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> ‘be carefully compared by the Secretary or a qualified assis-<br /> ~tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> -of the scenario thus filed may be obtained at any time by<br /> ‘the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> <br /> -tules, with the exception that a play will be ch<br /> :at the price of 23, 6d. per act. a a<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> 1<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> <br /> Society.<br /> ———<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> eg<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> <br /> <br /> <br /> <br /> —<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> —+_<br /> THE READING BRANCH.<br /> <br /> ae<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> <br /> <br /> <br /> —~&gt;—<br /> <br /> REMITTANCES.<br /> <br /> <br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of. post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> —.— os<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than eovered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland . : A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs PoGson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays. :<br /> <br /> Oe<br /> <br /> GENERAL NOTES.<br /> <br /> —— +—&lt;— 4<br /> UnireEp STATES COPYRIGHT.<br /> <br /> In another column we print a short article,<br /> taken from the Publishers’ Weekly of the United<br /> States, dealing with the present position of<br /> copyright in that country.<br /> <br /> We are glad to see that there is “a dis-<br /> position to consider modifications of the copy-<br /> right code,’’ but it would appear that these<br /> proposed modifications do not affect books<br /> written in the English language. The deposit<br /> copies at Washington are to be reduced to one<br /> instead of two, but not in the case cf books<br /> in the English language. It seems that the<br /> second copy of English books is used so that<br /> the American publishers should have a prompt<br /> list of those books that have been filed. We<br /> trust the day is not far distant when America<br /> will see the justice of modifying its copyright<br /> law for the benefit of those countries that<br /> produce books in the English language, and<br /> will see fit to rank themselves with other<br /> civilised nations by joining the Berlin Conven-<br /> tion.<br /> <br /> It would be interesting to know, if it were<br /> possible to find out, the amount of extra<br /> printing which was acquired by the American<br /> <br /> ‘<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 17L<br /> <br /> <br /> <br /> printers under the typesetting clause. It<br /> cannot be more than a few thousands in any<br /> event. The law, as often as not, prevents.<br /> works being copyrighted in America which,jif<br /> copyrighted, would in many cases be printed!<br /> in the United States. In consequence the<br /> great majority of books are sold to the United!<br /> States in sheets, and the American typesetter<br /> obtains no benefit whatever.<br /> <br /> AMERICAN ROYALTIES.<br /> <br /> F A MEMBER of the Society has called our<br /> attention to the fact that American publishers<br /> are cutting down the price at which novels.<br /> are issued to the public. The usual price used<br /> to be $1.50 and the royalty was paid on that<br /> price. Now the price is $1.25 and sometimes.<br /> even less. The member aptly.says, “It is<br /> no joke to be asked to give up a proportion<br /> of one’s royalty ostensibly to support a<br /> system which has done nothing for me.”<br /> <br /> The matter is certainly very serious, for in.<br /> the English market authors have suffered<br /> severely from the reduction in prices.<br /> <br /> There is another point which may possibly<br /> affect the royalties of authors in the American<br /> market, namely, the case which has recently<br /> been decided in the American courts that<br /> publishers cannot by law maintain the prices<br /> at which the books are sold to the trade.<br /> They can sell to a certain person under a<br /> certain contract, but they cannot bind others.<br /> who have no direct contract with them to<br /> maintain prices. It is possible that the result<br /> of this may be a system of rate-cutting, and<br /> should such a calamity arise, it is almost certain.<br /> that the author’s profits will suffer.<br /> <br /> CopyriGHT IN INDIA.<br /> <br /> WE are informed that the new Indian Copy-<br /> right Bill is still under the consideration of the<br /> India Council, but that the Imperial Copy-<br /> right Act of 1911 was brought into force in<br /> India by proclamation on October 31, 1912, so<br /> that in spite of the new Bill not having as yet<br /> been passed by the Council, the 1911 Act is<br /> in force through the Empire of India, with the<br /> exception, of course, of certain native States.<br /> <br /> <br /> <br /> AutTHors AND TRADES UNIONS.<br /> <br /> WE have read with interest the report of a<br /> discussion at the Lyceum Club on the question<br /> of “The Betterment of Authorship as a.<br /> <br /> <br /> 170<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. : :<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (%.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5, Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7, Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘hey should never be included in English<br /> agreements without the author obtaining a stbstantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> iis highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> ‘the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> ‘is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> aare referred to the Secretary of the Society.<br /> <br /> —_——__ +e — —____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> —+-~&lt;&gt; + —_<br /> <br /> Pe eae typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> ‘be carefully compared by the Secretary or a qualified assis-<br /> vtant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> -of the scenario thus filed may be obtained at any time by<br /> ‘the author only at a small charge to cover cost of typing.<br /> Original Plays may also be filed subject to the same<br /> <br /> -tules, with the exception that a play will be cha. d<br /> -at the price of 23. 6d. per act. an Lee<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> ++<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author’s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> <br /> <br /> <br /> se<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> BES<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> <br /> <br /> —<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100._ The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> + —___<br /> THE READING BRANCH.<br /> eg ees<br /> EMBERS will greatly assist the Society in this<br /> Mi branch of its work by informing young writes<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> <br /> <br /> <br /> 9 —____—<br /> <br /> REMITTANCES.<br /> <br /> Se<br /> <br /> The Secretary of the Society begs to give notict<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> &gt; +<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1, Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland i : A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> —_—___—_e——_os____<br /> <br /> GENERAL NOTES.<br /> <br /> UnItrED STATES COPYRIGHT.<br /> <br /> In another column we print a short article,<br /> taken from the Publishers’ Weekly of the United<br /> States, dealing with the present position of<br /> copyright in that country.<br /> <br /> We are glad to see that there is “a dis-<br /> position to consider modifications of the copy-<br /> right code,’’ but it would appear that these<br /> proposed modifications do not affect books<br /> written in the English language. The deposit<br /> copies at Washington are to be reduced to one<br /> instead of two, but not in the case cf books<br /> in the English language. It seems that the<br /> second copy of English books is used so that<br /> the American publishers should have a prompt<br /> list of those books that have been filed. We<br /> trust the day is not far distant when America<br /> will see the justice of modifying its copyright<br /> law for the benefit of those countries that<br /> produce books in the English language, and<br /> will see fit to rank themselves with other<br /> civilised nations by joining the Berlin Conven-<br /> tion.<br /> <br /> It would be interesting to know, if it were<br /> possible to find out, the amount of extra<br /> . printing which was acquired by the American<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 17E<br /> <br /> <br /> <br /> <br /> <br /> printers under the typesetting clause. It<br /> cannot be more than a few thousands in any<br /> event. The law, as often as not, prevents.<br /> works being copyrighted in America which,jif<br /> copyrighted, would in many cases be printed!<br /> in the United States. In consequence the<br /> great majority of books are sold to the United!<br /> States in sheets, and the American typesetter<br /> obtains no benefit whatever.<br /> <br /> AMERICAN ROYALTIES.<br /> <br /> F A memper of the Society has called our<br /> attention to the fact that American publishers<br /> are cutting down the price at which novels.<br /> are issued to the public. The usual price used<br /> to be $1.50 and the royalty was paid on that<br /> price. Now the price is $1.25 and sometimes.<br /> even less. The member aptly.says, “It is<br /> no joke to be asked to give up a proportion<br /> of one’s royalty ostensibly to support a<br /> system which has done nothing for me.”<br /> <br /> The matter is certainly very serious, for in.<br /> the English market authors have suffered<br /> severely from the reduction in prices.<br /> <br /> There is another point which may possibly<br /> affect the royalties of authors in the American<br /> market, namely, the case which has recently<br /> been decided in the American courts that<br /> publishers cannot by law maintain the prices<br /> at which the books are sold to the trade.<br /> They can sell to a certain person under a<br /> certain contract, but they cannot bind others.<br /> who have no direct contract with them to<br /> maintain prices. It is possible that the result<br /> of this may be a system of rate-cutting, and<br /> should such a calamity arise, it is almost certain<br /> that the author’s profits will suffer.<br /> <br /> CopyriGHT IN INDIA.<br /> <br /> WE are informed that the new Indian Copy-<br /> right Bill is still under the consideration of the<br /> India Council, but that the Imperial Copy-<br /> right Act of 1911 was brought into force In<br /> India by proclamation on October 31, 1912, so<br /> that in spite of the new Bill not having as yet<br /> been passed by the Council, the 1911 Act is<br /> in force through the Empire of India, with the<br /> exception, of course, of certain native States.<br /> <br /> <br /> <br /> - Autuors AND TRADES UNIONS.<br /> <br /> WE have read with interest the report of a<br /> discussion at the Lyeeum Club on the question<br /> of “The Betterment of Authorship as a.<br /> <br /> <br /> 172 THE AUTHOR.<br /> <br /> Profession.”” The question was raised with<br /> a view to forming a trades union. This is a<br /> subject which has been from time to time<br /> before the committee and sub-committees of<br /> the Authors Society ; but at present, 1n spite<br /> of endeavours and suggestions, 1t has_been<br /> found impossible to form a union on a similar<br /> basis to the trades unions which govern<br /> mechanical labour. There is no doubt that<br /> one side of authorship is a trade, but the other<br /> side of authorship is an art. In consequence<br /> it has so far been impossible to place a mass of<br /> authors on a given level in the same way as<br /> it is possible to place a mass of mechanics on a<br /> given level. Bricklayers can place so many<br /> bricks an hour, and can receive a certain wage<br /> for that work ; printers can set up a certain<br /> amount of type per hour and can receive so<br /> much wage for that work. One author may<br /> write in an hour something which can be sold<br /> not only during the term of copyright, but<br /> throughthe centuries, and will bring in hundreds<br /> of pounds. Another author may write the<br /> same number of words in an hour, but the<br /> result may not be worth the same number of<br /> pence as the work of the other is worth<br /> hundreds of pounds.<br /> <br /> The discussion at the Club seems to have<br /> been carried on without reference to the work<br /> the Society of Authors has done and is doing ;<br /> indeed, no inquiry appears to have been made<br /> as to whether such a proposition had ever come<br /> before the committees of the Society for<br /> discussion. From the report it appears that<br /> a committee of the Club has been appointed<br /> to consider what ought to be done. We shall<br /> be very interested to know the result of that<br /> committee’s reflections.<br /> <br /> One important suggestion was made that<br /> an Author’s Agency should be established, run<br /> by authors for authors. This point has been<br /> very frequently discussed by the committee<br /> of the Society, but the committee, for various<br /> reasons which it is difficult to put forward in a<br /> short paragraph, came to the conclusion that<br /> it was inadvisable for the Society to run such<br /> an agency, yet no doubt such an agency would<br /> be of considerable use to the profession. One<br /> strong point which the Society gains by not<br /> being bound to any agency liesin the fact that<br /> it can criticise equally all agents, all publishers<br /> and all trading concerns. If the Society had<br /> started an agency, those authors who were dis-<br /> contented with the work of that agency would be<br /> inclined to resign from the Society, and those<br /> authors who did not belong to the agency, or<br /> whose work the agency could not take up, would<br /> always taunt the Society with running the<br /> <br /> agency for aclique of authors. If the Society<br /> is to be of value to ALL authors, it is much<br /> better that the committee should be entirely<br /> independent in their work and the Society<br /> should be entirely independent in its position.<br /> <br /> Another suggestion that was made was that<br /> an authors’ bank should be established. This<br /> question has also been discussed by the<br /> committees of the Society, and found, for<br /> various reasons, to be unworkable from the<br /> Society’s point of view. No doubt if such a<br /> bank was established it might be of considerable<br /> value to a number of authors, but it would not<br /> be able to deal with all authors in the same<br /> way in which the Society, under its present<br /> constitution, can deal with all authors who<br /> have copyright property to protect.<br /> <br /> If it is possible to form a trades union on the<br /> basis of the trades unions formed by ordinary<br /> labour organisations, the committee of the<br /> Society would very willingly consider again,<br /> as they have considered in the past, any<br /> suggestions that could be made, with a view<br /> to bringing about a practical result. The<br /> usual answer from those who come fresh to<br /> the subject and have not given it careful<br /> consideration over a number of years is that<br /> the French dramatists have formed a close<br /> ring. At one time it was hoped that the<br /> English dramatists, containing a smaller<br /> number of members than the profession of<br /> novelists, might be able to bind themselves<br /> into such a close ring, but so far the efforts<br /> in that direction have proved unsuccessful.<br /> We shall welcome any effort that may be<br /> made in the right direction, and suggest<br /> as the Authors Society already exists with a<br /> membership of some 2,500, and with a certain<br /> amount of capital, that if any organisation is<br /> possible it should be made through the channels<br /> of the Society and with the assistance of the<br /> Society’s funds.<br /> <br /> We await with interest the report of the<br /> result of the meeting of the committee.<br /> <br /> ————<br /> <br /> COMMITTEE ELECTION.<br /> 1<br /> a the January number of The Author a full<br /> statement was given with reference to<br /> the election of members to the Committee<br /> of Management for the current year.<br /> The names of the committee’s nominees for<br /> that election were :—<br /> Sir Alfred Bateman.<br /> W. W. Jacobs.<br /> Stanley Leathes.<br /> Aylmer Maude.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> January 31 was the last day on which the<br /> names of nominees could be received, and, as<br /> no nominees were put forward by the members,<br /> the nominees of the committee are elected<br /> without opposition.<br /> <br /> ~_¢—&lt;&gt;—_ ¢ ——— -<br /> <br /> NEW ZEALAND COPYRIGHT ACT, 1913.<br /> <br /> <br /> <br /> HE provisions of the Copyright Act, 1911<br /> are substantially adopted by the New<br /> Zealand Legislature in the Copyright<br /> <br /> Act, 1918, which will come into operation cn<br /> April 1. But there are certain modifications<br /> and additions relating to procedure and<br /> remedies to which attention may be drawn,<br /> as they are important to copyright owners.<br /> In New Zealand registration of copyright is<br /> optional, but it has substantial advantages,<br /> particularly in the way of certain summary<br /> remedies, which are not available to the copy-<br /> right owner who is not registered. For instance,<br /> in the ease of an unauthorised performance of<br /> a musical or dramatic work, the person who<br /> permits a theatre to be used for such a per-<br /> formance is liable on summary conviction to<br /> a fine of £10, and every person who takes part<br /> in the performance, after receiving a written<br /> warning not to do so, is liable to the same<br /> penalty. But, in order to secure these<br /> privileges, the copyright owner must be<br /> registered, and on a conviction he is entitled<br /> to the fines imposed, by way of compensation<br /> for the injury sustained. Moreover, the regis-<br /> tered owner is given special remedies in<br /> respect of the seizure of infringing copies and<br /> a right to search premises where infringing<br /> copies are supposed to be. In England a<br /> warrant to seize infringing copics or to search<br /> premises may be obtained under the Musical<br /> (Summary Proceedings) Copyright Act, 1902,<br /> and the Musical Copyright Act, 1906, in<br /> respect of musical works, while the New<br /> Zealand Copyright Act confers these remedies<br /> not only on musical composers, but on the<br /> registered owner of the copyright in any<br /> literary, dramatic, musical or artistic work.<br /> <br /> A further advantage of registration is that<br /> a certified copy of any entry in the register is<br /> prima facie evidence as to the copyright<br /> owner and other particulars contained in the<br /> register ; so that in an action for infringement<br /> the production of the document may be<br /> sufficient without calling witnesses to establish<br /> the plaintiff&#039;s title, and this applies also to<br /> summary proceedings where the prosecutor<br /> is registered owner of the copyright. There<br /> <br /> <br /> <br /> <br /> <br /> 173<br /> <br /> is also a provision for the registration of<br /> assignments of copyright and licences. The<br /> mode of registration is by an application to<br /> the registrar, andthe delivery of one copy in<br /> the case of a book, and for works of art one<br /> copy of the work or a representation of it.<br /> <br /> There are provisions analogous to those in<br /> section 15 of the Copyright Act, 1911, which<br /> require a copy of each book to be sent by the<br /> publisher to the British Museum, and, if<br /> demanded, to certain other libraries. By<br /> section 52 of the New Zealand Copyright Act<br /> the publisher is required to deliver two copies<br /> of every book to the librarian of the General<br /> Assembly Library within a month from the<br /> date of publication, and in case of default the<br /> publisher is liable to a fine of £5 and the value<br /> of the copies.<br /> <br /> A curious distinction is noticeable in the<br /> provisions of the Act giving power to the<br /> Governor to make Orders in Council relating<br /> to other parts of the British Dominions and to<br /> foreign countries in the Copyright Union.<br /> Under section 28 the Order relating to<br /> British Dominions may provide that the rights<br /> conferred by the Order shall be “ subject to<br /> the accomplishment of such conditions and<br /> formalities as are prescribed by the Order.”<br /> In section 33, relating to foreign countries, the<br /> words are, ‘subject to the accomplishment<br /> of such conditions and formalities, if any, as<br /> may be prescribed by the Order.” It remains<br /> to be seen whether the Orders in Council will,<br /> in either case, prescribe any conditions and<br /> formalities, the abolition of which was expressly<br /> agreed upon by the unionist countries under<br /> article 4 of the Berlin Convention.<br /> <br /> Haroitp Harpy.<br /> <br /> <br /> <br /> — ee<br /> <br /> THE PRESENT STATUS OF COPYRIGHT<br /> IN THE US.A.<br /> <br /> <br /> <br /> (From the “ Publishers’ Weekly” of U.S.A.)<br /> cL is worthy of note that piracy of copy-<br /> right material is lapsing into the limbo<br /> of the past, like piracy on the high seas,<br /> and modern instances are sporadic rather than<br /> chronic. Jack London has just brought to<br /> terms, by a_ successful compromise, the<br /> “movies” proprietors who had ignored his<br /> rights; and in a pending case in New York,<br /> where a theatre manager had put a play on the<br /> boards without authority and, too late,<br /> <br /> pleaded his willingness to pay royalty, a pre-<br /> liminary injunction was promptly granted, and<br /> <br /> <br /> <br /> <br /> 174<br /> <br /> the United States district attorney, of his own<br /> volition, started to put the criminal features<br /> of the Copyright Act into practical application.<br /> Happily we are establishing a standard as to<br /> literary and like property which is likely to be<br /> fully maintained.<br /> <br /> There is a friendly disposition apparent to<br /> consider modifications of our copyright code<br /> in the interests of foreign authors where this<br /> ean be done without detriment to American<br /> interests, and a Bill is pending in Congress,<br /> which is approved by the Copyright Office, to<br /> reduce the number of deposit copies from two<br /> to one in the case of books in foreign languages.<br /> In the case of books in the English language,<br /> the Library of Congress makes good use of two<br /> copies by utilising one for copyright record and<br /> the other for prompt card cataloguing, so that<br /> American publishers have no reason to ask for<br /> the reduction of the number of deposited copies.<br /> But in the case of foreign books, and, indeed,<br /> in the case of all other copyright material<br /> except books, the Copyright Office needs only<br /> one copy, and the second copy is rather a<br /> burden than a help to it. It is therefore<br /> probable that Congress will make the change<br /> indicated, and it is not impossible that a like<br /> change may be ultimately made as to other<br /> objects of copyright.<br /> <br /> The important question which must pre-<br /> sently come to the front is our relation with<br /> British authors. The ad interim period,<br /> amounting to sixty days, has proved inadequate<br /> for any test of the American market, and<br /> though it has usefully met the objections to<br /> the simultaneous publication requirement of<br /> the old law, it is not otherwise of much benefit<br /> to our English brethren. Some extension of<br /> the period, therefore, will be welcomed by<br /> English authors and should not be harmful to<br /> American interests.<br /> <br /> Copyright relations are making some progress<br /> in South America, but so far the provisions of<br /> the fourth Pan-American Convention have<br /> been accepted only by half a dozen of the minor<br /> States, as well as by the United States. Brazil<br /> is showing some intent to come into wider<br /> copyright relations, and it is to be hoped that<br /> Argentina, which has already extended its<br /> domestic copyright by reciprocal arrangements<br /> to several European nations, will not long delay<br /> entering into the excellent convention which<br /> makes possible a Pan-American copyright<br /> federation.<br /> <br /> On the whole, the copyright cause is making<br /> gcod progress, and the one uncertain factor<br /> is the Dominicn of Canada. There nothing<br /> seems to:have been done either as to accepting<br /> <br /> THE AUTHOR.<br /> <br /> the Imperial Act, as has been done by Australia,<br /> New Zealand and Newfoundland, or making<br /> progress towards a new code, as is being done<br /> in South Africa. It is to be hoped that our<br /> neighbours across the border will soon be taking<br /> steps and following the precedent of Australia,<br /> rather than of the United States.<br /> <br /> &gt;&lt; —____<br /> <br /> THE POPULAR FICTION MARKET.<br /> <br /> Irs REQUIREMENTS AND REWARDS.<br /> <br /> Sa<br /> By FREE-LANCE.<br /> I.<br /> <br /> Le writing of the fiction market, let me say at<br /> the outset that I refer only to the British<br /> fiction market, and to the periodical<br /> market at that. The money side of book-<br /> writing has been dealt with pretty often of<br /> late, in doleful or glowing articles, by writers<br /> of varying temperaments and ideas as to what<br /> is adequate pay for the labour involved. But<br /> to the general reader, and to the young writer,<br /> the question of what is wanted by the popular<br /> press, and what is the usual remuneration,<br /> is likely to be of greater interest.<br /> <br /> Professional authors will agree with me,<br /> I think, when I say that the first thing for<br /> the aspiring writer of short stories and sevials<br /> to do is to assure himself of the fact that his<br /> is not an art, but a trade; a skilled trade<br /> certainly, and one which will call for much<br /> mental ingenuity, and very much patience<br /> under rebuffs, but still a trade.<br /> <br /> This may sound cynical, and there will not<br /> be wanting those who will be ready to point<br /> out that the present writer has a very poor<br /> opinion of his profession. Well, I can say<br /> with sincerity that of the art of authorship<br /> I have a very high opinion indeed. To all<br /> those authors who have been, and are, faithful<br /> to their ideals in the produce of literature,<br /> I accord my whole-hearted admiration and<br /> respect. But I am not dealing here with<br /> authorship as an art, but with authorship as<br /> a business. It is at least as honest as most<br /> other businesses ; the pay to the hard-working<br /> and skilful craftsman is good, and it can be<br /> practised in the comfort and quietness of one’s<br /> own home. With the spread of education<br /> during the past twenty or thirty years the<br /> profession of letters has entirely changed.<br /> Where there was one reader thirty years ago<br /> there are a hundred to-day, and, naturally,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> the number of writers has increased in<br /> proportion.<br /> <br /> The working classes; the mill and factory<br /> hands of both sexes; the miners and their<br /> wives; the shop-girls; the seamstresses ; all<br /> these have to be catered for to-day—and<br /> geniuses of a certain type have come forward<br /> to do it. The result is that the newsagents’<br /> counters and the railway bookstalls are laden<br /> with a mass of cheap periodicals specially<br /> designed to meet the requirements of this<br /> class of reader—a class which is overwhelm-<br /> ingly greater than any other in Britain.<br /> This being so, the astute business-author<br /> naturally enough decides that he must purvey<br /> that style of fiction for which there is the<br /> <br /> greatest demand.<br /> Il.<br /> <br /> A youth, fired with high ambitions and a<br /> proper respect for the honour of literature,<br /> may set out to win his spurs and financial<br /> reward as a writer of what for want of a better<br /> term may be styled “high-class fiction.”<br /> Having been duly warned as to the thorny<br /> nature of the path he has elected to tread,<br /> he is prepared for disappointment at the start.<br /> This of course is just as well, for the disap-<br /> pointment will not be lacking.<br /> <br /> Indeed, if he is—as I am presuming him<br /> to be—dependent upon his fiction—writing<br /> for a livelihood—I fancy that it will not be<br /> long ere he is forced to a certain pessimism.<br /> He will learn from the lips of those editors<br /> whose duty it is to provide for popular taste<br /> that fine writing is not wanted—and I go so<br /> far as to say that this applies not only to those<br /> weeklies which are either rather blood-thirsty<br /> or distressingly sentimental, but to the average<br /> monthly magazines. ‘‘ Give us action!” is<br /> what they are perpetually crying, and action<br /> they must have.<br /> <br /> They have no patience with character-<br /> drawing unless it is done very quickly and<br /> very broadly; descriptions of scenic effects,<br /> no matter how deftly and artistically written,<br /> are blue-pencilled at once; subtlety is not<br /> allowed—and, indeed, but frequently under-<br /> stood—and cleverness is the last offence.<br /> <br /> All this, of course, is ‘‘ generally speaking.”’<br /> There are some magazines where the manner<br /> is counted as important as the matter, where<br /> artistic work is welcomed, and where cul-<br /> sl and distinguished writers give of their<br /> <br /> est.<br /> <br /> But these magazines are few in number,<br /> and are so well catered for by the members<br /> .of the old school with the big names, and<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 175<br /> <br /> <br /> <br /> by the American ‘“ topnotchers,” that they<br /> are practically closed to the young and<br /> unknown writer.<br /> <br /> _Since I started my own career as a profes-<br /> sional author I have written for practically<br /> every one of the better known fiction-using<br /> periodicals in Britain, and have had the<br /> satisfaction of appearing at intervals in the<br /> pages of such magazines as I have mentioned<br /> above. But I came to realise after some time<br /> and many hardships that, if I trusted to good<br /> work and the better-class magazines, I would<br /> very soon have to use some poor-house as<br /> a postal address.<br /> <br /> The young writer, then, will early discover<br /> that he must either give up the idea of making<br /> a good living by his pen or he must face the<br /> degradation of writing down to the level of<br /> a class, excellent and worthy in many ways,<br /> but of a far lower mentality than his own.<br /> I number among my friends a great many<br /> fellow-writers, some of them men and women<br /> of the highest culture and refinement, who<br /> have made wise use of all the advantages of<br /> good education, and, judging from them, I<br /> should say that free-lance authors lacking<br /> private means are an army of pessimists and<br /> grumblers.<br /> <br /> It may be said that they have themselves<br /> to blame; that they should have discovered<br /> what was in store for them before burning<br /> their boats and pinning their faith to fiction-<br /> writing. That, no doubt, is perfectly true,<br /> but what ambitious boy or girl with literary<br /> talents and a store of courage will believe<br /> that disillusionment lies ahead ?<br /> <br /> In this, as in so much else, experience is<br /> the only practical teacher, and her lessons are<br /> often bitter.<br /> <br /> I am purposely leaving out of count those<br /> who imagine that they are going to make a<br /> good income by writing novels of the usual<br /> six-shilling order. Warnings have been given<br /> to them in plenty.<br /> <br /> Of course one may point to A. and B. and C.,<br /> and so on—all brilliant writers who have<br /> built up fortunes by their works ; but it would<br /> be interesting to learn just how many years<br /> A. and B. and C. took to achieve their present<br /> position, and whether they were not at first<br /> free from the toils of money-making—or at<br /> least spared the necessity of making money<br /> by their pens.<br /> <br /> The trouble with the average reader of<br /> periodicals is that he will not think; all the<br /> thinking must be done for him by the author.<br /> The reader is usually in a hurry; he must<br /> be swept into the heart of the action or the<br /> <br /> <br />  <br /> <br /> 176 THE AUTHOR.<br /> <br /> mystery at once, for he refuses to get there by<br /> leisurely methods. :<br /> <br /> Broad sensationalism, broader humour, still<br /> broader sentimentalism—that is what 1s<br /> wanted by the biggest reading class to-day,<br /> and it is for that that editors and publishers<br /> are willing to pay.<br /> <br /> IIT.<br /> <br /> Bathos is at a premium among those<br /> long-headed merchants who attend to the<br /> wants of the half-educated, and the man or<br /> woman who can supply enough of it is sure of<br /> a steady and a large income.<br /> <br /> There are, after all, very few monthly<br /> magazines in Britain for the average writer,<br /> and it is hopeless to depend upon them to<br /> provide sufficient money to pay for rent, and.<br /> food, and so on. But the man or woman<br /> who casts aside literary scruples, who is<br /> frankly “‘ out for cash,” and who learns the<br /> tricks of the trade, may be very comfortable<br /> indeed.<br /> <br /> To the beginner of this nature one might say:<br /> “ Write a magazine story or a literary article<br /> now and then to ease your conscience, but for<br /> your living attend to the framing of what pro-<br /> fessionals pleasantly term ‘ muck.’ Go to your<br /> newsagent ; spend a shilling on buying twelve<br /> of those weekly papers—appealing for the<br /> most part to girls and women—and soak in the<br /> stuff that you will find there.<br /> <br /> “Tt is to serial stories that you must look<br /> for the bigger part of your income, so read the<br /> serials. If you have a sense of humour at<br /> all and any appreciation for good writing,<br /> these serials will, frankly speaking, disgust<br /> you, though they may raise a smile now and<br /> then by their sheer banality. But remember,<br /> while you read, that if you are to be financially<br /> successful as an author from the start, you<br /> must school yourself to write exactly the type<br /> of matter which you are reading. ‘<br /> <br /> “You will be expected to increase the<br /> circulation of the paper you work for by the<br /> description of ‘The girl who looked down<br /> on her mother,’ or something of that sort,<br /> and it will be very painful for you. But after<br /> all, few people are able to make money to-day<br /> by doing work which they like and of which<br /> they may reasonably be proud.”<br /> <br /> From personal experience I know that there<br /> are two classes of serial writers. (I am not<br /> dealing with serials in magazines nor in daily<br /> papers, but with those which appear in what<br /> may be styled the ‘‘ Home Weekly”’ class.)<br /> One class is composed of highly intelligent<br /> <br /> persons, possibly of good social position, who”<br /> <br /> write with their tongues in their cheeks and<br /> self-shame in their hearts; the other class,<br /> and be it noted by far the more successful,<br /> comprise those writers who are proud of their<br /> work and of themselves for being able to do<br /> it! They believe—and I have had the felicity<br /> of meeting some editors and editresses who<br /> also believe—that the twaddle which they<br /> produce is not only wholesome and “ human ”<br /> —a favourite word with them—but is the<br /> outcome of high literary abilities.<br /> <br /> IV.<br /> <br /> Here, then, is the field for the writer with<br /> an eye to the rewards, who cannot wait to<br /> make a public by novel writing, and who<br /> wants more than the pickings which he can<br /> get from the magazines.<br /> <br /> He will find, as I found, that the writers<br /> of charm whose names he knows and respects<br /> are but poorly-paid workers as compared to<br /> the army of hacks whose names are not always<br /> divulged to the public, and who disport them-<br /> selves week by week in the pages of those many<br /> papers which set out to capture the attention<br /> of the humbler readers.<br /> <br /> For the sake of these readers I hope that the<br /> editors who provide for them under-estimate<br /> their brain power, but I doubt it. Not long<br /> ago an editor said to me, ‘‘ The more common<br /> and vulgar I can make my paper, the better<br /> it will sell.”’ I suppose he was right, though<br /> I would fain think otherwise.<br /> <br /> Publishers of periodicals, remember, are not<br /> philanthropists who are wishful to raise the<br /> standard of the people’s literary tastes ; they are<br /> in business in order to make money, and they<br /> are ready to pay well the editors and writers<br /> who can help them.<br /> <br /> Although I have written here disparagingly<br /> of these serials upon which the servant-girl<br /> and the factory-hand feeds, it must not be<br /> thought that the writing of them is necessarily<br /> easy. Far fromit. &lt;A great deal of cleverness<br /> and dexterity—more by the cultured writer<br /> than by his brother, who takes the thing<br /> very seriously—and, above all, an unfaltering<br /> patience, is needed. The young writer will<br /> fancy at first that every single idea has been<br /> used before, and editors will probably badger<br /> him nearly to despair in an effort to please<br /> their several and peculiar wants.<br /> <br /> But if he makes a fair start and keeps<br /> going, he will do well.<br /> <br /> The pay is not large—even the well-known<br /> serialist of this order is seldom paid more than<br /> a guinea or thirty shillings a thousand words.<br /> ‘But if a writer can turn out such stuffas is<br /> <br /> <br />  <br /> <br /> ft<br /> <br /> <br /> <br /> TIE AUTHOR.<br /> <br /> wanted, and works hard, he may reasonably<br /> expect to make anything from five hundred<br /> pounds per annum upwards. I know men<br /> and several women—who are making, without<br /> apparently undue exertion, fifteen hundred and<br /> two thousand pounds a _year—but they are<br /> ~of course the masters of their trade, and most<br /> distressingly active.<br /> Probably a novice would be lucky to get<br /> <br /> <br /> <br /> _ fifteen shillings a thousand words, but he could<br /> <br /> lee oo &lt;&lt; PAE<br /> <br /> climb to the guinea ere long, and after that<br /> yt would be merely a matter Of time and grow-<br /> ing reputation before being in receipt of an<br /> income bigger by far than any which he could<br /> have reasonably looked for in the pleasanter<br /> <br /> realms of magazine work.<br /> <br /> THE BRITISH INTERNATIONAL ASSO-<br /> CIATION OF JOURNALISTS’ ANNUAL<br /> MEETING AND DINNER.<br /> <br /> — &lt;&gt; +<br /> <br /> HIS Association had not a Cabinet<br /> Minister for their chief guest at the<br /> annual dinner this year, as in the past<br /> <br /> two years, but they invited one whose influ-<br /> ence upon journalism has been great. The<br /> Professor of Poetry of Oxford University, and<br /> President of Magdalen, Dr. Herbert Warren,<br /> at some inconvenience, for the date was fixed<br /> during the first days of term, accepted the<br /> invitation, and gave a speech that has been<br /> quoted on every hand. There was a goodly<br /> gathering including such well-known past<br /> officers of the Association as Mr. Arthur<br /> Spurgeon, Mr. S. S. Campion and Mr. J. H.<br /> Warden. Sir James Yoxall, M.P., Editor of<br /> the Schoolmaster, presided.<br /> <br /> The toasts, after the loyal toasts, were but<br /> two. In proposing the guests, Sir James<br /> Yoxall made an interesting speech, dealing<br /> with the journalism of to-day. Journalism<br /> to-day was very near to literature, and was a<br /> constant source of education, and was educat-<br /> ing the coming generation. This in spite of<br /> the fact that journalists could not spend time<br /> in polishing their sentences, and their work<br /> could not attain the perfection of Gibbon. In<br /> referring to the guest of the evening, the<br /> President of Magdalen, he spoke of the impor-<br /> tant positions Dr. Warren had filled and the<br /> important work he had done. He was one of<br /> the most distinguished university men of<br /> England. He was a poet, reviewer, editor of a<br /> famous edition of Plato, a journalist, and a<br /> <br /> ATT<br /> <br /> contributor to the Quarterly and Edinburgh<br /> Reviews. As journalist and littérateur they<br /> honoured him.<br /> <br /> op-~&lt;de<br /> <br /> ENCYCLOPADIA OF COPYRIGHT.*<br /> <br /> —+ &lt;4<br /> <br /> HOUGH the name of Professor Réthlis-<br /> berger is of itself sufficient to recom-<br /> mend to immediate attention any work<br /> <br /> that issues from his pen, it is only just<br /> that very strong insistance should be laid upon<br /> the value of this his latest book, both on<br /> account of the skill with which it has been<br /> constructed and on account of its encyclopedic<br /> character. The single volume contains a com-<br /> plete representation of the whole of the law of<br /> copyright as it stands at the present day. If<br /> any evidence of the reality of this complete-<br /> ness is required that is furnished by the<br /> volume itself; for a supplement of the laws<br /> and agreements which have come into force<br /> whilst the volume was in the press does not<br /> fill a single page; all else being embodied in<br /> the various sections of the work.<br /> <br /> The arrangement of the first part, which<br /> comprises the copyright laws of the various<br /> States, is alphabetical, under the names of the<br /> several countries. Here it will be found that<br /> nothing in the shape of actual legal enactments<br /> or of regulations respecting their administra-<br /> tion has been omitted. The second part of the<br /> work contains the various treaties ; first of all<br /> those of the Unions which include several<br /> States (the Berne Union, the Union of Monte-<br /> video, the Central-American Union, the<br /> Bolivian Union, the Panama Union); and<br /> after these the numerous particular treaties<br /> which have been made by various countries—<br /> all being alike set out at full length. (In this<br /> part of the work we are struck by the very<br /> different extent in which various countries<br /> have availed themselves of this method of<br /> protection of copyright. Belgium has eight<br /> such particular treaties, Germany six, France<br /> twenty-four, Great Britain only two.) After<br /> less than a page of Addenda (already men-<br /> tioned), the volume concludes with (1) a<br /> Register in the order of the contents, present-<br /> ing a conspectus of all that has been already<br /> <br /> <br /> <br /> * Dr. Ernst Réthlisberger. Urheberrechts—Gesetze und<br /> —Vertrage in allen Laindern nebst den Bestimmungen<br /> iiber das Verlagsrecht. Dritte, gainzlich umgearbeitete<br /> Auflage. Leipzig. G. Hedeler. 1914.<br /> <br /> Copyright Laws and Treaties of all countries together<br /> with the terms of agreement with publishers. Third,<br /> completely revised, edition.<br /> <br /> <br /> 178<br /> <br /> set forth, but here growping all the legislation of<br /> each country under the three headings of<br /> Laws, Unions, Treaties ; and (2) an Index of<br /> Matters, in which the subject-matters of the<br /> laws, treaties, ete., of all countries will be<br /> found grouped under their respective headings ;<br /> for example, under “ Duration of Copyright ”<br /> will be found references to all the enactments<br /> respecting duration of copyright whether<br /> enunciated in laws or set forth in various<br /> treaties. On the immense value of this<br /> Subject Index it is unnecessary to dwell, as the<br /> amount of labour which will be saved by<br /> reference to it must be evident to all. The<br /> toil which it must have cost seems appalling ;<br /> and Professor Réthlisberger has every reason<br /> to express in his Preface a hope that in every<br /> case of excerpts or quotations from his book a<br /> reference to it may be made out of considera-<br /> tion of the labour which has been bestowed<br /> upon it ; labour, he justly remarks, of transla-<br /> tion as well as of arrangement—for there are<br /> to be found here in a single language legal<br /> documents whose originals must have appeared<br /> in some score of tongues.<br /> <br /> The work appears in German, and may be<br /> regarded as one more of those works which<br /> demonstrate that in the present day no<br /> educated man ought to be ignorant of that<br /> language : for what pursuits can a man now<br /> take up without finding that the investigations<br /> which his work necessitates will be seriously<br /> hampered if he cannot avail himself of the<br /> labours of the Germans ? At the same time it<br /> is a notorious fact that among Englishmen<br /> such a knowledge of German as is practically<br /> useful is not common; and we shall soon be<br /> hearing said of this book, ‘‘ I wish it was in<br /> English!” Only where shall we look for the<br /> English legist who would have compiled it, or<br /> the English publisher who would consent to<br /> produce it ?<br /> <br /> Leaving, however, those questions to be<br /> answered by any one who ean answer them,<br /> we shall content ourselves with repeating that<br /> Professor Réthlisberger has produced a work<br /> absolutely indispensable for the copyright<br /> legist and specialist, and one of the very<br /> greatest value. Its nature of a pure compila-<br /> tion excludes the possibility of its exhibiting<br /> any of that wide-reaching clear-sightedness<br /> and deep penetration of copyright questions by<br /> which Professor Réthlisberger has distin-<br /> guished himself; but its completeness, and<br /> the lucidity of its arrangement, and, above all<br /> else, the great judgment shown on the treat-<br /> ment of the Subject Index, cannot but add to<br /> the laurels of the compiler.<br /> <br /> THE AUTHOR.<br /> <br /> ENGLISH HISTORICAL LITERATURE IN<br /> THE FIFTEENTH CENTURY.*<br /> <br /> —1—~&gt;—»+ —_<br /> <br /> WN R. KINGSFORD’S “ English Historica}<br /> Literature in the Fifteenth Century ”<br /> is a critical survey of the sources of<br /> English history beginning with Thomas Walsh-<br /> ingham, and concluding with a chapter on the<br /> Sixteenth Century Historians and Fifteenth<br /> Century History. The subject of the work<br /> will, therefore, appear to many to be a tolerably<br /> arid one. As every one will also agree with<br /> the author’s opening statement, that “ the<br /> history of the fifteenth century in England<br /> leaves on a first acquaintance the impression<br /> that it is somewhat barren of interest and<br /> deficient in variety and concentration of<br /> purpose,”’ so there will be few who will not be<br /> most agreeably surprised alike by the manner<br /> in which the author collects a unity out of the<br /> scattered records, and brings into relief, one<br /> after another, innumerable particulars of<br /> striking interest. The latter feature of the<br /> work will render it attractive not to those alone<br /> who are in quest of stern historical evidence,<br /> but also to all educated explorers of the origins<br /> of English literature and the course of its<br /> developments, and to all who can with pleasure<br /> turn over out of the way records of the past.<br /> Nor would we omit a mention of the suggestive-<br /> ness of the author’s careful appreciations of<br /> values, appreciations which are one of the<br /> fundamental aims of his book, but respect-<br /> ing which, be it confessed, it may seem pre-<br /> sumption for us to express any opinion,<br /> though we liked them, and were particularly<br /> grateful for a kind word said for our old friend<br /> Polydore Vergil. Be that as it may this is a<br /> book which can be thoroughly enjoyed, and it<br /> is difficult to say whether the chapters dealing<br /> with subjects so well-known as the “ Gesta<br /> Henrici Quinti’’ and ‘The Brute,’ or the<br /> pages devoted to private correspondence and<br /> the chapter on “ Poetry and Ballads ” are the<br /> more attractive. The author has succeeded in<br /> compiling upon what at first appears to be a<br /> tedious subject an eminently readable as well<br /> as a valuable volume. Everywhere the foot-<br /> notes are excellent ; and a portion of the work<br /> on no account to be neglected is the appendix<br /> of hitherto unpublished documents: among<br /> which is a ballad that has not previously<br /> appeared in print. Incidentally it may be<br /> <br /> <br /> <br /> * “English Historical Literature \fin the Fifteenth<br /> Century,” by Charles Lethbridge Kingsford. Oxford,<br /> Clarendon Press, 1913, 15s, nett.<br /> <br /> <br /> <br /> <br /> <br /> Boe<br /> <br /> a4<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> mentioned that the historical novelist, who is<br /> not seldom at a loss where to discover a basis,<br /> not yet hackneyed, for a new tale, might in<br /> more than one instance find what was wanted in<br /> Mr. Kingsford’s pages. Has any one ever<br /> attempted a novel on the fate of Eleanor<br /> Cobham, Duchess of Gloucester? More is<br /> known about her than in some cases sufficed<br /> Sir Walter Scott for the foundation for a tale ;<br /> and the historical facts present also just those<br /> elements of diversity of contemporary opinions<br /> which are so dear to the novelist.<br /> <br /> Notable features of the work are a full<br /> bibliography and a most excellent index ; the<br /> more valuable and helpful as the evidence<br /> there gathered together is often scattered<br /> in many different documents.<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> PHOTOGRAPHS AND REPRODUCTION.<br /> <br /> Srtr,—I do not know whether the following<br /> matter is worthy of your attention, nor even<br /> whether Zhe Author concerns itself with<br /> photographic work, but I venture to bring<br /> it to your notice on the chance that it may<br /> affect some of your readers as it affects me.<br /> I am a photographer and also a writer on<br /> natural history subjects, and contribute work<br /> of both kinds to several of the illustrated<br /> sixpenny wecklies. I find that, although the<br /> editors of most of these papers consider my<br /> photographic work worthy of a page in their<br /> journals, they do not apparently think that<br /> my name is good enough to appear below my<br /> work. It is true that in some cases the name<br /> of the photographer is inserted at the foot of<br /> the page, but it is in such minute type that<br /> a casual reader will probably overlook it<br /> altogether. Others have a still more objection-<br /> able practice. No name is published with<br /> the photographs, but at the end of the paper,<br /> among a maze of “‘ special pages ” and adver-<br /> tisements, is a small paragraph: ‘ Our<br /> pictures are from photographs as follows,”<br /> and there the photographer may find his name<br /> buried with those of the rest of the unfortunate<br /> illustrators. I am not speaking of small<br /> pictures, nor of illustrations in the text, but of a<br /> photograph or series of photographs, that<br /> occupy a whole page of the magazine.<br /> <br /> If, on the other hand, I contribute an<br /> article or story to the same number of the<br /> said paper, my name is published thereunder<br /> <br /> iva<br /> <br /> in large type. Does the editor consider that<br /> the photographer is on a lower level than the<br /> author ? Yet his work occupies a place as<br /> important, and is paid for at rates as good.<br /> Why then may he not receive the same recogni-<br /> tion? I am not, of course, speaking of the<br /> leaders in either case, but of the rank and file.<br /> I remain, Sir,<br /> Yours faithfully,<br /> ** ONE OF THE RANK AND FILE.”<br /> <br /> ———1&lt;———_<br /> <br /> Dear Str,—Would you be so kind as to grant<br /> me a little space for this letter in your paper ?<br /> <br /> Mrs. Archibald Mackirdy’s house has been<br /> burnt completely down, and she has absolutely<br /> nothing to wear but the clothes she escaped<br /> in—all her clothes, papers and other things<br /> are destroyed.<br /> <br /> We do not know the dates, addresses or<br /> times of Mrs. Mackirdy’s public engagements.<br /> She is advertised to speak at large meetings all<br /> over the kingdom. She will be glad to keep<br /> her engagements after she gets some clothes,<br /> and has found a furnished house, provided<br /> dates, addresses and times are sent, so that<br /> they can be re-booked. Until then, it is quite<br /> impossible for her to go anywhere.<br /> <br /> It would be a very great help, if you would<br /> kindly let people know through this paper.<br /> <br /> With thanks, I am, sir, yours faithfully,<br /> <br /> CHARLOTTE COTTRILL,<br /> Private Secretary.<br /> <br /> i ——<br /> <br /> S1r,—I send two questions, which, perhaps,<br /> some of your readers may be kind enough to<br /> answer.<br /> <br /> First.—Is there any book in existence<br /> which explains the principles and mysteries of<br /> what is known as ‘stagecraft’? I have<br /> several books which tell how to write plays,<br /> but none of them gives information on the<br /> subject I mention.<br /> <br /> Second.—Is there any “ authority ”’ for the<br /> prohibition of splitting infinitives ? Or is it<br /> only a superstition? We split every other<br /> mood and tense.; why not the infinitive also ?<br /> <br /> Yours very truly,<br /> Wiiiram Parrick KELty.<br /> <br /> —-—&gt;— 4 —<br /> <br /> Tur FREELANCE.<br /> Sir.—In connection with what appears in<br /> your February issue on the subject of “ Free-<br /> lance” work, I think you are very wise to<br /> <br /> <br /> 180<br /> <br /> emphasise the desirability of having some other<br /> means of support before embarking on such<br /> work. In my own case, though I could make<br /> quite a long list of the publications to which I<br /> have contributed, ranging from the defunct<br /> Speaker to the Daily Herald, and including such<br /> magazines as Nash’s, Red, ete., and weeklies<br /> such as Madame and London Opinion, pro-<br /> vincial newspapers such as the Manchester<br /> Guardian and the Glasgow Herald, I have no<br /> hesitation in saying that had I been under the<br /> necessity of living out of the proceeds I<br /> should have starved long ago. Nine out of<br /> ten of the Freelance’s MSS. are returned to<br /> him: some are published and paid for twelve<br /> months after they are sent out: some he is<br /> not paid for at all, or only after threats of legal<br /> proceedings. I advise any young man or<br /> woman who desires to become a writer for the<br /> press to have some other employment as well,<br /> be it ever so poorly paid. To make an income<br /> worth having at so-called Freelance work<br /> means a drudgery at hack work that surpasses<br /> the drudgery of an office by far. The Free-<br /> lanee who has to live on it has no time, and<br /> soon no spirit, for that great book that is to<br /> bring him fame.<br /> <br /> In conclusion, let me give a little anecdote<br /> by way of dispelling the delusion that out-<br /> siders’ work stands an equal chance with that<br /> of others. A very charming lady of my<br /> acquaintance who moves in literary circles<br /> said to me one day, “I like young Mr. So-and-<br /> so, and I’m doing my best to help him.” ‘“ In<br /> what manner?” I asked. ‘‘ Oh, I’ve asked<br /> him to dinner once or twice to meet the right<br /> people—editors and so on.”<br /> <br /> The moral is, get asked to dinner to meet the<br /> right people. It helps wonderfully, in any<br /> calling, and in none more than in—writing. I<br /> was going to say literature, but I won’t.<br /> <br /> Yours faithfully,<br /> PAvLus.<br /> <br /> —+o<br /> <br /> AUTHOR’S CORRECTIONS.<br /> <br /> Dear Mr. Epvrror,—I have read with much<br /> interest the article on ‘‘ Author’s Corrections ”<br /> and may I, with due humility, state my method<br /> with regard to the tiresome things ?<br /> <br /> When the first proofs come, I correct<br /> printer’s errors in black ink, and make my<br /> author’s corrections in red. Those proofs go<br /> back in due course, are corrected at press,<br /> and return to me again, with clean second<br /> proofs as well. Second proofs go back,<br /> passed. Thus first proofs with ‘ author’s<br /> corrections ”’ remain in my possession, and<br /> <br /> THE AUTHOR.<br /> <br /> these I duly present to my publishers, together<br /> with the original MS. which, in accordance<br /> with the ordinary routine of proof correcting,<br /> inevitably ends its days in the author’s posses-<br /> sion also.<br /> <br /> My self-invented little system appears to<br /> ameliorate the hard lot of my long suffering<br /> publishers, and is no extra trouble whatever to<br /> me, while it prevents any possibility of mistake<br /> on any side.<br /> <br /> Yours respectfully,<br /> OLIvE Katuarine Parr.<br /> <br /> +e<br /> On SomME EpiToriAL EccENTRICITIES.<br /> <br /> S1r,—The letter of ‘‘ Senex ” in the February<br /> Author is such a candid confession of injury to<br /> authors that I trust it will not be allowed to<br /> pass unnoticed. “Senex” is apparently an<br /> author; he admits that he is ‘“ perhaps<br /> approaching his dotage” ; and he admits that<br /> he is in the habit of sending letters to the Press<br /> which “as a rule are inserted.” Is he aware<br /> that by habitually supplying editors with copy<br /> gratis, he is “ blacklegging ’’ authors? How<br /> long will it be before authors form themselves,<br /> like all other workers, into a trade union, and<br /> take steps to prevent this and the hundred and<br /> one other evils which afflict them ?<br /> <br /> By writing this letter I am following the<br /> bad example of “Senex.” But I only send<br /> a letter to a journal when it appears that the<br /> expression of an opinion is badly needed, and<br /> is either clearly to the public advantage or<br /> to my advantage. I cannot complain like<br /> ““Senex’”’ that editors have ever seriously<br /> tampered with my letters. The few which I<br /> have sent have always been promptly and<br /> conspicuously inserted, and without any altera-<br /> tion. Sometimes a passage has been struck<br /> out, but only when it might have been offensive<br /> to some readers.<br /> <br /> Yours truly,<br /> TraDE UNIONIST.<br /> <br /> Music PuBLISHERS AND MECHANICAL<br /> REPRODUCTION.<br /> <br /> Srr,—I notice that some of the music pub-<br /> l&#039;she:s are entering the mechanical instrument<br /> trade as reproducers of gramophone and<br /> kindred reproductions of their compositions.<br /> This should be good news to composers, who<br /> may now, surely, expect to see the end of the<br /> exorbitant claim of the music publisher to<br /> 50 per cent. of the mechanical fees.<br /> <br /> Yours, ete.<br /> A Victim,	https://historysoa.com/files/original/5/537/1914-03-02-The-Author-24-6.pdf	publications, The Author
538	https://historysoa.com/items/show/538	The New Zealand Copyright Act, 1913 (1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+New+Zealand+Copyright+Act%2C+1913%3C%2Fem%3E+%281914%29"><em>The New Zealand Copyright Act, 1913</em> (1914)</a>	A full summary of the New Zealand 1913 Copyright Act, which came into effect on 1 April 1914.							<a href="https://historysoa.com/The-Author-Issues/1914-03-02-The-Author-24-6">Supplement to The Author, Vol. 24 Issue 05</a>			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-03-02-Supplement-24-2-New-Zealand-Copyright-Act		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew &amp; Co.</a>																					<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-03-02">1914-03-02</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>		19140302		https://historysoa.com/files/original/4/538/1914-03-02-Supplement-24-2-New-Zealand-Copyright-Act.pdf	copyright, international, publications, The Author
539	https://historysoa.com/items/show/539	The Author, Vol. 24 Issue 07 (April 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+07+%28April+1914%29"><em>The Author</em>, Vol. 24 Issue 07 (April 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-04-01-The-Author-24-7					181–206																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-04-01">1914-04-01</a>							7			19140401	Che HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> Monthly. )<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vor. XXIV.—No. 7.<br /> <br /> APRIL 1, 1914.<br /> <br /> _ [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> <br /> a ee<br /> <br /> NOTICES.<br /> <br /> i<br /> <br /> 4 OR the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tur Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> o&gt;<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> a<br /> <br /> 4 ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> <br /> /<br /> <br /> 182 THE AUTHOR.<br /> <br /> matter closely connected with the work of the<br /> Society.<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> —____—_+—&gt;—+___—_.<br /> <br /> THE PENSION FUND.<br /> <br /> —+——+ —<br /> <br /> N January, 1914, the secretary of the<br /> I Society laid before the trustees of the<br /> Pension Fund the accounts for the year<br /> 1913, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> have given notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £ 4s. @.<br /> RGCAl Loans 6c 0is occ sc hecccs sconces 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ............ 291 19 11<br /> London and North Western 3%<br /> <br /> Debenture Stock .................. 250 0 O<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates............. 200 0 0<br /> Cape of Good Hope 34% Inscribed<br /> <br /> Block 6. ak - 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock ...... 228 0 0<br /> New Zealand 34% Stock .......... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927-57 ...............:-. . 4388 2 4<br /> Jamaica 34% Stock, 1919—49 ... 1382 18 6<br /> Mauritius 4% 1987 Stock ......... - 120 12 1<br /> Dominion of Canada, C.P.R. 84%<br /> <br /> Land Grant Stock, 1988 ......... 198 3 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ............... 237 0 O<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock 21.00.65. 0igsecsss0ccses 232 0 0<br /> <br /> Nominal Value.<br /> SS, a.<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........+.++++-. 400 0 O<br /> <br /> 250 Edward Lloyd, Ltd., £1 5%<br /> <br /> Preference Shares ...............- 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> <br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) ................. 550 0 0<br /> 3 Central Argentine Railway £10<br /> Preference Shares, New Issue... 30 0 0O<br /> Great Eastern Railway Ordinary<br /> Stock cess cecpesuesd esse 655 0 0<br /> Total 2 £5,419 6 O<br /> <br /> —_——_———__+—&gt;—_+—____—_-<br /> <br /> PENSION FUND.<br /> <br /> —.—~ +<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 19138.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1913.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearee, J. . : Z<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry :<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, EK. A. . :<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John j<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert<br /> Dec. 4, Lunn, Arnold . &lt;<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry, Miss Ana .<br /> Dec. 4, Vallois, Miss Grace . ‘<br /> Dec. 17, Beresford, J. D.<br /> Dec. 29, Inge, Charles .<br /> Dec. 29, Cross, Miss May<br /> Dec. 29, Hardy, Thomas, O.M.<br /> <br /> _<br /> <br /> ~<br /> NASCSCAAANMooaaaaanwe ao Toe<br /> <br /> i<br /> concoconeoooooocoOoOoOOOoSoO OF<br /> <br /> wpooocooooormooocooooroocooooh<br /> <br /> <br /> <br /> <br /> i<br /> j<br /> i<br /> |<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 28, Exley, Miss M. :<br /> Jan. 26, Sarawak, The Ranee of<br /> Mar. 11, Dowson, Osear F.<br /> <br /> 19138. Donations.<br /> <br /> Oct. 7, Darwin, Sir Francis . :<br /> <br /> Oct. 9, Carroll, Sydney Wentworth<br /> <br /> Oct. 21, Troubetzkoy, The Princess<br /> <br /> Oct. 27, Frankish, Harold . 2<br /> <br /> Oct. 30, Rosman, Miss Alice Grant<br /> <br /> Nov. 3, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce .<br /> <br /> Nov. 3, Batty, Mrs. Braithwaite<br /> <br /> Nov. 10, Elrington, Miss Helen<br /> <br /> Nov. 10, Waterbury, Mrs. .<br /> <br /> Dec. 5, Dymock, R. G. Vaughton .<br /> <br /> Dec. 6, Macdonald, Miss Julia<br /> <br /> Dec. 11, Little, Mrs. Archibald<br /> <br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J. .<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon :<br /> <br /> Jan. 5, Joseph, L.<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E. :<br /> <br /> Jan. 6, De Crespigny, Mrs. Champion<br /> <br /> Jan. 6, Rankin, Miss F. M. . .<br /> <br /> Jan. 7, Sneyd-Kynnesley, E. M.<br /> <br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> <br /> Jan. 9, Mackenzie, Miss J. .<br /> <br /> Jan. 10, Daniell, Mrs. E. H. .<br /> <br /> Jan. 12, Avery, Harold :<br /> <br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> <br /> Jan. 15, Thomas, Mrs. Fanny<br /> <br /> Jan. 16, James, Mrs. Romane<br /> <br /> Jan. 19, P. H. and M. K.<br /> <br /> Jan. 19, Greenstreet, W. J. .<br /> <br /> Jan. 19, Gibbs, F. Leonard A.<br /> <br /> Jan. 23, Campbell, Mrs. L. A. R. .<br /> <br /> Jan. 23, Cameron, Mrs. Charlotte,<br /> F.R.GS. . :<br /> <br /> Jan. 23, Blunt, Reginald<br /> <br /> Jan. 24, Raphael, Mrs. Mary.<br /> <br /> Jan. 25, Plouman, Miss Mary<br /> <br /> Jan. 80, Gibson, Miss L. S. .<br /> <br /> Feb. 5, Brooker, Lt.-Col. E. P.<br /> <br /> Feb. 6, Buchrose, J. E. :<br /> <br /> —<br /> S<br /> <br /> coomoooocooooooooooeooscr-<br /> <br /> Seeeoecoon,<br /> <br /> _<br /> ecoooceormroscoocooooro tu<br /> <br /> HH OOOH<br /> <br /> et K<br /> Or or or or or or?<br /> <br /> i<br /> <br /> —<br /> Ooo © OH eH Orbs Or Orr OO OO<br /> <br /> —<br /> <br /> peal<br /> <br /> _ —_<br /> ooanrgnocounooeawmanoduncocmn oc =<br /> <br /> _<br /> <br /> ee ON Oe et<br /> <br /> ccooocoeoe<br /> <br /> SCMmooooooanaaoacecooances ececoocoocoonanaoooooao<br /> <br /> ecoeoanooce<br /> <br /> <br /> <br /> 1838<br /> <br /> Feb. 7, Smith, Herbert W.<br /> Feb. 20, Eden Guy : :<br /> Feb. 21, Mayne, Miss Ethel<br /> bourn :<br /> Feb. 21, K. ; : :<br /> Feb. 25, Aspinall, Algernon E.<br /> Mar. 2, Dalziell, J. ‘<br /> Mar. 2,8. F.G. . ;<br /> Mar. 5, Saies, Mrs. F. H.<br /> Mar. 5, Thorne, Mrs. Isabel . :<br /> Mar. 5, Haviland, Miss M. D. :<br /> Mar. 5, Todd, Miss Margaret, M.D.<br /> Mar. 13, Cabourn, John 5 :<br /> Mar. 20, French, Mrs. G. F. .<br /> <br /> oon<br /> —<br /> oro 2<br /> co<br /> <br /> Col-<br /> <br /> et<br /> Oo &amp;<br /> <br /> CSCOrFOCCorFNOSS<br /> Soe Or or Oc<br /> coocoocooocoecocs<br /> <br /> —<br /> <br /> ee<br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> —-—— + —_<br /> <br /> HE Committee held their March meeting<br /> on the second of that month at three<br /> o’clock, at the offices of the Society.<br /> <br /> After the minutes of the previous meeting had<br /> been signed the committee dealt with the elec-<br /> tions and resignations. The number of elections<br /> —twenty-six—is chronicled in another column<br /> of this issue. This brings the total number for<br /> the current year up to ninety-five, slightly in<br /> excess of the number for the corresponding<br /> period of last year. The committee accepted,<br /> with regret, eighteen resignations. The large<br /> number of resignations during the month may<br /> b&gt; accounted for by the fact that at this period<br /> of the year the first application is issued for<br /> unpaid subscriptions. A certain number of<br /> resignations is bound to follow.<br /> <br /> The next question before the committee was<br /> the legal cases and the disputes of members.<br /> The solicitor attended and made his report.<br /> In the first claim against the proprietor of a<br /> magazine—the debt and costs had been paid.<br /> In a ease for the collection of dramatic fees,<br /> the solicitor reported that he had, at length,<br /> succeeded in obtaining the debt and costs.<br /> The costs had been increased as it had proved<br /> necessary, not only to issue a summons for an<br /> examination of the debtor, but also to proceed<br /> against him for an attachment.<br /> <br /> The solicitor then reported on the case of<br /> infringement of title by a cinematograph<br /> company which had been taken up at the last<br /> meeting. The judge considered it a case for a:<br /> speedy trial and the trial was fixed for the<br /> 10th of the month. In a case where money<br /> was claimed on a disputed account, the com-<br /> mittee decided to take action with the approval<br /> <br /> <br />  <br /> <br /> 184<br /> <br /> of the member concerned. The secretary then<br /> reported that in a case where an award had<br /> been given, one of the members, party to the<br /> award, desired certain letters to be read to the<br /> committee. These were read in due course,<br /> and the secretary was instructed to write a<br /> letter in reply, placing before the member that<br /> the award must be adhered to, and that the<br /> committee were unable to discuss the matter<br /> further. ‘The letter was to be submitted to<br /> the chairman of the committee for his approval.<br /> <br /> Difficult issues had arisen owing to the fact<br /> that a publisher had shown unreasonable delay<br /> in publishing the book which he had agreed<br /> by contract to produce. The committee decided<br /> to issue a writ for damages for delay or for<br /> immediate publication.<br /> <br /> In a case of infringement of dramatic rights<br /> of amember in Australia, the secretary reported<br /> that he had, in order to catch the Australian<br /> mail, obtained the chairman’s sanction to place<br /> the matter in the hands of the Society&#039;s<br /> lawyers in Sydney. The committee confirmed<br /> the chairman’s action.<br /> <br /> In a dispute between a member and an<br /> agent which the committee, for various<br /> reasons, at the last meeting had refused to take<br /> up. the secretary read_ to the committee a<br /> further communication he had received from<br /> the member, and, after again reviewing the<br /> case, the committee regretted they were unable<br /> to depart from their previous decision, and<br /> instructed the secretary so to inform the<br /> member.<br /> <br /> A question concerning the conduct of a case<br /> in the United States on behalf of a member<br /> was considered by the committee in the light<br /> of fresh facts which had just come to hand<br /> from the Society’s American lawyer.<br /> <br /> It was decided to take up an action against<br /> a paper in Vancouver, and the secretary was<br /> instructed to communicate with the Society’s<br /> lawyers on the subject. :<br /> <br /> The judgment in the highest court in<br /> Switzerland, on a question taken up by the<br /> Society some years ago, was laid before the<br /> committee. The committee regretted it was<br /> against the claim put forward on behalf of the<br /> member. As no further appeal was possible,<br /> the secretary. was instructed to inform the<br /> member of the result.<br /> <br /> In a dispute between a member of the Society<br /> and the editor of an illustrated paper the<br /> correspondence was read, and the chairman<br /> undertook to write to the editor.<br /> <br /> The next matter referred to a case of<br /> infringement of dramatic rights. The com-<br /> mittee, after consideration, regretted they<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> were unable to take up the case. In a dispute<br /> arising from the publication of a book, the<br /> committee gave instructions to the secretary<br /> as to the settlement.<br /> <br /> There was a question, also, of infringement<br /> of the rights in a title by a cinematograph<br /> production. The committee decided to take<br /> no action in this case, but to await the&#039;result<br /> of the case already pending.<br /> <br /> The next matter was a dispute, stretching<br /> over a period of years, under a publisher’s<br /> account. The committee decided to take up<br /> the case on behalf of the member.<br /> <br /> The secretary then reported the position of<br /> an important case in Toronto of infringement<br /> of copyright, taken up by the Society, and<br /> read a letter received from the member con-<br /> cerned dealing with the proposed terms of<br /> settlement as received from Canada. The<br /> committee approved the terms of settlement<br /> put forward by the member, and decided to<br /> instruct the lawyers in Toronto accordingly.<br /> <br /> As the chairman of the committee was going<br /> abroad for a short time, a vice-chairman was<br /> appointed in his absence.<br /> <br /> Authority was given for the payment of the<br /> cost of a cable sent to the Authors’ League of<br /> America, congratulating the League on its<br /> first annual dinner and on the success of the<br /> League.<br /> <br /> The question of the Society’s advertise-<br /> ments was next considered, and it was decided<br /> to settle the account of the previous agents<br /> in accordance with an arrangement made<br /> between them and the Society’s accountants.<br /> It was also decided to have an exchange<br /> advertisement with the Music Student.<br /> <br /> The list of non-payers for two years was laid<br /> before the committee, and the secretary was<br /> instructed to send a special letter to the<br /> members in arrears.<br /> <br /> Correspondence with a member on the<br /> subject of the libraries censorship was read,<br /> and the secretary was instructed to write to<br /> the member giving him the committee’s<br /> opinion and asking for possible suggestions.<br /> <br /> The seeretary then laid before the committee<br /> a short article dealing with a dispute between<br /> a member and a publisher which, on the<br /> suggestion of the Composers’ Sub-Committee,<br /> it was proposed to publish in The Author. He<br /> was instructed to lay the matter before the<br /> Society’s solicitors and, with their approval,<br /> to publish the article in the April issue.<br /> <br /> The matter of the change of the name of the<br /> Society from the Incorporated Society of<br /> Authors, to the Incorporated Society of<br /> <br /> Authors, Playwrights and Composers, was<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> next considered. The secretary reported that<br /> the solicitors of the Society had obtained the<br /> approval of the Board of Trade, and it was<br /> decided to have a special meeting of the<br /> council and the shareholders of the Society<br /> on April 17 to approve the change, and a<br /> confirmatory meeting later, according to the<br /> provisions of the Companies Acts.<br /> <br /> The committee authorised the investment of<br /> £260 from the Life Membership account in the<br /> purchase of Buenos Aires Great Southern<br /> Railway 4% Extension Shares, and authority<br /> was given to affix the seal of the Society if<br /> necessary.<br /> <br /> A difficult question, arising under a certain<br /> section in the Copyright Act, 1911, was<br /> referred to the Committee of Managment by<br /> the Composers’ Sub-Committee. It dealt with<br /> mechanical rights. &#039;The Committee of Manage-<br /> ment decided to take counsel’s opinion on the<br /> matter.<br /> <br /> It was decided to purchase a new type-<br /> writer for the Society’s office.<br /> <br /> A proposal was submitted to the committee<br /> by the Independent Music Club, and the<br /> secretary was instructed to state that the com-<br /> mittee regretted they were unable to accept it.<br /> <br /> Letters were read from the Foreign Office on<br /> the question of copyright in India, and from<br /> the Society’s lawyer in New York on the ques-<br /> tion of copyright in the United States.<br /> <br /> Votes of thanks were passed to the following<br /> members for donations to the Capital Fund of<br /> the Society: Mr. Arnold Bennett, £10;<br /> Edward Carpenter, £3; Philip Hubbard,<br /> 10s. 6d.<br /> <br /> 4<br /> <br /> Dramatic SuBp-CoMMITTEE.<br /> <br /> Tuer Dramatic Sub-Committee met at the<br /> Society’s offices on Friday, March 20.<br /> <br /> After reading the minutes the secretary<br /> reported that he had heard from Mr. Fladgate,<br /> the solicitor of the Society of West End<br /> Managers, in regard to the settlement of the<br /> Managerial Treaty, and that the question had<br /> been referred to Mr. Gatti and himself for dis-<br /> cussion. The secretary further reported that<br /> he had seen Mr. Gatti, and it was probable<br /> that the report would be laid before the next<br /> meeting of the sub-committee.<br /> <br /> The question of the conference to be held at<br /> the Society’s offices to discuss matters con-<br /> nected with the use of titles by film manu-<br /> facturers was mentioned to the sub-committee.<br /> Various bodies interested had consented to<br /> send delegates to the conference, and it was<br /> <br /> <br /> <br /> 185<br /> <br /> decided to invite the Society of West End<br /> Managers to attend, as well as a representative<br /> of the Committee of Management of the<br /> Society. The secretary was instructed also<br /> to communicate further with the Film Renters’<br /> Association. The agenda for the conference<br /> was settled in the following terms :—<br /> <br /> 1. To consider what joint action could be<br /> taken to safeguard<br /> <br /> (a) Titles.<br /> (b) Subject matter.<br /> <br /> 2. The appointment of a joint board to pro-<br /> tect the common interests of authors, manu-<br /> facturers, and the film trade generally.<br /> <br /> The secretary was instructed to send the<br /> agenda round to all the bodies which had<br /> signified their intention to be present.<br /> <br /> A cable from the Society’s American agent<br /> dealing with film rights was read to the sub-<br /> committee, and Mr. Cecil Raleigh reported on<br /> transactions which the agent had already<br /> carried through on his behalf. It was decided,<br /> as soon as Mr. Jordan arrived in England, to<br /> call a special meeting of the Dramatic Sub-<br /> Committee with a view to a discussion on the<br /> sale of cinema rights, as Mr. Jordan had<br /> stated that he had some important information<br /> to lay before the sub-committee.<br /> <br /> Mr. Raleigh then reported the action of the<br /> Society in regard to ‘Sealed Orders,’”’ and<br /> stated that the Society had obtained an<br /> injunction on his behalf, and, at the same time,<br /> a payment from the defendants towards the<br /> costs. Mr. Raleigh expressed his thanks to<br /> the Society for its assistance.<br /> <br /> A proposal to raise a fighting fund for sup-<br /> port of dramatic cases was carefully considered.<br /> It seemed clear that there were so many issues<br /> to be considered that it would be necessary to<br /> appoint a sub-committee for the purpose.<br /> <br /> Mr. Shaw, Mr. Raleigh and Mr. Chambers<br /> consented to serve. It was decided to have a<br /> meeting as early in May as possible.<br /> <br /> As the matters before the sub-committee<br /> had taken a considerable time to discuss it was<br /> decided to adjourn the general discussion on<br /> agents to another meeting.<br /> <br /> The Society’s representative who was to<br /> attend the Cinematograph Conference in Paris<br /> regretted he had been unable to do so.<br /> <br /> Two cases were then considered.<br /> <br /> The first was in relation to a contract<br /> carried through by the Society’s agent in<br /> Holland. The sub-committee instructed the<br /> secretary to write to the member concerned to<br /> the effect that it was important that action<br /> should betaken, andtothechairmanofthe Com-<br /> mittee of Management to get their sanction,<br /> <br /> <br />  <br /> <br /> 186<br /> <br /> subject to the member’s consent to action<br /> being taken. o<br /> <br /> Another question arising out of a dispute<br /> on accounts was discussed. On_ the facts<br /> before them, the sub-committee did not con-<br /> sider that, at the present time, it was necessary<br /> to appoint an accountant to investigate the<br /> accounts.<br /> <br /> —<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> Tur Composers’ Sub-Committee met at the<br /> offices of the Society on Saturday, March 14,<br /> at eleven o’clock. After the minutes of the<br /> previous mecting had been signed, the secre-<br /> tary read counsel’s opinion that had been<br /> obtained, with the sanction of the Committee<br /> of Management, on a question arising under<br /> section 19 (7) (c) of the Copyright Act, 1911.<br /> The question related to rights assigned to<br /> publishers before the passing of the Act of<br /> 1911. The opinion, which was obtained from<br /> Mr. E. J. MacGillivray, was a very interesting<br /> one.<br /> <br /> The next question dealt with the matter of<br /> publishers’ contracts. The secretary reported<br /> that he had received no answer to two letters<br /> he had written to the Music Publishers’<br /> Association. He was instructed to write again<br /> and to press for a reply.<br /> <br /> The secretary then drew the attention of the<br /> sub-committee to the fact that Messrs.<br /> Chappell &amp; Co. were now manufacturing<br /> mechanical instrument contrivances, and put<br /> forward the suggestion that, as they were<br /> making a profit as manufacturers of these<br /> contrivances, they might not now think it<br /> necessary to share in the composers’ fees.<br /> <br /> The sub-committee then discussed the<br /> question of publishers’ accounts. The secre-<br /> tary explained the difficulties, both financial<br /> and other, of putting in a chartered accountant<br /> to check the accounts regularly. The sub-<br /> committee were agreed that if any concrete<br /> case came before them where the accounts<br /> appeared to be inaccurate, they would advise<br /> the Committee of Management to place in an<br /> accountant. The matter was adjourned to<br /> the next meeting for further consideration.<br /> <br /> —_+——<br /> <br /> Tue Pension FunNpD COMMITTEE.<br /> <br /> The Pension Fund Committee met at the<br /> offices of the Society on Tuesday, March 3.<br /> <br /> After reading the minutes of the last<br /> meeting the secretary made a full report of<br /> <br /> THE AUTHOR.<br /> <br /> the position of the fund. He stated that the<br /> trustees had invested the sum of £350 in the<br /> purchase of Great Eastern Railway Ordinary<br /> Shares, and that, after consideration of the<br /> income of the fund, had declared to the<br /> committee that a further sum of £40 could be<br /> used for pensions.<br /> <br /> The committee formally approved the in-<br /> vestments of the trustees for 1913 and 1914.<br /> <br /> The secretary then reported that Mrs.<br /> Francis Marshall, who is at present receiving<br /> a pension from the Society, had applied for<br /> an increase. After due consideration, and<br /> subject to certain conditions, the committee<br /> decided to increase the pension by an amount<br /> of £15 per annum, bringing the total pension<br /> up to £40 per annum.<br /> <br /> — a<br /> <br /> Cases.<br /> <br /> DurineG the last month the secretary has<br /> been very busy with cases coming into the<br /> office and, in addition to matters which it has<br /> been necessary to place in the hands of the<br /> solicitors of the Society when immediate legal<br /> action was imperative, has dealt with twenty-<br /> two cases. They may be catalogued as<br /> follows :—<br /> <br /> 8 claims for the return of MSS. ;<br /> <br /> 6 claims for money ;<br /> <br /> 3 claims for accounts and money ;<br /> <br /> 2 disputes on agreements ;<br /> <br /> 1 claim for infringement of copyright ;<br /> 1 claim for literary libel ;<br /> <br /> 1 claim for account.<br /> <br /> Of the six claims for money, one has been<br /> placed into the hands of the Canadian lawyers<br /> and one has been placed in the hands of the<br /> London lawyers. One will be placed in the<br /> hands of the London lawyers in the course of<br /> a few days, as no response whatever has been<br /> made to the secretary’s letters. One case has<br /> been completed and the money has been paid.<br /> Of the two remaining cases, one has only<br /> recently come to the office, and one lies in the<br /> United States.<br /> <br /> The claims for MSS. have been heavy. They<br /> are always difficult to deal with. In only one<br /> case has the MS. been collected. In one no<br /> answer has been given to the secretary’s letter,<br /> and it will most probably have to be placed in<br /> the hands of the Society’s solicitors. In two<br /> other cases the persons communicated with<br /> have promised to make a diligent search and<br /> write again. In two of the remaining no<br /> answer has been given, and it is very probable<br /> THE AUTHOR.<br /> <br /> from the facts before the secretary that the<br /> address of the delinquents being incorrect, it<br /> will be impossible to obtain any satisfactory<br /> reply. The last two have only recently come<br /> to the office.<br /> <br /> There have been three claims for accounts<br /> and money. Two of these are against one<br /> publisher. The cases against the firm are<br /> adding up so rapidly that it may be necessary<br /> to place them into the hands of the Society’s<br /> solicitors after conferring with the committee.<br /> A letter in reply is still wanting in the third<br /> case, but the letter of demand has only just<br /> been written.<br /> <br /> In two eases of disputes on agreements, one<br /> has been settled and one is still in the course of<br /> negotiation.<br /> <br /> One claim on infringement of copyright has<br /> been settled.<br /> <br /> One case of literary libel has been placed in<br /> the hands of the Society’s solicitors. In a<br /> demand for an account, the publisher has<br /> written and promised to render it as soon as he<br /> can get it out.<br /> <br /> The settlement of these cases has so far not<br /> been very satisfactory, but it is hoped that in<br /> the May number it will be possible to report<br /> that they have been terminated.<br /> <br /> The disputes still outstanding from former<br /> months have practically all been settled,<br /> except those that are in foreign countries,<br /> or those which necessarily need lengthy<br /> negotiations.<br /> <br /> <br /> <br /> March Elections.<br /> Comtesse Irma Adel- Villa Riviera, Wies-<br /> mann. baden.<br /> <br /> Miss E. M. Evors<br /> Harold J. Flowers<br /> <br /> Hugo William Koch,<br /> (“ Hugo W.’’).<br /> <br /> F. Beverley Lanyon,<br /> (of. B.L.”’).<br /> <br /> George Morrow .<br /> <br /> Miss Emily Newling<br /> <br /> Eille Norwood<br /> <br /> Ivor Novello<br /> <br /> Mary O’Conor-Eccles<br /> <br /> Miss Muriel O’Conor<br /> <br /> Miss Nancy Margaret<br /> Paul.<br /> <br /> Marshall O. Roberts<br /> F. J. St. Aubyn .<br /> <br /> Hugh Stokes<br /> <br /> Isabel Thorne . -<br /> <br /> <br /> <br /> 187<br /> <br /> Lyceum Club,<br /> Piccadilly, W.<br /> Seagrave Rectory,<br /> Loughborough.<br /> 44, Doughty Street.<br /> London, W.C.<br /> Evelyns, Hillingdon,<br /> Uxbridge.<br /> <br /> 15, Penrith Road,<br /> Keswick.<br /> <br /> Little Marlow.<br /> <br /> Hotel Russell, Dub-<br /> lin.<br /> <br /> 30, Chester Street,<br /> Grosvenor Place,<br /> S.W.<br /> <br /> Hazel Rough, Hart-<br /> field, Sussex.<br /> <br /> Easton, Grantham.<br /> <br /> Lamb Building,<br /> Middle Temple,<br /> E.C.<br /> <br /> 77, Welbeck Street,<br /> Cavendish Square,<br /> W.<br /> <br /> Burleigh, Tudor<br /> Road, Upper Nor-<br /> wood, S.E.<br /> <br /> ee ee<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> <br /> <br /> A F, Britten Austin<br /> <br /> 1, Northgate End,<br /> <br /> i Basil Dean<br /> <br /> <br /> <br /> Bishops Stortford,<br /> Herts.<br /> <br /> c/o. Cox &amp; Co., 16,<br /> Charing Cross,<br /> S.W.<br /> <br /> 19, Albany<br /> Ealing.<br /> Penrith New School,<br /> Long Lane, Finch-<br /> <br /> ley, N.<br /> <br /> Lt. ©.<br /> <br /> low.<br /> <br /> A. L. Brown-<br /> <br /> The Rev.<br /> chanan.<br /> Miss Frances N. Creaton<br /> <br /> E. S. Bu- Road,<br /> <br /> “* Custos” .<br /> <br /> 10, Abbey Court,<br /> Abbey Road, N.W.<br /> <br /> The Cobbles, Wal-<br /> ton - on - the - Hill,<br /> Surrey.<br /> <br /> 6, Portsdown Road,<br /> W.<br /> <br /> 5, Fetter Lane, E.C.<br /> <br /> Oscar F. Dowson<br /> <br /> Jack Edwards .<br /> <br /> David Delta Evans,<br /> (‘‘ Dewi Hiraddug ’’).<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> ARCHAOLOGY.<br /> <br /> DESCRIPTION OF THE TEST SPECIMEN OF THE RostRo-<br /> Cartnate INDUSTRY FOUND BrneatH THE NorwicH<br /> Crac. By Sir Ray Lanxester, K.C.B. (Occasional<br /> Papers, No. 4.) 11 x 74. 18 pp. Three Plates. The<br /> Royal Anthropological Institute of Great Britain and<br /> Treland.<br /> <br /> ARCHITECTURE.<br /> <br /> A Snort Account of GREAT MALVERNE PRioRY CHURCH.<br /> A History of the Monastery and Description of the<br /> Fabric. By the Rev. AnTrHony CHARLES Drannz,<br /> Vicar of Hampstead, sometime Vicar of Malvern. 74 x<br /> 5. 100 pp. (Bell’s Cathedral Series.) Bell. 1s. 6d. n.<br /> <br /> <br />  <br /> <br /> <br /> 188<br /> <br /> GREEK SCULPTURE AN<br /> delivered to the Stu<br /> <br /> London. By Sir CHARLES<br /> <br /> 5}.<br /> Press.<br /> Our Lapy<br /> 208 pp. Arrowsmith. 1s. n.<br /> <br /> BIOGRAPHY.<br /> <br /> REMARKABLE WoMEN oF F<br /> ~.-CoL. ANDREW<br /> 353 pp. Stanley Paul.<br /> Lir—E AND WRITINGS.<br /> Constable, Is. n.<br /> <br /> A Personal Study of James<br /> <br /> By Liev<br /> 9 x 5}.<br /> ToLsToy,<br /> GaRNETT.<br /> On THE LEFT oF A THRONE.<br /> Duke of Monmouth. By Mrs. Evan NEPEAN.<br /> Tilustrations.<br /> CHILDREN oF THE DEap Enp.<br /> By Patrick MAcGILL.<br /> Tue SECRET OF CHARLOTTE BRONTE.<br /> Reminiscences of the Real Monsieur and Madame Heger.<br /> By Frepertka Macpona.p, D.Litt. 73 x 5}. 263 pp.<br /> Jack.<br /> Lives AND LeGEenps or EneuisH Sarsts. By L. M.<br /> Methuen. 6s. n. 5<br /> By Henry James. 9} 7k x 5. 404 pp. Putnam. 6s.<br /> <br /> Navvy.<br /> <br /> SHORTT.<br /> Nores or A SON AND BROTHER.<br /> <br /> x 53%. 479 pp. Macmillan.<br /> <br /> A Gure to HistoricaL FICTION.<br /> D.Litt.<br /> <br /> Five Puays.<br /> Grant Richards.<br /> <br /> p MoprERN ABT. ;<br /> poole gory 4 aoe ay 304 pp. Ward, Lock. 6s.<br /> <br /> Conbud e University REBECCA OF THE Fetts. By Heten H. Warson.<br /> i 8 8 x 5}. 388 pp. Religious Tract Society.<br /> <br /> RANCE FROM 1431 To 1749.<br /> Haaa@arp, D.§.0.<br /> 16s. ‘n.<br /> <br /> By Lorp Dunsany.<br /> <br /> THE AUTHOR.<br /> <br /> A Girt rrom Mexico. By R. B. TownsHenp. 7} x 5.<br /> ; 314 pp. Methuen. 6s.<br /> Two lectures tyre Cason HONEYMOON. By Heapon Hitt. 7} x 5.<br /> <br /> THe Motor Maip. By C. N. and A. M. Witxramson.<br /> <br /> 4 r Forniss. 7 X 43. : :<br /> By Haray Fuenis 2 309 pp. Tur Man rrom Curpin’s River, on WHERE<br /> <br /> MEN aRE Mapr. By D. Mactan. (Cheap Reprints.)<br /> 7i x 4}. 280 pp. Hodderand Stoughton. 1s. n. each.<br /> Tur Para to Honour. By Sypney C. Grier. (Cheap<br /> Reprint.) 74 x 5. 329 pp. Blackwood. 1s. n,<br /> Tur Lapy Next Door. By Haroxtp Becsiz. 74 x 5.<br /> 160 pp. Popular Edition. Hodderand Stoughton. 1s. n.<br /> THE QUEEN’S QuarR. 384pp. OpENCounTRY. 256 pp.<br /> RicHaRD YEA-AND-Nay. 256 pp. Lirrte Nove.s oF<br /> <br /> By Epwarp<br /> <br /> 36 Ivary. 256 pp. THe Hatr-Way House. 256 pp.<br /> Lane. 10s. 6d. n. All by Mauricz Hewett. (New Sevenpenny Series.)<br /> The Autobiography of a 64 x 44. Macmillan.<br /> <br /> 7% x 5. Jenkins. 6s. THE ULSTERMAN. _AStory of To-day. By F. FRankrort<br /> Followed by Some Moorr. 7? x 5. 323 pp. Hutchinson. 6s.<br /> <br /> Time anp Tuomas Waring. By Moruey Roserts.<br /> 7k x 5. 365 pp. Nash. 6s.<br /> <br /> Tue PripE oF THE Fancy. By G. Epear. 74 x 5}.<br /> 386 pp. Mills and Boon. 6s.<br /> <br /> CarMEN AND Mr. Dryaspust. By Humrrey JoRDAN.<br /> <br /> Tue Frourrs or tHe Morrow. By AGNES JACOMB.<br /> 72 x 5. 319 pp. Methuen. 6s.<br /> <br /> BOOKS OF REFERENCE. Two Women. By Max Pempertron. 72 x 5. 314 pp.<br /> By E. A. Baker. Methuen. 6s.<br /> Routledge. 2ls.n, A Heater Mixture. By Morice Gurarp. 7} X 5.<br /> <br /> 319 pp. Hodder and Stoughton. 6s.<br /> Pua@se Maroon. By Mary F. Rapuarr. 7} X 5.<br /> <br /> 7% x 5. 111 pp. 317 pp. Heath, Cranton, and Ouseley. 6s.<br /> <br /> SunsHine. The Story of a Pure Heart. By Mary<br /> OprensHaw. 7} X 5. 318 pp. Heath, Cranton and<br /> <br /> EDUCATIONAL. : :<br /> <br /> Tur Scnootmaster. A Commentary upon the Aimsand ,, Ouseley. 6s. . g<br /> <br /> Methods of an Assistant-Master in a Public School, GtBERT Ray. By Mrs. E, Hucues-Gins. 7} x 95.<br /> By A. ©. Benson. Third Edition. 7} x 5. 173 pp. 331 pp. Heath, Cranton and Ouseley. 65. _<br /> <br /> Murray. Gorxe Some. A Romance of Strenuous Affection. By<br /> <br /> , Rex Beacu. 256 pp. THe Aurar Stairs. By G. B.<br /> <br /> Tae Brasts, Brrps AND BreEs or Vinci: A NATURALIST’S<br /> HANDBOOK TO THE GEORGICS.<br /> Royps, M.A., B.D.<br /> Fowuer, Oxford.<br /> <br /> JEHHANE OF THE ForEST.<br /> 315 pp. Melrose.<br /> Ir Witt se Att Rieu.<br /> 336 pp. Hutchinson.<br /> Tue Sea Caprain.<br /> Methuen.<br /> SHREWSBURY.<br /> Tar Granp Basyton Horst.<br /> Running WATER.<br /> 320 pp. THe WHEELS OF CHANCE.<br /> Brug Lagoon.<br /> <br /> 287 pp.<br /> 297<br /> <br /> PoTTEeR AND CLAY.<br /> <br /> Biackiaw. By Sr Georce MAxKGILy.<br /> <br /> ‘THE BRIDGE.<br /> Fisher Unwin.<br /> <br /> <br /> <br /> By Tuomas FLETCHER<br /> With a Preface by W. WarDE<br /> 3s. 6d. n.<br /> <br /> By H. C. Batvey.<br /> <br /> By Stantey WEYMAN.<br /> By Arnotp Brennerr. THe Cuckoo Lams. By H. W. C. Newre. 7} x 5.<br /> By A. E. W. Mason. 402 pp. Chatto and Windus. 6s.<br /> <br /> By H. B. Marriorr WATSON.<br /> <br /> By Marx Somers.<br /> <br /> Lancaster. 324 pp. THE Man on THE Box. By<br /> H. MaceratH. 231 pp. (Shilling Library.) 74 x 44.<br /> Hodder and Stoughton. Is. n. each.<br /> <br /> Tur Grass Wipow. By DorotHEa GERARD. 318 pp.<br /> Toe Grau In Grey. By Curtis York. 318 pp.<br /> <br /> By L. A. Taupor. 7} x 5. Sevenpenny Editions. J. Long.<br /> Tur TRAIL OF THE Sworp. By Sir Gitpert Parker.<br /> By Tom Gatton. 7} X 5. 256 pp. Monrezuma’s Davucuter. By H. RipEr<br /> Haccarp. 320 pp. (Cheap Reprints.) 6} x 44.<br /> 7% x 5. 341 pp. Hodder and Stoughton. 7d. n. each.<br /> Tue Enp or Her Honeymoon. By Mrs. BELLoo<br /> 356 pp. Lownpes. 7} xX 5. 309 pp. Methuen. 6s.<br /> <br /> By H. G. Wetts. An Assent HeERo. By Mrs. Frep ReyNorps. Tk x 44.<br /> <br /> By H. pre VERE Mills and Boon. 6s.<br /> <br /> 260 pp. THE Proressor’s Legacy. By Ir Was THE Time or Rosrs. By Dorr WYLLARDE.<br /> Mrs. ALFRED SIDGWICK.<br /> Library.)<br /> <br /> Tue Fork or Furry Farm.<br /> 315 pp.<br /> <br /> Once Upon A Timez.<br /> <br /> (The Wayfarer’s 7h x 43. 274 pp. Holden and Hardingham. 6s.<br /> <br /> ls. n. each. Tue Epucation or Otiver Hypr. By R. E. SaLwey.<br /> By K. F. Purpon. 7} x 5. 73 x 5. 288 pp... Digby Long. 6s.<br /> <br /> Frivote. By Kate Horn. 7} x 4}. 296 pp. Stanley<br /> Paul. 6s.<br /> Farner O’Fiynn. By H.pe Vern Sracroore. 7} x 4}.<br /> <br /> 7h x<br /> By Mrs. StanLey WRENCH. 7} X 5. 245 pp. Hutchinson. Is. n.<br /> <br /> ; Tur AMAZING PARTNERSHIP. By E. Puiiiips OPPENHEIM.<br /> 74x 5. 483 pp. 72 x 5. 312 pp. Cassell. 3s. 6d.<br /> Tun Essex Papers. By C. E. Pru.<br /> 7kx 5. 352 pp. A Free Hanp. By Heren C. Ropurts. 74 X 43.<br /> 322 pp. Duckworth. 6s.<br /> <br /> <br /> &#039;<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 189<br /> <br /> LITERARY.<br /> <br /> An ENGLISHMAN Looks aT THE WoRLD. By H. G. WELLS.<br /> 8} x 54. 357 pp. Cassell. 6s. n.<br /> <br /> THs Derenpant. By G. K. Caesrerron. (The Way-<br /> farer’s Library.) 7 x 43. 172 pp. Dent. 1s. n.<br /> <br /> THE TRUTH ABOUT AN AuTHOR. By ARNOLD BENNETT.<br /> 62 x 44. 158 pp. Methuen. 2s. 6d. n.<br /> <br /> MILITARY.<br /> <br /> With tHe Turk in Wartime. By Marmaduke PIcK-<br /> THALL. § x 54. 216 pp. Dent. 5s. n.<br /> <br /> MUSIC.<br /> <br /> BuLuEBEARD. A Musical Fantasy. By Kate Dovcias<br /> Wiccin. 7 xX 4}. 58 pp. Harper. 2s. n.<br /> <br /> ORIENTAL.<br /> <br /> Tue Earty DEVELOPMENT oF MoHAMMEDANISM. Lec-<br /> tures delivered in the University of London, May and<br /> June, 1913. By D. Marcorrouts, D.Litt., Laudian<br /> Professor of Arabic in the University of Oxford. (The<br /> Hibbert Lectures, Second Series.) 83 x 5}. 265 pp.<br /> Williams and Norgate. 6s. n.<br /> <br /> PAMPHLETS.<br /> <br /> Immunity oF Sra-BorNE CoMMERCE FROM CapTuRE. By<br /> M. Pures Price. National Peace Council. 1d.<br /> <br /> POETRY.<br /> <br /> Darts oF Derrance. Sonnets and other Poems. By<br /> B.A. Mtecn. 7} 5. 110 pp. Lynwood. 2s. 6d. n.<br /> <br /> POLITICS.<br /> <br /> Home Rute anp Crviz War. An Appeal to the British<br /> People. By Esmé WINGFIELD-StRaTFoRD. 7} x 4}.<br /> 120 pp. Bell. 1s. n.<br /> <br /> REPRINTS.<br /> <br /> A Cuancep Man. Tue Waitinc Supper, &amp;c. By<br /> Tuomas Harpy. Wessex Edition, Vol. XVIII. 9 x 53.<br /> 399 pp. Macmillan. 7s. 6d. n.<br /> <br /> Views AND Reviews. Essays in Appreciation. By<br /> W. E. Henvey. Literature. 7 x 44. 235 pp. Third<br /> Edition. Nutt. 5s. n.<br /> <br /> SCIENCE.<br /> Wrretess TeLtecrapHy. A Handbook for the Use of<br /> <br /> Operatorsand Students. By W.H.Marcuant. 74 x 5.<br /> 241 pp. Whittaker. 5s. n.<br /> SOCIOLOGY.<br /> <br /> Lup Makers AND CLUB Members. By T. H.S. Escort.<br /> 9 x 53. 352 pp. Fisher Unwin. 12s. n.<br /> <br /> Waite Suaves or Tom. By W. N. Wiis. 7} x 5.<br /> 208 pp. Pearson. Is. n.<br /> <br /> Lire-THEORY AND SocraLism. Essays by O. C. Ironsipe.<br /> 7 x 43. 96 pp. Milner. 6d.<br /> <br /> THEOLOGY.<br /> <br /> Some Counssts or S. Vincent De Pau, to which is<br /> appended the Thoughts of Mademoiselle le Gras (First<br /> Superior of the Sisters of Charity). Translated and<br /> selected by E. K. Sanpers. 7 x 4}. 144 pp. Heath,<br /> Cranton, and Ouseley. 1s. n.<br /> <br /> JUDAISM AND St. Paut. Two Essays. By C. G. Monre-<br /> FIORE. 74 x 5. 240 pp. Max Goschen. 2s. 6d. n.<br /> THe Cuurcu RevivaL. Thoughts Thereon and Reminis-<br /> cences. By.S. Barina Govunp. 9 x 5}. 407 pp.<br /> <br /> Methuen. 12s. 6d. n.<br /> <br /> Tue Winps or Dawn AnD OTHER PARABLES FROM NATURE.<br /> By T. Rarcrirre Barnerr. 7} x 5. 87 pp. Nisbet.<br /> 2s. n.<br /> <br /> TRAVEL.<br /> <br /> Catro or To-Day. A Practical Guide to Cairo and<br /> the Nile. By E. Reynoups-Batu. Seventh Edition.<br /> 6} x 44. 268 pp. Black. 2s. 6d. n.<br /> <br /> Tue Istes or Scrtty: Terr Story, THEIR FotK, AND<br /> THEIR FLowers. With 24 coloured illustrations by<br /> Jessie MorHersoue. Published by R.T.S. at 2s. 6d. n.<br /> <br /> Se ee<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> +<br /> <br /> = ‘OTES of a Son and Brother” is the<br /> <br /> title of Mr. Henry James’s sequel to<br /> <br /> ““A Small Boy and Others”; a<br /> continuation of his early reminiscences, with<br /> special reference to his father and to William<br /> James, but containing many portraits of other<br /> members of the family and the circle. The<br /> book is published by Macmillan &amp; Co. at 12s.<br /> <br /> Volumes XIII. and XIV. of the Bombay<br /> edition of Mr. Rudyard Kipling’s works are to<br /> be published this month by Macmillan. They<br /> will contain “ The Day’s Work ”’ and “ Stalky<br /> &amp; Co.”<br /> <br /> From the same firm of publishers there is to<br /> be expected, in May, Mr. H. G. Wells’s work,<br /> which is running scrially in the English Review<br /> —‘‘ The World Set Free, a Story of Mankind.”<br /> <br /> The title of Mr. Frankfort Moore’s new book<br /> —‘* The Ulsterman ’’—indicates its relation to<br /> the question of the hour. Though in the guise<br /> of fiction, it presents a serious portrait of the<br /> men who have now the eyes of the world upon<br /> them (Hutchinson &amp; Co.).<br /> <br /> Mr. Douglas Sladen’s ‘“‘ Twenty Years of<br /> My Life ’’ is announced by Constable &amp; Co.<br /> <br /> The subject of Mrs. Evan Nepean’s ‘* On the<br /> Left of the Throne”’ is the unhappy James,<br /> Duke of Monmouth, whom the author tries to<br /> see “through the eyes of the two people who<br /> knew and loved him better than anyone else<br /> in the world, Charles II. and Henrietta Lady<br /> Wentworth,” though without idealising him.<br /> A feature of the book is the very large number<br /> of Monmouth portraits which illustrate it,<br /> Mrs. Nepean frankly confessing her pleasure<br /> in his good looks (John Lane, 10s. 6d. net).<br /> <br /> “Children of the Dead End, the Auto-<br /> biography of a Navvy” is by Mr. Patrick<br /> MacGill, who in a foreword says that most of<br /> his story is autobiographical, but asks a little<br /> allowance for the pen of the novelist. Ireland<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 190<br /> <br /> and Scotland provide the scene of the greater<br /> part of the book, there is a short interlude in<br /> Fleet Street, and the story ends tragically in<br /> Glasgow (Herbert Jenkins). : (<br /> <br /> “Ravenna” is a geographical, historical,<br /> and critical study of the great Italian city<br /> which the author, Mr. Edward Hutton, calls<br /> the only remaining monument of the Dark<br /> Age—the period between Antiquity and the<br /> Middle Age (Dent, 10s. 6d. net). :<br /> <br /> Mr. Ernest A. Baker’s ‘‘ Guide to Historical<br /> Fiction” (Routledge, 21s. net) follows the lines<br /> of his ‘‘ Guide to the Best Fiction in English,”<br /> and is much more than an enlargement of his<br /> earlier ‘‘ History in Fiction,” we are told.<br /> <br /> The second section of Dr. Edwin A. Abbott’s<br /> work, ‘‘ The Fourfold Gospel,”’ has been issued<br /> by the Cambridge University Press at 12s. 6d.<br /> net. It is part of the close and voluminous<br /> examination of the text of the Christian<br /> Gospels and its interpretation, on which Dr.<br /> Abbott has long been engaged.<br /> <br /> Dr. Charles Sarolea is the editor of the<br /> Collection Gallia” (Dent &amp; Sons), the object<br /> of which is to spread the best French literature<br /> at a low price throughout the world. The first<br /> volumes include works by Balzac, Flaubert,<br /> Pascal, de Musset, etc.<br /> <br /> To the volume ‘‘ With Hunter, Trapper and<br /> Scout in Camp and Field”’ a story entitled<br /> “War Scouts at Tripoli” is contributed by<br /> Miss Ena Fitzgerald (Holden and Hardingham,<br /> 5s. net).<br /> <br /> ‘Simplified Spelling,” described as an<br /> appeal to common sense, is the third edition<br /> of a paper-covered booklet issued by the<br /> Simplified Spelling Society—as it spells itself<br /> on cover and title-page. Professor Gilbert<br /> Murray is the President—or Prezident—of the<br /> reformers.<br /> <br /> Four reprints of Miss Belham-Edwards’<br /> works have appeared within the last few<br /> months, notably that of her first novel, ‘‘ The<br /> White House by the Sea” (1857), lately<br /> republished by Baron Tauchnitz and Collins,<br /> Glasgow, and ‘“‘ The Lord of the Harvest ”<br /> (1889), added to the Oxford Press ‘‘ World’s<br /> Classics,” 1918, with a preface by Mr.<br /> Frederic Harrison.<br /> <br /> The same writer’s ‘ Pearla ’’—published<br /> simultaneously in London, Leipzig and New<br /> York (Harper) in 1881—was lately re-issued in<br /> Arrowsmith’s tasteful 1s. novel series, and<br /> the seventh and popular edition of her “* Home<br /> Life in France’ has just appeared from the<br /> house of Methuen.<br /> <br /> A new edition (among others forthcoming) of<br /> a very early novel will also be published shortly<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> This is ‘‘ Doctor Jacob,”<br /> the proofs of which were corrected by the<br /> author on the wedding day of Edward VII.<br /> and Queen Alexandra, March 10, 1868, and<br /> which was published the following year. The<br /> book went out of print with the “ yellow-<br /> backs ’’ in 1894 or thereabouts, but has since<br /> <br /> by a famous house.<br /> <br /> been often reprinted by Baron Tauchnitz. It<br /> will be seen, therefore, that this early Victorian<br /> has no reason to complain of neglect by<br /> Georgian publishers and readers.<br /> <br /> “* Acute General Miliary Tuberculosis ”’ is<br /> the name of a work by Professor G. Cornet, of<br /> Berlin and Reichenhall, translated by Mr.<br /> F. S. Tinker, late Senior Resident and Oph-<br /> thalmic Assistant to the Royal Infirmary,<br /> Liverpool (Bale, Sons, and Danielsson, 6s.<br /> net).<br /> <br /> A sevenpenny edition of Mr. Charles.<br /> Garvice’s ‘‘ Better than Life ’’ was published<br /> last month by Hodder and Stoughton.<br /> <br /> K. L. Montgomery’s forthcoming romance,<br /> ‘“* Kars of Leather,’ will be published by John.<br /> Long, Ltd. ‘‘ Ears of Leather” deals with<br /> the witch persecutions of Massachusetts in<br /> 1692, which the historian Lecky has styled<br /> “one of the tragedies of humanity.” K. L..<br /> Montgomery has been recently engaged on a<br /> series of articles on North Italian cities, for:<br /> The Car Illustrated.<br /> <br /> Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe<br /> Maroon,”’ a story dealing with the life of an<br /> artist’s model, was published last month by<br /> Heath, Cranton, and Ouseley.<br /> <br /> Mrs: F. R. M. Fursdon’s novel, ‘‘ The Story<br /> of Amanda,’ will be published in May by<br /> Simpkin, Marshall, Hamilton, Kent &amp; Co.<br /> The prologue gives Amanda’s peculiar parent--<br /> age; and the book, her transitions from<br /> childhood in the slums of a provincial city to<br /> life in a big country house during a General<br /> Election.<br /> <br /> Mr. G. B. Lancaster’s earlier stories of the<br /> South Seas, ‘‘ Sons 0’ Men” and ‘“‘ The Altar<br /> Stairs,” have been published in a shilling<br /> edition by Hodder and Stoughton, who are<br /> bringing out a third, “‘ The Spur,” later in the<br /> year.<br /> <br /> The new number of Poeiry and Drama,.<br /> edited by Mr. Harold Monro, includes poems<br /> by Messrs. Maurice Hewlett, Ezra Pound, etc.<br /> The Poetry Bookshop, which publishes this<br /> quarterly, has issued a shilling anthology of<br /> the Italian Futurist poets, compiled by Mr..<br /> Monro.<br /> <br /> The spring announcements of Constable &amp;.<br /> Co. include “‘ Cuddy Yarborough’s Daughter,”<br /> by Miss Ura L. Silberrad; ‘‘ Dust from the-<br />  <br /> <br /> THE AUTHOR.<br /> <br /> Loom,” by Mr. James Noble; and a second<br /> impression of ‘‘ The Making of an Englishman,”’<br /> by Mr. W. L. George.<br /> <br /> Miss Beatrice Chase’s Devonshire novel,<br /> **The Heart of the Moor,” has appeared with<br /> a prefatory note by the publisher, Mr. Herbert<br /> Jenkins, who explains how not only his four<br /> expert readers, but he himself, were compelled<br /> to defer their opinions to the author’s with<br /> regard to the book.<br /> <br /> Miss Jean Middlemass’s new serial, ‘‘ His<br /> Lordship’s Will,” is to appear in the news-<br /> papers connected with the National Press<br /> Agency next year.<br /> <br /> K. M. Edge (Mrs. Caulfield) has published<br /> her novel “Through the Cloudy Porch”<br /> through John Murray.<br /> <br /> Mrs. Helen H. Watson’s ‘‘ Rebecca of the<br /> Fells,’’ published by the Religious Tract<br /> Society, opens on the Lancashire Fells, whence<br /> the reader is taken to British Columbia. The<br /> same author’s “* When the King Came South,”’<br /> is being added to the Leisure Hour Monthly<br /> Library (6d.).<br /> <br /> Mr. Edward Wilmore, author of ‘“ East<br /> London Visions,’’ has a new book, ‘‘ Scril, a<br /> Story of the Stone Age ” (Longmans, Green &amp;<br /> Co., 1s.).<br /> <br /> ‘** Miss Rossiter’s Reputation,”’ being an ex-<br /> posure of the narrowness and bigotry of<br /> English provincial life, by Mr. E. Newton<br /> Bungay, is to be published next month by<br /> Lynwood &amp; Co.<br /> <br /> Mr. John Haslette, who has a serial running<br /> in the Daily News, has written a novel, which<br /> will be published this spring by Messrs. Smith,<br /> Elder &amp; Co. The title is ‘‘ Johnnie Maddison,”’<br /> and the story deals with a man’s struggle<br /> against the convention which holds that a<br /> man should not “ tell on ”’ a friend.<br /> <br /> Mrs. R. E. Salwey’s new novel is the story<br /> of a youngster, well placed in life, and en-<br /> dowed with great physical strength, who<br /> puts his instructors to flight by intimidation.<br /> Eventually the right man takes him the right<br /> way. The education lasts one day; after<br /> that it is self-education, and the real goodness<br /> of the hero’s nature comes out (Digby, Long &amp;<br /> Co., 6s.).<br /> <br /> A new novel, entitled ‘“‘ Megan of the Dark<br /> Isle,” by Mrs. J. O. Arnold, author of ‘‘ The<br /> Fiddler,” ete., will shortly be published by<br /> Alston Rivers. The scene is laid in the Island<br /> of Anglesey.<br /> <br /> Early this month is to be published a<br /> monthly magazine, The Photo-Play Writer,<br /> aiming to give practical information to both<br /> beginners and experts in the rapidly increasing<br /> <br /> <br /> <br /> <br /> <br /> 191<br /> <br /> body of British authors writing plays for the<br /> picture theatres. The editor is Mr. Ernest A.<br /> Dench, and the magazine may be obtained<br /> from 17, Frederick Crescent, Brixton, by<br /> subscription only.<br /> <br /> A new (acting) version of I. Hearne’s play<br /> “Queen Herzeleid,’’ is being published this<br /> month under the title of “The Mother of<br /> Parsifal ”’ (David Nutt).<br /> <br /> There will be a long Elizabethan poem by<br /> Dorothy Margaret Stuart in the May Pall<br /> Mall Magazine, entitled “Spring in the South<br /> Seas, 1572.”<br /> <br /> Messrs. Methuen are publishing early in<br /> April a sezies of letters written by Miss Grace<br /> Ellison, and entitled ‘‘Life in a Turkish<br /> Harem.”<br /> <br /> DRAMATIC.<br /> <br /> ** The Quod Wrangle,”’ a farcical comedy by<br /> Mr. Oliphant Down, was presented at the<br /> Apollo Theatre on March 38.<br /> <br /> Mr. Seymour Hicks’s one-act musical play,<br /> ‘*The Model and the Man” was put on as<br /> curtain-raiser at the Prince of Wales’s Theatre<br /> on March 4.<br /> <br /> The first performance of Mr. Alfred Sutro’s<br /> new comedy, “‘ The Two Virtues,” took place<br /> at the St. James’s Theatre on March 5.<br /> <br /> On March 10 Mr. Edward Knoblauch’s<br /> ** ¥ismet ”’ was revived at the Globe Theatre.<br /> <br /> ‘* After Twenty Years,’’ a short sketch by<br /> Miss Cicely Hamilton, was seen at the Coronet<br /> Theatre on March 12, the author herself taking<br /> the part of the mother.<br /> <br /> Two afternoon performances took place at<br /> the Court Theatre on March 27 and 80 of a<br /> play founded by Mr. H. J. Twyford on Mrs.<br /> Charlotte Mansfield’s ‘“* The Girl ana the Gods.”<br /> <br /> ‘* Helen with the High Hand,” Mr. Richard<br /> Price’s adaptation of Mr. Arnold Bennett’s<br /> novel, was visited last month by the celebrated<br /> ‘* deportes ’’ from South Africa.<br /> <br /> Mr. Bernard Shaw’s ‘‘ Pygmalion” is in<br /> rehearsal at His Majesty’s Theatre, and the<br /> first night is fixed for the 11th instant.<br /> <br /> Mrs. Percy Dearmer’s “‘ Brer Rabbit: a<br /> Musical Frolic ”’ is to be seen at five matinées<br /> at the Little Theatre, commencing on Easter<br /> Monday.<br /> <br /> Sir Edward Elgar will this summer lay the<br /> foundation stone of the Glastonbury Festival<br /> Playhouse, which is to be built primarily for<br /> British music-drama, including the Arthurian<br /> eycle, composed and written by Messrs.<br /> Reginald R. Buckley and Rutland Boughton.<br /> <br /> ‘** Caprice ’’ by Mrs. V. C. Greenaway is the<br /> title of a one-act play which was produced by<br /> <br /> <br /> 190<br /> <br /> and Scotland provide the scene of the greater<br /> part of the book, there is a short interlude in<br /> Fleet Street, and the story ends tragically in<br /> Glasgow (Herbert Jenkins). :<br /> <br /> “Ravenna” is a geographical, historical,<br /> and critical study of the great Italian city<br /> which the author, Mr. Edward Hutton, calls<br /> the only remaining monument of the Dark<br /> Age—the period between Antiquity and the<br /> Middle Age (Dent, 10s. 6d. net).<br /> <br /> Mr. Ernest A. Baker’s ‘‘ Guide to Historical<br /> Fiction ” (Routledge, 21s. net) follows the lines<br /> of his ‘‘ Guide to the Best Fiction in English,”<br /> and is much more than an enlargement of his<br /> earlier ‘‘ History in Fiction,”’ we are told.<br /> <br /> The second section of Dr. Edwin A. Abbott’s<br /> work, ‘‘ The Fourfold Gospel,” has been issued<br /> by the Cambridge University Press at 12s. 6d.<br /> net. It is part of the close and voluminous<br /> examination of the text of the Christian<br /> Gospels and its interpretation, on which Dr.<br /> Abbott has long been engaged.<br /> <br /> Dr. Charles Sarolea is the editor of the<br /> «Collection Gallia’? (Dent &amp; Sons), the object<br /> of which is to spread the best French literature<br /> at a low price throughout the world. The first<br /> volumes include works by Balzac, Flaubert,<br /> Pascal, de Musset, etc.<br /> <br /> To the volume ‘‘ With Hunter, Trapper and<br /> Scout in Camp and Field”’ a story entitled<br /> ‘‘War Scouts at Tripoli” is contributed by<br /> Miss Ena Fitzgerald (Holden and Hardingham,<br /> 5s. net).<br /> <br /> ‘Simplified Spelling,” described as an<br /> appeal to common sense, is the third edition<br /> of a paper-covered booklet issued by the<br /> Simplified Spelling Society—as it spells itself<br /> on cover and title-page. Professor Gilbert<br /> Murray is the President—or Prezident—of the<br /> reformers.<br /> <br /> Four reprints of Miss Belham-Edwards’<br /> works have appeared within the last few<br /> months, notably that of her first novel, “* The<br /> White House by the Sea” (1857), lately<br /> republished by Baron Tauchnitz and Collins,<br /> Glasgow, and ‘‘ The Lord of the Harvest ”’<br /> (1889), added to the Oxford Press ‘* World’s<br /> Classics,” 1918, with a preface by Mr.<br /> Frederic Harrison.<br /> <br /> The same writer’s ‘* Pearla ’—published<br /> simultaneously in London, Leipzig and New<br /> York (Harper) in 1881—was lately re-issued in<br /> Arrowsmith’s tasteful 1s. novel series, and<br /> the seventh and popular edition of her “‘ Home<br /> Life in France”’ has just appeared from the<br /> house of Methuen.<br /> <br /> A new edition (among others forthcoming) of<br /> a very early novel will also be published shortly<br /> <br /> THE AUTHOR.<br /> <br /> by a famous house. This is “‘ Doctor Jacob,”<br /> the proofs of which were corrected by the<br /> author on the wedding day of Edward VII.<br /> and Queen Alexandra, March 10, 1863, and<br /> which was published the following year. The<br /> book went out of print with the “ yellow-<br /> backs ”’ in 1894 or thereabouts, but has since<br /> been often reprinted by Baron Tauchnitz. It<br /> will be seen, therefore, that this early Victorian<br /> has no reason to complain of neglect by<br /> Georgian publishers and readers.<br /> <br /> ** Acute General Miliary Tuberculosis ”’ is<br /> the name of a work by Professor G. Cornet, of<br /> Berlin and Reichenhall, translated by Mr.<br /> F. S. Tinker, late Senior Resident and Oph-<br /> thalmic Assistant to the Royal Infirmary,<br /> Liverpool (Bale, Sons, and Danielsson, 6s.<br /> net).<br /> <br /> A sevenpenny edition of Mr. Charles.<br /> Garvice’s ‘‘ Better than Life’ was published.<br /> last month by Hodder and Stoughton.<br /> <br /> K. L. Montgomery’s forthcoming romance,<br /> ‘‘ Ears of Leather,” will be published by John.<br /> Long, Ltd. ‘‘ Ears of Leather” deals with.<br /> the witch persecutions of Massachusetts in<br /> 1692, which the historian Lecky has styled<br /> ‘‘one of the tragedies of humanity.” K. L..<br /> Montgomery has been recently engaged on a<br /> series of articles on North Italian cities, for<br /> The Car Illustrated.<br /> <br /> Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe<br /> Maroon,”’ a story dealing with the life of an<br /> artist’s model, was published last month by<br /> Heath, Cranton, and Ouseley.<br /> <br /> Mrs: F. R. M. Fursdon’s novel, “* The Story&quot;<br /> of Amanda,” will be published in May by<br /> Simpkin, Marshall, Hamilton, Kent &amp; Co.<br /> The prologue gives Amanda’s peculiar parent--<br /> age; and the book, her transitions from<br /> childhood in the slums of a provincial city to<br /> life in a big country house during a General<br /> Election.<br /> <br /> Mr. G. B. Lancaster’s earlier stories of the<br /> South Seas, ‘‘Sons 0’ Men” and “ The Altar<br /> Stairs,” have been published in a shilling:<br /> edition by Hodder and Stoughton, who are<br /> bringing out a third, “‘ The Spur,”’ later in the<br /> year.<br /> <br /> The new number of Poetry and Drama,.<br /> edited by Mr. Harold Monro, includes poems<br /> by Messrs. Maurice Hewlett, Ezra Pound, etc.<br /> The Poetry Bookshop, which publishes this<br /> quarterly, has issued a shilling anthology of”<br /> the Italian Futurist poets, compiled by Mr..<br /> Monro.<br /> <br /> The spring announcements of Constable &amp;:<br /> Co. include *“* Cuddy Yarborough’s Daughter,”<br /> by Miss Ura L. Silberrad; ‘‘ Dust from the-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Loom,”’ by Mr. James Noble; and a second<br /> impression of ‘‘ The Making of an Englishman,”’<br /> by Mr. W. L. George.<br /> <br /> Miss Beatrice Chase’s Devonshire novel,<br /> “The Heart of the Moor,” has appeared with<br /> a prefatory note by the publisher, Mr. Herbert<br /> Jenkins, who explains how not only his four<br /> expert readers, but he himself, were compelled<br /> to defer their opinions to the author’s with<br /> regard to the book.<br /> <br /> Miss Jean Middlemass’s new serial, ‘‘ His<br /> Lordship’s Will,” is to appear in the news-<br /> papers connected with the National Press<br /> Agency next year.<br /> <br /> K. M. Edge (Mrs. Caulfield) has published<br /> her novel “Through the Cloudy Porch”<br /> through John Murray.<br /> <br /> Mrs. Helen H. Watson’s ‘‘ Rebecca of the<br /> Fells,’ published by the Religious Tract<br /> Society, opens on the Lancashire Fells, whence<br /> the reader is taken to British Columbia. The<br /> same author’s ‘‘ When the King Came South,”<br /> is being added to the Leisure Hour Monthly<br /> Library (6d.).<br /> <br /> Mr. Edward Wilmore, author of ‘* Kast<br /> London Visions,’’ has a new book, “ Scril, a<br /> Story of the Stone Age ’’ (Longmans, Green &amp;<br /> Co., ls.).<br /> <br /> ‘* Miss Rossiter’s Reputation,”’ being an ex-<br /> posure of the narrowness and bigotry of<br /> English provincial life, by Mr. E. Newton<br /> Bungay, is to be published next month by<br /> Lynwood &amp; Co.<br /> <br /> Mr. John Haslette, who has a serial running<br /> in the Daily News, has written a novel, which<br /> will be published this spring by Messrs. Smith,<br /> Elder &amp; Co. The title is ‘‘ Johnnie Maddison,”’<br /> and the story deals with a man’s struggle<br /> against the convention which holds that a<br /> man should not “ tell on ”’ a friend.<br /> <br /> Mrs. R. E. Salwey’s new novel is the story<br /> of a youngster, well placed in life, and en-<br /> dowed with great physical strength, who<br /> puts his instructors to flight by intimidation.<br /> Eventually the right man takes him the right<br /> way. The education lasts one day; after<br /> that it is self-education, and the real goodness<br /> of the hero’s nature comes out (Digby, Long &amp;<br /> Co., 6s.).<br /> <br /> A new novel, entitled ‘“‘ Megan of the Dark<br /> Isle,” by Mrs. J. O. Arnold, author of ‘‘ The<br /> Fiddler,’ etc., will shortly be published by<br /> Alston Rivers. The scene is laid in the Island<br /> of Anglesey.<br /> <br /> Early this month is to be published a<br /> monthly magazine, The Photo-Play Writer,<br /> aiming to give practical information to both<br /> beginners and experts in the rapidly increasing<br /> <br /> <br /> <br /> 191<br /> <br /> body of British authors writing plays for the<br /> picture theatres. The editor is Mr. Ernest A.<br /> Dench, and the magazine may be obtained<br /> from 17, Frederick Crescent, Brixton, by<br /> subscription only.<br /> <br /> A new (acting) version of I. Hearne’s play<br /> *“ Queen Herzeleid,”’ is being published this<br /> month under the title of ‘‘ The Mother of<br /> Parsifal ’’ (David Nutt).<br /> <br /> There will be a long Elizabethan poem by<br /> Dorothy Margaret Stuart in the May Pail<br /> Mall Magazine, entitled “Spring in the South<br /> Seas, 1572.”<br /> <br /> Messrs. Methuen are publishing early in<br /> April a sezies of letters written by Miss Grace<br /> Ellison, and entitled ‘‘Life in a Turkish<br /> Harem.”<br /> <br /> DraMatTIc.<br /> <br /> ‘** The Quod Wrangle,”’ a farcical comedy by<br /> Mr. Oliphant Down, was presented at the<br /> Apollo Theatre on March 3.<br /> <br /> Mr. Seymour Hicks’s one-act musical play,<br /> ‘The Model and the Man” was put on as<br /> curtain-raiser at the Prince of Wales’s Theatre<br /> on March 4.<br /> <br /> The first performance of Mr. Alfred Sutro’s<br /> new comedy, “ The Two Virtues,” took place<br /> at the St. James’s Theatre on March 5.<br /> <br /> On March 10 Mr. Edward Knoblauch’s<br /> ‘** }fismet ”’ was revived at the Globe Theatre.<br /> <br /> ** After Twenty Years,’’ a short sketch by<br /> Miss Cicely Hamilton, was seen at the Coronet<br /> Theatre on March 12, the author herself taking<br /> the part of the mother.<br /> <br /> Two afternoon performances took place at<br /> the Court Theatre on March 27 and 30 of a<br /> play founded by Mr. H. J. Twyford on Mrs.<br /> Charlotte Mansfield’s ‘“* The Girl ana the Gods.”’<br /> <br /> ‘** Helen with the High Hand,” Mr. Richard<br /> Price’s adaptation of Mr. Arnold Bennett’s<br /> novel, was visited last month by the celebrated<br /> ‘* deportes ’’ from South Africa.<br /> <br /> Mr. Bernard Shaw’s ‘“ Pygmalion” is in<br /> rehearsal at His Majesty’s Theatre, and the<br /> first night is fixed for the 11th instant.<br /> <br /> Mrs. Percy Dearmer’s ‘‘ Brer Rabbit: a<br /> Musical Frolic ’’ is to be seen at five matinées<br /> at the Little Theatre, commencing on Easter<br /> Monday.<br /> <br /> Sir Edward Elgar will this summer lay the<br /> foundation stone of the Glastonbury Festival<br /> Playhouse, which is to be built primarily for<br /> British music-drama, including the Arthurian<br /> cycle, composed and written by Messrs.<br /> Reginald R. Buckley and Rutland Boughton.<br /> <br /> ‘** Caprice” by Mrs. V. C. Greenaway is the<br /> title of a one-act play which was produced by<br /> <br /> <br /> 192<br /> <br /> West End Productions, Limited, on March 11,<br /> at the London Pavilion. The play deals with<br /> the action of a young wife who leaves her cold-<br /> hearted husband for a warm-hearted lover,<br /> ‘only to discover that she loves her husband<br /> better than she had imagined, and eventually<br /> returns to him.<br /> <br /> Musica.<br /> <br /> Messrs. Curwen &amp; Sons have published<br /> “A Federal Song ” for unaccompanied chorus,<br /> written by Mr. Reginald R. Buckley and<br /> composed by Mr. Edgar L. Bainton.<br /> <br /> ‘Men of Ulster ” is the name of a new song,<br /> of which both the words and the music are by<br /> Mr. Rowland R. Gibson.<br /> <br /> —————01— &gt; o__—_<br /> <br /> PARIS NOTES.<br /> <br /> ras<br /> a A REVOLTE des Anges ”’ is the title<br /> of the book just published by<br /> <br /> Anatole France.<br /> <br /> its thirty-third edition.<br /> “‘Chyistianisme et Culture Féminine,” by<br /> Lucie Félix-Faure Goyau, is a volume pub-<br /> lished since the death of this author. It contains<br /> a series of chapters on various subjects and,<br /> as we are told in the preface by her husband,<br /> had Madame Goyau been spared, we should<br /> probably have had another chapter forming a<br /> general study of the subjects treated in this<br /> volume. The first five chapters are devoted<br /> to the history of Radegonde, the romantic<br /> story of the young girl who was married against<br /> her wish to Clotaire, and who, after the murder<br /> of her brother by her husband, took refuge in<br /> a convent. Madame Goyau shows us, in<br /> these chapters, the culture of convent women<br /> in the sixth century, and we see in Radegonde<br /> the earliest of the women poets of France.<br /> ‘The next ten chapters treat of the culture of<br /> women of the Middle Ages. The first French<br /> authoress was Dhuoda, Duchess of Aquitaine,<br /> who wrote a book for her sons, inspired as she<br /> was by great grief, after having her second son<br /> taken away from her by her husband and not<br /> being allowed to know by what name the child<br /> was to be called. Dhuoda died in 1843.<br /> Madame Goyau gives us many examples,<br /> showing the remarkable culture of women in<br /> the Middle Ages and during the Renaissance.<br /> The second part of this volume is devoted to<br /> the mysticism of women and, in the last<br /> chapters, we have a remarkable study of<br /> Juliane of Norwich, an English recluse of the<br /> <br /> It is already in<br /> <br /> THE AUTHOR.<br /> <br /> fourteenth century. The whole volume is<br /> written with that scholarly precision and<br /> conscientiousness which were always such<br /> marked features of this author’s works.<br /> Thanks to her knowledge of foreign languages,<br /> Madame Goyau was able to draw her examples<br /> from many sources. She was a great optimist<br /> and a gifted psychologist. On closing the<br /> book, one can only regret the ‘“ unwritten<br /> chapter,” which was to have united all these<br /> separate studies. a<br /> <br /> After ‘‘ Napoléonette,”’ Gyp gives us another<br /> of her historical novels: ‘‘ La Dame de Saint-<br /> Leu.” Her documentation is as fictitious as<br /> her fiction, but Gyp’s dialogue is always<br /> amusing. English readers will recognise in<br /> the Baronne de Feuchéres, the famous Sophie<br /> Dawes, that English adventuress about whom<br /> so much has been written. Napoléonette<br /> reappears in this novel, but she is now the<br /> mother of four boys. Gyp’s story begins in<br /> 1824, and her chief personage is the last of<br /> the Condés, the Duc Louis-Henri-Joseph de<br /> Bourbon, who is found dead in his room at<br /> Saint-Leu a few weeks after the July revolu-<br /> tion of 1830. It will be as well for foreign<br /> readers to remember that the book is fiction<br /> and not history.<br /> <br /> ‘““ Nous, les méres,”’ the new novel by Paul<br /> Margueritte, is a story very true to life. It is<br /> the eternal history of a devoted mother who<br /> sacrifices her whole existence to her husband<br /> and children. When, as a widow, she might<br /> expect some return from her children for her<br /> devotion to them, her daughter is with her<br /> husband in Russia, and her son and daughter -<br /> in-law expect from her the last sacrifice<br /> possible. ‘To save their honour, she sells her<br /> home and retires to a little house in the country<br /> to live out the rest of her lonely life. With all<br /> the delicacy of a clever psychologist, Paul<br /> Margueritte tells this story simply and shows<br /> us all the pathos and reality of it.<br /> <br /> “Le Monde des Aveugles,” par Pierre<br /> Villey, is a valuable addition to the Bibliotheque<br /> de Philosophie Scientifique. It is written by<br /> a man who is blind and who, in spite of this<br /> terrible affliction, pursues his studies, is<br /> extremely intellectual, and has given to the<br /> world the result of his valuable historical<br /> researches. M. Villey writes on the subject of<br /> the intelligence and the psychology of the<br /> blind man. He shows us how the other senses<br /> should be educated and rendered capable to<br /> compensate, in a certain measure, for the lack<br /> of the visual sense. The author shows us how<br /> it is possible for blind men to be interested in<br /> travel, in nature, and in all the arts except :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> painting, so that it is quite possible for them<br /> to earn their living and to take their place in<br /> <br /> “the world. The book is extremely interesting<br /> <br /> and should be widely read.<br /> <br /> “‘Le Bourgeois aux champs,” by M. Bricux,<br /> is being played at the Odéon. A retired<br /> barrister, who is a Socialist, buys an estate<br /> and endeavours to introduce new ideas in the<br /> country. The villagers have very little faith<br /> in his innovations. Disappointed on every<br /> side, the would-be Socialist decides to enter<br /> Parliament. M. Brieux expresses, by his<br /> various personages, his opinions on the political<br /> and social problems of our times.<br /> <br /> The ‘‘ Little English Theatre ’’ is mecting<br /> with great appreciation here, and Mr. Philip<br /> Carr may be congratulated on his venture.<br /> Two of Synge’s plays and one_ of Bernard<br /> Shaw’s drew a large public. M. Poincaré<br /> requested that a box might be reserved for<br /> him, the American Ambassador and his family<br /> occupied another one, and the Dowager<br /> Duchess d’Uzés a third. Among those present<br /> were Monsicur and Madame Boutroux, the<br /> Marquise de Ségur and many notabilities of<br /> the French literary world.<br /> <br /> Axrys HAaiarp.<br /> <br /> <br /> <br /> “La Révolte des Anges”? (Calmann-Levy).<br /> “ Christianisme et Culture Féminine” (Perrin).<br /> “ Napoléonette” (Calmann-Levy).<br /> “ Nous, les méres” (Plon).<br /> “Le Monde des Aveugles” (Flammarion).<br /> <br /> <br /> <br /> —__—_+—_&gt;_+____—__-<br /> <br /> PUBLISHERS’ METHODS.<br /> <br /> <br /> <br /> DEFERRED ROYALTIES.<br /> <br /> N the early days of the Society it was by no<br /> means an uncommon practice for publishers<br /> to purchase authors’ works outright for a lump<br /> <br /> sum. Indeed, the practice, though less prevalent<br /> than it once was, still obtains, especially in con-<br /> nection with a certain class of book—notably<br /> children’s. It is not a method of publication to<br /> which any author should assent, first, because it<br /> is almost impossible for him to estimate the value<br /> of his work beforehand; and, secondly, because<br /> under it he loses practically all control over his<br /> work, which the purchaser may hold up or publish<br /> according to his own convenience, and in many cases<br /> to the great: inconvenience of the author. Old books,<br /> with the copyright of which their authors have<br /> parted, have, before now, been known to re-appear<br /> on the market in time to damage the sale of the<br /> writer’s more mature work.<br /> <br /> But it is rather with financial considerations<br /> <br /> 193<br /> <br /> that we would deal in this article. Given a°<br /> royalty agreement, the author is able, if he seeks<br /> the advice of the Society, to insure getting a share<br /> in the success of his work, if such success, in the<br /> form of large sales, awaits it. Unfortunately there<br /> are both good and bad royalty agreements, and<br /> those latter royalty agreements are often deferred<br /> royalty agreements.<br /> <br /> Under a deferred royalty |<br /> <br /> agreement the author may—in practice, very<br /> <br /> often does—get nothing. ‘This method of pub-<br /> lishing is not uncommon. ‘Though a suit-<br /> able arrangement can be come to on the deferred<br /> royalty basis, still,,in nine cases out of ten, the<br /> contract is to the disadvantage of the author.<br /> The publisher, eloquent on the subject cf the risk<br /> incidental to the publication, persuades the author<br /> to let him have the first 500, 750, or even<br /> 1,000 copies of his book “free of royalty.” To<br /> make the agreement fair, after these sales the<br /> author ought to have a proportionately higher<br /> royalty and the publisher less profit, because he<br /> has recovered his outlay, and there is no further risk<br /> to be run.<br /> <br /> After that number has been sold, the author<br /> receives 10 per cent., 124 per cent., or even<br /> 15 per cent. Somehow or other the book seldom<br /> sells beyond the number on which no royalty<br /> is payable, and the larger the number free of<br /> royalty the less likelihood is there of an increasing<br /> sale; indeed, one publisher who had the free<br /> sale of 1,000 copies, printed that number and<br /> then broke up the type. But even if he had printed<br /> more than the number free of royalty, it does not<br /> then follow that the author will receive anything.<br /> For example, assuming 750 is the number on whicn<br /> the publisher pays no royalty, he will print an<br /> edition of 1,000 copies. After the 750 copies have<br /> been sold, he will discover that the sale is beginning<br /> to drop. Deducting the review copies (say 100)<br /> the publisher is left with 150 copies on hand. If<br /> he is to sell these at the full published price, he<br /> may have to incur additional advertisement expendi-<br /> ture from his point of view quite incommensurate<br /> with the returns from the sales. Rather than do<br /> this, he sells the book as a “ remainder,” interpreting<br /> the term ‘ remainder sale” to cover any sale at less<br /> than what he calls “the usual trade terms,” and<br /> by a clause he has been careful to insert in the<br /> agreement, pays the author 5 per cent. on the<br /> nett proceeds. It may often pay the publisher to<br /> sell the book thus cheaply, rather than to sell it at<br /> “the usual trade terms,” with the obligation to<br /> pay the author the royalty mentioned in the agree-<br /> ment. But if the publisher has put the author&#039;s<br /> royalty after the free sales as high as 20 per cent.<br /> or 25 per cent., the temptation to remainder the<br /> book is obvious. In short, what the publisher<br /> loses by selling the book as a “remainder” he<br /> 194<br /> <br /> may easily recover at the expense of the author&#039;s<br /> royalty.<br /> <br /> This does not necessarily happen; much must<br /> depend upon the publisher, and the aphorism<br /> &lt;* business is business,’ undergoes different inter-<br /> pretation at different hands.<br /> <br /> However, an agreement has been brought to the<br /> Society providing for a royalty even more deferred<br /> than has been indicated by the figures above. The<br /> clause runs :—<br /> <br /> ‘All copies sold of the said work within twelve months<br /> of the date of publication shall carry no royalty to the<br /> author, but on all copies sold after the expiration of the<br /> first twelve months after publication the publisher agrees<br /> to pay to the author and the author agrees to accept a<br /> royalty of . . . of the nominal published price on sales of<br /> the 6s. edition. and a royalty of 7% per cent. of the nominal<br /> published price on the sales of any cheaper edition or<br /> editions.”<br /> <br /> Now all publishers assert that the largest sales<br /> of a novel occur either on subscription before<br /> publication, or within the first four months after<br /> publication. Most publishers will inform an<br /> author that a book is dead at the end of six<br /> months, and all publishers will inform an author<br /> that the ordinary novel is dead at the end of<br /> twelve months, unless for some special reason<br /> the vitality of a book carries it forward for<br /> two or three years, or, perhaps, even longer.<br /> Therefore, when a publisher puts a clause of<br /> this kind into an author’s agreement, he must<br /> know that to all intents and purposes he is asking<br /> the author to give him the book for nothing, and<br /> most publishers, if they were asked to answer on<br /> oath in the witness-box, would corroborate this<br /> statement. It is quite true that if the author<br /> desires to give the publisher his work for nothing,<br /> there is nothing to prevent him from doing so,<br /> but it is a question as to how far, when a pub-<br /> lisher inserts such a clause in his agreement, he<br /> is bound to explain the effect of it to the author<br /> —to the author who is most probably ignorant of<br /> the fact that the ordinary novel is dead in six<br /> months.<br /> <br /> But there is this further difficulty, that the<br /> authors’ and the publishers’ interests are not in<br /> common ; that there is no stimulus whatever for<br /> the publisher to push the book beyond the first<br /> twelve months if it has had anything like an<br /> ordinary sale. In fact there is every reason why<br /> he should not do so. A publisher’s object is<br /> naturally to turn over his capital, and to make a<br /> percentage on it; when this object has been<br /> obtained, it may often be good tactics to take the<br /> book off the market, to make way for new books<br /> that are constantly coming forward. It is often<br /> more remunerative for the publisher to act thus<br /> than to expend labour in pushing the author&#039;s work<br /> into another edition of 1,000 or 2,000 copies.<br /> <br /> THE AUTHOR.<br /> <br /> THE U.S.A. AND CUSTOM DUTIES.<br /> <br /> Boarp oF APPRAISERS HOLDS THAT THE<br /> Royatty ON Booxs ImportTeD IN SHEETS<br /> 1s Not Part oF THE ForEIGN MARKET<br /> VALUE.<br /> <br /> Tr an important test case standing in the<br /> name of E. B. Dutton &amp; Co., the Board<br /> of United States General Appraisers<br /> rendered a decision favourable to the Dutton<br /> Company. The precise question before the<br /> Board was whether a royalty of 10 per cent.<br /> of the retail price of a bound book was to be<br /> included as a part of the foreign market value<br /> of the printed unbound sheets of such book.<br /> <br /> It appeared from the testimony that Dutton<br /> &amp; Co. ordered the unbound sheets with the<br /> intention of binding the books in the States.<br /> The firm also agreed to pay Methuen &amp; Co.,<br /> the owners of the English copyright, a<br /> royalty of 10 per cent. on each book sold, the<br /> American selling price of which was fixed at<br /> $1.35 per volume. The appraising officers at<br /> New York included the 10 per cent. royalty in<br /> the foreign market price, and exacted duty<br /> accordingly. Dutton &amp; Co. appealed to the<br /> reappraisement division of the Board of<br /> General Appraisers, where arguments in sup~<br /> port of the importers were made by James F.<br /> Curtis, until recently Assistant Secretary of<br /> the Treasury Department, in charge of cus-<br /> toms, William L. Wemple, Assistant Attorney-<br /> General of the Department of Justice appearing<br /> for the Government.<br /> <br /> It was contended by the importers that the<br /> royalty being fixed upon the retail price of the<br /> finished book, which is more than eight times<br /> the price paid for the unbound sheets, is not a<br /> part of the foreign market value. Three<br /> reasons were adduced in support of the con-<br /> tention. The first was that the royalty was<br /> not properly payable on the value of the<br /> sheets, but upon the value of the retail price<br /> of the finished book. The second point was<br /> that the royalty did not attach to the sheets<br /> and would never become due and payable if<br /> the sheets remained unbound after importa-<br /> tion; and, thirdly, that the royalty attached<br /> only to the finished book, and even then<br /> became due and payable only upon the actual<br /> sale of the volume by the importers.<br /> <br /> The decision continues :<br /> <br /> Appellants further contend, and it is not<br /> here disputed, that such sheets are not sold in<br /> wholesale quantities in the British Empire,<br /> and that therefore there is no wholesale foreign<br /> market value in the country from whence<br /> <br /> <br />  <br /> <br /> Bey<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> imported. They also contend, and neither is<br /> this disputed, that such sheets are not sold in<br /> wholesale quantities in the United States, and<br /> that therefore there is no basis for determining<br /> their foreign market value under the last pro-<br /> vision in sub-section 11 of section 28 of the<br /> Tariff Act of 1909.<br /> <br /> It is unquestioned that both of these con-<br /> tentions are well-founded, and such being the<br /> case, there remains only as the basis upon<br /> which foreign market value may be deter-<br /> mined, the cost of production as provided in<br /> the first part of sub-section 11, supra, but then<br /> the query presents itself whether there must<br /> be added to the cost of production thus ascer-<br /> tained the royalty to be paid as hereinbefore<br /> set forth. In thus determining the cost of<br /> production there is to be included the cost of<br /> material, cost of fabrication, all general ex-<br /> penses, and expense of preparing and putting<br /> up the merchandise ready for shipment, and<br /> an addition of not less than eight nor more<br /> than fifty per centum of the total cost as thus<br /> ascertained.<br /> <br /> Assuming the cost of the completed sheets<br /> to be correctly stated at 34d., it is at once<br /> apparent that the entered value was more than<br /> sufficient to include all the elements of cost of<br /> production as contemplated by the first pro-<br /> vision of sub-section 11, swpra, and more than<br /> ample to make foreign market value as thus<br /> ascertained, unless the royalty to be paid<br /> upon the actual sale by the publisher of the<br /> bound book is to be included as a part thereof.<br /> <br /> Our attention is brought to certain cases<br /> wherein it has been held by the Board and<br /> the Courts that royalties paid by purchasers<br /> were properly included in the dutiable value of<br /> the merchandise for the reason that the<br /> amounts paid as such royalties were parts of<br /> the cost. In the case at bar it may hardly be<br /> said, we think, that royalty agreed to be paid<br /> upon the sale in the United States of the<br /> bound book was a part of the purchase price<br /> of the unbound sheets; but even though it<br /> were we think it does not exactly follow in<br /> determining the foreign market value of the<br /> sheets that the full amount or even part of<br /> such royalty must be included. It is not at<br /> all unusual for appraising officers to find the<br /> foreign market value of merchandise to be less<br /> than the invoice and entered value, and even<br /> less than the price actually paid for the<br /> merchandise. Such, in fact, may be necessary<br /> to a compliance with the law under certain<br /> circumstances. Sub-section 10 of the Act of<br /> 1909, swpra, imposes upon all appraisers of the<br /> United States, and every person who shall act<br /> <br /> <br /> <br /> 195<br /> <br /> as such, the duty of appraising (any invoice or<br /> affidavit thereto or statement of cost, or of cost<br /> of production to the contrary notwithstanding)<br /> the actual market value and wholesale price<br /> of merchandise at the time of exportation to<br /> the United States. As has already been stated,<br /> unbound sheets similar to those here involved<br /> are not sold in wholesale quantities in the<br /> country of production and from whence<br /> imported, hence resort in determining foreign<br /> market value thereof must be had in the pro-<br /> cedure laid down in sub-section 10, supra.<br /> Although it does not appear in the stenographic<br /> report of the proceedings before the Board,<br /> it was announced on the hearing that the<br /> appraiser in fixing the foreign market value of<br /> these sheets was guided and controlled by the<br /> directions promulgated by Assistant Secretary<br /> of the Treasury Curtis, contained in a depart-<br /> ment Circular dated June 7, 1918, which, so<br /> far as applicable were as follows :<br /> <br /> ‘“©(2) That when such books, which are<br /> only sold at retail abroad, are imported in<br /> sheets, the actual price paid by the pur-<br /> chaser, not including the royalty charge, if<br /> any, should be taken as the market value<br /> for appraisal purposes, provided that in no.<br /> instance shall the appraised value be less than<br /> 124 per cent. of the foreign published price.”<br /> <br /> The rule of guidance thus promulgated, and<br /> followed, was an arbitrary one, and was of<br /> course wholly without warrant in law. It<br /> was repugnant to the very plain provisions<br /> of the statute, and a foreign value fixed there-<br /> under might only by the merest chance be a<br /> lawful one.<br /> <br /> We do not overlook the fact that in some<br /> instances the Board has heretofore held that<br /> royalties were properly included in the foreign<br /> market value, and it may be readily appre-<br /> ciated that conditions attending sales in whole-<br /> sale quantities of merchandise for consumption<br /> in the country of production might be such as<br /> to make the royalty part of the selling price,<br /> in which ease it should, of course, be included<br /> in the appraised value of like merchandise<br /> imported into the United States; and it is<br /> therefore not our purpose here to overrule any<br /> decision of the Board which may be in apparent<br /> conflict with the views here imposed. In the<br /> case at bar, however, we are satisfied from the<br /> detailed facts of the purchase that the royalty<br /> to be paid on the bound book after sale in the<br /> United States is no part of the foreign value<br /> of the sheets, and that the invoice values<br /> represent the full foreign value thereof; and<br /> for these reasons we sustain the entered value<br /> of each of the items.<br /> <br /> <br /> 196<br /> HOW TO USE THE SOCIETY.<br /> <br /> — 9<br /> <br /> 1. 7\ VERY member has a right toask for and to receive<br /> HK advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel’s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinarysolicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, sen<br /> the document to the Society for examination. ’<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 7. Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ee gg<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —t——+ —<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright.<br /> This is sometimes satisfactory, ¢f a proper price can be<br /> <br /> THER AUTHOR.<br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author. :<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> tights.<br /> <br /> (5.) Not to give up serial or translation rights,<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides, It isnow<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :-—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the-advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :— :<br /> <br /> C1.) That both sides shall know what an agreement<br /> means,<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> eg =e<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> <br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> <br /> for production of the piece by a certain date .<br /> <br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> ,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> id<br /> <br /> <br /> <br /> <br /> <br /> |. play are distinct from literary copyright.<br /> <br /> Bis «<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> <br /> -| better to obtain a small nightly fee if possible, and a sum<br /> <br /> paid in advance of such fees in anyevent. It is extremely<br /> important that the amateur rights of one-act plays should<br /> <br /> sd be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7, Authors should remember that performing rights in a<br /> A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> —— oe<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> 1+<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> S forwarded to the offices of the Society, together with<br /> : a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> 197<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> —_-—&lt;—+ —_<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> —_——\!_+-—&gt;—_-—__<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> <br /> <br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> <br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ———__—~—_______<br /> <br /> STAMPING MUSIC.<br /> <br /> —— +<br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> ——-— ____<br /> <br /> THE READING BRANCH.<br /> —— + :<br /> EMBERS will greatly assist the Society in this<br /> M branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience, The<br /> fee is one guinea,<br /> —_-—&gt;—_-<br /> <br /> REMITTANCES.<br /> <br /> ed<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> a<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> <br /> works.<br /> 2. Under contracts for the performance of their works<br /> <br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland . . ; A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany . Mrs PoGson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> ———_—_+- &gt; ___—___<br /> <br /> GENERAL NOTES.<br /> <br /> —<br /> Tur ANNUAL GENERAL MEETING.<br /> <br /> Tyr Annual General Meeting of the Incor-<br /> porated Society of Authors will be held on<br /> Friday, April 17, at 1, Central Buildings, at<br /> 4.30. Notice of the meeting will be sent to all<br /> the members in the course of a few days.<br /> <br /> Music PuBLISHERS AND PERFORMING RicHTs.<br /> <br /> WE are pleased to see from the Publishers’<br /> Weekly of the U.S.A. that there has been a<br /> meeting of the American authors, composers<br /> and publishers in New York City, in order to<br /> start a society to control the performing rights<br /> in music. This is a very important advance<br /> and we think the composers of our Society<br /> ought to make every effort to meet the pub-<br /> lishers with a view to establishing the same<br /> control over the performing rights. The real<br /> question, however, is, will the publishers meet<br /> the composers? The last time the composers<br /> wrote to the Music Publishers’ Association the<br /> secretary had to write three times before he<br /> received the courtesy of a reply. The associa-<br /> tion then regretted they were unable to<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> discuss the matter the composers put before<br /> them.<br /> <br /> We do not wish to criticise the non-possumus<br /> attitude of the music publishers, but merely<br /> would remark that this kind of attitude has<br /> been adopted in years gone by both by pub-<br /> lishers and theatrical managers ; but these have<br /> after mature consideration thought better of<br /> the matter. We hope, therefore, that the<br /> Music Publishers’ Association will give the<br /> matter their mature consideration, and that<br /> such mature consideration will place them in<br /> a better frame of mind to consider, not only<br /> what are the composers’, but what are also<br /> their own interests.<br /> <br /> With regard to performing rights, un-<br /> fortunately the music publishers have so long<br /> thrown these away that it may be difficult to<br /> come to any satisfactory arrangement, but this<br /> is no reason why a matter of such vital<br /> importance should not be discussed between<br /> the parties interested.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ——__—. &lt;&gt; —____<br /> <br /> <br /> <br /> AUSTRALIAN COPYRIGHT REGISTRATION.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> N the January number of The Author there<br /> appeared a General Note emphasising<br /> the importance of registration by authors,<br /> <br /> especially dramatic authors, of their copyright<br /> under the new Australian Act. In accordance<br /> with that note, the secretary of the Society<br /> was instructed to write to the Registrar of<br /> Copyrights in Australia on the subject, in order<br /> that. the members of the Society might have<br /> the fullest information. As a supplement to<br /> this month’s Author, the regulations, together<br /> with the forms which should be filled up, are<br /> printed. A number of these forms are lying<br /> at the offices of the Society and can be handed<br /> to those members who, because they have<br /> plays running in Australia, or because they<br /> have plays likely to run in Australia, desire to<br /> avail themselves of this opportunity for regis-<br /> tration. It was pointed out in The Author<br /> that the great advantage of registration lies in<br /> the fact that if a book or play is registered,<br /> then, in case of infringement, the author can<br /> avail himself of the summary proceedings<br /> granted by the Act. The Registrar of Copy-<br /> rights, in his courteous and detailed letter,<br /> points out that although no actual case has<br /> yet been carried through the courts, most<br /> <br /> robably no author will be entitled to the<br /> <br /> enefits under the Summary Proceedings<br /> clauses against any infringer if the infringe-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> ‘ment occurred before registration. In other<br /> Wwords, that he will only be entitled to take<br /> advantage of the clauses referred to in the<br /> em case of those infringements which occur after<br /> registration. It will be safer, therefore, for<br /> fi those who are likely to have or have already<br /> dramatic or literary property in Australia to<br /> «@register at the earliest opportunity. He sug-<br /> -% gests in his letter the following :—<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 7 “I think it would be advisable for authors who contem-<br /> ,|ia plate registering under the Australian law to register the<br /> _,9@ copyright paper of their respective works so that they<br /> &quot;* #@ would be in a position, at any time, to assign any of the<br /> rights comprised in the copyright. My reason for making<br /> om the suggestion is this: representatives of dramatic com-<br /> panies who have consulted me from time to time complain<br /> @ of the difficulty they experience in reaching and punishing<br /> pirates under the ordinary remedies provided by the<br /> Statute. The agreements entered into between these<br /> companies and authors abroad usually provide for the<br /> payment of a royalty covering a specified period, but do<br /> not vest ownership, or partial ownership, of the copyright<br /> or performing rights in the companies; the result being<br /> “that an unauthorised reproduction of a dramatic or<br /> musical work is given, and before the licensees of the copy-<br /> right or performing right have had time to obtain the<br /> # necessary authority to put the machinery of the law in<br /> motion, the pirate, like a will o’ the wisp, has vanished.<br /> If the course suggested by me were followed, agreements<br /> made between British authors and Australian citizens<br /> eould be swiftly enforced. In this connection it would<br /> also be advisable for the author or his representative to<br /> give the licensee, during the currency of the licence,<br /> authority to take proceedings as attorney for the owner of<br /> @ the copyright.”<br /> <br /> It is doubtful however, whether the members<br /> of the Society would care to adopt the course.<br /> Indeed, many dramatic authors have refused<br /> to grant such power of attorney. However,<br /> if it is possible to carry out the arrangement<br /> which the Society is at present organising for<br /> <br /> lacing powers of attorney in the hands of the<br /> Society’s lawyers in Australia, there will be no<br /> necessity for making the assignment referred<br /> to. If members, therefore, desire to register,<br /> they had better apply to the Society’s office<br /> for the forms, and, after having filled them up<br /> properly, return them with the fees referred<br /> toin the regulations. The Society will see that<br /> the matter is duly carried through in accord-<br /> ance with the members’ instructions. It is<br /> tated that there may be one or two little<br /> <br /> ifficulties with the first few registrations, but<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> after a little time the matter will run perfectly<br /> “smoothly and members will gain great ad-<br /> #@ vantage from the Society’s organisation and<br /> from the Society’s knowledge of the details.<br /> It is necessary to point out that under the<br /> New Zealand law similar provisions to those<br /> under the Australian law have been provided.<br /> The secretary has also written to the Registrar<br /> of Copyrights in New Zealand for the forms<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 199<br /> <br /> <br /> <br /> <br /> <br /> and regulations. When these come to hand,<br /> the Society will be able to carry out for its<br /> members the necessary details and the author<br /> will be able to obtain the benefits under the<br /> New Zealand Act.<br /> <br /> A COMPOSER’S TROUBLES WITH MESSRS.<br /> BOOSEY &amp; CO.<br /> <br /> —_—+——+<br /> <br /> a December, 1911, a composer forwarded<br /> (through a well-known vocalist) a song<br /> to Messrs. Boosey &amp; Co. for publication,<br /> and obtained in reply a letter offering to publish<br /> the song subject to the payment of a certain<br /> royalty. These terms were accepted by letter.<br /> In April, 1912, the same composer forwarded<br /> another song, specially composed for another<br /> artist, to the same publisher, and, after a<br /> friendly interview with Mr. Boosey and a<br /> request that the firm would make a formal<br /> offer, received a letter offering similar terms<br /> to the letter he had received in December,<br /> and he accepted the terms. Immediately<br /> after the acceptance, Messrs. Boosey &amp; Co.<br /> forwarded him a document, which they sub-<br /> sequently stated was in use by all their com-<br /> posers, being an assignment of all the com-<br /> poser’s rights and interest, present, future and<br /> contingent, in consideration of the agreed<br /> royalty on copies sold and 50 per cent. of all<br /> mechanical instrument fees received by the<br /> publisher. Nothing had been said in_ his<br /> correspondence as to assignment of copyright<br /> or mechanical rights.<br /> <br /> The composer, in reply, pointed out that<br /> the letters which had been exchanged consti-<br /> tuted a binding contract and that, therefore,<br /> there seemed no necessity for his signature to<br /> such a document. Messrs. Boosey replied that<br /> this was the form of contract invariably used.<br /> The composer then pointed out that, if an<br /> agreement was actually necessary, he pre-<br /> ferred that it should be drawn up upon a<br /> business-like basis, and contain adequate pro-<br /> vision both for his own rights and those of<br /> the publishers. Messrs. Boosey &amp; Co. there-<br /> upon refused to discuss the matter in any<br /> respect whatever, returned the various MSS.<br /> and declared the business was atanend. The<br /> dispute was then brought to the Society, and<br /> the committee decided to take the case up.<br /> Accordingly the matter was placed in the<br /> hands of the Society’s solicitors. Proceedings<br /> were instituted and the publishers, through<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 200<br /> <br /> their solicitors, then agreed to publish the<br /> songs on the terms set out in their original<br /> letters and to pay the costs, these terms, for the<br /> satisfaction of both parties, to be embodied in<br /> a formal legal document. This document was<br /> signed in due course, but through all the nego-<br /> tiations, not only the Society, but the solicitors<br /> of the Society, had to complain of the offhand<br /> way in which the business was treated and<br /> the delay which took place. In the settlement<br /> ‘twas understood—the sclicitors of the Society<br /> making special mention of the fact to the solici-<br /> tors of Messrs. Boosey &amp; Co.—that Messrs.<br /> Boosey &amp; Co. would frankly accept the posi-<br /> tion and use their best endeavours to push<br /> the work to the same extent as they would<br /> have done if no question had arisen. The<br /> solicitors of the publishers at once gave their<br /> assurance to this effect; but what has been the<br /> result? In January, 1913, a year after one of<br /> the songs had been accepted under the original<br /> letter, the Society was asked to stamp, on the<br /> composer&#039;s behalf, 153 copies of one song and<br /> 155 of the other. The composer then wrote to<br /> inquire whether this was the extent of the<br /> editions which it was proposed to publish, and<br /> in reply received intimation that the number<br /> of copies mentioned represented the full print<br /> of the first edition. The publishers added:<br /> ““We shall, of course, reprint as required<br /> according to the demand for the songs,” and,<br /> on February 16, 1913, in answer to that letter,<br /> the composer wiote as follows :—<br /> <br /> February 16, 1913.<br /> <br /> Dear Strs,—!I thank you for your letter of February 14,<br /> with reference to the two songs of mine which you have<br /> recently published. I have not the time at present to go<br /> carefully into the matter, but, on the face of it, there is<br /> obviously something wrong in respect to the number of<br /> copies printed.<br /> <br /> Under the contract there are to be 200 copies of each<br /> song “free for novelty purposes.” In other words, no<br /> royalty is payable to me (at least so I read it) from any of<br /> the copies which you have already printed. Dealing more<br /> particularly with the Irish song, we may take fifty copies<br /> as the very lowest number you require for professional<br /> copies and for review purposes. This leaves no more than<br /> 100 copies as a preliminary supply to the trade throughout<br /> the country, eliminating the U.S.A. altogether, also the<br /> Colonies. Incidentally I may add that I know for a fact<br /> that inquiries have been made for the song in various parts<br /> of the country already, but that the music dealers have<br /> been unable to trace it.<br /> <br /> It appears to me a waste of time for me to seek the good<br /> offices of my musical and professional acquaintances in<br /> singing the song under such conditions. Apart from the<br /> business aspect of the case, I would venture to remind you<br /> of the very definite assurance given by your legal repre-<br /> sentative to my solicitors that “it was clearly under-<br /> stood that you frankly accepted the position and would<br /> use your best endeavours to push the work in just the<br /> same way as you would have done had no question arisen.’’<br /> It is, indeed, most distasteful to me to have to reopen<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> the question, but there appears to me some little evidence<br /> that the work is not being pushed forward as it should be,<br /> If you can give me your assurance to the contrary, I shall<br /> be only too pleased to accept it. ge<br /> <br /> As regards professional copies, I infer from your letter<br /> under reply that you propose to forward copies only to<br /> those artists whom I may specify to you. I will forward —<br /> you a short list in a day or two, but, while I shall be happy<br /> to do anything I can within reason to help forward<br /> sales, I would point out that the real work of propagation<br /> must necessarily devolve upon you, and that I can hardly<br /> be expected to act as “ traveller in my own goods, even<br /> had I the time and inclination.<br /> <br /> Very faithfully yours, |<br /> <br /> <br /> <br /> He received a reply stating that the 200 (&gt;;<br /> copies mentioned are not deducted until the °°&quot;<br /> song has gone out as a novelty to the trade,<br /> that it would be useless to send either of the<br /> songs out at present as they were ** not suffi-<br /> ciently known”? (sie), but that they had sent<br /> out presentation copies to singers. It remains<br /> <br /> <br /> <br /> to add that although Messrs. Boosey issued a<br /> catalogue in March, 1913, these two songs<br /> were not included in it (they were stamped in<br /> the preceding January); and that inquiry has<br /> been made for the songs at six of the largest #1<br /> FeO T<br /> jaw<br /> <br /> Hae We<br /> peg<br /> <br /> pe wt %<br /> <br /> retail houses in London, and at over a dozen —<br /> of the largest provincial centres, without<br /> sucecss; at none of these places had the songs<br /> been heard of, nor so far as could be ascer-<br /> tained offered by the travellers, nor could they<br /> be found in any lists.<br /> <br /> The whole case is very interesting from every AF<br /> point of view. It is impossible to think, after ti<br /> the assurance given by Messrs. Boosey’s solici-<br /> tors, and after consideration of the standing of<br /> Messrs. Boosey &amp; Co. and the position they<br /> hold in the trade, that they would not do<br /> everything that could be done by way of<br /> putting the songs before the public ; indeed<br /> under the rather peculiar circumstances of the<br /> case, it might have been thought that a firm<br /> of Messrs. Boosey’s standing would have put<br /> themselves out of the way to do more with<br /> this composer’s songs than they do in the<br /> ordinary course of business, in order that they<br /> might show clearly that after the little dispute<br /> they meant to deal fairly with the composer.<br /> We assume they have done so. It would<br /> then appear that Messrs. Boosey &amp; Co. consider<br /> they have done everything they. can and<br /> should do in the course of their business, to<br /> push two songs which they intend to put on<br /> the market by printing 158 copies of one song<br /> and 155 copies of another, and sending out<br /> presentation copies to singers. It would also<br /> seem to follow that this is the course adopted<br /> upon the publication of othcr similar songs<br /> published by the firm. It would be very<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 201<br /> <br /> woi/interesting to know the opinions of other com-<br /> <br /> seoposers on the present position and of other<br /> <br /> amusic publishers on the correspondence that<br /> has passed between the parties.<br /> <br /> —_———__+—_&gt;—__e—____—__-<br /> <br /> FICTION.<br /> <br /> a<br /> <br /> T came about in this way. I had been<br /> busy in the garden cleaning up, hurrying<br /> to get some new trees in before the frost<br /> <br /> isceame. But the frost caught me and I had<br /> <br /> oto give up. SoI retired to my desk.<br /> <br /> ‘But the ideas I had felt materialising,<br /> <br /> -or nebulous and vague, in the back of my mind,<br /> <br /> ,oy would not develop. Yet I felt in the humour<br /> <br /> ‘0 for writing.<br /> <br /> - ‘** Then why not write ? ’’ something seemed<br /> <br /> _9 to inquire in my ear, with a faintly sarcastic<br /> <br /> ‘a inflection. ‘Surely it is not necessary to<br /> <br /> st have any concrete idea! An author can<br /> generally manage to turn out some drivel—<br /> <br /> 7 even about nothing in particular.”<br /> <br /> Z I admit I felt a little hurt, and I tried not<br /> <br /> 9 to listen. But the insidious voice went on:<br /> ‘7* “Tf you can’t think of anything else you<br /> might write about writing—anyway. You<br /> i authors can generally manage to find some-<br /> 4) thing nasty to say about one another, about<br /> “dj the public and its detestable taste, about the<br /> sweet reasonableness of editors, and, above<br /> all, about the incredible and unmentionable<br /> wickedness of—the publisher!”<br /> <br /> “© Yes,’ I thought. “I can do all that.<br /> I&#039;ll take you at your word.”<br /> <br /> It is quite true that one can generally be<br /> nasty if one gives one’s mind to it.<br /> <br /> “Let us start with fiction,’ I thought.<br /> “Yet, what is there to be said about 1t—<br /> beyond the barefaced abomination of its too<br /> evident existence ? ”<br /> <br /> It must seem, one would think, not only to<br /> the critic, but even to the indefectible and<br /> omnivorous gorger of fiction, in this day,<br /> that some great and not altogether whole-<br /> some change has gradually overtaken the<br /> work of the writer.<br /> <br /> The day of leisure is gone and the age of<br /> scurry is upon us; we have, it is true, nowa-<br /> days, no time for the languid perusal of long<br /> discursive prefaces, of long talky essays all<br /> about nothing of any earthly importance ;<br /> of pleasant, harmless, long-winded intro-<br /> ductions and descriptions.<br /> <br /> &#039; One is tempted to wonder what would<br /> <br /> happen to Scott and to Thackeray to-day ?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Would “ Waverley ” finda publisher ? Would<br /> anyone be found with the necessary patience<br /> and time to wade through——but there!<br /> There are doubts as to whether that is a<br /> subject one should pursue !<br /> <br /> None the less, it must be borne home to the<br /> most undiscerning reader that though we<br /> have gained much, we have lost not a little.<br /> This is not the age of literature, but of fiction<br /> (at so much per thousand words). The great<br /> mass of second and third rate stuff, the<br /> ‘* flimsy *’ of the bookstalls, that caters for<br /> the mob, has its own particular style and<br /> format in fiction, its mould through which every<br /> story must, apparently, be pressed in order<br /> that it may come out with every trace of<br /> originality, of style, of art it might contain<br /> ruthlessly eliminated. Every hero has to be<br /> cut to pattern; every incident, it would seem,<br /> must be laid in accordance with certain canons.<br /> One wonders if the readers who, according<br /> to an editor of these journals, ** will have that<br /> style,” ever get tired of wading through the<br /> same weary thing again and again, knowing,<br /> as they must know, exactly the course of every<br /> item, how it will all go and how it will end,<br /> beforehand.<br /> <br /> One of these magazines used to create<br /> some amusement in literary circles by giving<br /> in an editorial preface, every month, the most<br /> touching and fatherly advice to would-be<br /> contributors. There was, I remember, one<br /> delightful talk with hints on * style’ and<br /> its formation, with examples of the great<br /> classics one should study. ‘‘ or romance,<br /> study So-and-so;_ for action, study So-and-<br /> so’’-—along list. Yet it would seem that should<br /> anyone approach the greatness of any of these<br /> models, that very fact would surely be the<br /> first fatal step towards certain rejection in<br /> such a magazine, which appeared to disannex<br /> all those attributes that the student of litera-<br /> ture has learnt to venerate.<br /> <br /> ““The public will only have so-and-so,”<br /> wearetold. Yetitis a curious fact that when,<br /> once in a blue moon, a bold editor or publisher<br /> ventures out of the rut with a clever and<br /> original story, it is often hailed with joy and<br /> becomes a success. The fact is, the publisher<br /> can make anything go if he chooses; it 1s<br /> simply a matter of brain and boom, ability<br /> to spend his advertisement money to the right<br /> advantage. : :<br /> <br /> But what of the publisher’s reader ? One<br /> wonders what sort of a person he 1s—or Is<br /> ita she? The traditional publicational history<br /> would seem to stamp him as, of all men, the<br /> one who least knows his business, for if ever<br /> <br /> <br />  <br /> <br /> 202<br /> <br /> a great and striking novel has come to the<br /> front there has, almost invariably, been the<br /> same history of everlasting weary rejection<br /> until some lucky accident has brought that<br /> work before the world. And yet— observe<br /> what is poured out of the publishing houses<br /> every week! Take any work, fiction or other,<br /> that has eventually made a commotion, and<br /> what has been its early history? We are<br /> told the publisher’s reader is often a distin-<br /> guished novelist. We can quite believe it.<br /> <br /> The fact is, it is not the question of what the<br /> ‘public will have,” but what the editor or<br /> publisher thinks they will or ought to have.<br /> And the result<br /> <br /> Well, one result is that a work that in any<br /> way pertains to literature has too often no<br /> earthly chance of publication.<br /> <br /> A man may write literature (some men do)<br /> as an amusement, to please himself, and,<br /> indeed, he may publish it, but that’s<br /> another subject that need not be pursued.<br /> <br /> And so authors go on making fortunes for<br /> publishers—whose groans over their heavy<br /> losses ought to dissolve a brutal and unfeeling<br /> world in tears.<br /> <br /> But of fiction. What is one to write?<br /> Must one never leave the hard-beaten, dusty<br /> track ? One must, according to the modern<br /> magazine, not write of this; one must not<br /> touch upon that; yet we want originality<br /> and some little freshness, even in our reading,<br /> now and then. One can’t subsist for ever<br /> on sugar-pap.<br /> <br /> Of course, when an author has made his<br /> <br /> name he can write pretty well whatsoever he<br /> likes, and it is eagerly published. Is that,<br /> perhaps, the reason why so many ‘“ made”<br /> authors continue to turn out such ghastly<br /> stuff—or, are they merely using up the<br /> pabulum of their prentice days ?<br /> : As for verisimilitude, realism, truth, there<br /> is little enough of it, in spite of report ; little<br /> enough that is at the same time artistic.<br /> The realism, indeed, is rather too apt to become<br /> sheer dirtiness.<br /> <br /> There is at the present time a fashion in<br /> the fiction magazines for the medical story.<br /> When this is written by the half-dozen medical<br /> writers of the day all well and good, but<br /> otherwise the results are invariably absurd<br /> to a scientific reader. For it is an unfortunate<br /> thing that people will scribble about things<br /> of which they have no earthly knowledge.<br /> Writers cannot all be expected to be scientists,<br /> but if they have no scientific knowledge they<br /> should leave science alone.<br /> <br /> In no less than four stories in the magazines<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> published in one month were there instances of<br /> glaring and ridiculous mistakes that are most fix<br /> irritating. In one instance a writer excels &gt; i:i®<br /> himself in the marvellous description of a new f<br /> and utterly impossible orchid, and in the other}<br /> a zoological monstrosity is perpetrated out f»<br /> of all conformity with organic nature; and fii,<br /> these two examples are as nothing compared}<br /> with the others. One does not often come<br /> across such glaring blunders as the classie<br /> example of Boucicault in the old play “ The<br /> Octoroon’’; indeed, in these days of snapshot<br /> photography and kodaks it would be almost F ..,<br /> impossible. Often it is mere thoughtlessness 3)...<br /> and even some of the greatest masters of<br /> literature have made incredible mistakes.<br /> Then one gets a little tired of that everlasting<br /> so-called ‘‘ love-story.”” Must fiction always<br /> be a variation upon the everlasting human<br /> triangle and its tireless equations ?<br /> Here we have it: x +y=2&gt; &amp;.<br /> We have (A* ++ AY : B*) which develops into }*<br /> (A*: AY + B*). -<br /> One gets so wearied of Mr. A.’s matrimonial 7&quot;<br /> troubles and disputes with Mrs. A. and the i<br /> inevitable intriguing of the latter with her p&gt;&quot;<br /> tardily discovered soul affinity, Mr. B. Still,<br /> it is yet possible for an author of original turn<br /> to treat the subject in a moderately novel way.<br /> Authors, we are told, are a hardly-treated<br /> body, shamefully served by the publisher,<br /> Publishers, we are told, are a hardly-treated &gt;?&quot;<br /> body, abominably served by the public. The §#<br /> public are shamefully treated both by authors }<br /> and publishers (so they beg, borrow, or steal }<br /> books, but refrain from buying them). [<br /> Certainly authors have much to suffer, 7%<br /> Is it any wonder that one becomes depressed &gt;<br /> over the picture of the poor, struggling author } if<br /> labouring incessantly to pile up a huge fortune )%<br /> for the wicked publisher! (Oh, those motors »<br /> and yachts !)<br /> And, seriously, there are times when authors<br /> have other reasons for weeping. There are P<br /> editors who keep manuscripts for weeks and<br /> months knowing full well they never intend pt<br /> to use them, when there is not the least #<br /> excuse for keeping them more than a week<br /> or two. And there are editors who score<br /> marks and numbers upon the unfortunate<br /> manuscripts, so that they have to be retyped<br /> before they can, for very shame, go out on #<br /> their travels again. And there are editors<br /> who appear to use the unwanted manuscripts ®<br /> for the altogether improper purpose of cleaning<br /> the office floor. Indeed but that is also<br /> a subject we need not pursue any further.<br /> No doubt publishers and editors are a very<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> bag bad lot—who but a jackanapes could doubt it ?<br /> <br /> Yet who can feel angry with the kind and<br /> courteous gentlemen who send their regrets<br /> so nicely worded on such very superior paper<br /> (sometimes), and who thank one so effusively<br /> for allowing them to see the composition ?<br /> <br /> If I had my will I would sweep away all<br /> editors, publishers, and authors—and perhaps<br /> the public too—then one might have time to<br /> finish the garden; but for the life of me I<br /> ean’t get on because, forsooth! I have to<br /> turn out so many thousand words of explicit<br /> drivel every day in order that I may not put<br /> <br /> § extra work on the county court.<br /> <br /> Authors, we are told, are mean, liars and<br /> thieves, who will resort to any trick to get an<br /> extra 5 per cent. on their scrubby royalty.<br /> Publishers and editors are either hardened<br /> brutes or contemptible skunks—as yet I cannot<br /> quite decide which—who will do anything<br /> to trick the starving writer. And as for the<br /> public, that sucks the brains of the author—<br /> and often enough smacks his indelicate lips<br /> G over the process, in spite of his grumbles—well,<br /> 7) ‘twill always be much the same, I suppose,<br /> so why should one pursue that subject any<br /> further ?<br /> <br /> No doubt the editor is a good enough fellow,<br /> sometimes, even if his sense of humour is<br /> defective. But editors are not and cannot<br /> be angels, even if there were wings enough<br /> to go round, and you can no more make wings<br /> sprout than you can grow hair with any of<br /> the advertised ‘‘ restorers.”<br /> <br /> One editor of particularly angelic nature,<br /> in his monthly talk, used to give samples<br /> of the letters he received. The note of fulsome<br /> flattery was the main motif.<br /> <br /> ‘“‘T cannot say how grateful I am for your<br /> help. Since you took my last story and gave<br /> me advice I have sold nearly fifty stories to<br /> leading magazines at about twenty pounds<br /> (£20) each. I shall always remember you<br /> gave me a helping hand and you cannot think<br /> how I love you for it.” ‘ That,’’ was the<br /> editor’s beaming comment, “‘is the kind of<br /> letter that does a poor, hard-worked, worried<br /> editor’s heart good to read.” He did not<br /> say from which asylum his contributor wrote.<br /> “Probably you don’t just remember,” I<br /> thought ; “But, Sir, I can tell you something<br /> about the climate you will be enjoying one of<br /> these fine days, if you don’t try to live a good<br /> and truthful life, and find a more legitimate way<br /> of pushing your dolorous rag. All the inhabi-<br /> tants of this world (even such as read your<br /> magazine) are not stark and jibbering idiots !<br /> <br /> There are some editors who use a reject form<br /> <br /> 203<br /> <br /> carefully spaced out into reasons, and a mark<br /> is put against the division under which heading<br /> the rejection comes.<br /> <br /> A young friend of mine some time ago hit<br /> upon a startlingly original idea for a story<br /> and sent it to one of these magazines. The<br /> story was good, well written, terse and with<br /> style, and dealt with an idea that had never<br /> been used before. To our amazement it<br /> came back marked, if I remember rightly,<br /> *“ Not sufficiently novel!” which caused us<br /> no little amusement when we came to study<br /> the dead and dreary level of monotony that<br /> appeared to be the sine qua non of this<br /> particular magazine.<br /> <br /> I sometimes think the time is coming when,<br /> if literature is still to be written, some arrange-<br /> ment might surely be made whereby an author,<br /> who shows promise and produces a clever<br /> but not very marketable piece of literature,<br /> might have help in giving it to the<br /> world. And here the Society of Authors<br /> might see its way, one of these days, to do a<br /> valuable act of service both to authors and to<br /> the public, in setting up a special committee<br /> or commission to adjudicate upon real work<br /> of genius and arranging for its publication.<br /> <br /> Then I might devote myself to the creation<br /> of a work of incredible genius—and find time<br /> to finish the garden.<br /> <br /> FREDERICK GRAVES.<br /> <br /> ———————_-——_+—___——_<br /> <br /> «THE PUBLISHER.’’*<br /> <br /> ee<br /> <br /> By AN AMERICAN CRITIC.<br /> <br /> YNAMITING butterflies is notoriously<br /> <br /> a futile sort of pastime; yet, con-<br /> ceivably, a butterfly may so_persis-<br /> tently obtrude its insignificant self as to become<br /> a bit of a pest, distracting the attention and<br /> obstructing clear comprehension of certain<br /> <br /> ponderable facts. In which event a charge<br /> of dynamite may be thought well wasted.<br /> Mr. Yard frankly holds a brief for the<br /> publisher and against the author and all his<br /> works ; and, like a loyal advocate, he doesn’t<br /> hesitate about ignoring facts that do not assort<br /> well with his argument or about modifying<br /> other facts to suit his requirements. By way<br /> of example (to select one of the multitude<br /> afforded by this little book), we may consider<br /> the figures he quotes in support of his conten-<br /> <br /> <br /> <br /> * “The Publisher,” by Robert Sterling Yard. Houghton<br /> Mifflin Co., 1913. $1 net.<br /> <br /> <br />  <br /> <br /> 204<br /> <br /> tion that “best sellers” are hardly to be<br /> yearned after by long-headed publishers. On<br /> page 23 he endeavours to demonstrate that a<br /> book selling 100,000 copies in its first form<br /> would earn its publisher a net profit of only<br /> some $10,300. To arrive at this figure he<br /> estimates cost of manufacture at $0.221 per<br /> copy. This is a very reasonable figure to apply<br /> to an edition of 5,000 copies, including the cost<br /> of making plates and the purchase price of<br /> drawings for illustrations ; but for subsequent<br /> printings it is absurd. Mr. Yard further<br /> reckons the royalty at a flat rate of 20 per cent. ;<br /> this is not fair, although possible, for it may<br /> be questioned whether many books, especially<br /> an author’s first book to sell 100,000 copies,<br /> draws a flat royalty of 20 per cent. Again,<br /> Mr. Yard would have us believe that a pub-<br /> lisher allows ‘‘ 28 per cent. of income ”’ (what-<br /> ever that means) for the cost of doing business,<br /> and reckons this to indicate $0.224 as the cost<br /> of selling each copy of an edition of 100,000.<br /> We may take the liberty of doubting this<br /> figure, if we may not successfully dispute it<br /> without access to the publisher’s books. But<br /> leaving out the author’s royalty, and taking<br /> the other figures without question, we find that<br /> 100,000 copies cost to manufacture, at $0.221<br /> per copy, $22,100, and to sell, at $0.224 per<br /> copy, $22,400; making the total of the<br /> investment $44,500, on which the publisher<br /> makes a net profit of $10,300, or something<br /> more than 23 per cent. Most men of business<br /> would consider this a handsome profit, but<br /> Mr. Yard would have us believe it beggarly.<br /> But in figuring the net profit, he allows for the<br /> profit of a cheap edition of only 50,000 copies ;<br /> whereas Mr. Yard knows, and every publisher<br /> knows, and every author who knows his<br /> business knows, that the cheap edition following<br /> a first publication of 100,000 copies or even<br /> fewer is far more apt to be double the first sale<br /> than half. Then, too, Mr. Yard has chosen to<br /> deduct from the gross profit on this alleged<br /> cheap edition of 50,000 copies ‘‘ 28 per cent.<br /> (again !) for cost of doing business— $1,800.”’<br /> I fancy few publishers will have the effrontery<br /> to claim that it costs them anything at all,<br /> much less $1,800, to sit tight and permit the<br /> popular-price publishers to bid against one<br /> another for the privilege of the cheap-edition<br /> rights. Finally, Mr. Yard allows for a plate-<br /> rental of only 10 cents a copy to be paid by the<br /> popular-price man to the first publisher, and<br /> by this last divided with the author ; whereas<br /> 12 cents per copy is the ruling rate for plate-<br /> rental on books whose sales have totalled far<br /> fewer than 100,000 copies.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Mr. Yard’s figures may, therefore, be revised<br /> as follows, without bothering to dispute his<br /> estimate of profits on the first edition :—<br /> <br /> $<br /> 8,500. *<br /> <br /> Net profit on 100,000 at average<br /> net profit of $0.085 per copy<br /> Cheap edition, 200,000 at 6 cents<br /> profits per copy, without deduc-<br /> tion for cost of doing business 12,000 °°&quot;:<br /> Total net profit (assuming that the<br /> publisher hasn’t grabbed by con-<br /> tracts and has no share in the<br /> author’s second serial, dramatic,<br /> moving-picture, English, and<br /> <br /> translation rights) 20,500 | )<br /> <br /> Or, say, 46 per cent. on the original investment.<br /> <br /> No, not half-bad ; considering that Mr. Yard<br /> would have us believe publishing “‘ the worst |<br /> business in the world.”’’<br /> <br /> But it is true that his efforts to prove this) —<br /> last contention are so unconvincing even to:<br /> himself that, as early in his argument as page 8,7 _<br /> he is forced to the admission that ‘‘ the worst !-~.<br /> business in the world” becomes one of the ):*<br /> best in the world when (to paraphrase) it has ):”<br /> solid financial backing and is administered<br /> with a normal amount of common sense and a) **<br /> little human luck. In other words, it is)<br /> amazingly like any other business you can’ ™~<br /> name: good when it’s good, and bad when it’s) &quot;|<br /> bad. But Mr. Yard is so alarmed at the}: &#039;<br /> possible effect of this admission that, through |&lt;!<br /> the remaining twenty-seven pages of his?<br /> chapter on ‘‘ the worst business ” he fogs his #7:<br /> own and the reader’s understanding in a dense )-!&quot;<br /> cloud of words, anecdotes, illustrations, figures, )&gt;%<br /> and gossip, which in the end enables him to)!<br /> close to his own satisfaction with the assertion ot!<br /> that, as for a “‘ publisher who got right out of<br /> general book-publishing alone . . . “thar ain’t } ©)<br /> no sech critter.” i<br /> <br /> Nor is this all; but space lacks in which to)<br /> explode all of Mr. Yard’s fallacious arguments. ©&quot;<br /> <br /> For all that, on page 29, Mr. Yard gravely ¥<br /> informs us: ‘ Royalties exceeding 10 per cent. ©<br /> are immoral,’’ Henry Holt is reported to have hh<br /> said. And sure we must concede that it was 3»<br /> worth while to make onesself known as the }<br /> author of an idle, if undoubtedly mischievous<br /> book in order that one might have the honour fi<br /> of embalming imperishably that deathless ”:<br /> epigram ! :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> cod FO<br /> Li J. Ve 8<br /> <br /> <br /> <br /> -or--—de<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MR. ARNOLD BENNETT AND THE<br /> MOYEN DE PARVENIR.*<br /> <br /> Bo fourteen years ago Mr. Arnold<br /> Bennett, acting on the suggestion of<br /> <br /> Mr. Lewis Hind, then editor of the<br /> Academy, published in the columns of that<br /> paper his literary autobiography. He did not<br /> put his name to it, “‘ partly from discretion,<br /> and partly in the hope that the London world<br /> of letters would indulge in conjectures as to its<br /> authorship.”? In 1908 he secured—not with-<br /> out difficulty—a publisher for the work in<br /> volume form, still keeping up anonymity ;<br /> though it was an anonymity which only existed<br /> for the general public, literary London having<br /> soon penetrated the secret. Now in 1914<br /> Mr. Bennett brings out a new edition, through<br /> a different publishing firm, and this time puts<br /> his name to the book.<br /> <br /> As a ‘“‘remaindered’’ work, Mr. Bennett<br /> tells us in his Preface, the first edition had<br /> quite a vogue; but only as a remainder,<br /> price 6d. Otherwise it sold ill. The reason<br /> is obvious. The general public cares remark-<br /> ably little, perhaps in most cases much less<br /> than 6d., for the truth about an author. Yet<br /> it was a good idea to republish the book in<br /> cheap form now. As a household word in<br /> vast districts of Britain and a best-seller in<br /> the United States, Mr. Bennett is scarcely<br /> any longer a mere author. A super-author<br /> may fairly ask a shilling for the truth about<br /> himself.<br /> <br /> For other authors, if they have not already<br /> read it, the book is decidedly one to be read.<br /> They will be able to appreciate, as the general<br /> reader probably will not, the ‘‘ ingenuous self-<br /> complacency ”’ (Mr. Bennett’s own words) of<br /> the record. And to them the experiences, the<br /> views, the advice will have a meaning which is<br /> not for the general reader. Quotation alone<br /> can show the value of Mr. Bennett’s instruc-<br /> tions to his fellow-writers. The space at our<br /> command is limited, but we must touch upon<br /> three points. First, with regard to ‘“ free-<br /> lancing,”’ a subject which has been discussed<br /> of late in the columns of The Author. Mr.<br /> Bennett is healthily vigorous in his denuncia-<br /> tion of this ‘‘ humiliating ’’ employment. “A<br /> false aureole of romance,”’ he says, “‘ encircles<br /> the head of that miserable opportunist, the<br /> free-lance. ... The free-lance is a tramp<br /> touting for odd jobs; a pedlar crying stuff<br /> which is bought usually in default of better ;<br /> <br /> <br /> <br /> <br /> <br /> * “The Truth about an Author,” by Arnold Bennett<br /> London: Methuen &amp; Co.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “work.<br /> <br /> <br /> <br /> 205<br /> <br /> a producer endeavouring to supply a market<br /> of whose conditions he is in ignorance, more or<br /> less complete; a commercial traveller liable<br /> constantly to the insolence of an elegant West<br /> End draper’s ‘buyer.’ His attitude is in<br /> essence a fawning attitude; it must be so;<br /> he is the poor relation, the doff-hat, the ready-<br /> for-anything. He picks up the crumbs that<br /> fall from the table of the ‘staff.’ ... He<br /> never goes to bed; he dares not; if he did a<br /> crumb would fall.”<br /> <br /> And now with regard to the reviewing of<br /> books: ‘‘ The sense of justice of the man in<br /> the street is revolted. ‘You do not read<br /> through all the books that you pretend to<br /> criticize ?’ he hints. I have never known a<br /> reviewer to answer this insinuation straight-<br /> forwardly in print, but I will answer it: No,<br /> I do not. And the man in the street says,<br /> shocked: * You are unjust.’ And I reply:<br /> “Not at all. 1 am merely an expert. ~ =.<br /> The title-page—that conjunction of the title,<br /> the name of the author, and the name of the<br /> publisher—speaks to me, telling me all sorts<br /> of things. The very chapter-headings deliver<br /> a message of style. . . . The whole book, open<br /> it where I will, is murmurous with indications<br /> forme. In the case of nine books [out] of ten,<br /> to read them through would not be a work of<br /> supererogation—-it would be a sinful waste of<br /> time on the part of a professional reviewer. .. .<br /> There remains the work of the true artist, the<br /> work that the reviewer himself admires and<br /> enjoys: say one book in fifty, or one in a<br /> hundred. The reviewer reads that through.”<br /> <br /> Working out the number of words which a<br /> reviewer would have to read to satisfy the man<br /> in the street before writing a column of reviews<br /> worth at the most three guineas, and reckoning<br /> the time taken over the whole job, Mr. Bennett<br /> asks: ‘‘Do you imagine that the reviewer 1s<br /> going to hire out his immortal soul, his ex-<br /> perience, his mere skill, at the rate of 31s. 6d.<br /> per day on irregular jobs ?__ Scarcely. He will<br /> earn his three guineas inside three hours, and<br /> it will be well and truly earned.”<br /> <br /> Mr. Bennett himself early established a rule<br /> —lucky man to be able to observe it !—never |<br /> to work for less than 10s, an hour upon. plece-<br /> “Tf an editor commissioned an article,<br /> he received from me as much fundamental<br /> brain-power and as much time as the article<br /> demanded—up to the limit of his pay in terms<br /> of hours at 10s. apiece. But each year I raise<br /> my price per hour.” This was written In 1900.<br /> We fancy the ordinary poor author would like<br /> a footnote to say what height has now been<br /> reached.<br /> <br /> <br /> <br /> i<br />  <br /> <br /> 206<br /> <br /> Our last quotation is not made for the pur-<br /> <br /> ose of the moral edification of our readers.<br /> Mr. Bennett is speaking of the first serial story<br /> written by himself. ‘I had entered into a<br /> compact with myself,” he says, ‘that I would<br /> never ‘write down’ to the public in a long<br /> fiction. I was almost bound to pander to the<br /> vulgar taste, or at any rate, to a taste not<br /> refined, in my editing, in my articles, and in<br /> my short stories, but I had sworn solemnly<br /> that I would keep the novel-form unsullied for<br /> the pure exercise of the artist in me. What<br /> became of this high compact? I merely<br /> ignored it. I tore it up and it was forgotten.<br /> <br /> —_—__—_—&lt;—_+—___ ——_<br /> <br /> CORRESPONDENCE.<br /> <br /> _—<br /> <br /> “ Reat EDITIONS.”<br /> <br /> Dear Sir,—In view of the recent announce<br /> <br /> ment by a prominent publisher that his editions<br /> are “real editions ’—the inference being that<br /> too many such are nothing of the sort—it<br /> really seems high time for authors to make<br /> some attempt at asserting themselves on a<br /> subject that concerns them quite as nearly as<br /> it concerns the publishers, who are rapidly<br /> reducing the whole vexed question of “ edi-<br /> tions ” to a preposterous farce.<br /> <br /> Between “real editions ’—so-called—and<br /> bogus editions—not so-called !—we are fast<br /> approaching the American method of merely<br /> <br /> _ shouting a book into popularity. Over there<br /> it would seem that the book itself matters<br /> little, the author less. Success depends mainly<br /> on how much money the publisher is prepared<br /> to spend on shouting—there is no other word<br /> for the process ; and over here it is unhappily<br /> an open secret that, of late, certain question-<br /> able novels have, by means of inflated announce-<br /> ments and ‘‘ huge editions ”’ been practically<br /> forced down the throat of a public that would<br /> otherwise probably have let them alone.<br /> <br /> But, shouting apart, there remains the<br /> puzzle, “What is an edition?” To that<br /> plain, straightforward question—constantly<br /> asked by the Bewildered Uninitiated—it would<br /> take a clever man to give a plain, straight-<br /> forward answer. Roughly, he might hazard<br /> the comprehensive reply: “Oh, anything<br /> between a thousand and fifteen thousand<br /> copies.” But even so he would still have<br /> underrated the elasticity of that conveniently<br /> elastic word. I have it on good authority<br /> that a third “‘ edition”? of a book has been<br /> <br /> THE AUTHOR.<br /> <br /> announced when little more than a hundred<br /> copies have been sold.<br /> <br /> This sort of thing suggests a new version of<br /> the old riddle: ‘“‘ When is an edition not an<br /> edition?” It would take a really “ up-to-<br /> date ” publisher to supply the answer to that !<br /> Whether or no some authors derive benefit<br /> from these tactics is a question well worth<br /> separate consideration.<br /> <br /> My present concern is simply to get at the<br /> rights of this obvious juggling with figures ;<br /> and the Shorter Catechism of the Uninitiated<br /> is not yet at an end.<br /> <br /> Why is it, for instance, that, if some of us<br /> are announced in thousands, this plain and<br /> simple method cannot be extended to all?<br /> The publisher addicted to shouting could still<br /> juggle with his thousands, of course. But<br /> those firms who respect themselves and their<br /> authors would lose nothing by more lucid<br /> statements; while both the public and_ the<br /> authors would know better, so to speak, ‘‘ where<br /> they are.” Another remedy—if there is any<br /> thing against plain thousands—would be to<br /> decide, once for all, on the “ unit ” of an<br /> edition; giving that “ unit ” some elasticity<br /> if need be. An edition might be fixed at any-<br /> thing from 3,000 to 5,000, or from 500 to<br /> 3,000 ; and thereby much confusion and mis-<br /> conception would at once be done away with.<br /> <br /> But of the two alternatives set forth there<br /> can be little doubt that a plain statement in<br /> thousands is the consummation most devoutly<br /> to be wished.<br /> <br /> The present arrangement is utterly mis-<br /> leading, not only as between novelist and<br /> novelist, but as between the earlier and later<br /> books of the same writer. Take my own case.<br /> Judged by the tale of mere editions my sale<br /> would appear to have been steadily decreasing<br /> for the last six years, for my first novel achieved<br /> nine editions in about the same time that it<br /> has taken my two later ones to achieve two.<br /> The reason is simple enough. With a new<br /> writer, orders were tentative and editions<br /> followed suit. Large advance orders produce<br /> a larger immediate output, with the natural<br /> result that while my earlier nine editions<br /> <br /> barely reached 12,000 copies, my last novel —<br /> <br /> started with a first edition of 15,000. This<br /> sort of thing must be the case with scores of<br /> novelists. It would be interesting to hear<br /> what they think about it and whether there is<br /> any hope, between us all, of inaugurating a<br /> reform on the lines I have suggested.<br /> I am, dear Sir,<br /> Yours truly, °<br /> ** A NOVELIST.” ~	https://historysoa.com/files/original/5/539/1914-04-01-The-Author-24-7.pdf	publications, The Author
540	https://historysoa.com/items/show/540	The Author, Vol. 24 Issue 08 (May 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+08+%28May+1914%29"><em>The Author</em>, Vol. 24 Issue 08 (May 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-05-01-The-Author-24-8					207–232																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-05-01">1914-05-01</a>							8			19140501	Che Autbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vor. XXIV.—No. 8.<br /> <br /> May 1, 1914.<br /> <br /> [PricE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER :<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ———_—_—__+_—~¢<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> ae<br /> : the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tur Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> ‘Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tur Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> - Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month. S<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Von. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising - Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> <br /> em.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> ee<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> — 1<br /> <br /> ROM time to time members of the Society<br /> K desire to make donations to its funds in<br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid. :<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of rinciple, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> <br />  <br /> <br /> <br /> <br /> 208<br /> <br /> matter closely connected with the work of the<br /> Society. :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> —\_—_+—&gt;—_—__—_—_-<br /> <br /> THE PENSION FUND.<br /> <br /> ——<br /> <br /> N January, 1914, the sccretary of the<br /> I Society laid. before the trustees of the<br /> Pension Fund the accounts for the year<br /> 1918, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> haveJgiven notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule ;—<br /> <br /> Nominal Value.<br /> <br /> £ 8 a.<br /> Eocal Loans visi. eres ess 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ............ 291 19 11<br /> London and North Western 3%<br /> <br /> Debenture Stock ...............088 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates............. 200 0 0<br /> Cape of Good Hope 34% Inscribed<br /> <br /> Stock we a oe 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock ...... 228 0 O<br /> New Zealand 34% Stock .......... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927—57 ..........0c0.000. . 488 2 4<br /> Jamaica 34% Stock, 1919—49 ... 182 18 6<br /> Mauritius 4% 1987 Stock ......... -° 120 12° 1<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ......... 198 3 8<br /> Antofayasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ............... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock... es 232 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> Nominal Value.<br /> <br /> £ os. 4<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> <br /> 44% Gold Bonds ...,...-0-0.s20- 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> <br /> Preference Shares ...........0..++ 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) ..............000. 550 0 0<br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue... 380 0 0O<br /> Great Eastern Railway Ordinary<br /> <br /> Stock so ccpecciocee hangin ee 655 0 0<br /> <br /> Total {cas . £5,419. 6 O<br /> —_——\_1——_o_—<br /> <br /> PENSION FUND.<br /> <br /> —+—&lt;—+<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (7.¢e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1918.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1918.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry :<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. .<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dee. 4, Vansittart, Robert<br /> Dec. 4, Lunn, Arnold . ‘<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry,. Miss Ana<br /> Dec. 4, Vallois, Miss Grace . :<br /> Dec. 17, Beresford, J.D. . ‘<br /> Dec. 29, Inge, Charles . j<br /> Dec. 29, Cross, Miss May. ‘<br /> Dec. 29, Hardy, Thomas, O.M. ,<br /> <br /> _<br /> <br /> _<br /> <br /> a<br /> NASCSCAAMMANMOOAAAAAAAHEaAoaanse<br /> <br /> wWwoococoooo oH COSC SCOOCOHSCOSCOSOOnm<br /> Soacccoascoscocoocooocoscoceoo<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.] THE<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> <br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M. :<br /> Jan. 26, Sarawak, The Ranee of<br /> Mar. 11, Dowson, Oscar F.<br /> April 8, Stoeving, Paul ;<br /> April 14, Buckle, Gerard, F.<br /> April 14, Grattan, Harry.<br /> April 17, Rubenstein, H. Eo.<br /> April 20, Anon. . ‘<br /> <br /> 1913, Donations.<br /> Oct. 7, Darwin, Sir Francis . ;<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold :<br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 3, Holland, Theodore<br /> Nov. 3, Steane, Bruce ;<br /> Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Nov. 10, Waterbury, Mrs. . ‘<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> Dee. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J. .<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon : ‘<br /> <br /> Jan. 5, Joseph, L. :<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E.<br /> <br /> Jan. 6, De Crespigny, Mrs. Champion<br /> <br /> Jan. 6, Rankin, Miss F. M. .-<br /> <br /> Jan. 7, Sneyd-Kynnesley, E. M.<br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> Jan. 9, Mackenzie, Miss J. :<br /> Jan. 10, Daniell, Mrs. E. H. . ‘<br /> Jan. 12, Avery, Harold ‘<br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> Jan. 15, Thomas, Mrs. Fanny<br /> <br /> Jan. 16, James, Mrs. Romane<br /> <br /> Jan. 19, P. H. and M. K.<br /> <br /> Jan. 19, Greenstreet, W. J. .-<br /> <br /> Jan. 19, Gibbs, F. Leonard A.<br /> Jan. 23, Campbell, Mrs. L. A BR. .<br /> Jan. 28, Cameron, Mrs. Charlotte,<br /> a F.R.GS. . ;<br /> Jan. 28, Blunt, Reginald.<br /> <br /> Jan. 24, Raphael, Mrs. Mary.<br /> <br /> <br /> <br /> UTHOR.<br /> <br /> aH<br /> <br /> w<br /> OO Oo ore Or or or Or Ors<br /> <br /> seeooeooeoocoooos,<br /> et<br /> <br /> eccooooron<br /> et<br /> eooo<br /> <br /> _<br /> or or Or O Or et et Or dO Or Or Or<br /> <br /> ro<br /> <br /> oo os Ore Oo<br /> coococooooaaoocoooens<br /> <br /> _<br /> S<br /> <br /> coomoocooocoosooooeoeooooooor<br /> —_ et<br /> <br /> et<br /> MANMOOSCHUBMDAMOUCBONACH<br /> <br /> _<br /> <br /> _<br /> <br /> ore COoOnwngn So<br /> ooo eceococooooaocooaoocoooooaaceo<br /> <br /> ore<br /> _<br /> <br /> 209<br /> <br /> Jan. 25, Plouman, Miss Mary<br /> <br /> Jan. 30, Gibson, Miss L. S. .<br /> <br /> Feb. 5, Brooker, Lt.-Col. E. P.<br /> <br /> Feb. 6, Buchrose, J. E.<br /> <br /> Feb. 7, Smith, Herbert W.<br /> <br /> Feb. 20, Eden Guy : ‘ :<br /> <br /> Feb. 21, Mayne, Miss Ethel Col-<br /> bourn : :<br /> <br /> Feb. 21, K. ; : :<br /> <br /> Feb. 25, Aspinall, Algernon E.<br /> <br /> Mar. 2, Dalziell, J. j<br /> <br /> Mar. 2, S. F. G. . :<br /> <br /> Mar. 5, Saies, Mrs. F. H. ;<br /> <br /> Mar. 5, Thorne, Mrs. Isabel .<br /> <br /> Mar. 5, Haviland, Miss M. D. :<br /> <br /> Mar. 5, Todd, Miss Margaret, M.D.<br /> <br /> Mar. 13, Cabourn, John :<br /> <br /> Mar. 20, Fenwick Miss S. F. . :<br /> <br /> Mar. 26, Prendergast, Mrs. J. W. .«<br /> <br /> —______+—_+<br /> <br /> COMMITTEE NOTES.<br /> ——<br /> HE April meeting of the committee was<br /> Si held on Monday, April 6, at the offices<br /> of the Society, 1, Central Buildings,<br /> Tothill Street, Westminster.<br /> <br /> After the minutes of the previous meeting<br /> had been read and signed, the committee<br /> proceeded with the election of members.<br /> Forty members and associates were elected,<br /> bringing the total for the current year up to<br /> 135. The total number of resignations amounts<br /> to sixty-seven. The committee consider they<br /> may congratulate the Society on so large an<br /> election.<br /> <br /> The cases were next laid before the com-<br /> mittee. The solicitor attended and made a<br /> report. :<br /> <br /> ie an action for non-publication, authorised<br /> by the committee at their last meeting,<br /> the solicitor was glad to report that the<br /> defendant, through his solicitor, was coming<br /> to a settlement, and hoped that the matter<br /> would shortly be adjusted. He next reported<br /> the conclusion of the case of Raleigh v. The<br /> Kinematograph Trading Co., and that an<br /> injunction had been obtained as well as<br /> payment towards the costs. In a case 0<br /> account the matter had_ been settled me<br /> factorily, the author having Seccgtiea :<br /> payment of the amount due. In a a<br /> arising out of accounts and monies au: on. Wk<br /> reproduction of a. cinematograph fi ae he<br /> solicitor reported that the statement £ ve<br /> had been delivered. He also reportec t . a<br /> writ had been issued against a publisher for.<br /> <br /> SOHrHoeo,<br /> —_<br /> <br /> eocorocoocornNwrcoco<br /> ee<br /> <br /> none aon &amp;<br /> <br /> Cacscoa®<br /> <br /> —<br /> oOo ONE DOO oO<br /> aoegocooocoece<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 210<br /> <br /> money due on accounts, but only part of the<br /> sum due had been paid. A question of literary<br /> libel, which originating in the United States<br /> had taken place also in Great Britain, the<br /> solicitor reported had been settled, so far as<br /> the publication in this country was concerned,<br /> by the payment by the defendants of a sum<br /> in damages and costs, and by an undertaking<br /> to publish an apology if desired.<br /> <br /> In regard to the same issue in the United<br /> States the secretary reported that a letter<br /> had been received, and that he hoped to have<br /> further information to report to the next<br /> meeting. The committee sanctioned the<br /> placing of the matter in the hands of the<br /> Society’s United States lawyers if no satis-<br /> factory arrangement could be reached.<br /> <br /> In a ease of breach of agreement for the<br /> production of a play a writ had been issued,<br /> and the defendant had come forward with a<br /> proposal for settlement. It was hoped that<br /> the matter would be arranged amicably before<br /> the next meeting. The solicitors reported<br /> that in one of two small county court cases<br /> judgment had been signed and execution<br /> issued, and in the second the amount had been<br /> recovered with costs, and that in two other<br /> county court cases proceedings were being<br /> taken in the usual way.<br /> <br /> Another question of infringement of title<br /> by a film production, and possibly of infringe-<br /> ment of copyright, was considered. The<br /> solicitor reported he had gone carefully into<br /> the matter, and thought it was impossible,<br /> as far as the infringement of title was con-<br /> cerned, to take action until the film had<br /> actually been performed. On the question<br /> of the copyright infrimgement the solicitor<br /> had written to the author’s agent for further<br /> information, and was now awaiting his reply.<br /> ‘Two counsel’s opinions had been taken on the<br /> instructions of the committee, (1) dealing<br /> with the question of mechanical rights in<br /> cases where the composer had made an assign-<br /> ment before the new Act came into force;<br /> and (2) in regard to the publication of a whole<br /> novel in one issue of a magazine. The<br /> opinions will be filed for reference.<br /> <br /> A question was put forward of alleged<br /> infringement of an author’s play by a play<br /> now running in London. The committee<br /> decided to obtain some competent witness to<br /> attend a performance of the alleged infringing<br /> play and to report to them as to the question<br /> at issue.<br /> <br /> The secretary then dealt with other cases<br /> on his list.<br /> <br /> The committee decided, in the case of a<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> publisher against whom the Society had five<br /> or six claims, to transfer the papers to the<br /> solicitors that they might deal with the issues.<br /> A small case against a publisher for non-<br /> delivery of account was, with the committee’s<br /> sanction, placed also in their hands.<br /> <br /> A question was raised by a member in respect<br /> to an endorsement on the back of a cheque<br /> which had been sent to him in payment for<br /> contributions, such endorsement purporting<br /> to be a conveyance of the copyright. The<br /> matter was seriously discussed, and one of<br /> the members of the committee undertook to<br /> see the editor of the paper on the point. A<br /> claim arising from non-payment of an article<br /> in a United States magazine was referred to<br /> the committee, who authorised the placing of<br /> the case in the hands of the Society’s American<br /> lawyers.<br /> <br /> The committee discussed and arranged for<br /> the settlement of a case in Germany where<br /> the Society had obtained judgment, and was<br /> unable, at present, to obtain satisfaction<br /> owing to the defendant’s inability to pay the<br /> whole amount at one time. In a case of<br /> dispute between an author and the editor of<br /> a series, the committee decided to write to<br /> the editor for an explanation, and lastly it was<br /> decided to place a claim for money due to<br /> one of the members in the hands of the Society’s<br /> solicitors.<br /> <br /> The committee then considered a statement<br /> laid before them by a member regarding an<br /> alleged infringement of ideas, and the secretary<br /> was instructed to write to the member. Ina<br /> small claim for money alleged to be due the<br /> committee regretted they could not support the<br /> member, as there appeared to be no legal right<br /> which could be enforced.<br /> <br /> The secretary reported a case of mutilation<br /> of an author’s work by a magazine, and was in-<br /> structed to write to the editorforan explanation.<br /> <br /> The chairman then reported what had<br /> taken place at the Film Trade Conference,<br /> at which representatives of the manufacturers,<br /> exhibitors, renters and hirers of films, as well<br /> as theatrical managers, were present, and the<br /> committee decided to leave to the Dramatic<br /> Sub-Committee the appointment of delegates<br /> to serve on the Joint Board which it is proposed<br /> to form.<br /> <br /> In regard to the Society’s change of name,<br /> it was decided to spend £25 in advertising<br /> as soon as the legal formalities have been<br /> carried through.<br /> <br /> The committee regretted they were bound to<br /> decline a request made by the Society’s former<br /> advertising agents for an honorarium.<br /> <br /> <br /> <br /> <br /> <br /> Re er Ne ree en ee RAO ae Se<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> Correspondence was laid before the com-<br /> mittee dealing with the question of the re-<br /> payment of subscriptions, but the committee<br /> regretted they were unable to accede to the<br /> request of the member concerned.<br /> <br /> The secretary placed before the committee<br /> a letter he had received from the American<br /> Authors’ League on the subject of the Presi-<br /> dent’s Proclamation in connection with the<br /> section of the British Act dealing with mechani-<br /> eal reproduction.<br /> <br /> The committee begged to thank Mr. Charles<br /> Garvice for a donation of £1 1s.<br /> <br /> eee<br /> Dramatic SuB-CoMMITTEE.<br /> <br /> Tue April meeting of the Dramatic Sub-<br /> Committee was held on Friday, the 24th of<br /> that month, at three o’clock After the<br /> signing of the minutes of the previous meeting<br /> and of the conference with the cinematograph<br /> trade, the formation of the Joint Board was<br /> fully discussed.<br /> <br /> The secretary reported that the following<br /> associations had already appointed delegates :—<br /> <br /> The Incorporated Society of Kinemato-<br /> graph Manufacturers.<br /> <br /> he Society of West End Theatre Managers.<br /> <br /> The Theatrical Managers’ Association.<br /> <br /> The Cinematograph Exhibitors’ Association<br /> of Great Britain and Ireland.<br /> <br /> The Touring Managers’ Association.<br /> <br /> Further, that he had not heard definitely<br /> from the Entertainments Protection Associa-<br /> tion and the Incorporated Association of Film<br /> Renters, as these two bodies were awaiting<br /> meetings of their respective committees. He<br /> hoped, however, to receive the names of their<br /> delegates in a few days. ?<br /> <br /> The next matter that arose was the appoint-<br /> ment of delegates from the Society of Authors.<br /> After considerable discussion, the following<br /> motion, proposed by Mr. Justin Huntly<br /> McCarthy, and seconded by Mr. Haddon<br /> Chambers, was passed unanimously :—<br /> <br /> “That the Authors’ Society be represented<br /> on the Joint Board by its Dramatic Sub-<br /> Committee.”<br /> <br /> It was decided to call a meeting of the<br /> Joint Board for Thursday, May 14, when the<br /> future working of the Board would be fully<br /> discussed. ;<br /> <br /> The secretary reported on the matter of the<br /> Managerial Treaty, that he had heard from<br /> Mr. Fladgate, who was acting as solicitor for<br /> the Society of West End Theatre Managers,<br /> <br /> THE AUTHOR. Olt<br /> <br /> that the matter had been further delayed<br /> owing to Mr. Gatti’s absence, but that he<br /> hoped to send a report in due course.<br /> <br /> Certain cases were then considered. The<br /> committee confirmed the action of the chair-<br /> man in a small case for the collection of a<br /> dramatist’s fees, and in a case of some import-<br /> ance for the collection of fees on cinemato-<br /> graph rights in America. It was decided to<br /> advise the committee of the Society to drop<br /> a small case of infringement of copyright in<br /> Canada, as the issues were exceedingly small<br /> and the expenses would be very heavy, as it<br /> would be necessary for a commission to be<br /> appointed to come to England in order to<br /> collect evidence. The secretary then reported<br /> that the solicitor’s opinion on a claim for<br /> alleged infringement of copyright put forward<br /> by a member was adverse to the claim, and the<br /> sub-committee decided that nothing further<br /> could be done.<br /> <br /> There was one case in which the French<br /> Society was involved, and the secretary was<br /> instructed to write to the secretary of the<br /> French Society on the matter.<br /> <br /> In regard to the copyrighting of a member’s<br /> work in Canada by Mr. Frohman, the secretary<br /> was instructed to write to Mr. Lestocq, Mr.<br /> Frohman’s London agent, for full particulars.<br /> <br /> 7<br /> <br /> CONFERENCE FOR THE PROTECTION OF<br /> FILM PRODUCTION<br /> <br /> (CALLED By THE Dramatic SuB-CoMMITTEE),<br /> —_t-—— +<br /> <br /> CONFERENCE between the Dramatic<br /> Sub-Committee and representatives of<br /> the associations mentioned below was<br /> <br /> held on Friday, March 27, at three o’clock at<br /> the Society’s address.<br /> <br /> Touring Managers’ Association.—Messrs.<br /> H. Ralland and G. Carlton Wallace.<br /> Theatrical Managers’ Association.—Messrs.<br /> Walter Melville and Perey Hutchison.<br /> Incorporated Association of Kinematograph<br /> Manufacturers.—Messrs. H. A. Browne<br /> and J. F. Brocklies, and J. Brooke<br /> Wilkinson (Secretary). oS<br /> Cinematograph Eahibitors’ Association.—Mr.<br /> W. Fowler Pettie,<br /> Film Renters’ Association.—Mr. Cluett Lock.<br /> Mr. R. C. Carton, chairman of the Dramatic<br /> Sub-Committee, opened the proceedings by<br /> thanking the members of the various associa-<br /> <br /> <br />  <br /> <br /> <br /> <br /> 212<br /> <br /> tions for their presence, and placed before the<br /> meeting the following agenda :— |<br /> <br /> (1) To consider what joint actions should<br /> be taken to safeguard—<br /> <br /> (a) Titles.<br /> : (b) Subject-matter. :<br /> <br /> (2) The appointment of a Joint Board to<br /> protect the common interests of authors,<br /> manufacturers and the film trade generally.<br /> <br /> Mr. Carton quoted the case which had just<br /> been carried through, viz., “ Sealed Orders,”<br /> and read a letter he had received from<br /> Mr. Cecil Raleigh, who was, unfortunately,<br /> unable to attend.<br /> <br /> Considerable discussion followed on different<br /> points which were raised, viz., the protection<br /> of titles and of cinema property generally,<br /> the representatives of the Kinematograph<br /> Manufacturers’ Association being very strong<br /> on the point that legislation was necessary.<br /> <br /> Finally, the following resolution :-—<br /> <br /> “That the appointment of a Joint Board<br /> to protect the common interests of authors,<br /> film manufacturers, exhibitors, renters, thea-<br /> trical managers and the film trade generally<br /> would be to the advantage of all parties<br /> concerned,”<br /> <br /> proposed by Mr. Justin Huntly McCarthy,<br /> and seconded by Mr. Haddon Chambers, was<br /> carried unanimously.<br /> <br /> The matter will be referred to the board of<br /> each association represented at the meeting,<br /> so that two delegates from each association<br /> may be appointed to sit on the Joint Board.<br /> <br /> It was decided also to ask the Society of<br /> West End Managers and the Music Halls’<br /> Association to appoint delegates also.<br /> <br /> a<br /> Cases.<br /> <br /> Durine the past month the secretary has<br /> handled fifteen cases. Five of these dealt with<br /> disputes on contracts. It is interesting to<br /> note that these cases are referred to the<br /> Society in larger numbers, and that the<br /> publishers or editors concerned are often<br /> willing to accept the informal arbitration of<br /> the secretary.<br /> <br /> Out of five, two have been satisfactorily<br /> settled, and three are still in the course of<br /> negotiation. Disputes of this kind generally<br /> involve a good deal of letter writing before<br /> they are concluded.<br /> <br /> There are three cases,where accounts have<br /> not been rendered. ‘Two had to be handed to<br /> the solicitors of the Society and are now<br /> finished. In the third case the accounts were<br /> rendered in due course.<br /> <br /> - There were three cases where MSS. had been<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> retained. In one instance the MS. has<br /> been recovered and forwarded to the member,<br /> and in the others the secretary is still waiting<br /> for a reply.<br /> <br /> In two cases of infringement of copyright,<br /> one lying in the United States is still in course<br /> of negotiation, and the other has been satis-<br /> factorily settled.<br /> <br /> In two claims for money, one in France has<br /> not yet been settled and the other has had to be<br /> handed over to the solicitors of the Society.<br /> This last is the case of a magazine against<br /> which the Society has had a fair number of<br /> claims. They have all been met in the end,<br /> but it is generally necessary that the solicitors<br /> should deal with the matter before a satis-<br /> factory result is obtained.<br /> <br /> Out of the total of fifteen cases, therefore,<br /> five have been successful, three have had to be<br /> handed to the solicitors, and two are out of<br /> England. :<br /> <br /> There are still a good many cases remaining<br /> over from last month. This is no doubt owing<br /> to the fact that little business has been done<br /> during the Easter holidays. There are two<br /> disputes on contracts. Of these one is in the<br /> United States, and will naturally take some<br /> time to settle. The second, having been<br /> referred to the committee, cannot be closed<br /> until after the committee meet in May.<br /> <br /> There are still four claims where the demand<br /> for the return of MSS. has not been complied<br /> with. It has often been pointed out in these<br /> columns that claims of this nature are difficult<br /> to deal with. In many cases it is only possible<br /> to bring the delinquent to book by continually<br /> reminding him by letter. As answers have<br /> been received from the retainers of the MSS.<br /> in all four cases, it is possible that they will<br /> terminate satisfactorily.<br /> <br /> There are two other matters still open, oné<br /> of infringement of copyright in the United<br /> States, which will be some time before it is<br /> settled, and a complicated dispute on accounts,<br /> which also will need further handling.<br /> <br /> te<br /> <br /> April Elections.<br /> <br /> Borthwick, Miss Jessica 22, The _ Bolton<br /> : Studio, Redcliffe<br /> Road, S.W.<br /> 2, St. John’s Hill,<br /> Lewes, Sussex.<br /> cfo Sir C. R<br /> McGrigor, Bart. &amp;<br /> Co., 25, Charles<br /> Street, S.W.<br /> <br /> Brown, Mrs. Frances<br /> <br /> Buckle, Gerard Fort .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914]<br /> <br /> Campbell, Miss M. M.<br /> <br /> Chalmers, C. ,<br /> Chovil, A. Harold<br /> <br /> Clue, G. Leo<br /> <br /> Collins, Sewell<br /> Croysdale, Mrs. Agnes.<br /> <br /> Drummond, The Hon.<br /> Capt. Robert Charles<br /> <br /> Dunlop, Miss Jocelyn.<br /> <br /> Fairbridge, Miss<br /> Dorothea<br /> <br /> Farrer, Miss M. Bruce .<br /> <br /> Girdwood, John .<br /> <br /> Gordon, Miss Helen C..<br /> <br /> Grattan, Harry . :<br /> <br /> Green, Emanuel, F.S.A.,<br /> F.R.S.L.<br /> <br /> Haig, Elizabeth .<br /> <br /> Heape, Walter<br /> Inman, Arthur Conyers<br /> Leeney, G. H.<br /> Leeney, Harold,<br /> <br /> M.R.C.V.S.<br /> Lonsdale, Miss Eva<br /> <br /> MacMunn, Lt.-Col.<br /> G. F., D.S.O., R.L.F.<br /> <br /> a eens, Stephen<br /> <br /> M.<br /> <br /> Moore, William . .<br /> Morgan, Mrs. Caroline.<br /> Paine, Mrs. Josephine .<br /> <br /> _ Piercey, Benjamin H. .<br /> Platt, Charles.<br /> <br /> THE AUTHOR.<br /> <br /> Marchfield<br /> <br /> Bracknell.<br /> <br /> House,<br /> <br /> “Maison,” Russell<br /> Road, Moseley,<br /> Birmingham. —<br /> <br /> 3, Milton<br /> Herne Hill, S.E.<br /> <br /> 88, Loudoun Road,<br /> St. John’s Wood,<br /> N.W.<br /> <br /> London and South<br /> Western Bank,<br /> Notting Hill, W.<br /> <br /> 11, Walpole Street,<br /> Chelsea, S.W.<br /> <br /> Paradise, Claremont,<br /> S. Africa.<br /> <br /> 5, Kent Gardens,<br /> Ealing, W.<br /> <br /> 16, Ainslie<br /> Edinburgh,<br /> 29, Queen<br /> Street, S.W.<br /> <br /> Place,<br /> and<br /> Anne<br /> <br /> 4, Regent Street, W.<br /> <br /> 6, Piazza d’Azeglio,<br /> Florence, Italy.<br /> 10, King’s Bench<br /> Walk, Temple, E.C.<br /> 34, Hereford Square,<br /> S.W.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> 21, Talgarth Road,<br /> West Kensington,<br /> W.<br /> <br /> c/o Cox &amp; Co., 16,<br /> Charing Cross,<br /> W.C.<br /> <br /> 6, Clement’s<br /> Strand, W.C.<br /> <br /> 23, Avenue du Bois<br /> de Boulogne, Paris,<br /> France.<br /> <br /> 38, Agincourt Road,<br /> Hampstead, N.W.<br /> <br /> 16, Emperor’s Gate,<br /> S.W.<br /> <br /> Medstead, Hants.<br /> <br /> 5, Queen’s Gate, S.We<br /> <br /> 60, Stapleton Road,<br /> S.W.<br /> <br /> Shepton<br /> <br /> Shepton<br /> <br /> Inn,<br /> <br /> Road,”<br /> <br /> Roscoe, Ada<br /> <br /> Ross, Charles<br /> <br /> , Rubenstein, H. F.<br /> <br /> Somerset, Raglan H. E.<br /> <br /> H<br /> <br /> Stacpoole, Mrs.<br /> <br /> Margaret de Vere<br /> Stoeving, Paul<br /> <br /> 213<br /> <br /> c/o Shurey’s Publi-<br /> cations, 2 and 3,<br /> Hind Court, E.C.<br /> <br /> The Hippodrome,<br /> Aldershot.<br /> <br /> 76, Addison Road,<br /> Kensington, W.<br /> Raglan, Monmouth-<br /> <br /> shire.<br /> <br /> Swiss Cottage, Vent-<br /> nor, Isle of Wight.<br /> <br /> 29, Blenheim Road,<br /> <br /> Abbey Road,<br /> <br /> N.W.<br /> 20, Minford Gardens,<br /> West Kensington<br /> Park, W.<br /> <br /> Hunter Street,<br /> Brunswick Square,<br /> W.C.<br /> <br /> Williams, Hugh<br /> Wood-Jones, F., D.Se.. 8,<br /> <br /> Wrightson, Prof. John.<br /> ————_1 &lt;_&lt;<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —+-—— +<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> <br /> ANTHROPOLOGY.<br /> <br /> INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study<br /> in Social Evolution. By E. Carpenter. 8} x 5}.<br /> 185 pp. Allen. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> DILAPIDATIONS AND Fixtures. A Textbook in Tabulated<br /> Form for the use of Architects, Surveyors, and Others.<br /> By Proressor BANISTER FLETCHER. Seventh Edition.<br /> Revised and largely re-written by B, F. Frercumr and<br /> H.P.Frietcunr. 7} x 5. 191 pp. Batsford. 6s. 6d.<br /> <br /> BIOGRAPHY.<br /> <br /> RICHARD CORFIELD OF SOMALILAND.<br /> Barrerssy. 9 X 53. xviii + 259 pp.<br /> 10s. 6d. n.<br /> <br /> Tuer Doass or VENICE.<br /> 9 x 5}. 394 pp. Methuen. 12s. 6d. n.<br /> <br /> Tue Lire or Cesare Boraia. By. Raraet SABATINI.<br /> 465 pp. [First published 1912.] Honore DE Bauzac.<br /> His Life and Writings. By Mary F.Sanpars. 312 pp.<br /> [First published 1904.] (The Essex Library.) 8} x 5}.<br /> Stanley Paul. 5s. n. each.<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tan Boy Scours’ Rott or Honour. By Eric Woop.<br /> With a Foreword by Lizvut.-Gen. Sir Ropert Bapen-<br /> Powe, K.C.B. 8} x 5}.&quot; 308 pp. Cassell. 3s. 6d. n.<br /> <br /> By H. F. Prevost<br /> Arnold.<br /> <br /> By Mrs. Ausrey RIcHARDSON,<br /> <br /> <br /> 212<br /> <br /> tions for their presence, and placed before the<br /> meeting the following agenda :— _<br /> <br /> (1) To consider what joint actions should<br /> be taken to safeguard—<br /> <br /> (a) Titles.<br /> (b) Subject-matter.<br /> <br /> (2) The appointment of a Joint Board to<br /> protect the common interests of authors,<br /> manufacturers and the film trade generally.<br /> <br /> Mr. Carton quoted the case which had just<br /> been carried through, viz., ‘‘ Sealed Orders,”<br /> and read a letter he had received from<br /> Mr. Cecil Raleigh, who was, unfortunately,<br /> unable to attend.<br /> <br /> Considerable discussion followed on different<br /> points which were raised, viz., the protection<br /> of titles and of cinema property generally,<br /> the representatives of the Kinematograph<br /> Manufacturers’ Association being very strong<br /> on the point that legislation was necessary.<br /> <br /> Finally, the following resolution :—<br /> <br /> “That the appointment of a Joint Board<br /> to protect the common interests of authors,<br /> film manufacturers, exhibitors, renters, thea-<br /> trical managers and the film trade generally<br /> would be to the advantage of all parties<br /> concetned,”’<br /> <br /> proposed by Mr. Justin Huntly McCarthy,<br /> and seconded by Mr. Haddon Chambers, was<br /> carried unanimously.<br /> <br /> The matter will be referred to the board of<br /> each association represented at the meeting,<br /> so that two delegates from each association<br /> may be appointed to sit on the Joint Board.<br /> <br /> It was decided also to ask the Society of<br /> West End Managers and the Music Halls’<br /> Association to appoint delegates also.<br /> <br /> Oo<br /> Cases.<br /> <br /> Durine the past month the secretary has<br /> handled fifteen cases. Five of these dealt with<br /> disputes on contracts. It is interesting to<br /> note that these cases are referred to the<br /> Society in larger numbers, and that the<br /> publishers or editors concerned are often<br /> willing to accept the informal arbitration of<br /> the secretary.<br /> <br /> Out of five, two have been satisfactorily<br /> settled, and three are still in the course of<br /> negotiation. Disputes of this kind generally<br /> involve a good deal of letter writing before<br /> they are concluded.<br /> <br /> There are three cases where accounts have<br /> not been rendered. T&#039;wo had to be handed to<br /> the solicitors of the Society and are now<br /> finished. In the third case the accounts were<br /> rendered in due course.<br /> <br /> There were three cases where MSS. had been<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> retained. In one instance the MS. has<br /> been recovered and forwarded to the member,<br /> and in the others the secretary is still waiting<br /> for a reply.<br /> <br /> In two cases of infringement of copyright,<br /> one lying in the United States is still in course<br /> of negotiation, and the other has been satis-<br /> factorily settled.<br /> <br /> In two claims for money, one in France has<br /> not yet been settled and the other has had to be<br /> handed over to the solicitors of the Society.<br /> This last is the case of a magazine against<br /> which the Society has had a fair number of<br /> claims. They have all been met in the end,<br /> but it is generally necessary that the solicitors<br /> should deal with the matter before a satis-<br /> factory result is obtained.<br /> <br /> Out of the total of fifteen cases, therefore,<br /> five have been successful, three have had to be<br /> handed to the solicitors, and two are out of<br /> England. .<br /> <br /> There are still a good many cases remaining<br /> over from last month. This is no doubt owing<br /> to the fact that little business has been done<br /> during the Easter holidays. There are two<br /> disputes on contracts. Of these one is in the<br /> United States, and will naturally take some<br /> time to settle. The second, having been<br /> referred to the committee, cannot be closed<br /> until after the committee meet in May.<br /> <br /> There are still four claims where the demand<br /> for the return of MSS. has not been complied<br /> with. It has often been pointed out in these<br /> columns that claims of this nature are difficult<br /> to deal with. In many cases it is only possible<br /> to bring the delinquent to book by continually<br /> reminding him by letter. As answers have<br /> been received from the retainers of the MSS.<br /> in all four cases, it is possible that they will<br /> terminate satisfactorily.<br /> <br /> There are two other matters still open, one<br /> of infringement of copyright in the United<br /> States, which will be some time before it is<br /> settled, and a complicated dispute on accounts,<br /> which also will need further handling.<br /> <br /> —<br /> <br /> April Elections.<br /> <br /> Borthwick, Miss Jessica 22, The — Bolton<br /> Studio, Redcliffe<br /> Road, S.W.<br /> <br /> 2, St. John’s Hill,<br /> Lewes, Sussex.<br /> cfo Sir C. R,<br /> McGrigor, ‘Bart. &amp;<br /> Co., 25, Charles<br /> <br /> Street, S.W.<br /> <br /> Brown, Mrs. Frances<br /> <br /> Buckle, Gerard Fort .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> MAY, 1914]<br /> <br /> Campbell, Miss M. M. .<br /> <br /> Chalmers, C. : :<br /> Chovil, A. Harold :<br /> <br /> M2 Clue, G. Leo<br /> <br /> Collins, Sewell<br /> Croysdale, Mrs. Agnes.<br /> <br /> Drummond, The Hon.<br /> Capt. Robert Charles<br /> <br /> Dunlop, Miss Jocelyn.<br /> <br /> Fairbridge, Miss<br /> Dorothea<br /> <br /> Farrer, Miss M. Bruce .<br /> <br /> Girdwood, John . :<br /> <br /> Gordon, Miss Helen C..<br /> <br /> Grattan, Harry . :<br /> <br /> Green, Emanuel, F.S.A.,<br /> F.R.S.L.<br /> <br /> Haig, Elizabeth . :<br /> <br /> Heape, Walter<br /> Inman, Arthur Conyers<br /> Leeney, G. H.<br /> Leeney, Harold,<br /> <br /> M.R.C.V.S.<br /> Lonsdale, Miss Eva<br /> <br /> MacMunn, Lt.-Col.<br /> G. F., D.S.O., R.L.F.<br /> <br /> <br /> <br /> ns, Stephen<br /> <br /> M.<br /> <br /> Moore, William .<br /> Morgan, Mrs. Caroline.<br /> Paine, Mrs. Josephine .<br /> <br /> Piercey, Benjamin H. .<br /> Platt, Charles. :<br /> <br /> THE AUTHOR.<br /> <br /> Marchfield<br /> Bracknell.<br /> <br /> House,<br /> <br /> ‘*Maison,”? Russell<br /> Road, Moseley,<br /> Birmingham.<br /> <br /> 3, Milton’ Road,<br /> Herne Hill, S.E.<br /> 38, Loudoun Road,<br /> St. John’s Wood,<br /> <br /> N.W.<br /> <br /> London and South<br /> Western Bank,<br /> Notting Hill, W.<br /> <br /> 11, Walpole Street,<br /> Chelsea, S.W.<br /> <br /> Paradise, Claremont,<br /> S. Africa.<br /> <br /> 5, Kent Gardens,<br /> Ealing, W.<br /> <br /> 16, Ainslie<br /> Edinburgh,<br /> 29, Queen<br /> Street, S.W.<br /> <br /> Place,<br /> and<br /> Anne<br /> <br /> 4, Regent Street, W.<br /> <br /> 6, Piazza d’Azeglio,<br /> Florence, Italy.<br /> 10, King’s Bench<br /> Walk, Temple, E.C.<br /> 34, Hereford Square,<br /> S.W.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> 21, Talgarth Road,<br /> West Kensington,<br /> W.<br /> <br /> c/o Cox &amp; Co., 16,<br /> Charing Cross,<br /> W.C.<br /> <br /> 6, Clement’s<br /> Strand, W.C.<br /> <br /> 23, Avenue du Bois<br /> de Boulogne, Paris,<br /> France.<br /> <br /> 38, Agincourt Road,<br /> Hampstead, N.W.<br /> <br /> 16, Emperor’s Gate,<br /> S.W.<br /> <br /> Medstead, Hants.<br /> <br /> 5, Queen’s Gate, S.We<br /> <br /> 60, Stapleton Road,<br /> S.W.<br /> <br /> Shepton<br /> <br /> Shepton<br /> <br /> Inn,<br /> <br /> , Rubenstein, H. F.<br /> <br /> 213<br /> <br /> Roscoe, Ada c/o Shurey’s Publi-<br /> cations, 2 and 8,<br /> Hind Court, E.C.<br /> <br /> The Hippodrome,<br /> Aldershot.<br /> <br /> 76, Addison Road,<br /> Kensington, W.<br /> Somerset, Raglan H. E. Raglan, Monmouth-<br /> <br /> H. shire.<br /> <br /> Stacpoole, Mrs. Swiss Cottage, Vent-<br /> Margaret de Vere nor, Isle of Wight.<br /> <br /> Stoeving, Paul 29, Blenheim Road,<br /> Abbey Road,<br /> N.W.<br /> <br /> 20, Minford Gardens,<br /> <br /> West Kensington<br /> <br /> Park, W.<br /> <br /> Hunter Street,<br /> <br /> Brunswick Square,<br /> <br /> W.C.<br /> <br /> Ross, Charles<br /> <br /> Williams, Hugh<br /> Wood-Jones, F., D.Se.. 8,<br /> <br /> Wrightson, Prof. John.<br /> i<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> — +<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> ANTHROPOLOGY.<br /> <br /> INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study<br /> in Social Evolution. By E. Carpenter. 83 x 53.<br /> 185 pp. Allen. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> DILAPIDATIONS AND Fixtures. A Textbook in Tabulated<br /> Form for the use of Architects, Surveyors, and Others.<br /> By PRroressor BaNniIsTER FLETCHER. Seventh Edition.<br /> Revised and largely re-written by B. F. Fiumrcuur and<br /> H.P.Furrcumr. 74 x 5. 191 pp. Batsford. 6s. 6d.<br /> <br /> BIOGRAPHY.<br /> <br /> RICHARD CORFIELD OF SOMALILAND.<br /> BaTrersBy. 9 X 53. xviii + 259 pp.<br /> <br /> 10s. 6d. n.<br /> Tur Dogus or Venice. By Mrs. AuBREY RIcHARDSON,<br /> <br /> 9 x 53. 394 pp. Methuen. 12s. 6d. n.<br /> <br /> Tue Lire or Cusarn Borat. By. Rarazt SaBaTInNi.<br /> 465 pp. [First published 1912.] Honors pr Bauzac,<br /> His Life and Writings. By MaryF.Sanpars. 312 pp.<br /> [First published 1904.] (The Essex Library.) 8} x 54.<br /> Stanley Paul. 5s. n. each,<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tae Boy Scours’ Rott or Honour. By Eric Woop.<br /> With a Foreword by Limut.-Gen. Sir Ropert Bapen-<br /> Powstt, K.C.B. 8} x 5}.° 308 pp. Cassell, 3s. 6d. n.<br /> <br /> By H. F. Prevost<br /> Arnold.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 214<br /> <br /> BOOKS OF REFERENCE.<br /> <br /> Coxoisz Dictionary or Proper NAMES AND NoTaBLeE<br /> Marrers in tae Works or Dante. By PAGET<br /> ToyNBEE. 8X5. 568 pp. Oxford University Press.<br /> 7s. 6d. n.<br /> <br /> DRAMA AND ELOCUTION.<br /> <br /> Tue Two Virturs. A Comedy in Four Acts. By<br /> Atrrep Svurro. 6} x 54. 100 pp. Duckworth.<br /> ls. 6d. n.<br /> <br /> Prays By Leo Toxstoy. Translated by LovisE and<br /> ‘Ayumer Mavpr. (Complete Edition, including the<br /> <br /> Posthumous Plays.) 8} x 5}. 413 pp. Constable.<br /> 5s. n.<br /> <br /> Anpromacuz. A play in Three Acts. By GILBERT<br /> Murray. (Revised Edition.) 7} x 43. 104 pp.<br /> Allan. 1s. n.<br /> <br /> Dramatic Actuanitias. By W. L. Grorcs. 7} x 5.<br /> 124 pp. Sidgwick and Jackson. 2s. n.<br /> <br /> Rors Enovcn. A Play in Three Acts. By ConaL<br /> O’Riorpan. (Norrey’s Connell.) 73 x 5. 112. pp.<br /> <br /> Maunsel. 2s. n.<br /> Srx Monoroauss (performed by BRANSBY WILLIAMS). By<br /> <br /> Harry WYNNE. 7} x 43. 11 pp. Joseph Williams,<br /> Ltd. 6d. n.<br /> Tar Doctor’s Diremma. By Brrnarp SHaw. (Cheap<br /> Edition.) 8 x 53. 128 pp. Constable. 6d.<br /> FICTION.<br /> Tun Men wo Fovcut ror Us. A tale of the ‘‘ Hungry<br /> Forties.’ By Atuen CrarKe. 7} x 5$. 300 pp.<br /> <br /> Co-operative Newspaper Printing Society. 5s.<br /> Tanza. A Russian Story. By Merrie, BucHanan.<br /> <br /> 7% x 5. 328 pp. Jenkins. 6s.<br /> Jupas THE Woman. By F.C. Puitresand A. T. PHILies.<br /> 74 x 5. 283 pp. Eveleigh Nash.<br /> <br /> Tue Passionate ELOPEMENT. By Compron MACKENZIE.<br /> (Cheap Reprint.) 74 x 5. 344pp. MartinSecker. 2s.n.<br /> <br /> A Tuier in THE Nicut. By E. W. Hornune. (Cheap<br /> Reprint.) 376 pp. Nelson. 7d. n.<br /> <br /> Lismoyye. An Experiment in Ireland. By B. M.<br /> Croker. 74 x 5. 386 pp. Hutchinson. 6s. n.<br /> <br /> Mistress Cuariry GopoLPHin. By Guapys MURDOCK.<br /> 7% x 5. 309 pp. Murray. 6s.<br /> <br /> Tore Herm to THE THRone. By A. W. Marcumont.<br /> 74 x 5. 334 pp. Ward, Lock. 6s.<br /> <br /> Tue Heart or Monica. By Rosina Fivippi. 7} X 5.<br /> 214 pp. Cassell. 3s. 6d.<br /> <br /> Wuat wit Prorte Say? By RupertHvucues. 7} x 5.<br /> 510 pp. Harpers. 6s.<br /> <br /> Tue Jupament or Eve. By May Sincuarr. 7} xX 5.<br /> 323 pp. Hutchinson. 6s.<br /> <br /> Tue Fortunate Youtsu. By W. J. Locxr. 7} x 5}.<br /> 352 pp. Lane _ 6s.<br /> <br /> James WuITAKER’s DuKEDOoM. By E. Jepson. 7} X 5.<br /> 355 pp. Hutchinson. 6s.<br /> <br /> A Free Hanp. By Herren C. Roserts. 7} x 5.<br /> 322 pp. Duckworth. 6s.<br /> <br /> Unto Cmsar. By Baroness Ornczy. 73 X 5. 331 pp.<br /> <br /> Hodder and Stoughton. 6s.<br /> <br /> Joan Buirret’s Davauturs. By KaTHARINE TYNAN.<br /> 7% x 54. 333 pp. Smith, Elder. 6s.<br /> <br /> Jmi-Aut-ALonE. By “Rita” (Mrs. Desmond Hum-<br /> phreys). 73% x 5. 335 pp. Stanley Paul. 6s.<br /> <br /> Tue Gates or Doom. By Rararn Sapatini. 7} Xx 4}.<br /> 343 pp. Stanley Paul. 6s.<br /> <br /> Firemen Hor. By C. J. Curcnirre Hynn. 7 x 5.<br /> 309 pp. Methuen. 6s.<br /> <br /> Tue Hippen Mask. By C. Guise Mirrorp. 7} x 5.<br /> 336 pp. Greening. 6s.<br /> <br /> Tue Crimson Mascot. By Cuarues E.PEARCE, 7} x 4}.<br /> 335 pp. Stanley Paul. 68.<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> Lonpon Crrovs. By Henry BazrRuern. 7} x 5}.<br /> 316 pp. Fifield. 6s.<br /> <br /> Turn Foot Errant. By Maurice Hew err. 383 pp.<br /> <br /> Tre Prince or Prosperity. By H.A.VACHELL. 320 pp.<br /> (The Wayfarers’ Library.) 7 x 44. Dent. 1s. each.<br /> Tae Spats of THE Miauty. By Sir GiperT PARKER.<br /> 6} x 44. 469 pp. Nelson’s Sevenpenny Library.<br /> <br /> Tun Wispom oF Fouuy. By Eten THORNEYCROFT<br /> Fowier. 260 pp. Napa tHe Liry. By H. Riper<br /> Haacarp. 321 pp. BreTrerTHan Lire. By CHARLES<br /> Garvice. 320 pp. (Sevenpenny Library.) Hodder<br /> and Stoughton.<br /> <br /> DopoTHESrconD. By E. F. Benson.<br /> Hodder and Stoughton. 6s.<br /> <br /> Tue OrLEY TRADITION. By Rap STRAUS.<br /> 360 pp. Metheun. 6s.<br /> <br /> Tur ReBELLion or EsTHEr.<br /> <br /> 7% x 5. 317pp.<br /> 717i x 5.<br /> <br /> By Marcaret LEGGE.<br /> <br /> 72 x 5. 314 pp. Alston Rivers. 6s.<br /> A Urrrue Raprant Girt. By Karuarinn Tynan.<br /> 63 x 54. 384 pp. Blackie. 6s.<br /> <br /> Tar Devries Proression. By GeRTIE DE S. WENT-<br /> <br /> wortH JamEs. 73 x 5. 319 pp. Everett. 6s.<br /> LeviaTHan. By Jeannette Marks. 7} x 5}. 329 pp.<br /> Hodder and Stoughton. 6s.<br /> HISTORY.<br /> HANNrBAL ONCE More. By D. W. FRESHFIELD. 9 X 5}.<br /> 120 pp. Arnold. 5s. n.<br /> LITERARY.<br /> <br /> Tam FRANCISCAN Ports IN ITALY AND THE 13TH CENTURY.<br /> By Freperick Ozanam. Translated and annotated by<br /> A. E. Neuien and W. E..Craic. Messrs. David Nutt.<br /> <br /> 6s. n.<br /> Wuere no Far was. A Book about Fear. By A. C.<br /> Benson. 8 x 5}. 240 pp. Smith, Elder. 68. n.<br /> <br /> In Pursuit oF SPRING.<br /> 301 pp. Nelson. 5s.<br /> <br /> Lerrers to Caroyine. 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Ilustrated by 300 Full-<br /> Page Coloured Plates, reproduced from Drawings by<br /> Mrs. Henry Perrin, with detailed descriptive notes<br /> and an Introduction by Prorsssor Bovunesr, F.L.S.<br /> Vol. L., xiii. +10}. Quaritch. £12 12s. the set of<br /> four vols.<br /> <br /> PAMPHLETS.<br /> <br /> EvucnHarist AND BisHop. By the Rrv. J. H. SKRINE,<br /> D.D. Longmans. Ils. n.<br /> <br /> In Quust or TRuTH. Being a Correspondence between<br /> Sim Artruur Conan Doyir and CaprarIn STANSBURY,<br /> R.N. Watts. 2d.<br /> <br /> <br /> <br /> E<br /> 1<br /> |<br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> POETRY.<br /> <br /> ‘Tus Sea is Kiyp. By T. Srurce Moors.<br /> <br /> *-174 pp. Grant Richards. 6s. n.<br /> <br /> Tue REVERBERATE Hints. By E. OprpeNHEIM.<br /> <br /> m 56 pp. Constable. 3s. 6d. n.<br /> <br /> A Raapsopy For Lovers. By A. 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Barcnay.<br /> 64 x 41. 71 pp. Hodder and Stoughton. ls. 6d. n.<br /> Tue Orpinaky Man anp THE EXTRAORDINARY THING.<br /> By Harotp Brasie. (Popular Edition.) 74 x 5.<br /> <br /> 160 pp. Hodder and Stoughton. 1s. n.<br /> TRAVEL.<br /> How to Ses tue Vatican. By Dovaetas SLADEN.<br /> 8k x 54. 441 pp. Kegan Paul. 6s. n.<br /> ALBANIA. The Foundling State of Europe. By WapHAM<br /> Pracock. 9 x 53. 256 pp. Chapman and Hall.<br /> 7s, 6d. n.<br /> <br /> By W. P. WESTELL.<br /> 7k x 5.<br /> <br /> —___+——_+-__—_——_-<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> paceser nee one oneany<br /> R. EDWARD CLODD has rewritten<br /> his ‘“‘ Childhood of the World,” which<br /> was first published in 1872. The new<br /> edition, to which illustrations are added, is<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 215<br /> <br /> divided into three parts: Man the Worker,<br /> Man the Thinker, Man the Discoverer<br /> (Macmillan &amp; Co.).<br /> <br /> Mr. Clement Edwards Pike, F.R.Hist.S.,<br /> edits for the Royal Historical Society “ Selec-<br /> tions from the Correspondence of Arthur Capel,<br /> Ear! of Essex, 1675—1677.”’ This book makes<br /> the twenty-fourth volume of the Camden Third<br /> Series, and may be obtained from the offices of<br /> the Society, 6 &amp; 7, South Square, Gray’s Inn.<br /> <br /> ‘ Albania: the Foundling State of Europe ”<br /> is the title of a new book by Mr. Wadham<br /> Peacock, formerly private secretary to<br /> H.B.M.’s Chargé d Affaires in Montenegro.<br /> The book, which has numerous illustrations,<br /> deals with history, customs, scenery, and<br /> politics (Chapman and Hall, 7s. 6d. net).<br /> <br /> In “ The Philosophy of Welsh History ” the<br /> Rev. J. Vyrnwy Morgan, D.D., author of<br /> ‘The Welsh Religious Revival, 1904-5,” ete.,<br /> does not pretend, he says, to give a history of<br /> Wales or a consecutive narrative of the<br /> movements that have affected the principality.<br /> He calls, however, for a reconsideration of<br /> many of the conclusions formed by Welsh<br /> nationalist historians, whose deductions he<br /> contends to be without justification (John Lane,<br /> 12s. 6d. net).<br /> <br /> There has been just brought out by the<br /> firm of Elkin Mathews “ Florentine Vignettes,<br /> being some metrical letters of the late Vernon<br /> Arnold Slade, edited by Wilfrid Thoiley.”<br /> The author is of course the editor, and the<br /> letters are written in the guise of an art-<br /> student newly arrived in the Tuscan capital.<br /> There is a frontispiece adapted from the<br /> marble pediment of Cellini’s “ Perseus ”’ and<br /> a Finis taken from masks on a fountain in the<br /> Cascine.<br /> <br /> Mr. Wharndford Moffatt has a volume of<br /> ‘“‘ New Canadian Poems,” of which a copy has<br /> been accepted by H.E. the Governor-General.<br /> The book is being published by Simpkin,<br /> Marshall, &amp; Co., price 2s. 6d. net.<br /> <br /> In “ Dodo the Second” Mr. E. F. Benson<br /> returns to an early mood and an heroine whose<br /> literary birth took place a score of years ago<br /> (Hodder and Stoughton). oe<br /> <br /> Mr. W. J. Locke’s new novel is “ The<br /> Fortunate Youth ” (John Lane).<br /> <br /> It is stated of Mrs. Elinor Glyn’s “ Letters<br /> to Caroline ” that it is not a story but a series<br /> of letters of wisdom and counsel from a god-<br /> mother to a goddaughter who is just entering<br /> Society (Duckworth, 2s. net). :<br /> <br /> Mr. Charles Garvice’s new novel is entitled<br /> “© A4 Woman’s Way,” and has just been<br /> published by Hodder and Stoughton.<br /> <br /> <br />  <br /> <br /> 216<br /> <br /> Miss May Wynne has a romance of the<br /> Huguenot period on the point of publication,<br /> under the name of ‘“‘ The Silent Captain.”<br /> <br /> K. L. Montgomery’s forthcoming romance,<br /> which was announced in the last issue of The<br /> Author as “ Ears of Leather,” will be published<br /> by John Long in London and the Colonies<br /> under the title “‘ Maids of Salem.”<br /> <br /> Holden and Hardingham are publishing<br /> immediately Mr. Kineton Parkes’s novel * The<br /> Money Hunt : A Comedy of Country Houses.”<br /> <br /> Miss K. Everest’s new romance “ Beaufoy,”<br /> <br /> is published this month by Lynwood &amp; Co.<br /> This is a tale for young people. A copy has<br /> been graciously accepted by H.R.H. Princess<br /> Mary.<br /> “The Good Shepherd,” by John Roland,<br /> is the romance of a young American doctor in<br /> a remote Tyrolese valley, who comes to play<br /> the part of saviour to the suffering peasants<br /> and, in doing so, himself regains a faith which<br /> he has lost and wins a wife (Blackwood).<br /> <br /> Miss Edith M. Keate’s “A Garden of the<br /> Gods ” is the love-story of a blind man in a<br /> beautiful garden, though introducing numerous<br /> other characters (Alston Rivers).<br /> <br /> Miss Meriel Buchanan, author of “ Tania:<br /> a Story of Russian Life’ (Jenkins), is the<br /> daughter of the British Ambassador at Con-<br /> stantinople.<br /> <br /> ‘“‘ Lovers’ Meetings” is the title of a new<br /> collection of short stories by Mrs. Katharine<br /> Tynan (Werner Laurie).<br /> <br /> A new edition has just been published of<br /> “Pink Purity,” by Mrs. Gertie de S. Went-<br /> worth James (Werner Laurie, 1s. net).<br /> <br /> Mrs. C. Romanné James has been appointed<br /> to the editorship of the quarterly Buddhist<br /> Review.<br /> <br /> “The Art of Dainty Decoration,” by<br /> Mrs. Emily J. Skeaping, is a little paper-<br /> covered book dealing with such subjects as<br /> how to paint on silk, satin, or velvet, how to<br /> decorate with stencils, how to make original<br /> cards, ete. (Winsor and Newton, 1s.).<br /> <br /> “‘ Jehane of the Forest,’ by L. A. Talbot<br /> (Mrs. Ferguson) is a lively romance of a period<br /> and place which has attracted no novelist of<br /> note since Scott wrote “‘ The Betrothed ” ;<br /> namely, the marches of Wales in the reign of<br /> Henry II.<br /> <br /> “Infatuation,”” by Marcu; Knox, is pub-<br /> lished by Robert Ashley.<br /> <br /> DraMatTIc.<br /> <br /> The long run of Mr. G. K. Chesterton’s<br /> “Magic” at the Little Theatre concluded on<br /> March 28. On April 11, at the same theatre,<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914<br /> <br /> Mrs. Percy Dearmer’s ‘“‘ Brer Rabbit and<br /> Mr. Fox,” with music by Mr. Martin Shaw,<br /> commenced a matinée season.<br /> <br /> On April 11 was the first performance at<br /> His Majesty’s Theatre of Mr. G. Bernard<br /> Shaw’s ‘“ Pygmalion.”<br /> <br /> On the same night Mr. G. R. Sims’s “ The<br /> Lights 0’ London ” was revived at the Aldwych.<br /> <br /> Mr. Israel Zangwill’s ‘“‘ The Melting Pot”<br /> was transferred on April 18 from the Queen’s<br /> to the Comedy Theatre.<br /> <br /> ‘The Mob,” a four-act play by Mr. John<br /> Galsworthy, was seen at the Coronet Theatre<br /> on April 20 and succeeding days.<br /> <br /> On April 21 the first performance took place<br /> of ‘“‘My Lady’s Dress,” by Mr. Edward<br /> Knoblauch, the theatre being the Royalty.<br /> <br /> ““The Clever Ones,’”’ Mr. Alfred Sutro’s new<br /> comedy, opened at Wyndham’s Theatre on<br /> April 23.<br /> <br /> The play chosen for the matinée at His<br /> Majesty’s Theatre on May 22, in aid of King<br /> George’s Pension Fund for Actors and Actresses,<br /> is Mr. Henry Arthur Jones’s and the late<br /> Mr. Henry Herman’s “‘ The Silver King.”<br /> <br /> A new one-act play, ‘‘ Beastly Pride,” by<br /> Miss Elizabeth Baker, was produced at the<br /> Croydon Repertory Theatre on April 23.<br /> <br /> The West End Productions, Ltd., on<br /> April 22, gave their sixth special matinée at<br /> the London Pavilion, among the plays pro-<br /> duced being ‘“‘ The Girl from Australia,” by<br /> Mrs. E. H. Harris.<br /> <br /> Two of Mr. Charles Garvice’s plays are now<br /> on tour—‘‘ The Heritage of Hale,” a four-act<br /> piece in which Mr. Garvice had the assistance<br /> of Mr. Arthur Shirley and which was first seen<br /> on January 7; and ‘‘ Marygold,’’ by Messrs.<br /> Charles Garvice and Allen F. Abbott, first<br /> produced at the Royalty Repertory Theatre,<br /> Glasgow, on March 23.<br /> <br /> The Authors’ Producing Society is “an<br /> association of subscribers formed for the<br /> purpose of producing plays—particularly those<br /> of an educational and sociological character—<br /> hitherto unseen in England.” The society’s<br /> first season began with the performance at the<br /> Little Theatre on February 16 of John Pollock’s<br /> translation of M. Brieux’s ‘“‘ Les Avariés ”<br /> (‘Damaged Gocds’’). Other performances<br /> of the play took place at the Court Theatre<br /> on April 19 and 30, and a fourth is announced<br /> for May 10. The address of the secretary of<br /> the society is 4, Duke Street, Adelphi, W.C.<br /> <br /> Mr. Herbert Jenkins, author and publisher,<br /> has now become a playwright also. A one-act<br /> <br /> play of his, “‘ With Her Husband’s Permission,”’<br /> is to be produced by Miss Muriel Pratt at the<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> Theatre Royal, Bristol, on May 18. Later on<br /> a West End production is contemplated.<br /> <br /> Musica.<br /> <br /> “Negro Folk Singing Games and Folk<br /> Games of the Habitants”’ is the title of a<br /> collection of traditional melodies and text<br /> transcribed by Grace Cleveland Porter, with<br /> accompaniments by Harvey Worthington<br /> Loomis. The work is published in this<br /> country by J. Curwen and Sons, Berners Street,<br /> W.., at 2s. 6d.<br /> <br /> ““The Music of Hindostan,” by A. H. Fox<br /> Strangways, is an attempt to deal, in one<br /> volume, with the music of the Indus and<br /> Ganges basins. Seventeen separate plates<br /> illustrate the book, which is published by the<br /> Clarendon Press at 21s.fnet.<br /> <br /> —— se<br /> PARIS NOTES.<br /> <br /> ——+ &lt;&gt;<br /> <br /> REAT preparations were made _ for<br /> the Royal visit to Paris. The Palais<br /> des Affaires Etrangeres was furnished<br /> <br /> for the occasion with historical furniture<br /> which had belonged to Louis XIV., Louis XV.,<br /> Louis XVI., and to Napoleon I. The Avenue<br /> de l’Opéra and various other streets of Paris<br /> were decorated with garlands of roses. The<br /> magazines and reviews have been vying with<br /> each other in giving articles concerning the<br /> English King and Queen. :<br /> <br /> ‘“Croquis d’Outre-Manche ” is the title of<br /> the latest book on England by M. Jacques<br /> Bardoux. Most foreign writers content them-<br /> selves with visiting London for giving their<br /> opinion on England and its people. M. Bardoux<br /> has taken the trouble to go to the more remote<br /> parts of our island and to study the far back<br /> history of our nation, in order to explain the<br /> present by the past. He takes his readers<br /> to the old-world county of Somerset. He goes<br /> back to Hugues de Lincoln, and gives us an<br /> interesting account of Glastonbury, of Wells,<br /> and of Bath. :<br /> <br /> ““ Entre deux Mondes,” by Inés’ Bello, is a<br /> curious psychological study of a woman.<br /> The story opens with a journey from Florence<br /> to Rome and a chance meeting in the train.<br /> There is no plot and very little episode. The<br /> whole volume is taken up with the senti-<br /> ments of the two persons who meet in this way.<br /> Incidentally we have descriptions of Rome<br /> and of the very soul of Rome. The book is<br /> distinctly original as a psychological study.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 217<br /> <br /> “ L&#039;Homme de désir,”” by M. Robert Vallery-<br /> Radot, is a novel which might certainly take<br /> rank among the books belonging to the<br /> ~ Spiritualistic literature’ so much in vogue<br /> now in France.<br /> <br /> The President of the French Republic was<br /> represented at the funeral of Mistral, the<br /> celebrated meridional poet.<br /> <br /> The event of the month in the theatrical<br /> world has been Antoine’s resignation of his<br /> post as Director of the Odéon. It is not yet<br /> known who will be invited to succeed him at<br /> the second State Theatre. It is rumoured<br /> that M. Camille de Sainte Croix, who has for<br /> some years been running the French Shake-<br /> speare Theatre, stands a very good chance<br /> of being elected. M. Lugné Poe is also men-<br /> tioned as a candidate, and there are two or<br /> three other names on the list.<br /> <br /> The last play put on by Antoine was Psyché,<br /> a tragedy-ballet in five acts by Moliére, Pierre<br /> Corneille et Quinault, with music by Lulli,<br /> arranged by M. Julien Tiersot. This recon-<br /> stitution was extremely artistic and interesting,<br /> and was a fitting close to Antoine’s career at<br /> the Odéon.<br /> <br /> At the Gymnase, Henri Lavedan’s three-<br /> act play “‘ Pétard’”’ has been given. There<br /> is plenty of episode and there are good dramatic .<br /> situations, but the chief interest is the study<br /> of modern life. We see the old world giving<br /> way to the new and the old traditions being<br /> sacrificed for the sake of gold. Pétard is a<br /> nouveau riche, a parvenu, and we see him<br /> buying the ancestral home of an old family.<br /> M. Lavedan shows us the forces of the past<br /> waging war with the material force of our<br /> epoch.<br /> <br /> In honour of the Royal visit the Little<br /> English Theatre arranged to come over from<br /> London and give a special three-play bill<br /> during the week of the festivities. The pieces<br /> chosen were ‘“‘ The Critic ’’ by Sheridan, ‘* The<br /> Tents of the Arabs’ by Lord Dunsany, and<br /> “The Music Cure’? by George Bernard<br /> Shaw.<br /> <br /> The Cinema Commission appointed by the<br /> French Society of Authors for studying the<br /> question of cinematograph rights has now<br /> given in its report. There has been some<br /> difficulty in this matter, which is now happily<br /> settled, as the Society of Authors and Society<br /> of Dramatic Authors have come to an arrange-<br /> ment by which they will combine to protect<br /> the rights of their respective authors. The<br /> French law of 1793 protects authors, and last<br /> November the Society of Dramatic Authors<br /> changed its statutes, including the cinema<br /> <br /> <br />  <br /> <br /> 218<br /> <br /> rights, in such a way that, according to the<br /> law of 1791, it would be impossible for the<br /> cinema rights of any dramatic author belonging<br /> to the Society to be appropriated by outsiders.<br /> The Cinema Commission has now arranged<br /> that the two societies shall work together in<br /> the interests of authors. In future, according<br /> to Article 34 bis, every member of the Society<br /> of Authors agrees to make no contract pri-<br /> vately with manufacturers, hirers, or exploiters<br /> of cinematographic films, concerning the<br /> adaptation of his or her present or future<br /> literary works or unpublished cinematographic<br /> scenarios.<br /> <br /> All contracts made previously to this new<br /> <br /> _rule are to be held binding.<br /> <br /> Every contract of this nature is to be made<br /> by the intermediary of the (Société des Gens de<br /> Lettres) French Society of Authors.<br /> <br /> The Society of Authors may pass any conven-<br /> tion or arrangement with any enterprise or<br /> society of authors for exercising, directly or<br /> indirectly, the rights belonging to its authors.<br /> <br /> The present arrangement is to apply to<br /> cinematographic’ adaptations by all present<br /> or future methods.<br /> <br /> The author shall give a written declaration<br /> to the committee, indicating the rights he had<br /> already disposed of before the date of the<br /> present arrangement.<br /> <br /> Such is the article decided upon by the<br /> Commission. During what is called the transi-<br /> tion period authors will fix the terms of their<br /> contracts themselves, but these contracts<br /> must pass through the hands of the managing<br /> agents of the Society of Authors. The<br /> Commission reports that quite recently the<br /> Society succeeded in obtaining, for one of its<br /> authors, an increase of nearly half the amount<br /> already offered.<br /> <br /> The definitive period will be when the<br /> Society of Authors will have concluded general<br /> treaties. ‘The Society will then have to agree<br /> to the rules that the Society of Dramatic<br /> Authors now has with the theatres. Authors<br /> will then have to accept the minimum of<br /> rights agreed upon, but it will be impossible<br /> to accept less than this minimum. Above<br /> this minimum, authors will be able to ask what<br /> terms they wish.<br /> <br /> As long as the transition period lasts,<br /> authors must pay the agents who draw up the<br /> contracts 6 per cent., but 1 per cent. of this<br /> will be returned to the general funds of the<br /> Society of Dramatic Authors and 2 per cent. to<br /> the general funds of the Society of Authors.<br /> The Society of Dramatic Authors will take<br /> upon itself the responsibility of any lawsuits<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> which may arise in connection with cinema<br /> rights.<br /> Atys HALiarp.<br /> <br /> <br /> <br /> “ Croquis d’Outre-Manche’”’ (Hachette).<br /> ‘*Entre deux Mondes”’ (Grasset).<br /> “L’Homme de désir” (Plon).<br /> <br /> —_—_—_—__— +&gt; 6<br /> <br /> U.S.A. COPYRIGHT LAW AMENDMENT.<br /> <br /> st<br /> <br /> AS Act to amend section twelve of the<br /> Act entitled “An Act to amend and<br /> <br /> consolidate the Acts respecting copy-<br /> right,” approved March fourth, nineteen<br /> hundred and nine.<br /> <br /> Be it enacted by the Senate and House of<br /> Representatives of the United States of<br /> America in Congress assembled, That section<br /> twelve of the Act entitled “‘ An Act to amend<br /> and consolidate the Acts respecting copy-<br /> right,” approved March fourth, nineteen<br /> hundred and nine, be, and the same is hereby,<br /> amended so as to read as follows :<br /> <br /> Work BY, FOREIGNER, PUBLISHED ABROAD,<br /> ONLY ONE COPY REQUIRED.—“ Sec. 12. That<br /> after copyright has been secured by publica-<br /> tion of the work with the notice of copyright<br /> as provided in section nine of this Act, there<br /> shall be promptly deposited in the copy-<br /> right office or in the mail addressed to the<br /> register of copyrights, Washington, District<br /> of Columbia, two complete copies of the best<br /> edition thereof then published, or if the work<br /> is by an author who is a citizen or subject of<br /> foreign state or nation and has been published<br /> in a foreign country, one complete copy of the<br /> best edition then published in such foreign<br /> <br /> country, which copies or copy, if the work be a -<br /> <br /> book or periodical, shall have been produced<br /> in accordance with the manufacturing pro-<br /> visions specified in section fifteen of this Act ;<br /> or if such work be a contribution to a periodical,<br /> for which contribution special registration is<br /> requested, one copy of the issue or issues con-<br /> taining such contribution ; or if the work is<br /> not reproduced in copies for sale there shall be<br /> deposited the copy, print, photograph, or<br /> other identifying reproduction provided by<br /> section eleven of this Act, such copies or copy,<br /> print, photograph, or other reproduction to be<br /> accompanied in each case by a claim of copy-<br /> right. No action or proceeding shall be main-<br /> tained for infringement of copyright in any:<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> work until the provisions of this Act with<br /> respect to the deposit of copies and registra-<br /> tion of such work shall have been complied<br /> with.”<br /> <br /> Sec. 2. That all Acts or parts of Acts in<br /> conflict with the provisions of this Act are<br /> hereby repealed.<br /> <br /> Approved, March 28, 1914.<br /> [Note.—Nevw legislation in italics.]<br /> <br /> The copyright law of the United States has<br /> been amended by the Act of Congress, approved<br /> March 28, 1914, providing, in the case of a<br /> work by an author who is a citizen or subject<br /> of a foreign state or nation and which has been<br /> published in a foreign country, that of the<br /> best edition published in such foreign country<br /> ONE complete copy shall be promptly deposited<br /> in the Copyright Office at Washington, after<br /> publication, in lieu of two copies as heretofore<br /> required. (See full text of the amendatory<br /> act above.)<br /> <br /> This provision of law applies to books,<br /> | dramas, music, maps, photographs, prints and<br /> <br /> all other works by foreign authors published<br /> in a foreign country, which are not required<br /> by the copyright laws to be printed or manu-<br /> factured in the United States in order to secure<br /> copyright protection in the United States.<br /> <br /> The new Act does not change any provisions<br /> of the Copyright Act of March 4, 1909, as<br /> regards the requirements of American manu-<br /> facture.<br /> <br /> The application for registration should<br /> state the place and foreign country where the<br /> work was first published.<br /> <br /> Only one copy should be deposited in the<br /> case of any such work published abroad.<br /> Attention is particularly directed to this amend-<br /> ment in order that no more than the one copy<br /> required may be sent, as the Copyright Office<br /> has no funds with which to defray the postage<br /> for the return of any extra copies received.<br /> <br /> Application forms to be used for filing<br /> claims to copyright in accordance with the<br /> new provision of law will be at once prepared<br /> and will be forwarded to all persons requesting<br /> them. Meantime it will be possible to use<br /> the old application forms for published works<br /> by changing with a pen “‘ two copies ”’ to “* one<br /> copy” wherever these words occur In the<br /> forms. :<br /> <br /> Copyright relations have been established<br /> between the United States and the following<br /> countries, and the citizens or subjects of such<br /> <br /> THE AUTHOR.<br /> <br /> 219<br /> <br /> countries can secure copyright protection in<br /> the United States upon compliance with the<br /> requirements of the copyright acts of the<br /> United States : .<br /> <br /> Austria, Belgium, Chile, China, Costa Rica,<br /> Cuba, Denmark, Fiance, Germany, Great<br /> Britain and her _ possessions, Guatemala,<br /> Honduras, Hungary, Italy, Japan, Luxemburg,<br /> Mexico, Netherlands and__ possessions,<br /> Nicaragua, Norway, Portugal, Salvador, Spain,<br /> Sweden, Switzerland, and Tunis.<br /> <br /> THORVALD SOLBERG,<br /> Register of Copyrights.<br /> <br /> +&gt; ¢ —_____—<br /> <br /> U.S.A. PLAY PIRACY.<br /> <br /> —1.—&lt;—+ —_<br /> <br /> (From the U.S.A. ‘“ Publishers’ Weekly.’’)<br /> <br /> A interesting dramatic copyright case<br /> is pending on both the civil and<br /> criminal sides in respect to the produc-<br /> <br /> tion of “A Pair of White Gloves” at the<br /> <br /> Princess Theatre in New York.<br /> <br /> The play is the work of two French play-<br /> wrights, André de Lorde and Pierre Chaine,<br /> for whom the French Society of Dramatic<br /> Authors is acting. The counsel for this society<br /> in this country is the firm of Coudert Brothers.<br /> The play, though copyrighted in this country in<br /> 1908, was produced without authorisation, and<br /> it is said that the manager of the theatre,<br /> F. Ray Comstock, had expressed a willingness,<br /> after his attention had been called to the fact<br /> that he was producing a copyrighted play<br /> without authority, to pay royalty. An option<br /> covering American rights had, however, been<br /> given to a dramatic agent, John Pollock, of<br /> London, who had not exercised the option,<br /> which was still open—so that neither the<br /> authors, the French society nor anyone had<br /> the right to accept royalties until the option<br /> had determined. :<br /> <br /> The play ran a month at the Princess<br /> Theatre, and the run was made the basis of<br /> two suits, one by Coudert Brothers from the<br /> civil side and one by the United States District<br /> Attorney on the criminal side under the<br /> criminal provisions of the copyright law. The<br /> Grand Jury found a true bill and the defendant<br /> is on bail. Both cases have yet to be brought<br /> to trial, Justice Coxe, in the civil case, having<br /> granted a preliminary injunction and the play<br /> having been withdrawn.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 220<br /> HOW TO USE THE SOCIETY.<br /> <br /> ot<br /> <br /> 1. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. The<br /> Becretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinarysolicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements, (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> jars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements, This<br /> must be done within fourteen days of first execution. The<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeayour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ————-—&gt;—2__—_—_<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —<br /> <br /> : ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling Outright.<br /> <br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> (MAY, 1914.<br /> <br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> anless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> —_———_—&gt;—_-—_______<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> —— to<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> <br />  <br /> <br /> ay<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> (&gt;.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case,<br /> <br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceec-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a stbstantial<br /> consideration,<br /> <br /> 9: Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> —&gt; +<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ——&gt; +<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <br /> : a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> 221<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> —*———+—_<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire au<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do-<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is-<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and:<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any,<br /> circumstances without an agreement approved of by the<br /> Society.<br /> a ag<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> —<br /> ITTLE can be added to the warnings given for the<br /> tr assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic:<br /> property. The musical composer has very often the two:<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> —_——_—_¢—_____—__-<br /> <br /> STAMPING MUSIC.<br /> <br /> te<br /> <br /> The Society undertakes to stamp copies of music on.<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe, The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the.<br /> members, who are thus saved much unnecessary trouble.<br /> <br /> Se ee<br /> <br /> THE READING BRANCH.<br /> <br /> cs<br /> EMBERS will greatly assist the Svciety in this<br /> branch of its work by informing young writers-<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach, The term<br /> MSS. includes not only works of fiction, but pvetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works, The<br /> Readers are writers of competence and experience. The-<br /> fee is one guinea,<br /> <br /> <br /> <br /> --—&lt;— 9<br /> <br /> REMITTANCES.<br /> SSO as<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London ant<br /> Smithe Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br />  <br /> <br /> <br /> <br /> COLLECTION BUREAU.<br /> <br /> —+—&gt;+—_<br /> <br /> due to authors, composers and dramatists.<br /> <br /> [Ne Society undertakes to collect accounts and money<br /> 1. Under contracts for the publication of their<br /> <br /> works. ;<br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> <br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> <br /> records.<br /> The Bureau is divided into three departments :—<br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amonnt passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland . : * A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN,<br /> Germany Mrs PoGSON.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> —_+-——+<br /> Notice.<br /> <br /> Tur Committee of the Society of Authors<br /> deem it important, in case any question<br /> should arise affecting their separate interests,<br /> to have a complete separate list of the novelists,<br /> dramatists and composers of the Society. The<br /> committee would be obliged, therefore, if every<br /> member or associate of the Society who has<br /> not previously published a novel, or a musical<br /> composition, or had a dramatic piece per-<br /> formed in public, would give notice to the<br /> secretary of the Society as soon as publication<br /> takes place, in order that his or her name<br /> may be enrolled on the separate lists above<br /> referred to.<br /> <br /> INDIAN CopyricHt BI...<br /> <br /> WE are informed by the India Office that<br /> the approval of the Secretary of State for<br /> India has been given in Council to the Indian<br /> Copyright Act, 1914. A copy of the Act will<br /> be printed in The Author at the earliest<br /> possible opportunity.<br /> <br /> ‘We understand that in clause 4, dealing<br /> with translation rights, the period of limitation<br /> has been extended from five to ten years.<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> An explanation of the term “ translation<br /> rights’ will be cleared up as soon as it is<br /> possible to place the Act before the members<br /> of the Society.<br /> <br /> Unitrep STATES COPYRIGHT.<br /> <br /> We are publishing in this month’s Author<br /> the new American Copyright Act, or rather the<br /> amendment to the old Act. It is not of any<br /> great benefit to English authors. Any amend-<br /> ment, however, of the United States Act which<br /> simplifies the technical proceedings must be<br /> valuable to the cause of the owners of copy-<br /> right property. We hold copies of the Act at<br /> the office in case any member would like to<br /> have a separate copy.<br /> <br /> Tue Lerezic CONGRESS.<br /> <br /> Tut thirty-seventh Congress of “‘ The Inter-<br /> national Literary and Artistic Association ”<br /> will be held in Leipzig on September 10—14<br /> next, under the august patronage of His<br /> Majesty Frederick Augustus, King of Saxony.<br /> Among the more interesting questions which<br /> will be discussed are cinematographic rights,<br /> methods of assuring the rights of translation,<br /> and a review of the incidents affecting literary<br /> and artistic property during the last twelve<br /> months. A fuller programme of the Congress<br /> will be hereafter published. Person» desiring<br /> to visit Leipzig for the Congress should address<br /> themselves to M. M. A. Taillefer, 215 bis,<br /> Boulevard Saint-Germain, Paris.<br /> <br /> Tur AutHors’ LEAGUE OF AMERICA.<br /> <br /> WE have just received a letter from the<br /> Authors’ League of America. From it we are<br /> glad to hear that the authors are moving their<br /> headquarters to 122, East 17th Street. The<br /> League has taken the house which was formerly<br /> occupied by Washington Irving, and the<br /> library and reception room will be the room<br /> in which Irving did most of his work.<br /> <br /> “Tae DutcH AUTHOR.”<br /> <br /> We have much pleasure in welcoming the<br /> appearance of a new contemporary devoted to<br /> the rights of authors, the Dutch Auteursrecht-<br /> belangen, a monthly periodical published<br /> conjointly by the committees of Musical<br /> Copyright and of Literary Copyright of the<br /> “ Vereeniging van Letterkundigen,” of which<br /> the first three numbers have been courteously<br /> <br /> <br /> <br /> j<br /> i<br /> E<br /> i<br /> <br /> f<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> ‘sent tous. The pages of the opening numbers<br /> are necessarily occupied chiefly with registers<br /> of authors, pieces at the disposal of the<br /> ‘society, and classifications of the Dutch<br /> theatres ; but the essentially practical aim of<br /> the journal has our warmest sympathies, and<br /> we shall look forward to the fulfilment of the<br /> promise of articles on copyright subjects in<br /> subsequent numbers. The address of the<br /> journal is 22, Hooghstraat, Amsterdam.<br /> <br /> Tue AUSTRALIAN Book MARKET.<br /> <br /> In a recent issue of The Publishers’ Weekly<br /> of the United States, there is a picture showing<br /> the importation of American books in bulk at<br /> the Australian docks. The pride with which<br /> this is shown only confirms the statements<br /> which have so often appeared in The Author<br /> that the Americans are taking hold of the<br /> Australian book market very firmly, and unless<br /> English publishers are careful they will find<br /> the Australian market, as well as other<br /> colonial markets, entirely lost to them.<br /> <br /> We note in The Book-Fellow, an Australian<br /> paper, a statement that there are one or two<br /> English publishers who are energetic enough<br /> to secure good markets in Australia, and the<br /> paper states that the English author should<br /> therefore be careful, if he desires the Australian<br /> market, of the choice of his English publisher.<br /> The editor does not mention the names of these<br /> English publishers; but it is quite possible<br /> that the English publisher who has a good<br /> connection in Australia might have a bad<br /> connection on the English market, and in<br /> consequence it would be better for the author<br /> to stick to the better publisher in the English<br /> market and lose his Australian market than<br /> obtain a large Australian market and lose his<br /> English market. /<br /> <br /> There is another point dealing with the<br /> same subject which has been brought to our<br /> notice in a letter from the American Authors’<br /> League. The secretary of the League 1s<br /> evidently experiencing a difficulty on_ behalf<br /> of his members in obtaining a market for<br /> American authors in England, because the<br /> English publisher demands the Australian<br /> market and the market in Canada and the other<br /> colonies. The American publisher, having<br /> proved that he can do better business than the<br /> English publisher, naturally demands these<br /> markets for himself. The question, therefore,<br /> will resolve itself into this: Is it better. for<br /> an American author to leave his American<br /> circulation and his colonial circulation 1n the<br /> hands of an American publisher and lose his<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 223<br /> <br /> English market entirely, or, obtaining his<br /> English market and his colonial market with<br /> an English publisher, run the chance of<br /> offending his American publisher, and in con-<br /> sequence perhaps lose some of his American<br /> profits. The answer to this question lies on<br /> the face of the statement.<br /> <br /> ————___+—_ ee —_____-<br /> <br /> THE ANNUAL MEETING.<br /> <br /> —<br /> <br /> HE Annual General Meeting of the<br /> Society took place on Friday, April 17,<br /> at No. 1; Central Buildings, Tothill<br /> <br /> Street, Westminster, the chair being taken at<br /> 4.30 by Mr. Hesketh Prichard, chairman of<br /> the Committee of Management.<br /> <br /> In laying the Report of the Committee before<br /> the members present, Mr. H. Hesketh Prichard<br /> asked that it might be taken as read, and<br /> proceeding to comment upon its salient<br /> features, congratulated the Society upon the<br /> continued growth of its membership. The<br /> elections, he pointed ovt, had been bigger<br /> than in any previous years of the Society’s<br /> existence, the figures for 1913 and 1912 being<br /> 349 and 345 respectively. It was satisfactory<br /> to note, also, that the loss of members arising<br /> from resignation and non-payment of subscrip-<br /> tions was proportionately less. On the other<br /> hand, he desired to emphasise the fact that<br /> the enormous increase of membership during<br /> the past few years had _ correspondingly<br /> increased the work which had to be done by the<br /> Society. As an instance he might mention<br /> that the summoning of members to the annual<br /> meeting now entailed the sending out of 2,600<br /> circulars. New sub-committees had also come<br /> into existence during recent yeats, adding to<br /> the work accomplished by the Society. He<br /> referred to the loss sustained through the<br /> deaths of the members of its council—Lord<br /> Avebury, the late Poet Laureate, and Field<br /> Marshal Lord Wolseley—saying that he felt<br /> sure that the sincere sympathy of those<br /> present would be extended to the relatives<br /> of these famous men. Turning to the passages<br /> in the report relating to “* Library Censorship,<br /> the chairman said that he wished to explain<br /> the policy of the committee with regard to<br /> this subject. It desired to treat the matter<br /> broadly and from the point of view of the<br /> Society as a whole. It was im possible for the<br /> committee to take up individual cases or to<br /> champion the cause of individual books, as<br /> this might lead in effect to setting up a new<br /> and most invidious form of censorship. As to<br /> <br /> <br />  <br /> <br /> ee nee<br /> <br /> <br /> <br /> <br /> <br /> 224<br /> <br /> what had in fact been done he referred members<br /> to the pages of the report. In the report also<br /> would be found what had been accomplished<br /> during the year by the various sub-committees.<br /> The recently instituted Collection Bureau had<br /> made satisfactory progress in its work, and<br /> its usefulness would increase as members<br /> realised the work which it was prepared to do.<br /> With regard to copyright legislation of an<br /> international character during the past year,<br /> Australia had passed a Copyright Act and so<br /> also had New Zealand. ‘The Council cf India<br /> had approved the Act of 1911, and the com-<br /> mittee was endeavouring to put things on a<br /> more satisfactory footing for British authors<br /> in India and in the United States. Here he<br /> might call attention to the world-wide area<br /> covered by the work of the Society. It had<br /> dealt with cases during the past year in the<br /> United States, in Canada, Switzerland, Ger-<br /> many, Austria, France, Australia and India,<br /> in addition to the large number which it had<br /> conducted in the United Kingdom. Details<br /> of the work referred to would, again, be found<br /> in the report.<br /> <br /> With regard to financial matters, the capital<br /> account had been increased by the investment<br /> of £150 and of £215 standing to the credit of<br /> the Society at its bankers ; and there had been<br /> a total increase of subscriptions during the<br /> year amounting to £130. The debit balance<br /> had, however, increased to the extent of £280,<br /> this increase being due to extra expense<br /> entailed by moving to new offices, to the pur-<br /> chase of furniture arising out of this, and to<br /> heavy legal expenses, legal fees paid in London<br /> <br /> aving alone increased by over £300. The<br /> chairman concluded by thanking the members<br /> of the committee and of the various sub-<br /> committees for their unflagging zeal in the<br /> performance of their functions, and _ the<br /> secretary for the single-minded way in which<br /> he had attended to the Society’s affairs. His<br /> hours of work had increased with the increase<br /> in the work done by the Society, until he was<br /> one of the most hard-worked men in London,<br /> and he might be assured that the members<br /> of the Society appreciated his efforts. The<br /> chairman, in resuming his seat, invited any<br /> member who might desire to do so to call<br /> attention to any point in the report as to which<br /> he might desire further explanations.<br /> <br /> Mr. W. L. George rose and expressed a wish<br /> that there should be further elucidation of the<br /> steps taken by the committee with regard<br /> to the question of “ Library Censorship.”<br /> Members might not be interested in knowing<br /> why the Society was not in the same camp as<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914,<br /> <br /> the booksellers and publishers, but authors.<br /> might and did want to know in respect of<br /> what, whether it might be plot or incident<br /> or words, a book was going to be banned. He<br /> did not mean to suggest that in the light of<br /> such knowledge an author would deviate from<br /> the course he had marked out for himself.<br /> An author was not likely to emasculate his.<br /> book or, indeed, to make any difference in it<br /> to meet the views of library censors. The<br /> whole matter was often before him in connec-<br /> tion with his own work as a reviewer. A book<br /> sometimes came before him conceived and<br /> written in bad taste, a book which might<br /> fairly be termed “indecent,” but which was:<br /> accepted and circulated by the libraries,<br /> whereas another crudely expressed, perhaps,.<br /> but neither indecently conceived nor written.<br /> with indecent intent, would be banned.<br /> <br /> The chairman in answer said that when the<br /> suggestion of a conference referred to in the<br /> report was made he had seen Mr. Acland of<br /> Messrs. W. H. Smith and Sons, and had made<br /> the suggestion that there should be an informal<br /> meeting of representatives of bodies interested<br /> —a round table meeting for discussion. The<br /> committee had assented to this course being<br /> taken, but when the matter was laid before the<br /> council, it was referred back by the council<br /> to the committee which, therefore, found it<br /> impossible to go forward. The chairman did<br /> not profess to understand the principles of<br /> library censorship. He had suggested a con-<br /> ference to discuss the whole subject. The<br /> committee wished for it. The council did not,<br /> and so the matter stood.<br /> <br /> Mr. George remarked that this did not.<br /> entirely settle his difficulty and that what<br /> he wanted to obtain from the conference<br /> was a settlement on the part of the libraries<br /> of exactly what it was that determined the<br /> banning of a book. He wished to know<br /> whether it was certain words or certain<br /> definable situations which procured exclusion.<br /> He had no means of knowing what it was<br /> governed the action of the libraries, but he<br /> assumed there must be some rule, and he<br /> thought it would be greatly to the advantage<br /> of the members to know in advance whether a<br /> certain course would or would not cause them<br /> to be banned. They could then decide, .<br /> according to their artistic conscience or to<br /> their commercial desires, whether they would<br /> elect to be banned or not. He accordingly<br /> suggested that he should move a resolution on<br /> the subject, if it would be in order to do so, and<br /> eventually it was moved by him and duly<br /> seconded that ‘‘ A conference composed of<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> two authors, two publishers, two members of<br /> the Libraries Association and two booksellers<br /> be invited to meet, the representatives of such<br /> conference to be appointed by the standing<br /> committees of their respective associations.”<br /> <br /> Mr. Charles Garvice, in support of the resolu-<br /> tion, said that the committee had given the<br /> matter the most earnest consideration, and<br /> he expressed the opinion that if the conference<br /> proposed in the autumn had been held it<br /> might well have led to some definite result.<br /> If the meeting would support unanimously<br /> the resolution moved by Mr. George, the hands<br /> of the committee would be greatly strengthened.<br /> It was not the fact that pressure could not be<br /> brought to bear upon the libraries ; it could<br /> be done through the public. Mr Garvice drew<br /> a humorous picture of the lady who goes to the<br /> lending library and asks for a banned book<br /> and is at once put off by the library assistant<br /> with a different book by a different author,<br /> accepted by the library as innocuous and at a<br /> lower rate than the usual trade one. He<br /> suggested, however, that to take without<br /> murmuring a book which was not the one<br /> asked for was not a necessary and certainly<br /> not a wise course for the library subscriber to<br /> adopt. Experience showed that the libraries<br /> were not inevitably masters of the situation.<br /> <br /> The motion, on being put to the vote, was<br /> carried nemine contradicente, and the pro-<br /> ceedings closed with an unanimous and hearty<br /> vote of thanks to the chairman, proposed by<br /> Mr. Armstrong and seconded by Mr. Anstey<br /> Guthrie.<br /> <br /> ———_1——____—_<br /> <br /> THE U.S.A. AUTHORS’ LEAGUE ON THE<br /> AGENT QUESTION.<br /> <br /> ——+—~ +<br /> <br /> (REPRINTED FROM ‘THE AUTHORS’<br /> BULLETIN.’’)<br /> <br /> EVERAL years ago a young and inexperi-<br /> enced author wrote a one-act play and,<br /> on the representations of a well-meaning<br /> <br /> but misguided friend, entrusted it to the hands<br /> of an inconspicuous agent. There was no<br /> written agreement between this author and<br /> his agent—merely such vague oral understand-<br /> ing as that on which author’s relations with<br /> agents are commonly based. Now the play<br /> happened to be a good play ; and the agent&#039;s<br /> efforts to place it were limited to handing it to<br /> a certain actor, who accepted it at once on<br /> the oral understanding that he was to pay<br /> <br /> the author a fee of $50 for each week in which<br /> <br /> he presented the piece. With this the author<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 225<br /> <br /> was well content, but his enquiries ‘after an<br /> agreement were always met by the agent’s<br /> assurance that it would be all right : he would<br /> draw up the agreement as soon as he could get<br /> round to it. And so the actor went ahead<br /> borrowed money enough (from the author) to<br /> make the production, and had nearly finished<br /> rehearsing the piece when, of a sudden, the<br /> agent announced that he would insist not only<br /> on a commission of 20 per cent. of the author’s<br /> fees but on a commission from the actor of<br /> 10 per cent. of the gross earnings of the play.<br /> That he had not a shadow of right to make<br /> any such demand did not affect his effrontery ;<br /> he persisted unblushingly, to the point of<br /> engaging a shyster lawyer to support his<br /> claim to the sole right to license the production<br /> of the play. About that time the author woke<br /> up and retained a lawyer on his own account,<br /> with the upshot that he was permitted to<br /> license the production of his own play for a fee<br /> of $50 per week, but had to cencede the agent’s<br /> claim to a 20 per cent. commission on that fee.<br /> The play ran for something like eighty weeks<br /> and the agent got $800 commission for a<br /> transaction that had not required more than<br /> half an hour of his time—exclusive of the time<br /> he wasted trying to bleed the actor; and the<br /> author was put to the further expense of the<br /> fees demanded, and earned, by a good lawyer.<br /> <br /> At about the same time the same author<br /> received an enquiry from the secretary of the<br /> (English) Society of Authors, asking him to<br /> investigate statements made to one of his<br /> clients by a certain literary agency. This<br /> concern had sold to a certain American<br /> magazine a series of stories by an English<br /> literary woman, informing her first that the<br /> magazine paid only on publication and later,<br /> when her stories began to appear, that it didn’t<br /> pay until several months after publication.<br /> The American author happened to know the<br /> editor and proprietors of the magazine in<br /> question, and had done a great deal of business<br /> with them, always receiving a cheque on the<br /> first Friday following a sale. So he asked the<br /> editor to explain this odd departure from his<br /> customary methods of business. The editor<br /> promptly produced a receipt signed by the<br /> agent for payment in full for all the stories<br /> and dated the Friday following their accept-<br /> nce.<br /> : The agent first mentioned is believed to<br /> be no longer in any way connected with the<br /> writing game, but the other is still doing<br /> business in New York and, indeed, represents<br /> several prominent members of the Authors’<br /> League. He should have been put out of<br /> <br /> <br />  <br /> <br /> <br /> <br /> 226<br /> <br /> business ; but there was no Authors’ League,<br /> in those days, and the English writer, having at<br /> length received her cheque, refused to move<br /> an action against him through the Society of<br /> Authors. So there is nothing to lead this<br /> agent to believe that he cannot repeat the<br /> offence in his discretion. In fact, he has<br /> repeated it. The present writer met in London<br /> last winter a prominent American author who<br /> spends most of his time abroad. The latter<br /> observed in the course of a discussion of agents :<br /> “ Well, I stick to — Of course I know<br /> he’s tricky, but he’s honest about his dis-<br /> honesty—the one time, that I found out he’d<br /> held up a cheque of mine for some months, he<br /> admitted it and made good.” . . .<br /> <br /> Not very long ago an agent now operating<br /> in New York approached a certain author<br /> for manuscript to market. The author gave<br /> him one story and, at the agent’s invitation,<br /> named $50 as the lowest price he would accept.<br /> The agent sold the story to The Popular<br /> Magazine for $150, paid the author $50, and<br /> pocketed the difference of $100. His explana-<br /> tion was that, although he styled himself an<br /> agent, he was in reality a middle-man, whose<br /> business it was to purchase from authors at<br /> their lowest cash prices (neglecting, however, to<br /> pay cash at the time of purchase—or at all in<br /> the event of no sale) and sell to the highest<br /> bidder, pouching the difference !<br /> <br /> There exists in New York a dramatic agency<br /> which has been conspicuously prosperous for<br /> many years. So far as this writer is aware,<br /> its probity has never been questioned. And<br /> yet when he had occasion, a few weeks ago, to<br /> consult a copy of the printed form of contract<br /> employed by this agency in closing all agree-<br /> ments between manager and author, he dis-<br /> covered that the agency makes itself a third<br /> party to all such contracts—the manager<br /> cannot proceed against the author, and the<br /> author cannot proceed against the manager for<br /> any delinquency under the agreement, without<br /> the full consent and active assistance of the<br /> agent. In other words, the author surrenders<br /> absolutely, under such agreement, all his right<br /> to protect his own interests in his own work ;<br /> if the agent should prove venal and side with a<br /> dishonest manager the author is absolutely<br /> powerless to protect his own property.<br /> <br /> These anecdotes illustrate, doubtless, ex-<br /> treme instances of the dangers latent in the<br /> commonly lax understandings between authors<br /> and agents; but they are strictly true in<br /> every particular. And as long as authors<br /> tolerate such turpitude, so long will they suffer<br /> <br /> <br /> <br /> from it. The remedy is obvious—make an’<br /> <br /> THE AUTHOR. [MAY, 1914,<br /> <br /> agreement with your agent providing that alt<br /> fees and royalties shall be paid to you im<br /> person, and that you shall personally pay the<br /> agent’s commissions. There is no earthly<br /> reason why an agent should not repose the<br /> same trust in his principal as he commonly<br /> insists the principal must repose in him,<br /> especially when he has an agreement enforee-<br /> able through the courts. No reputable agent<br /> can object to such a provision. And there<br /> is at least one who does not object to it. Some<br /> years ago he negotiated an agreement for me<br /> involving an advance of a large sum of money.<br /> My lawyer thoughtfully wrote into the agree-<br /> ment the provision that the payment should<br /> be made to me personally. The agent never<br /> uttered a word of protest, though it was the<br /> first transaction in which we had been asso-<br /> ciated.<br /> <br /> As a matter of fact, no author should employ<br /> an agent except under a written agreement as<br /> carefully formulated as his contract with his<br /> publishers, which agreement should contain,<br /> among other provisions, the following: (1)<br /> That it shall terminate automatically at the<br /> end of six months if the agent has not within<br /> that time secured an acceptable offer for the<br /> work ; (2) that he shall accept no offer without<br /> consulting, and that no agreement shall be<br /> valid unless signed by the author; (3) that<br /> the author shall have the right to sell his work<br /> at any tim2 without consulting the agent, but<br /> with written notice to the agent of his inten-<br /> tion; (5) that the agent’s commission shall<br /> in no case exceed 10 per cent.; (6) that the<br /> total commission shall not exceed an agreed<br /> sum, ceasing automatically when that sum<br /> has been reached ; (7) that all payments shall<br /> be made direct to the author; (8) that the<br /> agent shall keep a record of his efforts to dis-<br /> pose of the work and surrender it to the author<br /> on demand.<br /> <br /> The strict necessity for incorporating the<br /> last provision will perhaps be more readily<br /> understood by those to whom it comes as a<br /> novelty when they consider such circumstances<br /> as the following :<br /> <br /> A woman playwright, not a member of the<br /> Authors’ League, recently sought advice about<br /> securing readings for her plays. She stated<br /> that she had left several plays for over two<br /> years in the hands of a woman agent, who<br /> positively and at all times refused any informa-<br /> tion as to what she was doing or had done with<br /> the plays, treating all such enquiries as reflect-<br /> ing on her ability, good-will and probity.<br /> This playwright has no agreement with her<br /> agent, beyond an oral understanding as to the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> &lt;—<br /> <br /> 2<br /> Fo<br /> ge<br /> A<br /> iG<br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> rate of commission ; she cannot get her manu-<br /> scripts back without a row, has no idea of<br /> their fortunes, and cannot well submit them to<br /> managers of her own choosing, because she<br /> does not know that they have not been so<br /> submitted before and because she fears such<br /> action may hinder the alleged activities of the<br /> bent... :<br /> <br /> Publishers should never sign agreements with<br /> agents who cannot produce written authority<br /> to represent the author in question.<br /> <br /> Many agents make a business of claiming<br /> to represent any and every author for whose<br /> work there is a demand. Of one of this class<br /> a certain Philadelphia editor said: ‘“‘ He will<br /> run down from New York and come boiling<br /> into my office with the claim that he is in a<br /> position to secure me an article, signed by the<br /> Creator ; he’ll name his price, collect a thou-<br /> sand in advance, run back to New York and—<br /> wire me with the last dollar of the advance that<br /> the Creator has refused to sign the said article,<br /> but he can get the devil to sign it for the same<br /> money.”’<br /> <br /> Again, an English agent carries my name on<br /> his letter-head with the claim that he is my<br /> general European representative. He is<br /> nothing of the sort. He once secured per-<br /> mission to sell Swedish translation rights in<br /> some of my novels; that is the sole basis for<br /> his pretensions. But an English publisher<br /> who happened to want some of my work would,<br /> on seeing this claim on the agent’s letterhead,<br /> naturally open negotiations through the agent,<br /> instead of personally with me, thereby sub-<br /> jecting me toa loss of 10 per cent. of my terms.<br /> <br /> Mr. H. G. Wells finds it necessary to adver-<br /> tise regularly in The Author, the organ of the<br /> Society of Authors, to the effect that he does<br /> not employ a literary agent except for special<br /> work, in which case the agent will be able to<br /> produce written authority from Mr. Wells.<br /> <br /> The Society of Authors has drafted a model<br /> form of agent’s agreement, a copy of which is on<br /> file in the office of the Authors’ League. With<br /> certain modifications to cover differences<br /> between American and English conditions, it<br /> is an excellent formula; and it may be con-<br /> sulted by any member of the League, on<br /> application to the Managing Secretary. . - -<br /> <br /> There is still another phase of the agent<br /> i demanding more extended discussion<br /> than is possible in this limited space. It is<br /> the question of the value of an agent to the<br /> beginning author. Beginning authors are<br /> frequently most anxious to enlist the services<br /> of well-known agents, apparently considering<br /> such association in some way a cachet of dis-<br /> <br /> ial casa cm 227<br /> <br /> tinction ; but it is gravely to be doubted<br /> whether their services are worth much to the<br /> beginner. {t is my experience that an author<br /> must make himself known by his own efforts<br /> before the agents will accord his work the<br /> attention it requires. It is obvious that an<br /> agent, no matter how much he may admire<br /> the work of Jonsmith, a new writer, is not<br /> going to give it as much attention as he will<br /> the work of, say Mr. Rudyard Kipling; it<br /> takes as much time—generally, much more—to<br /> sell Jonsmith’s manuscripts, and the commis-<br /> sions are not one-tenth as large, and the agent<br /> pursues his business with the notion of making<br /> the best living he can. Give an agent a manu-<br /> script of Jonsmith’s and a manuscript of Mr.<br /> Kipling’s, with an opening where Jonsmith’s<br /> would fit, and it is Mr. Kipling’s manuscript<br /> that gets sold.<br /> <br /> But the author of this article wishes to<br /> disclaim any animus toward agents qua agents.<br /> He has found them excellent servants, though<br /> he believes the best of them to be poor masters.<br /> And he is satisfied that there are many agents<br /> of immaculate probity. But he would<br /> earnestly advise his fellow-members to take<br /> counsel with the Managing Secretary—who<br /> has at his command the experience of the<br /> entire membership—before entering into<br /> relations with any agent whatsoever.<br /> <br /> The Authors’ League cannot, indeed, fulfil<br /> its first purpose until its members form the<br /> habit of consulting the Managing Secretary<br /> with the same freedom that they would con-<br /> sult their family lawyers, on all matters per-<br /> taining to their literary and dramatic ventures,<br /> and of reporting any irregularities that come<br /> to their notice, with the explicit understanding<br /> that ali such enquiries, complaints and reports<br /> will be respected as strictly confidential and<br /> divulged not even to the Executive Committee<br /> save with consent of the member.<br /> <br /> —____——an-9-4 4-0<br /> <br /> UNITED STATES NOTES.<br /> <br /> HAT competition among authors —or,<br /> perhaps I should rather say, anon<br /> publishers—which takes the ne of<br /> <br /> struggling to get on to the list of best He ee<br /> has an interesting international side to it. .<br /> New York Publishers’ Weekly brings out a<br /> consensus for the year, based on. the ae<br /> of best-selling books during 1913, and in t i<br /> the result of the race between American an<br /> <br /> foreign, that 1s, practically, English writers can<br /> <br /> In fiction the three first places are<br /> <br /> be seen.<br /> <br /> <br />  <br /> <br /> 228<br /> <br /> taken by native authors ; Churchill (“The<br /> Inside of the Cup’’) easily first, Harrison<br /> (‘“ V. V.’s Eyes ”) second, and Stratton-Porter<br /> (‘* Laddie ”’) third. The last-named only just<br /> beat the first English author, Parker (“* The<br /> Judgment House ”’). Another American comes<br /> fifth, Fox (‘‘ The Heart of the Hills’); and<br /> then two more English writers, Farnol (** The<br /> Amateur Gentleman ’’), and Hall Caine (“* The<br /> Woman Thou Gavest Me”). Consequently,<br /> Englishmen may be said to hold their own very<br /> successfully in the first seven, though lower<br /> down the list becomes preponderatingly<br /> American. In non-fiction the first four places<br /> go to Americans—Lee (“ Crowds ’’), Collier<br /> (“Germany and the Germans”’), Frank<br /> (‘* Zone Policeman 88 ”’), and President Wilson<br /> (“The New Freedom’’). Viscount Bryce<br /> (‘South America”), and Arnold Bennett<br /> (‘‘ Your United States ”) secure the next two<br /> places for England. A larger number of<br /> foreign authors, including French and Belgian,<br /> figure below the leaders than in the fiction class.<br /> <br /> So much for 1918. In coming to the present<br /> year, the first point that strikes one is that the<br /> early months do not seem to have been very<br /> brisk. I say ‘“‘do not seem,” because, as a<br /> matter of fact, I have not seen any figures,<br /> and so do not know whether the appearance<br /> is supported by reality. I shall attempt the<br /> usual classification of the books, among which,<br /> some at least, may be expected to survive the<br /> test of time.<br /> <br /> The biographies are not as numerous or as<br /> important as when last I wrote. To the com-<br /> plete edition of the works of James Whitcomb<br /> Riley there is prefixed an authorised sketch of<br /> Riley’s life by E. H. Hitel, the editor. Oswald<br /> Garrison Villard has produced a life of ‘‘ John<br /> Brown,’ C. S. Alden one of ‘‘ Commodore<br /> Perkins, U.S.N.” “A Sunny Life,’”’ by Isabel<br /> Barrows, is a record of the career of Samuel<br /> Jane Barrows. Brand Whitlock writes his<br /> own life, or part of it, under the title of ‘‘ Forty<br /> Years of It’?; and Mr. S. S. McClure is the<br /> author of ‘“‘ My Autobiography.” The edition<br /> of the “ Journals of Ralph Waldo Emerson,”’<br /> by E. W. Emerson and W. E. Forbes, may<br /> perhaps be included also under biography.<br /> Another work on an inexhaustible subject is<br /> ““The Everyday Life of Abraham Lincoln,”’<br /> by Francis I’. Browne.<br /> <br /> Later biographical publications are: ‘‘ My<br /> First Years as a Frenchwoman,” by Mary King<br /> Waddington ; “ Our Friend John Burroughs,”<br /> by Clara Barrus; ‘Thomas Wentworth<br /> Higginson,” by his widow; ‘‘ Landmarks<br /> of a Lawyer’s Lifetime,’ by Theron Strong ;<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> and ‘Confederate Portraits,’ by Gamaliel<br /> Bradford.<br /> <br /> The history section may commence with<br /> Admiral Mahon’s ‘“‘ Major Operations of the<br /> Navies in the War of American Independence.”<br /> George L. Rivés writes on “* The United States<br /> <br /> and Mexico’”’?; M. M. Quaife on ‘‘ Chicago and.<br /> <br /> the Old North-West, 16783—1835”; E. D.<br /> Adams on ‘‘ The Power of Ideals in American<br /> History’; G. W. James on ‘“‘ The Old Fran-<br /> ciscan Missions of California.” ‘‘ Readings in<br /> American History ”’ is by Professor J. J. Alton.<br /> Two other professors write on historico-legal<br /> subjects, C. G. Haines on ‘‘ The American Doc-<br /> trine of Judicial Supremacy,” and E.S8. Corwin<br /> on ‘“‘ National Supremacy : Treaty Power versus<br /> <br /> State Power.’ ‘“‘ The Tariff History of the .<br /> <br /> United States ” is by Professor Taussig.<br /> <br /> Professor Dean C. Worcester has out his<br /> expected book on ‘‘ The Philippines.”” Another<br /> work about the same part of the world is ‘“‘ The<br /> Philippine Problem,” by Frederick Chamberlin.<br /> J. K. Goodrich tells of ‘* The Coming Hawaii ” ;<br /> J. Saxon Mills writes about ‘‘ The Panama<br /> Canal,’ which is also the title of a book by<br /> Frederick Haskin, and Albert Edwards about<br /> “The Barbary Coast.” ‘Across Siberia<br /> Alone” is by a lady, Mrs. J. C. Lee; while<br /> adventure of another kind is the subject of<br /> “Alone in the Wilderness,” by Joseph<br /> Knowles, the Boston artist who plunged<br /> into the woods naked, foodless, and weaponless<br /> —and emerged alive. ‘‘ The Ascent of Denali<br /> (Mount McKinley)” is by the Archdeacon of<br /> the Yukon, Dr. Hudson Stuck, who also has<br /> produced “‘ Ten Thousand Miles with a Dog-<br /> Sled.” General Rafael Reyes, ex-President<br /> of Colombia, deals with ‘‘ The Two Americas,”<br /> and Sidney Gulick with ‘‘ The American-<br /> Japanese Problem.”<br /> <br /> Two sociological works are “‘ Heredity and<br /> Sex,” T. Hunt Morgan’s Columbia University<br /> lectures, and ‘‘ The Family and Society,” by<br /> Professor J. M. Gillette. President J. H<br /> Baker, of Colorado University, is the author of<br /> ‘‘ Educational Aims and Civic Needs.” Edwin<br /> Brown writes “‘ Broke,”’ a tramp’s record, and.<br /> Adelaide Popp, ‘‘The Autobiography of a<br /> Working Woman.” In “‘ Love and the Soul-<br /> Maker’ Mary Austin deals with relations.<br /> between men and women.<br /> <br /> ‘“‘ Nietzsche and Other Exponents of Indi-.<br /> <br /> vidualism ” is the name of the latest work by<br /> Dr. Paul Carus, editor of the Open Court.<br /> <br /> H. E. Krehbiel, whom Lafeadio Hearn’s.<br /> admirers will remember as his American<br /> musical friend, has a book on “‘ Afro-American<br /> Folk-Songs.”<br /> <br /> 5<br /> B<br /> 4<br /> <br /> j<br /> i<br /> oe<br /> a<br /> <br /> <br /> <br /> <br />  <br /> <br /> MAY, 1914.]<br /> <br /> A remarkable feature in the novel list is the<br /> great number of feminine names among the<br /> authors this time—over 50 per cent. among<br /> those which I have picked out for mention.<br /> The order, I may note, has no significance.<br /> Mary Roberts Rinehart has written ‘* The<br /> After House’’?; Kate L. Bosher, ‘‘ The House<br /> of Happiness”; Jane Stone, ‘“‘The New<br /> Man’; H. K. Webster, “ The. Butterfly ”’ ;<br /> David Lisle, ‘“‘The Soul of Life’’; Anne<br /> Warner, ‘Sunshine Jane’’; Eleanor H.<br /> Porter, ‘‘ Miss Billy—-Married ’’; Zane Gray,<br /> “The Light of Western Stars”; Harold<br /> MacGrath, ‘‘ Pidgin Island’’; Beulah Marie<br /> Dix, ‘‘ Mother’s Son’’; Samuel Merwin,<br /> ** Anthony the Absolute’’; and Gouverneur<br /> Morris, ‘‘The Incandescent Lily.” With<br /> ** Diane of the Green Van,’’ Leona Dalrymple<br /> won a ten thousand dollar competition.<br /> ““Westways’”’ is by the late Weir Mitchell.<br /> ““The Red Emerald,” by John Reed Scott,<br /> and ‘‘ The White Sapphire,” by L. F. Hartman,<br /> make up a curious coincidence in nomen-<br /> elature. ‘“‘A Wise Son” is by Charles<br /> Sherman; ‘“ Victory Law,’ by Anne War-<br /> wick; ‘‘The Desert and Mrs. Ajax,” by<br /> E. S. Moffat; ‘‘ The Congresswoman,” by<br /> Isabel Curtis; ‘“‘ Van Cleve,” by Mrs. Watts ;<br /> “Dark Hollow,” by Anna Katherine Green ;<br /> ** Penrod,” by Booth Tarkington; ‘‘ The<br /> Substance of his House,’ by Ruth Holt<br /> Boucicault ; ‘‘ The Peacock’s Feather,” by<br /> Leslie Moore; ‘‘ The Precipice,’ by Elia<br /> Peattie; ‘‘ Kazan,” by J. O. Curwood ; “* The<br /> First Step,’’ by Eliza Orne White; ‘‘ World’s<br /> End,” by Amélie Rives; and ‘‘ Shea of the<br /> Irish Brigade,’’ by Randall Parrish. Three<br /> anonymous novels are “‘ Home,’ which ran<br /> serially in the Century Magazine before appear-<br /> ing in- book form; “ Overland Red’’; and<br /> ‘“* My Wife’s Hidden Life.’’ It seems that the<br /> practice of suppressing the author’s name, in<br /> order to provoke curiosity, is spreading on<br /> both sides of the Atlantic.<br /> <br /> Having had to reopen this letter I may add<br /> the names of the following later novels:<br /> L. J. Vance’s “The Lone Wolf’; C. T.<br /> Brady’s ‘“‘ The Sword Hand of Napoleon ” ;<br /> H. B. Wright’s “The Eyes of the World”<br /> Carolyn Wells’s ‘Anybody but Anne”<br /> G. B. McCutcheon’s ‘‘ Black is White” ;<br /> Grace Lutz’s ‘‘The Best Man”; Rupert<br /> Hughes’s ‘“‘ What will the People Say?” ;<br /> Doris Egerton Jones’s “‘ Peter Piper”; Vir-<br /> ginia Brooks’s “ Lost Little Sister”; B. W.<br /> Sinclair’s ‘‘ North of Fifty-Three”; and<br /> Caroline Lockhart’s ‘‘ The Full of the Moon.”<br /> <br /> The ‘‘ Authors’ League of America” on<br /> <br /> we vee<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 229<br /> <br /> February 14 held their first annual dinner, at<br /> the Hotel Biltmore, New York. Professor<br /> W. Milligan Sloane, of Colombia University,<br /> presided, Mr. W. J. Bryan, Secretary of State,<br /> was the guest of the evening, and the company<br /> has been described as the most distinguished<br /> body of literary persons ever assembled in<br /> America. Including members and_ guests,<br /> thére were 442 present in all. The League has<br /> now moved to new headquarters at 122, East<br /> 17th Street, New York, which was the home<br /> of Washington Irving late in life.<br /> <br /> Since I last wrote, the most notable death<br /> has been that of Dr. S. Weir Mitchell, who<br /> succumbed to influenza at his home in Phila-<br /> delphia on the fourth day of the present year.<br /> His literary work is so well known in England,<br /> I imagine, that it is unnecessary to refer to it<br /> here ; but it may be mentioned that he was a<br /> prolific medical writer as well as novelist, poet,<br /> ete. He was 84 years of age.<br /> <br /> Captain F. H. Brownson, who died near the<br /> end of the Old Year, combined the professions<br /> of soldier, lawyer, and author. He trans-<br /> lated from the Italian and Spanish several<br /> works, and also wrote on masonry, religion,<br /> and_ politics. Another soldier-author was<br /> James Grant Wilson, who wrote a life of his<br /> old general, Ulysses Grant, and other military<br /> works. He was editing ‘The Lives of the<br /> Presidents of the United States ”’ when he was<br /> carried off. Charles Edmund Dana, who died<br /> in February, wrote a book called ‘‘ Glimpses<br /> of English History,’’ but was better known as<br /> an art critic. February also proved fatal to<br /> Mrs. Marie Robinson Wright, a great traveller<br /> in Central and Southern America, about the<br /> various countries of which she produced a<br /> number of books. George William Sheldon,<br /> who died in New Jersey, will be remembered<br /> in London as the literary adviser in London<br /> to the firm of Appleton between 1890 and 1900.<br /> His own writings were chiefly concerned<br /> with art and artists. Major-General Joshua<br /> Chamberlain (a third soldier author, by the<br /> way), who died on February 24, dealt with<br /> historical and political subjects in a number<br /> of books. He was one of the heroes of<br /> Gettysburg.<br /> <br /> Deaths in March include Frederick Townsend<br /> Martin (in London); J. B. Dunbar, an<br /> authority upon the Pawnee Indians ; Professor<br /> R. B. Richardson, whose writings were<br /> classical and archeological ; and Mrs. Frances<br /> Squire Potter, Professor at Minnesota Univer-<br /> sity, suffragist, and author.<br /> <br /> Putue Wa.sit.<br /> <br /> <br />  <br /> <br /> 230 THE AUTHOR. [MAY, 1914:<br /> <br /> SALE OF COPYRIGHT IN A BOOK.<br /> <br /> —<br /> <br /> N an article in The Author of April 1 it<br /> I was stated that ‘‘in the early days of<br /> the Society it was by no means an<br /> uncommon practice for publishers to purchase<br /> authors’ works outright for a lump sum.”<br /> This rather suggests that in the year 1913 it<br /> would be surprising to find a publisher or<br /> editor who would desire to purchase an<br /> author’s copyright for a lump sum rather<br /> than to pay him a royalty. Probably, how-<br /> ever, it was intended rather to convey that<br /> the publisher who has had to do with the<br /> Society, and who is aware that he is dealing<br /> with one of its members, would hesitate to<br /> suggest such a transaction, or at any rate<br /> would not be likely to press it. There are,<br /> it is submitted, plenty of offers made to<br /> authors to deal on the terms that they shall<br /> have money down in exchange for their rights,<br /> and a good many authors who are not unwilling<br /> to accept such terms. They may very likely<br /> not be members of the Society, and so may<br /> not have read its warnings not to sell literary<br /> property outright, or only to do so under the<br /> advice of the secretary, or of a competent<br /> agent. If, however, writers insist upon waiting<br /> until they get into trouble before joining the<br /> Society, there are naturally many who only<br /> learn the pitfalls of authorship by falling into<br /> them. An author once bit is probably shy<br /> on the next occasion. If he has discovered<br /> from the large sale of a book of which he has<br /> sold the copyright, that he has lost and that<br /> the publisher has been the gainer by the<br /> method of business adopted, he will stand out<br /> for royalties on the second occasion. It may<br /> be observed however that he will not have any<br /> account of its sales supplied to him by his<br /> publisher and so will have no definite figures<br /> to rely upon when he wishes to cite the success<br /> of his first work in endeavouring to secure<br /> good terms from the publisher of his second.<br /> There must be a good many occasions where<br /> a man writes one or perhaps two or three<br /> books, not because he wants to write or has<br /> any need to do so from a pecuniary point of<br /> view, but because a certain book is wanted<br /> and he is the particular man to do it. A great<br /> man may die, a statesman or a soldier, for<br /> example, and leave behind him material for<br /> a work which his relatives may well desire to<br /> see published, and there may be a son or<br /> nephew perfectly qualified to write his biography<br /> oe ee his letters, who in ordinary circum-<br /> : would probably never have produced<br /> <br /> a book. Public interest may be temporarily<br /> riveted upon some scientific discovery, in<br /> investigations relating to a disease, or ina social<br /> or religious question of absorbing interest and<br /> of some obscurity. Naturally when an enter-<br /> prising publisher is looking for material it may<br /> strike him that a book on a special topic such<br /> as these, written by as eminent an authority<br /> as his estimate of cost will stand (or at any<br /> rate by a sure hand who will do what is wanted<br /> correctly), will be a safe investment. It can<br /> easily be understood that in any of the circum-<br /> stances suggested a sum down for all rights.<br /> is likely to be offered and accepted. The<br /> vendor is not accustomed to such transactions<br /> and is glad to have a chance of concluding the<br /> business part of his undertaking at once,<br /> without any need to trouble himself further<br /> about it. The purchaser is not so unaccus-<br /> tomed, and if he has made up his mind that<br /> a speculation is likely to be profitable, he is<br /> naturally anxious that it should be as profitable:<br /> (to himself) as possible ; besides which he can<br /> act with independence if he has the whole<br /> matter in his own hands without need to<br /> consult anyone over any particular point that<br /> may arise. He probably can make himself<br /> safe in any case, but if he buys outright the<br /> profits (if there is success) will be larger than<br /> if he has to go on sharing them for ever with<br /> someone else. Besides which he may, as has<br /> been suggested above, be the person who has.<br /> started the idea of the book, and it is only<br /> natural that if he makes an offer he should<br /> make the one which will suit him best. It is.<br /> equally natural, however, that the Society<br /> should advise the author, if he comes to it for<br /> advice, not to accept such terms. They are<br /> the terms which the trade most readily offers.<br /> to the amateur, and which are more likely to<br /> be accepted by him if he is an amateur and the<br /> less experience he has, than by one who has<br /> qualified himself by previous dealings to<br /> dictate terms on his side, and gained the<br /> knowledge that he ought to do so. Very much<br /> the same thing takes place in picture dealing.<br /> The owner of an old master not perhaps of<br /> sufficient merit to command its value at<br /> auction approaches a dealer. He expects,<br /> perhaps, that the latter will offer to sell the<br /> picture for him taking a specified commission<br /> for which he will undertake to obtain the best<br /> price that professional skill can bargain for.<br /> The would-be seller is, however, much more<br /> likely to be told by the dealer that if he will<br /> name a price himself, he (the dealer) will be<br /> content to take anything realised above that<br /> ptice as his share in the profits. There again<br /> <br /> <br />  <br /> <br /> MAY, 1914.3<br /> <br /> the professional treating with the amateur<br /> endeavours to make the best bargain possible<br /> for himself, and he very often succeeds.<br /> That, however, is no reason why the amateur<br /> should not be advised to resist, even though<br /> to do so may imperil his chance of making<br /> any bargain at al]. Whether he runs a serious<br /> risk of losing his deal altogether depends upon<br /> circumstances, which vary according to parti-<br /> cular cases. The author is spoken of above<br /> as an amateur because his business is to<br /> write ; to sell what he writes may be incidental<br /> to authorship, but is not the author’s busi-<br /> ness. Buying and selling literary matter is<br /> the business of the publisher.<br /> <br /> Now, the reasons for the author refusing to<br /> part with his copyright for a sum down, or,<br /> indeed, to part with it at all, are not entirely<br /> connected with the question of relative<br /> pecuniary profit. It is a matter of importance<br /> to authors, or to most authors, that they<br /> should get as much for their books as possible,<br /> and it is to most authors, whether money is of<br /> importance to them or not, extremely galling<br /> to see large profits obviously accruing to others<br /> and lost to themselves because in a moment<br /> of weakness, possibly of financial weakness,<br /> they made a bad bargain. The matter,<br /> however, is not ended when this is said. The<br /> man or woman who sells a copyright for a<br /> sum down, with no provision for royalties,<br /> or for any future profits, if editions are multi-<br /> plied as the result of success, presumably<br /> retains no control whatever over future<br /> editions, or over the conditions under which<br /> they will be published. There may be no<br /> obligation upon him to make any revision, and<br /> none upon the publisher to ask him for any<br /> such correction, or to permit him to make any.<br /> This may seem to be matter of little moment<br /> (to take an example from what has been<br /> suggested above) to the young scientist or<br /> theologian who has gladly accepted a fairly<br /> liberal offer for an exposition of his views,<br /> probably perfectly correct and _ generally<br /> interesting at the time, upon a topic of science<br /> or theology. It may be a very different affair<br /> twenty-five years later for a medical baronet<br /> or for a bishop, who has perhaps almost<br /> forgotten a pamphlet which others have quite<br /> forgotten or never realised as his, to find that<br /> an enterprising publisher has just grasped the<br /> fact that one of his former authors (whom he<br /> has long paid in full) is now a very eminent<br /> person, and that he has republished his book.<br /> <br /> The scientific or theological treatise may<br /> have correctly represented the accepted views<br /> of the best scientists and the most orthodox<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 231<br /> <br /> theologians some years before, or may have<br /> been to some extent coloured by the personal<br /> views of an author whom no one then troubled<br /> himself to criticise or correct. Appearing as.<br /> an exposition of the views of a leading authority<br /> in his profession, with a full statement of the<br /> dignities which his learning has won for him,<br /> and with no suggestion that the work is early,<br /> immature, and perhaps entirely out of date,<br /> such a book is likely to cause acute distress.<br /> to an author who by his own imprudent act<br /> has lost all power to prevent its publication.<br /> <br /> There is again to be considered the pos sibility<br /> that the author who, when young, has written<br /> a book on a special topic may wish to remodel<br /> it and to republish it in a more important form<br /> when he has thoroughly established himself as<br /> an authority on that topic. It will be par-<br /> ticularly galling for him to find that he cannot<br /> use his previous title again or perhaps any of<br /> his previously used material because to do so-<br /> would be to infringe upon rights which he has<br /> assigned to another.<br /> <br /> Wherefore it is not altogether a question<br /> of whether the offer made is the most profitable<br /> one which can be obtained. It is for the<br /> author to ask himself also: Is this a book<br /> of which it is important that I should keep<br /> control, at any rate to some extent ?<br /> <br /> There are other circumstances in which the<br /> manner of publication selected may be objec-<br /> tionable to the author besides those indicated,<br /> and, of course, what has been said as to books<br /> applies also to articles and contributions to<br /> periodical literature and encyclopedias. It is<br /> a question of entrusting that in which its<br /> author’s interest is rather more than merely<br /> commercial to those whose interest in it will<br /> be commercial only. It is a question of losing<br /> control over that of which the law has given<br /> its author control for his own good and as a<br /> valuable right, and not only for his profit.<br /> He has some control, even in these days of<br /> snapshots and cinematograph films over repro-<br /> ductions of his own features. If he chooses to<br /> part with the copyright in a portrait of himself<br /> by letting a photographer take it on the terms<br /> that the latter shall supply him with a few<br /> free copies and own the copyright, he can only<br /> complain afterwards effectively if some use<br /> made of it should come within the law of libel.<br /> Before this occurs he may be made ridiculous.<br /> on many occasions in a lesser degree without<br /> having any power to prevent it. The original<br /> purchaser of the copyright may not be to<br /> blame in the case of a book or of a photograph.<br /> He may become impecunious or bankrupt, and.<br /> the right to reproduce may pass on sale, and<br /> <br /> <br />  <br /> <br /> <br /> <br /> 230<br /> SALE OF COPYRIGHT IN A BOOK.<br /> <br /> —1—&gt;— + —<br /> <br /> N an article in The Author of April 1 it<br /> I was stated that ‘in the early days of<br /> the Society it was by no means an<br /> uncommon practice for publishers to purchase<br /> authors’? works outright for a lump sum.<br /> This rather suggests that in the year. 1913 it<br /> would be surprising to find a publisher or<br /> editor who would desire _ to purchase an<br /> author’s copyright for a lump sum rather<br /> than to pay him a royalty. Probably, how-<br /> ever, it was intended rather to convey that<br /> the publisher who has had to do with the<br /> Society, and who is aware that he is dealing<br /> with one of its members, would hesitate to<br /> suggest such a transaction, or at any rate<br /> would not be likely to press it. There are,<br /> it is submitted, plenty of offers made to<br /> authors to deal on the terms that they shall<br /> have money down in exchange for their rights,<br /> and a good many authors who are not unwilling<br /> to accept such terms. They may very likely<br /> not be members of the Society, and so may<br /> not have read its warnings not to sell literary<br /> property outright, or only to do so under the<br /> advice of the secretary, or of a competent<br /> agent. If, however, writers insist upon waiting<br /> until they get into trouble before joining the<br /> Society, there are naturally many who only<br /> learn the pitfalls of authorship by falling into<br /> them. An author once bit is probably shy<br /> on the next occasion. If he has discovered<br /> from the large sale of a book of which he has<br /> sold the copyright, that he has lost and that<br /> the publisher has been the gainer by the<br /> method of business adopted, he will stand out<br /> for royalties on the second occasion, It may<br /> be observed however that he will not have any<br /> account of its sales supplied to him by his<br /> publisher and so will have no definite figures<br /> to rely upon when he wishes to cite the success<br /> of his first work in endeavouring to secure<br /> good terms from the publisher of his second.<br /> There must be a good many occasions where<br /> a man writes one or perhaps two or three<br /> books, not because he wants to write or has<br /> any need to do so from a pecuniary point of<br /> view, but because a certain book is wanted<br /> and he is the particular man to do it. A great<br /> man may dic, a statesman or a soldier, for<br /> example, and leave behind him material for<br /> a work which his relatives may well desire to<br /> see published, and there may be a son or<br /> nephew perfectly qualified to write his biography<br /> and to edit his letters, who in ordinary circum-<br /> stances would probably never have produced<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914,<br /> <br /> a book. Public interest may be temporarily<br /> riveted upon some scientific discovery, in<br /> investigations relating to a disease, or in a social’<br /> or religious question of absorbing interest and<br /> of some obscurity. Naturally when an enter-<br /> prising publisher is looking for material it may<br /> strike him that a book on a special topic such.<br /> as these, written by as eminent an authority<br /> as his estimate of cost will stand (or at any<br /> rate by a sure hand who will do what is wanted<br /> correctly), will be a safe investment. It can<br /> easily be understood that in any of the cireum-<br /> stances suggested a sum down for all rights.<br /> is likely to be offered and accepted. The<br /> vendor is not accustomed to such transactions<br /> and is glad to have a chance of concluding the<br /> business part of his undertaking at once,<br /> without any need to trouble himself further<br /> about it. The purchaser is not so unaccus~<br /> tomed, and if he has made up his mind that<br /> a speculation is likely to be profitable, he is<br /> naturally anxious that it should be as profitable:<br /> (to himself) as possible ; besides which he can<br /> act with independence if he has the whole<br /> matter in his own hands without need to<br /> consult anyone over any particular point that<br /> may arise. He probably can make himself<br /> safe in any case, but if he buys outright the<br /> profits (if there is success) will be larger than<br /> if he has to go on sharing them for ever with<br /> someone else. Besides which he may, as has<br /> been suggested above, be the person who has.<br /> started the idea of the book, and it is only<br /> natural that if he makes an offer he should<br /> make the one which will suit him best. It is<br /> equally natural, however, that the Society<br /> should advise the author, if he comes to it for<br /> advice, not to accept such terms. They are<br /> the terms which the trade most readily offers<br /> to the amateur, and which are more likely to<br /> be accepted by him if he is an amateur and the<br /> less experience he has, than by one who has<br /> qualified himself by previous dealings to<br /> dictate terms on his side, and gained the<br /> knowledge that he ought todo so. Very much<br /> the same thing takes place in picture dealing.<br /> The owner of an old master not perhaps of<br /> sufficient merit to command its value at<br /> auction approaches a dealer. He expects,<br /> perhaps, that the latter will offer to sell the<br /> picture for him taking a specified commission<br /> for which he will undertake to obtain the best<br /> price that professional skill can bargain for.<br /> The would-be seller is, however, much more<br /> likely to be told by the dealer that if he will<br /> name a price himself, he (the dealer) will be<br /> content to take anything realised above that<br /> ptice as his share in the profits. There again<br /> <br /> 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.)<br /> <br /> the professional treating with the amateur<br /> endeavours to make the best bargain possible<br /> for himself, and he very often succeeds.<br /> That, however, is no reason why the amateur<br /> should not be advised to resist, even though<br /> to do so may imperil his chance of making<br /> any bargain at all. Whether he runs a serious<br /> risk of losing his deal altogether depends upon<br /> circumstances, which vary according to parti-<br /> cular cases. The author is spoken of above<br /> as an amateur because his business is to<br /> write ; to sell what he writes may be incidental<br /> to authorship, but is not the author’s busi-<br /> ness. Buying and selling literary matter is<br /> the business of the publisher.<br /> <br /> Now, the reasons for the author refusing to<br /> part with his copyright for a sum down, or,<br /> indeed, to part with it at all, are not entirely<br /> connected with the question of relative<br /> pecuniary profit. It is a matter of importance<br /> to authors, or to most authors, that they<br /> should get as much for their books as possible,<br /> and it is to most authors, whether money is of<br /> importance to them or not, extremely galling<br /> to see large profits obviously accruing to others<br /> and lost to themselves because in a moment<br /> of weakness, possibly of financial weakness,<br /> they made a bad bargain. The matter,<br /> however, is not ended when this is said. The<br /> man or woman who sells a copyright for a<br /> sum down, with no provision for royalties,<br /> or for any future profits, if editions are multi-<br /> plied as the result of success, presumably<br /> retains no control whatever over future<br /> editions, or over the conditions under which<br /> they will be published. There may be no<br /> obligation upon him to make any revision, and<br /> none upon the publisher to ask him for any<br /> such correction, or to permit him to make any.<br /> This may seem to be matter of little moment<br /> (to take an example from what has been<br /> suggested above) to the young scientist or<br /> theologian who has gladly accepted a fairly<br /> liberal offer for an exposition of his views,<br /> probably perfectly correct and generally<br /> interesting at the time, upon a topic of science<br /> or theology. It may be a very different affair<br /> twenty-five years later for a medical baronet<br /> or for a bishop, who has perhaps almost<br /> forgotten a pamphlet which others have quite<br /> forgotten or never realised as his, to find that<br /> an enterprising publisher has just grasped the<br /> fact that one of his former authors (whom he<br /> has long paid in full) is now a very eminent<br /> person, and that he has republished his book.<br /> <br /> The scientific or theological treatise may<br /> have correctly represented the accepted views<br /> of the best scientists and the most orthodox<br /> <br /> THE AUTHOR. ae<br /> <br /> theologians some years before, or may have<br /> been to some extent coloured by the personal<br /> views of an author whom no one then troubled<br /> himself to criticise or correct. Appearing as.<br /> an exposition of the views of a leading authority<br /> in his profession, with a full statement of the<br /> dignities which his learning has won for him,<br /> and with no suggestion that the work is early,<br /> immature, and perhaps entirely out of date,<br /> such a book is likely to cause acute distress<br /> to an author who by his own imprudent act<br /> has lost all power to prevent its publication.<br /> <br /> There is again to be considered the possibility<br /> that the author who, when young, has written<br /> a book on a special topic may wish to remodel<br /> it and to republish it in a more important form<br /> when he has thoroughly established himself as<br /> an authority on that topic. It will be par-<br /> ticularly galling for him to find that he cannot<br /> use his previous title again or perhaps any of<br /> his previously used material because to do so:<br /> would be to infringe upon rights which he has.<br /> assigned to another.<br /> <br /> Wherefore it is not altogether a question<br /> of whether the offer made is the most profitable<br /> one which can be obtained. It is for the<br /> author to ask himself also: Is this a book<br /> of which it is important that I should keep<br /> control, at any rate to some extent ?<br /> <br /> There are other circumstances in which the<br /> manner of publication selected may be objec-<br /> tionable to the author besides those indicated,<br /> and, of course, what has been said as to books<br /> applies also to articles and contributions to<br /> periodical literature and encyclopedias. It is<br /> a question of entrusting that in which its<br /> author’s interest is rather more than merely<br /> commercial to those whose interest in it will<br /> be commercial only. It is a question of losing<br /> control over that of which the Jaw has given<br /> its author control for his own good and as a<br /> valuable right, and not only for his profit.<br /> He has some control, even in these days of<br /> snapshots and cinematograph films over repro-<br /> ductions of his own features. If he chooses to<br /> part with the copyright in a portrait of himself<br /> by letting a photographer take it on the terms<br /> that the latter shall supply him with a few<br /> free copies and own the copyright, he can only<br /> complain afterwards effectively if some use<br /> made of it should come within the law of libel.<br /> Before this occurs he may be made ridiculous.<br /> on many occasions in a lesser degree without<br /> having any power to prevent it. The original<br /> <br /> purchaser of the copyright may not be to<br /> <br /> blame in the case of a book or of a photograph.<br /> bankrupt, ~~<br /> an<br /> <br /> He may become impecunious or<br /> the right to reproduce may pass on sale,<br /> <br /> <br />  <br /> <br /> <br /> <br /> 932<br /> <br /> may be a valuable property to one who, it<br /> cannot be repeated too often, will have no<br /> interest in it but a purely commercial one.<br /> As the Encyclopedia Britannica patronisingly in<br /> its article upon publishing says of the Society of<br /> Authors: “It offered useful assistance to authors<br /> ignorant of business in the way of examining<br /> contracts.” It docs so still, and included in<br /> that advice is the recommendation as a general<br /> rule to refuse to part with all control over a<br /> copyright and to refuse to take a sum down<br /> as consideration for the right to publish,<br /> unless special circumstances of the case render<br /> this desirable or inevitable.<br /> <br /> CORRESPONDENCE.<br /> <br /> —_-—&lt;&gt;— +<br /> AGENTS versus BRAINS.<br /> <br /> Dear Sir,—I have received an offer of<br /> ideas from a literary bureau which is a reve-<br /> lation to me, and, I think, a glimpse at the<br /> terms at which brains are supplied by agents<br /> ought to serve as a warning to would-be<br /> ‘writers who may not be aware of the condition<br /> of the literary market. The prospectus I<br /> ‘received offered me :—<br /> <br /> (1) Plots of love, humorous and sensational<br /> short stories, 2s. each.<br /> <br /> (2) Ideas for humorous, interesting, instruc-<br /> tive and personal articles, 2s. each.<br /> <br /> (3) Jokes suitable for illustration or other-<br /> wise, 2s. each.<br /> <br /> (4) Ideas for new competitions, 2s. each.<br /> <br /> (5) Notes for speeches, sermons, addresses<br /> ‘on any subject, 2s. per 100 words.<br /> <br /> (6) Topical and other facts and information<br /> ‘written up in fiction and article form, 2s. per<br /> 100 words.<br /> <br /> (7) Research and compilation, 2s. per hour.<br /> <br /> (8) Scenarios and synopses for plays, serials,<br /> ‘and novels, 2s. per 100 words, etc., ete., etc.<br /> -All on the bargain counter, 2s. a piece ! !<br /> <br /> This is not a solitary case. Daily “ ghost<br /> ‘work ” is supplied at prices that makes one<br /> ‘Shudder at the traffic in brains going on in our<br /> midst.<br /> <br /> Is there no hope of organised literary labour<br /> and a minimum wage for writers ?<br /> <br /> A FREELANCE.<br /> <br /> ——— —<br /> “Tam LITERARY YEAR-Book.”’<br /> <br /> Sir,—My attention has been drawn to an<br /> advertisement appearing on the front page of<br /> Lhe Atheneum of 11th inst., under the heading<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> ** Miscellaneous,”” wherein the advertiser seeks<br /> capital to finance the production of a “ Literary<br /> Year-Book.” T&#039;o avoid misapprehension in<br /> the minds of those who may have seen. this<br /> advertisement, I write to say that it has<br /> nothing to do with ‘“‘ The Literary Year-Book,”<br /> of which I have been editor and proprietor<br /> since 1909, and which has been published<br /> annually since 1897, and is now published by<br /> Heath, Cranton and Ouseley, Ltd. I should<br /> be much obliged if you would kindly give<br /> publicity in your next issue to this disclaimer.<br /> <br /> Basin STEWART.<br /> <br /> —1——+—.<br /> <br /> MaGAZINE PAYMENTS.<br /> <br /> Dear Srr,—Can you enlighten me as to<br /> whether there is any principle governing the<br /> rate of payment for short stories in our monthly<br /> magazines ? In a writers’ Year-Book I find<br /> such payments as “ a guinea per 1,000 words,”<br /> “10s. 6d. a column,” “a guinea per page,”<br /> and even a “ guinea and a half.” Also, I<br /> observe, “‘ payment by arrangement with the<br /> editors,” ‘‘ payments according to value.”<br /> <br /> Let me relate my experiences.<br /> <br /> Some time ago, a friend and I belonged to an<br /> amateur magazine, and were inspired by our<br /> critic’s praises to fly higher. She sent a short<br /> story toa ls. magazine ; I, less bold, sent mine<br /> (11,345 words in length) to a 6d. one. Both<br /> were accepted and printed. Hers occupied<br /> sixteen pages; mine, eighteen much larger<br /> ones. On publication, she received seven<br /> guineas. Mine appeared with a greater<br /> flourish ; its title and my name were placed,<br /> with one other, as “‘ Special Contents,” at the<br /> top of the magazine cover. Four months<br /> after publication, after repeated applications,<br /> I received the magnificent sum of one guinea,<br /> and I shall never believe there had ever been<br /> an intention to pay me even that amount.<br /> Thus my friend was paid 9s. 2}d. per page ;<br /> I, for larger pages, 1s. 2d.—that amounts to<br /> 1s. 2d. per 680 words. Later, I tried her 1s.<br /> magazine. For four and a_ half pages<br /> (2,083 words) I received 81. i.e., 188. 4d. per<br /> page. I ‘“‘ got into” another 1s. magazine<br /> with a twelve-page story, and was paid three<br /> <br /> uineas, 5s. 8d. per page. In each case the<br /> <br /> S. was promptly accepted. There was no<br /> ‘arrangement with editor” suggested, no<br /> discussion as to ‘“ value.” And what deter-<br /> mines value in the case of an approved MS. ?<br /> <br /> Pray enlighten my<br /> PuzzLEDOM, -	https://historysoa.com/files/original/5/540/1914-05-01-The-Author-24-8.pdf	publications, The Author
541	https://historysoa.com/items/show/541	The Author, Vol. 24 Issue 09 (June 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+09+%28June+1914%29"><em>The Author</em>, Vol. 24 Issue 09 (June 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-06-02-The-Author-24-9					233–262																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-06-02">1914-06-02</a>							9			19140602	Che Huthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> <br /> <br /> Vor. XXIV.—No. 9.<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> JUNE 2, 1914.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> NOTICES.<br /> <br /> ——+—_<br /> <br /> TT the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> <br /> paragraphs must be taken as expressing the<br /> <br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tur Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> ‘Author are cases that have come before the<br /> motice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> ‘application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tur Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> <br /> subscription for the year.<br /> Communications for The Author should be<br /> <br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> <br /> than the 21st of each month. o<br /> Communications and letters are invited by<br /> <br /> the Editor on all literary matters treated from<br /> Vou. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> pS ——-<br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> So<br /> <br /> | ‘ROM time to time members of the Society<br /> 4 desire to make donations to its funds in<br /> <br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid. :<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> <br />  <br /> <br /> <br /> <br /> 234<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> a<br /> <br /> THE PENSION FUND.<br /> <br /> oS<br /> <br /> N January, 1914, the secretary of the<br /> I Society laid before the trustees of the<br /> Pension Fund the accounts for the year<br /> 1918, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> have given notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £8. d<br /> Enea) Boas 20.2.5 ie 500 0 0<br /> Victoria Government 8% Consoli-<br /> <br /> dated Inscribed Stock ............ 291 19 11<br /> London and North Western 3%<br /> <br /> Debenture Stock ................. 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates............ - 200 0 0<br /> Cape of Good Hope 84% Inscribed<br /> e NLOCK a as 200 0 0O<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock ...... 228 0 0<br /> New Zealand 34% Stock .......... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 102% 6% ie vccoccas 438 2 4<br /> Jamaica 84% Stock, 1919—49 ... 18218 6<br /> Mauritius 4% 1987 Stock ......... ~ 120 12 4<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ......... 198 8 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ........:05.04. 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> GBORY BOCK cosh piceisss ci ccensy est 282 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Nominal V alue.<br /> <br /> £ 8. a<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ................ 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares &lt;...........-... 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) .................. 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue... 30 0 0<br /> <br /> Great Eastern Railway Ordinary<br /> Stock wieceiccccece 655 0 0<br /> Total 4.3..5:.4...; £5,419 6 0<br /> <br /> PENSION FUND.<br /> <br /> ——<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1913.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1913.<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> <br /> Oct. 9, Rumbold, Hugo 1<br /> Oct. 18, Knowles, Miss<br /> <br /> Oct. 20, Collison, Harry<br /> <br /> Oct. 21, Buchanan, Miss Meriel<br /> <br /> Oct. 25, Baker, E. A. . :<br /> <br /> Nov. 6, Bentley, E. C. y<br /> Nov. 6, Petersen, Miss Margaret<br /> Noy. 7, Lang, Mrs. John<br /> <br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> <br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert<br /> <br /> Dee. 4, Lunn, Arnold . ‘<br /> <br /> Dec. 4, Stewart, Miss Marie .<br /> <br /> Dec. 4, Berry, Miss Ana<br /> <br /> Dec. 4, Vallois, Miss Grace<br /> <br /> Dec. 17, Beresford, J. D.<br /> <br /> Dec. 29, Inge, Charles . ;<br /> Dec. 29, Cross, Miss May . .<br /> Dec. 29, Hardy, Thomas, O.M.<br /> <br /> _<br /> <br /> i<br /> NOooaannods aan Oo Oe OO Ot Or Or<br /> <br /> woeoscooooHrocoSoooSoCOHSSCOOOm<br /> SOmeoccooaoccoOoSC SoS OSOSCOSCOSCCOF<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> 1914.<br /> <br /> Jan. 7, Ford, Miss May<br /> <br /> Jan. 7, Sephton, J.<br /> <br /> Jan. 16, Singer, I.<br /> <br /> Jan. 16, Cooke, Arthur 0.<br /> <br /> Jan. 23, Exley, Miss M.<br /> <br /> Jan. 26, Sarawak, The Rance of<br /> Mar. 11, Dowson, Oscar F.<br /> <br /> April 8, &quot; Stoeving. Paul : .<br /> April 14, Buckle, Gerard, F. »<br /> April 14, Grattan, Harry . :<br /> April 17, Rubenstein, H. F. . .<br /> April 20, Anon. . :<br /> April 25, Stacpoole, Mrs. de Vere .<br /> May 1, Miigge, Maximilian A,<br /> <br /> May e Davies, Miss Mary<br /> <br /> May 8, Simon, Andre L.<br /> <br /> May 8, Deutsch, H. .<br /> <br /> May 9, Campbell, Miss E. Hope<br /> May 12, Lardner, E. G. D.<br /> <br /> 1918. Donations.<br /> <br /> Oct. 7, Darwin, Sir Francis .<br /> <br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold<br /> <br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 8, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce<br /> <br /> Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Novy. 10, Waterbury, Mis... :<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> Dec. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J.<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon .<br /> <br /> Jan. 5, Joseph, L. ;<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E.<br /> <br /> Jan. 6, De Crespigny, Mrs. + Champion<br /> Jan. 6, Rankin, Miss I. ;<br /> <br /> Jan. 7, Sneyd- es E. M.<br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> Jan. 9, Mackenzie, Miss J.<br /> <br /> Jan. 10, Daniell, Mrs. E. H. .<br /> <br /> Jan. 12, Avery, &quot;Harold ;<br /> <br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> Jan. 15, Thomas, Mrs. Fanny<br /> Jan. 16, James, Mrs. Romane<br /> Jan. 19, P. H. and M. K. ; ;<br /> <br /> coor oceceocoocoeoooooo oY,<br /> <br /> _<br /> COCO OFRrFOCOCOC COSHH ON<br /> <br /> _<br /> oS<br /> <br /> emoocooocececococqcouccescr<br /> <br /> “e<br /> <br /> a<br /> <br /> ok fee<br /> OOo © Or Gr Ot © Or Or Or OF Or<br /> <br /> rt<br /> oc<br /> <br /> 10<br /> <br /> _ od<br /> Or Ov Or<br /> <br /> An1n°onkteH Aanananododcsd<br /> <br /> edie et<br /> MHOKMIOOCAUWMBNUMNMONOMNAOH<br /> <br /> _<br /> <br /> ccoomeocoooeoco Oo<br /> <br /> 0<br /> <br /> eooocoooonacooooeao<br /> <br /> eceoceoaoaceooeocanaceo<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> Feb.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> <br /> THB AUTHOR,<br /> <br /> 19, Greenstreet, W. J. .<br /> 19, Gibbs, F. Leonard A.<br /> 23, Campbell, Mrs. L. A. R. .<br /> 23, Cameron, Mrs. Charlotte,<br /> ERGS. . :<br /> 28, Blunt, Reginald :<br /> 24, Raphael, Mrs. Mary.<br /> 25, Plouman, Miss Mary<br /> 80, Gibson, Miss L. S. .<br /> 5, Brooker, Lt.-Col. E. P.<br /> 6, Buchrose, J. E. 4<br /> 7, Smith, Herbert W.<br /> 20, Eden Guy<br /> 21, Mayne, Miss Ethel<br /> Four<br /> <br /> | Col<br /> <br /> 21 KK<br /> <br /> 25, Aspinall, Algernon I E.<br /> 2 Dalziel, J: :<br /> <br /> 2.8. 8.G. .<br /> <br /> 5, Saies, Mrs. F. H<br /> <br /> 5, Thorne, Mrs. Isabel .<br /> <br /> 5, Haviland, Miss M. D.<br /> <br /> 5, Todd, Miss Margaret, M.D.<br /> 13, Cabourn, John .<br /> 20, Fenwick Miss S. F. .<br /> <br /> 26, Prendergast, Mrs. J. W.<br /> <br /> May 6, Ward, W. J. .<br /> <br /> May 7, Crosse, Gordon.<br /> <br /> May 8, Williamson, CoN: pad Mrs.<br /> CN. i<br /> <br /> May 21, Colebroke, Miss H. E.<br /> <br /> May 21, Munro, Neil.<br /> <br /> May 21, O&#039;Higgins, Harvey<br /> <br /> May 25, Broadbent, D. R.<br /> <br /> HE May me<br /> <br /> being<br /> of mem<br /> was ele<br /> Jacobs, seconded by Mr.<br /> Hesketh Prichard was una<br /> This is his second year of<br /> of the former meeting were<br /> after which the elections were<br /> course, thirty-five mem<br /> being added to t<br /> total for the year 170.<br /> were accepted, bringing the<br /> to sixty-nine. .;<br /> <br /> The next ma<br /> was the solicitor’s repor<br /> <br /> —__—__+——&gt;—_&gt;+&gt;—____——_<br /> <br /> COMMITTEE NOTES.<br /> <br /> SOSCp<br /> <br /> ocrcoocorooornNooce COOFRrF OCC OME<br /> <br /> BOR oH<br /> <br /> 235<br /> <br /> = bet oad<br /> Aone<br /> <br /> Aom=HOAbd OHH<br /> <br /> rt et<br /> aoe<br /> <br /> ee<br /> OL Or OS CUR Or OF OE<br /> <br /> es aaa<br /> tO pet OOH<br /> <br /> SOHROSSOSOSSOSOSSCOSCSO ScnSDSoOCaOSCO Coo<br /> <br /> onoos<br /> <br /> eting of the Committee of<br /> <br /> Management was held at the offices of<br /> the Society on Monday, May 4.<br /> the first meeting after the general meeting<br /> <br /> office.<br /> <br /> Hs<br /> <br /> <br /> <br /> ted, and, on the pro yosal of Mr.<br /> peers Ped Shaw, Mr.<br /> <br /> nimously re- -elected.<br /> The minutes<br /> then read and signed<br /> taken in due<br /> bers and associates<br /> he Society’s lists, making the<br /> Two resignations<br /> resignations up<br /> <br /> This<br /> <br /> bers the chairman for the current year<br /> <br /> W. W.<br /> <br /> tter dealt with by the committee<br /> t on the cases.<br />  <br /> <br /> <br /> <br /> go<br /> 25<br /> <br /> In a question arising from the non-publica-<br /> tion of a work the solicitor reported that an<br /> order of the Court had been made by which<br /> the book had to be published by a certain<br /> date, subject to a penalty of £50 if publication<br /> did not ensue, the defendant undertaking to<br /> pay the costs of the action. In the case<br /> dealing with the title of Mr. Raleigh’s drama,<br /> “Sealed Orders,’’ the solicitor reported that<br /> further action had been taken, owing to the<br /> fact that managers of theatres in the country<br /> had used the title contrary to the order of the<br /> Court. The solicitor was pleased to report<br /> that in all cases where the title had been thus<br /> wrongfully used satisfaction had been obtained<br /> and the offending advertisements had been<br /> withdrawn. He also reported that, by the<br /> desire of the author, he had made full copies<br /> of the papers which had been sent over to the<br /> author’s American lawyer explaining that,<br /> without the express sanction of the com-<br /> mittee, the Society could not be responsible<br /> for the costs in the United States. There<br /> were two cases of non-payment, one on<br /> accounts delivered, and one for a sum due<br /> under a contract. In the first case the<br /> debt and costs had been paid, and, in the<br /> second, part of the sum had been paid and a<br /> proposal for settlement had been made. In<br /> four cases against magazine editors the follow-<br /> ing results had been obtained: In the first,<br /> judgment was obtained, but on execution<br /> <br /> being levied, the debenture holders had<br /> appointed a receiver. It was obvious that<br /> nothing further could be done. In the<br /> <br /> second case, the debt and costs had been paid,<br /> and in the remaining two cases proceedings<br /> were pending. It was probable that both<br /> would be settled, as other claims against the<br /> same magazine had recently been satisfied.<br /> In a case by a member against a film company<br /> for unauthorised use of a title, the solicitor was<br /> glad to report that, when the company’s<br /> attention had been drawn to the matter, the<br /> title was changed. ’<br /> <br /> In a case of alleged infringement of dramatic<br /> copyright, the solicitor reported that the<br /> evidence of an expert had been obtained, and<br /> after consideration of his report, the solicitor<br /> had come to the conclusion that it would not<br /> be possible to take action. The member had<br /> been informed of the result. The position of<br /> a publishing company against whom the<br /> Society has claims on behalf of some dozen<br /> members was fully reported by the solicitor<br /> who had investigated the matter, and it<br /> was hoped that the reconstitution of the com-<br /> pany would be carried through successfully.<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Where judgment had been signed on behalf<br /> of one of the members, it was decided, after<br /> consideration of all the details by the com-<br /> mittee, to throw the defendant into bank-<br /> ruptey if the claims were not properly met.<br /> There was a claim of one of the members<br /> against a cinematograph company for piracy<br /> and infringement of copyright. The company<br /> was a French company with offices in England.<br /> The solicitor reported that, as far as England<br /> was concerned, the matter had been finally<br /> settled, but it was decided that he should<br /> send in his full report, in order that the papers<br /> might be forwarded to Paris to be dealt with<br /> by the Society’s French lawyer. There were<br /> two small cases for the collection of dramatic<br /> fees, and in both the solicitor reported that<br /> writs had been issued. A difficult case of<br /> alleged misrepresentation by a music publisher<br /> came before the committee, and here also, so<br /> far as England was concerned, the matter<br /> had been settled. As the main difficulty<br /> arose in Germany, it was decided that the<br /> solicitor should make a full report to the<br /> secretary in order that the matter might be<br /> placed in the hands of the German lawyer of<br /> the Society. Finally, in a case of dispute<br /> between author and agent, after mature con-<br /> sideration, it was decided that the author’s<br /> contention could not be upheld, and that the<br /> matter must be left in the hands of the solicitors<br /> to make the best settlement they could on<br /> behalf of the author.<br /> <br /> The secretary then placed before the<br /> committee questions which had arisen during<br /> the past month. There were four cases in which<br /> the chairman having given authority for<br /> immediate action asked for confirmation<br /> from the committee of that authority. The<br /> first dealt with the collection of dramatic<br /> fees in England, the second with a dispute<br /> in the United States in respect of cinema<br /> fees, the third was a claim against a<br /> United States magazine for money due on a<br /> published article, and the fourth a question of<br /> documents alleged, by one of the members of<br /> the Society, to have been stolen. The chair-<br /> man’s sanction was confirmed. In a case of<br /> dispute between one of the members of the<br /> Society and the society with whom his con-<br /> tract had been made, the committee, after<br /> reading the letters from both sides, taking into<br /> consideration the fact that the conflict of verbal<br /> evidence would make it almost impossible<br /> for the member to substantiate his contention<br /> in Court, decided with regret to take no action<br /> on his behalf. There was a case of dispute<br /> between one of the members and a publisher<br /> <br /> <br /> <br /> <br />  <br /> <br /> JUNE, 1914.]<br /> <br /> as to the terms of a contract. The matter<br /> was referred to the committee for arbitration.<br /> The committee decided, with the sanction of<br /> the author, to leave the legal question involved<br /> to the decision of the Society’s lawyers. In a<br /> case of disputed accounts which had already<br /> been investigated by the Society’s accountants<br /> it was decided that no further action should<br /> be taken, as the committee felt that they could<br /> not go behind the accountants’ report. In a<br /> case of infringement of dramatic copyright in<br /> Canada they regretted they could not take the<br /> matter further, while it was decided to place<br /> an infringement by an Australian paper in<br /> the hands of the Society’s Australian lawyers<br /> as soon as the member had established a title<br /> to take action.<br /> <br /> The secretary read letters that one of the<br /> members desired referred to the committee,<br /> dealing with some negotiations between him-<br /> self and one of the religious publishing houses.<br /> It was decided to thank the member for the<br /> action he had taken, and, if possible, to get<br /> into communication with the publishing house<br /> mentioned. One of the members of the<br /> Society had referred to the committee an offer<br /> he had received from a magazine for the pur-<br /> chase of work submitted, and it appeared to<br /> the committee that the matter should be<br /> mentioned in The Author with the name of<br /> the magazine. A somewhat similar case,<br /> where the issues were not quite so clear, the<br /> committee left to the discretion of the secretary<br /> to act as he thought best. — 2<br /> <br /> A question arose as to a contribution pro-<br /> mised by the Society to the Authors’ League<br /> of America, and the secretary was authorised<br /> to forward the sum due.<br /> <br /> The sub-committees of the Society were<br /> formally re-elected, the only change being the<br /> election of Mr. Charles Klein on the Dramatic<br /> Sub-Committee in the place of Mr. James T.<br /> Tanner, resigned.<br /> <br /> The motion passed at the General Mecting<br /> of the Society, on the subject of the Libraries<br /> Censorship was referred to the committee, and<br /> the committee felt that they were bound to<br /> carry through, to the best of their ability,<br /> the request made at the gene ral meeting.<br /> Accordingly, the secretary and chairman a<br /> instructed to get into touch once again with<br /> the publishers, the libraries and the _book-<br /> sellers, and Mrs. Belloc Lowdnes, Mr. Charles<br /> Garvice, Mr. Bernard Shaw and the chairman<br /> of the committee were elected delegates to<br /> represent the Society at a round-table con-<br /> ference.<br /> <br /> Dealing with the question of International<br /> <br /> <br /> <br /> THE AUTHOR. ify<br /> <br /> Copyright, the secretary drew the attention<br /> of the committee once again to the fact that<br /> when France made a treaty with Russia the<br /> attention of the Foreign Office was called to<br /> the fact by the committee, and it was suggested<br /> that England should take the opportunity<br /> of obtaining a similar treaty. A polite letter<br /> had been received in reply ; when subsequently<br /> Germany made a similar treaty with Russia<br /> the attention of the Foreign Office was again<br /> called to the position, and, again, a polite<br /> reply was received. The secretary now<br /> suggested that as the matter was of vital<br /> importance to all members whose literary<br /> and dramatic works were being translated<br /> and pirated in Russia, another attempt<br /> should be made to obtain a treaty with<br /> Russia. The committee decided to leave<br /> it with the chairman and the secretary to<br /> arrange that a deputation should wait on the<br /> responsible parties in the Government, with a<br /> view to pressing forward the settlement of a<br /> treaty with Russia at-the earliest opportunity.<br /> The ‘secretary put before the committee a<br /> letter he had received from the India Office in<br /> regard to the passing of the Indian Copyright<br /> Act, and stated that he hoped to have the<br /> Act for insertion in The Author shortly. He<br /> then referred to the difficulties surrounding<br /> Canadian copyright, owing to the law of 1842<br /> still running in Canada, as the Canadian<br /> Government had not passed any new legisla-<br /> tion adopting the Act of 1911. It was decided<br /> in this matter, also, to see if it would not be<br /> possible, by representation to the Colonial<br /> Office, to remove some of the difficulties from<br /> the present position, and the committee<br /> determined, should it prove politic, that a<br /> deputation should attend the Colonial Office<br /> also.<br /> . Questions regarding the salaries of the clerks<br /> of the office and an articled clerk to serve under<br /> the secretary of the Society were considered<br /> and settled, and two or three minor matters<br /> of no general interest.<br /> et<br /> Dramatic SUB-COMMITTEE.<br /> I.<br /> <br /> ig of the Dramatie Sub-<br /> Committee was held on Friday, May 1, at the<br /> offices of the Society, to meet the Society’s<br /> American agent, Mr. W alter Jordan, who had<br /> come over to England. The main subject for<br /> discussion was the question of cinematograph<br /> <br /> ights and prices. :<br /> oie Jordan pointed out that ten or twelve<br /> <br /> A speEcIAL mecetil<br /> <br /> <br />  <br /> <br /> ‘238<br /> <br /> of the theatres in New York had gone over<br /> entirely to the production of picture plays,<br /> that the demand for good plays and good<br /> films was greatly on the increase, and that<br /> much higher fees could be obtained now than<br /> formerly. Mr. Jordan stated that he would<br /> forward to the Society of Authors, for the use<br /> of the secretary, a copy of the contract he had<br /> been making for the use of authors and<br /> dramatists.<br /> <br /> The legal questions respecting authors’<br /> rights, which had been assigned before moving<br /> pictures were known, were also discussed, also<br /> questions of piracy and the legal decisions<br /> which had been given bearing on these points.<br /> <br /> The sub-committee thanked Mr. Jordan for<br /> his attendance, and for the information<br /> which had been given, which would be of<br /> undoubted assistance to them and to the<br /> secretary when dealing with these increasingly<br /> important questions.<br /> <br /> Il.<br /> <br /> Tue May meeting of the Dramatic Sub-<br /> Committee was held at the offices of the Society<br /> on Friday, May 15. After the minutes of the<br /> previous meeting had been read and signed,<br /> the first business dealt with by the committee<br /> referred to a dramatic agency agreement that<br /> had been sent for the consideration of the<br /> committee by one of the members of the<br /> Society. The agent was present at the meet-<br /> ing. It was clearly pointed out to him that<br /> the Society could not possibly advise any<br /> member to sign any agreement on the lines of<br /> the one put forward. After a considerable<br /> amount of questioning and discussion, the<br /> agent expressed himself willing to accept any<br /> reasonable agreement submitted by the Drama-<br /> tic Sub-Committee for the use of members of<br /> the Society of Authors. After the agent had<br /> retired, the sub-committee discussed at some<br /> length the position of agents in regard to the<br /> Society, and the secretary was instructed to<br /> draft an agency agreement for use in these<br /> particular cases, to be placed before the sub-<br /> committee at their next meeting.<br /> <br /> The next question dealt with cinematograph<br /> business.<br /> <br /> Mr. Carton reported that the meeting of the<br /> Joint Board, which had been held on the 14th<br /> had been unsatisfactory, owing to the small<br /> attendance, but that some important points<br /> had been discussed, and it had been decided<br /> to call a meeting for June 12. The question of<br /> cinema business, however, appeared to the<br /> chairman to be of such importance that he<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> proposed to the sub-committee that the Com-<br /> mittee of Management should be asked to<br /> consider the appointment of a sub-committee<br /> to deal only with cinematograph matters.<br /> The industry was, at present, in its infancy,<br /> and it was impossible, therefore, to come to any<br /> definite conclusion at the present time on the<br /> many important points involved; that cine-<br /> matograph representations were not simply<br /> matters concerning the dramatist, but also the<br /> novelist, and writers on educational subjects<br /> and on natural history—in fact, were so wide<br /> that it appeared essential to have a separate<br /> sub-committee to deal with the issues. Mr.<br /> Shaw was appointed delegate of the sub-com-<br /> mittee to attend and discuss the matter with<br /> the Committee of Management. ‘The secretary<br /> also brought to the notice of the sub-committee<br /> the question of cinema contracts and bad debts<br /> so far as they affected the author. The<br /> secretary pointed out that publishers paid<br /> royalties on all books sold and were responsible<br /> for all bad debts. It was most important that<br /> the same position should be adopted in regard<br /> to authors’ contracts with cinema manufac-<br /> turers.<br /> <br /> The sub-committee then considered certain<br /> cases. The first was a case of non-payment of<br /> fees by an American producer, and the sub-<br /> committee recommended the Committee of<br /> Management to do what was possible in the<br /> matter. The next case, the secretary reported,<br /> was also a case of non-payment of fees by an<br /> American manager. Immediate action had<br /> been taken and the papers sent to the Society’s<br /> lawyers in America.<br /> <br /> The Dramatic Sub-Committee<br /> this action.<br /> <br /> The third case, which was one of alleged<br /> copyright infringement, the secretary was glad<br /> to report had been settled.<br /> <br /> The fourth case also referred to the non-<br /> payment of fees by an American manager.<br /> The sub-committee recommended action to be<br /> taken in this case should an answer, which the<br /> author was awaiting from America, prove<br /> unsatisfactory.<br /> <br /> confirmed<br /> <br /> —<br /> <br /> Firm Ricuts Jomst Boarp.<br /> <br /> Tue first meeting of the Joint Board to<br /> deal with Film Rights was held at the<br /> offices of the Society on Thursday, May 14,<br /> at three o’clock in the afternoon.<br /> <br /> Regret was expressed by those present that<br /> the attendance was so small, owing to the fact<br /> that many of the delegates had important<br /> engagements elsewhere.<br />  <br /> <br /> JUNE, 1914]<br /> <br /> In these circumstances, it was decided that<br /> it would be inadvisable to pass any important<br /> measures, but it was determined to call another<br /> meeting for Friday, June 12, at three o’clock<br /> at the same place.<br /> <br /> The agenda before the meeting will include<br /> the rules for guidance of the committee, such<br /> as financial questions, the number to form a<br /> quorum, and other details. Beyond these<br /> there will be joint action in regard to piracy,<br /> and a proposal put forward by Mr. Browne, of<br /> the Kinematograph Manufacturers’ Associa-<br /> tion, that a sub-committee for purposes of<br /> arbitration should be appointed.<br /> <br /> 3<br /> <br /> Dunrine the past nivnth the secretary has<br /> dealt with nineteen cases, of which seven have<br /> been satisfactorily settled. The record runs<br /> as follows :—<br /> <br /> There were six claims for the return of MSS.,<br /> one has been settled, two have only recently<br /> come to the office, one has had to be abandoned,<br /> and in settling the remaining two it is possible<br /> that the Society will be unsuccessful, as they<br /> date back a considerable time. It is therefore<br /> difficult to obtain the necessary evidence.<br /> <br /> There were five claims for money. Three<br /> have been settled and the money has been<br /> paid; one in South Africa will necessarily<br /> take some time, and the remaining case has<br /> only recently come to the office.<br /> <br /> Two applications for accounts have been<br /> acknowledged, and the accounts have been<br /> forwarded to the authors.<br /> <br /> There were three disputes on contracts ;<br /> one has been settled, one has only recently<br /> come to the office, and one has had to be trans-<br /> ferred to the Society’s solicitors in the U.S.A.<br /> <br /> One infringement of copyright will take<br /> some time, as that is also in the U.S.A.<br /> <br /> There have been two claims for accounts<br /> and money; one has been settled and the<br /> other is still in the course of negotiation.<br /> <br /> The cases still open from the former month<br /> are all outside England, and consequently<br /> cannot be settled quickly; one is a case of<br /> infringement of copyright in the U.S.A., one a<br /> case of dispute on contract in the U.S.A., one a<br /> case of accounts in South Africa, and the last a<br /> question of royalties due in France.<br /> <br /> The record varies little from month to month,<br /> but during the last two or three months a much<br /> larger number of cases have come forward in<br /> foreign countries. These are naturally some-<br /> times very difficult to deal with.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 239<br /> <br /> May Elections.<br /> <br /> Douglas Anstruther<br /> <br /> Major J. B. Arbuthnot,<br /> M.V.O.<br /> <br /> Percy J. Barrow .<br /> <br /> M. V. Barty<br /> S. Bristowe.<br /> Evelyn Hope<br /> <br /> bell<br /> Sir Valentine Chirol<br /> <br /> Camp-<br /> <br /> Miss H. Emma Cole-<br /> brooke<br /> Richard St.<br /> Colthurst<br /> Denis Cox . ‘<br /> (* D. H. Dennis.” )<br /> <br /> Gordon Crosse<br /> <br /> John J.<br /> <br /> Madame Blaze de Bury<br /> (FE. Dickberry ).<br /> Henry Deutsch, Ph.D. .<br /> Alan Drew .<br /> <br /> Aleck T. Ellis<br /> <br /> Wilfrid H. G. Ewart<br /> <br /> Miss M. Z. Hadwen<br /> (‘‘ Margaret Hope’’).<br /> <br /> -H. W. Hicks<br /> <br /> The Rev. Russell H.<br /> <br /> Jeffrey<br /> Capt. E. G. D. Lardner<br /> ¥F. Gerald Miller ;<br /> <br /> Mrs. Muriel Minnitt :<br /> <br /> Mrs. Richardson .<br /> Reginald Rogers<br /> <br /> <br /> <br /> Cavendish Club;<br /> Piccadily, W.<br /> <br /> Derry House, Ross-<br /> earbery, Co. Cork,<br /> Ireland.<br /> <br /> 5, Kingdon Road,<br /> West Hampstead,<br /> N.W.<br /> <br /> Glenacros, Dun-<br /> blane, Scotland.<br /> 122, Sutherland<br /> Avenue, Maida<br /> <br /> Vale, W.<br /> <br /> Templeton, Hunger-<br /> ford, Berks. ;<br /> <br /> 34, Carlyle Square,<br /> Chelsea, S.W.<br /> <br /> 85, Bruton Street,<br /> London, W.<br /> <br /> Blainey Castle, Co.<br /> Cork, Ireland.<br /> <br /> Weir Cottage, Har-<br /> low, Bucks.<br /> <br /> 64, Lauderdale<br /> Mansions, Maida<br /> Vale, W.<br /> <br /> 37, Rue<br /> Paris.<br /> <br /> 60, Venner Road,<br /> Sydenham, S.E.<br /> <br /> Lower House, Burn-<br /> ley.<br /> <br /> 512, Fulham Palace<br /> Road, S.W.<br /> <br /> 8 West Eaton Place,<br /> London, S.W.<br /> <br /> 20, St. Leonard’s<br /> Terrace, Chelsea,<br /> S.W.<br /> <br /> c/o Thomas Cook<br /> - &amp; Son, London.<br /> <br /> Muckley Cross,<br /> Bridgnorth.<br /> <br /> The Army and Navy<br /> Club, Pall Mall,<br /> S.W.<br /> <br /> Studio Street, New-<br /> lyn, Penzance.<br /> <br /> Redmarley, Long-<br /> field Road, Ealing,<br /> W.<br /> <br /> 22, Egerton Gardens,<br /> S.W.<br /> <br /> 9, Upper Woburn<br /> Place, Tavistock<br /> <br /> Vaneau,<br /> <br /> Square, W.C.<br />  <br /> <br /> <br /> <br /> 240<br /> <br /> The Rey. Ewart Rust . Hamsteels Vicarage,<br /> <br /> Durham.<br /> <br /> -é L. Simon . 24, Mark Lane,<br /> a London, E.C.<br /> The Rev. W. H. K. 6, Albany Road,<br /> Soames, M.A. Bexhill.<br /> Walter Stephens . 6, York Street,<br /> London, S.W.<br /> Gladys Unger . , 18, Pack. Village<br /> West, | Regent’s<br /> Park, N.W.<br /> William James Ward . 86, Westbourne<br /> Road, Penarth,<br /> Glam.<br /> Adéle Warren. . 47, Cornwall Gar-<br /> <br /> dens, S.W.<br /> 1, Pemberley Cres-<br /> cent, Bedford.<br /> <br /> F. W. Westaway . :<br /> <br /> F, Weston : . H. M. Dockyard,<br /> Hong Kong.<br /> <br /> Thomas Whittaker . 13, Sharples Hall<br /> Street, Regent’s<br /> <br /> Park Road, N.W.<br /> <br /> ————__+—&gt;—_+___—__<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> ——— 1 —<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however; that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> <br /> ANTHROPOLOGY.<br /> <br /> THE CHILDHOOD OF THE WoRLD. A Simple Account of<br /> Man’s Origin and Early History. By Epwarp Oropp.<br /> (New Edition, rewritten and enlarged.) 74 x 5. 240<br /> pp. New York. The Macmillan Co. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> MonvMentAL CLAsstc ARCHITECTURE IN GREAT BRITAIN<br /> AND IRELAND During THE EIGHTEENTH AND NINE-<br /> eTEENTH CENTURIES. By A. E. Ricnarpson. 15} x<br /> ll}. 124 pp. Batsford. £4 4s. n, :<br /> <br /> BIOGRAPHY.<br /> Tue Story or Dorotuy JorDAN.<br /> <br /> 9 x 53. 429 pp. Nash. 15s. n.<br /> RoMANcEs OF THE Pemrace. -By THorNTON Hatt, F.S.A.<br /> <br /> By Cuare JERROLD.<br /> <br /> 9x 53. 352 pp. HoldenandHardingham. 12s. 6d. n.<br /> My Variep Lire. By F.C. Puiirs. 9 x 53. 319 pp-<br /> Eveleigh Nash. 10s. 6d. n. 5<br /> <br /> Lirze or WattrerR Bacenor.<br /> <br /> By Mrs. Russert B :<br /> TON. 9} x 58. y 8 ARRING<br /> <br /> 486 pp. Longmans. 12s. 6d. n.<br /> DRAMA. ,<br /> <br /> Damacep Goops. A Play by Briuux. Translated b<br /> J. Pottock. With a Preface by Bernarp Saw ants<br /> <br /> Foreword by Mrs. Brr» : a<br /> Wiflelds. Je. a, RNARD SHAW. it Xx 5}. 244 pp-<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Dusk. By R. Vansirrart. 7 x 4}. 43 pp. Hum-<br /> phreys. Is. n.<br /> Pures Wire. A Play by F. G. Layton. 7 x 5.<br /> <br /> 64 pp. Fifield. Is. n.<br /> PLAYWRIGHTING FOR THE CINEMA.<br /> <br /> Dealing with the<br /> Writing and Marketing of Scenarios.<br /> <br /> By E. A. Dencu.<br /> <br /> Tt x 43. 96 pp. Black. 1s. n.<br /> ECONOMICS.<br /> <br /> Tur Nation’s WEALTH. Witt it Expure? By L. G.<br /> CutozzA Money. 632 x 44. 264 pp. (The Nation’s<br /> Library.) Collins. 1s. n.<br /> <br /> FICTION.<br /> <br /> THe Woman’s Way. By C. Garvice. 7} x 5. 315 pp.<br /> Hodder and Stoughton. _ 6s.<br /> <br /> Tue Pricetess THrnc. By Mavup Srepney Rawson.<br /> 723 x 5. 352 pp. Stanley Paul. 6s.<br /> <br /> Tures AGAINST THE WorLp. By Suema Kaye-Smiru.<br /> <br /> 73 x 5. 304 pp. Chapman and Hall. 6s.<br /> Tue Lost Tripes. By G. A. BirmMINcHAM. 7} x 5.<br /> 331 pp. Smith, Elder. 6s.<br /> <br /> A GARDEN OF THEGODs. By Epira M.Keate. 7} x 43.<br /> 339 pp. Alston Rivers. 6s.<br /> <br /> THe Sent Cartan. By<br /> 304 pp. Stanley Paul. 6s.<br /> <br /> Pink Puriry. By Gertie De 8. Wentwortu-J AMES.<br /> <br /> at<br /> <br /> May Wynne. 74 xX 43.<br /> <br /> (Popular Edition.) 7} x 5. 375 pp. Werner Laurie.<br /> ls. n.<br /> <br /> Quinney’s. By H. A. VacHELL. 7$ X 5. 336 pp.<br /> Murray. 6s.<br /> <br /> BrepEsMAN 4. By Mary J. H. Sxringe. 63 x 43. 198<br /> pp. Duckworth. 2s. 6d. n.<br /> <br /> DeEsMonpD O&#039;Connor. By Grorce H. Jessop. 73 x 4.<br /> 320 pp. John Long.<br /> <br /> Tur Crowninc Gitory. By E. R. Punsnon. 7} x 5.<br /> 301 pp. Hodder and Stoughton. 6s.<br /> <br /> Eve AND THE Minister. By M. H. Saw. 7} x 43.<br /> <br /> 248 pp. Murray and Evenden. 6s.<br /> <br /> Tue Betovep Premipr. By H. MaAxweELt.<br /> 319 pp. John Long. 6s.<br /> <br /> THe Works OF MsarTEN MAARTENS:<br /> Gtory. 470 pp. An Oxp Matn’s Lovs. 449 pp.<br /> Her Memory. 281 pp. My Lapy Nopopy. 535 pp.<br /> Gov’s Foon. 442 pp. Tse Sry or Joost AVELINGH.<br /> <br /> 72 x 5.<br /> <br /> Tor GREATER<br /> <br /> 316 pp. 7% x 5. Constable. 3s. 6d. each.<br /> <br /> Resecca oF SunNyBRooK Farm. By Kate Doucias<br /> Wiaain. (Twentieth Edition.) 7} x 5. 347pp. Gay<br /> and Hancock. 2s. n.<br /> <br /> Aut Sorts. By Dorr Wytiarpe. 140 pp. THESECRET<br /> or CHAUVILLE. 140 pp. (Cheap Reprints.) 8} x 5}.<br /> Stanley Paul. 6d. each.<br /> <br /> Tue Wortp Set FRrEx.<br /> <br /> A Story of Mankind. By H. G.<br /> Weis. 7} x 5.<br /> <br /> zx 286 pp. Macmillan. 6s.<br /> <br /> Private Arrairs. By Caartes McEvoy.<br /> 320 pp. Everett. 6s.<br /> <br /> BREADANDBUTTERFLIES. By Dion Chayton CALTHROP.<br /> 7% x 5. 343 pp. Millsand Boon. 6s.<br /> <br /> THe Istanp. By Exeanor Morpaunt.<br /> pp. Heinemann. 6s.<br /> <br /> Tun Monny Hunt. A Comedy of Country Houses. By<br /> Kryeton Parkes. 74 x 4%. 318 pp. Holden and<br /> Hardingham. 6s.<br /> <br /> Tir Haven or DESIRE.<br /> <br /> 1d xX 4.<br /> <br /> 72 x 5. 296<br /> <br /> By Caprain Frank H. SHAw.<br /> <br /> 74 x 4%. 322 pp. Cassell. 6s.<br /> Tue Curse or Croup. By J. B. Harrtis-BurLanD. 7}<br /> &lt;x 43. 342 pp. Chapman and Hall. 6s.<br /> <br /> A Strance Sotution. By Wrnirrep GRAHAM. 252 pp.<br /> Tue Furnace or Youtn. By J. 8. Fuercuer. 252 pp.<br /> Mysrrry Srorres. Told in Brief. (Cheap Reprints.)<br /> 63 x 43. Pearson. 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E) ¢xosty 7 sr a r<br /> ¢ X gL ‘NOSLVM NOow] &quot;H WQAg ‘Isdaway, ATIsHanOTD<br /> <br /> ‘YOHLAWV AHL<br /> <br /> CFI6L ‘ANAL<br /> <br /> <br /> <br /> <br />  <br /> <br /> 242<br /> <br /> “Life of Walter Bagehot,” written as @<br /> precursor to a complete edition of Bagehot’s<br /> work which is to be published in the autumn<br /> of this year. Mrs. Barrington, who Is the<br /> sister-in-law of her subject, tries to present a<br /> picture of Bagehot the man, as traceable in his<br /> own and his friends’ letters and in the memortes<br /> of those still alive who were his closest inti-<br /> mates. The material used ranges from family<br /> correspondence in Bagehot’s carly boyhood to<br /> the tributes of his contemporaries on his death<br /> at the age of fifty-one (Longmans, Green &amp; Co.).<br /> <br /> Mr. W. L. George’s ‘“‘ Woman and To-<br /> morrow,” will be published in America by the<br /> firm of Appleton.<br /> <br /> Archdeacon Hutton writes the latest addi-<br /> tion to Macmillan’s Highways and Byways<br /> Series, ‘‘ Shakespeare’s Country,” to which Mr.<br /> E. H. New furnishes the illustrations.<br /> <br /> Mr. Philip W. Sergeant’s next book will be<br /> published by Messrs. Stanley Paul &amp; Co., the<br /> subject being the Princess Mathilde Bonaparte,<br /> the niece of the great Napoleon, and the link<br /> (it might almost be said) between him and the<br /> present day, since it is only ten ycars ago that<br /> she died.<br /> <br /> In “ The Utilisation of Solar Energy,” Mr.<br /> A.S.E. Ackermann, B.Sc., describes the expe1i-<br /> ments in this direction, costing about £30,000,<br /> with which he has been associated during the<br /> past four years, including those in the Shuman-<br /> Boys Sun Power Plant at Cairo. A method<br /> for estimating the value for power purposes of<br /> steam is a feature of the work; and there is<br /> also a full description of the Shuman high and<br /> low pressure engines. The publishers are the<br /> Society of Engineers, 17, Victoria Street, S.W.,<br /> and the price of the book is 2s. 3d., post free.<br /> <br /> Mr. Max Rittenberg has a book called ‘‘ Gold<br /> and Thorns,” for the spring of 1915. It deals<br /> with the sensational adventures of a cosmo-<br /> politan “‘ gentleman of fortune.’ Ward Lock<br /> &amp; Co. will publish in England.<br /> <br /> Mr. Selwyn Brinton has just visited Venice<br /> to report for the Studio and the Graphic at the<br /> Eleventh International Art Exhibition of<br /> Venice, which was opened on April 24th. The<br /> exhibition this year is of special interest to<br /> English art, as, besides the excellent show in<br /> the British Pavilion, a whole room in the<br /> Central Palace is dedicated to the work of Mr.<br /> Frank Brangwyn.<br /> <br /> A German translation of Mr. C. E. Goulds-<br /> bury’s latest book, ‘‘ Tiger Land,” is to be<br /> published and issued shortly by Mr. Robert<br /> a of Stuttgart, in his Memoirenbibliothek<br /> series.<br /> <br /> Mrs. Frederika Macdonald, D.Litt., is the<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914.<br /> <br /> writer of the article upon Jean Jacques Rous-<br /> seau in the fifth volume of the “* Cyclopedia of<br /> Education,” published by Columbia University,<br /> New York.<br /> <br /> Mrs. Alec Tweedie’s ‘‘ Mexico as I Saw It ”<br /> is being translated for publication in Germany.<br /> <br /> ‘“‘ Pagan,” is the name of a book of verse by<br /> Mrs. Amy Skovgaard-Pedersen (A. C. Fifield,<br /> 1s. 6d. net).<br /> <br /> We have received from Messrs. William<br /> Collins &amp; Sons copies of five books in their new<br /> Nation’s Library, published at 1s. net :—“t The<br /> Nation’s Wealth,” by Mr. L. Chiozza Money ;<br /> “The Relations of Capital and Labour,” by<br /> Mr. W. T. Layton ; ‘‘ The State and the Poor,”<br /> by Mr. Geoffrey Drage; ‘‘ The Future of<br /> Egypt,” by Mr. W. B. Worsfold; and “ The<br /> Star World,” by Mr. A. C. de la Crommelin.<br /> <br /> Mrs. Dawson Scott’s&#039; novel, “‘ The Caddis<br /> Worm,” is being published immediately by<br /> Messrs. Hurst and Blackett.<br /> <br /> Miss Sheila Kaye-Smith’s novel, “ Three<br /> Against the World,” which Messrs. Chapman<br /> and Hall published in April, is to be produced<br /> in the United States by Messrs. Lippincott.<br /> <br /> A two-shilling edition is announced of Rita’s<br /> story of Bath, “A Grey Life,” of which the<br /> publishers are Messrs. Stanley Paul. The<br /> same firm is adding to its sixpenny Clear Type<br /> series Mr. Keble Howard’s ‘‘ The Cheerful<br /> Knave,” and Mr. Charles E. Pearce’s “ The<br /> Snake Girl.”<br /> <br /> ‘“ Megan of the Dark Isle,”’ is the title of Mrs.<br /> J. O. Arnold’s new novel (Alston Rivers).<br /> <br /> Mr. Georg? H. Jesscp’s historical novel<br /> ‘‘Desmond O’Connor ”’ has been issued by<br /> John Long, Ltd.<br /> <br /> Miss May Crommelin, who has lately returned<br /> from India, is engaged on a novel to be pub-<br /> lished in September by Messrs. Hurst and<br /> Blackett. The scene of this is mostly laid in<br /> Kashmir, and the book will describe the life in<br /> houseboats of English visitors to the country,<br /> with its comic incidents and opportunities for<br /> flirtation and courtship. Miss Crommelin’s<br /> previous book, “The Golden Bow,” is now<br /> being issued in a cheap edition by Messrs.<br /> Holden and Hardingham.<br /> <br /> Mr. James Baker’s ‘‘ By the Western Sea,”<br /> has been added to the popular edition of his<br /> novels (Chaprnan and Hall, 2s.).<br /> <br /> ‘“¢ World’s-End,” by Amelie Rives (Princess<br /> Troubetskoy), has been produced in the United<br /> States by the Frederick A. Stokes Co.<br /> <br /> Mr. F. R. M. Fursdon’s novel, ‘‘ The Story of<br /> Amanda,” deals with the rise of a girl from the<br /> slums to be wife to a leading English politician<br /> (Simpkin, Marshall &amp; Co.).<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.)<br /> <br /> H.M. the Queen has accepted a copy of<br /> ** Where Pharaoh Dreams,’ by Mrs. Irene<br /> Osgood, with a foreword by Mr. Stephen<br /> Phillips and illustrations by Mr. W. Gordon<br /> Mein.<br /> <br /> *“* How to Breathe, Speak, and Sing ”’ is the<br /> name of a book by Mr. Robert Stephenson,<br /> upholding the old Italian method of respiration<br /> and dealing with all aspects, including the<br /> therapeutic and hygienic, of voice-production<br /> (Jarrold, 2s. cloth; 1s. 6d. paper covers).<br /> <br /> DRAMATIC.<br /> <br /> At the Little Theatre on April 24th, Mr. R.<br /> Vansittart’s one-act fantasy, ‘ Dusk,’ was pro-<br /> duced for the first time.<br /> <br /> On May 3rd, ‘“‘ The Patience of the Sea,” a<br /> new play by Mr. Norreys Connell, was produced<br /> by the Pioneer Pleyers at the Ambassador’s<br /> Theatre.<br /> <br /> On May ‘th, Mr. H. V. Esmond returned to<br /> the London stage at the Vaudeville Theatre,<br /> appearing in his own play ‘“‘ The Dangerous<br /> Age” (originally ‘“‘ The Dear Fool”), with<br /> which he has been touring Canada and the<br /> United States.<br /> <br /> On May 5th Mr. Israel Zangwill’s play “ The<br /> Melting Pot ’ was played for the hundredth<br /> time at the Comedy Theatre. On May 28rd,<br /> after its 120th performance, it was replaced by<br /> Mr. Zangwill’s new play “ Plaster Saints.”<br /> <br /> In “ The Holy City,” played at some special<br /> matinees at the Comedy Theatre in the first half<br /> of May and subsequently at the Haymarket,<br /> Mr. Sydney Valentine filled the part of Judas.<br /> <br /> Mr. Roy Horniman is the adapter from the<br /> German of “ The Blue Mouse,” presented at<br /> the Criterion Theatre on May 12th.<br /> <br /> Mr. John Galsworthy’s ‘‘ Justice ’’ was seen<br /> at the Coronet Theatre during the week com-<br /> mencing May 18th.<br /> <br /> Mr. Jerome K. Jerome’s comedy “ The<br /> Great Gamble” was produced at the Hay-<br /> market Theatre on May 21st.<br /> <br /> The French rights of Mr. W. Somerset<br /> Maugham’s play “The Land of Promise ~<br /> have been secured by Mme. Bady for produc-<br /> tion in Paris next autumn. ee<br /> <br /> At a special matinee of West End Produc-<br /> tions, Ltd., at the London Pavilion on May 6,<br /> one of the plays was Mrs. E. P. Medley’s ‘Sold!<br /> At Store Prices.”<br /> <br /> MUSICAL.<br /> <br /> Mrs. Agnes Mary Astle’s song “ Morning<br /> tide ” was sung by Miss Gertrude Macaulay at<br /> Basingstoke on Sunday, April 26. The same<br /> composer has recently published — Nell’s<br /> Doll”. “The Doctor”; and “Light of<br /> <br /> ?<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 243<br /> <br /> pies One ad Morning ”’—the words of all<br /> ree songs being by Mrs. A. M. All Stai<br /> and Bell, 1s. 6d. net). Pee<br /> <br /> Sg a gg<br /> <br /> PARIS NOTES.<br /> — +<br /> : E MONARQUE ” is the title of Pierre<br /> § 4 Miulle’s new book, and all friends of<br /> Barnavaux will be delighted to make<br /> the acquaintance of Juste Claude Bonnafoux<br /> a native of a little provincial town of Southern<br /> France. Born with the imagination and the<br /> optimism of a true Meridional, Bonnafoux<br /> ought certainly to have known Tartarin. His<br /> fellow-townsmen surnamed him ‘ The Mon-<br /> arch” for the simple reason that, possessing<br /> nothing of his own, he had no eares and no<br /> responsibilities such as men have who must<br /> earn their living. He was kept, more or less,<br /> by the community, as he was considered an<br /> ornament to society. He visited one family<br /> during the shooting season, another during the<br /> vintage ; he was invited to all the marriages and<br /> baptisms. He had always plenty of time, and<br /> was always in a cheerful frame of mind. There-<br /> fore, as he said himself, he lived like a king,<br /> accepting everything from the world at large<br /> and giving himself in return. The stories of<br /> his various exploits are entertaining and, like<br /> Barnavaux, the ‘‘ Monarch ” is a philosopher,<br /> so that we learn many homely truths from his<br /> sayings and doings.<br /> <br /> ‘“*Mes Origines, Memoires et Recits ” (Tra-<br /> duction du Proveneal), by Frédéric Mistral.<br /> This is a translation of the poet’s Moun<br /> Espelido. An edition is also published with<br /> the original text and the translation together.<br /> <br /> Among the new books are the following :—<br /> “ La Dormeuse éveillée ” is the title of Helene<br /> Vacaresco’s latest volume of poems.<br /> <br /> “A travers Shakespeare,” by Jean Riche-<br /> pin. This volume contains the lectures recently<br /> given at the University of Les Annales. _<br /> <br /> ‘La Vie et la Mort de Paul Derouléde,” by<br /> Jérome et Jean Tharaud.<br /> <br /> “Le Commerce et l’Industrie de la Plume<br /> re,” by Edmond Lefevre, should be<br /> read by all interested in the subject of birds<br /> and feathers for millinery purposes. It con-<br /> tains 300 illustrations, and M. Lefevre is the<br /> President of the Committee of Ornithologie<br /> économique. He gives us a chapter on the<br /> different causes of destruction of the birds and<br /> another one on the situation of the feather<br /> trade in the various countries. _<br /> <br /> ‘‘Napoléon et sa Famille,” by Frédéric<br /> Masson, is the eleventh volume of this work.<br /> <br /> <br /> <br /> pour paru<br /> <br /> <br />  <br /> <br /> <br /> <br /> 244<br /> <br /> The twelfth and last volume of the series is<br /> announced for publication next season.<br /> <br /> “Les Cathédrales de France,’ by Auguste<br /> Rodin, is the title of a volume by the famous<br /> sculptor. Some time ago _ Maurice Barrés<br /> published his book entitled ‘* La Grande Pitié<br /> des Eolises de France,’’ and now Rodin writes,<br /> as an artist and a thinker, on the cathedrals.<br /> The volume contains about a hundred illus-<br /> trations. oe<br /> <br /> “Les Pays d’Albanie et leur Histoire,’ by<br /> Frédéric Gibert. The author is a specialist in<br /> Oriental subjects. He gives a detailed account of<br /> the actual condition of the Albanian countries.<br /> <br /> “* Histoire de la Musique européenne ” (1850<br /> —1914), by Camille Mauclair, will be greatly<br /> appreciated by music lovers. About a quarter<br /> of the book is given up to the works of Wagner.<br /> The author then studies the music of the<br /> various European nations.<br /> <br /> “Les Universités Allemandes au XX°<br /> Siécle,”’ par Dr. René Cruchet, is an account<br /> of a visit to twenty German universities by a<br /> Professor of the Bordeaux University. Dr.<br /> Cruchet gives us various anecdotes and a<br /> résumé of his conversations with the German<br /> Professors. He also shows up the various<br /> differences between the French and German<br /> university.<br /> <br /> In the Revue hebdomadaire, M. Laudet is<br /> now publishing a series of articles by prominent<br /> persons on the subject of France as it was in<br /> their youth and at present. The first of these<br /> articles is by General Lebon, who was formerly<br /> Commander of the first corps darmée. The<br /> General goes back to his recollections of 1866.<br /> He is now in his seventieth year, and after<br /> twenty-six admirable pages devoted to his<br /> experiences and observations, his advice to the<br /> present generation is: ‘‘Soyez gais, mes<br /> Jeunes camarades, d’une saine et vigoureuse<br /> gaieté qui vous donne le ressort d’un Gallifet.””<br /> Another of these fine articles is by Charles<br /> Richet of the Institute. He tells us of the<br /> “* Physiology of former days and of to-day.”<br /> He points out that physiological chemistry has<br /> made great progress during the last thirty-five<br /> years. He tells us of the experiments of<br /> Pasteur (1857—1880). M. Richet says, in<br /> conclusion, that the “ future of humanity is<br /> in science only, and that the miseries of<br /> humanity can only be attenuated by means of<br /> the discovery of scientific truths.”” He declares<br /> that disease is our enemy, and that, in order to<br /> fight it, it must be known and then treated by<br /> science, In an eloquent appeal, he asks that<br /> the scientists who are devoting their lives to<br /> this end shall not be allowed to die of starva-<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> tion themselves. He declares that the dearth<br /> of physiologists is largely due to the fact that<br /> the State does so little for scientists. ‘“‘ Ignor-<br /> ance with regard to science was the great error<br /> of former times; it is the great error too, of<br /> modern times,’”’ concludes M. Charles Richet.<br /> <br /> One of the most interesting articles of the<br /> series is certainly the one written by Madame<br /> Mary Duclaux. She tells us of the literary Paris<br /> of 1885. She left the ‘‘ poetic and pre-Raphaelite<br /> England of her early life,’ and went to Paris.<br /> Among the people she first met were Mlle.<br /> Louise Read, at whose house she met Barbey<br /> d’Aurévilly and Mme. Ackermann. Two or<br /> three years later she married James Darmes-<br /> teter, and at the house of his brother, Arséne<br /> Darmesteter, she met Sully Prudhomme,<br /> Gaston Paris, and Mme. Dieulafoy and the<br /> Renans. (Arséne Darmesteter, the celebrated.<br /> philologist, had also married an Englishwoman.<br /> Her Salon pictures have won for her a place<br /> in the recent book on ‘Celebrated Woman<br /> Painters.”) After James Darmesteter’s death<br /> his widow married M. Duclaux, who was then.<br /> at the head of the Pasteur Institute. Paris is.<br /> now the second home of Madame Duclaux, and,<br /> in her clever article, she tells us her impressions.<br /> of the Paris of former days and of to-day. Her<br /> advice to the present generation, in conclusion,<br /> is that they should not only follow General<br /> Lebon’s advice and be “ gay,” but that they<br /> should be “sincere and true.” Madame<br /> Duclaux finds that the great danger of modern<br /> times is the hurry to see the immediate result<br /> of everything. She wonders whether a group<br /> of young workers could be found now such as<br /> the group which devoted itself to the founding<br /> of the Pasteur Institute. She wonders, too,<br /> whether the words renoncement, désintéresse-<br /> ment and recueillement are as well understood:<br /> now as in the nineteenth century ?<br /> <br /> M. Gavault has been appointed Director of<br /> the Odeon Theatre. He is himself a well--<br /> known dramatic author, whose plays have had.<br /> great success. At the Bouffes-Parisiens M.<br /> Arthur Meyer’s play, ‘“‘ Ce qu’il faut taire,”’ is-<br /> now on the bill. M. Meyer, as Director of the-<br /> Gaulois, is a well-known Parisian, and the first<br /> night of his play was a society event.<br /> <br /> Autys HA.uarp.<br /> <br /> <br /> <br /> “Le Monarque’’ (Calmann Levy).<br /> <br /> “Mes Origines, Memoires et Récits ” (Plon).<br /> <br /> “La Dormeuse éveillée ” (Plon).<br /> <br /> “ A travers Shakespeare ” (Fayard),<br /> <br /> ‘““ Napoléon et sa Famille ’? (Ollendorff).<br /> <br /> “Les Cathédrales de France” (Colin).<br /> <br /> “Les Pays d’Albanie et leur Histoire” (Rosier). ”<br /> <br /> ‘‘ Histoire de la Musique européenne ” (Fischbacher).<br /> “Les Universités Allemandes au X Xe Sitcle” (Colin)...<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> =e a ®<br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> AUSTRALIAN BOOK RIGHTS.<br /> <br /> —— +<br /> <br /> {Reprinted fromthe * Bulletin of the U.S.A.<br /> Authors’ League.’’)<br /> <br /> Wuo SHouLD Have THEM—THE AMERICAN OR<br /> THE BrITISH PUBLISHER ?<br /> <br /> MEMBER of the Authors’ League who<br /> has had several of his books published<br /> in London, some sold through his<br /> American publisher, who supplied “ sheets ”<br /> (unbound copies), and some through a separate<br /> contract with English publishers, in attempting<br /> to sell an English edition of a recent work,<br /> encountered considerable difficulty in disposing<br /> of his British rights unless the London firm was<br /> permitted to handle the Australian rights also.<br /> The author was informed by his agent, more-<br /> over, that there appeared to be a greater and<br /> greater disposition on the part of English pub-<br /> lishers to insist upon Australian rights, and it<br /> might be difficult, in the future, to dispose of<br /> the English rights alone.<br /> In view of this fact, the League has investi-<br /> : c 3 sie<br /> <br /> gated the Australian situation in the endeavour<br /> to obtain for authors information which might<br /> enable them to decide advantageously as to the<br /> disposition of any Australian editions. To this<br /> end, inquiries have been made of a number of<br /> New York publishers and literary agents, the<br /> results of which we quote in abridged form.<br /> <br /> The following description, supplied by a well-<br /> known New York publisher, of actual sales con-<br /> ditions in Australia, will enable one to under-<br /> stand the reason for many of the opinions after-<br /> wards cited. This firm says, in part :-—<br /> <br /> “Many American publishers have placed the sale of<br /> their books in the hands of an importing firm in Sydney,<br /> which has agencies in Melbourne, Hobart, Launceston,<br /> Adelaide, Brisbane, and in several places in New Zealand.<br /> To this firm we send, as early as possible, advance copies<br /> of the books likely to find a market in Australia, and. also<br /> review copies for a number of papers. We then receive<br /> by cable orders for such books as our agents find the<br /> Australian trade will take. These agents concern them-<br /> selves with nothing but the wholesale importation of books<br /> and the sale of them to booksellers. As they have no<br /> retail trade whatever, their interests and those of the book-<br /> sellers are identical, and there exist, we believe, very<br /> friendly relations between them and the booksellers.<br /> <br /> “« Opposed to such agents as ours and to the bulk of the<br /> book trade in Australia is a large importing house in<br /> Melbourne which also conducts a retail business. This<br /> house, we are informed, endeavours to secure the exclusive<br /> rights in Australia to books from English and American<br /> publishers. Maintaining, as the house in question does,<br /> a large retail establishment of its own (perhaps more than<br /> one), it has aroused the antagonism of the Australian book-<br /> sellers, the more so because the prices it charges booksellers<br /> are much in excess of those charged for similar books by<br /> firms engaged in importing in wholesale business only.<br /> Booksellers in Australia have a further grievance in that<br /> <br /> THE AUTHOR. 245<br /> <br /> the house in question will not supply popular books i<br /> quantities desired by the teil, Wihsaiver hey an<br /> that they can sell their stock at retail themselves they<br /> either cut down the orders from the booksellers or do not<br /> fill them at all.<br /> <br /> “The attitude of booksellers toward this house was<br /> demonstrated to us in the case of a book for which we<br /> received an offer from the Melbourne house after we had<br /> shipped a large quantity to our agents. Two of the<br /> principal booksellers in Sydney, hearing that the Melbourne<br /> house might get a consignment of the book, notified our<br /> agents that if this were true their orders were to be cut<br /> from 250 copies each to 50 copies each. We have in the<br /> past urged our agents to try to arrange some basis by which<br /> the Melbourne house could sell at retail, but this has been<br /> foundimpossible. And whether the antagonism is justified<br /> or not, the attitude of booksellers in reducing orders from<br /> 500 to 100 copies shows that the condition is not one about<br /> which to theorize.<br /> <br /> “‘ Since we have had to choose between the jobber who<br /> also conducts retail business and the wholesale agent, we<br /> have decided in favour of the wholesale agent, partly<br /> influenced by the facts we had gathered, and partly by<br /> actual figures. In the case of a novel which sold in<br /> America less than 15,000 copies, our total orders for<br /> Australia were 2,000 copies, whereas the offer made by the<br /> jobbing and retailing firm was only 1,500.”<br /> <br /> So much for the details of market conditions.<br /> The American publishers who have answered<br /> the request of the League for their opinions on<br /> the matter are, as might have been expected,<br /> unanimous in declaring that the American<br /> authors are best served by disposing of their<br /> Australian rights to or through their American<br /> publisher, rather than to the English house<br /> publishing in London.<br /> <br /> One of the largest publishing firms answers<br /> <br /> as follows :—<br /> <br /> “In one case where we had sold an edition of only 500<br /> copies to England, our Australian sales exceeded 3,000 ;<br /> and in another case where the English publisher took only<br /> 250 copies, our Australian sales were 2,000. Two facts<br /> should be borne in mind when deciding the disposition of<br /> Australian rights: First, the Australians prefer the books<br /> of American manufacture. We always send cloth bound<br /> books exactly like those that are sold in America, Of<br /> course, we have to make very low prices, and, therefore,<br /> cannot pay more than half royalty. But the returns to<br /> authors on this basis, are, we are certain, much greater<br /> than they would be if the Australian sales were controlled<br /> by the English publishers. Second: we are informed that<br /> in many cases the English publisher sends what he calls<br /> his ‘Colonial edition,’ which is a cheap edition much<br /> inferior to the edition prepared for England. If, as must<br /> be the case, the royalty is computed on the low selling<br /> price of the Colonial edition, it 1s doubtful if the returns<br /> per book are as great as they are on the American edition.<br /> There is no doubt in our minds that the authors’ interests<br /> are best served by having the Australian rights remain with<br /> the American publisher.”<br /> <br /> A New York publishing house which has also<br /> an English office writes :-—<br /> <br /> “For a number of years we sold Australian rights<br /> through our English house, or through English agents. In<br /> recent years we have reversed this policy and have sold<br /> the Australian market directly from this country. We<br /> find that in doing so we are able to place more editions of<br /> <br /> <br />  <br /> <br /> <br /> <br /> 246<br /> <br /> to secure the continuing interest in each of the<br /> nee Se By the English method one edition is<br /> taken and there the matter usually ends. In the case of<br /> certain very popular authors this original edition would be<br /> larger than the edition taken from America; but this in<br /> only a very few cases indeed, and even in these instances<br /> when handled from America succeeding editions would<br /> more than make up the difference.” ;<br /> “The Australian public,” he adds, “seems to like the<br /> type of books which appeal to Americans rather than the<br /> type which appeal to the English.”<br /> <br /> Another prominent publisher, while desiring<br /> Australian rights for his own publications,<br /> thinks that individual cases may differ and<br /> leaves the general question in some doubt. He<br /> says :—<br /> <br /> “The American publisher, who has occasion to arrange<br /> with an English publisher for the British edition of a book,<br /> may often find it desirable to retain in his own hands the<br /> arrangements for Australasia. Firms like my own, whose<br /> imprint reads ‘ New York and London,’ and which carry<br /> on their publishing business on both sides of the Atlantic,<br /> make a practice of retaining in their own hands the control<br /> of the selling arrangements for Australasia. I should take<br /> the ground, therefore, that there was no such thing as ‘a<br /> proper ownership of Australian rights,’ but that the matter<br /> was one to be determined wholly by the origin of the book<br /> (that is to say whether England or America), and very<br /> largely by the status of the connections and the publishing<br /> machinery of the house controlling the book.”<br /> <br /> The following communication, however, from<br /> an equally important firm, is bolder and more<br /> definite in its reasons, corroborating a previous<br /> opinion :—<br /> <br /> ‘“We oftentimes secure from Australia alone an order<br /> just as large, if not larger, than we get from England, even<br /> when they have all foreign rights. As a general rule, we<br /> think the English publisher wishes the Australian market<br /> simply to use as a dumping ground. In case he is not able<br /> to dispose in England of books at the regular price, he<br /> sends them over there (Australia), and brings them out as<br /> a cheap edition. My feeling is that he does very little, if<br /> anything, to promote the sale in Australia.”<br /> <br /> Two New York literary agents, both of whom<br /> have had wide experience in placing foreign<br /> rights of American authors, take opposing<br /> positions in regard to the disposal of Australian<br /> rights. One of them says :—<br /> <br /> “Tt is my belief that a popular author gets more out of<br /> his Australian rights when they are sold by the American<br /> publisher than when they are sold by the English publisher.<br /> In the cases of several popular authors the American pub-<br /> lisher has got more out of the Australian rights than the<br /> English publisher was willing to offer for the English rights<br /> plus the Australian rights. Australia in its outlook on life<br /> and in the kind of books which attract it is much nearer to<br /> America than it is to England.”<br /> <br /> _The other literary agent makes the following<br /> distinction :— #<br /> <br /> “(a) Given an American novel of the type that is li<br /> to obtain manufacture and publication in Se oo.<br /> separate contract with an English publisher, I believe it is<br /> to the advantage of the author to put the Australian<br /> <br /> volume rights into the hands of the English publisher.<br /> (6) If the novel is of the type not likely to be sufficiently<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914<br /> <br /> acceptable in England to attain the publication under a<br /> separate contract, I advise giving all rights of volume pub-<br /> lication in the English language, including Australia, to the<br /> American publisher. Taking two average standard con.<br /> tracts, one with an English publisher, the other with an<br /> American publisher, it is my experience that the author<br /> receives from the English publisher a larger sum per copy<br /> than from the American publisher. I need scarcely say<br /> that where American publishers have a fully equipped<br /> English house (and not a mere agency), and conform to the<br /> Australian royalty scales customary with the best English<br /> publishers, my advice to American novelists is—as a rule—<br /> to let such American publishers have all volume rights in<br /> the English language, including Australia. But (as you<br /> know), American publishers thus equipped are few.”<br /> <br /> One of the agents quoted above states :—<br /> <br /> “Many English houses will not take a book on which<br /> they don’t have the Australian rights, so that if you have<br /> sold the Australian rights to an American publisher you<br /> may find it difficult to place the book in England at all.”<br /> <br /> This opinion confirms that of the English<br /> agent first cited.<br /> <br /> But there is still another reason for favouring<br /> the American publisher. Every American<br /> author who has had books published and<br /> printed in England has bewailed their inferior<br /> appearance, as compared with his American<br /> edition. In typography, paper and binding<br /> most English editions are far behind the usual<br /> American made books. Not only does this<br /> displease the author’s esthetic sensibilities, but<br /> it probably seriously affects the sale of his book.<br /> A case could be mentioned in illustration of one<br /> book whose English sale fell far behind the<br /> American, indubitably for that reason alone.<br /> <br /> Says one of the above quoted New York pub-<br /> lishers :—<br /> <br /> “‘ We are certain that the appearance and manufacture<br /> of the American book is of more advantage, especially in<br /> the Australian market, where it is much preferred to the<br /> English book.”<br /> <br /> The concensus of opinion of those interested<br /> (on this side of the water at least) is, therefore,<br /> that the American publisher can do better for<br /> the author, in Australia, than the English.<br /> But, meanwhile, the League is iz communics-<br /> tion with London firms and agents, and hopes,<br /> later, to present the British side of the question,<br /> as well as supply direct information from<br /> Australia itself.<br /> <br /> Se<br /> <br /> FRANCIS, DAY, AND HUNTER v. FELD-<br /> MAN &amp; CO.<br /> <br /> 8<br /> <br /> fe eee action was tried on May 21 and 22,<br /> and involved two issues: (1), whethet<br /> <br /> the plaintiffs’ song called ‘‘ You made<br /> me love you (I didn’t want to do it),” written<br /> <br /> <br /> <br /> i<br /> &#039;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> asain ities<br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> by Joe McCarthy and James V. Monaco, both<br /> American citizens, was “ first published ” in<br /> the British dominions within the meaning of<br /> the Copyright Act, 1911, so as to entitle it to<br /> copyright thereunder; and (2) whether the<br /> words of the defendants’ song, called ** You<br /> didn’t want to do it—But you did,” infringed<br /> the copyright in the words of the plaintiffs’<br /> song. No complaint was made with regard to<br /> the music of the defendants’ song. :<br /> Section 1 (1) of the Copyright Act, 1911,<br /> provides that copyright shall subsist in every<br /> original literary, dramatic, musical and artistic<br /> work if, in the ease of a published work, the<br /> work was first published within His Majesty’s<br /> dominions to which the Act extends. Section<br /> 1 (3) provides that publication in relation to<br /> any work means the issue of copies of the work<br /> to the public ; and section 35 (3) provides that<br /> a work shall be deemed to be first published<br /> within the parts of His Majesty’s dominions to<br /> which the Act extends, notwithstanding that<br /> it has been published simultaneously in some<br /> other place, unless the publication in such<br /> parts of His Majesty’s dominions is colourable<br /> only and is not intended to satisfy the reason-<br /> able requirements of the public, and a work<br /> shall be deemed to be published simultaneously<br /> in two places if the time between the publica-<br /> tion in one such place and the publication in<br /> the other place does not exceed fourteen days.<br /> The plaintiffs’ song was published in New<br /> York and Toronto on May 5, 1918. On April 24,<br /> the Broadway Music Corporation, who pub-<br /> lished the song in New York, transmitted<br /> twelve copies to the plaintiffs and requested<br /> them to copyright the song in England on<br /> May 5. On that day the plaintiffs caused one<br /> copy of the song to be sent to the British<br /> Museum, four copies to be sent to the agent for<br /> the other libraries, and one copy to be filed as<br /> a record. The remaining six copies were<br /> placed in the plaintiffs’ retail premises in a box<br /> labelled ‘‘ New works issued this day.” They<br /> remained in the box from ten to fourteen days,<br /> other music being placed on the top each day<br /> as published. The six copies were then<br /> r moved to the stock room. It was proved<br /> that on the average from eighty to one hundred<br /> customers would come into the plaintiffs<br /> retail premises each day. It was also proved<br /> that American songs. were Oe ei oe<br /> until they had been performed 1n this co y-<br /> The sischite ae John Abbott, stated<br /> that it was their intention to have copies of the<br /> song in question available to meet any demand<br /> as and when it might arise. There was, how-<br /> ever, no demand for the song until August, and<br /> <br /> <br /> <br /> THE AUTHOR. 947<br /> <br /> no sale could be traced before August 12. In<br /> July, the plaintiffs heard that the song was<br /> going to be performed in England, and on<br /> July 18, they ordered by cable ten further<br /> copies from America. On July 26, they ordered<br /> ten more. These twenty copies came to hand<br /> on August 12. On August 18, they cabled for<br /> 100 copies, which came to hand on August 25.<br /> The song was first sung in England on July 25<br /> by Miss Florence Smithson at the Chiswick<br /> Empire. On August 4 it was sung by Miss<br /> Grace la Rue at the Palace. The demand<br /> began about August 12, and on August 20,<br /> they published an English reprint of 750<br /> copies. They had always been in a position<br /> to supply any demand which was made,<br /> <br /> Beyond placing the six copies of the song in<br /> the box in their retail premises, the plaintiffs<br /> never advertised the song either in the Press<br /> or in their catalogue or otherwise until’ Sep-<br /> tember.<br /> <br /> On these facts the defendants contended that<br /> the song had not been issued to the pwhlie in<br /> England within fourteen days from May 5, and,<br /> alternatively, if it was so issued that the publica-<br /> tion was colourable and was not intended to<br /> satisfy the reasonable requirements of the public.<br /> Mr. Justice Neville, however, held that there was<br /> an issue of copies to the public and that, as<br /> there was a bona fide intention on the part of<br /> the plaintiffs to satisfy any demand for the<br /> song, as and when it might arise, the publica-<br /> tion was not merely colourable and the con-<br /> dition required by the Statute had been satis-<br /> fied.<br /> <br /> On the question of infringement, the defen-<br /> dants contended that their song was what was<br /> known as a reply song to the plaintiffs’ song,<br /> and as such was a legitimate publication.<br /> Evidence was given on behalf of the plaintiffs<br /> to the effect that there was great similarity<br /> between the words of the two songs in rhythm,<br /> idea and language, and that the sale of the<br /> defendants’ song was calculated to prejudice<br /> the sale of the plaintiffs’ song. Mr. Justice<br /> Neville said that the question was not free<br /> from difficulty. A song might well be what<br /> was called a reply song, and yet be an infringe-<br /> ment of the song to which it was a reply. The<br /> court must be guided by the general impression<br /> created on the mind by the one song and the<br /> other. In this case he thought the defendants’<br /> song was but a colourable imitation of the<br /> plaintiffs’ song, and he granted an injunction<br /> and inquiry as to damages.<br /> <br /> el<br /> <br /> <br />  <br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —<br /> <br /> 4 VERY member has a right toask for and to receive<br /> : advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> ‘Secretary of the Society is a solicitor; but if there is any<br /> -special reason the Secretary will refer the case to the<br /> ‘Solicitors of the Society. Further, the Committee, if they<br /> «deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel 8<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> -and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> ‘the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> ~you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> ‘members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> -confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements, Fuller particu-<br /> ‘lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> - of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements. This<br /> must be done within fourteen days of first execution. The<br /> ‘Secretary will undertake it on behalf of members,<br /> <br /> 8. Some agents endeayour to prevent authors from<br /> referring matters to the Secretary of the Society ; so<br /> do some publishers. Members can make their own<br /> ‘deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 4s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> <br /> <br /> ——&gt;— +<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> oe<br /> <br /> ERE are a few standing rules to be observed in an<br /> | [ agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright,<br /> This is sometimes satisfactory, 7f a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for ‘‘ office expenses,”’<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> “By Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It isnow<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> <br /> I¥. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> C1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> a<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> ee<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating ‘for<br /> the production of a play with any one except an established<br /> manager,<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (2.) Sale outright of the performing right. This<br /> is unsatisfactory, An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> :<br /> 5<br /> i<br /> <br /> <br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> (.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in anyevent. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable, ‘Lhey should never be included in English<br /> agreements without the author obtaining a su. bstantial<br /> consideration.<br /> <br /> 9.Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> <br /> <br /> —&gt; -—<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ——<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 22, 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> 249)<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> Ee<br /> De authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees.<br /> from it, As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is:<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess:<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> ee ae<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> Segoe<br /> : ITTLE can be added to the warnings given for the-<br /> ey assistance of producers of books and dramatic<br /> <br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> a<br /> <br /> STAMPING MUSIC.<br /> <br /> Sage ee<br /> The Society undertakes to stamp copies of music on<br /> <br /> behalf of its members for the fee of 6d. per 100 or part<br /> <br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> <br /> safe. The musical publishers communicate direct with the<br /> <br /> Secretary, and the voucher is then forwarded to the<br /> <br /> members, who are thus saved much unnecessary trouble,<br /> <br /> _—_____+—&lt;»—e —__—_<br /> <br /> THE READING BRANCH.<br /> <br /> —+—<br /> EMBERS will greatly assist the Society in this<br /> N branch of its work by informing young writers.<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach, The term<br /> MSS, includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &gt; +<br /> <br /> EMITTANCES.<br /> <br /> f the Society begs to give notice<br /> a ee Ses are Scuyowiodued by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered.<br /> letter only,<br /> <br /> <br />  <br /> <br /> <br /> <br /> COLLECTION BUREAU.<br /> ee ecg<br /> HE Society undertakes to collect accounts and money<br /> <br /> due to authors, composers and dramatists. :<br /> 1. Under contracts for the publication of their<br /> <br /> <br /> <br /> works. : :<br /> <br /> 2. Under contracts for the performance of thei<br /> and amateur fees. é .<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission. :<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> r works<br /> <br /> AGENTS.<br /> Holland . ‘ ‘ A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs. Poason.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> ee =<br /> <br /> GENERAL NOTES.<br /> ae es<br /> PUBLISHERS’ AGREEMENTS AND THE AGENCY<br /> CLAUSE.<br /> <br /> Our attention has been drawn once again<br /> to the agency clause inserted by agents in<br /> publishers’ agreements. The clause runs as<br /> follows :—<br /> <br /> ** All accounts due and all moneys payable under this<br /> agreement shall be rendered and paid to of<br /> and it is hereby agreed that his receipt shall be a fulland<br /> sufficient discharge therefor and that shall have<br /> authority to treat for and on behalf of the said author in<br /> all matters under this agreement.”<br /> <br /> The publishers’ agreement, with a covering<br /> letter from the agent making several comments<br /> on the document as far as it concerned the<br /> publishers’ proposed terms, was submitted<br /> through the author to the Socicty for criticism,<br /> but the agent’s letter written to the author<br /> made no comment whatever upon the clause<br /> which referred to his own position and which<br /> he had inserted.<br /> <br /> We have on former occasions and at full<br /> length dealt with this matter. If an agent,<br /> when commenting on the publishers’ agree-<br /> ment, sets fairly before the author the diffi-<br /> culties that may arise under the clause which<br /> he inserts for his own benefit, states that it is<br /> irrevocable, that it may handicap the author<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> seriously, ete., ete., and if the author, having<br /> the full statement before him, says ‘* You are<br /> my agent, I am quite willing to trust you as<br /> regards this clause,” then no blame whatever<br /> can attach to the agent; though something<br /> might be said on the question of the author’s<br /> folly. But when an agent as in the present<br /> case says nothing the matter assumes quite<br /> another aspect. Supposing, for instance, a<br /> solicitor when drawing up a contract for a client<br /> inserted a clause which, of great benefit to him-<br /> self, might be seriously detrimental to his client,<br /> and omitted to point out the facts ; if the matter<br /> was then referred to the Incorporated Law<br /> Society, the result would most probably be that<br /> the solicitor would hive his name struck off the<br /> rolls. But agents who dealin a similar manner<br /> with their clients are full of anger when com-<br /> ments are made upon their methods of doing<br /> business. Solicitors are responsible to the<br /> council of their profession, but agents have no<br /> such responsibility. It has been said that all<br /> authors are not angels, and that unless the<br /> agent protect himself he runs a chance of being<br /> swindled; but the agent seems to forget that the<br /> author runs exactly thesame chance. It would<br /> be interesting to know the proportion of corrupt<br /> agents to the total number of agents, as com-<br /> pared with the proportion of corrupt authors<br /> to the total number of those who follow<br /> authorship as a profession. It is doubtful if<br /> this sum were worked out whether the agent’s<br /> care for himself could be wholly justified.<br /> <br /> AGENTS AND ACCOUNTS.<br /> <br /> WHILE we are discussing the question of<br /> agents, there is another matter to which the<br /> members’ attention should be called. Agents<br /> —literary, dramatic, and others—are very<br /> fond of receiving accounts and passing them<br /> on to authors without any comment. They<br /> take no trouble to compare them with the<br /> former accounts, to compare them carefully<br /> with the agreement and to see that the proper<br /> percentage is given throughout. They simply<br /> ask the author, who is helpless in the matter,<br /> whether he is satisfied with them. Many<br /> agents, however, have got a worse habit still.<br /> They make out an account of their own,<br /> presumably from the original accounts, deduct<br /> their agent’s fees, and send it on with a cheque<br /> <br /> to the author, who has no possibility of viewing -<br /> <br /> the original documents. We are glad to<br /> see, that this is not always the case,<br /> One or two of the best-known agents: make<br /> a point of always sending on the originals for<br /> consideration. Even then it is the agent’s<br /> <br /> <br /> <br /> <br /> <br /> |<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> duty to state clearly that he has compared the<br /> accounts with the former accounts and with<br /> the agreement. The matter would not be of<br /> such importance if, in the clause which we have<br /> quoted, the agent’s receipt was not a valid<br /> discharge. The insertion of these words into<br /> the clause cannot be supported by the same<br /> arguments that warrants the agent to collect<br /> the monies. They are merely an added<br /> burden to the author.<br /> <br /> Prorit SHARING ON THE SALES OF SHEETS IN<br /> ture U.S.A.<br /> <br /> WE re-publish in another part of The Author<br /> an article which deals with a clause inserted<br /> in Publishers’ Agreements giving the author<br /> half profits on sales to America. The matter<br /> is of growing and serious importance, be-<br /> cause such a clause, although the author is<br /> receiving a royalty on other sales, is being<br /> inserted more frequently in author&#039;s agree-<br /> ments, and its interpretation, when the<br /> accounts come in, is nearly alweys—there are<br /> honourable exceptions—to the detriment of<br /> the author. Every form of profit sharing in<br /> literary as well as dramatic agreements is<br /> unsatisfactory. If the accounts are rendered<br /> with the most honourable intentions, distrust<br /> and suspicion is bound to spring up, often<br /> because the author cannot understand the<br /> intricate details. Profit sharing on American<br /> sales is a subject which might very usefully be<br /> discussed between the committee and the<br /> Publishers’ Association, if the latter would<br /> care to discuss it.<br /> <br /> There are two reasons why, from the pub-<br /> lishers’ point of view, the power to sell on half<br /> profits to America benefits them. It enables<br /> them to cut down prices to an absurdly low<br /> figure. This is detrimental to the author, who<br /> practically gets no profits, but is not a serious<br /> matter for the publisher, because in any case,<br /> he takes care to get his cost of production<br /> eovered. The cost of production including, as<br /> is shown by the article, the cost of composition.<br /> <br /> The second point is that, however equitable<br /> the arrangement may appear, it is impossible,<br /> as shown in the article, that it should be an<br /> equitable arrangement if the book continues<br /> to sell briskly in England. Bot h these points<br /> are detrimental to the author&#039;s financial<br /> <br /> interests.<br /> <br /> We hope, therefore, that all authors who<br /> receive a royalty on the English sales, failing<br /> to obtain U.S.A. copyright, will oppose the<br /> clause of profit sharing on the American sales,<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 251<br /> <br /> and will insist upon receiving a royalty of so<br /> much per copy, which will force the publisher<br /> to keep up a reasonable price for the sale as he<br /> has to pay the author a reasonable price also,<br /> <br /> A Boox aspout AUTHORS.<br /> <br /> __WE are quoting the following from Mr. Hope<br /> Moncrieff’s ‘‘ Book about Authors ”’ :—<br /> <br /> *“The Authors’ Society has recently started a pension<br /> fund of its own which appears to be usually applied for the<br /> benefit of novelists, the only class of authors that does<br /> make any money to speak of. And in two cases it is paid<br /> to gentlemen also enjoying Civil List pensions. This looks<br /> as if the Authors’ Society contained few really necessitous<br /> members. But one has known only too many authors,<br /> and of note and of usefulness, who could not afford even<br /> the guinea subscription to this association.”<br /> <br /> We think Mr. Moncrieff is a little unfair to<br /> the Authors’ Society. The Authors’ Society<br /> is paying at the present time five pensions.<br /> Three of the pensioners are novelists ; two are<br /> not. The proportion of three to two is not an<br /> excessive proportion considering the member-<br /> ship of the Society. Mr. Moncrieff states,<br /> however, about novelists ‘‘ the only class of<br /> authors that does make any money to speak<br /> of.” With all Mr. Moncrieff’s large knowledge<br /> of authorship, he has failed to understand that<br /> many educational writers have a much larger<br /> circulation and a much surer and continued<br /> income than novelists, and that the suecesstul<br /> dramatist again is often far ahead of the<br /> successful novelist. The remark also is not<br /> quite fair because after all it is not the class<br /> that benefits by the pension but the individual.<br /> <br /> There is a further point to which attention<br /> might be drawn. It would appear that Mr.<br /> Moncrieff has written the paragraph without a<br /> correct knowledge of the Pension Fund scheme.<br /> It is absolutely essential that the author<br /> secking a pension should have been a member<br /> for a certain number of years. We regret to<br /> say we know more than one case in which an<br /> author has resigned from the Society, not<br /> always on account of poverty, and coming on<br /> bad days, has desired to rejoin the Society<br /> with a view to getting a pension. There is<br /> <br /> also a limit of age in the Society’s Pension<br /> <br /> Fund scheme. There is also the fact that the<br /> Pension Fund scheme was started with a view<br /> not to cut in any way into the work of the<br /> Royal Literary Fund. Like Mr. Moncrieff, we<br /> have known too many authors who have fallen<br /> <br /> on evil days.<br /> has only been tempore<br /> by the Royal Literary F<br /> <br /> In many cases their position<br /> ary, and being relieved<br /> und, they have regained<br /> <br /> <br /> <br /> <br />  <br /> <br /> 252<br /> <br /> their work and stemmed the tide of misfortune.<br /> The Socicty, although it cannot assist directly<br /> in these cases from its Pension Fund, can assist<br /> indirectly and is constantly doing so, by giving<br /> advice and referring members to the Royal<br /> Literary Fund, and by calling the notice of the<br /> more fortunate members of the profession to<br /> an urgent case.<br /> <br /> Again, amongst those authors who are not<br /> only known to Mr. Moncrieff, but also to_us,<br /> many were not entitled by age to relief.<br /> Finally, the Pension Fund of the Society is an<br /> exceedingly small fund, and when the income<br /> is exhausted by the payment of present pen-<br /> sions, however pressing may be the needs of<br /> those who claim, it is impossible for the<br /> Society to assist until the income at the<br /> disposal of the trustees is sufficiently increased.<br /> <br /> We think the Society may well be proud of<br /> its Pension Fund, small as it is. The first<br /> pension granted was to Mrs. Riddell. The<br /> fund was started by the Society, ten prominent<br /> members heading the list with donations of<br /> £100 each—and for members of the Society<br /> only. It has never appealed to the public by<br /> way of advertisements, charity concerts and<br /> other methods, but has gone steadily from<br /> year to year, supported by members of the<br /> Society both rich and poor, until its funds are<br /> over £5,000 in value. The amount invested<br /> per annum usually runs to between £200 and<br /> £300. It has not been a one-man fund, born<br /> of the generosity of this or that millionaire,<br /> although no doubt the trustees would be willing<br /> to receive outside gifts. It is because the funds<br /> are really part of the life of the Society, and its<br /> membership that the Society has reason to be<br /> proud of it.<br /> <br /> Tue Art or LEAyING Orff.<br /> <br /> _ A very interesting little paragraph appeared<br /> in the May number of the Chicago Dial, which<br /> we take the liberty of copying :—<br /> <br /> “* The Art of Leaving Off, in writing, in story-telling, in<br /> specch-making, in preaching, in calling, and in much else,<br /> is an art that many never learn, perhaps chiefly because it<br /> is so simple—to stop when you get through. Scott more<br /> than atones for the long-winded preliminaries to his novels<br /> by the masterly abruptness with which he closes them, A<br /> compliment worth winning from one’s readers is the<br /> involuntary exclamation at the end of the book, Is that<br /> all! Those who have read much aloud will recall many a<br /> masterpiece of fiction that has elicited from breathless<br /> hearers that unmistakeable testimony to the attention-<br /> compelling quality of the narrative. In her useful treatise<br /> on “The Art of Story-Telling,’ Miss Julia Darrow Cowles<br /> pertinently remarks : ‘ Story-tellers sometimes remind one<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914.<br /> <br /> of a man holding the handles of an electric battery. The<br /> <br /> current is so strong that he cannot let go. The story-teller<br /> must know when and how to “‘let go.”’ Letus suppose that,<br /> in telling Hans Christian Andersen’s story of ‘‘ The Nightin-<br /> gale,” the story-teller—after the delightful denouement of<br /> the supposedly dead Emperor’s greeting to his attendants,<br /> where he “‘ to their astonishment said ‘ Good morning !’ ””<br /> —were to add an explanation of the effect of the nightin-<br /> gale’s song in restoring the Emperor to health! It would<br /> be like offering a glass of ** plain soda’ from which all the<br /> effervescence had departed.’ .. .”<br /> <br /> But is it true that authors generally know<br /> when to stop ? In the old days of long serials,<br /> many authors being bound by the serial<br /> market to make the beginning of the story<br /> <br /> interesting dragged on interminably towards<br /> the end. Is not the second volume of<br /> <br /> Thackeray’s “ Virginians” a fair example<br /> of not knowing when to stop?<br /> <br /> Copyricut Casrs, 1918.<br /> <br /> WE have received from the Publishers”<br /> Association the ‘‘ Copyright Cases for 1913,”<br /> edited by Mr. E. J. MacGillivray. This.<br /> collection is produced for private circulation<br /> at the expense of the Publishers’ Association,<br /> and the Society cannot be too grateful to that<br /> Association for allowing the Society every<br /> year to have a copy. It is an invaluable<br /> production.<br /> <br /> In the summary, Mr. MacGillivray touches<br /> on the question of titles, which he rightly<br /> says has jumped into supreme importance<br /> by reason of the fact that the producers of<br /> films are claiming the right to appropriate the<br /> title of any novel or drama.<br /> is one that may effect seriously all authors,<br /> and it is hoped that the efforts of the Society<br /> will be successful in organising a satisfactory<br /> defence.<br /> <br /> INTERNATIONAL CONGRESS OF AUTHORS<br /> AND JOURNALISTS.<br /> <br /> WE have received some papers with regard<br /> to the Congress of Authors and Journalists to-<br /> be held at the Panama-Pacific International!<br /> Exposition which will take place at San<br /> Francisco in 1915.<br /> <br /> The papers give some idea of the arrange-<br /> ments that are going to be made for all those<br /> who, specially invited, are able to accept the<br /> invitation.<br /> <br /> Fuller particulars may be obtained from:<br /> Miss Ina Coolbrith, 1067, Broadway, New York,<br /> or from Mr. Hermann Scheffauer, Bank Point,.<br /> Jackson’s Lane, Highgate, N.<br /> <br /> The matter<br /> <br /> vip<br />  <br /> <br /> JUNE, 1914.]<br /> <br /> ‘MODIFICATION OF THE BERNE-BERLIN<br /> COPYRIGHT CONVENTION OF 1908.<br /> —o— +<br /> (Reprinted from the U.S.A. “ Publishers’<br /> Weekly.’’)<br /> <br /> TWFNHE following additional protocol to the<br /> Convention of 1908 adopted by the<br /> countries of the International Copy-<br /> <br /> right Union, March 20, 1914, is of especial<br /> <br /> importance in the United States because it<br /> <br /> <br /> <br /> _ doubtless originated in and reflects the dis-<br /> <br /> satisfaction with the manufacturing and other<br /> restrictions of our own copyright code felt by<br /> those countries which grant full copyright.<br /> Under it, Great Britain can impose counter-<br /> restriction on books of American authorship<br /> without violating its full relations of reciprocity<br /> with the other countries of the Union.<br /> <br /> ADDITIONAL ProrocoL TO THE REVISED<br /> BERNE CONVENTION OF NOVEMBER 13,<br /> 1908.<br /> <br /> The countries, members of the International<br /> Union for the protection of literary and artistic<br /> works, desiring to authorise an optional limita-<br /> tion of the extent of the Convention of Novem-<br /> ber 13, 1908, have, by mutual agreement,<br /> -adopted the following Protocol :<br /> <br /> 1. When a country not belonging to the<br /> Union does not protect in a sufficient manner<br /> the works of authors who belong to a country<br /> -of the Union, the provisions of the Convention<br /> -of November 13, 1908, cannot prejudice, in any<br /> way, the right which appertains to the con-<br /> tracting countries to restrict the protection of<br /> works of which the authors are, at the moment<br /> -of the first publication of these works, subjects<br /> -or citizens of the said country ‘not being a<br /> member of the Union, and are not actually<br /> domiciled in one of the countries of the Union.<br /> <br /> 2. The right accorded to the contracting<br /> States by the present Protocol, equally apper-<br /> tains to each of their trans-marine possessions.<br /> <br /> 3. No restrictions established in virtue of<br /> No. 1 above, may prejudice the rights which an<br /> <br /> author has acquired upon a work published in<br /> -one of the countries of the Union prior to the<br /> putting into force of these restrictions.<br /> <br /> 4. The States which, in virtue of the present<br /> protocol, limit the protection of the rights of<br /> authors, will notify the Government of the<br /> Swiss Confederation by a written declaration<br /> ‘indicating the countries against which the<br /> protection is restricted, and also the restrictions<br /> to which the rights of authors from these<br /> -eountries are submitted. The Government of<br /> the Swiss Confederation communicates at once<br /> the fact to all the other states of the Union.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 2538<br /> 5. The present Protocol to be ratified, and<br /> the ratifications to be deposited in Berne within<br /> a maximum delay of twelve months from its<br /> date. It enters into foree one month after the<br /> expiration of this delay, and has the same power<br /> and duration as the Convention to which it<br /> relates.<br /> <br /> In witness whereof the Plenipotentiaries of<br /> the countries, members of the Union, have<br /> signed the present Protocol, of which a certified<br /> copy is to be transmitted to each of the govern-<br /> ments of the Union.<br /> <br /> _ Made in Berne, the 20th day of March, 1914,<br /> in only one copy deposited in the archives of<br /> the Swiss Confederation.<br /> <br /> (The signatures of the representatives of the<br /> countries of the Union follow) :—<br /> <br /> Liberia,<br /> <br /> Luxembourg,<br /> <br /> Monaco,<br /> <br /> Norway,<br /> <br /> The Nether-<br /> lands,<br /> <br /> Portugal, Spain,<br /> Switzerland, France,<br /> Tun’‘s, Great Britain,<br /> Germany, Haiti,<br /> Belgium, Italy,<br /> Denmark, Japan.<br /> <br /> ——__—— @ &gt; +~&lt;4 6<br /> <br /> ROYALTY AGREEMENTS AND HALF<br /> PROFITS ON SHEETS TO AMERICA.<br /> <br /> Pe Se EEE<br /> <br /> <br /> <br /> HERE is a clause often embodied in agree-<br /> ments issued by the best houses in<br /> London in which the author—failing<br /> <br /> to obtain the American copyright—is entitled<br /> to half of the profits on the sale of sheets to<br /> America. If this clause is inserted in the<br /> usual half-profit agreement, there is little to be<br /> said against it. The only points at issue, then,<br /> are: (1) Is a profit-sharing agreement desir-<br /> able? (2) In what proportion should profits<br /> be divided between author and publisher ?<br /> But if the clause is inserted in an agreement<br /> where the author is to obtain a royalty on the<br /> publication of the English edition, there are<br /> two very strong points of objection.<br /> <br /> The first point rests on the fact that a clause<br /> drafted on these lines is a distinct pitfall to the<br /> author. Itis 4 pitfall for the following reasons:<br /> (1) because to the ordinary person the difficul-<br /> ties with which the clause 1s pregnant are<br /> altogether invisible ; (2) because the amount<br /> the author receives is always calculated—see<br /> the books of the Society on the point—on the<br /> basis that the full cost of composition is charged<br /> against the English edition. If this were not<br /> the ease, the author ought to receive a higher<br /> royalty on British sales.<br /> <br /> <br /> 254<br /> <br /> Let us explain what we mean more fully.<br /> Take the ordinary 6s. book :—<br /> <br /> £8 ¢,<br /> Cost of composition of 3,000<br /> copies . : : 35 60, 0:0<br /> Cost of printing of 3,000<br /> copies . ; : - 16 0, 0<br /> Cost of paper of 3,000 copies 58 0 0<br /> Total - 104° 0 0<br /> <br /> Of the 3,000 copies the publisher sends 2,000<br /> to America and receives for the same (say) Ls.<br /> a copy—£100. The cost of composition was<br /> compulsory for the completion of the English<br /> edition, the author’s royalty, as stated, being<br /> based on this understanding; but the pub-<br /> lisher takes two-thirds of this cost towards the<br /> American edition as well as two-thirds of the<br /> cost for the print and the paper, leaving to be<br /> divided between himself and the author—<br /> <br /> £ sg<br /> By sale of 2,000 copies to<br /> America : ; . 100 QO 0<br /> Two-thirds cost of produc-<br /> tion : 69 6 8<br /> <br /> {30 138 4<br /> As the cost of composition has no right to be<br /> charged against the American edition, but only<br /> the cost of print and paper, the difference<br /> would work out as follows :—<br /> <br /> £3. d.<br /> By sale of 2,000 copies to<br /> America : : - 100. 0: 0<br /> Two-thirds cost of print and<br /> paper : 49 6 8<br /> <br /> £50 18 4<br /> <br /> Instead, therefore, of the author receiving<br /> £25 6s. 8d., by the publisher’s method of cal-<br /> culation of half profits, the author receives<br /> £15 6s. 8d. and the publisher £85 6s. 8d. It is<br /> almost as reasonable an arrangement as the<br /> ordinary half-profit agreement, whose clauses<br /> and workings have so often been exposed in<br /> The Author.<br /> <br /> To show how this method may be worked out<br /> in the interests of untrustworthy publishers<br /> unfairly to the author, say the publisher in the<br /> first instance only publishes 1,000 copies. The<br /> cost of composition would still be £80; print-<br /> ing, £10; paper, £20. He sells 500 copies to<br /> Amcerice,, end on the same principle the follow-<br /> ing sum is worked out :—<br /> <br /> fos ad.<br /> <br /> Half cost of production _ $0 0-0<br /> By sale of 500 copies to<br /> <br /> America at ls. per copy . 25 0 0<br /> <br /> £5 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> This would leave a deficit against the author’s.<br /> <br /> account of £2 10s., as the sale to America has<br /> failed to cover the cost of production. As<br /> soon as the edition is sold and the amount is<br /> worked out against the author he prints<br /> 10,000 copies for the English edition, but never<br /> takes into account the proportion of the cost<br /> of production of the 500 sent to America to the<br /> 10,000 printed in England. Again, supposing<br /> you take the first instance and 20,000. were<br /> subsequently sold, the cost of the 2,000 sold to<br /> America is still taken in proportion to the cost<br /> of the 3,000 of the first edition printed, and not<br /> in proportion to the whole cost.<br /> <br /> It will be seen, therefore, that, quite apart<br /> from the contract being unfair, and a pitfall to<br /> the unwary (as on the face of the agreement<br /> the difficulty is invisible), even if it is worked<br /> out by a publisher with an honest idea of doing<br /> nothing dishonourable, the result of its working,<br /> its natural evolution, becomes a fraud on the<br /> author, as it is impossible to calculate this sale<br /> to America on the basis of future sales. It<br /> must always be calculated upon the sales that<br /> have already been made. The position is<br /> ridiculous. It is to be hoped that the Pub-<br /> lishers’ Association will dissociate themselves<br /> from this form of agreement.<br /> <br /> The second objection arises from the fact<br /> that this sale to an American house is mere<br /> agency work. If conducted through the<br /> medium of an author’s agent, the latter would<br /> be highly pleased with the payment of 10 per<br /> cent. on the net result. Not so the publisher,<br /> although he is constantly erying out against the<br /> agent and his charges. It is a well-known fact<br /> —instances have often been quoted—that the<br /> publisher, although he expresses strong dis-<br /> approval of the intervention of the agent who<br /> charges a modest 10 per cent., makes—when<br /> he endeavours to undertake any of the agent’s<br /> duties—a general charge of 50 per cent.<br /> Further arguments against allowing a pub-<br /> <br /> lisher to undertake an agent’s work need not<br /> <br /> be repeated here.<br /> <br /> ——_____o—&gt;_+_____—_-<br /> <br /> THE FAMILY HERALD PRESS.<br /> <br /> <br /> <br /> THVHE attention of the committee has been<br /> LT called to a letter issued from the<br /> ‘Family Herald Press ” to one of the<br /> members of the Society of Authors. The<br /> letter runs as follows :—<br /> “Dear Srr,—On the understanding that you are the<br /> <br /> author and sole owner of the above-named story, the<br /> Editor is prepared to pay you for the entire rights of<br /> <br /> <br /> <br /> i<br /> <br /> <br />  <br /> <br /> ‘JUNE, 1914.]<br /> <br /> ~publication and re-publication (Home, Colonial and<br /> International) the sum of ten shillings, the Editor to<br /> shave the right of making any alteration he nmy deem<br /> advisable in title, names of characters, and text.<br /> <br /> “Should the Editor’s offer be acceptable to you, we<br /> shall be obliged by an early intimation of the fact, so that<br /> a remittance may be sent at the end of the month.<br /> <br /> ‘“* WintraMs, STEVENS, Lrp.”<br /> <br /> The article for which the magnificent sum<br /> of 10s. was offered was an article of 2,000<br /> -words in length; therefore, the price being<br /> ‘paid was at the rate of 5s. per 1,000 words.<br /> Now from the point of view of the worst author,<br /> 5s. per thousand words must be considered an<br /> ‘impossible price even when the purchaser<br /> desires only the first serial use for a special<br /> paper ; but to offer to pay 5s. per 1,000 words<br /> for rights intended (as the form of receipt subse-<br /> quently sent showed) to cover the copyright<br /> ‘which now includes dramatic rights, transla-<br /> tion rights, and cinematograph rights is, from<br /> the author’s point of view, wholly absurd.<br /> No doubt the argument on the other side<br /> would be that there are many papers that pay<br /> as low as 5s. per 1,000 words. There is no<br /> doubt that some papers do fall as low, but two<br /> ‘wrongs will never make a right. and it is<br /> <br /> rather a shock to find an old and well-estab-<br /> lished paper like the Family Herald pays such<br /> prices. It is not often that so low a figure is<br /> paid, even for the first serial use, and it is quite<br /> <br /> the exception that the copyright is purchased<br /> for so low a figure. It would be further urged<br /> no doubt that the letter was a printed form,<br /> that as amatter of fact the work proposed to be<br /> purchased was not such as could be used either<br /> in book form, or for dramatisation, and. that,<br /> therefore, the author, although the contract<br /> embraced rights of so extensive a character,<br /> lost nothing. There is really nothing in this<br /> second argument, the point being that it is<br /> for the author to decide whether or not he<br /> ares to yield these rights, even though they<br /> are not likely to bring him in anything. There<br /> is one good point in the letter quoted. The<br /> author receives it before the article is published<br /> and puts quite clearly before him what the<br /> <br /> urchaser desires for the pittance that has<br /> <br /> een offered. This is a thousand times better<br /> than the case of those magazines which give<br /> an indefinite acceptance or no acceptance at<br /> <br /> all, then publish the story or article, and,<br /> when it has been published, claim, by an<br /> endorsement on the back of the cheque, all<br /> the copyright and prevent the author from<br /> obtaining his money until the cheque 1s signed<br /> without alteration.<br /> <br /> ———_—_—__—_4+—-_+___—_—_<br /> <br /> THE AUTHOR.<br /> <br /> 255<br /> <br /> TRANSLATIONS.<br /> <br /> See<br /> Tue RecENT ACTION OF THE ‘‘ SocrkTE Drs<br /> Gens DE LETTRES.”’<br /> <br /> VERY author whose works are capable<br /> of translation should take notice, and<br /> immediate notice, of the recent action<br /> <br /> of the ‘‘ Société des Gens de Lettres” respecting<br /> translations. If any one will remark that to<br /> say this is hardly necessary, seeing that all the<br /> proceedings of the great French society, the<br /> Queen of authors’ societies, are always of con-<br /> summate importance, it shall be immediately<br /> admitted that this is essentially true; but, at<br /> the seme time, it is to be feared that there are<br /> among authors, or at any rate among English<br /> authors, very many who have not realised that<br /> the “ Société des Gens de Lettres ” is not only<br /> the oldest, and by far the most powerful of all<br /> authors’ societies, but also on every occasion<br /> the first to seize the meaning of new situations<br /> and developments, and the quickest to per-<br /> ceive how they can be turned to the advantage<br /> of its members; in effect, in all cases the<br /> leading society of all societies of the same<br /> kind.<br /> <br /> Before proceeding farther, it may be well to<br /> mention, in case any reader should not be<br /> acquainted with the methods of the “‘ Société<br /> des Gens de Lettres,” that the society is not<br /> <br /> only a society for protecting the rights of its —<br /> <br /> members, but represents also a single and. most<br /> powerful agency. Its members confide their<br /> works to its care, publish through its inter-<br /> mediation, and find all their business interests<br /> most attentively watched by its officials ;<br /> whilst it at the same time enjoys a prestige so<br /> indisputable that any publisher or editor who<br /> gets his name into the black books of the<br /> society, if this expression may be used, finds<br /> his affairs in a very awkward predicament. —<br /> Some little time since the society turned its<br /> particular attention to the subject of trans-<br /> lations, and appointed a special commission<br /> to inquire into the whole question of trans-<br /> lations and royalties on and payments for<br /> translations. The ‘‘ Rapport sur la Tra-<br /> duction ” rendered to the general meeting of<br /> the society on Sunday, March 29 last, 1s<br /> published in the official organ of the society<br /> (Chronique de la Société des Gens de Lettres, Mai,<br /> 1914, Paris, Cité Rougemont, No. 10), and is<br /> well deserving of attentive perusal. A sum-<br /> mary only of it follows here ;<br /> ever, of importance 1s omitted ;<br /> <br /> nothing, how-<br /> and it will be<br /> <br /> <br /> 256<br /> <br /> seen at once that an entirely new light has been<br /> thrown upon the whole problem of translations<br /> and of authors’ benefits to be derived from<br /> translations.<br /> <br /> Authors’ rights in translations are fixed and<br /> protected by the Berne Convention, revised<br /> and regulated by the Congress of Berlin.<br /> <br /> The exercise of these rights, on the other<br /> hand, is often qualified by arrangements and<br /> engagements with some third party, publishers<br /> becoming frequently, under various stipula-<br /> tions, co-proprietors of the rights, and having<br /> interests indissoluble from those of the authors.<br /> (Here, in France, the position of the ** Société<br /> des Gens de Lettres,’ as agent for its members,<br /> naturally comes into consideration.)<br /> <br /> Translations can be regardedin three different<br /> aspects.<br /> <br /> 1. The translation of a work in book form<br /> again in book form.<br /> <br /> 2. The translation in serial form (feuilleton)<br /> in a periodical, either of a work that has<br /> originally appeared in book form; or of one<br /> that has appeared as a serial (feuwilleton) not<br /> published in book form; or of tales, novels,<br /> articles, or poems, which have appeared in<br /> a periodical, but have not appeared in a<br /> book.<br /> <br /> 3. The reproduction of a translation, of class<br /> either 1 or 2, in a serial form. (In this case<br /> there are three different stages of publication ;<br /> the original work, its translation as first pub-<br /> lished, a reproduction of this translation in<br /> some other manner.)<br /> <br /> In reality there is another possibility, not<br /> mentioned in the society’s report. A work<br /> appears by some well-known author ; for it is<br /> only in the case of works by popular authors<br /> that the complication here considered takes<br /> place. The work is very soon published, in<br /> book form, in a translation ; first of all almost<br /> always either in French or German, and then,<br /> from this translation another translation is<br /> made. That, evidently, ought never to hap-<br /> pen. The best of translations is never any<br /> better than it should be—and often a great<br /> deal worse than it should be; but a trans-<br /> lation of a translation is an abomination for<br /> which no excuse can be pleaded. Still the<br /> things exist. At the present moment there is<br /> lying before us a Roumanian translation of<br /> Sienkiewicz’ well-known Polish novel ‘ Quo<br /> Vadis,” with the statement shamelessly printed<br /> on its title page “* Translated from the French.”<br /> Such frank admissions are indeed rare, but<br /> that in many cases what are offered as trans-<br /> lations are merely translations of translations<br /> is certain. The aberrations from the original<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> are, in many instances, such as to leave no-<br /> possibility of a doubt of a German inter}<br /> mediary. Neither can there be any possibility<br /> of a doubt that these lucubrations represent<br /> the happy hunting ground of the literary<br /> pirates of many tongues. There is probably<br /> no kind of literary production in which<br /> the producer of contraband wares is more.<br /> active.<br /> <br /> To return, however, to the French report.<br /> Up to the present authors and publishers have<br /> paid attention to translations of the first class<br /> only, either completely ignoring the second and<br /> the third, or, at the best, taking the second only<br /> into consideration quite by accident.<br /> <br /> ‘In fact, generally, and excepting only in<br /> the case of some agreements with England or<br /> with the United States, we are accustomed<br /> hitherto to sell our works purely and simply<br /> for a single payment made once for all either<br /> by translator or publisher, who afterwards<br /> makes of these works what use he pleases.<br /> <br /> ** Meanwhile the formidable development of<br /> the international Press tends to render more<br /> and more profitable to the foreign purchaser<br /> the exploitation of the complete right which<br /> he has obtained. Having become absolute<br /> proprietor (of the translating right) the foreigner<br /> is able to sell and to re-sell his translation, to<br /> publish it and to re-publish it in various forms,<br /> in volumes of various prices, in illustrated<br /> editions, in parts, to offer it for serial publica-<br /> tion, to publish it in twenty different periodi-<br /> cals, and everywhere to gather profits with<br /> both hands, whilst neither the author nor his<br /> co-proprietor has any suspicion of the con-<br /> tinuously increasing profits resulting from his<br /> having agreed to accept a single payment for<br /> his rights.”<br /> <br /> It appears, however, that some authors have<br /> been a bit more prudent, and whilst ceding<br /> rights of French translation, have reserved the<br /> rights of French serial production. Respecting<br /> which the report observes, ‘‘ We see no reasom<br /> why we should not treat our fellow-authors as:<br /> they treat us.”<br /> <br /> For the future the ‘“ Société des Gens de<br /> Lettres ” intends to support, with a firm<br /> expectation of making this mode of action<br /> triumphant, the following equitable general<br /> theory: the French author who treats with a<br /> foreign translator (publisher, editor of a<br /> journal, or individual translator) will sell for a<br /> fived sum the right to translate a work in one<br /> form strictly defined, and will explicitly reserve<br /> all the other rights, and in particular those which<br /> in any way represent reproductions of the<br /> translation.<br /> <br /> P|<br /> <br /> <br /> <br /> <br />  <br /> <br /> ——_—_—_ &gt;&lt;<br /> <br /> ‘sroyyne YSTSuy<br /> 100 SNoMas oy} SAVY OF qysno<br /> b jo coquunu ® dn suodo Ayo1008<br /> “oloR oY} ssefoyoAON<br /> : ‘ssay APOuTISsIP<br /> st sqysit uorpepsuesy si Jo onjea efoya. eq}<br /> spoutde [faa os sUBOT OU hq outry owes oy} 7”<br /> Burg “toyyne ysToug, oy? 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Ajotoos oy} vtoy ‘asamod Jo ‘ures<br /> _ UoIstAdodns FUIURUE<br /> -iod pue yous B dopun [[@—uoT}E[sUBs} oF<br /> jo suorjonpoidas poydrynut ‘sowmnyjoa ‘s.toquna<br /> ul UoT}RoTTqnd ‘szYSII [VLIos “ToYZOUR WOT} UO<br /> Susuttds ‘suoyovsupi, fo saisas @ oyUT “poyuas<br /> -oidaa A]Petouad sey S}YSM UWoryepsues} Jo [vs<br /> df} OMY IY YT “YAOAL Moy} Jo JUauuopungy<br /> <br /> oy} tWtojsuety OF ottsop OAL 9soyy Ie jo<br /> <br /> uortsodsrp oy} ye Fpos}t Soovd Azowoos oY, ,,<br /> <br /> [FI6l ‘ANOS<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 258<br /> <br /> “THE LAW OF COPYRIGHT.” *<br /> <br /> +4<br /> <br /> TYNHIS volume is a reprint of a series of<br /> articles which appeared in The Bio-<br /> scope. In the nature of things, it was<br /> <br /> not to be expected that the author, in the<br /> <br /> space at his disposal, could give more than the<br /> merest outline of the law. Nevertheless, Mr.<br /> <br /> Croasdell has succeeded in presenting a fairly<br /> <br /> concise summary of the main features of the<br /> <br /> Copyright Act of 1911, and has added a<br /> <br /> certain amount of information respecting<br /> <br /> international copyright.<br /> <br /> We gather that the articles which go to<br /> make up the work were written, in the main,<br /> for the guidance of those interested in the<br /> cinematograph industry, and, no doubt, some-<br /> thing may be said in favour of a short treatise,<br /> such as the one before us, which presents the<br /> main features of the Copyright Law as amended<br /> by Parliament.<br /> <br /> There is, however, as we have pointed out<br /> on previous occasions, great danger in con-<br /> sulting works which seek to explain so complex<br /> a subject as copyright in the limited space<br /> which Mr. Croasdell allows himself. We are<br /> glad, therefore, to observe that it is to be<br /> followed by a larger work on the same subject.<br /> <br /> Mr. Croasdell, referring to the question of<br /> titles remarks :—<br /> <br /> Copyright exists in the title of a book if such title is a<br /> new and original literary composition, for the title is part<br /> of the book, and is as much the subject of copyright as the<br /> book itself. Although a book may have been out of print<br /> several years, still the copyright may exist, and another<br /> person is not justified in adopting the title so long as the<br /> copyright continues.<br /> <br /> This statement of the law is very misleading.<br /> Practically speaking, there is no copyright in a<br /> title, though there may be a certain property<br /> acquired by user. A general statement such<br /> as the one we have quoted is sure to mislead<br /> rather than to enlighten the layman.<br /> <br /> No doubt in the larger work which has been<br /> promised Mr. Croasdell will amplify what he<br /> has said on this subject, but it is precisely<br /> because such amplification is necessary, that<br /> we feel the dangers incidental to any attempt<br /> to explain the law in the small compass chosen<br /> by the author. bite<br /> <br /> In the chapter on Copyright Abroad, Mr.<br /> Croasdell speaks of Holland and the United<br /> States of America, among other countries, as<br /> being outside the Berlin Convention, In<br /> regard to the former, the statement is in-<br /> <br /> <br /> <br /> <br /> <br /> _* “The Law of Copyright,” by W. Carlyle Croasdell,<br /> Barrister-at-Law. London: Ganes, Ltd. 85, Shaftesbury<br /> Avenue, W. ,<br /> <br /> THE AUTHOR.<br /> <br /> ‘JUNE, 1914.<br /> <br /> accurate—Holland joined the Convention in<br /> November, 1912. In regard to the United<br /> States of America, the statement is inadequate,<br /> for while it is true that America is not a party<br /> to the Convention, copyright protection may<br /> be obtained in that country, and this should<br /> have been explained.<br /> <br /> ——— ¢ —~&lt;—<br /> <br /> THE TRADE OF AN AUTHOR.*<br /> <br /> oe<br /> <br /> \7 OT the least interesting of Mr. Hope<br /> ae Moncrieff’s ‘* Reflections and_ Recol-<br /> <br /> lections,”” is the Introduction, where<br /> we get the personal note, rather lacking in the<br /> rest of the volume. This is the more welcome,<br /> as this ‘‘ author of sorts,’? as Mr. Moncrieff<br /> modestly styles himself, has always been a<br /> determined opponent of publicity. Indeed,<br /> we would prefer more recollections and less<br /> reflections.<br /> <br /> The earlier chapters, which deal with a general<br /> history of authorship, the making of the author,<br /> his genesis and development, show traces of<br /> wide reading and a remarkable insight into the<br /> varied conditions of the literary ‘ife.<br /> <br /> The author’s genial personality is constantly<br /> reflected in the autobiographical portion of the<br /> book and in his tolerant and good-humoured<br /> reference to the eccentricities and shortcomings<br /> of certain well-known authors—a_ pleasing<br /> contrast to the mordant and cynical comments<br /> on contemporary writers in several popular<br /> books of reminiscences recently published.<br /> <br /> The book is not over-laden with anecdotes<br /> and good stories, but the few that are given are<br /> new and full of point. There is one of a cele-<br /> brated author who had had an unsatisfactory<br /> interview with two of the partners in a well-<br /> known New York firm of publishers. He had<br /> left them in high dudgeon, but before he had<br /> reached the corner of the block, he was accosted<br /> by a stranger who told him that he had seen<br /> the wrong man—that he had interviewed the<br /> literary partner and the financial member of<br /> the firm. ‘* You should have come to me first ;<br /> Tam the drinking partner!” Ultimately they<br /> both came to an harmonious understanding.<br /> <br /> Under the well-known pseudonym, Ascott R.<br /> Hope, the author has a high reputation as a<br /> writer of sound and wholesome stories of<br /> school life and adventure for boys, and with<br /> the late George Henty he stood at the top of<br /> the tree in this kind of fiction.<br /> <br /> <br /> <br /> <br /> <br /> * “ A Book about Authors: Reflections and Recollec-<br /> tions of a Bookwright.” By A. R. Hope Monerieff. 10s. net.<br /> A. &amp; C. Black. 1914.<br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> His stories of school -life, which” show a<br /> remarkable insight into boy nature, though<br /> well known and popular, have not, however,<br /> attained such success as they deserve. But the<br /> writer is, no doubt, handicapped through con-<br /> fining himself almost exclusively to studies of<br /> life at grammar schools and what are known as<br /> private schools, and ignoring the more popular<br /> field offered by the public schools and those<br /> public schools in miniature—the preparatory<br /> schools. Then too, Ascott R. Hope’s<br /> school-boy rather lacks modernity, especially<br /> as regards school-boy slang—his boys, indeed,<br /> talk too correctly. Perhaps this accounts for<br /> the fact that, though many of his books have<br /> reached several editions, he cannot claim one<br /> great out-standing success like his rivals,<br /> Desmond Coke or Ian Hay.<br /> <br /> In an instructive chapter on publishers, the<br /> unbusinesslike methods of some firms is<br /> humorously indicated by the following epi-<br /> sode. A publisher, “ who long somehow<br /> escaped bankruptcy,” happened to be travel-<br /> ling by the same train as our author. ‘* Guess-<br /> ing that the likes of him would travel first, I<br /> took a third-class ticket, and walked slowly<br /> along the train. Sure enough, he sat in state,<br /> where he graciously invited me to join him.<br /> ‘No,’ said I, * You can travel first-class ; I pay<br /> my debts.’ ”<br /> <br /> In the course of some good-humoured<br /> strictures on editors and their ways, in con-<br /> nection with one who wanted to commission<br /> him to write a school history of Europe, which<br /> should make no mention of the Reformation,<br /> he tells an anecdote of Leo XIII.. which is new<br /> to us. He had given a celebrated historian<br /> access to the archives in the Vatican Library,<br /> but impressed upon him that he need not feel<br /> restricted in the use he made of them, and<br /> added slily, ‘‘ There are some good people who<br /> would like to edit the Scriptures, cutting out<br /> the story of Peter and the cock, for instance,<br /> lest it should bring discredit on the Holy See)”<br /> <br /> The author holds rather pessimistic views<br /> of present-day literary criticism. The Early<br /> Victorian sledge-hammer methods of censure<br /> have had their day, and are apt to be replaced<br /> either by indiscriminate eulogy or tame and<br /> colourless criticism. With books, as with the<br /> stage, the public is more and more inclined to<br /> be its own critic, and our author asks with<br /> reason, Is the plebiscite of the readers a better<br /> guide than its professed counsellors ? Who<br /> shall say ? :<br /> <br /> On the question of press criticism, Mr. Mon-<br /> crieff is uncompromisingly severe. To prove<br /> the contradictory character of reviews he<br /> <br /> THER AUTHOR. 259<br /> <br /> devotes a page to a selection of favourable and<br /> unfavourable criticisms of the same book. But<br /> this method of the “‘ deadly parallel,” to show<br /> the futility of press criticism, is, however, mis-<br /> leading. It assumes that the exaggeratcd<br /> encomiums of the Mudford Mercury are of<br /> «qual value to the author and publisher as the<br /> few lines of guarded approval in the Times or<br /> Atheneum.<br /> <br /> Among Mr. Moncrieff’s excursions in. the<br /> various ficlds of literary enterprise, perhaps his<br /> most notable success has been in topography.<br /> A marked feature of his guide-books and topo-<br /> graphical works is their literary distinction—a<br /> feature which frees them from the reproach of<br /> not being literature—from which this class of<br /> book usually suffers.<br /> <br /> In ‘“ London” for instance, the following<br /> illumining speculation on London in posse is<br /> worth quoting as a vivid piece of word-<br /> painting :—<br /> <br /> “Are there children now elive whose<br /> bleared eyes may see London shrunk to its old<br /> bounds, perhaps huddled on some choice site<br /> like the heights of Highgate and Hampstead—<br /> which, according to Mother Shipton’s prophecy<br /> shoald become its centre—when for leagues, as<br /> about the walls of Delhi or Pekin, the open<br /> country will be dotted with ruined temples and<br /> towers, round the broken dome on Ludgate<br /> Hill, standing up in solitary state like the<br /> Kutub Minar? Can it ever come to lie<br /> squalidly deserted for a new city, rebuilt by<br /> some conqueror, as at Bokhara and Samarcand?<br /> Are there generations yet unborn to whom this<br /> capital will be a show, like ~ hundred-gated<br /> Thebes,’ a quarry of antiquities like Nineveh,<br /> or Knossos, a mystery like the Cambodian<br /> Angkhor, or the Bolivian Tiahuanaco, an over-<br /> grown wilderness like the buried ruins of<br /> Yucatan ? ”<br /> <br /> Probably the most enduring of Mr. Mon-<br /> crieff’s works is that by which he is least known<br /> to English readers. This is a monumental<br /> geographical work of reference in six volumes,<br /> called ‘‘ The World of To-day,’’ which gives a<br /> popular survey of the present-day geographical,<br /> historical, political, social and economic con-<br /> ditions of all the countries of the world. In-<br /> deed, the author of this colossal compendium<br /> of geography might almost be described as a<br /> twentieth century Reclus.<br /> <br /> The book ends with a note of encouragement<br /> to his fellow-craftsmen, and an impressive and<br /> dignified Vale to the reader. ‘‘ On coming to<br /> add up my account, I find a balance on the<br /> right side. I have lived my life; I a<br /> spoken my mind; I have done what I could,<br /> <br /> <br />  <br /> <br /> ‘260<br /> <br /> in a world where at the best we are all but un-<br /> profitable servants.”<br /> <br /> “By diligently plying the pen rather than<br /> the sword or the plough, one may have more<br /> surely helped to turn the wilderness of life into<br /> a garden. If one have taken pains not to let<br /> one’s tool go rusty; if one have never prosti-<br /> tuted it to base uses; if one have cared to be<br /> an honest hireling in this day’s work; if one<br /> be aware of having given pleasure to some, of<br /> having sought to work harm to none, these are<br /> the things that should not make death terrible<br /> to an author who, like the silent many, must<br /> look to be forgotten ; yet what good or ill he<br /> could do for his generation will not die in the<br /> lives of men.”<br /> <br /> KH. A. R. B.<br /> <br /> BOOK-PRICES CURRENT.*<br /> <br /> to<br /> <br /> ry NUE first three numbers of the new volume<br /> <br /> of Book-Prices Current are lying before<br /> <br /> us, numbers as full as ever of interesting<br /> matter, presenting once more the insoluble<br /> problem of how any notice is to do justice to a<br /> publication of this kind. The modern reader<br /> of the notice of a book expects from the<br /> reviewer something more than an honest state-<br /> ment of how the work which the volume con-<br /> tains has been done; the reader wishes to<br /> know something about the book, something<br /> which will enable him to talk about it—without<br /> having read it; and how is any reviewer to<br /> enable a man to do that when the very essence<br /> and merit of the work lying before him is that<br /> it consists of hundreds of minutely accurate<br /> notes of various volumes, the excellence of the<br /> work and its interest being wholly in the<br /> minuteness of its details? Indeed, we will<br /> freely admit that our custom of selecting a few<br /> items for note, which we shall again do pre-<br /> sently, is really indefensible. In almost every<br /> vase not the books which anyone may happen<br /> to select, but very many others, are just those<br /> whose mention would be interesting to a reader<br /> of the periodical. All the books in the world<br /> cannot have a meaning for any one individual,<br /> any more than all the words in the world can<br /> have a meaning for him. Each real lover of<br /> books will be interested in his own specialities,<br /> and not at all interested in anything else ; for<br /> which reason the book-lover ought to read<br /> Book-Prices Current for himself; and will in<br /> <br /> <br /> <br /> * “Book-Prices Current.’<br /> <br /> Volume XXVIII, Nos. 1<br /> 2,3. London: Elliot Stock,<br /> <br /> 1914, :<br /> <br /> THER AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> all cases find his pains well rewarded by<br /> information that he will not be able to gather<br /> anywhere else. We have said this more than<br /> once; and still fear that the periodical does<br /> not find its place even in the libraries of all<br /> public institutions, nor even in the libraries of<br /> all literary institutions ; though it is certain<br /> that no public library ought to be without it.<br /> <br /> Since the beginning of the new volume a new<br /> arrangement of the contents has been adopted.<br /> The books are no longer catalogued under the<br /> headings of the different sales; but each<br /> number displays all the books mentioned in it<br /> in one alphabetical arrangement. A good deal<br /> is to be said for this. Any single book is more<br /> easily found, and different copies of the same<br /> book come into juxtaposition. The last par-<br /> ticular is a distinct advantage. The whole is<br /> also more easily used as a book of reference—<br /> or at least the whole of each single number.<br /> What form the index which ends the number<br /> concluding the year is to take we cannot tell<br /> until that number reaches our hands.<br /> <br /> Still, on the whole, we think that it must be<br /> granted that the new arrangement is more<br /> convenient for ordinary purposes ; though we<br /> must confess to a regret at the loss of the<br /> distinctly picturesque presentment of the<br /> several libraries grouped one by one. Some-<br /> thing there was of interest, not altogether<br /> purely sentimental, and in some ways very<br /> real, in the perspective, if the term may be used,<br /> of the different collections of books ; perhaps<br /> because the tastes of the collector peeped out<br /> from among them ; perhaps because the books<br /> themselves, that had sometimes been so long<br /> together, had the appearance of a grave<br /> symposium which the auctioneer’s hammer<br /> was, alas, to scatter, so that they could never<br /> come together again. The breaking up of a<br /> library is the undoing of a thing that had<br /> organic life for the brain that created it. So<br /> whilst we admit again, we admit it with the<br /> Oriental proverb, ‘“‘ There is no advantage<br /> without a disadvantage.”<br /> <br /> Our own task of selecting a few volumes for<br /> mention—which we have already admitted<br /> cannot be defended—has also become more<br /> difficult. It is no longer possible to say,<br /> ‘“* Look at the sale of this library or that for<br /> books of such and such kinds.’”? The books<br /> have succumbed to the tyranny of the alpha-<br /> bet. And so there is all the more reason why<br /> the book-lover should read Book-Prices Current<br /> for himself. He, indeed, will find his favourite<br /> authors more easily than before; so be it<br /> <br /> hoped that he may be the more disposed to<br /> read,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> laa<br /> ib.<br /> if<br /> <br /> <br /> <br /> JUNE, 1914.)<br /> <br /> : Among the greatest rarities are the follow-<br /> ing :—<br /> <br /> Byron, ‘ English<br /> Reviewers,” fifth edition, original boards,<br /> uneut. The only copy known. The edition<br /> was suppressed by Lord Byron, and every copy<br /> ordered to be burnt before publication. The<br /> title page, preface, and postscript found in this<br /> copy are not found in the two or three copies<br /> of the fifth edition with a fourth edition title<br /> page. It seems surprising that the work<br /> should not have fetched more than £12.<br /> <br /> A first folio of Shakespeare—last two pages<br /> of ‘‘ Cymbeline ” in facsimile—probably unique<br /> in having the “ Tragedy of Troilus and Cres-<br /> sida’ regularly and correctly paged through-<br /> out. This was sold in one lot with three other<br /> folio Shakespeares—1632, 1664, and 1685<br /> respectively—for £1,200.<br /> <br /> Richardson. A collection of the first edition<br /> of his works. ‘‘ Pamela,” 1741—42; “‘ Cla-<br /> rissa,” 1748; ‘‘ Grandison,”’ 1754, and ‘“‘ The<br /> Correspondence of S. Richardson,” by A. L.<br /> Barbould, 1804. The twenty-four volumes<br /> fetched £96.<br /> <br /> Records of sales of various works of<br /> Thackeray’s are numerous. Amongst them<br /> will attract particular interest—<br /> <br /> Thackeray, Autograph MS. of Lecture on<br /> Jonathan Swift, twenty-one pages written by<br /> Thackeray, and thirty-two by his daughter,<br /> Anne Thackeray Ritchie, with numerous cor-<br /> rections by Thackeray. $1,700.<br /> <br /> Still more interesting is the only known copy<br /> of “The Whitey-Brown Paper Magazine ” by<br /> Thackeray, lithographed. The mention of<br /> this strange periodical is accompanied by an<br /> explanatory note. $23,000.<br /> <br /> Books certainly have their fashions as well<br /> as their fates; and it is curious to place the<br /> following two sales side by side. :<br /> <br /> E. Fitzgerald, “‘ Omar Khayyam,” second<br /> edition in original wrapper. 1868. £12 10s.<br /> <br /> Sophocles, “* Edito Princeps,’’ Venice, Aldus,<br /> 1502. £11.<br /> <br /> From which it would be easy to deduce—<br /> well, too many different things to be set down<br /> here. ‘<br /> <br /> Mark T&#039;wain’s autograph MS. of “A Yankee<br /> at the Court of King Arthur,” 1889, sold for<br /> £100. :<br /> Meredith, ‘‘ Diana of the Crossways,” first<br /> edition, 3 vols., cloth, 1885, sold for £2 6s., and<br /> those who have in their libraries copies of the<br /> old three-volume novels, which Mudie no<br /> longer circulates, may easily possess works<br /> that are worth money. :<br /> her work of Meredith’s<br /> <br /> Bards and _ Scotch<br /> <br /> THE AUTHOR.<br /> <br /> 26r<br /> <br /> may be quoted, as evidence that when authors<br /> present their works to friends they should<br /> write their names in them. It makes a good<br /> deal of difference in the money value of the<br /> present. Meredith, “The Shaving of Shag-<br /> pat,” first edition, 1886, with author&#039;s inserip=<br /> tion, £19; although the original cloth binding-<br /> was cracked and the half-title torn. a<br /> <br /> ee i —2-+ + © ia ———__<br /> <br /> CORRESPONDENCE.<br /> <br /> —+—&lt;—+<br /> <br /> MacazZInE Payments.<br /> <br /> Dear Sir,—I was very much pleased to see<br /> in last month’s Author, under the above title,<br /> an exposition of the effrontery manifested by<br /> some unprincipled ‘‘ MSS. snatchers.” The<br /> writer leads us to suppose that these literary<br /> ghouls occupied chairs of distinction; this, of<br /> course, is an all-important consideration.<br /> Presuming this to be the case, I feel sure that a<br /> strongly-worded letter to the owners of the<br /> publication would have received attention<br /> and ultimately brought forth a statement<br /> to the effect, “* We regret that your contribu-<br /> tion entitled -—— published in our<br /> issue was erroneously underpaid, through a<br /> clerical error, and we have much pleasure in<br /> enclosing cheque value £—— to cover the<br /> deficiency. Regretting the error, ete.”<br /> Another case that I recall with great readiness<br /> was that of a very respectable 6d. monthly<br /> (not an English publication) that underpaid<br /> me by several shillings; the editor, upon<br /> having his attention drawn to the deficiency<br /> (not by the proprietors, however), promised to<br /> add the amount on to the next cheque. Six<br /> “next cheques’ have come and gone since:<br /> then, but no increase has been apparent.<br /> The editorial memory is exceedingly defective:<br /> upon such issues, and I have not the slightest<br /> doubt that the incident has long ago passed into<br /> the sub-conscious portion of it. If the cditor<br /> should see this letter, doubtless he will gladly<br /> add the amount to the neat cheque.<br /> <br /> Jpon still another oceasion a very experl-<br /> enced friend of mine (an old editor) told me<br /> that he found the best plan was to return the<br /> cheque with a covering note politely intimating<br /> that the amount 1s insufficient. This pe<br /> apparently causes the editor to be stung . i :<br /> he hastens to write<br /> <br /> <br /> <br /> out a fresh cheque.<br /> f ‘ ass of editor I forbear to<br /> <br /> oubtful whether I could<br /> with the aid of any<br /> <br /> Of the other cl<br /> speak, indeed, it 1s d<br /> really do them justice,<br /> <br /> <br />  <br /> <br /> 262<br /> <br /> printable words. These creatures trade upon<br /> the credulity of the inexperienced author,<br /> and are usually so bad that in many cases they<br /> reap their own reward, or at least the two very<br /> worst cases that came within my ken did.<br /> One rapscallion to whom I had sold some<br /> “ stuff’? arranged to pay for it on the instalment<br /> plan, which he did until he reached the third<br /> or fourth instalment (I forget which). He<br /> then heard rumours of absence in a far country,<br /> and promptly ceased to continue the pay-<br /> ments; no doubt he thought I had left the<br /> country for good, and, that, even if he did<br /> send it on, I should not be able to spend it.<br /> However, a little later the secretary of the<br /> Society relieved him of any doubts he may<br /> have entertained, by requesting him to send<br /> the rest of the monies to the secretarial depart-<br /> ment. This so scared him that he sent the<br /> remainder toute « coup.<br /> Haroup Ucrus.<br /> <br /> — &lt;4<br /> <br /> REAL EDITIONS.<br /> <br /> ‘<br /> <br /> Srr,—On the question of “editions” as<br /> against a statement of the number of copies<br /> of a book issued, your correspondent may be<br /> interested in the letter of Jared Sparks printed<br /> in ‘George Palmer Putnam, a Memoir,”<br /> published by G. P. Putnam’s Sons, 1912, pp. 55<br /> and 56. The writer says ‘ Prescott and<br /> Bancroft publish what are called ‘ editions,’<br /> 500 each. They think there is some advantage<br /> in it, although where there are stereotype<br /> plates, one can hardly see the propriety of<br /> calling each impression a new edition.”<br /> Earlier in the letter he had given figures with<br /> regard to Washington’s writings.<br /> <br /> Yours faithfully,<br /> E. A. ARMSTRONG.<br /> <br /> — ++<br /> <br /> A QUESTION AS TO PAPER.<br /> <br /> DrEar Sir,—A work of mine—published<br /> about a year ago—is printed on very thick,<br /> soft paper, which seems to me likely to be the<br /> sort that does not last. The paged proofs<br /> were printed on thin paper, which, apparently,<br /> is of much better quality. Bound up they<br /> <br /> make a book little more than half the bulk<br /> of those issued to the public; but I care<br /> nothing for bulk if the work is not to be lasting.<br /> Would some reader kindly tell me how I may<br /> know good, that is durable, paper from bad,<br /> <br /> THE AUTHOR.<br /> <br /> {JUNE, 1914.<br /> and what would, approximately, be the differ-<br /> ence in cost between the one and the other.<br /> <br /> The book in question is demy 8vo and<br /> consists of 360 pages.<br /> <br /> Cuaries F. Moxon.<br /> <br /> Sea peelings<br /> <br /> U.S.A. Puay Piracy.<br /> <br /> Dear Sir,—My attention has just been<br /> drawn to a paragraph in the May number of<br /> The Author referring to the piracy in New York<br /> of ‘“‘ La Petite Fille,’ under the title of “A<br /> Pair of White Gloves.”<br /> <br /> I shall be obliged by your publishing an<br /> immediate contradiction of the statement con-<br /> tained in this paragraph, to the effect that I<br /> prevented the authors, or the Société des<br /> Auteurs Dramatiques from benefiting from<br /> the unauthorised production at the Princess’s<br /> Theatre. The production was stopped at the<br /> instance of the Société des Auteurs Drama-<br /> tiques, acting for the authors, and the option<br /> I hold was only concerned so far as to make my<br /> consent to their action necessary.<br /> <br /> I am not, and have never been, a ‘‘ dramatic<br /> agent,” and am surprised that the editor of<br /> The Author should pass a paragraph oppro-<br /> briously mentioning a member of the Society<br /> of Authors without first submitting the con-<br /> tents to him. I have repeatedly tried to learn<br /> the particulars of the production of the play<br /> and the result of the French society’s action<br /> from the secretary of the Society of Authors,<br /> but so far without the slightest result.<br /> <br /> Your obedient servant,<br /> Joun PoLiock.<br /> <br /> [We gladly publish this letter, though we<br /> cannot admit that any opprobrious mention<br /> was made of the writer in the paragraph<br /> referred to, which was quoted from the United<br /> States Publisher&#039;s Weekly.]|<br /> <br /> a<br /> <br /> NovELISTS AND THE HosprraLs.<br /> <br /> Dear Sir,—Has it ever been suggested<br /> before that it would be a good plan if novelists<br /> and publishers sent proofs of novels to the<br /> fever hospitals for the amusement of patients<br /> and nurses? There are stages in illness when<br /> fiction is a good tonic and the last stage for<br /> these infectious sheets would, of course, be<br /> the fire. I see no harm that could come from<br /> this suggestion, if novelists will take it, and<br /> the corrections on the proofs would only<br /> add to the amusement and interest.<br /> <br /> Yours faithfully,<br /> A NOVELIST.	https://historysoa.com/files/original/5/541/1914-06-02-The-Author-24-9.pdf	publications, The Author
542	https://historysoa.com/items/show/542	The Author, Vol. 24 Issue 10 (July 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+10+%28July+1914%29"><em>The Author</em>, Vol. 24 Issue 10 (July 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-07-01-The-Author-24-10					263–290																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-07-01">1914-07-01</a>							10			19140701	The Huthbor.<br /> <br /> <br /> <br /> Notices... S a ee is ne ae ar 268<br /> <br /> The Pension Fund<br /> <br /> Council Meetings<br /> <br /> Committee Notes aa ese<br /> Books published by Members ‘ he<br /> Literary, Dramatic and Musical Notes ...<br /> Paris Notes<br /> <br /> The Criticism of Fiction<br /> Magazine Contents<br /> Warnings to the Producers of Books<br /> <br /> Warnings to Dramatic Authors... ae i<br /> Registration of Scenarios and Original Plays<br /> <br /> (The Organ of the Incorporated Society of Authors, Playwrights and Composers. Monthly.)<br /> Vou. XXIV.—No. 10. vay : oe<br /> <br /> CONTENTS.<br /> <br /> PAGE |<br /> os x Dramatic Authors and Agents<br /> The Society&#039;s Funds . | Warnings to Musical Gore covers 553<br /> cs Stamping Music ‘ Bee ie<br /> The Reading Branch .<br /> Remittances as<br /> x Collection Bureau :<br /> General Notes ... se oe ee ues ee ae Be<br /> The Last of the Pre -Raphaclites, Theodore Watts-<br /> Dunton, 1832—1914 Pees oe ee ook ae Bs<br /> United States Notes<br /> Are Novels Too Cheap ?<br /> j Matilde Serao ... og ae se<br /> | Memories of My Youth, 1844—1865<br /> | J. M. Synge oe oe ao<br /> | Correspondence<br /> <br /> Chappell v. Columbia Gramophone Co.<br /> The Sixteenth Congres International de Presse<br /> <br /> How to Use the Society<br /> <br /> <br /> <br /> [Prick SIXPENcE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> From HEATH, CRANTON &amp; Co:’s LIST.<br /> <br /> Second Edition, with a Preface by DR. OSCAR LEVY. | Ready Shortly.<br /> The Philosophy of Nietzsche. Christ and the Powers of<br /> <br /> _G. CHATTERTON-HILL, Ph.D. 7s 6dy net. Darkness. co. ss<br /> <br /> Third Edition. Illustrated. __J.GODF REY RAUPERT, K.S.G. 3s. Gd. net.<br /> Vincent de Paul (Priest and Capitals of the Northlands.<br /> <br /> Philanthropist). E. K. SANDERS. IAN ©. HANNAH, M.A., with 22 a ee<br /> <br /> and 4 Plans. s, net.<br /> <br /> Cathol $&lt; q pas Antiquary.—“ Mr. Hannah&#039;s pages well repay the reading,”<br /> a olic Democracy an 55 a a Tied.<br /> <br /> = ae : Just Ready. Illustrated.<br /> <br /> Mather: HENRY DAY, SJ. | eee z<br /> <br /> a eo, | te Eeolution of the Ome”<br /> <br /> eee a ce, Games. _ £. A. M. WEBSTER, 6s. net.<br /> <br /> : . Sip A. CONAN DOYLE has written an important<br /> 1 THE DUKE OF SOMERSET (as Chair-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> British Review.—&#039;* Done well and with much force.<br /> ___ Pall Mall Gazette.—“ Irresistible reasoning.” ees Preface, an<br /> The Cor ex Laudianus ([ Wordsworth’s man of the British Olympic Council) a striking<br /> <br /> O2]) of the Epistles of St. Paul. Numbered Laud. Introduction to this Book.<br /> Lat. 108 in the Bodleian Library at Oxford. Now Just Ready. Illustrated.<br /> <br /> first Edited with 4 Collotype Facsimiles. Bori.<br /> E. 8. BUCHANAN, M.A, Be. 12s. 6d. net. bee Bae oy oe and Demon-dancing in<br /> Feuds of the Furtive Folk. West and North Africa. Major A. J.N.TREMEARNE,<br /> F. ST. MARS. Author of “ On Nature’s Trail,” &amp;c. M.A., Dip. Anth. (Cantab.) F R.GS., E RAL Aut hor<br /> <br /> Illustrated. Se.nct. | of” The Tailed Head-Hunters of Nigeria, etc. :<br /> Spectator.—“ This talented author&#039;s best book.” Se aS. ney<br /> <br /> IES AND BOOKSELLERS.<br /> (3s. 6d. net.)<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “6s. FICTION. AT ALL LIBRAR<br /> ae :<br /> <br /> Literary World,—‘ This is Miss Openshaw’s best novel.” Morning Post-—&quot;There is no lack of colour, and every<br /> <br /> DOROTHE F ROMN EY MARSH. student of human nature will read it with interest.”<br /> . oo ALICE CUNNINGHAME. PHOEBE MAROON. MARY RAPHAEL.<br /> he Mall Gazette. — Will not be put down until the ends Daily Express.—&lt; We recommend it heartily.”<br /> -sieinosina 1 HUGHES.GIBB.<br /> BERT RAY: E. :<br /> <br /> THE STRENGTH OF A one WHITE ee There are not be many Git AP dae<br /> ; i aa ‘a yor. 1 the author is to be thanked for her v<br /> <br /> van ace lovable soul.”<br /> <br /> is rung down.” SINK RED SUN. JESSIE E. LIVESAY.<br /> <br /> H. W. W ESTBROOK anc WRE D SN berddeer urnal,— We heartily recommend this high]<br /> I ¢ 2 Journal, e heartily<br /> 0 1 LA RENCE GROSS MITH. Ab y<br /> <br /> Granta.— The Book is full of good things.”<br /> SEND FOR COMPLETE LIST,<br /> HEATH, CRANTON &amp; OUSELEY, Ltd., Fleet Lane, LONDON.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> The Yucorporated Hoctety of Authors,<br /> Playwrights and Composers.<br /> <br /> Telegraphic Address: ‘‘ AUTORIDAD, VIC., LONDON.”<br /> <br /> Telephone No. : 374 Victoria.<br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> THOMAS PLA DY. © a:<br /> <br /> Sirk ROBERT ANDERSON, K.C.B.<br /> <br /> THE RiegHT Hon. A. J. BALFourR,<br /> PC, MP.<br /> <br /> Siz’ JAMES BARRIE, BART.<br /> <br /> Siz ALFRED BATEMAN, K.C.M,G,<br /> <br /> ROBERT BATEMAN,<br /> <br /> F. E. BEDDARD, F.R.S.<br /> <br /> Mrs. BELLOC-LOWNDES.<br /> <br /> THE RIGHT HON. AUGUSTINE BIR-<br /> RELL, P.C.<br /> <br /> THE Rev. Pror, BONNEY, F.R.S,<br /> <br /> ROBERT BRIDGES.<br /> <br /> THE Rieut Hon. THE VISCOUNT<br /> JAMES Bryog, P.C., O.M.<br /> <br /> THE Rieut Hon. THE LorpD BuRGH-<br /> CLERE, P.C,<br /> <br /> HALL CAINE,<br /> <br /> J. W. Comyns Carr,<br /> <br /> R. C. CARTON.<br /> <br /> EGERTON CastTLe, F.8.A.<br /> <br /> EpwarpD CLopp,<br /> <br /> W. Morris Couues.,<br /> <br /> THE Hon. JOHN COLLIER,<br /> <br /> Sin W. MARTIN Conway.<br /> <br /> COUNCIL.<br /> Miss MARIE CORELLI.<br /> THE RiGHT HON. THE EARL CURZON,<br /> G.C.8.I.<br /> AUSTIN DOBSON,<br /> Sirk ARTHUR CONAN DOYLE,<br /> Str EDWARD ELGAR, O.M.<br /> DOUGLAS FRESHFIELD,<br /> CHARLES GARVICE.<br /> EpmunND Gossk, C.B., LL.D.<br /> SYDNEY GRUNDY.<br /> SiR RIDER HAGGARD,<br /> Mrs. HARRISON (‘‘ LucAS MALET ”’),<br /> ANTHONY HopE HAWKINS,<br /> E. W. Hornuna.<br /> MAURICE HEWLETT.<br /> W. W. JACOBS,<br /> HENRY JAMES.<br /> JEROME K. JEROME,<br /> HENRY ARTHUR JONES.<br /> J. Scorr KeLTIE£, LL.D,<br /> RupyYARD KIPLING,<br /> Sir EpwIn Ray LANKESTER, F.R.8.<br /> STANLEY LEATHES, C.B.<br /> Laby Lue@arp (Miss Ftora L. SHAW),<br /> <br /> <br /> <br /> E. J. MACGILLIVRAY.<br /> <br /> Mrs. MAXWELL (M. E. BRADDON),<br /> <br /> AYLMER MAUDE.<br /> <br /> THE Rev, C. H. MIDDLETON-WARKE,<br /> <br /> PROF. GILBERT MuRRAY, M.A.<br /> <br /> Sin HENRY NoRMAN, M.P.<br /> <br /> Sik GILBERT PARKER, M.P,<br /> <br /> Mrs. PERRIN.<br /> <br /> Sir ARTHUR PINERO,<br /> <br /> THE Riext Hon. SiR HORACE<br /> PLUNKETT, P.C.<br /> <br /> HESKETH PRICHARD,<br /> <br /> ARTHUR RACKHAM.<br /> <br /> Sir OWEN SHAMAN,<br /> <br /> G. BERNARD SHAW.<br /> <br /> G. R. Sims,<br /> <br /> Dr. 8S. SQUIRE SPRIGGE,<br /> <br /> FRANCIS STORR.<br /> <br /> Stk CHARLES VILLIERS STANFORD,<br /> Mus. Doc.<br /> <br /> Mrs. HUMPHRY WARD,<br /> <br /> H. G. WELLS.<br /> <br /> PeRcY WHITE.<br /> <br /> <br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> Str ALFRED BATEMAN, K.C.M.G.<br /> Mrs. BELLOc-LOwWNDEs,<br /> <br /> CHARLES GARVICE.<br /> <br /> W. W. JAcons.<br /> <br /> C. Happon CHAMBERS.<br /> ANSTEY GUTHRIE.<br /> <br /> Miss CICELY HAMILTON,<br /> JEROME K, JEROME,<br /> <br /> Chairman—HESKETH PRICHARD.<br /> STANLEY LEATHES, C.B.<br /> AYLMER MAUDE,<br /> MRS. PERRIN,<br /> ARTHUR RACKHAM.<br /> <br /> G. BERNARD SHAW.<br /> Dr. 8. SQUIRE SPRIGGE.<br /> FRANCIS STORR,<br /> <br /> DRAMATIC SUB-COMMITTEE.<br /> <br /> Chairman—R. C. CARTON.<br /> | CHARLES KiEm,<br /> W. J. Looks.<br /> A. E. W. Mason.<br /> Justin Huntiy MoCarruy,<br /> <br /> <br /> <br /> CECIL RALEIGH.<br /> G. BERNARD SHAW.<br /> Miss E. M. Symonns.<br /> <br /> <br /> <br /> PENSION FUND COMMITTEE.<br /> <br /> ANSTEY GUTHRIE.<br /> ANTHONY Hopk HAWKINS,<br /> <br /> Qhairman—HsKETH PRICHARD,<br /> SiR OWEN SEAMAN,.<br /> M. H. SpPrenMANN.<br /> <br /> Mrs. ALEC TWEEDIE.<br /> Mrs, HUMPHRY WARD,<br /> <br /> COMPOSERS’ SUB-COMMITTEE.<br /> <br /> GRANVILLE BANTOCK.<br /> THOMAS IF, DUNHILL.<br /> HERMAN FINCK,<br /> <br /> H. A. HInxson.<br /> E. J. MAcGILuivray,<br /> <br /> THE Hon. JoHN CoLuiEr.<br /> <br /> Stk W. MARTIN Conway.<br /> <br /> FIELD, Roscoxu &amp; Co., 36, Lincoln’s<br /> <br /> G. HERBERT THRING, 1,<br /> Westminster, §.W.<br /> <br /> 1, CENTRAL BUILDINGS,<br /> <br /> Central Buildings, Tothill Street,<br /> <br /> Chairman—S1R CHARLES VILLIERS STANFORD,<br /> <br /> CrcIL ForsyTH.<br /> ARTHUR HINTON,<br /> | THEODORE HOLLAND.<br /> <br /> <br /> <br /> COPYRIGHT SUB-COMMITT<br /> <br /> H. J. MACKINDER, M.P.<br /> SIR CHARLES VILLIERS STANFORD,<br /> Mus. Doc.<br /> <br /> ART.<br /> JOHN Hassaun, R.I.<br /> J. G. Miunais.<br /> <br /> Inn Fields, W.C.<br /> Solicitors.<br /> <br /> OFFICES.<br /> <br /> Mus. Doc.<br /> SIDNEY JONES.<br /> ARTHUR SOMERVELL,<br /> WILLIAM WALLACE.<br /> EE.<br /> <br /> M. H. SPIELMANN,<br /> <br /> Sir JAMES YOXALL, M.P.<br /> <br /> <br /> <br /> ARTHUR RACKHAM.<br /> M. H. SPIELMANN.<br /> Secretary—G, HERBERT THRING,<br /> <br /> Solicitor in England to<br /> La Société des Gens de Lettres,<br /> <br /> Legal Representative in America—ARTHUR C. TRAIN, 27, William Street, New Yorx, U.S.A. ’<br /> <br /> TorHILL STREET, WESTMINSTER, S.W.<br /> A<br /> be<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> lil<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> AUTHORS<br /> <br /> contemplating<br /> <br /> the production of their own work<br /> <br /> should communicate with<br /> <br /> <br /> <br /> “TAUNTON<br /> <br /> who will be pleased to submit<br /> ESTIMATES AND SPECIMEN PAGES<br /> <br /> <br /> <br /> Antiquarian &amp; Topographical<br /> Works a Speciality.<br /> <br /> <br /> <br /> TYPEWRITING.<br /> The Museum Transcript Agency,<br /> <br /> 47, GREAT RUSSELL STREET, W.C.<br /> (Opposite the British Museum).<br /> <br /> Tur Museum Transcript AcENcy (Frances<br /> Rodwell, B.A. Lond., Hons.) undertakes every<br /> <br /> ne 7 ly ai tt ‘ 2<br /> branch of ‘Typewriting, Shorthand, Translation,<br /> Museum and other Research, Press-correcting<br /> and Proof-reading.<br /> <br /> Mr. Alexander Teixeira de Mattos, the trans-<br /> lator of Maurice Maeterlinck, Henri Fabre and<br /> Louis Couperus, writes :<br /> <br /> “T have to thank you for much besides the<br /> ‘‘excellent accuracy and neatness of the type-<br /> ““ writing which you have done for me of late years.<br /> “Your assistance in the matter of research has<br /> “been invaluable to me; but I owe even more to<br /> “the scholarship and the fine literary sense which,<br /> “time after time, have enabled you and prompted<br /> “you to point out to me the casual and often<br /> ‘disastrous slips that are bound to occur in the<br /> “manuscript of one occupied with such a mul-<br /> ‘‘tiplicity of work as myself. 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STENNING. 2/6 net.<br /> <br /> “The author&#039;s singular gift for clothing her thoughts<br /> in simple sentences, of phrases exactly apt, which seem<br /> to run inevitably into graceful metre.” — Times.<br /> <br /> ——&gt;—_—<br /> SIMPKIN, MARSHALL, HAMILTON,<br /> KENT &amp; CO, LTD.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Mr. FORBES DAWSON<br /> <br /> (Member of the Incorporated Society of Authors)<br /> <br /> An Actor of over 25 years experience<br /> in every class of theatre, character<br /> | and play, a producer and author of<br /> | Plays acted in England and America,<br /> and with a thorough knowledge of<br /> <br /> PLAY CONSTRUCTION<br /> AND STAGE CRAFT,<br /> <br /> Draws out Scenarios of<br /> Plays from Novels for<br /> Authors to work upon,<br /> and Advises during the<br /> progress of that work.<br /> <br /> Also undertakes the entire Dramatisation of<br /> Stories and<br /> <br /> GIVES PRACTICAL<br /> ADVICE ON PLAYS.<br /> <br /> NO READING FEE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 23, Midmoor Road, Wimbledon, 8.W.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> pt.<br /> <br /> <br /> <br /> <br /> <br /> ee ee<br /> <br /> NOTICES.<br /> <br /> —— +--+<br /> <br /> HH: the opinions expressed in papers that<br /> : are signed or initialled the authors alone<br /> <br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> motice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tur Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should: reach the Editor not later<br /> than the 21st of each month. 8.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou XXIV.<br /> <br /> <br /> <br /> <br />  <br /> JULY, 1914.]<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> <br /> Jan. 7, Sephton, J.<br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M. :<br /> Jan. 26, Sarawak, The Ranee of<br /> Mar. 11, Dowson, Oscar F.<br /> April 8, Stoeving, Paul<br /> April 14, Buckle, Gerard, F.<br /> April 14, Grattan, Harry<br /> April 17, Rubenstein, H. F. .<br /> April 20, Anon. . : : :<br /> April 25, Stacpoole, Mrs. de Vere .<br /> May 1, Miigge, Maximilian A.<br /> May 7, Davies, Miss Mary<br /> <br /> May 8, Simon, Andre L.<br /> <br /> May 8, Deutsch, H. . :<br /> May 9, Campbell, Miss E. Hope<br /> May 12, Lardner, E. G. D.<br /> <br /> May 29, Beesley, George J. .<br /> <br /> 19138. Donations.<br /> <br /> Oct. 7, Darwin, Sir Francis . :<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold :<br /> Oct. 30, Rosman, Miss Alice Grant<br /> <br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> <br /> 8, Holland, Theodore<br /> <br /> 8, Steane, Bruce ;:<br /> <br /> 3, Batty, Mrs. Braithwaite<br /> 10, Elrington, Miss Helen<br /> 10, Waterbury, Mrs. . 3<br /> 5, Dymock, R. G. Vaughton .<br /> 6, Macdonald, Miss Julia<br /> <br /> 11, Little, Mrs. Archibald<br /> <br /> 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J. -<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon : .<br /> <br /> Jan. 5, Joseph, L. y<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E. ae<br /> Jan. 6, De Crespigny, Mrs. Champion<br /> Jan. 6, Rankin, Miss F. M. . p<br /> Jan. 7, Sneyd-Kynnesley, E. M.<br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> Jan. 9, Mackenzie, Miss J.<br /> <br /> Jan. 10, Daniell, Mrs. E. H..<br /> <br /> Jan. 12, Avery, Harold<br /> <br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> Jan. 15, Thomas, Mrs. Fanny<br /> Jan. 16, James, Mrs. Romane<br /> <br /> |<br /> S<br /> <br /> eceecooocoooooooceococr<br /> <br /> Crmrocooocoocooooooooor,<br /> <br /> oco<br /> <br /> —_<br /> ececeorroocooooreo<br /> <br /> —<br /> OOS Or OL<br /> <br /> — a ao<br /> anne ooonoce<br /> <br /> _<br /> =<br /> o<br /> <br /> Onno oneFK Ow ooa1oo oO<br /> <br /> — nd<br /> Reon anooarnannownrowmn und =<br /> <br /> _<br /> <br /> anccocooncooonococoocoococo®<br /> <br /> ceocoaoacacoeooooaoacoo ecoocoooocaooocecoe ane<br /> <br /> THE AUTHOR.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> 19, P. H. and M. K.<br /> 19, Greenstreet, W. J. .<br /> 19, Gibbs, F. Leonard A. :<br /> 23, Campbell, Mrs. L. A. R. .<br /> 23, Cameron, Mrs. Charlotte,<br /> F.R.GS. . :<br /> 28, Blunt, Reginald i<br /> 24, Raphael, Mrs. Mary.<br /> 25, Plouman, Miss Mary<br /> 30, Gibson, Miss L. S. .<br /> 5, Brooker, Lt.-Col. E. P.<br /> 6, Buchrose, J. E.<br /> 7, Smith, Herbert W.<br /> 20, Eden Guy : :<br /> 21, Mayne, Miss Ethel<br /> bourn :<br /> 21K. : s<br /> 25, Aspinall, Algernon<br /> 2, Dalziell, J.<br /> 2 SFG, . ‘<br /> 5, Saies, Mrs. F. H. :<br /> 5, Thorne, Mrs. Isabel .<br /> 5, Haviland, Miss M. D.<br /> 5, Todd, Miss Margaret,<br /> 13, Cabourn, John ;<br /> Mar. 20, Fenwick Miss S. F.. :<br /> Mar. 26, Prendergast, Mrs. J. W. .<br /> May 6, Ward, W. J. . ; :<br /> May 7, Crosse, Gordon. : :<br /> May 8, Williamson, Cc. N. and Mrs.<br /> C. N. j ; ; ; &#039;<br /> May 21, Colebroke, Miss H. E.<br /> May 21, Munro, Neil . :<br /> May 21, O&#039;Higgins, Harvey<br /> May 25, Broadbent, D. R.<br /> May 27, Hallam, F. V.<br /> June 6, Blake, Miss Agnes<br /> June 6, Peacock, Mrs. F. M.<br /> June 9, Schleussner, Miss Ellie.<br /> June 10, Jones, Miss Mary Whit-<br /> more : :<br /> June 17, Muir Ward<br /> <br /> SCOSOKH<br /> —_<br /> <br /> NAoan?<br /> cacof<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> CoOrroocoorrFe<br /> _<br /> <br /> Ao ON Oo He<br /> <br /> cooooaccoe<br /> <br /> Col-<br /> <br /> Feb.<br /> Feb.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> <br /> E.<br /> <br /> M.D.<br /> <br /> tt<br /> OL OO S OOH! OV OL OO DO OF<br /> <br /> ecoocooroocornNrNoscso<br /> <br /> _<br /> <br /> OW SO OM © et © Or<br /> <br /> _<br /> acocecoenooce Smaocegeoccocoeooceco<br /> <br /> SCWrH OF OF Ou<br /> —<br /> <br /> eo<br /> _<br /> eK oO<br /> oo<br /> <br /> —_—____+—&gt; + ______<br /> <br /> COUNCIL MEETINGS.<br /> oe<br /> <br /> T the suggestion of the Composers’<br /> A Committee the Committee of Manage-<br /> ment decided to change the name of the<br /> Society from the Society of Authors (Incor-<br /> porated) to the Incorporated Society of Authors,<br /> <br /> iohts and Composers. :<br /> Pe eraingly) onder the clauses of the Com-<br /> panies Acts, an extraordinary general mecting<br /> <br /> <br />  <br /> <br /> <br /> <br /> 266<br /> <br /> of the company was held on May 4, 1914,<br /> when the following resolution was passed :—<br /> <br /> “That the name of the company be changed<br /> to the Incorporated Socicty of Authors, Play-<br /> wrights and Composers.”<br /> <br /> The second mecting necessary to confirm this<br /> resolution was held on Monday, May 25, when<br /> the resolution passed at the previous mecting<br /> was duly confirmed.<br /> <br /> —————__+—~&lt;+&gt;__<br /> <br /> COMMITTEE NOTES.<br /> <br /> — 1 —<br /> <br /> WING to the fact that the first Monday in<br /> June fell on Whit Monday, the June<br /> meeting of the committee was held on<br /> <br /> Monday, May 25, at the Society’s offices.<br /> Twenty-five members and associates were<br /> elected, bringing the total elections for the<br /> current year up to the satisfactory figure of 195.<br /> Three further resignations had to be added to<br /> the list, bringing the total resignations up to<br /> seventy-two.<br /> <br /> The solicitor then put before the committee<br /> the cases he had dealt with during the month.<br /> <br /> In three cases, two against a magazine and a<br /> third for non-payment of theatrical dues, the<br /> solicitor reported that the matters had been<br /> settled by the payment of the debt and costs.<br /> A dispute arising out of non-publication of a<br /> book had now been satisfactorily settled, as<br /> under an order of. the Court the book had been<br /> published and the costs paid. In a case of<br /> dispute between one of the members and a<br /> cinematograph reproducer, the matter had<br /> been settled as far as England was concerned ;<br /> but, as the company’s main business was in<br /> France, the solicitor had made a full statement<br /> which had been forwarded to the lawyer of<br /> the Society in Paris with instructions to take<br /> action if necessary. A question of alleged<br /> infringement of dramatic copyright had been<br /> settled, as the party against whom the com-<br /> plaint was made was able to show that the<br /> member’s rights had not really been tampered<br /> with. The solicitor gave his report in a case<br /> of dispute between a member and a publisher,<br /> and the committee instructed the secretary to<br /> send a statement of the conclusion arrived at<br /> to the publisher and to the member.<br /> <br /> The next point arose out of a question raised<br /> by one of the members as to the acceptance or<br /> non-acceptance of articles sent to reviews.<br /> The solicitor gave his legal opinion, confirming<br /> the view already expressed by the secretary,<br /> and the secretary was instructed to write to<br /> <br /> THE AUTHOR.<br /> <br /> [JULY, 1914.<br /> <br /> the member concerned indicating the line the<br /> committee were willing to adopt in the matter.<br /> <br /> The secretary then reported certain cases he<br /> had been dealing with during the month. A<br /> question relating to copyright infringement in<br /> Canada was adjourned for further information.<br /> The secretary reported that immediate action<br /> had been taken, with the sanction of the chair—<br /> man, in a case arising in the United States<br /> under a dramatic contract. The authority<br /> given by the chairman was confirmed. In<br /> another case of dispute between one of the<br /> members of the Society, which was in the hands.<br /> of the member’s own solicitor, the solicitor<br /> appeared before the committee and explained<br /> the circumstances. The committee indicated<br /> the lines along which, in their view, a possible<br /> settlement might be negotiated. In a case of<br /> infringement in Denmark, which depended:<br /> upon the intricacies of international law, it<br /> was decided to obtain the opinion of the<br /> Society’s Danish lawyer.<br /> <br /> In a dispute respecting a dramatic contract<br /> it was decided to adjourn the matter for<br /> further information.<br /> <br /> It was decided to take up on behalf of the,<br /> member a claim in connection with the pay-<br /> ment of mechanical instrument fees. It was.<br /> decided to request the solicitors of the Society<br /> to make inquiries of a cinematograph firm<br /> respecting the rights of one of the members.<br /> <br /> The committee decided to investigate the<br /> accounts of a company engaged in the market--<br /> ing of a film of one of the members.<br /> <br /> The secretary then laid before the com-<br /> mittee a letter received from the Kinemato-<br /> graph Educational Association, in which the<br /> committee were asked to nominate a repre-<br /> sentative to serve on the council of that body.<br /> Mr. Bernard Shaw was appointed to represent<br /> the Society of Authors, and the committee.<br /> instructed the secretary to communicate<br /> accordingly with the chairman of the associa-<br /> tion.<br /> <br /> Owing to the enormous increase of cinemato-<br /> graph representations, and the importance of.<br /> this new industry to members of the Society,<br /> whether dramatic authors, novelists or other<br /> writers, at the suggestion of the Dramatic.<br /> Sub-Committee the Committee of Management .<br /> agreed to the formation of a separate sub-<br /> committee to deal with cinematograph matters.<br /> It was agreed to invite the Dramatic Sub-<br /> Committee to nominate candidates for the<br /> consideration of the Committec of Management.<br /> <br /> The difficulties which had arisen owing to.<br /> the present situation in Canada in regard to<br /> imperial copyright were mentioned by the<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> JULY, 1914.]<br /> <br /> ssecretary, and it was decided to obtain a<br /> memorandum from counsel setting out, in<br /> detail, the present difficulties and a possible<br /> remedy, which memorandum was to be placed<br /> in the hands of influential parties in Canada to<br /> ‘use when occasion should arise.<br /> <br /> The question of foreign lawyers appointed<br /> by the Society to hold powers of attorney was<br /> adjourned.<br /> <br /> An important matter dealing with the forms<br /> of receipts and endorsements on cheques<br /> raised by members of the Society, in regard to<br /> contributions to a well-known weekly journal,<br /> was considered. It was understood that the<br /> -editor would be ready to consider any reason-<br /> able form suggested by the committee, and the<br /> secretary was instructed to refer the matter<br /> to the Society’s solicitors in order that such a<br /> form might be drafted.<br /> <br /> A letter from the secretary of a well-known<br /> publishing house was laid before the com-<br /> mittee, and the secretary of the Society was<br /> instructed to make an appointment to see the<br /> secretary of the publishing house to discuss<br /> matters between that house and the Society.<br /> <br /> A letter from the National Union of Book-<br /> binders was laid before the committee, and the<br /> ‘secretary was instructed to reply. In a matter<br /> referring to the advertisements in The Author,<br /> it was decided to instruct the Society’s lawyers.<br /> <br /> a<br /> <br /> Dramatic SuB-COMMITTEE.<br /> <br /> Tur June mecting of the Dramatic Sub-<br /> Committee—the last before the vacation—<br /> was held on the 19th at the offices of the<br /> Society, at three o’clock in the afternoon.<br /> ‘The minutes of the previous meeting were<br /> read and signed. The question of agents,<br /> which came up again for discussion, was<br /> adjourned again till the autumn, and the<br /> ‘question of the special agency contract was<br /> also adjourned, as the sub-committee was<br /> unable to get through the clauses before the<br /> end of the meeting. The secretary also made<br /> a report in regard to American agents generally.<br /> <br /> The nomination of candidates to serve on the.<br /> <br /> Cinematograph Sub-Committee had been left<br /> by the Committee of Management to the<br /> Dramatic Sub-Committee, and that body agreed<br /> upon a list of possible members. This list will<br /> be submitted to the Committee of Management<br /> in due course. oS :<br /> The question of establishing a special<br /> fighting fund for the fighting of dramatic cases<br /> was, owing to the absence of members of the<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 267<br /> <br /> sub-committee specially interested, adjourned<br /> till the autumn.<br /> <br /> The secretary then laid before the sub-com-<br /> mittee facts referring to the collection of fees<br /> due on an English play produced in Paris,<br /> and the question of the power of attorney<br /> which the Société des Auteurs et Compositeurs<br /> Dramatiques had asked the member to sign<br /> before consenting to pay over the amount<br /> collected. The secretary pointed out that<br /> there were certain circumstances which made<br /> it impossible for the member to sign the power,<br /> and that the French society had refused to pay<br /> over the money due until the power was signed.<br /> The matter was referred to the Committee of<br /> Management with the suggestion that an<br /> official letter should be written to the Société<br /> des Auteurs et Compositeurs Dramatiques.<br /> <br /> The present position of the Managerial<br /> Treaty was considered, and certain steps were<br /> decided upon in order to try and get the matter<br /> through by the autumn. The secretary was<br /> instructed to report to the next meeting. The<br /> consideration of a play production contract<br /> was also adjourned.<br /> <br /> The secretary reported the following cases :<br /> (1) A case of copyright infringement in<br /> Canada. He was instructed to obtain the<br /> fullest information from the Canadian lawyers,<br /> so that, if possible, action should be taken to<br /> stop the general infringement which was<br /> proceeding throughout the Dominion : (2) and<br /> (3) cases of collection of fees which were over-<br /> due. The sub-committee confirmed the sanc-<br /> tion of the chairman which had been giver<br /> during the past month. The chairman was<br /> then granted full powers to act during the<br /> vacation on behalf of the committee in cases<br /> <br /> of urgent necessity.<br /> <br /> 1<br /> <br /> Composers’ SUB-COMMITTEE.<br /> <br /> Tur June meeting of the Composers’<br /> Sub-Committee took place at the Society’s<br /> office on Saturday, June 6. After the minutes<br /> of the previous meeting had, been read the<br /> seeretary drew the sub-committee’s attention<br /> to a paragraph that had appeared in one of<br /> the American papers dealing with a combina-<br /> tion which had been formed in America for<br /> the purpose of obtaining satisfactory payment<br /> to composers from performing rights. He<br /> further drew the attention of the sub-committee<br /> to the prospectus of the Performing Rights<br /> Socicty, Ltd., which had been sent to various<br /> members of the Society of Authors, The<br /> <br /> <br />  <br /> <br /> 268<br /> <br /> details of the document were very carefully<br /> considered and discussed as, also, a letter<br /> which had been received by some members<br /> of the Society from a publishing firm referring<br /> to the same company. In addition to many<br /> minor points, the chief objection to the new<br /> society was that the composer placed himself<br /> entirely in the society’s hands as to the people<br /> with whom contracts should be made for per-<br /> forming rights, and the amounts to be paid<br /> for these rights. Finally, there was no clear<br /> statement as to the charge that would be made<br /> for collection of the fees. After careful<br /> consideration a course to be taken by the<br /> sub-committee to warn composers was agreed<br /> upon.<br /> <br /> Correspondence which had taken place<br /> between the secretary and a member of a big<br /> publishing firm in regard to some important<br /> points of contract was then read.<br /> <br /> The next question that arose had reference<br /> to accounts.<br /> <br /> The secretary reported that in a case where<br /> a publisher had been sharing mechanical<br /> instrument fees with a composer, the publisher<br /> had deducted the commission charged by his<br /> agents for collection. This deduction the<br /> member had repudiated and the committee<br /> were taking action. It was decided also,<br /> where on the collection of fees indefinite charges<br /> were made for such collection, to investigate<br /> any accounts that should be rendered, so that<br /> the method of collection might be fully<br /> established for the benefit of composers.<br /> <br /> In another case of accounts which came<br /> before the sub-committee, it was decided to<br /> recommend the Committee of Management to<br /> authorise an accountant to investigate the<br /> firm’s books. :<br /> <br /> In a question arising from the use of words<br /> for songs, the sub-committee approved the<br /> action of the secretary acting on behalf of<br /> the authors concerned.<br /> <br /> The secretary then drew the attention of<br /> the sub-committee to the increase in royalties<br /> under clause 19 of the Act, on and after<br /> July 1, 1914, and warned composers of some<br /> of the difficulties that might arise in this<br /> connection.<br /> <br /> The attention of the sub-committee was<br /> drawn also to a case which had been in the<br /> Courts, viz., Chappell v. Columbia Gramo-<br /> phone Co., a report of which appears else-<br /> <br /> where in The Author.<br /> <br /> He also reported that the Society’s name<br /> had now been definitely changed, at the<br /> suggestion of the Composers’ Sub-Committee,<br /> to the Incorporated Society of Authors,<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914.<br /> <br /> <br /> <br /> Playwrights and Composers, and that the<br /> new name would appear on all printed matter<br /> from the Society in future.<br /> <br /> —___—-op-o~e<br /> <br /> Cases.<br /> <br /> —<br /> <br /> Durine the past month the secretary has<br /> dealt with the average number of cases. They<br /> can be catalogued as follows :—<br /> <br /> Return of MSS. : :<br /> Money and accounts ; :<br /> Money . : :<br /> Settlement of contract<br /> Accounts : : : :<br /> <br /> Of the seven claims for the return of MSS.<br /> three have been successful. One of the<br /> remaining four is in the United States, and<br /> therefore will take some further time, and of<br /> the three others two have only recently come<br /> to the office and the last one is in course of<br /> negotiation.<br /> <br /> Of the five claims for money and accounts,<br /> three have been successfully settled and the<br /> money has been handed over to the members.<br /> One of the two that are left is in France and<br /> the other only came into the office just before<br /> going to press.<br /> <br /> Of the two claims for money, one has been<br /> successful and the other has had to be placed<br /> into the hands of the Society’s solicitors. This<br /> latter course has also had to be adopted with<br /> regard to the settlement of contract. The<br /> claim for accounts has only recently come in.<br /> <br /> There are eight cases still remaining over<br /> from last month and of these only two are in<br /> Great Britain and they are both for the return<br /> of MSS. It is impossible to say whether they<br /> will be successfully settled, because, as has<br /> been pointed out in the case of lost MSS.,<br /> the evidence is often deficient. It is not only<br /> necessary to prove that the MSS. came into<br /> the hands of responsible parties in the office,<br /> but also that these parties have dealt with<br /> them negligently.<br /> <br /> There remain six cases; three of these are in<br /> the United States, two being for infringements<br /> of copyright and one for the settlement of a<br /> contract ; two are in South Africa, one a claim<br /> of money and another a question of accounts.<br /> The last case is a question of money and lies.<br /> in France. All the other cases have been closed<br /> up satisfactorily or handed over to the solicitors.<br /> of the Society whose report will appear in &amp;<br /> later number of The Author.<br /> <br /> et pet BO OY<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> JULY, 1914.}<br /> <br /> THE AUTHOR.<br /> <br /> June Elections.<br /> <br /> Allhusen, Mrs. W. H. .<br /> <br /> Aston, Colonel = Sir<br /> George, K.C.B.<br /> <br /> Avery, Miss Anne 4<br /> Beesley, George G. :<br /> Blake, Mrs. R. . :<br /> <br /> Briggs, William, LL.D.,<br /> D.C.L., M.A., B.Sc.<br /> Cockran, Miss B. A.<br /> <br /> Bruen.<br /> <br /> East, Mrs.<br /> . Clayton.<br /> Edghill, Mary. A<br /> <br /> George<br /> <br /> Flemming, Leonard .<br /> <br /> ‘Hallam, Frank Vincent<br /> (“ Charles Hessel-<br /> ton ’’)<br /> <br /> Jones, Mary Whitmore<br /> <br /> iKing, Charles :<br /> <br /> Knowles, Miss Joseph-<br /> ine.<br /> Krayl, Stan Harding<br /> <br /> Macdonald, J. Ramsay<br /> McKay, Herbert, B.Sc.<br /> <br /> Manners, Sir William<br /> John, Earl of Dysart<br /> <br /> Mainwaring, Colonel H.<br /> G., F.R.G.S.<br /> <br /> Reeks, H. Caulton ‘<br /> <br /> “Smith, Mrs. Adéle<br /> Crafton<br /> <br /> Smith, Cicely Fox<br /> <br /> ‘Smith, Mrs. Elizabeth<br /> Sinclair<br /> <br /> a Zimmern, Alfred KE. .<br /> <br /> 15,<br /> Palace<br /> W.<br /> <br /> 94, Piccadilly, W.<br /> <br /> Kensington<br /> Gardens,<br /> <br /> Grosvenor<br /> Aldershot.<br /> <br /> 96, Stoney Stanton<br /> Road, Coventry.<br /> <br /> 129. . Him Park<br /> Mansions, Chelsea,<br /> S.W.<br /> <br /> Owlbrigg,<br /> bridge.<br /> <br /> St. John’s Cottage,<br /> Bovey Tracey,<br /> Devon.<br /> <br /> 20, Lower Sloane<br /> Street, S.W.<br /> <br /> Soulby, Clarence<br /> Park, Weston-<br /> super-Mare.<br /> <br /> 63, Wellington Road,<br /> N.W.<br /> <br /> 55, Adolphus Road,<br /> Finsbury Park, N.<br /> <br /> Road,<br /> <br /> Cam-<br /> <br /> Magdalen Lodge,<br /> Hook Norton.<br /> <br /> 36, Golders Way,<br /> Golders Green.<br /> <br /> Via della Scala 1,<br /> Florence, Italy.<br /> 8. lincoln&#039;s Inn<br /> <br /> Fields, W.C.<br /> <br /> 338, Park Parade,<br /> Harlesden, N.W.<br /> Ham House, Rich-<br /> mond, Surrey.<br /> Army &amp; Navy Club,<br /> Pall Mall, S.W.<br /> <br /> Spalding.<br /> Elmhurst, Bradford-<br /> on-Avon.<br /> <br /> 54, Harper’s Lane,<br /> Bolton-le-Moors.<br /> Trevone, Ennerdale<br /> Road, Richmond,<br /> <br /> S.W.<br /> 14, Great Russell<br /> Mansions, W.C.<br /> <br /> —__———_+-&gt;*——___<br /> <br /> <br /> <br /> 269<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> &lt;4<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as: possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> ARCHAZOLOGY.<br /> <br /> AMULETS. Illustrated by the Egyptian Collection in<br /> University College, London. By Wiu1am FLINDERS<br /> Perrin. 124 x 10. 58 pp. text. liv. Plates. Con-<br /> stable. 21s. n.<br /> <br /> ARCHITECTURE.<br /> <br /> SMALL Country Hovsss: their Repair and Enlargement.<br /> By L. Weaver. 114 x 83. xxxii+ 204pp. Country<br /> Life. 15s. n.<br /> <br /> ART.<br /> <br /> THE Sport oF COLLECTING.<br /> 81 x 54. 147 pp. Unwin.<br /> <br /> By Sir Martin Conway<br /> 5s. ne<br /> <br /> BIOGRAPHY.<br /> Memoriats oF Henry Forses JULIAN.<br /> Institution of Mining and Metallurgy.<br /> edited by his wife, Husrer JunIaAN. 9 X 53.<br /> 310 pp. C. Griffin. 6s. n.<br /> <br /> BOOKS OF REFERENCE.<br /> <br /> THE STATESMAN’S YEAR Book, 1914. Edited by J. Scorr<br /> Keitin. 7} x 4%. Ixxix + 1,500 pp. Macmillan.<br /> 10s. 6d. n.<br /> <br /> Member of the<br /> Written and<br /> xix +<br /> <br /> DRAMA.<br /> <br /> Tae Maker or Dreams. By O. Down. 5} X 4.<br /> Gowans and Gray. 6d. n.<br /> <br /> Cuartey’s Unciz. A Farcical Comedy in three acts. By<br /> Waurer STEPHENS. 7} x 43. 64 pp. F. Griffiths.<br /> <br /> 1s. 6d. n.<br /> FICTION.<br /> By Nem Monro.<br /> <br /> Tue New Roan. 7k x 5. 374 pp<br /> Blackwood. 6s. Z<br /> <br /> Lovers’ Meptinas. By Katuartne TYNAN.<br /> 314 pp. Werner Laurie. 6s.<br /> <br /> Freepom. By Attce and CLAUDE ASKEW.<br /> 316 pp. Hurst and Blackett. 6s.<br /> <br /> Srmmon Hurtot. By Parricta WENTWORTH.<br /> 331 pp. Melrose. 6s.<br /> A SaAMNOEL Innerrrance. By KarHartne Tynan. 7}<br /> % 5. 324 pp. Cassell. 6s.<br /> From AN Istineron WINDow. 3 i<br /> Romance. By M. Bernam-Epwaxps. 72 x 5.<br /> <br /> . Smith Elder. 6s.<br /> Tat SILVER Star. By Marre Connor LEIGHTON. 73x<br /> 5. 352pp. Ward, Lock. 638.<br /> THe LIFE a Lena. By W. N. WILLIS. 320<br /> . Long. 1. n.<br /> ous Aury. By M. E. Francis. 6} x 4.<br /> 7d. n. ; 8<br /> Pun Stony or AmanpA. By F. R. M. Furspon, 74 Xx<br /> <br /> 5. 328 pp. Simpkin, Marshall. 6s.<br /> <br /> 7% x 43.<br /> 7k x 43.<br /> 7k x 42.<br /> <br /> Pages of Reminiscent<br /> 307<br /> <br /> 7k x 42.<br /> <br /> 254 pp. Long.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 270<br /> <br /> FOLKLORE.<br /> Tur LANGUAGE OF THE Nawar or Zurr, THE Nomap<br /> Smirus oF PaLesTINy. By R. A. STEWART MACALISTER’<br /> 9% x 6}. xii + 216 pp. Quaritch. 5s.<br /> <br /> LAW.<br /> <br /> Tue Lonpon Burpine Acts,<br /> FESSOR BANISTER FLETCHER.<br /> rer F. Fuercuer and H. P. FLETCHER.<br /> xviii + 697 pp. Batsford. 10s. n.<br /> <br /> LITERARY.<br /> <br /> Love’s Cominc or Acz. By Epwarp CARPENTER. Le<br /> 41. 189 pp. Methuen. Is. n.<br /> <br /> A Wak IN Orner Wortps with Dante. By Marian<br /> S, Barnpricce. 8 X 5}. 255 pp. Eight full-page<br /> <br /> 1894—1909. By Pro-<br /> Fifth Edition by Banis-<br /> 7k Xx 4}.<br /> <br /> illustrations. Kegan Paul, Trench, Tiiibner &amp; Co.,<br /> Ltd. 6s. n. :<br /> MUSIC.<br /> <br /> ORcHESTRATION. By Ceci ForsytH. 9 x 5. 517 pp.<br /> (The Musician’s Library.) Macmillan and Stainer and<br /> Bell. 21s. n. :<br /> <br /> SrortEs FROM WaGNER’S OpERAs. Told by GLapys<br /> Davipson. 7} x 5. 106 pp. Werner Laurie. ls. n.<br /> <br /> PAMPHLETS.<br /> <br /> Roger Bacon. By Sm J. E. Sanpys. (From the Pro-<br /> ceedings of the British Academy. Vol. V1.) Oxford<br /> University Press. 1s. n. 2<br /> <br /> POETRY.<br /> <br /> Berowvutr. A Metrical Translation into Modern English.<br /> By J. R. Crark Hatt. 7} x 5. 114 pp. Cambridge<br /> University Press. 2s. 6d. n.<br /> <br /> Unto tur Hitts. By Dovcias W. FRESHFIELD.<br /> Edward Arnold.<br /> <br /> 7 x 44.<br /> <br /> REPRINTS.<br /> <br /> With English Rendering. By<br /> IsraEL GoLtancz. Limited Edition, 550 copies. 8} x<br /> 7. 56 pp. Chatto. 6s. n.<br /> <br /> Tue PorricaL WoRKS oF GEORGE CRABBE.<br /> A. J. and R. M. Caruyuzg. 7} x 5.<br /> H. Milford. 1s. 6d. n.<br /> <br /> Tue Sua’s ANTHOLOGY. From the Earliest Times down<br /> to the Middle of the 19th Century. Compiled and<br /> Edited, with Notes, Introduction, and an Appendix, by<br /> J. E. Parrerson. 7X 44. xxxvi+ 383 pp. Heine-<br /> <br /> mann. 25. n.<br /> SOCIOLOGY.<br /> <br /> THE PROBLEM OF THE Nations. A Study in the Causes,<br /> Symptoms, and Effects of Sexual Disease and the<br /> Education of the Individual therein. By A. Corperr-<br /> Smiru, M.A., Oxon., barrister-at-law ; Captain (formerly<br /> R.F.A.); F.R.G.S.; Officier de L’ Instruction Publique ;<br /> Editor of the Journal of State Medicine ; Lecturer in<br /> Public Health Law at the Royal Institute of Public<br /> Health. 9} x 6}. ix+ 107 pp. Bale. Ils. 9d. n.<br /> <br /> SPORT. Be<br /> THE Hovsz on Wueets. By Evizapern SLOAN CuusseEr,<br /> 74x 5. 150 pp. Chapmanand Hall. 2s. n.<br /> TRAVEL.<br /> <br /> Tue MAINspringes oF RvsSrA.<br /> . x E . pp. Nelson, 2s.<br /> ‘HE REAL ALGERIA. By M.D.Srorr. 83 x 54.<br /> <br /> Hurst and Blackett. &quot;10s. 6d. n. oe<br /> <br /> Boccaccto’s OLYMPIA.<br /> <br /> Edited by<br /> xxii + 600 pp.<br /> <br /> By Maurice Barina. 74<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> er<br /> HE Oxford edition of ‘‘ The Poetical<br /> Works of George Crabbe” is edited,<br /> <br /> with an introduction, by A. J. and<br /> R. M. Carlyle, who base their text on the<br /> <br /> author’s own edition, except in the case of<br /> <br /> the poems omitted by him and subsequently<br /> reprinted by his son. The only notes are those<br /> made by Crabbe himself (Humphrey Milford,<br /> Oxford University Press).<br /> <br /> “Urto the Hills,’ is the title of a little<br /> book of verse by Mr. Douglas W. Freshfield,<br /> former chairman of the Committee of Manage-<br /> ment. The poems include Sonnets, Rhymes,<br /> and Leviora, the last not the least good, if the<br /> least ambitious, section of the book (Edward<br /> Arnold).<br /> <br /> Mrs. Russell Barrington’s ‘“‘ Life of Walter<br /> Bagehot,” announced in the last issue of these<br /> notes, has now been published by Longmans,<br /> Green &amp; Co. at 12s. 6d. net.<br /> <br /> Mr. Israel Zangwill’s play “ Plaster Saints ”<br /> is now published in book form (Heinemann,<br /> 2s. 6d. net).<br /> <br /> Another play which lras just appeared in<br /> book form is Mr. John Galsworthy’s ‘ The<br /> Mob ” (Duckworth, 1s. 6d.).<br /> <br /> Mr. Eden Philpotts’s new novel “The<br /> Judge’s Chair ” appeared last month through<br /> the firm of John Murray.<br /> <br /> Mrs. Hester Julian has written a life of her<br /> husband, under the title of ‘‘ Memorials of<br /> Henry Forbes Julian ” (Charles Griffin &amp; Co.,.<br /> 6s.). The late Mr, Julian was one of the victims<br /> of the Titanic disaster. The loss thereby<br /> occasioned to metallurgy is dealt with in an<br /> introduction contributed to the book by Mr.<br /> H. L. Sulman, President of the Institution of<br /> Mining and Metallurgy.<br /> <br /> “The Problem of the Nations ” is the name<br /> of a book by Mr. A. Corbett-Smith, M.A.,<br /> F.R.G.S., on the effect of sexual disease on.<br /> national life (John Bale, Sons &amp; Danielsson,<br /> 1s. 6d.).<br /> <br /> Mr. Cecil Forsyth contributes to the<br /> Musician’s Library a book upon “ Orchestra-<br /> tion,” which is published by Macmillan &amp; Co,<br /> and Stainer &amp; Bell at one guinea net.<br /> <br /> Miss M. Betham-Edwards has brought out<br /> “From an Islington Window,” described in<br /> the sub-title as ‘“‘ pages of reminiscent<br /> romance ” (Smith, Elder &amp; Co., 6s.).<br /> <br /> The correct title of Mrs. Annette S.<br /> Beveridge’s book is ‘“‘ Baburnima, or Memories<br /> of Babur, a new translation made from the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> original Turki text,’ fasciculus 5<br /> section (Luzac &amp; Co.). 7 oe<br /> <br /> Mr. Gilbert Coleridge has an article upon<br /> “* Sir Thomas Browne ” in the current number<br /> of the Fortnightly Review.<br /> <br /> A Chinese version of Leiut.-Colonel W. H.<br /> Turton’s work, “ The Truth of Christianity,” is<br /> about to be published in Shanghai by the<br /> Christian Literature Society for China. A<br /> Japanese version appeared some years ago.<br /> <br /> Mrs. Ellis Chadwick’s recent book, ‘‘ In the<br /> Footsteps of the Brontes,” is to be published<br /> in the United States by Brentano.<br /> <br /> Miss Bainbrigge’s book, ‘‘ A Walk in other<br /> Worlds with Dante,” is written specially for<br /> those who think the Divina Commedia is too<br /> deep for them, and yet desire to know more<br /> about it without long and deep study (Kegan<br /> Paul, Trench, Tribner &amp; Co., 6s. net).<br /> <br /> **A Saunter through Kent with Pen and<br /> Pencil,” by Mr. Charles Igglesden, has now<br /> reached its cleventh volume, and describes<br /> Nettlestead, Whitstable, Seasalter, Swalecliffe,<br /> Graveney, Monks Horton, and Harrietsham<br /> (Kentish Eapress Office, 2s. 6d.).<br /> <br /> In “Caravan Days” Mr. Bertram Smith<br /> records the continuance of his devotion to<br /> caravanning after sixteen years’ experience<br /> of it (Nisbet &amp; Co., 5s. net).<br /> <br /> ‘* Love’s Responsibilities ” is a book of essays<br /> by Mrs. Stuart Menzies upon “‘ the most cruel,<br /> the most tragic, the most vengeful of life’s<br /> problems, that of sex ” (Holden and Harding-<br /> ham, 6s.).<br /> <br /> “ Justice of the Peace” is a novel by Mr.<br /> Frederick Niven, in which he has attempted to<br /> give a family history without making the book<br /> as long as Gibbon’s “‘ Decline and Fall ”’—as<br /> he tells us in his preface (Eveleigh Nash).<br /> <br /> Mr. S. Sproston has published, through the<br /> Year Book Press, ‘The Pudding made of<br /> Plum: a Tragic-Comedy for Children,” “* Mid-<br /> summer Fairies: a Fantastic Sketch,” and<br /> “The Sword in the Stone: a Legend ”?__the<br /> two first 6d. each ; the last-named 9d. net.<br /> <br /> Miss Amy M&#039;‘Laren’s novel, “ The Yoke of<br /> Silence,” which has already appeared in both<br /> serial and book form, is to be published early<br /> this month by Messrs. Collins. .<br /> <br /> Derek Vane’s new novel, ‘“‘ Lady Varley,<br /> will be published by Stanley Paul &amp; Co. early<br /> in August. It is a character study of two men<br /> and two women brought together in a lonely<br /> country house by the mysterious death of<br /> another man in a London flat. a<br /> <br /> Mr. Archibald Marshall’s “ Exton Hall 1s<br /> now in its fourth edition. The same author&#039;s<br /> new novel is ‘‘ Roding Rectory” (Stanley Paul).<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 271<br /> <br /> _ Mr. Henry Bruce has a new novel of Eurasian<br /> <br /> life, entitled “The Residency.” The<br /> publishers are John Long, Ltd.<br /> <br /> Mrs. Bell, who writes under the name of<br /> John Travers, is publishing her third novel<br /> of Anglo-Indian life through Duckworth &amp; Co.<br /> <br /> Miss Helen C. Roberts makes the hero of her<br /> novel, ‘‘ A Free Hand,” a dentist—though he<br /> does not remain a dentist to the end (Duck-<br /> worth). {<br /> <br /> M. Georges Bazle has translated into French<br /> Mrs. Irene Osgood’s ‘‘ Where Pharaoh Dreams,”<br /> and the translation has been published in the<br /> Comedia, Paris, together with a biographical<br /> sketch of the author. A copy of “ Where<br /> Pharaoh Dreams” has been accepted by His<br /> Highness the Khedive. ®<br /> <br /> “A Fallen Star,” a sketch by Mrs. Herbert<br /> Cohen, appeared in the June number of the<br /> Magpie.<br /> <br /> Mr. Harry Wynne’s poem, “ The Plumber,”<br /> recently published in book form, with other<br /> recitations, by Joseph Williams, Ltd., has been<br /> recorded on the Columbia and Pathé gramo-<br /> phones by Mr. Bransby Williams.<br /> <br /> ‘“‘ Karth with Her Bars: and other Poems ”<br /> is the title of a book of verse by Miss Edith<br /> Dart, some of which has already been seen in<br /> the Westminster Gazette, Pall Mall Gazette, etc.<br /> (Longmans, Green &amp; Co., 1s. paper covers, 2s.<br /> cloth).<br /> <br /> DRAMATIC.<br /> <br /> “Dido and Aeneas,” a four-act tragedy by<br /> A. von Herder (Mrs. Grantham-Williams) was<br /> presented for the first time by the Drama.<br /> Society at the Ambassador’s Theatre on<br /> May 26.<br /> <br /> On June 11 Mr. Israel Zangwill’s one-act<br /> play ‘“‘ Six Persons,” originally seen at the<br /> Haymarket eleven years ago, was revived, to<br /> precede Mr. Zangwill’s “ Plaster Saints<br /> at the Comedy Theatre.<br /> <br /> On June 16 “A Scrap of Paper,” a new<br /> adaptation by Mr. F rederick Fenn of the well-<br /> known “ Pattes de Mouche,” was seen at the<br /> <br /> iterion Theatre.<br /> “os June 17 “ Driven,” Mr. E. Temple<br /> Thurston’s new play, was seen for the first<br /> time at the Haymarket Theatre.<br /> <br /> Mr. EH. V. Esmond has arranged for an exten-<br /> sion of his season with ‘‘ The Dangerous Age<br /> at the Vaudeville Theatre.<br /> <br /> Mr. Bernard Shaw’s “ Pygmalion ” was:<br /> performed for the seventy-fifth time at His.<br /> <br /> ‘esty’s Theatre on June 15. :<br /> o Fons 97 “The Heritage of Hate” Mr.<br /> of the novel<br /> <br /> Arthur Shirley’s dramatic version<br /> <br /> <br />  <br /> <br /> 272<br /> <br /> by Mr. Charles Garvice, was put on at the<br /> Aldwych Theatre.<br /> <br /> Sir James Barrie has a new play, which is to<br /> be produced in London by Mr. Granville<br /> Barker and in the United States by Mr.<br /> Charles Frohman.<br /> <br /> The German translation rights of Mr. Henry<br /> Arthur Jones’s plays, ‘‘ The Liars,” “‘ The Silver<br /> King,” ‘‘ Mrs. Dane’s Defence,” and ‘‘ Michael<br /> and his Lost Angel,’? have been granted by the<br /> author to Dr. Max Meyerfeld.<br /> <br /> MUSICAL.<br /> <br /> Two songs from the masque “‘ Love and the<br /> Dryad,”’ by Agnes H. Lambert, entitled “ The<br /> Flower Song” and ‘‘ My Ladye’s Singing.”<br /> have been just published separately by Boosey<br /> &amp; Co. The former song (which has the flute<br /> accompaniment attached) is that which was<br /> sung by Miss Evangeline Florence when the<br /> masque was produced in April, 1913, at the<br /> King’s Hall Theatre, Covent Garden. :<br /> <br /> “The Halo: the Story of a Chelsea Studio ”<br /> is the title of a new musical monologue which<br /> Reynolds &amp; Co., are publishing. The poem<br /> is written by Mr. Harry Wynne and the musical<br /> setting is by Mr. Cuthbert Clarke. Bransby<br /> Williams and other well-known reciters are<br /> performing the number.<br /> <br /> “‘OQur Red Cross Nurses,” words by T. A.<br /> Bennett, and music by J. W. Bampfylde, is a<br /> patriotic song published by the Walsingham<br /> Voluntary Aid Detachment. Copies may be<br /> obtained (post free) from the commandant,<br /> Miss Violet Parry Okeden, Walsingham Abbey,<br /> Norfolk. MS. band parts may be hired.<br /> <br /> +&gt;<br /> <br /> PARIS NOTES.<br /> <br /> ee<br /> 12 a French literary paper published in<br /> Paris last month, a short article is<br /> devoted to the memory of the late Mr.<br /> Marston of the firm of Sampson, Low, Marston<br /> &amp; Co. The writer reminds his readers that<br /> after the reverses of 1870 Mr. Marston was one<br /> of those who appealed to the English book-<br /> sellers in favour of their French colleagues.<br /> A sum of 24,574 franes was sent over from<br /> England, and provisions were distributed<br /> among the Parisian booksellers. In 1896,<br /> when the first International Congress of Pub-<br /> lishers took place, Mr. Marston was one of the<br /> vice-presidents. The article concludes with a<br /> message of sympathy to the family of Mr.<br /> Marston.<br /> _“Le Baptéme de Pauline Ardel” is the<br /> title of the third novel by Emile Baumann.<br /> <br /> THE AUTHOR.<br /> <br /> [JULY, 1914.<br /> <br /> ‘““L’Immolé,” the first novel by this writer,<br /> had great success, and was followed soon after-<br /> wards by ‘‘ La Fosse aux Lions.”” The author<br /> gives us in this third story a psychological<br /> study of a girl brought up by a father who is a<br /> free-thinker. Her greatest friends are ex-<br /> tremely religious people and the man who wins<br /> her love a staunch Catholic. With this theme<br /> the author has written an excellent book,<br /> extremely human, with characters well defined<br /> and very living.<br /> <br /> “La Flamme”’ is the title of Paul Mar-<br /> gueritte’s new novel.<br /> <br /> “Les Tétes baissées,”’ by Cyril Berger, is the<br /> volume which has been chosen for the annual<br /> prize awarded by the Committee of the paper<br /> entitled La Vie heureuse.<br /> <br /> ‘*La Maison sur la Rive ”<br /> by André Lafon, whose former volume<br /> “L’Eléve Gilles’? won for its author the<br /> Grand Prix of the French Academy in 1912.<br /> <br /> ** Alaric,” by Jacques de Morgan, is, like<br /> George Gissing’s ‘‘ Veranilda,’’a novel based on<br /> the historical episodes of the fall of Rome.<br /> <br /> ‘*Napoléon délivré,”’ by Albéric Cahuet,<br /> tells us, among other things, of the funeral<br /> of Napoleon, the coup de thédtre of 1840. It<br /> is the reconstitution of an epoch well told by<br /> the author of ‘‘ Aprés la mort de l’Empéreur.”<br /> <br /> “Au jeune Royaume d’Albanie’”’ (ce qu’il<br /> a été=ce qu&#039;il est), by G. L. Jaray, one of the<br /> few Europeans knowing this country and<br /> able to explain to us clearly the problems<br /> and difficulties of the new kingdom.<br /> <br /> ‘** Paris sous Louis XV.,’”’ by Camille Piton.<br /> This writer has given us some curious volumes<br /> on various historical subjects. In this book<br /> we have a number of reports by the king’s<br /> police inspectors, showing the manners and<br /> customs of the times. This volume is the<br /> fifth of the series, and is carefuily annotated<br /> by the author.<br /> <br /> ‘“‘ A travers Shakespeare ” is the title of a<br /> volume containing a series of lectures given<br /> during the past season by Jean Richepin at the<br /> university of Les Annales.<br /> <br /> ‘** Dans le Cloaque ”’ is the title of the latest<br /> volume by Maurice Barrés.<br /> <br /> A book, entitled ‘“‘La Politique de la<br /> Prévoyance Sociale,’’ by Léon Bourgeois, will<br /> be read with interest. The first volume treats<br /> of ‘‘ La Doctrine et la Methode.”<br /> <br /> In a volume entitled ‘‘ Maitres d’hier et<br /> daujourd’hui,” Roger Marx tells us much<br /> that is interesting about Les Goncourt et<br /> VArt, J. K. Huysmans, Anatole France,<br /> Daniel Vierge, Jean-Francois Millet, Hugéne<br /> Carriére, Jongkind, Puvis de Chavannes,<br /> <br /> is another novel<br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> Constantin Guys, Degas,<br /> Théodore Chassériau,<br /> Claude Monet.<br /> <br /> ** Vieux dossiers, petits papiers,’’ by the<br /> Marquis de Ségur, is now in its fifth edition.<br /> <br /> La Transmission télégraphique des Images<br /> et des Photographies,” by Jacques Boyer,<br /> gives us information and illustrations concern-<br /> ing this new miracle of science.<br /> <br /> In “ La Route del’Orient,” by Noelle Roger,<br /> we have a chapter entitled ‘‘ Premier contact<br /> avec l’A4me turque”’; and others on Bosnia,<br /> on Roumania and Constantinople. The<br /> volume is illustrated from photographs belong-<br /> ing to the author.<br /> <br /> ‘“* Comment conserver sa santé” is the title<br /> of an excellent book by Dr. Toulouse, who has<br /> also written ‘‘ Comment former un esprit”<br /> and ‘‘ Comment se condiure dans la vic.”<br /> <br /> The play ‘Les Affranchis,” by Marie<br /> Lénéru, has obtained the Emile Augier prize,<br /> as the best play produced within the last three<br /> years.<br /> <br /> “Ce quil faut taire,” the play by Arthur<br /> Meyer, editor of the Gaulois, is now published.<br /> It was produced quite recently, and M. Meyer<br /> has explained in several newspapers his reasons<br /> for writing it. M. Adolphe Brisson has<br /> written the preface. :<br /> <br /> Shakespeare has been very much in favour<br /> during the past month. “ Twelfth Night ”<br /> had been produced in French and it was<br /> so well received that it was impossible to book a<br /> place the last three evenings. It has also been<br /> played in English under the direction of Mr.<br /> Philip Carr, with Mr. Ben Field and Miss<br /> Cathleen Nesbitt. The general opinion was<br /> that it was as near as possible to perfection.<br /> The ensemble was excellent and the whole<br /> performance a remarkable success. At the<br /> Frangais, ‘‘ Macbeth ” has been given in an<br /> adaptation by Jean Richepin.<br /> <br /> ee *<br /> <br /> Auguste Rodin,<br /> Auguste Renoir and<br /> <br /> <br /> <br /> ‘‘ Le Baptéme de Pauline Ardel”” (Granet).<br /> <br /> “La Flamme ” (Flammarion).<br /> <br /> “Leg Tétes baissées ” (Ollendorff).<br /> <br /> ‘La Maison sur la Rive” (Perrin).<br /> <br /> “ Alaric ” (Plon).<br /> <br /> Napoléon délivré” (Emile Paul).<br /> <br /> “ Au jeune Royaume d’Albanie (Hachette).<br /> <br /> ¢ Paris sous Louis XV.” (Mercure de France).<br /> <br /> “A travers Shakespeare” (Fayard).<br /> <br /> « Dans le Cloaque” (Emile Paul). — . .<br /> . “Ta Politique de la Prévoyance Sociale (Fasquel e).<br /> <br /> “ Maitres d’hier et d’aujourd’hui ” (Calmann Lévy).<br /> <br /> “ Vieux dossiers, petits papiers ” (Calmann Lévy). _.<br /> <br /> “La Transmission télégraphique des Images et des<br /> Photographies ” (Mendel). :<br /> <br /> «a Route de l’Orient” (Perrin).<br /> <br /> Comment conserver sa santé” (Hachette).<br /> <br /> “ Ce quil faut taire » (Plon).<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 273<br /> CHAPPELL v. COLUMBIA GRAMOPHONE CoO.<br /> <br /> —_-——+—__<br /> <br /> A CASE of some interest to composers and<br /> ae to copyright owners of musical works<br /> _ 2 wae heard recently before Mr. Justice<br /> Neville, in the Chancery Division, when Messrs.<br /> Chappell &amp; Co. applied for an injunction to<br /> restrain the defendants, the Columbia Gramo-<br /> phone Co. from infringing the copyright of a<br /> song by Mr. Herman Lohr of which they, the<br /> plaintiffs, were the copyright holders.<br /> <br /> The circumstances were that the defendant<br /> company had made a contrivance by means of<br /> which the composition might be mechanically<br /> reproduced. It was admitted by the plaintiffs<br /> that the defendants were perfectly entitled to<br /> do this as they had given the requisite notice<br /> and complied with all the conditions laid down<br /> in the Board of Trade Regulations issued under<br /> section 19 of the Copyright Act, 1911. But it<br /> was submitted for the plaintiffs that the<br /> defendants had gone beyond their powers, in-<br /> asmuch as they had made a manuscript<br /> orchestral accompaniment of the song, and<br /> that this was a clear infringement of the<br /> plaintiffs’ rights.<br /> <br /> On behalf of the defendants it was submitted<br /> that what they had done was reasonably<br /> necessary for the manufacture of their record<br /> and was not an infringement of the copyright<br /> of the plaintiffs.<br /> <br /> Mr. Justice Neville, in giving judgment for<br /> the plaintiffs, held that what the defendants<br /> had done was an infringement of the copyright<br /> of the plaintiffs, and that it was immaterial for<br /> what purpose the copy may have been made.<br /> Therefore, there must be judgment for the<br /> plaintiffs, with the costs of the action.<br /> <br /> ———__+- &lt;&gt;<br /> <br /> THE CRITICISM OF FICTION.<br /> <br /> i<br /> <br /> By One or THE YouNGER NOVELISTS.<br /> URELY no earnest worker in the profes-<br /> sion of letters should miss the way,<br /> recently opened by Mr. Henry, James<br /> in the Literary Supplement of the Times, to<br /> claim more competent and wider criticism of<br /> fiction. The obviousness of our need is un-<br /> doubtedly crying. That branch of the literary<br /> art which, either from the public’s surfeit, or<br /> the reviewers’ weariness, OF the publishers<br /> instinct of self-preservation, has been reduced<br /> from what was once a respectable calling to the<br /> <br /> level of a prize-fight, deserves fairer play.<br /> Obviously what we all require 18 a critic like<br /> Francisque Sarcey, who criticised his French<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 272<br /> <br /> by Mr. Charles Garvice, was put on at the<br /> Aldwych Theatre. : a<br /> <br /> Sir James Barrie has a new play, which 1s to<br /> be produced in London by Mr. Granville<br /> Barker and in the United States by Mr.<br /> Charles Frohman.<br /> <br /> The German translation rights of Mr. Henry<br /> Arthur Jones’s plays, “‘ The Liars,” ‘* The Silver<br /> King,” “ Mrs. Dane’s Defence,” and ‘‘ Michael<br /> and his Lost Angel,” have been granted by the<br /> author to Dr. Max Meyerfeld.<br /> <br /> MUSICAL.<br /> <br /> Two songs from the masque “ Love and the<br /> Dryad,” by Agnes H. Lambert, entitled “ The<br /> Flower Song” and ‘“‘ My Ladye’s Singing.”<br /> have been just published separately by Boosey<br /> &amp; Co. The former song (which has the flute<br /> accompaniment attached) is that which was<br /> sung by Miss Evangeline Florence when the<br /> masque was produced in April, 1913, at the<br /> King’s Hall Theatre, Covent Garden. :<br /> <br /> “The Halo: the Story of a Chelsea Studio ”<br /> is the title of a new musical monologue which<br /> Reynolds &amp; Co., are publishing. ‘The poem<br /> is written by Mr. Harry Wynne and the musical<br /> setting is by Mr. Cuthbert Clarke. Bransby<br /> Williams and other well-known reciters are<br /> performing the number.<br /> <br /> “Our Red Cross Nurses,’’ words by T. A.<br /> Bennett, and music by J. W. Bampfylde, is a<br /> patriotic song published by the Walsingham<br /> Voluntary Aid Detachment. Copies may be<br /> obtained (post free) from the commandant,<br /> Miss Violet Parry Okeden, Walsingham Abbey,<br /> Norfolk. MS. band parts may be hired.<br /> <br /> Oe<br /> <br /> PARIS NOTES.<br /> <br /> A<br /> oe a French literary paper published in<br /> Paris last month, a short article is<br /> devoted to the memory of the late Mr.<br /> Marston of the firm of Sampson, Low, Marston<br /> &amp; Co. The writer reminds his readers that<br /> after the reverses of 1870 Mr. Marston was one<br /> of those who appealed to the English book-<br /> sellers in favour of their French colleagues.<br /> A sum of 24,574 frances was sent over from<br /> England, and provisions were distributed<br /> among the Parisian booksellers. In 1896,<br /> when the first International Congress of Pub-<br /> lishers took place, Mr. Marston was one of the<br /> vice-presidents. The article concludes with a<br /> message of sympathy to the family of Mr.<br /> Marston.<br /> “Le Baptéme de Pauline Ardel’’ is the<br /> title of the third novel by Emile Baumann.<br /> <br /> THE AUTHOR.<br /> <br /> [JULY, 1914.<br /> <br /> ““L’Immolé,” the first novel by this writer,<br /> had great success, and was followed soon after-<br /> wards by ‘‘ La Fosse aux Lions.’”? The author<br /> gives us in this third story a psychological<br /> study of a girl brought up by a father who is a<br /> free-thinker. Her greatest friends are ex-<br /> tremely religious people and the man who wins<br /> her love a staunch Catholic. With this theme<br /> the author has written an excellent book,<br /> extremely human, with characters well defined<br /> and very living.<br /> <br /> “La Flamme”’ is the title of Paul Mar-<br /> gueritte’s new novel.<br /> <br /> “Les Tétes baissées,” by Cyril Berger, is the<br /> volume which has been chosen for the annual<br /> prize awarded by the Committee of the paper<br /> entitled La Vie heureuse.<br /> <br /> ‘*La Maison sur la Rive ”’ is another novel<br /> by André Lafon, whose former volume<br /> ‘“L’Eléve Gilles’? won for its author the<br /> Grand Prix of the French Academy in 1912.<br /> <br /> ** Alaric,”” by Jacques de Morgan, is, like<br /> George Gissing’s ‘‘ Veranilda,’’a novel based on<br /> the historical episodes of the fall of Rome.<br /> <br /> ‘*Napoléon délivré,” by Albéric Cahuet,<br /> tells us, among other things, of the funeral<br /> of Napoleon, the coup de thédtre of 1840. It<br /> is the reconstitution of an epoch well told by<br /> the author of ‘‘ Aprés la mort de ’ Empéreur.”’<br /> <br /> ‘**Au jeune Royaume d’Albanie”’ (ce qu’il<br /> a été=ce qu’il est), by G. L. Jaray, one of the<br /> few Europeans knowing this country and<br /> able to explain to us clearly the problems<br /> and difficulties of the new kingdom.<br /> <br /> ‘* Paris sous Louis XV.,”’ by Camille Piton.<br /> This writer has given us some curious volumes<br /> on various historical subjects. In this book<br /> we have a number of reports by the king’s<br /> police inspectors, showing the manners and<br /> customs of the times. This volume is the<br /> fifth of the series, and is carefully annotated<br /> by the author.<br /> <br /> ‘** A travers Shakespeare ”’ is the title of a<br /> volume containing a series of lectures given<br /> during the past season by Jean Richepin at the<br /> university of Les Annales.<br /> <br /> ‘** Dans le Cloaque ”’ is the title of the latest<br /> volume by Maurice Barrés.<br /> <br /> A book, entitled “La Politique de la<br /> Prévoyance Sociale,’’ by Léon Bourgeois, will<br /> be read with interest. The first volume treats<br /> of ‘‘ La Doctrine et la Methode.”’<br /> <br /> In a volume entitled ‘‘ Maitres d’hier et<br /> d’aujourd’hui,” Roger Marx tells us much<br /> that is interesting about Les Goncourt et<br /> lYArt, J. K. Huysmans, Anatole France,<br /> Daniel Vierge, Jean-Francois Millet, Eugéne<br /> Carriére, Jongkind, Puvis de Chavannes,<br /> <br /> &gt;<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> Constantin Guys, Degas, Auguste Rodin,<br /> Théodore Chassériau, Auguste Renoir and<br /> Claude Monet.<br /> <br /> ** Vieux dossiers, petits papiers,” by the<br /> Marquis de Ségur, is now in its fifth edition.<br /> <br /> La Transmission télégraphique des Images<br /> et des Photographies,” by Jacques Boyer,<br /> gives us information and illustrations concern-<br /> ing this new miracle of science.<br /> <br /> In ‘‘ La Route del’Orient,” by Noélle Roger,<br /> we have a chapter entitled ‘‘ Premier contact<br /> avec l’Ame turque’’; and others on Bosnia,<br /> on Roumania and _ Constantinople. ihe<br /> volume is illustrated from photographs belong-<br /> ing to the author.<br /> <br /> ‘** Comment conserver sa santé” is the title<br /> of an excellent book by Dr. Toulouse, who has<br /> also written ‘‘Comment former un esprit ”<br /> and ‘“‘ Comment se condiure dans la vic.”<br /> <br /> The play ‘Les Affranchis,” by Marie<br /> Lénéru, has obtained the Emile Augier prize,<br /> as the best play produced within the last three<br /> years.<br /> <br /> “Ce quil faut taire,” the play by Arthur<br /> Meyer, editor of the Gaulois, is now published.<br /> It was produced quite recently, and M. Meyer<br /> has explained in several newspapers his reasons<br /> for writing it. M. Adolphe Brisson has<br /> written the preface. :<br /> <br /> Shakespeare has been very much in favour<br /> during the past month. “ Twelfth Night ”<br /> had been produced in French and it was<br /> so well received that it was impossible to book a<br /> place the last three evenings. It has also been<br /> played in English under the direction of Mr.<br /> Philip Carr, with Mr. Ben Field and Miss<br /> Cathleen Nesbitt. The general opinion was<br /> that it was as near as possible to perfection.<br /> The ensemble was excellent and the whole<br /> performance a remarkable success. At the<br /> Francais, ‘‘ Macbeth ” has been given in an<br /> adaptation by Jean Richepin.<br /> <br /> ee<br /> <br /> <br /> <br /> <br /> <br /> “ Le Baptéme de Pauline Ardel” (Granet).<br /> “La Flamme ” (Flammarion).<br /> ‘Les Tétes baissées ” (Ollendorff).<br /> ‘La Maison sur la Rive” (Perrin).<br /> “ Alaric ” (Plon).<br /> “ Napoléon délivré” (Emile Paul).<br /> “ An jeune Royaume d’Albanie (Hachette).<br /> Paris sous Louis XV.” (Mercure de France).<br /> “A travers rT cy<br /> Hf 3 le Gloaque’’ (Emile Paul).<br /> ff © tiieore ae la oe Sociale ” (Fasquelle).<br /> “ Maitres d’hier et @aujourd’hui ” (Calmann Lévy).<br /> “Vieux dossiers, petits papiers » (Calmann Lévy). Ss<br /> “La Transmission télégraphique des Images et des<br /> Photographies ” (Mendel). :<br /> «La Route de l’Orient” (Perrin).<br /> « Comment conserver sa santé » (Hachette).<br /> “ Ce quil faut taire ” (Plon).<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 273<br /> CHAPPELL v. COLUMBIA GRAMOPHONE Co.<br /> <br /> <br /> <br /> \ CASE of some interest to composers and<br /> Zd to copyright owners of musical works<br /> Was heard recently before Mr. Justice<br /> Neville, in the Chancery Division, when Messrs.<br /> Chappell &amp; Co. applied for an injunction to<br /> restrain the defendants, the Columbia Gramo-<br /> phone Co. from infringing the copyright of a<br /> song by Mr. Herman Léhr of which they, the<br /> plaintiffs, were the copyright holders,<br /> <br /> The circumstances were that the defendant<br /> company had made a contrivance by means of<br /> which the composition might be mechanically<br /> reproduced. It was admitted by the plaintiffs<br /> that the defendants were perfectly entitled to<br /> do this as they had given the requisite notice<br /> and complied with all the conditions laid down<br /> in the Board of Trade Regulations issued under<br /> section 19 of the Copyright Act, 1911. But it<br /> was submitted for the plaintiffs that the<br /> defendants had gone beyond their powers, in-<br /> asmuch as they had made a manuscript<br /> orchestral accompaniment of the song, and<br /> that this was a clear infringement of the<br /> plaintiffs’ rights.<br /> <br /> On behalf of the defendants it was submitted<br /> that what they had done was reasonably<br /> necessary for the manufacture of their record<br /> and was not an infringement of the copyright<br /> of the plaintiffs.<br /> <br /> Mr. Justice Neville, in giving judgment for<br /> the plaintiffs, held that what the defendants<br /> had done was an infringement of the copyright<br /> of the plaintiffs, and that it was immaterial for<br /> what purpose the copy may have been made.<br /> Therefore, there must be judgment for the<br /> plaintiffs, with the costs of the action.<br /> <br /> ————_ &lt;&gt; __———_<br /> <br /> THE CRITICISM OF FICTION.<br /> <br /> ———<br /> By One or THE YounGeR NoveLisTs.<br /> <br /> URELY no earnest worker in the profes-<br /> S sion of letters should miss the way,<br /> recently opened by Mr. Henry James<br /> in the Literary Supplement of the Times, to<br /> claim more competent and wider criticism of<br /> fiction. The obviousness of our need is un-<br /> doubtedly crying. That branch of the literary<br /> art which, either from the public’s surfeit, or<br /> the reviewers’ weariness, or the publishers<br /> instinct of self-preservation, has been reduced<br /> from what was once a respectable calling to the<br /> level of a prize-fight, deserves fairer play. |<br /> Obviously what we all require 1s a critic like<br /> Francisque Sarcey, who criticised his French<br /> <br /> <br />  <br /> <br /> <br /> <br /> 274<br /> <br /> drama not as a duty but a privilege, and let<br /> himself remain impoverished thereby if only<br /> to prove his honesty of intention ; or a critic<br /> with a given standard and a literary conscience<br /> like Ferdinant Brunetiére ; or one like Jules<br /> Lemaitre who, not content alone with pub-<br /> lishing his own novels, essays, and plays,<br /> followed it up by criticising them himself in the<br /> famous Edition Rose of the Journal des Debats.<br /> <br /> Those were critics, critics not averse but<br /> eager to be critics in order to demonstrate their<br /> unique—alas ! why should it be “ unique ?- o—<br /> capacity for identity of impression learned<br /> through genuine reverence for as well as apti-<br /> tude in Letters as an Art !<br /> <br /> The average English or American reviewer,<br /> to those of us who are the helpless occasional<br /> victims of his prowess (?), appears to be a<br /> mixture of stale office-boy and languid clerk<br /> underpaid to ‘skim trash,’”’—a résumé of<br /> which he gets printed when it is “ sparkling,”’<br /> but never if itis “longwinded.”’ For space, we<br /> infer, is not to be procured in the literary<br /> columns of the modern newspaper for serious<br /> criticism of “‘ the ephemeral literature of the<br /> day.” So he “turns out” only what has<br /> “gripped” him in that “smart” cheap<br /> style of his contemporaries, which slights all<br /> but the “‘crudities ”’ which our critic cites as<br /> “ glaring,” —leaving “‘ the lost art of reading ”<br /> to those happy humble few who have pause in<br /> the burden and heat even of to-day.<br /> <br /> “Js it not perhaps in a subconscious effort<br /> to rid himself altogether of this obnoxious pest<br /> that to-day our pioneer par eacellence of original<br /> forms, our champion stickler for testimony of<br /> ‘consciousness, clamours for a mightier right-of-<br /> way ? Where no literary conscience in the<br /> criticism of ‘contemporary fiction’ has as yet<br /> been made evident; and no given standard<br /> been, at least in words, established, one who<br /> possesses the creative gift—which Mr. James<br /> terms ‘the miracle of genius ’—to the extent<br /> some possess it, is surely justified in ing<br /> the bull by the horns in Ae sae hs<br /> <br /> Mrs. Wharton writes: ‘“ There seem to be<br /> but two primary questions to ask in estimating<br /> any work of art: ‘‘ What has the author<br /> tried to represent, and how far has he succeeded<br /> —and a third which is dependent on them—<br /> has it the quality of being what Balzac called<br /> vrat dans V art.”<br /> <br /> In plain English, Balzac preached verisimili-<br /> tude ; but who of even those of us who love<br /> him because we read him through and through<br /> can maintain that Balzac practised invariabl<br /> all he preached ? Moreover, given a need<br /> worthy of the name, how does he know what<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914.<br /> <br /> the author has tried to represent sufficiently,<br /> z.e., to decide whether he has succeeded or<br /> not—without the author telling him ?<br /> <br /> It is at just this point we find that the<br /> present-day so-called “ critics’ fail us—by<br /> demonstrating their predisposition not to care<br /> to understand us where we point our message<br /> sharpest. Whereas if all critics were accom-<br /> plished readers—only winning the right to<br /> their claim as we do by writing—through<br /> contemplation, and deduction, instead of<br /> fiddling when Rome is burning, we authors<br /> might get faster towards the main and off the<br /> rocks.<br /> <br /> What we younger writers need most and<br /> first is readers.<br /> <br /> Let the publishers provide them, instead<br /> of supercilious underlings craving to be<br /> ‘* gripped.’ Let those readers cease relegating<br /> fiction to “the side-track.’? Let him who is<br /> practical make way more diligently and gener-<br /> ously for that flame which licks up so percep-<br /> tibly in a trice chacterisation, eloquence,<br /> abundance, the interplay of the passions—<br /> all the conflict in sum—until, like a coral reef,<br /> the entire magic edifice shapes itself without<br /> visible hands before our eyes.<br /> <br /> In France fiction is acclaimed as legitimate<br /> art where the critics discern in the result a<br /> consecutive series of links each dependent<br /> upon the other in an inevitable process of<br /> forging into a chain the main idea.<br /> <br /> Why not, and at once, make such a standard<br /> for fiction clearer and possible on this side of<br /> the channel ?<br /> <br /> $$$<br /> <br /> THE SIXTEENTH CONGRES INTER-<br /> NATIONAL DE PRESSE.<br /> <br /> <br /> <br /> HE sixteenth International Congress<br /> of the Press, held at Copenhagen, has<br /> been singularly _ successful. The<br /> <br /> capricious weather of the North proved itself<br /> by a tempestuous North Sea passage, but<br /> Denmark greeted us with Mediterranean Sea<br /> and blue sky. As M. Singer, the President,<br /> stated at the final sitting, ‘‘ Melancholy<br /> disappeared at the Danish frontier.” .<br /> Having attended most of these inter-<br /> national meetings, certainly none has been so<br /> methodically and excellently organised. The<br /> handsome portfolio contained all tickets,<br /> information, and invitations, in our own<br /> tongue; a booklet, described all events and<br /> scenes to be visited. The traditional hospital-<br /> ity of the North was intensely cordial; and<br /> opportunities were given after the Congress<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> was closed for individual writers to study their<br /> special subjects.<br /> <br /> An historic badge was a passport in the<br /> town, and a railway permis to the country<br /> generally. The business sittings that were<br /> to have been held in the House of Lords were,<br /> owing to the domestic crisis, conducted in the<br /> Hall of the University. As all the documents<br /> were at the House of Parliament, the first<br /> sitting was confined to reading the general<br /> secretary’s, M. ‘Taunay’s, comprehensive<br /> report.<br /> <br /> Warm expressions of sympathy were ex-<br /> pressed at M. Taunay’s absence, through<br /> serious illness. The general treasurer, Dr.<br /> Schweitzer, of Berlin, reported that there<br /> -were twenty countries affiliated to the Associa-<br /> tions de Presse, with a membership of over<br /> 17,000, and a substantial balance of over<br /> 5,000 marks was in hand.<br /> <br /> As Dr. Stolz, of Germany, had retired from<br /> the Comité de Direction owing to ill health, Dr.<br /> Dresemann, of Cologne, had been elected to<br /> his place.<br /> <br /> The subject that caused the most animated<br /> debate was the right of the journalist to with-<br /> hold his source of information; a right<br /> which, as Colonel Secretan, of Switzerland,<br /> the introducer of the subject, stated, was<br /> possessed by the doctor, the priest, and the<br /> barrister. Especially was he emphatic that<br /> this secrecy must ever be in the public interest,<br /> and not exercised for purposes of blackmail or<br /> seandal. Mr. J. R. Fisher, of Belfast, ex-<br /> pressed the sympathy of the English associa-<br /> tion with the efforts of the continental journal-<br /> ists to secure definite legislation on this point.<br /> So far as the English law was concerned, it was<br /> the decided practice of the courts in civil cases<br /> not to permit any inquiry into the sources<br /> of an editor’s information. In every case the<br /> editor or publisher was solely responsible<br /> before the law for the contents of the news-<br /> paper, and the court will support him in<br /> refusing to give the names of his contributors.<br /> In the case of extra-legal proceedings, however,<br /> journalists had still to guard against the<br /> attempts of such bodies as parliamentary and<br /> other commissions to exercise pressure for<br /> <br /> olitical or personal reasons.<br /> <br /> Dr. Stoffers and Mr. James Baker acted as<br /> &quot;interpreters for this debate, and, on a division<br /> on a wider embracing amendment, the vote<br /> was equal, and the president adjourned the<br /> sitting. At the next sitting Colonel Secretan&#039;s<br /> <br /> motion was carried, which invited the Comite<br /> <br /> de Direction to act jointly with the various<br /> <br /> national associations, “that they take this<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 275<br /> <br /> matter up with the legal authorities and work<br /> towards procuring legislation that shall protect<br /> the secrecy in journalism.”<br /> <br /> Another subject that aroused discussion was<br /> that of the right of reproduction in journalism.<br /> Upon this there was a great division of opinion,<br /> and the writer spoke of the advances made in<br /> England in this matter since first debated by<br /> the Associations de Presse. Many years ago<br /> he had demanded at a meeting of the Society<br /> of Authors, then under the chairmanship of<br /> Sir Frederick Pollock, copyright protection<br /> for the form in which news was related. By<br /> the case of The Times against Steinkopf copy-<br /> right had been assured to the writer of the<br /> article or paragraph. A vote was passed that<br /> the Bureau should formulate a firm resolution<br /> on this matter.<br /> <br /> The last sitting was held in the House of<br /> Lords, when the questions came up of an annual<br /> Card of Identité to be signed by the President<br /> of each local association, free of cost to the<br /> members; of Conseils de Prudhommes for<br /> the Press, and of mutual international aid<br /> societics. In closing the business of the<br /> Congress, M. Singer thanked all in Denmark,<br /> their Majesties the King and Queen, the<br /> Ministers and the whole people, who had so<br /> warmly received the journalists of all countries,<br /> and the Minister of the Interior replied saying<br /> that the journalists’ satisfaction fully recom-<br /> pensed all for the trouble taken.<br /> <br /> Their Majesties the King and Queen received<br /> the delegates at a Court in the Amalienberg<br /> Palace, and both chatted freely for some time<br /> with the English delegates. The excursions<br /> were on a most elaborate and delightful scale.<br /> A visit to Malmo and lunch-on the largest<br /> ferry boat in the world; a trip to Hamlet’s<br /> Kronberg ; a marvellous pic-nic and open-air<br /> performance of the great Danish drama<br /> * Blvyerkoj ”; and a dozen other remarkable<br /> events, all superbly organised, ended with<br /> <br /> excursions to every part of Denmark.<br /> James Baxer, F.R.G.S.<br /> <br /> —————_+ &gt;<br /> <br /> MAGAZINE CONTENTS.<br /> ——+—<br /> <br /> CONTEMPORARY.<br /> <br /> Early Playhouses and the Drama. By Wilberforce<br /> <br /> Jenkins.<br /> <br /> The Shakesperean Angels and Devils. J. The Angels.<br /> <br /> ForTNIGHTLY.<br /> <br /> ini og of Tolstoy. By Count Tlya Tolstoy.<br /> ie Danian. By Prof. M. A. Gerothwohl.<br /> The Idea of Comedy, Il. By W. L. Courtney.<br /> <br /> <br />  <br /> <br /> 276<br /> HOW TO USE THE SOCIETY.<br /> <br /> ——— &lt;9<br /> <br /> 1: VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. | The<br /> <br /> Secretary of the Society is a solicitor 3 but if there is any<br /> <br /> special reason the Secretary will refer the case to the<br /> <br /> Solicitors of the Society. Further, the Committee, if they<br /> <br /> deem it desirable, will obtain counsel’s opinion without<br /> <br /> any cost to the member. Moreover, where counsel s<br /> <br /> opinion is favourable, and the sanction of the Committee<br /> <br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination,<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> 7, Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> This<br /> The<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society ; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> So<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —_— 1<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright,<br /> <br /> This is sometimes satisfactory, ¢f a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914.<br /> <br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for ‘office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental}<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth, From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> 1¥Y. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means,<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> SESE SS SORE Th<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> 1<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 8. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br />  <br /> <br /> ne eagpead ae bi<br /> <br /> <br /> <br /> JULY, 1914.)<br /> <br /> (2.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum in advance of percentages, A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> ‘paid in advance of such fees in any event, It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> ‘holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘hey should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> ds highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning,<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> ‘is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> — &gt; ——<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ee<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> S forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<br /> and the other filed in the register of the Society. Copies<br /> «of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the ee that a play will be charged for<br /> at the price of 28, 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 277<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> MEO ES<br /> Le authors should seek the advice of the<br /> <br /> Society before putting plays into the hands ef<br /> <br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, de<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author’s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> <br /> Se ee<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> a<br /> <br /> ITTLE can be added to the warnings given for the<br /> 1, assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> a<br /> <br /> STAMPING MUSIC.<br /> <br /> —<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> &lt;a<br /> THE READING BRANCH.<br /> ——_-—— + —<br /> <br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> <br /> treated as a composition is treated by a coach, The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, aud when it is possible, under<br /> special arrangement, technical and scientific works, The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> <br /> — &gt;<br /> <br /> REMITTANCES.<br /> <br /> <br /> <br /> <br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> <br /> letter only.<br /> <br /> <br /> <br /> <br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> —<br /> <br /> due to authors, composers and dramatists.<br /> <br /> fe Society undertakes to collect accounts and money<br /> 1. Under contracts for the publication of their<br /> <br /> works. :<br /> <br /> 9. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> Holland A. REYDING.<br /> <br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs. Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> ——___—__+—~&gt;—<br /> <br /> <br /> <br /> GENERAL NOTES.<br /> <br /> <br /> <br /> “THE AUTHOR.”<br /> <br /> Members are reminded that The Author is<br /> <br /> not published in August or September. The<br /> next issue will appear in October.<br /> Str Witiram Anson, Barrt., P.C.<br /> Str W. R. Anson, whose death was<br /> <br /> announced early in June, was a member of<br /> the Society, which he joined in 1904, and of<br /> its council, to which he was elected in the<br /> same year.<br /> <br /> Sir William’s most important literary work<br /> was “ The Law and Custom of the Constitu-<br /> tion ’’—a subject on which he was a recognised<br /> authority. In another branch of law, his<br /> “Principles of the English Law of Contract,”<br /> was recognised as a standard work and a very<br /> lucid exposition of the subject.<br /> <br /> In his public work, Sir William Anson was<br /> notable chiefly as an authority on education,<br /> and was Parliamentary Secretary to the Board<br /> of Education in Mr. Balfour’s Ministry from<br /> 1902—1905.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914,<br /> <br /> AGENTS.<br /> <br /> Durtinc the past few months many inquiries.<br /> have been made by members, who have for-<br /> warded the papers and prospectus of agencies.<br /> claiming to place literary and dramatic works.<br /> <br /> In the vast majority of these cases no names<br /> are to be found on the notepaper of these<br /> concerns, the principals preferring to hide their<br /> dim lights under some such titles as ‘ The<br /> International Placing Syndicate.”<br /> <br /> We cannot emphasise too strongly how<br /> dangerous it is for members to entrust their<br /> works to unknown parties. The very fullest<br /> inquiries should be made beforehand as to the<br /> bona fides of the persons running them. In<br /> not a few cases these agencies are little else<br /> than typewriting offices whose principals find<br /> that a pretence of literary agency enables them<br /> to get from authors an amount of typewriting<br /> which none of their competitors—i.e., type-<br /> writing offices—could obtain in_ legitimate<br /> business.<br /> <br /> We have had occasion previously to point<br /> out no special qualifications are needed for the<br /> starting of a literary or dramatic agency, and<br /> <br /> <br /> <br /> anyone, however slender his qualifications, or<br /> <br /> however grave his disqualifications may be,<br /> is enabled to engage in this form of industry.<br /> <br /> We confess to some surprise that the genuine<br /> literary agents in this country have not set<br /> up some body charged with the duty of<br /> formulating rules of professional etiquette for<br /> the protection of their profession.<br /> <br /> Tur INDIAN Copyricut Act, 1914.<br /> <br /> WE have pleasure in providing readers of<br /> The Author with the Indian Copyright Act of<br /> 1914, as a supplement to the current number.<br /> <br /> There is very little to be said about it, as it<br /> practically adopts the Act of 1911. The most<br /> important difference lies in clause 4, Under<br /> this clause, in the ease of works published in<br /> British India, the arrangement with regard to<br /> the rights of translation has been modelled on<br /> the lines of the Berne Convention and the Act<br /> of Paris, but not on the Convention of Berlin.<br /> This arrangement will most probably only<br /> affect those books that are published by natives<br /> in British India and will not make any serious<br /> difference with regard to the works of English<br /> writers. Attention, however, should be drawn<br /> <br /> to the fact that Mr. Rudyard Kipling’s first<br /> efforts were published in India prior to publica-<br /> tion in England, and it is possible, therefore,<br /> that in exceptional cases the Act may interfere<br /> with the writings of English authors. —<br /> <br /> <br /> <br /> ‘<br /> t<br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> MECHANICAL CONTRIVANCES AND ORCHESTRAL<br /> ACCOMPANIMENTS.<br /> <br /> WE invite the attention of composers to the<br /> case of Chappell v. The Columbia Gramophone<br /> Co., a report of which appears in another<br /> column.<br /> <br /> We do not claim to know the motives of<br /> Messrs. Chappell &amp; Co. in taking this action,<br /> but the effect of the judgment delivered will<br /> not, as far as we can see, be to help composers<br /> who are anxious that their works should be<br /> reproduced mechanically.<br /> <br /> In effect, it amounts to this, that a composer<br /> may assign his mechanical instrument rights<br /> to the publisher, who may, if he chooses, make<br /> it almost impossible for the mechanical instru-<br /> ment trade to take up the work.<br /> <br /> The publisher—if the composer foolishly<br /> allows him to hold the copyright—has only to<br /> refuse to allow the reproducer to make the<br /> manuscript orchestral accompaniment which<br /> is necessary for the manufacture of the record.<br /> <br /> We believe that Messrs. Chappell &amp; Co. are<br /> now engaged in the manufacture and sale of<br /> contrivances for the mechanical reproduction<br /> of music, and if they have succeeded by this<br /> action in abolishing the competition of their<br /> rivals, we hope that composers will be wise<br /> enough to see that they get for the transfer<br /> of their rights to Messrs. Chappell something<br /> much more substantial than the fees laid down<br /> im the Act.<br /> <br /> Those fees were fixed by the Legislature as<br /> representing what—rightly or wrongly, we<br /> think wrongly—-was regarded as a fair return<br /> from the mechanical instrument trade for the<br /> use of the composer’s work. It must be<br /> remembered, however. that they were not<br /> fixed as a fair return for the ewclusive use by<br /> <br /> any one firm.<br /> ——————_+ —&lt;—_+—_____—_<br /> <br /> THE LAST OF THE PRE-RAPHAELITES,<br /> THEODORE WATTS-DUNTON, 1832—1914.<br /> <br /> N the death of Mr. Theodore Watts-<br /> I Dunton, on June 6, the literary world<br /> loses one of its greatest veterans and the<br /> Society of Authors one of its oldest members.<br /> In his study, where his old friend and secre-<br /> tary, Mr. Thomas Hake, had left him for a few<br /> minutes, he passed awayas hewould most, prob-<br /> ably have wished to pass away, In the midst of<br /> the work to which he was so devoted. His hours<br /> of labour would have shamed a man of half his<br /> eighty-two years. From seven in the ee<br /> until nine at night he was always occupied, anc<br /> until quite recently would sometimes accom-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 279:<br /> <br /> pany Ms charming and accomplished wit to<br /> <br /> T ee nusement in the evening.<br /> ae oe - Ais’ generation 1S perhaps the<br /> , ate that can befall a man; but this<br /> cannot tly be ad of Mr Watton, ho<br /> s ‘ no generation in particular. His<br /> interest in the life of to-day, a life so different<br /> from that of his own youth and early manhood,<br /> was strangely keen and insistent. Sometimes,<br /> in talking of his great contemporaries, Tenny-<br /> son, Meredith, Swinburne, Rossetti, Morris,<br /> Borrow, there would creep into his voice a note<br /> of retrospective sadness ; but it always seemed<br /> poetic rather than personal. It may be said<br /> that he never really grew up, his spirit never’<br /> became tired. His laugh was as youthful as<br /> was the hearty “‘ My dear fellow ” with which<br /> he would address his friends. Good work he:<br /> recognised and praised, no matter from what<br /> source it came, and his punctilious courtesy in<br /> dealing with a mass of letters from unknown<br /> correspondents savoured of another century.<br /> <br /> He possessed the true gift of conversation.<br /> Every subject seemed to develop quite natur-<br /> ally out of what had preceded it, and although<br /> in a single hour he would have passed from<br /> Aischylus and Sophocles to twentieth century<br /> publishers, there was never any break or<br /> suspicion of a change of subject.<br /> <br /> Seated on the sofa in the middle of his study,<br /> with reminders of his friendship with Rossetti<br /> gazing down upon him from the walls, Mr.<br /> Watts-Dunton received his friends with that<br /> almost boyish cordiality that so endeared him<br /> to their hearts. If they had been doing any-<br /> thing of which the world knew, he would be<br /> sure to have heard all about it. His mind<br /> was as alert as his memory was remarkable ;<br /> but above all he was possessed of a very real<br /> charm of personality, a charm that did not<br /> -anish before the on-coming years.<br /> <br /> In literature and criticism he stood for<br /> enthusiasm. His gospel as a critic was to seek<br /> for the good that is to be found in most things,<br /> literary or otherwise, and, what is perhaps most<br /> remarkable in one who has known so many<br /> great men, he never seemed to draw invidious<br /> comparisons between the writers and. artists.<br /> of to-day and those of the great Victorian era.<br /> <br /> In addition to a number of articles hidden<br /> away In periodicals, his long life produced a<br /> romance (“Aylwin”), a sheaf of poems<br /> (‘* The Coming of Love’’), two of the most<br /> stimulating critical pronouncements eet ne<br /> century has produced ( Poetry ” and e<br /> <br /> Renascence of Wonder ”), and, what he per-<br /> haps valued most of all, a host of friends ; for<br /> he had a great capacity for friendship.<br /> <br /> <br />  <br /> <br /> bo<br /> <br /> 80<br /> <br /> I remember one day, when we were discuss-<br /> wno his two essays © Poetry — and ‘ The<br /> Renascence of Wonder,” I ventured to remark<br /> that I considered the last-named in a way<br /> the more remarkable of the two as<br /> containing his own particular _battle-cry.<br /> He was obviously pleased, and told me how<br /> deplorably it had been cut down because only<br /> a certain space had been left for it in “C hambers s<br /> Cyclopedia of English Literature,” and how<br /> prodigiously it had grown under his hand.<br /> ‘At the time of his death he was engaged upon<br /> restoring the passages that he had been com-<br /> pelled to sacrifice. =<br /> <br /> During the last few weeks of his life he spoke<br /> frequently in a way that seems now to suggest<br /> that he saw the end was not far off. His<br /> keenness for work was not so great, and he<br /> slept a great deal. A tired body was gradually<br /> quenching an almost indomitable spirit, which<br /> one afternoon quietly slipped away, leaving<br /> him to all appearances peacefully sleeping.<br /> <br /> HERBERT JENKINS.<br /> <br /> ————_ + —~&lt;—_+—_____—_-<br /> <br /> UNITED STATES NOTES.<br /> <br /> <br /> <br /> T the meeting of the American Library<br /> Association in Washington, at the<br /> end of May, the president, Mr. KE. H.<br /> Anderson, vigorously denounced the shame of<br /> the book tariff—‘‘ an imposition,” comments<br /> the Dial, ‘‘ endured by only two of the great<br /> Powers of the world, our own country and<br /> Russia.”’ The Dial continues : ‘‘ Of course it<br /> is an old story, but it is likely to be considerably<br /> older before the disgrace is wiped out and we<br /> are able to hold up our heads and claim a place<br /> among the nations enlightened enough not to<br /> lay a penalty on the acquisition of knowledge.<br /> Fifty per cent. higher now than before the<br /> Civil War, the present duty on imported<br /> English books fails ridiculously to yield any<br /> considerable revenue or to foster home industry<br /> in the manufacture of books. . . . If, then, as<br /> a tariff for revenue, the book tax yields only<br /> a negligible return compared with our total<br /> revenue, and if as a protective tariff it fails<br /> to protect or, at most, furnishes ignoble shelter<br /> to an unworthy few, why suffer it to remain<br /> on the statute book ? ”<br /> <br /> Why, indeed ? is a question which occurs to<br /> -others besides Americans.<br /> <br /> My list of new publications is somewhat<br /> shorter than usual at this time of year, owing<br /> to the late publication of the last instalment<br /> of these notes. Fiction, which keeps up its<br /> <br /> THE AUTHOR.<br /> <br /> JULY, 1914]<br /> <br /> numbers, may be left to the end. Biography<br /> makes but a small show. Will Levington<br /> Comfort calls his reminiscences ‘* Midstream.”<br /> To the American Crisis Biographies the newest<br /> addition is Daniel Webster, by F. A. Ogg.<br /> <br /> Among _ historical works are * California<br /> under Spain and Mexico,” by Irving Richman ;<br /> “The Mexican People: Their Struggle for<br /> Freedom,” by L. Gutierrez de Lara and<br /> Edgecumb Pinchon: “Old Panama and<br /> Castilla del Oro,”’ by Dr. C. L. G. Anderson ;<br /> “The Negro in American History,” by J. W.<br /> Cromwell; ‘‘ The Rise of the American People,”<br /> by R. G. Usher; and “ The Reformation in<br /> Germany,” by Professor H. C. Vedder. On<br /> the borders of this class is ‘* The History of the<br /> Soldiers’ Home in Washington,” by E. A.<br /> Lawton.<br /> <br /> ‘* A History of Education in Modern Times ”<br /> is by Professor F. P. Groves, of Pennsylvania<br /> University. Another educational work is<br /> ‘“ The Backward Child,’ by Barbara Morgan.<br /> <br /> C. and M. Beard write of ‘ American<br /> Citizenship ’’?; W. E. Walling of * Progressiv-<br /> ism—and After’; and E. D. Kenna of * Rail-<br /> way Misrule.”<br /> <br /> Travel and open air books include “ India,<br /> Malaysia, and the Philippines,” by Bishop<br /> W. F. Oldham ; ‘‘ Roughing It De Luxe,’ by<br /> Irwin Cobb ; “‘ Europe after 8.15,” by H. L.<br /> Mencken, G. J. Nathan, and W. H. Wright ;<br /> ‘“‘ Life Histories of African Game Animals,” by<br /> Theodore Roosevelt and Edmund Heller ;<br /> ‘* A Stepdaughter of the Prairies,” by Margaret<br /> Lynn; and ‘“‘ The Commuter’s Garden,” by<br /> W. B. Hayward.<br /> <br /> ‘** Stellar Motions” is by Professor W. W.<br /> Campbell, of Lick Observatory. A philoso-<br /> phical work is ‘‘ The Ego and its Place in the<br /> World,” by C. G. Shaw. The same classifica-<br /> tion can hardly extend to ‘‘ The Message of New<br /> Thought,”’ by Abel L. Allen, or ‘‘ Letters from<br /> a Living Dead Man,” by Elsa Barker. “ The<br /> Seen and the Unseen at Stratford-on-Avon,”<br /> by W. D. Howells, is, of course, already<br /> familiar to English readers. Perhaps the<br /> most notable book of essays is ‘“* The Lawyer in<br /> Literature,” by Judge J. M. Gest.<br /> <br /> And now the plunge has to be made into<br /> the novel class. This time, unlike the last<br /> occasion that these notes were written, women<br /> writers are not very numerous. Of those<br /> who sign with feminine names I notice Mary<br /> Vorse, author of ‘‘ The Heart’s Country” ;<br /> Alice D. Miller, “‘ Things’?; Marian Keith,<br /> <br /> ‘“The End of the Rainbow ”’; Dorothy Dix,<br /> ‘“‘Mirandy ’’; Margaret Gerry, ‘“ The Masks<br /> of Love”; Lucy Pratt, ‘ Ezekiel Expands ” ;<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> and Daisy Rhodes Campbell, “ The Fiddling<br /> Girl.” ““Vandover and the Brute” is the<br /> name of the curiously recovered novel by<br /> the late Frank Norris, which disappeared<br /> in the San Francisco earthquake. ‘ The<br /> Hills o Hampshite’ is by W. M. Cressy<br /> and Clarence Harvey; “ Cordelia Blossom ”’<br /> by G. R. Chester; ~ The Boomers,’ by Roy<br /> Norton ; “Glory of the Pines,” by Ww OC.<br /> Covert ; “ Under Handi aps,” by J. Gregory ;<br /> _ New Men for Old,” by HY. O’Bricn ;<br /> <br /> The Professor and the Petticoat, by A. S.<br /> Johnson ; ‘‘ Horacio,’ by R. W. Fenn 7“ The<br /> Salamander,” by Owen Johnson ; “ Henry of<br /> Navarre, Ohio,” by Holworthy Hall ; “The<br /> Quarterbreed,”’ by BR. A. Bennet ; “ The<br /> Green Seal,” by C. E. Walk; “Idle Wives,”<br /> by James Oppenheim ; ‘** At Bay,” by George<br /> Scarborough ; “‘ Captain Dan Richards,” by<br /> E. T. Tomlinson; ‘On with Torchy,” by<br /> Sewell Ford ; ‘“‘ Sweetapple Cove,”’ by G. van<br /> Schaick; ‘The Marryers,” by Irving<br /> Bacheller; ‘“‘ Keeping up Appearance,” by<br /> M. Foster: and “ With the Best Intention,”<br /> by Bruno Lessing.<br /> <br /> The literary obituary of the past few months<br /> is not very large. On April 2 died E. P.<br /> Morton, a prominent student of English verse,<br /> and a. professor at several American universities<br /> in turn. On April 7 Cy Warman, often styled<br /> “the poet of the Rockies,” died in Chicago.<br /> He wrote. besides verse, many railroad stories<br /> and edited more than one paper. The death<br /> occurred at Capri on April 12 of Thomas<br /> Spencer Jerome, known among scholars for his<br /> studies of the Roman Empire, which led him<br /> to take up his permanent residence on the<br /> island where he died. On May 21 died Rudolf<br /> Tombo, junior, associate professor of Germanic<br /> languages at Columbia University, where he<br /> was also registrar and editor of the quarterly<br /> magazine. On May 26 died Jacob A. Riis, a<br /> Dane bv birth, but since 1870 an American.<br /> He wrote extensively about slum life in the<br /> States and was one of ex-President Roosevelt&#039;s<br /> <br /> en hers.<br /> oe Pup WALSH.<br /> <br /> —+— +<br /> <br /> ARE NOVELS TOO CHEAP ?<br /> <br /> — a1<br /> DO not believe in the advisability of placing<br /> artificial restrictions on the price of any<br /> commodity. I believe that the price<br /> arrived at by the haggling of the market, the<br /> point of agreement between producer and con-<br /> sumer reached by free bargaining, 15, if not<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 281<br /> <br /> ally fair and just than that which<br /> could be arrived at by any other means.<br /> <br /> If instead of this natural price you want<br /> something more ideally fair, you are faced by<br /> two great difficulties. : ;<br /> <br /> rhe first is that you have to find out who<br /> are the proper people to decide it. The second<br /> is that you have to find out how the decision<br /> is to be made practical and effective.<br /> <br /> If the price is decided by a representative<br /> body of producers, it is almost certain, such<br /> is human nature, to be a little unfair to the<br /> consumers. If it is decided by a representa-<br /> tive body of consumers it is likely to be a little<br /> unfair to the producer. If you want it decided<br /> by a body equally representative of producers<br /> and consumers—well! how are you going to<br /> find that body, and to make it act in accord,<br /> and how are you going to make its decision<br /> effective ?<br /> <br /> That is the second difficulty. The arti-<br /> ficially arranged price has to be maintained by<br /> artificial means. It can be done when the<br /> producers are sufficiently united and have<br /> fixed on a price that is not quite fair to the<br /> consumer. For example, the lawyer can<br /> charge 6s. 8d. for an opinion that from a<br /> purely outside point of view is often worth only<br /> 1s., and the doctor can charge 8s. 6d. for advice<br /> and medicine that in many cases the chemist<br /> would give for the odd 6d.<br /> <br /> In the same way the consumers, when of<br /> one mind, can put an end to a high-priced<br /> product, as we have practically put an end<br /> to the sale of English cheese because its price<br /> is higher than that of the colonial article.<br /> <br /> Now we novelists have not the doctors’<br /> or the lawyers’ power of making a close<br /> preserve of our business because, while nobody<br /> would think of entrusting his legal interests<br /> or his health to a tyro who had given a few<br /> months only to the study of law or of medicine,<br /> quite a large proportion of the reading public<br /> show now and then that they prefer a school-<br /> girl’s maiden effort to the latest expression of<br /> a master novelist’s art.<br /> <br /> If all the existing novelists and all the<br /> existing publishers agreed together that no<br /> novel should be issued at less than 6s. it<br /> would merely throw open a rich field for the<br /> new novelists and the new publishers who<br /> would hasten forward to supply the undoubted<br /> demand for cheaper editions. If all the<br /> booksellers joined in the 6s. Meese their<br /> place would quickly be taken by oe ee<br /> agents and the drapers. The covena®.<br /> would find themselves in the wilderness,<br /> <br /> <br /> —_—_—a4<br /> <br /> <br /> <br /> <br /> <br /> 282<br /> <br /> whilst the competition of the<br /> <br /> neweomers and<br /> of supply and demand would<br /> <br /> the natural play ya<br /> de the minimum price of the<br /> <br /> continue to deci<br /> <br /> novel. ae<br /> For this reason I look upon any discussion<br /> <br /> as to what the minimum price ought to be, and<br /> whether novelists should not combine to fix<br /> and maintain that minimum, as purely<br /> academic.<br /> <br /> But if no artificial restriction can be placed<br /> on the minimum price at which novels should<br /> be sold, if it is left to the free play of demand<br /> and supply to decide what is the lowest price<br /> at which a new or comparatively new novel<br /> shall be placed on the market, IT think no<br /> artificial restriction should be placed on the<br /> maximum price at which such novels should be<br /> sold.<br /> <br /> And when we come to the maximum price,<br /> we are on very different ground. We are no<br /> longer considering the theoretical advisability<br /> of an artificial restriction on prices which in<br /> practice is impossible, we are considering an<br /> artificial restriction which is in force; and it<br /> is of the utmost practical pertinence to ask<br /> whether the artificial restriction is a fair thing<br /> and, if not, whether there are any means by<br /> which it can be combated and removed.<br /> We are not asking whether as novelists and<br /> publishers we should be justified in combining<br /> to maintain a certain arbitrary price for the<br /> novel; we are asking whether we ought to<br /> allow a combination of consumers to rob us<br /> of the advantages of an open market while<br /> they do nothing to protect us from its dis-<br /> advantages.<br /> <br /> That the 6s. decided upon by an adamant<br /> tule as the maximum price at which a new<br /> novel can be placed on the market is absolutely<br /> arbitrary and artificial is, of course, proved<br /> by the history of its inauguration. It was<br /> not arrived at by any of that gradual bargain-<br /> ing which enables buyer and seller to discover<br /> the price which is fair to both. In a day<br /> the price of the new novel was changed from<br /> a guinea and a half to 6s., and I challenge<br /> any individual concerned in that abrupt<br /> change to give me any reason why the price<br /> should not have been 1s. more or 1s. less.<br /> Even if, by some miraculous means, the<br /> librarians, booksellers, publishers and authors<br /> who agreed on the sensational change did<br /> arrive at the precise price that was equally<br /> fair and advantageous to every interest con-<br /> cerned at the moment, twenty years have<br /> passed, and the price that was fair to every-<br /> body then must surely have been affected by<br /> <br /> the changing conditions which have given<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> [JULY, 1914.<br /> <br /> us the flood of 6d. paperbacks and the nicely<br /> bound and printed comparatively new novel<br /> for 7d. As the value of the well-bound and<br /> well-printed novel which one can place on<br /> one’s bookshelf decreases so the one advan-<br /> tage which the new novel has over these chaste<br /> and cheap reprints, its newness, calls more<br /> and more for proper recognition and valua-<br /> tion.<br /> <br /> Twenty years ago the market value of<br /> newness was emphasised almost sensationally.<br /> If you wanted the latest novel of Ouida or<br /> Miss Braddon as soon as it was published,<br /> you had to pay a guinea and a half, and got<br /> the story in three volumes. If you were<br /> content to wait a little while you could get it<br /> in coloured boards for 2s.<br /> <br /> That may have been an over-emphasis of<br /> the value of newness, and the three volumes<br /> were certainly very inconvenient for the lending<br /> libraries to handle, but I imagine that it was<br /> nearer the mark in its appreciation of the<br /> value that readers place upon newness than<br /> the present system, which fixes the value of<br /> the absolutely new novel at a price so low that<br /> it does not allow the actual valuations of the<br /> reading public sufficient margin in which to<br /> express itself. If, for instance, you can obtain<br /> a new novel of Mr. Wells’ straight from his<br /> brain, when everybody is discussing it, for<br /> 4s. 6d., then 44d. is quite enough to pay merely<br /> for the pleasure of reading it in paper backs<br /> when the excitement and novelty are over<br /> and the discussion has ended, and 7d. is quite<br /> enough to pay to put it on one’s shelves.<br /> The prices are all dependent upon each other,<br /> and if at any point the delicate process of<br /> finding out true values by experiment in a<br /> free market is obstructed by an arbitrary and<br /> artificial restriction, the effect of that restric-<br /> tion will be felt throughout the whole process.<br /> <br /> Because the maximum price of the new<br /> novel has not been arrived at by the haggling<br /> of the market and does not represent any<br /> natural value discovered by the free play of<br /> supply and demand, that artificial and arbitrary<br /> price stands as the dominant factor affecting<br /> supply and demand.<br /> <br /> Because the maximum price is too small to<br /> give the publisher much return on the normal<br /> sale of a normal novel the publisher puts out<br /> as many books as possible in order to make a<br /> fair income out of many small profits, and I<br /> think he gives much less individual care to<br /> each novel than a publisher used to do under<br /> the old system.<br /> <br /> Similarly the novelist is urged by the small-<br /> <br /> ness of his return to increase his output,<br /> <br /> <br />  <br /> <br /> <br /> <br /> -and as it easily m<br /> <br /> JULY, 1914.]<br /> <br /> especially when he realises that, having onee<br /> obtained his entrée to the circulating libraries,<br /> the quality of his work matters cee ae<br /> and that his sales are unaffected by the praisc<br /> or blame of the reviewers. This tendency is<br /> so marked that the librarics in their own defence<br /> have had to place an artificial restriction on<br /> the supply.<br /> <br /> And as the 6s. maximum has inereased the<br /> supply of novels while lowering their quality,<br /> so it has increased the demand while making<br /> that demand less discriminating.<br /> <br /> In the days of the high-priced new novel,<br /> when a subscription to a good library cost<br /> something, readers took some care in their<br /> selection. They read and were influenced by<br /> reviews. Now the subscription rate is so<br /> small that people of quite moderate means will<br /> save themselves the trouble by taking half<br /> a dozen books at a time, more or less at random.<br /> It is probable that out of the six a reader will<br /> find only one to read and enjoy and will merely<br /> glance at the others, but the transaction<br /> gives no indication of the reader’s preference<br /> to the librarian, who is supposed to gauge<br /> the taste of his patrons from their selections<br /> and to make his purchases accordingly.<br /> <br /> Considering the important position which the<br /> circulating library holds as a medium between<br /> writer and reader, it would appear to me lacking<br /> in sensitiveness—economical sensitiveness— to<br /> the taste of its readers. And this through<br /> a failure to graduate its subscription rate.<br /> <br /> Some of the libraries have, I know, two<br /> classes of subscription, the cheaper entitling<br /> one to borrow books six or twelve months old.<br /> But the differentiation is clumsily inadequate.<br /> The value which many novel readers place upon<br /> freshness is almost equal to that of the news-<br /> paper reader and the magazine Yr sader, who<br /> would rather pay 6d. for a current copy than<br /> 1d. for a copy a week old.<br /> <br /> It is possible that the price which an active<br /> novel reader would give to read a novel<br /> which is being considerably discussed in the<br /> first week of its appearance is double that which<br /> he would be prepared to pay for the reading<br /> a week later. It is certain in the case of a<br /> great many readers that the value has gone<br /> down to half after the first month.<br /> <br /> And this quick change of actual value Is<br /> in no way represented by change of prices,<br /> as it would be in a free and sensitive market.<br /> ight be if we were not under<br /> cadening rule of uniformity<br /> both as to the price at which new novels shall<br /> be sold and the price at which they shall be<br /> lent. No subscriber to a circulating library,<br /> <br /> the thrall of this d<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 283<br /> <br /> ae<br /> week of the time whe i 2 7 ee<br /> <br /> _ OF ( en he wants it. In the<br /> provincial libraries at least, when one wants a<br /> new book at all in demand, one puts one’s<br /> name down on a list and waits until the other<br /> readers who put their names down first have<br /> taken their varying periods for perusing the<br /> one or two copics bought to supply their needs.<br /> One may have to wait several weeks for one’s<br /> turn.<br /> <br /> Now in a ease like this, where the demand is<br /> greater than the supply, the economic way of<br /> adjusting them is to make a competitive price.<br /> The limited supply is doled out to the demanders<br /> not in the order of their foresight or agility<br /> in getting their names down, but in the order<br /> of their eagerness as that eagerness is shown by<br /> the price they are prepared to pay for its satis-<br /> faction. Personally I should be prepared in<br /> the case of many novels to pay considerably<br /> more than the small fee demanded by my<br /> provincial library for the privilege of reading<br /> a book, if I could have the greater privilege<br /> of having the first dip at it, and it seems to me<br /> an economical blunder on the part of the<br /> libraries that there is no method arranged by<br /> which we could mutually oblige each other.<br /> It is as clumsy as if the manager of a theatre<br /> charged the same price for every seat and left<br /> the boxes and the stalls to be seized by the<br /> first-comers.<br /> <br /> But it is the natural result of a system which<br /> while it gives full play to competition in cheap-<br /> jal restriction on any<br /> <br /> ness places an artific<br /> by practice the actual<br /> <br /> attempt to discover<br /> value of newness.<br /> <br /> I think myself that<br /> combination which,<br /> <br /> the iron edict of a strong<br /> while it has no power<br /> and makes no attempt to put a bar on the<br /> too-cheap novel insists on a maximum that<br /> has no logical relationship cither with supply<br /> or demand, is at the root of all the evils of<br /> which novelists, publishers and booksellers, as<br /> well as the librarians themselves, complain<br /> of to-day, and ought to be broken down if<br /> the trade in novels is to remain anything more<br /> than an unhealthy gamble for big sales.<br /> . HerBertT FLOWERDEW.-<br /> <br /> ao<br /> <br /> MATILDE SERAO.<br /> —— 1<br /> ATILDE SERAO’S father — was. the<br /> editor of the Giornale di Napoli, and<br /> in consequence she was brought up<br /> in a literary atmosphere. It would have been<br /> an easy matter for her to have contributed to<br /> <br /> <br />  <br /> <br /> 284<br /> <br /> her father’s paper, but she preferred to find<br /> recognition on the merits of her writings alone,<br /> and at the age of seventeen, under the pseu-<br /> donyme of “‘ Tuffolina,” she sent out a sketch,<br /> “ Fanciullo biondo ” (fair youth), which found<br /> a ready publisher; this encouraged her to<br /> write another, “ Il Cristo d’Altamura,” which<br /> was immediately accepted for publication, the<br /> editor writing to ask her for a story at her<br /> own fee. She wrote it in two days, and asked<br /> 30 lire (about 24s.) for it, which she received<br /> by return of post. So she began. Soon all<br /> local papers wanted contributions from her<br /> able pen, and she wrote many articles and<br /> stories, which were subsequently collected in<br /> book form, her earliest efforts appearing in a<br /> little volume called: ‘‘ Dal vero.” She also<br /> helped her father in his editorial work until<br /> she went to Rome in 1885 and married Edoardo<br /> Searfoglio, and published with him a paper<br /> called Il Corriere di Roma, so becoming a<br /> journalist as well as an author. She wrote so<br /> much, her books were reprinted so often, that<br /> it is difficult to get a complete and chrono-<br /> logical list of her works ; the following are the<br /> most important :—<br /> = Opale” (a novel) (1878), ~ Leggende<br /> napoletane ” (1881), “‘ Piccole anime ”’ (1883),<br /> “T] ventre di Napoli” (1884), “La virti. di<br /> Ceechina”’ (1884), “‘ Il romanzo della Fan-<br /> ciulla ” (1885), ‘‘ La conquista di Roma”<br /> (1885), “Pagina azzurra”’ (1885), “ Vita e<br /> avventure di Riccardo Joanna ” (1887), “ Fior<br /> di Passione’”’ (tales) (1888), “ All’erta senti-<br /> nella!” **Terno secco,” “Trenta per cento,”<br /> ete. (stories) (1889), ‘‘ Addio amore !”’ (1890),<br /> “Tl paese di Cuccagna’’ (1891), ‘‘ Piccolo<br /> Romanzo’”’ (1891), ‘‘ Fantasia”’ (1892),<br /> * Castigo ’’ (1893), ‘Gli amanti’’ (pastels)<br /> (1894), “ Le amanti ”’ (stories) (1894), “ L’in-<br /> ‘differente *” (1896), “‘ Donna Paola’’ (1897),<br /> “ Storia di una Monaca ”’ (1898), ‘‘ Nel paese<br /> ‘di Gesu’”’(1900),**Animasemplice,” ‘ Ballerina”<br /> (1901), “‘Lettere d’amore”’ (1901), ‘‘Madonna e<br /> Santi nella fede e nella vita ”’ (1902), ‘ Storia<br /> di due anime ” (1904), “* Dal vero ” (sketches)<br /> (1905), “Dopo il perdono”’ (1906), “‘ Ster-<br /> minator Vesevo ”’ (1906), ‘‘ Cristina,” ‘ Sacri-<br /> legio ” (two stories) (1908), ‘* Cuore Infermo ”’<br /> (1908), San Gennaro nella leggenda e nella<br /> vita ’* (1909), ‘* Capelli di Sansone” (1909),<br /> Pellegrino appassionato ” (1911), ‘‘ Evviva<br /> la vita !’ (1911), “ Evviva la guerra ! ”’ (1912),<br /> La mano tagliata *» (1912).<br /> ie ee ay have coe published in Eng-<br /> - okid ae Love! (translated by Mrs.<br /> eo leinemann (1894); ‘* The Land<br /> “ockayne,”’ Heinemann (1901) ; “ Fantasy ”’<br /> <br /> THE AUTHOR.<br /> <br /> [JULY, 1914.<br /> <br /> (translated by H. Harland and P. Sylvester),<br /> <br /> Heinemann; ‘‘The Ballet Dancer” and<br /> “On Guard,” Heinemann (1901); “ The<br /> <br /> Conquest of Rome,’’? Heinemann (1902); ** In<br /> the Country of Jesus ” (translated by Richard<br /> Davey), Heinemann (1905) ; ** After the<br /> Pardon,” Eveleigh Nash (1909) ; ‘‘ The Desire<br /> of Life”? (translated by William Collinge),<br /> Stanley Paul &amp; Co. (1911); “ Dopo il Perdono ”<br /> was written in dramatic form in collaboration<br /> with Pierre Decourcelle and acted as a four-act<br /> drama in Naples in 1908. Matilde Serao’s<br /> novels have been translated into many foreign<br /> languages, and she is the foremost woman<br /> writer in Italy to-day, yet I do not think she<br /> is sufficiently known, or widely read, in<br /> England; maybe the choice of the works which<br /> have been so far translated are not those which<br /> show her insight into human passions to the<br /> best advantage. In Italy, as a writer, she does<br /> not excel for style or choice of subject, she does<br /> not use beautiful language, nor does she<br /> display great originality in her plots or dénoue-<br /> ments; but she is intimate with “love” in<br /> all its phases, in all its shades, in all its triumph,<br /> but, most of all, in all its tragedy. Most of her<br /> novels are enlarged snapshots of life with<br /> variations on the love theme, which runs<br /> through all her books, though the “ Conquest<br /> of Rome” is a tale of parliamentary life, the<br /> ““ Avventure di Riccardo Joanna” is meant<br /> as a warning to would-be writers as to thorny<br /> path which awaits aspirants of the pen, tl<br /> paese della Cuceagna” is a romance of Nea-<br /> politan life, and the “Paese di Gesu” is a book<br /> of reminiscences of a trip to Palestine, as<br /> ‘“* Evviva la guerra!’ is an echo of the Italian<br /> war in Tripoli, and ‘‘ Sterminator Vesevo ” is<br /> a diary of the eruption of Vesuvius in April,<br /> 1906.<br /> <br /> Though Matilde Serao has written many and<br /> lengthy volumes, I am going to make no<br /> apology for dwelling on three tiny books of<br /> hers which are not known generally, on account<br /> of the fact that, as yet, they have not been<br /> translated into English; they are: “Gli<br /> amanti,” ‘‘ Le amanti,” ‘‘ Lettere d’amore ”—<br /> Lovers (masculine), Beloved (feminine), and<br /> Love letters. Matilde Serao describes every<br /> form of love, but her own conviction is that<br /> in love there are more sufferers than sinners,<br /> more sorrow than joy; yet she believes the<br /> world is well lost for the sake of love. She<br /> <br /> goes even further in her analysis of this<br /> absorbing human passion, and compares it to<br /> a devouring flame which gives no respite, which<br /> knows no mercy, which does not reason and<br /> which cannot be conquered, for even virtueis<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> powerless against the devastating power of<br /> passionate love. In “Gli amanti” we en-<br /> counter the various forms of love, we are led<br /> into the intimacy of many hearts and are<br /> shown how the various souls of lovers feel<br /> love ; in this little book some love sensually,<br /> others idealise passion, some arc true till death<br /> and even die for their love, others only find<br /> pleasure in change; some love with their<br /> heads, some with their hearts, others merely<br /> with their senses ; but they are all true to life<br /> not overdrawn nor toned down.<br /> <br /> ‘** Le amanti ”’ introduces us to various types<br /> of women in love. From these sketches I will<br /> quote a dialogue the directness of which is<br /> most appealing. It is summer, and a moon-<br /> light night, Massimo makes love to Luisa<br /> because he feels sentimental, and she falls<br /> desperately in love with him. He is her first<br /> love, but has to tell her he is in love with<br /> another, and this is what they say :—<br /> <br /> ‘“* Do you love her very much ? ”<br /> <br /> ‘“*T love her. When one loves, one loves-<br /> <br /> “* Have you loved her a long time ? ”<br /> <br /> *“ A very long time.”<br /> <br /> ** Since when ? ”’<br /> <br /> ** Since always.”<br /> <br /> ‘“* Have you never loved any other ?’<br /> <br /> “No—never. There is a love that admits<br /> of no other.”<br /> <br /> Yet the woman whom he loved did not love<br /> him, as the following dialogue shows :—<br /> <br /> ‘** Does she love you? ”<br /> <br /> “No.”<br /> ‘6<br /> <br /> 2<br /> <br /> <br /> <br /> She does not love you?’<br /> <br /> No, not at all.”<br /> “‘ Did she ever love you?”<br /> <br /> Never.”<br /> “Have you any hope?”<br /> None.”’<br /> <br /> “‘ Why does she not love you? ”<br /> <br /> ‘Because there are some people who never<br /> do love.”<br /> <br /> He knows he is only a toy, a slave, yet he<br /> cannot tear himself away for—such is love.<br /> <br /> “Tettere di amore” (Love letters) has a<br /> sub-title which explains their object, : I<br /> perché della morte,” or ‘“ Why love dies.’<br /> Matilde Serao thinks that to love completely<br /> it is necessary to love with heart, senses,<br /> nerves, and sentiments, therefore to logically<br /> love is to give oneself up entirely and_be<br /> consumed by an overwhelming passion. Yet<br /> to do this is inevitably to give love its death-<br /> blow, for, having reached ecstasy, one can get<br /> no higher, nor stand still, therefore only by an<br /> eternal parting can one prevent love&#039;s dissolu-<br /> tion. Matilde Scrao thinks that it is better to<br /> <br /> °<br /> <br /> ‘<br /> <br /> .<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 285<br /> <br /> suffer cruelly through the disappearance of the<br /> beloved than to be tortured by lies and secret<br /> and vulgar betrayals of a dead love that vainly<br /> tries to keep alive only for pity’s sake. It is<br /> best for lovers to separate, to end the romance<br /> whilst still the rapture lasts, so that at least<br /> remembrance may survive of glorious days<br /> gone by, undimmed by the tepidity of the<br /> penultimate or the icy coldness of the last days.<br /> _ Matilde Serao gives us lovers and loves that<br /> linger on in our mind, and make us think ;<br /> they are all so real, we get to know them so:<br /> intimately that our very heart beats with<br /> theirs. Matilde Serao should be read if only<br /> for this, that she has the gift of creating<br /> visions. On the tree of Love many flowers<br /> blossom, some sweetly perfumed, others scent-<br /> less, some brilliantly hued, others almost<br /> colourless, some exotic and intoxicating, others.<br /> appealing by their serene simplicity. In our<br /> hours of rest the flowers of remembrance<br /> blossom, and we can see again the faces we<br /> once loved, the radiant sunshine that long ago<br /> did play on our well-beloved’s tresses entwining<br /> them round our hearts, or, maybe, some<br /> cherished name written in letters of gold on a<br /> cloudless sky. The heritage of past raptures<br /> is an after-glow which warms the most lonely,<br /> the darkest places of our soul shedding a great<br /> light—for this, in the heyday of our lives, we<br /> should cultivate Love.<br /> E. S. Romero-TopEsco.<br /> <br /> &gt; oe<br /> <br /> <br /> <br /> MEMORIES OF MY YOUTH, 4844—1865.*<br /> <br /> <br /> <br /> HERE are few literary forms in reality<br /> more difficult than autobiography. This<br /> is not the opinion of the generality of<br /> <br /> people, and the familiar assertion that every<br /> man has one book in him is usually understood<br /> to mean that the book in question would be<br /> a record of the writer’s personal feelings and<br /> experiences. In fact, however, that would be<br /> very seldom likely to be the case ; for any able<br /> representation of a man’s self invariably<br /> presents formidable problems, and to arrive at<br /> any becoming solution of them demands no<br /> ordinary skill. For this reason Dr. Putnam&#039;s.<br /> “Memories of my Youth” deserves high<br /> praise, and should mect with a wide welcome<br /> as a work in which the serious difficulties of<br /> autobiography have been most happily sur-<br /> 2 eS<br /> <br /> * By George Haven Putnam. G. Putnam’s Sons, New<br /> York and London. 1914.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 284<br /> <br /> her father’s paper, but she preferred to find<br /> recognition on the merits of her writings alone,<br /> and at the age of seventeen, under the pseu-<br /> donvme of “‘ Tuffolina,” she sent out a sketch,<br /> “ Fanciullo biondo ”’ (fair youth), which found<br /> a ready publisher ; this encouraged her to<br /> write another, “ Il Cristo d’Altamura,”’ which<br /> was immediately accepted for publication, the<br /> editor writing to ask her for a story at her<br /> own fee. She wrote it in two days, and asked<br /> 30 lire (about 24s.) for it, which she received<br /> by return of post. So she began. Soon all<br /> local papers wanted contributions from her<br /> able pen, and she wrote many articles and<br /> stories, which were subsequently collected in<br /> book form, her earliest efforts appearing in a<br /> little volume called: ‘Dal vero.” She also<br /> helped her father in his editorial work until<br /> she went to Rome in 1885 and married Edoardo<br /> Scarfoglio, and published with him a paper<br /> ealled Il Corriere di Roma, so becoming a<br /> journalist as well as an author. She wrote so<br /> much, her books were reprinted so often, that<br /> it is difficult to get a complete and chrono-<br /> logical list of her works ; the following are the<br /> most important :—<br /> <br /> ‘““Opale”? (a novel) (1878), “‘ Leggende<br /> napoletane ” (1881), “ Piccole anime ” (1883),<br /> “ I] ventre di Napoli” (1884), “La virti di<br /> Cecchina ”’ (1884), ‘Il romanzo della Fan-<br /> ciulla’”’? (1885), ‘‘ La conquista di Roma”<br /> (1885), ‘Pagina azzurra’’ (1885), “ Vita e<br /> avventure di Riccardo Joanna ”’ (1887), ** Fior<br /> di Passione ’’ (tales) (1888), ‘‘ All’erta senti-<br /> nella !’’ **Terno secco,”’ “Trenta per cento,”<br /> ete. (stories) (1889), ““ Addio amore !” (1890),<br /> “Tl paese di Cuccagna’’ (1891), ‘* Piccolo<br /> Romanzo”’ (1891), “ Fantasia” (1892),<br /> “ Castigo” (1893), “Gli amanti’”’ (pastels)<br /> (1894), “ Le amanti ” (stories) (1894), “ L’in-<br /> diferente ” (1896), “ Donna Paola” (1897),<br /> “ Storia di una Monaca ”’ (1898), “ Nel paese<br /> di Gesu : (1900),**Animasemplice,” ‘ Ballerina”<br /> (1901), ““Lettere d’amore”’ (1901), ‘‘Madonna e<br /> Santi nella fede e nella vita ”’ (1902), ‘‘ Storia<br /> di due anime ”’ (1904), ‘‘ Dal vero ” (sketches)<br /> (1905), “Dopo il perdono” (1906), ‘‘ Ster-<br /> minator Vesevo ” (1906), ‘‘ Cristina,’ ‘ Sacri-<br /> legio ”’ (two stories) (1908), ‘‘ Cuore Infermo ”<br /> (1908), San Gennaro nella leggenda e nella<br /> vita ” (1909), ‘Capelli di Sansone *’ (1909),<br /> “ Pellegrino appassionato ” (1911), “ Evviva<br /> la vita !”” (1911), ‘‘ Evviva la guerra ! ’’ (1912)<br /> <br /> La mano tagliata ” (1912).<br /> ce oe Sigh published in Eng-<br /> Hi. Harland) Hei a ao 2<br /> Ca einemann (1894); ‘‘ The Land<br /> ayne,’’ Heinemann (1901) ; ‘‘ Fantasy ”’<br /> <br /> 3<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> [JULY, 1914.<br /> <br /> (translated by H. Harland and P. Sylvester),<br /> Heinemann; ‘‘The Ballet Dancer” and<br /> “On Guard,’ Heinemann (1901); ‘ The<br /> Conquest of Rome,”? Heinemann (1902); “ In<br /> the Country of Jesus ” (translated by Richard<br /> Davey), Heinemann (1905); “After the<br /> Pardon,” Eveleigh Nash (1909) ; “* The Desire<br /> of Life’ (translated by William Collinge),<br /> Stanley Paul &amp; Co. (1911); ** Dopo il Perdono ”<br /> was written in dramatic form in collaboration<br /> with Pierre Decourcelle and acted as a four-act<br /> drama in Naples in 1908. Matilde Serao’s<br /> novels have been translated into many foreign<br /> languages, and she is the foremost woman<br /> writer in Italy to-day, yet I do not think she<br /> is sufficiently known, or widely read, in<br /> England; maybe the choice of the works which<br /> have been so far translated are not those which<br /> show her insight into human passions to the<br /> best advantage. In Italy, as a writer, she does<br /> not excel for style or choice of subject, she does<br /> not use beautiful language, nor does she<br /> display great originality in her plots or dénoue-<br /> ments; but she is intimate with “love” in<br /> all its phases, in all its shades, in all its triumph,<br /> but, most of all, in all its tragedy. Most of her<br /> novels are enlarged snapshots of life with<br /> variations on the love theme, which runs<br /> through all her books, though the “* Conquest<br /> of Rome” is a tale of parliamentary life, the<br /> “ Avventure di Riccardo Joanna” is meant<br /> as a warning to would-be writers as to thorny<br /> path which awaits aspirants of the pen, “ Ul<br /> pacse della Cuccagna ” is a romance of Nea-<br /> politan life, and the “Paese di Gesu” is a book<br /> of reminiscences of a trip to Palestine, as<br /> ‘“‘ Evviva la guerra!’ is an echo of the Italian<br /> war in Tripoli, and ‘‘ Sterminator Vesevo ” is<br /> a diary of the eruption of Vesuvius in April,<br /> 1906.<br /> <br /> Though Matilde Serao has written many and<br /> lengthy volumes, I am going to make no<br /> apology for dwelling on three tiny books of<br /> hers which are not known generally, on account<br /> of the fact that, as yet, they have not been<br /> translated into English; they are: “ Ghi<br /> amanti,”’ ‘* Le amanti,”’ ‘‘ Lettere d’amore ”—<br /> Lovers (masculine), Beloved (feminine), and<br /> Love letters. Matilde Serao describes every<br /> form of love, but her own conviction is that<br /> in love there are more sufferers than sinners,<br /> more sorrow than joy; yet she believes the<br /> world is well lost for the sake of love. She<br /> goes even further in her analysis of this<br /> absorbing human passion, and compares it to<br /> a devouring flame which gives no respite, which<br /> knows no merey, which does not reason and<br /> which cannot be conquered, for even virtue+s<br />  <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> powerless against the devastating power of<br /> passionate love. In ‘Gli amanti” we en-<br /> counter the various forms of love, we are led<br /> into the intimacy of many hearts and are<br /> shown how the various souls of lovers feel<br /> love ; in this little book some love sensually.<br /> others idealise passion, some are true till death<br /> and even die for their love, others only find<br /> pleasure in change; some love with their<br /> heads, some with their hearts, others merely<br /> with their senses ; but they are all true to life<br /> not overdrawn nor toned down. :<br /> <br /> ** Le amanti ”’ introduces us to various types<br /> of women in love. From these sketches I will<br /> quote a dialogue the directness of which is<br /> most appealing. It is summer, and a moon-<br /> light night, Massimo makes love to Luisa<br /> because he feels sentimental, and she falls<br /> desperately in love with him. He is her first<br /> love, but has to tell her he is in love with<br /> another, and this is what they say :—<br /> <br /> ** Do you love her very much ? ”’<br /> <br /> “*Tlove her. When one loves, one loves<br /> <br /> ‘** Have you loved her a long time ?”<br /> <br /> ** A very long time.”<br /> <br /> “* Since when ? ”’<br /> <br /> “* Since always.”’<br /> <br /> “* Have you never loved any other ?<br /> <br /> “ No—never. There is a love that admits<br /> of no other.”<br /> <br /> Yet the woman whom he loved did not love<br /> him, as the following dialogue shows :—<br /> <br /> ** Does she love you? ”<br /> <br /> ee No.”’<br /> <br /> “* She does not love you ?’<br /> <br /> *“ No, not at all.”<br /> <br /> “‘ Did she ever love you ?”’<br /> Never.”’<br /> <br /> “* Have you any hope ?’<br /> <br /> ** None.”’<br /> <br /> ‘““ Why does she not love you?”<br /> <br /> “‘ Because there are some people who never<br /> do love.”<br /> <br /> He knows he is only a toy, a slave, yet he<br /> cannot tear himself away for—such is love.<br /> <br /> ‘““Tettere di amore” (Love letters) has a<br /> sub-title which explains their object, . I<br /> perché della morte,”” or ““Why love dies.’<br /> Matilde Serao thinks that to love completely<br /> it is necessary to love with heart, senses,<br /> nerves, and sentiments, therefore to logically<br /> love is to give oneself up entirely and be<br /> consumed by an overwhelming passion. Yet<br /> to do this is inevitably to give love its death-<br /> blow, for, having reached ecstasy, one can get<br /> no higher, nor stand still, therefore only by an<br /> eternal parting can one prevent love s dissolu-<br /> tion. Matilde Serao thinks that it 1s better to<br /> <br /> <br /> <br /> 9<br /> <br /> .<br /> <br /> oe<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 285<br /> <br /> suffer cruelly through the disappearance of the<br /> beloved than to be tortured by lies and secret<br /> and vulgar betrayals of a dead love that vainly<br /> tries to keep alive only for pity’s sake. It is<br /> best for lovers to separate, to end the romance<br /> whilst still the rapture lasts, so that at least<br /> remembrance may survive of glorious days<br /> gone by, undimmed by the tepidity of the<br /> penultimate or the icy coldness of the last days.<br /> _ Matilde Serao gives us lovers and loves that<br /> linger on in our mind, and make us think ;<br /> they are all so real, we get to know them so<br /> intimately that our very heart beats with<br /> theirs. Matilde Serao should be read if only<br /> for this, that she has the gift of creating<br /> visions. On the tree of Love many flowers<br /> blossom, some sweetly perfumed, others seent-<br /> less, some brilliantly hued, others almost<br /> colourless, some exotic and intoxicating, others:<br /> appealing by their serene simplicity. In our<br /> hours of rest the flowers of remembrance<br /> blossom, and we can see again the faces we<br /> once loved, the radiant sunshine that long ago<br /> did play on our well-beloved’s tresses entwining<br /> them round our hearts, or, maybe, some<br /> cherished name written in letters of gold on a<br /> cloudless sky. The heritage of past raptures<br /> is an after-glow which warms the most lonely,<br /> the darkest places of our soul shedding a great<br /> light—for this, in the heyday of our lives, we<br /> should cultivate Love.<br /> E. S. Romero-TopEsco.<br /> <br /> ——_<br /> <br /> <br /> <br /> MEMORIES OF MY YOUTH, 1844—1865.*<br /> <br /> —<br /> <br /> HERE are few literary forms in reality<br /> more difficult than autobiography. This<br /> <br /> is not the opinion of the generality of<br /> people, and the familiar assertion that every<br /> man has one book in him is usually understood<br /> to mean that the book in question would be<br /> a record of the writer’s personal feelings and<br /> experiences. In fact, however, that would be:<br /> very seldom likely to be the case ; for any able<br /> representation of a man’s self invariably<br /> presents formidable problems, and to arrive at<br /> any becoming solution of them demands no<br /> ordinary skill. For this reason Dr. Putnam&#039;s<br /> “Memories of my Youth” deserves high<br /> praise, and should meet with a wide welcome<br /> as a work in which the serious difficulties of<br /> autobiography have been most happily sur-<br /> <br /> Ce ee<br /> <br /> * By George Haven Putnam. G. Putnam’s Sons, New<br /> <br /> York and London. 1914.<br /> <br /> <br />  <br /> <br /> 286<br /> <br /> mounted. Whilst the book is essentially<br /> autobiographical, its varied interests are very<br /> many, and will command the attention of<br /> numerous readers besides those actually and<br /> principally attracted by the story—a_ vivid<br /> one—of the earlier years of the writer&#039;s life.<br /> Ultimately it seems that the work will take<br /> the position of a middle volume of three,<br /> whereof the first will be Dr. Putnam&#039;s memoirs<br /> of his father (“‘ A Memoir of George Palmer<br /> Putnam”), and the third Dr. Putnam&#039;s<br /> promised ‘* Memoirs ofa Publisher.” :<br /> The present work is a record of Dr. Putnam&#039;s<br /> life from the date of his earliest recollections<br /> until the close of the Civil War into which the<br /> United States were plunged by differences of<br /> opinion about slavery. About one half of the<br /> book is devoted to the earlier years, the<br /> author’s sojourn in England in 1844, 1851 and<br /> 1860, and his experiences as a student at Paris,<br /> Berlin, and Gottingen ; and about one half to<br /> the period of his service in the Civil War from<br /> September, 1862, to September, 1865. Those<br /> whose memories can extend to the earlier<br /> years of the narrative will, as they read, find<br /> long-ago recollections awakened by Dr. Put-<br /> nam’s allusions to such subjects as the Bloomer<br /> Movement, the Chartists, strange opinions<br /> regarding the possibilities of steamships and<br /> railways, the estimation in which the citizens<br /> of the United States were held in England<br /> sixty years ago; and not a few similar things<br /> that will recall impressions of years now—<br /> alas!—far away. The appeal of these pages of<br /> the work to the constantly diminishing few to<br /> whom they can appeal is so strong that it may<br /> be doubted whether they will read with equal<br /> interest any other part of the volume. Those,<br /> however, will be certainly more numerous who<br /> will be attracted by the pages next following,<br /> recording student’s experiences of a wide and<br /> varied kind. Of the latter half of the book the<br /> interest is mainly historical ; and the historical<br /> matter here contained will have an indelible<br /> interest, as that contemporary evidence of<br /> an. eye-witness which is the virgin gold of<br /> history. Dr. Putnam seems to think that<br /> from the purely intellectual point of view he<br /> was by no means altogether a gainer by his<br /> experiences in the Civil War. ‘I had lost,”’<br /> he writes, “‘ and was never to be in a position<br /> to regain, the opportunity for a college training.<br /> With a keen interest in literary and scholarly<br /> matters, I was obliged to do my later reading<br /> without the all-important foundation of the<br /> routine knowledge of Latin, of literary history,<br /> a Boneples of science, ete., which any<br /> youngster who has made a fair use of college<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914.<br /> <br /> facilities has ensured.’’ Nor does he consider<br /> these the only losses which his part in the war<br /> entailed. It would have been interesting to<br /> hear his opinion of the actual results of the<br /> settlement after the war, those problems which<br /> the emancipation of a prolific population of a<br /> lower grade of humanity has brought upon the<br /> United States. Of this, however, Dr. Putnam<br /> says nothing. The book contains also, quite<br /> naturally, but few and almost incidental<br /> allusions to the history of the well-known<br /> publishing house with which his name is<br /> associated. For information on that head we<br /> must await the ‘‘ Memoirs of a Publisher,”<br /> which Dr. Putnam promises ; which we most<br /> earnestly hope that he may find himself able<br /> to produce. The appearance of the work will<br /> be awaited with eager expectation.<br /> <br /> ——___+_&gt;_—____—_-<br /> <br /> J. M. SYNGE.*<br /> <br /> ——~&lt;&gt; +<br /> <br /> MAURICE BOURGEOIS has<br /> <br /> <br /> <br /> NY / pro-<br /> A . duced a book upon John Milling-<br /> ton Synge which will, we fancy,<br /> <br /> remain for years to come an authoritative work<br /> upon the Irish dramatist’s life and art. There<br /> might, perhaps, with advantage—or, at least,<br /> with added pleasure to the reader—have been<br /> a little more about the personality of the man ;<br /> at the end of the book we feel that we have not<br /> penetrated far into that. There are, however,<br /> personalities which it is very hard to bring out<br /> upon paper, and it may be that Synge’s was<br /> one of these. Anyhow, great praise is due to<br /> M. Bourgeois for this “‘ essay ” (as he modestly<br /> calls it), and not the least for the excellent<br /> English in which it is written. Instinctively<br /> the reader looks for the translator’s name upon<br /> the title-page, so hard is it to realise that it is<br /> not an Englishman who handles the language<br /> so well.<br /> <br /> The plan of the book has been to take Synge<br /> in his early life—though he was not yet thirty-<br /> cight when he died—and trace the formative<br /> influences under which he passed, first in<br /> Ireland and then on the Continent of Europe,<br /> particularly in Paris ; next, to see how he came<br /> to write the works which made him famous ;<br /> and, finally, to deal with the works themselves<br /> in detail and to estimate their lasting value.<br /> <br /> We do not know that we can do fuller<br /> <br /> <br /> <br /> * “John Millington Synge and the Irish Theatre,” by<br /> Maurice Bourgeois (Constable &amp; Co.).<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> JULY, 1914.] THE AUTHOR.<br /> <br /> justice to the book than by quoting some of<br /> the passages in which the author tries to show<br /> how the subject of his biography developed and<br /> into what he developed. We might quote<br /> much, but will restrict ourselves to four<br /> excerpts.<br /> <br /> Synge, says M. Bourgeois, ‘“‘ began by seeking<br /> self-expression in music and painting; but he<br /> found the fine arts too difficult or too vague.<br /> Next he turned to journalistic criticism ; again,<br /> he wandered over Ireland and wrote descriptive<br /> essays ; but these remained external attitudes.<br /> Synge, despite his intuitive methods, saw life<br /> through the often distorting prison of literature,<br /> or pictured his countrymen’s ways and doings<br /> necessarily from without. At last he placed<br /> himself at the core of existence by writing of<br /> himself in a few of his poems; and this inner<br /> mental development, always nearing life as it<br /> advanced, found its natural terminus in the<br /> drama.”<br /> <br /> Again, “his dramatic instinct he owed<br /> partly to the racial talent of the Irish, partly<br /> to his continental training, and partly to the<br /> environment which he found in Dublin. Yet,<br /> despite Mr. Yeats’s asseveration that * Mr.<br /> Synge is a young writer and a creation of our<br /> movement,’ he was not a product of the Abbey<br /> Theatre. It did not create him as it created<br /> others; nor did he create it. Personally he<br /> loathed the idea of ‘movements’ and of<br /> ‘schools’; and in this, as in other cases, his<br /> individual independence may be safely vindi-<br /> cated.”<br /> <br /> It is a mistake to look upon Synge as a<br /> reformer. He revolted against dramatic<br /> didacticism. ‘‘ He compares the drama with<br /> the symphony—an analogy significant in a<br /> musician like him. Synge is not a man with<br /> a message who believes that the theatre 1s a<br /> ‘criticism of life. He avowedly repudiates<br /> the ethical or sociological problem-play in-<br /> augurated by ‘ Ibsen and the Germans,’ who,<br /> it may be recalled, had found a few disciples<br /> among the early Abbey Theatre dramatists.<br /> He also, we think, implicitly alludes to the<br /> danger which threatens a self-styled national<br /> theatre: that of confusing the literary with<br /> the political standard, nationalist logic-chop-<br /> ping and propaganda with elgees Se<br /> Synge has no wish to change or re orm al<br /> thing ; his contention 1s that the oe ev =<br /> in a land of controversy like Irelan , mus<br /> remain in its purely artistic sphere. oe<br /> <br /> Finally, M. Bourgeois has no or t * ti<br /> Synge’s place in the front rank. re oo.<br /> confidently urged,” he says, tha y ae<br /> name is one of the chosen few that are bounc<br /> <br /> <br /> <br /> 287<br /> <br /> to survive. Of course his body of work is a<br /> ere ou Sc Synge, after all, may be<br /> grudg palm given to the unique, meteoric<br /> geniuses that do mankind honour. . . . Yet no<br /> one will seriously contest that his writings<br /> bear the hall-mark of a signal literary ability<br /> and of an almost unprecedented temperament.<br /> . . . Whether he is to have actual literary<br /> disciples in English-speaking countries and<br /> elsewhere, the future will decide. As his case<br /> stands, however, with his strong, all-pervading<br /> personal note, he is not likely to find many<br /> imitators. . . . Synge’s mental and artistic<br /> idiosynerasy was almost exclusively his own<br /> while he lived ; now he is dead it will not, in<br /> all probability, become anyone else’s.”’<br /> <br /> It should be added that the book has a very<br /> full bibliography and other appendices of<br /> value to the student ; and that it has a number<br /> of illustrations. In a few cases the reproduc-<br /> tion of the photographs is not very good, but<br /> the portraits are mostly excellent.<br /> <br /> ————_or-e&lt;e—__-<br /> <br /> CORRESPONDENCE.<br /> <br /> ———1+ ——<br /> COLONIAL SALES.<br /> <br /> Srr,—As I have just returned from a some-<br /> what prolonged visit to Australia and South<br /> Africa, I found the article headed “ Australian<br /> Book Rights,’ in the June number of The<br /> Author, particularly interesting. While in the<br /> Commonwealth I made a special point of going<br /> through all the principal book shops in such<br /> cities as Melbourne, Sydney, Adelaide, and<br /> Perth. In each one of them I gathered<br /> precisely the same impression : books issued<br /> by English publishing houses were | being<br /> steadily ousted by books published in the<br /> United States.<br /> <br /> Now, while it is true, of course, that Austra-<br /> lians are a highly democratic people, and much<br /> <br /> hods and progress,<br /> <br /> interested in American metl<br /> it is, in my opinion, also true that consideration<br /> of the matter contained in American<br /> English books has but very slightly S05 L<br /> Australia’s exceedingly marked preference fox<br /> the former. It may seem far-fetched, but it<br /> is, I believe, a fact that American pee are<br /> selling mainly upon their covers 11 — .<br /> to-day ; and, by that token, Bnei a<br /> are going unsold, chiefly by reason 0 ” . in<br /> Australian eyes, must be admitted to be their<br /> <br /> unattractive get-up-<br /> <br /> <br />  <br /> <br /> 288<br /> <br /> It was pointed out to me by a dozen well-<br /> established booksellers in Australia that<br /> American books were a notable asset in<br /> “ window-dressing’”’; and that the reverse<br /> was true of most books issued by English<br /> publishers. In considering this it would, of<br /> course, be highly absurd for an author to apply<br /> the standards of his own individual taste. He<br /> may very properly prefer a quiet, neat cover<br /> for his book, paper with a dull surface, and no<br /> illustrations or decorations. Quite so, Well,<br /> Australian book buyers, and—mark this point<br /> _—Australian booksellers, prefer gaily coloured<br /> picture covers, highly glazed paper, plentiful<br /> decoration and illustrations, and, it may be,<br /> gilt tops. The American publisher provides<br /> all this, whilst the English publisher in very<br /> many cases prefers to supply in his “ Colonial<br /> edition ’—Australians detest that phrase—a<br /> format somewhat more drab and unexciting<br /> than he uses for his English editions.<br /> <br /> In these circumstances I have not the<br /> smallest doubt that if a given novel, say, were<br /> issued in Australia in two forms simultaneously,<br /> one the typical English production, the other<br /> the typical American production, one hundred<br /> copies of the latter would be sold for every<br /> single copy sold of the former. The one<br /> would be prominently displayed; the other,<br /> if stocked at all, hidden away on a top shelf.<br /> All this is not very pleasant for those of us who<br /> endeavour to live by means of our work as<br /> English writers. It is, I believe, strictly true.<br /> <br /> Here is another point which should have<br /> some interest for English novelists. While in<br /> Australia, I happened upon a sixpenny edition<br /> (published in London) of a book of Mr. Arnold<br /> Bennett’s which I had never read. I bought it<br /> and enjoyed it immensely. It is a delightful<br /> piece of satire, having special interest for<br /> novelists. Since my return I have asked for<br /> that book in fully twenty large book shops, in<br /> London, Brighton, Eastbourne, ete., always<br /> without success. The other day I asked for it<br /> in a large Holborn shop, and having received<br /> the accustomed reply, I ventured upon an<br /> expression of surprise. The assistant politely<br /> told me he thought I was mistaken. He could<br /> not remember any work of fiction by Mr.<br /> Arnold Bennett having that title. I asked<br /> him to look it up in a catalogue. He did so,<br /> and found the title. Then he explained his<br /> ignorance of the book in this way: ‘‘ Ah, yes<br /> here itis. But I see it is published by Messrs.<br /> <br /> The terms they give booksellers are so<br /> very poor that we only obtain their books<br /> Noon ao ordered. i shall be glad to get<br /> <br /> you and post it on.”” And he did. But<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> |<br /> <br /> /author who lunches with his publisher is a<br /> <br /> <br /> <br /> (JULY, 1914,<br /> <br /> if that is the position in the case of a novelist<br /> with a big vogue, what of the selling chances<br /> for lesser known men ?<br /> I am, Sir, yours faithfully,<br /> A. J. Dawson.<br /> <br /> a a a ae<br /> AutHuors AND AGREEMENTS.<br /> Srr,—Mr. Shaw has, I believe, said that any<br /> <br /> nincompoop, and the general trend of your<br /> advices in The Author is to the effect that, if<br /> authors will simply be businesslike, all will<br /> be simple for them; if they will not be, they<br /> deserve a miserable fate. But life is not so<br /> simple and clear-cut, especially for a young<br /> author. His first play or his great novel may<br /> be appreciated by a producer or a publisher<br /> with whom he has been previously brought<br /> into friendly contact through artistic sympathy,<br /> for there are producers and publishers with<br /> artistic sympathy. Directly this friend says<br /> he will risk the work, is the author to retire<br /> into his shell, to pore over his agreements<br /> with a lynx-eye, to keep the friendly and the<br /> practical parts of his nature severely separate ?<br /> No doubt he ought to. But, in the first place,<br /> the artistic nature, of all natures, is least able<br /> to do this, and, secondly, art is the sphere in<br /> which it is least easy as yet for anybody at all<br /> to do this. Business men can carry through<br /> keen transactions and not offend each other,<br /> because to them the atmosphere is natural,<br /> and because they have behind them all the<br /> tradition summed up in “‘ Business is business.”<br /> The keenest of caution is not taken by the other<br /> party as a reflection on his honesty. But the<br /> artist, just because he hates the job, imparts<br /> an air of distrust to his suggestions, and, in<br /> his turn, the editor, publisher, or producer,<br /> likes the personal relationship. To show how<br /> partially literary business houses have absorbed<br /> the business tradition, I once went over from<br /> the publisher of a play of mine to a most<br /> highly respected establishment which I had<br /> asked to become agents for the amateur rights.<br /> In their previous letter accepting this agency<br /> they had penned some wording which did not<br /> look to me sound, and, on the advice of a pub-<br /> lisher, I asked for an alteration of the wording<br /> and for a stamped agreement. I got both,<br /> but I learnt afterwards that the representative<br /> of the firm thought I had been accusing him<br /> of the intention to steal. He thought the<br /> whole matter was so trivial that he did not<br /> think it worth business crispness, and the<br /> personal element had entered, since a mutual<br /> friend had recommended me to ask this firm<br />  <br /> <br /> <br /> <br /> <br /> <br /> JULY, 1914.]<br /> <br /> to be my agent. I am no business man. It<br /> would be a nice point in psychology to deter-<br /> mine what I did actually think when this<br /> gentleman was unwilling to bother about<br /> an agreement over my trifling play. But in<br /> real business, men have conveniently invented<br /> the convention by which neither party is<br /> supposed to be thinking of the likelihood of<br /> the other cheating, the convention of merely<br /> being “ businesslike.’’ In fact, my agent had<br /> no right at all to wonder what I ‘‘ was at ”’ in<br /> demanding an agreement.<br /> <br /> Another case which happened to me was<br /> in regard to the editor of a newspaper. I<br /> wrote saying that as I contributed articles<br /> fairly often I should like an agreement<br /> according to which I should be paid the regular<br /> sum for each article. He wrote back intro-<br /> ducing the personal element, and leaving me<br /> with nothing to do but to apologise for having<br /> east reflections on his honour. And what<br /> was the result? Not six months later an<br /> article commissioned by him and written by<br /> me appeared in a part of his paper not usually<br /> devoted to articles and I was paid _ half<br /> price. I protested, and he told me, quite<br /> friendly, that he understood that the higher<br /> price was for articles printed on the regular<br /> page. Perhaps, even with my agreement,<br /> this contention would have held good ; never-<br /> theless it was to avoid this sort of occurrence<br /> that I had asked for the agreement. To<br /> conclude the story, he said that next month<br /> he would make good the sum—at least his<br /> vague wording seemed to imply this—and<br /> would also pay for a second article for which<br /> he had as yet paid nothing at all, and he made<br /> out that I should thus be getting “ twice as<br /> much as I ought to get.” And in the result<br /> he paid full price for the second article and<br /> did not pay the extra for the first, and no<br /> doubt he still thinks that he overpaid me,<br /> whereas I think I am owed money by him.<br /> If I had written again he would probably<br /> have been so irritated as to take less articles<br /> than before, and yet the whole thing might<br /> have been avoided by strict business on his<br /> part. Editors drive one mad by insisting on<br /> one’s interpreting what business wishes they<br /> have ; they themselves tear their hair at us<br /> unpractical authors; yet they introduce<br /> muddle themselves by insisting on retaining<br /> a patronising, personal position. At least this<br /> particular editor does. : : e<br /> <br /> Writing as a business 1s only just cing<br /> born; its etiquette is not yet formed; an<br /> so procedure is difficult. I have no intention<br /> whatever of casting the slightest imputation<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 289<br /> <br /> on the credit of my editor; yet, generally<br /> speaking, one’s caution is born of a fear of<br /> rogues, and when one applies it to a particular<br /> case, the particular case thinks he is being<br /> feared as arogue. Of course one can sometimes<br /> explain that his business may pass into other<br /> hands, but this is not universally so, and so<br /> long as business keenness is thought unnatural<br /> between literary friends, I for one shall never be<br /> comfortable in applying it to some men who are<br /> among my closest and most intimate friends.<br /> Lronarp INKSTER.<br /> <br /> THE Price oF PAPER.<br /> <br /> L<br /> <br /> Dear Srr,—I have consulted an expert in<br /> paper re C. F. Moxon’s query. The answer is:<br /> It is difficult to pronounce absolutely without<br /> seeing the paper. Thinner paper is often<br /> better because more calendered. Thicker may<br /> be loaded, but some of the thick used is of good<br /> quality. Thin paper is often the dearest.<br /> One knows the quality of paper by handling it,<br /> and good paper makes a clear tear, not jagged.<br /> <br /> M. Montgomery CAMPBELL.<br /> <br /> i<br /> <br /> Dear S1r,—In reply to Mr. C. F. Moxon’s<br /> letter re the above subject in your last issue,<br /> this is a somewhat disturbing factor in the<br /> present, production of books. Paper nowadays<br /> has not the strength or enduring quality that<br /> it formerly possessed, for there are now so<br /> many substitutes for linen or cotton, which<br /> were practically the only materials then<br /> used, and which were naturally more<br /> expensive to manufacture. The craving for<br /> cheap literature has necessitated the employ-<br /> ment of cheaper substitutes—grass, wood and<br /> ‘what not which are usually of a so-called<br /> *‘ antique”? character as regards finish. The<br /> public will sometimes appraise &amp; volume by its<br /> bulk rather than by its literary contents, and<br /> unfortunately a few publishers have been<br /> guided by this demand for quantity rather ae<br /> quality by issuing books printed on this thick,<br /> soft, and spongy paper which is objectionable<br /> in more than one respect. a<br /> <br /> For proofs printers usually employ a thinnis<br /> paper of a closer texture so that postage may<br /> be saved but sufficiently hard to carry<br /> pen and ink in correcting the proof. The<br /> actual difference in cost between such paper<br /> and the thicker and softer paper complained<br /> <br /> <br /> <br /> <br />  <br /> <br /> 290<br /> of is probably little, if any, but it depends<br /> on the precise weight and not substance.<br /> Your correspondent may, however, take it<br /> that the market value per pound may be about<br /> the same, but by varying the material and<br /> especially by regulating the finish it is possible<br /> that one kind may be made to bulk at least<br /> 50 per cent. more, although the two papers In<br /> the ream may be of equal weight.<br /> <br /> Perhaps later on I may be allowed to deal<br /> with this subject more fully.<br /> <br /> I am, yours faithfully,<br /> ~ Cuas. T. JAcoBi.<br /> <br /> PUBLISHERS’ REFUSALS.<br /> <br /> Srr,—We hear from successful writers that<br /> publishers and editors are anxious to receive<br /> good work, that introductions are unnecessary,<br /> and that there is a market for the writer who<br /> has some show of power.<br /> <br /> I should like to ask the opinion of your<br /> readers upon this, stating my own case in<br /> order to contradict this idea.<br /> <br /> My first book found a publisher after a<br /> weary round, it was a failure in ‘six shilling<br /> form,” but as a shilling book sold fairly well.<br /> It had received more than ordinarily good and<br /> lengthy reviews. The net gain to me has been<br /> nil. This for various causes.<br /> <br /> The second book, still unpublished, is “ full<br /> of power,” according to the publishers, ** but<br /> not suitable for the reading fare of young girls,”<br /> therefore, since apparently young girls are<br /> the sole public, the book has failed to find a<br /> home.<br /> <br /> The third book, also refused many times, is<br /> still more puzzling. A well-known publisher<br /> states: ‘‘It has merit, but I doubt its selling pro-<br /> perties.” A still better known firm returns it,<br /> together with its reader’s opinion, in which<br /> the reader states: “‘A clever sort of tale,<br /> characters rather unusual, considerable merit<br /> and cleverness, yet I cannot recommend it as<br /> a promising financial venture.” With sensa-<br /> tional fiction it is the same. One story has<br /> been returned to me as ‘‘ Too dramatic, will<br /> I write something milder?’ a second is de-<br /> seribed as, “ Plot very interesting, the story<br /> very well handled, but not quite the type of<br /> story required, will I write something else ? ”’<br /> a third is, “* Good of its sort but too fantastic,”<br /> Se ie ere<br /> <br /> ne my work with any<br /> greater success, although each agent states<br /> that the work is good.<br /> <br /> THE AUTHOR.<br /> <br /> (JULY, 1914.<br /> <br /> Of course, publisher’s, editor’s and agent&#039;s<br /> may be soothing rejections, but, as a rule,<br /> they are not so careful of the lacerated feeling<br /> of authors, and I am coming to the conclusion<br /> that chance has more to do with mild success<br /> than even merit.<br /> <br /> Yours truly,<br /> “A Very UnsuccessFUL WRITER.”<br /> <br /> <br /> <br /> —+——<br /> <br /> Humours oF Lirerary JUDGMENT.<br /> <br /> <br /> <br /> Dear Str,—In a spirit of exploration, and<br /> perhaps a hope of nobbling the prize, I recently<br /> entered a competition in connection with a<br /> magazine which was offering £50 for the best<br /> short story. Along with your MS. you had<br /> to send up 2s. 6d. for which, in case you were<br /> unsuccessful, you received expert literary<br /> advice on your failure. I did not win anything,<br /> and along with my returned MS. I gota letter<br /> which was well worth the half-crown, though<br /> perhaps not in the sense in which the sapient<br /> critic meant it should be. The fun of it lies<br /> in the fact that the literary adviser says my<br /> ‘‘ English is a little shaky . . . there is room<br /> for improvement in style,” and proceeds to<br /> teach me by writing his letter in English of this<br /> sort, the following being faithful quotations,<br /> ‘The heroine is presented, as perhaps you<br /> intend she to be, as rather vain,” ete. ~ Select<br /> some more elaborate plot that will give you<br /> better opportunities for elaboration.” (The<br /> italics are not in the original.)<br /> <br /> There, in one short letter, the literary adviser<br /> commits one glaring instance of awful grammar<br /> and repeats one word,—and a elumsy and<br /> inadequate word at that—in two lines.<br /> <br /> And all the while setting up as one who is<br /> qualified to instruct the young author how to<br /> write English !<br /> <br /> Truly yours,<br /> SMILER.<br /> <br /> — ++ —<br /> <br /> Tuatr Baker’s DozEN AGAIN.<br /> <br /> Str,—If English publishers will retain that<br /> absurd “13 to count as 12,” so far as sales are<br /> concerned, ought they not in common justice<br /> to adopt a lke enumeration so far as the<br /> author’s “rights to purchase copies at trade<br /> price ’’ are concerned ?<br /> <br /> It is trivial ; but the trivialities seem always<br /> <br /> to rebound to the benefit of one side.<br /> Yours faithfully, :<br /> ARNOLD HAULTAIN.<br /> <br /> <br /> <br /> <br />  <br /> <br /> SI6T<br /> <br /> <br /> <br /> ‘y16r “yYovyW “AOHLAV AHL<br /> <br /> <br /> <br /> -I6L “IINadV @O AVG 87 HHL INIONANWOO<br /> <br /> <br /> <br /> ‘LOV LHDIMAdOO GNVIVAZ MAN WH<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br />  <br /> <br /> —<br /> <br /> 2 IS OUI 99<br /> <br /> 10.<br /> ll.<br /> 12.<br /> 13.<br /> <br /> 14,<br /> 15.<br /> 16.<br /> 17.<br /> <br /> 18.<br /> 19.<br /> 20.<br /> <br /> 21.<br /> <br /> 22.<br /> <br /> 23.<br /> &quot; Provisions as to Government p<br /> <br /> <br /> <br /> NEW<br /> <br /> ZHALAND.<br /> <br /> <br /> <br /> COPY RIGHE,<br /> <br /> ANALYSIS.<br /> <br /> Title.<br /> Short title and commencement.<br /> Interpretation.<br /> <br /> PART L<br /> CopyRigHt.<br /> <br /> Rights.<br /> Copyright.<br /> <br /> . No copyright except as provided by this Act.<br /> <br /> Infringement of copyright.<br /> Term of copyright.<br /> <br /> . Compulsory licenses.<br /> <br /> Ownership of copyright, &amp;c.<br /> Civil Remedies.<br /> <br /> Civil remedies for infringement of copyright.<br /> <br /> Rights of owner against persons possessing<br /> or dealing with infringing copies, &amp;c.<br /> <br /> Exemption of innocent infringer from liability<br /> to pay damages, &amp;c.<br /> <br /> Restriction on remedies in the case of archi-<br /> tecture.<br /> <br /> Limitation of actions.<br /> <br /> Summary Remedies.<br /> <br /> Summary offences.<br /> Permitting unauthorized performances.<br /> <br /> Search-warrant. .<br /> Owner of performing-right may forbid per-<br /> <br /> formance in infringement of right.<br /> <br /> Application of fines. :<br /> Limitation of summary proceedings.<br /> Certain provisions not to apply to works of<br /> <br /> architecture.<br /> Importation of Copies.<br /> Importation of infringing copies. Repeal.<br /> <br /> Special Provisions a8 to certain Works.<br /> <br /> Works of joint authors.<br /> Posthumous works.<br /> <br /> ublications.<br /> <br /> 25.<br /> 26.<br /> 27.<br /> 28.<br /> 29.<br /> 30.<br /> <br /> 31.<br /> 32.<br /> <br /> 33.<br /> <br /> 34.<br /> 35.<br /> 36.<br /> Si<br /> 38.<br /> 39.<br /> 40.<br /> 41.<br /> 42.<br /> 43.<br /> 44,<br /> 45.<br /> 46.<br /> 47.<br /> 48.<br /> <br /> 49.<br /> <br /> 50.<br /> 51.<br /> 52.<br /> <br /> 53.<br /> 54, Repeals.<br /> <br /> Provisions as to mechanical instruments.<br /> Provision as to political speeches.<br /> Provisions as to photographs.<br /> Reciprocal protection of copyright.<br /> Provisions as to Orders in Council.<br /> <br /> Provisions as to designs registrable under the<br /> Patents, Designs, and Trade-marks Act.<br /> Works of foreign authors first published in<br /> <br /> New Zealand.<br /> Existing works.<br /> <br /> PART II.<br /> <br /> INTERNATIONAL COPYRIGHT.<br /> <br /> Power to extend Act to foreign works.<br /> <br /> PART III.<br /> CoryRiaut OFFICE.<br /> <br /> Registrar of Copyright. Copyright Office.<br /> <br /> Deputy Registrar.<br /> <br /> Seal.<br /> <br /> Fees.<br /> <br /> Registration optional.<br /> <br /> Copyright Registers.<br /> <br /> Mode of registration.<br /> <br /> Registration of assignments, &amp;c.<br /> <br /> How registration is to be effected.<br /> <br /> Registration of work published in a series.<br /> <br /> Trusts not registered.<br /> <br /> Register to be evidence.<br /> <br /> Certified copies.<br /> <br /> Public inspection of registers.<br /> <br /> Correction of register.<br /> <br /> Rectification of register by the Court.<br /> <br /> Copies to be delivered on registration.<br /> <br /> False representation to Registrar.<br /> <br /> Copies to be delivered to General Assembly<br /> Library.<br /> <br /> Power to make regulations.<br /> <br /> Schedules.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> No. 4 oF 1913.<br /> AN ACT RELATING TO COPYRIGHT.<br /> [22nd November, 1913.]<br /> <br /> Be 1 ENACTED by the General Assembly of New Zealand in Parliament<br /> assembled, and by the authority of the same, as follows :—<br /> <br /> Short title 1. This Act may be cited as the Copyright Act, 1918, and shall commence<br /> and com: ,, on the first day of April, nineteen hundred and fourteen.<br /> <br /> Interpreta- 2.—(1.) In this Act, unless the context otherwise requires,—<br /> tion. “ Literary work ” includes maps, charts, plans, tables, and compilations :<br /> <br /> “Dramatic work” includes any piece for recitation, choreographic<br /> work or entertainment in dumb show, the scenic arrangement or<br /> acting-form of which is fixed in writing or otherwise, and any cine-<br /> matograph production where the arrangement or acting-form or<br /> the combination of incidents represented gives the work an original<br /> character :<br /> <br /> “ Artistic work ” includes works of painting, drawing, sculpture, and<br /> artistic craftsmanship, and architectural works of art, and engravings,<br /> and photographs :<br /> <br /> ‘Work of sculpture ” includes casts and models :<br /> <br /> “ Architectural work of art ’? means any building or structure having an<br /> artistic character or design, in respect of such character or design,<br /> or any model for such building or structure; provided that the<br /> protection afforded by this Act shall be confined to the artistic<br /> character and design, and shall not extend to processes or methods<br /> of construction :<br /> <br /> ‘“‘Engravings ”’ include etchings, lithographs, woodcuts, prints, and<br /> other similar works not being photographs :<br /> <br /> ‘Photograph ” includes photo-lithograph and any work produced by<br /> any process analogous to photography :<br /> <br /> ‘* Cinematograph ” includes any work produced by any process analogous<br /> to cinematography :<br /> <br /> “ Collective work ’”? means—<br /> <br /> (a) An encyclopedia, dictionary, year-book, or similar work ;<br /> <br /> (b) A newspaper, review, magazine, or similar periodical ; and<br /> <br /> (c) Any work written in distinet parts by different authors,<br /> or in which works or parts of works of different authors are<br /> incorporated :<br /> <br /> ‘‘ Infringing,’’ when applied to a copy of a work in which copyright<br /> subsists, means any copy, including any colourable imitation, made<br /> or imported in contravention of the provisions of this Act :<br /> <br /> “* Performance ’’ means any acoustic representation of a work, and any<br /> visual representation of any dramatic action in a work, including<br /> <br /> such a representation made by means of any mechanical instrument :<br />  <br /> <br /> I<br /> <br /> ve<br /> <br /> <br /> <br /> fe)<br /> <br /> ““ Delivery,” in relation to a lecture, includes delivery by means of any<br /> mechanical instrument :<br /> <br /> ** Plate” includes any stereotype or other plate, stone, block, mould,<br /> matrix, transfer, or negative used or intended to be used for printing<br /> or reproducing copies of any work, and any matrix or other appliance<br /> by which records, perforated rolls, or other contrivances for the<br /> acoustic representation of the work are or are intended to be made:<br /> <br /> ** Lecture ’’ includes address, speech, and sermon :<br /> <br /> “* Court of summary jurisdiction ’&gt; means a Magistrate or two or more<br /> Justices exercising jurisdiction under the Justices of the Peace<br /> Act, 1908.<br /> <br /> (2.) Except for the purposes of infringement of copyright, a work shall not be<br /> deemed to be published or performed in public, and a lecture shall not be deemed<br /> to be delivered in public, if published, performed in public, or delivered in public<br /> without the consent or acquiescence of the author, his executors, administrators,<br /> or assigns.<br /> <br /> (3.) For the purposes of this Act a work shall be deemed to be first published<br /> in New Zealand notwithstanding that it has been published simultaneously in<br /> some other place, unless the publication in New Zealand is colourable only and<br /> is not intended to satisfy the reasonable requirements of the public ; and a work<br /> shall be deemed to be published simultaneously in two places if the time between<br /> the publication in one such place and the publication in the other place does not<br /> exceed fourteen days, or such longer period as may for the time being be fixed by the<br /> <br /> Governor in Council.<br /> <br /> (4.) Where, in the case of an unpublished work, the making of a work has<br /> <br /> extended over a considerable period the conditions of this Act conferring copyright<br /> shall be deemed to have been complied with if the author was during any substantial<br /> part of that period a British subject or resident in New Zone.<br /> <br /> (5.) For the purposes of the provisions of this Act as to residence, an author<br /> of a work shall be deemed to be a resident in New Zealand if he is domiciled<br /> <br /> therein.<br /> <br /> PART I.—CopyricuHt.<br /> <br /> Rights.<br /> <br /> f this Act, copyright shall subsist in New<br /> <br /> 3.—(1.) Subject to the provisions © ee<br /> <br /> Zealand for the term hereinafter mentioned in every original literary,<br /> musical, and artistic work if—<br /> (a) In the case of a publishe<br /> eee lished k, the autho<br /> b) In the case of an unpublished work, th oe’ ee de oat<br /> . making of the work a British subject or resident in New ok o<br /> but in no other works, except so far as the protection conferred by this Act 1s<br /> extended by the Governor in Council pursuant to this Act. . sa<br /> (2.) For the purposes of this Act “‘ copyright *’ means the sole right to produ<br /> <br /> Pp y cl pe<br /> or re roduce the Ww rk or an substantial art<br /> Ww<br /> <br /> d work, the work was first published in New<br /> <br /> r was at the date of the<br /> <br /> the case of a lecture<br /> <br /> <br /> <br /> <br /> <br /> Copyright.<br />  <br /> <br /> <br /> <br /> and if the work is unpublished, to publish the work or any<br /> and shall include the sole right—<br /> <br /> e, perform, or publish any translation of the work ;<br /> atie work, to convert it into a novel or other non-<br /> <br /> part thereof in public ;<br /> <br /> substantial part thereof ;<br /> <br /> (a) To produce, reproduc<br /> <br /> (b) In the case of a dram<br /> dramatic work ;<br /> <br /> (c) In the case of a nove<br /> to convert it into a dramatic work by way of performance In public<br /> <br /> 1 or other non-dramatic work, or of an artistic work,<br /> <br /> or otherwise ;<br /> (d) In the case of a literary, dramatic, or musical work, to make any record,<br /> <br /> perforated roll, cinematograph film, or other contrivance by means<br /> of which the work may be mechanically performed or delivered ;<br /> and to authorize any such acts as aforesaid.<br /> <br /> (3.) For the purposes of this Act “ publication ” in relation to any work means<br /> the issue of copies of the work to the public, and does not include the performance<br /> in public of a dramatic or musical work, the delivery in public of a lecture, the<br /> exhibition in public of an artistic work, or the construction of an architectural<br /> work of art, but for the purposes of this provision the issue of photographs and<br /> engravings of works of sculpture and architectural works of art shall not be deemed<br /> <br /> to be publication of such works.<br /> <br /> No copyright 4. No person shall be entitled to copyright or any similar right in any literary,<br /> <br /> eed “ dramatic, musical, or artistic work, whether published or unpublished, otherwise<br /> this Act. than under and in accordance with the provisions of this Act or of any other<br /> <br /> statutory enactment for the time being in force ; but nothing in this section<br /> shall be construed as abrogating any right or jurisdiction to restrain a breach of<br /> <br /> trust or confidence.<br /> <br /> Infringement 5,—(1.) Copyright in a work shall be deemed to be infringed by any person<br /> ae aoe who, without the consent of the owner of the copyright, does anything the sole<br /> right to do which is by this Act conferred on the owner of the copyright :<br /> <br /> Provided that the following acts shall not constitute an infringement of<br /> <br /> copyright :—<br /> <br /> (a) Any fair dealing with any work for the purposes of private study, research,<br /> criticism, review, or newspaper summary :<br /> <br /> (b) Where the author of an artistic work is not the owner of the copyright<br /> therein, the use by the author of any mould, cast, sketch, plan, model,<br /> or study made by him for the purpose of the work, provided that he<br /> does not thereby repeat or imitate the main design of that work :<br /> <br /> (c) The making or publishing of paintings, drawings, engravings, or photo-<br /> graphs of a work of sculpture or artistic craftsmanship, if permanently<br /> situate in a public place or building, or the making or publishing of<br /> paintings, drawings, engravings, or photographs (which are not in the<br /> nature of architectural drawings or plans) of any architectural work of<br /> art :<br /> <br /> (d) The publication in a collection, mainly composed of non-copyright<br /> matter, bond fide intended for the use of schools, and so described in<br /> the title and in any advertisements issued by the publisher, of short<br /> passages from published literary works not themselves published for<br /> <br /> the use of schools in which copyright subsists :<br /> <br /> <br />  <br /> <br /> <br /> <br /> (¥)<br /> <br /> Provided that not more than two of such passages from works by the<br /> same author are published by the same publisher within five years,<br /> and that the source from which such passages are taken is acknowledged :<br /> <br /> (e) The publication in a newspaper of a report of a lecture delivered in<br /> <br /> public, unless the report is prohibited by conspicuous written or printed<br /> notice affixed before and maintained during the lecture at or about<br /> the main entrance of the building in which the lecture is given, and,<br /> except whilst the building is being used for public worship, in a position<br /> near the lecturer; but nothing in this paragraph shall affect the pro-<br /> visions in paragraph (a) as to newspaper summaries :<br /> <br /> (f) The reading or recitation in public by one person of any reasonable extract<br /> <br /> from any published work.<br /> <br /> (2.) Copyright in a work shall also be deemed to be infringed by any person<br /> who—<br /> <br /> (a) Sells or lets for hire, or by way of trade exposes or offers for sale or<br /> <br /> hire; or<br /> <br /> (b) Distributes either for the purposes of trade or to such an extent as to<br /> <br /> affect prejudicially the owner of the copyright ; or<br /> <br /> (c) By way of trade exhibits in public ; or<br /> <br /> (d) Imports for sale or hire into New Zealand,<br /> any work which to his knowledge infringes copyright or would infringe copyright<br /> if it had been made in New Zealand.<br /> <br /> (3.) Copyright in a work shall also be deemed to be infringed by any person<br /> who for his private profits permits a theatre or other place of entertainment to<br /> be used for the performance in public of the work without the consent of the owner<br /> of the copyright, unless he was not aware, and had no reasonable ground for<br /> suspecting, that the performance would be an infringement of copyright.<br /> <br /> 6. The term for which copyright shall subsist shall, except as otherwise<br /> expressly provided by this Act, be the life of the author and a period of fifty<br /> years after his death: . a<br /> <br /> Provided that at any time after the expiration of twenty-five years, or in<br /> the case of a work in which copyright subsists at the commencement of this &gt;<br /> thirty years, from the death of the author of a published work, od idee<br /> emed to be infringed by the reproduction of the work for sale i<br /> ing the work proves that he has given the prescribed notice<br /> oduce the work, and that he has paid in the pre-<br /> refit of the owner of the copyright, royalties in<br /> calculated at the rate of ten per centum<br /> and for the purposes of this proviso<br /> <br /> work shall not be de<br /> the person reproduc<br /> in writing of his intention to repr<br /> scribed manner, to or for the ber i<br /> respect of all copies of the work sold by him,<br /> <br /> i rhie 2 ishes the work ; ey<br /> <br /> on the price at w hich he publish . ee a<br /> <br /> the Governor ma b Order in Council gazetted, make regulations p g<br /> . y, DY<br /> <br /> the mode in which notices are to be given, and the particulars to : given : os<br /> i i é quency of the payment of royalties, including<br /> notices, and the mode, time, and frequency ~~<br /> (if he thinks fit) regulations requiring payment in advance or otherwise securing<br /> the payment of royalties. | :<br /> ” Tf at any time after the death of the author of a literary, eoree! or<br /> . 4 vy : : .<br /> musical work Guick has been published or performed in public a gt aint i<br /> rit ie the Judicial Committee of the Privy Council that the owner of the copy<br /> <br /> <br /> <br /> Term of<br /> copyright.<br /> <br /> Compulsory<br /> licenses.<br /> <br /> <br />  <br /> <br /> <br /> Ownership of<br /> copyright,<br /> &amp;e.<br /> <br /> <br /> <br /> <br /> <br /> publish or to allow the republication of the work,<br /> ance in public of the work, and that by reason<br /> of such refusal the work is withheld from the public, the owner of the copyright<br /> may be ordered to grant a license to reproduce the work or perform the work in<br /> public, as the case may be, on such terms and subject to such conditions as the<br /> <br /> said Court may think fit.<br /> <br /> right in the work has refused to re<br /> or has refused to allow the perform<br /> <br /> 8.—(1.) Subject to the provisions of this Act the author of a work shall be<br /> the first owner of the copyright therein :<br /> Provided that—<br /> (a) Where, in the case of an engraving, photograph, or portrait, the plate<br /> or other original was ordered by some other person, and was made<br /> for valuable consideration in pursuance of that order, then, in the<br /> <br /> absence of any agreement to the contrary, the person by whom such<br /> <br /> plate or other original was ordered shall be the first owner of the<br /> <br /> copyright ; and<br /> <br /> (b) Where the author was in the employment of some other person under<br /> a contract of service or apprenticeship, and the work was made in<br /> the course of his employment by that person, the person by whom the<br /> author was employed shall, in the absence of any agreement to the<br /> contrary, be the first owner of the copyright ; but where the work is<br /> an article or other contribution to a newspaper, magazine, or similar<br /> periodical, there shall, in the absence of any agreement to the contrary,<br /> be deemed to be reserved to the author a right to restrain the publication<br /> of the work, otherwise than as part of a newspaper, magazine, or<br /> similar periodical.<br /> <br /> (2.) The owner of the copyright in any work may assign the right, either<br /> wholly or partially, and cither for the whole term of the copyright or for any part<br /> thereof, and may grant any interest in the right by license ; but no such assignment<br /> or grant shall be valid unless it is in writing signed by the owner of the right in<br /> respect of which the assignment or grant is made, or by his duly authorized<br /> agent :<br /> <br /> Provided that where the author of a work is the first owner of the copyright<br /> therein no assignment of the copyright, and no grant of any interest therein<br /> made by him (otherwise than by will) after the commencement of this Act, shall<br /> be operative to vest in the assignee or grantee any rights with respect to the copy-<br /> ‘right in the work beyond the expiration of twenty-five years from the death<br /> of the author, and the reversionary interest in the copyright expectant on the<br /> termination of that period shall, on the death of the author, notwithstanding<br /> any agreement to the contrary, devolve on his legal personal representatives<br /> as part of his estate, and any agreement entered into by him as to the disposition<br /> <br /> of such reversionary interest shall be null and void; but nothing in this proviso<br /> shall be construed as applying to the assignment of the copyright in a collective<br /> work, or a license to publish a work or part of a work as part of a collective work.<br /> <br /> (3.) Where, under any partial assignment of copyright, the assignee becomes<br /> entitled to any right comprised in copyright, the assignee as respects the right so<br /> assigned, and the assignor as respects the rights not assigned, shall be treated<br />  <br /> <br /> <br /> <br /> [ e)<br /> <br /> for the purposes of this A<br /> ses s Act as the owner of the copyri e provisi<br /> of this Act shall have effect accordingly. a<br /> <br /> Civil Remedies.<br /> <br /> ae loaded been infringed the owner of the<br /> <br /> remedies by Wey of fnninetion agit a nee: ee _ ee<br /> <br /> a, ot Seect 8 S, a es and otherwise, as are or may be<br /> J gement of a right.<br /> <br /> (2.) The costs of all parties in any proceedings in respect of the infringement<br /> <br /> of copyright shall be in the absolute discretion of the Court. |<br /> <br /> (3.) In any action for infringement of copyright in any work the work shall<br /> <br /> be presumed to be a work in which copyright subsists, and the plaintiff shall be<br /> presumed to be the owner of the copyright unless the defendant puts in issue the<br /> existence of the copyright or, as the case may be, the title of the plaintiff; and<br /> where any such question is in issue, then—<br /> <br /> (a) If a name purporting to be that of the author of the work is printed<br /> or otherwise indicated thereon in the usual manner, the person whose<br /> name is so printed or indicated shall, unless the contrary is proved, be<br /> presumed to be the author of the work :<br /> <br /> (b) If no name is so printed or indicated, or if the name so printed or indicated<br /> is not the author’s true name or the name by which he is commonly<br /> known, and a name purporting to be that of the publisher or proprietor<br /> of the work is printed or otherwise indicated thereon in the usual<br /> manner, the person whose name is so printed or indicated shall, unless<br /> the contrary is proved, be presumed to be the owner of the copyright<br /> in the work for the purposes of proceedings in respect of the infringe-<br /> ment of copyright therein.<br /> <br /> 10. All infringing copies of any work in which copyright subsists, or of any<br /> substantial part thereof, and all plates used or intended to be used for the pro-<br /> duction of such infringing copies, shall be deemed to be the property of the owner<br /> of the copyright, who accordingly may take proceedings for the recovery of the<br /> possession thereof or in respect of the conversion thereof.<br /> <br /> 11. Where proceedings are taken in respect of the infringement of the<br /> copyright in any work, and the defendant in his defence alleges that he was not<br /> aware of the existence of the copyright in the work, the plaintiff shall not be ent itled<br /> to any remedy other than an injunction in respect of the infringement if the<br /> defendant proves that at the date of the infringement he was not aware and<br /> had no reasonable ground for suspecting that copyright subsisted in the work.<br /> building or other structure which<br /> ich if completed would infringe, the copyright in some other —_<br /> d, the owner of the copyright shall not be entitled to obtain<br /> construction of such building or structure oF to order<br /> <br /> Where the construction of a<br /> <br /> 12.—(1.)<br /> infringes, or wh<br /> has been commence<br /> an injunction to restrain the<br /> its demolition.<br /> <br /> (2.) Such of the other provisions of this<br /> ll be deemed to be the property of the owner of the<br /> <br /> Act as provide that an infringing<br /> copyright,<br /> <br /> copy of a work sha<br /> <br /> <br /> <br /> Civil remedies<br /> for infringe-<br /> ment of copy-<br /> right.<br /> <br /> Rights of<br /> owner against<br /> persons<br /> possessing or<br /> dealing with<br /> infringing<br /> copies, &amp;c.<br /> <br /> Exemption<br /> of innocent<br /> infringer<br /> from liability<br /> to pay<br /> damages, &amp;¢.<br /> <br /> Restriction<br /> remedies in<br /> the case of<br /> architecture.<br /> <br /> <br />  <br /> <br /> ew.<br /> <br /> or as impose summary penalties, shall not apply in any case to which this section<br /> <br /> applies.<br /> Limitation of 13. An action in respect of infringement of copyright shall not be commenced<br /> oor after the expiration of three years next after the infringement.<br /> <br /> Summary Remedies.<br /> <br /> Summary 14.—(1.) Every person who knowingly—<br /> offences. (a) Makes for sale or hire any infringing copy of a work in which copyright<br /> subsists ; or<br /> <br /> (b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire,<br /> <br /> any infringing copy of any such work ; or<br /> <br /> (c) Distributes infringing copies of any such work either for the purposes<br /> <br /> of trade or to such an extent as to affect prejudicially the owner of<br /> the copyright ; or<br /> <br /> (d) By way of trade exhibits in public any infringing copy of any such<br /> <br /> work ; or<br /> <br /> (e) Imports for sale or hire into New Zealand any infringing copy of any<br /> <br /> such work,<br /> is liable on summary conviction to a fine not exceeding two pounds for every copy<br /> dealt with in contravention of this section, but not exceeding fifty pounds in respect<br /> of the same transaction, or, in the case of a second or subsequent offence, either<br /> to such fine or to two months’ imprisonment.<br /> <br /> (2.) Every person who knowingly makes or has in his possession any plate<br /> for the purpose of making infringing copies of any work in which copyright<br /> subsists, or who knowingly and for his private profit causes any such work to be<br /> performed in public without the consent of the owner of the copyright, is liable<br /> on summary conviction to a fine of fifty pounds, or, in the case of a second or<br /> subsequent offence, either to such fine or to two months’ imprisonment.<br /> <br /> (8.) The Court before which any such proceedings are taken may, whether the<br /> alleged offender is convicted or not, order that all copies of the work, or all plates in<br /> possession of the alleged offender which appear to it to be infringing copies or plates<br /> for the purpose of making infringing copies, be destroyed, or delivered up to the<br /> owner of the copyright, or otherwise dealt with as the Court may think fit.<br /> <br /> Pormitt’ng 15. Every person who for his private profit permits any theatre or other<br /> <br /> ee. place of entertainment to be used for the performance in public of any musical<br /> or dramatic work without the consent of the registered owner of the sole right<br /> to perform or authorize the performance of the work in New Zealand, or any part<br /> of New Zealand where the theatre or place is situated, is liable on summary<br /> conviction to a fine of ten pounds, unless he was not aware and had no reasonable<br /> ground for suspecting that the performance would be an infringement of the right<br /> to perform or authorize the performance of the work.<br /> <br /> Sarohe 16.—(1.) Any Justice may, on the application of the registered owner of the<br /> <br /> warrant. copyright in any literary, dramatic, musical, or artistic work, or of the agent<br /> of such owner appointed in writing,—<br /> <br /> (a) If satisfied by evidence that there is reasonable ground for believing<br /> <br /> that infringing copies of the work are being sold or offered for sale,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> (i<br /> <br /> issue a warrant in accordance with the form prescribed authorizing<br /> any constable to seize the infringing copies and to bring them before a<br /> Court of summary jurisdiction :<br /> <br /> (b) If satisfied by evidence that there is reasonable ground for believing<br /> that infringing copies of the work are to be found in any house, shop,<br /> or other place, issue a warrant in accordance with the form prescribed<br /> authorizing any constable to search, between sunrise and sunset, the<br /> place where the infringing copies are supposed to be, and to seize and<br /> bring them or any copies reasonably suspected to be infringing copies<br /> of the work before a Court of summary jurisdiction.<br /> <br /> (2.) A Court of summary jurisdiction may, on proof that any copies brought<br /> before it in pursuance of this section are infringing copies of the work, order them<br /> to be destroyed, or to be delivered up, subject to such conditions, if any, as the<br /> Court thinks fit, to the owner of the copyright in the work.<br /> <br /> 17.—(1.) The registered owner of the sole right to perform or authorize<br /> the performance of a musical or dramatic work in New Zealand or any part<br /> thereof, or the agent of such owner appointed in writing, may, by notice in writing<br /> in the prescribed form, forbid the performance in public of the work in infringement<br /> of his right, and require any person to refrain from performing or taking part in<br /> the performance in public of the work in infringement of his right ; and every<br /> as been given in accordance with this section who<br /> rformance in public of the work in infringement<br /> fine not exceeding<br /> <br /> person to whom a notice h<br /> performs or takes part in the pe<br /> of the right of such owner is liable on summary conviction to a<br /> <br /> ten pounds.<br /> (2.) Every person who give<br /> cause is liable on summary convicti<br /> (3.) In any prosecution under the |<br /> <br /> s notice in pursuance of this section without just<br /> on to a fine of twenty pounds.<br /> ast preceding sub-section the defendant<br /> <br /> shall be deemed to have given the notice without just cause unless he proves :<br /> the satisfaction of the Court that at the time of giving the notice he _ .<br /> registered owner of the sole right to perform or authorize the oo 0 :<br /> work in New Zealand or any part thereof, or the agent of such owner gee<br /> in writing, and had reasonable ground for believing that nae Pees ae<br /> notice was given was about to perform or take part in the performance of the<br /> <br /> in infringement of the right of such owner.<br /> yurt of summary jurisdiction,<br /> work or the owner of the sole<br /> k, in respect of any offence<br /> <br /> 18. Where proceedings are instituted in any Cc<br /> by or on behalf of the owner of the copyright in any<br /> <br /> i orf se of any wor<br /> right to perform or authorize the performance gues | :<br /> a ew of his right, any fine imposed shall be paid to him by way ©<br /> <br /> i i in ¢ ase any fine<br /> compensation for the injury sustained by him, but in any ee c - Le<br /> imposed in respect of any offence against this Act shall be paid in<br /> <br /> solidated Fund.<br /> <br /> 19.—(1.) No proceedi<br /> in respect of any offence @ gainst this<br /> the date of the offence.<br /> <br /> (2.) An appeal to the Supr<br /> (ineluding any dismissal of any 1<br /> <br /> a Court of summary jurisdiction<br /> <br /> ; shall be instituted in<br /> TS e expiration of six months from<br /> <br /> Act after th<br /> <br /> vietion or order<br /> ion) of a Court<br /> <br /> eme Court shall lie from any con<br /> nformation, complaint, or applicat<br /> <br /> <br /> <br /> Owner of<br /> performing-<br /> right<br /> <br /> may forbid<br /> performance<br /> in infringe-<br /> ment of right.<br /> <br /> Application<br /> of fines.<br /> <br /> Limitation of<br /> summary<br /> proceedings.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Certain<br /> provisions<br /> not to apply<br /> to works of<br /> architecture.<br /> <br /> Importation<br /> of infringing<br /> copies.<br /> <br /> Repeal.<br /> <br /> Works of<br /> <br /> “At t b . .<br /> joint authors. during the life of the author who first dies and for a term of fifty years after his<br /> <br /> (aa<br /> <br /> of summary jurisdiction in respect of any offence or matter under this Act, and<br /> such appeal shall be made within the time and in the manner provided by<br /> <br /> <br /> <br /> regulations.<br /> <br /> 90. Sections fourteen to eighteen hereof shall not apply to any case to which<br /> section twelve hereof, relating to infringement of copyright in the case of a work<br /> of architecture, applies.<br /> <br /> Importation of Copies.<br /> <br /> 21,—(1.) Copies made out of New Zealand of any work in which copyright<br /> subsists which if made in New Zealand would infringe copyright, and as to which<br /> the owner of the copyright gives notice in writing by himself or his agent to the<br /> Minister of Customs that he is desirous that such copies should not be imported<br /> into New Zealand, shall not be so imported, and shall, subject to the provisions<br /> of this section, be deemed to be prohibited imports within the meaning of the<br /> Customs Law Act, 1908. For the purposes of this section notices given to the<br /> Commissioners of Customs and Excise of the United Kingdom, and communicated<br /> by them to the Minister of Customs, shall be deemed to have been given by the<br /> owner to the Minister of Customs.<br /> <br /> (2.) Before detaining any such copies, or taking any further proceedings<br /> with a view to the forfeiture thereof, the Minister of Customs may require the<br /> regulations under this section, whether as to information, conditions, or other<br /> matters, to be complied with, and may satisfy himself in accordance with those<br /> regulations that the copies are such as are prohibited by this section to be imported.<br /> <br /> (3.) There shall be publicly exposed in the office of the Collector of Customs<br /> at every portin New Zealand lists of all works in which copyright subsists and as to<br /> which the owner of the copyright, by himself or his agent, has duly given a notice to<br /> the Minister of Customs pursuant to sub-section (1.) hereof.<br /> <br /> (4.) The Governor may, by Order in Council gazetted, make regulations,<br /> either general or special, respecting the detention and forfeiture of copies the<br /> importation of which is prohibited by this section ; and may by such regulations<br /> determine the information, notices, and security to be given, and the evidence<br /> requisite, for any of the purposes of this section, and the mode of verification of<br /> such evidence.<br /> <br /> (5.) The regulations may apply to copies of all works the importation of copies<br /> of which is prohibited by this section, or different regulations may be made<br /> respecting different classes of such works.<br /> <br /> (6.) The regulations may provide for the informant reimbursing the Minister<br /> of Customs all expenses and damages incurred in respect of any detention made on<br /> his information, and of any proceedings consequent on such detention ; and may<br /> provide for notices under any enactment repealed by this Act being treated as<br /> notices given under this section.<br /> <br /> (7.) Section ninety-two of the Customs Law Act, 1908, and the first paragraph<br /> of the Third Schedule to the said Act (relating to the importation of prohibited<br /> books) are hereby repealed.<br /> <br /> Special Provisions as to certain Works.<br /> 22.—(1.) In the case of a work of joint authorship, copyright shall subsist<br />  <br /> <br /> <br /> <br /> (<br /> <br /> death, or during the life of the author who dies last, whichever period is the longer ;<br /> and references in this Act to the period after the expiration of any specified<br /> number of years from the death of the author shall be construed as references to<br /> the period after the expiration of the like number of years from the death of the<br /> author who dies first or after the death of the author who dies last, whichever period<br /> may be the shorter; and in the provisions of this Act with respect to the grant<br /> of compulsory licenses a reference to the date of the death of the author who dies<br /> last shall be substituted for the reference to the date of the death of the author.<br /> <br /> (2.) Where, in. the case of a work of joint authorship, some one or more of the<br /> joint authors do not satisfy the conditions conferring copyright laid down by this<br /> Act, the work shall be treated for the purposes of this Act as if the other author<br /> or authors had been the sole author or authors thereof :<br /> <br /> Provided that the term of the copyright shall be the same as it would have been<br /> if all the authors had satisfied such conditions as aforesaid.<br /> <br /> (3.) For the purposes of this Act ‘“‘a work of joint authorship ’’ means a<br /> work produced by the collaboration of two or more authors, in which the con-<br /> tribution of one author is not distinct from the contribution of the other author<br /> or authors.<br /> <br /> (4.) Where a married woman and her husband are joint authors of a work<br /> the interest of such married woman therein shall be her separate property.<br /> <br /> &gt;<br /> <br /> 23.—(1.) In the case of a literary, dramatic, or musical work, or an engraving,<br /> in which copyright subsists at the date of the death of the author or, in the cee of<br /> a work of joint authorship, at or immediately before the date of the death of the<br /> author who dies last, but which has not been published, nor, in the case of a dramatic<br /> or musical work, been performed in public, nor, in the case of a lecture, been<br /> delivered in public, before that date, copyright shall subsist till publication, or<br /> <br /> performance or delivery in public, whichever may first happen, and 2h Ss<br /> of fifty years thereafter; and the proviso to seetion six hoe shall a . and<br /> of such a work, apply as if the author had died at the date of such publicat<br /> <br /> performance or delivery in public as aforesaid. : a<br /> <br /> (2.) The ownership of an author’s manuscript after his oe ee a<br /> ownership has been acquired under a testamentary disposition made by ae :<br /> and the manuscript is of a work which has not been ee nor ae a,<br /> public, nor delivered in public, shall be prima facie proof of the copyrig sing<br /> with the owner of the manuscript.<br /> <br /> 24, Without prejudice to any rights or privileges of the eR<br /> work has, whether before or after the commencement - ae we pn aoe<br /> or published by or under the direction or control of His Majesty of - . aa<br /> Department, the copyright in the work shall, subject to sa ae as<br /> author, belong to His Majesty, and in such panes shall — inue<br /> fifty years from the date of the first publication of the work.<br /> <br /> perforated rolls, and other<br /> lly reproduced, in like<br /> term of copyright<br /> <br /> 25.—(1.) Copyright shall subsist in records, pe<br /> contrivances by means of which sounds may be ae oe<br /> manner as if such contrivances were musical works : : os<br /> shall be fifty years from the making of the a ele a :<br /> trivance was directly or indirectly derived, and the perso<br /> <br /> from which the con-<br /> as the owner of<br /> <br /> <br /> <br /> Posthumous<br /> works.<br /> <br /> Provisions as<br /> to Govern-<br /> ment publica-<br /> tions.<br /> <br /> Provisions as<br /> to mechanical<br /> instruments.<br /> <br /> <br />  <br /> <br /> <br /> <br /> (ae<br /> <br /> such original plate at the time when such plate was made shall be deemed to be<br /> the author of the work, and, where such owner is a body corporate, the body<br /> corporate shall be deemed for the purposes of this Act to reside in New Zealand<br /> if it has established a place of business in New Zealand.<br /> <br /> (2.) It shall not be deemed to be an infringement of copyright in any musical<br /> work for any person to make in New Zealand records, perforated rolls, or other<br /> contrivances by means of which the work may be mechanically performed, if<br /> such person proves—<br /> <br /> (a) That such contrivances have previously been made by, or with the consent<br /> <br /> or acquiescence of, the owner of the copyright in the work; and<br /> <br /> (b) That he has given the prescribed notice of his intention to make the<br /> <br /> contrivances, and has paid in the prescribed manner to, or for the benefit<br /> of, the owner of the copyright in the work royalties in respect of all such<br /> contrivances sold by him, calculated at the rate hereinafter mentioned :<br /> <br /> Provided that—<br /> <br /> (i.) Nothing herein shall authorize any alterations in or omissions<br /> from the work reproduced, unless contrivances reproducing the work<br /> subject to similar alterations and omissions have been previously made<br /> by, or with the consent or acquiescence of, the owner of the copyright,<br /> or unless such alterations or omissions are reasonably necessary for the<br /> adaptation of the work to the contrivances in question ; and<br /> <br /> (ii.) For the purposes of this provision a musical work shall be<br /> deemed to include any words so closely associated therewith as to form<br /> part of the same work, but shall not be deemed to include a contrivance<br /> by means of which sounds may be mechanically reproduced.<br /> <br /> (3.) The rate at which such royalties as aforesaid are to be calculated shall—<br /> (a) In the case of contrivances sold within two years after the commencement<br /> of this Act by the person making the same, be two.and one-half per<br /> centum; and<br /> (b) In the case of contrivances sold as aforesaid after the expiration of that<br /> period, five per centum,<br /> on the ordinary retail selling-price of the contrivance calculated in the prescribed<br /> manner, so, however, that the royalty payable in respect of a contrivance shall<br /> in no ease be less than a halfpenny for each separate musical work in which<br /> copyright subsists reproduced thereon, and, where the royalty calculated as afore-<br /> said includes a fraction of a farthing, such fraction shall be reckoned as a farthing :<br /> Provided that, if at any time after the expiration of seven years from the<br /> commencement of this Act it appears to the Governor in Council that such rate as<br /> aforesaid is no longer equitable, he may, after such public inquiry as he may direct,<br /> make an Order either decreasing or increasing that rate to such extent as under the<br /> circumstances may seem just ; but any Order so made shall be provisional only,<br /> and shall not have any effect unless and until confirmed by Parliament ; but, where<br /> an Order revising the rate has been so made and confirmed, no further revision<br /> <br /> shall be made before the expiration of fourteen years from the date of the last<br /> revision.<br /> <br /> : (4.) If any such contrivance is made reproducing two or more different works<br /> in which copyright subsists, and the owners of the copyright therein are different<br />  <br /> <br /> <br /> <br /> ( Ww)<br /> <br /> .. the sums payable by way of royalties under this section shall<br /> tioned amongst the several owners of the copyright in such ee be BP POT<br /> agreement, may be determined by arbitration. - vor ce ala ersaveena<br /> <br /> (5.) When any such contrive ; by means ae :<br /> <br /> mechanically Sas have ieee po eR - ey : a He ean<br /> ni owner of the copyright in the work shall, in relation - ee pees<br /> oe eer ee<br /> <br /> a ree ol i &gt; ‘ — within the Peer time.<br /> <br /> regulations prescribing niche a. a : a ce ae a a. a ae<br /> prescribing the dein ick actioss i. - oe ae pees oa<br /> <br /> de s are to be given, and the particulars to be<br /> given in such notices, and the mode, time, and frequency of the payment of<br /> royalties ; and any such regulations may include regulations requiring payment<br /> in advance or otherwise securing the payment of royalties.<br /> <br /> (7.) In the case of musical works published before the commencement of this<br /> <br /> Act the foregoing provisions shall have effect, subject to the following modifications<br /> and additions :—<br /> <br /> (a) The conditions as to the previous making by, or with the consent or<br /> acquiescence of, the owner of the copyright in the work, and the restric-<br /> tions as to alterations in or omissions from the work, shall not apply.<br /> <br /> (b) The rate of two and one-half per centum shall be substituted for the rate<br /> of five per centum as the rate at which royalties are to be calculated ;<br /> but no royalties shall be payable in respect of contrivances sold before<br /> the first day of April, nineteen hundred and fifteen, if contrivances<br /> reproducing the same work had been lawfully made or placed on sale<br /> in New Zealand before the commencement of this Act.<br /> <br /> (c) Notwithstanding any assignment made before the commencement of this<br /> Act of the copyright in a musical work, any rights conferred by this Act<br /> in respect of the making, or authorizing the making, of contrivances<br /> by means of which the work may be mechanically performed shall<br /> belong to the author or his legal personal representatives, and not to<br /> the assignee, and the royalties aforesaid shall be payable to and for the<br /> benefit of the author of the work or his legal personal representatives.<br /> <br /> (d) The saving contained in this Act of the rights and interests arising from<br /> or in connection with action taken before the commencement of this<br /> <br /> Act shall not be construed as authorizing any person who has made<br /> eans of which the work may be mechanically performed<br /> hether made before or after the com-<br /> and subject to the conditions<br /> <br /> contrivances by m<br /> to sell any such contrivances, W<br /> mencement of this Act, except on the terms<br /> <br /> laid down in this section.<br /> <br /> (e) Where the work is a work on which copyright is conferred by an Order in<br /> Council relating to a foreign country, the copyright so conferred shall<br /> <br /> t as may be provided by the Order, include<br /> <br /> not, except to such exten<br /> any rights with respect to the making of records, perforated rolls, or<br /> other contrivances by means of which the work may be mechanically<br /> <br /> performed.<br /> (8.) Notwithstandin<br /> -or other contrivance by mea<br /> <br /> here a record, perforated roll,<br /> y be mechanically reproduced<br /> <br /> g anything in this Act, w<br /> ns of which sounds ma<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> La<br /> <br /> has been made before the commencement of this Act, copyright shall, as from the<br /> commencement of this Act, subsist therein in like manner and for the like term as<br /> if this Act had been in force at the date of the making of the original plate from<br /> which the contrivance was directly or indirectly derived :<br /> Provided that— ‘<br /> (a) The person who at the commencement of this Act is the owner of such<br /> original plate shall be the first owner of such copyright ; and<br /> (b) Nothing herein shall be construed as conferring copyright in any such<br /> contrivance if the making thereof would have infringed copyright in<br /> some other such contrivance if this provision had been in force at the<br /> time of the making of the first-mentioned contrivance,<br /> <br /> Provision as 26. Notwithstanding anything in this Act, it shall not be an infringement<br /> <br /> pele ag of copyright in an address of a political nature delivered at a public meeting to<br /> publish a report thereof in a newspaper.<br /> <br /> Provisions as 27. The term for which copyright shall subsist in photographs shall be fifty<br /> <br /> near years from the making of the original negative from which the photograph was<br /> directly or indirectly derived ; and the person who was the owner of such negative<br /> at the time when such negative was made shall be deemed to be the author of the<br /> work, and, where such owner is a body corporate, the body corporate shall be<br /> deemed for the purposes of this Act to reside in New Zealand if it has established<br /> a place of business in New Zealand.<br /> <br /> Reciprocal 28.—(1.) The Governor may by Order in Council direct that this Act shall<br /> <br /> protection of extend—<br /> <br /> copyright.<br /> <br /> (a2) To works first published in any part of the British dominions to which the<br /> Order relates in like manner as if such works were first published in<br /> New Zealand; and<br /> <br /> (b) In respect of residence in any part of the British dominions to which the<br /> Order relates, in like manner as if such residence were residence in New<br /> Zealand ;<br /> <br /> and thereupon, subject to the provisions of this section and of the Order, this<br /> Act shall apply accordingly.<br /> <br /> (2.) Any Order made in pursuance of this section may provide—<br /> <br /> (a) That the term of copyright shall not exceed that conferred by the law of<br /> the part of the British dominions to which the Order relates ;<br /> <br /> (b) That the enjoyment of the rights conferred by virtue of the Order shall<br /> extend to New Zealand only, and shall be subject to the accomplishment<br /> of such conditions and formalities as are prescribed by the Order ;<br /> <br /> (c) For the modification of any provision of this Act as to ownership of copy-<br /> right or otherwise, having regard to the law of the part of the British<br /> dominions to which the Order relates ; and<br /> <br /> (d) That this Act may extend to existing works in which copyright subsists<br /> in the part of the British dominions to which the Order relates, but<br /> subject to such modifications, restrictions, and provisions as are set<br /> out in the Order.<br /> <br /> (8.) An Order in pursuance of this section shall be made only if the Governor<br /> in Council is satisfied that the part of the British dominions in relation to which the<br />  <br /> <br /> <br /> <br /> ( Ww)<br /> <br /> Order is proposed to be made has<br /> <br /> propos: 1 to be made has made, or has undertaken to make. s isi<br /> <br /> if any, as he thinks sufficient for the protection of work 6 soe<br /> if my . of works first prod ishec<br /> in New Zealand, and entitled to copyright therein ae<br /> <br /> 29.—(1 &gt; Governor may in ¢<br /> ( =) The Governor may by Order in Council alter, revok<br /> ‘Order in Council made by him in pursuance of ee ferr Bi pice fos be<br /> &#039; J ance of any power conferred<br /> a ene n) erred upon him b<br /> ” A i: but any Order made under this section shall not affect pe adieally<br /> y rights or interests acquired or accrued at the date when the Order comes es<br /> i. € ~ € ri &gt; +4 , .<br /> operation, and shall provide for the protection of such rights and interests<br /> g sts.<br /> <br /> Te J Ov 7 1 7<br /> : (2.) Every Order in Council made by the Governor in Council in pursuance<br /> a : &lt; i . ms ; .<br /> of any power conferred upon him by this Act shall be published in the Gazette<br /> and shall be laid before Parliament as soon as may be after it is made 3<br /> x a .<br /> <br /> 30.—(1.) This Act shall not apply to designs capable of being registered<br /> under the Patents, Designs, and Trade-marks Act, 1911, except gas wach<br /> though capable of being so registered, are not used or intended to be used - motels<br /> or patterns to be multiplied by any industrial process.<br /> <br /> (2.) Regulations may be made under section one hundred and twenty-three<br /> of the Patents, Designs, and Trade-marks Act, 1911, for determining the conditions<br /> under which a design shall be deemed to be used for such purposes as aforesaid<br /> <br /> 31. If it appears to the Governor in Council that a foreign country does<br /> not give or has not undertaken to give adequate protection to the works of New<br /> Zealand authors, he may by Order in Council direct that such of the provisions of<br /> this Act as confer copyright on works first published in New Zealand shall not<br /> apply to works published after the date specified in the Order the authors whereof<br /> are subjects or citizens of such foreign country and are not resident in New Zealand,<br /> <br /> and thereupon those provisions shall not apply to such works.<br /> <br /> 32.—(1.) Where any person is immediately before the commencement of<br /> this Act entitled to any such right in any work as is specified in the first column<br /> of the First Schedule to this Act, or to any interest in such a right, he shall as from<br /> that date be entitled to the substituted right set forth in the second column of<br /> that Schedule, or to the same interest in such a substituted right, and to no other<br /> right or interest ; and such substituted right shall subsist for the term for which<br /> it would have subsisted if this Act had been in force at the date when the work<br /> <br /> was made and the work had been one entitled to copyright thereunder :<br /> <br /> Provided that—<br /> (a) If the author of any work in which<br /> first column of the First Schedule to this Act subsists<br /> ment of this Act has be<br /> interest therein for the who<br /> put for the passing of this Act the ri<br /> tuted right conferred b<br /> <br /> ass to the author of the wor.<br /> t of this Act<br /> <br /> any such right as is specified in the<br /> <br /> agreement, Pp<br /> ated before the commencemen<br /> put the person who imme<br /> <br /> ld so have expired was the<br /> at his option, either—<br /> <br /> cre<br /> shall determine ;<br /> at which the right wou<br /> interest shall be entitled,<br /> <br /> at the commence-<br /> fore that date assigned the right, or granted any<br /> le term of the right, then at the date when<br /> ght would have expired the substi-<br /> y this section shall, in the absence of express<br /> k, and any interest therein<br /> and then subsisting<br /> diately before the date<br /> owner of the right or<br /> <br /> <br /> <br /> <br /> Provisions as<br /> to Orders in<br /> <br /> Council.<br /> <br /> Provisions as<br /> to designs<br /> registrable<br /> under the<br /> Patents,<br /> Designs, and,<br /> Trade-marks<br /> Act.<br /> <br /> Works of<br /> foreign<br /> authors first<br /> published in<br /> New Zealand.<br /> <br /> Existing<br /> works.<br />  <br /> <br /> Power to<br /> extend Act<br /> to foreign<br /> works,<br /> <br /> <br /> <br /> (i.) On giving such notice as hereinafter mentioned, to an assign-<br /> ment of the right or the grant of a similar interest therein for the<br /> remainder of the term of the right for such consideration as, failing<br /> agreement, may be determined by arbitration ; or<br /> <br /> (ii.) Without any such assignment or grant, to continue to reproduce<br /> or perform the work in like manner as theretofore, subject to the<br /> payment, if demanded by the author within three years after the date<br /> at which the right would have so expired, of such royalties to the author<br /> as, failing agreement, may be determined by arbitration ; or, where<br /> the work is incorporated in a collective work and the owner of the right<br /> or interest is the proprietor of that collective work, without any such<br /> payment.<br /> <br /> The notice above referred to must be given not more than one<br /> year nor less than six months before the date at which the right would<br /> have so expired, and must be sent by registered post to the author,<br /> or, if he cannot with reasonable diligence be found, must be advertised<br /> in the Gazette and in the Patent Office Journal, and in one newspaper<br /> published in each of the Cities of Wellington, Auckland, Christchurch,<br /> and Dunedin. .<br /> <br /> (b) Where any person has, before the first day of July, nineteen hundred<br /> and thirteen, taken any action whereby he has incurred any expenditure<br /> or liability in connection with the reproduction or performance of any<br /> work in a manner which at the time was lawful, or for the purpose<br /> of or with a view to the reproduction or performance of a work at a<br /> time when such reproduction or performance would but for the passing<br /> of this Act have been lawful, nothing in this section shall diminish<br /> or prejudice any rights or interest arising from or in connection with<br /> such action which are subsisting and valuable at the said date, unless<br /> the person who by virtue of this section becomes entitled to restrain<br /> such reproduction or performance agrees to pay such compensation<br /> as, failing agreement, may be determined by arbitration.<br /> <br /> (2.) For the purposes of this section the expression “ author” includes<br /> <br /> the legal personal representatives of a deceased author.<br /> <br /> (3.) Subject to the provisions of sub-sections (7.) and (8.) of section twenty-<br /> five hereof, copyright shall not subsist in any work made before the commence-<br /> ment of this Act otherwise than under and in accordance with the provisions of<br /> this section.<br /> <br /> PART II.—InTERNATIONAL COPYRIGHT.<br /> <br /> 33.—(1.) The Governor may by Order in Council direct that this Act (except<br /> such of the provisions thereof, if any, as may be specified in the Order) shall<br /> extend—<br /> <br /> (a) To works first published in a foreign country to which the Order relates,<br /> <br /> in like manner as if they were first published in New Zealand ;<br /> <br /> (b) To literary, dramatic, musical, and artistic works, or any class thereof,<br /> the authors whereof were at the time of the making of the work subjects<br /> or citizens of a foreign country to which the Order relates, in like manner<br /> <br /> as if the authors were British subjects ;<br /> <br /> <br />  <br /> <br /> <br /> <br /> (c) In respect of residence in a foreign country to which the Order relates,<br /> in like manner as if such residence were residence in New Zealand ;<br /> <br /> and thereupon, subject to the provisions of this Part of this Act and of the Order,<br /> <br /> this Act shall apply accordingly :<br /> Provided that—<br /> <br /> (a) Before making an Order in Council under this section in respect of any<br /> foreign country (other than a country with which His Majesty has<br /> entered into a convention relating to copyright), the Governor shall be<br /> satisfied that that foreign country has made or has undertaken to:<br /> make such provisions, if any, as it appears to the Governor expedient<br /> to require for the protection of works entitled to copyright under the<br /> provisions of Part I. of this Act:<br /> <br /> (b) The Order in Council may provide that the term of copyright in New<br /> Zealand shall not exceed that conferred by the law of the country<br /> to which the Order relates :<br /> <br /> (c) The provisions of section fifty hereof (relating to the delivery of copies<br /> of books to the Registrar) shall not apply to works first published in<br /> such country, except so far as is provided by the Order :<br /> <br /> (d) The Order in Council may provide that the enjoyment of the rights<br /> conferred by this Act shall be subject to the accomplishment of such<br /> conditions and formalities, if any, as may be prescribed by the Order :<br /> <br /> (e) In applying the provisions of this Act as to ownership of copyright, the<br /> Order in Council may make such modifications as appear necessary<br /> having regard to the law of the foreign country :<br /> <br /> (f) In applying the provisions of this Act as to existing works, the Order<br /> in Council may make such modifications as appear necessary, and may<br /> provide that nothing in those provisions as so applied shall be construed<br /> as reviving any right of preventing the production or importation of<br /> any translation in any case where the right has ceased.<br /> <br /> (2.) An Order in Council under this section may extend to all the several<br /> <br /> countries named or described therein.<br /> <br /> PART III.—CopyricutT OFFICE.<br /> <br /> 34.—(1.) The Governor may from time to time appoint such person as he<br /> thinks fit to be Registrar of Copyright, and in like manner may appoint a place<br /> to be the Copyright Office.<br /> <br /> (2.) The person who at the co<br /> Registrar under the Copyright Act, 1908, shall be and act as<br /> <br /> this Act.<br /> (3.) The place at the commencement of this Act used as the Copyright<br /> <br /> Office shall be deemed to have been appointed under this Act.<br /> <br /> mmencement of this Act holds the office of<br /> Registrar under<br /> <br /> time appoint a fit and proper person<br /> of the illness, incapacity, or absence of<br /> istrar ; and while<br /> <br /> 35.—(1.) The Governor may at any<br /> <br /> Registre act in the case<br /> <br /> to be Deputy Registrar to act in t<br /> <br /> the Resatrar, or in the case of any vacancy 1n the office of Reg A pad<br /> <br /> so acting such Deputy shall have all the powers and. privileges, and shall perform<br /> all the duties, and be subject to the responsibilities, of the Registrar.<br /> <br /> Registrar of<br /> Copyright.<br /> <br /> Copyright<br /> Office.<br /> <br /> Deputy<br /> Registrar.<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Seal.<br /> <br /> Fees.<br /> <br /> Registration<br /> optional.<br /> <br /> Copyright<br /> Registers.<br /> <br /> Mode of<br /> registration.<br /> <br /> Registration<br /> of assign-<br /> ments, &amp;e.<br /> <br /> How registra-<br /> tion is to be<br /> effected.<br /> <br /> Registration<br /> of work<br /> published ina<br /> series.<br /> <br /> Trusts not<br /> registered.<br /> <br /> Register to<br /> be evidence,<br /> <br /> Certified<br /> copies,<br /> <br /> <br /> <br /> ( 20 )<br /> <br /> (2.) The fact of the Deputy Registrar acting as aforesaid shall be conclusive<br /> evidence of his authority so to do, and no person shall be concerned to inquire<br /> whether the occasion has arisen requiring or authorizing him so to act.<br /> <br /> 36. There shall be a seal of the Copyright Office, and impressions thereof<br /> shall be judicially noticed and admitted in evidence.<br /> <br /> 3%, There shall be paid in respect of application for the registration of copy-<br /> rights and in respect of other matters with relation to copyrights such fees as may<br /> from time to time be prescribed by the Governor in Council, and those fees shall<br /> be paid into the Public Account and form part of the Consolidated Fund.<br /> <br /> 38. Registration of copyright shall be optional, but the special remedies<br /> provided for by sections fifteen, sixteen, and seventeen of this Act may be taken<br /> advantage of only by registered owners.<br /> <br /> 39. The following Registers of Copyright shall be kept by the Registrar at<br /> the Copyright Office :—<br /> <br /> (a) The Register of Literary (including Dramatic and Musical) Copyright.<br /> <br /> (b) The Register of Fine Arts Copyrights.<br /> <br /> 40. The owner of any copyright under this Act, or of the sole right to perform<br /> or authorize the performance of any musical or dramatic work in New Zealand<br /> or any part thereof, may obtain registration of his right in the manner prescribed.<br /> <br /> 41. When any person becomes entitled to any registered copyright or any<br /> other right under this Act by virtue of any assignment or transmission, or to any<br /> interest therein by license, he may obtain registration of the assignment, trans-<br /> mission, or license in the manner prescribed.<br /> <br /> 42. The registration of any copyright or other right under this Act, or of any<br /> assignment or transmission thereof, or of any interest therein by license, shall be<br /> effected by entering in the proper register the prescribed particulars relating to.<br /> the right, assignment, transmission, or license.<br /> <br /> 48. In the case of an encyclopedia, newspaper, review, magazine, or other<br /> periodical work, or a work published in a series of books or parts, a single registra-<br /> tion for the whole work may be made.<br /> <br /> &#039; 44,—(1.) No notice of any trust (expressed, implied, or constructive) shall<br /> be entered in any Register of Copyrights under this Act or be receivable by the<br /> Registrar.<br /> <br /> (2.) Subject to this section, equities in respect of any copyright under this<br /> Act may be enforced in the same manner as equities in respect of other personal<br /> property. :<br /> <br /> 45, Every Register of Copyrights under this Act shall be prima facie evidence<br /> of the particulars entered therein; and documents purporting to be copies of<br /> any entry therein or extracts therefrom certified by the Registrar and sealed<br /> with the seal of the Copyright Office shall be judicially noticed and admitted in<br /> evidence without further proof or production of the originals.<br /> <br /> 46. Certified copies of entries in any register under this Act or of extracts<br /> <br /> <br /> ( @ }<br /> <br /> therefrom shall, on payment of the p i<br /> ‘ £ 5 zi tT &gt; Yr oO 2, &gt; ; 7<br /> . prescribed fee, be given to any person applying<br /> <br /> 47. Each register under this Act shall be open to public inspection at all<br /> convenient times on payment of the prescribed fee.<br /> <br /> — The Registrar may, in prescribed cases and subject to the prescribed<br /> conditions, amend or alter any register under this Act by—<br /> (a) Correcting any error in any name, address, or particular; and<br /> (b) Entering any prescribed memorandum or particular relating to copyright<br /> or other right under this Act.<br /> <br /> &#039; 49.—(1.) Subject to this Act the Supreme Court may, on the application<br /> of the Registrar or of any person aggrieved, order the rectification of any register<br /> under this Act by—<br /> (a) The making of any entry wrongly omitted to be made in the register ;<br /> or<br /> (b) The expunging of any entry wrongly made in or remaining on the register ;<br /> or<br /> (c) The correction of any error or defect in the register.<br /> (2.) An appeal shall lie to the Court of Appeal from any order for the recti-<br /> fication of any register made by the Supreme Court or a Judge thereof under<br /> this section.<br /> <br /> 50.—(1.) Every person who makes application for the registration of a<br /> copyright in a book shall deliver to the Registrar one copy of the whole book,<br /> with all maps and illustrations belonging thereto, finished and coloured in the same<br /> manner as the best copies of the book are published, and bound, sewed, or stitched<br /> together, and on the best paper on which the book is printed.<br /> <br /> s an application for the registration of the<br /> <br /> (2.) Every person who make<br /> liver to the Registrar one copy of the work of<br /> <br /> copyright in a work of art shall de<br /> art or a representation of it.<br /> <br /> (3.) The Registrar shall refuse to register the copyright in any book until<br /> sub-section (1.) of this section has been complied with, or the copyright in a work<br /> of art until sub-section (2.) of this section has been complied with.<br /> <br /> (4.) Each copy or representation delivered to the Registrar in pursuance<br /> of this section shall be retained at the Copyright Office.<br /> wilfully makes any false statement or representation<br /> <br /> to deceive the Registrar or any officer in the execution of this Act, or to procure<br /> <br /> or influence the doing or omission of anything in relation to this Act or any matter<br /> <br /> thereunder, is liable on summary conviction to imprisonment for a term not exceed-<br /> <br /> ing two years.<br /> <br /> 52,—(1.) The publisher of book which is first published in New<br /> “Zealand after the commencement of this Act, and in which copyright subsists<br /> under this Act, shall within one month after the publication deliver at his own<br /> pies of the book to the Librarian of the General Assembly Library,<br /> a written receipt for them.<br /> delivered to the Librarian of the General Assembly Library<br /> hole book, with all maps and illustrations belonging thereto,<br /> <br /> 51. Every person who<br /> <br /> every<br /> <br /> expense two co<br /> who shall give<br /> <br /> (2.) The copies<br /> shall be copies of the w.<br /> <br /> Public<br /> inspection of<br /> registers.<br /> <br /> Correction of<br /> register.<br /> <br /> Rectification<br /> of register by<br /> the Court.<br /> <br /> Copies to be<br /> delivered on<br /> registration.<br /> <br /> False repre-<br /> sentation to<br /> Registrar.<br /> <br /> Copies to be<br /> delivered to<br /> General<br /> Assembly<br /> Library.<br /> <br /> <br />  <br /> <br /> <br /> Power to<br /> make regula-<br /> tions.<br /> <br /> Repeals.<br /> <br /> Schedules.<br /> <br /> <br /> <br /> ( 22 )<br /> <br /> finished, and coloured in the same manner as the best copies of the book are pub-<br /> lished, and bound, sewed, or stitched together, and on the best paper on which<br /> the book is printed.<br /> <br /> (3.) If a publisher fails to comply with this section he shall be liable on<br /> summary conviction to a fine not exceeding five pounds and the value of the copies.<br /> <br /> (4.) For the purpose of this section the expression “ book” includes every<br /> part or division of a book, pamphlet, sheet of letterpress, map, plan, chart, or table,<br /> but shall not include any second or subsequent edition of a book unless that<br /> edition contains additions or alterations either in the letterpress or in the maps,<br /> prints, or other engravings belonging thereto.<br /> <br /> 53. The Governor in Council may make regulations, not inconsistent with<br /> this Act, prescribing all matters which by this Act are required or permitted to be<br /> prescribed, or which are necessary or convenient to be prescribed, for giving effect<br /> to this Act or for the conduct of any business relating to the Copyright Office.<br /> <br /> 54,—(1.) The Copyright Act, 1908, and section one hundred and thirty-two<br /> of the Patents, Designs, and Trade-marks Act, 1911, are hereby repealed.<br /> <br /> (2.) The Imperial enactments referred to in the Second Schedule hereto<br /> shall, as from the commencement of this Act, cease to have any force or effect<br /> <br /> in New Zealand.<br /> SCHEDULES.<br /> <br /> FIRST SCHEDULE.<br /> <br /> Existing Ricuts.<br /> <br /> <br /> <br /> Existing Right. Substituted Right.<br /> <br /> <br /> <br /> <br /> <br /> (a) In the case of Works other than Dramatic and Musical Works.<br /> <br /> Copyright .. a ss a a .. | Copyright as defined by this Act.*<br /> (6) In the case of Musical and Dramatic Works.<br /> Both copyright and performing-right .. — .. | Copyright as defined by this Act.*<br /> Copyright, but not performing-right ae .. | Copyright as defined by this Act, except the sole<br /> <br /> right to perform or authorize the performance of<br /> the work or any substantial part thereof in<br /> ee public.<br /> <br /> Performing-right, but not copyright se .. | The sole right to perform or authorize the per-<br /> formance of the work in public, but ‘none<br /> of the other rights comprised in copyright as<br /> defined by this Act.<br /> <br /> <br /> <br /> For the purposes of this Schedule the following expressions, where used in the first column thereof,<br /> have the following meanings :—<br /> <br /> “ Copyright,” in the case of a work which according to the law in force immediately before<br /> the commencement of this Act has not been published before that date, and statutory<br /> copyright wherein depends on publication, includes the right at common law, if any, to<br /> restrain publication or other dealing with the work :<br /> <br /> “ Performing-right,” in the case of a work which has not been performed in public before<br /> the commencement of this Act, includes the right at common law, if any, to restrain the<br /> performance thereof in public.<br /> <br /> <br /> <br /> _* In the case of an essay, article, or portion forming part of and first published in a<br /> review, magazine, or other periodical or work of a like nature, the right shall be subject to any right of<br /> publishing the essay, article, or portion in a separate form to which the author is entitled at the com-<br /> mencement of this Act, or would, if this Act had not been passed, have become entitled under section<br /> eighteen of the Imperial Copyright Act, 1842.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> (<br /> <br /> SECOND SCHEDULE.<br /> ImprriaL ENACTMENTS.<br /> <br /> 8 Geo. IT. c. 13.—The Engraving Copyright Act, 1734.<br /> 7 Geo. III. c. 38.—The Engraving Copyright Act, 1767.<br /> 17 Geo. IIL. c. 57.—The Prints Copyright Act, 1777.<br /> 54 Geo. III. c. 56.—The Sculpture Copyright Act, 1814.<br /> &amp; 4 Will. IV. c. 15.—The Dramatic Copyright Act, 1833.<br /> &amp; 6 Will. IV. c. 65.—The Lectures Copyright Act, 1835.<br /> &amp; 7 Will. IV. c. 59.—The Prints and Engravings Copyright Act, 1836.<br /> &amp; 6 Vict. c. 45.—The Copyright Act, 1842.<br /> &amp; 8 Vict. ec. 12.—The International Copyright Act, 1844.<br /> 1 Vict. c. 95.—The Colonial Copyright Act, 1847.<br /> 6 ce. 12.—The International Copyright Act, 1852.<br /> 6 Vict. c. 68.—The Fine Arts Copyright Act, 1862.<br /> 9 c. 12.—The International Copyright Act, 1875.<br /> c. 36.—The Customs Consolidation Act, 1876: Section 152 (prohibiting the importation<br /> of foreign reprints of books under copyright).<br /> 46 Vict. c. 40.—The Copyright (Musical Compositions) Act, 1882.<br /> 50 Vict. c. 33.—The International Copyright Act, 1886.<br /> 52 Vict. c. 17.—The Copyright (Musical Compositions) Act, 1888.<br /> <br /> NDON AND TONBRIDGE.<br /> <br /> <br /> <br /> [D., PRINTERS, LO<br /> <br /> BRADBUKY, AGNEW, &amp; CO,<br /> <br /> <br />  <br />  <br /> <br /> <br /> <br /> ‘SHTOW AYOLOLVIS<br /> <br /> ‘CL6T<br /> OV LHDTYAdOOD NVIIVULSNV<br />  <br />  <br /> <br /> STATUTORY RULES.<br /> 1913. No. 338.<br /> <br /> REGULATIONS UNDER THE COPYRIGHT ACT, 1912.<br /> <br /> I, THE GovERNOR-GENERAL in and over the Commonwealth of Australia<br /> ae os ee advice of the Federal Executive Council, do hereby make the<br /> ollowing Regulations under the Copyright i i<br /> aL pyright Act, 1912, to come into operation<br /> <br /> Dated this nineteenth day of December, One thousand nine hundred and<br /> <br /> thirteen.<br /> DENMAN,<br /> <br /> ‘ G Sean ar<br /> By His Excellency’s Command, oyemor Generel:<br /> W. H. Irvine,<br /> Attorney-General.<br /> <br /> THE COPYRIGHT REGULATIONS, 1913.<br /> <br /> PART I.—GENERAL.<br /> <br /> 1. These Regulations may be cited as the Copyright Regulations, 1918. Short title.<br /> <br /> 2, These Regulations are divided into Parts, as follows :— Part<br /> Tts.<br /> <br /> Part I.—General.<br /> Part Il.—Royalty System (General).<br /> Part III.—Royalty System (Mechanical Musical Contrivances).<br /> Part IV.—Repeal.<br /> Interpreta-<br /> <br /> 3.—(1.) In these Regulations—<br /> “The Act ” means the Copyright Act, 1912 ; tion.<br /> “¢ Mechanical musical contrivances &gt; means records, perforated rolls, and<br /> other contrivances by means of which sounds may be mechanically<br /> <br /> reproduced ;<br /> “‘ Published work<br /> ‘ Unpublished. work<br /> <br /> to the public.<br /> <br /> 4, All letters should be addressed to<br /> wealth Offices, Treasury Place, Melbourne.”<br /> ider these Regulations shall be those specified in the Fees.<br /> aid at the Copyright Office. All remittances sent by<br /> and shall be made payable to the<br /> losed in a letter will be sent at the<br /> <br /> &gt; means work which is printed and issued to the public ;<br /> &gt; means work which has not been printed and issued<br /> <br /> “The Registrar of Copyrights, Common- Address,<br /> <br /> 5. The fees to be paid ut<br /> First Schedule, and shall be p<br /> post shall be by money order or postal note,<br /> <br /> Registrar of Copyrights. Coin or currency ene<br /> remitter’s risk.<br /> <br /> <br />  <br /> <br /> Registrar may<br /> refuse to act<br /> until fee paid.<br /> <br /> Forms.<br /> <br /> Where no<br /> forms pro-<br /> vided.<br /> <br /> Hours of<br /> business.<br /> <br /> Applications.<br /> <br /> Signature of<br /> applicants.<br /> <br /> Published<br /> work.<br /> <br /> Photographs.<br /> <br /> Unpublished<br /> work,<br /> <br /> Published<br /> mechanical<br /> musical con-<br /> trivance.<br /> <br /> Unpublished<br /> mechanical ;<br /> musical<br /> contrivance.<br /> <br /> Performing<br /> right in<br /> musical or<br /> dramatic<br /> work.<br /> Choreographic<br /> works.<br /> <br /> Variations.<br /> <br /> Cinemato-<br /> graph pro-<br /> ductions.<br /> <br /> <br /> <br /> 6. Where any fee is payable in respect of any act or document, the Registrar<br /> may refuse to permit or perform the act, or to receive or issue the document, as<br /> the case requires, until the fee payable is paid.<br /> <br /> &quot;,—(1.) Where in these Regulations any Form is referred to, the reference is<br /> to the Form in the Second Schedule.<br /> <br /> (2.) The Forms contained in the Second Schedule may, as far as they are<br /> applicable, be used in any proceeding under the Act or these Regulations to which<br /> <br /> they are appropriate.<br /> 8. As regards proceedings not specifically provided for in the Forms in the<br /> Second Schedule, any appropriate Form will be accepted.<br /> <br /> 9. Except in case of holidays observed under the Commonwealth Public<br /> Service Act, the Copyright Office shall be open to the public on week days (other<br /> than Saturdays) from 10 a.m. to 4 p.m., and on Saturdays from 10 a.m. to noon.<br /> <br /> 10. Every application for the registration of copyright or performing right<br /> must be left at, or sent to, the Copyright Office, and may be sent by prepaid letter<br /> through the post, and must, in every case, be accompanied by the prescribed fee.<br /> <br /> 11. Every application for the registration of copyright or performing right<br /> must be signed by all applicants.<br /> <br /> 12, An application for the registration of copyright in a published literary,<br /> dramatic, musical, or artistic work may be in accordance with Form A, Al, A2<br /> or A3 as the case requires.<br /> <br /> 18. An application for the registration of copyright in a photograph may be<br /> in accordance with Form C or Cl as the case requires.<br /> <br /> 14, An application for the registration of copyright in an unpublished literary,<br /> dramatic, musical, or artistic work may be in accordance with Form D.<br /> <br /> 15. An application for the registration of copyright in a published mechanical<br /> musical contrivance may be in accordance with Form E.<br /> <br /> 16. An application for the registration of copyright in an unpublished<br /> mechanical musical contrivance may be in accordance with Form F.<br /> <br /> 17. An application for the registration of the sole right to perform or authorise<br /> the performance of a musical or dramatic work may be in accordance with Form G<br /> and shall be accompanied by a copy of the work.<br /> <br /> 18. An application for the registration of copyright in an unpublished dramatic<br /> work, consisting of a choreographic work or entertainment in dumb show, must<br /> be accompanied by a description thereof, either type-written or written in a fair<br /> legible hand on one side only of the paper, and without interlineations or erasures.<br /> <br /> 19. Any variation in the arrangement or acting form of a choreographic work<br /> or entertainment in dumb show must be made the subject of a separate application<br /> for copyright registration.<br /> <br /> 20. An application for the registration of copyright in an unpublished dramatic<br /> work, consisting of a cinematograph production, must be accompanied by a<br /> description of the work, preferably typewritten, and by a photograph taken from<br /> each scene represented. If after registration the work is printed or reproduced<br /> <br /> <br />  <br /> <br /> <br /> <br /> (2<br /> <br /> for sale, a complete copy of the work must be filed, and, if the<br /> <br /> E BO Registrar so desires,<br /> an amended description thereof.<br /> <br /> 21. An application for the registration of copyright in<br /> other than a work specified in Regulations<br /> by a copy of the work.<br /> <br /> an unpublished work,<br /> Nos. 19 and 21, must be accompanied<br /> <br /> 22. The title of a literary work should be given exactly as on the title page<br /> of the book, or on the work, and the other particulars required to be specified<br /> should be exactly as indicated in the work itself.<br /> <br /> 28. An application for the registration of copyright in a published book must<br /> <br /> be accompanied by a copy of the book, with all maps and illustrations belonging<br /> <br /> . , oS<br /> <br /> thereto, finished and coloured in the same manner as the best copies of the books<br /> <br /> are published, and bound, sewed, or stitched together and on the best paper on<br /> which the book is printed.<br /> <br /> 24, An application for the registration of copyright in an artistic work must<br /> be accompanied by a copy thereof, or a representation of it.<br /> <br /> 25. An application for the registration of copyright in an interchangeable<br /> part of a mechanical instrument for mechanically reproducing musical works must<br /> be accompanied by the dise, cylinder, or music roll, by means of which the music<br /> is reproduced.<br /> <br /> 26. Where an application for registration of copyright is made by a person,<br /> other than the author of the work, he shall in his application trace his title from<br /> the author, and shall attach to his application each assignment or instrument by<br /> virtue of which he derives his title, with an attested copy thereof.<br /> <br /> 27. In the case of new editions of works containing material additions or<br /> alterations either in the letterpress or in the maps, prints, or other oo<br /> <br /> : + oes » resistrati f ight me made in<br /> belonging thereto, applications for registration of copyright may be 1<br /> respect of the new edition as if it were an independent work.<br /> <br /> . . . . ae a a r * a &quot; 7 Ie 7 . ul 1<br /> <br /> 28. If it is desired to register the words only of a song, the application sho lc<br /> be made as for a literary work ; if it is desired to register both words and music,<br /> application should be made as for a musical work.<br /> <br /> 29. In the case of music published in different editions arranged - cae :<br /> <br /> : . ‘ : ; ‘ e for eac<br /> instruments, application for registration of copyright may be ma<br /> arrangement.<br /> <br /> 30. In the case of engravings, photographs, or se _ meds for cath<br /> <br /> i Fatt icati istrati f right ma e€ meé ac<br /> <br /> with variations, application for registration of On GBS . aa<br /> <br /> . ely differentiate t sues.<br /> variety, and should be so worded as to closely differe<br /> <br /> 31.—(1.) Every application for the r<br /> <br /> tistie works published<br /> <br /> egistration of a copyright, or performing<br /> ress, OF appoi 2 f agent ;<br /> right, shall be accompanied by a statement of address, or appointment of ee<br /> ications of e i onnexion W<br /> and all notices, requisitions, and communications of every kind in -<br /> : i sue r agent.<br /> an application may be sent by the Registrar to such address or ag’ a.<br /> (2.) The address for service shall be within the Commonwea a, e .<br /> = 1 ‘ A &gt; situs &gt;<br /> near to the city in which the Copyright Office is situs<br /> vice, or appointment of agent, left. at, or<br /> i@ on the person giving the notice until<br /> o<br /> <br /> Registrar requires, in or<br /> 32. Any statement of address for serv<br /> sent to, the Copyright Office shall be bindir<br /> <br /> <br /> <br /> Copy of<br /> unpublished<br /> work to be<br /> forwarded,<br /> <br /> Title of<br /> literary work.<br /> <br /> Published<br /> books.<br /> <br /> Artistic<br /> works.<br /> <br /> Interchange-<br /> able parts.<br /> <br /> Title.<br /> <br /> New editions.<br /> <br /> Registration<br /> of song.<br /> <br /> Music pub-<br /> lished for<br /> different<br /> instruments.<br /> <br /> Engravings,<br /> photographs,<br /> &amp;e.<br /> <br /> Statement of<br /> address.<br /> <br /> Notice to be<br /> binding.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> ( )<br /> <br /> he appointment of some other address for service, or<br /> furnished by him to the Registrar.<br /> person becomes entitled to any registered copyright or<br /> <br /> e of an assignment or transmission, or to any interest<br /> be left at, or sent<br /> <br /> notice of revocation, or of t<br /> of some other agent, has been<br /> <br /> Entry of 33.—(1.) When any<br /> <br /> interest on performing right, by virtu<br /> <br /> — therein, a request for the entry of his name in the Register may<br /> by post to, the Copyright Office.<br /> <br /> (2.) The request may be in accordance with Form I or Form J, as the case<br /> requires, and shall be made and signed by the person claiming to be registered as<br /> owner or licensee, or by his agent, and shall be accompanied by the deed or docu-<br /> ment upon which he bases his request for registration.<br /> <br /> (3.) An attested copy of every deed and document affecting the ownership of<br /> the copyright, or performing right, or of any licence thereunder, shall accompany<br /> the request.<br /> <br /> (4.) The Registrar, if satisfied with the request, shall register the assignment,<br /> transmission, or licence by entering particulars thereof in the proper Register.<br /> <br /> 34.—(1.) Declarations required for the purposes of these Regulations may be<br /> <br /> taken before any of the following persons :—<br /> <br /> (a) In Australia.—A Notary Public, a Justice of the Peace, a Commissioner<br /> for Affidavits, or any person authorized by any Act or State Act to<br /> administer oaths or take declarations.<br /> <br /> (b) In British Dominions other than Australia.—Any Judge, Magistrate,<br /> Justice of the Peace, Notary Public, or Commissioner for Oaths or<br /> Affidavits, or any person authorized by law to administer oaths or take<br /> <br /> Declarations.<br /> <br /> declarations.<br /> (c) In Foreign Countries.—Any Judge of a Supreme Court, British Consul or<br /> <br /> Consular Officer, or Notary Public of the foreign country in which the<br /> applicant may be, who is authorized by the laws of said country to<br /> administer oaths.<br /> <br /> (2.) The Registrar may take notice of the signature to any declaration, and<br /> of the signature of the person before whom it purports to have been declared,<br /> without proof of those signatures or of the official character of the person before<br /> whom the declaration purports to have been made.<br /> <br /> Alteration of 35. The Registers of Copyrights may be altered or amended by the Registrar<br /> registers. in the following cases :—<br /> (a) Where the error in entry has been made purely through the fault of the<br /> office ; or<br /> (b) Where the error in entry has been made through accident on the part of<br /> an applicant or his agent.<br /> In the latter case, however, no amendment shall be made unless the owner of the<br /> copyright or performing right lodges at the Copyright Office a request to amend,<br /> accompanied by the prescribed fee.<br /> ey of 36. The Registers of Copyrights shall be open to the inspection of the public<br /> = during office hours on every day during which the Copyright Office is open, except<br /> on the days and at the times following :—<br /> (a) Days which are from time to time notified by a placard posted in a con-<br /> spicuous place at the Copyright Office ; and :<br /> (b) Times when the Registers are required for any purpose of official use.<br /> <br /> <br />  <br /> <br /> (2)<br /> <br /> PART II.—Royatry Sysreu (GENERAL).<br /> <br /> 37.—(1.) The notice required by section three of the British C<br /> shall contain the following particulars :—<br /> <br /> (a) The name and address of the person intending to reproduce the work :<br /> <br /> (6) the name of the work which it is intended to reproduce, and (if necessary)<br /> <br /> a description sufficient to identify it ;<br /> <br /> (c) the manner in which it is intended to reproduce the work (e.g.), whether<br /> by printing, lithography, photography, &amp;ec. ;<br /> <br /> (d) the price or prices at which it is intended to publish the work ;<br /> <br /> (e) the earliest date at which any of the copies will be delivered to the pur-<br /> chaser.<br /> <br /> (2.) The notice shall, not less than one month before any copies of the work<br /> are delivered to the purchaser, be sent by registered post or published by advertise-<br /> ment as follows :—<br /> <br /> (a) If the name and an address within the Commonwealth of the owner of<br /> the copyright, or his agent for the receipt of notice, are known or can<br /> with reasonable diligence be ascertained, the notice shall be sent to the<br /> owner or agent at that address ; ;<br /> <br /> (6) if such name and address are not known and cannot, with reasonable<br /> diligence, be ascertained, the notice shall be advertised in the Gazette ;<br /> the advertisement in the Gazette shall give the particulars required by<br /> paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall<br /> also state an address from which a copy of the notice described in sub-<br /> regulation (1) of this Regulation may be obtained.<br /> <br /> 38.—(1.) Unless otherwise agreed, royalties thall be payable by means of<br /> adhesive labels purchased from the owner of the copyright, and affixed to the<br /> copies of the work.<br /> <br /> (2.) After the person reproducing the work has given the prescribed notice of<br /> his intention to reproduce the work, the owner of the copyright shall, by writing<br /> sent by registered post, intimate to him some reasonably convenient place within<br /> the Commonwealth from which adhesive labels can be obtained, and, on demand<br /> in writing and tender of the price, shall supply from such place adhesive labels of<br /> the required denominations at a price equal to the amount of royalty represented<br /> thereby.<br /> <br /> 39. Subject to these Regulations, no copy of the work shall be delivered to :<br /> purchaser until the label or labels denoting amount of royalty have been affixec<br /> thereto. ae<br /> <br /> 40.—(1.) In cases where royalties are payable by means of lt al € . i<br /> at any time labels of the required denomination are not available es ee<br /> <br /> (a) after the expiration of fourteen days from the date of the ao :<br /> <br /> notice the owner of the copyright has not duly sent to the person eS<br /> ducing the work an intimation of some reasonably covenant P ace<br /> within the Commonwealth from which such labels can be Shane i or<br /> <br /> (b) the owner of the copyright ee or eine to supply such labels within<br /> <br /> days after demand duly made, :<br /> copies of be wc oe be delivered to purchasers without having labels a<br /> thereto, and the amount of royalties shall be a debt due by the person repro y<br /> <br /> <br /> <br /> opyright Act Notice.<br /> <br /> Payment of<br /> royalties.<br /> <br /> Copies not to<br /> be delivered<br /> until labels<br /> affixed.<br /> <br /> Adhesive<br /> labels not<br /> available.<br /> <br /> <br /> Cc .<br /> <br /> the work to the owner of the copyright, and the person reproducing the work shall<br /> keep an account of all such copies sold by him.<br /> (2.) For the purpose of this Regulation “ the date of the prescribed notice ”<br /> <br /> <br /> <br /> means—<br /> (a) in cases when the notice is required to be sent by registered post, the date<br /> when the notice would in ordinary course of post be delivered ;<br /> (b) in cases when the notice is required to be advertised in the Gazette, the<br /> date of such advertisement.<br /> <br /> Royalties 41. Where royalties are by agreement payable in any other mode than by<br /> oo . means of adhesive labels the time and frequency of the payment shall be such as<br /> than by are specified in the agreement.<br /> adhesive<br /> Jabels. 42. The adhesive label, supplied as aforesaid, shall be an adhesive paper label,<br /> Form of square in shape, the design to be entirely enclosed within a circle, and the side of<br /> cc the label not to be greater than 4-inch in length. The label shall not be in a form<br /> which resembles any postage stamp nor bear the effigy of the Sovereign or any<br /> other person, nor any word, mark, or design such as to suggest that the label is<br /> issued by or under the authority of the Government or any State Government for<br /> the purpose of denoting any duty payable to such Government.<br /> PART IlL.—Royatry System (MecuanicaL MusicaL CONTRIVANCES).<br /> ‘Notice. 48,—(1.) The notice required by sub-section (2) of section nineteen of the<br /> <br /> British Copyright Act shall contain the following particulars :—<br /> <br /> (a) The name and address of the person intending to make the contrivances ;<br /> <br /> (b) the name of the musical work which it is intended to reproduce and of the<br /> author (if known) ; and (if necessary) a description sufficient to identify<br /> the musical work ;<br /> <br /> (c) the class ‘of contrivance on which it is intended to reproduce the musical<br /> work (e.g.) whether discs, cylinders or music rolls ;<br /> <br /> (d) the ordinary retail selling prices of the contrivances, and the amount of<br /> the royalty payable on each contrivance in respect of the musical work ;<br /> <br /> (e) the earliest date at which any of the contrivances will be delivered to the<br /> purchaser ; :<br /> <br /> (f) whether any other work is to be reproduced on the same contrivance with<br /> the musical work specified in accordance with paragraph (0).<br /> <br /> (2.) The notice shall, not less than ten days before any contrivances on which<br /> the musical work is reproduced are delivered to a purchaser, be sent by registered<br /> post or published by advertisement as follows :—<br /> <br /> (a) If the name and an address within the Commonwealth of the owner of the<br /> copyright, or his agent for the receipt of notice, are known or can with<br /> reasonable diligence be ascertained, the notice shall be sent to the owner<br /> or agent at that address ;<br /> <br /> (b) if such name and address are not known and cannot with reasonable<br /> diligence be ascertained, the notice shall be advertised in the Gazette ;<br /> the advertisement in the Gazette shall give the particulars required by<br /> paragraphs (a) and (b) of sub-regulation (1) of this Regulation, and shall<br /> also state an address from which a copy of the notice described in sub-<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> regulation (1) of this Regulation may be obtained. Any number of<br /> musical works may be included in the same advertisement.<br /> <br /> 44.—(1.) Unless otherwise agreed, royalties shall be payable by means of<br /> adhesive labels purchased from the owner of the copyright and affixed in the manner<br /> provided by this part of these Regulations.<br /> <br /> (2.) After the person making the contrivances has given the prescribed notice<br /> of his intention to make or sell the contrivances, the owner of the copyright shall<br /> by writing, sent by registered post, intimate to him some reasonably convenient<br /> place within the Commonwealth of Australia from which adhesive labels can be<br /> obtained, and on demand in writing and tender of the price shall supply from such<br /> place adhesive labels of the required denominations at a price equal to the amount<br /> of royalty represented thereby.<br /> <br /> 45. Subject to these Regulations no contrivance shall be delivered to a pur-<br /> chaser until such label or labels denoting the amount of royalty have been affixed<br /> thereto, or, in the case of cylinders to which it is not reasonably practicable to<br /> affix the labels, until such label or labels have been affixed to a carton or box<br /> enclosing the cylinder.<br /> <br /> 46.—(1.) In cases where royalties are payable by means of adhesive labels, if<br /> at any time labels of the required denominations are not available either because—<br /> (a) after the expiration of five days from the date of the prescribed notice of<br /> the intention of the person making the contrivances to make or sell such<br /> contrivances the owner of the copyright has not duly sent to the person<br /> making the contrivances an intimation of some reasonably convenient<br /> place within the Commonwealth of Australia from which such labels can<br /> be obtained ; or oe<br /> (b) the owner of the copyright refuses or neglects to supply such labels within<br /> three days after demand duly made,<br /> contrivances may be delivered to purchasers w<br /> or to the carton or box enclosing the same ; and<br /> debt due by the person making the contrivance<br /> and the person making the contrivances shall k<br /> vances sold by him.<br /> (2.) For the purposes of this Regulation<br /> <br /> means—<br /> (a) in cases where the notice is required to be sent by registered post, the date<br /> <br /> when the notice would in ordinary course of post be delivered :<br /> (b) in cases where the notice is required to be advertised in the Gazette, the<br /> <br /> date of such advertisement.<br /> <br /> ithout having labels affixed thereto<br /> the amount of royalties shall be a<br /> es to the owner of the copyright,<br /> eep an account of all such contri-<br /> <br /> “ the date of the prescribed notice ”<br /> <br /> 47. In cases where royalties are payable on contrivances before<br /> commencement of the Act, the person making such contrivances may 2 —<br /> of his intention to sell them, containing mutatis mutandis the same algae<br /> <br /> given in the same manner as is prescribed by these Regulations in the case of the<br /> <br /> notice required by sub-section (2) of section nineteen of the British Copyright Act.<br /> <br /> ayable in any other mode than by<br /> <br /> i t<br /> 48. Where royalties are by agreement P Fs aigabts ele<br /> <br /> means of adhesive labels, the time and frequency of the p<br /> <br /> are specified in the agreement.<br /> <br /> Payment of<br /> royalties,<br /> <br /> Contrivance<br /> not to be<br /> delivered<br /> without<br /> adhesive<br /> labels.<br /> <br /> Adhesive<br /> labels not<br /> available.<br /> <br /> Royalties on<br /> contrivances<br /> made before<br /> commence-<br /> <br /> ment of Act.<br /> <br /> Royalties<br /> payable<br /> otherwise<br /> than by<br /> adhesive<br /> labels.<br />  <br /> <br /> Form of<br /> adhesive<br /> label.<br /> <br /> Ordinary<br /> retail selling<br /> price.<br /> <br /> Inquiries.<br /> <br /> Time for<br /> reply.<br /> <br /> <br /> <br /> <br /> <br /> (wa<br /> <br /> 49. The adhesive label supplied as aforesaid shall be an adhesive paper label,<br /> square in shape, the design to be entirely enclosed within a circle, and the side of<br /> the label not to be greater than $-inch in length. The label shall not be in a form<br /> which resembles any postage stamp nor bear the effigy of the Sovereign or any<br /> other person, nor any word, mark, or design such as to suggest that the label is<br /> issued by or under the authority of the Government or any State Government for<br /> the purpose of denoting any duty payable to such Government.<br /> <br /> 50. The ordinary retail selling price of any contrivance shall be calculated at<br /> the marked or catalogued selling price of single copies to the public, or, if there is<br /> no such marked or catalogued selling price, at the highest price at which single<br /> copies are ordinarily sold to the public.<br /> <br /> 51.—(1.) The inquiries referred to in sub-section (5) of section nineteen of<br /> the British Copyright Act shall be directed to the owner of the copyright by name,<br /> or (if his name is not known and cannot with reasonable diligence be ascertained)<br /> in general terms to ‘“‘ the owner of the copyright ” of the musical work in respect<br /> of which the inquiries are made, and shall contain—<br /> <br /> (a) a statement of the name of the musical work in respect of which the<br /> inquiries are made and of the author (if known), and (if necessary) a<br /> description sufficient to identify it ;<br /> <br /> (b) a statement of the name, address and occupation of the person making<br /> the inquiries ;<br /> <br /> (e) an allegation that a contrivance has previously been made by means of<br /> which the musical work may be mechanically performed, with the trade<br /> name (if known) and a description of such contrivance ;<br /> <br /> (d) an inquiry whether the contrivance so described was made with the<br /> consent or acquiescence of the owner of the copyright.<br /> <br /> (2.) The inquiries shall be sent by registered post or published by advertisement<br /> <br /> as follows :—-<br /> <br /> (a) If an address within the Commonwealth of the owner of the copyright is<br /> known, or can with reasonable diligence be ascertained, the inquiries<br /> shall be sent to such address ; or<br /> <br /> (b) if such address is not known and cannot with reasonable diligence be<br /> ascertained, the inquiries shall be advertised in the Gazette.<br /> <br /> 52. The prescribed time for reply to such inquiries shall be .—<br /> <br /> (a) in cases where the inquiries are required to be sent by registered post,<br /> seven days after the date when the inquiries would in ordinary course<br /> of post be delivered ; and<br /> <br /> (b) in cases where the inquiries are required to be advertised in the Gazette,<br /> seven days after the date of such advertisement.<br /> <br /> PART IV.—REPEAL.<br /> <br /> 58. All Regulations, whether provisional or otherwise, heretofore made under<br /> the Act and in force at the commencement of these Regulations are hereby repealed<br /> <br /> Save as to any right, privilege, obligation, or liability acquired, accrued, or incurred<br /> thereunder.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> a<br /> <br /> 10.<br /> iL<br /> <br /> A.<br /> <br /> Al.<br /> <br /> A2.<br /> <br /> A3.<br /> <br /> REP AST BD<br /> <br /> (an 5<br /> <br /> THE FIRST SCHEDULE.<br /> <br /> FrEeEs:<br /> <br /> On filing is as os ‘ :<br /> : tee ciple for registration of copyright in a literary or musical work<br /> n filing a atio istrati ri i isti<br /> pplication for registration of copyright in an artistic work (except copyright in a<br /> photograph) : :<br /> On filing applic 7 a<br /> pplication for registration vet copy sytickit i ina déadiwthe work (except Sopris ts in<br /> an original cinematograph production)<br /> On filing application for registration of copyright in a Sieies ck<br /> On filing application for registration of performing right in a musical or dramatic york<br /> O g ‘ &gt; re<br /> n filing application for the registration of copyright in an a oe pro-<br /> duction ;<br /> On filing Sapien for the Waleiedion of the selevialtt in a ‘eseiical oni ance for<br /> reproducing a musical work : a . :<br /> On request to the Registrar to register an assignment, transmission, or licence, in connexion<br /> with a copyright or performing right<br /> For inspection of the Register—for each entry eincehiat re or inspec ted<br /> For certified copy of an entry in the Register ..<br /> On application to the Registrar for amendment of the Re gister ruler ection 36 of he Act<br /> <br /> SECOND SCHEDULE.<br /> <br /> InpEx TO CopyRicgHt Forms.<br /> <br /> Application for registration of copyright in a published original literary, dramatic, musical,<br /> <br /> or artistic work ve . . :<br /> Application for registration of copyright in ina pu blished cituinil fineras y&gt; deinatis. ‘euseal,<br /> or artistic work. (By a firm) ae a. &lt;s<br /> Application for registration of copy right j in a pu blished Geel ey dramatic, musical,<br /> or artistic work. (By a body corporate) .. Ae ae ws ae<br /> Application for the registration of copy right in a bolasiee work. (By owner or his assignee,<br /> agent, or attorney) is A ae =<br /> Application for registration of copy right in an + aapubliched gage literary, dramatic,<br /> musical, or artistic work a. oe &amp; ee<br /> Application for registration of copyr ight ina pistons pl. (By the author or his assignee,<br /> agent, or attorney) z Se os<br /> Application for registration of cores a in a photogreph. (By a firm) va<br /> Application for registration of copyright in a published mechanical musical contrivance .<br /> Application for registration of copyright in an unpublished mechanical musical a<br /> <br /> vance<br /> <br /> Application for Hapa<br /> musical or dramatic work<br /> <br /> Statement of address<br /> <br /> Appointment of agent<br /> Request to enter name of sabesctient owner of bepyeicit upon the vegiaver of copy ee<br /> <br /> Request to enter notification of licence or other document in the register of copyrights .<br /> Application for amendment or alteration of the Register under Section 36 of the Act<br /> Search warrant under Section 16 (1) (a) of the Act... oe ee ie a a<br /> Search warrant under Section 16 (1) (6) of the Act t a<br /> Notice under Section 17 of the Act forbidding the performance<br /> WOK os “3 es pe aia ce .<br /> <br /> deter of ‘he sole ik to poctorme or authorize the performance ots a<br /> <br /> e of a musical or dramatic<br /> <br /> <br /> <br /> ..<br /> <br /> <br /> <br /> po<br /> <br /> 5 0<br /> <br /> or Oo<br /> oo<br /> <br /> -. 10-0<br /> <br /> So<br /> <br /> ot OL<br /> eoooo<br /> <br /> or<br /> <br /> PAGE<br /> <br /> 12<br /> <br /> 13<br /> <br /> 14<br /> <br /> 14<br /> <br /> 15<br /> <br /> 16<br /> 16<br /> <br /> 20<br /> 20<br /> 21<br /> <br /> 21<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> FORM A.<br /> Copyrights. Commonwealth of Australia.<br /> <br /> Copyright Act, 1912.<br /> <br /> <br /> <br /> <br /> <br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,<br /> Musica, or ArTIsTIC WoRK.<br /> <br /> (By the author or authors, or his or their assignee, agent, or attorney.)<br /> <br /> 2. (1) of (2) (3) hereby make application for the registration of the<br /> copyright in a (4) work being a (5) entitled (6)<br /> <br /> W. do hereby declare that the said (4) was first published in (*a part of His Majesty’s<br /> ‘Demanions to which the Act extends or a foreign country to which an Order in Council under the Act<br /> relates) by at on the and that such date was not later than fourteen days (or<br /> such further time as is fixed by law) after the date of its first publication elsewhere. :<br /> <br /> a do further declare that (7) the author of the said (4) work, and that ger<br /> <br /> the owner of the copyright therein.<br /> And ,,, make this declaration conscientiously believing the statements contained therein to be<br /> true in every particular. :<br /> Declared at this day of 19 (8).<br /> <br /> Before me (9) :<br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> <br /> <br /> (1) Name of Applicant (in full).<br /> (2) Address.<br /> (3) Occupation. S ook i eo<br /> (4) State whether “ Literary,”’ “ Dramatic.” or * Musical, oo Artistic ” Work, as the case may be.<br /> (5) State whether ‘‘ Book,” “‘ Drama,” “Song,” ~ Painting,” ‘“‘ Work of Sculpture,”’ ‘‘ Lecture,’<br /> &amp;c., as the case may be. : aS : aS<br /> <br /> (6) Title of Work (in full) or description sufficient to identify it.<br /> <br /> (7) State the Name of the Author of the Work.<br /> <br /> (8) Signature of Applicant. one<br /> (9) Signature of Person before whom the Declaration is made. : :<br /> <br /> Nors.—Where the applicant is the assignee from the author the applicant must forward with his<br /> application each assignment or instrument by virtue of which he derives his title, with an attested copy<br /> thereof.<br /> <br /> * Strike out whichever is not needed.<br /> <br /> | FORM Al.<br /> a. Commonwealth of Australia,<br /> <br /> Copyright Act, 1912.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,<br /> Musica, or Artistic WoRK.<br /> <br /> (By a Firm.)<br /> <br /> <br /> <br /> <br /> <br /> <br /> (1) doing business at (2) and composed of the following members (3)<br /> hereby applies for the registration of the copyright in a (4) work, being a (5) entitled<br /> and I (7) a member of the firm of (1) the applicant named herein, declare<br /> that the said (4) work was first published in (*a part of His Majesty’s Dominions to which the<br /> Act extends or a foreign country to which an Order in Council under the Act relates) by at<br /> on the and that such date was not later than fourteen days (or such further time as<br /> <br /> is fixed by law) after the date of its first publication elsewhere.<br /> <br /> I, the said (7) do further declare that (8) the author of the said (4) work,<br /> <br /> and that the said firm of (1) is the owner of the copyright therein.<br />  <br /> <br /> <br /> <br /> Coif)<br /> <br /> And I, the said (7) i<br /> A ; 8 7 make this declaration conscientiously believi<br /> ee eee ey artis é scientiously believing the statements contained<br /> ¢<br /> Declared at this day 19<br /> <br /> : Before me—(10) Z<br /> <br /> r Rae teas AF Cl . ‘<br /> <br /> To the Registrar of Copyrights, Commonwealth of Australia<br /> <br /> (1) Name of Firm (in full).<br /> (2) Place of Business.<br /> (3) Name of individual Members of Firm (in full).<br /> : — Soar ge nee ** Dramatic,’’**‘ Musical,” or ‘‘ Artistic?’ work, as the case may be<br /> ate whether ED A rani! (4 29 C6 Petit 0) SOTO Ok aa Sema ee<br /> - - ook, Drama, Song, Painting, Work of Sculpture,” &amp;c., as the<br /> (6)<br /> (7) Name (in full) of Member of Firm who makes the Declaration.<br /> (8) State the Name of the Author of the Work.<br /> (9) Signature of person authorized to sign the application.<br /> (10) Signature of person before whom the Declaration is made.<br /> <br /> _ Nore.—W here the Applicant is the Assignee from the Author, the Applicant must forward with<br /> his application each assignment or instrument by virtue of which he derives his title, with an attested<br /> Copy thereof.<br /> <br /> * Strike out whichever is not needed.<br /> <br /> 1<br /> 2<br /> 3<br /> 4<br /> 5<br /> m<br /> 6<br /> 7<br /> 8<br /> <br /> <br /> <br /> FORM Az.<br /> <br /> Copyrights. . 5<br /> alte Commonwealth of Australia.<br /> <br /> <br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> <br /> ATION OF COPYRIGHT IN A PUBLISHED ORIGINAL LITERARY, DRAMATIC,<br /> <br /> APPLICATION FOR REGISTR<br /> MustcaL, on Artistic WoRK.<br /> <br /> (By a body corporate.)<br /> <br /> The (1) a corporation duly organized under the laws of (2) located at (3)<br /> and having an established place of business at (4) hereby applies for the registration of the<br /> copyright in a (5) work, being a (6) entitled (7) and I (8) declare that<br /> the said (5) work was first published in (*a part of His Majesty’s Dominions to which the Act<br /> extends or a foreign country to which an Order in Council under the Act relates) by at<br /> on and that such date was not later than fourteen days (or such further time as is fixed by<br /> law) after the date of its first publication elsewhere. :<br /> <br /> I, the said (8) do further declare that (9) _ the author of the said (5) work,<br /> and that (1) is the owner of the copyright therein.<br /> <br /> And I, the said (8) make this declaration conscl<br /> articular.<br /> therein to be true in every particula ae<br /> <br /> was hereto affixed in the presence of (10) ‘<br /> Signature of Declarant—<br /> <br /> entiously believing the statements contained<br /> <br /> The Common Seal of (1)<br /> Witness to signature of declarant— :<br /> To the Registrar of Copyrights. Commonwealth of Australia.<br /> <br /> (1) Name of Company (in full). :<br /> <br /> (2) Name of State or Country under whose laws Company is organized.<br /> <br /> (3) State where Company is located. :<br /> blished.<br /> <br /> 4) State where place of business is esta oe : i<br /> mi ied Skee “Literary, ‘ Dramatic,” “‘ Musical,” or ‘‘ Artistic ° Work, as the case may be.<br /> <br /> (6) State whether “ Book,” ‘‘ Drama,” “Song,” ‘‘ Painting,” “ Work of Sculpture,” &amp;c., as the<br /> <br /> case may be. ae<br /> <br /> (7) Title of Work (in full), or descriptio<br /> <br /> (8) Name and Address of Secretary es So<br /> <br /> f the Author of the Work. : of<br /> <br /> ce} Te ented with Signatures of Officers as prescribed by the Articles of Association of<br /> Company. : ‘ oe<br /> <br /> Nove.—Where the Applicant 1s the Assignee<br /> <br /> the application each assignment or instrument by<br /> <br /> Copy thereof.<br /> PY, Strike out whichever is not needed.<br /> <br /> n sufficient to identify it.<br /> ) authorized to make Declaration.<br /> <br /> from the Author, the Applicant must forward with<br /> virtue of which it derives title, with an attested<br /> <br /> <br /> <br /> <br />  <br /> <br /> (1 )<br /> <br /> <br /> <br /> —_—_—_—— FORM A3.<br /> <br /> Copyrights.<br /> <br /> <br /> <br /> Commonwealth of Australia.<br /> i<br /> Copyright Act, 1912.<br /> APPLICATION FOR THE REGISTRATION OF COPYRIGHT IN A CoLLEcTIVE Work.<br /> <br /> (By the owner or owners or his or their assignee, agent, or attorney.)<br /> <br /> (1) hereby make application for the registration of (2) copyright in a collective<br /> yor ing a (¢ entitled (4<br /> ae ear declare that a Lad (3) was first published in (*a part of His Majesty&#039;s<br /> Dominions to which the Act extends or a foreign country to which an Order in Council under the Act<br /> relates) by at on the and that such date was not later than fourteen days (or<br /> such further time as is fixed by law) after the date of its first publication elsewhere.<br /> I do further declare that (5) is the owner of the copyright in the said (3)<br /> <br /> And I make this declaration conscientiously believing the statements contained therein to be true<br /> in every particular.<br /> (6)<br /> <br /> Declared at this day of 19<br /> Before me—(7) :<br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> (1) Name (in full), Address, and Occupation of Applicant. If application is made by an Agent or<br /> Attorney, evidence of authority to make the application must be furnished.<br /> <br /> (2) “My.” our; “then, or — its:<br /> <br /> (3) State whether ‘‘ Encyclopaedia,” ‘‘ Dictionary,” ‘‘ Year Book,” or similar work.<br /> (4) Title of Work (in full), or description sufficient to identify it.<br /> <br /> (5) Name of Owner of Collective Work.<br /> <br /> (6) Signature of Applicant.<br /> <br /> (7) Signature of person before whom the Declaration is made.<br /> <br /> Notse.—Where the Applicant is the Assignee from the Owner, the Applicant must forward with his<br /> application each assignment or instrument by virtue of which he derives his title, with an attested Copy<br /> thereof.<br /> <br /> * Strike out whichever is not needed.<br /> <br /> <br /> <br /> FORM B.<br /> Copyrights.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Commonwealth of Australia.<br /> Copyright Act, 1912.<br /> <br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED ORIGINAL LITERARY, DRAMATIC,<br /> Mustcat or Artistic Work.<br /> <br /> (By the author or authors, or his or their assignee, agent, or attorney.)<br /> <br /> I<br /> We (1) of (2) (3) hereby make application for the registration of the<br /> copyright in a (4) work, being a (5) entitled (6)<br /> We declare that (7) the author of the said (4) work, and at the time of the making<br /> thereof, was (9)<br /> <br /> Iam<br /> <br /> I<br /> We do further declare that wo Ate the owner of the copyright in the said (4) work.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> ( i)<br /> <br /> And I ake this i<br /> we make this declaration conscientiously bel<br /> true in every particular. :<br /> Declared at this day of<br /> <br /> leving the statements contained therein to be<br /> <br /> 19.<br /> Before me (11) (10)<br /> E ecistre 1 ; 4<br /> o the Registrar of Copyrights, Commonwealth of Australia<br /> <br /> Name of Applicant (in full)<br /> Address. :<br /> Occupation.<br /> State whether ‘‘ Literary,” ‘“‘ Dr: ic ical,”<br /> State whether ‘ ass co yee ing,” 7 oo...<br /> State Title of Work in full, or deseri aon ffici chistes ea ee |<br /> Name of the Author of the Work. oe<br /> ” a. of the negative in the case of a photograph.<br /> OS siihjaot mares . _ part of His Majesty&#039;s Dominions to which the Act<br /> or “ Resident in a foreign Soanery to oe ee cue<br /> on : g rder in Council under the Act relates,’’ as the case<br /> (10) Signature of Applicant.<br /> oe oe the Declaration is made.<br /> an soon erg — Assignee from the Author, the Applicant must forward with<br /> roe sama g strument by virtue of which he derives his title, with an attested<br /> <br /> SoS SS SSS<br /> <br /> <br /> <br /> FORM C.<br /> <br /> Copyrights.<br /> Commonwealth of Australia.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH.<br /> : (By the author or authors, or his or their assignee, agent, or attorney.)<br /> We (1) of (2) (3) hereby make application for the registration of the<br /> copyright in a photograph entitled (4)<br /> i os<br /> x7, declare that (5 of (6)<br /> We )<br /> the making of the original negative (viz. (7)<br /> *T or he was (8)<br /> we or they were.<br /> I Iam . ce : : :<br /> the owner of the copyright in the said photograph.<br /> <br /> We do further declare that oo are<br /> And we make this declaration conscientiously believing the statements contained therein to be<br /> <br /> true in every particular.<br /> (9<br /> <br /> the author of the said photograph, and at the time of<br /> ) from which it was directly or indirectly derived<br /> <br /> Declared at this day of 19<br /> Before me—(10) ‘ :<br /> To the Registrar of Copyrights. Commonwealth of Australia.<br /> <br /> Name of Applicant (in full).<br /> Address.<br /> <br /> Occupation. ae a : ee<br /> Title of Photograph (in full), or description sufficient to identify it. ae<br /> State the name of the Author of the Work, or the words “lam,” or we are, as the case<br /> <br /> ww<br /> ~eLTSTreTe~S<br /> <br /> 2<br /> <br /> requir han the Applicant.<br /> <br /> 6) Here insert Address of Author if a person other t<br /> <br /> 7) Fill in date of the making of the negative. a : oe .<br /> (3) “A British Subject,” “ Resident within a part of His Majesty&#039;s Dopanioms te Ww on ~ Act<br /> : ; oe ae -y £0 which ¢ erin C &gt;] er the Act relates,<br /> <br /> extends,” “‘ a subject or citizen of a foreign country to which an Order in Council unc scr regan<br /> <br /> or “ Resident in a foreign cou der in Council under the Act re<br /> Res ig<br /> <br /> may be. |<br /> (9) Signature of Applicant. |.<br /> <br /> 10) Signature of person before whom the declaration is made. :<br /> ae te Applicant is the Assignee from the Author, the Applic<br /> application each assignment or instrument by virtue<br /> <br /> Copy thereof. :<br /> * Strike out whichever 1s not needed.<br /> <br /> Vo<br /> <br /> ntry to which an Or<br /> <br /> vant must forward with his<br /> <br /> derives his title, with an attested<br /> <br /> of which he<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> FORM Cl.<br /> <br /> Copyrights.<br /> <br /> Commonwealth of Australia.<br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> AppLICATION FOR REGISTRATION OF COPYRIGHT IN A PHOTOGRAPH.<br /> <br /> (By a Firm.)<br /> <br /> (1) doing business at (2) and composed of the following members (3) :<br /> hereby applies for the registration of the copyright in a photograph entitled (4) and I (5)<br /> “a member of the firm of (1) the applicant named herein, declare that (6) of<br /> (7) the author of the said photograph, and at the time of the making of the original negative<br /> a. : ae : he was<br /> (viz., (8) ) from which it was directly or indirectly derived they ee) :<br /> I, the said (5) do further declare that the said firm of (1) is the owner of the<br /> copyright in the said photograph. oS :<br /> And I, the said (5) make this declaration conscientiously believing the statements contained<br /> therein to be true in every particular. oe<br /> )<br /> Declared at this day of 19<br /> Before me—(11) :<br /> <br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> (1) Name of Firm (in full).<br /> <br /> (2) Place of Business.<br /> <br /> (3) Names of individual Members of Firm (in full).<br /> <br /> (4) Title of Photograph (in full), or description sufficient to identify it.<br /> (5) Name (in full) of Member of Firm who makes the Declaration.<br /> <br /> (6) Here insert (in full) Name of Author of Photograph.<br /> <br /> (7) Address of Author.<br /> <br /> (8) Fillin Date of making of the negative.<br /> <br /> (9) “‘A British Subject,” ‘“‘ Resident within a part of His Majesty’s Dominions to which the Act<br /> extends,” “a subject or citizen of a foreign country to which an Order in Council under the Act relates,”<br /> ore: Agee in a foreign country to which an Order in Council under the Act relates,” as the case<br /> may be.<br /> <br /> (10) Signature of person authorized to sign the application.<br /> (11) Signature of person before whom the Declaration is made.<br /> <br /> Note.—Where the Applicant is the Assignee from the Author, the Applicant must forward with his<br /> apeenen each assignment or instrument by virtue of which he derives his title, with an attested Copy<br /> tnereotr.<br /> <br /> <br /> <br /> FORM D.<br /> Copyrights.<br /> <br /> <br /> <br /> <br /> <br /> Commonwealth of Australia.<br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> <br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN A PUBLISHED MECHANICAL MuUsIcaL<br /> CONTRIVANCE.<br /> <br /> (By the author or authors, or his or their assignee, agent, or attorney.)<br /> <br /> I<br /> <br /> we ()) of (2) (3) hereby make application for the registration of the<br /> copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a<br /> musical work entitled (5) by (6) .<br /> <br /> The original plate from which the said contrivance was directly or indirectly derived was made<br /> by (7) at (8) on (9) : L :<br /> of declare that the said contrivance was first published in (*a part of His Majesty’s Dominions to<br /> which this Act extends or a foreign country to which an Order in Council under the Act relates) by<br /> 5 at on and that such date was not later than fourteen days (or such further<br /> period as is fixed by law) after the date of its first publication elsewhere.<br /> <br /> I :<br /> We “oe further declare that (10) the author of the said mechanical contrivance, and that<br /> <br /> Ila<br /> am the owner of the copyright therein.<br /> <br /> WE are<br /> <br /> <br />  <br /> <br /> <br /> <br /> Cay<br /> <br /> Zz<br /> <br /> And make this i i<br /> <br /> f we me nis declaration conscientiously believi Q<br /> <br /> : sly eving the statements containe rel<br /> ee g the statements contained therein to be<br /> <br /> Declared at this day of 19<br /> i Before me (12) : ay<br /> : the Registi - = ( epyTients, Commonwealth of Australia.<br /> Name of Applicant (in full).<br /> Address.<br /> Occupation.<br /> te whether “* Disc,” ** Cylinder,” ‘ Roll,” &amp;c., as the case may be<br /> Pitle of Musical Work, and (if necessary) a description sufficient to identify it<br /> State the Name of the Author of the Musical Work. i<br /> State the Name of Maker of the Plate.<br /> State the Place where the original Plate was made.<br /> State date on which the original Plate was made.<br /> State the Name of the Author of the Contrivance.<br /> Signature of Applicant.<br /> (12) Signature of Person before whom the Declaration is made.<br /> <br /> airpiin ates the Applicant is the Assignee from the Author, the Applicant must forward with his<br /> <br /> vation each assignment or instrument by virtue of which he derives his title, wi attes Copy<br /> app 7 es his title, with an attested Copy<br /> <br /> * Strike out whichever is not needed.<br /> <br /> ON =<br /> <br /> _<br /> —_————ererreee<br /> <br /> SS<br /> Se OO WAI OE<br /> <br /> FORM E.<br /> <br /> Copyrights. -<br /> oo Commonwealth of Australia.<br /> <br /> <br /> <br /> ee<br /> Copyright Act, 1912.<br /> <br /> APPLICATION FOR REGISTRATION OF COPYRIGHT IN AN UNPUBLISHED MxrcHANICAL Musical<br /> CONTRIVANCE. -<br /> <br /> (By the author or authors, or his or their assignee, agent, or attorney.)<br /> <br /> I i . :<br /> <br /> We (1) of (2) (3) hereby make application for the registration of the<br /> <br /> copyright in a mechanical musical contrivance, being a (4) , for mechanically reproducing a<br /> musical work entitled (5) by (6) é<br /> <br /> The original plate from which the said contrivance was direct<br /> <br /> by (7) at (8) on (9)<br /> ae declare that (10) the author of the said contrivance, and at the time of the making<br /> <br /> thereof was (11) :<br /> We do further declare that . the owner of the<br /> <br /> ly or indirectly derived was made<br /> <br /> copyright in the said contrivance.<br /> <br /> And = make this declaration conscientiously believing the statements contained therein to be true<br /> in every particular.<br /> Declared at this day of 19,<br /> (12)<br /> <br /> Before me (13)<br /> To the Registrar of Copyrights,<br /> <br /> Commonwealth of Aust ralia.<br /> <br /> (1) Name of Applicant (in full).<br /> <br /> (2) Address.<br /> <br /> (3) Occupation. 0 . ek<br /> (4) State whether © Disc,” ‘‘ Cylinder,’ Roll,”’ &amp;c., as the case may be.<br /> (5) Title of Musical Work, and (if necessary) @ description sufficient to identify it.<br /> (6) State the Name of the Author of the Musical Work.<br /> <br /> (7) State the Name of the Maker of the Plate.<br /> <br /> (8) State the Place where the original Plate-was made.<br /> <br /> (9) State the Date on which the original Plate was made,<br /> <br /> 0) State the Name of the Author of the Contrivance. :<br /> 1p a British Subject” “resident within a part of His Majesty&#039;s Dominions to w hich the Act<br /> <br /> extends,” ‘‘a subject or citizen of a foreign country to which an Order in Seon _ Jong ro oponl<br /> which an Order in Council under the # ct relates,<br /> <br /> may be. :<br /> (12) Signature of Applicant.<br /> (13) Signature of Person bef °<br /> <br /> - “Norg.—Where the Applicant is f<br /> application each assignment or instrument by virtue<br /> <br /> Copy thereof.<br /> <br /> ~~<br /> <br /> ert<br /> <br /> “eo W » Declaration is made. :<br /> oe oe ant must forward with his<br /> with an attested<br /> <br /> the Assignee from the Author, the Applica I<br /> | of which he derives his title,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ( )<br /> <br /> FORM F.<br /> Copyrights. :<br /> Commonwealth of Australia.<br /> <br /> a<br /> <br /> Copyright Act, 1912.<br /> <br /> AppLICATION FOR REGISTRATION OF THE SOLE Rigut TO PERFORM OR AUTHORISE THE PERFORMANCE<br /> or A MusicaL oR DramMatic WORK.<br /> <br /> So (1) of (2) (3) hereby make application for the registration of the sole<br /> right to perform or authorize the performance in the Commonwealth of a (4) work entitled<br /> (5) :<br /> <br /> a do hereby declare that (6) the author of the said work, and that (7)<br /> <br /> the owner of the sole right to perform or authorize the performance of the said work.<br /> And ! make this declaration conscientiously believing the statements contained therein to be<br /> we<br /> true in every particular. :<br /> Declared at this day of 19<br /> <br /> (9)<br /> Before me ;<br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> (8)<br /> <br /> ) Name of Applicant (in full).<br /> <br /> ) Address.<br /> <br /> ) Occupation.<br /> <br /> ) State whether ‘* Musical ”’ or ‘* Dramatic”? Work.<br /> ) Title of Work (in full).<br /> <br /> )<br /> <br /> )<br /> <br /> (8) Signature of Applicant.<br /> <br /> (9) Signature of Person before whom the Declaration is made.<br /> <br /> Norz.—The applicant must forward with his application each assignment or instrument through<br /> which he derives his title, with an attested Copy thereof.<br /> <br /> <br /> <br /> S centemenaneiememenndamnnanaenen<br /> <br /> <br /> <br /> FORM G,<br /> Copyrights.<br /> | Commonwealth of Australia.<br /> Copyright Act, 1912.<br /> STATEMENT OF ADDRESS,<br /> Sir—<br /> <br /> I hereby authorize and request you to send all notices, requisitions, and communications in con-<br /> <br /> co with my application for the registration of the copyright in my (1) entitled (2)<br /> OG ;<br /> Dated this day of A.D. 19<br /> (4)<br /> <br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> TH.—A p AC ares: beg OS} x = 2 ?<br /> No \* articular addre s must be given. ‘<br /> Be: £ An address such as ‘* General Post office Melbourne<br /> <br /> (1) Here insert ‘‘ Literary,” ‘‘ ic,” ‘‘ Musical,”’ ‘‘ Artistic ”’ - i i<br /> Cuan crag al a Dramatic,” ‘‘ Musical, Artistic? Work, or ‘‘ Mechanical Musical<br /> (2) Title of work.<br /> (3) Here insert Name and Full Address.<br /> (4) Signature of Applicant in full.<br />  <br /> <br /> <br /> <br /> (<br /> <br /> r ‘ FORM H.<br /> Copyrights.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Commonwealth of Australia.<br /> Copyright Act, 1912.<br /> <br /> APPOINTMENT OF AGENT.<br /> Sir—<br /> <br /> I(1) hereby nominate, constitute aad appoint (2) of (3) in the Common-<br /> wealth of Australia (4) my agent (5) for me in my name (6) registration of my<br /> copyright in my (7) entitled (8) and for that purpose to sign on my behalf all documents<br /> that my said agent may think necessary or desirable ; and I further empower my said agent to alter<br /> and amend any documents, whether originally executed by me or on my behalf, in any manner which<br /> may be necessary. Q<br /> <br /> Dated this day of A.D. 19<br /> (9)<br /> Witness—<br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> (1) Here insert (in full) Name, Address, and Occupation of Principal.<br /> <br /> (2) Here insert (in full) Name of Agent.<br /> <br /> (3) Here insert Full Address of Agent.<br /> <br /> (4) Here insert Occupation of Agent.<br /> <br /> (5) Principal may here insert the words “ with full powers of substitution and revocation.”<br /> <br /> (6) Here insert purpose for which Agent was appointed, such as ‘‘ to apply for and obtain.”<br /> <br /> (7) ‘‘ Literary,” ‘‘ Dramatic,” ‘‘ Musical,” “ Artistic ” Work, or “‘ Mechanical Musical Contrivance,”<br /> case requires.<br /> ) Title of Work.<br /> ) Signature of Applicant (in full).<br /> <br /> 7<br /> as the<br /> <br /> (8<br /> (9<br /> <br /> <br /> <br /> FORM I<br /> Copyrights.<br /> <br /> <br /> <br /> <br /> <br /> Commonwealth of Australia.<br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> <br /> REQUEST TO ENTER NAME OF SUBSEQUENT OWNER OF COPYRIGHT UPON THE REGISTER OF Copy-<br /> RIGHTS.<br /> Place<br /> Date — a :<br /> I(1) hereby request that you will enter my name in the Register of Copyrights as owner<br /> of the copyright in the (2) entitled (3) which was entered in the Register of (4)<br /> yrig Dy)<br /> copyrights on the day of 19 : a<br /> T am entitled to the said copyright by virtue of (5)<br /> And in proof whereof T transmit the accompanying (6)<br /> <br /> Dated this day of Ap, 19. os<br /> <br /> with an attested copy thereof.<br /> <br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> é d tion of Applicant. : 5<br /> Ne ad ia oa” Work: ae Mechanical Musical Contrivance, ”<br /> <br /> 1) Here insert (in full) ess, and Occu)<br /> ea ‘“‘ Literary,“ Dramatic,’ ‘‘ Musical, Artistic<br /> as the case requires.<br /> a a “Dramatic,” “* Musical,”’ or “* Artistic,” as the et requires.<br /> (5) Here insert particulars showing how Transferee derives his Title.<br /> (6) Here insert the Nature of the Document.<br /> <br /> (7) To be signed by the Person applying for Registration of the Transfer.<br /> <br /> <br />  <br /> <br /> <br /> <br /> (wo 4<br /> <br /> ————————— FORM J.<br /> <br /> Copyrights. Commonwealth of Australia.<br /> <br /> <br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> Request To ENTER NoviricaTIon OF LICENCE OR OTHER DocUMENT IN THE REGISTER OF COPYRIGHTS.<br /> Place<br /> Date<br /> T(1) hereby transmit an attested copy of (2) under Copyright No. (3)<br /> which was entered in the Register of (4) copyrights on the day of 19<br /> L also enclose the original document for verific ation, and I have to request that a notification<br /> <br /> thereof may be entered in the Register.<br /> Dated this day of ap. 19<br /> <br /> <br /> <br /> (Signature)<br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> ) Here insert (in full) Name and Address.<br /> ) Here insert a description of the Nature of the Document.<br /> ) Here insert the Number of the Entry.<br /> )<br /> <br /> “Literary,” “ Dramatic,’ ‘‘ Musical,” or ‘‘ Artistic,” as the case may be.<br /> <br /> FORM K.<br /> <br /> <br /> <br /> &amp; mre :<br /> Copyrights. Commonwealth of Australia.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> APPLICATION FoR AMENDMENT OR ALTERATION OF THE REGISTER UNDER SECTION 36 OF THE ACT,<br /> <br /> I(1) of (2) (3) the owner of Copyright No. (4) which was entered<br /> in the Register of (5) copyrights on the day of A.D.19_ , request that you will<br /> amend or alter the Register in the following manner :—(6)<br /> <br /> And I do hereby declare that the error arose through the followi ing circumstances :—(7)<br /> <br /> And I make this solemn declaration ¢ onscientiously believing the statements contained therein to<br /> <br /> be true in every particular.<br /> Dated this day of A.D. 19<br /> <br /> Declared before me at this day of A.D. 19<br /> (9)<br /> <br /> To the Registrar of Copyrights, Commonwealth of Australia.<br /> <br /> (1) Name (in full) of Registered Owner of Copyright or Performing Right.<br /> <br /> (2) Address.<br /> <br /> (83) Occupation.<br /> <br /> (4) Here insert the Number of the Entry.<br /> <br /> (5) *‘ Literary,” ‘“‘ Dramatic,” ‘‘ Musical,” or ‘* Artistic,” as the case may be.<br /> (6) Here set out desired Amendment or Alteration of the Register.<br /> <br /> (7) Here furnish particulars of the circumstances under which the error arose.<br /> (8) To be signed by the Registered Owner.<br /> <br /> (9) &quot;Eo be signed by the Person before whom the Declaration is made.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> FORM L.<br /> Copyrights.<br /> : Commonwealth of Australia.<br /> Copyright Act, 1912.<br /> Search Warrant UNDER Section 16 (1) (a) of THE Act.<br /> <br /> gi a a constable of police in the State of and to all constables of police in the said<br /> <br /> ate<br /> <br /> Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing<br /> <br /> copies of (1) work, bearing the following title or description, viz. : (2) are being sold ,<br /> <br /> or offered for sale at (3) in the State of (4) . These are therefore to authorize and<br /> <br /> <br />  <br /> <br /> <br /> <br /> ( a)<br /> <br /> command you, in the Kin rs nh seiz k i oe f r s S g<br /> §S name, to seize t é i ‘ij i i i wi ir<br /> ) ( ) e said alleg d in ringing copies of said ork, and to bring<br /> <br /> Given under my ha 5 sad : ;<br /> on y hand and seal, at in the State of the day of<br /> <br /> : (L.3.)<br /> A Justice of the Peace in the State of<br /> <br /> (1) Here insert “‘ Literary,’’ ‘‘ Dramatic,’ “ Musical<br /> (2) Here insert, sufficient for identi<br /> Dramatic, Musical, or Artistic Work.<br /> (3) Here insert Name of Town or Place.<br /> (4) Here insert Name of State.<br /> S fe pe Sega the Court of Summary Jurisdiction before which the said alleged infringing copies<br /> <br /> : ,’ or “Artistic ” Work, as the case requires.<br /> fication purposes, the Title, or a Description of the Literary,<br /> <br /> <br /> <br /> FORM M.<br /> Copyrights.<br /> <br /> Commonwealth of Australia.<br /> <br /> Copyright Act, 1912.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> SHARCH WARRANT UNDER Suction 16 (1) (5) oF THE Act.<br /> <br /> é To a constable of police in the State of and to all constables of police in the said<br /> tate.<br /> <br /> Whereas I am satisfied by evidence that there is reasonable ground for believing that infringing<br /> copies of a (1) work, bearing the following title or description, viz. : (2) are to be found<br /> in (3) in the State of (4) :<br /> <br /> These are therefore to authorize and command you, in the King’s name, to search, between sunrise<br /> and sunset, the said (5) , and to seize the said alleged infringing copies of the said (1) &#039;s.<br /> work, or any copies reasonably suspected to be infringing copies of said work found by you therein, and<br /> to bring them before (6) ‘<br /> <br /> Given under my hand and seal, at in the State of the day of<br /> A.D. 19<br /> <br /> (L.S.)<br /> A Justice of the Peace in the State of<br /> <br /> (1) Here insert “‘ Literary,” “‘ Dramatic,” “‘ Musical,”’ or Artistic’? Work, as the cage requires.<br /> (2) Here insert, sufficient for identification purposes, the Title or a description of the Literary,<br /> <br /> Dramatic, Musical, or Artistic Work. oo : :<br /> (3) Here describe the House, Shop, or other Place where the alleged infringing copies are believed to<br /> <br /> be, and the Town or Place in which it is situated.<br /> (4) Here insert Name of State. :<br /> (5) Here insert House, Shop, or Place, as the case requires.<br /> (6) Here insert the Court of Summary Jurisdiction before w<br /> <br /> are to be brought.<br /> <br /> hich the said alleged infringing copies<br /> <br /> FORM N.<br /> <br /> Copyrights. Commonwealth of Australia.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Copyright Act, 1912.<br /> <br /> ACT FORBIDDING THE PERFORMANCE OF A MUSICAL OR DRAMATIC<br /> <br /> ‘E 3R SECTION 17 OF THE<br /> Norick UNDER} ae<br /> <br /> To (1)<br /> <br /> I hereby give you notice that (2) Bre the registered owner of the sole right to perform a (3)<br /> nereby 5 i F g<br /> <br /> ich vi is i ) ig ffice on the day of<br /> *k entitle hich right was registered in the Copyright O 1e f<br /> Mig eg ee have pane ground to believe that bee ee pies pe oe. part<br /> i orm said work at (5 in infringement of the said sole mgat © ae<br /> <br /> ee ie pcre with section 17 of the Copyright Act, 1912 (a copy of which<br /> <br /> <br /> <br /> <br />  <br /> <br /> ( 22 )<br /> <br /> in public of the said work in infringe-<br /> frain from performing or taking part<br /> <br /> , that I forbid the performance<br /> the said sole right to perform at (5)<br /> <br /> and that I require you to re<br /> id work in infringement of<br /> <br /> section is indorsed on this notice)<br /> <br /> ment of the said sole right to perform,<br /> <br /> in the performance in public of the sa<br /> or at any other place.<br /> <br /> Dated the day of A.D.19 . (6)<br /> <br /> and Address of the Person to whom notice is given.<br /> and Address of the Owner of the sole right to perform.<br /> &gt; as the case requires.<br /> <br /> Dramatic Work.<br /> <br /> (1) Here set out the Name, Description,<br /> <br /> (2) Here set out the Name, Description,<br /> <br /> (3) Here insert ‘“ Musical ”’ or ‘* Dramatic,’<br /> <br /> (4) Here set out the title of the Musical or<br /> <br /> (5) Here set out place where performance is believed to be about to take place.<br /> <br /> (6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent,<br /> the words “‘ Agent of the Owner of the sole right to perform appointed in writing ” are to be added.<br /> <br /> Norz.—A copy of section 17 must be indorsed on this notice.<br /> <br /> <br /> <br /> BRADBURY, AGNEW, &amp; CO. LD., PRINTERS, LONDON AND TONBRIDGE,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> ( 22 )<br /> <br /> <br /> <br /> section is indorsed on this notice), that I forbid the performance in public of the said work in infringe-<br /> ment of the said sole right to perform, and that I require you to refrain from performing or taking part<br /> in the performance in public of the said work in infringement of the said sole right to perform at (5)<br /> <br /> or at any other place.<br /> Dated the day of A.D. 19 6)<br /> <br /> <br /> <br /> 1) Here set out the Name, Description, and Address of the Person to whom notice is given.<br /> <br /> 2) Here set out the Name, Description, and Address of the Owner of the sole right to perform.<br /> <br /> ) Here insert “‘ Musical” or “ Dramatic,” as the case requires.<br /> <br /> ) Here set out the title of the Musical or Dramatic Work.<br /> <br /> 5) Here set out place where performance is believed to be about to take place.<br /> (6) To be signed by the Owner of the sole right to perform or his Agent. If signed by the Agent,<br /> <br /> the words ‘‘ Agent of the Owner of the sole right to perform appointed in writing ’’ are to be added.<br /> Notz.—A copy of section 17 must be indorsed on this notice.<br /> <br /> <br /> <br /> BRADBURY, AGNEW, &amp; CO. LD., PRINTERS, LONDON AND TONBRIDGE.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br />  <br />  <br /> <br /> Supplement to THE AUTHOR, July, 1914<br /> <br /> <br /> <br /> <br /> <br /> THE INDIAN COPYRIGHT BILL,<br /> <br /> 1914.<br /> <br /> <br /> <br /> <br /> <br /> SOCIETY OF AUTHORS, PLAYWRIGHTS<br /> AND COMPOSERS,<br /> <br /> THE INCORPORATED<br /> <br /> 1 CENTRAL BUILDINGS,<br /> TOTHILL STREET,<br /> WESTMINSTER, 8.W.<br /> <br /> <br />  <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> A BILL<br /> <br /> TO<br /> <br /> MODIFY AND ADD TO THE PROVISIONS OF THE<br /> COPYRIGHT ACT, 1911.<br /> <br /> WueErEas it is expedient to modify and add to the provisions of the Copyright<br /> Act, 1911, in its application to British India; it is hereby enacted as follows :—<br /> <br /> CHAPTER I.<br /> PRELIMINARY.<br /> <br /> 1.—(1.) This Act may be ealled the Indian Copyright Act, 1914.<br /> (2.) It extends to the whole of British India, including British Baluchistan,<br /> the District of Angul and the Sonthal Parganas.<br /> <br /> 2. In this Act, unless there is anything repugnant in the subject or context—<br /> <br /> (1.) ‘* The Copyright Act ’’ means the Act of Parliament entitled the Copyright<br /> Act, 1911; and<br /> <br /> (2.) Words and expressions defined in the Copyright Act have the same<br /> meanings as in that Act.<br /> <br /> CHAPTER II. :<br /> CONSTRUCTION AND MopIFICATION OF THE Copyricut ACT.<br /> <br /> 8. In the application to British India of the Copyright Act (*a copy of which<br /> Act, except such of the provisions thereof as are expressly restricted to the United<br /> Kingdom, is set out in the First Schedule), the following modifications shall be<br /> made, namely :—<br /> <br /> (1.) The powers of the Board of Trade under section 8 shall, in the case of<br /> <br /> works first published in British India, be exercised by the Governor<br /> General in Council ;<br /> <br /> (2.) The powers of the Board of Trade under section 19 shall, as regards<br /> records, perforated rolls and other contrivances, the original plate of<br /> which was made in British India, be exercised by the Governor-General<br /> in Council; and the confirmation of Parliament shall not be necessary<br /> <br /> to the exercise of any of these powers ;<br /> The references in section 19, sub-section (4) ection 2:<br /> <br /> (1), to arbitration shall be read as references to arbitration in ae<br /> <br /> with the law for the time being in force in that part of British India<br /> <br /> in which the dispute occurs ;<br /> (4.) As regards works the authors whereof were at the time of the making<br /> <br /> of the works resident in British India, and as regards works first published<br /> in British India, the reference in section 22 to the Patents and Designs<br /> Act, 1907, shall be construed as a reference to the Indian Patents and<br /> Designs Act, 1911, and the reference in the said section to section ae<br /> of the Patents and Designs Act, 1907, shall be construed as a reference<br /> to section 77 of the Indian Patents and Designs Act, 1911;<br /> <br /> i rinted as they stand in the Act, but the Act of 1911<br /> : ST “oh pain te Schedule : Members of the Society have already<br /> <br /> received this as a Supplement to The Author.—Ep.<br /> <br /> , and in section 24, sub-section<br /> accordance<br /> <br /> (3.)<br /> <br /> <br /> <br /> <br /> <br /> 1 &amp; 2 Geo. 5,<br /> ec. 46,<br /> <br /> Short title<br /> and extent.<br /> <br /> Definitions.<br /> <br /> 1 &amp; 2 Geo. 5,<br /> c. 46.<br /> <br /> Application<br /> of copyright<br /> Act to<br /> British India<br /> with adapta-<br /> tions.<br /> <br /> 7 Edw. 7,<br /> ec, 29.<br /> <br /> II, of 1911.<br />  <br /> <br /> Modification<br /> of copyright<br /> as regards<br /> translation<br /> of works<br /> <br /> first pub-<br /> lished in<br /> British India.<br /> <br /> Musical<br /> works made<br /> by resident<br /> of, or first<br /> published in,<br /> British India.<br /> <br /> Importation<br /> of copies.<br /> <br /> VIII. of 1878.<br /> <br /> VII. of 1878,<br /> <br /> <br /> <br /> (4A)<br /> <br /> (5.) As regards works first published in British India, the reference in section<br /> 24, sub-section (1), proviso (a), to the London Gazette and two London<br /> newspapers shall be construed as a reference to the Gazette of India and<br /> two newspapers published in British India ; and the reference in proviso<br /> (b) of the same sub-section of the same section to the 26th day of July,<br /> 1910, shall as regards works the authors whereof were at the time of<br /> the making of the works resident in British India, and as regards works<br /> first published in British India, be construed as a reference to the 30th<br /> day of October, 1912.<br /> <br /> 4.—(1.) In the case of works first published in British India, copyright shall<br /> <br /> be subject to this limitation that the sole right to produce, reproduce, perform or<br /> <br /> publish a translation of the work shall subsist only for a period of ten years from<br /> the date of the first publication of the work ;<br /> <br /> Provided that if within the said period the author or any person to whom he<br /> has granted permission so to do publishes a translation of any such work in any<br /> language, copyright in such work as regards the sole right to produce, reproduce,<br /> perform or publish a translation in that language shall not be subject to the<br /> limitation prescribed in this sub-section.<br /> <br /> (2.) For the purposes of sub-section (1) the expression ‘‘ author ”’ includes the<br /> legal representative of a deceased author.<br /> <br /> 5. In the application of the Copyright Act to musical works the authors<br /> whereof were at the time of the making of the works resident in British India, or<br /> to musical works first published in British India, the term ‘“ musical work ”’ shall,<br /> save as otherwise expressly provided by the Copyright Act, mean “ any combina-<br /> tion of melody and harmony, or either of them, which has been reduced to writing.”<br /> <br /> 6.—(1.) Copies made out of British India of any work in which copyright<br /> subsists which if made in British India would infringe copyright, and as to which<br /> the owner of the copyright gives notice in writing by himself or his agent to the<br /> Chief Customs Officer, as defined in the Sea Customs Act, 1878, that he is desirous<br /> that such copies should not be imported into British India, shall not be so imported,<br /> and shall subject to the provisions of this section, be deemed to be prohibited<br /> imports within the meaning of section 18 of the Sea Customs Act, 1878.<br /> <br /> (2.) Before detaining any such copies or taking any further proceedings with<br /> a view to the confiscation:thereof, such Chief Customs Officer, or any other officer<br /> appointed by the Local Government in this behalf, may require the regulations<br /> under this section, whether as to information, security, conditions or other matters,<br /> to be complied with, and may satisfy himself, in accordance with these regulations,<br /> that the copies are such as are prohibited by this section to be imported.<br /> <br /> (3.) The Governor-General in Council may, by notification in the Gazette of<br /> India, make regulations, either general or special, respecting the detention and<br /> confiscation of copies the importation of which is prohibited by this section, and the<br /> conditions; if any, to be fulfilled before such detention and confiscation ; and may,<br /> by such regulations, determine the information, notices and security to be given,<br /> and the evidence requisite for any of the purposes of this section, and the mode of<br /> verification of such evidence.<br /> <br /> (4.) Such regulations may apply to copies of all works the importation of<br /> copies of which is prohibited by this section, or different regulations may be made<br /> respecting different classes of such works.<br /> <br /> (5). The regulations may provide for the informant re-imbursing the Secretary<br /> of State for India in Council all expenses and damages incurred in respect of any<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> (7)<br /> <br /> detention made on his informati<br /> : us infor , proceedings<br /> oy Seae] ne piaeaphe aie san and of any proceedings consequent on such<br /> — ; . Ly E Ovi 9h a given under the Copyright Act to the<br /> s ‘rs of Customs and Excise of the United King 1<br /> <br /> a tt Kingdom, and communicated<br /> <br /> ; it a y to any authority in British India, shall be deemed to have been<br /> given by the owner to the said Chief Customs Officer.<br /> <br /> (6.) This section shall have effect as the necessary modification of section 14<br /> <br /> of the Copyright Act.<br /> <br /> CHAPTER III.<br /> PENALTIES.<br /> <br /> 7. If any person knowingly—<br /> <br /> (a) Makes for sale or hire any infringing copy of a work in which copyright<br /> <br /> subsists ; or<br /> <br /> (b) Sells or lets for hire, or by way of trade exposes or offers for sale or hire,<br /> <br /> any infringing copy of any such work; or<br /> <br /> (c) Distributes infringing copies of any such work, either for the purposes<br /> <br /> of trade or to such an extent as to affect prejudicially the owner of the<br /> copyright ; or<br /> <br /> (d) By way of trade exhibits in public any infringing copy of any such work ;<br /> <br /> or<br /> <br /> (e) Imports for sale or hire into British India any infringing copy of any such<br /> <br /> work ;<br /> he shall be punishable with fine which may extend to twenty rupees for every copy<br /> dealt with in contravention of this section, but not exceeding five hundred rupees<br /> in respect of the same transaction.<br /> <br /> 8. If any person knowingly makes, or has in his possession, any plate for the<br /> purpose of making infringing copies of any work in which copyright subsists, or<br /> knowingly and for his private profit causes any such work to be performed in<br /> public without the consent of the owner of the copyright, he shall be punishable<br /> with fine which may extend to five hundred rupees.<br /> <br /> 9. If any person, after having been previously convicted of an offence punish-<br /> able under section 7 or section 8 is subsequently convicted of an offence punishable<br /> under either of these sections, he shall be punishable with simple imprisonment<br /> which may extend to one month, or with fine which may extend to one thousand<br /> rupees, or with both. : es<br /> <br /> 10.—(1.) The Court before which any offence under this chapter . trie el<br /> whether the alleged offender is convicted or not, order that all pee of the w on<br /> or all plates in the possession of the alleged offender, which cage - -<br /> infringing copies, or plates for the purpose of making infringing caine e - Le<br /> or delivered up to the owner of the copyright, or otherwise dealt with as the Court<br /> <br /> may think fit.<br /> (2.) Any person a<br /> <br /> ffected by an order under sub-section (1) may, within<br /> <br /> thirty days of the date of such order, appeal to the Court to a _ sa i<br /> Court making the order ordinarily lie ; and such appellate see irect that<br /> execution of the order be stayed pending consideration of the appeal. ee,<br /> <br /> 11. No Court inferior to that of a Presidency Magistrate or a Magistrate<br /> <br /> inst this Act.<br /> f the first class shall try any offence against<br /> : 12. The provisions of this chapter shall not apply to<br /> <br /> section 9 of the Copyright Act, regarding the restrictions on r<br /> of a work of architecture, applies.<br /> <br /> any case to which<br /> emedies in the case<br /> <br /> <br /> <br /> Offences in<br /> respect of<br /> infringing<br /> copies.<br /> <br /> Possession of<br /> plates for<br /> purpose of<br /> making<br /> infringing<br /> copies,<br /> <br /> Punishment<br /> on second<br /> conviction.<br /> <br /> Power of<br /> Court to<br /> dispose of<br /> infringing<br /> copies or<br /> plates for<br /> purpose of<br /> making<br /> infringing<br /> copies.<br /> <br /> Cognizance of<br /> offences.<br /> <br /> Saving in case<br /> of infringe-<br /> ment by<br /> construction<br /> of building.<br /> <br /> <br />  <br /> <br /> fe)<br /> <br /> CHAPTER IV.<br /> <br /> MISCELLANEOUS.<br /> <br /> <br /> <br /> uit or other civil proceeding regarding infringement of copyright<br /> d tried in the High Court or the Court of the District Judge.<br /> Bn emit ding instituted after the 30th of October,<br /> <br /> of copyright. 1912, regarding infringement of copyright in any book the author whereof was at<br /> Effect of non- the time of making the book resident in British India, or of any book first published<br /> registration =| British India, shall be dismissed by reason only that the registration of such<br /> <br /> under Act : : ae s<br /> XX. of 1847. book had not been effected in accordance with the provisions of the Indian Copy-<br /> <br /> XX. of 1847. right Act, 1847.<br /> Repeals. 15. The enactments mentioned in the Second Schedule are hereby repealed<br /> <br /> to the extent specified in the fourth column thereof.<br /> <br /> Courts having 18. Every s<br /> <br /> oh pea shall be instituted an<br /> garding * ete<br /> <br /> une 14. No suit or other civil procee<br /> <br /> FIRST SCHEDULE.<br /> <br /> ImeurmaL Copyricut Act, 1911, pxcEPT SECTIONS 11—13.<br /> <br /> SECOND SCHEDULE.<br /> Repeal of Enactments. (See Section 15.)<br /> <br /> Year. No. Short Title. Extent of Repeal.<br /> <br /> <br /> <br /> 1847 XX. | The Indian Copyright | So much as has not already been repealed.<br /> Act, 1847<br /> 1867 XXV. | The Press and Regis- | In section 18 the following words, namely :—‘‘ Every<br /> tration of Books Act,| registration under this section shall, upon the payment<br /> 1867 of the sum of two rupees to the office keeping the said<br /> Catalogue, be deemed to be an entry in the Book of<br /> Registry kept under the Act No. XX. of 1847 (for<br /> encouragement of learning in the territories subject to<br /> the government of the East India Company, by the<br /> defining and providing for the enforcement of the right<br /> called copyright therein) ; and the provisions contained<br /> in that Act as to the said Book of Registry shall apply<br /> mutatis mutandis to the said catalogue.”<br /> <br /> 1878 VIII. | The Sea Customs Act, | Clause (a) of section 18.<br /> <br /> 1878<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> This Bill was passed at a meeting of the Council of the Governor-General :<br /> of India for the purpose of making Laws and Regulations on the twenty-fourth<br /> day of February, 1914.<br /> <br /> <br /> <br /> (Sd.) HarpincEe oF PENSHURST,<br /> President.<br /> <br /> <br /> <br /> The 24th February, 1914.<br /> <br /> I assent to this Bill.<br /> (Sd.) Harprince oF PENSHURST,<br /> <br /> Viceroy and Governor-General.<br /> The 24th February, 1914.	https://historysoa.com/files/original/5/542/1914-07-01-The-Author-24-10.pdf	publications, The Author
544	https://historysoa.com/items/show/544	Australian Copyright Act, 1912: Statutory Rules (1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EAustralian+Copyright+Act%2C+1912%3A+Statutory+Rules%3C%2Fem%3E+%281914%29"><em>Australian Copyright Act, 1912: Statutory Rules</em> (1914)</a>	A full summary of the statutory rules relating to copyright in Australia, including forms to be used to register for copyright.							<a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=24&amp;sort_field=added">Supplement to <em>The Author</em>, Vol. 24</a>			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-Australian-Copyright-Act-1912		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew &amp; Co.</a>																					<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914">1914</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>		19140701		https://historysoa.com/files/original/4/544/1914-Australian-Copyright-Act-1912.pdf	Australia, copyright, international, publications, The Author
545	https://historysoa.com/items/show/545	The Indian Copyright Bill, 1914 (1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Indian+Copyright+Bill%2C+1914%26nbsp%3B%3C%2Fem%3E%281914%29"><em>The Indian Copyright Bill, 1914&nbsp;</em>(1914)</a>	A summary of the 1914 Indian Copyright Bill.							<a href="https://historysoa.com/The-Author-Issues/1914-07-01-The-Author-24-10">Supplement to <em>The Author</em>, Vol. 24 Issue 10</a>			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors">The Society of Authors</a>																					<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-07-01">1914-07-01</a>							10	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>		19140701		https://historysoa.com/files/original/4/545/1914-07-01-Supplement-24-10-The-Indian-Copyright-Bill.pdf	copyright, India, international, publications, The Author